here they are:
"Beyond" by Leon Bridges: The jazzy adult alt mega hit, "Bad Bad News", proved earlier this year that Leon Bridges is far more than just a throwback to '60s R & B. He can embrace contemporary soul music just as well. "Beyond" goes beyond that (no pun intended) and adds flourishes of acoustic guitar to a soulful ballad. Leon is no stranger to the acoustic guitar, as he had done so once before with "River", but "Beyond" takes it to a whole new level. It's one of the ultimate "love at first sight" songs. On "Beyond", Leon passionately sings about how his lover "might just be (his) everything and beyond". What a great way to declare love!
"Casanova" by Rayland Baxter: After the ultra smooth, romantic vibes of our last song, it's only fitting that our next entry for the week is called "Casanova". The vibes of this song, however, are far more quirky and whimsical than they are romantic. Rayland Baxter is an artist of unpredictable quality. His "Yellow Eyes" was a sentimental folk-rock tune, and his followup single, "Mr. Rodriguez", was psychedelic indie-pop. "Casanova" is also psychedelic indie-pop, but with a slightly more happy go lucky feel than "Mr. Rodriguez". "Casanova" doesn't talk about romance much at all, really, and is instead focused on addiction to sex and drugs with a very tongue-in-cheek lyrical delivery.
"Four Out of Five" by Arctic Monkeys: Actually, this is our THIRD out of five entries for this week. The title actually refers to star ratings for restaurants (i.e. four stars out of five). I'm not sure if I'd go so far as to give this song a four, but it at least deserves three for combining Bowie-esque vocals and instrumentation with a syncopated rhythm that wouldn't sound out of place in a Police song. The song's lyrics are rather sardonic, as one might expect with Arctic Monkeys, with lead singer Alex Turner taking on the guise of a narrator, who is a selfish person who just can't seem to get used to how no one seems to care for his glitzy, glamorous lifestyle. This song is one of a steadily growing number of songs from the late 2010's about the tension we have been facing in the modern era.
"Quarter Past Midnight" by Bastille: Bastille's second album was something of an experiment for the band. First we had the "Under Pressure"-ish grooves of "Good Grief", then the neo-glam-rock of "Blame", and finally, the surprisingly bittersweet acoustic rock ballad, "World Gone Mad". "Quarter Past Midnight" is a return to the more basic indie-pop of Bastille's debut record from 2013. Musically, there's nothing really special about this song, unless maybe you were yearning for the days of Bastille's first and biggest hits, like "Pompeii" and "Bad Blood". As the title of "Quarter Past Midnight" implies, the song is about how exciting it can be to stay up late at night in town with your friends. Though the song does sound a bit generic for a Bastille song, it certainly captures the adrenalized rush one might feel during a nocturnal spree!
"Sharon" by Matt Costa: Funny that the last song just happens to be my mom's name! It's not about her, though, of course. What it's actually about is Matt Costa's experiences going between Northern and Southern California translated into a clever but bittersweet narrative about a young woman named Sharon and her longing for a love she had in the past. Matt delivers all this in an oddly charming song that suggests what it might have been like if Tom Petty covered Elvis Costello's "Less Than Zero". Much like he did with his 2010 adult alt radio hit, "Witchcraft", Matt is once again proving that he can be more straight up rock than the folk-rock image he originally cultivated, but this time, it comes with a story that seems like the West Coast version of a typical Bruce Springsteen lyric.
Showing posts with label Matt Costa. Show all posts
Showing posts with label Matt Costa. Show all posts
Wednesday, May 23, 2018
Wednesday, November 14, 2012
13 Songs On A Dead Man's Chest (A.K.A. Flood of Songs After the Drought)
THIRTEEN!? Most I've ever had so far!! So, without further ado, let's begin!!
"Carry On" by fun.: "If you're lost and alone, and sinking like a stone, carry o-o-o-o-on!!" So begins the chorus of the latest song from the somewhat aptly named band, fun. This is probably their most sensitive, most melodic song yet, and for that reason, I can't help but like it! Though the song itself is kinda dark in terms of its lyrics, it still has quite an uplifting, almost inspirational chorus, reminding its listeners to stay strong through the good times and the bad. Nate Ruess and co sure have come a long way since the far more pop-y "We Are Young", and I hope they will continue to strengthen their sound and their lyrics in the future!
"Encyclopedia of Classic Takedowns" by A.C. Newman: The New Pornographers were always a quirky band, in spite of how their name might sound (it was actually taken from something someone said about how music is the "new pornography"). That being said, it only makes sense that their lead singer would come up with a song where even the TITLE sounded quirky! I mean, how many songs do you know of have titles that even sound CLOSE to "Encyclopedia of Classic Takedowns" (try saying THAT five times fast!)?! I sure don't! (Then again, this IS the same guy who came up with even weirder song titles like "Sing Me Spanish Techno"). The song itself is quirky, power pop-y fun at its best! A happy song with bubbly harmonies and a weird title?! Only A.C. and The New Pornographers!!
"Good Times" by Matt Costa: Matt Costa doesn't seem to get enough credit for how eclectic (and clever) he truly is! He seemed to have been pegged as a singer/songwriter type based on how his debut song, "Cold December" sounded, but he has expanded his repertoire ever since to include Donovan-esque psychedelic pop ("Witchcraft") and "Pet Sounds"-ish orchestral beauties ("Drive"). His latest song, "Good Times", takes on a sound that illustrates a combination of folk-rock guitars and triumphant trumpets, a bit like Feist's "1234", as well as practically any song from Edward Sharpe and The Magnetic Zeros. Don't be fooled by how happy "Good Times" sounds, though, as even its chorus sings about how "Good times are comin' to an end". The dichotomy "Good Times" has between its fluffy sound and cynical lyrics only make me love the song more, though!
"Harder Before It Gets Easier" by The David Wax Museum: With the surprise success of records from people like Paul Simon and Robbie Robertson last year, it only makes sense that there would be someone this year that would carry on the rock-music-meets-world-music torch. It's not an older musician, though, or even a well-known one, at that. This year's ethnic rock experience comes from The David Wax Museum, a band that is, perhaps, unlike any other from 2012! Instead of relying on folk-rock or power pop, like most 2010's bands seem to do, The David Wax Museum create a lush musical soundscape based on African rhythms and mariachi instrumentation. To top it all off, at the center of the DWM's breakthrough song, "Harder Before It Gets Easier", is its chorus, which reminds people that sometimes you need to experience tougher times in your life in order to get to what you really want!
"Heartbeat" by The Kopecky Family Band: Of the many bands I'm reviewing this week, none of them seem to put the "pop" in "indie pop" quite like The Kopecky Family Band! Their debut song, "Heartbeat", has it all! Irresistibly bubblegum-y harmonies, handclaps at the beginning, a catchy, memorable chorus, purposely ridiculous lyrics (e.g. "you make my heartbeat beat a beat"), you name it! "Heartbeat" is the perfect song to dance around in your room to when no one's watching!
"How Do You Ruin Me?" by Black Prairie: And now we move from a goofy, lighthearted band to a more somber one. Even this song's title, "How Do You Ruin Me?" sounds melancholy, and the song itself is, too. With its sighing string section, G minor key, and world-weary vocals, "How Do You Ruin Me?" is one of those songs you'd want to put on during a rainy day to elicit emotions of both sadness and sympathy. It is a tale of unrequited love that expresses the pain and sorrow we probably all feel inside when going through such a phase. Call it a case of schadenfreude if you will, but what is "ruining" the singer brings me a sense of pleasure, but the pleasure derives from knowing that I'm not the only one who has felt cheated or let down in a relationship.
"I've Got This Friend" by The Civil Wars: It's been over a year since John Paul Williams and Joy White first became successful as folk-pop duo, The Civil Wars, yet there is still one song from their debut album that has JUST begun to receive airplay on adult alt radio stations, and that song is "I've Got This Friend". "I've Got This Friend" provides quite a contrast from the blues-y stomp of "Barton Hollow" and the bittersweet "Poison And Wine". There is nothing very bitter, or even bittersweet, about "I've Got This Friend", in fact it's kind of a cute song, if I dare say so! John and Joy take turns telling each other about these "friends" that they have during the song, though, upon listening to the lyrics, it becomes apparent that John and Joy are actually telling each other about...well...each other! However, they are doing so in a way that suggest a precious, almost naive sense of romance. Can I have another "d'awwww"?!
"Mojo Fix" by Martin Harley: A "review-come-lately" here, as this song has been around since late August of this year, but it doesn't seem like it's gotten decent airplay until around the past couple of weeks, so I thought maybe now would be a good time to review it instead. On with the song, though, doesn't even the title of the song "Mojo Fix" sound kinda blues-y?! Well, that's because it is, and a mighty fine blues song at that! With its chugging hook, raw vocals, and saucy slide guitar licks, "Mojo Fix" is enough to satisfy anyone's mojo!!
"Nancy From Now On" by Father John Misty: You probably wouldn't expect such a downhearted song from a guy with a quirky moniker, who put out esoteric songs like "I'm Writing A Novel", but keep in mind that "Father John Misty" is actually the alias of the ex-drummer of melancholy folk-rock kings, Fleet Foxes, and "Nancy From Now On" will probably make a little more sense. Even the opening lyrics, "Pour me another drink, and punch me in the face" are enough to depress a lot of Misty's listeners. "Nancy" is also not the name of a girl in this song, but rather, a derogatory name that Misty uses to refer to himself, perhaps suggesting that he is "weak" in some way. The chord changes and piano arrangement in this song remind me of people like Rufus Wainwright. Perhaps Rufus and Father John are pals?! Wouldn't surprise me. Also, I detect a huge Harry Nilsson influence in this song, so to describe Misty as the lovechild of Nilsson and Rufus Wainwright would be a great way of summing him up!
"River" by Civil Twilight: As I read the comments for this song on YouTube, many people seem to think that this sounds like a Radiohead song, and it does (it lifts pretty heavily from "Jigsaw Falling Into Place", in particular). Though "River" will never hold a candle to Radiohead, it's still a good song in its own right! It is probably Civil Twilight's best song, actually, given how it centers mostly around acoustic guitar instead of keyboards, the latter of which is a more typical instrument for Civil Twilight. The lead singer of Civil Twilight tends to nail Thom Yorke's vocal intonations, and the swooning backing vocals wouldn't sound too out of place in a Radiohead song either. However, this is Civil Twilight, not Radiohead. Still, it wouldn't hurt Civil Twilight to continue going in a neo-folk-rock direction!
"So Beautiful" by The Dunwells: Along with the Martin Harley song, "Mojo Fix", this song is another "review-come-lately" for me, I guess partly because this song pales in comparison quite significantly to The Dunwells' Mumford-esque song, "I Could Be A King", from earlier this year. However, I decided to give "So Beautiful" another chance, and I'm glad I did, because, although it isn't nearly as good as "I Could Be A King", it is still a good song, and it stuck in my head after the second time I heard it, so I knew it was a good one. It still has a somewhat Mumford-and-Sons-ish sound, but it sounds more like M & S being backed by the '70s soft rock group, America (the solos in the song sound like they were performed in a similar distortion to America's "Sister Golden Hair"). Still worth listening to, though.
"Time to Run" by Lord Huron: And last, but certainly not least, is the hypnotically folk-rock-y "Time to Run", from Lord Huron, a band who are slowly but surely getting more attention than I thought they would! This song is like a dream to me, and I don't mean that in a corny, metaphorical way. I mean that it's literally like a dream! It starts off with an orchestra of echoing wind chime type percussion that goes on for about a minute, before settling into its mellow, entrancing groove that takes hold of the rest of the song, as though one is falling asleep, and then settling into his/her dream for the rest of the night. This song is one dream I don't want to wake up from!!
"Carry On" by fun.: "If you're lost and alone, and sinking like a stone, carry o-o-o-o-on!!" So begins the chorus of the latest song from the somewhat aptly named band, fun. This is probably their most sensitive, most melodic song yet, and for that reason, I can't help but like it! Though the song itself is kinda dark in terms of its lyrics, it still has quite an uplifting, almost inspirational chorus, reminding its listeners to stay strong through the good times and the bad. Nate Ruess and co sure have come a long way since the far more pop-y "We Are Young", and I hope they will continue to strengthen their sound and their lyrics in the future!
"Encyclopedia of Classic Takedowns" by A.C. Newman: The New Pornographers were always a quirky band, in spite of how their name might sound (it was actually taken from something someone said about how music is the "new pornography"). That being said, it only makes sense that their lead singer would come up with a song where even the TITLE sounded quirky! I mean, how many songs do you know of have titles that even sound CLOSE to "Encyclopedia of Classic Takedowns" (try saying THAT five times fast!)?! I sure don't! (Then again, this IS the same guy who came up with even weirder song titles like "Sing Me Spanish Techno"). The song itself is quirky, power pop-y fun at its best! A happy song with bubbly harmonies and a weird title?! Only A.C. and The New Pornographers!!
"Good Times" by Matt Costa: Matt Costa doesn't seem to get enough credit for how eclectic (and clever) he truly is! He seemed to have been pegged as a singer/songwriter type based on how his debut song, "Cold December" sounded, but he has expanded his repertoire ever since to include Donovan-esque psychedelic pop ("Witchcraft") and "Pet Sounds"-ish orchestral beauties ("Drive"). His latest song, "Good Times", takes on a sound that illustrates a combination of folk-rock guitars and triumphant trumpets, a bit like Feist's "1234", as well as practically any song from Edward Sharpe and The Magnetic Zeros. Don't be fooled by how happy "Good Times" sounds, though, as even its chorus sings about how "Good times are comin' to an end". The dichotomy "Good Times" has between its fluffy sound and cynical lyrics only make me love the song more, though!
"Harder Before It Gets Easier" by The David Wax Museum: With the surprise success of records from people like Paul Simon and Robbie Robertson last year, it only makes sense that there would be someone this year that would carry on the rock-music-meets-world-music torch. It's not an older musician, though, or even a well-known one, at that. This year's ethnic rock experience comes from The David Wax Museum, a band that is, perhaps, unlike any other from 2012! Instead of relying on folk-rock or power pop, like most 2010's bands seem to do, The David Wax Museum create a lush musical soundscape based on African rhythms and mariachi instrumentation. To top it all off, at the center of the DWM's breakthrough song, "Harder Before It Gets Easier", is its chorus, which reminds people that sometimes you need to experience tougher times in your life in order to get to what you really want!
"Heartbeat" by The Kopecky Family Band: Of the many bands I'm reviewing this week, none of them seem to put the "pop" in "indie pop" quite like The Kopecky Family Band! Their debut song, "Heartbeat", has it all! Irresistibly bubblegum-y harmonies, handclaps at the beginning, a catchy, memorable chorus, purposely ridiculous lyrics (e.g. "you make my heartbeat beat a beat"), you name it! "Heartbeat" is the perfect song to dance around in your room to when no one's watching!
"How Do You Ruin Me?" by Black Prairie: And now we move from a goofy, lighthearted band to a more somber one. Even this song's title, "How Do You Ruin Me?" sounds melancholy, and the song itself is, too. With its sighing string section, G minor key, and world-weary vocals, "How Do You Ruin Me?" is one of those songs you'd want to put on during a rainy day to elicit emotions of both sadness and sympathy. It is a tale of unrequited love that expresses the pain and sorrow we probably all feel inside when going through such a phase. Call it a case of schadenfreude if you will, but what is "ruining" the singer brings me a sense of pleasure, but the pleasure derives from knowing that I'm not the only one who has felt cheated or let down in a relationship.
"I've Got This Friend" by The Civil Wars: It's been over a year since John Paul Williams and Joy White first became successful as folk-pop duo, The Civil Wars, yet there is still one song from their debut album that has JUST begun to receive airplay on adult alt radio stations, and that song is "I've Got This Friend". "I've Got This Friend" provides quite a contrast from the blues-y stomp of "Barton Hollow" and the bittersweet "Poison And Wine". There is nothing very bitter, or even bittersweet, about "I've Got This Friend", in fact it's kind of a cute song, if I dare say so! John and Joy take turns telling each other about these "friends" that they have during the song, though, upon listening to the lyrics, it becomes apparent that John and Joy are actually telling each other about...well...each other! However, they are doing so in a way that suggest a precious, almost naive sense of romance. Can I have another "d'awwww"?!
"Mojo Fix" by Martin Harley: A "review-come-lately" here, as this song has been around since late August of this year, but it doesn't seem like it's gotten decent airplay until around the past couple of weeks, so I thought maybe now would be a good time to review it instead. On with the song, though, doesn't even the title of the song "Mojo Fix" sound kinda blues-y?! Well, that's because it is, and a mighty fine blues song at that! With its chugging hook, raw vocals, and saucy slide guitar licks, "Mojo Fix" is enough to satisfy anyone's mojo!!
"Nancy From Now On" by Father John Misty: You probably wouldn't expect such a downhearted song from a guy with a quirky moniker, who put out esoteric songs like "I'm Writing A Novel", but keep in mind that "Father John Misty" is actually the alias of the ex-drummer of melancholy folk-rock kings, Fleet Foxes, and "Nancy From Now On" will probably make a little more sense. Even the opening lyrics, "Pour me another drink, and punch me in the face" are enough to depress a lot of Misty's listeners. "Nancy" is also not the name of a girl in this song, but rather, a derogatory name that Misty uses to refer to himself, perhaps suggesting that he is "weak" in some way. The chord changes and piano arrangement in this song remind me of people like Rufus Wainwright. Perhaps Rufus and Father John are pals?! Wouldn't surprise me. Also, I detect a huge Harry Nilsson influence in this song, so to describe Misty as the lovechild of Nilsson and Rufus Wainwright would be a great way of summing him up!
"River" by Civil Twilight: As I read the comments for this song on YouTube, many people seem to think that this sounds like a Radiohead song, and it does (it lifts pretty heavily from "Jigsaw Falling Into Place", in particular). Though "River" will never hold a candle to Radiohead, it's still a good song in its own right! It is probably Civil Twilight's best song, actually, given how it centers mostly around acoustic guitar instead of keyboards, the latter of which is a more typical instrument for Civil Twilight. The lead singer of Civil Twilight tends to nail Thom Yorke's vocal intonations, and the swooning backing vocals wouldn't sound too out of place in a Radiohead song either. However, this is Civil Twilight, not Radiohead. Still, it wouldn't hurt Civil Twilight to continue going in a neo-folk-rock direction!
"So Beautiful" by The Dunwells: Along with the Martin Harley song, "Mojo Fix", this song is another "review-come-lately" for me, I guess partly because this song pales in comparison quite significantly to The Dunwells' Mumford-esque song, "I Could Be A King", from earlier this year. However, I decided to give "So Beautiful" another chance, and I'm glad I did, because, although it isn't nearly as good as "I Could Be A King", it is still a good song, and it stuck in my head after the second time I heard it, so I knew it was a good one. It still has a somewhat Mumford-and-Sons-ish sound, but it sounds more like M & S being backed by the '70s soft rock group, America (the solos in the song sound like they were performed in a similar distortion to America's "Sister Golden Hair"). Still worth listening to, though.
"Time to Run" by Lord Huron: And last, but certainly not least, is the hypnotically folk-rock-y "Time to Run", from Lord Huron, a band who are slowly but surely getting more attention than I thought they would! This song is like a dream to me, and I don't mean that in a corny, metaphorical way. I mean that it's literally like a dream! It starts off with an orchestra of echoing wind chime type percussion that goes on for about a minute, before settling into its mellow, entrancing groove that takes hold of the rest of the song, as though one is falling asleep, and then settling into his/her dream for the rest of the night. This song is one dream I don't want to wake up from!!
Wednesday, September 15, 2010
ELEVEN SONGS!!
Eleven songs?!? THIS is gonna be GOOD!!! Here they are:
"Boy" by Ra Ra Riot: This song has done two fantastic things for me! First of all, it's keeping the uniquely quirky new wave influenced indie sound of bands like Vampire Weekend, Arcade Fire, and Phoenix alive and well, but it also has an incredible music video. Why? 'Cuz it has KITTIES!! (I'm a cat lover, so please bear with me here). An orange tabby cat (and his orange tabby cat friends, or perhaps clones of his) appear on and off throughout the video, and during the chorus, their eyes glow in the dark to make one giant cat's eye! As if that wasn't neat enough, the instrumentation in "Boy" is also very well-crafted. Unlike the typical Vampire Weekend, Arcade Fire, or Phoenix song, this song does NOT start out with a guitar, but rather a new wave-y keyboard sound backed up by a loud, thumping bass. The guitar comes in during the chorus, as does some random orchestral instrumentation (Arcade Fire, anyone?) There's also a brief guitar solo in this song as well. All in all, "Boy" is a very entertaining, catchy, and well-thought out piece of music.
"Buttercups" by Fran Healy: Make no mistake, "Fran" is not a girl's name in this case. It is, instead, the name of British indie-folk-rock band Travis's first name. "Buttercups" could easily be mistaken for a Travis song, rather than just one by the lead singer of the band, for its full-band instrumentation, passionate vocals, and wistful tones. Travis' songs typically have quirky lyrics and one-word titles (the most well-known being "Sing" and "Side"), and "Buttercups" continues in that tradition, of being both one word long and having charmingly unusual lyrics (The best one being, "If I had a diamond ring, I'd wear it through my nose". I'd like to see Fran Healy try to do THAT sometime!!)
"Coquet Coquette" by of Montreal: "Coquet Coquette"?!? Is there an echo in here, is there an echo in here?!? No, there isn't, it's just the title of of Montreal's latest tune that seems to be influenced largely by the "retro rock" sounds of such bands as The White Stripes and Muse. For of Montreal, I'm not sure if this shift in sound is a good thing or a bad thing. It's not like this is the first time the oddly named indie band has gotten attention, as "Wraith Pinned to the Mist And Other Tales" was featured in an Outback Steakhouse commercial, and they even did a children's song about brushing teeth for the neo-"Sesame Street"-ish kid's show "Yo Gabba Gabba" that received a fair amount of attention as well. However, both of those seemed more like psychedelic pop tunes than attempts to receive airplay on major alt/modern rock stations. "Coquet Coquette" still features the psychedelic element that is present on most of of Montreal's material, but it seems to be filtered through '70s classic rock a la Led Zeppelin, Pink Floyd, Queen, etc. the way that many of The White Stripes and Muse's material seems to be. Nevertheless, "Coquet Coquette" is still worth listening to. Oh, and one more thing, "coquette" is a term that basically means "flirt" and mainly applies to women (I believe of Montreal made up the counterpart term, "coquet", to add more flavor to the song).
"Indecision" by Steven Page: The former Barenaked Ladies member proves he still has the flair for catchy melodies and clever lyrics, even as a SOLO artist! Some feat for a man from a band that's been around for nearly 20 years!! Instrumentally, Page tweaks up his typical sound a bit (think "The Big Bang Theory" theme mixed with a Sergio Mendes tune!) Who would have thought he'd use Latin jazz-style instrumentation in the verses of "Indecision" and STILL sound good?! As in the usual BNL lyrical fashion, there are some witty, tongue-in-cheek lyrics to be found in this song as well (like in the chorus, in which Page sings, "Then again, my addiction to indecision keeps me here"). "Addiction to indecision" sounds like it could function simultaneously as an oxymoron AND a tongue-twister. Some of my own poetry and music has a tendency to sprinkle in some wordplay like this does. What can I say, great minds think alike!
"Lasso" by Phoenix: If I had to describe Phoenix's music in one word, I'd choose the word "catchy". "1901" and "Lisztomania" have already been stuck in my head numerous times, and probably in the minds of many others as well since they both became massive hits! Though "Lasso" hasn't quite received the amount of attention that the aforementioned two songs have, I think it has the potential to do so sometime soon. It uses the basic Phoenix formula of danceable, stick-in-your-head song, easy to memorize chorus ("Where would you go, where would you go, would you go with a lasso?/Could you run into, could you run into, could you run into me?"), and quirky lyrics (see the chorus that I typed earlier in this sentence). "Lasso" also seems to be more straight-up rock music than the techno/rock hybrids that "1901" and "Lisztomania" ended up being. It has a sound that's probably comparable to bands like The Killers and the "edgier" side of Snow Patrol. Think of those two bands, backed by a consistently organized rhythm section, and add just a small dash of The Police's "Message In A Bottle", and you should have a pretty good idea of what "Lasso" sounds like!
"Paris (Ooh La La)" by Grace Potter and The Nocturnals: Grace Potter normally has a sound that might remind one of the organic, earthy country sounds of Lucinda Williams. This year, however, Grace and The Nocturnals proved they could rock out with the best of 'em, earlier this year with their cover of Jefferson Airplane's "White Rabbit", and now with the Lenny Kravitz-esque "Paris"! Perhaps Grace is trying TOO hard to let out her inner rock star with the lyrics of this song (i.e. "You got me up on your swing/So when you gonna shake that thing?", a BIG departure from the down-home-y, humble flavor of "Ah Mary", her debut single). However, "Paris" is a darn catchy song with guitar riffs that would make Jimi Hendrix proud! (Or at least entertained). And if Grace wants to be more of a Janis than a Lucinda, well then, she's found just the right sound to please my ears!!
"Radioactive" by Kings of Leon: Ever since their 2008 breakthrough record, "Only By the Night", all sides of the rock 'n' roll spectrum just couldn't seem to get enough of Kings of Leon. With their latest release, it's seems like KOL fever has only continued to rise, as it has received IMMEDIATE attention on the adult. alt charts, the "regular" alt charts, and the mainstream rock (combination of classic rock and "harder" modern rock) charts simultaneously!! So how does "Radioactive" measure up to the contagious melodies and hooks of "Sex On Fire", "Use Somebody", and "Notion"?! It could easily join the ranks of those songs for sure! (It already HAS on many rock stations of all kinds!!) However, a major difference between those songs and "Radioactive" is a shift in influence from '70s rock to '80s rock. "Radioactive" sounds like a mix of U2 and some of the more "spacey" David Bowie songs (i.e. "Ashes to Ashes"). Perhaps it doesn't matter what era of music KOL want to emulate, as long as their music is able to stick in the heads of millions of fans!!
"Spectacular Girl" by Eels: Despite their slimy name, Eels have a rather mellow sound for the most part, much like many of the songs Beck did in the 2000's. Sometimes it almost seems as though E (Eels' frontman, born Mark Oliver Everett) and Beck have composed songs cut from the same cloth (in fact "Spectacular Girl" reminds me a great deal of Beck's '08 hit, "Orphans"). Both "Orphans" and "Spectacular Girl" use electronic instruments in a soothing fashion, and add in more typically calming instruments, such as flutes, as the songs progress. Although "Spectacular Girl" is basically a Beck soundalike, it's still a great song to me, with its breezy, chillout vibe that I often crave in the songs I listen to to make me feel happy and satisfied inside!
"Witchcraft" by Matt Costa: Most people who are familiar with Matt Costa's music probably know him best for taking an indie rock approach to the "ultra-mellow" sounds of musicians like Jack Johnson and Dave Matthews. However, Matt decided to trade in that mellow acoustic sound for some Donovan-esque psychedelia and turn up his amp on "Witchcraft"! Though Costa is not British, his voice (and a little bit of his music) sounds much like The Zombies' Colin Bluntstone, who is British, on this track. If Costa continues in this psychedelically influenced trend, he'll likely be remembered as a 21st century version of Donovan for going from folk-rock to psychedelia. Even the theme of this song tends to evoke Donovan somewhat ("Season of the Witch", anyone?!) Lyrically, it takes on the familiar '60s rock theme of singing about a girl who messes around with a guys emotions (so much so, in this song, that Matt Costa proclaims in the chorus that the girl in question "must be using witchcraft"). This song is an absolute must for any fans of The Zombies, Donovan, Jefferson Airplane, etc!
"Wrote A Song For Everyone" by Mavis Staples: The former '70s soul woman returns after many years with a Creedence Clearwater Revival cover! Staples seems to cover the CCR tune pretty accurately, to the point of which it SOUNDS like something CCR (or similar acts, like The Band) might have done, complete with a guitar solo! Her version actually seems more rock 'n' roll oriented, at times, than CCR's original version. It's neat to hear an early '70s musical icon covering yet another early '70s musical icon! I would love to know John Fogerty's reaction to Mavis Staples' version!
"You Can Dance" by Bryan Ferry: Before I begin, is it just me, or is it a bit odd that both of the leading musicians in Roxy Music were named "Brian"?! (the other being Brian Eno) The two of them are both fairly well-known both in Roxy Music and as solo performers in the music world, though Ferry went in more of a pop-oriented direction, and Eno in a more "experimental" one. Ferry continues doing the same "sophisticated" pop music he did with his biggest hit of the '80s, "Slave to Love" (in fact "Slave to Love" and "You Can Dance" actually sound quite similar). "Slave to Love" was probably a more compelling, seductive sort of song, but Ferry's attempts to repeat this on "You Can Dance" aren't bad. However, I would still recommend his older material much more than "You Can Dance".
"Boy" by Ra Ra Riot: This song has done two fantastic things for me! First of all, it's keeping the uniquely quirky new wave influenced indie sound of bands like Vampire Weekend, Arcade Fire, and Phoenix alive and well, but it also has an incredible music video. Why? 'Cuz it has KITTIES!! (I'm a cat lover, so please bear with me here). An orange tabby cat (and his orange tabby cat friends, or perhaps clones of his) appear on and off throughout the video, and during the chorus, their eyes glow in the dark to make one giant cat's eye! As if that wasn't neat enough, the instrumentation in "Boy" is also very well-crafted. Unlike the typical Vampire Weekend, Arcade Fire, or Phoenix song, this song does NOT start out with a guitar, but rather a new wave-y keyboard sound backed up by a loud, thumping bass. The guitar comes in during the chorus, as does some random orchestral instrumentation (Arcade Fire, anyone?) There's also a brief guitar solo in this song as well. All in all, "Boy" is a very entertaining, catchy, and well-thought out piece of music.
"Buttercups" by Fran Healy: Make no mistake, "Fran" is not a girl's name in this case. It is, instead, the name of British indie-folk-rock band Travis's first name. "Buttercups" could easily be mistaken for a Travis song, rather than just one by the lead singer of the band, for its full-band instrumentation, passionate vocals, and wistful tones. Travis' songs typically have quirky lyrics and one-word titles (the most well-known being "Sing" and "Side"), and "Buttercups" continues in that tradition, of being both one word long and having charmingly unusual lyrics (The best one being, "If I had a diamond ring, I'd wear it through my nose". I'd like to see Fran Healy try to do THAT sometime!!)
"Coquet Coquette" by of Montreal: "Coquet Coquette"?!? Is there an echo in here, is there an echo in here?!? No, there isn't, it's just the title of of Montreal's latest tune that seems to be influenced largely by the "retro rock" sounds of such bands as The White Stripes and Muse. For of Montreal, I'm not sure if this shift in sound is a good thing or a bad thing. It's not like this is the first time the oddly named indie band has gotten attention, as "Wraith Pinned to the Mist And Other Tales" was featured in an Outback Steakhouse commercial, and they even did a children's song about brushing teeth for the neo-"Sesame Street"-ish kid's show "Yo Gabba Gabba" that received a fair amount of attention as well. However, both of those seemed more like psychedelic pop tunes than attempts to receive airplay on major alt/modern rock stations. "Coquet Coquette" still features the psychedelic element that is present on most of of Montreal's material, but it seems to be filtered through '70s classic rock a la Led Zeppelin, Pink Floyd, Queen, etc. the way that many of The White Stripes and Muse's material seems to be. Nevertheless, "Coquet Coquette" is still worth listening to. Oh, and one more thing, "coquette" is a term that basically means "flirt" and mainly applies to women (I believe of Montreal made up the counterpart term, "coquet", to add more flavor to the song).
"Indecision" by Steven Page: The former Barenaked Ladies member proves he still has the flair for catchy melodies and clever lyrics, even as a SOLO artist! Some feat for a man from a band that's been around for nearly 20 years!! Instrumentally, Page tweaks up his typical sound a bit (think "The Big Bang Theory" theme mixed with a Sergio Mendes tune!) Who would have thought he'd use Latin jazz-style instrumentation in the verses of "Indecision" and STILL sound good?! As in the usual BNL lyrical fashion, there are some witty, tongue-in-cheek lyrics to be found in this song as well (like in the chorus, in which Page sings, "Then again, my addiction to indecision keeps me here"). "Addiction to indecision" sounds like it could function simultaneously as an oxymoron AND a tongue-twister. Some of my own poetry and music has a tendency to sprinkle in some wordplay like this does. What can I say, great minds think alike!
"Lasso" by Phoenix: If I had to describe Phoenix's music in one word, I'd choose the word "catchy". "1901" and "Lisztomania" have already been stuck in my head numerous times, and probably in the minds of many others as well since they both became massive hits! Though "Lasso" hasn't quite received the amount of attention that the aforementioned two songs have, I think it has the potential to do so sometime soon. It uses the basic Phoenix formula of danceable, stick-in-your-head song, easy to memorize chorus ("Where would you go, where would you go, would you go with a lasso?/Could you run into, could you run into, could you run into me?"), and quirky lyrics (see the chorus that I typed earlier in this sentence). "Lasso" also seems to be more straight-up rock music than the techno/rock hybrids that "1901" and "Lisztomania" ended up being. It has a sound that's probably comparable to bands like The Killers and the "edgier" side of Snow Patrol. Think of those two bands, backed by a consistently organized rhythm section, and add just a small dash of The Police's "Message In A Bottle", and you should have a pretty good idea of what "Lasso" sounds like!
"Paris (Ooh La La)" by Grace Potter and The Nocturnals: Grace Potter normally has a sound that might remind one of the organic, earthy country sounds of Lucinda Williams. This year, however, Grace and The Nocturnals proved they could rock out with the best of 'em, earlier this year with their cover of Jefferson Airplane's "White Rabbit", and now with the Lenny Kravitz-esque "Paris"! Perhaps Grace is trying TOO hard to let out her inner rock star with the lyrics of this song (i.e. "You got me up on your swing/So when you gonna shake that thing?", a BIG departure from the down-home-y, humble flavor of "Ah Mary", her debut single). However, "Paris" is a darn catchy song with guitar riffs that would make Jimi Hendrix proud! (Or at least entertained). And if Grace wants to be more of a Janis than a Lucinda, well then, she's found just the right sound to please my ears!!
"Radioactive" by Kings of Leon: Ever since their 2008 breakthrough record, "Only By the Night", all sides of the rock 'n' roll spectrum just couldn't seem to get enough of Kings of Leon. With their latest release, it's seems like KOL fever has only continued to rise, as it has received IMMEDIATE attention on the adult. alt charts, the "regular" alt charts, and the mainstream rock (combination of classic rock and "harder" modern rock) charts simultaneously!! So how does "Radioactive" measure up to the contagious melodies and hooks of "Sex On Fire", "Use Somebody", and "Notion"?! It could easily join the ranks of those songs for sure! (It already HAS on many rock stations of all kinds!!) However, a major difference between those songs and "Radioactive" is a shift in influence from '70s rock to '80s rock. "Radioactive" sounds like a mix of U2 and some of the more "spacey" David Bowie songs (i.e. "Ashes to Ashes"). Perhaps it doesn't matter what era of music KOL want to emulate, as long as their music is able to stick in the heads of millions of fans!!
"Spectacular Girl" by Eels: Despite their slimy name, Eels have a rather mellow sound for the most part, much like many of the songs Beck did in the 2000's. Sometimes it almost seems as though E (Eels' frontman, born Mark Oliver Everett) and Beck have composed songs cut from the same cloth (in fact "Spectacular Girl" reminds me a great deal of Beck's '08 hit, "Orphans"). Both "Orphans" and "Spectacular Girl" use electronic instruments in a soothing fashion, and add in more typically calming instruments, such as flutes, as the songs progress. Although "Spectacular Girl" is basically a Beck soundalike, it's still a great song to me, with its breezy, chillout vibe that I often crave in the songs I listen to to make me feel happy and satisfied inside!
"Witchcraft" by Matt Costa: Most people who are familiar with Matt Costa's music probably know him best for taking an indie rock approach to the "ultra-mellow" sounds of musicians like Jack Johnson and Dave Matthews. However, Matt decided to trade in that mellow acoustic sound for some Donovan-esque psychedelia and turn up his amp on "Witchcraft"! Though Costa is not British, his voice (and a little bit of his music) sounds much like The Zombies' Colin Bluntstone, who is British, on this track. If Costa continues in this psychedelically influenced trend, he'll likely be remembered as a 21st century version of Donovan for going from folk-rock to psychedelia. Even the theme of this song tends to evoke Donovan somewhat ("Season of the Witch", anyone?!) Lyrically, it takes on the familiar '60s rock theme of singing about a girl who messes around with a guys emotions (so much so, in this song, that Matt Costa proclaims in the chorus that the girl in question "must be using witchcraft"). This song is an absolute must for any fans of The Zombies, Donovan, Jefferson Airplane, etc!
"Wrote A Song For Everyone" by Mavis Staples: The former '70s soul woman returns after many years with a Creedence Clearwater Revival cover! Staples seems to cover the CCR tune pretty accurately, to the point of which it SOUNDS like something CCR (or similar acts, like The Band) might have done, complete with a guitar solo! Her version actually seems more rock 'n' roll oriented, at times, than CCR's original version. It's neat to hear an early '70s musical icon covering yet another early '70s musical icon! I would love to know John Fogerty's reaction to Mavis Staples' version!
"You Can Dance" by Bryan Ferry: Before I begin, is it just me, or is it a bit odd that both of the leading musicians in Roxy Music were named "Brian"?! (the other being Brian Eno) The two of them are both fairly well-known both in Roxy Music and as solo performers in the music world, though Ferry went in more of a pop-oriented direction, and Eno in a more "experimental" one. Ferry continues doing the same "sophisticated" pop music he did with his biggest hit of the '80s, "Slave to Love" (in fact "Slave to Love" and "You Can Dance" actually sound quite similar). "Slave to Love" was probably a more compelling, seductive sort of song, but Ferry's attempts to repeat this on "You Can Dance" aren't bad. However, I would still recommend his older material much more than "You Can Dance".
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