here they are:
"A Ghost" by Travis: Though Travis are actually Scottish, they have often been lumped under the "Britpop" category that also includes groups like The Verve and Radiohead, and (early on), Coldplay. Travis are typically on the melancholy side of the Britpop spectrum, like Radiohead are, but the eerily titled "A Ghost", ironically, is one of the happiest songs I've ever heard by them! The song is bouncy and jangly enough that I could picture it being done by some of British rock's founding fathers, like The Beatles or The Kinks. The titular "ghost" in the song is one that Fran Healy claims to "see in the mirror", according to the lyrics. More than likely, "ghost" is being used as a metaphor for confronting one's past self here. In "A Ghost", Fran gives a kiss-off to his past by unexpectedly embracing his happiness. Go figure!
"Didn't Want to Be This Lonely" by The Pretenders: Here is yet another song whose sound reaches back to the past. The Pretenders have already become "classic" in and of themselves, but here, they reach for influences that came along before their 40-plus-year career even began! There is a clear influence from proto-classic rockers like Chuck Berry and Bo Diddley here. After the melancholy folk-rock/power pop of The Pretenders' "The Buzz" from earlier this year, it's nice to see Chrissie and the gang pick themselves back up again! Like our previous entry, this song also seems like an upbeat tune that masks more negative emotions, and could also be viewed as being somewhat therapeutic in that regard.
"I Do" by Wild Rivers: Have we finally reached a point where neo-folk-rock has hit saturation point? This song from Canadian quartet, Wild Rivers, is one of the few songs of said genre to give me mixed reactions. On the one hand, the guy/girl harmonies of folk-rock that have been essential to the sub-genre since the days of The Mamas and The Papas are present here, which I like. On the other hand, though, the girl's vocals here remind me too much of Colbie Caillat, whom I've never liked, and the production of the music seems squeaky clean in comparison to the more rustic and ragged sound of most folk-rock. The jury's out on this song, but I've reviewed it here just in case I someday grow to like it more than I do now.
"My Own Soul's Warning" by The Killers: Brandon Flowers and co lived up to their name once again in spring and early summer of this year by burning up the alt and adult alt radio charts with the anthemic song, "Caution". The song seemed to evoke the new-wave-meets-Heartland-rock sound that groups like The War on Drugs have cultivated recently. The Killers' latest song, "My Own Soul's Warning", seems to head in this direction as well. Like many Killers songs from 2006 and onward, "My Own Soul's Warning" seems to have somewhat Springsteen-ian instrumentation, which meshes well with its cryptic yet soul searching lyrics. The opening lyrics of the song, "I tried going against my own soul's warning, but in the end something just didn't feel right", kind of sum up what the song is about. In other words, it seems as though during the course of the song, Brandon Flowers tries to find his own purpose in life without listening to the guidance of others, but he veers off course and ultimately decides that such advice might have been worth listening to after all. Flowers might not be near as good a lyricist as his idol, Bruce, but he certainly does try sometimes, and it really shows, too!
"No Time For Love Like Now" by Michael Stipe and Big Red Machine: Sometimes music from two different eras can share a common aesthetic. Such is the case with R.E.M.'s Michael Stipe and The National's Aaron Dessner (with a little help from members of Bon Iver), all of whom have collaborated with one another on the song, "No Time For Love Like Now". Though Stipe takes on the vocal parts here, it is Dessner who heads the musical composition of this number, filled more with the icy electronics of The National than the bittersweet, autumnal jangle of R.E.M. I'm not sure how they found out about one another, perhaps it is because both have proven to be influential in the world of alternative rock at some point in time, but the combo seems to work here. The song seems at least in part to be about the negative and surprising changes our world has experienced this year so far. The title of the song tells of love, but it's more a sense of sadness that permeates through this track.
"Proxima B" by Benjamin Gibbard: Death Cab's lead singer released what could have been his most depressing song ever with "Life in Quarantine" earlier this year around spring. The lyrics to his latest song, "Proxima B", though still somewhat sad, aim to subvert the sadness a bit. Unlike the stark folk-rock of "...Quarantine", "Proxima B" has a more bouncy, power pop/jangle pop sound, not uncommon in Death Cab's own material, such as "Crooked Teeth". The subject of "Proxima B" is basically Ben's desire to have somewhere to escape from the chaos and imminent danger the world is currently facing. With Planet Earth on the wane, Ben suggests Proxima B, the name of a distant planet in another galaxy (a real one, not a fictional one), as a place to be "careless and free", away from all the troubles of our current biological home.
Showing posts with label Benjamin Gibbard. Show all posts
Showing posts with label Benjamin Gibbard. Show all posts
Wednesday, June 24, 2020
Wednesday, April 15, 2020
More Quaran-tunes...
As the most unexpected battle in centuries continues to rage on, a few more artists, such as Jackson Browne, Mavis Staples, Andrew Bird, and Death Cab for Cutie's Benjamin Gibbard, have offered up their opinions. Here are those songs (plus one more):
"A Little Soon to Say" by Jackson Browne: Jackson Browne - rocker, singer/songwriter, activist...and unfortunately, recent Coronavirus victim. Being in his '70s, Browne is on the more vulnerable side of the Coronavirus spectrum, so this decade (or year) may be his last, but while he's still alive, he wants to offer us his own perspective on our potentially perilous predicament. Well, actually, the song was written prior to the pandemic's impact, but Browne decided now would be the perfect time to release it. This sad song, which could also end up being his swan song, was inspired by young activists, including heroic Aspie, Greta Thunberg, and how they have spoken out against people not taking action against threats to future generations, such as climate change. This six-and-a-half minute song is one of the most melancholy that Jackson Browne has done since "Fountain of Sorrow" in 1974. Actually this song is even more melancholy than that one was, lacking the light but noticeable rock and roll drums and electric guitar soloing in the background that "Fountain of Sorrow" had. This year has not been kind to some of my favorite musicians, which also include power pop singer Adam Schlesinger, folk-rocker John Prine, and soul musician Bill Withers, two thirds of whom died from Coronavirus. I've never said R.I.P. to three musicians in one post, but since none of them have released (or likely WILL release) any new material, this seemed like an appropriate time to do so.
"All In It Together" by Mavis Staples: Yet another song dedicated to fighting COVID-19 by a revered musician, Mavis Staples' "All In It Together" is a plea for unity during a time of separation. Having now entered her octogenarian years, it's quite remarkable that Mavis is still alive, and I am hoping with all my might she doesn't become victim to the Coronavirus. With her can-do attitude, optimistic outlook, and almost spiritual vibes, it doesn't seem very likely, but one never knows in this day and age. Mavis realizes, as we all should, how the virus is not "blind" in who it affects. One's financial status, gender, race, and other such factors become irrelevant in this song where the only race that matters is the human race itself and how it will cope with unprecedented disasters like our current situation. As human rights activist (and all-around model musician) Bob Marley once said in one of the last songs he recorded, "the darkness must amount to light". "All In It Together" seems to share the same message, one we have all needed to hear and heed right now!
"Capital Crimes" by Andrew Bird: Like the Jackson Browne song I reviewed earlier in this blog, Andrew Bird's "Capital Crimes" is a song written before our present pandemic that is now being connected with it. The song was originally meant as a protest song against capital punishment, but has now become a protest song against the way COVID-19 is being handled as well. And what a protest song it is! If you can imagine Bob Dylan collaborating with King Crimson and a classical music string orchestra, you've got "Capital Crimes" in a nutshell. This epic, six-and-a-half minute song is both lyrically and instrumentally agitated. The instrumental agitation slowly creeps in and is made apparent by the time the song is halfway over. Violin hasn't sounded so violent since John Cale played it furiously in The Velvet Underground's Heroin" back in 1967! Both the music and lyrics of "Capital Crimes" are somewhat Dylan-esque, with Bird essentially spending the song interrogating the government about whether or not they are truly protecting their citizens. A song like this perfectly captures the anguish and despair of the present day in a way that is deliciously dark!
"Held Down" by Laura Marling: Yet another song about a pessimistic, desperate situation, although this one seems more personal than universal. Still, there is no denying all the sadness and disappointment Laura Marling must have experienced in writing her latest song, "Held Down". The song seems to encapsulate feelings of being cheated and let down by whoever her current lover is, though it could also extended to just feeling cheated and let down by everything that's been going on around her. The song itself is as bittersweet as its lyrics would suggest it is. No one seems to know what to do with their lives anymore, and it's a theme expressed in all five songs of this week, but this one stands apart from the others with its more intimate, personal subject matter.
"Life In Quarantine" by Benjamin Gibbard: Death Cab for Cutie, as well as lead singer Ben Gibbard's solo recordings, have always sounded a bit melancholy and stark. But this song, consisting solely of acoustic guitar and Ben's vocals, might just be his saddest one yet. In this three-minute song, the theme of quarantine is expressed quickly yet sorrowfully, with places of entertainment such as bars and cafes being described as "empty", while more essential services like airports and train stations are "full of desperate people". Wow, how sad! Life just isn't what it used to be. Mercy, mercy, me!! I weep for humanity just hearing songs like this one. I'm trying to get over my current state of sadness, but it's been very hard lately. At least music is here to tell me, as always, that I'm not alone!
"A Little Soon to Say" by Jackson Browne: Jackson Browne - rocker, singer/songwriter, activist...and unfortunately, recent Coronavirus victim. Being in his '70s, Browne is on the more vulnerable side of the Coronavirus spectrum, so this decade (or year) may be his last, but while he's still alive, he wants to offer us his own perspective on our potentially perilous predicament. Well, actually, the song was written prior to the pandemic's impact, but Browne decided now would be the perfect time to release it. This sad song, which could also end up being his swan song, was inspired by young activists, including heroic Aspie, Greta Thunberg, and how they have spoken out against people not taking action against threats to future generations, such as climate change. This six-and-a-half minute song is one of the most melancholy that Jackson Browne has done since "Fountain of Sorrow" in 1974. Actually this song is even more melancholy than that one was, lacking the light but noticeable rock and roll drums and electric guitar soloing in the background that "Fountain of Sorrow" had. This year has not been kind to some of my favorite musicians, which also include power pop singer Adam Schlesinger, folk-rocker John Prine, and soul musician Bill Withers, two thirds of whom died from Coronavirus. I've never said R.I.P. to three musicians in one post, but since none of them have released (or likely WILL release) any new material, this seemed like an appropriate time to do so.
"All In It Together" by Mavis Staples: Yet another song dedicated to fighting COVID-19 by a revered musician, Mavis Staples' "All In It Together" is a plea for unity during a time of separation. Having now entered her octogenarian years, it's quite remarkable that Mavis is still alive, and I am hoping with all my might she doesn't become victim to the Coronavirus. With her can-do attitude, optimistic outlook, and almost spiritual vibes, it doesn't seem very likely, but one never knows in this day and age. Mavis realizes, as we all should, how the virus is not "blind" in who it affects. One's financial status, gender, race, and other such factors become irrelevant in this song where the only race that matters is the human race itself and how it will cope with unprecedented disasters like our current situation. As human rights activist (and all-around model musician) Bob Marley once said in one of the last songs he recorded, "the darkness must amount to light". "All In It Together" seems to share the same message, one we have all needed to hear and heed right now!
"Capital Crimes" by Andrew Bird: Like the Jackson Browne song I reviewed earlier in this blog, Andrew Bird's "Capital Crimes" is a song written before our present pandemic that is now being connected with it. The song was originally meant as a protest song against capital punishment, but has now become a protest song against the way COVID-19 is being handled as well. And what a protest song it is! If you can imagine Bob Dylan collaborating with King Crimson and a classical music string orchestra, you've got "Capital Crimes" in a nutshell. This epic, six-and-a-half minute song is both lyrically and instrumentally agitated. The instrumental agitation slowly creeps in and is made apparent by the time the song is halfway over. Violin hasn't sounded so violent since John Cale played it furiously in The Velvet Underground's Heroin" back in 1967! Both the music and lyrics of "Capital Crimes" are somewhat Dylan-esque, with Bird essentially spending the song interrogating the government about whether or not they are truly protecting their citizens. A song like this perfectly captures the anguish and despair of the present day in a way that is deliciously dark!
"Held Down" by Laura Marling: Yet another song about a pessimistic, desperate situation, although this one seems more personal than universal. Still, there is no denying all the sadness and disappointment Laura Marling must have experienced in writing her latest song, "Held Down". The song seems to encapsulate feelings of being cheated and let down by whoever her current lover is, though it could also extended to just feeling cheated and let down by everything that's been going on around her. The song itself is as bittersweet as its lyrics would suggest it is. No one seems to know what to do with their lives anymore, and it's a theme expressed in all five songs of this week, but this one stands apart from the others with its more intimate, personal subject matter.
"Life In Quarantine" by Benjamin Gibbard: Death Cab for Cutie, as well as lead singer Ben Gibbard's solo recordings, have always sounded a bit melancholy and stark. But this song, consisting solely of acoustic guitar and Ben's vocals, might just be his saddest one yet. In this three-minute song, the theme of quarantine is expressed quickly yet sorrowfully, with places of entertainment such as bars and cafes being described as "empty", while more essential services like airports and train stations are "full of desperate people". Wow, how sad! Life just isn't what it used to be. Mercy, mercy, me!! I weep for humanity just hearing songs like this one. I'm trying to get over my current state of sadness, but it's been very hard lately. At least music is here to tell me, as always, that I'm not alone!
Wednesday, August 9, 2017
New songs for August 9th, 2017
here they are:
"Lucky Penny" by JD McPherson: JD McPherson's style is usually that of a 1950's rocker like Jerry Lee Lewis or Chuck Berry. "Lucky Penny" takes him from the '50s to the early '70s! The organ filled neo-glam-rock style of The Black Keys dominates this song, and it also sounds slightly reminiscent of "Roadhouse Blues" by The Doors. "This lucky penny's been nothing but bad luck", JD sings during the chorus. Unfortunately, a lot of listeners seem to feel this way, too, since the style of the song is largely derivative of The Black Keys, as opposed to the amalgam of '50s rock styles he's become known for. However, "Lucky Penny" might just be the song to get JD from adult alt radio stations to more mainstream alt-rock stations, which would probably work out in his favor! Was this song worth the one cent?! You decide!
"We Were Beautiful" by Belle and Sebastian: The ever eclectic Belle and Sebastian continue to wow indie fans with their latest song, "We Were Beautiful". Most of their fans seem to prefer their work from the '90s and '00s, when they were "twee" (in other words, influenced by sweet sounding orchestral '60s pop, such as "Pet Sounds"). B & S have modified their style a bit ever since to include more electronic influences, such as what they did on their 2014 song, "The Party Line". "We Were Beautiful" continues in the electro-pop pattern, but it also has an ethereal, airy sound that hearkens back to their earlier work. "We were beautiful before this went down", lead vocalist Stuart Lee Murdoch croons bittersweetly during the chorus. On the surface, the lyrics sound like they are referring to a relationship gone bad, but the song could also ostensibly be about how B & S have interpreted criticism of their more recent songs.
"What You Do to Me" by Benjamin Gibbard: And last but certainly not least, the Death Cab for Cutie frontman embarks on his most interesting musical quest to date, an entire album of songs that were covers of tunes by '90s power pop group, Teenage Fanclub. Ben covers one of TF's most famous songs, "The Concept", on this album, but that did not end up being the first single from Ben's latest album. Instead, it was a cover of a lesser known Teenage Fanclub song, "What You Do to Me". It's interesting to hear him take on this song, which serves as a "missing link" between Big Star and Gin Blossoms. DCFC have dabbled plenty in the softer side of alternative rock, but this is the first time one of their members has attempted a power pop/jangle pop song, and the results are quite satisfying! Too bad it's only 2 minutes long.
"Lucky Penny" by JD McPherson: JD McPherson's style is usually that of a 1950's rocker like Jerry Lee Lewis or Chuck Berry. "Lucky Penny" takes him from the '50s to the early '70s! The organ filled neo-glam-rock style of The Black Keys dominates this song, and it also sounds slightly reminiscent of "Roadhouse Blues" by The Doors. "This lucky penny's been nothing but bad luck", JD sings during the chorus. Unfortunately, a lot of listeners seem to feel this way, too, since the style of the song is largely derivative of The Black Keys, as opposed to the amalgam of '50s rock styles he's become known for. However, "Lucky Penny" might just be the song to get JD from adult alt radio stations to more mainstream alt-rock stations, which would probably work out in his favor! Was this song worth the one cent?! You decide!
"We Were Beautiful" by Belle and Sebastian: The ever eclectic Belle and Sebastian continue to wow indie fans with their latest song, "We Were Beautiful". Most of their fans seem to prefer their work from the '90s and '00s, when they were "twee" (in other words, influenced by sweet sounding orchestral '60s pop, such as "Pet Sounds"). B & S have modified their style a bit ever since to include more electronic influences, such as what they did on their 2014 song, "The Party Line". "We Were Beautiful" continues in the electro-pop pattern, but it also has an ethereal, airy sound that hearkens back to their earlier work. "We were beautiful before this went down", lead vocalist Stuart Lee Murdoch croons bittersweetly during the chorus. On the surface, the lyrics sound like they are referring to a relationship gone bad, but the song could also ostensibly be about how B & S have interpreted criticism of their more recent songs.
"What You Do to Me" by Benjamin Gibbard: And last but certainly not least, the Death Cab for Cutie frontman embarks on his most interesting musical quest to date, an entire album of songs that were covers of tunes by '90s power pop group, Teenage Fanclub. Ben covers one of TF's most famous songs, "The Concept", on this album, but that did not end up being the first single from Ben's latest album. Instead, it was a cover of a lesser known Teenage Fanclub song, "What You Do to Me". It's interesting to hear him take on this song, which serves as a "missing link" between Big Star and Gin Blossoms. DCFC have dabbled plenty in the softer side of alternative rock, but this is the first time one of their members has attempted a power pop/jangle pop song, and the results are quite satisfying! Too bad it's only 2 minutes long.
Wednesday, February 20, 2013
New songs for February 20th, 2013
here they are:
"A Tattered Line of String" - by The Postal Service: It sounds like an unusually mellow brand of techno with the vocals of Ben Gibbard from Death Cab for Cutie. Hmmmm....sounds like the same guys who sung the chill 2004 techno-rocker "Such Great Heights". Have they come out of hibernation after 9 years?! Yes!! They have!! And those are Ben Gibbard's vocals, The Postal Service was (and is) his side project. I personally think Ben is better as a folk-rocker than as a new wave revivalist, but ever since the beginning of this year, I began hearing about how The Postal Service were going to reform, and I noticed that many people were eagerly anticipating their sophomore album, and now it's finally arrived! Not a bad effort for Mr. Gibbard, but I think he should stick with either Death Cab or his solo material for next time.
"Entertainment" by Phoenix: And now, here is yet another band who launched the new wave sound into a new age! Their songs "1901" and "Lisztomania" were both instant hits, probably because the synth side and the rock side of new wave never sounded so good together since Talking Heads had their last string of hits together! The latest song from the catchy French indie pop group Phoenix, "Entertainment", is a bit less focused on the guitar than their previous songs were. The sound of the song screams out "geek-rock", as it seems like it would be the perfect theme song to a video game or anime series, perhaps because it uses a scale during the chorus that is common to Japanese music. A different kind of "entertainment" than the typical Phoenix fan might be used to, but "Entertainment" is entertaining nonetheless.
"Gotta Get Over" by Eric Clapton: Initially a part of powerhouse psychedelic blues-rock groups like The Yardbirds and Cream, there are those who criticize Clapton of "softening" or "polishing" his sound ever since the mid 1970's. The criticism is certainly valid in some ways, and indeed, he seemed to hit a low point in his career around the mid '90s, in which his sound was closer to folk and country than it was to blues, but ever since the release of his 2010 rocker, "Run Back to Your Side", Clapton has beefed up his sound so that it sounds closer to "After Midnight" than it does to a sub-par version of "Tears In Heaven". "Gotta Get Over" is another rockin', bluesy number from Eric Clapton. Not a whole lot of lyrics on "Gotta Get Over", but since the focus here is more on the electric guitar sound, the lyrical content doesn't matter as much for this song. Keep rockin' on, E.C.!!
"Just to Make Me Feel Good" by Adam Green and Binki Shapiro: The Moldy Peaches' lead singer (the one who sings the male vocals on "Anyone Else But You" from "Juno"), and the female multi-instrumentalist from indie-pop group Little Joy joining forces together could spell trouble for Zooey Deschanel and M. Ward (known together as "She & Him"). It doesn't look like Adam and Binki are going to be anywhere near as well known as Zooey and Matt, but they still make an endearing (if odd) indie-pop duo. Unlike She & Him, in which Zooey has pretty much all the vocal duties, Adam and Binki trade off vocal sections on their songs. Their first major song, "Just to Make Me Feel Good", has the breezy, feel-good sound of a 1960's pop song. There is definitely a major difference between the charming, bubbly female vocals of Binki Shapiro and the low, deadpan male vocals of Adam Green, but somehow, they manage to make it work here, and to great effect as well!
"Long Time Gone" by The Civil Wars and T-Bone Burnett: Old folk meets new folk! The Civil Wars have had a couple hits now among indie and neo-folk fans, and T-Bone Burnett is known more for his production (like on the "O Brother, Where Art Thou?" soundtrack) than his songs, but they both share a love for roots-y American folk music. Aside from The Wars' best known song, "Barton Hollow", "Long Time Gone" is probably the roots-iest, folk-iest song they've ever done! As always, Joy and John make their harmonies soar on "Long Time Gone", and T-Bone Burnett's accompaniment makes The Civil Wars sound like a band that came out of...well...the Civil War!
"Minute By Minute" by The James Hunter Six: Whoa! Did I just take a time machine to 1967 and end up in Stax Records Studios?! (The people known for producing Otis Redding's material and some of Wilson Pickett's) It sure seems like I did! It's R & B music, but definitely not what people would associate with contemporary R & B. This is the classic stuff, with raw, passionate vocals, steamy saxophones, and clean, slick organs. The most striking feature of Hunter's music? He's WHITE!! I'm not someone who considers ethnicity in music (or anything) to be a big deal, but Hunter has such close vocals to Otis Redding, Wilson Pickett, etc., that I thought he was more African-American than Caucasian. I guess Hunter embraces both vintage sound and racial diversity, so I say, way to go, man!!
"Spotlight" by Leagues: A bit late in reviewing this song, I realize, since it's been out since late December, but it's only been within the last week that I've noticed an increase in the airplay of this song (perhaps because that's how recently it was featured in "Grey's Anatomy"). With its echoic guitar sound and catchy rhythm, I’m honestly surprised that “Spotlight” hasn’t been a hit in formats other than adult alternative yet! (Perhaps I’ve spoken too soon, though). Its chorus, consisting only of the phrases “I’m never gonna give you up” and “Spotlight, I’ve got a spotlight”, is short, but extremely effective in terms of getting stuck in one’s head. “Spotlight”’s pentatonic guitar solo in the middle of the song is like the cherry on top of this already delicious ice cream of a song!
“The Lightning Strike” by Snow Patrol: Snow Patrol seem to love updating their older material with new arrangements! It’s happened twice now, with the 2009 release of “An Olive Grove Facing the Sea” (originally from 2001) and the 2010 release of “Set the Fire to the Third Bar” (originally from 2006). Their third “re-release” song is “The Lightning Strike”, originally from 2008. The song adds yet another unique flavor of sound to the Irish indie pop group’s already eclectic catalog. The chord progression of the song seems more common to classical music than it is to rock and pop, and the instrumentation is incredibly orchestral for a Snow Patrol song. Another aspect that makes “The Lightning Strike” stand out among previous material from Gary Lightbody and co? It has THREE PARTS!! As far as rock music goes, I would expect a song with more than one part from, say, Rush, Pink Floyd, Yes, or Jethro Tull, but NOT Snow Patrol!! As adult alt radio stations don’t seem to typically play songs that are actually two (or more) songs in one, I think it’s safe to assume that only the first part of “The Lightning Strike” will be spun on such stations. The imagery of “perfect halos”, “silver forked skies”, and “peeling thunder” probably wouldn’t sound too out of place in a prog-rock album, actually. Who knew Snow Patrol were closet Pink Floyd fans?! I sure didn’t!!
"A Tattered Line of String" - by The Postal Service: It sounds like an unusually mellow brand of techno with the vocals of Ben Gibbard from Death Cab for Cutie. Hmmmm....sounds like the same guys who sung the chill 2004 techno-rocker "Such Great Heights". Have they come out of hibernation after 9 years?! Yes!! They have!! And those are Ben Gibbard's vocals, The Postal Service was (and is) his side project. I personally think Ben is better as a folk-rocker than as a new wave revivalist, but ever since the beginning of this year, I began hearing about how The Postal Service were going to reform, and I noticed that many people were eagerly anticipating their sophomore album, and now it's finally arrived! Not a bad effort for Mr. Gibbard, but I think he should stick with either Death Cab or his solo material for next time.
"Entertainment" by Phoenix: And now, here is yet another band who launched the new wave sound into a new age! Their songs "1901" and "Lisztomania" were both instant hits, probably because the synth side and the rock side of new wave never sounded so good together since Talking Heads had their last string of hits together! The latest song from the catchy French indie pop group Phoenix, "Entertainment", is a bit less focused on the guitar than their previous songs were. The sound of the song screams out "geek-rock", as it seems like it would be the perfect theme song to a video game or anime series, perhaps because it uses a scale during the chorus that is common to Japanese music. A different kind of "entertainment" than the typical Phoenix fan might be used to, but "Entertainment" is entertaining nonetheless.
"Gotta Get Over" by Eric Clapton: Initially a part of powerhouse psychedelic blues-rock groups like The Yardbirds and Cream, there are those who criticize Clapton of "softening" or "polishing" his sound ever since the mid 1970's. The criticism is certainly valid in some ways, and indeed, he seemed to hit a low point in his career around the mid '90s, in which his sound was closer to folk and country than it was to blues, but ever since the release of his 2010 rocker, "Run Back to Your Side", Clapton has beefed up his sound so that it sounds closer to "After Midnight" than it does to a sub-par version of "Tears In Heaven". "Gotta Get Over" is another rockin', bluesy number from Eric Clapton. Not a whole lot of lyrics on "Gotta Get Over", but since the focus here is more on the electric guitar sound, the lyrical content doesn't matter as much for this song. Keep rockin' on, E.C.!!
"Just to Make Me Feel Good" by Adam Green and Binki Shapiro: The Moldy Peaches' lead singer (the one who sings the male vocals on "Anyone Else But You" from "Juno"), and the female multi-instrumentalist from indie-pop group Little Joy joining forces together could spell trouble for Zooey Deschanel and M. Ward (known together as "She & Him"). It doesn't look like Adam and Binki are going to be anywhere near as well known as Zooey and Matt, but they still make an endearing (if odd) indie-pop duo. Unlike She & Him, in which Zooey has pretty much all the vocal duties, Adam and Binki trade off vocal sections on their songs. Their first major song, "Just to Make Me Feel Good", has the breezy, feel-good sound of a 1960's pop song. There is definitely a major difference between the charming, bubbly female vocals of Binki Shapiro and the low, deadpan male vocals of Adam Green, but somehow, they manage to make it work here, and to great effect as well!
"Long Time Gone" by The Civil Wars and T-Bone Burnett: Old folk meets new folk! The Civil Wars have had a couple hits now among indie and neo-folk fans, and T-Bone Burnett is known more for his production (like on the "O Brother, Where Art Thou?" soundtrack) than his songs, but they both share a love for roots-y American folk music. Aside from The Wars' best known song, "Barton Hollow", "Long Time Gone" is probably the roots-iest, folk-iest song they've ever done! As always, Joy and John make their harmonies soar on "Long Time Gone", and T-Bone Burnett's accompaniment makes The Civil Wars sound like a band that came out of...well...the Civil War!
"Minute By Minute" by The James Hunter Six: Whoa! Did I just take a time machine to 1967 and end up in Stax Records Studios?! (The people known for producing Otis Redding's material and some of Wilson Pickett's) It sure seems like I did! It's R & B music, but definitely not what people would associate with contemporary R & B. This is the classic stuff, with raw, passionate vocals, steamy saxophones, and clean, slick organs. The most striking feature of Hunter's music? He's WHITE!! I'm not someone who considers ethnicity in music (or anything) to be a big deal, but Hunter has such close vocals to Otis Redding, Wilson Pickett, etc., that I thought he was more African-American than Caucasian. I guess Hunter embraces both vintage sound and racial diversity, so I say, way to go, man!!
"Spotlight" by Leagues: A bit late in reviewing this song, I realize, since it's been out since late December, but it's only been within the last week that I've noticed an increase in the airplay of this song (perhaps because that's how recently it was featured in "Grey's Anatomy"). With its echoic guitar sound and catchy rhythm, I’m honestly surprised that “Spotlight” hasn’t been a hit in formats other than adult alternative yet! (Perhaps I’ve spoken too soon, though). Its chorus, consisting only of the phrases “I’m never gonna give you up” and “Spotlight, I’ve got a spotlight”, is short, but extremely effective in terms of getting stuck in one’s head. “Spotlight”’s pentatonic guitar solo in the middle of the song is like the cherry on top of this already delicious ice cream of a song!
“The Lightning Strike” by Snow Patrol: Snow Patrol seem to love updating their older material with new arrangements! It’s happened twice now, with the 2009 release of “An Olive Grove Facing the Sea” (originally from 2001) and the 2010 release of “Set the Fire to the Third Bar” (originally from 2006). Their third “re-release” song is “The Lightning Strike”, originally from 2008. The song adds yet another unique flavor of sound to the Irish indie pop group’s already eclectic catalog. The chord progression of the song seems more common to classical music than it is to rock and pop, and the instrumentation is incredibly orchestral for a Snow Patrol song. Another aspect that makes “The Lightning Strike” stand out among previous material from Gary Lightbody and co? It has THREE PARTS!! As far as rock music goes, I would expect a song with more than one part from, say, Rush, Pink Floyd, Yes, or Jethro Tull, but NOT Snow Patrol!! As adult alt radio stations don’t seem to typically play songs that are actually two (or more) songs in one, I think it’s safe to assume that only the first part of “The Lightning Strike” will be spun on such stations. The imagery of “perfect halos”, “silver forked skies”, and “peeling thunder” probably wouldn’t sound too out of place in a prog-rock album, actually. Who knew Snow Patrol were closet Pink Floyd fans?! I sure didn’t!!
Wednesday, January 16, 2013
New songs for the New Year Part 2 - Brand new for January 2013!!
And NOW comes the fun part!! The songs that are brand new for the New Year!! Here goes:
"A New Life" by Jim James (from My Morning Jacket): Jim's latest album is called "Regions of Light and Sounds of God". His newest song, "A New Life", SOUNDS like it came from God within a region of light!! There's something heavenly, in the most authentic sense of the term, about "A New Life". It doesn't sound like the Grateful Dead-meets-Flaming Lips type sound that MMJ became known for in their later years, but more like the gentle, breezy folk-rock of their debut song, "Golden". In fact, "A New Life" is even MORE gentle and breezy than "Golden" was. It's absolutely exhilarating how "A New Life" climaxes! It starts off with Jim's vocals behind a lightly strummed acoustic guitar, then the guitar gets strummed more clearly, and from there, new instruments get added in gradually, starting with a tinkly piano, then a string section, drums, and finally a...saxophone?! Well, it fits in this song!! I don't know how it does, but it does! I feel like I just died and went to heaven. Therefore, I think "A New Life" is a very fitting title for such an ethereal, other-worldly song!!
"Bigger Than Love" by Benjamin Gibbard (from Death Cab for Cutie), featuring Aimee Mann: Although Ben has done better material with Death Cab, there are a couple things I really like about his latest song, "Bigger Than Love". First of all, it features power pop chanteuse Aimee Mann, which is great, not only because I love her music, but also because she just put out an album of her own in summer of 2012, so she's quite a busy woman! It's also really neat that the song has gotten popularity among YouTube viewers because of its performance on "The Colbert Report". The best thing about "Bigger Than Love", though, to me, is how it was inspired by the love letters that were written between F. Scott Fitzgerald, and his wife, Zelda. Actually, that's quite fitting, considering that there's supposed to be a "Great Gatsby" movie coming out soon. Wonder if this song will be featured on the soundtrack?!
"Come Unto Me" by The Mavericks: I thought I knew The Mavericks from their bouncy country-pop/rock song, "I Wanna Know", but this song sounds different from that (and much better!!) "Come Unto Me" is more than just country-rock. There seems to be a sort of Mexican flavor to it, as well as an exotic, gypsy-ish chord progression in the middle of the song. This song could easily be mistaken for a Los Lobos song, and they are a great band! Who knew that one of the first songs of 2013 would also be one of the spiciest?! I didn't, but I'm sure glad I heard it!!
"I'm In, I'm Out, And I'm Gone" by Ben Harper and Charlie Musselwhite: This song starts out with a riff that has been used in countless rock and roll songs, from The Yardbirds' "I'm A Man" to The Black Keys' "Howlin' For You". "I'm In, I'm Out, And I'm Gone" rarely strays from its two chord vamp used in the verses (in fact, the only other chord used in the song comes in during the chorus). This isn't progressive rock, classical, or jazz, though, this is the blues, and blues chords are supposed to have a simple progression!! Some killer harmonica solos on this song, too, so great, that they probably have the power to make the spirit of Muddy Waters come out and groove to the music!
"Ramona" by Night Beds: The bittersweet vocals of this song, which sound halfway between Rufus Wainwright and Ryan Adams, as well as its swooning, swaying guitars, make "Ramona" quite a fitting song from the wintertime. Lyrically, "Ramona" is quite a sad song as well, about the titular girl's separation from both her family and herself, and the anxiety that results from her trying to deal with such situations. It seems as though lead singer Winston Yellen is frustrated, too, as he urges Ramona to "f**k what they taught ya" ("they" probably referring to her family, or perhaps society in general) in the song. Now is the winter of our discontent!!
"The Woodpile" by Frightened Rabbit: This is a good song, but a bit of a letdown for me as far as Frightened Rabbit's material is concerned. I first heard about the Scottish folk-rock group, Frightened Rabbit, in March 2010, when they released "Swim Until You Can't See Land", a gentle, bittersweet song that I have come to love ever since! "The Woodpile" is different than that. It's a bit more plain old bitter than it is bittersweet (though it is still melodic), and the acoustic/electric guitar melding I got used to hearing from "Swim Until You Can't See Land" is now completely electric, with a sound that is somewhat similar to Death Cab for Cutie's earlier material. Even the opening lyrics of "The Woodpile" suggest an all new getup for Frightened Rabbit, mentioning "electric floors", "red meat markets", and "fire doors", all conjuring up vivid yet provocative imagery. I guess Frightened Rabbit aren't so frightened anymore!! They are now the ones facing their fears and taking action!
"Where Are We Now?" by David Bowie: Last, but certainly not least, is the most anticipated new song (so far) of 2013, from none other than the Thin White Duke himself!! It's not one of Bowie's most rockin' numbers, but it doesn't need to be, because...ummm...oh yeah, he's DAVID BOWIE!! He can do anything, and it's bound to impress someone! "Where Are We Now?" is one of the most impressive songs Bowie has ever done!! It is almost like a "crooner" song for someone like him, but it is far more philosophical than it is a love song. It's great to see that, after more than 60 years into his life, David Bowie is still contemplating deep thoughts. What can I say, Bowie is like a fine wine. He only gets better as time goes on!!
"A New Life" by Jim James (from My Morning Jacket): Jim's latest album is called "Regions of Light and Sounds of God". His newest song, "A New Life", SOUNDS like it came from God within a region of light!! There's something heavenly, in the most authentic sense of the term, about "A New Life". It doesn't sound like the Grateful Dead-meets-Flaming Lips type sound that MMJ became known for in their later years, but more like the gentle, breezy folk-rock of their debut song, "Golden". In fact, "A New Life" is even MORE gentle and breezy than "Golden" was. It's absolutely exhilarating how "A New Life" climaxes! It starts off with Jim's vocals behind a lightly strummed acoustic guitar, then the guitar gets strummed more clearly, and from there, new instruments get added in gradually, starting with a tinkly piano, then a string section, drums, and finally a...saxophone?! Well, it fits in this song!! I don't know how it does, but it does! I feel like I just died and went to heaven. Therefore, I think "A New Life" is a very fitting title for such an ethereal, other-worldly song!!
"Bigger Than Love" by Benjamin Gibbard (from Death Cab for Cutie), featuring Aimee Mann: Although Ben has done better material with Death Cab, there are a couple things I really like about his latest song, "Bigger Than Love". First of all, it features power pop chanteuse Aimee Mann, which is great, not only because I love her music, but also because she just put out an album of her own in summer of 2012, so she's quite a busy woman! It's also really neat that the song has gotten popularity among YouTube viewers because of its performance on "The Colbert Report". The best thing about "Bigger Than Love", though, to me, is how it was inspired by the love letters that were written between F. Scott Fitzgerald, and his wife, Zelda. Actually, that's quite fitting, considering that there's supposed to be a "Great Gatsby" movie coming out soon. Wonder if this song will be featured on the soundtrack?!
"Come Unto Me" by The Mavericks: I thought I knew The Mavericks from their bouncy country-pop/rock song, "I Wanna Know", but this song sounds different from that (and much better!!) "Come Unto Me" is more than just country-rock. There seems to be a sort of Mexican flavor to it, as well as an exotic, gypsy-ish chord progression in the middle of the song. This song could easily be mistaken for a Los Lobos song, and they are a great band! Who knew that one of the first songs of 2013 would also be one of the spiciest?! I didn't, but I'm sure glad I heard it!!
"I'm In, I'm Out, And I'm Gone" by Ben Harper and Charlie Musselwhite: This song starts out with a riff that has been used in countless rock and roll songs, from The Yardbirds' "I'm A Man" to The Black Keys' "Howlin' For You". "I'm In, I'm Out, And I'm Gone" rarely strays from its two chord vamp used in the verses (in fact, the only other chord used in the song comes in during the chorus). This isn't progressive rock, classical, or jazz, though, this is the blues, and blues chords are supposed to have a simple progression!! Some killer harmonica solos on this song, too, so great, that they probably have the power to make the spirit of Muddy Waters come out and groove to the music!
"Ramona" by Night Beds: The bittersweet vocals of this song, which sound halfway between Rufus Wainwright and Ryan Adams, as well as its swooning, swaying guitars, make "Ramona" quite a fitting song from the wintertime. Lyrically, "Ramona" is quite a sad song as well, about the titular girl's separation from both her family and herself, and the anxiety that results from her trying to deal with such situations. It seems as though lead singer Winston Yellen is frustrated, too, as he urges Ramona to "f**k what they taught ya" ("they" probably referring to her family, or perhaps society in general) in the song. Now is the winter of our discontent!!
"The Woodpile" by Frightened Rabbit: This is a good song, but a bit of a letdown for me as far as Frightened Rabbit's material is concerned. I first heard about the Scottish folk-rock group, Frightened Rabbit, in March 2010, when they released "Swim Until You Can't See Land", a gentle, bittersweet song that I have come to love ever since! "The Woodpile" is different than that. It's a bit more plain old bitter than it is bittersweet (though it is still melodic), and the acoustic/electric guitar melding I got used to hearing from "Swim Until You Can't See Land" is now completely electric, with a sound that is somewhat similar to Death Cab for Cutie's earlier material. Even the opening lyrics of "The Woodpile" suggest an all new getup for Frightened Rabbit, mentioning "electric floors", "red meat markets", and "fire doors", all conjuring up vivid yet provocative imagery. I guess Frightened Rabbit aren't so frightened anymore!! They are now the ones facing their fears and taking action!
"Where Are We Now?" by David Bowie: Last, but certainly not least, is the most anticipated new song (so far) of 2013, from none other than the Thin White Duke himself!! It's not one of Bowie's most rockin' numbers, but it doesn't need to be, because...ummm...oh yeah, he's DAVID BOWIE!! He can do anything, and it's bound to impress someone! "Where Are We Now?" is one of the most impressive songs Bowie has ever done!! It is almost like a "crooner" song for someone like him, but it is far more philosophical than it is a love song. It's great to see that, after more than 60 years into his life, David Bowie is still contemplating deep thoughts. What can I say, Bowie is like a fine wine. He only gets better as time goes on!!
Wednesday, September 12, 2012
New songs for September 12th, 2012
here they are:
"Fire Bug" by JD McPherson: The greatest '50s rock sensation that never was had a big hit on the adult alt charts earlier this year with "North Side Gal", and now he's burnin' up those charts again with his latest song, "Fire Bug"! With its pounding Jerry Lee Lewis style pianos, Chuck Berry style guitars, and soulful saxophones, "Fire Bug" sounds like the perfect song for a 1950's diner to be playing. Like "North Side Gal", "Fire Bug" is yet another song about an object of JD's affections. An ordinary subject, but an extraordinary song, so much so, that it probably wouldn't matter what JD sang about, as long as he delivered it with enough passion and energy!
"Let Me Lie" by Trey Anastasio: For a jam band aficionado, you'd probably expect a more complex, or at least a more electric guitar oriented song from Phish's leading man. But no, Trey has decided to mellow out and unplug for his latest song, "Let Me Lie". Even the lyrics ("Gonna take my bike out, gonna take my bike, gonna ride it slowly, ride it just how I like") suggest that Trey doesn't want to go all Jerry Garcia on us this time like he usually does, he just wants to take a break from all that fast paced life out on the road. For a man who's been jammin' his brains out for more than 20 years, both with and without Phish, I'd say that "Let Me Lie" is a well deserved break for Trey. Not that I don't enjoy it when he jams, though, he's great at that!!
"Love Is A Fire" by Courrier: With a sound that comes halfway between Snow Patrol and The Killers, Courrier already seem poised for success with their debut single, "Love Is A Fire". Somehow, though, even though Courrier have a solid, dynamic, appealing sound, something seems missing from their music. Perhaps because their lyrics (like the chorus, "Can you hear my heart, hear my heart now? Love is a fire and it's burning me down") seem ordinary in comparison to those that Gary Lightbody and Brandon Flowers typically deliver in their music. Courrier don't even seem to have the "tight harmony" concept that make songs by groups like Scars on 45 so profound sounding to me. Yet somehow, I still like Courrier, and I still like this song. It's not bad. I just think it needs a little improvement, and I think that Courrier have potential to make better songs.
"1957" by Milo Greene: Has it somehow become a trend to use 20th century years in indie-pop/rock song titles?! First there was Phoenix's "1901", and earlier this year, The Tallest Man on Earth put out a song called "1904". Now, thanks to Milo Greene (a band, not a person), we have our third "year song" in the indie-pop category, "1957". "1957" also utilizes other trends in indie-pop/rock. Like Of Monsters and Men, Edward Sharpe and The Magnetic Zeros, The Civil Wars, and The Lumineers, Milo Greene are a band that plays bittersweet folk-rock with a guy and girl sharing vocals, somewhat like a modern day Mamas and Papas. The video for the song is particularly interesting, in that it plays out like a three and a half minute version of current indie flick, "Ruby Sparks". The guy in the video appears to be writing a story about this girl, he falls for her, she appears to be real, but she turns out to (more than likely) just be imaginary. Surreal enough for ya?! The video can be viewed at http://www.youtube.com/watch?v=k8Mc8YRigmw
"Teardrop Windows" by Benjamin Gibbard: So Death Cab's leading man has finally decided to go solo, eh? Well, it sounds like...ummm...not that different from Death Cab themselves. However, "Teardrop Windows" is a relief for me since its sound hearkens back to the bittersweet folk-rock Death Cab initially became known for, as opposed to the more electronic flourishes of more recent Death Cab songs like "You Are A Tourist" and "Underneath the Sycamore". As you might expect from a song with the word "teardrop" in the title, "Teardrop Windows" has both a moody sound and moody lyrics (even the opening lyrics, "Teardrop windows crying at the sky, he's all alone and wondering why"). But Ben doesn't let the tears flow too hard in "Teardrop Windows", since the song has a somewhat catchy backbeat, as well as a good balance of major and minor chords throughout the song.
"Fire Bug" by JD McPherson: The greatest '50s rock sensation that never was had a big hit on the adult alt charts earlier this year with "North Side Gal", and now he's burnin' up those charts again with his latest song, "Fire Bug"! With its pounding Jerry Lee Lewis style pianos, Chuck Berry style guitars, and soulful saxophones, "Fire Bug" sounds like the perfect song for a 1950's diner to be playing. Like "North Side Gal", "Fire Bug" is yet another song about an object of JD's affections. An ordinary subject, but an extraordinary song, so much so, that it probably wouldn't matter what JD sang about, as long as he delivered it with enough passion and energy!
"Let Me Lie" by Trey Anastasio: For a jam band aficionado, you'd probably expect a more complex, or at least a more electric guitar oriented song from Phish's leading man. But no, Trey has decided to mellow out and unplug for his latest song, "Let Me Lie". Even the lyrics ("Gonna take my bike out, gonna take my bike, gonna ride it slowly, ride it just how I like") suggest that Trey doesn't want to go all Jerry Garcia on us this time like he usually does, he just wants to take a break from all that fast paced life out on the road. For a man who's been jammin' his brains out for more than 20 years, both with and without Phish, I'd say that "Let Me Lie" is a well deserved break for Trey. Not that I don't enjoy it when he jams, though, he's great at that!!
"Love Is A Fire" by Courrier: With a sound that comes halfway between Snow Patrol and The Killers, Courrier already seem poised for success with their debut single, "Love Is A Fire". Somehow, though, even though Courrier have a solid, dynamic, appealing sound, something seems missing from their music. Perhaps because their lyrics (like the chorus, "Can you hear my heart, hear my heart now? Love is a fire and it's burning me down") seem ordinary in comparison to those that Gary Lightbody and Brandon Flowers typically deliver in their music. Courrier don't even seem to have the "tight harmony" concept that make songs by groups like Scars on 45 so profound sounding to me. Yet somehow, I still like Courrier, and I still like this song. It's not bad. I just think it needs a little improvement, and I think that Courrier have potential to make better songs.
"1957" by Milo Greene: Has it somehow become a trend to use 20th century years in indie-pop/rock song titles?! First there was Phoenix's "1901", and earlier this year, The Tallest Man on Earth put out a song called "1904". Now, thanks to Milo Greene (a band, not a person), we have our third "year song" in the indie-pop category, "1957". "1957" also utilizes other trends in indie-pop/rock. Like Of Monsters and Men, Edward Sharpe and The Magnetic Zeros, The Civil Wars, and The Lumineers, Milo Greene are a band that plays bittersweet folk-rock with a guy and girl sharing vocals, somewhat like a modern day Mamas and Papas. The video for the song is particularly interesting, in that it plays out like a three and a half minute version of current indie flick, "Ruby Sparks". The guy in the video appears to be writing a story about this girl, he falls for her, she appears to be real, but she turns out to (more than likely) just be imaginary. Surreal enough for ya?! The video can be viewed at http://www.youtube.com/watch?v=k8Mc8YRigmw
"Teardrop Windows" by Benjamin Gibbard: So Death Cab's leading man has finally decided to go solo, eh? Well, it sounds like...ummm...not that different from Death Cab themselves. However, "Teardrop Windows" is a relief for me since its sound hearkens back to the bittersweet folk-rock Death Cab initially became known for, as opposed to the more electronic flourishes of more recent Death Cab songs like "You Are A Tourist" and "Underneath the Sycamore". As you might expect from a song with the word "teardrop" in the title, "Teardrop Windows" has both a moody sound and moody lyrics (even the opening lyrics, "Teardrop windows crying at the sky, he's all alone and wondering why"). But Ben doesn't let the tears flow too hard in "Teardrop Windows", since the song has a somewhat catchy backbeat, as well as a good balance of major and minor chords throughout the song.
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