New songs for February 23rd, 2022

 here they are:


"If I Don't Hear From You Tonight" by Courtney Barnett: If the sardonic, deadpan Courtney Barnett is going to give us a love song, you know it's not gonna be an ordinary love song. Such is the case here with her latest song, "If I Don't Hear From You Tonight." With lines like "stars in the sky are gonna die" and "all my fears collided," you can tell that negative emotion fuels this deceptively sunny jangle-pop influenced track, but these lines are really just a venomous veneer for Courtney's vulnerability in the song. She's fragile and emotional just like we all are, and on this song, she lets that all hang out!

"Like Exploding Stones" by Kurt Vile: No, this is not a cheeky answer to Bob Dylan's already infamously jagged "Like a Rolling Stone," despite how the title of this song might sound to some. Kurt Vile takes a far loftier and spacier path than Dylan for this 7-and-a-half minute psych-folk-rock epic. The title of the song is actually a creative way to describe either Kurt's mental state, his mind on drugs, or perhaps both. Combining a swirling, sprawling electric guitar, a mellow acoustic guitar, and a warbling synthesizer to tie them together, "Like Exploding Stones" is one of Kurt Vile's headier moments. Why it needs to be as long as it is is anyone's guess, but perhaps part of that has to do with wanting to evoke a "jam band" and/or prog-rock vibe into this trippy tune.

"Ride or Die" by Hippo Campus: After two loosely folk-influenced songs, we find ourselves ending this week's blog with a more modern-sounding electro-pop song. Hippo Campus have been a synth-reliant band for a while now, but with "Ride or Die," they appear to be attempting to sound more mainstream than their previous stuff was. The lyrics to this song also seem somewhat repetitive, and it doesn't really seem to have a lot of chords besides A or D. For a once quirky band, "Ride or Die" is somewhat of a disappointment, but perhaps it'll propel Hippo Campus to more widespread fame than they had previously. 

New songs for October 6th, 2021

 here they are:


"Rushing Water" by Sting: Rock and roll birthday boy, Sting, who celebrated the big 7-O four days ago, has opted to go less New Age and more New Wave once again, just as he did in 2016. His latest song, "Rushing Water," has a very Andy Summers-ish guitar sound, even though Summers does not appear anywhere in the song. The beat of the song and the muted-palm guitar sound are somewhat reminiscent of "Every Breath You Take," albeit slightly less ominous. The former Police-man came up with the idea to "Rushing Water" during the height of the coronavirus pandemic, attempting to write a song that could help to patch up the many areas that have divided us as a society. Another interesting thing to note about this song is that some of the lyrics highlight Sting's roots in Catholicism, with biblical references woven within such as the Book of Numbers and the story of Jonah getting swallowed by a whale.

"Telepath" by Manchester Orchestra: If Manchester Orchestra's song "Bed Head" from earlier this year had a bit too much of a rock sound for a band previously known best for the indie-folk ballad, "The Gold," then perhaps "Telepath" will be more to your liking. The song is even more acoustic guitar driven than "The Gold" was, and twice as emotional to boot. The song seems to be about a relationship that the lead singer knows is destined to fail, yet he pines for it anyway. The chorus of the song manifests in three different ways. First, the singer asks the object of his affections if she wants him, then if she loves him, and finally, if she's with him? The answer, each time, is no. To admit defeat is not an easy thing to do, perhaps even more so in the context of a relationship, but Manchester Orchestra not only do so here, but they do so with dignity.

"Wasted Days" by John Mellencamp and Bruce Springsteen: Two legends in the classic rock subcategory of "Heartland rock," Mellencamp and Springsteen both started out as scrappy, determined rock stars who became more politically focused and folk-y as their careers went on. Both performers are now in their early 70's (with Mellencamp celebrating a birthday tomorrow), and their first notable collaboration, "Wasted Days," takes a bittersweet look at life from a seasoned, septuagenarian perspective. Their advanced age is actually what "Wasted Days" seems to be about, with both singers asking just how many moments are left in their musically fulfilled lives. With both Mellencamp and Springsteen having been rock stars since the 1970's, it's truly a miracle that they're still able to celebrate life today. To paraphrase another aging, folksy rock star, "May they stay forever young"!

"Write A List of Things to Look Forward To" by Courtney Barnett: I'm wondering if the title of this song is supposed to be a joke. It's only two and a half minutes long, and Courtney really doesn't lay out a "list" of things for us to look forward to, or any list at all, really. The entire song seems shrouded in irony, though this is hardly surprising for a performer as sardonic as Courtney. "Nobody knows why we keep trying," "a baby is born as a man lay dying," and "We did our best, but what does that even mean?" are just some of the pearls of not-quite-wisdom that she shares in this song. Almost seems like a song about someone who's just about to give up on life. Please don't go, Courtney! You have so many years ahead of you! Yeah I know...she's probably just venting here, but still...

New songs for July 14th 2021

 here they are:


"How High" by The Record Company: The Record Company have always had a "retro" rock sound that was heavily blues-based ever since they debuted in 2016. This time around, it seems like they're specifically trying to emulate the sound of other successful latter-day blues-rockers like The Black Keys. For those wondering, "high" is not a drug metaphor in the context of this song. It instead taken to mean something more literal here, about reaching for your aspirations and accomplishing them. I'd say that The Record Company have already met their goals, though!

"How Low" by Heartless B*st*rds: So what is the opposite of "How High"? The answer, of course, is "How Low"! That just happens to be the title of our next song here, coincidentally. Fittingly, the song is a bit more low-key than the high energy of "How High." In spite of their "tough" sounding name, Heartless B*st*rds are really a pretty harmless, folk-rock-y band, whose name is only indicative of their humor. (They named themselves after an answer a game show contestant gave for the name of Tom Petty's backing group). In addition to the song's title, "How Low" also seems like the lyrical opposite to "How High," given how the song is basically a lament about modern-day pop culture and how no one seems to care about one another anymore.

"Mine Forever" by Lord Huron: A song awash with equal flavors of psychedelia, folk-rock, prog-rock, and country-rock, "Mine Forever" is a new song that seems like it came from the days of old. The pleasant, curious vibes of the song are a bit offset by its seemingly creepy lyrics, though. It's hard to tell if Ben Schneider is being serious or sarcastic in the lyrics of this song, but if it is not supposed to be sarcastic, then it reads as a super-desperate plea for him to get his lover back into his life. "In my mind, you're mine forever" might seem like a sweet line, but the more Ben adds morbid lyrics into the song, the more you think his "without you, I'll die" sentiments are more like possession than they are true love. "Forever" is a long, long time to want to be with someone. Don't take your chances, here folks!

"New Invention" by I Don't Know How But They Found Me: Is "New Invention" really a new invention?! It has the same key (D minor) as their other hit, "Leave Me Alone," and the same 1980's synth-influenced dance-pop sound, too. The lyrics aren't anything new either, but one thing they are is very relatable to anyone who has had to deal with the trials and tribulations of relationships! The song is basically about a girl who is using the lead singer. She keeps finding ways to trap him, and he is just a "new invention." The title makes for a somewhat strange metaphor for someone who feels romantically abused, but it's definitely gonna be a song that you'll want for your next breakup playlist!

"Now is the Time" by Jade Bird: This song seems like a very sunny folk-rock tune in comparison to the more dour ones Jade Bird usually puts out. The combination of acoustic guitars and what might be 12-strings in the background in the key of G setting forth a jangly strum seems a lot like "Here's Where the Story Ends" by The Sundays, but happier. As is typical of Bird's material, some of the lyrics to "Now is the Time" are a bit angst-ridden, but the overall message is a positive one: if you want something, go get it! It's tricky to tell if this is a song dispensing good advice or if it's a clever kiss-off to an ex disguised as a song of inspiration (see also "Good Riddance [Time of Your Life]" by Green Day). Whatever the intent, though, Now is the Time to hear this song!

"Rae Street" by Courtney Barnett: I'm sure Courtney Barnett has had more than one person liken her to a modern-day Patti Smith, but on Courtney's latest song, "Rae Street," the Patti influence really shows! It doesn't sound too dissimilar to Patti's "Dancing Barefoot," especially in the beginning. The "urban poetry" vibe of the lyrics also seems like it could be a Patti homage, though I'm sure it's being written from Courtney's own point of view as well. The song seems to tell the tale of a sort of "day-in-the-life" scenario, sung with deadpan vocals as Courtney typically does. 

April 17th 2019 part 2 - brand new for the week

Here's part two for this week's blog - the songs that are fresh outta the oven for this week!


"Everybody Here Hates You" by Courtney Barnett: For the Jeff Buckley fans here, yes, Courtney DID title this song as a cheeky response to Buckley's "Everybody Here Wants You". In contrast to the warm, sentimental vibes of Buckley's song, "Everybody Here Hates You" sounds more or less like you'd expect it to. It sounds grungy and jaded, albeit with a bit of bright, retro Beatlesque vibe as well. The lyrics are also negative (again, as you'd expect from a song with this title), centering around self-hate and how that can make other people hate you as well. Is Courtney upset about the prospect of this? Nah. Instead she revels in it, like a female human Oscar the Grouch. I guess some people just aren't happy unless they're unhappy!


"Got It In You" by Banners: I can't believe how people have come to know this song. It's from the medical drama series, "The Good Doctor", whose title character is supposed to have Asperger syndrome, THE SAME THING I DO!! Yes, folks, if you think I'm obsessive or quirky or otherwise strange (in a good way) when I write this blog, THIS is the reason why! The song comes on when the main character suffers from a breakdown. Ugh. Why can't there be shows about FUNNY people on the spectrum?! I would love for that to happen! But I digress. Is the song quirky or weird?! No, it isn't. Instead, it sounds like something you'd probably hear during the credits of a CBS or NBC drama, fittingly. Nevertheless, this song CAN be viewed as a way for Aspies (people with Asperger syndrome) to find encouragement when they lack it. If they know they "got it in them", it might help them to get through some of their weaker moments. What a coincidence this song came out during Autism Awareness Month, too. I wonder if they meant to do that. Not a bad song, but I'd prefer Radiohead or Beck to write something like this, not a more run-of-the-mill alt-pop band like Banners. And speaking of Beck...


"Saw Lightning" by Beck: That's right! Beck just happens to be our last entry of the week! This song could be called "Loser Part 2" with its use of slide guitar combined with hip-hop beats! It's impossible to beat out "Loser", but this song seems to be trying to do that! Catchy from beginning to end, and quirky from beginning to end. This is how Beck's fans seem to like him best, and that's exactly what he's doing here. After a soul baring previous entry, it's great to end this week's blog on such a good note!

New songs for June 6th 2018

here they are:


"Charity" by Courtney Barnett: Don't be fooled by the title. This is not a love ballad from Courtney Barnett (Has she ever done one before in the first place?!) Instead, it's a dour, sarcastic, downtrodden song from Courtney, as per usual. If The Rolling Stones' "Under My Thumb" had an "answer" song, it might just be this one. Jagger sang about a woman who was "under his thumb". Courtney IS that woman - well, not Mick's, but certainly one who has felt mistreated in relationships. In "Charity", she sings about how it feels to be treated with disrespect in a relationship, albeit with a cynicism that is unique to Courtney in her songs. "You must be having so much fun. Everything's amazing", she begins during the chorus, and follows these statements with, "So subservient I make myself sick. Are you listening?" In other words, she feels like she's been treated like an object for too long and doesn't want to put up with it anymore. Charity, eh?! Doesn't sound very charitable to me!


"On My Knees" by Middle Kids: It's been a long time since rock and roll. Even the so called "indie kids" feel that way now. "On My Knees" is the closest that Australian indie-pop trio, Middle Kids, have gotten to a rock song so far, so perhaps that's why it's gotten more attention so far than their other tunes have. The sound seems a little rushed and haphazard and gives off vibes of what it'd be like if Edward Sharpe and The Magnetic Zeros tried making a garage rock song. The attempt at sounding more like a rock group than an indie-pop band was probably intentional in this song, as it is basically about how much the members felt they have suffered as a band, and their search to find a silver lining in their situation.


"Sucker's Prayer" by The Decemberists: If the synth laden blitzkrieg of "Severed" from earlier this year didn't sit well with you, then perhaps the calmer roots-y guitar sound of "Sucker's Prayer" might be more for you. Lyrically, it is a classic Decemberists tune which juxtaposes sweet melodies and harmonies with dark lyrics. It's a song about someone who wants to commit suicide, but that might not be apparent to those listening to the song for the first time who want to focus more on the way the song sounds than its lyrical content. It's not the first time Colin Meloy and his indie-folk-rock ensemble have pulled this off. "The Rake's Song", for instance, was a grisly murder ballad, but its catchy beat seemed to lead people away from assuming that's what the song was about. Well done, Decemberists. You still have it in ya!

New songs for February 21st, 2018

here they are:


"Baby I Love You" by Ryan Adams: Ryan Adams is known for having a bit of a hard heart, esp. when a fan requested BRYAN Adams' "Summer of '69" by mistake at one of Ryan's concerts. In recent years, however, Ryan has softened up, even performing a cover of the aforementioned song to poke fun at himself. Nothing has proven his sentimentality more than "Baby I Love You" so far, though. Ryan purposely released the song a few days after Valentine's Day. Using a lilting, jangly, Byrds-y melody and chord progression over a song whose title is the same as a Ronettes song, Ryan gives us one of his sweetest songs yet, without succumbing to being sappy in the process, thankfully.


"Extraordinary Love" by Erika Wennerstrom (from Heartless B*st*rds): Upon my first time hearing Heartless B*st*rds' music, I had thought their lead singer was a male, but it's actually a female. "Extraordinary Love" marks the first time that HB's lead singer has gone solo, and it also manages to be significantly longer than any song she did with her band, clocking in at a total of 6 minutes and 49 seconds. "Extraordinary Love" certainly lives up to its name in that aspect! It is a very adventurous song for someone whose band was known for its country-rock and roots-rock sounds. "Extraordinary Love" doesn't sound like either. Instead, it is a psychedelic and progressive rock fusion, evoking the sounds of such symphonic rock groups as King Crimson, The Moody Blues, and the Syd Barrett era of Pink Floyd. Each verse seems to take two minutes to complete, but with the enrapturing vibe of this song, each of those two minute intervals feels more like one minute to me!


"Nameless, Faceless" by Courtney Barnett: With its forceful intro bearing similarity to Devo's "Jocko Homo" in terms of its series of half step chords going progressively downward, Courtney Barnett proves herself once again as a force to be reckoned with in her latest song, "Nameless, Faceless". As with most of her material, it's not just the song that proves itself to be tough as nails, but the lyrics as well, particularly the part during the second verse where she says, "I could eat a bowl of alphabet soup and spit out better words than you", which is as scathing as it is funny! Another similarity "Nameless, Faceless" bears to "Jocko Homo" is how it is both hilarious and confrontational. Where Devo challenged the idea of man truly being an "evolved" creature, Courtney challenges the idea of gender harmony and tears it apart mercilessly when she says, "Men are afraid that women will laugh at them. Women are afraid that men will kill them." Are we not women?! WE ARE DEVO!!

New songs for October 11th, 2017

here they are:


"Continental Breakfast" by Kurt Vile and Courtney Barnett: Much like the Kurt and Courtney that came before these two, Kurt Vile and Courtney Barnett don't usually make happy songs. "Continental Breakfast" is an exception to the rule. A pleasant, upbeat folk-rock number, "Continental Breakfast" is a feel-good song about...well...feeling good! The song centers around cherishing friendship, but in a natural way instead of a corny one. You can't help but feel happy when you listen to songs like this one!


"Sleep On the Floor" by The Lumineers: "Sleep On the Floor" is a notable song for The Lumineers in that it is one of the few (if not the only one) to feature prominent use of the electric guitar. Over Bob Dylan-esque instrumentation, The Lumi's sing about how desperate times call for desperate measures, which might be why the song is called "Sleep On the Floor" (the phrase doesn't appear anywhere in the lyrics). This song also breaks the pattern of having every song put out as a single from the Lumi's sophomore album being a girl's name (Ophelia, Cleopatra, Angela). "If we don't leave this town, we might never make it out" seems to be the central line in the song, as it is about trying to survive during a difficult situation.

New songs for September 6th 2017

here they are:


"Bones of Saints" by Robert Plant: In contrast to the folk-y "The May Queen" from just last week, "Bones of Saints" has a bit more of a sound that suggests what it might sound like if Led Zeppelin had stayed together into the new millennium. The foreboding "bones" part of the title suggests that it's more of a rock song, but fear not, it's not a spooky one. It's a fun little blues-y romp tinged with mythological motifs that were common in Plant's music during the Led Zeppelin days. It doesn't hit quite as hard as the typical Zeppelin tune, but for those who want Robert Plant to show off some of his rock and roll past, you got your wish!


"Day I Die" by The National: Joy Division styled electro-gloom fused with U2 styled guitars might not seem like a good match at first, but The National manage to make it work on their latest song, "Day I Die". Strained family relationships and drug/alcohol abuse make up the core of this song, which has Matt Berninger wondering, "The day I die, where will I be?" Judging by the lyrical content and the somewhat dismal musical landscape, he probably thinks he won't be in a good place when he dies. Fate is a fickle friend, isn't it?!


"No Witness" by LP: A departure from the folk-y vibes of "Into the Wild" and "Lost On You", LP's latest song, "No Witness", has more of a post-millennial alt-pop flavor to it, full of synths and handclap sounds. It comes off sounding like Queen's "We Will Rock You" as if it was covered by Lorde. Where "Lost On You" was more of a mournful pining on a love gone lost, "No Witness" is a song in which LP accepts her fate as the rejected lover, admitting, "No one can save me, love me or hate me". She seems to use the aforementioned line as a bit of a mantra before jumping into the chorus, as if she doesn't like what has happened to her, but has still chosen to accept it that it's just how things are.


"Over Everything" by Kurt Vile and Courtney Barnett: Move over, Cobain and Love! There's a new Kurt and Courtney in town! Kurt Vile and Courtney Barnett, to be exact, both of whom are eclectic indie-folk-rockers of the 2010's. Their first song together, "Over Everything", epitomizes the "slacker" aesthetic of the indie scene. It is a very lazy, hazy song, with lyrics that don't exactly add up to a cohesive narrative (at least not that I can tell). However, it also has an equal amount of sensitivity in terms of how it sounds, both instrumentally and vocally. At 6 and a half minutes, the song also has a bit of a "jam band" vibe. I wonder if that was influenced by both Kurt and Courtney contributing to an all-indie tribute to The Grateful Dead that came out about a year ago.


"Revolution" by Van William (featuring First Aid Kit): No, this is not a Beatles cover song, for those who might be wondering. Far from it, in this case. Unlike the rollicking, roaring Lennon-McCartney tune of the same name, this "Revolution" is soft and folk-y and has nothing to do with politics whatsoever. This song is simply about a strained relationship that both members of the couple want to patch up. Nothing too remarkable about this song, but it is pleasant to listen to, and the horns that come in midway through the song make it sound a bit more unique than it would otherwise.


"The Sky Is A Neighborhood" by Foo Fighters: Last, but certainly not least, the mighty Foo Fighters are still roarin' and rockin' to this very day! Their latest song is essentially arena rock in the vein of The Who or Queen, but meant more for the current generation. What's particularly remarkable about this song, though, is the lyrics. Dave Grohl supposedly was reading Neil DeGrasse Tyson books when he came up with the lyrics to this song. Its talk of heaven, the stars, and the sky is not merely poetic metaphor in this song, but rather a literal musing on the cosmos. Rock never sounded so out of this world!

New songs for August 26th 2015

here they are:


"Do You Remember?" by Jarryd James: Upon listening to this song, I can't help but feel that its sound is a little like Gotye, only creepier! In a good way, though, I promise you. There is a bit of a stalker-y vibe to this song somehow, but it sinks into your mind as though nothing ever happened! Many people seem to describe this song as a mix between soul and electronica, and that's a pretty accurate description if you ask me! Soul has never been so eerie, and nor has electronica sounded so funky!


"High By the Beach" by Lana Del Rey: Sex and drugs and...ummmm...something kinda like rock 'n' roll but not quite. That's Lana Del Rey for ya! Last year's "West Coast" definitely emphasized the sex element, albeit in a warm, intimate manner. Now Lana takes on the second subject of the unholy trinity, drugs. She repeatedly states in the chorus that "all (she) want(s) to do is get high by the beach". With the song's breezy, beach-like vibe combined with its "I don't feel like doing much of anything" attitude, you really believe that that's all she wants to do when you listen to the song! Though her music doesn't really scream out "rock and roll" (Joni Mitchell's "Raised On Robbery" sounds like Zeppelin in comparison to LDR's music), Lana seems to often romanticize the R 'N' R lifestyle, whether it's mentioning "rock and roll groupies" in her lyrics, or even her infamous "wish to be dead" inspired by Kurt Cobain (which made both Kurt's daughter Frances and fellow grungette Kim Gordon rather irate). Perhaps Lana should go back to playing "video games", like she sang about in her debut song.


"Nearly Forgot My Broken Heart" by Chris Cornell: Speaking of grunge alumni, we also have a new song from Soundgarden's Chris Cornell! It might surprise you to know that the man whose most famous song was called "Black Hole Sun" is a bit of a folkie, but he is, and he's pretty good at being one, too! He even managed to make Michael Jackson's "Billie Jean" into a long, drawn-out drama with music comparable to Dylan and Cash. Some might view "Nearly Forgot My Broken Heart" as a way to one-up Eddie Vedder's somber, ukulele driven folk songs from the "Into the Wild" soundtrack, but Chris's brand of folk-rock is purely his own here! "Nearly Forgot My Broken Heart" is reflective, and almost spiritual in a way. Soundgarden fans needn't be disappointed, though, for the song does feature a brief electric guitar solo.


"Nobody Really Cares If You Don't Go to the Party" by Courtney Barnett: And the winner for longest song title of the week, at ten words long, goes to Courtney Barnett!! The title of this song is gonna be a mouthful for radio DJ's to announce, wow! Luckily, Courtney's aim is not at radio DJ's. Well, not the mainstream ones, anyway. Courtney's latest album has catapulted her status from the singer/songwriter of slacker hit, "Avant Gardener", to someone with a bit more eclectic taste. She has emulated quite a few legendary rock 'n' roll women on her latest album, from Courtney Love ("Pedestrian At Best") to Chrissie Hynde ("Dead Fox") to Patti Smith (this song, which has a similar feel to Patti's version of the garage rock classic, "Gloria", albeit without as much intensity). Like "Gloria", "Nobody Really Cares..." is pretty much the E, D, and A chords used repeatedly throughout the song, but it works here. Echoing the rock 'n' roll dilemma of "Should I Stay Or Should I Go?", the chorus of "Nobody Really Cares..." is "I wanna go out but I wanna stay home". Rock on, brown-haired woman!


"Year Zero" by Moon Taxi: This isn't the first song Moon Taxi have done, but it does look like the one that's gonna make them known to a wider audience! "Year Zero" is all about embracing the feeling of being apart from people and seeing where it will lead you. With its determined, fearless sound, I'm not surprised the song is about that. Makes for a great opening track to their latest album, too. I guess Moon Taxi are ready to face the final frontier!! (Or, to use another famous movie quote, to go "to infinity...and beyond!")

New songs for April 15th, 2015

here they are:


"Dead Fox" by Courtney Barnett: Courtney's first two big songs seemed to be on opposite extremes from one another!! "Avant Gardener" was mellow, spaced out slacker rock at its finest, yet "Pedestrian At Best" is one of the rawest, meanest, and hardest rocking songs I've ever reviewed on this blog!! Her third big song, "Dead Fox", appears to be somewhere in between the two. It's more upbeat than "Avant Gardener" but not as earth shatteringly angry as "Pedestrian At Best". "Dead Fox" sounds a bit like a Pretenders song circa the early '80s, only with Courtney Barnett's deadpan vocals taking the place of the more deep, sublime vocals of Chrissie Hynde. "Dead", in the title of this song, appears to be a metaphor, as in "you are dead to me", given how the chorus of the song ("if you can't see me, I can't see you") is basically about choosing to ignore someone you'd rather not be dealing with.


"Gates of Dawn" by Heartless B*st*rds: This band doesn't exactly live up to its name (which is kind of a GOOD thing), but that's because they were actually named after a question on a game show that asked what the name of Tom Petty's backing group was (one of the choices was "Tom Petty and The Heartless B*st*rds"). That being said, it's probably no mere coincidence that a lot of Heartless B*st*rds' songs sound like '90s era Tom Petty songs, including their latest song, "Gates of Dawn". A bit of the more anthemic side of Tom Petty gets mixed into this song as well, which starts out acoustic, and steadily adds more and more electric guitar as it climaxes. Nonetheless, "Gates of Dawn" still manages to be a somewhat laid back song.


"The Wolf" by Mumford and Sons: Like "Believe" from two months ago, this is yet another Mumford and Sons song that takes electric guitar over acoustic. However, "The Wolf" doesn't seem to be striving for an "epic" adult contemporary sound along the lines of Coldplay, and instead opts for something that sounds more like Kings of Leon mixed with Spoon. It also maintains a fast, electric sound throughout, instead of meddling between the two the way "Believe" did. The song still contains the typical, soul-searching Mumford lyrics ("Hold gaze my love, you know I want to let it go", "Been wandering for days, how you felt me slip your mind"). Here's hoping this song receives more airplay than their last one (which received quite a bit of airplay, but I like this one better). Perhaps I should be careful what I wish for?!


"Things Happen" by Dawes: Between this song and the last one I reviewed, all I can say is that Kings of Leon must be either incredibly proud or incredibly weirded out that they have now spawned so many imitators! "Things Happen" still maintains the roots-y feel Dawes typically go for, but the guitar appears to sound fuzzier and more echo-y than it usually is on their material. The lyrics of "Things Happen" seem to present a "Where do we go from here?" frame of mind for the listeners. This being Dawes' fourth album, perhaps it was hard for them to come up with topics for a new song. The chorus of the song ends with the empty, mystifyingly worded conclusion that "things happen, that's all they ever do". Wait, things do things OTHER than just "happen"?!

New songs for February 18th, 2015

here they are:


"Coming Home" by Leon Bridges: The term "neo-soul" has been applied to many musicians, but there are only a few whom I really believe deserve the label. Newcomer to the scene, Leon Bridges, is one such person. His brand of soul music hearkens back to a time when Motown was a fledgling genre and record label, as it heavily evokes the music of soul legend, Sam Cooke. Leon's smooth crooning combined with the blues-y but breezy guitar he sings over is enough to make Cupid actually want to draw back his bow and let his arrow go!


"Don't Wanna Fight" by Alabama Shakes: One of the most anticipated singles of the week, and also one of the funkiest!! Alabama Shakes are (currently) best known for their first big hit, "Hold On", which blended Janis Joplin-esque vocals with Creedence Clearwater-style guitar playing. In "Don't Wanna Fight", Brittany Howard takes her musical time machine a few years after the Woodstock era, and into the funk era of the mid 1970's. Howard loudly and proudly proclaims that she "don't wanna fight no more" throughout the song. Since I don't know the song well enough yet, I'm not exactly sure what it is that she's fighting for (or against), but this is a song that is clearly more about the rhythm than it is about the lyrics, as far as I'm concerned. Get your groove on!!


"Every Other Freckle" by alt-J: The nerdily named alt-J have actually been pretty cool ever since their debut, but it seems as though the songs from their sophomore record are the ones that adult alt radio has gravitated towards the most so far. The guitar heavy, Black Keys-esque "Left Hand Free" became one of summer 2014's biggest hits on adult alt stations. As spring approaches, "Every Other Freckle" is the song such radio stations seem to be picking up on. The song returns to the hip-to-be-quirky style that alt-J have become known for, which "Left Hand Free" seemed to lack. The lyrics in the song are also a bit enigmatic. For instance, I have no idea what they mean by "I want every other freckle". That's just fine, though, as this is just the way alt-J's fans seem to like them.


"False Hope" by Laura Marling: Laura Marling could easily be likened to a modern-day Joni Mitchell. If albums like "A Creature I Don't Know" and "Once I Was An Eagle" are her "Blue" and "Ladies of the Canyon", then perhaps her latest album, "Short Movie" is what "Court and Spark" was for Joni Mitchell. That is, a chance for Laura to experiment with electric guitars while still keeping up her folk-rock image. "False Hope" is the first Laura Marling song I have heard that uses electric guitar instead of acoustic. The chorus to "False Hope" is rather cutting for someone known for her quaint and quiet material ("why I know false hope", as if to say, "I've been down before, so leave me alone!") Again, the "Court and Spark" comparison could continue, since Joni had rather scathing lyrics on songs like "Raised On Robbery" ("first he had a '57 Biscayne, put it in the ditch, he drunk up all the rest, that son of a b**ch"). Laura is definitely trying to move in a darker direction with "False Hope", as far as I can tell, and a more musically distinct direction, too.


"Fool For Love" by Lord Huron: Lord Huron are probably one of the dreamiest sounding indie-folk bands of the 2010's. The first 45 seconds of their latest song, "Fool For Love", are pure bliss. Once the vocals kick in, it starts to sound more like a typical Lord Huron song, but it still maintains its blissful, ethereal sound. Many of their songs could obliquely be considered love songs, but "Fool For Love" is the first song they've done where the affection is clearly spelled out (as if you couldn't tell from the title). I notice that this song was released a couple days after Valentine's Day. I wonder if Lord Huron did that on purpose?!


"I Don't Want to Let You Down" by Sharon Van Etten: Sharon Van Etten's songs are known for being somewhat dismal and lonely sounding. That being said, could "I Don't Want to Let You Down" be an indicator that she has finally found happiness?! First of all, the song is in a major key, unlike most of her material, and it sounds more upbeat than the rest of her material, too. As if that wasn't enough of a not-so-indie move for the only indie-folk singer to share my mom's first name, she has also performed the song on Ellen DeGeneres' show, and rumor has it that this song was inspired by the feel-good '80s family flick, "Overboard" (one of my guilty pleasures!!) Rest assured, though, the song still feels mellow and folk-y enough to be considered legit in Sharon Van Etten's catalog, and her signature moaning vocals are still present on this track as well.


"Kathleen" by Catfish and The Bottlemen: Between their European sounding name and their similarity in sound to some of the harder rocking Oasis songs, one of the first things I wondered about Catfish and The Bottlemen when I first heard their song "Kathleen" was whether or not they were British. Well, it turned out I was close! They are a Welsh group. You don't hear the phrase "Welsh garage rock" or even "Welsh alternative rock" very often, so perhaps Catfish and The Bottlemen are trendsetters in this regard (only time will tell). The chorus of the song, in which lead singer Van McCann defiantly states, "I've gotta give it to you, you give me problems!" also seems typical of the garage rock genre. I wonder what other musical treasures Wales has to offer us!


"Leaf Off/The Cave" by Jose Gonzalez: In the 2010's, Jose Gonzalez has been active with his band, Junip, but he hasn't done anything solo since 2008. Though Junip was a good band, I much prefer the gentle, Nick Drake-esque brand of folk-rock that Jose had by himself. His latest solo song, "Leaf Off/The Cave" returns to the magic Jose did by himself during the mid to late 2000's. From its enchanting sound to its hopeful lyrics ("let the light lead you out"), "Leaf Off/The Cave" is bound to be a winner among Jose's biggest fans, and then some. Don't be fooled by the title. First of all, it has nothing to do with Mumford and Sons' "The Cave" as I thought it did before I actually heard it, and "Leaf Off/The Cave" is actually one song, not two, in spite of how the title makes it look. I regularly try to look for songs I can listen to to calm me down, but this is one of the most calming I have heard in quite awhile! Highly recommended!!


"Pedestrian At Best" by Courtney Barnett: Wait, which "Courtney" IS this?! Courtney Barnett or Courtney Love?! It kinda sounds like the vocals of the former mixed with the music and mood of the latter!! From Barnett's "Avant Gardener", I expected all of her songs to sound kinda deadpan, but "Pedestrian At Best" is anything but! It has an almost punk rock sound, with its defiant guitar playing, one-chord verses, and two-chord chorus, which is somewhat derivative of the early Kings of Leon tune, "Molly's Chambers". Barnett's sing-speaking and ranting vaguely recall Mike Muir's paranoid, enraged vocal style in Suicidal Tendencies' "Institutionalized"! I haven't seen anyone go from mellow to angry this quickly since Marianne Faithfull (likely one of Courtney Barnett's influences)!!


"Take My Love" by The Lone Bellow: So far, "Take My Love" is the closest that folk-rockers, The Lone Bellow, have gotten to electric guitar oriented music, but the Bellow have still kept their mellow on this one. It seems like sounding like Bruce Springsteen has become a rite of passage for many indie-folk/indie-pop bands lately (Killers, Hold Steady, Gaslight Anthem, War on Drugs, and Arcade Fire all rank among them). This is probably the first Springsteen-esque song that The Lone Bellow have attempted. It not only sounds like one of The Boss's songs, but it also seems to echo the passion and honest lyrical content that he usually had.


"What Kind of Man" by Florence and The Machine: Flo and her magic Machine are truly one of the most eclectic bands to have emerged in the 2010's. Their blend of folk, rock, soul, gospel, and new wave has been unmatched so far! Their eclecticism seems to come full circle in "What Kind of Man", which starts as a whispery, dark hymnal, but quickly turns into the sort of new wave-y dance-rock song you might expect from INXS, or perhaps even Prince. Guitar isn't usually a central instrument in Florence and The Machine's music, but it takes on a very important role in "What Kind of Man" from the first minute on. "What kind of man loves like this?" Flo implores throughout the chorus. The more important question is, "What kind of man (or woman) doesn't love this music?!"

New songs for March 12th, 2014

here they are:


"Avant Gardener" by Courtney Barnett: The title says it all!! Well, kinda. No, you're not going to hear a Captain Beefheart or Frank Zappa tune here, but you could expect something that sounds a little "noise-pop"-ish along the lines of, say, Flaming Lips, Built to Spill, or Yo La Tengo. Courtney's deadpan vocals and wordy lyrical refrains even recall avant-pop legends like Lou Reed. Lyrics like "the paramedic thinks I'm clever 'cause I play guitar/I think she's clever 'cause she stops people dying" seem like something that might have come out of a real-life version of "Daria"! I wonder what Courtney grows in that "avant-garden" of hers. Some "weeds", perhaps?!


"Ghost" by Jeremy Messersmith: The only other song of the week is yet another where the title explains the song. That is to say, the lyrics (and mood) of the song feel "haunted", as if by a ghost. "Ghost" was apparently inspired by a trip Jeremy took to his childhood home while he was touring a couple years ago. His home just didn't have the same feel as it did when he was a kid, and the mysterious emotions and emptiness he felt when he last visited it are summed up nicely in "Ghost", a minor key folk-rock song with a "stomp-along" rhythm that recalls both Phillip Phillips "Home" and Edward Sharpe and The Magnetic Zero's "Home". I think somebody needs to take me home now!!