here they are:
"Crystals" by Of Monsters and Men: Yet another band whose peak was during the early 2010's has released a song for the middle of the decade. Many of those bands have tried experimenting with different sounds. Mumford and Sons added electric guitars into their normally acoustic sound, Alabama Shakes upgraded from '60s R & B to '70s funk, and Florence and The Machine finally have a song with an audible guitar sound. So why does the latest Of Monsters and Men sound like...well...Of Monsters and Men?! Perhaps the main reason that the Icelandic folk-rock sensations have stuck with their original sound is because they just didn't feel a need to change it up. Don't get me wrong, I am all for experimentation, but there's something about folk-rock music that just tugs at my heartstrings. Sure, people like Bob Dylan and Neil Young made quite a successful leap from folk to rock in the past, but they are rare musicians to come by! The themes of obscure European mythology that Of Monsters and Men had on a lot of their last songs resurfaces in "Crystals" as well. Once again, though, I couldn't be happier. Perhaps some bands are better off without experimentation!
"The Wrong Year" by The Decemberists: A song with rather Shakespearean lyrics and music that combines Celtic folk with R.E.M.?! That can only mean one thing!! The Decemberists now have yet another song that has been released in their ever-growing catalog! So many reasons to love this band! For one, their name contains my birth month! For another, they tend to have lyrics that are both cryptic and insightful along with the jingle-jangle folk-rock sound of their music. The chorus states that "the rain falls on the wrong year, and it won't leave you alone", which could mean any number of things (though it's probably something to do with bad luck of sorts). One more thing to love about them is how a lot of their songs, including this one, tend to be narratives.
Wednesday, March 18, 2015
Wednesday, March 11, 2015
new songs for March 11th, 2015
here they are:
"Believe" by Mumford and Sons: "Believe It Or Not" is more like it!! I have never seen a more split reaction to a Mumford and Sons song than I have for this one! People who like the band tend to think that removing banjos and adding electric guitars and atmospheric synths is a bad move for them, and people who don't like them seem to think that they're doing even worse than they did before! Then there are those fans of the band, such as myself, who still like what they're doing. However, I have to side a bit with the more disappointed section of the fandom here, as I do think this song pretty much smacks of trying too hard to sound like something you're not. Mumford and Sons are not Coldplay, and nor are they Kings of Leon. The first half of "Believe" sounds a lot like a Coldplay song, while the second half does sound a bit like KOL. "I don't even know if I believe anymore", Marcus Mumford states during the chorus of the song. Marcus, at this point, sadly, neither do I. An A for effort, though, and as changes in sound go, this wasn't the worst choice, I just think it could have been a little better.
"Shots" by Imagine Dragons: Though Imagine Dragons are a thousand times more pop oriented than Mumford and Sons, at LEAST Imagine Dragons' sophomore album contains songs that stick to a sound that is suitable for them! One noticeable difference between the first and second Imagine Dragons albums is how their second album has a bit more of an audible guitar sound. The influence by folk music is a bit less obvious on "Shots" than it is on most Imagine Dragons songs, but the mix between dance-pop and rock music is still palpable, and makes it sound a bit like a Killers song to me. The lyrics to "Shots" are a bit remorseful, especially the opening line ("I'm sorry for everything, for everything I've done"), but the fact that they are willing to wed such painful lyrics to such a catchy tune is a winning combination to me!
"Believe" by Mumford and Sons: "Believe It Or Not" is more like it!! I have never seen a more split reaction to a Mumford and Sons song than I have for this one! People who like the band tend to think that removing banjos and adding electric guitars and atmospheric synths is a bad move for them, and people who don't like them seem to think that they're doing even worse than they did before! Then there are those fans of the band, such as myself, who still like what they're doing. However, I have to side a bit with the more disappointed section of the fandom here, as I do think this song pretty much smacks of trying too hard to sound like something you're not. Mumford and Sons are not Coldplay, and nor are they Kings of Leon. The first half of "Believe" sounds a lot like a Coldplay song, while the second half does sound a bit like KOL. "I don't even know if I believe anymore", Marcus Mumford states during the chorus of the song. Marcus, at this point, sadly, neither do I. An A for effort, though, and as changes in sound go, this wasn't the worst choice, I just think it could have been a little better.
"Shots" by Imagine Dragons: Though Imagine Dragons are a thousand times more pop oriented than Mumford and Sons, at LEAST Imagine Dragons' sophomore album contains songs that stick to a sound that is suitable for them! One noticeable difference between the first and second Imagine Dragons albums is how their second album has a bit more of an audible guitar sound. The influence by folk music is a bit less obvious on "Shots" than it is on most Imagine Dragons songs, but the mix between dance-pop and rock music is still palpable, and makes it sound a bit like a Killers song to me. The lyrics to "Shots" are a bit remorseful, especially the opening line ("I'm sorry for everything, for everything I've done"), but the fact that they are willing to wed such painful lyrics to such a catchy tune is a winning combination to me!
Wednesday, March 4, 2015
New songs for March 4th, 2015
here they are:
"Big Decisions" by My Morning Jacket: It was no "big decision" to decide to review the latest My Morning Jacket song this week!! Already during its first week of existence it has gotten airplay on 18 adult alt stations! Quite a major achievement if you ask me (though this may be happening just because of how much certain people love My Morning Jacket). MMJ's music tends to come in two flavors. There's the trippy neo-psychedelia present in songs like "Off the Record", "Holdin' On to Black Metal", and "I'm Amazed", and there's also the soulful folkie side of their music that shows up in songs like "Golden" and "Wonderful (The Way I Feel)". "Big Decisions" happens to fall into the former category. The song, as its title implies, is about wondering what do do with your life when you aren't quite ready to do so. Here's hoping that MMJ make more "big decisions" (and good ones) in the near future!!
"Falling From the Sky" by Calexico: Like most Calexico songs, "Falling From the Sky" is an indie-folk-rock song that is punctuated (and somewhat defined) by the mariachi-like horns that come in during the chorus. However, there are two things that make this song distinct from their other songs. First of all, it features guest background vocals from Band of Horses' Ben Birdwell, and second of all, it has a spacey Moog synthesizer sound that seems somewhat out of place!! Perhaps Calexico are a band who sound better when sticking to their "core" sound, which, for the most part, they do here (I just wanna know what's up with that blasted synthesizer in the track!) This song is kinda like a slightly mellower version of The Replacements' "Can't Hardly Wait", in terms of its sound.
"Sagres" by The Tallest Man on Earth: Every little thing The Tallest Man on Earth does truly is magic!! Or so I thought before I heard this song. Since "Sagres" features an electric guitar as a backing instrument, a lot of The TMOE's biggest fans seemed a bit disappointed, since he normally performs as a one man acoustic band. I must say that I am in slight agreement with the fans here, as it lacks the charm of "1904", "Little Brother", and my personal fave of his, "Wind and Walls", but I also don't think that "Sagres" is a complete departure from what The TMOE normally does. It is still, essentially, a folk-rock song, and it still retains that enchantingly lo-fi sound that most of his songs have. The chords tend to get a bit repetitive, though, and are pretty derivative of Bruce Springsteen's "My Hometown".
"Work Song" by Hozier: Perhaps it is somewhat cliche to use the word "different" to describe the sounds of certain musicians, but for Irish singer/songwriter, Andrew Hozier Byrne (best known by his middle name), there is no better word to describe his music! It doesn't sound like anything else on the radio! They're like hymnals that somehow manage to be solemn and catchy at the same time. Hozier's third big song, "Work Song", continues displaying the depth and talent that Hozier is capable of! Being caught between sexual and spiritual desire seems to be a favorite topic for Hozier, and it continues to resurface here, as he ruminates on being "laid down gently in the cold, dark earth" when he dies, yet contemplating the love he feels for his girlfriend at the same time.
"Big Decisions" by My Morning Jacket: It was no "big decision" to decide to review the latest My Morning Jacket song this week!! Already during its first week of existence it has gotten airplay on 18 adult alt stations! Quite a major achievement if you ask me (though this may be happening just because of how much certain people love My Morning Jacket). MMJ's music tends to come in two flavors. There's the trippy neo-psychedelia present in songs like "Off the Record", "Holdin' On to Black Metal", and "I'm Amazed", and there's also the soulful folkie side of their music that shows up in songs like "Golden" and "Wonderful (The Way I Feel)". "Big Decisions" happens to fall into the former category. The song, as its title implies, is about wondering what do do with your life when you aren't quite ready to do so. Here's hoping that MMJ make more "big decisions" (and good ones) in the near future!!
"Falling From the Sky" by Calexico: Like most Calexico songs, "Falling From the Sky" is an indie-folk-rock song that is punctuated (and somewhat defined) by the mariachi-like horns that come in during the chorus. However, there are two things that make this song distinct from their other songs. First of all, it features guest background vocals from Band of Horses' Ben Birdwell, and second of all, it has a spacey Moog synthesizer sound that seems somewhat out of place!! Perhaps Calexico are a band who sound better when sticking to their "core" sound, which, for the most part, they do here (I just wanna know what's up with that blasted synthesizer in the track!) This song is kinda like a slightly mellower version of The Replacements' "Can't Hardly Wait", in terms of its sound.
"Sagres" by The Tallest Man on Earth: Every little thing The Tallest Man on Earth does truly is magic!! Or so I thought before I heard this song. Since "Sagres" features an electric guitar as a backing instrument, a lot of The TMOE's biggest fans seemed a bit disappointed, since he normally performs as a one man acoustic band. I must say that I am in slight agreement with the fans here, as it lacks the charm of "1904", "Little Brother", and my personal fave of his, "Wind and Walls", but I also don't think that "Sagres" is a complete departure from what The TMOE normally does. It is still, essentially, a folk-rock song, and it still retains that enchantingly lo-fi sound that most of his songs have. The chords tend to get a bit repetitive, though, and are pretty derivative of Bruce Springsteen's "My Hometown".
"Work Song" by Hozier: Perhaps it is somewhat cliche to use the word "different" to describe the sounds of certain musicians, but for Irish singer/songwriter, Andrew Hozier Byrne (best known by his middle name), there is no better word to describe his music! It doesn't sound like anything else on the radio! They're like hymnals that somehow manage to be solemn and catchy at the same time. Hozier's third big song, "Work Song", continues displaying the depth and talent that Hozier is capable of! Being caught between sexual and spiritual desire seems to be a favorite topic for Hozier, and it continues to resurface here, as he ruminates on being "laid down gently in the cold, dark earth" when he dies, yet contemplating the love he feels for his girlfriend at the same time.
Wednesday, February 25, 2015
New songs for February 25th, 2015
here they are:
"Archie, Marry Me" by Alvvays: The first thing I wondered about this song, when I heard its title, was whether any of the members of the band were named "Betty" or "Veronica". As it turns out, they are not. The lead singer of Alvvays is named Molly Rankin. Anyway, this song does have ONE thing in common with "Archie" comics, aside from its title, and that's the sunshiny, bubblegum chewing, summery fun vibe the song gives off! The "alternative surf" sound of the song brings to mind groups like Best Coast, though the subject matter here is more blissful than the typical Best Coast song.
"Flashed Junk Mind" by Milky Chance: The second hit song from German duo, Milky Chance, sounds...well...kinda like their first one! To me, that's a little disappointing, because I pretty much fell in love with "Stolen Dance" from the moment I first heard it, because of its unique blend of Latin, folk, rock, and soul. "Flashed Junk Mind" is basically more of the same where that came from, and it's even written in the same key as "Stolen Dance" (B major). It's still a catchy song, but I kinda think they can do better than this, personally.
"Midnight" by Tor Miller: TIME FOR GO TO BED!! Oh wait, that's Tor JOHNSON, from the B-movie, "The Unearthly", the only other "Tor" I have ever heard of. Anyway, Tor Miller is entertaining, too, but in a vastly different way from Tor Johnson. Right away you pretty much know how good it is, since the opening lines mention the late Jeff Buckley's album, "Grace". The song itself is more Tom Waits than Jeff Buckley, for its urban folk-jazz-rock piano blend, but with vocals that sound far more melodic than Waits' gravelly growl. "Midnight" takes place in New York City, but probably in a cafe somewhere in NYC, as opposed to one of the louder, more active places in the city.
"Silent Movies" by Madisen Ward and The Mama Bear: Madisen Ward and The Mama Bear are a rarity! It's not because they are black folk musicians. After all, people like Tracy Chapman, Leadbelly, and Richie Havens have all had successful careers in the music world. It's because the "Mama Bear" here is, in fact, a mama, and Madisen Ward is her son. Unlike Chapman, Havens, etc., Madisen Ward and The Mama Bear have rather upbeat music that depends more on making silly rhymes than on statements about politics and civil rights. Madisen Ward and The Mama Bear are a family affair like no other!!
"Take You Home" by Scars on 45: You could say that Scars on 45 are essentially a folk-rock band, but their folk-y-ness has never been as evident as it has on their latest song, "Take You Home". The fingerpicked strumming in the opening sounds a bit like the songs in the "Into the Wild" soundtrack. While "Take You Home" is lyrically a love song, like a lot of Scars' material is, the song is noticeably less pop-y than their other material. It is a very sweet and sentimental song, but in the most honest way possible!
"Archie, Marry Me" by Alvvays: The first thing I wondered about this song, when I heard its title, was whether any of the members of the band were named "Betty" or "Veronica". As it turns out, they are not. The lead singer of Alvvays is named Molly Rankin. Anyway, this song does have ONE thing in common with "Archie" comics, aside from its title, and that's the sunshiny, bubblegum chewing, summery fun vibe the song gives off! The "alternative surf" sound of the song brings to mind groups like Best Coast, though the subject matter here is more blissful than the typical Best Coast song.
"Flashed Junk Mind" by Milky Chance: The second hit song from German duo, Milky Chance, sounds...well...kinda like their first one! To me, that's a little disappointing, because I pretty much fell in love with "Stolen Dance" from the moment I first heard it, because of its unique blend of Latin, folk, rock, and soul. "Flashed Junk Mind" is basically more of the same where that came from, and it's even written in the same key as "Stolen Dance" (B major). It's still a catchy song, but I kinda think they can do better than this, personally.
"Midnight" by Tor Miller: TIME FOR GO TO BED!! Oh wait, that's Tor JOHNSON, from the B-movie, "The Unearthly", the only other "Tor" I have ever heard of. Anyway, Tor Miller is entertaining, too, but in a vastly different way from Tor Johnson. Right away you pretty much know how good it is, since the opening lines mention the late Jeff Buckley's album, "Grace". The song itself is more Tom Waits than Jeff Buckley, for its urban folk-jazz-rock piano blend, but with vocals that sound far more melodic than Waits' gravelly growl. "Midnight" takes place in New York City, but probably in a cafe somewhere in NYC, as opposed to one of the louder, more active places in the city.
"Silent Movies" by Madisen Ward and The Mama Bear: Madisen Ward and The Mama Bear are a rarity! It's not because they are black folk musicians. After all, people like Tracy Chapman, Leadbelly, and Richie Havens have all had successful careers in the music world. It's because the "Mama Bear" here is, in fact, a mama, and Madisen Ward is her son. Unlike Chapman, Havens, etc., Madisen Ward and The Mama Bear have rather upbeat music that depends more on making silly rhymes than on statements about politics and civil rights. Madisen Ward and The Mama Bear are a family affair like no other!!
"Take You Home" by Scars on 45: You could say that Scars on 45 are essentially a folk-rock band, but their folk-y-ness has never been as evident as it has on their latest song, "Take You Home". The fingerpicked strumming in the opening sounds a bit like the songs in the "Into the Wild" soundtrack. While "Take You Home" is lyrically a love song, like a lot of Scars' material is, the song is noticeably less pop-y than their other material. It is a very sweet and sentimental song, but in the most honest way possible!
Wednesday, February 18, 2015
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?!"
"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?!"
Wednesday, February 11, 2015
New songs for February 11th, 2014
here they are:
"Blame It On Me" by George Ezra: George Ezra may be a newcomer onto the indie-folk scene, but he draws from influences both young and old. The Mumford-esque "Budapest" was a huge hit for George during the fall, and his followup single, "Blame It On Me" seems like it is poised to take on the charts for late winter/early spring of 2015! "Blame It On Me" has a bouncy rhythm that could be compared to some of Paul Simon's solo work. "What you waiting for, what you waiting for?" George sings during the chorus. George, we're waiting for this song to take over the world!! Or the radio, at least.
"I'll Make Time For You" by Kristin Diable: This song will probably be enjoyable to those who like female-fronted indie-pop songs, as this seems to be a cross between the snarky vocals of Rilo Kiley's Jenny Lewis and the old school soul of Alabama Shakes' Brittany Howard. As both the verses and the chorus revolve around a basic, three chord structure, there isn't anything particularly exciting about this song, except when the psychedelically tinged guitar solo comes in the middle of it and diverts from the main chord sequence in the song. A good one nonetheless, though.
"Blame It On Me" by George Ezra: George Ezra may be a newcomer onto the indie-folk scene, but he draws from influences both young and old. The Mumford-esque "Budapest" was a huge hit for George during the fall, and his followup single, "Blame It On Me" seems like it is poised to take on the charts for late winter/early spring of 2015! "Blame It On Me" has a bouncy rhythm that could be compared to some of Paul Simon's solo work. "What you waiting for, what you waiting for?" George sings during the chorus. George, we're waiting for this song to take over the world!! Or the radio, at least.
"I'll Make Time For You" by Kristin Diable: This song will probably be enjoyable to those who like female-fronted indie-pop songs, as this seems to be a cross between the snarky vocals of Rilo Kiley's Jenny Lewis and the old school soul of Alabama Shakes' Brittany Howard. As both the verses and the chorus revolve around a basic, three chord structure, there isn't anything particularly exciting about this song, except when the psychedelically tinged guitar solo comes in the middle of it and diverts from the main chord sequence in the song. A good one nonetheless, though.
Wednesday, February 4, 2015
New songs for February 4th, 2015
here they are:
"Black Sun" by Death Cab for Cutie: Whenever Death Cab releases a new song (or new album, even) it always ends up making a big splash on adult alt radio stations, so naturally, their latest song, "Black Sun", is following in the footsteps of their other material. So how good is this song REALLY?! Well, honestly, I always like when they do folk-rock-y material the best, and "Black Sun" sounds a bit more like the sort of "experimental" track that a band like Radiohead might put out, albeit with a bit more musical consistency. That being said, I think they've done better. However, it is definitely not a bad song by any means. The use of synthesizer during the chorus is rather atypical for Death Cab, but the meandering, neo-psychedelic sound of the majority of the song vaguely recalls other DCFC songs like "Meet Me On the Equinox". Was Death Cab's comeback for 2015 worth it?! You be the judge. I personally think there's gonna be more in store for the band as the year progresses.
"Sedona" by Houndmouth: Houndmouth's music recalls the country-folk-blues-rock gumbo of both newcomers like Alabama Shakes and legendary groups like The Band. At least it DID for the songs on their first album. Their latest song, "Sedona", seems to be making a slightly conscious effort to sound more "indie" than their previous material. The lyrics still have a country flair (such as "John Ford said, 'Won't you hop on in, in a stagecoach, baby, gonna take you for a spin'"), and their quaint descriptions of big cities (like "hey, little Hollywood", in the chorus) tend to keep their imagery similar to what it was on their debut. I dunno about you, but to me, "Sedona" is less like The Band and more like Band of Horses. Still worth listening to, though.
"Black Sun" by Death Cab for Cutie: Whenever Death Cab releases a new song (or new album, even) it always ends up making a big splash on adult alt radio stations, so naturally, their latest song, "Black Sun", is following in the footsteps of their other material. So how good is this song REALLY?! Well, honestly, I always like when they do folk-rock-y material the best, and "Black Sun" sounds a bit more like the sort of "experimental" track that a band like Radiohead might put out, albeit with a bit more musical consistency. That being said, I think they've done better. However, it is definitely not a bad song by any means. The use of synthesizer during the chorus is rather atypical for Death Cab, but the meandering, neo-psychedelic sound of the majority of the song vaguely recalls other DCFC songs like "Meet Me On the Equinox". Was Death Cab's comeback for 2015 worth it?! You be the judge. I personally think there's gonna be more in store for the band as the year progresses.
"Sedona" by Houndmouth: Houndmouth's music recalls the country-folk-blues-rock gumbo of both newcomers like Alabama Shakes and legendary groups like The Band. At least it DID for the songs on their first album. Their latest song, "Sedona", seems to be making a slightly conscious effort to sound more "indie" than their previous material. The lyrics still have a country flair (such as "John Ford said, 'Won't you hop on in, in a stagecoach, baby, gonna take you for a spin'"), and their quaint descriptions of big cities (like "hey, little Hollywood", in the chorus) tend to keep their imagery similar to what it was on their debut. I dunno about you, but to me, "Sedona" is less like The Band and more like Band of Horses. Still worth listening to, though.
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