This is the first in a series of posts on music albums that have heavily influenced my life.
One of the most complicated times of my relatively short life so far was during the winter of 2012. This is a time of my life that I haven’t really discussed on this blog previously — I’ve alluded to it every now and then — since it has never seemed appropriate nor relevant. My junior year of high school was certainly a long time ago, and the deep emotional divides and social turmoils that marked it have long passed. Those wounds have healed, and that story is best left to late night reflections and beachside recollections.
I can’t really discuss this album without at least divulging some essential background information. I experienced my first break-up in December 2012. It was understandably difficult — as it would be for any young, overly optimistic teenager — yet it was compounded by the fact that a very good friend of mine decided to pursue my ex-girlfriend mere days after the fact. It didn’t take long for a complex love triangle to form between the three of us, with all of the associated emotional strain such conflict creates. These were tense times, and beyond the awkwardness of being a high school student in the middle of a romantic drama, there was a truly heart-wrenching sense of despair that followed me around for weeks. Not only was I about to permanently lose the first girl I had ever really cared about, it was about to be to a guy that I considered pretty damn close to me. Such egregious violations of the bro code were considered unacceptable then and are still unacceptable today, so many months later. In retrospect the entire situation was vastly overblown and hyperbolic, but what else would you expect from a bunch of romantically-inexperienced high school juniors? In many ways it was a disaster that was difficult to avoid.
I don’t remember how I first discovered Beck. Regardless, his pinnacle achievement, Sea Change, was an album that resonated strongly with me at the time. Sea Change is the quintessential breakup album. Its twelve songs rely on the consistently crisp, clean sound of the acoustic guitar, exerting as much brazen melancholy as possible. I really enjoy the tone of the guitar on this album for its brutal simplicity — reverb and other effects are used sporadically and conservatively, resulting in a sound that essentially parallels what you’d hear if you played the guitar yourself (indeed, I know this from experience). It’s very bare and upfront, but this also makes it incredibly refreshing — this is uninhibited, straight-to-the-heart acoustic rock. Beck’s song structures also follow this same philosophy: most of the songs use simple 4/4 chord progressions based on your usual collection of major and minor chords; the silky basslines provide a satisfying thickness where the acoustic doesn’t reach; the beats are basic with subtle accents; the choruses are catchy and memorable. I don’t want to give the impression that this album has a bare sound, however — there is some truly lush and incredible instrumentation besides the acoustic guitar. Various keyboards play large roles in many songs, such as “End of the Day,” providing a moody electronic sound that complements the drums and guitar. The xylophone is present on many of the album’s songs, creating a lullaby atmosphere that highlights the emotional fragility of Beck’s mournful lyrics — and electric guitars sometimes supplement or replace the xylophone’s high-pitched melodies. Violins and cellos are the other major stringed instruments on Sea Change, and both are utilized in a wide variety of ways. For example, “Paper Tiger” relies heavily on a start-and-stop chorus of violins that soars high over the other instruments — it is one of the few songs that completely lacks acoustic guitar. Other songs, such as “It’s All in Your Mind”, use stringed instruments to thicken the mid-range, dampening the sonic atmosphere. One final interesting effect is Beck’s use of modified vocal samples — this can be heard clearly at the beginning of “Lost Cause”. These chopped up, reversed harmonies really add to the airy, cathartic nature of the album. I can’t quite put my finger on what’s so compelling about these sounds, but they complement the emotional theme.
Equally important to the instrumentation is the lyricism, which was obviously the characteristic that really drew me into the album. Beck describes both contemporary turmoil and fantasy-like scenes of escape. Again, it’s a breakup album, so the content of most of the songs is pretty obvious: declarations of sadness, regret and tiredness. Some of these statements are more poignant than others. An outstanding example — and one that has truly stuck with me through the years — is “The Golden Age”, the album’s absolutely heartbreaking opener. The lyrics are simple but complement any lonely late-night drive through the suburbs:
Put your hands on the wheel
Let the golden age begin
Let the window down
Feel the moonlight on your skin
Let the desert wind
Cool your aching head
Let the weight of the world
Drift away insteadThese day I barely get by
I don’t even tryIt’s a treacherous road
With a desolated view
There’s distant lights
But here they’re far and few
And the sun don’t shine
Even when its day
You gotta drive all night
Just to feel like you’re okThese days I barely get by
I don’t even try
I can’t think of another song that has so perfectly described my desire for escape. Maybe it’s the whole infrastructure thing, but I find the image of an empty desert road — and the concept of driving into the distance — incredibly comforting. This is a song that I’ve played and sang on the beach at sunset, staring into the Gulf of Mexico while sitting on the hood of my car. It’s that sort of song, so incredibly cathartic and releasing that it makes me feel like I’m evaporating.
“Lose Cause” also stands out to me — although it’s a simple song both lyrically and structurally, it does a damn good job of conveying that sense of wanting to give up but not quite being able to.
There’s too many people you used to know
They see you coming, they see you go
They know your secrets and you know theirs
This town is crazy; nobody cares
Also near to me are two other songs near the end of the album, “Sunday Sun” and “Little One”. “Sunday Sun” sounds like the title — it’s a bittersweet tune with a slow tempo that mimics the pace of an uneventful Sunday. This is the sort of song that I would put on after a long day (or week) of rolling with the punches.
Jealous minds walk in a line
And their faces jade the strain
Stranded in infinity rooms
And they’re safe from any harmThere’s no other ending
Sunday sun
Yesterdays are mending
Sunday sun
“Little One” returns to that desire for escape, yet also provides a comforting message that reassures me of the healing power of time.
Go to sleep
We’re so tired now
Altogether in a snake pit of souls
New days
To throw your chains away
To try to hang your hopes on the windLittle one
Just a little way
Today all we need is waiting
Drown, drown
Sailors run aground
In a sea change nothing is safe
Strange waves
Push us every way
In a stolen boat we’ll float away
I’m not afraid to say that this is an album I’ve legitimately cried to at least once. I can’t listen to this album today without having vivid recollections of that dark moment in my past. Nothing is as bad as it seems, but I can still recall all of the crushingly lonely moments I had where this album was my only companion. Sea Change also pushed me to teach myself to sing (at least to the extent that I’m comfortable showing a select few people), a skill I’m still trying to develop. Beck doesn’t have the world’s most amazing or unique voice, but his range is accessible and his songs are too fucking catchy. This album really helped me through some difficult moments. The breakup occurred at a debate tournament, of all places. The memory is fresh in my mind. Disoriented and distraught, I wandered to my car and began driving home. It was late at night; traffic was nonexistent and the horizon was sprinkled with traffic lights and quiet houses. As I navigated through the obscure reaches of Texan suburbia, this album soothed my wounds. It was the only thing that I could hear. I took all of my emotional baggage — all of the extreme sadness of a first failed relationship — and poured it into these twelve songs. I sang along, as loud as I could, pushing past the primal desire to just completely break down. Over the following weeks, this album followed me everywhere I went. I used it to heal myself at the end of each long, stressful day. Sea Change never truly convinced me that things would get better — even though they did in the end — but it shared in my despair and helped me clarify exactly what I was feeling. Sometimes you just need to find the comfort in being sad.
Things eventually fixed themselves up, and Sea Change faded from my daily listening habits. It’s just one of those albums you really have to be sad to experience fully. I’m not quite in that same state of mind at the moment, but I have found myself coming back to Sea Change over the past couple of weeks. It provides a comfort and basic understanding that just makes the world a little more bearable and my own emotional turmoil a little more legitimate. I owe a lot to this album, and I cherish the memories that it’s become glued to, as depressing as they are. Whenever all hope seems lost, I can turn to Sea Change. No other album cures a broken heart so perfectly.