here they are:
"Jumbo" by Punch Brothers: Ever since Donald Trump got elected president, I had thoughts that harder edged rock groups would be doing protest songs against him, the way Green Day did with their "American Idiot" record in response to George W. Bush's presidency during the 2000's. Hard rock, however, has become a thing of the past (for the most part) during the 2010's, so instead we have softer rock groups like Punch Brothers doing songs about him - or rather, Donald Trump's SON, Donald Trump, Jr. Yes, that's what "Jumbo" is about. Though his name is never mentioned, many articles about the bluegrass-rock group's latest song have already come out, and they all point to Trump Jr. as the song's villain, nicknamed "Jumbo" in the song. Punch Brothers have had enough hits on adult alt radio to count on a single hand, but even with the few songs I know by them, I can still tell that this is the first time the group have gotten political on one of their albums. I never thought I'd see so many soft and middle-of-the-road rock groups (Arcade Fire would fit the latter category) doing songs against our current president. I thought it would be mostly hard rock (and possibly punk rock), like how it was during the Vietnam War, the Cold War, and the Bush presidency. The times, they are a changin'!
"Last Lion of Albion" by Neko Case: Our next song is a protest song as well, although not necessarily a political one. Neko Case's "Last Lion of Albion" is a protest song against none other than mankind itself, and the many (mostly unsuccessful) ways it tries to "tame" nature. With a melancholy, pessimistic sound that seems halfway between Alanis Morissette and Lissie, Neko Case weaves a chilling parable about how natural resources are exploited by human beings in ways they weren't meant to be used that ultimately become detrimental to how we live. More specifically, the song targets Britain, since the nation often uses lions to symbolize their power. "You'll feel extinction", warns Case, during the chorus, "when you see their face on your money." There is no need for guns and war when you can use the greatest weapon of all against those who won't listen to you - music!
"Natural" by Imagine Dragons: Thus far on this week's blog, we have seen two acts use quiet music to express loud feelings of distress. That's not the way Imagine Dragons like to do things. If Dan Reynolds and co want their desires and ideas to be known to others, they SHOUT it! This is exactly what they do on "Natural", particularly during the chorus, which sounds like the type of song that would be used when two rivaling sports teams are facing off against one another. In today's competitive world, you need things to build you up and make you stay strong and alert. That's pretty much what bands like Imagine Dragons are there for, especially on songs like this one!
"Shame" by Elle King: The blonde "Ex's And Oh's" bombshell is back with yet another song to motivate strong female empowerment with "Shame". The song doesn't have quite the rock-meets-jazz swing that "Ex's" did, but it still manages to be a catchy tune. Mixing the beat of Joe Jackson's "Is She Really Going Out With Him?" with the darkly seductive pop/rock techniques of musicians like Lorde, "Shame" is a song just screaming to be the next summer anthem of the year. Though she might not be as rockin' on this song as she was back in 2014, Elle still maintains her sense of lyrical talent by being as deliciously scathing as she has been on her other songs. After repeating the title of the song four times, she burns and traps a former lover of hers by saying, "Mama doesn't know who every night you go to." "King" is not Elle's real last name, but she sure has a lot of kingly (or rather, queenly) power on this song!
"Something Human" by Muse: After almost 15 years, I've finally gotten on the Muse bandwagon that many friends of mine have been on ever since they broke through to the mainstream in the mid 2000's. Their song "Starlight" was kinda cool, as it sounded like a slightly harder rocking Coldplay tune, but the rest of their stuff I dunno about. They always seemed like a cross between Queen and Depeche Mode to me, which was like peanut butter and hot dogs to me (In other words, both good, but not together). With "Something Human", this has all changed. The song has given Muse a dimension that's more...well...human! Instead of being all bombastic and arena rock-y, "Something Human" is a more calming song that combines acoustic guitar instrumentation with electronic beats and synthesizer in the background. The song is almost spiritual in a way, like a U2 song, with Muse searching for something more significant in life than how life appears to be, throughout the song.
Showing posts with label Punch Brothers. Show all posts
Showing posts with label Punch Brothers. Show all posts
Wednesday, August 15, 2018
Wednesday, January 7, 2015
New songs for the New Year!! 2015
Got five great ones for ya!! Here they are:
"Chateau Lobby # 4" by Father John Misty: Ah, a nice pleasant, folk-y tune about...having "Satanic Christmas Eve"?!? Whaaat?!? Seriously, though, what else would you EXPECT from the guy whose best known solo tune has enigmatic lyrics like "I'm no doctor, but that monkey might be right" and "Heidegger and Sartre drinking poppy tea"?! Even the subtitle of the song (in C for Two Virgins) is kinda weird! The brass instruments in the background are a nice new touch for Father John, as his music is mostly the basic guitar/bass/drums setup. The only thing that really makes sense about this song is how the subtitle states that it is "in C", which it is (C major). If you like your folk-rock to be out of the ordinary, this one's for you!
"I Blew It Off" by Punch Brothers: Fans of Punch Brothers might think that the title to this song fits perfectly with how it sounds! Punch Brothers do sound like they're "blowing it off" in this song. That is to say, they've traded in their more traditional sounding bluegrass-y sound for something that sounds closer to folk-rock. Rest assured, the bluegrass-y violins are still in this song, but they're most audible during the verses of the song. The chorus is electric and acoustic guitars mingling with one another, backed by drums (another instrument uncommon to most Punch Brothers songs).
"Lampshades On Fire" by Modest Mouse: So what have Modest Mouse been up to for the past 6 years?! Perhaps the reason their hiatus from the music world was so long this time around was because they wanted another uber-catchy funk/ska inflected hit single to catch the world by storm! Songs like "Float On" from their first big breakthrough album, and "Dashboard" from the album that followed it gave them chart success like they had never experienced before! Somehow "Satellite Skin" from their third album just didn't do as well, so perhaps they were trying to get over what little success that song had in comparison to their two biggest hits so far. Their latest song, "Lampshades On Fire", continues in the direction of the songs that put Modest Mouse on the map in the first place! It's a catchy song that features Isaac Brock's signature quavering vocal style and a ska influenced rhythm that wouldn't sound out of place in a song by The Specials or Madness. No surprise that this is the most anticipated new song of the week, is it?!
"Loop de Li" by Bryan Ferry: Perhaps the name "Bryan Ferry" isn't exactly a household one overall in the music world, but he's been a hard working, accomplished musician with a career that dates back to 1972 with alt-rock pioneers, Roxy Music. Ferry is known for being as glitzy and seductive as he is detached and ironic, and the icy cold vibe of the music mixed with the allure of the saxophones and Ferry's dreamily hushed vocals on "Loop de Li" basically make this like a vintage Ferry tune that just happened to be released during the modern era. And for the record, no, I do not know what a "loop de li" is. Probably just filler words.
"Mess Is Mine" by Vance Joy: A folkie from down under with a somewhat Irish influence in both his music and vocals, Vance Joy first hit the big time with "Riptide" two Septembers ago, though it took a while for the song to be played on multiple formats. Beneath the sunny vibe of the song were dark lyrics about a relationship gone bad. "Mess Is Mine" is similar, but it has a more serious, contemplative sound than "Riptide" did, so its lyrics, which also concern a relationship on the fritz, fit better with the overall mood of the song. There's a bit more electric guitar in the background to this song than most of Vance's material, but it is still a folk-rock song, complete with acoustic guitar as its central instrument, personal, thought-provoking lyrics, and some handclaps added in towards the middle of the song.
"Chateau Lobby # 4" by Father John Misty: Ah, a nice pleasant, folk-y tune about...having "Satanic Christmas Eve"?!? Whaaat?!? Seriously, though, what else would you EXPECT from the guy whose best known solo tune has enigmatic lyrics like "I'm no doctor, but that monkey might be right" and "Heidegger and Sartre drinking poppy tea"?! Even the subtitle of the song (in C for Two Virgins) is kinda weird! The brass instruments in the background are a nice new touch for Father John, as his music is mostly the basic guitar/bass/drums setup. The only thing that really makes sense about this song is how the subtitle states that it is "in C", which it is (C major). If you like your folk-rock to be out of the ordinary, this one's for you!
"I Blew It Off" by Punch Brothers: Fans of Punch Brothers might think that the title to this song fits perfectly with how it sounds! Punch Brothers do sound like they're "blowing it off" in this song. That is to say, they've traded in their more traditional sounding bluegrass-y sound for something that sounds closer to folk-rock. Rest assured, the bluegrass-y violins are still in this song, but they're most audible during the verses of the song. The chorus is electric and acoustic guitars mingling with one another, backed by drums (another instrument uncommon to most Punch Brothers songs).
"Lampshades On Fire" by Modest Mouse: So what have Modest Mouse been up to for the past 6 years?! Perhaps the reason their hiatus from the music world was so long this time around was because they wanted another uber-catchy funk/ska inflected hit single to catch the world by storm! Songs like "Float On" from their first big breakthrough album, and "Dashboard" from the album that followed it gave them chart success like they had never experienced before! Somehow "Satellite Skin" from their third album just didn't do as well, so perhaps they were trying to get over what little success that song had in comparison to their two biggest hits so far. Their latest song, "Lampshades On Fire", continues in the direction of the songs that put Modest Mouse on the map in the first place! It's a catchy song that features Isaac Brock's signature quavering vocal style and a ska influenced rhythm that wouldn't sound out of place in a song by The Specials or Madness. No surprise that this is the most anticipated new song of the week, is it?!
"Loop de Li" by Bryan Ferry: Perhaps the name "Bryan Ferry" isn't exactly a household one overall in the music world, but he's been a hard working, accomplished musician with a career that dates back to 1972 with alt-rock pioneers, Roxy Music. Ferry is known for being as glitzy and seductive as he is detached and ironic, and the icy cold vibe of the music mixed with the allure of the saxophones and Ferry's dreamily hushed vocals on "Loop de Li" basically make this like a vintage Ferry tune that just happened to be released during the modern era. And for the record, no, I do not know what a "loop de li" is. Probably just filler words.
"Mess Is Mine" by Vance Joy: A folkie from down under with a somewhat Irish influence in both his music and vocals, Vance Joy first hit the big time with "Riptide" two Septembers ago, though it took a while for the song to be played on multiple formats. Beneath the sunny vibe of the song were dark lyrics about a relationship gone bad. "Mess Is Mine" is similar, but it has a more serious, contemplative sound than "Riptide" did, so its lyrics, which also concern a relationship on the fritz, fit better with the overall mood of the song. There's a bit more electric guitar in the background to this song than most of Vance's material, but it is still a folk-rock song, complete with acoustic guitar as its central instrument, personal, thought-provoking lyrics, and some handclaps added in towards the middle of the song.
Saturday, December 1, 2012
Have A Holly Jolly Hipster Christmas - special blog dedicated to "Holidays Rule"!!
I don't normally post on days other than Wednesday, but the new CD "Holidays Rule", showcasing mostly contemporary folk-rock and indie-pop, has soooo many good songs that would just be too much to blog about if I added them into another blog entry for non-Christmas/non-holiday related songs! There actually too many songs on this CD to be covering in one entry, so I'll be reviewing my personal faves from the CD today. So here goes! Hope you like it!!
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!
"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!
"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!
"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.
"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.
"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.
"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.
"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!
"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!
"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.
"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.
"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.
Wednesday, February 15, 2012
'Twas the day after Valentine's
...and all through this blog, are four new songs, to make you happy as a...ummm...dog?! Anyway, here they are:
"A Little Bit of Everything" by Dawes: If by "everything" you mean "songs that sound like Jackson Browne", then yes, this song IS a little bit of "everything". But seriously, this is a good song (and coincidentally, the members of Dawes just happen to be friends with Jackson Browne). Unlike the previously guitar-oriented songs of Dawes, "A Little Bit of Everything" is mostly a "piano-rock" song, with the exception of the electric guitar solo in the middle (which, once again, sounds like something out of a Jackson Browne song). As their first major song to focus more on piano than guitar, "A Little Bit of Everything" comes off sounding more melancholy than the typical Dawes song. That being said, those attending Coachella this year who happen to be fans of Dawes might be in for a surprise when/if they hear this song from them, but hopefully it will end up being a pleasant surprise!
"Low Fuel Drug Run" by 7Horse: One of the few songs I've ever known to really put the "rock" in "country-rock", "Low Fuel Drug Run" is basically a one chord vamp (built almost entirely around a D chord capoed at the 5th fret), which is more common in blues than country OR rock. It is a fast, fun, and quite catchy tune! The harmonica in "Low Fuel Drug Run" adds a nice touch to it. The vocals in the beginning of the song are higher and easy to understand, but the lead singer quickly switches to lower vocals during the chorus and throughout the second verse, and the speed at which the lyrics are being sung becomes faster, the latter of which bears slight resemblance to Bob Dylan's "Subterranean Homesick Blues". Though drugs (the title of the song) are referenced and alcohol is mentioned (the refrain of the song is "six bottles of whiskey and a bottle of wine"), "Low Fuel Drug Run" still manages to be a lively, high-spirited blues-y romp!
"Meant" by Elizaveta: The dramatic, almost neo-classical intro to "Meant" gives way to a piano arpeggio similar to many of the best-known songs in pop/rock history, from The Righteous Brothers' "Unchained Melody" to The Beatles' "Oh! Darling" and Queen's "Somebody to Love". Unlike those three songs, "Meant" is written in a minor key, which is fitting for a song about a breakup. The orchestral backing instruments add to the intensity of this song, giving it a very powerful, convincing sound. Of course, breakup songs are nothing new, but classical and opera influenced arrangements to such songs?! I don't recall that happening before, so therefore, I think "Meant" puts a whole new spin on breakup songs. It also makes me think Elizaveta's musical influences reach from many different genres, so I look forward to hearing what she will come up with next!
"Movement And Location" by Punch Brothers: Not since the days of The Velvet Underground has a string instrument other than guitar been used so intensely that it sounds like an instrument from a typical rock band!! In "Movement And Location"'s case, TWO instruments - violin and mandolin! Though there are no electric guitars present on "Movement And Location", it seems to take cues from progressive rock songs in that it is structured more like a suite than a pop song (thankfully it's only 4 minutes and 6 seconds for those who feel bored/irritated by the incredible length of most progressive rock songs). "Bluegrass-rock" has become pretty common by now, especially in alt/indie rock music, but not typically with the sort of of craftsmanship and in-your-face vibe that shows up in "Movement And Location"!
"A Little Bit of Everything" by Dawes: If by "everything" you mean "songs that sound like Jackson Browne", then yes, this song IS a little bit of "everything". But seriously, this is a good song (and coincidentally, the members of Dawes just happen to be friends with Jackson Browne). Unlike the previously guitar-oriented songs of Dawes, "A Little Bit of Everything" is mostly a "piano-rock" song, with the exception of the electric guitar solo in the middle (which, once again, sounds like something out of a Jackson Browne song). As their first major song to focus more on piano than guitar, "A Little Bit of Everything" comes off sounding more melancholy than the typical Dawes song. That being said, those attending Coachella this year who happen to be fans of Dawes might be in for a surprise when/if they hear this song from them, but hopefully it will end up being a pleasant surprise!
"Low Fuel Drug Run" by 7Horse: One of the few songs I've ever known to really put the "rock" in "country-rock", "Low Fuel Drug Run" is basically a one chord vamp (built almost entirely around a D chord capoed at the 5th fret), which is more common in blues than country OR rock. It is a fast, fun, and quite catchy tune! The harmonica in "Low Fuel Drug Run" adds a nice touch to it. The vocals in the beginning of the song are higher and easy to understand, but the lead singer quickly switches to lower vocals during the chorus and throughout the second verse, and the speed at which the lyrics are being sung becomes faster, the latter of which bears slight resemblance to Bob Dylan's "Subterranean Homesick Blues". Though drugs (the title of the song) are referenced and alcohol is mentioned (the refrain of the song is "six bottles of whiskey and a bottle of wine"), "Low Fuel Drug Run" still manages to be a lively, high-spirited blues-y romp!
"Meant" by Elizaveta: The dramatic, almost neo-classical intro to "Meant" gives way to a piano arpeggio similar to many of the best-known songs in pop/rock history, from The Righteous Brothers' "Unchained Melody" to The Beatles' "Oh! Darling" and Queen's "Somebody to Love". Unlike those three songs, "Meant" is written in a minor key, which is fitting for a song about a breakup. The orchestral backing instruments add to the intensity of this song, giving it a very powerful, convincing sound. Of course, breakup songs are nothing new, but classical and opera influenced arrangements to such songs?! I don't recall that happening before, so therefore, I think "Meant" puts a whole new spin on breakup songs. It also makes me think Elizaveta's musical influences reach from many different genres, so I look forward to hearing what she will come up with next!
"Movement And Location" by Punch Brothers: Not since the days of The Velvet Underground has a string instrument other than guitar been used so intensely that it sounds like an instrument from a typical rock band!! In "Movement And Location"'s case, TWO instruments - violin and mandolin! Though there are no electric guitars present on "Movement And Location", it seems to take cues from progressive rock songs in that it is structured more like a suite than a pop song (thankfully it's only 4 minutes and 6 seconds for those who feel bored/irritated by the incredible length of most progressive rock songs). "Bluegrass-rock" has become pretty common by now, especially in alt/indie rock music, but not typically with the sort of of craftsmanship and in-your-face vibe that shows up in "Movement And Location"!
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