In July 2005, I went to Boston to visit a friend from college. That summer, like the one of 2011, is one that I don’t remember fondly. If ’11 was the peak of my post-grad school malaise and quarter-life crisis, then ’05 coming after my first year of college, was an awakening to a world beyond high school. I had mostly breezed through my freshman year, but by the end I felt like I was breaking down after taking medications for depression and being disappointed with some of the spring semester classes.
My ’05 Boston trip came while I was in New England, I think with my family as they were moving my sister into a summer program at RISD, where she would eventually attend college from 2007 to 2011. Boston was an important city to me throughout college, even though I went to school about an hour away in Rhode Island. I went to several Yu-Gi-Oh tournaments there, saw the Celtics victory parade in 2008, and discovered trance music there, during that first trip in July 2005.
Boston that summer felt like an optimistic place. The Red Sox had won their first World Series in forever the previous season, and the Patriots had won the Super Bowl the following winter. The day I went up there was sunny, in the 80s. My friend and I ate at a Chinese restaurant and walked through Boston Common. We stopped by his apartment to get something to drink and watch some TV. From his room I heard music playing – it was “Air for Life” by Above & Beyond, one of the band’s first and most memorable singles.
From that point on, my music tastes started to shift from rock music to trance and EDM (electronic dance music). By 2007 I was delving into Ultra compilations and listening to Tiesto’s albums. I think my peak was in 2008 when I used to listen to a triple-disc Godskitchen compilation in my John St. apartment in Providence while playing Castlevania III on an NES emulator.
The initial discovery of Above & Beyond was the catalyst, though. My interest in “Air for Life” and, a year later, “Good For Me,” opened the doors to many new sounds for me. The band felt like something bigger than trance or EDM. I remember listening to the King Roc Vocal Dub of “Good for Me” one morning while studying Latin at like 7am and it was a nearly religious experience.
Their first album, “Tri-State,” was the first trance/EDM album I ever listened to, which is perhaps strange since it is not exactly representative of the genre. It has 4/4 beats, sure, but it also has piano-laden instrumentals, beatless songs, and alt-rock trappings like guitars and angsty vocals here and there. Their sophomore effort, “Group Therapy,” came out during my low period in 2011 and I never really grew to love it (or maybe I have just resisted it since I associate it with bad moments) despite memorable songs like “Sun & Moon.” Then their “Acoustic” album from last year showed the depth of their songwriting and their capabilities with traditional instruments.
We Are All We Need
Their newest effort, “We Are All We Need,” has been seeping out track by track in their weekly podcast for months now, so there wasn’t that sense of an entirely unknown world opening up that felt when I listened to “Tri-State” for the first time. Still, it feels nearly ironic that an EDM band has made such a coherent and listenable album in 2015, in a genre not traditionally known for its artist albums and at a time when streaming services threaten to commoditize long-form listening.
The title track and “Sticky Fingers” have been concert and podcast favorites for some time now, and their hooks aren’t easily forgotten. While there are plenty of tuneful, melodic trance and EDM songs out there, I often think of vocal hooks as the province of rock or pop music. With these two tunes, as well as “Blue Sky Action,” though, I think of how the experience of EDM can sometimes yield the most memorable vocal hooks, stuff like the verses from “Breathing (Airwave)” by Rank 1 or “Satellite” by OceanLab.
There’s a balance between a unity of feel – that distinctive Above & Beyond airiness – and variety, with many guest vocalists (as is typical on many modern EDM albums, granted). For me, the album plays almost like a best-of from their podcast, which they have done each week for 2 hours for the last 10+ years.
When I was in Boston in 2005, the podcast, then called “Trance Around the World,” was just getting started, and by the time “We Are All We Need” was released, the group had surpassed 550 total episodes – including #ABGT 100 in New York, which I summed up here – between TATW and its rebranded successor, “Group Therapy.” There’s a long continuity to everything Above & Beyond does – they’ve been so consistent and also so different from their peers – and their best work, which certainly includes much of this album, always brings me back to that one day in 2005 when I felt good during an overall bad summer.