Major announcement!!

 Hi everyone!! 

So I just found out that the website I normally use to gather information for new music is no longer in service. Therefore, I will be gathering information from a website that updates every Monday instead. There were no major songs (that I know of) for me to review today, so I will be skipping today. However, it will no longer be New Music Wednesdays (despite what the url for this site says). It will instead be New Music Mondays for now, since that's when the other site I gather info for new music on updates weekly. I hope this news doesn't shake anyone up too much, and I'll see you all on Monday! 

Sincerely,

Spencer

New songs for October 26th 2022

 here they are:

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

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

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

New songs for October 19th 2022

 here they are:


"Bad Thing" by Miya Folick:  A swath of post-millennial synth-pop creeps up on the listeners of Miya Folick's breakthrough song, "Bad Thing," before shortly swallowing its listeners whole in a whirling wave of self-loathing. The song itself seems to reflect the post-millennial lifestyle of being willing enough to admit you need help while still despairing the life of drugs and "fake friends" you've surrounded yourself with. Whether Miya is referring to online friends or to ex-friends is not made clear, but both seem to happen in the lives of typical Gen Y and Z people. "Bad Thing," as its title indicates, talks about bad things. It never really makes an effort to resolve them, but it does an excellent job venting about said subject.

"Just Before the Morning" by Local Natives:  "Just Before the Morning" is the perfect song to listen to...well...just before the morning! Its ethereal, ambient, synth-laden folk-pop atmosphere fits well with the dawning of the day. Local Natives are typically a pretty gentle-sounding group, but this song seems even more soothing than their usual material. The song describes how repetitive life is while being a bit repetitive itself, albeit not in a bad way, just by not moving beyond the four chords it starts out with. Perhaps that was intentional on their part? Regardless, this is a great wake-up song if you want to start the day off with something chill.

"Lover's Game" by The War and Treaty:  The War and Treaty are probably one of the best examples of how the classic R & B style has thrived through the late 2010's and early 2020's. Of all their material so far, though, "Lover's Game" is probably the song that goes more towards the B (blues) than the R (rhythm) of their material! "Lover's Game" is a saucy, barn-burnin' blues-rock track that sets its subject straight! Exactly who the subject is is unclear, as The War and Treaty are a husband-and-wife duo. Perhaps the song is being addressed to one of their past lovers, but whoever it's about, "Lover's Game" pulls no punches and shows you who's the boss!

"New Body Rhumba" by LCD Soundsystem:  Here's a triple dose of indie rock trivia for ya! In addition to LCD Soundsystem, a cult fave of indie fans, releasing their first successful single to adult alt radio stations, it is also on the soundtrack to a movie based on Don DeLilo's "White Noise," from which the indie-pop/rock group, The Airborne Toxic Event, got its name, and said movie is being directed by indie film director fave, Noah Baumbach, whose name inspired indie-folk-rock group, Noah and The Whale! Talk about a whirlwind of information! "New Body Rhumba" is also one of the more uptight, claustrophobic songs of the LCD Soundsystem catalog. Despite their techno-y sounding name, LCD Soundsystem are also sometimes influenced by folk-rock, power pop, and other forms of music ("All My Friends" probably would have made a great adult alt radio single for its more melodic sound and folk-rock influence), but instead, it's "New Body Rhumba" that's gracing the adult alt airwaves, a 7-and-a-half minute post-punk revival song with stark, slightly paranoid music and somewhat off-putting lyrics about "needing a new body," the meaning of which is never made quite clear in the song. 

"This is Why" by Paramore:  Led by post-millennial female rock revolutionary, Hayley Williams, Paramore quickly became one of the most recognizable faces of the "emo-pop" movement of the mid to late 2000's with their scathing single, "Misery Business." It's obvious that Hayley, much like her emo-pop contemporaries, was a fan of mid-'90s pop-punk trailblazers like Green Day, Weezer, and blink-182, all of whom paved the way for the emo movement later on. However, Hayley was fresh out of high school when that song hit the big time, and she's now approaching her mid-30's. So what does she listen to now?! The answer might surprise you! If their latest song, "This is Why," is anything to go by, I'd guess she has unexpectedly become a Talking Heads fan! The song recalls the spiky and off-kilter yet still catchy post-punk of Heads tunes like "Crosseyed and Painless," and even the lyrics of "This is Why" seem somewhat Byrne-esque. The exaggerated paranoia in both songs combined with catchy beats might give you the impression that not much has changed between 1980 (when Talking Heads' "Crosseyed and Painless" was released) and 2022, but the coronavirus pandemic has made people twice as paranoid now as they probably were then, which brings a whole new dimension of fear to "This is Why." Where David Byrne expressed hesitancy to trust others in "Crosseyed...," "This is Why" expresses hesitancy to trust the world outside your home! 

New songs for October 12th, 2022

 here they are:


"Every Shade of Blue" by The Head and The Heart: The first minute alone from The Head and The Heart's latest song, "Every Shade of Blue," provides a marked contrast between that song and their typical material. The Head and The Heart trick their listeners into thinking they're going to get an orchestral pop/rock song in the vein of Florence and The Machine or Lana Del Rey. However, about halfway into the song's first minute, acoustic guitars (gasp!), piano, and percussion all chime in, giving the song a more upbeat sound. The way some of the verse parts shift from G major immediately into G minor is a rare progression in pop music these days, which also makes this an interesting song. The song actually swings between being melancholy during the verses (yet still mostly major key), and being more happy sounding during the chorus. "Every Shade of Blue," then, is an apt title for this song! Blue can be a lonely and sad color, but there's also happier shades of it, like in the sky and on bluebirds. 

"Growing/Dying" by Backseat Lovers: You could call a song like this one "indie rock that really rocks." As the term "indie" has been increasingly relegated more to folk and pop than it has to rock during the 21st century, it's easy to forget that "indie" once meant noisier bands like The Pixies, Dinosaur Jr., and Sonic Youth. "Growing/Dying" by Backseat Lovers definitely bears resemblance to The Pixies, from its minimalist yet dark lyrics to its meandering yet jagged guitar sound that never explodes too much (though it does feature slightly more distortion towards the end), even down to the lead singer sounding like a somewhat more nasal Black Francis/Frank Black with bits of Radiohead's Thom Yorke added in for good measure. The song also retains the cryptic messages that a typical Pixies song tend to have. "Growing/Dying" could be about loss of innocence, but I'm only drawing that conclusion based on the song's chorus. Its verses seem almost random to me. 

"Oceans of Darkness" by The War on Drugs: A surprisingly happy and surprisingly short song from The War on Drugs, who are normally more melancholy and sprawling in their songs. Despite the song's dark title, "Oceans of Darkness" is really more of a love song, with the title coming from how "something more can be gained until my oceans of darkness pull me back in again." Adam Granduciel does have an undercurrent of doubt if we are to go by the song's refrain, but it otherwise seems like a song from a lovelorn soul who has finally found what's he's been looking for. As much as I've come to admire The WOD's typical neo-goth-prog sound, a fun song in their catalog still seems like a breath of fresh air for me!

"Off My Mind" by Joe P: "Joe P" could be any guy's name! But in this case, it happens to belong to an indie-rock performer whose breakthrough song just happens to be a song with both folk guitars and heavily distorted ones that seems like a kiss-off to his ex. The song is about how he struggled to get that person out of his life by drinking to forget about her, but that now that he has a new lover, his former is "off his mind." The song itself, aside from the lyrics, is also interesting. It starts off as a slightly disquieting yet still catchy acoustic rock strum before the electric guitars come in shortly afterwards to make the song slightly more intense. However, it never reaches a level of maximum distortion, and is instead more of a "cliffhanger" song, musically speaking, that never quite reaches a sonic resolution. 

New songs for October 5th, 2022

 here they are:


"Do I Love You? (Indeed I Do)" by Bruce Springsteen: A few weeks after the Boss's late September birthday, he releases a song that's not actually his. "Do I Love You? (Indeed I Do)" was originally done by soul musician, Frank Wilson, in 1965, but Bruce makes it his own here! Even into his septuagenarian years, the Boss still proves once and for all why people call him that! No other performer in their 70's has quite the energy and dynamism Bruce does, and he makes the soul classic he's covering here sound just as invigorating as it must have been when it first came out! Do we love the Boss? Indeed, we do!

"Go Through You" by Rhett Miller: "Go Through You" sees Old 97's singer Rhett Miller at his most George Harrison-esque. The late Beatle has inspired a lot of songs he's done, both solo and with the 97's, but there's something especially Beatlesque about this one. In "Go Through You," Rhett combines George's trademark twang with Paul McCartney's brightness and chord progressions. In true Rhett fashion, "Go Through You" is about a jaded lover in a relationship gone wrong, contrasting with the song's bright, sunny sound. The most lyrically interesting aspect of this song is probably during the chorus where he says, "If I'm gonna get to Heaven, I'm gonna have to go through you." The capitalization of the "H" in "Heaven" in the lyrics suggest something of a religious nature, but the "you" remains lowercase, so the song is not about God or Jesus, but perhaps Rhett is making something of an oblique comparison in these lyrics. Perhaps he feels like a martyr to his lover, thereby evoking quasi-religious imagery. 

New songs for September 28th, 2022

 Here they are:


"Evergreen" by Mt. Joy: Probably Mt. Joy's hardest-rocking song to date, "Evergreen" is surprisingly upbeat and electric-guitar driven for the mostly psychedelic folk-rock-y Mt. Joy. "Evergreen" is also very upbeat and doesn't dip into weird beat-changing territory the way that, say, "Lemon Tree" did. Another thing that makes "Evergreen" stand out in Mt. Joy's catalog is how funny it is! You probably didn't think the band behind bittersweet songs like "Silver Lining" could be so hilarious, but their humor is proved here in lines like "This is the part where your wedding ring gets pulled across your eye." Ouch! Definitely subversive humor there, but funny nonetheless! 

"Fairweather Friend" by GA-20: Continuing our streak of rock-oriented songs for this week is "Fairweather Friend" by GA-20, with a sound whose roots go back to the blues! The song's syncopated shuffle recalls groups like The Black Keys, but GA-20 seems to be a bit more authentically blues-y than they are. Even their name is a nod to a classic electric guitar model from the 1950's. One particularly interesting thing to note about the instrumentation of this song is that its melody comes from two guitars. There is no bassist to be heard on this track! The combination of the thickness of the guitars and the song's prominent drumbeat could easily fool listeners into thinking there is a bassist. 

"Night Moves" by Lissie: Not to be confused with Bob Seger's bittersweet mid-'70s country-rock tune of the same name about becoming a teenager, Lissie's "Night Moves" has a bittersweetness of its own for entirely different reasons. It is a stark song that, fitting to its title, has a rather nocturnal sound that is as mysterious as it is mellow. Her "Night Moves" takes place in her post-teen years and is about being betrayed by love, as opposed to Seger's ode to curiosity about the mysteries of sex and romance. Another interesting parallel between the two songs is how they both illustrate a folk-rock sound, although Lissie's is less influenced by roots-y country and more by the melancholy, isolated, yearning sounds of musicians like Stevie Nicks, and probably by Joni Mitchell as well. It's probably mere coincidence that Lissie has a song title identical to one of Bob Seger's most popular songs, but both the coincidences and contrasts between the two songs are rather striking!

"Should've Been Me" by Mitski: In the ever eclectic catalog of indie-pop musician, Mitski, we find her once again channeling pop music of the 1980's, but it's a rather specific song she's set on emulating this time. Perhaps you could say she has a "Maneating" appetite for '80s musical nostalgia here! Both the riffs and beat for "Should've Been Me" are practically identical to Hall and Oates' "Maneater," although she slips in a middle section between the verses that have enough usage of major 7th chords to distinguish itself from that song. Beneath the upbeat vibes of the song are troublesome lyrics about how Mitski wanted to be more available to her partner in a relationship that had shaky, questionable communication. The song's title basically serves as an apology for how she "should've been" the one to satisfy her partner's needs, but in a relationship both as rocky and as shady as the one she's describing, how are you supposed to know what's going to happen?! This song has a great way of masking feelings of regret with a catchy, nostalgic beat and melody, which in turn serves as a great and clever way for people to listen to you!

"Supernatural" by Barns Courtney: Barns Courtney is great at churning out catchy rock/indie-pop anthems, particularly his blues-by-way-of-pop debut single, "Fire." With each new song and album, Barns reinvents himself, but the way "Supernatural" sounds is something that I don't think any of his fans would've anticipated! "Supernatural" sounds a bit like what Adele's "Rolling in the Deep" might have been like if she felt scorned enough to create a fiery, back-with-a-vengeance rock song over a pop/soul template. "Supernatural" has surprisingly blazing electric guitar riffs during the chorus that shake the listener by the neck and demand they listen to what he has to say! So just what does Barns have to say in his latest tune?! From what I can gather from its lyrical content so far, "Supernatural" seems like Barns' way of getting back at a former lover who wronged him. In the chorus, he claims he is unstoppable and "supernatural," perhaps to signify how he won't get out of his ex's life no matter how much they want him out of it. Way to haunt your ex, Barns! "Supernatural" is a swinging song that's somewhat scary, yet still soulful, sweet, and satisfying!

"The Perfect Pair" by beabadoobee: Unlike the recent alt-pop/rock-oriented experiments beabadoobee has ventured into with her last few singles, "The Perfect Pair" is a back-to-basics folk-pop song that seems like it could work equally well on acoustic guitar and ukulele. The first four chords almost sound like a folks-y, elevator music version of "Stairway to Heaven," but not in a bad way. With such a sweet, mellow sound, you would think this would be one of beabadoobee's few positive songs lyrically, right? Wrong! Beabadoobee's bitterness can still be detected in "The Perfect Pair" as she repeatedly directs her partner to "break her heart in two" due to the hopelessness of her latest relationship. Is every song for this week a breakup song?! I guess so! Well, not every week can have nice lyrical content, can it?! 

New songs for September 14th, 2022

 Here they are:


"Run Away to Mars" by Talk: I have not heard a new entry like this one in a long time! "Run Away to Mars," the debut song from Talk, is thoughtful, bittersweet, and contains both acoustic guitar flourishes and enough backing from the electric guitar to make it into a solid neo-folk-rock piece that can move mountains (and Mars)! The yearning tone of the song is palpable everywhere from the instrumentation to the lead singer's vocals, and its lyrics also tug at the heartstrings. The song is not about literally going to the planet Mars, but just trying to find somewhere to escape to when times get tough. Why aren't there more songs out there like this one these days?!

"Tongo Barra" by Vieux Farka Touré (featuring Khruangbin): Two eclectic musical acts, both of African origin (directly from Africa in Touré's case, in the country of Mali), coming together to create musical fusion! Does that sound cool or what? That's 'cause it is cool! Together, Touré and Khruangbin stir up a musical gumbo that has a hypnotic, otherworldly sound with foreign words chanted over it that manages to be catchy and danceable, not unlike Talking Heads' "I Zimbra," which this piece reminds me heavily of! "Tongo Barra" is a bit more blissed out than "I Zimbra," but both the setup and sound of the songs make them sound like musical cousins to one another! 

"Tonight" by Phoenix (featuring Ezra Koenig from Vampire Weekend): I've long considered indie-pop groups Vampire Weekend and Phoenix to be similar to one another, so it's not that surprising that they collaborated with one another. What's more surprising to me is that it took over a decade for either band to consider such a project happening! Both bands combine electro-pop, power pop, and a rhythmic influence slightly akin to reggae (especially in Vampire Weekend's case), so "Tonight" ends up being a song that could pass for either band. As such, it hearkens back to the more new wave influenced electro-pop sound that Phoenix broke through with in 2009 with Wolfgang Amadeus Phoenix, known for the late '00s mega-hits "1901" and "Lisztomania." While I'm doubtful that "Tonight" will join the ranks of those two songs, I have no doubt at all that "Tonight" will be a fun song to hear for fans of both Phoenix and Vampire Weekend!

New songs for September 7th, 2022

 here they are:

"A Nocturnal Heresy" by Ondara (formerly J.S. Ondara): When Ondara debuted in 2019, with a moniker that was then preceded by his first two initials, his bittersweet take on folk-rock recalled people like Tracy Chapman and Richie Havens with his brutally honest yet still vulnerable and sensitive sound and lyrics. Three years later, folk-rock still beats as the heart of Ondara's work, but he's added a bit more rock instrumentation on his latest song, "A Nocturnal Heresy," than he had on his previous songs. Both electric guitar and synth take center stage to the acoustic on this song. The song seems to be a "sequel" of sorts to his debut song, "Saying Goodbye," in that both are about ending a relationship, but in "A Nocturnal Heresy," it appears he doesn't know where he stands on the issue.

"Orange Blood" by Mt. Joy: Apparently, citrus is a recurring theme on Mt. Joy's latest album, if their previous single, "Lemon Tree," is anything to go by. The cover art of the "Orange Blood" single also features an anthropomorphic orange. "Orange Blood" is a calmer song than the more frenetic and unpredictable "Lemon Tree." There is still something psychedelic about "Orange Blood," but it doesn't have the slow-fast-slow-fast rollercoaster dynamic that "Lemon Tree" had. This is also Mt. Joy's first single to date that uses both Spanish and English words, the former of which are used in the first verse, adding to the exotic, tropical allure of the song. 

"Then it All Goes Away" by Dayglow: Sweet, summery pop songs made for an "alternative" audience is Dayglow's forte, and this is exactly what he does with his latest song, "Then it All Goes Away." However, something is present on this song that wasn't there on Dayglow's previous two hits, and that's how he chose to model this song after moodier, late '00s electro-pop groups like Phoenix, Passion Pit, and MGMT, as opposed to the bright, sunny '80s pop of Michael Jackson and "Take on Me." It seemed like just another Dayglow song until I found out Sloan Struble (who, himself, is "Dayglow") used those bands as influences, and having taken another listen to the song just now, I can hear a bit of MGMT and Phoenix influence, leaning more towards the synth-heavy stuff of the former's late '00s output than the slightly more guitar-driven stuff of the latter's album of the same era.

"There'd Better be a Mirrorball" by Arctic Monkeys: You'd probably never think that an Arctic Monkeys song could sound like a complex cross between Frank Sinatra and 1960's baroque-pop, yet that's pretty much what you get with Arctic Monkeys' latest song, "There'd Better Be a Mirrorball." The song sounds like it belongs in a much more distant era than the one it came out in, but perhaps that's part of the point to the song. Maybe Alex Turner and co were tired of their more jagged "alternative" sound and wanted to transport their listeners to a time when even their own parents might not have been alive when things were safer and more predictable (or so we would like to think). Even the lyrics (i.e. "old romantic fool") seem somewhat Sinatra-esque. About the only thing that prevents this song from being mistaken for the product of a bygone era are Alex Turner's husky, perishing vocals, more suited to alt and indie than they are to the "crooner" genre. 

New songs for August 31st, 2022

 here they are:


"Saturdays" by Broken Bells: Knowing that Broken Bells started out as a side project of James Mercer from The Shins, one should not be surprised to hear an overt Beatles influence in Broken Bells' latest song, "Saturday." Unlike the folk-y, jangly Rubber Soul-era Beatles material that The Shins typically seem to go for, "Saturdays" is more reminiscent of the swirly psychedelia of albums like Revolver  and Sgt. Pepper's Lonely Hearts Club Band. Both the drone and shakiness of the guitar in the song recall songs like "Lucy in the Sky With Diamonds" and "Within You, Without You." Lines like "kept me gettin' high 'til you were mine" only accentuate the song's already trippy vibe, and the lyrics overall seem to be about the surreal nature of time. Far out, man!

"Weird Goodbyes" by The National (featuring Bon Iver): Two indie-folk/rock heavyweights who have been around roughly since the late 2000's and have only gotten more popular from there, The National and Bon Iver's latest collaboration, "Weird Goodbyes," isn't so much "weird" as it is poignant. Matt Berninger's deadpan yet forlorn vocals against bittersweet, piano-based music almost seem to channel Leonard Cohen here, albeit against a hip-hop influenced percussion section. The song is one of realization of how difficult modern times have been for society to handle, as if sensing a "goodbye" is imminent. That is to say, a goodbye from the world itself as we once knew it. 

New songs for August 24th, 2022

 Here they are:

"Blood on the Tracks" by Marcus King: With "Blood on the Tracks," blues-rocker Marcus King continues with his throwback 1970's-inspired sound. Taking musical cues from both Creedence Clearwater Revival's "Born on the Bayou" and the CCR-soundalike song, "Long Cool Woman (In a Black Dress)," "Blood on the Tracks" is a slinky, blues-y vamp with lyrics that as rooted in the blues as the music is. The song has a similar lyrical theme to many older blues tunes in that it concerns someone who is in the midst of making a difficult decision between the sensuous allure of music and the more purifying ways of spiritual life.

"Out of My Head" by First Aid Kit: "Out of My Head" is a phrase that some people might think apply to First Aid Kit themselves when they hear this song, as it appears that after about a decade of folk-rock, the Swedish songbird sisters of First Aid Kit have finally surrendered to synth-pop. Chances are, no one saw this coming (I certainly didn't). Apparently, they wanted a sound that was closer to musicians like Kate Bush and 1980's-era Stevie Nicks, both of whom have dabbled in the folk-rock sound as well at times. "Out of My Head" is about being trapped inside your mind and wanting to escape from it, and the throbbing urgency of the song's instrumentation certainly seems to indicate this, yet it still contains the yearning fervor present in most other First Aid Kit songs.

"Stay Out of It" by Michigander: This song features Michigander at their most U2-ish so far. The riffs on the chorus could have easily been influenced by a song like "Where the Streets Have No Name." The more bass-laden verses make for an interesting contrast with the more driven vibe of the chorus. Not a whole lot more to say about this song, but it's a good one.

"Tippa My Tongue" by Red Hot Chili Peppers: This song marks a return to form for RHCP. The mixture of funk and rock they started out with did get featured in a few of the songs they did from the '90s onward, but it wasn't near as common as what it was when they started out. "Tippa My Tongue" brings back the freewheeling and somewhat goofy funk-rock the Chili Peppers started out with, and even features a few "rapped" sections during the verses. 

New songs for August 17th, 2022

 here they are:


"Burning" by Yeah Yeah Yeahs: Karen O and the YYY's return to guitar-based music on their latest song, "Burning," at least a little bit. The song is mostly dominated by piano in the beginning and then a synth-string "orchestra" later on, but it's not the instrumentation, necessarily, that makes this song so special. First of all, it's the style that the YYY's chose to go for here. The verses, in particular, seem to recall "girl groups" of the early 1960's such as The Ronettes, The Crystals, and The Chiffons with their pristine pianos on top of trembling tambourines. Although the string section is synth-laden, it still sounds compelling enough to lure listeners in. The subject of the song is also worth mentioning, as it is one of a growing number of songs to address climate change (albeit in a subtle manner, in this case). The imagery of the song is fittingly fiery to its torrid title, but Karen could easily be addressing an actual fire or a metaphorical one here, if not both!

"Lucky Ones" by Julian Lennon: With George and John long gone and Ringo's work not near as well-known to the public as the other members, Paul McCartney has been the only Beatle to remain active in the music scene into the 21st century. However, on a few occasions through the new millennium, John Lennon's kids have kept the Beatle flame burning, even for just a brief moment. Sean Lennon got minor attention for his folk-y, Elliott Smith-esque "Dead Meat" in the mid 2000's, and now it's Julian Lennon's turn to shine in the limelight for the first time in decades! An anthemic, piano-laden song with neat guitar flourishes in the background, "Lucky Ones" is a song of hope during a time of despair. He seems to want to embody the spirit of peace and love now just as much as his dad did in the 1960's and '70s. Like our previous entry, "Lucky Ones" also addresses the plight of climate change, but does so in a way that offers hope to future generations.

"Problem With It" by Plains: If any of you indie-folk fans are hearing this song for the first time and think that its lead vocalist sounds familiar, that's because those are the vocals of Katie Crutchfield from indie-folk group, Waxahatchee. Plains is her side project, and their debut song, "Problem With It," almost sounds like a "sequel song" to Waxahatchee's "Can't Do Much," a mellow country-rock tune in B flat, much like this one is. Adding to the song's country vibe are its "heartbreak out on the road" lyrical theme, as well as the instrumental help the song receives from Jeff Tweedy (Wilco)'s son, Spencer, and Jay Farrar from alt-country groups Son Volt and Uncle Tupelo. 

"Soul Sweet Song" by The Tedeschi-Trucks Band: One of the TTB's more bittersweet songs, "Soul Sweet Song" is a melancholy (yet still sweet and soulful) tune for a good reason. It's a tribute to the group's now former keyboardist, Kofi Burbridge, who died in 2019. While the song is poignant, it's not completely sad, due to its major key, the honey-drenched harmonies of Tedeschi and Trucks, the soulful horns that punctuate the song, and Tedeschi's trademark blues-guitar sound spreading joy through the sadness that might have permeated this composition otherwise. This is the way to do a tribute song, if you ask me!

"Spit of You" by Sam Fender: While many of Sam Fender's songs tend to evoke the anthemic yet melodic rock sound of acts like Bruce Springsteen and U2, "Spit of You" has a more bittersweet jangle evocative of groups like R.E.M. with soulful acoustic guitars layered with cleanly distorted electrics and a sweet sax solo at the end. The title of the song probably refers to the phrase "spitting image," as the song revolves around the bonds between fathers and sons. "Spit of You" also notably slower than the other songs Sam has gained attention with, although it isn't too slow of a song. Sam showing off his sensitive side is so sweet and sublime!

"Tangled" by Ceramic Animals: Pennsylvania's Ceramic Animals have been around since 2013, but this marks the first time adult alt radio has taken notice of them. The laid-back blues/country/folk/rock combo of their breakthrough song, "Tangled," sounds so much like one of Dan Auerbach (Black Keys)'s solo songs that I was convinced he was part of Ceramic Animals! As it turns out, he is not, but there seems to be a striking similarity between Auerbach's work and Ceramic Animals' sound, so perhaps he produced it. Not any wonder, then, that Ceramic Animals opened for The Black Keys recently!

"Vault of Heaven" by Pixies: Interesting that this is the second Pixies song (to my knowledge) that has the word "heaven" in its title (the first would be "Monkey Gone to Heaven," which ranks among their best-known songs) since The Pixies seem a bit too warped and dark to address ideas like heaven in their music. "Monkey..." was a rather twisted and angry environmental protest song, though, and "Vault of Heaven" seems to be almost satirical in a way. Perhaps part of the reason this gritty alt-rock take on "spaghetti western" music even uses the word "heaven" in the first place is to rhyme with "7-11." Lead singer Frank Black seems to weave a short yet compelling tale in "Vault of Heaven" how paradise isn't all that it's cracked up to be, as though it's useless to try to attain idealism in life. Dark and cryptic, as many Pixies songs are, but this one seems more noticeably country-rock than a lot of their stuff is. 

Boy, oh boy! "B" songs!

 Once again, only two songs that both begin with the same letter. Here they are:


"Bad Love" by Dehd: An interesting, compelling mix of indie-rock guitars and techno-pop beats and synths, Dehd's breakthrough song, "Bad Love," starts off slow, imitating the rhythmic pattern of The Ronettes' "Be My Baby" before quickly sliding into a faster pace for the rest of the song. "Bad Love" is a song about recovery from toxic past relationships with the hope that one will start to bond more with themselves than with people they don't quite fit with.

"Boy" by The Killers: This song finds The Killers sounding closer to their namesake, New Order (New Order's "Crystal" video featured a then-fake band called "The Killers"), deftly combining atmospheric techno-pop with only the occasional use of electric guitar. The song's icy vibe could be attributed to how lead singer Brandon Flowers wrote the song as both a cautionary tale for his teenage (at the time) son and as a song of self-reflection of what life was like for Brandon when he was a teen himself. The titular "boy" could be both his son and himself, as he repeatedly urges him not to overthink things. 

Good Grief! "G" songs!

Here they are (as indicated by the title of this article, they both start with "G"):

"Gold" by The Lone Bellow: Even bands who have stuck to the folk-rock sound for longer than others, such as The Lone Bellow, are hopping aboard the electro-pop bandwagon now. Go figure, eh? The Lone Bellow's latest song, "Gold," sounds nothing like what their other material has so far. The title might be an allusion to drugs, also, since the song addresses the problem of opioid addiction. "Gold," then, might be opium itself? It's as good a guess as any! With five records now under their belt, I'm not sure why The Lone Bellow abandoned the folk-rock ship so suddenly, but I guess if it works for their fans, it works for me, too. It's just a little disappointing for me to see this shift away from guitar and towards the synthesizer for someone who has been a guitarist for 22 years now. 

"Grace" by Marcus Mumford (from Mumford and Sons): To reference the title of one of Mumford and Sons' earlier songs, M & S ended up being "Hopeless Wanderers" from their third album onwards in terms of finding a suitable sound. Thankfully, lead singer (and namesake), Marcus, seems to have found his way back to folk-rock, albeit with a more roots-y John Mellencamp-ish tinge, as opposed to the more Celtic-influenced folk sound he started with. The lyrics to the song don't seem too different from what Marcus attempted with his "Sons," revolving largely around the quest for redemption in the guise of a love song, but its sound offers something that simultaneously nostalgic and fresh for Mumford's longtime fans! 

New songs for July 27th, 2022

 here they are:

"A.M. Radio" by The Lumineers: The Lumineers' latest song is a bittersweet folk-rock tune, like most of their material is. What separates "A.M. Radio" from their other tunes, however, is its lyrics. The lyrics of the song center around how you can't avoid your life's purpose no matter how far you try to wander away from it. The song evokes a feeling of nostalgia as well, as can be inferred from the title. (I mean who really listens to A.M. radio anymore, or any commercial radio, for that matter?) This is one of those songs that's just meant to give a feeling of comfort to its listeners.

"I'm Just a Clown" by Charley Crockett: I'm just a clown, yes I'm only a clown, and I'm sittin' here on...oh wait, wrong song! "Schoolhouse Rock" references aside, "I'm Just a Clown" is a good song, and one that will sit well with people who have coulrophobia (fear of clowns). The word "clown" in the context of the song simply means "foolish person," not someone with white makeup and colorful, goofy hair who entertains children at birthday parties. As for the song itself, there's also a story to tell there, since it combines country music with soul music, a rare but intriguing trend from the past few years that musicians like Sturgill Simpson have brought to the limelight. If the name "Crockett" sounds familiar, Charley is actually a distant relative of Davy Crockett - yes, THAT Davy Crockett. You know, "King of the Wild Frontier"? 

"The Otter" by Caamp: Folk-rock is a common feature of Caamp's music, but their latest song, "The Otter," sounds a bit more like their take on Mumford/Lumineers-styled songs than it is like the more roots-y sound they typically go for. The song is a love ballad, and its instrumentation seems to have everything that was common to the "neo-folk" boom of the early 2010's: rhythm punctuated by handclaps and snaps, a good mix of acoustic guitar and banjo, sweet harmony vocals, and unconventional guitar tuning (The last of these features seemed specifically common to Mumford and Sons songs, though. Most Lumineers songs use more conventional tuning). It also seems more pop-y than what Caamp typically go for, but by no means is this a bad thing. It could help them gain a wider audience!

"These Are the Days" by Inhaler: Inhaler's "Cheer Up Baby" was one of the catchiest songs to dominate the alt and adult alt airwaves of 2022! It seemed to cement Inhaler as the Irish answer to Scotland's Franz Ferdinand, composed almost entirely of riffs instead of chords except in the middle. Inhaler's latest song, "These Are the Days," seems pretty riff-heavy as well, but instead of relying on the angular pop/rock take on post-punk that Franz Ferdinand were known for, "These Are the Days" sounds a bit more like actual Irish rock, with more than a few nods to U2 in terms of its anthemic yet still warm and melodic sound. In contrast to the more subversive vibe "Cheer Up Baby" had, "These Are the Days" seems more sincere and hopeful than its predecessor. 

New songs for July 20th, 2022

 here they are:


"Brad Pitt" by Coin: Why name your latest track after one of the most well-known actors of all time? Because you're using him to represent the idea of eternal youth, that's why! The celebrity's name is not mentioned even once in the song, but in Coin's latest song, the deceptively catchy "Brad Pitt," the indie-pop trio challenge the idea of eternal youth being something worth celebrating. After all, everyone grows old someday. Coin don't really confront the problem head-on as much as they mock it, singing "keep me young forever" during the chorus in a manner that could be interpreted as being partially sarcastic.

"Here to Forever" by Death Cab for Cutie: Musically, Death Cab's latest song, "Here to Forever," picks up where their 2018 songs left off, giving off a lite-goth-rock sound of sorts. It's lyrically, however, where the song really has some weight. Even in the opening lines, Ben Gibbard has deep and rather dark thoughts about the impermanence of life, commenting how everyone he sees on 1950's movies is no longer alive. He spends the rest of the song trying to come to terms with how he, too, will go one day, while still having a sliver of hope that "forever" might be a possibility if there is an afterlife.

"Hurts (But it Goes Away)" by The Head and The Heart: The intro to this song is cool, using a bass in place of the expected piano and/or guitar, but those two instruments do make their way into this song around the 15-second mark. The Head and The Heart's latest song, "Hurts (But it Goes Away)," continues in the more mainstream pop/rock direction the band have taken roughly since the mid-2010's, adding slightly more artificial synth-y instrumentation in back of the central role the piano takes in the song. These days, it's hard to tell if a song like this is a plea for a lover to come back, or if it's about life itself and wanting reassurance from it. I would opt to say it's the latter, though, given both the time it's come out in and how it doesn't seem to be addressed to a specific person.

"It Ain't Over" by The Black Keys: Much like their song "Wild Child" from earlier this year, "It Ain't Over" is another song in The Black Keys catalog that attempts to mix funk and blues-rock into one thing. The song has a very '70s R & B sound and rhythm, but Dan Auerbach's trademark fuzz-guitar sound is still in here, especially during the chorus. A powerful and catchy tune, no doubt about it! The only weakness this song has is probably its guitar solo at the very end, which feels rather anticlimactic compared to the rest of it.

"Records" by Weezer: Seems like as Weezer have aged, they've lost the ability to rock that they once had. I personally have mixed feelings about this myself. I actually think they're really good at being a sweeter and more melodic group, but songs like this one tend to fall flat. Specifically, on "Records," Weezer use a synth-y pop sound for their verses and a chunky, almost "More Than a Feeling"-ish guitar riff during the chorus that rocks a bit less than Boston despite trying to boast otherwise. Not the best mix if you ask me, yet there's still something winsome and fun about this track. 

New songs for July 13th, 2022

 here they are:


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

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

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

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

New songs for July 6th, 2022

 here they are:


"Cracker Island" by Gorillaz (featuring Thundercat): Thus far, no Gorillaz song has reached near the levels of popularity and catchiness that "Feel Good, Inc." and "Clint Eastwood" have, but no song that these fictional, non-human primates have recorded has been lackluster, and "Cracker Island" is no exception to the rule! Contemporary R & B musician, Thundercat, guests on Gorillaz' latest song, "Cracker Island," a song whose apocalyptic lyrics slip under the radar thanks to its super-catchy sound. How a "band" of musicians who are figments of Damon Albarn's imagination have managed to outlast many three-dimensional, human-led bands is truly a wonder to behold, but if you consider that just about every hit they've had has managed to get into the heads of many creatures who aren't "Gorillaz," it should make sense. 

"Miles and Miles" by The Heavy Heavy: Hey hey! Is there an echo, is there an echo, in here, in here?! Both the song title AND the band who does it contain repetition! "Miles and Miles" is the debut song of the American-sounding British duo, The Heavy Heavy, and its country-rock sound is fitting to its theme of being on the road. The song's simultaneously mellow yet energetic sound combined with its road-centered lyrics make this one a great summer treat!

New songs for June 29th, 2022

 here they are:


"Big Time" by Angel Olsen: You would have never expected the singer of a Morissette-esque song like "Shut Up Kiss Me" to have turned to country for her next song, would you?! Well, that's exactly what happens here with Angel Olsen and her song, "Big Time." The song brings to mind some of the more countrified songs of groups like The Grateful Dead, The Band, and Crosby Stills Nash & Young. The song plays out like a typical country lament of a "lost love" as Angel pines for a relationship she has lost. 

"Hospital" by Madison Cunningham: On the other hand, you could also start out more quaint and folks-y and then have a more angst-ridden song afterwards! Such is the case with Madison Cunningham, whose jazz-folk-y "Pin it Down" seems rather quiet and subdued compared to her latest song, "Hospital," which seems like it could easily fit on an alt or soft rock station of the mid-'90s with a sound similar to songs of the era like "One of Us" or "Everyday is a Winding Road." Like our last entry, "Hospital" is also about a breakup, but approaches the subject more from a world-weary, disappointed point of view than a bittersweet one.

"My Babe" by Spoon: One of the more sensitive, folk-influenced songs in Spoon's catalog, "My Babe" is, to date, the most bittersweet song that Britt Daniels and co have attempted so far! Spoon are no strangers to folk-rock, as songs like "The Underdog," "I Summon You," and "Do You?" all illustrate, but "My Babe" is their first indie-folk song that's more tender than quirky. Electric guitars do come midway through the song, but they don't change the sedate mood of this track. The lyrics are also very sweet for Spoon, who typically opt more for songs where no one can quite figure out what they're about. "My Babe," clearly, is a love song, as can be inferred from the title alone!

New songs for June 22nd, 2022

 here they are:


"Anything But Me" by Muna: All-female indie-pop trio Muna combines the Fleetwood Mac-ish harmonies that dominated the 1970's with the shiny, plastic synth-pop sound of the 1980's. Their latest song, "Anything But Me," utilizes both of these factors to great effect as lead singer Katie Gavin weaves a tale about a relationship gone wrong. More specifically, "Anything But Me" is about a relationship Katie opted out of simply because it didn't feel right for her. 

"Free" by Florence and The Machine: After the atmospheric, moody pop of Flo's latest song, "My Love," her summer 2022 hit, "Free," seems poised to be one that is more suited to the upbeat vibes people typically associate with summer. The song is one of Flo's more spirited numbers. Just as "Shake it Out" shook off her inner demons in 2011, "Free" seems to be doing the same thing in 2022. The main difference, of course, is that Flo was not suffering through a pandemic in 2011. "Shake It Out" was more about trying to relieve stress after a hangover (which her 2015 song, "Ship to Wreck," seemed to be about as well). There's no tipsiness that I can tell in "Free." Instead, this is a song where Flo releases her tension the way that pretty much anyone else has these past two years, whether sober or drunk. Everyone has been feeling anxiety lately, and Flo puts those frazzled feelings to the forefront on "Free"! 

"McKenzie" by Houndmouth: With Houndmouth's tendency to sing about life on the road, I thought "McKenzie" might have been the name of a person OR place. As it turns out, it's the name of a person (I personally prefer the spelling "Mackenzie," but I digress). The song, whose sound is a welcome return to the folks-y roots-rock Houndmouth started out with, is ostensibly a love song, but not one that declares Matt Myers' love for another person, but rather one that vents frustration about how he wants to love the titular McKenzie but can't. Matt reminisces about how they first met over the course of the song's two verses, but it's more of a bittersweet reminiscing than it is nostalgic.

"Run Away" by Jocelyn and Chris: Brother-and-sister blues-rock duo, Jocelyn and Chris, sing of hope gone lost on their latest song, the fiery, Melissa Etheridge-esque song, "Run Away." The song seems to attempt more of a mainstream rock sound that is vaguely "alt" inspired than the blues-y flavor most of their songs have, and the song's rather urgent theme is probably one reason why it sounds like it does. The title, "Run Away," seems to hint at just escaping from having to hold out hope during seemingly hopeless times. Indeed, stress has been hitting many of us quite hard lately, including those with more neurologically stable mindsets. This flame-fueled folk-rock-ish tune might be just what some of us need. 

"Want Want" by Maggie Rogers: Maggie Rogers has been around for a few years now, but "Want Want" marks the first time in her career that both alt and adult alt radio stations have paid attention to her. Perhaps it's the song's propulsive, driving bass line, or maybe it's equally throbbing, synthetic percussion. The song's dynamic performance at the most recent Coachella concert might be yet another reason that "regular" alt stations are finally starting to pay attention to her music. Whatever the reason, though, there's no denying that "Want Want" might just be the catchiest song she's put out yet! Her material is typically more low-key than "Want Want" is. This might earn Maggie a whole new audience, but I'm sure she has no regrets about that!

New songs for June 15th, 2022

 here they are:

"Blood Runs Red" by Matt Maeson: A fast and somewhat dark folk-rock waltz that turns quickly to an Imagine Dragons-esque indie-alt/pop anthem ("Radioactive" and "Believer" are two songs that come to mind here), "Blood Runs Red" might just be Matt Maeson's answer to "Radioactive." Both songs seem to take place in a post-apocalyptic world. However, where Imagine Dragons seemed to accept their fate begrudgingly in "Radioactive," Matt Maeson seems to struggle with the negative changes of the world around him in "Blood Runs Red," even asking a higher power for guidance in the song's pre-chorus. To cope with the destruction of the world, Matt turns to alcohol and drugs to get him through it all. 


"Hear My Dear" by The Tedeschi-Trucks Band: If Susan Tedeschi and Derek Trucks did folk-rock music, it'd probably sound like their latest tune, "Hear My Dear." It's sort of a blues-y variant of Mazzy Star's "Fade Into You," almost identical to that song in terms of rhythm, and somewhat so in chord structure. The song is a love song, as is obvious from its title, but it seems more specifically to be a love song for the 2020's. That is to say, it's a song that seems to be saying "Let's keep our love lasting for as long as it can while we still can." Both a sweet and timely sentiment for us all.

"Spitting Off the Edge of the World" by Yeah Yeah Yeahs: Almost 20 years into their career, Yeah Yeah Yeahs have lived up to their name by making their audience say "Yeah yeah yeah!" to their ever-changing musical output. They started as a rough garage rock influenced group, but added to their sound quickly afterwards, starting with their breakthrough hit, "Maps," which was more of a sensitive alt-rock ballad than it was a brash garage rock song. Since then, they've touched upon folk-rock ("Turn Into"), and now they appear to be going in more of an icy techno-pop direction with their latest song, "Spitting Off the Edge of the World." The song is the first from the YYYs in nearly a decade, and the best part about it is that it has a strong, commanding presence, in true YYY's fashion. Lead singer Karen O has pursued solo efforts on occasion, perhaps most notably "Strange Love" for the soundtrack of the Tim Burton film, "Frankenweenie." While "Strange Love" was enjoyable for its cuteness, "Spitting Off the Edge of the World" is enjoyable because it has a frigid yet still domineering presence!

"Tek It" by Cafune: Both the band name and song title are unexplainable here! Nowhere is the phrase "Tek It" (take it?) used in the song, and nor do I have even an inkling of a clue who or what a "Cafune" even is! Mystery elements aside, "Tek It" is still a good song. A catchy techno-pop tune with alt/indie elements, "Tek It" is one of those songs that has become popular thanks to social media app, TikTok. The lines "I watch the moon/Let it run my mood/Can't stop thinking of you" comprised the tidbit most TikTok users seem to be familiar with. 

"These Are the Ways" by Red Hot Chili Peppers: After their smash alt and adult alt radio hit, "Black Summer" (which, ironically, took radio by storm in spring, not summer), RHCP rock the airwaves once again with their latest song, "These Are the Ways." The song shows a bit more chunky hard rock grit than their last song did, both in terms of Frusciante's guitar and Chad Smith's drums! Where "Black Summer" was a lament on the state of the world, "These Are the Ways" is a lament as well, but more of an angry one than a sad one. It takes on the subject of politics, and how corrupt America has become. At the same time, though, it also seems to have a begrudging stance of acceptance on that exact subject. 

New songs for June 8th, 2022

 here they are:


"Alpha Zulu" by Phoenix: Phoenix sure have interesting titles for their songs! The title for this one is literally the letters "A" and "Z" in military code! The significance of this phrase in this catchy and surprisingly dark electro-pop/rock song is fitting with its apocalyptic theme, and it's also the first Phoenix song I've heard written in minor key instead of major. According to Phoenix's lead singer, Thomas Mars, the phrase "Alpha Zulu" in the context of the song is basically another way of saying, "Mayday! We're going down!" The song seems to be about how difficult modern times are for many people, and how we are desperate to cling to visions of a more idealistic realm in order to feel safe. It's the end of the world as we know it, but unlike R.E.M., Phoenix do not appear to "feel fine." This song is urgent, and for a good reason!

"Dance Around It" by Lucius (featuring Brandi Carlile Sheryl Crow): Lucius may be duetting with two roots-y folk-rockers on their latest song, but "Dance Around It," in case you hadn't already guessed from the title, is not a folk or roots-rock song! Apt to its title, "Dance Around It" has a very vibrant, dance-pop sound to it! It is a relentlessly happy song whose intention is to bring about happiness (and dancing) to its listeners. Lucius' main members, Holly Laessig and Jess Wolfe, say that the point of "Dance Around It" is to "dance through the darkness." In other words, to take the bad times many of us have gone through recently, and to counteract those with fun, feel-good music. Sounds good to me!

"Expectations" by Lo Moon: Known for their soothing, atmospheric indie-pop sound, "Expectations" is a song that will defy your (pun intended) expectations of Lo Moon! The song is much more upbeat than the typically slow songs Lo Moon usually come up with. Setting the time machine to about 35 years ago for both its "Take on Me"-esque sound and its bittersweet lyrics reflecting on teen years (as many John Hughes films were known for doing back then), "Expectations" is a song that will probably appeal to fans of Stranger Things and other '80s-centric memorabilia that are actually present-day phenomena. "It's getting kinda hard not to blame myself," lead singer Matt Lowell mournfully sings towards the end of the song, perhaps to acknowledge how the song is not nostalgic in a sweet way, but more in a cynical manner. 

"Make a Picture" by Andrew Bird: Do you like indie-folk/pop musicians who use orchestral string instruments prominently in their songs? Great! Do you like kitties?! Even better! Perhaps it's the "running on the streets like feral cats" in the first verse that caused Andrew to make the decision for his latest video for his song, "Make a Picture," or perhaps it's just the quirkiness of Andrew Bird. Whatever the reason, though, this is the cutest music video I've seen in a long time! Fitting to the song's title, "Make a Picture"'s video also deals with taking photographs...but seriously. How can I not love a music video with KITTIES in it?! Here is the video: https://www.youtube.com/watch?v=4XdqCjtveTw

"Talk" by beabadoobee: None of beabadoobee's songs really sound like they belong in the midst of the 21st century as much as they would towards the end of the 20th. Her latest song, "Talk," is no exception to the rule, evoking heavy influence from such '90s alt-rock heavyweights as Garbage and Smashing Pumpkins. The subject matter of the song would not be out of place in a '90s alt song either. It is about Beatrice "beabadoobee" Laus being in a relationship with someone whom she knows is bad for her, but she wants to be in it anyway, and the overall tone of the song seems to be somewhere between apathetic and angst-ridden.

"Turn Up the Sunshine" by Diana Ross (featuring Tame Impala): The soul singer who reigned "Supreme" in the 1960's with two other women backing her up has returned for the first time in many, many years with indie-pop/rock sensations, Tame Impala, for a song from the Minions: The Rise of Gru soundtrack. Tame Impala provide the electro-pop backbeat of the song, but it's clear that this song is mainly Diana's from both her strong vocal presence and equally strong '70s funk inspired choice of music! The soundtrack of the latest movie featuring the quirky, gibberish-speaking...things...that look like Homer Simpson's head with one eye seems to take place in the 1970's, judging from the classic soul and classic rock hits being covered on the soundtrack, all by indie-pop artists from the 2010's. Seems like they're attempting to do for 1970's pop music what Schoolhouse Rock! Rocks did for its own music: taking music from the past and giving it a "modern rock" twist (the Schoolhouse Rock tribute album featured mainly '90s alt-rock artists since it was released in the middle of the decade). For "Turn Up the Sunshine," the people behind the Minions and Despicable Me movies took the extra liberty of bringing in an actual musician who was popular in the 1970's, and not just someone covering music from that era. "Turn Up the Sunshine" is also an entirely original tune, making it that much fresher. With Diana being only two years shy of 80, it's amazing that she's still able to sound as funky fresh as she was in her younger years!

New songs for June 1st, 2022

 here they are:


"Rock Bottom" by Kevin Morby: Want some three-chord rock and roll to satisfy your soul?! Then Kevin Morby's "Rock Bottom" might just be the song you've been looking for! The song literally has only three chords, dominated mostly by B major with quick use of A and E during the chorus. Despite its upbeat sound, "Rock Bottom" is actually a lament for indie-punk performer James Lee Lindsey Jr. (whose stage name would now be considered anti-disability but wasn't thought to be so at the time). Lindsey died when he was only 30 years old. Oddly, JLL Jr.'s stage moniker was not meant as an insult, but rather as a way to get back at those who had wronged him when he was younger. The intro line to "Rock Bottom," "They're all gonna laugh at you," is both a reference to horror film, Carrie, and to how that movie revolved around someone who had once been teased but had since gotten revenge against her wrongdoers. The title, "Rock Bottom," is probably a reference to how quickly JLL Jr. rose to stardom and flickered out as quickly as he shot to fame.

"Roman Holiday" by Fontaines D.C.: The breezy, post-psychedelic sound of Fontaines D.C.'s breakthrough song, "Roman Holiday," is probably intentional, given how the lyrics revolve around getting stoned. In a larger sense, though, the lyrics to the song are actually about how Fontaines D.C., who are Irish, felt about being able to tour in Britain, and how the two places really weren't that different to the lead singer. Some Irish rock groups tend to sound more British when they sing, and I suppose this is the case for Fontaines D.C.!

"Supermodel" by Maneskin: Italian alt-pop sensations, Maneskin, first hit the scene last fall with "Beggin'," which was actually a cover of a Four Seasons song. This time around, Maneskin provide us with one of our first sizzlin' summer hits, and one that happens to be an original, too! Like "Beggin'," "Supermodel" is a funky, super catchy pop/rock song! Lyrically, the song is a "good girl gone bad" tale of a woman who used to be religious but turned to a life of drugs and hard partying after discovering how thrilling it was to live that sort of life. The song also touches upon how vain supermodels tend to be. Almost seems satirical in a way! 

New songs for May 18th, 2022

 here they are:



"All Comes Crashing" by Metric: Metric have long been a fixture in the indie-pop/rock community, but "All Comes Crashing" marks the first time that adult alt radio stations have paid attention to their music. The sudden interest such stations now have for Metric is a bit mystifying to me, as this song does not differ much from their normal stuff in terms of how it sounds. It is essentially dance-pop synthesizers playfully clashing with gritty post-punk guitars, which is typical for Metric. Perhaps, then, it is the lyrical content of "All Comes Crashing" that adult alt radio programmers are sympathizing with. The song is ostensibly a love song, but a closer listen to the lyrics reveal how it's actually about wanting to have someone to love (not necessarily in the romantic sense) and depend on during a crisis.

"Mistakes" by Sharon Van Etten: With "Mistakes," Sharon Van Etten continues to move further from her folk-rock roots and into more electro-pop territory. Unfortunately apt to the song's title, some longtime fans of hers might think "Mistakes" IS a mistake, but the heart of the song lies in its lyrics. Even the song's title and its chorus are a reflection of how Sharon's "mistakes" can turn out to be great things after all. 

"Settling" by Ripe: It was around the mid-1980's that Paul Simon indelibly wove African polyrhythms into pop/rock music, and many musicians have followed suit with this winning combination since such as Ben Harper, Dave Matthews, and Michael Franti. The latest to join this trend is Boston quintet, Ripe, whose song, "Settling," is an upbeat, fun pop/rock song with elements of jazz and world music. Fitting to its jubilant sound, "Settling" is a song all about trying to live the life you please and celebrating it for all it's worth. 

New songs for May 4th, 2022

 Here they are:


"Falling Apart (Right Now)" by Wilco: Wilco have gone through many musical phases in their career! Psychedelic, prog-rock, folk-rock, you name it! But it's important for Wilco's fans to remember they started off as a country-rock group, and with "Falling Apart (Right Now)," Wilco have gone back to their roots. Sort of. The song is really more rockabilly than anything else. There's a definite sense of country twang in the song, but it's done to a sort of boogie-woogie shuffle. Yet another adventure into uncharted territory in the eclectic Wilco catalog!

"Hard Working Man" by Marcus King: Hard ROCKING man is more like it!! For soul/blues-rocker, Marcus King, this is probably the hardest rocking song he's had in his catalog so far! The song echoes a lot of guitar riffs 1970's rock bands and musicians such as Bad Company, George Thorogood, and ZZ Top. Marcus' riffs and sound are usually a bit smoother than that, but there's nothin' wrong with spicing up your material with rawer sounds every once in a while!

"Unconditional I (Lookout Kid)" by Arcade Fire: Yet another song from this year that showcases the more sensitive, folk-rock side of Arcade Fire, "Unconditional I (Lookout Kid)" is a song that attempts to reach out to a world that continues to crumble at the seams despite our best efforts to prevent that from happening. The song takes its main title (and chorus) from our innate desire for unconditional love, much needed in times like this, and its parenthetical title, "Lookout Kid," from what Win Butler says during the verses; essentially an attempt to warn listeners, especially teens and young adults ("kids"), that the world is a far from perfect place and that they should look out for danger (and for one another). 

New songs for April 27th, 2022

 Here they are:


"I'm on Your Side" by Nathaniel Rateliff and The Night Sweats: After having had singles with both a powerhouse soul song ("Survivor") and a more bittersweet country-rock song ("Face Down in the Moment") recently, Nathaniel Rateliff and The Night Sweats decided to combine the two factors for their latest song, "I'm on Your Side." One can infer from the title alone that "I'm on Your Side" is a heartfelt song, and it certainly is, and this gives it sort of a bittersweet flavor. However, the song's steady beat and heavy use of horns should be pleasing to fans of Nathaniel's more upbeat, soulful side. 

"Just a Little While" by The 502s: Although nowhere near as memorable as groups like Mumford and Sons, The 502s are already drawing comparisons to the famed 2010's neo-folk act for a few reasons. For one, both sound like Irish folk-rock groups with a roots-y flavor, and both also have gratuitous yet still enjoyable use of horns. The difference? Mumford and Sons sounded Irish, but The 502s actually ARE Irish. Another notable difference is how upbeat and summery this song sounds in comparison to Mumford and Sons' more melancholy winterish chill and autumnal calm. 

"Love Me More" by Mitski: I've reviewed Mitski's material a few times on my blog, but no Mitski song so far has compared to the compelling sound and surprise success of her "The Only Heartbreaker" from last fall! Will her new song, "Love Me More," outdo the success of "The Only Heartbreaker"? Time will tell. It doesn't seem too likely at this point, although both songs are catchy synth-pop based numbers. Both songs are pleas for love, although "The Only Heartbreaker" seemed to indulge more in self-pity, whereas "Love Me More" is a song of hope...kind of. There is still an urgency to this song, but at least Mitski has now moved from self-blame to the desire for love.

"Sidelines" by Phoebe Bridgers: Probably the most vulnerable song on my list for this week, both in terms of its sound and in terms of its lyrics, Phoebe Bridgers really spills her heart out on her latest song, "Sidelines." In a change of pace for Phoebe, "Sidelines" is more rooted in synth than it is in guitar, but it manages to be quite a powerful song nonetheless (the string sections in the background help to draw the listener into a deeper sense of pathos than they were already in). She claims she's not afraid of anything in the song, but that statement is clearly meant to be a cover for how she actually feels about things like aging, dying, living on a fault line (literally, in this case - Phoebe lives in Southern California like I do). "Sidelines" is such a poignant song! It is the story of someone who has survived emotional trauma, is willing to come forward about it, but still not fully willing to face what she has gone through head on. I can relate!

New songs for April 13th, 2022

 here they are:


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

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

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

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

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

New songs for April 6th 2022

 here they are:


"Ain't Killed Me Yet" by Adia Victoria: As a contemporary R & B musician attempting to bring the "B" (blues) back into R & B, blues has always been a part of Adia Victoria's sound, but it's never come out quite as strong as it has on her latest track, "Ain't Killed Me Yet"! A slow-churning yet catchy track with a John Lee Hooker styled beat, "Ain't Killed Me Yet" is a punchy, unapologetic blues-rock song that was loosely inspired by "Won't You Celebrate With Me?" by poet Lucille Clifton. Clifton's themes of racial and sexual injustice in "Won't You Celebrate With Me?" spoke to Adia, who is both a racial and sexual minority herself, although Adia seems more to be taking that sense of angst and directing it towards today's harsh sociopolitical climate, finding solace only in the fact that such heinous acts and sentiments "ain't killed (her) yet"!

"Synchronize" by Milky Chance: German indie-pop duo, Milky Chance, continue to do what they do best on their latest song, "Synchronize," combining folk-y acoustic guitars with hip-hop beats and techno synths. This eclectic sound combination is nothing new for Milky Chance, although the song's lyrics seem to have more of an idealistic hippie vibe than their previous songs did. The title of the song comes from the "synchronicity" of all emotions and that, when it boils down to one's emotional essence, the only thing people really feel in the end is love. 

New songs for March 30th, 2022

 Here they are:


"Lemon Tree" by Mt. Joy: Among Mt. Joy's already eclectic catalog, "Lemon Tree" stands out. It's probably the closest to both prog-rock and psychedelia the band has gotten so far with its feedback-drenched chorus and abrupt changes in rhythm and sound between verse and chorus. True to its name, "Lemon Tree" is both sweet and sour in certain sections! It starts off sweet before becoming a bit more weird midway through, and back and forth through the same pattern a few more times. The song itself is about the realization that you can't change what has happened to you or what you've done, but that you can bring about an aura of more optimistic energy to those around you in spite of your past failures and hardships. 

"Shotgun" by Soccer Mommy: Like their 2020 breakthrough adult alt radio hit, "Circle the Drain," Soccer Mommy's "Shotgun" also seems to indulge in nostalgic '90s sounds while still tethering itself to present-day issues. Even the intro sounds like Nirvana's "Come As You Are" if a band like either Garbage or The Cranberries were the ones performing it. Much like Kurt Cobain, Shirley Manson, and Dolores O'Riordan, Soccer Mommy's Sophia Allison is not afraid to pour out her vulnerable side, giving way to both her inner angst and inner sadness, and on "Shotgun," Sophia uses her vulnerability to try reluctantly yet willingly to accept how falling in love can cause people to feel more susceptible to emotional turmoil. 

New songs for March 23rd, 2022

 here they are:

"A Little Bit of Love" by Weezer: Weezer have strayed a long way from their loud rock roots that combined Cars-esque power pop with the then-current trend of grunge. Weezer's latest song, "A Little Bit of Love," doesn't sound a thing like that! The song's title by itself indicates its optimism, and the actual song, with its sunny upbeat sound and chipper acoustic guitar strumming, is a sweet song that wouldn't sound out of place on a show like Yo Gabba Gabba (where they once made a guest appearance, coincidentally). I guess for some people, rock and roll IS "just a phase"! 

"Goodbye Mr. Blue" by Father John Misty: There's no predicting what you'll get from a Father John Misty song! He's tackled everything from folk-rock to electronica to standards to Baroque pop and everything in between! In the bittersweet "Goodbye Mr. Blue," though, Misty goes back to his folk-rock roots. With the words "goodbye" and "blue" in its title, you could probably imagine that this isn't going to be a happy, upbeat song. However, it still evokes strong feelings of nostalgia with its plaintive, soul-searching sound. And who, you may ask, is "Mr. Blue"? It's actually a cat that Father John Misty used to own! This song is a sweet, sentimental ode to FJM's furry feline friend. How sweet!

"The Lightning I, II" by Arcade Fire: Prog-rock might not have been a big thing since the 1970's, but Arcade Fire, along with Muse, are one of the few indie-pop/rock acts to carry its influence over to the new millennium! The first part of this two-part epic is one of the more bittersweet, folk-rock-y Arcade Fire songs. By the second half of the song, it gets slightly more upbeat, but still sweet-sounding and melodic as it was during the start. The lyrics of the song concern friendship and the feeling of always being able to depend on one another through hard times. The "lightning" that Win Butler and co are waiting for that gives the song(s) its title(s) might be a spark of inspiration. That spark has certainly struck the band here! In mid to late 2010's, Arcade Fire lost the more folk-y side of their sound, which they displayed eloquently in the late '00s and early 2010's. In "The Lightning," what was once lost has now been found!

New songs for the day before St. Patrick's Day

 here they are:


"Believe" by Caamp: The already mellow neo-folk-rock group, Caamp, are at their mellowest yet with their latest song, "Believe." The song is a song of reassurance. Although the subject of the song is addressed as "baby," it's really meant to be a song for any listener who feels down on their luck and needs some uplifting words to make their day. Sometimes that's just what we need!

"My Love" by Florence and The Machine: Flo and her magic Machine have been all about stretching the boundaries of what a musical genre can sound like during an era where music seemed to sound more and more the same with each passing year. With "My Love," FATM continue to mix different genres into one and still make it sound catchy. The first 30 seconds sounds like a choir rehearsing, and then we're hit with a pop beat and Flo's unmistakable vocals immediately after. The lyrics of the song are mournful, contrasting with the song's memorably upbeat sound, and there's a reason for this. Flo apparently wanted the song to be slow and sad, but when she tried it out as a dance-pop tune with Baroque influences, it worked perfectly!

"Warning Signs" by Band of Horses: I like all of BOH's material, but my faves of theirs are when they show off their more sentimental side (especially "No One's Gonna Love You," which introduced me to their material). Their latest song, "Warning Signs," is in that vein, but this is more than just a pretty song. It's also a sad one, inspired by lead singer Ben Birdwell's unfortunate temporary vocal chord loss during a tour that BOH had in Australia. He had been so overworked during that tour that he broke down crying, which ultimately resulted in him losing his voice during the tour. This is why the song opens with lyrics about seeing a registered nurse and trying to hold back tears. The song's already emotionally driven sound becomes even more so once you realize the story behind it!

"Wild Child" by The Black Keys: Blues-rock and garage rock are already a part of most Black Keys songs, but funk is not exactly a common element in their material. Until now, that is. Their latest song, "Wild Child," opens with a "chicken scratch" guitar sound common in funk music, and its rhythm suggests funk-rock more than it does blues or garage rock, too. The song even has a string section in the background that wouldn't sound out of place in an actual 1970's soul song. The Keys have still maintained their garage and blues-rock roots, though, with a sharp guitar solo that owes much to classic rock guitarists. 

New songs for March 9th, 2022

 here they are:


"Harness the Wind" by Calexico: Paul Simon has become something of an unintentional indie-folk and indie-pop icon in recent years. Vampire Weekend have a lot of material that sound like Graceland outtakes, and more recent songs like Phosphorescent's "New Birth in New England" also tend to evoke the exotic, chill vibes of the album. Calexico are the latest to jump on to the Simon-influenced bandwagon with "Harness the Wind," which also sounds like it could have been a Graceland outtake. The rhythms of the song are hypnotic and otherworldly, and the gentle, breezy electric guitar sound weaving in and out make for a pretty Simon-esque song as well. Lyrically, "Harness the Wind" is a song of hope, and it features Iron & Wine's Sam Beam on backing vocals in one of the few instances he sounds more upbeat.

"Heavy Heart" by Bartees Strange: Black indie performers are not as uncommon as one might think. TV on the Radio have made a name for themselves with their ethereal mix of post-punk and funk, and the saucy folkie Kimya Dawson, best known for her contributions to the Juno soundtrack (and a fantastically irreverent children's album shortly after), is another notable name in said category. But neither one are just straight up "indie" in the contemporary sense with a sound that evokes something like early Coldplay for a more contemporary audience. This is where Bartees Strange comes in. His breakthrough song, "Heavy Heart," has a sincerity that makes him seem like he'd be perfect for the soundtrack to a slightly melancholy coming-of-age romantic film in the manner of The Fault in Our Stars. There's a good reason the song sounds as emotional as it does, too, and that is because the song is about missing his family while he's away touring on the road. 

"Softly" by Arlo Parks: I've sadly overlooked the music of the 2020's neo-soul sensation, Arlo Parks. Until now, that is. The uniquely whispery yet seductive piano-based sound of "Softly" got me to jump onto the Arlo Parks bandwagon too. Beneath the shimmery sound of this sultry song lies a gentle yet urgent cry for help. When Arlo yearningly croons "break it to me softly" during the chorus, she is actually acknowledging what it is like to have a relationship crumble at the seams even though you might still be in love with the person you're having thoughts about breaking up with. Love can be a strange and delicate thing, and thankfully, Arlo understands and is willing to put these fragile feelings to the forefront here.

"Watching Strangers Smile" by Parquet Courts: Parquet Courts have been around for a while now, but it's only now that they're getting noticed by adult alt radio stations. Perhaps this is because most of their material is a bit too rough and ragged for the format. In a surprising change of style, "Watching Strangers Smile" sounds more like a sunny, sweet, summery power pop song than it does like the garage rock they usually do. The song's fun, upbeat guitar-based sound is backed by a synth in a way that evokes groups like Fountains of Wayne, or perhaps a slightly less rocking version of The Cars. Despite the song's retro sound, it is definitely a 2020's song, particularly for the line where the lead singer is "paranoid (his) mask will slip," and it's likely not a metaphorical mask, if we are to go by the lyric before that which talks about going to the store to buy a beer. 

New songs for March 2nd 2022

 here they are:


"Becoming All Alone" by Regina Spektor: The quirky yet sensitive music of Regina Spektor was all over the adult alt airwaves during the mid to late 2000's, yet her power just didn't seem to stay as strong in the decade that followed. She was kind of like an unlikely but irresistible cross between Tori Amos and They Might Be Giants. "Becoming All Alone" is a bittersweet comeback song for Regina. The song might be a bit more electro-pop than the less flashy piano-pop that Regina's fans might be used to, but it really gels in this song, which gradually adds other instruments like percussion and brass as it goes on, winding down towards the end into a more typical piano-and-strings Regina song. As is to be expected with Regina, oddball lyrics (such as "I asked God, 'Please call my name,' and I said, 'Hey. Let's grab a beer") accompany a more somber musical sound. Her mid '10s song, "Bleeding Heart," was somewhat of a disappointment, but I think she's come back to her musical roots with "Becoming All Alone." Welcome back, old friend!

"Come Back" by Trombone Shorty: The sounds of '60s and '70s soul have always been part of the Trombone Shorty sound, but on "Come Back," he really flaunts that sound! As one might think with a title like "Come Back," Trombone Shorty's latest song is basically a lovesick plea. The lyrics aren't anything new to the music world, but the way Shorty delivers his music and the passion with which he delivers it inject fresh life into the rather stagnant musical climate of the 2020's. Fans of early '70s R & B will probably dig this song, and, true to his stage name, Trombone Shorty has heavy use of brass in this song, as he does in all his material. 

"Everything's Electric" by Liam Gallagher (Oasis): Two of the major players of '90s rock collide in the Oasis frontman's latest song, "Everything's Electric." In addition to Oasis finding new musical life, Foo Fighters also do in this song, in which FF's lead singer Dave Grohl is featured on the drums! The song overall sounds like some of the attempts at "new" music that vintage rockers like The Rolling Stones, U2, and Lenny Kravitz have attempted during the new millennium. In other words, it definitely sounds like a rock song, but it doesn't sound like it's trying to add anything in that hasn't been done before. How a notoriously friendly guy like Dave Grohl and a notoriously unfriendly guy like Liam managed to make it work here is anyone's guess, but the chemistry is noticeable here and it works somehow. 

"Highest Bidder" by Fantastic Negrito: Like our entry from two songs ago, this song is also a foray into '70s R & B in the modern era. Fantastic Negrito's "Highest Bidder" really captures the more minimalist side of the funk movement, with almost the entire song defined by just the E minor chord (and guitar solos being played over it sometimes). The song is not without a dose of dark humor either, taking on such topical issues as racism, capitalism, and other subjects of a political nature while both gleefully and sarcastically singing in the chorus that "Everything goes to the highest bidder." In other words, Fantastic Negrito is commenting on how the greedy people of the world are profiting while those on the lower yet more generous end of the economic totem pole are suffering. Fantastic Negrito clearly knows what he's talking about here and isn't afraid to put it in our faces! The song culminates with an E minor riff that's noticeably more distorted than the rest of the song, perhaps as a way of symbolizing the anger he feels throughout the song and just letting it all out for the last few seconds!

"Made Up Mind" by Bonnie Raitt: Not actually a Bonnie tune, but actually one from the bluegrass-influenced rock group, The Brothers Landreth, that came out in the mid-2010's. The original version wasn't very memorable, but Bonnie has a knack for making just about anything she does good, and her cover of "Made Up Mind" is no exception. She turns the mild country sound of the original into a slinky, blues-y vamp all her own here! The fact she is now two years past 70 and still churning out juicy blues-rock tunes just as she did at the start of her career is also truly a wonder to behold!

"Problems" by Neal Francis: Neal's first big adult alt radio hit, "Can't Stop the Rain," had a very blues-y, gritty sound to it that quickly caught on with its demographic! His followup song, "Problems," is not as blues-y, but still attempts to go with the whole "blue-eyed soul" feel that he had with his first big song. In fact, the song sounds an awful lot like something Hall and Oates, arguably the best-known blue-eyed soul group of the 1970's and early '80s, would have come up with, though it has noticeably more synth than the typical H & O song does. Perhaps it's the song's seamless, fluid mixture of meaty rock riffs, crooning vocals, and soulful rhythm that give me the H & O vibes here. Also distinguishing "Problems" from its predecessor, "Can't Stop the Rain," is the fact that "Problems" has a bridge that doesn't quite sound like the rest of the song does that almost feels like it doesn't need to be there, yet it still comes back strong in the end. 

New songs for February 23rd, 2022

 here they are:


"If I Don't Hear From You Tonight" by Courtney Barnett: If the sardonic, deadpan Courtney Barnett is going to give us a love song, you know it's not gonna be an ordinary love song. Such is the case here with her latest song, "If I Don't Hear From You Tonight." With lines like "stars in the sky are gonna die" and "all my fears collided," you can tell that negative emotion fuels this deceptively sunny jangle-pop influenced track, but these lines are really just a venomous veneer for Courtney's vulnerability in the song. She's fragile and emotional just like we all are, and on this song, she lets that all hang out!

"Like Exploding Stones" by Kurt Vile: No, this is not a cheeky answer to Bob Dylan's already infamously jagged "Like a Rolling Stone," despite how the title of this song might sound to some. Kurt Vile takes a far loftier and spacier path than Dylan for this 7-and-a-half minute psych-folk-rock epic. The title of the song is actually a creative way to describe either Kurt's mental state, his mind on drugs, or perhaps both. Combining a swirling, sprawling electric guitar, a mellow acoustic guitar, and a warbling synthesizer to tie them together, "Like Exploding Stones" is one of Kurt Vile's headier moments. Why it needs to be as long as it is is anyone's guess, but perhaps part of that has to do with wanting to evoke a "jam band" and/or prog-rock vibe into this trippy tune.

"Ride or Die" by Hippo Campus: After two loosely folk-influenced songs, we find ourselves ending this week's blog with a more modern-sounding electro-pop song. Hippo Campus have been a synth-reliant band for a while now, but with "Ride or Die," they appear to be attempting to sound more mainstream than their previous stuff was. The lyrics to this song also seem somewhat repetitive, and it doesn't really seem to have a lot of chords besides A or D. For a once quirky band, "Ride or Die" is somewhat of a disappointment, but perhaps it'll propel Hippo Campus to more widespread fame than they had previously. 

New songs for February 16th, 2022

 here they are:


"Bad Dream" by Cannons: Electro-indie-pop group, Cannons, had one of the biggest hits of 2021 with the slinky, passionate "Fire for You." Currently climbing up the alt charts and scratching the surface of the adult alt charts is the song slated to be Cannons' second big hit, "Bad Dream." The song basically tells the tale of how lead singer Michelle Joy has been stood up by someone she has deep admiration for. That can indeed make someone feel like they're living in a bad dream! In contrast to the funky, echoic guitars in the background of "Fire for You," "Bad Dream" doesn't seem to feature any guitars at all, instead relying on synthesizer as its main instrument.

"Good Day" by Seratones: This marks the third time I've heard a song by Seratones, a Louisiana trio who combines vintage R & B sounds with fuzzed out, psychedelic guitar sounds. After the fiery "Gotta Get to Know Ya" and the righteous indignation of "Over You," "Good Day" might just be Seratones' first feel-good song! At least, the first feel-good song that has become a hit for them. According to lead singer, A.J. Haynes, Seratones intentionally chose a feel-good sound for both this song and its album as a form of protest, oddly enough, as Haynes feels that getting through tough times with joyful emotions is the type of protest she's "most interested in" for the time being. 

"Porta" by Sharon Van Etten: Through a stark electro-pop sound, Sharon Van Etten weaves a rather dark tale about how she feels about being stalked by someone, and how she wants to break free from it. The song serves as a message to her stalker, telling them to stay away from them, even culminating with the line, "stay out of my life." Fitting for a song with the subject matter it has, "Porta" is a very haunting song that doesn't get away from the listener very easily once they hear it for the first time. Who or what is "Porta"? I haven't the slightest idea! But this is a powerful song nonetheless!

"Too Late Now" by Wet Leg: While nowhere near as quirky or original-sounding as their breakthrough single, "Chaise Longue," Wet Leg's "Too Late Now" still retains the mix of indie-pop and electronica that that song had. "Too Late Now," as could be inferred from the title alone, is not exactly a cheery, upbeat song, though it does speed up midway through after a "sing-speak" interlude from lead singer Rhian Teasdale. Through the course of the song, Teasdale sings about her regret for a friendship she had when she was younger. The stress piles up as the song goes on, with Teasdale ultimately concluding that she "just need(s) a bubble bath to set (her) mind on a higher path." Clearly a cry for help disguised with somewhat cutesy words. 

"Virginia (Wind in the Night)" by The Head and The Heart: Among The Head and The Heart's already poignant catalog, their latest song, "Virginia (Wind in the Night)" sticks out as being one of the most poignant songs the band has recorded so far! Perhaps part of the reason the song tugs at the heartstrings as much as it does is because band member Jonathan Russell, who actually is from Virginia, is speaking of his own personal experiences in this song. Being a Virginia native, Russell feels a deep connection with the state and lets it pour out in this song. The song's parenthetical title, "Wind in the Night," was added in there so Russell could combine his personal experiences with something a bit more universal (hearing the wind in the night). In "Virginia (Wind in the Night)," we get the best of both worlds! In one sense, we get a feel for the strong ties Jonathan Russell feels to the place he was born in, and in another, we get imagery relating to nature that everyone can identify with, and very stark, haunting imagery, at that. 

"What, Me Worry?" by Portugal. The Man: When you saw the title to this song, was the first thing you thought of the goofy, buck-toothed Alfred E. Neuman of MAD Magazine fame?! If so, that was intentional! Portugal. The Man's "What, Me Worry?" comes from childhood memories that lead singer John Gourley had, including looking at MAD Magazine issues back then. Musically, the song combines the carefree, funky vibes of PTM's biggest hit, "Feel it Still," with the more guitar-oriented sounds the band went for prior to that song's existence. Much like the famed humor-based publication, the humor of "What, Me Worry?" is rather dark but still funny. The song talks about intense, scary situations, with the chorus almost taunting the verses with its titular question. Only one more thing I'd like to say about this song. Potrzebie! (MAD Magazine fans will get this reference).