New songs for August 25th, 2021

 here they are:


"Bitter Taste" by Billy Idol: "Bitter Taste" is perhaps the first time in Billy Idol's career as a rock star that he's mellowed out into something almost resembling contemporary folk-rock. I never thought that would happen to the guy who churned out such gutsy, fist-pumpin' rockers as "Rebel Yell," "White Wedding," and "Dancing With Myself," but it's happened now! "Bitter Taste" almost seems like it is for Billy Idol what Johnny Cash's cover of Nine Inch Nails' "Hurt" was for him. A bittersweet song reflecting on a long life of sex, drugs, and rock and roll finally taking its toll. At 65 years old, the rock star life has probably worn thin for Billy Idol. The song was produced by Butch Walker, a musician who probably considers Billy Idol to be one of his own "idols" that walks the line between punk, power pop, folk-rock, and jangle-pop.

"Quiet Town" by The Killers: It was only on their second album that The Killers' Brandon Flowers revealed his passionate love of Bruce Springsteen's music. It was considered a bit surprising at the time, but The Killers have done many musical homages to the Boss since then, one of which is their latest song, "Quiet Town." The title alone sounds somewhat Springsteen-ian, and so are the music and lyrics, which revolve around how tragedies like train accidents and drug overdoses get sadly overlooked by people in a "quiet town." But instead of simply lamenting this tragic state of affairs, Brandon Flowers and co take a sad subject and turn it into bittersweet musical poetry, set to the backdrop of earnest electric guitars and a churning synthesizer.

"Survivor" by Nathaniel Rateliff and The Night Sweats: Don't get me wrong. Nathaniel Rateliff's recent solo detours into country-rock haven't been bad, but they lack the energy and gutsiness that his music with The Night Sweats had. Thankfully, Night Sweats fans need not wait any longer for another one of Nathaniel's spirited, spicy takes on vintage soul music, 'cause here it is! "Survivor," as its title implies, was written last year in response to the coronavirus pandemic. "You think that I'm just some great survivor?" Nathaniel bellows forcefully and convincingly during the chorus. The whole song basically seems like it's trying to say that it's not easy to survive in today's world. The Nathaniel Rateliff solo tunes that were released last year all seemed very mournful, so I thought maybe he was going to continue in that direction. But nope...this time, the power of his inner turmoil has sprung up from under the surface and exploded into song! 

"Wildfire" by The Heavy Hours: Perhaps the only song this week that doesn't quite feel like something special, but I figured it was still worth reviewing. Like The Heavy Hours' previous adult alt radio hit, "Don't Walk Away," "Wildfire" is a simple folk-rock-y tune that doesn't really add anything too noticeable or innovative to the table, but it's still a sweet, breezy song. The title also has nothing to do with any actual fires (which it very well could have been about), and is really just a metaphor for love. A laid-back country/folk-rock tune for those who like that sorta thing. 

New songs for August 19th, 2020

 here they are:

"AUATC" by Bon Iver: The title of this song is short for "Ate Up All Their Cake". Mmm...cake! The song itself doesn't have much to do with cake, though, so what gives?! Well, it's probably an extended metaphor referring to those who "have their cake and eat it too." Bon Iver's Justin Vernon, along with an eclectic roster of guests ranging from rock legend Bruce Springsteen to millennial indie-pop star Jenny Lewis, are urging people everywhere to rebuild society in a way that's less greedy and more inclusive. Why Justin Vernon sounds like Alvin and The Chipmunks reaching puberty in this song is anyone's guess, as he doesn't normally sound like that, but the song's message is a good one to heed nonetheless. "AUATC" is an odd song for Bon Iver (and company). It could be described as a quirky Bruce Hornsby soundalike that's trying to work on a millennial update of "We Are the World". 

"Do You Think We'll Last Forever?" by Caroline Rose: The title of this funky, Prince-esque song by indie-pop diva, Caroline Rose, might sound like a lovesick, romantic plea, but it actually isn't. It is actually a song fueled by Caroline's inner anxiety when it comes to matters of the heart. She is not asking, "Do you think we'll last forever?" in a doe-eyed way in the manner one might expect from a pop performer, but rather in a way that conveys potential doubt, as in, "Do you THINK we'll last forever...or will this just be another brief, meaningless fling?" I hear ya, Caroline. Romance can be very trying and hard to figure out sometimes! While the music seems to have a "look how super cool I am" kind of boastfulness to it, the lyrics reveal a deeper, more emotional meaning.

"Don't Walk Away" by The Heavy Hours: The Heavy Hours are anything but heavy. They're really more of a laid-back kind of group that combines folk, country, and rock with a little bit of soul, at least in this song. The song seems to be one of assurance, in spite of its urgent title. The song seems like one to listen to when you're in need of a "breather" during the day, but that's about all it seems to have going for it. Surprised that The Black Keys' Dan Auerbach produced this one, as it doesn't seem to have his typical sense of energy and rawness.

"High Feeling" by Cordovas: This song is yet another that was produced by a member of a fellow band I've reviewed on this website, Black Pumas' Adrian Quesada. Where The Black Keys have been around for over a decade now (and so it would make sense that their sound might slowly be wearing thin by now), Black Pumas just debuted two years ago, and their sense of soulfulness sounds very fresh on "High Feeling", the debut single from Cordovas. The guitar on the song is Adrian's, which makes sense given both how rhythmic and how blues-y it sounds. The vocals are from country-rock musician, Joe Firstman, who has had hits on adult alt radio before, but so far, none of them have sounded quite as powerful as this one has! As the chorus of this song states, you'll "never wanna come down" after listening to this song!

"Ocean Bed" by Darlingside: Folk-rock group, Darlingside, came during the wake of the neo-folk-rock boom in 2012, the same year that bands like The Lumineers and Of Monsters & Men were first getting attention. However, Darlingside failed to make the impact that those two groups made on the music world. I had known Darlingside previously for their bouncy, quirky, folks-y cover of the classic Smashing Pumpkins tune, "1979". Come 2020, and it seems like Darlingside still haven't broken out of the early 2010's neo-folk-rock sound. Darlingside's "Ocean Bed" seems lined with gentle clapping, lovely harmonies, and lush string instrumentation everywhere. That sound just hasn't been on the airwaves in awhile, perhaps largely because many of the bands who originated it went on to experiment with other kinds of sounds, but Darlingside's "Ocean Bed" has a sound as calming and buoyant as the ocean itself, tucked away in a snug corner of the radio airwaves!

"Preach" by Saint Motel: To date, Saint Motel have had three singles on adult alt radio, and they all have something in common with one another - they all make you wanna dance! Their fourth Triple A radio single, "Preach", is no exception to the rule! From the moment that the blaring, funky horns in the opening of the song take charge, "Preach" is a non-stop dance fest! Even the lyrics center around dancing in this song! For instance, the last two lines of the second verse are, "A hip's gotta sway/So shake it like your mama and seven-day pray." So what are you waiting for?! Get down with your bad self and boogie!

"The Let Go" by Elle King: For awhile, it seemed like all Elle King could do was energetic, catchy songs. There's nothing wrong with this, of course, as one of those songs, "Ex's and Oh's", ended up becoming one of the biggest hits of the 2010's! However, Elle's latest song, "The Let Go", shows a more sensitive side to the singer who brought a blues-y growl and swagger to the alterna-pop world of the 2010's. Only the chorus hints even slightly at something energetic. The rest of the song showcases a vulnerable, sensitive side to Elle as she tells of a relationship that left her wounded. This is also the first Elle King song I've heard with no drums in the background, only guitar (though it is electric guitar, not acoustic). Elle certainly lets go in this song by releasing her inner demons like she never has before!