New songs for June 22nd, 2022

 here they are:


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

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

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

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

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

New songs for the day before St. Patrick's Day

 here they are:


"Believe" by Caamp: The already mellow neo-folk-rock group, Caamp, are at their mellowest yet with their latest song, "Believe." The song is a song of reassurance. Although the subject of the song is addressed as "baby," it's really meant to be a song for any listener who feels down on their luck and needs some uplifting words to make their day. Sometimes that's just what we need!

"My Love" by Florence and The Machine: Flo and her magic Machine have been all about stretching the boundaries of what a musical genre can sound like during an era where music seemed to sound more and more the same with each passing year. With "My Love," FATM continue to mix different genres into one and still make it sound catchy. The first 30 seconds sounds like a choir rehearsing, and then we're hit with a pop beat and Flo's unmistakable vocals immediately after. The lyrics of the song are mournful, contrasting with the song's memorably upbeat sound, and there's a reason for this. Flo apparently wanted the song to be slow and sad, but when she tried it out as a dance-pop tune with Baroque influences, it worked perfectly!

"Warning Signs" by Band of Horses: I like all of BOH's material, but my faves of theirs are when they show off their more sentimental side (especially "No One's Gonna Love You," which introduced me to their material). Their latest song, "Warning Signs," is in that vein, but this is more than just a pretty song. It's also a sad one, inspired by lead singer Ben Birdwell's unfortunate temporary vocal chord loss during a tour that BOH had in Australia. He had been so overworked during that tour that he broke down crying, which ultimately resulted in him losing his voice during the tour. This is why the song opens with lyrics about seeing a registered nurse and trying to hold back tears. The song's already emotionally driven sound becomes even more so once you realize the story behind it!

"Wild Child" by The Black Keys: Blues-rock and garage rock are already a part of most Black Keys songs, but funk is not exactly a common element in their material. Until now, that is. Their latest song, "Wild Child," opens with a "chicken scratch" guitar sound common in funk music, and its rhythm suggests funk-rock more than it does blues or garage rock, too. The song even has a string section in the background that wouldn't sound out of place in an actual 1970's soul song. The Keys have still maintained their garage and blues-rock roots, though, with a sharp guitar solo that owes much to classic rock guitarists. 

New songs for May 6th 2020

May the 4th be with us, as I churn out a blog that contains more songs than there have been Star Wars sequels (11 songs, to be precise)! Let's begin, shall we?!


"Alphabetland" by X: Interesting that a band whose name consists of only one letter of the alphabet (and one of the rarest, at that) has put out a song about the entire alphabet...well, kind of. "Alphabetland" is just a catchy and quirky song title from the Los Angeles punk quartet, X, who have not released an album with all four original members in 35 years! As the members of the band rotated during the late '80s and early '90s, X went for more of a plaintive folk-rock influenced sound. With "Alphabetland", that sound is gone, and in its place is the original fiery yet melodic punk sound that X started with. "Alphabetland" could be best described as The White Stripes trying to cover "I Wanna Be Sedated" by The Ramones. It's a bit hard to tell upon first listen what the song is actually about, but fans of X will not be let down by this surprising new release in their catalog. A title like "Alphabetland" would not be out of place on Sesame Street...speaking of which, no one has ever told us how to get there. Perhaps Exene, John, DJ, and Billy could tell us how to get, how to get to Alphabetland?!


"Blank Slate" by Chicano Batman: Chicano Batman just keep getting funkier and funkier with each song they release. Their latest song, "Blank Slate", seems like a Talking Heads-ish dance track mixing techno beats and funk guitars. Lyrically, the song's excitement is conveyed in its lyrics about newfound desire for love. "I just wanna love you" seems to be the central line in the song. Chicano Batman, we already loved you!


"Don't Let Me Down" by Milky Chance (featuring Jack Johnson): Not to be confused with the Beatles song of the same name, "Don't Let Me Down"'s chill brand of funk-rock is nothing new for German indie-pop duo, Milky Chance. For Jack Johnson, however, it's a whole new world. Jack Johnson has been kind of like the millennial answer to the '70s Jimmy Buffett, combining acoustic guitar soft rock with blissed out tropical island vibes. Jack briefly flirted with electric guitar music in the early 2010's, but he's never gone guitar-LESS...until now, that is. Milky Chance's songs could also be described as having super blissful vibes, so in that sense, they fit well with Jack Johnson. Between this song and the last one I reviewed for this week, this year's early summer is shaping up to be a pretty chill one so far!


"Hold Me" by The Teskey Brothers: The Teskey Brothers mid-summer adult alt radio smash, "So Caught Up", had a strong Motown/'60s soul influence. "Hold Me" reaches even further back into the history of R & B music, sounding almost like a gospel song in comparison. There is no noticeable instrumentation until midway through the song. Until that point, "Hold Me" is defined mostly by handclaps, in a similar manner to a great number of gospel and early blues tunes. The title, "Hold Me", is not merely a desire to be in a relationship, but one of brotherhood, both in the literal and spiritual sense of the term. It's almost like this song is trying to be a 21st century update of "Lean On Me". Nice try, if that's the case...but it'll never hold up to that song!


"Hometown Heroes" by Moon Taxi: We've had quite a few blissed out summer songs on this week's blog so far. Moon Taxi are normally experts on this sort of song, but "Hometown Heroes" is a different flavor than most of their material. It is a bittersweet folk-rock song, in contrast to the blend of reggae, funk, and indie-pop that defines most of Moon Taxi's material. Sooo...why the change in sound?! Well, part of the reason for that is likely because of what the song is about. Moon Taxi wanted to give their fans hope during our current pandemic. A song that conjured up images of summertime and partying would not get their message across seriously, so instead they opted for a light indie-folk sound to thank all of the heroes who have helped out during this unexpected world crisis. As they say, not all heroes wear capes!


"I Contain Multitudes" by Bob Dylan: Unlike Moon Taxi, Bob Dylan (of course) is no stranger to bittersweetness. This is the mood that Dylan chose for his latest song, "I Contain Multitudes". Mr. Dylan most certainly DOES contain multitudes, being one of the most enigmatic musicians out there! It's amazing he's still alive today, and that in itself seems to be part of the musical rumination of "I Contain Multitudes". Dylan himself seems to be amazed he is still surviving with the stark mode of this song and its complex lyrics, during which he name drops many celebrities and characters, including Anne Frank, Indiana Jones, and The Rolling Stones, and referencing David Bowie without actually mentioning him. Dylan compares himself to many during the course of this song, but in the end, Bob Dylan is Bob Dylan. There can be no other!


"Light of Love" by Florence and The Machine: Florence Welch and co are the next of many who have shared songs that are relevant to the outbreak of COVID-19. Although her latest song, "Light of Love", is not actually about that, she probably chose to release it now because of how people have been impacted the sudden societal separation that the coronavirus' impact has resulted in for us. "In every one of us shines the light of love", Florence sweetly sings over a sorrowful yet tuneful bed of string instruments. In a similar theme to one of FATM's biggest hits, "Shake It Out", "Light of Love" seems to be about the regret that can be experienced from partying too much on a previous night. Of course, Florence, like all of us, realizes there will be no party for quite awhile now, but the regret we've been feeling inside is no different. If a coronavirus victim's last song happens to be this one, it could serve a strong purpose as a bittersweet lullaby for them to sail away from the shackles of mortal life and into the realm of a sparkling orchestra of eternity!


"Private Lives" by Low Cut Connie: Wow...I must admit, the last three songs have really made me cry on the inside! So let's lighten the mood, shall we? Enter Philadelphia blues-rock outfit, Low Cut Connie, to chase away your sadness! Utilizing a Black Crowes-ish groove over a "Please, Mr. Postman" styled melody, "Private Lives" exposes the bizarre, screwed up side of human nature. Sex addicts, drug addicts, nudists...all are mentioned or referred to in this song, which emphasizes the message of how "deviant" behavior is just the way some of us live, and that we should just continue to live our lives normally instead of dwelling on our wrongdoings or being afraid that people will judge us for the "weird" or "bad" things we do.


"Real Long Time" by White Reaper: Like The Cars before them, White Reaper saddle hard rock guitar riffs and rope them into a synth-studded new wave atmosphere. White Reaper's breakthrough summer hit, "Might Be Right", set them on the right track with this unique sound. "Real Long Time" continues in this direction, amping up the classic rock influences even more so than they did on their previous single. 1970's rock groups ranging from Kiss, Cheap Trick, Queen, Sweet, and Thin Lizzy can all be heard as influences in White Reaper's "Real Long Time". It is an irresistibly cheesy yet anthemic rock and roll tune that stands in the corner between glam rock and punk rock. Songs like this one sound like they were made for "That '70s Show", a show centered around nostalgia that has now become nostalgia itself. Someday, White Reaper will end up that way too, but while they're still hot, give 'em a listen! You won't be sorry!


"The Good Life" by Devon Gilfillian: Like our previous entry, Devon Gilfillian's "The Good Life" seems like it traveled to us on a time machine built in the 1970's. This time, though, the focus is on early '70s R & B, as opposed to mid '70s rock. "The Good Life" seems like it could fit easily on a Marvin Gaye album from that era. In addition to its nostalgic sound, "The Good Life"'s subject matter could also be interpreted as nostalgic. The song opens with the lyrics, "I remember yesterday, troubles seemed so far away, making castles in the sand", setting the tone for the rest of the song, which is basically just Devon reminiscing about better times during his life. A deeper meaning of the song might be construed as a plea for all of us to get along with one another, echoing the theme of Marvin Gaye's "What's Going On?" in a lighter but still powerful shade of soul!


"You And Your Folks, Me And My Folks" by Brittany Howard: Our final entry of the week is not actually a Brittany Howard song. It was originally by the eclectic soul-rock fusion group, Funkadelic, and it also marks the second time I've blogged about a song originally by Funkadelic, the first being Mavis Staples' cover of "Can You Get to That?" from 2013. Howard manages to add a blues-y flavor to "You And Your Folks..." that the original version only had a subtle hint of. The song originally came out in 1971. Coincidentally, this was the same year Marvin Gaye's "What's Going On?" came out, and both songs aimed for a similar purpose of trying to instill a sense of unity amongst a divided world. With the massive amount of civil unrest we have experienced in the past few years, Brittany Howard's saucy, powerful take on the Funkadelic classic has arrived just in time!

New songs for January 30th, 2019

here they are:


"Dylan Thomas" by Better Oblivion Community Center (Conor Oberst and Phoebe Bridgers): Conor and Phoebe have known each other for quite some time now, so it was only a matter of time before they did something together. And what is the result of this inevitable collaboration? Well, it's a slightly noisy folk-rock song, where sound is concerned, which is not a surprising choice in sound for the Bright Eyes frontman. As for the lyrics, the chorus mentions that Conor and Phoebe want to "die like Dylan Thomas", famous for his "Do not go gentle into that good night" quote. Conor has had a recurring theme of morbid lyrics in his songs before, so it's not surprising to know about how Dylan Thomas serves as the central lyrical inspiration in this song.


"F**k the Rain" by Ryan Adams: Hmmm...could somebody please help me pronounce those two unusual letters in the first word of this song?! I've never seen them before! Oh wait...NOW I know what they are! OK, kidding aside, this song actually IS pretty good, in spite of the fact that its fronting word is one that I don't favor in my own vocabulary. You would expect a song like this to be angry from its title, and Ryan has done a few angry tunes before, but this one actually isn't. It's more a sad, plaintive song that would probably be good to listen to ON a rainy day. John Mayer, the folk-pop musician who has long had the desire to be a bluesman, plays a half blues and half country solo towards the end of this song that wouldn't be out of place in a Grateful Dead tune (fitting, since Mayer has toured with them before).


"Harmony Hall" by Vampire Weekend: After 6 years on hiatus, Vampire Weekend have returned and are doing what they do best! Ezra Koenig's quintet have often emulated the tropical world beat sounds of musicians like Paul Simon, Sting, and Peter Gabriel. "Harmony Hall" seems to take on a lot of the Paul Simon aspects, especially at the beginning with its crisp, river-like acoustic guitar. A sprightly piano takes over the guitar for much of the rest of the song, as Koenig ponders over existential crises with lyrics like, "I don't want to live like this, but I don't want to die." Plights like this define the song's lyrical content, but the title "Harmony Hall" still suits it well for the evenly matched vocals and instrumentation this song has to offer.


"Moderation" by Florence and The Machine: Imagine the opening notes of The Spencer Davis Group's "Gimme Some Lovin'" played three times instead of five, and played on piano instead of bass. That pretty much defines the beginning of "Moderation", which quickly turns into a more enjoyably arts-y Florence tune about 30 seconds afterwards. Lyrically, this is an interesting song, as it is unclear who Flo is speaking to. She seems to be addressing a lover at first, but during the chorus, she addresses a "little girl", which might be Flo herself. Whether she's talking to someone else or herself, she nonetheless claims that the subject of the song "wants (her) to love (them) in moderation". Much like other songs of hers, such as "Shake It Out", "Moderation" seems to be about an inner battle that Florence is having with her own self, trying to decide whether she is truly worthy of love, as well as if love itself is truly worth feeling. Well, as they say, everything in "Moderation", right?!


"Red Bull And Hennessy" by Jenny Lewis: So far, we've had a song with a title containing a word I don't use, and now here's a song containing a title of drinks I don't drink (I don't drink any alcohol, FYI.) I guess I'm what you'd call a rocker who lacks the rock and roll lifestyle, eh?! Oh, and as if by coincidence, it is none other than Ryan Adams (discussed in a previous entry for this week) playing the guitar on this track! Go figure, eh? The legendary Ringo Starr guests on drums here, too. Anyway, this song is pretty much sex, drugs, and...ummm...kind of rock and roll?! All three elements are essential on this vaguely Fleetwood Mac-ish track, which expresses lustful sexual desire, being "wired" and "high" on alcohol, and just the thrill Jenny seems to get from being wild and reckless with partners.

New songs for August 22nd, 2018

here they are:


"Loading Zones" by Kurt Vile: Yes, this is a song about the troubles of parking cars. Kurt Vile is truly a man of mystery sometimes. I mean, how can he take such mundane subject matter and turn it into such a cool song?! No one really knows the answer that question, but Kurt definitely has the magic touch when it comes to churning out songs that sound both roots-y enough to be Bob Dylan and quirky enough to be Frank Zappa (Come to think of it, that's kinda what Tom Waits did back in the day, isn't it?!) Trouble finding a spot for your vehicle? You now have a song that's right for you!


"Mansion Door" by Shakey Graves: Shakey Graves' debut album really only yielded one adult alt radio hit with the quaint but catchy country-rocker, "Dearly Departed". With their latest album, however, they now have two more hits on their hands. Earlier this year, we heard the energetic indie-pop tune, "Kids These Days", and now we have another song that takes the indie-pop sound in a more quirky direction with "Mansion Door", which sounds a bit like a cross between Wilco and Sufjan Stevens. Like Sufjan's music, "Mansion Door" is a bundle of contradictions: sweet but somewhat loud, ordinary lyrics mixed with more cryptic ones, etc. The sentimental recurring phrase, "my one and only lonely star", fits well with its yearning sound.


"Sky Full of Song" by Florence and The Machine: This song was originally poised to be the first single from FATM's latest album, but instead, that honor went to "Hunger", which has thus far become one of the most successful songs of 2018. Will "Sky Full of Song" do the same?! Well, to answer your question, it's Florence and The Machine, so I'm pretty sure it will! Florence's songs have a thing for being haunting and somewhat poetic. If you thought "Hunger" fit this description, "Sky Full of Song" seems to fit it even more! From the mysterious opening, defined by both thumping bass and lush orchestration, to its passionate vocals, and its profound lyrics ("I can't hide from the thunder in a sky full of song"), "Sky Full of Song" has the potential to be yet another gem in the Florence and The Machine catalog!


"When the Curtain Falls" by Greta Van Fleet: No, this is not a long lost Led Zeppelin song, in spite of how it might sound both instrumentally AND vocally. Greta Van Fleet have become known for pretty much CHANNELING Led Zeppelin in the few years they've been around so far, and they continue to prove this with "When the Curtain Falls". I'm a bit surprised that so many adult alt radio stations have now latched onto this song, given how they could have easily gone for the more folk-y "Flower Power" when they had the chance (but didn't), but the fact is, they have. In particular, "When the Curtain Falls" seems to draw heavily from one of Led Zeppelin's hardest rocking songs, "The Wanton Song", as both are in G major, and both just sneak up on you from behind when you first listen to them. In case you think GVF are a Zeppelin ripoff, you might wanna take note that they have, in fact, received the Robert Plant stamp of approval. Apparently, the Zeppelin frontman thinks they are one of the best new bands out there!


"Woman" by Cat Power and Lana Del Rey: Two women doing a song CALLED "Woman". What to think of that?! Well, given how the women in question are Cat Power and Lana Del Rey, count me in! Cat Power is no stranger to acoustic guitar, which dominates this song, but it's probably the first time that Lana Del Rey has dabbled in folk-rock, and I must say it suits her well! Lyrically, the song is a bit like Courtney Barnett's "Charity" from earlier this year, only more melancholy than angry. Both songs are about women who are mistreated and have suffered far too long from verbal abuse in their relationships. While I am not female, I would consider myself feminist, and I consider this song to be a gentle but still very convincing feminist anthem for the late 2010's.

New songs for May 16th, 2018

here they are:


"Hunger" by Florence and The Machine: As if by coincidence, the most heavily anticipated song of the week (well, the past two weeks, really) is also the first! And what, might you ask, has given people so much hunger for "Hunger"?! There are probably a few reasons as to why this is. First off, it's Florence and The Machine! Florence Welch, the quirky but sassy British lass who leads the band, has proven she can do pretty much whatever she wants to and make it sound good, so that alone counts as a bonus factor! "Hunger" has the same sorta thing that made songs like "Dog Days Are Over" and "Shake It Out" such enduring songs in FATM's catalog, with its orchestral instrumentation wed to a pop music beat and haunting vocals. Even the opening lyrics, "At 17, I started to starve myself", are both mysterious and morose enough to hook the listener in before the song starts to really take flight. The chorus speaks the most truth of all, though, when Florence passionately pleads that "we all have a hunger". Florence, you have satisfied all our cravings!


"Living In the Future" by Dawes: With each album Taylor Goldsmith and co put out, there's a bit more of a rock and roll element to each of those albums. "Living In the Future" reaches towards the dynamic, arena rock side of the rock and roll spectrum, at least as far as it can go through the lens of a roots-y indie-folk-rock group. To top it all off, Dawes are even opening for 1970's rock group, Electric Light Orchestra, on their tour this summer. How's that for NOT living in the future?! But wait! Just because the sound of this song sounds like it's not that current, doesn't mean the lyrical content is stuck in the past as well! Indeed, this song (and its album, "Passwords") are actually about trying to cope with an increasingly fast paced modern world. The future is looking grim for some. Good thing we have music to save us!


"Samurai Cop (Oh Joy Begin)" by Dave Matthews Band: It's been 6 years since Dave and his band last hit the adult alt radio airwaves. In DMB time, that's such a long time that I thought I'd either never hear from them again or that they wouldn't be as good. Thankfully, I was wrong on both accounts! Their latest song, "Samurai Cop (Oh Joy Begin)" kicks off the return of DMB with a U2-ish bang that U2 themselves seem to be straying further away from (Bono and the boys could sure take a lesson from Dave!) While the sound of "Samurai Cop" has a rather new and exciting sound that doesn't quite reflect on DMB's roots as a folk, jazz, and blues influenced rock group, the lyrical content of the song is a yearning to get back to our roots as a collective entity of lovers, thinkers, and dreamers. "Oh joy, begin", sings Dave during the chorus. My joy has begun, and hopefully, yours has too!


"The Middle" by Trampled by Turtles: Not to be confused with Jimmy Eat World's early '00s power pop anthem, "The Middle", bluegrass influenced rock group, Trampled by Turtles, decided to make their latest song, "The Middle", a rousing, upbeat number. The circumstances under which TBT met to record their newest album was anything but joyful, though, as their decision to record it came about after commiserating about the death of rock icon (and TBT favorite), Tom Petty. "The Middle" doesn't bear much resemblance to Petty's music, but the lyrics could ostensibly be about him, as the song is filled with sad, somber lyrics like, "There's a bitter pill on the other side", "If it does us any good, I cannot see it", and finally, "It makes me die just a little. A little every day." Petty has been sorely missed by many, but sometimes when an old door closes, a new one opens, and Trampled by Turtles might just have found the keys to that new door!


"This Party" by Houndmouth: Houndmouth used to be a country-rock quartet with three guys and one girl. The loss of the one girl, Katie Toupin, must have really thrown the band in a creative slump, as they sound vastly different (and not nearly as good) without her. Whatever traces of country and roots rock Houndmouth once had have been completely lost in their latest song, "This Party", which sounds far more like Walk the Moon or fun. than it does like Dawes or Blitzen Trapper, to whom Houndmouth were initially compared. "This Party" was made to be played at parties, as its title indicates. Given the song's central lyrics, "I don't wanna be at this party", perhaps Houndmouth themselves are a little miffed at the decision Katie has made to leave the group. It's tempting to say that this song might be a desperate grasp at alt-rock radio airplay, except they already HAD that with "Sedona", a song that reflected the band's country-rock roots much more accurately, back in 2015. The pop music vibes of this song, instead, seem to be saying, "Come back, Katie! We need you! Here's how much our music sucks without you in the band!" This is a good song (otherwise, there'd be no point in reviewing it on my website), but come on, guys. I know you can do better than this.

New songs for September 7th, 2016

here they are:


"I Can't Stop Thinking About You" by Sting: Seems to me that this song is proof that Sting doesn't really wanna be thought of as a "new age" solo artist anymore! Instead he turns up the amps on his latest tune, the somewhat U2-ish "I Can't Stop Thinking About You", which is kinda funny considering how his own daughter released a vaguely Police-influenced tune just a month before! It may not rock as hard as, say, "Roxanne" or "Message In A Bottle", but it still comes awfully close to sounding like a "Synchronicity" outtake, which is not a bad thing by any means! I can't help but wonder who the "you" is in the song, also. At the end of the chorus, he says, "I don't even care if you exist", even though he can't stop thinking about the person in question. Perhaps this song is a philosophical rumination of sorts?! Well, I guess the more I get to know this song, the more I'll find out about it, and I'm sure I'll hear it plenty more times since it's already on its way to making the Top 20 of the Adult Alt charts for the fall season!


"Wish That You Were Here" by Florence and The Machine: Flo meets Tim Burton!! An epic combination if there ever was one!! No, I'm not saying that Tim Burton is duetting with Florence Welch (though that'd probably be pretty cool, too). I'm saying that FATM's latest song, "Wish That You Were Here", was made specifically for the soundtrack of Tim Burton's latest film, "Miss Peregrine's Home for Peculiar Children". "Wish That You Were Here" is a melancholy plea for love and acceptance that lasts for 6 and a half minutes, despite only consisting of two verses and a bridge. The minor key the song is written in, the sweeping effect of the baroque-pop styled orchestral instruments, and its chilling, lonesome atmosphere all add up to a song that feels like a trip into the sadder side of Florence Welch's mind, and perhaps that of Tim Burton's as well.

Nine New Songs for a Nifty New Year!!

Happy New Year everyone!! Did ya miss me?! Well, I'm back! Here are 9 brand new songs for you all to enjoy!


"Bring My Baby Back" by Dr. Dog: Dr. Dog's voyage of psychedelic-tinged folk-rock continues with their latest tune, "Bring My Baby Back". The sound of the song is pretty normal for Dr. Dog, or any indie-pop band for that matter, but what has made a lot of Dr. Dog's songs so special to me is the cleverness they exude. The cleverness factor just doesn't seem to be as strong on "Bring My Baby Back". The folk-rock factor is also more present on this song than it is on most Dr. Dog songs (with the notable exception of the Neil Young-esque "Shadow People", although even that one sounded more like a "Sgt. Pepper" song somewhere in the middle). This is a good song, don't get me wrong, but I do feel like Dr. Dog could be doing better than this.


"Cautionary Tale" by Dylan LeBlanc: Been awhile since we've had a newcomer to the music scene, eh?! Well here's one (at least as far as his airplay on adult alt radio stations is concerned). His name is Dylan LeBlanc and, perhaps not surprisingly, he sounds pretty influenced by a well-known musician whose last name is his first. Unlike THAT Dylan, THIS Dylan has a sound that's more dreamy than it is raw, and would probably be liked by fans of acts like Ryan Adams or Iron & Wine. The soul-searching lyrics of "Cautionary Tale" are well-suited to its tune, which is also rather yearning. So far, so good!


"Delilah" by Florence and The Machine: Who is Delilah?! Well, the only thing we know about her is that she taught Florence Welch how to dance, at least according to the lyrics of this song. Most of "How Big, How Blue, How Beautiful" has been surprisingly guitar-centric, from the funky, Prince-esque hooks of "What Kind of Man" to the epic, Springsteen-ian rush of "Ship to Wreck". "Delilah" is a song that is more focused on piano hooks and clap-along rhythms than those two songs were, which make it a strangely fun combination of indie-pop and gospel music! Flo's latest album has been a great experience so far. Hoping "Queen of Peace", a sweeping, orchestral slice of baroque-pop ear candy, becomes the fourth single off the album! In the meantime, you can dance to the "different kind of danger" that is "Delilah" 'till the day is done!


"Gypsy In Me" by Bonnie Raitt: Flo may charm me with her cute and quirky ways, but Bonnie will always have a special place in my heart! She has, ever since I was little and my mom would play her records for me on road trips. Speaking of road trips, that pretty much seems to be the vibe that Bonnie's latest song, "Gypsy In Me", is going for! The lyrics play out like a more accessible and less drug-addled version of The Grateful Dead's "Truckin'". That is to say, "Gypsy In Me" is a song about being on the road nonstop. It's also about the joy of being a restless, energetic, unstoppable spirit! Bonnie has certainly proven herself to be unstoppable, still kickin' plenty of big ol' blues-y butt at age 66. Way to go!


"High Note" by Mavis Staples: While on the subject of legendary blues-y ladies, Mavis Staples, who has been recording even longer than Bonnie Raitt has, also has a new one out! Mavis started out as a gospel style singer, turned to more mainstream R & B during the peak of her career, and seems to have dabbled in blues-rock during the last few years. Mavis also seems to be pretty hip on singers of the new(er) generation, such as Wilco's Jeff Tweedy, whom she has duetted with at least once, as well as Valerie June, a blues/folk-rock musician who was probably heavily influenced by Mavis. Valerie actually helped to write Mavis' latest song, "High Note". Her new album is actually full of newer folk-rock and blues-rock musicians. Two of them, Benjamin Booker and Son Little, are also heirs to Mavis' musical throne, so I'm looking forward to hearing their contributions to her new album as well!


"Lazarus" by David Bowie: From a high note to a (very) low note, both literally and figuratively in this case. "Lazarus" is a minor key song, and from its opening lyrics, "Look up here I'm in heaven/I've got scars that can't be seen", one might get the hint that the song is about death, and they would be correct in assuming this. In fact, Bowie's entire newest (and, sadly, last) ALBUM is about death, and his self-awareness of exiting the Earth. Tragically, David Bowie recently died of cancer at age 69, and he was aware about his cancer the entire time he was recording his latest album, but no one knew about it until after the fact. "Lazarus" is a great reminder of the man we have lost. That man is a man who has influenced many subgenres of rock, from the punk sound of his contemporaries (and friends) like Iggy Pop and Lou Reed, to the quirky new wave of Talking Heads and Devo, to the entire "synth-pop" scene that dominated the '80s, icons of the '90s like Kurt Cobain (who famously covered his "The Man Who Sold the World"), and even more recent alt-rockers like The Killers and Franz Ferdinand. That may be a lot of examples for some of you, but it just goes to show what a tremendous impact he had. David Bowie, you will be missed!


"Overnight" by Wild Feathers: They were a little bit country, but now they're a little bit rock 'n' roll. Wild Feathers' latest song, "Overnight", has a bit more of a crunchy, electric guitar based rock sound. Perhaps the more forceful sound is fitting with the rather forceful, critical lyrics they have to offer in "Overnight", such as, "You can't wait 'till the morning light, 'cause you want it all right now". The song is basically Wild Feathers' way of pointing fingers at those who demand instant success, which Wild Feathers themselves have certainly not begged for. They are nowhere near as well-known as, say, The Lumineers or The Civil Wars, but they don't seem to have a problem with that. Just as it should be, I say.


"Under the Influence" by Elle King: It took awhile for Elle King to taste the surprising amount of success she had with the spirited jazz-rock tune, "Ex's And Oh's", but once she got it, she got it big! The song was even huge enough for her to perform it at New Year's Rockin' Eve 2015, which is pretty unbelievable to me (but in a good way)!! Can her second big tune, "Under the Influence", measure up to the crazy catchiness of "Ex's And Oh's"?! You might not think so at first, but "Under the Influence" is the type of song that can sink under your skin within a matter of minutes! It is a slow song, but it is also rather seductive, as Elle seems to simultaneously complain and contemplate about just how intoxicating falling in love can be!


"Wide Open" by The Chemical Brothers (featuring Beck): I've never been that into The Chemical Brothers, as I'm really not much of a fan of techno music to begin with, but with Beck on their side, The Chemical Brothers seem as though they've been touched by magic. "Wide Open" is still techno enough for Chemical Brothers fans to enjoy, but it also has a sound that's more catchy and memorable than it is repetitive, and with Beck featured as the song's leading vocalist for most of it, he seems to give "Wide Open" the Midas touch and make it his own. It's the type of song that would feel equally at home in a club as it would in a bookstore. Music for your feet as well as your mind! How about that, eh?!

New songs for May 20th 2015

here they are:


"Future People" by Alabama Shakes: Not as fast as most of Alabama Shakes' material, but rest assured, this song is still funky as ever! The chorus of the song adds some funk to its already funky sound with a buzzy sounding instrument that's probably a keyboard of some sort. The song only has two verses, and the first one pretty much spells out what the song is about. It seems to be about how progressing forward can be better than living in the past. Well, I dunno 'bout you, but I'm looking forward to hearing more Alabama Shakes songs in the future!


"Renegades" by X Ambassadors: The name "X Ambassadors" might sound intimidating, but their music is anything but. They could be described as a slightly more funky Lumineers, since X Ambassadors' breakthrough song, "Renegades", is essentially folk music punctuated by handclaps as its backbeat. The song manages to be instantly catchy as well, though you probably won't remember any of the lyrics at first aside from, "Hey hey hey, living like we're renegades".


"Ship to Wreck" by Florence and The Machine: Might I say that this is the BEST song Flo has done so far?! Its sound combines Bruce Springsteen with R.E.M., two of my all time faves!! What more is there to say?! Well, a lot more, actually. Beneath the catchiness of the song are dark lyrics (though I've come to expect this dichotomy from FATM). As the title implies, "Ship to Wreck" is a song about losing control of one's direction in life. Sometimes, the darkest aspects of life can turn into amazing songs, though, and this is one of them!

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 August 15th, 2012

here they are:


"Do It Anyway" by Ben Folds Five: Ben Folds and his "Five" (actually just two other people) are like what a cynical, sarcastic version of Elton John might be like, in that they are known for their soft, sensitive side, but occasionally they can dabble in other more energetic material as well. "Do It Anyway" is an example of the BF5's more energetic side. The typical Folds deadpan factor is here as well, as he talks about various troublesome situations, but urges the listener to "do it anyway", without a lot of sincerity attached to the statement. Folds does break from his deadpan-ness in the middle of the song to sing that he "used to not like (the subject of the song), but now (he) thinks (he/she)'s o...KAAYYYY-yeah-yeah-yeah!!!", with the "kay" part of the word "okay" marking the exact point that Ben not only creates a brief shift in the mood of the song, but also the only part of "Do It Anyway" in which he lets out a somewhat Dave Grohl-ish "scream".


"Spectrum (Say My Name)" by Florence and The Machine: For those thrown off by the "Say My Name" part of the title of the song, let me assure you that, no, Florence has NOT gone the way of Beyonce! However, this song does have a bit more disco influence than most of Flo's material. I don't know of any actual disco songs with harps in them (and especially not one with a harp SOLO), though, so "Spectrum (Say My Name)" is a song that is in Flo's own unique style! The word "spectrum" does not appear in the chorus of the song, but there are quite a few references to color throughout it, (such as "as every color illuminates, we are shining"). Funny to think that one of the stations I know of that spins Florence and The Machine's music is CALLED "The Spectrum". I can only wonder what they would think of playing a song whose name is the same as their own station!!


"Stubborn Love" by The Lumineers: So where do The Lumineers go from the surprise success of the folks-y but catchy "Ho Hey"?! Well, with another folks-y but catchy song! Well, kind of. The folks-y part of The Lumes' latest song, "Stubborn Love", is definitely there, but it is mostly a minor key song with darker lyrics (even the opening lyrics, "She'll lie and steal and cheat, and beg you from her knees, and make you think she means it this time", prove this). In its own way, though, "Stubborn Love" IS catchy, since it has a strong enough backbeat, though not nearly in the same way "Ho Hey" was. The instrumentation here is slightly reminiscent of Bob Dylan's "Hurricane", especially the cello part, though the percussion here is more light tambourines than heavy drums (which brings about yet another Dylan connection - he DID sing about a "Tambourine Man", didn't he?!)


"This Gift" by Glen Hansard: I don't think I've known an Irishman so far with more success in both music AND movies than Glen Hansard! He first became noticed with the bittersweet ballad "Falling Slowly" from the indie flick, "Once", and now, Glen has yet another song from a movie soundtrack, although this time it is the more family friendly (but still quirky) film, "The Odd Life of Timothy Green". "This Gift" is probably the most amazing song I've heard from Glen SINCE "Falling Slowly", actually. Glen proves here that with just two chords, he can still pull at the ol' heartstrings! The harmonizing vocals backing Glen up on "This Gift" only make it even more memorable! It is never mentioned what exactly the "gift" in the song is, but one could probably easily imagine that it is love, or perhaps even life itself. Whatever it is, though, "This Gift" still makes for quite a memorable song!


"Yet Again" by Grizzly Bear: Taking our only detour into electric guitar oriented music for the week (with a post-psychedelic flavor, in this case), Grizzly Bear reach new heights of both intriguing and weird with "Yet Again". Much like how they did with "Sleeping Ute" merely a month ago, The Grizzlies continue to push the indie envelope with "Yet Again". The song features a rather complex chord structure in comparison to most contemporary bands/songs with the "indie" label, and by the time "Yet Again" gets to its last minute, it dissolves into a swirly noise-fest in which it becomes trickier to tell which chords are being used. In a world full of Byrds-y and Simon-and-Garfunkel-ish bands, Grizzly Bear want to be like the Syd Barrett era Pink Floyd, or perhaps an even more exotic band like King Crimson.

New songs for March 28th, 2012

here they are:

"Looking For A Sign" by Beck: Beck might as well be called the David Bowie of the '90s and 21st century. You never knew what kind of Beck you were gonna get next. The wacky hip-hop/funk influenced Beck, the sensitive folkie Beck, the surf-guitar Beck, the moody, trip-hop/jazzy Beck, and the list goes on and on from there! For his latest song, "Looking For A Sign", Beck has chosen to go for sensitive folkie mode, which makes sense, considering it is on the soundtrack to the (comedic) indie film, "Jeff, Who Lives At Home". The highlighting moments of "Looking For A Sign" are not in the mood or lyrics, though, as much as they are in the unique chord progression of the song! What can I say, Beck never ceases to amaze me!

"Never Go Back" by Grace Potter and The Nocturnals: And here is yet ANOTHER musician (with a backing band) who has trodden eclectic waters! Grace started out as a quiet country-pop/rock musician, but soon went into more hard rock territory with her cover of Jefferson Airplane's "White Rabbit", as well as the punchy, Lenny Kravitz-ish "Paris (Ooh La La)". "Never Go Back" is NEITHER of the subgenres I've mentioned so far, but rather an electronic alterna-pop sound. "Never Go Back" is catchy, and combines synthesizers and guitars kind of like the typical Killers song might, but Grace sounds more detached on this song than she did on "Paris", in which she had wild but passionate vocals. Perhaps not the best decision Grace and The Noc's have made, but I still like it, and personally, it holds my attention much better than the dry, country-ish sound she had on "Ah, Mary" and "Ain't No Time".

"No Light, No Light" by Florence and The Machine: This song is equal parts electronic, alternative, soul, and gospel, but it still sounds great!! I'm pretty convinced Flo can do no wrong with every new song I hear by her! "No Light, No Light", of course, is no exception, no exception! The lyrics of this song seem to indicate this is a breakup song, as many of her songs tend to be, but our red-haired beauty takes the angst of her situation and turns it into full-blown, four minute opera/sermon with this song. Flo, you're just too amazing for words, what can I say?!

"North Side Gal" by JD McPherson: Wow! Has Little Richard released his comeback album?! Or maybe that's Fats Domino, or perhaps Chuck Berry?! Nope, it's the latest '50s rock influenced sensation from the 21st century, JD McPherson! I swear, this song sounds like it came out back when rock 'n' roll was as young as a newborn baby!! With the increasing lack of zippiness and zest in today's music, though, I think that's a good thing! Sometimes I feel like the world might need a new Elvis Presley, and I can't think of anyone better than JD McPherson (well, maybe the sexy, snazzy Irish gal, Imelda May would be an exception, but still...)!! It even sounds like it's own song, despite having the chord progression almost every '50s rock song has (although the end part of the song, in which JD repeatedly sings, "Crazy 'bout a north side gal", sounds a bit too similar to when Elvis repeatedly sings "Dancin' to the jailhouse rock" at the end of "Jailhouse Rock"). This is a real swingin' song, though, and I highly recommend it!!

"Paddling Out" by Miike Snow: No, "Miike" is not a typo, that's how this band spells their name. And it's not pronounced like "Mike" or "Mikey" (or "Mi-yike", as I have jokingly pronounced their name based on how it has two "i"s), but it's actually pronounced like "MEE-kay". The piano hook in this song combined with its hip-hop beats remind me of people like Fatboy Slim, only Miike Snow seem like their music is more directed at a neo-hippie, NPR-ish audience than Slim's music was. It seems as though terms like "alternative" and "indie" aren't good enough to describe a song like "Paddling Out", though. Something about it sounds more eclectic than most songs/bands that are typically considered as such. The unique musical qualities of "Paddling Out" only make me want to know more about Miike Snow, though, and hopefully the same can be said of most (if not all) of the listeners of this song!!

"Stare Into the Sun" by Graffiti 6: Before their adult alt mega-hit, "Free", "Stare Into the Sun" was actually the FIRST song to get noticed by Graffiti 6, but I guess it didn't go anywhere initially. Now, however, "Stare Into the Sun" is slowly but surely attracting more listeners! Like "Free", "Stare Into the Sun" is basically a "psychedelic soul" type of song, but it has a bit more of a "retro" '70s-style sound than "Free" did. The organs and tambourines in "Stare Into the Sun", in addition to the relentlessly optimistic sound of this song overall, make me picture a rainbow with musical notes going around Graffiti 6 as they sing this song! Plenty of songs are trippy, and plenty more are soulful, but it's rare that they'd be combined into one sound. That being said, I think we've got another big hit on our hands with this song!

"We Are the Selfish Ones" by Cowboy Junkies: To wrap up this week's review, we end with a somber song, and we started with a somber song, but the other songs in between were energetic! Odd, but I guess that's what I get for reviewing songs in alphabetical order, haha!! Anyway, this song is pretty much an entirely acoustic song from Cowboy Junkies. Not anything too out of the ordinary, I guess, but usually their songs have a bit more backbone than this one does. I was expecting a little more than this from Margo Timmins and co. It's also just a little under 3 minutes, so I feel like it could have been longer, too. This isn't a bad song, as I pretty much like everything I've heard so far from Cowboy Junkies, I just feel like "We Are the Selfish Ones" COULD use just a LITTLE more tweaking wouldn't ya say?!

New songs for October 12th, 2011

here they are:

"All Eyes On You" by Diego Garcia: Before I get to reviewing this one, I'd like to apologize for overlooking Diego's previous "hit", "You Were Never There" from earlier this year. It's a very beautiful song and I'm sorry for not reviewing it when I should have. Well, that being said, hopefully my review for Diego's latest, "All Eyes On You" will compensating for my not reviewing his material earlier this year. "All Eyes On You" is a lovely song with beautiful string orchestration that manages to combine the seductiveness of the flamenco guitar with the sensitivity of the typical indie song. The sentimental, melancholy atmosphere of the song tends to make "All Eyes On You" the perfect sort of "sunset music" to me, as I can picture a romantic couple beneath the sunset watching it go down when I listen to this song!

"Come See About Me" by The Tedeschi Trucks Band: Not to be confused with The Supremes' song of the same name (though they are both written in D major), the third single from The Tedeschi-Trucks Band is a tasty rock-blues-'n'-soul romp! Its flavor, aptly enough, is between the brightly righteous soul music of the TT Band's "Bound For Glory", and the electric guitar fueled rock 'n' roll of their other big song, "Learn How to Love", as both the horns and guitar (and Tedeschi's husky, bluesy vocals) are prominently featured instruments in "Come See About Me". Perhaps the title is a sly wink at The Supremes' "Come See About Me", as Tedeschi DOES say "Come see about your baby" in the chorus in addition to the title of the song, which The Supremes also did in their "Come See About Me".

"Dawned On Me" by Wilco: It's been a busy (but exciting) year for Wilco, hasn't it?! There have been three successful songs from their latest CD, "The Whole Love", so far, including the adult alt radio mega hit, "I Might", and "Born Alone", the latter of which I just reviewed last week! Which brings me to their most recent song to get added to radio rotation, "Dawned On Me", which, melodically and vocally (at least in the verses), plays off somewhat like a "serious" version of The Rutles' "A Hard Day's Night" spoof, "I Must Be In Love". Just like The Rutles intentionally use opposites in the verses of "I Must Be In Love" ("I feel good, I feel bad, I feel happy, I feel sad"), Wilco uses the same technique in "Dawned On Me", with a similar rhythmic pattern, too ("I've been young, I've been old, I've been hurt, and consoled"). The chorus and instrumentation are more typical Wilco, though. Still, I'm pretty amazed (and amused) that I'm comparing a Wilco song to one from the self proclaimed "Pre-Fab Four"!!

"Free" by Graffiti 6: Alt-rock hasn't been as simultaneously bouncy and stylish since the days of David Bowie and INXS (of which this song has a somewhat similar sound to the latter band). The lyrics to "Free" tend to come off like the typical love song, nothing too special. The appeal to "Free" lies in its catchy, sleek instrumentation, its unforgettable rhythm, and the wide vocal range of Graffiti 6's lead singer. For a song with rather ordinary lyrics, "Free" is pretty remarkable, though. It's not only a song that doesn't easily leave your head, but its bell-like sounds and string instruments in the background also give it a very distinct flavor!

"Free My Mind" by Katie Herzig: Feels funny reviewing a Katie Herzig song, since I can remember back when she was an unknown "new" musician that got a song of hers played on the well-loved indie/folk public radio showcase, "Morning Becomes Eclectic", a couple years ago. I don't remember much about the song, except for that I liked it and that Katie's last name, "Herzig", sounded unique enough for me to remember it years later! So now, on with Katie's first big song, "Free My Mind". There are many things to like about this song, I think! First off, the instrumentation is rather unusual, even for an "indie" song, with its thumping bass at the beginning, that quickly gets joined by a swirly synthesizer, a somewhat synthesized, propulsive percussion section, and the "classical" sound of both flutes AND a string section backing up a song with an otherwise "contemporary" sound. Katie's cute but dry sounding vocals are also a notable feature of "Free My Mind", as are the lyrics (a sample of which would include, "Maybe this is what the world will see/A tiny little version of the tallest tree/An optical illusion of the human mind/Posing as a real life"). Welcome to the indie bandwagon, Katie. Enjoy the ride!!

"Shake It Out" by Florence and The Machine: For all you dancin' fools who think the title to this song sounds similar to booty shakin' classics like "Twist and Shout" and "Shake It Up", I'm going to issue a warning. "Shake It Out" is NOT supposed to be a "feel good" song. When Florence says to "Shake It Out" in this song, it's not instructions to dance, but rather a way of "shaking out" her inner demons, supposedly regarding a hangover (which also seems to be the theme of Florence and The Machine's biggest hit so far, "Dog Days Are Over"). Though the rhythm of "Shake It Out" IS somewhat danceable, it seems like it is more meant to be therapeutic than it is bouncy. Though I've never been (and likely never will be) one to engage in drinking alcohol, I can somehow still feel Florence's inner pain in this song, and for some reason, I love when songs have that effect on me!!

new songs for August 31st, 2011

7 songs!! Just in time for going back to school/work! Here they are:

"Behold the Hurricane" by The Horrible Crowes: The title of this song is scarily apt for having come out during hurricane season!! And no, this band has nothing to do with The Black Crowes (despite the intentional misspelling of the word "crows" for each band). It is, in fact, a side project of Brian Fallon, the lead vocalist from the Springsteen-meets-The-Clash-ish indie group The Gaslight Anthem. The Horrible Crowes' debut single, "Behold the Hurricane", does a good job of retaining the roots-y, working class punk sound The Gaslight Anthem typically have, though its heavy use of arpeggiation and how it centers almost entirely around an A major chord (capoed at the first fret) tend to differ from the rougher, barre chord based sound of The Gaslight Anthem. The song's chorus, "I age by years and the mention of your name", sounds anthemic enough both within the context of the song and just as words by themselves that it sounds like something The Boss himself could have written and/or performed!

"Even If I Don't" by Rachael Yamagata: Funny how I was JUST reviewing a song from Rachael's latest CD two weeks ago. I guess people just weren't ready for the unusually dark sounds of "Starlight", so now we have the more pop-y sounding (but still compassionate and earnest) "Even If I Don't", which sounds like a slightly more upbeat version of one of Tori Amos or Fiona Apple's songs, and is also reaching more radio stations than "Starlight" has. The lyrics sound like they were written out of heartbreak, as Rachael's songs typically do, and her smoky, world weary vocals deliver the lyrics convincingly. This is a good song, but I don't know why "Starlight" ended up being a dud. Perhaps because people prefer the tinkly, Regina Spektor-ish piano sounds of this song to the dark alt-rock guitars of "Starlight". What can I say, can't blame 'em, as the piano in "Even If I Don't" is one of the central features of the song!

"Lucky Now" by Ryan Adams: This is one of the new releases I was really excited about hearing! Ryan is like a modern day Neil Young, meandering between somber, folk-y ballads and energetic but passionate alt-rock numbers, so it's always an adventure for my ears to know where he's gonna go next! "Lucky Now" is of the former category, a slow, bittersweet, folk influenced song. Perhaps he just wanted a break from the excitement of having a backing band (The Cardinals), so this song is mostly just Ryan and his acoustic, with some electric and faint traces of percussion added towards the middle of the song. The melancholy but heartfelt emotions this song gives off are also a perfect way of starting off the autumn season (even though it won't actually be occurring until around 3 weeks from now). So "Lucky Now" isn't as thrilling as I would've hoped, but it is one of those songs that tugs at the ol' heartstrings, and there's nothing wrong with that!

"Santa Fe" by Beirut: Never thought this band would ever make it even remotely big on adult alt radio stations, as they always seemed to be one of those "obscure among the obscure" kind of bands (though they DID have "cult favorite" songs among their audience, like "Elephant Gun" and "Postcards From Italy"), but now my expectations of Beirut have changed! It is a bit surprising that what could become Beirut's biggest hit to date only has three chords, is more keyboard dominated than guitar dominated, and lifts its chords directly from the chorus of The Grateful Dead's only Top 40 hit, "Touch of Grey". Perhaps the sparse, quirky minimalism of "Santa Fe" is what makes it worth listening to, though, almost as though Beirut could be viewed as a modern day version of Talking Heads. For all the weirdness "Santa Fe" has to offer, though, it's also a very catchy song!

"She Walks the Night" by Matthew Sweet: Matthew Sweet is an artist that typically lives up to his (last) name. His songs (or, in some cases, just his melodies and harmonies) are usually just so...well...sweet!! Bands like The Beatles, The Beach Boys, The Byrds, and Big Star (or, "the four B's", as I like to call them) are obvious influences on nearly all of Matthew Sweet's music. Some of his rougher edged songs, like "Girlfriend" and "Sick of Myself" became alt-rock radio hits in the '90s, but he faded into the distance almost as quickly until somewhere around the late '00s when he released a series of two CD's consisting of cover songs he dueted on with The Bangles' Susanna Hoffs. Since Matthew Sweet hasn't released any original material (to my knowledge) since 1995, "She Walks the Night" is a well-deserved comeback for the '90s power pop icon! It has all the best elements of Sweet's mellower material, including richly layered harmonies, Byrds-y guitar distortion, and catchy, memorable hooks. Highly recommend this one!!

"We Are the Tide" by Blind Pilot: The rise of "bluegrass rock" has already made a big splash in the 2010's with Mumford and Sons, The Avett Brothers, and The Civil Wars. With Blind Pilot, the return of happy, pleasant, buoyant folk-pop will hopefully make a big impact, too! Bands like Good Old War and Gomez have already become known for this (though Gomez are a bit more eclectic than that), so I don't think my expectations for this are too far off! One of the neatest things about "We Are the Tide" isn't just its sound, but also the wide range of instruments used in the song! The acoustic guitar, as many of you reading have probably guessed, is at the center of the song, but the muted trumpets used in the chorus make "We Are the Tide" all the more lively and uplifting, and the barely audible (but still important) string section in the background also makes this song pure ear candy!

"What the Water Gave Me" by Florence and The Machine: In the alt/indie world, it seems like people just can't get enough of those feisty, foxy females!! Feist's latest release was heavily anticipated two weeks ago, and this time around, redheaded cutie Florence Welch is all the rage compared to the rest of the songs/artists reviewed this week! It's a bit surprising that after only about a year of being known, Florence and The Machine have ALREADY decided to release a sophomore CD!! But I guess they were just that popular! "What the Water Gave Me" is a slight departure from the bouncy, harp dominated indie-pop of most of the songs on Florence and The Machine's previous CD, but still very much a gem to listen to! It almost seems like the type of song that another quirky queen of fashion and music, Bjork, might have done, with its psychedelic but icy sound! At 5 minutes and 33 seconds, "What the Water Gave Me" could just be the most adventurous song Florence and The Machine have delved into so far! Looking forward to knowing what they'll come out with next!!

new songs for March 23rd, 2011

here they are:

"Longing to Belong" by Eddie Vedder: This song suggests Pearl Jam's leading man longing to belong...to the "Into the Wild" soundtrack again. The same mix of acoustic guitar, ukulele, and bittersweet heart-melting emotional quality he used on such gems from the smash indie flick's soundtrack like "Rise" and "Guaranteed" are once again present on "Longing to Belong". It is less than three minutes long, though, unlike most (if not all) of the songs on the soundtrack, but somehow Eddie has managed to wrap all of his wistfully tearful thoughts into roughly two and a half minutes of pure bliss in this tune! As refreshing as it was to hear Eddie rock out with Pearl Jam on songs like "The Fixer" and "Amongst the Waves" two years ago, it's also nice to hear him at his more somber, precious moments as well.

"Lost In My Mind" by The Head and The Heart: This one is a very pleasant, wistful indie-folk tune, sounding like a cross between the autumnal folk-rock of Good Old War and the more rootsy variety from that of bands like The Avett Brothers. A real heart melter, just like the one I mentioned above (though so far, I like this one better). "Lost In My Mind" is a very apt title for a song that evokes nostalgic images of taking a road trip during the fall season with orange-gold leaves falling from the trees and an orange-y sunset sky in the background. The combination of being written in a major key, yet still retaining a somber mood, somehow makes this song a surefire winner for me!

"Rope" by Foo Fighters: I was gonna hold off on reviewing this one, it's been circulating on adult alt stations for awhile now, despite its resemblance to "harder" acts, mostly '70s classic rock/progressive rock like Queen, Rush, Yes, Pink Floyd, Led Zeppelin, and The Who. I was pretty shocked, though, when I found out Music Choice Adult Alternative, which I often have considered to be one of the most accurate representations of the (sub)genre, started playing this!! Therefore, I'm gonna give this one a go. "Rope" starts off benign enough with its unique chords played on echo-y distortion, but once the drums start kicking in, the song becomes faster and harder, and starts spouting off guitar riffs vaguely similar to songs like Yes' "Roundabout" and Rush's "The Spirit of Radio". The chorus is also a bit shaky, with Dave Grohl's somewhat frantic, desperate delivery of "Gimme some rope I'm fallin' dooowwwwnnnnn!!!!" A good song, but a bit rough for stations that are more known for playing more melodic, balanced acts like U2, R.E.M., and Counting Crows. Oh well, I guess different doesn't hurt once in a while!!

"Uberlin" by R.E.M.: For the legendary alt-rock band's third major song from "Collapse Into Now", they've calmed down a bit, but still retained their cleverness. The title alone, "Uberlin", is actually a pun, combining the phrase "Uber" (meaning "very") and the German capital, Berlin. Perhaps what makes this song so appealing, though, is not necessarily the song itself as much as a video for the song I recently discovered in which the lyrics are written out as though they are on a map, moving from place to place as they are written out. Since the lyrics of the song largely center around traveling, it's quite fitting as a "music video" (if indeed it is one).

"Velcro" by Bell X1: Until their big breakthrough with the Talking Heads soundalike song, "The Great Defector", Bell X1 were primarily an Irish folk-rock act. Ever since then, it seems as though they've tried to tweak their sound into sounding more like Modest Mouse than Damien Rice. "The Great Defector" was, in my opinion, one of the best songs of 2009, because it was just so...different!! And Bell X1's lead singer did an excellent David Byrne imitation (whether he intended it or not)!! So how does "Velcro" compare?! It's got the same new wave-y sound as "The Great Defector", but somehow it just isn't the same! Perhaps the saving grace for "Velcro" is in its quirky lyrics, from the chorus ("I'll be your velcro"), to random bits in the verses (for instance, "Watching a 6-year-old on YouTube playing drums to 'Billie Jean'", somebody tell me what THAT's supposed to mean!!) Heck, even the TITLE is quirky (how many other songs do you know called "Velcro", or that even USE that word for that matter?!)

"Werewolves" by The Damnwells: No, this is not a cover of the late, great Warren Zevon's "Werewolves of London", and it doesn't sound like the song either. It's a song simply called "Werewolves". This song is another one of those somber, autumnal, somewhat wistful/nostalgic sounding songs (see also the first two songs I reviewed in this week's blog). I seem to fall instant prey to these kinds of songs. I have only heard one other song by The Damnwells, the uber-melodic, somewhat Fleetwood Mac-ish "Golden Days", which was another song I just loved instantly! "Golden Days" had better harmony techniques than "Werewolves" does, though. But that by no means disqualifies "Werewolves" from becoming another instant classic for me, though. The Damnwells are melodic indie/neo-folk-rock geniuses, 'nuff said!

"You've Got the Love" by Florence and The Machine: The seven words Sting became famous for singing almost 30 years ago ("every little thing she does is magic") would most certainly describe the cute, redheaded Florence Welch from Florence and The Machine! "Dog Days Are Over" became the surprise smash hit of the summer/fall of 2010, and it looks like "You've Got the Love" is going to end up being the song following in its footsteps. Once again, Florence has used her eclectic musical palette to combine indie/alternative rock, pop, and soul to create an irresistibly catchy, danceable number on "You've Got the Love", which actually wasn't her song originally, but she seems to have made it her own! The video is also pretty awesome, with our ginger haired leading lady singing on a plastic moon in a silky golden outfit! Lookin' forward to knowing what she'll churn out next!!

new songs for Aug. 11th, 2010

here they are!

"Always" by Junip: Nick Drake and Damien Rice fans rejoice! Singer-songwriter extraordinaire José Gonzalez has a new band!! José has always had a knack for turning electro-pop tunes into heartbreaking folk-rock songs, such as The Knife's "Heartbeats", Joy Division's "Love Will Tear Us Apart", and Massive Attack's "Teardrop" (and in return, bands like Zero 7 have covered some of his own tunes, like "Crosses"). "Always" sounds like an attempt to mix José's signature neo-folk-rock sound with the electronic(a) acts he frequently seems to cover, with its mixture of acoustic guitars and its synthesizers backing it up. It's also the first José tune I've known to have a rhythm section (though perhaps I should have expected that, after all it is his BAND, not José by himself). Despite the newly added instruments, "Always" still manages to be as charmingly soothing as the typical José Gonzalez song!

"Dog Days Are Over" by Florence and The Machine: A bit of a late entry, considering this has been out since early 2010, but some major adult alt. stations, such as Sirius XM's the Spectrum and WRNR, have JUST started playing this, so I thought I'd review it now. Having just listened to this song, I get the impression that female indie-popsters like Cat Power and Feist might be accurate comparisons. "Dog Days" actually seems like the perfect candidate for some of the increasing amount of car commercials that feature indie songs (Phoenix's "1901" and Airborne Toxic Event's "Wishing Well", to name a few), because of its bright, bouncy melody and clap-along chorus. The mandolin-like instrument that seems to function as the central instrument of the song only adds to the cutesy-ness of it. With all that being said, Florence and The Machine have officially won my heart over with this song!