New songs for April 13th, 2022

 here they are:


"Change" by The War on Drugs: As per usual with The War on Drugs, their latest track, "Change," falls somewhere between prog-rock and '80s-era Springsteen, with a fair amount of jangly, harmonious Fleetwood Mac influence thrown in for good measure. Of course, what separates The War on Drugs from its nostalgic influences is how the lyrics of their songs have a jaded nature that distinctly takes place after punk and grunge took over music. "Change" exhibits this jaded nature even more than the usual WOD song. Even the title of the song, which comes from how it's "hard to make the change" that takes place after a relationship has ended, is not exactly on the optimistic side. 

"Clarity" by Vance Joy: "Clarity" marks a change in Vance Joy's music. It still contains acoustic guitar and horns like Vance's material usually does, but "Clarity" uses a marked rhythmic influence with percussion and bass that his stuff doesn't usually have. Not sure why the sudden change in style for Vance since the lyrics seem pretty typical of his material (someone who doesn't realize they love their now ex-partner until it's too late). Dan Wilson of Semisonic (best known for late '90s rock hit, "Closing Time") was the one who produced "Clarity" for Vance. Even Vance didn't like "Clarity" initially, under the impression that it sounded like more of a mainstream pop song than his usual material, but with Dan's encouragement, Vance released "Clarity," and now we have another side of Joy to enjoy. 

"Electrify My Love" by Mondo Cozmo: Mondo Cozmo will probably forever be defined by their mid-2010's folk-rock hit, "Shine," which was kind of a fluke hit for them considering the songs that have been released since by them, which have typically been more electro-pop. Their latest song, "Electrify My Love," also uses electro-pop influence, albeit with neo-psychedelic electric guitars during the chorus section. Another feature of this song that distinguishes it from other Mondo Cozmo songs is its 1-minute-and-17-second long intro. According to lead singer Joshua Ostrander, this stretchy intro is used in the song to lure the listener into a sense of calm before breaking into a more celebratory, party-like vibe afterwards. 

"Hard Drive Gold" by alt-J: The band name "alt-J" in and of itself is kind of quirky, and catchy alt-pop songs with quirky lyrics are pretty much how alt-J have defined their career so far. Their latest song, "Hard Drive Gold," is about a 15-year-old boy, presumably the lead singer, using cryptocurrency to become a millionaire in a short amount of time. The song isn't meant to be taken seriously, though. It's a little hard to take oddly specific tongue-in-cheek lyrics like "I then googled 'neoliberal'" with a straight face, after all.

"Same Team" by Alice Merton: Alice Merton seems like one of those musicians who will forever be remembered for her first hit the most, which was a catchy minor-key alt-pop number called "No Roots," in her case. She has released other material since then, though, one of the most compelling of which was the surprisingly intense "Vertigo," released during the height of the pandemic. "Same Team" continues with the themes of a challenging, fast-changing world that "Vertigo," but instead of being caught up in the heat of the moment, "Same Team" is a song that relies more on facing things that are now past events. Specifically, it deals with how Alice feels like she has been forced into situations with others who are supposedly on her "team," but who really bring her down and make her doubt her worth and herself. If you can't depend on your peers, who can you turn to?! This is a song that faces such issues head-on!

New songs for September 29th, 2021

 here they are:


"Time in Disguise" by Kings of Leon: Having started in blues-y, boozy garage rock and having continued in directions as varied as arena rock, post-punk, jangle-pop, and even folk- and country-rock, Kings of Leon have dabbled in many rock subgenres over the years. However, "Time in Disguise" marks the first time, to my knowledge, that KOL have tried taking on psychedelia. A spacious swirl of sound opens the song, inviting the listener in to experience the band as they never have before. About a minute or so into the song, though, it starts to sound like more typical KOL stuff. Once that happens, we are left with exploring the lyrics of the song, which are interesting in their own right. It almost seems like Caleb Followill and co are attempting stream-of-consciousness poetry in "Time in Disguise." The "swirly" element found at the beginning of the song also crops up in the middle, where the song takes an interesting turn once again, briefly shifting its main melody into a bridge section that wouldn't be out of place in an actual psychedelic rock song. As if that wasn't enough, the song ends on a "cliffhanger" organ note, leaving the listener in suspense as to what will happen next. 

"U&ME" by alt-J: Once again, we come to a song that is vaguely psychedelic rock influenced (with a strong Beck influence, too, in this case) with stream-of-consciousness lyrics. Coincidence? Maybe. In an interesting turn of events, though, this song is remarkably straightforward compared to the KOL track of the week, though, and usually alt-J are a lot quirkier than KOL (the name "alt-J" by itself should tell a lot - they named themselves after a computer command for the Greek letter, delta - I can't think of a geekier band name origin, except maybe the prog-rock group, "Spock's Beard"). The title could be construed as the lead singer and an object of his affections, but according to him, it's actually about just going to music festivals with his friends. Well, at least the chorus is. Heaven only knows what the verses are about!

"Valentine" by Snail Mail: A band with the word "snail" in their name probably gives the impression it's a male lead singer with a sludgy, fuzzy rock sound. Snail Mail's breakthrough single, "Valentine," however, is the opposite, in both respects. The lead singer is female, and the sound of the song is soothing, warm, electro-pop. Until the chorus, that is, where it gets slightly more grungy, but not to the point of becoming abrasive. The lyrics of "Valentine," however, tell a slightly different story than the music does. It's a song about breaking up with someone, and the angst that is felt afterwards. Lead singer Lindsey Jordan places rather venomous emphasis on the word "erase" on the song's vengeful sounding chorus: "Why'd you have to erase me, darling valentine?" The word "darling" also seems like it drips with sarcasm here. However, the song comes to a bittersweet end where Lindsey concludes that she does not hate the subject of the song, despite the blame she has received from that person. Sigh...if only I could feel the same about my own past relationships. Well, maybe someday...

New songs for April 5th 2017

here they are:


"In Cold Blood" by alt-J: About a month after their initial single for this year, alt-J once again prove their geekiness in "In Cold Blood", in which the opening lyrics are actually binary code. They use this technique a few times in this song. "In Cold Blood" has a bit more of the quirky but funky alt-pop/rock that alt-J's listeners are used to than the surprisingly folk-y "3WW". It's unclear whether this is a love song, murder ballad, or summer song. It seems to be all three, though I don't exactly know how that's even possible. Leave it to alt-J to both stun and entertain their listeners!


"Shine On Me" by Dan Auerbach: The Traveling Blackberries?! That sounds like what the Black Keys frontman is trying to pull off in his latest song, "Shine On Me", which combines a roots-y twang with a retro rock beat in a similar fashion to a lot of Traveling Wilburys songs. The song also has a similar vibe to songs like "Queen of Hearts" by Dave Edmunds, another rock musician who performed roots rock in a retro 1950's style. I don't exactly know what has made Auerbach want to lose the trademark guitar fuzz he's become known for, but this isn't a bad direction for him to go in. Word of advice, Dan. Stick to bluesy garage rock next time. You're good at it!

New songs for March 15th 2017

here they are:


"Don't Leave Me Here" by Taj Mahal and Keb' Mo': Two bluesmen, and one epic performance! Taj Mahal has been performing blues music since the 1960's and Keb' has done the same since the '90s. As has long been tradition in the blues, various locations of the U.S. are mentioned throughout the song. Taj and Keb' warn the listeners of the song that "if (they're) going to Mississippi, where the Delta sky is sweet and clear", that they should at least consider not leaving the singers in Chicago, since they are currently stuck there. This song boasts the trick up the blues musicians' sleeves in which they are able to turn sad subject matter into a soulful, toe tappin' tune!


"Face Like Thunder" by The Japanese House: Don't be fooled by the name of this band. There is absolutely nothing Japanese about them, though they probably have at least a few fans who actually are Japanese. Actually, The Japanese House is not even a "they", but one person, 21-year-old Amber Bain from London, England. Her sound is a dreamy, ethereal one which manages to combine "Hejira" era Joni Mitchell with the first few solo records of Annie Lennox. The lyrics, about someone who has a "face like thunder", are almost as alluring and exotic as the music itself. Amber sounds wise far beyond her years in this song. Hard to believe she's only 21!


"Third of May" by Fleet Foxes: It has actually been about 6 years since Fleet Foxes last released a new album. Between 2008 and 2011, they were on a pretty steady roll, but all of the members except for Josh "Father John Misty" Tillman seemed to disappear from the music world after that. This song is pretty much packed with everything Fleet Foxes fans tend to love about the band, so "Third of May" will definitely be hailed as a great "comeback" song within the coming weeks, if not sooner. Instrumentally, it is a beautiful song with folk-rock instrumentation and feedback that sounds more like echoes in a canyon than it does electronic static. It also wins in the lyrical department, at least as far as Fleet Foxes songs are concerned, with its nature related imagery serving as the surface words of a song about some sort of internal struggle between the sacred and the profane. Well, truth be told, this is really more like the first three and a half minutes of the song. After that it turns into a song that sounds like one The Moody Blues might have done had they still been together today. Yes, that's right, a prog-rock Fleet Foxes song! That's a first, specifically of the songs that the band has marketed to adult alt radio stations. It is soft prog-rock, but prog-rock nonetheless, as it meanders into more experimental territory after the first few minutes. This section of the song even has another name, "Odaigahara" (don't ask me to pronounce that, 'cause I haven't a clue). Well at least the the first couple minutes are fun to listen to!


"3WW" by alt-J: How nerdy is alt-J?! Well, they not only named themselves after the computer command for the "delta" symbol, but just take a look at how they came up with the title to this song! To start with, March 3rd (3-3) was when the band first had a tiny section of the song available online, they released the full song 3 days after that, and in 3 months and 3 days from now, the whole album will be released! Perhaps these guys have listened to the old "Schoolhouse Rock" tune, "3 Is A Magic Number", one too many times (three too many times)?! Yet, in spite of all these quirky qualities (or perhaps because of them), alt-J have still managed to score some of the biggest alt/indie hits of the 2010's, like "Breezeblocks" (which is about famed children's book, "Where the Wild Things Are"), and "Left Hand Free". "3WW" itself is actually the calmest song I have heard so far in alt-J's catalog. It is largely acoustic guitar, piano, vocals, and a string section in the background, and not much more. It's not often alt-J release acoustic guitar songs, but I must say that they're pretty good at it! Hope to hear more like this from them in the near future!

New songs for February 18th, 2015

here they are:


"Coming Home" by Leon Bridges: The term "neo-soul" has been applied to many musicians, but there are only a few whom I really believe deserve the label. Newcomer to the scene, Leon Bridges, is one such person. His brand of soul music hearkens back to a time when Motown was a fledgling genre and record label, as it heavily evokes the music of soul legend, Sam Cooke. Leon's smooth crooning combined with the blues-y but breezy guitar he sings over is enough to make Cupid actually want to draw back his bow and let his arrow go!


"Don't Wanna Fight" by Alabama Shakes: One of the most anticipated singles of the week, and also one of the funkiest!! Alabama Shakes are (currently) best known for their first big hit, "Hold On", which blended Janis Joplin-esque vocals with Creedence Clearwater-style guitar playing. In "Don't Wanna Fight", Brittany Howard takes her musical time machine a few years after the Woodstock era, and into the funk era of the mid 1970's. Howard loudly and proudly proclaims that she "don't wanna fight no more" throughout the song. Since I don't know the song well enough yet, I'm not exactly sure what it is that she's fighting for (or against), but this is a song that is clearly more about the rhythm than it is about the lyrics, as far as I'm concerned. Get your groove on!!


"Every Other Freckle" by alt-J: The nerdily named alt-J have actually been pretty cool ever since their debut, but it seems as though the songs from their sophomore record are the ones that adult alt radio has gravitated towards the most so far. The guitar heavy, Black Keys-esque "Left Hand Free" became one of summer 2014's biggest hits on adult alt stations. As spring approaches, "Every Other Freckle" is the song such radio stations seem to be picking up on. The song returns to the hip-to-be-quirky style that alt-J have become known for, which "Left Hand Free" seemed to lack. The lyrics in the song are also a bit enigmatic. For instance, I have no idea what they mean by "I want every other freckle". That's just fine, though, as this is just the way alt-J's fans seem to like them.


"False Hope" by Laura Marling: Laura Marling could easily be likened to a modern-day Joni Mitchell. If albums like "A Creature I Don't Know" and "Once I Was An Eagle" are her "Blue" and "Ladies of the Canyon", then perhaps her latest album, "Short Movie" is what "Court and Spark" was for Joni Mitchell. That is, a chance for Laura to experiment with electric guitars while still keeping up her folk-rock image. "False Hope" is the first Laura Marling song I have heard that uses electric guitar instead of acoustic. The chorus to "False Hope" is rather cutting for someone known for her quaint and quiet material ("why I know false hope", as if to say, "I've been down before, so leave me alone!") Again, the "Court and Spark" comparison could continue, since Joni had rather scathing lyrics on songs like "Raised On Robbery" ("first he had a '57 Biscayne, put it in the ditch, he drunk up all the rest, that son of a b**ch"). Laura is definitely trying to move in a darker direction with "False Hope", as far as I can tell, and a more musically distinct direction, too.


"Fool For Love" by Lord Huron: Lord Huron are probably one of the dreamiest sounding indie-folk bands of the 2010's. The first 45 seconds of their latest song, "Fool For Love", are pure bliss. Once the vocals kick in, it starts to sound more like a typical Lord Huron song, but it still maintains its blissful, ethereal sound. Many of their songs could obliquely be considered love songs, but "Fool For Love" is the first song they've done where the affection is clearly spelled out (as if you couldn't tell from the title). I notice that this song was released a couple days after Valentine's Day. I wonder if Lord Huron did that on purpose?!


"I Don't Want to Let You Down" by Sharon Van Etten: Sharon Van Etten's songs are known for being somewhat dismal and lonely sounding. That being said, could "I Don't Want to Let You Down" be an indicator that she has finally found happiness?! First of all, the song is in a major key, unlike most of her material, and it sounds more upbeat than the rest of her material, too. As if that wasn't enough of a not-so-indie move for the only indie-folk singer to share my mom's first name, she has also performed the song on Ellen DeGeneres' show, and rumor has it that this song was inspired by the feel-good '80s family flick, "Overboard" (one of my guilty pleasures!!) Rest assured, though, the song still feels mellow and folk-y enough to be considered legit in Sharon Van Etten's catalog, and her signature moaning vocals are still present on this track as well.


"Kathleen" by Catfish and The Bottlemen: Between their European sounding name and their similarity in sound to some of the harder rocking Oasis songs, one of the first things I wondered about Catfish and The Bottlemen when I first heard their song "Kathleen" was whether or not they were British. Well, it turned out I was close! They are a Welsh group. You don't hear the phrase "Welsh garage rock" or even "Welsh alternative rock" very often, so perhaps Catfish and The Bottlemen are trendsetters in this regard (only time will tell). The chorus of the song, in which lead singer Van McCann defiantly states, "I've gotta give it to you, you give me problems!" also seems typical of the garage rock genre. I wonder what other musical treasures Wales has to offer us!


"Leaf Off/The Cave" by Jose Gonzalez: In the 2010's, Jose Gonzalez has been active with his band, Junip, but he hasn't done anything solo since 2008. Though Junip was a good band, I much prefer the gentle, Nick Drake-esque brand of folk-rock that Jose had by himself. His latest solo song, "Leaf Off/The Cave" returns to the magic Jose did by himself during the mid to late 2000's. From its enchanting sound to its hopeful lyrics ("let the light lead you out"), "Leaf Off/The Cave" is bound to be a winner among Jose's biggest fans, and then some. Don't be fooled by the title. First of all, it has nothing to do with Mumford and Sons' "The Cave" as I thought it did before I actually heard it, and "Leaf Off/The Cave" is actually one song, not two, in spite of how the title makes it look. I regularly try to look for songs I can listen to to calm me down, but this is one of the most calming I have heard in quite awhile! Highly recommended!!


"Pedestrian At Best" by Courtney Barnett: Wait, which "Courtney" IS this?! Courtney Barnett or Courtney Love?! It kinda sounds like the vocals of the former mixed with the music and mood of the latter!! From Barnett's "Avant Gardener", I expected all of her songs to sound kinda deadpan, but "Pedestrian At Best" is anything but! It has an almost punk rock sound, with its defiant guitar playing, one-chord verses, and two-chord chorus, which is somewhat derivative of the early Kings of Leon tune, "Molly's Chambers". Barnett's sing-speaking and ranting vaguely recall Mike Muir's paranoid, enraged vocal style in Suicidal Tendencies' "Institutionalized"! I haven't seen anyone go from mellow to angry this quickly since Marianne Faithfull (likely one of Courtney Barnett's influences)!!


"Take My Love" by The Lone Bellow: So far, "Take My Love" is the closest that folk-rockers, The Lone Bellow, have gotten to electric guitar oriented music, but the Bellow have still kept their mellow on this one. It seems like sounding like Bruce Springsteen has become a rite of passage for many indie-folk/indie-pop bands lately (Killers, Hold Steady, Gaslight Anthem, War on Drugs, and Arcade Fire all rank among them). This is probably the first Springsteen-esque song that The Lone Bellow have attempted. It not only sounds like one of The Boss's songs, but it also seems to echo the passion and honest lyrical content that he usually had.


"What Kind of Man" by Florence and The Machine: Flo and her magic Machine are truly one of the most eclectic bands to have emerged in the 2010's. Their blend of folk, rock, soul, gospel, and new wave has been unmatched so far! Their eclecticism seems to come full circle in "What Kind of Man", which starts as a whispery, dark hymnal, but quickly turns into the sort of new wave-y dance-rock song you might expect from INXS, or perhaps even Prince. Guitar isn't usually a central instrument in Florence and The Machine's music, but it takes on a very important role in "What Kind of Man" from the first minute on. "What kind of man loves like this?" Flo implores throughout the chorus. The more important question is, "What kind of man (or woman) doesn't love this music?!"

MY TWO HUNDREDTH POST!!!! :D :D :D

This deserves some sorta celebration!! Ummmmmm....I dunno what, though. Anyway, here are this week's songs:


"Bad Habit" by The Kooks: At first, Luke Pritchard's voice appears to be surrounded only by various forms of percussion, a la Adele's "Rumour Has It", on the latest Kooks song, "Bad Habit". This made me a bit skeptical as to how I would like "Bad Habit". However, about a minute into the song, the faux-retro garage rock sound of Hugh Harris' guitar shows up, and makes it sound more like a typical Kooks song. It's definitely a catchy song (although what Kooks song isn't, really?!) However, it just doesn't measure up to that '60s folk-rock style charm of songs like "She Moves In Her Own Way" and "Junk of the Heart (Happy)". It sure is great to hear Luke and the boys back in action, though, nonetheless!


"Don't Know What It Means" by Puss N Boots: Norah Jones (yes, THAT Norah Jones) has attempted to assert herself as the lead singer of bands before, such as The Little Willies, but that didn't quite do the trick for me. Norah's new group, Puss N Boots, however, has actually gotten me to like her music. Initially, I didn't even realize she was in the band, when in fact she is the lead vocalist and guitarist! Their sound is country-rock, but a rather enjoyable, catchy sort of country-rock (think what a less rowdy Old '97s might sound like). "Don't Know What It Means" is only a little over two and a half minutes long, and Norah repeats the title phrase quite a few times, but there is still something quite likable about it. It is also worth mentioning that Puss N Boots is a trio of women (unlike The Little Willies, in which Norah was the only female in the group).


"Hayloft" by Nickel Creek: We've heard Nickel Creek attempt to blend bluegrass and rock before, and they're quite good at it. What about mixing bluegrass and pop, though?! Well, the answer to that comes to us in the form of Nickel Creek's latest song, "Hayloft", which combines the plucked strings of bluegrass with the synthesized beats of a typical 21st century pop song. Don't mistake this for a sugar-sweet pop song, though, as Sara Watkins' repeated mantra of "my daddy's got a gun, so you better run", as well as the rather menacing tone of the song overall, give "Hayloft" a bit of an edge that previous Nickel Creek songs haven't had. Sure is a sharp turnaround from the bittersweet, yearning sounds of "Destination"!! Makes me wonder what the rest of Nickel Creek's latest album, "A Dotted Line", sounds like.


"Heart Is A Drum" by Beck: Beck once covered the song "Pink Moon" by folk-rock cult hero, Nick Drake. Perhaps that rubbed off on him somehow, as Beck's latest song, "Heart Is A Drum", sounds a lot like a Nick Drake song. Its tuning even sounds similar to songs like Nick's "From the Morning", and the piano sounds awfully similar to a couple of Nick Drake's songs (most notably the songs from "Bryter Layter"). The electronic echo and drums in "Heart Is A Drum" make the song into more of a Beck song. With its continuously aching yet soothing melody, "Heart Is A Drum" is pure autumnal melancholia at its finest!


"Left Hand Free" by alt-J: Alt-J (who named themselves for how the ∆ symbol appears on computers) are pretty much as eclectic as their name would suggest they are! They've gone through quirky goofball rock with the Adam Sandler-esque "Fitzpleasure", as well as psychedelic pop with their "Where the Wild Things Are" homage, "Breezeblocks". Now it appears that alt-J are going for more of a blues-y garage rock based sound with their latest song, "Left Hand Free". If "Left Hand Free" sounds more simplistic than alt-J's previous work, there's a reason for that. Apparently, they were trying their hand (no pun intended) at creating a song that was more fit for American audiences (alt-J themselves are British) since their latest record was recorded on an American label, so they intentionally did a sloppy, haphazard sounding song. Perhaps they don't view American culture in the highest regard, but they were still able to come up with a good song in the process.


"Long Time Coming" by Saints of Valory: Saints of Valory are one of those bands who just seem to have a sound that's riding hot on the wave of what has become popular in alt-pop/rock of the 2010's. Their previous hit, "Neon Eyes" (from only one summer ago), was an excellent U2 homage, and SOV's follow-up song, "Long Time Coming", sounds a lot like Imagine Dragons, only with more emphasis on the electric guitar. While the sound of this song might not be terribly original, there is one thing that is, and that's the video, which boasts an electric neon glow (and talented dancers) throughout! Check it out here: https://www.youtube.com/watch?v=1WR5GQNDQYY


"My Hurricane" by Jamie Scott (from Graffiti6): And the hit(makers) just keep on coming! "Free" and "Stare Into the Sun" might not be titles that are immediately recognizable (and a lot of people don't seem to know the name Graffiti6, either), but whistle a few bars (if you're good at it) to either song, and a lot of people will probably know what you're talking about! Now Jamie Scott, the lead singer of the wildly successful alt-pop/soul group, Graffiti6, has struck out on his own for the first time, with his song, "My Hurricane". "My Hurricane" doesn't seem like it'll fare as well on the charts as "Free" and "Stare Into the Sun", but the song does have a style all its own. Instead of being influenced by early '70s soul like his previous hits were, it seems to be influenced by more contemporary folk-pop (and legendary folk-rock like Bob Dylan - check out that harmonica solo at the beginning!) Another thing about "My Hurricane" that sticks out is its shifting from E major verses to C major choruses. I don't know too many songs that have verse to chorus changes quite like that!


"Navigate Below" by The Revivalists: "The Revivalists", indeed! What these guys are reviving is the sound of blues and jazz, wrapped up neatly in a pop/rock package! Though there have been a small number of musicians (i.e. Gary Clark Jr., Trombone Shorty, Alabama Shakes, etc.) who have attempted to keep the blues alive and well, there still have not been many, so a band like The Revivalists are a welcome addition to my blog, and hopefully, to your music collection. The hopeful lyrics ("we can work it out") and bright, shiny tone of "Navigate Below" set it apart from the mostly either world-weary or lovelorn blues/jazz-rock of the 2010's. Oh, did I mention they're from New Orleans?! No wonder they sound so good!


"White Lies" by Max Frost: As the title indicates, this song is basically about the lack of trust in a relationship that the lead singer (probably) experienced. Nothing new here. As for the sound of the song, it's been done, but it definitely has a way of creeping into your head! It mixes folk guitars with electronic beats (Avicii, anyone?!), but there's actually a very good reason for this. Apparently one of the first people Max Frost collaborated with was indie-folk-rocker Bob Schneider, and he first heard the music of contemporary R & B musicians like D'Angelo and Erykah Badu shortly afterward, which ultimately led to his combining of folk and hip-hop. Also, if this song sounds familiar, it might just be because you watched a commercial for Beats Electronics!