Adventure #13: Meeting the "Pop Perfection" of Darren Hayes

Remember Savage Garden? Did you know their former frontman, Australian singer/songwriter Darren Hayes, has released four solo albums in the last ten years? ...Yeah, it took me a bit to catch up with that, too, being American and all, but he's been a new candy for me. Well, he’s not exactly new for me. I have flavored some of his music before but didn’t take a leap for him until recently.

HISTORY

Let’s take a (dry) rundown of my discovery of him nearly two years ago:

• Hear “I Knew I Loved You” again on radio (it eventually becomes my favorite Savage Garden song; plus, gorgeous Kirsten Dunst is featured in the music vid)
• Remember/Renew curiosity of Savage Garden
• (Wikipedia) Research Savage Garden
• Come across name “Darren Hayes” and research
• Discover 2004 tongue-in-cheek single “Pop!ular” reached #1 on U.S. Dance/Club Play chart
• Like “Pop!ular” but have interest in little else
• Use gift card to get Savage Garden Affirmation, which contains “I Knew I Loved You”

Last summer, I had some free music downloads, part of which I used to get “Pop!ular” and a few tracks off the album it’s from, The Tension and the Spark (Darren’s second album). About eight months later, I listened to his first and fourth albums, respectively, Spin and Secret Codes and Battleships on Spotify, generally liking them and occasionally listening to them more often.

DARREN & ME

Then, I moseyed along until May of this year (two months ago) when I realized a similarity in the songs he writes to the songs I write (and consequently, completed my collection of his music by ordering physical copies of his albums). This was HUGE! When I had thought about my songs, they seemed to be about...nothing...or, at least, nothing I could give a synopsis of, I felt. They're driven by feelings. Most songs are inspired by feelings and fused with emotion, but I've seen that the focus of my songs is completely about subconscious feelings becoming manifest. Darren's and mine don't exactly sound the same, but the focus and drive are similar. We each have our own separate patterns of addressing similar motives that are influenced by our own musical paths. Still, our songs seem to rest in an intuitive space (hence the mention of mine seeming "to be about...nothing;" the images we typically use aren't exactly tangible).

I had been looking at the current pop scene, especially Katy Perry and Lady Gaga, as well as other songs, but I couldn’t find many that I would say my songs were like. Darren’s have come the closest. When I figured this out, so many things in his songs opened up to me, and I could not believe what I was experiencing while listening to his music. Everything he sang made sense. There was no deciphering the metaphors or translation of events in my life to make them applicable to the song. Everything fit perfectly, like I could be saying those lyrics. It was one of those connections you have with someone and you just sense and feel that, “I need to know this person better,” or, “I want to meet this person.” It’d be awesome to meet him and chat about songs and ideas—perhaps, someday, if our lives cross. His songs are so honest to me. Perhaps, they are even too honest…

THE DOWNSIDE

Something he has been prized for is that, often, rather than taking a more commercial pop route, he musically and lyrically tends to take a more sophisticated, intellectual journey, which is a great aspect that I like (and makes me feel smart). But, his music is very artful and somber to the point that it can be depressing for me. At the same time, I love his music, because, like I said, my connection is so close; but it is easily depressing for me, because I don’t have to work to connect. His music naturally recalls emotional places I’ve been by just hearing those words and, especially, singing them.

HIS MUSIC

He does have light and positive songs but mostly on Spin, from which my favorite track is “I Can't Ever Get Enough of You.” His transition to heavier subjects is sampled on Spin’s title track but was also previewed in 1999 with the opening and title track of Savage Garden’s Affirmation. The music of these songs is still upbeat and fun, but the discussion is thoughtful.

His darkest album is The Tension and the Spark, where he explores themes of dark and light with, even, track titles as “Darkness” and “Light.” The Tension and the Spark is an amazing album, overall, despite its dark themes. It is brilliantly crafted with genius electronic production, and, honestly, deserves every one of the four stars Allmusic gave it (I tend to agree with Allmusic). “Darkness,” especially, is a song that surprised me how closely I connected with it when I really listened. I felt like someone had been watching me from my window… Other songs I most connected with from the album, whether emotionally or hearing my own thoughts in someone’s song, were “I Like the Way,” “Hero,” “Unlovable,” and “Love and Attraction,” but really, I side with the whole album.

His third release, the highly experimental and personal double album This Delicate Thing We've Made, continues a somber approach but has a more intellectual feel. The album fits together almost like a story with most of the songs leading up to the next, though they are strong enough to stand alone (not that they're mixed together but that they're like chapters in a novel). Overall, the entire album is incredibly elegant. My favorite track is the beautiful single “Casey” (which the last minute and a half of the album version is gorgeous but, sadly, was taken out to make it appropriate as a single, even though it emphasizes, what I believe to be, the main point of the song: “I wanna be someone”), which he wrote about his sister Tracey (rhymes with Casey; ooooooh, clever boy). Other tracks that especially stand out to me are “A Fear of Falling Under,” “Listen All You People,” “Neverland,” “Words,” and “The Tuning of Violins.” The whole album is wonderful, though.

His latest album, Secret Codes and Battleships, released autumn of last year, brings him back to commercial pop senses but without losing lyrical merit. I, especially, have taken a liking to “Don’t Give Up” and “Black Out the Sun,” which is another one that encapsulates emotions I have felt and instantly recalls them (and vocally, it’s fun to sing). He originally wrote “Black Out the Sun” for Leona Lewis but kept it for himself. Lead single “Talk Talk Talk” sounds like a sequel to “Words.” When I watched the music video for “Bloodstained Heart,” I cried at the end, and then I watched it again, crying throughout from understanding deeper the symbolism. I get choked singing it or even when I explain the song and video to others.

THE UPSIDE

I’ve learned several things from Darren, though. One thing I’ve understood is that this connection I’ve had is only one part of me, and it is good to have someone to connect to, even with my darker experiences. I connect with lots of artists, but my favorites tend to be The Corrs and Kylie Minogue. I’ve often thought myself the male version of Andrea Corr, lead singer and lyricist for The Corrs, and still, I see myself more in her personality than I do Darren’s. Both Darren and The Corrs appeal to the dreaminess of hopeless romantics. Andrea’s solo lyrics and her lyrics with The Corrs, I have felt, are words I could have written myself and that speak for me, just as with Darren’s. I think why I may find Darren's lyrics particularly special is that he is male, and there is an inherent part of me, perhaps initially subconscious, that recognizes and connects with this. The difference between The Corrs and Darren is that while The Corrs (and Andrea; I do like Sharon Corr’s solo work, as well) are willing to go to the dark places that Darren goes, they offer a glimmer of hope, whereas Darren goes there to reveal and explore but doesn’t always offer a way out. He takes you there to experience it with him (but it is fair to say that when you are in those dark places, sometimes hope is forgotten or not desired because of the pain in the letdown of what was once hoped).

I enjoy all of Kylie’s songs, but I most connect with the ones she writes herself, especially “No More Rain” and “Looking for an Angel” (both metaphors; *gasp* intriguing). She goes to dark places on 1997’s introspective Impossible Princess, in which she wrote or co-wrote all the songs, but, like The Corrs, she offers a way out, even if it is just a cry for deliverance. Mostly, Kylie appeals to my fun side. From having seen her live and what I’ve seen of her in interviews, Kylie is pure fun, as also found in her choice to release bubbly, danceable songs. Understandably, she's been referred to as a dance force of light (interestingly, Darren's idol, Madonna, compared to Kylie, has been seen as a dark force; I also like Madonna but more to get groovy with). Through it all, Kylie still is able to express love and its vulnerability (see my paper on that here).

Basically, in general (and for me), Kylie presents the fun and vulnerabilities of love, The Corrs the reassurances of love, and Darren the fears in love. Darren doesn’t really seem far off from The Corrs and Kylie. All three of these artists explore romance and art with class that appeals to me, reassuring what I’ve evaluated about my interests (as described here).

One thing I speculate about Darren from his songs is that he holds things very precious. This is even suggested in the album title This Delicate Thing We've Made and is something I relate to. It makes him a true lover and is a characteristic I'm attracted to to add him to my collection of favorite artists. But while I do like his more darker themes for their own sake, I wish for more of the songs about the positive aspects of love, like he does in “I Can't Ever Get Enough Of You” and “I Knew I Loved You,” but I'll appreciate whatever he turns out.

Of Darren himself, his voice is very beautiful. He uses falsetto a lot, and it is equally pleasing. His voice has a soft, youthful timbre (as do Kylie and Andrea), as does mine, I’ve been told. Last year, I sang “Ten Minutes Ago” from the musical Cinderella for a voice lesson. My teacher said I sounded great, but the only problem with my performance was that I sounded sixteen and the character needed to be old enough that his parents were irritated he wasn’t married yet (so, at least ten years older...hmm).

Darren’s vocal range is very similar to mine, making him fun and comfortable to sing along with. I had previously been introduced to Mika, who also sings high into his falsetto range, but his isn’t always nice sounding. Hearing that falsetto made me afraid to use my own, but Darren’s has given me confidence to use it, as I have heard that my voice and falsetto are “pretty,” as well. When I have sang some of Darren’s and Savage Garden’s songs to others and then later showed them the recording, my audiences have mentioned similar pleasing qualities in my voice and his, though we each have our own value and sound like ourselves. Also, we have similar impulses on forming words when singing; that is, we naturally tend to emphasize the same letter sounds in pronunciation.

If anything, Darren has helped me reach another level of acceptance for my voice. It is what it is, and it can have a place as I find where to use it. It is okay for it to sound pretty and soft and young...or “unique.” And, like I said about his songs’ similarity to mine, it is okay for my songs to be what they are. The sound of Darren's “Unlovable” gave me faith in the few of my songs that lean to the experimental. “Unlovable” is done in a way that makes the song work, despite often possessing an almost disjointed melody, as a few of mine do. When I wrote them, I wasn't sure if they would work but completed them, anyway. Now, I see that as they are explored, an appropriate way of expressing them can be found, just as it was with “Unlovable.” I know some of my apprehension about my songs comes from a fear of revealing self-qualities expressed in the song. Tsk tsk. Courage, now. I'm sure as I embrace them their performance will smooth out and become whole, making them a treasure. They have a place, as what has been reiterated to me a lot this past year (not even an exaggeration; everywhere I turn, this comes up)—to quit hiding and offer what I have. And, honestly, I have been feeling more ready to share what I have with songs, poetry, acting, stories, my novels. Perhaps, finishing college soon has brought this to my mind, also, and given me the realization that I need to come forward in order for anything to happen, rather than hiding in the educational world. In all, Darren has brought it up for me, again.

So, if you don’t know much about Darren, check him out! It’s a shame his music is as rare as it is. He is a gem! You never know what you may find in store to experience with him, and you can see why critics call him genius and his work “pop perfection.”

Adventure #7: Notes on My Study on People's Interests

Kylie Minogue

I have outlined an analysis of my experience with my interests and wonder if I am accurate in what I have come up with. I have not fully developed my ideas, so, please, feel free to tell me what you may think, whether I am headed in a profitable direction or you think I am on crack. All of this is my own ideas, so also, if you've heard some other studies or things like this, I'd be interested in knowing. Or, perhaps, you think this is all crap and goes without saying. Much of my intrigue with this topic stems from my work in acting. It would make sense to me that much could be figured about a character by looking at their interests, if given in the script.

A few months ago, I wrote an extensive paper on Kylie Minogue's song "All the Lovers," in which I analyzed the general message of her music (that paper can be found here). In my argument that she explored themes of love and vulnerability, I could not help but see deeper similarities between her and myself as I perused over her music in search of the themes she conveys. I saw that I valued many of the messages often presented in her music. Previously, I had been liking her music, but never had I explored why I may be drawn to it in the extent that I have. This led me to look at my other favorite music artists, like Shania Twain and The Corrs, and explore their common themes. At this time of analysis, I was exploring the music of Daniel Bedingfield and found a commonality with him, too. Of these artists--Minogue, Twain, Corrs, and Bedingfield--I found that all were sensual/sensuous persons with sultry vocals and hopeless romantic personalities undertoned with cheeky sass. They all (with possible exception of Bedingfield; I'm not sure) have been known as classy figures associated with elegance. Also, every diehard Corrs fan I have met is a fun-loving, loyal, gentle, and soft-spoken romantic. From the interviews I have seen of the four sibling Corrs, I sense that each one matches this definition, as well.

The Corrs

Feeling I matched these descriptions ("sultry vocals," perhaps, is debatable), I concluded that our interests are means of validating perceptions of ourselves and what we desire to become. In a sense (this is probably my weakest, least informed point), my argument is that our natural interests are reflective of Sigmund Freud's concept of the id--that is, unfiltered, natural desire--and ego--the realistic reasoning side of a person.

Perhaps, the need for deep-rooted interests with emotional connection comes from the superego's correction of the id (superego does this so we behave in a manner befitting society). Because of the actions of the superego, the ego can become confused. This is where interests come into play. When the ego is needing validation in balancing the id and superego, it turns to interests. In such, it finds safety and security in things that satisfy id while accomplishing superego.

Recently, in a class discussing the Doctrine and Covenants (some of the modern scriptures from The Church of Jesus Christ of Latter-day Saints) in which I am enrolled, we discussed the 88th Section, verse 40, which reads, "For intelligence cleaveth unto intelligence; wisdom receiveth wisdom; truth embraceth truth; virtue loveth virtue; light cleaveth unto light; mercy hath compassion on mercy and claimeth her own; justice continueth its course and claimeth its own." Basically, everything is attracted to its own; everyone is attracted to those like them. This makes total sense that people would be attracted to things that are like them. Their interests are reflective of who they perceive themselves to be or what they want to be. Interests give identity. They assure us of who we are. More can be said of us by our interests than we give credit for. SO MUCH of how we use interests as a means of identity goes unnoticed and is subconscious, just as how Minogue's music appealed to me, yet I did not fully seek to answer why. Further, it wasn't until after I had carefully selected and included these pictures of Minogue, The Corrs, and Twain in this blog post that I realized a similar theme of light in all of them. I'm sure something can be said about that. The purpose I find in exploring our interests and attractions is to discover what roles those interests play in developing our identities.

An example may be those who are interested in the hobby of hunting. It seems reasonable to say those individuals desire to be providers. They believe themselves to be providers, or they desire to someday become providers, and bringing home a kill expresses and re-establishes that desire and identity for them. (Of course, there are also other identity establishments that can draw people to hunting.)

Shania Twain

Our (desired) identity certainly says something for the people we desire as friends and with whom we attempt to reach out to, as well as whom we choose as a mate. Those in positions of popular desire, whether based on wealth, celebrity, talent, physical appearance, or whatever else, are commonly bombarded with social opportunities and interactions, because people's interests in them are driven by the desire to see those qualities in themselves. Someone's interest in a person could also be driven by the perceived identity that person gives them, whether by association with or by certain interactions received from that person. Also, just as my connection and interest with The Corrs and others celebrity artists, every person idolizes their own A-listers based on qualities they see in themselves or qualities they wish to see. It seems safe to say that one recognizes, even subconsciously, a certain likeness with or is fondly reminded of someone else like their favorite celebrities, actors, writers, fictional characters, etc.

Family is an essential part of one's identity. Our interest in them, then, is to validate and design our perceived identity. From an early age, our family unit, no matter how formed, trains and shapes the identity we take. If among our biological family, this is especially key, as we see similarities in how we look and how we behave temperamentally. Children, especially, are in the stage of developing an identity and often turn to their parents for guidance through the means of mimicry. Commonly, one of the parents is chosen by the child, more prevalently than the other, and as the child gets older, they speak most often about the parent they are most like. After all, this parent is of most interest to them, as they have established the earliest forms of their identity around this parent. To speak of them gives validity to oneself. However, these interests are among all family relationships, whether it be parent to child, sibling to sibling, aunt to nephew, or any other relationship. Seeing these similarities drive our interests to associate with them and, in turn, love and be loved by them. They form a facet of our identity, which interests us to seek validity of that identity from them and in them.

At times, family interest for someone may be minimal, because of a distracting interest in work or something else. They are seeking validity in an identity in something that their family does not offer. Some, though, do have interest in family life, but the identity they receive from their given family is not what they desire, so they turn to alternate means of identity.

People can only connect to and understand art (movies, TV shows, books/novels, paintings, sculptures, music/songs, architecture, etc.) on their own level of what speaks to them--them being made up of their own experience and personality. All that we know in life is our own experience (even if you witness or learn of someone else's experience, you are still in your experience when you see or learn it, and you process it according to yourself). Art is reflective of the human experience, often specifically to the creating artist's experience. It makes sense, then, to go about reading a work of art through one's own lens. We can only go through and process art from what we already know and understand, what we identify with and recognize in the world around us or in ourselves. In this way, we connect with art by understanding and identifying with it, even abstractly or if it is only to say, "Yes, I know that. I have been there. I understand it. I adopt that idea. It is a part of me." We gain preference for artworks and use that interest in them to validate our identity.

The role of religion in one's interests is another key part of one's identity, as they seek to answer the questions of their origins and creation--where did I come from--where am I going--what am I doing here (*ahem, while sober; not because of intoxication)? Some do find what they believe to be answers but do not highlight religion in their life, because they fill their life with finding validity in identity through alternate means. Others cleave unto their religion to re-enforce that identity they found. Our interests, too, come into play when we choose which religious establishment to identify with. Few do not find interest in the questions of origin, because they seek fulfillment of identity in other fields. MUCH MORE can be said about religion in this topic...but I haven't figured how it fits yet...and what else I have figured, I can't seem to find the words to explain what I understand.

The concept of personality types, or common combinations of emotional, attitudinal, and behavioral response patterns, is backed by association of interests. It would only make sense that those of similar tendencies would be drawn to each other, to similar careers, and to similar hobbies, as they share similar senses of identity and similar needs for validation.

Our interests change as we age, because our sense of identity changes over time, as well.

It seems fair to say that disinterest or lack of interest occurs when we perceive that the interest does not validate our identity or what we desire to perceive ourselves as. We do not connect with it, or else, we do connect but desire not to.

Depression seems to be the state in which one lacks interests and, consequently, lacks a sense of validity in their identity, or vice versa. Further, when someone's interests are not being recognized or accepted, depression can also result because of the same lack of validity.

There is so much more that goes along with this topic, that our interests validate our identity, but these are the basic things I have so far. It seems that it would be beneficial for people to look over their interests and discover what they are gaining by having these interests and why they have them.

What do your interests say about you?

The Corrs' Borrowed Heaven review

Last semester, my last assignment for my Advanced Writing course was to write an Art Review, so I wrote a review on one of my favorite music albums, Borrowed Heaven by The Corrs, my favorite group. I've been asked to post it by several people, mostly fellow fans:

Nearly four years after the release of their last studio album, the very poppy In Blue (whose quality was recognized with Grammy nominations in 2001 for Best Pop Performance by a Duo or Group with Vocals for “Breathless” and Best Pop Instrumental Performance for “Rebel Heart”), Irish sibling group The Corrs, known for striking good looks and incredible talent to match, returned to their original Celtic folk sound with the release of their fourth studio effort Borrowed Heaven in May 2004.  The album showcases The Corrs in what they do best—catchy mainstream pop that is top notch—and as a concept album, it sticks to the experience of loss and coping—realizing life is a borrowed heaven.

With ex-Eurythmics drummer Olle Romo at the production helm, the album maintains a consensual pop appeal through its near electronica, over-produced tracks in the most airy fashion ever to come from Corr-land.  Lead singer Andrea has been known for her sultry, light vocals, but this collection of tunes, despite being their most intimate projection, presents the feel of something you would listen to while drying off in the Sun, after you had just run through the sprinkler as you listened to their other works, save Talk on Corners (being a wine-and-dine ambient).  Borrowed Heaven’s sound still works splendidly for The Corrs, although it completely avoids any punk or hip hop influences rampaging U.K. radio of the time, as seen from artists like Avril Lavigne and Destiny’s Child.  However, the album is nothing to shy away from.

Borrowed Heaven takes you on a journey through the feel of its sound and lyrically explores handling loss.  It begins with the bright and upbeat lead single “Summer Sunshine” (ironically bonded to dark lyrics) and the celebratory second single “Angel.”  The mood shifts with the more sober “Hideaway” and continues its sullen mood until picked back up with the funky “Humdrum.”  It continues its ascension till the instrumental closer “Silver Strand” travels to a point of transcendence.

Likely, this journey is reflective of their own experience with their late mother’s passing during the production of In Blue.  In fact, two of the tracks overtly address the issue, picking up where they left off with In Blue’s “No More Cry,” which they wrote to help their father cope.  “Angel” is a conversation of the afterlife with the late Jean Corr, confessing, “I hope they love you like we do/ Forever angel/ I’ll be proud to be like you.”  The song is touching and would seemingly become a new regular at funerals were it not so fast-paced and cheerful.  It is a celebration of life, a celebration of a person, an angel.  The other song is “Goodbye,” whose lyrics, written by oldest sister and violinist Sharon, are a direct response to a loved one’s passing.  Borrowed Heaven and In Blue are dedicated to Jean Corr.

Besides their covers, The Corrs typically write their songs together, but for this release Sharon lends her songwriting abilities to two other songs, the inspirational “Hideaway” and the agonizing break-up and third single “Long Night.”  The group also covers the Golden Globe nominated song “Time Enough for Tears,” written by Bono, Gavin Friday, and Maurice Seezer and featured in the 2002 film In America with Andrea’s vocals.  Borrowed Heaven’s version offers a bluesy feel, while the soundtrack arrangement shares an orchestral sound.

Overall, Borrowed Heaven steers from predominately addressing ideas of love and romance and focuses on intimate reflection, except for heartbreaks “Summer Sunshine” and “Long Night,” mundane-everyday-life praising “Humdrum,” and frothy-sweet “Even If.”  The title track, featuring Ladysmith Black Mambazo as backing vocalists, explores the lack of possession in life and how everything passes and is therefore borrowed.  “Confidence for Quiet” acknowledges one’s own responsibility for validation, while “Baby Be Brave” uses a D minor key to emphasize the dire feelings of addressing a loved one losing themself to self-doubt.

The only complaint about the album is a dropped note performed by Andrea on her tin whistle during “Silver Strand.”  This happens at the end of both verses and sounds like she is simply failing to give full breath support to the end of the note’s required measure.  Besides this flub, the track is gorgeous and a heavenly listen.

Borrowed Heaven is a golden find for anyone who loves their pop pure and unadulterated.  It molds its concept well and is a great presentation of sympathy and healing for those suffering loss, even loss of self.

*My original version included this inserted as the seventh paragraph (third to last), but because its inclusion made the paper exceed the maximum word count by A LOT, I had to cut it down to a phrase in the final version:

The last vocal track of the album, “Baby Be Brave,” is a gem with its superb electronic production of beeps and riffs guaranteed to satisfyingly melt in the ear of anyone craving an electronica savor. The electronic effects aid the song’s D minor key in its effort to sound dire and almost demonic, driven by hard-pressed, determined beats. The empathetic lyrics address someone who throws series of pity parties in a witty, understanding, and caring manner (“Yeah everyone knows but we don’t believe it/ The pain of a pop star you’re breaking my heart/ […] I know what you’re doing ‘cause/ […] I’ve been tempted, you are/ Drowning the special to/ Immortalize the rise/ And what’s the point of it all/ Baby be brave […]/ (Confide in me, tell your story)/ […] (It’s your fear that makes you worthy)”).