Cooper Lymn's Sanctuary

a machine learning engineer who happens to love music and television culture

I’ve Been Listening – Oct 7, 2024

Fleetwood Mac, ‘Rumours,’ 1977

Listen to the wind blow, down comes the night
Running in the shadows, damn your love, damn your lies
Break the silence, damn the dark, damn the light

And if you don’t love me now
You will never love me again
I can still hear you saying
You would never break the chain 

Released on February 4, 1977, Fleetwood Mac’s Rumours rapidly transcended the typical boundaries of a studio album, becoming a cultural phenomenon and a symbol of the 1970s rock era. Rumours encapsulates a narrative woven with personal tumult and romantic upheaval. The album was produced during a period of significant discord among band members, marked by breakups, divorces, and rampant drug use. This tension permeates the lyrics and themes, creating an atmosphere of raw honesty. The thematic core of Rumours revolves around intimate human experiences—love, heartbreak, forgiveness, and resilience. The album is a chronicle of the band’s internal dynamics, with tracks like The Chain symbolizing the bitter connections that bound them together despite personal conflicts. In many ways, each track serves not just as music but as a personal journal or diary entry, with songs like Go Your Own Way, Dreams, and Never Going Back Again representing fractured relationships and newfound independence. The album’s songwriting process was intimately collaborative, as band members composed songs about each other, channeling their interpersonal conflicts into lyrical narratives. For instance, the song Go Your Own Way, written by Lindsey Buckingham, explores themes of separation and independence with forthright honesty. Stevie Nicks’ Dreams offers a contrasting lyrical tone, providing introspective contemplation and seeking solace amid emotional upheaval. The song describes the inevitability of heartache with lines that resonate with a universal truth: “Thunder only happens when it’s raining.” Meanwhile, Christine McVie’s Songbird delivers a poignant, heartfelt plea for peace and reconciliation. The diverse lyrical content across the album reflects the pluralism within the band; their varied perspectives culminate in a narrative tapestry that is rich and multifaceted.

Musically, Rumours is an eclectic blend of rock, pop, and folk influences, stitched together with a masterful understanding of melody and harmony. The album showcases the full breadth of Fleetwood Mac’s artistic capabilities, as each member’s distinct creative voice contributes to the soundscape, achieving a harmonic balance. Notably, the rhythmic dynamism of The Chain exemplifies Fleetwood Mac’s ability to weave intricate instrumental layers with compelling emotional power. John McVie’s steady bassline and Mick Fleetwood’s impeccable drumming facilitate a crescendo of tension and release, encapsulating the track’s thematic intensity. This meticulous attention to musical detail pervades the album, as songs like Second Hand News and Don’t Stop exemplify the band’s deft synthesis of complexity and accessibility. The production of Rumours is as storied as the album itself. The notoriously difficult sessions at the Record Plant in Sausalito, California, were marked by interpersonal tension and the liberal use of drugs, which could have derailed the project. Yet, through perseverance and innovative engineering techniques, such as using a vari-speed oscillator to align damaged tape recordings, they crafted an album that was meticulously polished and sonically revolutionary. Fleetwood Mac’s Rumours is not just an album; it is a witness to human vulnerability and artistic triumph. Its enduring appeal lies in its ability to translate personal chaos into a universally resonant and musically captivating experience. Rumours stands as a relic of 1970s musical excess and creative expression, capturing the zeitgeist of an era while continuing to inspire artists and audiences alike.

I never did believe in miracles
But I’ve a feeling it’s time to try
I never did believe in the ways of magic
But I’m beginning to wonder why

The Cure, ‘Disintegration,’ 1989

The Cure’s eighth studio album, Disintegration, is a seminal record in the realm of the gothic rock. Thematically, Disintegration is an exploration of existential dread, melancholic introspection, and emotional turmoil. Described as a “protracted wallow in the misery of love unrequited or recalled in hopeless desolation,” the album reflects frontman Robert Smith’s personal grappling with turning 30 and the fears and pressures associated with aging and change. The album masterfully depicts a consistent mood of depressive solitude and melancholic beauty while capturing a wide spectrum of human emotion, spanning from despair to a subtle sense of hope. The album’s thematic content is steeped in darkness, with lyrics that convey a sense of dissociation and hopelessness. The title aptly encapsulates the prevailing mood of the record—the disintegration of personal integrity and relationships, a journey into existential despair. Robert Smith’s lyrical prowess shines throughout Disintegration, weaving a tapestry of evocative imagery and raw emotion. His writing captures the listener’s imagination, painting scenes of vibrant watercolors stained with sadness and ink, leading one through a universe crafted from his introspective musings. Tracks such as Plainsong and Pictures of You encapsulate an intricate lyricism that embodies the album’s ethereal yet dark aura. Notably, even the more seemingly joyous tracks, such as Lovesong are underscored by an anxiety towards the temporality of happiness. In Lovesong, Smith conveys vulnerability and tenderness within an emotive framework, declaring unwavering love against a backdrop of melancholic undertones. He expresses unadorned love with lines like “Whenever I’m alone with you / You make me feel like I am home again,” showcasing a rare directness amid the album’s generally somber tone. The lyrical journey closes with the tracks Homesick and Untitled, where Smith resigns himself to the warm embrace of fading away—a cathartic reflection of accepting one’s mortality and the inevitable end.

Disintegration is characterized by its intricate layers of sound, combining lush textures with a skeletal structural foundation. The album presents a confluence of shimmering guitars, synthesizers, oceanic keyboards, and towering drums, creating a sound that is both abyss-like and expansive. The album weaves together a myriad of sounds and styles with a finesse that elevates its dreamlike quality. This evocative musical landscape aligns closely with the burgeoning shoegaze movement of the late 1980s, drawing comparisons due to its emphasis on atmosphere and sonically complex compositions. The opening track Plainsong sets the tone with its slow unraveling and grand melodic vistas shaped by keyboardist Roger O’Donnell’s lush synth-driven arrangements. It exemplifies a careful orchestration of sounds that move and captivate, drawing listeners into The Cure’s immersive audio landscape. Despite its gothic roots, the album showcases a surprising degree of pop sensibility, as evidenced by the catchy and accessible nature of tracks like Lullaby and Lovesong. The seamless integration of pop melodies into the grand, orchestral arrangements allows Disintegration to maintain a delicate balance between mainstream appeal and alternative edge.

Remembering you standing quiet in the rain
As I ran to your heart to be near
And we kissed as the sky fell in, holding you close
How I always held close in your fear
Remembering you running soft through the night
You were bigger and brighter and wider than snow
You screamed at the make-believe, screamed at the sky
And you finally found all your courage to let it all go

Pearl Jam, ‘Ten,’ 1991

Pearl Jam’s debut studio album, Ten, is a cornerstone of the grunge movement that dominated the 1990s music scene; it is a monumental work that captures the raw spirit and existential challenges of the early 1990s. Ten is characterized by its exploration of dark themes that reflect the social and personal issues of the era. The album is permeated with references to depression, homelessness, and mental health, creating a narrative of despair and introspection. Eddie Vedder’s lyrics often delve into personal stories and societal critiques, weaving a tapestry of emotional turmoil and resilience. The song Jeremy, for instance, tells the disturbing story of a high school student’s suicide, reflecting broader themes of alienation and violence in youth. Furthermore, Alive deals with personal identity crises and the burden of familial revelations, while Even Flow chronicles the struggles of a homeless man, showcasing Vedder’s keen eye for social issues. The album is often interpreted as a concept album, though this is debated. Some listeners see a through-line connecting the tracks through Vedder’s introspective and personal storytelling. Eddie Vedder’s lyrics on Ten offer raw, emotional honesty paired with poetic flair, which sets a high bar for narrative depth in rock music. His voice, ranging from a deep, resonant baritone to emotionally charged crescendos, adds to the album’s intensity and allure. His lyrics convey a range of human experiences and social observations, from Black, a lament over lost love and emotional scars, to Release, a somber reflection on fatherhood and personal liberation. The storytelling on Ten is mostly grounded in real-life experiences and observations, which lends credibility and emotional heft to the album. This is particularly evident in songs like Why Go, which critiques the historical mishandling of mental health institutions. Such narratives encouraged listeners to confront uncomfortable truths and offered a cathartic outlet through music.

Musically, Ten is an amalgamation of various rock influences, from classic rock to grunge, with a unique sound that helped define the Seattle music scene. The album is noted for its intricate guitar work and expansive harmonic vocabulary, which draw comparisons to rock legends like Jimi Hendrix and Led Zeppelin. Pearl Jam’s two-guitar approach, with Stone Gossard and Mike McCready layering their riffs, gives the album a full-bodied stereo sound that envelops the listener. This innovative guitar work is complemented by Jeff Ament’s robust basslines and Dave Krusen’s precise drumming, which provide both anchor and propulsion to the record’s dynamic shifts. Songs such as Black and Oceans highlight the band’s ability to oscillate effortlessly between sonic intensity and melancholic introspection. Structured around the raw energy of its compositions and the sincerity of its messages, Ten helped redefine rock music in the early ’90s and continues to resonate as both a beloved classic and a testament to the power of music as a vehicle for emotional truth.

The direction of the eye, so misleading
The deflection of the soul, nauseously quick
I don’t question our existence
I just question our modern needs

I will walk with my hands bound
I will walk with my face, blood
I will walk with my shadow flag
Into your garden, garden of stone