Music is one of the most in-flux and transient forms of media that exists within our fast-paced world today. With an industry that is categorized by its ability to adapt and evolve based on current world affairs, pop culture, and many other defining pillars of modern media, the partiality towards the idea of “the next best thing” is heavily favored by both those who work in the music industry and its consumers, or people like you and me. However, behind all of the most iconic bands and/or artists whose sound served as a keystone for their corresponding genre or style, we often fail to recognize the evolution process that resulted in the establishment of that sound. What does that process look like? And when I ask this question, I’m not referring to the actual process of curating songs by adding a synth beat here, and background vocals there - no, I’m referring to the formation of that band’s signature style. What special trait do they possess that other artists can’t replicate? How does the public regard their sound? What are they known for? Obviously, these answers are rhetorically subjective; however, one must wonder: how did they do it? The objective answer is this: their debut album. The first piece of their art was released into this constantly evolving stratosphere of the music realm. Even more specifically, I want to discuss self-titled debut albums and why their harmonious simplicity is superior.
The band The Stone Roses is easily considered one of the most influential British bands, often credited to the rise of the “Madchester” movement, or the musical and cultural scene that overtook the English city of Manchester during the late 1980s, pioneered by the band themselves. Their discography proves this feat even more impressive, as they sport only three released singles and two compiled albums. Their most popular and arguably best work is their debut album titled The Stone Roses, a gorgeous collaboration utilizing psychedelic nuances deeply rooted in classic ’60s rock. The instrumental usage; melodic and entrancing. The lyrics and use of repetition; hauntingly nostalgic, coupled with the perception that you’ve stumbled upon an era of rock that was way ahead of its time during initial release. To summarize, this is considered one of the greatest albums of all time for its notable contribution to a new era of music and for its unique and ambitious sound within the alternative movement. However, I’d like to argue another hidden layer of beauty exists within this compilation: the unforgettable fact that this is their first release. To take it one step further, I believe that the most crucial factor to this album’s success is the fact that it is a direct product, that upon close analysis and consideration of this album and five other self-titled debut albums, of a three-ingredient recipe, intentional or not, for a lasting mark upon the face of music indefinitely.
Number one: singularity. Another iconic debut album named after the band is Vampire Weekend. When this album was initially released in 2008, lead singer Ezra Koenig coined this album as a showcase of their signature style, which he affectionately referred to as a hybrid of chamber, indie, pop, and even traces of afropop influences. This work is widely regarded as the band’s magnum opus, as it kick-started the arrival of a new era in music: 2010’s indie sleaze. Among this honor, Vampire Weekend was ranked as the fifth best album of 2008, as well as number 430 out of the 500 best albums of all time, according to Rolling Stone Magazine. So what special component does this album contain? The answer: its radiant individuality. Vampire Weekend not only created a piece of media unique to the continuation of their discography in later years, but also to the entirety of the music realm. This concept of singularity can also be expressed through the scarcity of other works, despite mainstream success. An example of this is Third Eye Blind, a vogueish grunge album whose hit singles were some of the defining sounds of the 90s. Although the band later went on to release six other albums following Third Eye Blind, the age gap of the albums proved to be detrimental to the band’s long-term success, as they were unable to replicate the same magic featured in their debut. I wouldn’t attribute the success of their self-titled album to effortless production, but rather to their lack of awareness of their singular and distinctive talent. Which brings me to the second quintessential ingredient: unrealized beauty. It’s not dumb luck, or lack of awareness- maybe an absence of ego? It's the golden, yet infrequent, state of mind where confidence in one’s work isn’t yet established; however, the artist’s increasing awareness of the magic they’ve just cultivated is apparent. Unfortunately, there isn’t a singular word existing to describe the phenomenon of how something really extraordinary seems even more astonishing when its beholder is unaware of the beauty they possess, but if there was, it would serve as a perfect justification as to why these albums are prevailing. Take the Fleet Foxes, for example; their debut self-titled album blends the atmospheric sounds of gospel-akin reverberations established upon pillars of hauntingly powerful acoustic elements. The release of Fleet Foxes was another benchmark album that earned itself the title of an “American Classic”, attributed to the band by The Guardian Magazine. Throughout their career and even to this day, Fleet Foxes have stayed true to their signature sound; nevertheless, there is an elusive draw that I concur can only be attributed to the irreplaceable youth that exists within debut albums. Another iconic staple in post-punk and rock, The Velvet Underground and Nico. Although facing initial adversity upon release, it quickly secured its reputation as influential but equally disagreeable, proving that music is indeed art; subjective, misunderstood at times, but overarchingly, open for personal interpretation. Provocative and regrettably relatable, this album bridges into my third and final ingredient that proves vital for long-term success and everlasting fame: simplicity. You might assume that I'm directly referring to the straightforward and candid lyrical and instrumental allure of debut albums such as Mt Joy, a release dating back to 2018, or a landmark event for anyone even slightly invested or interested in Stomp and Holler. With sun-drenched melodies that cut deep into the soul, alongside the raw and spiritually-inspiring vocals of Matt Quinn (which somehow sound better in person), the band single-handedly solidified themselves as a defining artist of the genre that will not soon be forgotten. However, the most ardent component that defines this third and final ingredient for an enrapturing debut self-titled album is, in itself, the title. Bold? Arrogant? No, more like a cautious uncertainty that results in an enthralling display of emerging greatness. The innocence, the simplicity, the unknown distinction between either heedfulness or quiet confidence, an artist naming their debut album after themselves is one of the greatest marketing paths one could take. Bequeathing an album its designation after its creators carries a beautiful simplicity; it not only creates a stronger association of the band’s name with their hit album, but arguably asserts an understated self-assurance about the band and the work they're choosing to put out into the world.
All in all, the quintessential combination of singularity, unrealized beauty, and simplicity serves as the justification as to why self-titled debut albums are superior landmarks existing within the music industry. The six bands mentioned above each took a risky course of action by labeling their carefully curated works, whose sequencings and lyrical bridges took weeks, months, or in some cases, years of fine-tuning to cultivate, after something so insignificant at the time as their name; their designation, their stake in the world, their claim to fame. A leap of faith; “This is the one I’ve waited for. It may go right, it may go wrong” (The Stone Roses).
Sources:
Vampire Weekend (album) - Wikipedia
Fleet Foxes (album) - Wikipedia