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.