here they are:
"Looking For A Sign" by Beck: Beck might as well be called the David Bowie of the '90s and 21st century. You never knew what kind of Beck you were gonna get next. The wacky hip-hop/funk influenced Beck, the sensitive folkie Beck, the surf-guitar Beck, the moody, trip-hop/jazzy Beck, and the list goes on and on from there! For his latest song, "Looking For A Sign", Beck has chosen to go for sensitive folkie mode, which makes sense, considering it is on the soundtrack to the (comedic) indie film, "Jeff, Who Lives At Home". The highlighting moments of "Looking For A Sign" are not in the mood or lyrics, though, as much as they are in the unique chord progression of the song! What can I say, Beck never ceases to amaze me!
"Never Go Back" by Grace Potter and The Nocturnals: And here is yet ANOTHER musician (with a backing band) who has trodden eclectic waters! Grace started out as a quiet country-pop/rock musician, but soon went into more hard rock territory with her cover of Jefferson Airplane's "White Rabbit", as well as the punchy, Lenny Kravitz-ish "Paris (Ooh La La)". "Never Go Back" is NEITHER of the subgenres I've mentioned so far, but rather an electronic alterna-pop sound. "Never Go Back" is catchy, and combines synthesizers and guitars kind of like the typical Killers song might, but Grace sounds more detached on this song than she did on "Paris", in which she had wild but passionate vocals. Perhaps not the best decision Grace and The Noc's have made, but I still like it, and personally, it holds my attention much better than the dry, country-ish sound she had on "Ah, Mary" and "Ain't No Time".
"No Light, No Light" by Florence and The Machine: This song is equal parts electronic, alternative, soul, and gospel, but it still sounds great!! I'm pretty convinced Flo can do no wrong with every new song I hear by her! "No Light, No Light", of course, is no exception, no exception! The lyrics of this song seem to indicate this is a breakup song, as many of her songs tend to be, but our red-haired beauty takes the angst of her situation and turns it into full-blown, four minute opera/sermon with this song. Flo, you're just too amazing for words, what can I say?!
"North Side Gal" by JD McPherson: Wow! Has Little Richard released his comeback album?! Or maybe that's Fats Domino, or perhaps Chuck Berry?! Nope, it's the latest '50s rock influenced sensation from the 21st century, JD McPherson! I swear, this song sounds like it came out back when rock 'n' roll was as young as a newborn baby!! With the increasing lack of zippiness and zest in today's music, though, I think that's a good thing! Sometimes I feel like the world might need a new Elvis Presley, and I can't think of anyone better than JD McPherson (well, maybe the sexy, snazzy Irish gal, Imelda May would be an exception, but still...)!! It even sounds like it's own song, despite having the chord progression almost every '50s rock song has (although the end part of the song, in which JD repeatedly sings, "Crazy 'bout a north side gal", sounds a bit too similar to when Elvis repeatedly sings "Dancin' to the jailhouse rock" at the end of "Jailhouse Rock"). This is a real swingin' song, though, and I highly recommend it!!
"Paddling Out" by Miike Snow: No, "Miike" is not a typo, that's how this band spells their name. And it's not pronounced like "Mike" or "Mikey" (or "Mi-yike", as I have jokingly pronounced their name based on how it has two "i"s), but it's actually pronounced like "MEE-kay". The piano hook in this song combined with its hip-hop beats remind me of people like Fatboy Slim, only Miike Snow seem like their music is more directed at a neo-hippie, NPR-ish audience than Slim's music was. It seems as though terms like "alternative" and "indie" aren't good enough to describe a song like "Paddling Out", though. Something about it sounds more eclectic than most songs/bands that are typically considered as such. The unique musical qualities of "Paddling Out" only make me want to know more about Miike Snow, though, and hopefully the same can be said of most (if not all) of the listeners of this song!!
"Stare Into the Sun" by Graffiti 6: Before their adult alt mega-hit, "Free", "Stare Into the Sun" was actually the FIRST song to get noticed by Graffiti 6, but I guess it didn't go anywhere initially. Now, however, "Stare Into the Sun" is slowly but surely attracting more listeners! Like "Free", "Stare Into the Sun" is basically a "psychedelic soul" type of song, but it has a bit more of a "retro" '70s-style sound than "Free" did. The organs and tambourines in "Stare Into the Sun", in addition to the relentlessly optimistic sound of this song overall, make me picture a rainbow with musical notes going around Graffiti 6 as they sing this song! Plenty of songs are trippy, and plenty more are soulful, but it's rare that they'd be combined into one sound. That being said, I think we've got another big hit on our hands with this song!
"We Are the Selfish Ones" by Cowboy Junkies: To wrap up this week's review, we end with a somber song, and we started with a somber song, but the other songs in between were energetic! Odd, but I guess that's what I get for reviewing songs in alphabetical order, haha!! Anyway, this song is pretty much an entirely acoustic song from Cowboy Junkies. Not anything too out of the ordinary, I guess, but usually their songs have a bit more backbone than this one does. I was expecting a little more than this from Margo Timmins and co. It's also just a little under 3 minutes, so I feel like it could have been longer, too. This isn't a bad song, as I pretty much like everything I've heard so far from Cowboy Junkies, I just feel like "We Are the Selfish Ones" COULD use just a LITTLE more tweaking wouldn't ya say?!
Wednesday, March 28, 2012
Wednesday, March 21, 2012
New songs for March 21st, 2012
Here they are:
“Man On Fire” by Edward Sharpe and The Magnetic Zeros: A deceptively cheerful, naïve sounding band, whose biggest hit so far has been the surprise 2010 indie/alt hit “Home”, Edward Sharpe and The Magnetic Zeros were loved by indie fans from the time they debuted in late 2009. Their faux-‘60s Mamas and Papas-meets-Simon and Garfunkel type folk-pop/rock sound has only gained them more fans ever since then! Unlike “Home” and “40 Day Dream”, both of which were merely happy sounding songs with dark lyrical content, “Man On Fire” seems to evoke joyful emotions both in its child-like, clap-along sound, and in its simplistic choice of words (“Man on fire/Walking down the street/Got one guitar/two dancing feet”). Is this really reason for the initial fans of Ed and The Zeros to complain?! I think not!! It’s rare to find songs that bear even a slight resemblance to rock music that make one think of “Sesame Street” more than The Stones, so I say embrace the opportunity to hear songs like this one!
“Myth” by Beach House: Continuing their tradition of one-word song titles (“Norway”, “Zebra”), the hypnotically dreamy indie duo known as Beach House are back with another song, “Myth”, that will put you to sleep in a charmingly trippy way just like how most of their songs tend to. “Myth” seems to go for a bit more of a studio-based sound than “Norway” and “Zebra” did, but Beach House still retain their trademark “psychedelic lullaby” type sound, as lead singer Victoria Legrand urgently sings, “Help me today” in its chorus, in a way that is pleading, yet irresistible, like the voice of a siren from Greek mythology in human form! I can’t help but feel like I’m floating on the most delicate, billowy clouds every time I hear “Myth”. It is a magical song that is not “magical” in the cheesy way. “Myth” is a pure, unadulterated stardust fantasy of a song!
“Man On Fire” by Edward Sharpe and The Magnetic Zeros: A deceptively cheerful, naïve sounding band, whose biggest hit so far has been the surprise 2010 indie/alt hit “Home”, Edward Sharpe and The Magnetic Zeros were loved by indie fans from the time they debuted in late 2009. Their faux-‘60s Mamas and Papas-meets-Simon and Garfunkel type folk-pop/rock sound has only gained them more fans ever since then! Unlike “Home” and “40 Day Dream”, both of which were merely happy sounding songs with dark lyrical content, “Man On Fire” seems to evoke joyful emotions both in its child-like, clap-along sound, and in its simplistic choice of words (“Man on fire/Walking down the street/Got one guitar/two dancing feet”). Is this really reason for the initial fans of Ed and The Zeros to complain?! I think not!! It’s rare to find songs that bear even a slight resemblance to rock music that make one think of “Sesame Street” more than The Stones, so I say embrace the opportunity to hear songs like this one!
“Myth” by Beach House: Continuing their tradition of one-word song titles (“Norway”, “Zebra”), the hypnotically dreamy indie duo known as Beach House are back with another song, “Myth”, that will put you to sleep in a charmingly trippy way just like how most of their songs tend to. “Myth” seems to go for a bit more of a studio-based sound than “Norway” and “Zebra” did, but Beach House still retain their trademark “psychedelic lullaby” type sound, as lead singer Victoria Legrand urgently sings, “Help me today” in its chorus, in a way that is pleading, yet irresistible, like the voice of a siren from Greek mythology in human form! I can’t help but feel like I’m floating on the most delicate, billowy clouds every time I hear “Myth”. It is a magical song that is not “magical” in the cheesy way. “Myth” is a pure, unadulterated stardust fantasy of a song!
Wednesday, March 14, 2012
New songs for March 14th, 2012
here they are:
"Alone" by Trampled by Turtles: The name ALONE of this band is enough to make me like them!! Anyway, this is one of two "bluegrass rock" songs I'm reviewing this week, though they are very distinct from one another. This song is by FAR the more relaxed of the two. It recalls bluegrass instrumentation, while also bringing to mind the arpeggiated patterns of many a folk-rock song. The peak of "Alone" is probably towards the middle of it, in which the fiddle section swells up to the point of sounding like a full blown orchestra. The fiddles are actually the most intense instruments used in "Alone" (though they are probably also the most enjoyable part of it).
"Country Girl" by Carolina Chocolate Drops: As if by coincidence, this is the second out of two "bluegrass rock" songs I'm reviewing this week! The Chocolate Drops seem to add a bit of "hipness" into the few songs I've heard from them so far, whether by covering a song from early '00s pop chanteuse Blu Cantrell ("Hit 'Em Up Style"), or, in this case, adding a slight bit of hip-hop influence to an otherwise bluegrass-y song. The Carolina Chocolate Drops' lead vocalist is also quite talented in terms of her singing range. The CCD's lead singer might be telling a story about how she was raised a "country girl", but I think she enjoys mixing a bit of city life into this song for good measure. Sure makes for a unique, memorable song!
"Isn't That So?" by Lyle Lovett: A man of many talents, you never know what kind of Lyle Lovett song you're gonna get next! His musical style ranges from country, jazz, vocal standards, rock, blues, folk, and more (and, in addition, he is also a skilled actor). I tend to prefer Mr. Lovett when he's more energetic, though, and "Isn't That So?" most CERTAINLY is!! It starts out with a vaguely country-ish acoustic guitar emulating the beat of The Fixx's "One Thing Leads to Another", but the brass section, drums, and electric guitar kick in merely seconds later. The lyrics are typical for Lyle Lovett, concerning relationship advice, but the musical aspects of "Isn't That So?" are fantastic! Makes me think Lyle and his band are probably really good live with the instrumentation they have set up for this song!
"Revolution" by Dr. John: In Louisiana, Mac Rebennack, better known by his stage name, "Dr. John", is a living legend! His mix of blues, jazz, and rock 'n' roll are often combined into a spicy musical gumbo that New Orleans just can't seem to get enough of! Outside of Louisiana, Dr. John is best known for his lone classic rock radio hit, "Right Place, Wrong Time". That being said, this is probably the first time since that song came out (which was back in 1972), that he's gotten this much attention for a song of his, rather than his performances! His latest song, "Revolution" (not to be confused for the Beatles song of the same name), somehow manages to combine the swampy '50s blues-rock sound of Screamin' Jay Hawkins with the "retro soul" sound of people like Amy Winehouse. The organ solo in the middle of this song is both the most exotic and most enjoyable part of this song! It's a fun sounding song, but the lyrical content strays far from the stream-of-consciousness vibe of "Right Place, Wrong Time", and instead focuses more on protesting the current state of politics and religion. But still, it's one of the most distinct sounding songs so far of the 21st century, and that's something worth listening to!!
"Towers" by Bon Iver: A bit more uptempo than most of Bon Iver's material, "Towers" almost seems like Simon and Garfunkel's "The Boxer" with a Snow Patrol-ish "softened" electric guitar sound instead of an acoustic guitar sound. It has a similar rhythm and use of backing instruments (though I can't quite tell if that's a sax or a harmonica playing in the background of "Towers"). "Towers" has enough of its own type of sound that it doesn't sound like a "ripoff" of "The Boxer". As a matter of fact, it changes key from E major in the beginning, to a D major towards the end, and usually songs don't change key very much these days. In some ways, "Towers" might just be one of the folk-iest songs, lyrically, that Bon Iver have ever done, what with its references to Norse mythology ("F**k the fiercest fables I'm with Hagen", which also uses alliteration with the letter "F"), and even classic, well-known fairy tales ("In the towers of your honeycomb, I'd a' tore your hair out just to climb back darling", referring to Rapunzel...hmmmm...wonder if Justin Vernon watched "Tangled" right before writing this song!!) In days of old, it was usually heavier rock bands (albeit with folk influence) that typically referenced mythology, like Led Zeppelin and Jethro Tull. Bon Iver's references to folklore and fables, combined with the pleasant atmosphere of the song, almost make this seem like a children's lullaby (except for his use of the "f" word towards the middle). A fantastic song, as usual, from the indie rock band whose name is an intentional misspelling of the French way of saying "good winter"!
"Alone" by Trampled by Turtles: The name ALONE of this band is enough to make me like them!! Anyway, this is one of two "bluegrass rock" songs I'm reviewing this week, though they are very distinct from one another. This song is by FAR the more relaxed of the two. It recalls bluegrass instrumentation, while also bringing to mind the arpeggiated patterns of many a folk-rock song. The peak of "Alone" is probably towards the middle of it, in which the fiddle section swells up to the point of sounding like a full blown orchestra. The fiddles are actually the most intense instruments used in "Alone" (though they are probably also the most enjoyable part of it).
"Country Girl" by Carolina Chocolate Drops: As if by coincidence, this is the second out of two "bluegrass rock" songs I'm reviewing this week! The Chocolate Drops seem to add a bit of "hipness" into the few songs I've heard from them so far, whether by covering a song from early '00s pop chanteuse Blu Cantrell ("Hit 'Em Up Style"), or, in this case, adding a slight bit of hip-hop influence to an otherwise bluegrass-y song. The Carolina Chocolate Drops' lead vocalist is also quite talented in terms of her singing range. The CCD's lead singer might be telling a story about how she was raised a "country girl", but I think she enjoys mixing a bit of city life into this song for good measure. Sure makes for a unique, memorable song!
"Isn't That So?" by Lyle Lovett: A man of many talents, you never know what kind of Lyle Lovett song you're gonna get next! His musical style ranges from country, jazz, vocal standards, rock, blues, folk, and more (and, in addition, he is also a skilled actor). I tend to prefer Mr. Lovett when he's more energetic, though, and "Isn't That So?" most CERTAINLY is!! It starts out with a vaguely country-ish acoustic guitar emulating the beat of The Fixx's "One Thing Leads to Another", but the brass section, drums, and electric guitar kick in merely seconds later. The lyrics are typical for Lyle Lovett, concerning relationship advice, but the musical aspects of "Isn't That So?" are fantastic! Makes me think Lyle and his band are probably really good live with the instrumentation they have set up for this song!
"Revolution" by Dr. John: In Louisiana, Mac Rebennack, better known by his stage name, "Dr. John", is a living legend! His mix of blues, jazz, and rock 'n' roll are often combined into a spicy musical gumbo that New Orleans just can't seem to get enough of! Outside of Louisiana, Dr. John is best known for his lone classic rock radio hit, "Right Place, Wrong Time". That being said, this is probably the first time since that song came out (which was back in 1972), that he's gotten this much attention for a song of his, rather than his performances! His latest song, "Revolution" (not to be confused for the Beatles song of the same name), somehow manages to combine the swampy '50s blues-rock sound of Screamin' Jay Hawkins with the "retro soul" sound of people like Amy Winehouse. The organ solo in the middle of this song is both the most exotic and most enjoyable part of this song! It's a fun sounding song, but the lyrical content strays far from the stream-of-consciousness vibe of "Right Place, Wrong Time", and instead focuses more on protesting the current state of politics and religion. But still, it's one of the most distinct sounding songs so far of the 21st century, and that's something worth listening to!!
"Towers" by Bon Iver: A bit more uptempo than most of Bon Iver's material, "Towers" almost seems like Simon and Garfunkel's "The Boxer" with a Snow Patrol-ish "softened" electric guitar sound instead of an acoustic guitar sound. It has a similar rhythm and use of backing instruments (though I can't quite tell if that's a sax or a harmonica playing in the background of "Towers"). "Towers" has enough of its own type of sound that it doesn't sound like a "ripoff" of "The Boxer". As a matter of fact, it changes key from E major in the beginning, to a D major towards the end, and usually songs don't change key very much these days. In some ways, "Towers" might just be one of the folk-iest songs, lyrically, that Bon Iver have ever done, what with its references to Norse mythology ("F**k the fiercest fables I'm with Hagen", which also uses alliteration with the letter "F"), and even classic, well-known fairy tales ("In the towers of your honeycomb, I'd a' tore your hair out just to climb back darling", referring to Rapunzel...hmmmm...wonder if Justin Vernon watched "Tangled" right before writing this song!!) In days of old, it was usually heavier rock bands (albeit with folk influence) that typically referenced mythology, like Led Zeppelin and Jethro Tull. Bon Iver's references to folklore and fables, combined with the pleasant atmosphere of the song, almost make this seem like a children's lullaby (except for his use of the "f" word towards the middle). A fantastic song, as usual, from the indie rock band whose name is an intentional misspelling of the French way of saying "good winter"!
Wednesday, March 7, 2012
New songs for March 7th, 2012
here they are:
"Live Your Life" by Yuna: I don't know how many rock/pop musicians hail from Malaysia, but if Yuna's the first, then that's pretty cool! The melodically trip-hop-meets-soft-jazz feel of "Live Your Life" also reminds me of another one-name-only female musician who debuted a little over 5 years ago - Jem. Yet Yuna somehow manages to make this song all her own. It is as smooth as it is catchy. Where most female musicians of the indie-pop world have taken after Fiona Apple or Tori Amos, Yuna takes more after Jem, which is probably a big part of the reason why this song sounds so refreshing and different for a 2010's song. However you slice it, though, "Live Your Life" is still a fun song to listen to!
"Out of the Game" by Rufus Wainwright: I was waiting for Rufus to release something new for quite awhile! And I think now I know why it might have taken him so long to do so. Perhaps he wasn't ready to show the world his transition from cabaret influenced indie-pop to George Harrison influenced neo-folk-rock. Certainly not what I (or, likely, anyone else) was expecting from Rufus, although it kinda makes sense considering that his father was the rather eccentric folk musician Loudon Wainwright III. Perhaps Rufus is trying to connect more musically with his dad on "Out of the Game". There's a touch of the old Rufus Wainwright in this song, though, in that he transitions from major to minor chords between the verses and chorus. Yeah, as the song suggests, Rufus might be "out of the game" with many of his main audience members by now, but it's still good to know he's still makin' music!
"This Isn't Everything You Are" by Snow Patrol: Sometimes Snow Patrol are written off as a "poor man's Coldplay", though it SHOULD be the other way around! After all, Snow Patrol are sometimes capable of churning out some solid rockers in their library ("Hands Open", "Take Back the City", "You're All I Have", and most recently, "Called Out In the Dark", to name a few). This time around, though, Gary Lightbody and co are turning towards the ballad side once again, which can bring out both the best (the extraordinarily poignant and ethereal "An Olive Grove Facing the Sea") and worst (the overplayed "Chasing Cars" and dull "Crack the Shutters") in the band. "This Isn't Everything You Are" seems to show some strength in terms of Snow Patrol's "ballad" side (though it has practically the same chords as the verses of Matchbox 20's "Long Day"). The emotional quality of "This Isn't Everything You Are" really DOES tug at the ol' heartstrings for me. It doesn't feel like just another attempt to earn a radio hit through balladry. Both Gary Lightbody's winsome vocals and the delicate nature of the song itself give "This Isn't Everything You Are" a rather aching, yearning feel. For a band best known for their "softer" side, Snow Patrol is truly one of the best, and this song continues to prove so!
"Live Your Life" by Yuna: I don't know how many rock/pop musicians hail from Malaysia, but if Yuna's the first, then that's pretty cool! The melodically trip-hop-meets-soft-jazz feel of "Live Your Life" also reminds me of another one-name-only female musician who debuted a little over 5 years ago - Jem. Yet Yuna somehow manages to make this song all her own. It is as smooth as it is catchy. Where most female musicians of the indie-pop world have taken after Fiona Apple or Tori Amos, Yuna takes more after Jem, which is probably a big part of the reason why this song sounds so refreshing and different for a 2010's song. However you slice it, though, "Live Your Life" is still a fun song to listen to!
"Out of the Game" by Rufus Wainwright: I was waiting for Rufus to release something new for quite awhile! And I think now I know why it might have taken him so long to do so. Perhaps he wasn't ready to show the world his transition from cabaret influenced indie-pop to George Harrison influenced neo-folk-rock. Certainly not what I (or, likely, anyone else) was expecting from Rufus, although it kinda makes sense considering that his father was the rather eccentric folk musician Loudon Wainwright III. Perhaps Rufus is trying to connect more musically with his dad on "Out of the Game". There's a touch of the old Rufus Wainwright in this song, though, in that he transitions from major to minor chords between the verses and chorus. Yeah, as the song suggests, Rufus might be "out of the game" with many of his main audience members by now, but it's still good to know he's still makin' music!
"This Isn't Everything You Are" by Snow Patrol: Sometimes Snow Patrol are written off as a "poor man's Coldplay", though it SHOULD be the other way around! After all, Snow Patrol are sometimes capable of churning out some solid rockers in their library ("Hands Open", "Take Back the City", "You're All I Have", and most recently, "Called Out In the Dark", to name a few). This time around, though, Gary Lightbody and co are turning towards the ballad side once again, which can bring out both the best (the extraordinarily poignant and ethereal "An Olive Grove Facing the Sea") and worst (the overplayed "Chasing Cars" and dull "Crack the Shutters") in the band. "This Isn't Everything You Are" seems to show some strength in terms of Snow Patrol's "ballad" side (though it has practically the same chords as the verses of Matchbox 20's "Long Day"). The emotional quality of "This Isn't Everything You Are" really DOES tug at the ol' heartstrings for me. It doesn't feel like just another attempt to earn a radio hit through balladry. Both Gary Lightbody's winsome vocals and the delicate nature of the song itself give "This Isn't Everything You Are" a rather aching, yearning feel. For a band best known for their "softer" side, Snow Patrol is truly one of the best, and this song continues to prove so!
Wednesday, February 29, 2012
Leap Year Blog Post?!?
That's right!!! So, to make this more "special", here's a "leap" ahead as to four songs that I will be likely to review within the next month or so:
1. "Can't Find" by Eddie Vedder
2. "Don't Leave Me INe Me Quitte Pas)" by Regina Spektor
3. "Out of the Game" by Rufus Wainwright
4. "This Isn't Everything You Are" by Snow Patrol
And now, on with the REAL show...
“On the Run” by Kaiser Chiefs: I’ll admit, I didn’t think much of Kaiser Chiefs when they debuted in the mid 2000’s with the Knack-ish power pop song “I Predict A Riot”, but they grew on me. “Ruby” is one of the sunniest slices of alt-pop I’ve ever heard, and “Never Miss A Beat” is quite a catchy tune as well. “On the Run” has a bit of a darker tone than the Chiefs’ previous songs, but, like most of their songs, it has memorable moments. The fragmented synthesizer sound of “On the Run” pretty much defines the song, and it has a somewhat danceable rhythm (though not as much as their previous three hits). Paul McCartney was one of the first famous people I knew of to praise the music of The Kaiser Chiefs, and it’s no wonder, really, as both McCartney and Kaiser Chiefs are British rock musicians known for their melodic but irresistibly rhythmic music. “On the Run” doesn’t seem like it has the same sort of sound that McCartney would favor, but what can I say, sometimes bands need room to grow, and Kaiser Chiefs seem like the type of band who would benefit from doing so.
“Primitive Girl” by M. Ward: It’s only two minutes and twenty seconds, but Zooey Deschanel’s backing man from She & Him churns out a charming piano-rocker with “Primitive Girl”. Ward’s material is usually rawer (though still kinda folk-y) and more guitar focused than how he comes off as on “Primitive Girl”, so he almost comes off sounding (musically) more like Zooey than himself! Aptly enough, “Primitive Girl” SOUNDS primitive, with its repetitive note sequences, starkly arranged instrumentation, and small amount of words. Ward’s fans were probably expecting more from him than this, but songs like “Primitive Girl” are among the best kind of indie songs – the cute kind!
“Temporary” by White Rabbits: Despite the name of this band, White Rabbits have little (if anything) to do with Jefferson Airplane. Their sound is a lot more contemporary than that, and comparable to bands like Phoenix, Vampire Weekend, TV on the Radio, and Modest Mouse, all of whom are far more influenced by new wave and post-punk than psychedelic. Unlike most of the songs I review, it’s hard to tell where the guitar is in this song (until the solo), yet it’s quite easy to tell where the bass is throughout the song, as the bass (and synthesizer) serve as the dominant instruments in “Temporary”. In contrast to the thumping bass-and-synth sound of the song, the vocals in “Temporary” are more wry and detached, the combination of which comes off sounding a bit like The Cars crossed with Radiohead, with a techno influence added in as well. In addition, the cover of White Rabbits’ latest album alone gives hints as to how off-the-wall their sensibilities can be. On it, their name is written backwards, the album title is written like an all black Jackson Pollock work of art, and even the title of the album itself (Milk Famous), sounds bizarre and enigmatic.
“That Dangerous Age” by Paul Weller: Paul Weller was once the frontman of the heavily Kinks-influenced British punk group, The Jam (fans of the movie “Stranger Than Fiction” would probably be familiar with their sarcastic “ballad”, “That’s Entertainment”). Since splitting apart from The Jam, Paul has released a couple of solo albums, but so far, no songs from any of those albums have gotten near as much attention as his latest song, “That Dangerous Age”. This time around, though, Ray Davies is not the British rocker Paul Weller is trying to imitate, but instead, the sleek disco-meets-punk type sound David Bowie had in the middle of his career! I have yet to figure out what “dangerous age” Weller is referring to, but at this point, it doesn’t matter, because the song is already catchy enough!! What an awesome comeback!
“When the Ship Comes In” by The Chieftains and The Decemberists: This song is pretty much folk-rock all over the place, but in varying styles! It is a cover of a song by folk-rocker master Bob Dylan, with instrumentation by Irish folk group The Chieftains, and vocals from contemporary folk-rockers The Decemberists! Of course, this being a cover of a Dylan song, the lyrics have a very folk-y feel to them, too, but more in a sea shanty kind of way, with all of its maritime imagery (seagulls, shorelines, sand, ships, etc.) It’s not a very somber song, either, in fact it has a rather jolly, upbeat sound to it, in a way that might create mental imagery of what it would be like if “Riverdance” met “Spongebob Squarepants”. The Decemberists spinning tales from the briny deep?! Hasn’t happened before, but so far, I really like it!
1. "Can't Find" by Eddie Vedder
2. "Don't Leave Me INe Me Quitte Pas)" by Regina Spektor
3. "Out of the Game" by Rufus Wainwright
4. "This Isn't Everything You Are" by Snow Patrol
And now, on with the REAL show...
“On the Run” by Kaiser Chiefs: I’ll admit, I didn’t think much of Kaiser Chiefs when they debuted in the mid 2000’s with the Knack-ish power pop song “I Predict A Riot”, but they grew on me. “Ruby” is one of the sunniest slices of alt-pop I’ve ever heard, and “Never Miss A Beat” is quite a catchy tune as well. “On the Run” has a bit of a darker tone than the Chiefs’ previous songs, but, like most of their songs, it has memorable moments. The fragmented synthesizer sound of “On the Run” pretty much defines the song, and it has a somewhat danceable rhythm (though not as much as their previous three hits). Paul McCartney was one of the first famous people I knew of to praise the music of The Kaiser Chiefs, and it’s no wonder, really, as both McCartney and Kaiser Chiefs are British rock musicians known for their melodic but irresistibly rhythmic music. “On the Run” doesn’t seem like it has the same sort of sound that McCartney would favor, but what can I say, sometimes bands need room to grow, and Kaiser Chiefs seem like the type of band who would benefit from doing so.
“Primitive Girl” by M. Ward: It’s only two minutes and twenty seconds, but Zooey Deschanel’s backing man from She & Him churns out a charming piano-rocker with “Primitive Girl”. Ward’s material is usually rawer (though still kinda folk-y) and more guitar focused than how he comes off as on “Primitive Girl”, so he almost comes off sounding (musically) more like Zooey than himself! Aptly enough, “Primitive Girl” SOUNDS primitive, with its repetitive note sequences, starkly arranged instrumentation, and small amount of words. Ward’s fans were probably expecting more from him than this, but songs like “Primitive Girl” are among the best kind of indie songs – the cute kind!
“Temporary” by White Rabbits: Despite the name of this band, White Rabbits have little (if anything) to do with Jefferson Airplane. Their sound is a lot more contemporary than that, and comparable to bands like Phoenix, Vampire Weekend, TV on the Radio, and Modest Mouse, all of whom are far more influenced by new wave and post-punk than psychedelic. Unlike most of the songs I review, it’s hard to tell where the guitar is in this song (until the solo), yet it’s quite easy to tell where the bass is throughout the song, as the bass (and synthesizer) serve as the dominant instruments in “Temporary”. In contrast to the thumping bass-and-synth sound of the song, the vocals in “Temporary” are more wry and detached, the combination of which comes off sounding a bit like The Cars crossed with Radiohead, with a techno influence added in as well. In addition, the cover of White Rabbits’ latest album alone gives hints as to how off-the-wall their sensibilities can be. On it, their name is written backwards, the album title is written like an all black Jackson Pollock work of art, and even the title of the album itself (Milk Famous), sounds bizarre and enigmatic.
“That Dangerous Age” by Paul Weller: Paul Weller was once the frontman of the heavily Kinks-influenced British punk group, The Jam (fans of the movie “Stranger Than Fiction” would probably be familiar with their sarcastic “ballad”, “That’s Entertainment”). Since splitting apart from The Jam, Paul has released a couple of solo albums, but so far, no songs from any of those albums have gotten near as much attention as his latest song, “That Dangerous Age”. This time around, though, Ray Davies is not the British rocker Paul Weller is trying to imitate, but instead, the sleek disco-meets-punk type sound David Bowie had in the middle of his career! I have yet to figure out what “dangerous age” Weller is referring to, but at this point, it doesn’t matter, because the song is already catchy enough!! What an awesome comeback!
“When the Ship Comes In” by The Chieftains and The Decemberists: This song is pretty much folk-rock all over the place, but in varying styles! It is a cover of a song by folk-rocker master Bob Dylan, with instrumentation by Irish folk group The Chieftains, and vocals from contemporary folk-rockers The Decemberists! Of course, this being a cover of a Dylan song, the lyrics have a very folk-y feel to them, too, but more in a sea shanty kind of way, with all of its maritime imagery (seagulls, shorelines, sand, ships, etc.) It’s not a very somber song, either, in fact it has a rather jolly, upbeat sound to it, in a way that might create mental imagery of what it would be like if “Riverdance” met “Spongebob Squarepants”. The Decemberists spinning tales from the briny deep?! Hasn’t happened before, but so far, I really like it!
Wednesday, February 22, 2012
New songs for February 22nd, 2012
here they are:
“Hallways” by Islands: Islands are an indie band that has been around for a long time, but haven’t gotten much attention for any particular song of theirs until now. Considering how maudlin Islands usually are, “Hallways” comes as a breath of fresh air, and that’s probably why it’s ending up being their “breakthrough” track so far. With its jaunty, piano-based sound, and a rhythm and chord progression that both seem somewhat derived from Creedence Clearwater Revival’s similarly carefree “Lookin’ Out My Back Door”, “Hallways” is not only a catchy song, but also one in which the title of it makes sense in hindsight, in that the rhythm and mood of it leave you wanting to skip and dance merrily through the “hallways”!
“Ho Hey” by Lumineers: “Lumineers” doesn’t exactly sound like the name of a part bluegrass/part indie-pop trio consisting of two men and one woman, but that’s what they are. The Lumineers manage to squeeze essential song elements like harmony, an infectious gets-stuck-in-your-head chorus (“I belong with you, you belong with me, you’re my sweet-ha-art”), and a catchy rhythm section into just two and half minutes in “Ho Hey”, which also boasts some of the most jovial, rockin’ banjos I’ve ever heard! If this song doesn’t put a smile on your face, I don’t know what will!
“It’s Time” by Imagine Dragons: Between the name of this band, and My Pet Dragon from earlier this year, I think I can officially declare that any indie/alt-pop band with the word “Dragon” in their name is pretty cool! The sound of “It’s Time” is absolutely phenomenal, especially during the verses, which seem to combine world music influenced string instrumentation with a marching band type rhythm! It sounds a bit more like a regular alt-pop song during the chorus, but by that time, the listener will probably be hooked on the song enough that it will just blend in with the rest of the song. That’s how “It’s Time” worked out for me, anyway!
“Origins” by Tennis: Along with Hockey (whose “Song Away” was one of the most successful indie/alt songs of 2010), Tennis are one of the few bands I’ve ever known to name themselves after a sport. Unlike Hockey, who had a rather Cars-ish new wave-y sound, Tennis draw inspiration more from bands of the ‘60s, like Jefferson Airplane, The Velvet Underground, and The Zombies (whose “Tell Her No” Tennis do an excellent job at covering) The lead singer of Tennis just happens to be a female with somewhat smoky, detached vocals, which makes them stand out among most contemporary bands. Even the instrumentation of this song is strikingly different, adding in a vintage ‘60s-ish organ sound and a lower than low sounding sax along with the more typical guitar/bass/drums sound. Are there any more good things about “Origins”? Yes, plenty! The lyrics are self-conscious and doubting, but written from an earnest point of view. Oh, and did I mention that lead singer Alaina Moore looks a little like Stevie Nicks?! Think we might just have a new babe in the music biz to talk about!!
“Save the Hammer For the Man” – The Nightwatchman (featuring Ben Harper): While perhaps not quite as unique in sound as the artist formerly known as Tom Morello’s “Black Spartacus Heart Attack Machine” (from late summer of last year), “Save the Hammer For the Man” is still a powerful song. Or at least it tries to be. Musically, the sound of it falls somewhat flat (until the guitar solo, that is) in comparison to Tom Morello’s material both with and without Rage Against the Machine. For Ben Harper, it’s a “somewhere in the middle” song. Ben didn’t seem to get too much into exploring the deeper, darker side of blues and rock until about 3 years ago, but he’s been remarkable at doing so. In “Save the Hammer For the Man”, Ben Harper delivers his vocals quite powerfully and convincingly, but musically, it sounds like this could have been just another pre-Relentless 7 Ben Harper song. This is definitely not a bad song, though. Once the guitar solo comes in, “Save the Hammer For the Man” picks up, not just because of the guitar solo either. It carries through stronger afterwards, both musically and vocally. And lyrically, as always, Tom Morello drives home a challenging political statement that is still well worth listening to.
“See It For Yourself” by Sugar and The Hi-Lows: Another cute female indie vocalist?! Could it be?!? Yes, it could!! “Sugar” definitely seems like a good (nick)name for the lead vocalist of this band, not only because of how she looks, but also because of how she delivers the lines of this catchy, blues-y indie rock tune, with vocals that are as sweet and honey voiced as they are sexy! The lyrics of the song almost recall the “there’s no place like home” part of “The Wizard of Oz”, with their “it was right there in front of you all along” theme. Sugar and The Hi-Lows are a pretty new band, so I don’t know the name of the lead singer (or any members) yet, but what I DO know is that she can take my ruby red slippers into the Land of Oz anytime she wants to! Yes, that was a weird attempt at innuendo, wasn’t it?! :P
“Shiny Things” by Fanfarlo: Fan WHAT now?! Well, some of you might be familiar with the song “Harold T. Wilkins” (the one that goes “They sail the same STRAIT! They sail the same STRAIT!” towards the end of it), and Fanfarlo were the ones who did that one. “Shiny Things” comes from Fanfarlo’s second record so far, and its sound is a bit of a departure from the folk-rock sound of “Harold T. Wilkins”, as it goes for more of an icy new wave type sound instead. The sound of “Shiny Things”, combined with how detached the lead singer’s voice sounds, might as well be described as “Joy Division lite”, for while the song comes nowhere near close to the intensity of the late Ian Curtis’s gloomy post-punk band, one can still detect a Joy Division type influence in this song. The video for “Shiny Things”, with its surreal, somewhat disturbing images of people getting swallowed up by gold, also sounds like an idea that’s not too far off from the typical Joy Division song. Unbelievable that the same band who did the bouncy “Harold T. Wilkins” could come up with a more cynical, cold hearted song like “Shiny Things”, but perhaps that means I could expect something different from either of those two songs from Fanfarlo sometime in the future!
“Staircase” by Radiohead: And speaking of bands with a reputation for being icy and detached, Radiohead are probably one of the first bands that come to mind when describing such a musical mood! Truth be told, Radiohead are really much more diverse than that, but, as if by coincidence (from the last song I reviewed), “Staircase” could also be said to be somewhat of a Joy Division sound-alike (though it would probably garner comparisons just as easily to bands like Depeche Mode, New Order, and Kraftwerk). In typically clever Radiohead fashion, the lyrics to “Staircase” READ like a “staircase”, in that they wind up and down continuously. Though a return to folk-rock-y Radiohead (like they did on most of “In Rainbows”) would be nice, “Staircase” isn’t bad as far as the “weirder” songs in their catalog are concerned. Only one question remains. Why did they decide to release a new song in February of THIS year, when they already did so February of LAST year?! I guess we’ll never know, will we?!?
“Untitled (Love Song)” by Counting Crows: Untitled (Love Song) is an Interesting (Piece of Music), and it’s also a Cover (Of an Obscure Indie Song). Though Counting Crows released various songs on and off throughout the 2000’s, none of them came close to what they did in the ‘90s (especially not the mucky pop version they did of the classic Joni Mitchell song, “Big Yellow Taxi”, that should have been a forgotten version of the song, but which instead comes back to haunt me in grocery stores, fast food places, and everywhere else adult cotemporary stations are played). Someone must have talked to Adam Duritz and co and convinced them to crank up the electric guitars on their latest song (which, as mentioned before, isn’t actually theirs), because it sounds closer to the gritty indie-rock sound of Ryan Adams and My Morning Jacket (with a bit of Matthew Sweet influence thrown in for good measure) than it does the folk-y post-grunge of bands like The Wallflowers and The Dave Matthews Band (both of whom were frequently compared to Counting Crows). Not only do Counting Crows have their rock ‘n’ roll groove back on “Untitled (Love Song)”, but their organ player Charlie Gillingham delivers a forceful, dynamic Hammond solo, followed in a verse or two by some of the most Neil Young-ish guitar playing Dan Vickrey has done since the ‘90s!! Welcome back guys! A million other Counting Crows fans and I have really missed the way things used to be with you guys!
“Hallways” by Islands: Islands are an indie band that has been around for a long time, but haven’t gotten much attention for any particular song of theirs until now. Considering how maudlin Islands usually are, “Hallways” comes as a breath of fresh air, and that’s probably why it’s ending up being their “breakthrough” track so far. With its jaunty, piano-based sound, and a rhythm and chord progression that both seem somewhat derived from Creedence Clearwater Revival’s similarly carefree “Lookin’ Out My Back Door”, “Hallways” is not only a catchy song, but also one in which the title of it makes sense in hindsight, in that the rhythm and mood of it leave you wanting to skip and dance merrily through the “hallways”!
“Ho Hey” by Lumineers: “Lumineers” doesn’t exactly sound like the name of a part bluegrass/part indie-pop trio consisting of two men and one woman, but that’s what they are. The Lumineers manage to squeeze essential song elements like harmony, an infectious gets-stuck-in-your-head chorus (“I belong with you, you belong with me, you’re my sweet-ha-art”), and a catchy rhythm section into just two and half minutes in “Ho Hey”, which also boasts some of the most jovial, rockin’ banjos I’ve ever heard! If this song doesn’t put a smile on your face, I don’t know what will!
“It’s Time” by Imagine Dragons: Between the name of this band, and My Pet Dragon from earlier this year, I think I can officially declare that any indie/alt-pop band with the word “Dragon” in their name is pretty cool! The sound of “It’s Time” is absolutely phenomenal, especially during the verses, which seem to combine world music influenced string instrumentation with a marching band type rhythm! It sounds a bit more like a regular alt-pop song during the chorus, but by that time, the listener will probably be hooked on the song enough that it will just blend in with the rest of the song. That’s how “It’s Time” worked out for me, anyway!
“Origins” by Tennis: Along with Hockey (whose “Song Away” was one of the most successful indie/alt songs of 2010), Tennis are one of the few bands I’ve ever known to name themselves after a sport. Unlike Hockey, who had a rather Cars-ish new wave-y sound, Tennis draw inspiration more from bands of the ‘60s, like Jefferson Airplane, The Velvet Underground, and The Zombies (whose “Tell Her No” Tennis do an excellent job at covering) The lead singer of Tennis just happens to be a female with somewhat smoky, detached vocals, which makes them stand out among most contemporary bands. Even the instrumentation of this song is strikingly different, adding in a vintage ‘60s-ish organ sound and a lower than low sounding sax along with the more typical guitar/bass/drums sound. Are there any more good things about “Origins”? Yes, plenty! The lyrics are self-conscious and doubting, but written from an earnest point of view. Oh, and did I mention that lead singer Alaina Moore looks a little like Stevie Nicks?! Think we might just have a new babe in the music biz to talk about!!
“Save the Hammer For the Man” – The Nightwatchman (featuring Ben Harper): While perhaps not quite as unique in sound as the artist formerly known as Tom Morello’s “Black Spartacus Heart Attack Machine” (from late summer of last year), “Save the Hammer For the Man” is still a powerful song. Or at least it tries to be. Musically, the sound of it falls somewhat flat (until the guitar solo, that is) in comparison to Tom Morello’s material both with and without Rage Against the Machine. For Ben Harper, it’s a “somewhere in the middle” song. Ben didn’t seem to get too much into exploring the deeper, darker side of blues and rock until about 3 years ago, but he’s been remarkable at doing so. In “Save the Hammer For the Man”, Ben Harper delivers his vocals quite powerfully and convincingly, but musically, it sounds like this could have been just another pre-Relentless 7 Ben Harper song. This is definitely not a bad song, though. Once the guitar solo comes in, “Save the Hammer For the Man” picks up, not just because of the guitar solo either. It carries through stronger afterwards, both musically and vocally. And lyrically, as always, Tom Morello drives home a challenging political statement that is still well worth listening to.
“See It For Yourself” by Sugar and The Hi-Lows: Another cute female indie vocalist?! Could it be?!? Yes, it could!! “Sugar” definitely seems like a good (nick)name for the lead vocalist of this band, not only because of how she looks, but also because of how she delivers the lines of this catchy, blues-y indie rock tune, with vocals that are as sweet and honey voiced as they are sexy! The lyrics of the song almost recall the “there’s no place like home” part of “The Wizard of Oz”, with their “it was right there in front of you all along” theme. Sugar and The Hi-Lows are a pretty new band, so I don’t know the name of the lead singer (or any members) yet, but what I DO know is that she can take my ruby red slippers into the Land of Oz anytime she wants to! Yes, that was a weird attempt at innuendo, wasn’t it?! :P
“Shiny Things” by Fanfarlo: Fan WHAT now?! Well, some of you might be familiar with the song “Harold T. Wilkins” (the one that goes “They sail the same STRAIT! They sail the same STRAIT!” towards the end of it), and Fanfarlo were the ones who did that one. “Shiny Things” comes from Fanfarlo’s second record so far, and its sound is a bit of a departure from the folk-rock sound of “Harold T. Wilkins”, as it goes for more of an icy new wave type sound instead. The sound of “Shiny Things”, combined with how detached the lead singer’s voice sounds, might as well be described as “Joy Division lite”, for while the song comes nowhere near close to the intensity of the late Ian Curtis’s gloomy post-punk band, one can still detect a Joy Division type influence in this song. The video for “Shiny Things”, with its surreal, somewhat disturbing images of people getting swallowed up by gold, also sounds like an idea that’s not too far off from the typical Joy Division song. Unbelievable that the same band who did the bouncy “Harold T. Wilkins” could come up with a more cynical, cold hearted song like “Shiny Things”, but perhaps that means I could expect something different from either of those two songs from Fanfarlo sometime in the future!
“Staircase” by Radiohead: And speaking of bands with a reputation for being icy and detached, Radiohead are probably one of the first bands that come to mind when describing such a musical mood! Truth be told, Radiohead are really much more diverse than that, but, as if by coincidence (from the last song I reviewed), “Staircase” could also be said to be somewhat of a Joy Division sound-alike (though it would probably garner comparisons just as easily to bands like Depeche Mode, New Order, and Kraftwerk). In typically clever Radiohead fashion, the lyrics to “Staircase” READ like a “staircase”, in that they wind up and down continuously. Though a return to folk-rock-y Radiohead (like they did on most of “In Rainbows”) would be nice, “Staircase” isn’t bad as far as the “weirder” songs in their catalog are concerned. Only one question remains. Why did they decide to release a new song in February of THIS year, when they already did so February of LAST year?! I guess we’ll never know, will we?!?
“Untitled (Love Song)” by Counting Crows: Untitled (Love Song) is an Interesting (Piece of Music), and it’s also a Cover (Of an Obscure Indie Song). Though Counting Crows released various songs on and off throughout the 2000’s, none of them came close to what they did in the ‘90s (especially not the mucky pop version they did of the classic Joni Mitchell song, “Big Yellow Taxi”, that should have been a forgotten version of the song, but which instead comes back to haunt me in grocery stores, fast food places, and everywhere else adult cotemporary stations are played). Someone must have talked to Adam Duritz and co and convinced them to crank up the electric guitars on their latest song (which, as mentioned before, isn’t actually theirs), because it sounds closer to the gritty indie-rock sound of Ryan Adams and My Morning Jacket (with a bit of Matthew Sweet influence thrown in for good measure) than it does the folk-y post-grunge of bands like The Wallflowers and The Dave Matthews Band (both of whom were frequently compared to Counting Crows). Not only do Counting Crows have their rock ‘n’ roll groove back on “Untitled (Love Song)”, but their organ player Charlie Gillingham delivers a forceful, dynamic Hammond solo, followed in a verse or two by some of the most Neil Young-ish guitar playing Dan Vickrey has done since the ‘90s!! Welcome back guys! A million other Counting Crows fans and I have really missed the way things used to be with you guys!
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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