New songs for October 26th 2022

 here they are:

"Honey" by The Lone Bellow:  The Lone Bellow continue their previously unexpected turn to synth-pop/rock they had from earlier this year with "Gold" for their latest single, "Honey." I'm not exactly the biggest fan of their leap from folk-rock to synth-pop, but this song is at least tolerable for its occasional swaths of sweeping, echo-laden guitar, and for maintaining the signature harmonies The Lone Bellow have cultivated since 2013. Though lead singer Zach Williams addresses his subject as "honey," the truth is that his wife doesn't actually like being called that, so the title is partially tongue-in-cheek. However, the message of the song still manages to be sincere, centering around when Zach first fell in love with his wife and trying to recapture the glory days of his romance.

"I Ain't Quite Where I Think I Am" by Arctic Monkeys:  Arctic Monkeys impressed me quite a bit with their last adult alt radio hit, the Sinatra-esque "There'd Better Be a Mirrorball." Their latest song, "I Ain't Quite Where I Think I Am," takes Alex Turner and co to previously uncharted musical territory once again! "I Ain't Quite Where I Think I Am" goes in a "retro" direction like their previous single did, but this time, we get a song that fuses the lighter side of the psychedelic rock that dominated the late '60s with the wah-wah dominated funk sounds of the early '70s. Fitting to its spacey sound, "I Ain't Quite Where I Think I Am" seems to be about the aftermath of partying all night long and wondering why you are where you are and why you're doing what you're doing. 

"I'm in Love With You" by The 1975:  "I'm in Love With You" continues in the surprisingly folk-rock-y direction that The 1975 decided to pursue earlier this year with the poignant "Part of the Band." "I'm in Love With You" is bittersweet both musically and lyrically, centering around how you can be in love with someone and not even realize it until it's too late. The song doesn't contain the intricate orchestration that their previous single, "Part of the Band," did, but it still utilizes acoustic guitar in a way that songs from The 1975's other albums did not, with its main backing instrument being percussion. The lyrics seem like they could be relatable for many people, as the realization that you could be in love with someone and not even know it can both make and break a relationship. If I am to go by this song's aching yet still upbeat sound, I would say that "I'm in Love With You" is about a relationship that ended up being made rather than broken. 

New songs for July 13th, 2022

 here they are:


"Hollywood Forever Cemetery" by Allison Ponthier: Not to be confused with Father John Misty's "Hollywood Forever Cemetery Sings" by Father John Misty from about a decade earlier, Allison Ponthier's ode to the glitzy yet spooky Los Angeles landmark emphasizes the "cemetery" aspect of "Hollywood Forever Cemetery" in her latest song. The song is in a minor key to shed light on this facet, but it's still a catchy indie-folk/pop-tronica song that fans of musicians like Lana Del Rey, Lorde, and Billie Eilish might enjoy. The song is a rumination that wistfully whispers its woeful worries about what happens to famous women when they die, specifically Marilyn Monroe.

"Part of the Band" by The 1975: The 1975 have thus far been known mainly for catchy pop songs with "indie" instrumentation. Until now, that is. "Part of the Band" takes The 1975 in a different direction with more orchestral instrumentation and a more delicate, percussion-less sound. Underneath its bittersweet sound, frontman Matty Healy cracks sarcastic, subversive, and somewhat self-deprecating jokes. With a title like "Part of the Band," you might think this is a celebratory song. It's really anything but, but the ornate, exquisite beauty of the song makes it very much worth the listen!

"2AM" by Foals: Continuing in the direction of "Wake Me Up," their catchy alt-pop hit from earlier this year, Foals' "2AM" is yet another bright, pop-y anthem dominated mainly by synths with the occasional use of electric guitar punctuating the chorus sections. The song is actually about how self-destructive the members of Foals tend to be. "It's 2AM, I've gone and lost my friends/But I can't be alone again," lead singer Yannis Philippakis sings in the song's opening. The urgency and desperation of his plea is offset by how fun the song itself sounds, but this was a deliberate choice on his part.

"Wretched" by Bartees Strange: This is a song that wears its heart on its sleeve! The moody synth-and-guitar laden and minor key atmosphere of this song sets the scene. The title alone, "Wretched," indicates what kind of song it is. It is still indie-pop, like Bartees' previous song, "Heavy Heart," was, but this one is a bit darker than that one was, centering around how people who truly love Bartees have stood by him even when he was "wretched." Instrumentally, the song is also more interesting because it switches between having little to no percussion during the verses and having a heavy, techno-y percussion during the chorus. 

New songs for January 20th 2016

here they are:


"(Baby) Hold On" by The James Hunter Six: Could it be?! Have The James Hunter Six, who probably fooled many people into thinking they were both black and from the mid 1960's (neither of which would be true, despite how their music sounds), gone even further back in time than they did three years ago?! Well, with the release of their latest song, "(Baby) Hold On", not to be confused with a similarly named song by Eddie Money, it appears that they have gone further back in time than the '60s! James has pulled a Nick Waterhouse on us, evoking a sultry jazz-rock sound that wouldn't seem out of place in a "James Bond" film! Both the guitars and the saxes absolutely wail on this song! Perhaps one of the biggest treats, though, is how this song (and its album) are being produced by Daptone Records, a record company that is most famous for producing songs by another '60s soul revival styled group, Sharon Jones and The Dap-Kings. This oughta be good!


"Don't You Give Up On Me" by Lissie: This song marks a turning point in Lissie's career. The 33-year-old folk-rocker typically has songs filled with some combination of angst and urgency, especially the Alanis Morissette-esque "Shameless". "Don't You Give Up On Me" is the first Lissie song I have heard that strives more for vibes of positivity than urgency. No one seems to know what Lissie's life has been like outside of the studio, but with her lyrics almost always indicating frustration with her love life, she's probably been through a lot. Perhaps "Don't You Give Up On Me" is about trying to change direction and make a new start, as there doesn't seem to be even a hint of dissatisfaction with romance in the lyrics. I guess we'll find out, won't we?!


"Lost Weekend" by Pete Yorn: No, "Lost Weekend" is not a reference to that time in John Lennon's life when he spent more time with May Pang than he did with Yoko Ono, for those who may be wondering. Instead, the title is a reference to Yorn's life in and of itself. The New Jersey folk-rocker has now hit his early 40's (can you believe it?!), and "Lost Weekend" is basically about how you should hold on to the good things and good times while they last. With me being just two years shy of my 30's, I can certainly relate to this song! It really is amazing just how quickly life can pass you by!


"Love Me" by The 1975: As Joni Mitchell once said, "You don't know what you've got 'till it's gone". Those lyrics could very well apply to this song, which came out just 3 months before David Bowie's death and sounds an awful lot like the late British rocker's song, "Fame". The members of The 1975 probably weren't even thinking about the possibility of David Bowie's life being on the brink when they released "Love Me", yet with the song's main riff bearing an uncanny resemblance to "Fame", it makes for quite a powerful tribute song, even if they didn't plan it that way! Another thing is that "Fame" came out in the year 1975. Perhaps The 1975 are trying to sound like the YEAR 1975?! You just never can tell, can you?! Also, there's one more thing for Bowie fans (or fans of any good music, really) to like about this song. One of the lyrics openly mocks Kim Kardashian, referring to her (and her fashion) as "Karcrashian"!!


"Off the Ground" by The Record Company: The Record Company?! WHICH Record Company?! WB?! Elektra?! Capitol Records?! Nope, just a band whose name happens to be "The Record Company". Whichever company/-ies the band's name is a reference to must be a lowdown and funky one, judging from the sound of their debut single, "Off the Ground"!! Whoo! Following in the footsteps of such 2010's blues-rock sensations as The Black Keys, Alabama Shakes, and Gary Clark Jr., The Record Company seem to have a knack for layin' down the blues in a sizzling, dirty style! The guitar has a burnin', smoky sound, but that bass has such a swingin', seductive hook as well! Should have pretty immediate appeal to fans of The Rolling Stones, Cream, Jimi Hendrix, and Led Zeppelin. Rock and roll is alive!!


"Wipeout Turn" by Big Head Todd and The Monsters: And speaking of classic rock, '90s rock sensations Big Head Todd and The Monsters seem to be getting back to their Dire Straits/Los Lobos-esque roots with their latest song, "Wipeout Turn". The band were best known for their "alternative" folk-rock ballads like "Bittersweet" and "Resignation Superman", which often garnered them comparisons to groups like The Wallflowers and Counting Crows during their heyday. Big Head Todd and The Monsters have some blues-y chops that often go sorely unnoticed, though. Todd "Big Head Todd" Park Mohr, the band's namesake, may not be anyone's idea of the next Hendrix or Clapton, but he can still rock it. "Wipeout Turn" actually has one of Big Head Todd and The Monsters' best guitar solos I've heard in quite some time, actually, with its one and a half minutes of just the right amount of precision and speed bringing the song to a quick, scorchin' end!

New songs for October 9th, 2013

here they are:


"Chocolate" by The 1975: The 1975, eh?! Sure doesn't SOUND like it's from 1975!! The origin of this enigmatically named band actually comes from a book of beat poetry that was dated, "June 1st, The 1975". No sign of Ginsberg or Kerouac in this song, though. However, a parallel can be drawn to "musical beat poets" like Lou Reed, since "Chocolate" is about heroin, albeit in more of a tragic manner than an eerie, sprawling one. The title of the song is actually a reference to heroin, and how the sister of The 1975's lead singer used to be an addict.


"Stranger" by Devil Makes Three: The word "devil" may be a part of their name, but don't make the assumption that Devil Makes Three are a metal or punk band just because of this. Devil Makes Three are a rather eclectic group whose musical style cannot be easily identified! Their breakthrough song, "Stranger", appears to be a blend of folk, jazz, and blues that sounds like it came out at least half a century ago! The lyrics of the song contain spooky imagery, but more of a fun kind of "spooky" than a truly depressing or disturbing one (i.e., "Better pray to the moon in the middle of the night"), and the song itself has the vibe of someone sneaking up on you when you least expect it (but once again, in a playful manner). Just in time for Halloween!!


"Temple" by Kings of Leon: As hard rock group Nazareth famously claimed in the mid-1970's, "love hurts"! Kings of Leon's latest song, "Temple", makes that claim in a rather literal manner!! As Caleb Followill sings about how he'll "take one for the temple" in the chorus, he's referring to taking a shot to the head in order to prove his love for a girl. Ouch! The fun, breezy vibe of the song disguises all the painful imagery, though, and makes it sound more like a summertime romance sort of song.