Major announcement!!

 Hi everyone!! 

So I just found out that the website I normally use to gather information for new music is no longer in service. Therefore, I will be gathering information from a website that updates every Monday instead. There were no major songs (that I know of) for me to review today, so I will be skipping today. However, it will no longer be New Music Wednesdays (despite what the url for this site says). It will instead be New Music Mondays for now, since that's when the other site I gather info for new music on updates weekly. I hope this news doesn't shake anyone up too much, and I'll see you all on Monday! 

Sincerely,

Spencer

New songs for October 26th 2022

 here they are:

"Honey" by The Lone Bellow:  The Lone Bellow continue their previously unexpected turn to synth-pop/rock they had from earlier this year with "Gold" for their latest single, "Honey." I'm not exactly the biggest fan of their leap from folk-rock to synth-pop, but this song is at least tolerable for its occasional swaths of sweeping, echo-laden guitar, and for maintaining the signature harmonies The Lone Bellow have cultivated since 2013. Though lead singer Zach Williams addresses his subject as "honey," the truth is that his wife doesn't actually like being called that, so the title is partially tongue-in-cheek. However, the message of the song still manages to be sincere, centering around when Zach first fell in love with his wife and trying to recapture the glory days of his romance.

"I Ain't Quite Where I Think I Am" by Arctic Monkeys:  Arctic Monkeys impressed me quite a bit with their last adult alt radio hit, the Sinatra-esque "There'd Better Be a Mirrorball." Their latest song, "I Ain't Quite Where I Think I Am," takes Alex Turner and co to previously uncharted musical territory once again! "I Ain't Quite Where I Think I Am" goes in a "retro" direction like their previous single did, but this time, we get a song that fuses the lighter side of the psychedelic rock that dominated the late '60s with the wah-wah dominated funk sounds of the early '70s. Fitting to its spacey sound, "I Ain't Quite Where I Think I Am" seems to be about the aftermath of partying all night long and wondering why you are where you are and why you're doing what you're doing. 

"I'm in Love With You" by The 1975:  "I'm in Love With You" continues in the surprisingly folk-rock-y direction that The 1975 decided to pursue earlier this year with the poignant "Part of the Band." "I'm in Love With You" is bittersweet both musically and lyrically, centering around how you can be in love with someone and not even realize it until it's too late. The song doesn't contain the intricate orchestration that their previous single, "Part of the Band," did, but it still utilizes acoustic guitar in a way that songs from The 1975's other albums did not, with its main backing instrument being percussion. The lyrics seem like they could be relatable for many people, as the realization that you could be in love with someone and not even know it can both make and break a relationship. If I am to go by this song's aching yet still upbeat sound, I would say that "I'm in Love With You" is about a relationship that ended up being made rather than broken. 

New songs for October 19th 2022

 here they are:


"Bad Thing" by Miya Folick:  A swath of post-millennial synth-pop creeps up on the listeners of Miya Folick's breakthrough song, "Bad Thing," before shortly swallowing its listeners whole in a whirling wave of self-loathing. The song itself seems to reflect the post-millennial lifestyle of being willing enough to admit you need help while still despairing the life of drugs and "fake friends" you've surrounded yourself with. Whether Miya is referring to online friends or to ex-friends is not made clear, but both seem to happen in the lives of typical Gen Y and Z people. "Bad Thing," as its title indicates, talks about bad things. It never really makes an effort to resolve them, but it does an excellent job venting about said subject.

"Just Before the Morning" by Local Natives:  "Just Before the Morning" is the perfect song to listen to...well...just before the morning! Its ethereal, ambient, synth-laden folk-pop atmosphere fits well with the dawning of the day. Local Natives are typically a pretty gentle-sounding group, but this song seems even more soothing than their usual material. The song describes how repetitive life is while being a bit repetitive itself, albeit not in a bad way, just by not moving beyond the four chords it starts out with. Perhaps that was intentional on their part? Regardless, this is a great wake-up song if you want to start the day off with something chill.

"Lover's Game" by The War and Treaty:  The War and Treaty are probably one of the best examples of how the classic R & B style has thrived through the late 2010's and early 2020's. Of all their material so far, though, "Lover's Game" is probably the song that goes more towards the B (blues) than the R (rhythm) of their material! "Lover's Game" is a saucy, barn-burnin' blues-rock track that sets its subject straight! Exactly who the subject is is unclear, as The War and Treaty are a husband-and-wife duo. Perhaps the song is being addressed to one of their past lovers, but whoever it's about, "Lover's Game" pulls no punches and shows you who's the boss!

"New Body Rhumba" by LCD Soundsystem:  Here's a triple dose of indie rock trivia for ya! In addition to LCD Soundsystem, a cult fave of indie fans, releasing their first successful single to adult alt radio stations, it is also on the soundtrack to a movie based on Don DeLilo's "White Noise," from which the indie-pop/rock group, The Airborne Toxic Event, got its name, and said movie is being directed by indie film director fave, Noah Baumbach, whose name inspired indie-folk-rock group, Noah and The Whale! Talk about a whirlwind of information! "New Body Rhumba" is also one of the more uptight, claustrophobic songs of the LCD Soundsystem catalog. Despite their techno-y sounding name, LCD Soundsystem are also sometimes influenced by folk-rock, power pop, and other forms of music ("All My Friends" probably would have made a great adult alt radio single for its more melodic sound and folk-rock influence), but instead, it's "New Body Rhumba" that's gracing the adult alt airwaves, a 7-and-a-half minute post-punk revival song with stark, slightly paranoid music and somewhat off-putting lyrics about "needing a new body," the meaning of which is never made quite clear in the song. 

"This is Why" by Paramore:  Led by post-millennial female rock revolutionary, Hayley Williams, Paramore quickly became one of the most recognizable faces of the "emo-pop" movement of the mid to late 2000's with their scathing single, "Misery Business." It's obvious that Hayley, much like her emo-pop contemporaries, was a fan of mid-'90s pop-punk trailblazers like Green Day, Weezer, and blink-182, all of whom paved the way for the emo movement later on. However, Hayley was fresh out of high school when that song hit the big time, and she's now approaching her mid-30's. So what does she listen to now?! The answer might surprise you! If their latest song, "This is Why," is anything to go by, I'd guess she has unexpectedly become a Talking Heads fan! The song recalls the spiky and off-kilter yet still catchy post-punk of Heads tunes like "Crosseyed and Painless," and even the lyrics of "This is Why" seem somewhat Byrne-esque. The exaggerated paranoia in both songs combined with catchy beats might give you the impression that not much has changed between 1980 (when Talking Heads' "Crosseyed and Painless" was released) and 2022, but the coronavirus pandemic has made people twice as paranoid now as they probably were then, which brings a whole new dimension of fear to "This is Why." Where David Byrne expressed hesitancy to trust others in "Crosseyed...," "This is Why" expresses hesitancy to trust the world outside your home! 

New songs for October 12th, 2022

 here they are:


"Every Shade of Blue" by The Head and The Heart: The first minute alone from The Head and The Heart's latest song, "Every Shade of Blue," provides a marked contrast between that song and their typical material. The Head and The Heart trick their listeners into thinking they're going to get an orchestral pop/rock song in the vein of Florence and The Machine or Lana Del Rey. However, about halfway into the song's first minute, acoustic guitars (gasp!), piano, and percussion all chime in, giving the song a more upbeat sound. The way some of the verse parts shift from G major immediately into G minor is a rare progression in pop music these days, which also makes this an interesting song. The song actually swings between being melancholy during the verses (yet still mostly major key), and being more happy sounding during the chorus. "Every Shade of Blue," then, is an apt title for this song! Blue can be a lonely and sad color, but there's also happier shades of it, like in the sky and on bluebirds. 

"Growing/Dying" by Backseat Lovers: You could call a song like this one "indie rock that really rocks." As the term "indie" has been increasingly relegated more to folk and pop than it has to rock during the 21st century, it's easy to forget that "indie" once meant noisier bands like The Pixies, Dinosaur Jr., and Sonic Youth. "Growing/Dying" by Backseat Lovers definitely bears resemblance to The Pixies, from its minimalist yet dark lyrics to its meandering yet jagged guitar sound that never explodes too much (though it does feature slightly more distortion towards the end), even down to the lead singer sounding like a somewhat more nasal Black Francis/Frank Black with bits of Radiohead's Thom Yorke added in for good measure. The song also retains the cryptic messages that a typical Pixies song tend to have. "Growing/Dying" could be about loss of innocence, but I'm only drawing that conclusion based on the song's chorus. Its verses seem almost random to me. 

"Oceans of Darkness" by The War on Drugs: A surprisingly happy and surprisingly short song from The War on Drugs, who are normally more melancholy and sprawling in their songs. Despite the song's dark title, "Oceans of Darkness" is really more of a love song, with the title coming from how "something more can be gained until my oceans of darkness pull me back in again." Adam Granduciel does have an undercurrent of doubt if we are to go by the song's refrain, but it otherwise seems like a song from a lovelorn soul who has finally found what's he's been looking for. As much as I've come to admire The WOD's typical neo-goth-prog sound, a fun song in their catalog still seems like a breath of fresh air for me!

"Off My Mind" by Joe P: "Joe P" could be any guy's name! But in this case, it happens to belong to an indie-rock performer whose breakthrough song just happens to be a song with both folk guitars and heavily distorted ones that seems like a kiss-off to his ex. The song is about how he struggled to get that person out of his life by drinking to forget about her, but that now that he has a new lover, his former is "off his mind." The song itself, aside from the lyrics, is also interesting. It starts off as a slightly disquieting yet still catchy acoustic rock strum before the electric guitars come in shortly afterwards to make the song slightly more intense. However, it never reaches a level of maximum distortion, and is instead more of a "cliffhanger" song, musically speaking, that never quite reaches a sonic resolution. 

New songs for October 5th, 2022

 here they are:


"Do I Love You? (Indeed I Do)" by Bruce Springsteen: A few weeks after the Boss's late September birthday, he releases a song that's not actually his. "Do I Love You? (Indeed I Do)" was originally done by soul musician, Frank Wilson, in 1965, but Bruce makes it his own here! Even into his septuagenarian years, the Boss still proves once and for all why people call him that! No other performer in their 70's has quite the energy and dynamism Bruce does, and he makes the soul classic he's covering here sound just as invigorating as it must have been when it first came out! Do we love the Boss? Indeed, we do!

"Go Through You" by Rhett Miller: "Go Through You" sees Old 97's singer Rhett Miller at his most George Harrison-esque. The late Beatle has inspired a lot of songs he's done, both solo and with the 97's, but there's something especially Beatlesque about this one. In "Go Through You," Rhett combines George's trademark twang with Paul McCartney's brightness and chord progressions. In true Rhett fashion, "Go Through You" is about a jaded lover in a relationship gone wrong, contrasting with the song's bright, sunny sound. The most lyrically interesting aspect of this song is probably during the chorus where he says, "If I'm gonna get to Heaven, I'm gonna have to go through you." The capitalization of the "H" in "Heaven" in the lyrics suggest something of a religious nature, but the "you" remains lowercase, so the song is not about God or Jesus, but perhaps Rhett is making something of an oblique comparison in these lyrics. Perhaps he feels like a martyr to his lover, thereby evoking quasi-religious imagery. 

New songs for September 28th, 2022

 Here they are:


"Evergreen" by Mt. Joy: Probably Mt. Joy's hardest-rocking song to date, "Evergreen" is surprisingly upbeat and electric-guitar driven for the mostly psychedelic folk-rock-y Mt. Joy. "Evergreen" is also very upbeat and doesn't dip into weird beat-changing territory the way that, say, "Lemon Tree" did. Another thing that makes "Evergreen" stand out in Mt. Joy's catalog is how funny it is! You probably didn't think the band behind bittersweet songs like "Silver Lining" could be so hilarious, but their humor is proved here in lines like "This is the part where your wedding ring gets pulled across your eye." Ouch! Definitely subversive humor there, but funny nonetheless! 

"Fairweather Friend" by GA-20: Continuing our streak of rock-oriented songs for this week is "Fairweather Friend" by GA-20, with a sound whose roots go back to the blues! The song's syncopated shuffle recalls groups like The Black Keys, but GA-20 seems to be a bit more authentically blues-y than they are. Even their name is a nod to a classic electric guitar model from the 1950's. One particularly interesting thing to note about the instrumentation of this song is that its melody comes from two guitars. There is no bassist to be heard on this track! The combination of the thickness of the guitars and the song's prominent drumbeat could easily fool listeners into thinking there is a bassist. 

"Night Moves" by Lissie: Not to be confused with Bob Seger's bittersweet mid-'70s country-rock tune of the same name about becoming a teenager, Lissie's "Night Moves" has a bittersweetness of its own for entirely different reasons. It is a stark song that, fitting to its title, has a rather nocturnal sound that is as mysterious as it is mellow. Her "Night Moves" takes place in her post-teen years and is about being betrayed by love, as opposed to Seger's ode to curiosity about the mysteries of sex and romance. Another interesting parallel between the two songs is how they both illustrate a folk-rock sound, although Lissie's is less influenced by roots-y country and more by the melancholy, isolated, yearning sounds of musicians like Stevie Nicks, and probably by Joni Mitchell as well. It's probably mere coincidence that Lissie has a song title identical to one of Bob Seger's most popular songs, but both the coincidences and contrasts between the two songs are rather striking!

"Should've Been Me" by Mitski: In the ever eclectic catalog of indie-pop musician, Mitski, we find her once again channeling pop music of the 1980's, but it's a rather specific song she's set on emulating this time. Perhaps you could say she has a "Maneating" appetite for '80s musical nostalgia here! Both the riffs and beat for "Should've Been Me" are practically identical to Hall and Oates' "Maneater," although she slips in a middle section between the verses that have enough usage of major 7th chords to distinguish itself from that song. Beneath the upbeat vibes of the song are troublesome lyrics about how Mitski wanted to be more available to her partner in a relationship that had shaky, questionable communication. The song's title basically serves as an apology for how she "should've been" the one to satisfy her partner's needs, but in a relationship both as rocky and as shady as the one she's describing, how are you supposed to know what's going to happen?! This song has a great way of masking feelings of regret with a catchy, nostalgic beat and melody, which in turn serves as a great and clever way for people to listen to you!

"Supernatural" by Barns Courtney: Barns Courtney is great at churning out catchy rock/indie-pop anthems, particularly his blues-by-way-of-pop debut single, "Fire." With each new song and album, Barns reinvents himself, but the way "Supernatural" sounds is something that I don't think any of his fans would've anticipated! "Supernatural" sounds a bit like what Adele's "Rolling in the Deep" might have been like if she felt scorned enough to create a fiery, back-with-a-vengeance rock song over a pop/soul template. "Supernatural" has surprisingly blazing electric guitar riffs during the chorus that shake the listener by the neck and demand they listen to what he has to say! So just what does Barns have to say in his latest tune?! From what I can gather from its lyrical content so far, "Supernatural" seems like Barns' way of getting back at a former lover who wronged him. In the chorus, he claims he is unstoppable and "supernatural," perhaps to signify how he won't get out of his ex's life no matter how much they want him out of it. Way to haunt your ex, Barns! "Supernatural" is a swinging song that's somewhat scary, yet still soulful, sweet, and satisfying!

"The Perfect Pair" by beabadoobee: Unlike the recent alt-pop/rock-oriented experiments beabadoobee has ventured into with her last few singles, "The Perfect Pair" is a back-to-basics folk-pop song that seems like it could work equally well on acoustic guitar and ukulele. The first four chords almost sound like a folks-y, elevator music version of "Stairway to Heaven," but not in a bad way. With such a sweet, mellow sound, you would think this would be one of beabadoobee's few positive songs lyrically, right? Wrong! Beabadoobee's bitterness can still be detected in "The Perfect Pair" as she repeatedly directs her partner to "break her heart in two" due to the hopelessness of her latest relationship. Is every song for this week a breakup song?! I guess so! Well, not every week can have nice lyrical content, can it?! 

New songs for September 14th, 2022

 Here they are:


"Run Away to Mars" by Talk: I have not heard a new entry like this one in a long time! "Run Away to Mars," the debut song from Talk, is thoughtful, bittersweet, and contains both acoustic guitar flourishes and enough backing from the electric guitar to make it into a solid neo-folk-rock piece that can move mountains (and Mars)! The yearning tone of the song is palpable everywhere from the instrumentation to the lead singer's vocals, and its lyrics also tug at the heartstrings. The song is not about literally going to the planet Mars, but just trying to find somewhere to escape to when times get tough. Why aren't there more songs out there like this one these days?!

"Tongo Barra" by Vieux Farka Touré (featuring Khruangbin): Two eclectic musical acts, both of African origin (directly from Africa in Touré's case, in the country of Mali), coming together to create musical fusion! Does that sound cool or what? That's 'cause it is cool! Together, Touré and Khruangbin stir up a musical gumbo that has a hypnotic, otherworldly sound with foreign words chanted over it that manages to be catchy and danceable, not unlike Talking Heads' "I Zimbra," which this piece reminds me heavily of! "Tongo Barra" is a bit more blissed out than "I Zimbra," but both the setup and sound of the songs make them sound like musical cousins to one another! 

"Tonight" by Phoenix (featuring Ezra Koenig from Vampire Weekend): I've long considered indie-pop groups Vampire Weekend and Phoenix to be similar to one another, so it's not that surprising that they collaborated with one another. What's more surprising to me is that it took over a decade for either band to consider such a project happening! Both bands combine electro-pop, power pop, and a rhythmic influence slightly akin to reggae (especially in Vampire Weekend's case), so "Tonight" ends up being a song that could pass for either band. As such, it hearkens back to the more new wave influenced electro-pop sound that Phoenix broke through with in 2009 with Wolfgang Amadeus Phoenix, known for the late '00s mega-hits "1901" and "Lisztomania." While I'm doubtful that "Tonight" will join the ranks of those two songs, I have no doubt at all that "Tonight" will be a fun song to hear for fans of both Phoenix and Vampire Weekend!

New songs for September 7th, 2022

 here they are:

"A Nocturnal Heresy" by Ondara (formerly J.S. Ondara): When Ondara debuted in 2019, with a moniker that was then preceded by his first two initials, his bittersweet take on folk-rock recalled people like Tracy Chapman and Richie Havens with his brutally honest yet still vulnerable and sensitive sound and lyrics. Three years later, folk-rock still beats as the heart of Ondara's work, but he's added a bit more rock instrumentation on his latest song, "A Nocturnal Heresy," than he had on his previous songs. Both electric guitar and synth take center stage to the acoustic on this song. The song seems to be a "sequel" of sorts to his debut song, "Saying Goodbye," in that both are about ending a relationship, but in "A Nocturnal Heresy," it appears he doesn't know where he stands on the issue.

"Orange Blood" by Mt. Joy: Apparently, citrus is a recurring theme on Mt. Joy's latest album, if their previous single, "Lemon Tree," is anything to go by. The cover art of the "Orange Blood" single also features an anthropomorphic orange. "Orange Blood" is a calmer song than the more frenetic and unpredictable "Lemon Tree." There is still something psychedelic about "Orange Blood," but it doesn't have the slow-fast-slow-fast rollercoaster dynamic that "Lemon Tree" had. This is also Mt. Joy's first single to date that uses both Spanish and English words, the former of which are used in the first verse, adding to the exotic, tropical allure of the song. 

"Then it All Goes Away" by Dayglow: Sweet, summery pop songs made for an "alternative" audience is Dayglow's forte, and this is exactly what he does with his latest song, "Then it All Goes Away." However, something is present on this song that wasn't there on Dayglow's previous two hits, and that's how he chose to model this song after moodier, late '00s electro-pop groups like Phoenix, Passion Pit, and MGMT, as opposed to the bright, sunny '80s pop of Michael Jackson and "Take on Me." It seemed like just another Dayglow song until I found out Sloan Struble (who, himself, is "Dayglow") used those bands as influences, and having taken another listen to the song just now, I can hear a bit of MGMT and Phoenix influence, leaning more towards the synth-heavy stuff of the former's late '00s output than the slightly more guitar-driven stuff of the latter's album of the same era.

"There'd Better be a Mirrorball" by Arctic Monkeys: You'd probably never think that an Arctic Monkeys song could sound like a complex cross between Frank Sinatra and 1960's baroque-pop, yet that's pretty much what you get with Arctic Monkeys' latest song, "There'd Better Be a Mirrorball." The song sounds like it belongs in a much more distant era than the one it came out in, but perhaps that's part of the point to the song. Maybe Alex Turner and co were tired of their more jagged "alternative" sound and wanted to transport their listeners to a time when even their own parents might not have been alive when things were safer and more predictable (or so we would like to think). Even the lyrics (i.e. "old romantic fool") seem somewhat Sinatra-esque. About the only thing that prevents this song from being mistaken for the product of a bygone era are Alex Turner's husky, perishing vocals, more suited to alt and indie than they are to the "crooner" genre. 

New songs for August 31st, 2022

 here they are:


"Saturdays" by Broken Bells: Knowing that Broken Bells started out as a side project of James Mercer from The Shins, one should not be surprised to hear an overt Beatles influence in Broken Bells' latest song, "Saturday." Unlike the folk-y, jangly Rubber Soul-era Beatles material that The Shins typically seem to go for, "Saturdays" is more reminiscent of the swirly psychedelia of albums like Revolver  and Sgt. Pepper's Lonely Hearts Club Band. Both the drone and shakiness of the guitar in the song recall songs like "Lucy in the Sky With Diamonds" and "Within You, Without You." Lines like "kept me gettin' high 'til you were mine" only accentuate the song's already trippy vibe, and the lyrics overall seem to be about the surreal nature of time. Far out, man!

"Weird Goodbyes" by The National (featuring Bon Iver): Two indie-folk/rock heavyweights who have been around roughly since the late 2000's and have only gotten more popular from there, The National and Bon Iver's latest collaboration, "Weird Goodbyes," isn't so much "weird" as it is poignant. Matt Berninger's deadpan yet forlorn vocals against bittersweet, piano-based music almost seem to channel Leonard Cohen here, albeit against a hip-hop influenced percussion section. The song is one of realization of how difficult modern times have been for society to handle, as if sensing a "goodbye" is imminent. That is to say, a goodbye from the world itself as we once knew it. 

New songs for August 24th, 2022

 Here they are:

"Blood on the Tracks" by Marcus King: With "Blood on the Tracks," blues-rocker Marcus King continues with his throwback 1970's-inspired sound. Taking musical cues from both Creedence Clearwater Revival's "Born on the Bayou" and the CCR-soundalike song, "Long Cool Woman (In a Black Dress)," "Blood on the Tracks" is a slinky, blues-y vamp with lyrics that as rooted in the blues as the music is. The song has a similar lyrical theme to many older blues tunes in that it concerns someone who is in the midst of making a difficult decision between the sensuous allure of music and the more purifying ways of spiritual life.

"Out of My Head" by First Aid Kit: "Out of My Head" is a phrase that some people might think apply to First Aid Kit themselves when they hear this song, as it appears that after about a decade of folk-rock, the Swedish songbird sisters of First Aid Kit have finally surrendered to synth-pop. Chances are, no one saw this coming (I certainly didn't). Apparently, they wanted a sound that was closer to musicians like Kate Bush and 1980's-era Stevie Nicks, both of whom have dabbled in the folk-rock sound as well at times. "Out of My Head" is about being trapped inside your mind and wanting to escape from it, and the throbbing urgency of the song's instrumentation certainly seems to indicate this, yet it still contains the yearning fervor present in most other First Aid Kit songs.

"Stay Out of It" by Michigander: This song features Michigander at their most U2-ish so far. The riffs on the chorus could have easily been influenced by a song like "Where the Streets Have No Name." The more bass-laden verses make for an interesting contrast with the more driven vibe of the chorus. Not a whole lot more to say about this song, but it's a good one.

"Tippa My Tongue" by Red Hot Chili Peppers: This song marks a return to form for RHCP. The mixture of funk and rock they started out with did get featured in a few of the songs they did from the '90s onward, but it wasn't near as common as what it was when they started out. "Tippa My Tongue" brings back the freewheeling and somewhat goofy funk-rock the Chili Peppers started out with, and even features a few "rapped" sections during the verses. 

New songs for August 17th, 2022

 here they are:


"Burning" by Yeah Yeah Yeahs: Karen O and the YYY's return to guitar-based music on their latest song, "Burning," at least a little bit. The song is mostly dominated by piano in the beginning and then a synth-string "orchestra" later on, but it's not the instrumentation, necessarily, that makes this song so special. First of all, it's the style that the YYY's chose to go for here. The verses, in particular, seem to recall "girl groups" of the early 1960's such as The Ronettes, The Crystals, and The Chiffons with their pristine pianos on top of trembling tambourines. Although the string section is synth-laden, it still sounds compelling enough to lure listeners in. The subject of the song is also worth mentioning, as it is one of a growing number of songs to address climate change (albeit in a subtle manner, in this case). The imagery of the song is fittingly fiery to its torrid title, but Karen could easily be addressing an actual fire or a metaphorical one here, if not both!

"Lucky Ones" by Julian Lennon: With George and John long gone and Ringo's work not near as well-known to the public as the other members, Paul McCartney has been the only Beatle to remain active in the music scene into the 21st century. However, on a few occasions through the new millennium, John Lennon's kids have kept the Beatle flame burning, even for just a brief moment. Sean Lennon got minor attention for his folk-y, Elliott Smith-esque "Dead Meat" in the mid 2000's, and now it's Julian Lennon's turn to shine in the limelight for the first time in decades! An anthemic, piano-laden song with neat guitar flourishes in the background, "Lucky Ones" is a song of hope during a time of despair. He seems to want to embody the spirit of peace and love now just as much as his dad did in the 1960's and '70s. Like our previous entry, "Lucky Ones" also addresses the plight of climate change, but does so in a way that offers hope to future generations.

"Problem With It" by Plains: If any of you indie-folk fans are hearing this song for the first time and think that its lead vocalist sounds familiar, that's because those are the vocals of Katie Crutchfield from indie-folk group, Waxahatchee. Plains is her side project, and their debut song, "Problem With It," almost sounds like a "sequel song" to Waxahatchee's "Can't Do Much," a mellow country-rock tune in B flat, much like this one is. Adding to the song's country vibe are its "heartbreak out on the road" lyrical theme, as well as the instrumental help the song receives from Jeff Tweedy (Wilco)'s son, Spencer, and Jay Farrar from alt-country groups Son Volt and Uncle Tupelo. 

"Soul Sweet Song" by The Tedeschi-Trucks Band: One of the TTB's more bittersweet songs, "Soul Sweet Song" is a melancholy (yet still sweet and soulful) tune for a good reason. It's a tribute to the group's now former keyboardist, Kofi Burbridge, who died in 2019. While the song is poignant, it's not completely sad, due to its major key, the honey-drenched harmonies of Tedeschi and Trucks, the soulful horns that punctuate the song, and Tedeschi's trademark blues-guitar sound spreading joy through the sadness that might have permeated this composition otherwise. This is the way to do a tribute song, if you ask me!

"Spit of You" by Sam Fender: While many of Sam Fender's songs tend to evoke the anthemic yet melodic rock sound of acts like Bruce Springsteen and U2, "Spit of You" has a more bittersweet jangle evocative of groups like R.E.M. with soulful acoustic guitars layered with cleanly distorted electrics and a sweet sax solo at the end. The title of the song probably refers to the phrase "spitting image," as the song revolves around the bonds between fathers and sons. "Spit of You" also notably slower than the other songs Sam has gained attention with, although it isn't too slow of a song. Sam showing off his sensitive side is so sweet and sublime!

"Tangled" by Ceramic Animals: Pennsylvania's Ceramic Animals have been around since 2013, but this marks the first time adult alt radio has taken notice of them. The laid-back blues/country/folk/rock combo of their breakthrough song, "Tangled," sounds so much like one of Dan Auerbach (Black Keys)'s solo songs that I was convinced he was part of Ceramic Animals! As it turns out, he is not, but there seems to be a striking similarity between Auerbach's work and Ceramic Animals' sound, so perhaps he produced it. Not any wonder, then, that Ceramic Animals opened for The Black Keys recently!

"Vault of Heaven" by Pixies: Interesting that this is the second Pixies song (to my knowledge) that has the word "heaven" in its title (the first would be "Monkey Gone to Heaven," which ranks among their best-known songs) since The Pixies seem a bit too warped and dark to address ideas like heaven in their music. "Monkey..." was a rather twisted and angry environmental protest song, though, and "Vault of Heaven" seems to be almost satirical in a way. Perhaps part of the reason this gritty alt-rock take on "spaghetti western" music even uses the word "heaven" in the first place is to rhyme with "7-11." Lead singer Frank Black seems to weave a short yet compelling tale in "Vault of Heaven" how paradise isn't all that it's cracked up to be, as though it's useless to try to attain idealism in life. Dark and cryptic, as many Pixies songs are, but this one seems more noticeably country-rock than a lot of their stuff is. 

Boy, oh boy! "B" songs!

 Once again, only two songs that both begin with the same letter. Here they are:


"Bad Love" by Dehd: An interesting, compelling mix of indie-rock guitars and techno-pop beats and synths, Dehd's breakthrough song, "Bad Love," starts off slow, imitating the rhythmic pattern of The Ronettes' "Be My Baby" before quickly sliding into a faster pace for the rest of the song. "Bad Love" is a song about recovery from toxic past relationships with the hope that one will start to bond more with themselves than with people they don't quite fit with.

"Boy" by The Killers: This song finds The Killers sounding closer to their namesake, New Order (New Order's "Crystal" video featured a then-fake band called "The Killers"), deftly combining atmospheric techno-pop with only the occasional use of electric guitar. The song's icy vibe could be attributed to how lead singer Brandon Flowers wrote the song as both a cautionary tale for his teenage (at the time) son and as a song of self-reflection of what life was like for Brandon when he was a teen himself. The titular "boy" could be both his son and himself, as he repeatedly urges him not to overthink things. 

Good Grief! "G" songs!

Here they are (as indicated by the title of this article, they both start with "G"):

"Gold" by The Lone Bellow: Even bands who have stuck to the folk-rock sound for longer than others, such as The Lone Bellow, are hopping aboard the electro-pop bandwagon now. Go figure, eh? The Lone Bellow's latest song, "Gold," sounds nothing like what their other material has so far. The title might be an allusion to drugs, also, since the song addresses the problem of opioid addiction. "Gold," then, might be opium itself? It's as good a guess as any! With five records now under their belt, I'm not sure why The Lone Bellow abandoned the folk-rock ship so suddenly, but I guess if it works for their fans, it works for me, too. It's just a little disappointing for me to see this shift away from guitar and towards the synthesizer for someone who has been a guitarist for 22 years now. 

"Grace" by Marcus Mumford (from Mumford and Sons): To reference the title of one of Mumford and Sons' earlier songs, M & S ended up being "Hopeless Wanderers" from their third album onwards in terms of finding a suitable sound. Thankfully, lead singer (and namesake), Marcus, seems to have found his way back to folk-rock, albeit with a more roots-y John Mellencamp-ish tinge, as opposed to the more Celtic-influenced folk sound he started with. The lyrics to the song don't seem too different from what Marcus attempted with his "Sons," revolving largely around the quest for redemption in the guise of a love song, but its sound offers something that simultaneously nostalgic and fresh for Mumford's longtime fans! 

New songs for July 27th, 2022

 here they are:

"A.M. Radio" by The Lumineers: The Lumineers' latest song is a bittersweet folk-rock tune, like most of their material is. What separates "A.M. Radio" from their other tunes, however, is its lyrics. The lyrics of the song center around how you can't avoid your life's purpose no matter how far you try to wander away from it. The song evokes a feeling of nostalgia as well, as can be inferred from the title. (I mean who really listens to A.M. radio anymore, or any commercial radio, for that matter?) This is one of those songs that's just meant to give a feeling of comfort to its listeners.

"I'm Just a Clown" by Charley Crockett: I'm just a clown, yes I'm only a clown, and I'm sittin' here on...oh wait, wrong song! "Schoolhouse Rock" references aside, "I'm Just a Clown" is a good song, and one that will sit well with people who have coulrophobia (fear of clowns). The word "clown" in the context of the song simply means "foolish person," not someone with white makeup and colorful, goofy hair who entertains children at birthday parties. As for the song itself, there's also a story to tell there, since it combines country music with soul music, a rare but intriguing trend from the past few years that musicians like Sturgill Simpson have brought to the limelight. If the name "Crockett" sounds familiar, Charley is actually a distant relative of Davy Crockett - yes, THAT Davy Crockett. You know, "King of the Wild Frontier"? 

"The Otter" by Caamp: Folk-rock is a common feature of Caamp's music, but their latest song, "The Otter," sounds a bit more like their take on Mumford/Lumineers-styled songs than it is like the more roots-y sound they typically go for. The song is a love ballad, and its instrumentation seems to have everything that was common to the "neo-folk" boom of the early 2010's: rhythm punctuated by handclaps and snaps, a good mix of acoustic guitar and banjo, sweet harmony vocals, and unconventional guitar tuning (The last of these features seemed specifically common to Mumford and Sons songs, though. Most Lumineers songs use more conventional tuning). It also seems more pop-y than what Caamp typically go for, but by no means is this a bad thing. It could help them gain a wider audience!

"These Are the Days" by Inhaler: Inhaler's "Cheer Up Baby" was one of the catchiest songs to dominate the alt and adult alt airwaves of 2022! It seemed to cement Inhaler as the Irish answer to Scotland's Franz Ferdinand, composed almost entirely of riffs instead of chords except in the middle. Inhaler's latest song, "These Are the Days," seems pretty riff-heavy as well, but instead of relying on the angular pop/rock take on post-punk that Franz Ferdinand were known for, "These Are the Days" sounds a bit more like actual Irish rock, with more than a few nods to U2 in terms of its anthemic yet still warm and melodic sound. In contrast to the more subversive vibe "Cheer Up Baby" had, "These Are the Days" seems more sincere and hopeful than its predecessor. 

New songs for July 20th, 2022

 here they are:


"Brad Pitt" by Coin: Why name your latest track after one of the most well-known actors of all time? Because you're using him to represent the idea of eternal youth, that's why! The celebrity's name is not mentioned even once in the song, but in Coin's latest song, the deceptively catchy "Brad Pitt," the indie-pop trio challenge the idea of eternal youth being something worth celebrating. After all, everyone grows old someday. Coin don't really confront the problem head-on as much as they mock it, singing "keep me young forever" during the chorus in a manner that could be interpreted as being partially sarcastic.

"Here to Forever" by Death Cab for Cutie: Musically, Death Cab's latest song, "Here to Forever," picks up where their 2018 songs left off, giving off a lite-goth-rock sound of sorts. It's lyrically, however, where the song really has some weight. Even in the opening lines, Ben Gibbard has deep and rather dark thoughts about the impermanence of life, commenting how everyone he sees on 1950's movies is no longer alive. He spends the rest of the song trying to come to terms with how he, too, will go one day, while still having a sliver of hope that "forever" might be a possibility if there is an afterlife.

"Hurts (But it Goes Away)" by The Head and The Heart: The intro to this song is cool, using a bass in place of the expected piano and/or guitar, but those two instruments do make their way into this song around the 15-second mark. The Head and The Heart's latest song, "Hurts (But it Goes Away)," continues in the more mainstream pop/rock direction the band have taken roughly since the mid-2010's, adding slightly more artificial synth-y instrumentation in back of the central role the piano takes in the song. These days, it's hard to tell if a song like this is a plea for a lover to come back, or if it's about life itself and wanting reassurance from it. I would opt to say it's the latter, though, given both the time it's come out in and how it doesn't seem to be addressed to a specific person.

"It Ain't Over" by The Black Keys: Much like their song "Wild Child" from earlier this year, "It Ain't Over" is another song in The Black Keys catalog that attempts to mix funk and blues-rock into one thing. The song has a very '70s R & B sound and rhythm, but Dan Auerbach's trademark fuzz-guitar sound is still in here, especially during the chorus. A powerful and catchy tune, no doubt about it! The only weakness this song has is probably its guitar solo at the very end, which feels rather anticlimactic compared to the rest of it.

"Records" by Weezer: Seems like as Weezer have aged, they've lost the ability to rock that they once had. I personally have mixed feelings about this myself. I actually think they're really good at being a sweeter and more melodic group, but songs like this one tend to fall flat. Specifically, on "Records," Weezer use a synth-y pop sound for their verses and a chunky, almost "More Than a Feeling"-ish guitar riff during the chorus that rocks a bit less than Boston despite trying to boast otherwise. Not the best mix if you ask me, yet there's still something winsome and fun about this track. 

New songs for July 13th, 2022

 here they are:


"Hollywood Forever Cemetery" by Allison Ponthier: Not to be confused with Father John Misty's "Hollywood Forever Cemetery Sings" by Father John Misty from about a decade earlier, Allison Ponthier's ode to the glitzy yet spooky Los Angeles landmark emphasizes the "cemetery" aspect of "Hollywood Forever Cemetery" in her latest song. The song is in a minor key to shed light on this facet, but it's still a catchy indie-folk/pop-tronica song that fans of musicians like Lana Del Rey, Lorde, and Billie Eilish might enjoy. The song is a rumination that wistfully whispers its woeful worries about what happens to famous women when they die, specifically Marilyn Monroe.

"Part of the Band" by The 1975: The 1975 have thus far been known mainly for catchy pop songs with "indie" instrumentation. Until now, that is. "Part of the Band" takes The 1975 in a different direction with more orchestral instrumentation and a more delicate, percussion-less sound. Underneath its bittersweet sound, frontman Matty Healy cracks sarcastic, subversive, and somewhat self-deprecating jokes. With a title like "Part of the Band," you might think this is a celebratory song. It's really anything but, but the ornate, exquisite beauty of the song makes it very much worth the listen!

"2AM" by Foals: Continuing in the direction of "Wake Me Up," their catchy alt-pop hit from earlier this year, Foals' "2AM" is yet another bright, pop-y anthem dominated mainly by synths with the occasional use of electric guitar punctuating the chorus sections. The song is actually about how self-destructive the members of Foals tend to be. "It's 2AM, I've gone and lost my friends/But I can't be alone again," lead singer Yannis Philippakis sings in the song's opening. The urgency and desperation of his plea is offset by how fun the song itself sounds, but this was a deliberate choice on his part.

"Wretched" by Bartees Strange: This is a song that wears its heart on its sleeve! The moody synth-and-guitar laden and minor key atmosphere of this song sets the scene. The title alone, "Wretched," indicates what kind of song it is. It is still indie-pop, like Bartees' previous song, "Heavy Heart," was, but this one is a bit darker than that one was, centering around how people who truly love Bartees have stood by him even when he was "wretched." Instrumentally, the song is also more interesting because it switches between having little to no percussion during the verses and having a heavy, techno-y percussion during the chorus. 

New songs for July 6th, 2022

 here they are:


"Cracker Island" by Gorillaz (featuring Thundercat): Thus far, no Gorillaz song has reached near the levels of popularity and catchiness that "Feel Good, Inc." and "Clint Eastwood" have, but no song that these fictional, non-human primates have recorded has been lackluster, and "Cracker Island" is no exception to the rule! Contemporary R & B musician, Thundercat, guests on Gorillaz' latest song, "Cracker Island," a song whose apocalyptic lyrics slip under the radar thanks to its super-catchy sound. How a "band" of musicians who are figments of Damon Albarn's imagination have managed to outlast many three-dimensional, human-led bands is truly a wonder to behold, but if you consider that just about every hit they've had has managed to get into the heads of many creatures who aren't "Gorillaz," it should make sense. 

"Miles and Miles" by The Heavy Heavy: Hey hey! Is there an echo, is there an echo, in here, in here?! Both the song title AND the band who does it contain repetition! "Miles and Miles" is the debut song of the American-sounding British duo, The Heavy Heavy, and its country-rock sound is fitting to its theme of being on the road. The song's simultaneously mellow yet energetic sound combined with its road-centered lyrics make this one a great summer treat!

New songs for June 29th, 2022

 here they are:


"Big Time" by Angel Olsen: You would have never expected the singer of a Morissette-esque song like "Shut Up Kiss Me" to have turned to country for her next song, would you?! Well, that's exactly what happens here with Angel Olsen and her song, "Big Time." The song brings to mind some of the more countrified songs of groups like The Grateful Dead, The Band, and Crosby Stills Nash & Young. The song plays out like a typical country lament of a "lost love" as Angel pines for a relationship she has lost. 

"Hospital" by Madison Cunningham: On the other hand, you could also start out more quaint and folks-y and then have a more angst-ridden song afterwards! Such is the case with Madison Cunningham, whose jazz-folk-y "Pin it Down" seems rather quiet and subdued compared to her latest song, "Hospital," which seems like it could easily fit on an alt or soft rock station of the mid-'90s with a sound similar to songs of the era like "One of Us" or "Everyday is a Winding Road." Like our last entry, "Hospital" is also about a breakup, but approaches the subject more from a world-weary, disappointed point of view than a bittersweet one.

"My Babe" by Spoon: One of the more sensitive, folk-influenced songs in Spoon's catalog, "My Babe" is, to date, the most bittersweet song that Britt Daniels and co have attempted so far! Spoon are no strangers to folk-rock, as songs like "The Underdog," "I Summon You," and "Do You?" all illustrate, but "My Babe" is their first indie-folk song that's more tender than quirky. Electric guitars do come midway through the song, but they don't change the sedate mood of this track. The lyrics are also very sweet for Spoon, who typically opt more for songs where no one can quite figure out what they're about. "My Babe," clearly, is a love song, as can be inferred from the title alone!

New songs for June 22nd, 2022

 here they are:


"Anything But Me" by Muna: All-female indie-pop trio Muna combines the Fleetwood Mac-ish harmonies that dominated the 1970's with the shiny, plastic synth-pop sound of the 1980's. Their latest song, "Anything But Me," utilizes both of these factors to great effect as lead singer Katie Gavin weaves a tale about a relationship gone wrong. More specifically, "Anything But Me" is about a relationship Katie opted out of simply because it didn't feel right for her. 

"Free" by Florence and The Machine: After the atmospheric, moody pop of Flo's latest song, "My Love," her summer 2022 hit, "Free," seems poised to be one that is more suited to the upbeat vibes people typically associate with summer. The song is one of Flo's more spirited numbers. Just as "Shake it Out" shook off her inner demons in 2011, "Free" seems to be doing the same thing in 2022. The main difference, of course, is that Flo was not suffering through a pandemic in 2011. "Shake It Out" was more about trying to relieve stress after a hangover (which her 2015 song, "Ship to Wreck," seemed to be about as well). There's no tipsiness that I can tell in "Free." Instead, this is a song where Flo releases her tension the way that pretty much anyone else has these past two years, whether sober or drunk. Everyone has been feeling anxiety lately, and Flo puts those frazzled feelings to the forefront on "Free"! 

"McKenzie" by Houndmouth: With Houndmouth's tendency to sing about life on the road, I thought "McKenzie" might have been the name of a person OR place. As it turns out, it's the name of a person (I personally prefer the spelling "Mackenzie," but I digress). The song, whose sound is a welcome return to the folks-y roots-rock Houndmouth started out with, is ostensibly a love song, but not one that declares Matt Myers' love for another person, but rather one that vents frustration about how he wants to love the titular McKenzie but can't. Matt reminisces about how they first met over the course of the song's two verses, but it's more of a bittersweet reminiscing than it is nostalgic.

"Run Away" by Jocelyn and Chris: Brother-and-sister blues-rock duo, Jocelyn and Chris, sing of hope gone lost on their latest song, the fiery, Melissa Etheridge-esque song, "Run Away." The song seems to attempt more of a mainstream rock sound that is vaguely "alt" inspired than the blues-y flavor most of their songs have, and the song's rather urgent theme is probably one reason why it sounds like it does. The title, "Run Away," seems to hint at just escaping from having to hold out hope during seemingly hopeless times. Indeed, stress has been hitting many of us quite hard lately, including those with more neurologically stable mindsets. This flame-fueled folk-rock-ish tune might be just what some of us need. 

"Want Want" by Maggie Rogers: Maggie Rogers has been around for a few years now, but "Want Want" marks the first time in her career that both alt and adult alt radio stations have paid attention to her. Perhaps it's the song's propulsive, driving bass line, or maybe it's equally throbbing, synthetic percussion. The song's dynamic performance at the most recent Coachella concert might be yet another reason that "regular" alt stations are finally starting to pay attention to her music. Whatever the reason, though, there's no denying that "Want Want" might just be the catchiest song she's put out yet! Her material is typically more low-key than "Want Want" is. This might earn Maggie a whole new audience, but I'm sure she has no regrets about that!

New songs for June 15th, 2022

 here they are:

"Blood Runs Red" by Matt Maeson: A fast and somewhat dark folk-rock waltz that turns quickly to an Imagine Dragons-esque indie-alt/pop anthem ("Radioactive" and "Believer" are two songs that come to mind here), "Blood Runs Red" might just be Matt Maeson's answer to "Radioactive." Both songs seem to take place in a post-apocalyptic world. However, where Imagine Dragons seemed to accept their fate begrudgingly in "Radioactive," Matt Maeson seems to struggle with the negative changes of the world around him in "Blood Runs Red," even asking a higher power for guidance in the song's pre-chorus. To cope with the destruction of the world, Matt turns to alcohol and drugs to get him through it all. 


"Hear My Dear" by The Tedeschi-Trucks Band: If Susan Tedeschi and Derek Trucks did folk-rock music, it'd probably sound like their latest tune, "Hear My Dear." It's sort of a blues-y variant of Mazzy Star's "Fade Into You," almost identical to that song in terms of rhythm, and somewhat so in chord structure. The song is a love song, as is obvious from its title, but it seems more specifically to be a love song for the 2020's. That is to say, it's a song that seems to be saying "Let's keep our love lasting for as long as it can while we still can." Both a sweet and timely sentiment for us all.

"Spitting Off the Edge of the World" by Yeah Yeah Yeahs: Almost 20 years into their career, Yeah Yeah Yeahs have lived up to their name by making their audience say "Yeah yeah yeah!" to their ever-changing musical output. They started as a rough garage rock influenced group, but added to their sound quickly afterwards, starting with their breakthrough hit, "Maps," which was more of a sensitive alt-rock ballad than it was a brash garage rock song. Since then, they've touched upon folk-rock ("Turn Into"), and now they appear to be going in more of an icy techno-pop direction with their latest song, "Spitting Off the Edge of the World." The song is the first from the YYYs in nearly a decade, and the best part about it is that it has a strong, commanding presence, in true YYY's fashion. Lead singer Karen O has pursued solo efforts on occasion, perhaps most notably "Strange Love" for the soundtrack of the Tim Burton film, "Frankenweenie." While "Strange Love" was enjoyable for its cuteness, "Spitting Off the Edge of the World" is enjoyable because it has a frigid yet still domineering presence!

"Tek It" by Cafune: Both the band name and song title are unexplainable here! Nowhere is the phrase "Tek It" (take it?) used in the song, and nor do I have even an inkling of a clue who or what a "Cafune" even is! Mystery elements aside, "Tek It" is still a good song. A catchy techno-pop tune with alt/indie elements, "Tek It" is one of those songs that has become popular thanks to social media app, TikTok. The lines "I watch the moon/Let it run my mood/Can't stop thinking of you" comprised the tidbit most TikTok users seem to be familiar with. 

"These Are the Ways" by Red Hot Chili Peppers: After their smash alt and adult alt radio hit, "Black Summer" (which, ironically, took radio by storm in spring, not summer), RHCP rock the airwaves once again with their latest song, "These Are the Ways." The song shows a bit more chunky hard rock grit than their last song did, both in terms of Frusciante's guitar and Chad Smith's drums! Where "Black Summer" was a lament on the state of the world, "These Are the Ways" is a lament as well, but more of an angry one than a sad one. It takes on the subject of politics, and how corrupt America has become. At the same time, though, it also seems to have a begrudging stance of acceptance on that exact subject.