Music

Emi Meyer: Galaxy's Skirt

Galaxy’s Skirt is choc-a-bloc with so many gooey pop songs that don’t really go anywhere that parts of the thing become largely forgettable.


Emi Meyer

Galaxy’s Skirt

Label: Curious Creature
US Release Date: 2013-06-25
UK Release Date: 2013-06-25
Online Release Date: 2012-12-04
Amazon
iTunes

Emi Meyer is about as mainstream as you can come in the pop realm. Born in Japan, but raised in America, the 26-year-old indie J-pop star (she's had some success in the country she was born in) makes music that fits squarely in the center of the radio dial. Which is to say there’s not much of a sense of adventure or melody in many of her songs on her latest album, Galaxy’s Skirt. How much you like it may depend on how much you like the acts that the Los Angeles studio musicians who have helped her out on this collection of 10 songs have worked with before: John Mayer, Sheryl Crow and Alanis Morissette. That’s either a commendation or a warning, depending on your point of view, and I tend to lean heavily on the latter side of the fence. Still, Galaxy’s Skirt does boast the odd hummable, bubblegummy kind of tune. The final song “What Would You Say” might be the best of the bunch, as it sounds kind of Randy Newman-esque and the title track, a piano ballad which opens the disc, has a melancholic Vanessa Carlton kind of thing going for it.

However, it’s what’s jammed in between – the meat in the sandwich, so to speak – that you might have more trouble digesting. Galaxy’s Skirt is choc-a-bloc with so many gooey pop songs that don’t really go anywhere that parts of the thing become largely forgettable, save for the upbeat “Doin’ Great”, “Shine On”, which feels vaguely Steely Dan-ish circa Katy Lied, and, to some extent, “Energy”, because it has a late night lounge vibe, making it feel a little different from the rest of the material. Not helping Meyer’s cause much is the lyric sheet, which features laughable, banal tripe that confessional teenage girls might scribble in their diaries. Here’s a sample: “You can take my clothes if you want to / They’ll make someone look neat / You can have my dog if you want too / He’ll show you loyalty.” Jesus wept. Granted, Meyer has an undeniably soulful voice that is quite beautiful. It’s just too bad that on Galaxy’s Skirt, that voice has very little to really work with. If you like your music to be as disposable as possible, you’ll get something out of Galaxy’s Skirt. Everyone else, you should really point your rocket ships into another section of the pop music universe as there’s not much to hear here.

4

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image