New songs for July 20th, 2022

 here they are:


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

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

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

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

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

New songs for June 24th 2020

here they are:


"A Ghost" by Travis: Though Travis are actually Scottish, they have often been lumped under the "Britpop" category that also includes groups like The Verve and Radiohead, and (early on), Coldplay. Travis are typically on the melancholy side of the Britpop spectrum, like Radiohead are, but the eerily titled "A Ghost", ironically, is one of the happiest songs I've ever heard by them! The song is bouncy and jangly enough that I could picture it being done by some of British rock's founding fathers, like The Beatles or The Kinks. The titular "ghost" in the song is one that Fran Healy claims to "see in the mirror", according to the lyrics. More than likely, "ghost" is being used as a metaphor for confronting one's past self here. In "A Ghost", Fran gives a kiss-off to his past by unexpectedly embracing his happiness. Go figure!


"Didn't Want to Be This Lonely" by The Pretenders: Here is yet another song whose sound reaches back to the past. The Pretenders have already become "classic" in and of themselves, but here, they reach for influences that came along before their 40-plus-year career even began! There is a clear influence from proto-classic rockers like Chuck Berry and Bo Diddley here. After the melancholy folk-rock/power pop of The Pretenders' "The Buzz" from earlier this year, it's nice to see Chrissie and the gang pick themselves back up again! Like our previous entry, this song also seems like an upbeat tune that masks more negative emotions, and could also be viewed as being somewhat therapeutic in that regard.


"I Do" by Wild Rivers: Have we finally reached a point where neo-folk-rock has hit saturation point? This song from Canadian quartet, Wild Rivers, is one of the few songs of said genre to give me mixed reactions. On the one hand, the guy/girl harmonies of folk-rock that have been essential to the sub-genre since the days of The Mamas and The Papas are present here, which I like. On the other hand, though, the girl's vocals here remind me too much of Colbie Caillat, whom I've never liked, and the production of the music seems squeaky clean in comparison to the more rustic and ragged sound of most folk-rock. The jury's out on this song, but I've reviewed it here just in case I someday grow to like it more than I do now.


"My Own Soul's Warning" by The Killers: Brandon Flowers and co lived up to their name once again in spring and early summer of this year by burning up the alt and adult alt radio charts with the anthemic song, "Caution". The song seemed to evoke the new-wave-meets-Heartland-rock sound that groups like The War on Drugs have cultivated recently. The Killers' latest song, "My Own Soul's Warning", seems to head in this direction as well. Like many Killers songs from 2006 and onward, "My Own Soul's Warning" seems to have somewhat Springsteen-ian instrumentation, which meshes well with its cryptic yet soul searching lyrics. The opening lyrics of the song, "I tried going against my own soul's warning, but in the end something just didn't feel right", kind of sum up what the song is about. In other words, it seems as though during the course of the song, Brandon Flowers tries to find his own purpose in life without listening to the guidance of others, but he veers off course and ultimately decides that such advice might have been worth listening to after all. Flowers might not be near as good a lyricist as his idol, Bruce, but he certainly does try sometimes, and it really shows, too!


"No Time For Love Like Now" by Michael Stipe and Big Red Machine: Sometimes music from two different eras can share a common aesthetic. Such is the case with R.E.M.'s Michael Stipe and The National's Aaron Dessner (with a little help from members of Bon Iver), all of whom have collaborated with one another on the song, "No Time For Love Like Now". Though Stipe takes on the vocal parts here, it is Dessner who heads the musical composition of this number, filled more with the icy electronics of The National than the bittersweet, autumnal jangle of R.E.M. I'm not sure how they found out about one another, perhaps it is because both have proven to be influential in the world of alternative rock at some point in time, but the combo seems to work here. The song seems at least in part to be about the negative and surprising changes our world has experienced this year so far. The title of the song tells of love, but it's more a sense of sadness that permeates through this track.


"Proxima B" by Benjamin Gibbard: Death Cab's lead singer released what could have been his most depressing song ever with "Life in Quarantine" earlier this year around spring. The lyrics to his latest song, "Proxima B", though still somewhat sad, aim to subvert the sadness a bit. Unlike the stark folk-rock of "...Quarantine", "Proxima B" has a more bouncy, power pop/jangle pop sound, not uncommon in Death Cab's own material, such as "Crooked Teeth". The subject of "Proxima B" is basically Ben's desire to have somewhere to escape from the chaos and imminent danger the world is currently facing. With Planet Earth on the wane, Ben suggests Proxima B, the name of a distant planet in another galaxy (a real one, not a fictional one), as a place to be "careless and free", away from all the troubles of our current biological home.

More Quaran-tunes...

As the most unexpected battle in centuries continues to rage on, a few more artists, such as Jackson Browne, Mavis Staples, Andrew Bird, and Death Cab for Cutie's Benjamin Gibbard, have offered up their opinions. Here are those songs (plus one more):


"A Little Soon to Say" by Jackson Browne: Jackson Browne - rocker, singer/songwriter, activist...and unfortunately, recent Coronavirus victim. Being in his '70s, Browne is on the more vulnerable side of the Coronavirus spectrum, so this decade (or year) may be his last, but while he's still alive, he wants to offer us his own perspective on our potentially perilous predicament. Well, actually, the song was written prior to the pandemic's impact, but Browne decided now would be the perfect time to release it. This sad song, which could also end up being his swan song, was inspired by young activists, including heroic Aspie, Greta Thunberg, and how they have spoken out against people not taking action against threats to future generations, such as climate change. This six-and-a-half minute song is one of the most melancholy that Jackson Browne has done since "Fountain of Sorrow" in 1974. Actually this song is even more melancholy than that one was, lacking the light but noticeable rock and roll drums and electric guitar soloing in the background that "Fountain of Sorrow" had. This year has not been kind to some of my favorite musicians, which also include power pop singer Adam Schlesinger, folk-rocker John Prine, and soul musician Bill Withers, two thirds of whom died from Coronavirus. I've never said R.I.P. to three musicians in one post, but since none of them have released (or likely WILL release) any new material, this seemed like an appropriate time to do so.


"All In It Together" by Mavis Staples: Yet another song dedicated to fighting COVID-19 by a revered musician, Mavis Staples' "All In It Together" is a plea for unity during a time of separation. Having now entered her octogenarian years, it's quite remarkable that Mavis is still alive, and I am hoping with all my might she doesn't become victim to the Coronavirus. With her can-do attitude, optimistic outlook, and almost spiritual vibes, it doesn't seem very likely, but one never knows in this day and age. Mavis realizes, as we all should, how the virus is not "blind" in who it affects. One's financial status, gender, race, and other such factors become irrelevant in this song where the only race that matters is the human race itself and how it will cope with unprecedented disasters like our current situation. As human rights activist (and all-around model musician) Bob Marley once said in one of the last songs he recorded, "the darkness must amount to light". "All In It Together" seems to share the same message, one we have all needed to hear and heed right now!


"Capital Crimes" by Andrew Bird: Like the Jackson Browne song I reviewed earlier in this blog, Andrew Bird's "Capital Crimes" is a song written before our present pandemic that is now being connected with it. The song was originally meant as a protest song against capital punishment, but has now become a protest song against the way COVID-19 is being handled as well. And what a protest song it is! If you can imagine Bob Dylan collaborating with King Crimson and a classical music string orchestra, you've got "Capital Crimes" in a nutshell. This epic, six-and-a-half minute song is both lyrically and instrumentally agitated. The instrumental agitation slowly creeps in and is made apparent by the time the song is halfway over. Violin hasn't sounded so violent since John Cale played it furiously in The Velvet Underground's Heroin" back in 1967! Both the music and lyrics of "Capital Crimes" are somewhat Dylan-esque, with Bird essentially spending the song interrogating the government about whether or not they are truly protecting their citizens. A song like this perfectly captures the anguish and despair of the present day in a way that is deliciously dark!


"Held Down" by Laura Marling: Yet another song about a pessimistic, desperate situation, although this one seems more personal than universal. Still, there is no denying all the sadness and disappointment Laura Marling must have experienced in writing her latest song, "Held Down". The song seems to encapsulate feelings of being cheated and let down by whoever her current lover is, though it could also extended to just feeling cheated and let down by everything that's been going on around her. The song itself is as bittersweet as its lyrics would suggest it is. No one seems to know what to do with their lives anymore, and it's a theme expressed in all five songs of this week, but this one stands apart from the others with its more intimate, personal subject matter.


"Life In Quarantine" by Benjamin Gibbard: Death Cab for Cutie, as well as lead singer Ben Gibbard's solo recordings, have always sounded a bit melancholy and stark. But this song, consisting solely of acoustic guitar and Ben's vocals, might just be his saddest one yet. In this three-minute song, the theme of quarantine is expressed quickly yet sorrowfully, with places of entertainment such as bars and cafes being described as "empty", while more essential services like airports and train stations are "full of desperate people". Wow, how sad! Life just isn't what it used to be. Mercy, mercy, me!! I weep for humanity just hearing songs like this one. I'm trying to get over my current state of sadness, but it's been very hard lately. At least music is here to tell me, as always, that I'm not alone!

New songs for June 5th 2019

here they are:


"Calm Down" by Pete Yorn: Pete Yorn released an album in 2009 that yielded three adult alt radio hits with "Don't Wanna Cry", "Last Summer", and "Paradise Cove". I would not have anticipated that exactly one decade later he'd still be doin' stuff in the music biz. Yorn's career has gone on for almost 20 years now, and his latest song, "Calm Down" seems to combine the best of the moody, introspective folk-rock he went for in the 2000's with the more indie-pop direction he seemed to take in the 2010's. The keyboards in "Calm Down" give it a pop-y aspect, but the melancholy folk-rock guitars remind me of why I fell in love with Pete Yorn's music way back in 2001 when he debuted! I loved the bittersweet flavor of his breakthrough song, "Strange Condition", and it looks like with "Calm Down", Pete has finally found his way back to doing what he was so great at doing in the first place. Welcome back, Pete!


"Chevrolet Van" by The Nude Party: This song is not as glam-rock as their debut single, "Feels Alright", but it still sounds retro. This time, The Nude Party are going for a Bob Dylan sound, circa the mid '60s when Dylan "went electric". Much like Dylan, the lyrics to "Chevrolet Van" seem oblique yet somewhat caustic as well. Hard to believe this is the same band who did "Feels Alright", one of the hardest rocking songs of 2019 to hit the adult alt airwaves. "Chevrolet Van" is a much more mellow song, but still one that feels like it might still have some edge in terms of its lyrical content.


"Gotta Get to Know Ya" by Seratones: For those who like a bit of sass in their rock and soul songs, "Gotta Get to Know Ya" might just be for you! The song seems a bit like what The Black Keys might be like if their lead singer was a black female, as opposed to a white male. That singer's name is AJ Haynes, and boy, does she deliver in this track! You know AJ means business when she says, "I know what I'm doin', baby, so don't f**k with me!" Wowzer! I guess I won't mess around with her! But still, she makes some mighty fine music that will keep both rock and roll and R & B chugging on into the next decade!


"Help Me Stranger" by The Raconteurs: Earlier this year, The Raconteurs pulled off a rare feat of getting two hit singles to hit the adult alt airwaves within a single day! A little less than half a year later, The Rac's are back with "Help Me Stranger". The song's vibe is much like their previous songs, with a blues-rock sound that's both roots-y and punchy, and equally blues-y lyrics like, "Help me, stranger. Brother can you spare the time?" being repeated many times during the song. "These 16 strings we're strumming will back up every line" might just be the best line in the song for a few reasons. For one, does this mean that Jack White and Brendan Benson are each playing guitars with EIGHT strings instead of six?! If so, I wanna see those! Second off, note the alliteration of "sixteen", "strings", and "strumming". Last but not least, the line does exactly what the band members are doing at that very moment. The action of the lyrics describe guitar playing accompanying the lyrics, and...well...that's exactly what they're doing!


"Hurry On Home" by Sleater-Kinney: The piercing electric guitar attack of indie darlings, Sleater-Kinney, is normally a lot more vicious and gritty than it is on their latest song, "Hurry On Home". However, rest assured, the song still has an edge of its own that will probably please their longtime fanbase. Instead of taking from punk rock like The Sex Pistols and Patti Smith, "Hurry On Home" takes more from post-punk like Siouxsie and The Banshees and Joy Division. Joy Division particularly comes to mind here with "Hurry On Home"'s combination of techno beats and angry, brooding guitars that never spiral out of control yet still seem on edge. Lead singer Corin Tucker's voice quakes with urgency as she sings the words of the song's title, as though she's expecting someone to clean up her emotional mess. One also senses both jealousy and spite when she claims she's "unlovable" and "unf**kable" midway through the song. (That's the second time I've used a word that I don't normally use in real life on this blog this week. How weird! Well, for me, that is...)


"Live Wire" by Sheryl Crow (featuring Bonnie Raitt and Mavis Staples): I get the sense that Sheryl has tired from the folk-pop/rock image that songs like "Soak Up the Sun" and just about every other song she did during the first 10 years of the millennium gave her. Within the past three or so years she's tried to escape that by getting back to her blues-rock roots with Gary Clark Jr., as well as her "alternative" roots with St. Vincent. "Live Wire" is yet another attempt, and quite a successful one, at that, for Sheryl to get in touch with her blues-rock roots, enlisting the help of legendary blues-y women who inspired her like Bonnie Raitt and Mavis Staples. The song has a very Bonnie Raitt-ish vibe to it, and since she is one of the three people featured on the track, it's not hard to see why. In addition to a theme of femininity, a theme of motherhood might also be present on "Live Wire". Sheryl has been greatly inspired by Bonnie Raitt, and Bonnie has been greatly inspired by Mavis, thus uniting three generations of blues and country inspired rock together. Sheryl has been a mother for quite some time now, so this might just be her way of passing down the wonderful gift of music to her own children!


"Losing Battles" by Josh Ritter: Much like "Old Black Magic" from earlier this year, "Losing Battles" is yet another Josh Ritter song that moves away from his folk-rock roots and goes more into scorching Southern rock territory. The lyrics to this one evoke Southern rock and roots-rock here as well. In "Losing Battles", Josh mentions Colorado and Tennessee. A lot of "road trip" rock songs, such as The Grateful Dead's "Truckin'", use names of states and cities to give their songs a distinctly roots-y feel, and it looks like that's what Josh is going for here on "Losing Battles". I mean, don't lyrics like, "Drifted down to Tennessee/Lost my girl to a heart of silver" sound like they wouldn't be too out of place in a song by a group like The Allman Brothers or The Black Crowes?! Well I'd say they do!


"When We Drive" by Death Cab for Cutie: Death Cab's latest album seems to be a trip back in time across alternative rock history. Their previous single, "Northern Lights", evoked both The Smiths and R.E.M. Death Cab's latest song, "When We Drive", seems somewhat inspired, musically, by David Bowie's "Heroes", with its spacey, pulsating guitar and synth combo droning dreamily in D major. This seems like the perfect song to listen to when you just want to stare out into space at the stars with your loved one, imagining you and that special someone drifting into outer space and uniting in the cosmos!

New songs for October 24th 2018

here they are:


"Gold" by Sister Sparrow and The Dirty Birds: This song is a bit more like an indie/soul hybrid than the blues-y neo-soul that Sister Sparrow and The Dirty Birds' fans might be used to, but it still has plenty of soul left inside of it! Lead singer Arleigh Kincheloe assures her fans during the chorus that her love is "gold, gold, gold". We believe it, Arleigh! The passion in your voice says it all! Something you fans of the band might not have known is that Arleigh had a son just last year. Nothing like releasing new life into the world to celebrate your musical joy, eh?!


"Hey Mama" by Nathaniel Rateliff and The Night Sweats: Nathaniel and his Night Sweats have been on fire this year! They have not one, but TWO, of the most played tracks on adult alt radio for 2018: the feisty "You Worry Me" and the sensual but gritty soul music of "A Little Honey". "Hey Mama" is not exactly a free spirited or soulful song, but there's a good reason for this. "Hey Mama" is not about a girl that Nathaniel is calling "Mama" simply because of his affections towards her, but about his actual mother. It's about the bond Nathaniel shares with her. The band released this song as a single, aptly, on Mother's Day, but it hasn't quite stormed adult alt radio until the past week or so. This song is a quiet but striking reminder that October isn't all about witches and goblins and ghosts. It's also part of the season of autumn, the most bittersweet season of the year!


"Hide" by Rainbow Kitten Surprise: So what do you do after your "Fever Pitch" has infectiously wound its way onto alt and adult alt stations everywhere?! Well...you "Hide"!! Unlike what the title of the song indicates, RKS aren't hiding anything from their fans! They bare all their emotions, in fact, with "Hide". Judging from both the drag queens in the video for the song (https://www.youtube.com/watch?v=aetcUc3ejPE), and from its ending lyrics, urging the subject of the song to "hide (their) love", it is probably about someone falling in love with someone who is transgender, but not wanting to admit it because of the way the singer's family feels about such people. Way to break off the barriers of judgment, RKS!! Here's hoping the world will be less judgmental thanks to you guys!!


"If It Feels Good (Then It Must Be)" by Leon Bridges: Leon Bridges has jumped all over the soul music spectrum for his latest album, and, like Nathaniel Rateliff, has so far had TWO of his songs become some of the most played songs on adult alt radio in 2018 ("Bad Bad News" and "Beyond"). "Bad Bad News" sounded like a vintage jazz-rock track, and "Beyond" was a lovely, poignant slice of the rarely heard folk-soul subgenre. For "If It Feels Good (Then It Must Be)", he blurs the lines between funk and disco (with some sweet guitar licks in the middle, I might add) to get his point across. As for the point of this song? Well, look no further than its title! If it feels good, then it must be, right?! Right!


"Just to Say I Love You" by Michael Franti: After a dry spell of folk and world music blending during the late 2000's and early 2010's, Michael Franti got back into the reggae-rock groove he originally became known for with "Once A Day" in 2015. The reggae rock trend continues with "Just to Say I Love You", albeit with a sweeter flavor this time around. I can't help but feel like the miracle of birth is a theme in this week's blog! "Gold" seemed like a declaration of Arleigh Kincheloe's feelings as a new mother, and "Hey Mama" reflected Nathaniel Rateliff's feelings for his own mother. "Just to Say I Love You" is a song Michael Franti has dedicated to his wife, who, like Arleigh, is a new mother this year. Love and unity are common themes in Franti's music, but they have never been as profound as this!!


"Northern Lights" by Death Cab for Cutie: This song is like a mix of R.E.M. and The Smiths, while not being near as good as either one. Because of its influences, though, as well as its use of guitar, I feel like I might like it better than I did "Gold Rush". Another similarity "Northern Lights" shares to both R.E.M. and The Smiths is how it has a small amount of verses while still managing to seem deep in its meaning. The song itself might be a "word salad" of sorts, but its chorus still manages to be captivating, even if it only contains the words, "Northern lights filled our skies/Empty nights synchronized".

New songs for June 20th 2018

here they are:


"Forever" by Billy Raffoul: Poised to be Billy's second hit after last summer's "Driver", "Forever" showcases Billy Raffoul's robust vocals, much like "Driver" did. The instrumentation on "Forever" isn't quite as powerful as the quiet-to-loud dynamics of "Driver", instead opting for a quirkier brand of instrumentation that still fits loosely into the indie-pop format. The lyrics are a bit more formulaic than "Driver" as well, as "Forever" conveys the simple but effective message that him and his current love interest will "last forever". What I wanna know is if this song will last forever.


"Gold Rush" by Death Cab for Cutie: Death Cab for Cutie have returned to the music world after a three year hiatus. And what are my thoughts on the matter?! Well, mixed, to be honest. There are things both to like and not to like about their latest song, "Gold Rush". The song's piano based sound just seems to be further proof that "guitar music" just isn't in vogue anymore (as a guitarist, this makes me kinda sad). However, its sound is unique, providing both a later Beatles influence as well as a more contemporary one. And speaking of The Beatles, one of the best things about this song is that it uses a sample from Yoko Ono's 1971 song, "Mind Train". The lyrics of "Gold Rush" are also interesting, as they tell the story of the slow but steady gentrification of lead singer Ben Gibbard's hometown of Capitol Hill in Seattle, Washington.

New songs for August 9th, 2017

here they are:


"Lucky Penny" by JD McPherson: JD McPherson's style is usually that of a 1950's rocker like Jerry Lee Lewis or Chuck Berry. "Lucky Penny" takes him from the '50s to the early '70s! The organ filled neo-glam-rock style of The Black Keys dominates this song, and it also sounds slightly reminiscent of "Roadhouse Blues" by The Doors. "This lucky penny's been nothing but bad luck", JD sings during the chorus. Unfortunately, a lot of listeners seem to feel this way, too, since the style of the song is largely derivative of The Black Keys, as opposed to the amalgam of '50s rock styles he's become known for. However, "Lucky Penny" might just be the song to get JD from adult alt radio stations to more mainstream alt-rock stations, which would probably work out in his favor! Was this song worth the one cent?! You decide!


"We Were Beautiful" by Belle and Sebastian: The ever eclectic Belle and Sebastian continue to wow indie fans with their latest song, "We Were Beautiful". Most of their fans seem to prefer their work from the '90s and '00s, when they were "twee" (in other words, influenced by sweet sounding orchestral '60s pop, such as "Pet Sounds"). B & S have modified their style a bit ever since to include more electronic influences, such as what they did on their 2014 song, "The Party Line". "We Were Beautiful" continues in the electro-pop pattern, but it also has an ethereal, airy sound that hearkens back to their earlier work. "We were beautiful before this went down", lead vocalist Stuart Lee Murdoch croons bittersweetly during the chorus. On the surface, the lyrics sound like they are referring to a relationship gone bad, but the song could also ostensibly be about how B & S have interpreted criticism of their more recent songs.


"What You Do to Me" by Benjamin Gibbard: And last but certainly not least, the Death Cab for Cutie frontman embarks on his most interesting musical quest to date, an entire album of songs that were covers of tunes by '90s power pop group, Teenage Fanclub. Ben covers one of TF's most famous songs, "The Concept", on this album, but that did not end up being the first single from Ben's latest album. Instead, it was a cover of a lesser known Teenage Fanclub song, "What You Do to Me". It's interesting to hear him take on this song, which serves as a "missing link" between Big Star and Gin Blossoms. DCFC have dabbled plenty in the softer side of alternative rock, but this is the first time one of their members has attempted a power pop/jangle pop song, and the results are quite satisfying! Too bad it's only 2 minutes long.

New songs for March 23rd, 2016

here they are:


"Good Help (Is So Hard to Find)" by Death Cab for Cutie: I have heard four songs from Death Cab's latest album, and so far, it seems like their most rock oriented album yet! None of the four songs I've heard have any hint of the folk-rock sound they were once known to have. "Good Help (Is So Hard to Find)" might as well be from 1979 with its sound coming off as a cross between The Clash's "Train In Vain (Stand By Me)" and The Police's "Voices Inside My Head". Never thought Ben Gibbard and co would attempt to go for what is essentially a funk and reggae influenced sound, but that's pretty much exactly what they do on this song. It might also be the one DCFC song that makes the most use of the "flange" effect (the echo-y guitar distortion often used in songs with staccato rhythmic patterns).


"Shine" by Ben Harper: Where Death Cab are newbies at the whole reggae/funk thing, Ben Harper has been a natural at it from day one. The sunshiny funk sound coming from his latest song, "Shine", does not come off as being awkward or "new" sounding, and instead is very steady and fluent. Ben's uplifting lyrics and soulful delivery make "Shine" quite enjoyable. This is also the third Ben Harper song I've known to use the word "Shine" in the title, the others being "Burn to Shine" and "Shimmer And Shine". He must really like that word!

New songs for June 24th, 2015

here they are:


“Happy In the Sorrow Key” by Indigo Girls: If it were up to Amy Ray, The Indigo Girls might have been more influenced by punk than folk. She kinda sorta got her way with The Indigos’ “Shame On You” in the mid ‘90s, but so far, it hasn’t happened since. Until now, that is. “Happy In the Sorrow Key” is neither happy nor sorrowful, but it’s got plenty of grit. It is a surprisingly raw, rocking song for the duo. Amy’s love of bands like Husker Du, The Jam, and (especially) The Pretenders has finally paid off!!


“Once A Day” by Michael Franti and Spearhead: Michael Franti could be likened to a modern day Bob Marley, and no, it’s not just because of the influence of reggae can be heard in his music (after all, Franti also has plenty of influence from rock, folk, soul, and jazz as well). It’s also because Franti is just as much an advocate of social justice as he is for the feeling of being loved. Where Marley said, “Could you be loved? Then be loved”, Franti picks up where Marley left off with a message just as universal and affectionate, “Everybody oughta hug somebody at least once a day”. Michael, I must say, I agree with you on this one, very much! Love, be loved, and stay loved!


“The Ghosts of Beverly Drive” by Death Cab for Cutie: This might just be one of the most rocking songs Death Cab have ever attempted. Sure, they have incorporated the use of electric guitars into their music on more than one occasion, but the catchiness of the rhythm and the fuzziness of the guitar are not common elements in DCFC’s music. This does not mean that “The Ghosts of Beverly Drive” is a happy song, though, it isn’t, but it is more upbeat than their usual material. Musically, it almost seems like a slightly calmer and less solo driven version of The Police’s “Synchronicity II”. Finally, the lyrics are still trademark Death Cab, with clever but thoughtful lines like, “You wanna teach but not be taught”, and “I wanna sell but not be bought”.

New songs for February 4th, 2015

here they are:


"Black Sun" by Death Cab for Cutie: Whenever Death Cab releases a new song (or new album, even) it always ends up making a big splash on adult alt radio stations, so naturally, their latest song, "Black Sun", is following in the footsteps of their other material. So how good is this song REALLY?! Well, honestly, I always like when they do folk-rock-y material the best, and "Black Sun" sounds a bit more like the sort of "experimental" track that a band like Radiohead might put out, albeit with a bit more musical consistency. That being said, I think they've done better. However, it is definitely not a bad song by any means. The use of synthesizer during the chorus is rather atypical for Death Cab, but the meandering, neo-psychedelic sound of the majority of the song vaguely recalls other DCFC songs like "Meet Me On the Equinox". Was Death Cab's comeback for 2015 worth it?! You be the judge. I personally think there's gonna be more in store for the band as the year progresses.


"Sedona" by Houndmouth: Houndmouth's music recalls the country-folk-blues-rock gumbo of both newcomers like Alabama Shakes and legendary groups like The Band. At least it DID for the songs on their first album. Their latest song, "Sedona", seems to be making a slightly conscious effort to sound more "indie" than their previous material. The lyrics still have a country flair (such as "John Ford said, 'Won't you hop on in, in a stagecoach, baby, gonna take you for a spin'"), and their quaint descriptions of big cities (like "hey, little Hollywood", in the chorus) tend to keep their imagery similar to what it was on their debut. I dunno about you, but to me, "Sedona" is less like The Band and more like Band of Horses. Still worth listening to, though.

New songs for February 20th, 2013

here they are:


"A Tattered Line of String" - by The Postal Service: It sounds like an unusually mellow brand of techno with the vocals of Ben Gibbard from Death Cab for Cutie. Hmmmm....sounds like the same guys who sung the chill 2004 techno-rocker "Such Great Heights". Have they come out of hibernation after 9 years?! Yes!! They have!! And those are Ben Gibbard's vocals, The Postal Service was (and is) his side project. I personally think Ben is better as a folk-rocker than as a new wave revivalist, but ever since the beginning of this year, I began hearing about how The Postal Service were going to reform, and I noticed that many people were eagerly anticipating their sophomore album, and now it's finally arrived! Not a bad effort for Mr. Gibbard, but I think he should stick with either Death Cab or his solo material for next time.


"Entertainment" by Phoenix: And now, here is yet another band who launched the new wave sound into a new age! Their songs "1901" and "Lisztomania" were both instant hits, probably because the synth side and the rock side of new wave never sounded so good together since Talking Heads had their last string of hits together! The latest song from the catchy French indie pop group Phoenix, "Entertainment", is a bit less focused on the guitar than their previous songs were. The sound of the song screams out "geek-rock", as it seems like it would be the perfect theme song to a video game or anime series, perhaps because it uses a scale during the chorus that is common to Japanese music. A different kind of "entertainment" than the typical Phoenix fan might be used to, but "Entertainment" is entertaining nonetheless.


"Gotta Get Over" by Eric Clapton: Initially a part of powerhouse psychedelic blues-rock groups like The Yardbirds and Cream, there are those who criticize Clapton of "softening" or "polishing" his sound ever since the mid 1970's. The criticism is certainly valid in some ways, and indeed, he seemed to hit a low point in his career around the mid '90s, in which his sound was closer to folk and country than it was to blues, but ever since the release of his 2010 rocker, "Run Back to Your Side", Clapton has beefed up his sound so that it sounds closer to "After Midnight" than it does to a sub-par version of "Tears In Heaven". "Gotta Get Over" is another rockin', bluesy number from Eric Clapton. Not a whole lot of lyrics on "Gotta Get Over", but since the focus here is more on the electric guitar sound, the lyrical content doesn't matter as much for this song. Keep rockin' on, E.C.!!


"Just to Make Me Feel Good" by Adam Green and Binki Shapiro: The Moldy Peaches' lead singer (the one who sings the male vocals on "Anyone Else But You" from "Juno"), and the female multi-instrumentalist from indie-pop group Little Joy joining forces together could spell trouble for Zooey Deschanel and M. Ward (known together as "She & Him"). It doesn't look like Adam and Binki are going to be anywhere near as well known as Zooey and Matt, but they still make an endearing (if odd) indie-pop duo. Unlike She & Him, in which Zooey has pretty much all the vocal duties, Adam and Binki trade off vocal sections on their songs. Their first major song, "Just to Make Me Feel Good", has the breezy, feel-good sound of a 1960's pop song. There is definitely a major difference between the charming, bubbly female vocals of Binki Shapiro and the low, deadpan male vocals of Adam Green, but somehow, they manage to make it work here, and to great effect as well!


"Long Time Gone" by The Civil Wars and T-Bone Burnett: Old folk meets new folk! The Civil Wars have had a couple hits now among indie and neo-folk fans, and T-Bone Burnett is known more for his production (like on the "O Brother, Where Art Thou?" soundtrack) than his songs, but they both share a love for roots-y American folk music. Aside from The Wars' best known song, "Barton Hollow", "Long Time Gone" is probably the roots-iest, folk-iest song they've ever done! As always, Joy and John make their harmonies soar on "Long Time Gone", and T-Bone Burnett's accompaniment makes The Civil Wars sound like a band that came out of...well...the Civil War!


"Minute By Minute" by The James Hunter Six: Whoa! Did I just take a time machine to 1967 and end up in Stax Records Studios?! (The people known for producing Otis Redding's material and some of Wilson Pickett's) It sure seems like I did! It's R & B music, but definitely not what people would associate with contemporary R & B. This is the classic stuff, with raw, passionate vocals, steamy saxophones, and clean, slick organs. The most striking feature of Hunter's music? He's WHITE!! I'm not someone who considers ethnicity in music (or anything) to be a big deal, but Hunter has such close vocals to Otis Redding, Wilson Pickett, etc., that I thought he was more African-American than Caucasian. I guess Hunter embraces both vintage sound and racial diversity, so I say, way to go, man!!


"Spotlight" by Leagues: A bit late in reviewing this song, I realize, since it's been out since late December, but it's only been within the last week that I've noticed an increase in the airplay of this song (perhaps because that's how recently it was featured in "Grey's Anatomy"). With its echoic guitar sound and catchy rhythm, I’m honestly surprised that “Spotlight” hasn’t been a hit in formats other than adult alternative yet! (Perhaps I’ve spoken too soon, though). Its chorus, consisting only of the phrases “I’m never gonna give you up” and “Spotlight, I’ve got a spotlight”, is short, but extremely effective in terms of getting stuck in one’s head. “Spotlight”’s pentatonic guitar solo in the middle of the song is like the cherry on top of this already delicious ice cream of a song!


“The Lightning Strike” by Snow Patrol: Snow Patrol seem to love updating their older material with new arrangements! It’s happened twice now, with the 2009 release of “An Olive Grove Facing the Sea” (originally from 2001) and the 2010 release of “Set the Fire to the Third Bar” (originally from 2006). Their third “re-release” song is “The Lightning Strike”, originally from 2008. The song adds yet another unique flavor of sound to the Irish indie pop group’s already eclectic catalog. The chord progression of the song seems more common to classical music than it is to rock and pop, and the instrumentation is incredibly orchestral for a Snow Patrol song. Another aspect that makes “The Lightning Strike” stand out among previous material from Gary Lightbody and co? It has THREE PARTS!! As far as rock music goes, I would expect a song with more than one part from, say, Rush, Pink Floyd, Yes, or Jethro Tull, but NOT Snow Patrol!! As adult alt radio stations don’t seem to typically play songs that are actually two (or more) songs in one, I think it’s safe to assume that only the first part of “The Lightning Strike” will be spun on such stations. The imagery of “perfect halos”, “silver forked skies”, and “peeling thunder” probably wouldn’t sound too out of place in a prog-rock album, actually. Who knew Snow Patrol were closet Pink Floyd fans?! I sure didn’t!!

New songs for the New Year Part 2 - Brand new for January 2013!!

And NOW comes the fun part!! The songs that are brand new for the New Year!! Here goes:


"A New Life" by Jim James (from My Morning Jacket): Jim's latest album is called "Regions of Light and Sounds of God". His newest song, "A New Life", SOUNDS like it came from God within a region of light!! There's something heavenly, in the most authentic sense of the term, about "A New Life". It doesn't sound like the Grateful Dead-meets-Flaming Lips type sound that MMJ became known for in their later years, but more like the gentle, breezy folk-rock of their debut song, "Golden". In fact, "A New Life" is even MORE gentle and breezy than "Golden" was. It's absolutely exhilarating how "A New Life" climaxes! It starts off with Jim's vocals behind a lightly strummed acoustic guitar, then the guitar gets strummed more clearly, and from there, new instruments get added in gradually, starting with a tinkly piano, then a string section, drums, and finally a...saxophone?! Well, it fits in this song!! I don't know how it does, but it does! I feel like I just died and went to heaven. Therefore, I think "A New Life" is a very fitting title for such an ethereal, other-worldly song!!


"Bigger Than Love" by Benjamin Gibbard (from Death Cab for Cutie), featuring Aimee Mann: Although Ben has done better material with Death Cab, there are a couple things I really like about his latest song, "Bigger Than Love". First of all, it features power pop chanteuse Aimee Mann, which is great, not only because I love her music, but also because she just put out an album of her own in summer of 2012, so she's quite a busy woman! It's also really neat that the song has gotten popularity among YouTube viewers because of its performance on "The Colbert Report". The best thing about "Bigger Than Love", though, to me, is how it was inspired by the love letters that were written between F. Scott Fitzgerald, and his wife, Zelda. Actually, that's quite fitting, considering that there's supposed to be a "Great Gatsby" movie coming out soon. Wonder if this song will be featured on the soundtrack?!


"Come Unto Me" by The Mavericks: I thought I knew The Mavericks from their bouncy country-pop/rock song, "I Wanna Know", but this song sounds different from that (and much better!!) "Come Unto Me" is more than just country-rock. There seems to be a sort of Mexican flavor to it, as well as an exotic, gypsy-ish chord progression in the middle of the song. This song could easily be mistaken for a Los Lobos song, and they are a great band! Who knew that one of the first songs of 2013 would also be one of the spiciest?! I didn't, but I'm sure glad I heard it!!


"I'm In, I'm Out, And I'm Gone" by Ben Harper and Charlie Musselwhite: This song starts out with a riff that has been used in countless rock and roll songs, from The Yardbirds' "I'm A Man" to The Black Keys' "Howlin' For You". "I'm In, I'm Out, And I'm Gone" rarely strays from its two chord vamp used in the verses (in fact, the only other chord used in the song comes in during the chorus). This isn't progressive rock, classical, or jazz, though, this is the blues, and blues chords are supposed to have a simple progression!! Some killer harmonica solos on this song, too, so great, that they probably have the power to make the spirit of Muddy Waters come out and groove to the music!


"Ramona" by Night Beds: The bittersweet vocals of this song, which sound halfway between Rufus Wainwright and Ryan Adams, as well as its swooning, swaying guitars, make "Ramona" quite a fitting song from the wintertime. Lyrically, "Ramona" is quite a sad song as well, about the titular girl's separation from both her family and herself, and the anxiety that results from her trying to deal with such situations. It seems as though lead singer Winston Yellen is frustrated, too, as he urges Ramona to "f**k what they taught ya" ("they" probably referring to her family, or perhaps society in general) in the song. Now is the winter of our discontent!!


"The Woodpile" by Frightened Rabbit: This is a good song, but a bit of a letdown for me as far as Frightened Rabbit's material is concerned. I first heard about the Scottish folk-rock group, Frightened Rabbit, in March 2010, when they released "Swim Until You Can't See Land", a gentle, bittersweet song that I have come to love ever since! "The Woodpile" is different than that. It's a bit more plain old bitter than it is bittersweet (though it is still melodic), and the acoustic/electric guitar melding I got used to hearing from "Swim Until You Can't See Land" is now completely electric, with a sound that is somewhat similar to Death Cab for Cutie's earlier material. Even the opening lyrics of "The Woodpile" suggest an all new getup for Frightened Rabbit, mentioning "electric floors", "red meat markets", and "fire doors", all conjuring up vivid yet provocative imagery. I guess Frightened Rabbit aren't so frightened anymore!! They are now the ones facing their fears and taking action!


"Where Are We Now?" by David Bowie: Last, but certainly not least, is the most anticipated new song (so far) of 2013, from none other than the Thin White Duke himself!! It's not one of Bowie's most rockin' numbers, but it doesn't need to be, because...ummm...oh yeah, he's DAVID BOWIE!! He can do anything, and it's bound to impress someone! "Where Are We Now?" is one of the most impressive songs Bowie has ever done!! It is almost like a "crooner" song for someone like him, but it is far more philosophical than it is a love song. It's great to see that, after more than 60 years into his life, David Bowie is still contemplating deep thoughts. What can I say, Bowie is like a fine wine. He only gets better as time goes on!!

New songs for September 12th, 2012

here they are:


"Fire Bug" by JD McPherson: The greatest '50s rock sensation that never was had a big hit on the adult alt charts earlier this year with "North Side Gal", and now he's burnin' up those charts again with his latest song, "Fire Bug"! With its pounding Jerry Lee Lewis style pianos, Chuck Berry style guitars, and soulful saxophones, "Fire Bug" sounds like the perfect song for a 1950's diner to be playing. Like "North Side Gal", "Fire Bug" is yet another song about an object of JD's affections. An ordinary subject, but an extraordinary song, so much so, that it probably wouldn't matter what JD sang about, as long as he delivered it with enough passion and energy!


"Let Me Lie" by Trey Anastasio: For a jam band aficionado, you'd probably expect a more complex, or at least a more electric guitar oriented song from Phish's leading man. But no, Trey has decided to mellow out and unplug for his latest song, "Let Me Lie". Even the lyrics ("Gonna take my bike out, gonna take my bike, gonna ride it slowly, ride it just how I like") suggest that Trey doesn't want to go all Jerry Garcia on us this time like he usually does, he just wants to take a break from all that fast paced life out on the road. For a man who's been jammin' his brains out for more than 20 years, both with and without Phish, I'd say that "Let Me Lie" is a well deserved break for Trey. Not that I don't enjoy it when he jams, though, he's great at that!!


"Love Is A Fire" by Courrier: With a sound that comes halfway between Snow Patrol and The Killers, Courrier already seem poised for success with their debut single, "Love Is A Fire". Somehow, though, even though Courrier have a solid, dynamic, appealing sound, something seems missing from their music. Perhaps because their lyrics (like the chorus, "Can you hear my heart, hear my heart now? Love is a fire and it's burning me down") seem ordinary in comparison to those that Gary Lightbody and Brandon Flowers typically deliver in their music. Courrier don't even seem to have the "tight harmony" concept that make songs by groups like Scars on 45 so profound sounding to me. Yet somehow, I still like Courrier, and I still like this song. It's not bad. I just think it needs a little improvement, and I think that Courrier have potential to make better songs.


"1957" by Milo Greene: Has it somehow become a trend to use 20th century years in indie-pop/rock song titles?! First there was Phoenix's "1901", and earlier this year, The Tallest Man on Earth put out a song called "1904". Now, thanks to Milo Greene (a band, not a person), we have our third "year song" in the indie-pop category, "1957". "1957" also utilizes other trends in indie-pop/rock. Like Of Monsters and Men, Edward Sharpe and The Magnetic Zeros, The Civil Wars, and The Lumineers, Milo Greene are a band that plays bittersweet folk-rock with a guy and girl sharing vocals, somewhat like a modern day Mamas and Papas. The video for the song is particularly interesting, in that it plays out like a three and a half minute version of current indie flick, "Ruby Sparks". The guy in the video appears to be writing a story about this girl, he falls for her, she appears to be real, but she turns out to (more than likely) just be imaginary. Surreal enough for ya?! The video can be viewed at http://www.youtube.com/watch?v=k8Mc8YRigmw


"Teardrop Windows" by Benjamin Gibbard: So Death Cab's leading man has finally decided to go solo, eh? Well, it sounds like...ummm...not that different from Death Cab themselves. However, "Teardrop Windows" is a relief for me since its sound hearkens back to the bittersweet folk-rock Death Cab initially became known for, as opposed to the more electronic flourishes of more recent Death Cab songs like "You Are A Tourist" and "Underneath the Sycamore". As you might expect from a song with the word "teardrop" in the title, "Teardrop Windows" has both a moody sound and moody lyrics (even the opening lyrics, "Teardrop windows crying at the sky, he's all alone and wondering why"). But Ben doesn't let the tears flow too hard in "Teardrop Windows", since the song has a somewhat catchy backbeat, as well as a good balance of major and minor chords throughout the song.

New songs for January 18th, 2012

Here they are:

“Get Yourself Another Fool” by Paul McCartney: At first this song seemed like a rather disappointing departure from the wonderful Radiohead/Oasis-like Britpop influenced material Sir Paul went for in the mid to late 2000’s, with such gems of his as the somber “Jenny Wren”, the delightfully pop-y “Fine Line”, the bright pseudo-alt-pop of “Ever Present Past”, and the jubilant “Dance Tonight”, among others. “Get Yourself Another Fool” seemed like Paul’s attempt to be, say, Norah Jones, Jamie Cullum, or some other smooth jazz influenced contemporary pop musician. While “Get Yourself Another Fool” certainly has that sound to it, it relieved me to know that this wasn’t actually Paul’s song, but rather, a song from the legendary soul musician, Sam Cooke. With Paul’s take on “Get Yourself Another Fool”, the song has now been covered by two British rock musicians (the other being Elvis Costello). Jazz-pop doesn’t seem like it was ever something Sir Paul was interested in, but perhaps I’ll give him some slack since it’s his first time attempting to perform something of the genre. It’s been a little hard for me to warm up to this song, as I was expecting the alt-pop, Nigel Godrich produced sound of McCartney here, but perhaps in time I’ll grow to really like this one, who knows.

“Shake Your Hips” by Joan Osborne: Most people probably remember Joan Osborne as the somewhat Alanis Morissette-ish singer from the mid-‘90s who did that song about God being “one of us”. While I do like that song, Joan was really a much more diverse performer than that! She also dabbled in folk-rock (“St. Teresa”), blues (“Right Hand Man”), and soul (“Ladder”). She especially seemed to like soul music for quite some time (so much so, in fact, that she sang Martha and The Vandellas’ “Heat Wave” during a Motown tribute performance), and soul was pretty much what she stuck to doing throughout the 2000’s. Most of her attempts at soul didn’t come out very well, though (the aforementioned “Heat Wave” cover excepted). Now that the 2010’s have come around, though, Joan has decided to take on the blues-woman aspect she did in “Right Hand Man”. “Shake Your Hips” is actually even MORE true to the spirit of the blues than “Right Hand Man”, though, in that it’s literally a one-chord vamp (it is just A major throughout), like many blues songs tend to be, and it has a chuggin’ boogie beat that John Lee Hooker would be proud of if he were still alive today!

“Simple Song” by The Shins: The most heavily anticipated song of the week comes to us from none other than the band who first became popular through the “Garden State” soundtrack. Their lead singer, James Mercer, made his last album with The Shins in 2007. He embarked on a successful side project, Broken Bells, with Danger Mouse from Gnarls Barkley, three years after that, so he’s been a busy man for quite some time. “Simple Song”, however marks the first time The Shins have performed together in five years!! So how does the band sound after half a decade of absence from the music world?! Quite different, actually. The Byrds-y arpeggios and Beach Boys-style harmonies that once dominated The Shins’ catalog are not present on “Simple Song”, a song that combines the bass hook of Queen and David Bowie’s “Under Pressure” with crunchy (but still melodic) Matthew Sweet style power pop. The four minute length and five or so chords used in “Simple Song” might make it live up to its title, but this just isn’t what I was expecting from The Shins. It’s BETTER!! James Mercer and the boys are also playing Coachella this year, and “Simple Song” is probably one of the main reasons why!

“Underneath the Sycamore” by Death Cab for Cutie: Whenever Death Cab comes out with a new album, at least one song from it is mega-successful on both adult alt radio and “regular” alt-rock radio. Their latest album, “Codes and Keys”, is no exception to the rule. Two songs from the album (the uber-popular “You Are A Tourist”, as well as “Stay Young, Go Dancing”) have already made their way onto the airwaves, and as 2012 kicks into gear, Death Cab now have a THIRD song from “Codes And Keys” pushing for radio airplay! Since Ben Gibbard was married to the lovely Zooey Deschanel during the year “Codes And Keys” came out, just about every song from the album so far has been optimistic. “Underneath the Sycamore” is also optimistic, but its sound is somewhat U2-ish in comparison to the mostly folk-rock influenced catalog of Death Cab for Cutie. “You Are A Tourist” also had a U2-ish sound, so Ben Gibbard probably wanted to go for a larger audience on “Codes And Keys” (although “Stay Young, Go Dancing” adhered to the folk-rock sound of most of their material, so Death Cab haven’t TOTALLY switched their sound…yet). The title track to “Codes And Keys” would have made for a more satisfying choice for the third single off the album, but “Underneath the Sycamore” is still not a bad choice.

The Top 20 Songs of 2011!!!

Here it is folks, the moment you've all been waiting for!! Countin' em down from 20 to 1. (Yeah I know, it isn't Wednesday, but it IS towards the end of the year, so why not?!):

20. "MoneyGrabber" - Fitz and The Tantrums
19. "Free" - Graffiti 6
18. "Options" - Gomez
17. "She Walks In So Many Ways" - The Jayhawks
16. "Lost In My Mind" - The Head and The Heart
15. "Called Out In the Dark" - Snow Patrol
14. "The Afterlife" - Paul Simon
13. "Lonely Boy" - The Black Keys
12. "Longing to Belong" - Eddie Vedder
11. "Tree By the River" - Iron & Wine
10. "The Cave" - Mumford and Sons
9. "Roll Away Your Stone" - Mumford and Sons
8. "I Might" - Wilco
7. "How Come You Never Go There?" - Feist
6. "Pumped Up Kicks" - Foster the People
5. "The Adventures of Rain Dance Maggie" - Red Hot Chili Peppers
4. "Give Me Something" - Scars on 45
3. "Down By the Water" - The Decemberists
2. "Lucky Now" - Ryan Adams

And...the number one song of 2011..isss.....

"YOU ARE A TOURIST" BY DEATH CAB FOR CUTIE!!! :D Merry Christmas, Happy Hanukah, and Happy Holidays to everyone, and a Happy New Year, too!! It's been great reviewing songs and sharing how I feel about them with everyone.

brought to you by the letter "S"

Only two songs for this week, and they both start with that somber, sweet, spectacular, stupendous letter, "S" (same letter as my first name!!) So here goes:

"Sophia" by Laura Marling: Laura Marling's been a prominent member of the indie-folk scene ever since 2006, but it's only been recently that she's gotten the attention she has probably deserved for quite a while now, perhaps because of her work with other London indie-folk acts that have now become major among indie fans across the globe, such as Mumford & Sons and Noah & The Whale. "Sophia", perhaps Laura's first major song so far, reminds me of Simon and Garfunkel for a couple reasons. First off, the main riff of the song has similar notes to the chorus of "Bridge Over Troubled Water", and also, "Sophia" tends to give off a vibe that suggests something somber but still soothing and gentle to the ears. Lyrically, though, "Sophia" is a very depressing song, especially with its recurring line, "I'm wounded by dust". For some reason, though, I often view "depressing" songs as "romantic" if their melodies come across as being mellow enough, and "Sophia" is no exception!

"Stay Young, Go Dancing" by Death Cab for Cutie: Now why wasn't THIS the first single off of Death Cab's latest release, "Codes and Keys"?!? It's so much better than their first single of 2011, "You Are A Tourist" (though that song seems, so far, like it's MUCH more likely to win the title of "song of the year" for 2011!) Where "Tourist" boasted U2-style guitar riffs and an earnest but energetic sound, "Stay Young, Go Dancing" tends to have the opposite effect. Its sound is more suggestive of the "tragic folkie" sound of artists like Nick Drake, Elliott Smith, and Jeff Buckley. Oddly enough, in spite of its bittersweet, yearning sound, "Stay Young, Go Dancing" is one of the most astounding love songs (WITHOUT any "downer" lyrics) that Death Cab has ever done!! When Ben Gibbard sings, "when she sings, I hear a symphony" in this song, I can't help but think that him and I are thinking of the same girl!! (Zooey Deschanel, to whom he is married now)

new songs for Apr. 6th, 2011

here they are:

"Changing" by The Airborne Toxic Event: It's funny that this song has been around since February of this year, yet it's taken adult alt stations until now to add this into their playlists. Well, better late than never. Or is it? "Changing" is not a bad song, but somehow something feels lacking in it in comparison to songs from their debut from three years ago like the Springsteen-esque "Wishing Well" and the U2-ish alt-rock epic "Sometime Around Midnight". "Changing" just seems more...well...ordinary. Even the chorus seems to suggest an ordinariness about it ("You always want to talk about changing, changing/Well guess what I am the same man, same man", a bad choice in rhyming, but the catchiness of the song, and perhaps the rest of it, compensates for this). "Changing" is an apt title for this song, but perhaps not for the better. At least it has a memorable hook, and for some reason I like it (perhaps because it's an Airborne Toxic Event song), so I would think that would count for something.

"In Every Direction" by Junip: Swedish indie-folk sensation Jose Gonzalez (yes, he IS Swedish, despite how his name sounds) continues to have success with a full band in this song. Like their previous "hit", "Always", "In Every Direction" is written in D minor. Despite its similarity to "Always", "In Every Direction" is distinguishable from that song because it is slower, and also Jose's backing band seems to have more importance in this song than they did in "Always", particularly the rather forceful, dynamic organ section. As an aside, I have no idea what this "magic feather" Jose keeps referring to in the song is, but it's probably the lyric in "In Every Direction" that stands out the most to me!

"Just Fine" by G. Love: After G. Love's previous success in the acoustic-blues-y, fiery "Fixin' to Die", my faith in his musical ability and talent have been somewhat renewed. "Just Fine" only continues to prove this, perhaps even more so, with its mellow but somewhat spicy sound, suggesting something between the "softer" material of The Red Hot Chili Peppers and the Blues Traveler song "Hook". I especially like how "Just Fine" mixes acoustic and electric guitar sounds, only to come out with a gritty, sublime sound as a result. Despite the optimistic sounding title, "Just Fine" does seem to have somewhat angst-ridden lyrics, with the chorus hinting more at a "life sucks, but I'm doing just fine" kind of attitude than a "everything is just fine, and I like it" sort of vibe. For G. Love, who seemed to take a musical dive in 2008 with songs like the lightweight "Peace, Love, and Happiness" and his even MORE mellow-minus-the-substance song "Beautiful", which he did with folk-pop musician Tristan Prettyman, the angst of "Just Fine", combined with its juicy flavor, is a GOOD thing!

"Options" by Gomez: Is it just me, or have the members of Gomez suddenly taken such a liking to Spoon's "The Underdog" that they wanted to make their own version of it?! This is basically what "Options" sounds like, especially in the beginning of it. It is a song written in G major with a bouncy beat suggestive of Billy Joel's "Only the Good Die Young" - which is EXACTLY what "The Underdog" was! Gomez start to shake things up a bit as "Options" draws closer to the chorus, adding in chords that are sharp/flat chords instead of "regular" ones. As the chorus closes, they add a unique chord that even I had trouble figuring out. Aside from being a "copycat" song of "The Underdog", "Options" does have some things going for it. Like I mentioned before, the change in chord structure during the chorus is one thing, but for another, it shows just how eclectic Gomez truly are. How many other bands can simultaneously pull off having influences like Oasis ("Nothing Is Wrong"), your typical bluegrass song ("How We Operate"), folk-pop ("See the World"), a combination of blues and indie ("Hamoa Beach"), The Flaming Lips ("Airstream Driver"), and a folk-pop/indie combination ("Little Pieces")?! Not many that I can name off the top of my head, that's for sure!!

"Sorry" by The Smithereens: The SMITHEREENS?!? The SAME guys who had hits in the late '80s with catchy rock 'n' roll tunes like "A Girl Like You", "Only A Memory", and "Behind the Wall of Sleep"?!? Yep, that's right!! The SAME guys!! This is pretty unbelievable to me considering that its been about 20 years since these guys last had a hit, let alone released a record!! Perhaps their big comeback moment was worth the wait, though, as "Sorry" actually sounds even BETTER than the three songs I mentioned! It's a "Satisfaction"-esque rocker, with the tuning just a half-step down from that song, and, for a band who was already "retro" enough in the '80s, The Smithereens have somehow managed to sound even MORE "retro" on "Sorry"! The one question I have is this. "Sorry" for WHAT exactly?! That we didn't get to hear this song sooner?!? That's the only thing I can think of they should be "sorry" for, this song ROCKS!!

"You Are A Tourist" by Death Cab for Cutie: Wow!! It's pretty clear from how fast this song has been climbing the adult alt (and "regular" alt) charts that both sides of the alt-rock "spectrum" just can't get enough Death Cab!! And rightly so, considering how guitarist Chris Walla makes his transition from quiet indie/contemporary folk-rock guitarist to an almost The Edge (of U2 fame) -ish earnest but passionate and skilled rock guitarist! I've always suspected U2 were an influence on Death Cab, but never as much as they have been on "You Are A Tourist"! If this song does NOT end up being one of my Top 20 of 2011 come December 23rd, I'll be pretty shocked!!