New songs for May 18th, 2022

 here they are:



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

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

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

New songs for February 16th, 2022

 here they are:


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

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

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

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

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

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

New songs for May 26th 2021

 Here they are:


"Famous Son" by Belle Mt.: With a mix of a crisp, acoustic, folk-pop sound and staccato guitar riffs and pulsating synths forming a new wave influenced sound, Belle Mt's "Famous Son" doesn't really add anything new under the sun, but it's a pleasant song to kick back to nonetheless (we've been needing some of those lately). The real charm of this song, though, is probably more within its lyrics. The title of the song is not mentioned until towards the end, when the lead singer sums up the song's the theme, which is that his father warned him not to be "famous, son." Too bad! With this song being an up-and-comer on adult alt radio stations, Belle Mt. ARE getting famous to a degree.

"I Need Some of That" by Weezer: Weezer first hit the airwaves in the '90s, but in "I Need Some of That," they set the dials back one decade earlier. Recalling big '80s rock hits like Asia's "Heat of the Moment," and just about any early Bryan Adams or Cars song, "I Need Some of That" indulges unashamedly in nostalgia for a decade during which I was only a baby! The song itself is about nostalgia, not only in sound, but in lyric as well! Rivers Cuomo even opens the song with, "Summertime. I press rewind," and we are transported back to a past when Back to the Future ruled the movie theaters. As if the song didn't have enough of a hammy '80s classic rock sound, Rivers even mentions listening to Aerosmith as part of the lyrics. Party on, Weezer!

"Like I Used To" by Sharon Van Etten and Angel Olsen: Two of the most progressive female singer/songwriters of the 2010's come together for the first time with a song that is bound to please anyone who enjoys melancholy indie-folk music! Like our previous entry, "Like I Used To" has a jones for nostalgia, but not of the same type. This nostalgia does not take place in a specific decade, but just any time in someone's life when they might have felt like the past was a simpler time than the present. The title of the song already makes this apparent, but listening to both the words they use to accompany the title ("falling in love like I used to," "lighting one up like I used to," etc.) and the sultry yet sad way the lyrics are delivered really drives the point home. Judging from the things they miss doing in the context of the song, Sharon and Angel probably want to go back to when they were either teens or very young adults, pining away for when sex, drugs, and...folk 'n' roll...held a mysterious allure, as opposed to a harmful aftertaste.

"Missing Piece" by Vance Joy: Contemporary folk-rocker, Vance Joy, tends to be popular among both alternative and adult alt radio stations whenever he releases something, but the use of his latest song, "Missing Piece," on Grey's Anatomy seemed to contribute to his most recent wave of success within just a matter of days! Though I've never been a fan of medical dramas (or most dramas, for that matter), I must say that someone who works on the show must be pretty cool if they selected his music to be on the show! Onto the song itself, though, it's a very yearning one, as per usual for Vance, but in a way he hasn't really done so before. Instead of a "Woe is me. Where did my love go wrong?" song, we get a song about how he misses the one he loves. I suspect that part of this could have been in response to separation he might have experienced during the pandemic (if so, he released this song RIGHT in the nick of time). There's a hopeful side to this song as well, as Vance's "missing piece" is something he is positive will be FOUND once he rejoins his romantic partner. Thanks for getting us all through these hard times, Vance!

"Reverie" by Son Volt: '90s country-rock group, Son Volt, continued to soldier on into the new millennium with sparser and sparser appearances as the years went by. By the time the 2010's rolled around, they made only two memorable appearances, both of which had a bittersweet folk-rock sound in comparison to the more gritty stuff they originally became known for. With "Reverie," it seems as though Son Volt have found a comfortable middle ground. It has a more solid rock sound, veering slightly towards a light Southern rock variant, than most of their more recent material, but it retains the earthy, roots-y quality of their early stuff. This song also may serve as an answer as to why Son Volt retreated from the limelight in late 2016. The entire reign of terror of a certain person who shall not be named took place RIGHT at that time, climaxing in both physical and emotional separation as the current generation has never experienced before. With the recurring line, "We won't know where we stand 'till December," "Reverie" could be a way of summing up both last year AND this year. We didn't know where we would stand politically last year until about a month prior to December, and this year, it'll probably take until the end of it to find out where we are regarding if we can see each other again without fear of anyone we hang out with being contagious. A smart and timely song of both idealism and realism!

"Stop Making It Hurt" by Bleachers: In spite of the happy, bouncy sound of this song, there is most definitely a palpable undercurrent of hurt behind" Stop Making This Hurt." The song came about when the seemingly irrepressible Jack Antonoff came to the realization during the coronavirus pandemic that he wouldn't be able to perform face to face in front of his fans like he used to for a long time! The song details the angst, chaos, and disappointment of family life during the pandemic. The kids are complaining, Mom wants to break loose from the Garden State, and Dad has gotten to the point of not even recognizing where he is anymore. Nothing is fine. But sometimes, that's what we need to hear in a song! We need to KNOW that we're not the only ones going through what we are. "Stop Making This Hurt" might just be the spoonful of sugar we need to make the tiresome medicine of our vaccines go down!

"Witchoo" by Durand Jones and The Indications: Like fellow neo-soul-ster, Leon Bridges, Durand Jones and The Indications started off imitating '60s soul music and have now dipped their feet into '70s funk! "Witchoo" captures that moment in time when the R in R & B was getting stronger than the B, as the focus of this song is primarily rhythmic, lacking the bluesy pulse that was present in early R & B. We've had so many songs here that want to leave the present moment, and for understandable reasons, but this song seems very in-the-moment, at least lyrically speaking. Though its sound is an obvious throwback to soul music of the mid-1970's, "Witchoo"'s lyrics are basically about traveling on the road and spending time with that special someone. The simple pleasures of life. So what are you waiting for?! Get down with yo' bad self and melt into the auditory dance party that is "Witchoo"!

New songs for September 9th, 2020

 here they are:

"I'm Ready" by Black Pumas: On the strength of three hugely successful and hugely soulful songs on adult alt radio, Black Pumas are now ready for a fourth song to hit the adult alt airwaves. Their latest song, "I'm Ready", is actually a bonus track from their debut album (another of which is a lovely cover of the classic Tracy Chapman song, "Fast Car.") "I'm Ready" is a more upbeat song from Black Pumas' catalog, like most of their material so far has been. Lead singer Eric Burton talks a few times about being born in California in the song, though his band is based in Texas (another state he makes reference to later on in the song.) Like most Black Pumas songs, "I'm Ready" is essentially a love song, but the title of the song could mean other things, like how Eric is ready to make his music known to the world!

"Impossible Weight" by Deep Sea Diver (featuring Sharon Van Etten): You might not know Deep Sea Diver offhand, but if you're a fan of contemporary indie/alt music, chances are you've heard lead singer Jessica Dobson providing backing guitar for major acts of the genre like The Shins and Beck. It's taken us almost a decade to hear Jessica strike out with her own band to score an adult alt radio hit, but with "Impossible Weight", it looks like she's finally achieved her goal! The song, not surprisingly, bears resemblance to groups like The Shins, if St. Vincent somehow got involved with them. Providing additional support to Deep Sea Diver in "Impossible Weight" is indie-folk cult fave, Sharon Van Etten, who has scored a few adult alt radio hits of her own within nearly the last decade. For those are fond of hearing women in the indie scene rock out, "Impossible Weight" might just be the song for you!

"Lonely Heather" by The Nude Party: The revitalized, Stones-esque rock and roll flavor of this song is only one aspect that makes this song worth reviewing. The other is its stunning music video (https://www.youtube.com/watch?v=FteAfB5Sw9A&ab_channel=TheNudeParty)!! It seems almost "BoJack Horseman" influenced, albeit with more actual humans than human-animal hybrids (a few wolf-people are featured at the beginning of the video, though.) There's something that just screams "adult animation" about this video, but not in a gross way, more in a subtle way, as BoJack has been known to have. The animator for this video, however, was never involved in that show. "Lonely Heather"s animator is a man named Parker Worthington, and not much else is known about him. The song itself is a mere two-and-a-half minutes of joyously fun rock music, capped off by the rebel yell (or should I say "rebel L") of "Luh-luh-luh-Lonely Heather" during the chorus!

"Mind Eraser" by Nicole Atkins: The unexpected darkness of 2020 has certainly impacted Nicole Atkins! As the pandemic was just beginning to rage earlier this year, she gave us "Domino", a deceptively catchy song that was actually about the end of the world. Now, we have the even darker "Mind Eraser", a seductive, bass driven, funky song (with a surprisingly blues-y guitar solo midway through) that seems to be about questioning the very nature of reality! Nicole talks throughout the song about how "it seems (her) mind's erased", as well as how, if that's the case, she "never wants to leave again." Wow! Chilling lyrics! However, they are strangely befitting for the time being!

"The World" by Pete Yorn: A short but sweet folk-rock tune, Pete Yorn's "The World" is about...well...the world! More specifically, though, it's about how unpredictable Pete feels the world is. It seems to let him down. Having had nearly 20 years in the music biz, one might expect Pete to feel a little world weary right now, but this song almost feels like a reflection on just what a sad state the world is in right now. There are many songs in Pete Yorn's catalog that can be called "bittersweet", but this one probably tops 'em all so far in that regard!

"Time Is Wasting" by Josh Ritter: This upbeat folk-rock tune, which has a similar beat and sound to Paul Simon's "Graceland" (albeit without the rhythmic African influence the song was known for), was supposedly a song Josh Ritter originally wrote for a movie, although what movie that was is currently unknown. Upon actually releasing the song, Josh found it to be strangely fitting for our present coronavirus pandemic, and then decided to write other songs with a similar theme for his latest album. However, "Time Is Wasting" is the song that got the ball rolling for Josh in 2020. Underneath the song's happy sound, there is a rather disquieting sense of desperation in the lyrics. How will the other songs on Josh's new album pan out? Well, we'll just have to wait and see!

"Under the Table" by Fiona Apple: There hasn't been a Fiona Apple album as heavily anticipated as her latest one has been since...well...since her debut in 1996! Quite a bit of time has passed by between her debut album and our current year, but Fiona's sense of confessional, wounded angst has remained all these years! Songs like "Under the Table" are like the opposite of the cliche about fine wines. Instead of tasting sweeter over time, Fiona's songs seemed to have grown more sour with each passing year. On the subject of wine, apparently "Under the Table" was inspired by an actual dinner, not a metaphorical one like one might expect, that Fiona had where a lot of expensive wine was involved. It's not the food and drink that's important here, though. What is important in the subject of this song is how Fiona felt used by the guy who hosted the dinner. To put it in more polite-ish terms, this song is basically a "screw-you" to the guy who used her. Ah, the beauty of songs! They can mean so many things...and yes, that includes how songs can be a kiss-off to someone you really don't like! 

New songs for January 16th 2019

What a whopper lineup of new songs we have today!! 8 fresh new ones! Here they are:


"Fast Talk" by Houses: Just when you thought indie pop covered everything it needed to cover, along come Houses, a band who might just be trendsetters for the 2020's. Jazz and vocal standards meet electronic music and folk music with just a dash of rock in Houses' debut song, "Fast Talk". The song is a nostalgic look back at the life that Dexter Tortoriello (who, himself, is Houses - a one man band) during his late adolescent years hanging out with his friends and trying to figure out who he was and what he wanted to do with his life. It's also about facing the likely prospect of how once you get older, the people you knew aren't who they used to be, and so you often face disconnection from them as a result. A track that calms you down AND makes you think?! Not often you come across one of those, is it?!


"Friend Better" by Joe Jackson: Like fellow new wave elder statesman, Elvis Costello, Joe Jackson has managed to stick around longer than most from his era. Where Elvis has continued to reinvent himself at every turn, Joe Jackson...well...only does that sometimes. Joe's latest song, "Friend Better", is a throwback sort of a tune that sounds like it could have been on Steely Dan's "Aja". Both its ersatz smooth jazz sound and its clever, scathing lyrics wouldn't be out of place in the Dan catalog. The central point of the song seems to be about how complicated love can be. In just four simple words, "Lover good, friend better", Joe conveys a situation many of us are familiar with that frustrates us nonetheless. Sometimes it's nice to know that you're not the only one who goes through the struggles that you do!


"Hard Case" by The Tedeschi-Trucks Band: For their fourth and final album of the 2010's, Susan and Derek have released a song that showcases what they do best. "Hard Case" is yet another example of the catchy blues-rock The Tedeschi-Trucks Band have been known for, with some roots-y country-rock and New Orleans jazz type influences thrown in there for good measure as well. During the chorus of the song, Tedeschi and Trucks sing to each other that they are a "hard case to refuse". If they're trying to say that they love each other in the chorus, that's an interesting way to do so, but it seems pretty clear to me that it's the sentiment they are trying to express in this high spirited, freewheeling, shuffle of a song!


"Landslide" by Beirut: No, this is not a cover of the Fleetwood Mac song of the same name, in case you were wondering. In spite of the lack of guitars on most of this track, Beirut's "Landslide" could still be said to be the closest that Beirut has come to prog-rock with its soaring, epic organs evoking imagery of grandeur that could fit easily into a Yes or Emerson, Lake, & Palmer song. Perhaps this was intentional on their part, as "Landslide"'s prog-rock sound is every bit as geeky as its video (in a good way, I promise). The accompanying video for the song brings together two nerdy favorites, "Monty Python" and "Game of Thrones", into a single territory. Expect mysterious, mythical beings to join the Ministry of Silly Walks after you watch this music video! https://www.youtube.com/watch?v=GCVB5zjwdzE


"Longshot" by Catfish and The Bottlemen: With garage rock ravers like "Kathleen" and the almost Foo Fighters-esque "Soundcheck", the Welsh quartet, Catfish and The Bottlemen, have graced us with some of the most rockin' tracks of the 2010's so far. So how do they plan to exit the decade?! Well, by rockin' out, but in more of an indie-pop fashion than their fans might be used to. Their latest song, "Longshot", seems to lack the fiery passion that their previous two adult alt radio hits had, but it still manages to sound like a rock anthem nonetheless. Another thing "Longshot" seems to lack that CATB's previous songs had is angst. This factor is replaced in the song with a never-give-up, can-do spirit to keep chugging along through tough times. As the state of the world becomes increasingly more chaotic, I guess that's all we can do sometimes!


"Overexcited" by Guster: Overexcited is exactly what adult alt stations have become for Guster's latest song! It's been hard for me to find a copy of this much anticipated song. I only just found one today! I honestly thought Guster would have called it quits with their 2014 song, "Simple Machine", since it didn't seem near as well received as most of their songs from before that, but instead, the now nearly three-decade old indie-pop quintet from Boston has kept on chuggin' along with their goofiest song yet! Guster have always been pretty quirky, but "Overexcited" turns the quirky factor up to 11! From its "Yo Gabba Gabba"-ish energetic kid friendly sound to its odd choice of instrumentation and silly lyrics ("We had a dog once, we all just called it 'Cat'"), "Overexcited" is a song that will have you feeling...well...overexcited!!


"Seventeen" by Sharon Van Etten: 17 is a coming of age number for many well known musicians in rock and pop. Be it Stevie Nicks' "Edge of Seventeen" or Janis Ian's "At Seventeen", they all seem to tell a poignant story of bittersweet realization. Sharon Van Etten's "Seventeen" follows in the footsteps of Stevie and Janis as Sharon weaves a tale about how life just hasn't been the same since she's grown up. She looks back wistfully on her mid teens while lamenting who she's become. In spite of the major key this song is in, it still manages to be just as sad. Perhaps she learned a thing or two from Janis Ian, whose "At Seventeen" was also a sad song in a major key.


"This Land" by Gary Clark Jr.: Last, but certainly not least, blues rocker Gary Clark Jr. delivers one of the most potent protest songs of the decade! Fusing reggae, jazz, rock, and blues into a furious gumbo, his song "This Land" is the sort of song that could be a Rage Against the Machine song if a few notches were turned up on the amp, though it still manages to be righteously loud enough with Gary performing it. As you might have guessed by the title of the song, "This Land" is a political song about how it feels to be an African American citizen in what is currently a racist nation. The song even name checks Donald Trump, and is the first Gary Clark Jr. song (to my knowledge) to use the phrase "p*ssed off", and rightfully so, might I add! Though I am not of the same racial background as Gary, I do feel his pain and sympathize with it. Just about anyone who thinks that judging someone simply because of their ethnic background is wrong would probably identify with this song too!

New songs for October 10th, 2018

here they are:


"Comeback Kid" by Sharon Van Etten: Sharon Van Etten might be coming back to adult alt radio for the first time since 2015, but meanwhile, I'm starting to notice that guitars might NOT be making a comeback anytime soon. The once folk-rock oriented Sharon Van Etten has now opted for the use of synthesizers in her latest song, "Comeback Kid". I must admit, as a longtime guitar player myself, I'm a little disappointed by this. What starts out sounding like a glimmer of the sweeping, orchestral intro to The Cranberries' "Linger" ends up sounding instead like one of the many dance-pop oriented songs dominating the "alternative" charts. The song is also a bit more repetitive than most SVE songs are, with the title of the song sung a total of 10 times without a whole lot of substance in the lyrics. I suppose this is a song I could grow used to, though.


"If You Really Love Nothing" by Interpol: This is a song that will break your heart...as well as your spleen! While this song is basically a breakup song, lead vocalist Paul Banks slips in lyrics like, "Whenever I find home, the next artery, splendid, I bled my whole life", making it a bit more of a bloody (anti) valentine song than most breakup songs are. Some might be wondering what Kristen Stewart is doing in the video for this song. Though she's become known for the notoriously over-the-top emotional "Twilight" movies, it seems like that's not what she wants to be known for. After all, she's a fan of The Replacements, an actress in a movie about rocker, Joan Jett, and characters in indie movie faves like "Adventureland" and "Into the Wild". Perhaps now it'll make a little more sense why she's in an Interpol video. The video can be viewed here: https://www.youtube.com/watch?v=gLk8i2zw2jU

New songs for February 18th, 2015

here they are:


"Coming Home" by Leon Bridges: The term "neo-soul" has been applied to many musicians, but there are only a few whom I really believe deserve the label. Newcomer to the scene, Leon Bridges, is one such person. His brand of soul music hearkens back to a time when Motown was a fledgling genre and record label, as it heavily evokes the music of soul legend, Sam Cooke. Leon's smooth crooning combined with the blues-y but breezy guitar he sings over is enough to make Cupid actually want to draw back his bow and let his arrow go!


"Don't Wanna Fight" by Alabama Shakes: One of the most anticipated singles of the week, and also one of the funkiest!! Alabama Shakes are (currently) best known for their first big hit, "Hold On", which blended Janis Joplin-esque vocals with Creedence Clearwater-style guitar playing. In "Don't Wanna Fight", Brittany Howard takes her musical time machine a few years after the Woodstock era, and into the funk era of the mid 1970's. Howard loudly and proudly proclaims that she "don't wanna fight no more" throughout the song. Since I don't know the song well enough yet, I'm not exactly sure what it is that she's fighting for (or against), but this is a song that is clearly more about the rhythm than it is about the lyrics, as far as I'm concerned. Get your groove on!!


"Every Other Freckle" by alt-J: The nerdily named alt-J have actually been pretty cool ever since their debut, but it seems as though the songs from their sophomore record are the ones that adult alt radio has gravitated towards the most so far. The guitar heavy, Black Keys-esque "Left Hand Free" became one of summer 2014's biggest hits on adult alt stations. As spring approaches, "Every Other Freckle" is the song such radio stations seem to be picking up on. The song returns to the hip-to-be-quirky style that alt-J have become known for, which "Left Hand Free" seemed to lack. The lyrics in the song are also a bit enigmatic. For instance, I have no idea what they mean by "I want every other freckle". That's just fine, though, as this is just the way alt-J's fans seem to like them.


"False Hope" by Laura Marling: Laura Marling could easily be likened to a modern-day Joni Mitchell. If albums like "A Creature I Don't Know" and "Once I Was An Eagle" are her "Blue" and "Ladies of the Canyon", then perhaps her latest album, "Short Movie" is what "Court and Spark" was for Joni Mitchell. That is, a chance for Laura to experiment with electric guitars while still keeping up her folk-rock image. "False Hope" is the first Laura Marling song I have heard that uses electric guitar instead of acoustic. The chorus to "False Hope" is rather cutting for someone known for her quaint and quiet material ("why I know false hope", as if to say, "I've been down before, so leave me alone!") Again, the "Court and Spark" comparison could continue, since Joni had rather scathing lyrics on songs like "Raised On Robbery" ("first he had a '57 Biscayne, put it in the ditch, he drunk up all the rest, that son of a b**ch"). Laura is definitely trying to move in a darker direction with "False Hope", as far as I can tell, and a more musically distinct direction, too.


"Fool For Love" by Lord Huron: Lord Huron are probably one of the dreamiest sounding indie-folk bands of the 2010's. The first 45 seconds of their latest song, "Fool For Love", are pure bliss. Once the vocals kick in, it starts to sound more like a typical Lord Huron song, but it still maintains its blissful, ethereal sound. Many of their songs could obliquely be considered love songs, but "Fool For Love" is the first song they've done where the affection is clearly spelled out (as if you couldn't tell from the title). I notice that this song was released a couple days after Valentine's Day. I wonder if Lord Huron did that on purpose?!


"I Don't Want to Let You Down" by Sharon Van Etten: Sharon Van Etten's songs are known for being somewhat dismal and lonely sounding. That being said, could "I Don't Want to Let You Down" be an indicator that she has finally found happiness?! First of all, the song is in a major key, unlike most of her material, and it sounds more upbeat than the rest of her material, too. As if that wasn't enough of a not-so-indie move for the only indie-folk singer to share my mom's first name, she has also performed the song on Ellen DeGeneres' show, and rumor has it that this song was inspired by the feel-good '80s family flick, "Overboard" (one of my guilty pleasures!!) Rest assured, though, the song still feels mellow and folk-y enough to be considered legit in Sharon Van Etten's catalog, and her signature moaning vocals are still present on this track as well.


"Kathleen" by Catfish and The Bottlemen: Between their European sounding name and their similarity in sound to some of the harder rocking Oasis songs, one of the first things I wondered about Catfish and The Bottlemen when I first heard their song "Kathleen" was whether or not they were British. Well, it turned out I was close! They are a Welsh group. You don't hear the phrase "Welsh garage rock" or even "Welsh alternative rock" very often, so perhaps Catfish and The Bottlemen are trendsetters in this regard (only time will tell). The chorus of the song, in which lead singer Van McCann defiantly states, "I've gotta give it to you, you give me problems!" also seems typical of the garage rock genre. I wonder what other musical treasures Wales has to offer us!


"Leaf Off/The Cave" by Jose Gonzalez: In the 2010's, Jose Gonzalez has been active with his band, Junip, but he hasn't done anything solo since 2008. Though Junip was a good band, I much prefer the gentle, Nick Drake-esque brand of folk-rock that Jose had by himself. His latest solo song, "Leaf Off/The Cave" returns to the magic Jose did by himself during the mid to late 2000's. From its enchanting sound to its hopeful lyrics ("let the light lead you out"), "Leaf Off/The Cave" is bound to be a winner among Jose's biggest fans, and then some. Don't be fooled by the title. First of all, it has nothing to do with Mumford and Sons' "The Cave" as I thought it did before I actually heard it, and "Leaf Off/The Cave" is actually one song, not two, in spite of how the title makes it look. I regularly try to look for songs I can listen to to calm me down, but this is one of the most calming I have heard in quite awhile! Highly recommended!!


"Pedestrian At Best" by Courtney Barnett: Wait, which "Courtney" IS this?! Courtney Barnett or Courtney Love?! It kinda sounds like the vocals of the former mixed with the music and mood of the latter!! From Barnett's "Avant Gardener", I expected all of her songs to sound kinda deadpan, but "Pedestrian At Best" is anything but! It has an almost punk rock sound, with its defiant guitar playing, one-chord verses, and two-chord chorus, which is somewhat derivative of the early Kings of Leon tune, "Molly's Chambers". Barnett's sing-speaking and ranting vaguely recall Mike Muir's paranoid, enraged vocal style in Suicidal Tendencies' "Institutionalized"! I haven't seen anyone go from mellow to angry this quickly since Marianne Faithfull (likely one of Courtney Barnett's influences)!!


"Take My Love" by The Lone Bellow: So far, "Take My Love" is the closest that folk-rockers, The Lone Bellow, have gotten to electric guitar oriented music, but the Bellow have still kept their mellow on this one. It seems like sounding like Bruce Springsteen has become a rite of passage for many indie-folk/indie-pop bands lately (Killers, Hold Steady, Gaslight Anthem, War on Drugs, and Arcade Fire all rank among them). This is probably the first Springsteen-esque song that The Lone Bellow have attempted. It not only sounds like one of The Boss's songs, but it also seems to echo the passion and honest lyrical content that he usually had.


"What Kind of Man" by Florence and The Machine: Flo and her magic Machine are truly one of the most eclectic bands to have emerged in the 2010's. Their blend of folk, rock, soul, gospel, and new wave has been unmatched so far! Their eclecticism seems to come full circle in "What Kind of Man", which starts as a whispery, dark hymnal, but quickly turns into the sort of new wave-y dance-rock song you might expect from INXS, or perhaps even Prince. Guitar isn't usually a central instrument in Florence and The Machine's music, but it takes on a very important role in "What Kind of Man" from the first minute on. "What kind of man loves like this?" Flo implores throughout the chorus. The more important question is, "What kind of man (or woman) doesn't love this music?!"

New songs for June 4th, 2014

here they are:


"Back to You" by Twin Forks: Is it just me, or is "bluegrass rock" getting even more catchy than it was before?! "Back to You" by Twin Forks certainly seems to prove that this is so! With its proficiently plucked banjo strings, and its jovial, stomp-along rhythm, "Back to You" is one of those songs that's guaranteed to put a smile on anyone's face! Seriously, who wouldn't wanna just break out into song and dance during this one?!


"My Silver Lining" by First Aid Kit: I only heard three songs ("Blue", "The Lion's Roar", and "Emmylou") from First Aid Kit before I heard their latest song, "My Silver Lining", but those three songs were enough to let me know what First Aid Kit typically sound like. They are a Swedish folk-rock duo consisting of two sisters who use their honey-sweet harmonies and soft, billowy sound to melt the hearts of even the most cold-hearted people out there. "My Silver Lining" is like a "survival in times of trouble" type of song, contrasting dulcet harmonies with despairing emotions, which is typical of their material. In spite of their sweet nature, First Aid Kit often have negative subject matter within their songs, but their songs are just so sweet and lovely, I usually don't remember what their true nature is!


"Taking Chances" by Sharon Van Etten: How do you make a leap from the PJ Harvey-esque angst of "Serpents" to the Joni Mitchell-ish folk-rock of "All I Can", and now trip-hop in the style of Portishead and Massive Attack for "Taking Chances"?! Don't ask me how, but all I know is that Sharon Van Etten can do it! "Taking Chances", indeed! With musical style, anyway. The subject matter of the song is nothing new, as it deals with dissatisfaction in a relationship like most of Sharon's songs tend to, but the delivery of her passionate, sulky yearning on this song, combined with its moody, electronic musical aspects, does the trick for me here.


"Violent Shiver" by Benjamin Booker: Take the "chug 'n' pound" drumming of Delta Spirit's Brandon Young, and combine it with the mighty, forceful guitar sound of an old Chuck Berry or Rolling Stones record, and you've got "Violent Shiver" by Benjamin Booker. This is one powerhouse song!! Defiant and headstrong throughout, "Violent Shiver" is more violent than shiver inducing, but more of a righteous violence than an unjust one. And then there's the subject of who Benjamin Booker IS!! He is a young black man, probably not much older (or younger?) than I am, who is from New Orleans, and enjoys hardcore punk groups like Black Flag just as much as he does more "traditional" New Orleans jazz and blues. You don't meet (or hear) someone like THAT every day, do you?!

Have A Holly Jolly Hipster Christmas - special blog dedicated to "Holidays Rule"!!

I don't normally post on days other than Wednesday, but the new CD "Holidays Rule", showcasing mostly contemporary folk-rock and indie-pop, has soooo many good songs that would just be too much to blog about if I added them into another blog entry for non-Christmas/non-holiday related songs! There actually too many songs on this CD to be covering in one entry, so I'll be reviewing my personal faves from the CD today. So here goes! Hope you like it!!


"Auld Lang Syne" by Andrew Bird: Ever the quirky indie musician, Mr. Bird has decided not to choose a Christmas related song, and opt for a New Year's one instead! And his arrangement of it is...ummm...interesting!! Instead of being sung with reverence, it is treated more like a jaunty, honky-tonk song! No Andrew Bird song is complete without a string section instrument, but Bird continues to surprise his listeners by choosing a fiddle this time instead of a violin or cello like he usually does. It's also pretty impressive that Andrew Bird knows more than just the first verse of "Auld Lang Syne", since most people (including myself) only remember that verse!


"Baby It's Cold Outside" by Rufus Wainwright and Sharon Van Etten: The ultimate boy/girl duet Christmas song is performed this year by eclectic music extraordinaire Rufus Wainwright and angst-ridden folk-rocker Sharon Van Etten. Presented only with piano and vocals, Rufus and Sharon deliver an endearing duet (in which Rufus, as always, steals the show) that is bound to make one curl up inside with a cup of hot cocoa by the fireplace with his/her loved one. Van Etten's nearly deadpan vocal delivery provides an intriguing contrast with Wainwright's expressively operatic vocals, but they still manage to make it work! If only Zooey Deschanel didn't perform this song TWICE (once with Will Ferrell and another with M. Ward), I'd opt for her to sing the "girl" parts of this song, but otherwise, well worth the listen!


"Blue Christmas" by Heartless B*st*rds: A band whose name is both a curse word and an insult doesn't exactly seem like one that would be in the Christmas spirit, does it?! Surprise! Erika Wennerstrom is no Grinch! However, she did choose a more brokenhearted holiday song for "Holidays Rule", "Blue Christmas", a song that I initially thought had only been done by Elvis Presley, but has been covered by many others ever since. The HB's give "Blue Christmas" a melancholy country-rock treatment, complete with a sighing, twangy guitar solo in the middle. A big ol' heart melter, like most of the "Holidays Rule" songs, but that's why I like it!


"(Everybody's Waitin' For) The Man With the Bag" by Black Prairie: With a title that's a clear reference to Santa Claus, you'd think a song like this would be pretty energetic. And it is! But...not at first. The first 30 seconds or so of "Man With the Bag" build up suspense to a song that soon begins to sound like The Decemberists got taken over by Feist leading a band of jolly little elves! A surprisingly fun song for a band whose only known song so far is called "How Do You Ruin Me?" This could land Black Prairie a guest spot on "Yo Gabba Gabba" if they're not careful, heheh.


"Green Grows the Holly" by Calexico: Not one of the obvious Santa/Rudolph type Christmas songs, but it's songs like Calexico's "Green Grows the Holly" that adds a bit of diversity in subject matter to the "Holidays Rule" song collection. A very mournful holiday song, too, but not without a unique, Calexico-style horn solo in the middle of it to make it perk up, if only for a minute. Calexico are typically more lively than they are on this acoustic-guitar-and-horns-only track. Where I would normally envision a Calexico song taking place around the Mojave Desert in the middle of summer in the afternoon, this one seems more to take place around dusk, near winter, with holly and ivy growing in place of the cacti.


"I Heard the Bells On Christmas Day" by The Civil Wars: John and Joy turn a solemn Christmas song into a more charming one simply by using their signature harmonies to make the song complete, but the sentiments of requesting peace on Earth and good will to men in a world of cynical people are still there. Accompanied only by acoustic guitar, The Civil Wars show, once again, how their brand of quiet is the new loud, enough to make listeners stop and become entranced by both the mellifluous melodies and universally uplifting utterances of their take on an old Christmas fave.


"It's Beginning to Look A Lot Like Christmas" by Fruit Bats: The formerly cheery Christmas song, "It's Beginning to Look A Lot Like Christmas", gets a makeover from indie-folk-rockers Fruit Bats, with a sound that's halfway between a classic country song and Hawaiian music. Though The Bats have made this song lose some of the pep it once had, it is not completely without its bouncy beat. It's not as though Fruit Bats have added minor chords in place of the major ones, that's still a part of the song in this version. It's beginning to look a lot like Christmas, but more like the kind of Christmas you'd want to spend inside your house, and not outside in a mall.


"O Come, O Come, Emmanuel" by Punch Brothers: An interesting selection for "Holidays Rule", and an even more interesting version! Among the recent "bluegrass-rock" boom, Punch Brothers are probably one of the few (if not the only) band of the bunch that could be considered "progressive bluegrass", since their verses and choruses are often in completely different keys to one another. They continue to demonstrate this oddly amazing talent in their take on "O Come, O Come, Emmanuel", one of those songs that, "keeps the 'Christ' in 'Christmas'", so to speak, as its title and subject matter are both references to Jesus. Punch Brothers do not lose an ounce of reverence in their rendition of "O Come, O Come, Emmanuel", in terms of both vocal and instrumental quality. Perhaps this means that Punch Brothers are "brothers" in more ways than one might expect?!


"Sleigh Ride" by fun.: I have truly underestimated fun. With each song they release, their instrumental talents continue to impress me more and more. With the combination of "modern" instruments (like synths), and more "traditional" ones (like violins and flutes) all set to a giant indie-pop wall of sound, this version of "Sleigh Ride" could have been done by Arcade Fire with the exact same arrangement (but with different vocals, obviously)!! It even dips into psychedelic, echo-y territory a la "Tomorrow Never Knows" by The Beatles towards the end of it! I think fun. are gliding through more than just a wonderland of snow in their version of "Sleigh Ride". They are gliding through a wonderland of SOUND!! Now that's what I call "ear candy"!


"The Christmas Song" by Paul McCartney: Sir Paul must be quite overwhelmed that he is both performing a song AND having a song he originally did covered by someone else ("Wonderful Christmastime") on the same album!! Macca's arrangement of the time-honored Christmas tune that begins with descriptions of "chestnuts roasting on an open fire" and "Jack Frost nipping at your nose" is not a bad one, but a B effort, or perhaps even a C one, in comparison to the Nat King Cole version I'm used to hearing. It must also feel weird for Paul to be the only "classic rock" musician on a record of mostly indie-pop musicians of the '00s and 2010's. Perhaps that's why his efforts feel only so-so on "The Christmas Song", but this IS a song that seems to be good, regardless of who's singing it.


"What Are You Doing New Year's Eve?" by The Head and The Heart: Aside from Andrew Bird's contribution to "Holidays Rule", this is the only post-Christmas December related song on the CD. I realize just now that this is The Head and The Heart's first major song with romantic sentiments attached to it. Their topics previously revolved around homesickness ("Lost In My Mind"), being a world weary traveler ("Down In the Valley"), and speculations about the paranormal ("Ghosts"). So how do The Head and The Heart fare at choosing more personal subject matter into their music?! Quite effectively, if I do say so myself. The song carries a sweet, but not sappy, message of hope to spend New Year's Eve with one's significant other, and is perfect for a cozy, warm, stay-at-home December.


"Wonderful Christmastime" by The Shins: And last, but not least, it's Paul McCartney! Ummm...I mean...The Shins COVERING Paul McCartney! Kind of. James Mercer's love of The Beach Boys is more obvious in this version of McCartney's signature Christmas tune than his love of The Beatles, what the "Good Vibrations"-ish organ to start off the song. The lyrics get either goofed up or added on to at certain parts, so it doesn't exactly feel like a sincere cover, but those who prefer have their holiday tunes sound more psychedelic than plain ol' happy might get a kick out of this version.

new songs for December 7th, 2011

Here they are:

"Get Used to It" by Ben Lee: Ben Lee made his musical breakthrough back in the mid-'00s with the charmingly quirky, folk-pop-y "Catch My Disease". It didn't occur to me back then that his roots were not in folk-pop, but rather in power pop (i.e. Big Star, Elvis Costello, XTC, etc.) No song in Ben's catalog that I've heard so far illustrates his power pop influences better than his latest song, "Get Used to It". The sound of "Get Used to It" isn't the best part, though. It's how Ben takes a slow, slightly psychedelic detour midway through the song that makes "Get Used to It" really worth listening to for me! "Get Used to It", therefore, is the perfect title to a song that starts off catchy, gets a little weird (in a good way) midway through, and ends up as catchy as it was when it began. Now THAT's something to "get used to"!!

"Honolulu Blues" by Craig Finn: Craig is the lead singer of a roots-y, largely Springsteen influenced indie outfit called The Hold Steady, and, until now, has recorded pretty much all of his material with them. "Honolulu Blues" marks the first time Craig has struck out on his own, but he still retains the Springsteen-esque sound of The Hold Steady, and still has a (nameless) band backing him up! The opening chord sequence of the song seems like it's been used endlessly in rock/pop music (most recently, perhaps, in "Forget You [F**k You]" by Cee-Lo Green), but after that, "Honolulu Blues" becomes its own song. As indicated earlier, there's a definite Springsteen influence in this song, but it seems like this song goes back even further in rock 'n' roll history, as it also seems to heavily recall Chuck Berry (and perhaps The Rolling Stones as well) in its riffs! The angst-ridden but catchy poetic lyrics combined with the instrumentation also brings to mind even more rock 'n' roll greats, like Dylan during his "electric" period. Classic rock influences are present in nearly every song Craig has attempted, but none more so than "Honolulu Blues". Long live rock!!

"Serpents" by Sharon Van Etten: In a long line of "angry young women" in alt/indie rock, starting, perhaps, with Patti Smith, continuing with PJ Harvey and Liz Phair in the '90s, and carrying through to the '00s with acts like The Dresden Dolls and Company of Thieves, Sharon Van Etten is the latest to follow in their footsteps with her seductively dark song, "Serpents". "Quirky young women" (Feist, Regina Spektor, Joanna Newsom, Florence and The Machine, etc.) seems to have been the trend in the '00s/2010's, and, as great (and cute) as they are, sometimes it's good to have a little darkness to balance out the light! Sharon's voice might not have the same venom as Patti, Liz, and PJ, but the instrumentation here is pretty angst-ridden, as are the lyrics (which include, "You enjoy sucking on dreams, so I'll fall asleep with someone other than you"...Ouch!!). For those who like their gals with more of a gloomy, detached emotion in their music, I highly recommend "Serpents". Even the TITLE of the song indicates something not-so-friendly!

"Waiting For Something" by Nada Surf: The one regret I have about Nada Surf's music is that their most popular song, "Popular", sounded like a Weezer song (or, more accurately, a PARODY of a Weezer song), whereas all their other material is more beautiful and melodic than that, approaching the R.E.M./Radiohead category. Their latest, "Waiting For Something", continues in the beautiful but catchy alt-rock pattern of pretty much everything they released in the '00s (which was quite a bit, actually, and included songs like "Inside of Love", "Always Love", "See These Bones", and "Whose Authority"). "Waiting For Something" is a little different than the four songs I just mentioned, but in a VERY good way. Where those four songs were slower paced, "Waiting For Something" is a little faster. This is such a great song!! Great harmonies, great vocals, great instrumentation, tell-it-like-it-is lyrics (the chorus, for instance, "it always feels like I'm waiting for something"), what more could you ask for?! This is my fave release of the week and I highly recommend it!!