here they are:
"Gibraltar" by Beirut: Beirut Folds Five?! Kinda sounds like that's the route that Beirut are taking with their latest song, "Gibraltar", albeit with added influence from both lounge music and African drumming as well. Beirut's musical selection is as enigmatic as the origin of their name (which I still have yet to find out, amazingly). It's nice to hear Beirut depart from the synthesizer sound they went for on their other two adult alt radio hits ("Santa Fe" and "No No No") and put in an unplugged keyboard sound in its place in "Gibraltar". On the downside, though, "Gibraltar" is also missing the trademark muted horns that Beirut have used on both radio faves and fan faves among their material. No matter, though, as Beirut continue to amaze me with each new musical adventure they attempt!
"Han Solo" by Bob Schneider: Between this song title and the title of Bob's song "Captain Kirk", I'm kinda convinced that Bob Schneider has a nerdy side that he doesn't often reveal in his other songs and performances. Apparently the title of the song is used as a term of affection for either a close friend or girlfriend that he wants to ensure protection for. This song ranks among the more reflective, slightly bittersweet songs in Bob's catalog and has a somewhat Snow Patrol-ish sound like "40 Dogs (Like Romeo And Juliet)" and "Swimming In the Sea" did. Though I have no problem with the happier sounding Bob Schneider tunes (like "Let the Light In" and "The Stars Over Your House"), I kinda think Bob is at his best when he does more wistful sounding songs like "Han Solo".
"Never Come Back Again" by Austin Plaine: The title of this song might sound like the name of an angry breakup tune, but it's actually anything but. "Never Come Back Again" by folk/alt-country newcomer, Austin Plaine, is actually a song about having adventure out in nature that's so exciting that you want to "feel what it's like to never come back again". The song is one of those songs that fits perfectly with the end of a long trip home on the freeway at sunset, and such imagery fits perfectly with the haunting yet blissful "let's get lost" lyrics of the song. One listen to this song, and you really will want to "never come back again"!
"Record High, Record Low" by Givers: Givers were an energetic indie-pop sextet who debuted in summer 2011 and made all of 2011 (and some of early 2012) feel like summer all year long with relentlessly happy songs like "Up Up Up", "Saw You First", and "Ceiling of Plankton". Givers' summery vibe continues to glow and radiate with their latest song, "Record High, Record Low", which differs from their other three hit songs in that it gives backing vocalist Tiffany Lamson a time to shine in the limelight by taking on the lead vocals of the song instead of the background (I guess there's a good reason they're called "Givers" after all!) The title's deliberate use of opposites next to each other has been thought by some to be an allusion to the famous Charles Dickens quote, "It was the best of times, it was the worst of times". I'm pretty sure Dickens didn't want his audience to feel like they were at a dance party on the beach, though, which Givers clearly do here!
"Talk to Me" by Kopecky: The main riff of Fleetwood Mac's "Rhiannon" filtered through a Blondie-ish musical lens doesn't seem like it would gel together too well, but that's pretty much what Kopecky does here with their latest song, "Talk to Me". Fleetwood Mac seems to have influenced Kopecky here lyrically as well as musically, as the song seems to be about a relationship on the brink like many of the songs on "Rumours" were. Between this song and the surprisingly rockin' "Quarterback" from spring of this year, I feel as if Kopecky want to up their rock 'n' roll quotient on their latest album. Perhaps another single or two from that album will answer my question either later this year or sometime next year.
"The Joke Explained" by Wilco: Wilco have attempted to emulate Bob Dylan's musical style many times, but "The Joke Explained" is probably their finest moment so far in terms of emulating Dylan's lyrical style. The lyrics of the song are rather mysterious and oblique, but it almost seems as though they're meant to be that way. Lyrics like "I sweat tears but don't ever cry" and "I laugh at a joke explained" seem like they were taken straight from the Dylan handbook! Musically, "The Joke Explained" kinda sounds like something from Bob's catalog as well, but with equal parts Lou Reed and Neil Young thrown in for good measure.
"The World Ender" by Lord Huron: Think Lord Huron are just some dreamy sounding indie-folk band?! Well "The World Ender" will probably get you to rethink your stance on their music, if that's the case! The sound of the song is somewhat ethereal, like most of LH's material, but it's also the closest the band have gotten to rock 'n' roll so far, with its sound and delivery somewhat reminiscent of both Elvis and Johnny Cash. The lyrical imagery of "The World Ender" isn't exactly dreamy either (although what would you expect with a title like "The World Ender"?!) Lead vocalist Ben Schneider claims in the chorus that he's "the world ender" and that he's "back from the dead". How apt for Halloween! Speaking of which, a LOT of the titles on LH's latest album seem to have Halloween related themes, like "Love Like Ghosts", "Dead Man's Hand", and "Cursed". Looks like I'll have quite a bit of LH music on my Halloween playlist this year!! Muahahahaahhaahahaha!!
"Unsteady" by X Ambassadors: X Ambassadors are responsible for one of this summer's greatest earworms!! Even saying "Hey hey hey, livin' like we're renegades" without singing it will probably cause the song to weasel its way into your head somehow. This gives X Ambassadors' second big song, "Unsteady", a marked contrast to "Renegades". Not that "Unsteady" isn't catchy, but it is a much more sensitive and heartfelt song in comparison to the more carefree vibe of "Renegades". There seems to be a little bit of millennially styled soft rock cheese in "Unsteady" (The Fray, anyone?), but that doesn't detract completely from the message X Ambassadors are trying to convey on "Unsteady", which is an apt adjective to describe Sam Harris' quavering, achy vocals on this song! Perhaps if the production on this song weren't so polished up I'd like this song better, but it certainly isn't a bad one.
Showing posts with label Bob Schneider. Show all posts
Showing posts with label Bob Schneider. Show all posts
Wednesday, October 28, 2015
Wednesday, May 13, 2015
New songs for May 13th 2015
here they are:
"It Takes a Lot to Know a Man" by Damien Rice: It sure does!! Wow! Didn't think Damien had it in him to do a song that surpasses the length of "Stairway to Heaven" by about a minute and a half, but this is exactly what he does in "It Takes a Lot to Know a Man". Damien's songs are typically sad, but this one takes the melodrama of his music to a whole other level! The ending lyrics of the song are when it reaches its zenith. The phrase "What are you so afraid to lose?" becomes a mantra, and leads into what is perhaps the most intense mood I've ever heard in a Damien Rice song, as his voice and the background vocals argue with each other about their innermost insecurities.
"Most In the Summertime" by Rhett Miller (featuring Black Prairie): Just in time for the coming season, this is probably one of the most upbeat songs in both Rhett Miller's catalog and Black Prairie's. It is a mellow but catchy country-rock ditty in which the lyrics concern themselves with the simple pleasures of life. Well, perhaps other kinds of "pleasures" as well, as the chorus indicates that Rhett and Jenny (Black Prairie's lead singer) have their "clothes off, hangin' on the line". But hey, that's what summer's for, isn't it?!
"Scared" by Delta Rae: "Scared", eh?! Well, perhaps the reason why is because this song is different from Delta Rae's other material in two ways. First of all, one of the men in the group sings lead vocals, unlike Elizabeth Hopkins, who usually does so, and second of all, its sound resembles the "neo-soul" of groups like Fitz and The Tantrums more than it does the folk sound of their typical material. The "scare" factor here is really the uncertainty of whether a romance is going to work out, and the song's combination of minor key and catchy beat are enough to keep you on the edge of your seat!
"Song For Someone" by U2: After the anthemic rock vibes of "The Miracle (Of Joey Ramone)" and "Every Breaking Wave", U2's third single from "Songs of Innocence", "Song For Someone", has a more laid-back and poignant feel to it. Whoever "someone" is, they must have been incredibly important to U2 for them to make such a moving song in which the lyrics tug at the heartstrings as much as the music does. The chorus of the song pretty much defines it with its opening words, "If there is a light, you can always see, and if there is a world, we can always be. If there is a dark within and without, and there is a light, don't let it go out". For those who are in touch with their sensitive side, I highly recommend this song!
"The Stars Over Your House" by Bob Schneider: Ever since Bob Schneider's adult alt radio breakthrough with "40 Dogs (Like Romeo And Juliet)", a lot of his songs have had somewhat of a moody streak, albeit laden with sentimentality in most cases, with the exception of the surprisingly hard-rocking "Unpromised Land". "The Stars Over Your House" seems like a much needed feel-good song in his catalog that he had more in his early days than the later ones. The "oh-oo-woh"s and "yea-ee-yeah"s that punctuate the verses, along with the harmony of the backing vocals, and just the chipper feel of the song in general, are all aspects that make "The Stars Over Your House" the perfect equivalent of a pop chart hit for indie fans.
"True Affection" by Father John Misty: Or as I like to call it, Father John Misty...IN SPAAAACCCE!!! FJM hasn't really used synthesized instruments in his music until now, and boy, does he use them!! The beginning of the song doesn't sound that far off from what you might hear when someone is playing an arcade game! It kinda sounds like one of the trippier Radiohead songs, in particular, songs like "Lotus Flower" and "Staircase". The song basically has only one verse that's repeated twice (with the second verse having only a slight difference in lyrical content), and it doesn't veer from its A minor chord at all, which gives the song a bit of a "static" flavor. FJM, meet LSD!
"24 Frames" by Jason Isbell: Right from the beginning of the song, you can tell it's gonna be a sad one, since the opening lyrics are "This is how you make yourself vanish into nothing". Thankfully, it's not a bleak sadness, but a bittersweet one, and Jason Isbell does an excellent job of pouring his heart and soul into "24 Frames". Its sound is reminiscent of the songs from R.E.M.'s album, "Automatic for the People", and that sound is not just coincidence. It turns out that Jason's band, Drive-by Truckers, was based in Athens, Georgia, the same town R.E.M. hails from! As for the title of the song, it is taken from how many frames roll per second during a movie, which is how life itself is portrayed in "24 Frames". Jason has truly outdone himself this time!!
"Woman (Oh Mama)" by Joy Williams: One half of folk-rock duo, The Civil Wars, Joy Williams' debut solo song is basically like a Celtic version of Depeche Mode's "Personal Jesus" in terms of how it sounds. As the title of the song implies, this is Joy's ode to the spirit of femininity. The one complaint I have about this song is that she seems to be expressing her thoughts as though she is stereotyping those who speak "broken" English, though I'm not sure if this is intentional. Each line of each verse starts with the word "woman" and is followed by a verb of some sort, which reminds me of how Cookie Monster speaks ("Me want cookie!"), or perhaps the Hulk ("Hulk smash!") Why she is choosing to speak this way, I have no idea, but I do appreciate the sentiment she has intended in the song, as well as the way it sounds.
"It Takes a Lot to Know a Man" by Damien Rice: It sure does!! Wow! Didn't think Damien had it in him to do a song that surpasses the length of "Stairway to Heaven" by about a minute and a half, but this is exactly what he does in "It Takes a Lot to Know a Man". Damien's songs are typically sad, but this one takes the melodrama of his music to a whole other level! The ending lyrics of the song are when it reaches its zenith. The phrase "What are you so afraid to lose?" becomes a mantra, and leads into what is perhaps the most intense mood I've ever heard in a Damien Rice song, as his voice and the background vocals argue with each other about their innermost insecurities.
"Most In the Summertime" by Rhett Miller (featuring Black Prairie): Just in time for the coming season, this is probably one of the most upbeat songs in both Rhett Miller's catalog and Black Prairie's. It is a mellow but catchy country-rock ditty in which the lyrics concern themselves with the simple pleasures of life. Well, perhaps other kinds of "pleasures" as well, as the chorus indicates that Rhett and Jenny (Black Prairie's lead singer) have their "clothes off, hangin' on the line". But hey, that's what summer's for, isn't it?!
"Scared" by Delta Rae: "Scared", eh?! Well, perhaps the reason why is because this song is different from Delta Rae's other material in two ways. First of all, one of the men in the group sings lead vocals, unlike Elizabeth Hopkins, who usually does so, and second of all, its sound resembles the "neo-soul" of groups like Fitz and The Tantrums more than it does the folk sound of their typical material. The "scare" factor here is really the uncertainty of whether a romance is going to work out, and the song's combination of minor key and catchy beat are enough to keep you on the edge of your seat!
"Song For Someone" by U2: After the anthemic rock vibes of "The Miracle (Of Joey Ramone)" and "Every Breaking Wave", U2's third single from "Songs of Innocence", "Song For Someone", has a more laid-back and poignant feel to it. Whoever "someone" is, they must have been incredibly important to U2 for them to make such a moving song in which the lyrics tug at the heartstrings as much as the music does. The chorus of the song pretty much defines it with its opening words, "If there is a light, you can always see, and if there is a world, we can always be. If there is a dark within and without, and there is a light, don't let it go out". For those who are in touch with their sensitive side, I highly recommend this song!
"The Stars Over Your House" by Bob Schneider: Ever since Bob Schneider's adult alt radio breakthrough with "40 Dogs (Like Romeo And Juliet)", a lot of his songs have had somewhat of a moody streak, albeit laden with sentimentality in most cases, with the exception of the surprisingly hard-rocking "Unpromised Land". "The Stars Over Your House" seems like a much needed feel-good song in his catalog that he had more in his early days than the later ones. The "oh-oo-woh"s and "yea-ee-yeah"s that punctuate the verses, along with the harmony of the backing vocals, and just the chipper feel of the song in general, are all aspects that make "The Stars Over Your House" the perfect equivalent of a pop chart hit for indie fans.
"True Affection" by Father John Misty: Or as I like to call it, Father John Misty...IN SPAAAACCCE!!! FJM hasn't really used synthesized instruments in his music until now, and boy, does he use them!! The beginning of the song doesn't sound that far off from what you might hear when someone is playing an arcade game! It kinda sounds like one of the trippier Radiohead songs, in particular, songs like "Lotus Flower" and "Staircase". The song basically has only one verse that's repeated twice (with the second verse having only a slight difference in lyrical content), and it doesn't veer from its A minor chord at all, which gives the song a bit of a "static" flavor. FJM, meet LSD!
"24 Frames" by Jason Isbell: Right from the beginning of the song, you can tell it's gonna be a sad one, since the opening lyrics are "This is how you make yourself vanish into nothing". Thankfully, it's not a bleak sadness, but a bittersweet one, and Jason Isbell does an excellent job of pouring his heart and soul into "24 Frames". Its sound is reminiscent of the songs from R.E.M.'s album, "Automatic for the People", and that sound is not just coincidence. It turns out that Jason's band, Drive-by Truckers, was based in Athens, Georgia, the same town R.E.M. hails from! As for the title of the song, it is taken from how many frames roll per second during a movie, which is how life itself is portrayed in "24 Frames". Jason has truly outdone himself this time!!
"Woman (Oh Mama)" by Joy Williams: One half of folk-rock duo, The Civil Wars, Joy Williams' debut solo song is basically like a Celtic version of Depeche Mode's "Personal Jesus" in terms of how it sounds. As the title of the song implies, this is Joy's ode to the spirit of femininity. The one complaint I have about this song is that she seems to be expressing her thoughts as though she is stereotyping those who speak "broken" English, though I'm not sure if this is intentional. Each line of each verse starts with the word "woman" and is followed by a verb of some sort, which reminds me of how Cookie Monster speaks ("Me want cookie!"), or perhaps the Hulk ("Hulk smash!") Why she is choosing to speak this way, I have no idea, but I do appreciate the sentiment she has intended in the song, as well as the way it sounds.
Wednesday, November 6, 2013
New songs for November 6th, 2013
here they are:
"Holding On For Life" by Broken Bells: For the first time since the start of the 2010's, The Shins' James Mercer and Gnarls Barkley's Brian "Danger Mouse" Burton are back together again for a new album called "After the Disco"! An appropriate title, considering the disco influence that Danger Mouse brings into their latest song, "Holding On For Life". The folk-y acoustic strums in the background of the song make it very much of a James Mercer tune as well. Songs like this one are proof that sometimes, two heads are better than one! As Danger Mouse pumps disco/techno beats into "Holding On For Life", James adds in enigmatically soul searching lyrics, lush, mellow harmonies, and folk-rock influence, and together, the elements of the song melt into a nice, tasty, out of this world stew!
"She Lit A Fire" by Lord Huron: Lord Huron first hit the adult alt airwaves last November with their dreamily psychedelic song, "Time to Run". Now, exactly one November later, the dreaminess of Lord Huron has come around a second time with "She Lit A Fire". Between this song and "Time to Run", I'm starting to notice a lyrical theme in Lord Huron's music. They seem to write love songs, but they do so using really abstract lyrics and evocative imagery. The chorus of the song states that the girl of the lead singer's affections "lit a fire, and now she's in (his) every thought", so the love theme here is pretty obvious, but what makes the song so special to me is the ultra-mellow, acoustic guitar based sound the song uses, as well as the imagery of deserts, mountains, seas, and (of course) fire. This is the song all the hippies merely wish they had written!
"Swimming In the Sea" by Bob Schneider: And now, more indie-pop love poetry featuring lyrics that evoke nature (specifically fish and the sea, this time around)!! This is certainly not a bad thing, though. After all, Bob Schneider is one of those people who has a way of making love songs sound dreamy in a good way, rather than a cheesy one. It seems like he was quite influenced by Snow Patrol when he did "Swimming In the Sea", at least musically. The lyrics here seem to concern love at first sight, rather than a more general love theme, but the sentiments of falling in love certainly abound in this song!
"This Lonely Morning" by Best Coast: The Los Angelean duo of the fun but sassy Bethany Cosentino and her bandmate Bobb Bruno are doing what they do best on their latest tune, "This Lonely Morning". That is to say, they are making fun, summery music that mixes the sunny pop of early Beach Boys music with the sneaky indie-pop snark of Rilo Kiley. "This Lonely Morning" is anything BUT lonely!! Well, musically, at least. The lyrics are a bit darker than the song itself, as Bethany is "running from (her)self this time", and stating (negatively) how her "feelings never change". Perhaps this is the reason they released the song in fall instead of summer?! Because otherwise, it totally sounds like a summer song, like pretty much all of their material tends to!
"Workin' Woman Blues" by Valerie June: Valerie June first sizzled her way onto the adult alt airwaves in the summer of this year, with her Black Keys-esque (and Dan Auerbach produced) blues-rocker, "You Can't Be Told". Despite the use of the word "blues" in the title of Valerie's "Workin' Woman Blues", its sound more suggests a blend of folk, soul, and jazz that people like Joan Armatrading were known for using in the mid 1970's. It's the lyrics of the song that bring the "blues" part into the title. Valerie is clearly worn out from all the demands people put on women of being mothers, wives, etc. in the song, and addresses the issue of poverty in it as well. Definitely worth listening to, especially for those who identify with oppression, whether the roots of it are sexual or political (or both).
"Holding On For Life" by Broken Bells: For the first time since the start of the 2010's, The Shins' James Mercer and Gnarls Barkley's Brian "Danger Mouse" Burton are back together again for a new album called "After the Disco"! An appropriate title, considering the disco influence that Danger Mouse brings into their latest song, "Holding On For Life". The folk-y acoustic strums in the background of the song make it very much of a James Mercer tune as well. Songs like this one are proof that sometimes, two heads are better than one! As Danger Mouse pumps disco/techno beats into "Holding On For Life", James adds in enigmatically soul searching lyrics, lush, mellow harmonies, and folk-rock influence, and together, the elements of the song melt into a nice, tasty, out of this world stew!
"She Lit A Fire" by Lord Huron: Lord Huron first hit the adult alt airwaves last November with their dreamily psychedelic song, "Time to Run". Now, exactly one November later, the dreaminess of Lord Huron has come around a second time with "She Lit A Fire". Between this song and "Time to Run", I'm starting to notice a lyrical theme in Lord Huron's music. They seem to write love songs, but they do so using really abstract lyrics and evocative imagery. The chorus of the song states that the girl of the lead singer's affections "lit a fire, and now she's in (his) every thought", so the love theme here is pretty obvious, but what makes the song so special to me is the ultra-mellow, acoustic guitar based sound the song uses, as well as the imagery of deserts, mountains, seas, and (of course) fire. This is the song all the hippies merely wish they had written!
"Swimming In the Sea" by Bob Schneider: And now, more indie-pop love poetry featuring lyrics that evoke nature (specifically fish and the sea, this time around)!! This is certainly not a bad thing, though. After all, Bob Schneider is one of those people who has a way of making love songs sound dreamy in a good way, rather than a cheesy one. It seems like he was quite influenced by Snow Patrol when he did "Swimming In the Sea", at least musically. The lyrics here seem to concern love at first sight, rather than a more general love theme, but the sentiments of falling in love certainly abound in this song!
"This Lonely Morning" by Best Coast: The Los Angelean duo of the fun but sassy Bethany Cosentino and her bandmate Bobb Bruno are doing what they do best on their latest tune, "This Lonely Morning". That is to say, they are making fun, summery music that mixes the sunny pop of early Beach Boys music with the sneaky indie-pop snark of Rilo Kiley. "This Lonely Morning" is anything BUT lonely!! Well, musically, at least. The lyrics are a bit darker than the song itself, as Bethany is "running from (her)self this time", and stating (negatively) how her "feelings never change". Perhaps this is the reason they released the song in fall instead of summer?! Because otherwise, it totally sounds like a summer song, like pretty much all of their material tends to!
"Workin' Woman Blues" by Valerie June: Valerie June first sizzled her way onto the adult alt airwaves in the summer of this year, with her Black Keys-esque (and Dan Auerbach produced) blues-rocker, "You Can't Be Told". Despite the use of the word "blues" in the title of Valerie's "Workin' Woman Blues", its sound more suggests a blend of folk, soul, and jazz that people like Joan Armatrading were known for using in the mid 1970's. It's the lyrics of the song that bring the "blues" part into the title. Valerie is clearly worn out from all the demands people put on women of being mothers, wives, etc. in the song, and addresses the issue of poverty in it as well. Definitely worth listening to, especially for those who identify with oppression, whether the roots of it are sexual or political (or both).
Wednesday, April 3, 2013
New songs for April 3rd, 2013
here they are:
"If I Loved You" by Delta Rae and Lindsey Buckingham: As was once said in the title of a Fleetwood Mac song, "Heroes Are Hard to Find". For contemporary folk-rock group, Delta Rae, the opposite is true, their hero was easy to find, and he just happened to be a Fleetwood Mac member as well! Delta Rae's second big song, "If I Loved You", lacks the Adele-meets-Odetta-ish intensity and depth of "Bottom of the River", but it is still worth listening to nonetheless. It is a much lighter affair than that, musically, and lyrically, it seems like an in-and-out-of-love song, in contrast to the hymn-gone-dark vibe of "Bottom of the River". "If I Loved You" could be easily dismissed as a light, fluffy song in Delta Rae's catalog, but I don't want to make judgments too soon on this one (after all, this is only the second song I've come to know by Delta Rae).
"If So" by Atlas Genius: It was only late spring/early summer of last year that Atlas Genius started making waves with their song, "Trojans", which was equal parts folk-rock and new wave. That being said, I'm surprised that their second major effort, "If So", is from an entirely different album of theirs that was only released about a month ago! Time sure does fly, doesn't it?! Anyway, "If So" is more a push towards new wave than folk-rock for Atlas Genius. There is not even a hint of strummed acoustic guitars in the background for "If So", but it still manages to have the catchy factor that "Trojans" did (in fact, it seems like the two songs could be in competition with each other at the moment!) With its thumping bass, high hat percussion, central synth sound, and pulsating, funky guitars, it's probably quite surprising to realize that, if you listen closely enough to the lyrics of "If So", that it's about the perks of being a nightclub "wallflower", as opposed to being nightclub superstars!
"Red Hands" by Walk Off the Earth: So, do the people behind the infamous YouTube cover of Gotye's "Somebody That I Used to Know" that featured five people playing one guitar (sometimes simultaneously) have what it takes to make good music of their own?! Well, honestly, I'm still trying to figure out if they do! Their first major original effort, "Red Hands", somehow manages to sound as fresh as it does generic! On one hand, the song attempts to be an alt-pop song centered around acoustic guitar, which I normally can't go wrong with, but on the other hand, both the instruments and the vocals of this song sound so studio produced that they seem like the audio equivalent of a typical fast food restaurant. The song never makes any significant deviations from its F, C, A minor, G chord progression either, which makes me wonder if Walk Off the Earth even planned this song to sound original, or if it was just a desperate attempt to win more fans than they already had. Perhaps this is one band that is better at covers than they are at originals. Not bad for a first try, though.
"Rumble And Sway" by Jamie N Commons: If you put the catchy, jazzy, retro rock of Brian Setzer, the world-weary country/blues-rock of John Hiatt, and the ghostly, haunting vibe of some of the darker Tom Waits songs, you'd probably have a good idea of how adult alt newcomer Jamie N Commons sounds! In a sultry, steamy melting pot of jazz, blues, country, and rock, Commons really knows how to make his song, "Rumble And Sway", live up to its name! It both sizzles and swivels, much like its title suggests it would! It seems like the kind of song that would probably be played during a bar scene in a movie or TV show, though it would work equally well as a fight song or an initial romance song. Some mean sax playin' on this song, too!
"Unpromised Land" by Bob Schneider: A hard rocking Bob Schneider song?! Sounds unlikely, coming from the guy who did such sentimental indie-pop songs like "40 Dogs (Like Romeo And Juliet)" and "Let the Light In". Well, it's not exactly "hard rock", but for Schneider, it's the closest he's gotten! He even swears twice in the second verse of the song, and not exactly with "light" swears either ("They can f**k right off", he angrily sings in one line - wow, Bob...just, wow!! How atypical of you!) This song, for Bob Schneider, is like what the crunchy, indie-hard-rock of "Hands Open" was for Snow Patrol. Perhaps deep down inside, though, what Bob Schneider wants is a bigger audience. An artist needs to experiment and take chances, right?! The beginning of this song sounds like it wants to be an Everclear song, but goes into more Wallflowers-ish territory with the roots-y organs added into the song later on. "Father of Mine" meets "One Headlight"?! Sounds like a weird combination at first, but it manages to work here. Also, can't go wrong with "Unpromised Land"'s '90s rock influenced sound!!
"Your Life, Your Call" by Junip: One might not expect a song from a band led by a man who was influenced by the stark, acoustic guitar based sound of musicians like Elliott Smith and Nick Drake to have a techno sound starting it off, but perhaps many aren't aware that post-punk musicians, Joy Division, are just as admired by Jose Gonzalez as Nick and Elliott are. In fact, two of Jose's best-known songs, "Heartbeats" and "Crosses", have techno connections; the former was a cover of a song by techno group, The Knife, and the latter was made into a "trip-hop" song shortly after its release. Jose even does a fine cover of Joy Division's most famous song, "Love Will Tear Us Apart" (albeit with acoustic guitar only, and no electronic instruments, for his version). Anyway, Jose's love of techno and his love of folk music merge into one on his latest song with Junip, "Your Life, Your Call". Despite the clear use of synthesizers on "Your Life, Your Call", it still manages to be as soothing as most of Jose's material tends to be. Even the dry, detached manner in which he sings the chorus of the song ("It's your life, your call, stand up and enjoy your fall"), is closer to Ian Curtis than it is Nick Drake. Though I much prefer Jose's folk-ier side, his techno-pop side isn't that bad either.
"If I Loved You" by Delta Rae and Lindsey Buckingham: As was once said in the title of a Fleetwood Mac song, "Heroes Are Hard to Find". For contemporary folk-rock group, Delta Rae, the opposite is true, their hero was easy to find, and he just happened to be a Fleetwood Mac member as well! Delta Rae's second big song, "If I Loved You", lacks the Adele-meets-Odetta-ish intensity and depth of "Bottom of the River", but it is still worth listening to nonetheless. It is a much lighter affair than that, musically, and lyrically, it seems like an in-and-out-of-love song, in contrast to the hymn-gone-dark vibe of "Bottom of the River". "If I Loved You" could be easily dismissed as a light, fluffy song in Delta Rae's catalog, but I don't want to make judgments too soon on this one (after all, this is only the second song I've come to know by Delta Rae).
"If So" by Atlas Genius: It was only late spring/early summer of last year that Atlas Genius started making waves with their song, "Trojans", which was equal parts folk-rock and new wave. That being said, I'm surprised that their second major effort, "If So", is from an entirely different album of theirs that was only released about a month ago! Time sure does fly, doesn't it?! Anyway, "If So" is more a push towards new wave than folk-rock for Atlas Genius. There is not even a hint of strummed acoustic guitars in the background for "If So", but it still manages to have the catchy factor that "Trojans" did (in fact, it seems like the two songs could be in competition with each other at the moment!) With its thumping bass, high hat percussion, central synth sound, and pulsating, funky guitars, it's probably quite surprising to realize that, if you listen closely enough to the lyrics of "If So", that it's about the perks of being a nightclub "wallflower", as opposed to being nightclub superstars!
"Red Hands" by Walk Off the Earth: So, do the people behind the infamous YouTube cover of Gotye's "Somebody That I Used to Know" that featured five people playing one guitar (sometimes simultaneously) have what it takes to make good music of their own?! Well, honestly, I'm still trying to figure out if they do! Their first major original effort, "Red Hands", somehow manages to sound as fresh as it does generic! On one hand, the song attempts to be an alt-pop song centered around acoustic guitar, which I normally can't go wrong with, but on the other hand, both the instruments and the vocals of this song sound so studio produced that they seem like the audio equivalent of a typical fast food restaurant. The song never makes any significant deviations from its F, C, A minor, G chord progression either, which makes me wonder if Walk Off the Earth even planned this song to sound original, or if it was just a desperate attempt to win more fans than they already had. Perhaps this is one band that is better at covers than they are at originals. Not bad for a first try, though.
"Rumble And Sway" by Jamie N Commons: If you put the catchy, jazzy, retro rock of Brian Setzer, the world-weary country/blues-rock of John Hiatt, and the ghostly, haunting vibe of some of the darker Tom Waits songs, you'd probably have a good idea of how adult alt newcomer Jamie N Commons sounds! In a sultry, steamy melting pot of jazz, blues, country, and rock, Commons really knows how to make his song, "Rumble And Sway", live up to its name! It both sizzles and swivels, much like its title suggests it would! It seems like the kind of song that would probably be played during a bar scene in a movie or TV show, though it would work equally well as a fight song or an initial romance song. Some mean sax playin' on this song, too!
"Unpromised Land" by Bob Schneider: A hard rocking Bob Schneider song?! Sounds unlikely, coming from the guy who did such sentimental indie-pop songs like "40 Dogs (Like Romeo And Juliet)" and "Let the Light In". Well, it's not exactly "hard rock", but for Schneider, it's the closest he's gotten! He even swears twice in the second verse of the song, and not exactly with "light" swears either ("They can f**k right off", he angrily sings in one line - wow, Bob...just, wow!! How atypical of you!) This song, for Bob Schneider, is like what the crunchy, indie-hard-rock of "Hands Open" was for Snow Patrol. Perhaps deep down inside, though, what Bob Schneider wants is a bigger audience. An artist needs to experiment and take chances, right?! The beginning of this song sounds like it wants to be an Everclear song, but goes into more Wallflowers-ish territory with the roots-y organs added into the song later on. "Father of Mine" meets "One Headlight"?! Sounds like a weird combination at first, but it manages to work here. Also, can't go wrong with "Unpromised Land"'s '90s rock influenced sound!!
"Your Life, Your Call" by Junip: One might not expect a song from a band led by a man who was influenced by the stark, acoustic guitar based sound of musicians like Elliott Smith and Nick Drake to have a techno sound starting it off, but perhaps many aren't aware that post-punk musicians, Joy Division, are just as admired by Jose Gonzalez as Nick and Elliott are. In fact, two of Jose's best-known songs, "Heartbeats" and "Crosses", have techno connections; the former was a cover of a song by techno group, The Knife, and the latter was made into a "trip-hop" song shortly after its release. Jose even does a fine cover of Joy Division's most famous song, "Love Will Tear Us Apart" (albeit with acoustic guitar only, and no electronic instruments, for his version). Anyway, Jose's love of techno and his love of folk music merge into one on his latest song with Junip, "Your Life, Your Call". Despite the clear use of synthesizers on "Your Life, Your Call", it still manages to be as soothing as most of Jose's material tends to be. Even the dry, detached manner in which he sings the chorus of the song ("It's your life, your call, stand up and enjoy your fall"), is closer to Ian Curtis than it is Nick Drake. Though I much prefer Jose's folk-ier side, his techno-pop side isn't that bad either.
Wednesday, July 27, 2011
new songs for July 27th, 2011
here they are:
"Different" by Ximena Sariñana: I don't even know how to pronounce this gal's first name (I'm guessing "shee-MAY-nah", but it's hard to know because of the initial "X"), and she's pretty new to the music scene (in English speaking countries, at least) but I'm already in love with her!! "Different" has two different music videos (one of which is a "lyric" video), and they're BOTH really good!! The "lyric" version revolves around a puppet that looks a little like a cross between Fozzie Bear and the typical "Sesame Street" monster, whose name is "Larry Puppe". He even has his own Facebook page, as seen in the video!! (http://www.facebook.com/people/Larry-Puppe/100002175551158) The second version features only humans (sorry, no puppets this time!) and revolves around Ximena at a pool party in which most of the girls there are wearing bikinis, but Ximena wears what appear to be mostly cocktail dresses made suitable for swimming, most likely because she is trying to express her individuality (like in the lyrics of the song), regardless of how "old-fashioned" everyone else thinks they look on her. The song itself could serve as an "outsider anthem", especially with lyrics like, "keep in mind I'm not here, I'm in a different world". Great song, great videos, and a cute girl!! Could it get any better?!? The "lyric" version can be viewed here (http://www.youtube.com/watch?v=QF6wBFh3BII), and the "music video" version can be viewed here (http://www.youtube.com/watch?v=YNB2Cw5y66o&feature=channel_video_title). Enjoy!!
"Honeypot" by Bob Schneider: With only two chords (D and G) used throughout the entire song, "Honeypot" manages to be pretty memorable nonetheless! Its mellow, soothing vibes and '90s style folk-rock guitar sound easily bring to mind the earlier material of bands like Counting Crows, and the repetitive but infectious "la-la, la-la"'s at the end of the song add to the catchiness of an otherwise gentle but somewhat substance-less song. This is a good song, but for me, there will be no finer Bob Schneider moment than his indie-pop masterpiece of '09, "40 Dogs (Like Romeo And Juliet)". Kinda wish he'd release more material like that one, but in the meantime, songs like "Honeypot" aren't bad replacements.
"King of Diamonds" by Motopony: Just about everything in this song basically SCREAMS "quirky", and the band's name (which I'm guessing is pronounced "MOE-toe-poe-nee", though it could also be "MAH-toe-poe-nee) is just the tip of the iceberg here! The lyrics of the song seem to revolve around metaphors dealing with card games, its sound seems like a trip-hop/folk-rock combination that brings to mind many of the songs that Beck (the quirk-master himself) did, and even the video to the song is somewhat random, with its appearances from a Pee-Wee Herman lookalike and a man dressed in a Mickey Mouse costume wandering around the streets of Vegas. Dunno how any of this information relates to each other (other than how they are all aspects of this song), but I'm thinking that a lot of these aspects were purposely eccentric, which makes me like this song all the more!!
"Losers" by The Belle Brigade: Of all the songs that have been released so far in 2011, I don't think there has been more of an "outsider anthem" (see also "Different" by Ximena Sariñana, reviewed earlier in this article) than this song!! Even the opening lyrics ("There will always be someone better than you, even if you're the best") suggest this! Musically, this song is a melancholy neo-folk-rock tune, but lyrically, it's a rant, especially in the chorus, during which lead singer Barbara Gruska sings about how she doesn't care about being a "winner" OR a "loser", and how she rejects many aspects of "popularity" (i.e. "being the life of parties", "going out on Fridays", etc.) "Nerds", "geeks", "dorks", and any other sort of "outsiders" should take refuge in the lyrics of this song, knowing (once again) they're not the only ones out there that have felt ostracized by the "normal" crowd!!
"Up Up Up" by Givers: Well, it's official. Now, Vampire Weekend aren't the only indie band to be influenced by Latin jazz and reggae wrapped up into a contagiously sunshiny package. Newcomers The Givers are doing the exact same thing with "Up Up Up". I wouldn't call it a "ripoff" of Vampire Weekend's material, though, as the vocalists in the song definitely sound different than Ezra Koenig does, and the guitars in the song have lighter distortion than the typical VW song. It's also quite apt that "Up Up Up" was released in the summer of this year, with its tropical sound, and cheery optimistic chorus. "Up Up Up" does exactly what its title suggests it's supposed to - it makes me feel "up up up" every time I listen to it!! I officially declare this song to be the "summer jam" of 2011!!
"Different" by Ximena Sariñana: I don't even know how to pronounce this gal's first name (I'm guessing "shee-MAY-nah", but it's hard to know because of the initial "X"), and she's pretty new to the music scene (in English speaking countries, at least) but I'm already in love with her!! "Different" has two different music videos (one of which is a "lyric" video), and they're BOTH really good!! The "lyric" version revolves around a puppet that looks a little like a cross between Fozzie Bear and the typical "Sesame Street" monster, whose name is "Larry Puppe". He even has his own Facebook page, as seen in the video!! (http://www.facebook.com/people/Larry-Puppe/100002175551158) The second version features only humans (sorry, no puppets this time!) and revolves around Ximena at a pool party in which most of the girls there are wearing bikinis, but Ximena wears what appear to be mostly cocktail dresses made suitable for swimming, most likely because she is trying to express her individuality (like in the lyrics of the song), regardless of how "old-fashioned" everyone else thinks they look on her. The song itself could serve as an "outsider anthem", especially with lyrics like, "keep in mind I'm not here, I'm in a different world". Great song, great videos, and a cute girl!! Could it get any better?!? The "lyric" version can be viewed here (http://www.youtube.com/watch?v=QF6wBFh3BII), and the "music video" version can be viewed here (http://www.youtube.com/watch?v=YNB2Cw5y66o&feature=channel_video_title). Enjoy!!
"Honeypot" by Bob Schneider: With only two chords (D and G) used throughout the entire song, "Honeypot" manages to be pretty memorable nonetheless! Its mellow, soothing vibes and '90s style folk-rock guitar sound easily bring to mind the earlier material of bands like Counting Crows, and the repetitive but infectious "la-la, la-la"'s at the end of the song add to the catchiness of an otherwise gentle but somewhat substance-less song. This is a good song, but for me, there will be no finer Bob Schneider moment than his indie-pop masterpiece of '09, "40 Dogs (Like Romeo And Juliet)". Kinda wish he'd release more material like that one, but in the meantime, songs like "Honeypot" aren't bad replacements.
"King of Diamonds" by Motopony: Just about everything in this song basically SCREAMS "quirky", and the band's name (which I'm guessing is pronounced "MOE-toe-poe-nee", though it could also be "MAH-toe-poe-nee) is just the tip of the iceberg here! The lyrics of the song seem to revolve around metaphors dealing with card games, its sound seems like a trip-hop/folk-rock combination that brings to mind many of the songs that Beck (the quirk-master himself) did, and even the video to the song is somewhat random, with its appearances from a Pee-Wee Herman lookalike and a man dressed in a Mickey Mouse costume wandering around the streets of Vegas. Dunno how any of this information relates to each other (other than how they are all aspects of this song), but I'm thinking that a lot of these aspects were purposely eccentric, which makes me like this song all the more!!
"Losers" by The Belle Brigade: Of all the songs that have been released so far in 2011, I don't think there has been more of an "outsider anthem" (see also "Different" by Ximena Sariñana, reviewed earlier in this article) than this song!! Even the opening lyrics ("There will always be someone better than you, even if you're the best") suggest this! Musically, this song is a melancholy neo-folk-rock tune, but lyrically, it's a rant, especially in the chorus, during which lead singer Barbara Gruska sings about how she doesn't care about being a "winner" OR a "loser", and how she rejects many aspects of "popularity" (i.e. "being the life of parties", "going out on Fridays", etc.) "Nerds", "geeks", "dorks", and any other sort of "outsiders" should take refuge in the lyrics of this song, knowing (once again) they're not the only ones out there that have felt ostracized by the "normal" crowd!!
"Up Up Up" by Givers: Well, it's official. Now, Vampire Weekend aren't the only indie band to be influenced by Latin jazz and reggae wrapped up into a contagiously sunshiny package. Newcomers The Givers are doing the exact same thing with "Up Up Up". I wouldn't call it a "ripoff" of Vampire Weekend's material, though, as the vocalists in the song definitely sound different than Ezra Koenig does, and the guitars in the song have lighter distortion than the typical VW song. It's also quite apt that "Up Up Up" was released in the summer of this year, with its tropical sound, and cheery optimistic chorus. "Up Up Up" does exactly what its title suggests it's supposed to - it makes me feel "up up up" every time I listen to it!! I officially declare this song to be the "summer jam" of 2011!!
Wednesday, February 9, 2011
It's my first Blog-i-versary!!! (kind of)
I first started this blog on February 11th of last year (but that's not a Wednesday), so today I'm celebrating my first blog-i-versary!!! With 8 cool new tracks to review, too! So here they are:
"Helplessness Blues" by Fleet Foxes: I love how nostalgic and simply beautiful Fleet Foxes' music sounds. "White Winter Hymnal" has a very dreamy sound, and "Mykonos" has remarkably similar chord structure to The Mamas and Papas' "California Dreamin'", another personal fave of mine. That being said, I was pretty excited to hear Fleet Foxes released a new track this year!! "Helplessness Blues", once again, evokes the same dreamy, nostalgic qualities that most of their songs tend to. It almost sounds like it uses the same tuning as Joni Mitchell's "You Turn Me On I'm A Radio", and the mood of the song even seems somewhat Joni-like (and Dylanesque). Fleet Foxes have once again managed to win my heart over, and I hope they continue to do so!!
"Let the Light In" by Bob Schneider: Bob Schneider has been around for longer on the music scene than most people probably think he has been (since around 2003). It wasn't until 2009, though, that he started getting attention with songs like the marvelous, enchanting indie-pop/adult alt fave "40 Dogs (Like Romeo and Juliet)" and the more subdued, somewhat Dave Matthews-ish "The Bringdown". I guess adult alt radio liked Schneider enough that they've decided to give him another chance. "Let the Light In", amazingly, lives up to its title. It's not bittersweet like "40 Dogs" or melancholy like "The Bringdown", but instead is a rather happy song, with sunny synths and exciting xylophones to set the mood! I wasn't sure whether to expect indie-pop or folk-pop with "Let the Light In", as Schneider has been known to do both, but this song meets somewhere in between, and I think I like that!
"Me Me Me" by Middle Brother: Imagine what it would be like if alumni from three somewhat roots-y indie rock groups (Delta Spirit, Deer Tick, and Dawes) formed into one supergroup and somehow landed a guest spot on "Happy Days". What would that be like?!? Well, wonder no more, for Middle Brother is a supergroup comprised of members of all three of the bands I just mentioned, and their first big hit (among the indie/adult alt crowds), "Me Me Me", sounds more like a song you'd expect to hear from Elvis Presley or Jerry Lee Lewis (albeit with a "fuzz" guitar solo in the middle) than you would from three bands who typically bear more similarity to acts like Bright Eyes, Wilco, and My Morning Jacket. It's a darn catchy tune that I would definitely like to hear more of for at least the late winter/Spring season!! Between the rockin' boogie vibe of this song and the Joni Mitchell-esque folk-rock of "Helplessness Blues" I can't decide which is my fave pick of the week!!
"Poison And Wine" by The Civil Wars: A bit of a late review here, but please bear with me. This song could easily be called "Falling Slowly - redux". It's a melancholy folk-rock tune that features a duet between a guy and a girl (though unlike Glen and Marketa, of "Falling Slowly" fame, I don't think The Civil Wars are Irish). "Poison and Wine" definitely seems like it was intended to be a tearjerker, yet I only get that emotion from the song about halfway. I guess "Falling Slowly" had such an authentically emotional grip on me that I didn't expect any song or band to try and copy it, yet lo and behold, The Civil Wars' "Poison and Wine" shows up about four years later! Perhaps I shouldn't care too much if one song is copying (intentionally or not) another, as I do typically love songs like "Poison and Wine"!
"The Roller" by Beady Eye: Hmmmm....who's "Beady Eye"?!? This sounds more like an Oasis tune. That's because, technically, this IS an Oasis tune. Beady Eye is the side project of one of the Gallagher brothers (though I forget which one at the moment), and "The Roller" really doesn't sound too different at all from the typical Oasis song. Oasis are one of my fave bands, though, so no problem here! The jaunty, toe-tapping feel of "The Roller" also helps to give it a little bit of flavor and distinction from most Oasis tunes (besides "Lyla" which had practically the same rhythm).
"Too Dramatic" by Ra Ra Riot: Ra Ra Riot's follow-up to "Boy" sounds like...well..."Boy". But it's still worth reviewing because it's a tune that's been catchy enough to get stuck in my head! And plus you gotta love a band who combines the reggae-tinged new wave sound of The Police with the "orchestral rock" vibes of groups like Arcade Fire! Perhaps one advantage "Too Dramatic" has over "Boy" is that the guitar seems to be used throughout the song (though "Boy" had a much more distinct guitar solo), and, since I play guitar, this does make a difference for me.
"When I'm Alone" by Lissie: Between this song and Lissie's previous hit, "In Sleep", I'm pretty convinced that Lissie is on her way to becoming the indie world's answer to Alanis Morissette! Both songs manage to combine a pop-y melody with minor key chords and world-weary, frustrated lyrics. "When I'm Alone" is a bit more of an intense tune than "In Sleep", though, I think, not only because of its more frenzied rhythm, but also because of the rushed way she delivers the lyrics in the verses, almost as though out of desperation. "When I'm Alone" uses a rhythmic technique that isn't really that common in pop/rock music these days, and the way Lissie manages to keep steady vocal patterns in the chorus over its frenetic instrumentation makes it all the more worth listening to!
"World Gone Crazy" by The Doobie Brothers: Back in the summer of last year, an updated version of The Doobies' 1972 song "Nobody" started (surprisingly) hitting the adult alt airwaves and (even MORE surprisingly) hit the Top 20 of the adult alt charts somewhere around mid-fall of last year. What made "Nobody" such a cool song was that it sounded like a vintage Doobie Brothers tune (the kind you'd be likely to hear on a classic rock station, not the Michael McDonald era Doobies). "World Gone Crazy" doesn't quite have the same vibe. It sounds a bit more like an updated version of an Eagles song (only more sax heavy). It does have two saving graces, though. First off, it's a catchy tune (I can't say that about too many of the Michael McDonald songs, save for possibly "Takin' It to the Streets"), but the best part is that the lead vocalist was the one who sang on all the pre-McDonald tracks (I forget his name, but I like him MUCH better than McDonald).
"Helplessness Blues" by Fleet Foxes: I love how nostalgic and simply beautiful Fleet Foxes' music sounds. "White Winter Hymnal" has a very dreamy sound, and "Mykonos" has remarkably similar chord structure to The Mamas and Papas' "California Dreamin'", another personal fave of mine. That being said, I was pretty excited to hear Fleet Foxes released a new track this year!! "Helplessness Blues", once again, evokes the same dreamy, nostalgic qualities that most of their songs tend to. It almost sounds like it uses the same tuning as Joni Mitchell's "You Turn Me On I'm A Radio", and the mood of the song even seems somewhat Joni-like (and Dylanesque). Fleet Foxes have once again managed to win my heart over, and I hope they continue to do so!!
"Let the Light In" by Bob Schneider: Bob Schneider has been around for longer on the music scene than most people probably think he has been (since around 2003). It wasn't until 2009, though, that he started getting attention with songs like the marvelous, enchanting indie-pop/adult alt fave "40 Dogs (Like Romeo and Juliet)" and the more subdued, somewhat Dave Matthews-ish "The Bringdown". I guess adult alt radio liked Schneider enough that they've decided to give him another chance. "Let the Light In", amazingly, lives up to its title. It's not bittersweet like "40 Dogs" or melancholy like "The Bringdown", but instead is a rather happy song, with sunny synths and exciting xylophones to set the mood! I wasn't sure whether to expect indie-pop or folk-pop with "Let the Light In", as Schneider has been known to do both, but this song meets somewhere in between, and I think I like that!
"Me Me Me" by Middle Brother: Imagine what it would be like if alumni from three somewhat roots-y indie rock groups (Delta Spirit, Deer Tick, and Dawes) formed into one supergroup and somehow landed a guest spot on "Happy Days". What would that be like?!? Well, wonder no more, for Middle Brother is a supergroup comprised of members of all three of the bands I just mentioned, and their first big hit (among the indie/adult alt crowds), "Me Me Me", sounds more like a song you'd expect to hear from Elvis Presley or Jerry Lee Lewis (albeit with a "fuzz" guitar solo in the middle) than you would from three bands who typically bear more similarity to acts like Bright Eyes, Wilco, and My Morning Jacket. It's a darn catchy tune that I would definitely like to hear more of for at least the late winter/Spring season!! Between the rockin' boogie vibe of this song and the Joni Mitchell-esque folk-rock of "Helplessness Blues" I can't decide which is my fave pick of the week!!
"Poison And Wine" by The Civil Wars: A bit of a late review here, but please bear with me. This song could easily be called "Falling Slowly - redux". It's a melancholy folk-rock tune that features a duet between a guy and a girl (though unlike Glen and Marketa, of "Falling Slowly" fame, I don't think The Civil Wars are Irish). "Poison and Wine" definitely seems like it was intended to be a tearjerker, yet I only get that emotion from the song about halfway. I guess "Falling Slowly" had such an authentically emotional grip on me that I didn't expect any song or band to try and copy it, yet lo and behold, The Civil Wars' "Poison and Wine" shows up about four years later! Perhaps I shouldn't care too much if one song is copying (intentionally or not) another, as I do typically love songs like "Poison and Wine"!
"The Roller" by Beady Eye: Hmmmm....who's "Beady Eye"?!? This sounds more like an Oasis tune. That's because, technically, this IS an Oasis tune. Beady Eye is the side project of one of the Gallagher brothers (though I forget which one at the moment), and "The Roller" really doesn't sound too different at all from the typical Oasis song. Oasis are one of my fave bands, though, so no problem here! The jaunty, toe-tapping feel of "The Roller" also helps to give it a little bit of flavor and distinction from most Oasis tunes (besides "Lyla" which had practically the same rhythm).
"Too Dramatic" by Ra Ra Riot: Ra Ra Riot's follow-up to "Boy" sounds like...well..."Boy". But it's still worth reviewing because it's a tune that's been catchy enough to get stuck in my head! And plus you gotta love a band who combines the reggae-tinged new wave sound of The Police with the "orchestral rock" vibes of groups like Arcade Fire! Perhaps one advantage "Too Dramatic" has over "Boy" is that the guitar seems to be used throughout the song (though "Boy" had a much more distinct guitar solo), and, since I play guitar, this does make a difference for me.
"When I'm Alone" by Lissie: Between this song and Lissie's previous hit, "In Sleep", I'm pretty convinced that Lissie is on her way to becoming the indie world's answer to Alanis Morissette! Both songs manage to combine a pop-y melody with minor key chords and world-weary, frustrated lyrics. "When I'm Alone" is a bit more of an intense tune than "In Sleep", though, I think, not only because of its more frenzied rhythm, but also because of the rushed way she delivers the lyrics in the verses, almost as though out of desperation. "When I'm Alone" uses a rhythmic technique that isn't really that common in pop/rock music these days, and the way Lissie manages to keep steady vocal patterns in the chorus over its frenetic instrumentation makes it all the more worth listening to!
"World Gone Crazy" by The Doobie Brothers: Back in the summer of last year, an updated version of The Doobies' 1972 song "Nobody" started (surprisingly) hitting the adult alt airwaves and (even MORE surprisingly) hit the Top 20 of the adult alt charts somewhere around mid-fall of last year. What made "Nobody" such a cool song was that it sounded like a vintage Doobie Brothers tune (the kind you'd be likely to hear on a classic rock station, not the Michael McDonald era Doobies). "World Gone Crazy" doesn't quite have the same vibe. It sounds a bit more like an updated version of an Eagles song (only more sax heavy). It does have two saving graces, though. First off, it's a catchy tune (I can't say that about too many of the Michael McDonald songs, save for possibly "Takin' It to the Streets"), but the best part is that the lead vocalist was the one who sang on all the pre-McDonald tracks (I forget his name, but I like him MUCH better than McDonald).
Wednesday, February 24, 2010
Sorry folks - only two for this week
Well, I figured two was better than nothin'. So here goes:
"New Morning" by Alpha Rev: Nothing like a bittersweet, melancholy indie-pop/rock song to get me in the right kinda mood. And Alpha Rev delivers this well with their latest, "New Morning". This seems to evoke a sound similar to Radiohead (circa "The Bends"), Jeff Buckley, and Coldplay (back when they debuted in 2000 with "Parachutes"). It is a very earnest, winsome song, in such a way that although I don't know the lyrics well enough yet, it has already won me over!
"The Bringdown" by Bob Schneider: Not quite a "new" song, since it's been gaining airplay on the radio for a good two or so weeks now, but since I haven't reviewed it yet, I figured that now would be a good time to do so. It's a good song, but it pales deeply in comparison to Schneider's previous adult alt. radio hit, "40 Dogs (Like Romeo And Juliet)". Where "40 Dogs" was earnest, catchy, and lyrically clever, "The Bringdown" seems to live up to its title - it's more watered down. Like I said, it's not a bad song, but I'm pretty sure Schneider could do better than this.
"New Morning" by Alpha Rev: Nothing like a bittersweet, melancholy indie-pop/rock song to get me in the right kinda mood. And Alpha Rev delivers this well with their latest, "New Morning". This seems to evoke a sound similar to Radiohead (circa "The Bends"), Jeff Buckley, and Coldplay (back when they debuted in 2000 with "Parachutes"). It is a very earnest, winsome song, in such a way that although I don't know the lyrics well enough yet, it has already won me over!
"The Bringdown" by Bob Schneider: Not quite a "new" song, since it's been gaining airplay on the radio for a good two or so weeks now, but since I haven't reviewed it yet, I figured that now would be a good time to do so. It's a good song, but it pales deeply in comparison to Schneider's previous adult alt. radio hit, "40 Dogs (Like Romeo And Juliet)". Where "40 Dogs" was earnest, catchy, and lyrically clever, "The Bringdown" seems to live up to its title - it's more watered down. Like I said, it's not a bad song, but I'm pretty sure Schneider could do better than this.
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