New songs for September 16th, 2020

 here they are:


"Be A Rebel" by New Order: I'll be honest. I have mixed feelings about New Order. I think "Ceremony", "Age of Consent", and "Regret" are all great songs, while bigger New Order hits like "Blue Monday" and "Bizarre Love Triangle" really didn't impress me very much. As a guitarist, I'm sort of biased towards the "guitar side" of otherwise synth-y groups like New Order. Their first song in what seems like decades, "Be A Rebel", goes more towards the synth side. However, I can also see why adult alt radio stations have gravitated towards it. For a synth track, it is also very chill. "Be A Rebel", contrary to its title, is the type of track that can provide a sense of ambiance in a pleasant enough atmosphere. Lyrically, it is one of a growing number of songs from 2020 that rail against the anger and depression the world has suffered through lately. It has mostly good lyrics, although "be a rebel, not a devil" sounds like clumsy writing coming from one of the most respected groups in the history of British alternative rock!

"Cyr" by The Smashing Pumpkins: And here is another synth-rock tune from a much revered alt-rock band! Those of you who want another "1979" or "Today" will probably be disappointed, as "Cyr" isn't very much of a guitar rock song. However, longtime fans of The Pumpkins will probably know that Billy Corgan was just as influenced by synth-driven new wave music as he was by hard, electric guitar based rock (and to a lesser extent, folk-rock). Not only does the music sound like Depeche Mode, but the lyrics do too, with their cryptic yet spooky sounding references, employing the use of icy vocabulary like "the whorl" and "the void." I guess this is yet another reason for "pumpkins" to be symbolic of Halloween!

"Letter to You" by Bruce Springsteen: If the last two reviews have made you lose your faith in guitar rock, leave it to The Boss himself to revitalize your faith! With a message as heartfelt as his classic mid-to-late 1970's songs, and composed in that style as well, "Letter to You" is a song attempting to reach out to people warmly during our puzzling, pandemonium-inducing pandemic. There is no particular person Springsteen had in mind when he wrote this song. It's a message to all his fans to make sure they're feeling alright. As a longtime Bruce fan, I just want to say, thank you for the message! We, the fans, appreciate it immensely! No complaints here, except Clarence's son, Jake, is somehow absent from this track. Any Bruce track that attempts to be a throwback to the '70s should have a sax player on it somehow! Oh well...the song is still a lovely and well-needed message during a time of crisis!

"My Vibe" by Mt. Joy: Of the Mt. Joy songs I've heard so far, this is probably the track that really emphasizes the "joy" part of their name the best! It's a quirky, goofy, lighthearted track that sounds like it could have easily been a "Sgt. Pepper" outtake (albeit with millennial indie-rock elements woven within). As Paul McCartney himself might say, "My Vibe" is basically a silly love song...in a good way, though! There are no heavy motives or symbolism behind this song. It's just an excuse to let loose and have fun!

"Visitor" by Of Monsters and Men: Somehow, just the title of this song alone sounds somewhat chilling! Lyrically, it kind of is! Nanna Hilmarsdottír, one of the two lead singers of OMAM, describes what it is like to become a "visitor" in this song - in other words, feeling disconnected from a world that is on the brink of change where what was once familiar has now vanished. Sound familiar? This song was actually done one month prior to the pandemic's worldwide spread, but OMAM do seem to agree that the song's chilly, distant vibe fit in eerily well with a world affected by coronavirus. Hopefully this is what coronavirus itself will end being...a visitor! I can't express enough how I want to get back into the world I used to know!

New songs for October 9th 2019

here they are:


"Black Cadillac" by Mondo Cozmo: On this song, Joshua Keith Ostrander manages to give The Velvet Underground's "I'm Waiting For the Man" a U2 styled makeover. Oh, take that strange look out of your eyes! Haha. Bono and the boys were also influenced by Lou Reed and his quintet of alt-rock forefathers even though it might not seem that apparent at first, so the combination of these sounds might not be as outlandish as it sounds. Josh is not taking on the subject of drugs like Lou did, but he is taking on the equally hairy topic of politics in "Black Cadillac". The lyrics of the song are somewhat cryptic, except when Joshua spells out Brett Kavanaugh's last name midway through the song, attacking him for his insincerity during the Supreme Court hearings.


"Good Luck" by Broken Bells: Our next entry for the week also attacks politics, opening with the lyrics, "The face of evil's on the news tonight". As James Mercer continues to deliver his lyrics in his latest song, the trip-hop influenced "Good Luck", he questions whether the "good times" ever existed in the first place or if we're just looking at our past through rose colored glasses, so to speak. Mercer tends to lean towards the latter answer here. The darkness is all around us, sure, but Mercer acknowledges this is nothing new, ending the song by wishing his listeners "good luck" in coping with a world that doesn't seem to favor our species.


"Wars" by Of Monsters and Men: Given the chilling political atmosphere the lyrics of the previous two entries brought us, you might think that "Wars", from its title alone, would continue this theme. However, anyone tired of hearing about politics can take a breather for our last song of the week! The title of the song actually refers to a relationship gone wrong. In this song, OMAM's male vocalist takes the lead, as opposed to their female vocalist who took on "Alligator" from earlier this year. OMAM have also drifted even further away from their folk-rock sound than they did with "Alligator". That song at least contained a vague hint of electric guitar, whereas "Wars" seems to lack guitar altogether. I'm a little worried for the future of Of Monsters and Men in this aspect, as they had a rich, harmony-laden folk-rock sound for their first two albums that I fell in love with the moment I first heard it! Perhaps this is not entirely a bad thing, though.

New songs for May 8th 2019

here they are:


"Alligator" by Of Monsters and Men: Well, THIS song is sure to win the "most random song title of the week" award, right?! There aren't very many songs with the word "alligator" in the title, and perhaps even less with that word being the ONLY word in a song title! As it turns out, this song doesn't have much to do with alligators to begin with. Instead, it appears to be about either an acid trip or a "vision quest" of some sort. The sound of this song might alienate a few people who were initial fans of OMAM. It is not the neo-folk-rock of OMAM's last two albums, but rather a pop sound with a "dark" edge. Make of this song what you will...just know that there are no alligators in it.


"Hypersonic Missiles" by Sam Fender: What an amazing combination of sounds this guy has!! Mixing the arena ready indie rock of acts like Ryan Adams and Kings of Leon, the moody yet echoic chime of The Cranberries, and saxophones reminiscent of Men At Work's biggest hits, Sam Fender has launched his "Hypersonic Missiles" onto our ears, and boy, do they explode! In a good way, of course. Lyrically, it's a "love among the ruins" song, a bit like Goo Goo Dolls' "Name" (another personal fave of mine). Amidst the post-apocalyptic imagery, Sam manages to try to find hope in a hopeless situation. If the world ends in my lifetime, THIS is the song I want to exit with!


"I'll Wait" by The Strumbellas: It's not quite the toe tapping indie-pop of "Salvation" from late last year, but "I'll Wait", the second single from Strumbellas' latest album, is still a happy little slice of indie-folk-pop. Acoustic guitar takes a backseat in this song, though, to a backing string orchestra that swells throughout this song, providing it with a spirited vibe. The lyrics are nothing special, really. Just a simple love song. However, this seems to be what The Strumbellas do best with their music.


"Joy" by Bastille: Bastille have always put the "pop" in "indie-pop", but this song screams pop music! If the title alone wasn't enough to clue you in, "Joy" is pretty much just that. It's a joyful song. The song is their bounciest song yet. The harmonizing vocals towards the end of the song only reinforce the squeaky clean image the song attempts to paint in our minds.

New songs for the day after Groundhog Day

Stuck in a continuous time loop? Not to worry. We have 6 songs that'll get you through it!


"Gardenia" by Iggy Pop: David Bowie and Lou Reed may not be around anymore to grace us with their presence, but at least ONE punk rock forefather is keeping things alive for us, and that man is Iggy Pop! If you're expecting something with manic reckless abandon like "I Wanna Be Your Dog" or "Lust For Life", you'll be sorely disappointed. "Gardenia", instead, is one of the few calmer songs in Iggy's catalog, in fact it kinda sounds more like David Bowie than Iggy Pop, both musically and vocally. I wonder if the "Gardenia" mentioned in the song is Bowie himself?! Could be! One gets the hint that Iggy wants to continue to impress today's "alternative" crowd, just as he did in days of old, as this song seems to be slightly influenced by groups like The Walkmen and Modest Mouse.


"No Love Like Yours" by Edward Sharpe and The Magnetic Zeros: Musically, Edward Sharpe and The Magnetic Zeros still sound a little like a modern day Mamas and Papas, but vocally, that seems to be lost in this song. That's because the female harmonies supplied by ex-Magnetic Zero Jade are no longer there. Female vocals are present on "No Love Like Yours", but they're not as distinctive as Jade's voice. Nonetheless, ESATMZ fans will probably still be wowed by "No Love Like Yours", as it does have the typical upbeat, post-hippie-folk-rock sound that the group usually have. The tinkly pianos in this song tend to make it distinct from other Magnetic Zeros songs, despite the fact that they've used pianos before. It is also one of their shortest songs, at only 2 minutes and 57 seconds.


"Run Or Hide" by Run River North: Here is yet another indie-pop song in which piano is a defining feature. However, it sounds far too modern to be mistaken for a song from the 1960's, which is funny for a band whose first major song, "Monsters Calling Home", sounded a bit like Mumford & Sons or Of Monsters & Men. "Run Or Hide" definitely has a more modern sound than one might expect from Run River North. Perhaps that's why it's gotten more attention than their other songs have. The shout-y vocals, slightly reminiscent of songs like Imagine Dragons' "Radioactive", might also be a bit jarring for people who originally got to know Run River North through "Monsters Calling Home". However, Run River North seemed to have gained a new fanbase in the process of this song, and they seem to like it, too, especially judging by how much Run River North seem to like interacting with their fans through their YouTube page. Nerds, rejoice! Apparently Run River North are fans of "Pokemon" and "Firefly" according to one YouTube comment they made!


"Spirits" by The Strumbellas: How many people thought that their name was actually "Strumbrellas" instead of "Strumbellas"?! Well, I did. Apparently there's only one "R" in their name, not two. Anyway, The Strumbellas' debut song, "Spirits", is an interesting song. It is an indie-folk-rock song backed by an upbeat drum section and (once again) piano. The paranoid lyrics of the song, "I've got guns in my head and they won't go. Spirits in my head and they won't go" are offset by how happy the song itself sounds. The song seems to be a pretty big hit so far. The secret to their success? Probably just making the song sound as fun and catchy as it does!


"Thank God For Girls" by Weezer: WEEZER?! Some of you probably spit milk through your nose if you know me well enough, as I'm really not a big fan of Weezer ordinarily. However, there are some times where I make an exception to the rule, and this is one such case. Here is yet ANOTHER song where piano takes a central role. (Billy Joel, are you listening?! Take note!) Weezer have made an interesting transformation from self-loathing nerds in the '90s, people questioning their social identity in the '00s, and nerds who are more proud of their nerdiness in the 2010's. This song is pretty quirky, really. I mean who ELSE would use the word "cannoli" in a song even once?! They use that word repeatedly here! I'm not sure that half of this song is even ABOUT girls. "Thank God for girls" just seem to be four words they use here to drill into peoples' eardrums for days upon end.


"Wolves Without Teeth" by Of Monsters and Men: Yet another OMAM song with strange and mystical metaphors for the ups and downs of relationships. I'm sure that's why a lot of their fans (including me) like their music, though. Even their name has an aura of mystique that's just as alluring as the songs they perform. "Wolves Without Teeth" is a light folk-rock affair like a lot of OMAM's songs tend to be, but the distortion of the backing electric guitar here seems to be a bit more noticeable here than it is on their other songs (one YouTube commenter even referred to this song as "Of Mumford and Bastille" - a pretty apt and somewhat funny description, if I do say so myself!)

New songs for August 12th, 2015

here they are:


"Empire" by Of Monsters and Men: "Crystals"? "Empire"?! Any Bronies noticing a pattern here?! Heheheh. Joking aside, though, "Empire" really is a good OMAM song, like most of their material. Much like their previous hit from this year, "Crystals", "Empire" doesn't stray too far from the standard OMAM pattern of gentle, pensive folk-rock combined with somewhat mystical, opaque lyrics. There are some things that set the two songs apart, though. First of all, "Empire" is in C minor (as opposed to the C major key "Crystals" was in), and it also features more male vocals than female vocals, the latter of which were used more on "Crystals". OMAM win once again with their nature oriented imagery ("river running wild", "feel the ocean as it breathes", "see the mountains where they meet", etc.)


"Fake Roses" by The Lone Bellow: As you might expect from a song that contains both "fake" and "roses" in its title, this is a rather melancholy song. It appears to be a song about being able to "see through" a relationship to know how bad it might have been. Quite a turnaround from a band whose last song was a rather confident number called "Take My Love"! Still, though, as the autumn season slowly approaches, "Fake Roses" is a very apt song for the somber season. What better way to shake off a negative relationship than to snuggle up inside surrounded by blankets, warmth, and a drink of hot chocolate? Songs like this certainly get me in the mood for that!


"Keep Going" by The Revivalists: "Keep Going" is exactly what the soulful, jazzy, and aptly named Revivalists are attempting to do here! With their solid, dynamic sound, they are out to convince the world that "Navigate Below" was not going to leave them branded as one hit wonders! The relentlessly happy "chugga-chugga" sound of "Keep Going" is enough to win over fans of the band (as well as fans of similar acts like Alabama Shakes, St. Paul & The Broken Bones, and Gary Clark, Jr.) Revivalists, keep going! Keep on doin' what you're doin'! You're good at it!


"Maggie I've Been Searching For Our Son" by Craig Finn: Classic roots-rock revivalist Craig Finn from The Hold Steady turns down the electric guitars on his latest song, which is a rather plaintive protest song. Finn still has the Springsteen-esque sound he usually has here, though it sounds more like something from The Boss's largely folk-rock-y "Greetings From Asbury Park" than it does the sweeping, epic anthems of "Born to Run". For a man whose band has become an adult alt radio staple within the past couple years, Finn has never focused on acoustic rock songs (surprisingly) until now. The angst and sarcasm typically present in Finn and The Hold Steady's material is replaced here by something of a more pensive, yearning quality. Surprisingly, it actually works here!


"Monkey Tree" by Mother Mother: After three plaintive folk-rock songs (and one soulful, blues-y number), it's refreshing to end this week's blog with a bouncier, quirkier pop song like "Monkey Tree". Even its title is kinda goofy! A song that opens with the lyrics, "I live in the jungle, I sleep in a monkey tree", is bound to make you smile! Well, it did for me, anyway. This song is also one that'll make you wanna dance! Come on and do the monkey, everybody!

New songs for March 18th, 2015

here they are:


"Crystals" by Of Monsters and Men: Yet another band whose peak was during the early 2010's has released a song for the middle of the decade. Many of those bands have tried experimenting with different sounds. Mumford and Sons added electric guitars into their normally acoustic sound, Alabama Shakes upgraded from '60s R & B to '70s funk, and Florence and The Machine finally have a song with an audible guitar sound. So why does the latest Of Monsters and Men sound like...well...Of Monsters and Men?! Perhaps the main reason that the Icelandic folk-rock sensations have stuck with their original sound is because they just didn't feel a need to change it up. Don't get me wrong, I am all for experimentation, but there's something about folk-rock music that just tugs at my heartstrings. Sure, people like Bob Dylan and Neil Young made quite a successful leap from folk to rock in the past, but they are rare musicians to come by! The themes of obscure European mythology that Of Monsters and Men had on a lot of their last songs resurfaces in "Crystals" as well. Once again, though, I couldn't be happier. Perhaps some bands are better off without experimentation!


"The Wrong Year" by The Decemberists: A song with rather Shakespearean lyrics and music that combines Celtic folk with R.E.M.?! That can only mean one thing!! The Decemberists now have yet another song that has been released in their ever-growing catalog! So many reasons to love this band! For one, their name contains my birth month! For another, they tend to have lyrics that are both cryptic and insightful along with the jingle-jangle folk-rock sound of their music. The chorus states that "the rain falls on the wrong year, and it won't leave you alone", which could mean any number of things (though it's probably something to do with bad luck of sorts). One more thing to love about them is how a lot of their songs, including this one, tend to be narratives.

New songs for November 13th, 2013

here they are:


"Dirty Paws" by Of Monsters and Men: The fourth single from this exceptional Icelandic folk-rock group provides an answer as to why their debut (and so far, only) CD was called "My Head Is An Animal" (it's the words to the second line of this song). "Dirty Paws" continues in the pattern of a lot of what OMAM's material has had so far. A gentle folk-rock sound that evokes medieval and mythological imagery in both its instrumentation and its lyrics. The song can be interpreted many different ways, but it is most likely an allegory for war, using animals to tell its story ("Animal Farm", anyone?!) I would think that OMAM would be better at coming up with a hook to this song, which sounds a bit too much like their own "King and Lionheart" mixed with the beat of Edward Sharpe and The Magnetic Zeros' "Home". Quite a thrilling tale of a song otherwise, though!


"Elephant" by Tame Impala: If the name "Tame Impala" reminds you of bands with equally bizarre names like "Jefferson Airplane", "Strawberry Alarm Clock", and "Quicksilver Messenger Service", you should have a pretty good idea of what Tame Impala's music sounds like! It has a vaguely psychedelic influenced sound, but with a heavily pulsating beat that brings to mind bands like The White Stripes and Cage the Elephant. Another thing Tame Impala's "Elephant" shares in common with psychedelic rock songs is that the lyrics don't quite make sense (the opening lyrics are "well he feels like an elephant shaking his big grey trunk" - Huh?!) The song also meanders into quite adventurous instrumental territory during certain sections, which seems to be a defining feature of some of the best known psychedelic rock songs. So, as they say in "Hairspray", "Welcome to the '60s!!"


"Got It Wrong" by Wild Feathers: It could be said that The Wild Feathers are the indie-folk scene's answer to groups like The Allman Brothers Band and The Black Crowes. Their sound is clearly Southern influenced (well, they're from Nashville, Tennessee, so I guess that makes sense), but it is done in a more sincere and heartfelt manner than one might expect from, say, ZZ Top. The Feathers' latest song, "Got It Wrong", continues in that direction, with its down home-y (but still fun) sound that seems like it came straight out of a classic cowboy movie. The refrain of this song ("it's all right, we've got it all wrong"), only seems to further cement their "good ol' Southern boy" image, but I'm guessing they don't mind that.

new songs for April 24th, 2013

here they are:


"King And Lionheart" by Of Monsters and Men: Contemporary folk-rock sensations Of Monsters and Men didn't call themselves "Of Monsters and Men" for nothing. It was a name based on European stories about monsters that some of the members had read. The Icelandic band's love of European folklore is becoming more and more evident with each song I hear by them. "Little Talks" had nautical imagery, and "Mountain Sound" had more pastoral imagery. "King And Lionheart" follows closely in this pattern, as is evident from the title alone. A medieval theme takes up most of the song (except the part where they talk about "night sky ships sailing", revisiting the nautical themes of "Little Talks"). Another similarity "King And Lionheart" shares with "Little Talks" is that both songs revolve around how difficult it is to survive being torn apart from a relationship. Makes you want to brush up on European history and mythology a little more, doesn't it?!


"Where Can I Go?" by Laura Marling: Laura was probably better known for the bands she was involved with (i.e. Mumford and Sons, Noah and The Whale) than her music, until two years ago, when she released her breakthrough album, "A Creature I Don't Know". The album featured tracks like the sprawling, reflective "Sophia", and the bittersweet "All My Rage", both of which easily suggest a Joni Mitchell for the indie-folk generation. "Where Can I Go?" is a different song for Laura Marling. The themes of death and sorrow that Laura had on the "A Creature I Don't Know" songs are replaced by a theme of homesickness and yearning, and the stark, aching sound of those songs is not present on "Where Can I Go?" either, with a more roots-y, upbeat sound taking place instead.

New songs for September 26th, 2012

here they are:


"Blood Red Youth" by California Wives: California Wives are a band whose name does not indicate who they are. They are neither from California (they are Chicagoans) nor are they wives (all the members are dudes). Their sound recalls the best gloomy but shimmering alt-rock from days of yore, particularly groups like The Cure and Radiohead, though the chugging, anthemic nature of "Blood Red Youth" is probably closer to groups like U2. Lyrically, "Blood Red Youth" is very angst-ridden and detached, (esp. the opening words to the second verse, "When information's out and your head's full of light/And they serve you a drink, like you hope they might") which seems to fit the mood of the song itself. Not since the days of "Love Will Tear Us Apart" and "How Soon Is Now?" has depression sounded so powerful in a song!!


"If Only" by Dave Matthews Band: In "If Only", DMB continues in the direction of the bittersweet folk-rock of their previous single, the massively successful "Mercy". Unlike "Mercy", though, "If Only" deals with more personal problems, rather than being a cry for help to the whole world. "If Only" seems to be about Dave being afraid to admit the insecurities he had in whatever relationship he was in at the time he wrote this song. Quite an interesting turnaround for Mr. Matthews, who used to be quite the seducer (as evidenced by his two biggest hits, "Crash Into Me" and "Crush"). Guess that means Dave is growing up. Not a bad thing, though, especially since he is able to keep up his trademark jazzy folk-rock sound even without his former sax player LeRoi Moore.


"Land of Hope and Dreams" by Bruce Springsteen: Considering that The Boss's birthday was just a couple days ago, it seems like my review for his latest song, "Land of Hope and Dreams" has come right on time! At six and a half minutes, this song seems like it would be one of Bruce's more "epic" tracks. It might not be "Jungleland" or "Born to Run", but I can tell that Bruce put a lot of thought and effort into "Land of Hope and Dreams". Aside from the almost Mumford-and-Sons-ish "Death to My Hometown", "Land of Hope and Dreams" is probably my favorite song The Boss has done in 2012!! Although it is a political song lyrically, like pretty much every song on his latest CD, "Land of Hope and Dreams" is a more uplifiting, almost spiritual composition in comparison to the angst and dissatisfaction on songs like, say, "We Take Care of Our Own". This song is well worth the listen, I say!


"Mountain Sound" by Of Monsters and Men: Iceland's answer to Mumford and Sons had one of the most successful songs of late last year and the early to middle parts of this year with the surprisingly catchy "Little Talks". So how do OMAM follow it up?! With the similarly Celtic folk-rock-y song "Mountain Sound", which, like "Little Talks", also brings to mind older folk-rockers like The Mamas and The Papas, with its vocal section being traded off between the male singers and female singers of the band. Having never heard any successful Icelanders in the music world aside from Bjork, I have to say that OMAM sound more like they're from Ireland (or perhaps Scotland) than Iceland. The lyrics of the song, which include phrases like, "Alone we traveled on nothing but a shadow", as well as the chorus's "Through the woods we ran, deep into the mountain sound", almost seem like they'd be quite fitting in a movie like "Brave", since it both centers around epic adventure and takes place (largely) in a European woodland area.

A long (start of) December...

...and there's reason to believe, maybe this year's song list will be better than the last. Especially if there's NINE SONGS!!! That's the furthest I've gotten since I did eleven songs back in September of last year! Here they are:

"Common Burn" by Mazzy Star: I betcha a lot of you reading this can't believe your eyes, especially if you remember Mazzy Star's one big hit of the '90s, "Fade Into You". Well, Mazzy Star are back, and are getting attention again for the first time since 1993!! Their latest song, "Common Burn", retains the uber-relaxed mode of "Fade Into You", and its slow, dragging sound combined with the harmonicas in the background could easily bring to mind contemporaries of Mazzy, like Cowboy Junkies. Where "Fade Into You" was a love song, though, "Common Burn" is more a song of heartbreak and remorse, but in a very calming, almost therapeutic sort of way. If you need a song to identify with how you feel after coming home on a rainy day, "Common Burn" should satisfy your soul!!

"Fall Right Now" by Josh and The Empty Pockets: People like Mike Doughty (coming up two songs from now) and Ben Lee seem to suggest that there's a small but significant section of Barenaked Ladies influenced musicians that have popped up in the mid 2000's and are continuing to thrive today. Josh and The Empty Pockets seem to capture the typical BNL sound perfectly, though (and quite a few other acts from the '90s seemed to have influenced them as well, like Duncan Sheik and Eagle-Eye Cherry). Lyrically there really isn't anything too special about "Fall Right Now" (except maybe the ending lyrics - "and it hurts...ouch!"), but anyone looking for their '90s alt-folk-pop nostalgia fix will probably connect instantly with this song! And yes, I am one such person with an affinity for '90s alt-pop, it's the best!

"Half Moon" by Blind Pilot: Blind Pilot's buoyant, relentlessly happy "We Are the Tide", released right at the cusp of late August/early September of this year, seemed to put them in the same company as public radio darlings like Gomez and Good Old War. Their latest, "Half Moon", seems to lean more towards the sentimental but still earnest alt-folk-pop/rock of bands like Alpha Rev and Scars on 45 (both of whom have had surprisingly huge success on adult alt radio stations). So how does the more yearning sound of "Half Moon" suit Blind Pilot?! Well, I honestly think Blind Pilot are better suited to bouncy, optimistic songs like "We Are the Tide" than to slower songs like "Half Moon", but "Half Moon"'s sound seems like it would be perfect for the soundtrack to a show like, say, "Grey's Anatomy" (if it hasn't been featured on there already). And if "Half Moon" is gonna get Blind Pilot more attention than they've gotten so far, that's not necessarily a bad thing.

"Holiday (What Do You Want?)" by Mike Doughty and Rosanne Cash: Sooo...the ex-lead singer of the quirky Beck-ish alt-pop band Soul Coughing duetting with country-rock legend Johnny Cash's daughter...somehow...equals...a good opportunity for a Christmas song?!? WHAAA?!?! It's an odd pairing, for certain, but perhaps they wanted to go for something along the lines of the infamous incident in which David Bowie and Bing Crosby duetted on their own version of "The Little Drummer Boy". Christmas-y imagery (and Christmas-y musical chimes) are heard throughout the song, but, in true Mike Doughty fashion, the song takes a tongue-in-cheek turnaround during the chorus, in which Doughty and Cash ask each other, "Hey, do you wish it was a holiday?" Do you WISH it was a holiday?! I thought a "holiday" was what this song was about!!

"I Love You Too Much" by The Rolling Stones: So I guess The Stones' previous "Some Girls" "outtake" ("No Spare Parts") just had such a country-ish sound to it that no one seemed to gravitate towards it enough. Thankfully, The Stones (and/or whoever their manager is) have sought to correct this by releasing the much more uptempo, rockin' "I Love You Too Much" as their next single of 2011 (though "I Love You Too Much" and "No Spare Parts" were both ORIGINALLY part of "Some Girls" from back in '78)!! A wise decision on their part, too, since it has a similar sound to other "Some Girls" songs like "Shattered", "Beast of Burden", and "Miss You". Mick Jagger's trademark attitude (and catchiness) are present throughout "I Love You Too Much". To paraphrase Mick himself, "If he can't rock you", well, I dunno who can!!

"Little Talks" by Of Monsters and Men: Acoustic guitars, richly layered harmonies, a catchy tune, a jovial rhythm section, the adding of random instruments (accordions, in this case) for good measure, and, to top it all off, the trade-off between male and female vocals throughout the song!! Put all those ingredients together, and you've got a neat little song called "Little Talks" by Of Monsters and Men, the latest indie-folk ensemble that will probably garner significant attention from those who have become fans of bands like Mumford and Sons and The Decemberists (one of those people being yours truly - me!!) Though "Little Talks" is written in a minor key, it still manages to be quite a fun song to listen to! Perhaps one of the most intriguing parts of "Little Talks", though, is the lyrical dissonance it sets off, as its lively instrumentation hides a tale of a dissatisfied relationship. Highly recommended!!

"Parted Ways" by Heartless B*st*rds: Unfortunately, only a sample of this song is available at the moment from what I can find. However, it's given me a good idea of what it sounds like. For some reason the name of this group sounds a bit more suited to a hard rock band than a roots-y indie band, but "Parted Ways"' sound suggests much more the latter than it does the former. What little I got out of the lyrics (for instance, "the hum of the wheels, they are carryin' me home") also seems apt for a band with a rather earthy, organic sound to it. Fans of Dawes, Deer Tick, Alberta Cross, and the like will probably really like this song!

"Seer" by Motopony: Motopony are as eclectic as their odd band moniker would suggest they are! In the summer of this year, their "King of Diamonds" got moderate attention on adult alt radio stations, and it had a sound that combined electronic sounds with a "chill" sorta vibe. "Seer", on the other hand, is a bit more like an electric guitar-oriented indie song with slight influence by funk and jazz. The vocals in each song are also radically different from what I can tell!! (Do Motopony have multiple lead singers?!) At first, it sounds like "Seer" steals the main hook from Simon and Garfunkel's "Mrs. Robinson", but as "Seer" progresses, it seems to turn into a different song entirely!

"Show Me the Place" by Leonard Cohen: That's right, I've saved the best song (and artist) for last!! By coincidence, really, since it begins with the letter "S", and there are no songs with titles beginning with "T" through "Z" in this week's entry. But still, there's no denying what a powerful presence Leonard Cohen is!! (His son, Adam, has also released a new CD, though sadly, that one isn't getting as much attention). Be it the yearning "Suzanne", the spooky "Everybody Knows", or the seductive "I'm Your Man", Cohen always pours his heart and soul out in every song he does!! With his latest song, "Show Me the Place", it shows that Cohen's spirit is still as alive as it ever was!! It is a melancholy song, done mostly on piano, with occasional accompaniment from violins in the background (and various female singers on backing vocals). "Show Me the Place" is one of those songs that just takes me to another place when I listen to it! I am absolutely awestruck by it, and I hope you are too!!