New songs for September 29th, 2021

 here they are:


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

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

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

New songs for May 12th 2021

 here they are:


"Echoing" by Kings of Leon: Once again opting for the key of C major, like they did in their previous single from this year, "The Bandit," Kings of Leon storm the alt and adult alt radio charts again just in time for summer with "Echoing." "Echoing" has an almost U2-ish vibe to it, with its fittingly echoing chamber of guitars ringing loud and clear throughout while never quite climaxing to a hard rock sound. The song revels in and revolves around the thrill of adventure!

"We Are Between" by Modest Mouse: It's been 7 years since we last heard from Modest Mouse (and it was also 7 years since THEN that we had last heard a full Modest Mouse album). While Mouse seem to have embraced a Talking Heads-ish sound from about 2004 onwards, "We Are Between" hearkens back to MM's pre-fame years, during which time the band made more sweet, wistful, Shins-ish indie-pop songs like "Gravity Rides Everything." The central subject of "We Are Between" is the titular pronoun: "we." Isaac Brock is addressing our own species in the song, and the many observations he has made about us. "We are made up of rocks and salt." "We are the mirrors of our own faults." It's true. Humans are faulty creatures who, like all living things, are an improbable yet amazing combination of elements that fused together to create entities that survive on eating, breathing, and growing. In "We Are Between," Modest Mouse mull over life in a way that is anything but modest in a way that speaks to all of us!

New songs for January 13th 2021

 here they are:


"Freedom" by Illiterate Light and Devon Gilfillian: The neo-psychedelic pop sounds of Illiterate Light and the smooth neo-soul sounds of Devon Gilfillian were two of the best things to grace adult alt radio in 2020! A year later, not only are they both still going strong, but they've decided to join forces with one another! Who knew, eh?! Their first effort together, "Freedom," doesn't quite sound like Illiterate Light OR Devon Gilfillian, yet somehow they manage to make it work here! The song has a funky indie-dance-pop flavor fit for any millennials who might not have heard their music previously. The highlight of the song, perhaps, is Devon's vocal solo in the middle of the song. His sweet yet powerful R & B suited vocals really sell the point of the song right where it seems most comfortable, smack dab in the center of it all!

"Keep Your Name Outta My Mouth" by The Black Keys: Why am I reviewing a Black Keys song that has been out for 10 years, you may ask?! Well, it's because up until recently, no one even knew it existed! "Keep Your Name Outta My Mouth" is actually an outtake from The Black Keys' breakthrough record, "Brothers," which features such great soon-to-become-classics (if they aren't already) as "Tighten Up" and "Howlin' For You." "Keep Your Name..." doesn't seem like it has quite the staying power those songs did, but it still has the signature Black Keys sound that melds blues-rock with rhythm & blues. The song oozes blues influence from head to toe, and not just musically either. The lyrics of the song have a sort of "my woman done me wrong" feel that seemed present throughout the album. Here's to hopefully another 10 years of The Black Keys!

"The Bandit" by Kings of Leon: Where in the world are Kings of Leon?! Out to catch the bandit, that's where! For a guy who has recently become nostalgic for the classic, geography-based PBS game show, "Where in the World is Carmen Sandiego?" KOL's latest song has a lot of interesting (and probably unintentional) parallels! "Must catch the bandit"? Well, that was the object of the show, wasn't it?! It features such other lyrics fitting for a geography centered chase like, "200 miles to clear, chasing a sound I hear." The music is as exciting as its lyrics, with that blend of Springsteen-ian sincerity and blues-y grittiness that KOL have cultivated since 2008. I'm not sure what "bandit" KOL are actually trying to capture, but what an adventurous thrill this song gives me! Hope it does the same for you!

New songs for September 20th, 2017

here they are:


"Around the World" by Kings of Leon: Sometimes, the best thing a song can do for you is make you feel good. That seems to be exactly what the aim of Kings of Leon's latest song, "Around the World", is. There's nothing really "deep" about this song, but there doesn't need to be. Both the sound and lyrics of this song just seem to be about having fun. So go ahead. Spread your love around the world!


"If All I Was Was Black" by Mavis Staples: Clearly, Mavis Staples is far more than an American woman of African descent. First and foremost, she is a musician, a legend of the soul genre who also mixed in the occasional blues and gospel influences whose popularity peaked in the '60s and '70s. She's two years shy of 80 now, but she can still belt it out just as great as ever! In this funky blues-y number, Mavis points out another thing that unites her with the human race, and that is love. After attacking the current president in "I Give You Power" earlier this year, perhaps she felt she needed a positive song to balance things out. If that's the case, this song definitely does the trick!


"Los Ageless" by St. Vincent: The exquisite, Tori Amos-sounding ballad, "New York", from earlier this year, was a bit of a departure in sound for St. Vincent. "Los Ageless", the latest song from the artist also known as Annie Clark, is a return to the more quirky, Bjork-ish songs that St. Vincent has become known for. And yes, "Los Ageless" is not a typo. It is a scathing way of describing the place which just happens to be my hometown (Don't worry, Annie, all is forgiven!) It is interesting how St. Vincent has romanticized New York and trashed Los Angeles on the same album! "Los Ageless", according to St. Vincent, is a harsh and unforgiving city where "mothers milk their young" and where people are bound to lose their minds. The song comes off as a slightly more venomous version of Depeche Mode's "Policy of Truth" in terms of how it sounds. As for St. Vincent's criticism of L.A.? I think I'm gonna have to side with Randy Newman, who declared that he "loved" the city in one of his biggest hits (though it was probably a tongue-in-cheek declaration). Everyone's entitled to their opinion, though, and I have always wanted to visit New York.


"O Me O My" by Son Little: Interesting how both of the even numbered songs in this edition of my blog (Mavis Staples' song was # 2, and this one is fourth) are R & B styled tunes. The slinky, seductive sound of this song hearkens back to Son Little's first big song, "The River". "O Me O My" is less blues-rock and more straight up retro R & B, with its funky guitar sound being used mainly for rhythm here. The minor key of the song is reflective of its rather dystopian theme. Apparently, it's about the stress people face in contemporary society. Specifically, Son Little contemplates on the idea of people someday colonizing Mars, and how that might not be such a good idea. Deep soul with deep thoughts! Does it get any better than this?!

New songs for the day after Valentine's Day

here they are:


"Blame" by Bastille: You would have never expected the "Pompeii" hitmakers to pull off a song that uses glam rock style guitar fuzz, did you? Well, nor did I, but so far I'm liking the new direction Bastille have gone in. Queen seems to have been a particular influence on Bastille's latest material, as has been evident so far from the "Under Pressure" soundalike "Good Grief", and now with the blazing hot opening riffs of Bastille's latest song, "Blame", as well. Perhaps the forceful, compelling sound of "Blame" was intentional in order to reflect the dark lyrical themes of the song, centering around a gang fight. Musical battles haven't been this exciting since Michael Jackson told us to "Beat It" back in 1982!


"In A Black Out" by Hamilton Leithauser: If you were hoping that the next song I reviewed for the week would be more peaceful, then you got your wish! "In A Black Out" has a nice little rippling sound throughout that reminds me of the flowing of a river, and I'm sure I'm not the only one who notices that. It can be viewed as a peaceful song, but it can also be viewed as bittersweet due to some of the lyrics it has, such as "I live in a nameless town" and "many friends have said goodbye". The "blackout" Hamilton appears to be experiencing does not seem to be a scary or sudden one and is instead more of a state of sadness.


"Love Do What It Do" by Robert Randolph (featuring Darius Rucker from Hootie & The Blowfish): Hootie and The Blowfish provided some calm to the otherwise angst-y rock of the '90s. Nothing wrong with that, but when Darius went country I decided not to pay attention to him anymore. Until now, that is, because I do love me some blues-rock every once in awhile, and Robert Randolph knows how to lay down some mean blues! Surprisingly, the vocals of Hootie frontman blend in quite well with the blues-y guitar chops of Robert Randolph. The message of the song is pretty much spelled out in the title of the song, and is literally spelled out in the chorus as Darius passionately sings, "L-O-V-E, love! Let it do what it do!"


"Reverend" by Kings of Leon: Not nearly as compelling as their 2016 mega-hit, "Waste A Moment", but then again the sophomore singles from new albums tend to be like that. Still, though, "Reverend" is worth the listen since it does contain the 21st century indie-cum-arena-rock that KOL have now become known for. The chorus of the song uses a rather strange metaphor, comparing the passion of a lover to a "reverend on the radio". Huh?! Well, perhaps Caleb Followill is not speaking about his relationship with a partner, but his relationship with God. After all, the members of the band were all the sons of a United Pentecostal Minister!


"They Put A Body In the Bayou" by The Orwells: We're probably never going to know who put a body in the bayou, or what the name of the person was to whom the body belonged to, for that matter. What we do know is that The Orwells are one fiery, kickin' rock group whose sound blends garage rock with blues rock in a similar manner to groups like The Black Keys, The White Stripes, and the harder edged Cage the Elephant songs. The lyrics of "They Put A Body In the Bayou" center around a girl who died of drug addiction at an early age, but instead of treating this as sad or sorrowful subject matter, The Orwells inject all their fury and righteous anger into this powerhouse track that has woken up the monster that is rock and roll!


"Where's the Revolution?" by Depeche Mode: Not since their 2009 track, "Wrong", has there been such a heavily anticipated Depeche Mode song. It is because of the mysterious and tumultuous state of current political affairs that the notoriously gloomy 1980's electro-rock group Depeche Mode have decided to release a new track, and their complaints can be detected right from the title of their song! Where IS the revolution?! DM rage against the electoral college machine and answer the titular question as best they can with a palpable, scathing sense of anger! If it wasn't for the recognizable vocals of Dave Gahan, this could easily be a Nine Inch Nails track! As T. Rex's Marc Bolan once proclaimed in song during the Nixon era, "You won't fool the children of the revolution!"


"Young Lady, You're Scaring Me" by Ron Gallo: Actually it's a young MAN named Ron who's scaring ME into thinking that we've somehow traveled back in time to the mid 1960's! Echoes of many epic '60s rock tunes, ranging from Jimi Hendrix's "Hey Joe" to The Chambers Brothers' "Time Has Come Today" to The Rolling Stones' "Sympathy For the Devil" can all be heard in this psychedelic blues-rock tune! The song just seems to be about a guy falling in love with a girl, but the tune itself is enough to wake up dead rock and roll zombies and get them on their feet dancin' and jammin' the night away! Long live rock and roll!!

New songs for September 14th 2016

here they are:


"Holy Commotion" by The Pretenders: Yes, THOSE Pretenders! The legendary rock group led by the sometimes sassy and sometimes sentimental Chrissie Hynde. Chrissie attempted a side project in 2010 and released a solo album two years ago, but she hasn't been on the scene with The Pretenders in 8 years! Just about everything she's done within those 8 years has echoes of her rock and roll past. "Holy Commotion" is kinda rock, but with a different twist than one might expect from The Pretenders. The Black Keys' Dan Auerbach has decided to produce their latest album, resulting in a fuzzy neo-psychedelic sound that also has synthesizers masquerading as skittering steel drums. I currently have mixed feelings about this song, but it's not a bad one, and I think in time it'll probably grow on me like many of the songs I've reviewed have.


"Packed Powder" by Blind Pilot: After hearing the buoyant but glossy "Umpqua Rushing" from earlier this summer, "Packed Powder" is a more straight-up folk-rock tune that seems to encapsulate the simplistic yet alluring sound that Blind Pilot are typically known for. It also provides a more subtle, autumnal song for the upcoming season as the happy, blissful "Umpqua Rushing" did for the summer. "Packed Powder" also has a fittingly introspective lyrical theme about trying to find yourself and knowing your strengths. The electric guitar solo and horn solo towards the end don't seem too out of place for this song, actually, even though it is primarily an acoustic rock tune.


"Radio" by Sylvan Esso: Lyrically, this is basically Elvis Costello's "Radio Radio" minus the repetition of the titular word, with its mentions of being a "slave to the radio" and its claims that the subject of the song is "sucking American d**k". Musically, though, "Radio" is neither punk nor power pop. Instead, it's more of a glammed out techno-pop song. Both the fast beat of this song and its scathing (albeit still quirky) lyrics are quite a surprise coming from the indie-pop duo who was previously best known for the quaint, slow pseudo-baroque-pop summer singalong known as "Coffee".


"Sure And Certain" by Jimmy Eat World: Though Jimmy Eat World's biggest hit, "The Middle", came out in 2001, the song quickly became a favorite of the last remaining fans of the post-grunge genre. Unlike most of the post-grunge influenced bands of the early '00s, Jimmy Eat World was not "nu-metal". Instead, they were an emo group, albeit with more of a subtle sense of humor than most groups who carried such a label. "Sure And Certain" might as well have come out DURING the post-grunge era. It wouldn't sound out of place on a rock radio station that was popular in 1996, '97, or '98. If it weren't for Jim Adkins' distinctive vocals, "Sure And Certain" could easily be in the hands of a band like Semisonic, Third Eye Blind, or Everclear. Familiar '90s rock hits like Dishwalla's "Counting Blue Cars" and Tonic's "If You Could Only See" are both pretty similar to "Sure And Certain" as well. So grab some flannel, put on your Doc Martens, and let's rock!


"Surrender Under Protest" by Drive-by Truckers: "Southern rock" is usually remembered specifically as a musical phenomenon of the 1970's. The three biggest names within the genre, after all, are typically The Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top. The only other time it was really kept alive was in the early '90s by The Black Crowes. This basically makes Drive-by Truckers seem like a 21st century answer to The Black Crowes to me. There haven't been a whole lot of other groups from the past 16 years who have really kept the Southern rock sound so fresh and alive. Their latest song, "Surrender Under Protest", in spite of its overall Southern sound, does not evoke the music of a Southerner, but rather, a Canadian. Both the vocals and the instrumentation of "Surrender Under Protest" sound like Neil Young. In spite of DBT's Southern nationality, they are not right-wingers, but left-wingers, and "Surrender Under Protest" reflects their left-wing politics like no other song they've done so far. The song contains anti-slavery and anti-Second Amendment sentiments that would probably bode better with Neil Young fans than it would with Lynyrd Skynyrd fans.


"Waste A Moment" by Kings of Leon: In true rock fashion, Kings of Leon make a dynamic musical declaration using only two chords with their latest song, "Waste A Moment". Caleb Followill's urgent message of "take your time, don't waste a moment" during the chorus pretty much states what the point of the song is. KOL do not waste a single moment making a buzzingly catchy song like they usually do here. This is one of those songs that is just ripe and ready for radio airplay from the moment it is released, so it'll probably wind up being one of the biggest hits of Fall 2016!

New songs for July 30th, 2014

here they are:



"Every Morning" by J. Mascis (from Dinosaur Jr.): With a past full of sardonic, grungy rock songs, it's a bit of a surprise to me that J. Mascis, the lead singer of noise-rock pioneers, Dinosaur Jr., has mellowed out in recent years! I didn't believe I'd hear anything even remotely acoustic from him until I heard him cover Edie Brickell's "Circle". Mascis' latest solo effort, "Every Morning", is a folk-rock song. The song is not without his fuzzy yet spastic trademark electric guitar solos, but those are not the defining features of "Every Morning" by a long shot! Mascis' dry attitude is still there in both the lyrics ("every morning makes it hard on me") and in the way they're delivered. It seems as though he has been quite the busy man this year, having also provided the guitar solos on "Goshen '97" by up-and-coming indie rock group, Strand of Oaks.


"Family Tree" by Kings of Leon: Kings of Leon have done plenty of odes to classic rock, but so far, none of those songs quite capture the spirit of the vintage 1970's electric guitar sound like "Family Tree". It is by far the most upbeat song from KOL's latest album, "Mechanical Bull", and quite possibly their most upbeat song in general! The chorus of the song is memorable, though it does have some awkward rhyming ("I am your family tree, I know your A to Z, this is a secret proposition, lay your hands on me"). It seems as though the whole song centers around the subject of the song trying to make it with the girl of his dreams, but that is rather typical subject matter for a 1970's rock song, so the Followill brothers once again manage to capture the essence of the glory days of rock 'n' roll!


"Rise Up Singing" by Trigger Hippy: You know that a band with the word "hippy" in the name is probably going to sound like something from the past, and it does, but in a rather fresh, soulful way! Trigger Hippy are a supergroup that comprise of various members of The Black Crowes (including newer member, Jackie Greene), and alt-rocker turned soul mistress, Joan Osborne. Not surprisingly, Trigger Hippy sounds like a group whose music got stuck in the early '70s, combining elements of rock, folk, and soul all in the same sound. The message of the song is simple, but quite joyful and exuberant.

New songs for March 26th, 2014

here they are:


"Fever" by The Black Keys: With the popularity of each song they've had a hit with in the 2010's, it's no wonder The Black Keys' latest song, "Fever", is the most anticipated new song of the week!! However, it's a bit, well, different than most of their material. There is a bit more focus on the synthesizer in this song, yet it still keeps up with the sound of the Keys' trademark blues-rock sound, almost as if Devo was trying to cover a Led Zeppelin song! That being said, there really isn't that much "fever" in "Fever", but it's still worth checking out!


"Hundreds of Ways" by Conor Oberst: Anyone ever notice how Conor Oberst's solo material has more of an upbeat, country-rock feel than his material with Bright Eyes?! Well, I have, and his latest solo song, "Hundreds of Ways", is no exception. In fact, I would say that it's the Bright Eyes frontman's most optimistic sounding song to date! The bright, brassy sound in the chorus is atypical for Conor, but it adds more pep to the already peppy vibe of this song. Conor is still as contrary as ever, though, insisting repeatedly that there are "hundreds of ways to get through the day", while also hoping that he's "forgotten when (he) dies".


"Milwaukee" by The Both: Aimee Mann and Ted Leo. She's a little bit folk-pop. He's a little bit rock 'n' roll. So what do crafty pop chanteuse, Aimee Mann, and indie-punk-rocker Ted Leo, as a duo known as "The Both", sound like together?! Well, indie rock, basically, but with an emphasis on the "rock" part (the song definitely seems like more of a Ted Leo song than an Aimee Mann one). The guitar distortion suggests indie rock legends, Pavement, yet the melody is more characteristic of classic rock, particularly the beat and key of Steely Dan's "Reelin' In the Years" mixed with the melody of Tommy Tutone's "867-5309/Jenny". Though Aimee Mann's role in "Milwaukee" is a bit understated, it's definitely there. Her voice is present during the first verse of the song, as well as the chorus, but in the latter, it mainly serves as a way to harmonize with Ted's vocals. The song is about when the two of them first toured together and encountered a statue of Henry Winkler's iconic TV character, "The Fonz", while walking around in the titular Wisconsin town.


"Morning Song" by The Avett Brothers: With a sound that seems halfway between James Taylor and Gillian Welch, "Morning Song" is one of The Avett Brothers' finest moments of melancholia, both lyrically and instrumentally. Its sound hearkens back to The Avetts' earlier material, with its stark instrumentation, consisting of many string instruments (acoustic guitar, banjo, and cello), but no percussion or bass. Scott Avett's yearning, keening vocals, lamenting about how it "hurts so bad", "nothing's really helping", and how he'll "have to sing that melody alone" really makes this one a major tearjerker! As if its lonesome sound wasn't enough to make you cry. Excuse me while I go grab my nearest handkerchief!!


"Raging Fire" by Phillip Phillips: Just the title of Phillip Phillips' latest song, "Raging Fire", makes it sound intense! It is a folk-pop/rock song, like most of his material, but there is something in "Raging Fire" that DOES make it more intense than his other songs, and that is a combination of the unbridled passion he puts into this song, and the equally passionate string orchestra he uses for its chorus! The "raging fire" in the title refers to an emotional "fire" of sorts, like a "burning" desire within the soul. Perhaps the coolest part about this song is the ending, which is a "cliffhanger", in that it leaves the song hanging on the second to the last part of the D major chord in its chorus, instead of resolving to the G major chord that dominates the song.


"Wait For Me" by Kings of Leon: In the late 2000's, Kings of Leon unintentionally became modern day arena rock giants, and they have used that sound to their advantage ever since. Nowhere does the power of their arena rock styled sound shine more brightly than on "Wait For Me", though, a song that sounds a little like John Mellencamp attempting to perform a Police song. The rather foreboding opening notes give way to a bittersweet ballad, in which KOL reassure the subject of the song that "it's all better now", in spite of the romantic troubles they might be going through. These guys sure have come a long way from being the garage rock group who sang "Molly's Chambers"!!

New songs for October 9th, 2013

here they are:


"Chocolate" by The 1975: The 1975, eh?! Sure doesn't SOUND like it's from 1975!! The origin of this enigmatically named band actually comes from a book of beat poetry that was dated, "June 1st, The 1975". No sign of Ginsberg or Kerouac in this song, though. However, a parallel can be drawn to "musical beat poets" like Lou Reed, since "Chocolate" is about heroin, albeit in more of a tragic manner than an eerie, sprawling one. The title of the song is actually a reference to heroin, and how the sister of The 1975's lead singer used to be an addict.


"Stranger" by Devil Makes Three: The word "devil" may be a part of their name, but don't make the assumption that Devil Makes Three are a metal or punk band just because of this. Devil Makes Three are a rather eclectic group whose musical style cannot be easily identified! Their breakthrough song, "Stranger", appears to be a blend of folk, jazz, and blues that sounds like it came out at least half a century ago! The lyrics of the song contain spooky imagery, but more of a fun kind of "spooky" than a truly depressing or disturbing one (i.e., "Better pray to the moon in the middle of the night"), and the song itself has the vibe of someone sneaking up on you when you least expect it (but once again, in a playful manner). Just in time for Halloween!!


"Temple" by Kings of Leon: As hard rock group Nazareth famously claimed in the mid-1970's, "love hurts"! Kings of Leon's latest song, "Temple", makes that claim in a rather literal manner!! As Caleb Followill sings about how he'll "take one for the temple" in the chorus, he's referring to taking a shot to the head in order to prove his love for a girl. Ouch! The fun, breezy vibe of the song disguises all the painful imagery, though, and makes it sound more like a summertime romance sort of song.

New songs for July 24th, 2013

here they are:


"Follow My Feet" by The Unlikely Candidates: In the 2010's, there have been two ways to define "alternative" and "indie" rock so far. There's the folks-y way that groups like Mumford and Sons have set a trend for, and then there's the more pop-y one used by groups like fun. The Unlikely Candidates have somehow combined both of these styles into one song with their debut song, "Follow My Feet". All three verses of this song deal with making hard decisions, but ultimately choosing to go in the direction that feels the most natural and correct for the person doing so, or, as the song says, to "follow (one's) feet". Perhaps "follow my heart" would have made more sense, but a little alliteration never hurt anyone!


"Neon Eyes" by Saints of Valory: With the best post-U2 "anthem rock" songs (The Airborne Toxic Event's "Sometime Around Midnight" and The Temper Trap's "Sweet Disposition") having both come out 4 years ago, do you think maybe it's time we had another such song to grace the alternative and adult alt charts?! Well, the guys from Saints of Valory certainly seem to think so! "Neon Eyes" has a sound that is both earnest and catchy, much like how a lot of U2's material tends to be. Though the guitar in "Neon Eyes" doesn't have the signature ringing sound that The Edge's has, it still sounds vibrant and echo-y throughout. It repeats the same riff throughout the song, but with different chords being played in the background.


"One Heart" by Leftover Cuties: Somewhere between Zooey Deschanel's "innocently" sassy attitude in She & Him, and the jazzed up alt-pop of April Smith and The Great Picture Show, is where the sound of Leftover Cuties can be properly defined. Lead singer Shirli McAllen cleverly croons about "How much hurt can one heart take?" and "How many times can one heart break?" over an infectious groove that is anything but melancholy in "One Heart"! Definitely not a mopey song, by any means, in fact it is probably more energetic than any song on my list of reviews for this week! I dunno about you, but my heart can take this song pretty well. In fact, I think it can't get enough of Shirli's sexy, swingin' setup for this sizzlin' summer song!


"Supersoaker" by Kings of Leon: No, this has nothing to do with the water gun toy known as "Supersoaker"!! However, that name is a suitable one, considering the summer-y vibe that the more energetic Kings of Leon songs (including this one) tend to have! And, might I add, "Supersoaker" has made quite a "splash" on the alternative and adult alt charts in the past week, perhaps more than any other song for the month so far! Okay, enough with the bad puns, and on with the song. As it has been with the past two KOL albums, "Supersoaker" is from a CD whose first single is irresistibly catchy!! The song is full of references to the good ol' U-S-of-A ("Down in the Delta, they're ringing the bells", "The flags are flying across the Plains", etc.), perhaps appropriate, given how its month of release is the same as America's month of independence. As for bad puns, it seems as though KOL themselves appreciate one now and again, as in the chorus's "Red, white, and BLEW 'em all away"! Hardy har harr!!


"Ways to Go" by Grouplove: Summer just seems to be the perfect season for Grouplove's music!! Last year, their irresistibly pop-y "Tongue Tied" became an anthem for the season (though it was actually released in late spring). Their latest song, "Ways to Go" is another song to get the corners of your mouth smiling and your feet moving! Perhaps the most appealing (and strange) thing about "Ways to Go", though, is its video. Most of it centers around a lookalike of Korean dictator Kim Jong Un. Quite weird, and rather incongruous for such a happy sounding song, but towards the end of the video, we see a Korean soldier with a flower at the end of his gun. "Springtime For Hitler", anyone?! Also, check out the wild, '60s influenced hairdos on both lead singer, Christian Zucconi and backing vocalist Hannah Hooper! Hannah looks soooo darn cute in that skeleton outfit, too!! The video can be viewed at www.youtube.com/watch?v=VGvHnDeS12o. Enjoy!!

June BLOOM, 8 new songs for one new month!!

After about a month's absence on here, don't you think it's time I reviewed some new songs?! Well, you're in luck!! Here they are:

"Back Down South" by Kings of Leon: I never would've expected the same guys who debuted back in 2003 with the rough garage-rocker "Molly's Chambers" to have such a melancholy country/folk influenced tune almost a decade later, but lo and behold, KOL have done so with their latest tune, the aptly titled "Back Down South". This song has a very wistful vibe to it, and would probably also make a great "road" song, but not in the energetic, boastful way the typical '70s hard rock song would, but more like the "coming back home" sort of way that a song like "Teach Your Children" or "Heart of Gold" might. If your favorite songs are bittersweet ones, then this might be the one to check out for this week!

"Calgary" by Bon Iver: First of all, for those wondering how "Bon Iver" is pronounced, it's not "Bahn EYE-vur", it's "BONE ee-VAIR", a pun on a French phrase that translates to "good winter". Now that I've gotten that part out of the way, here's a bit of background info on Bon Iver. Though they weren't that big on adult alt stations in 2009, they quickly made a name for themselves nevertheless among indie fans with Nick Drake/Elliott Smith influenced neo-folk-rock such as "Blood Bank", "For Emma", "Re: Stacks", and "Skinny Love". "Calgary" is a bit of a departure from the somber, acoustic sound of these songs. Well, the somber is still there, but the acoustic?! Well, not so much. Instead, more electronic instruments are used, which is a bit of a letdown for me, as the acoustic instrumentation of Bon Iver was part of their charm to me. "Calgary" isn't bad, though. Bon Iver still manage to pull off an uplifting, ethereal sort of sound in spite of the synthesizer dominating the music, in a way that reminds me a great deal of the song "Daniel" by another electro-indie act, Bat For Lashes.

"Can't Keep Johnny Down" by They Might Be Giants: Ahhh, what's not to love about TMBG?! They're two of the goofiest guys in rock history! Even during their debut in the mid-'80s, their unique brand of alternative rock managed to somehow be more suitable for Nickelodeon and Cartoon Network than it was for MTV and VH1. "Can't Keep Johnny Down" takes a turn towards the "darker" side of TMBG, though, which is a bit of a disappointment for me. And why is that such a letdown?! Well, first of all, both their name (taken from a B-movie), and their song titles (including, but not limited to, "Put Your Hands Inside the Puppet Head", "Dr. Worm", and "Birdhouse In Your Soul"), are goofball gold, in the '00s they released a series of children's albums that held just as much appeal to children as they did to Gen X adults nostalgic for the days of "Sesame Street" and "Schoolhouse Rock", and even the material they intended more for an "adult" audience was "kid-friendly" enough that shows like "Tiny Toons" and "Where In the World Is Carmen San Diego?" incorporated the use of their music!! About the "darkest" song in their catalog I can even THINK of is "Don't Let's Start", and even THAT has weird lyrics (i.e. "Wake up and smell the cat food"), and a play on the word "don't" that makes fun of a similar play on the word "love" Nat King Cole was known for using (the one where Nat goes, "L is for the way you look at me...", etc.) There doesn't seem to be ANYTHING redeeming at first about "Can't Keep Johnny Down", though, a song that's primarily about a guy with a difficult life. However, upon closer examination of the lyrics to the song, it's really about a guy who, as the song's title suggests, "can't be kept down" by the troubles he faces in his life. I suppose that makes it more redeeming than it might seem upon initial listening, but I still think TMBG could've done better than this!

"Chapel Song" by We Are Augustines: Both the title of the song and the name of the band might suggest a "Christian rock" band, but it's far closer to bands like Arcade Fire and Modest Mouse, particularly the more melancholy, sentimental side of those bands. Lyrically, this song seems like it would have been perfect for "The Graduate", as they seem to hint at the disappointment the lead singer feels about the girl he loves getting married to another man (could be wrong on this, though, as I haven't yet heard the song that many times). The repetition of both the lyrics (i.e. "I shake, shake, shake like a leaf, and I'm lyin', lyin', lyin' through my teeth") and the progression of the four guitar hooks used throughout the song seem to make it a memorable one!

"Don't Gotta Work It Out" by Fitz and The Tantrums: How do you follow up the success and insanely catchy hooks of the blue-eyed soul smash hit, "MoneyGrabber"?!? Well, I would think that'd be pretty hard!! But Fitz and The Tantrums have managed to do so with their second single, "Don't Gotta Work It Out"! Though it's not as much of a get-up-and-dance song as "MoneyGrabber" was, it still manages to be catchy (and Motown-esque) enough to once again win over the hearts of both classic soul fans and alternative/indie fans. The minor key that "Don't Gotta Work It Out" was written in is also emphasized a bit more than that of "MoneyGrabber"'s minor key, with the exception of "Don't Gotta Work It Out"'s bridge, consisting of an organ playing in F major. Still, this is definitely a song worth checking out for the week!

"Learn How to Love" by The Tedeschi-Trucks Band: If this is supposed to be a follow-up to "Bound For Glory", I kinda feel like it's a bit too early (but perhaps that's because "Bound For Glory" hasn't played on enough stations yet, at least from what I've observed). Unlike the triumphant, chug-along blues-rock of "Bound For Glory", "Learn How to Love" seems to be a bit more of a juicy, gritty blues-rock number. This one definitely emphasizes the "rock" element of "blues-rock", evoking the sounds of many blues-influenced classic rock bands, from Led Zeppelin to ZZ Top to The Allman Brothers (of whom Derek Trucks occasionally plays guitar for), and then some! Who knows, perhaps the hard, solid rock 'n' roll influence of this song will guarantee "Learn How to Love" more success on adult alt radio than "Bound For Glory". We'll see!!

"Rider" by Okkervil River: I think I'm a bit late in my review for this one, but here goes. Though "Rider" has only received airplay on a handful of adult alt stations so far, it seems like its airplay is slowly but surely starting to increase, and it also has a unique sound that managed to capture me immediately upon hearing it! Its sound is the "orchestral indie" sound used frequently in Arcade Fire's music, and used additionally in other indie acts such as Sea Wolf, Edward Sharpe and The Magnetic Zeros, and Andrew Bird. The "orchestral" sound in "Rider" uses piano as the central instrument, and a dynamic and forceful, yet still catchy sort of rhythm. I especially like the end of this song, in which the instruments start to speed up, building up to a fantastic finish! I highly recommend this song!!

"Rise Above 1" by Reeve Carney and U2's Bono and The Edge: Apparently this song is supposed to be a part of the Broadway production of "Spider-Man"!! WHAAA?!? Well, as far as U2 songs go, this one is rather mediocre, I think. The fact that Reeve Carney contributed to this, though, I guess makes this worth listening to, and I kinda like this song despite how "average" it sounds. - EDIT - my bad - I confused my Carneys - it's PATRICK Carney (not REEVE Carney) who sings on this track - Reeve Carney is merely the guy that plays "Spider-Man" in the Broadway production of "Spider-Man", he has nothing to do with The Black Keys - what can I say, I get confused sometimes, and I apologize to those who might have thought I was spreading "false information" online - your fears should be calmed down by now

New songs for Jan. 26th, 2011

here they are:

"Cry Cry Cry" by Nicole Atkins: Not too many people know Nicole Atkins, but it's high time they did, I think! She created a minor buzz on adult alt stations back in '08 with the somewhat Regina Spektor/Kate Nash sounding "Maybe Tonight", a danceable upbeat indie pop tune with wistful, benign feminine charm. I always suspected she'd be a "one hit wonder" on such stations, but apparently I was wrong! "Cry Cry Cry" is also making a buzz on the adult alt airwaves! It continues in the same path as "Maybe Tonight", but with a bit less of an emphasis on the danceable-ness. Think what it would sound like if Regina Spektor attempted to cover a Bonnie Raitt song, and you'll probably get a pretty good idea of what "Cry Cry Cry" sounds like!

"Pyro" by Kings of Leon: Like "Radioactive" before it, "Pyro" is also becoming a fast climber on the adult alt charts!! Unlike "Radioactive"'s rivetingly raving rocker type feel, "Pyro" is more of a plaintive, poetic piece of pop-rock. Though KOL have had slower songs before ("Revelry", for instance), none of their slower material was as popular as their faster, catchier tunes, so "Pyro" marks a first in KOL history! The beat of the song sounds remarkably similar to another poetic, introspective pop/rock song ("Everybody Wants to Rule the World" by Tears for Fears), and even lyrically, "Pyro" is an achingly yearning ballad (for instance, in the chorus, "I won't ever be your cornerstone"). One more interesting thing to note, neither "Pyro" nor "Radioactive" used their titles anywhere within their lyrics - I guess KOL want to try to trick us as to what the titles of their latest songs are!!

ELEVEN SONGS!!

Eleven songs?!? THIS is gonna be GOOD!!! Here they are:

"Boy" by Ra Ra Riot: This song has done two fantastic things for me! First of all, it's keeping the uniquely quirky new wave influenced indie sound of bands like Vampire Weekend, Arcade Fire, and Phoenix alive and well, but it also has an incredible music video. Why? 'Cuz it has KITTIES!! (I'm a cat lover, so please bear with me here). An orange tabby cat (and his orange tabby cat friends, or perhaps clones of his) appear on and off throughout the video, and during the chorus, their eyes glow in the dark to make one giant cat's eye! As if that wasn't neat enough, the instrumentation in "Boy" is also very well-crafted. Unlike the typical Vampire Weekend, Arcade Fire, or Phoenix song, this song does NOT start out with a guitar, but rather a new wave-y keyboard sound backed up by a loud, thumping bass. The guitar comes in during the chorus, as does some random orchestral instrumentation (Arcade Fire, anyone?) There's also a brief guitar solo in this song as well. All in all, "Boy" is a very entertaining, catchy, and well-thought out piece of music.


"Buttercups" by Fran Healy: Make no mistake, "Fran" is not a girl's name in this case. It is, instead, the name of British indie-folk-rock band Travis's first name. "Buttercups" could easily be mistaken for a Travis song, rather than just one by the lead singer of the band, for its full-band instrumentation, passionate vocals, and wistful tones. Travis' songs typically have quirky lyrics and one-word titles (the most well-known being "Sing" and "Side"), and "Buttercups" continues in that tradition, of being both one word long and having charmingly unusual lyrics (The best one being, "If I had a diamond ring, I'd wear it through my nose". I'd like to see Fran Healy try to do THAT sometime!!)


"Coquet Coquette" by of Montreal: "Coquet Coquette"?!? Is there an echo in here, is there an echo in here?!? No, there isn't, it's just the title of of Montreal's latest tune that seems to be influenced largely by the "retro rock" sounds of such bands as The White Stripes and Muse. For of Montreal, I'm not sure if this shift in sound is a good thing or a bad thing. It's not like this is the first time the oddly named indie band has gotten attention, as "Wraith Pinned to the Mist And Other Tales" was featured in an Outback Steakhouse commercial, and they even did a children's song about brushing teeth for the neo-"Sesame Street"-ish kid's show "Yo Gabba Gabba" that received a fair amount of attention as well. However, both of those seemed more like psychedelic pop tunes than attempts to receive airplay on major alt/modern rock stations. "Coquet Coquette" still features the psychedelic element that is present on most of of Montreal's material, but it seems to be filtered through '70s classic rock a la Led Zeppelin, Pink Floyd, Queen, etc. the way that many of The White Stripes and Muse's material seems to be. Nevertheless, "Coquet Coquette" is still worth listening to. Oh, and one more thing, "coquette" is a term that basically means "flirt" and mainly applies to women (I believe of Montreal made up the counterpart term, "coquet", to add more flavor to the song).


"Indecision" by Steven Page: The former Barenaked Ladies member proves he still has the flair for catchy melodies and clever lyrics, even as a SOLO artist! Some feat for a man from a band that's been around for nearly 20 years!! Instrumentally, Page tweaks up his typical sound a bit (think "The Big Bang Theory" theme mixed with a Sergio Mendes tune!) Who would have thought he'd use Latin jazz-style instrumentation in the verses of "Indecision" and STILL sound good?! As in the usual BNL lyrical fashion, there are some witty, tongue-in-cheek lyrics to be found in this song as well (like in the chorus, in which Page sings, "Then again, my addiction to indecision keeps me here"). "Addiction to indecision" sounds like it could function simultaneously as an oxymoron AND a tongue-twister. Some of my own poetry and music has a tendency to sprinkle in some wordplay like this does. What can I say, great minds think alike!


"Lasso" by Phoenix: If I had to describe Phoenix's music in one word, I'd choose the word "catchy". "1901" and "Lisztomania" have already been stuck in my head numerous times, and probably in the minds of many others as well since they both became massive hits! Though "Lasso" hasn't quite received the amount of attention that the aforementioned two songs have, I think it has the potential to do so sometime soon. It uses the basic Phoenix formula of danceable, stick-in-your-head song, easy to memorize chorus ("Where would you go, where would you go, would you go with a lasso?/Could you run into, could you run into, could you run into me?"), and quirky lyrics (see the chorus that I typed earlier in this sentence). "Lasso" also seems to be more straight-up rock music than the techno/rock hybrids that "1901" and "Lisztomania" ended up being. It has a sound that's probably comparable to bands like The Killers and the "edgier" side of Snow Patrol. Think of those two bands, backed by a consistently organized rhythm section, and add just a small dash of The Police's "Message In A Bottle", and you should have a pretty good idea of what "Lasso" sounds like!


"Paris (Ooh La La)" by Grace Potter and The Nocturnals: Grace Potter normally has a sound that might remind one of the organic, earthy country sounds of Lucinda Williams. This year, however, Grace and The Nocturnals proved they could rock out with the best of 'em, earlier this year with their cover of Jefferson Airplane's "White Rabbit", and now with the Lenny Kravitz-esque "Paris"! Perhaps Grace is trying TOO hard to let out her inner rock star with the lyrics of this song (i.e. "You got me up on your swing/So when you gonna shake that thing?", a BIG departure from the down-home-y, humble flavor of "Ah Mary", her debut single). However, "Paris" is a darn catchy song with guitar riffs that would make Jimi Hendrix proud! (Or at least entertained). And if Grace wants to be more of a Janis than a Lucinda, well then, she's found just the right sound to please my ears!!


"Radioactive" by Kings of Leon: Ever since their 2008 breakthrough record, "Only By the Night", all sides of the rock 'n' roll spectrum just couldn't seem to get enough of Kings of Leon. With their latest release, it's seems like KOL fever has only continued to rise, as it has received IMMEDIATE attention on the adult. alt charts, the "regular" alt charts, and the mainstream rock (combination of classic rock and "harder" modern rock) charts simultaneously!! So how does "Radioactive" measure up to the contagious melodies and hooks of "Sex On Fire", "Use Somebody", and "Notion"?! It could easily join the ranks of those songs for sure! (It already HAS on many rock stations of all kinds!!) However, a major difference between those songs and "Radioactive" is a shift in influence from '70s rock to '80s rock. "Radioactive" sounds like a mix of U2 and some of the more "spacey" David Bowie songs (i.e. "Ashes to Ashes"). Perhaps it doesn't matter what era of music KOL want to emulate, as long as their music is able to stick in the heads of millions of fans!!


"Spectacular Girl" by Eels: Despite their slimy name, Eels have a rather mellow sound for the most part, much like many of the songs Beck did in the 2000's. Sometimes it almost seems as though E (Eels' frontman, born Mark Oliver Everett) and Beck have composed songs cut from the same cloth (in fact "Spectacular Girl" reminds me a great deal of Beck's '08 hit, "Orphans"). Both "Orphans" and "Spectacular Girl" use electronic instruments in a soothing fashion, and add in more typically calming instruments, such as flutes, as the songs progress. Although "Spectacular Girl" is basically a Beck soundalike, it's still a great song to me, with its breezy, chillout vibe that I often crave in the songs I listen to to make me feel happy and satisfied inside!


"Witchcraft" by Matt Costa: Most people who are familiar with Matt Costa's music probably know him best for taking an indie rock approach to the "ultra-mellow" sounds of musicians like Jack Johnson and Dave Matthews. However, Matt decided to trade in that mellow acoustic sound for some Donovan-esque psychedelia and turn up his amp on "Witchcraft"! Though Costa is not British, his voice (and a little bit of his music) sounds much like The Zombies' Colin Bluntstone, who is British, on this track. If Costa continues in this psychedelically influenced trend, he'll likely be remembered as a 21st century version of Donovan for going from folk-rock to psychedelia. Even the theme of this song tends to evoke Donovan somewhat ("Season of the Witch", anyone?!) Lyrically, it takes on the familiar '60s rock theme of singing about a girl who messes around with a guys emotions (so much so, in this song, that Matt Costa proclaims in the chorus that the girl in question "must be using witchcraft"). This song is an absolute must for any fans of The Zombies, Donovan, Jefferson Airplane, etc!


"Wrote A Song For Everyone" by Mavis Staples: The former '70s soul woman returns after many years with a Creedence Clearwater Revival cover! Staples seems to cover the CCR tune pretty accurately, to the point of which it SOUNDS like something CCR (or similar acts, like The Band) might have done, complete with a guitar solo! Her version actually seems more rock 'n' roll oriented, at times, than CCR's original version. It's neat to hear an early '70s musical icon covering yet another early '70s musical icon! I would love to know John Fogerty's reaction to Mavis Staples' version!


"You Can Dance" by Bryan Ferry: Before I begin, is it just me, or is it a bit odd that both of the leading musicians in Roxy Music were named "Brian"?! (the other being Brian Eno) The two of them are both fairly well-known both in Roxy Music and as solo performers in the music world, though Ferry went in more of a pop-oriented direction, and Eno in a more "experimental" one. Ferry continues doing the same "sophisticated" pop music he did with his biggest hit of the '80s, "Slave to Love" (in fact "Slave to Love" and "You Can Dance" actually sound quite similar). "Slave to Love" was probably a more compelling, seductive sort of song, but Ferry's attempts to repeat this on "You Can Dance" aren't bad. However, I would still recommend his older material much more than "You Can Dance".