New songs for October 12th, 2022

 here they are:


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

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

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

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

New songs for July 20th, 2022

 here they are:


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

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

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

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

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

New songs for 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). 

A very special day: 10th Blog-i-versary AND my mom's 64th birthday!!

Can you believe it?! I've been doing this blog for 10 years now!! And it's my mom's birthday!! So what are we gonna do to celebrate?! Review 9 brand new songs, that's what! The first three, coincidentally, begin with the letter B...as in "birthday" (and "blog-i-versary"). So here goes:


"Back to Me" by Grace Potter (featuring Lucius): This song combines the humble country-rock sound Grace Potter started with with the more slinky, sexy sound she cultivated later on. As soon as indie-pop/rockers, Lucius, drop in during the chorus, the song turns a bit more soulful. Grace really flaunts the temptation factor on this song! She fools the listener into thinking she's in love with someone, only for them to find out that Grace is actually trying to break up with that same person. If you're looking for love, don't look to this song for answers. But if you're looking for a sensual auditory experience with deceptive lyrics, you've come to the right place!


"Be Afraid" by Jason Isbell: A sense of urgency has probably come over you just reading the title of this song. If so, you'd be right to feel that way! That desperate feeling churns out right from the beginning of this song, which has a sort of "R.E.M. goes Southern rock" kind of sound. Isbell has fought against politics with his music for quite awhile now, and he shows no signs of letting up just yet with his latest song, "Be Afraid". The fear in this song seems to come from all sorts of topics, ranging from political to sexual, and even in fears surrounding the state of being a musician in and of itself! "Be afraid, be very afraid", Isbell urges his listeners, before adding in, "but do it anyway". It's time for us to face our fears. In spite of the title of this song, Jason Isbell is clearly anything BUT afraid here!


"By And By" by Caamp: Caamp's surprise summer smash, "Peach Fuzz", which was popular enough to make my Top 20 of 2019, was a pleasantly quirky song that was a rock song on the surface, but a bluegrass song underneath. "By And By" has more of a pure bluegrass sound than its predecessor, enough to be mistaken for a band like Trampled by Turtles. No electric guitars to be found here, just sweet, mellow, banjo driven bluegrass. The opening lyrics, "driving through West Virginia", even give it a "lonesome traveler on the highway" kind of feel. During the chorus of the song, Caamp's lead singer muses about his girlfriend and wonders if she's a "life force". Not exactly sure what that entails, but "By And By" is still an easy, breezy song to listen to.


"Dissolve" by Absofacto: Every once in awhile, we come across songs that immediately get associated with commercial products. Absofacto's "Dissolve" is one such case. It has actually been in existence for two years now, but it has received massive attention within the past two weeks for being used on advertisement for video sharing platform, Tik Tok. Apps like Tik Tok are a bit sketchy to me, but it's not that surprising that a song like "Dissolve" has been used to promote Tik Tok. The song is sleek and trendy, combining elements of hip-hop and electronica into a smooth yet fashionable flavor.


"Forever Nevermore" by Sea Wolf: Probably one of the few bands I've blogged about and met members of in person, Sea Wolf are an L.A. band who deftly mixes folk guitars with a post-punk atmosphere. Their latest song, "Forever Nevermore", seems to be about not knowing what to want in a relationship. The title, "Forever Nevermore", is a clever way of expressing this, juxtaposing the idealism of "forever" and the pessimism of "never". The opening lyrics, "Stepped out, cool dirt under feet/And the fog in the air and the crack of the snare bittersweet", give the song a hazy, wintry aura to set the mood for the rest of the song. An icy song on the outside, but with a warm heart underneath it all.


"Honeybee" by The Head and The Heart: The third song to become a single from The Head and The Heart's latest album, "Honeybee" is a song that continues on the more-pop-than-rock indie slant that The Head and The Heart have taken on roughly since the mid 2010's. However, what makes this song special is what band member Charity Rose Thielen, who sings harmony on this track, thinks of it. Her comment is the first one on the "visualizer" video for "Honeybee" on YouTube, and it states that the song is about taking those you trust the most for granted, and therefore holding back on telling them how you really feel until it's too late. The title of the song, "Honeybee", as you could probably imagine, is not much more than a cutesy nickname in the context of the song, but the song itself has a very delicate, fragile meaning that urges you to look beyond the surface of it.


"I Wanna Be the One" by Pete Yorn: Pete's 2019 adult alt radio hit, "Calm Down", hearkened back so much to the "old" Pete Yorn sound that I instantly fell in love with. His second single from his 2019 album, the song "I Wanna Be the One", doesn't quite have the same vibe. In some parts, it sounds like it wants to be atmospheric like a Smiths or Cure song, yet in other parts it sounds more like a folk-rock-y Pete Yorn song. The song is obviously a love song if its title is anything to go by. It's a sweet song, but it's missing that Pete Yorn magic that I crave every time I hear one of his songs.


"Need Your Love" by Tennis: Known for blending Brill Building "girl group" influenced sounds with post-psychedelic pop topped with the honey-sweet harmonic vocals of Alaina Moore, Tennis are an indie-pop band who pretty much always sound "retro". Their latest song, "Need Your Love", is no exception to this. What distinguishes "Need Your Love" from their other songs, however, is how the rhythm of the song becomes slower during the chorus than it is during the verses. Just when you get caught up in the catchy beat of the verses, the song slows down enough to make you feel less elevated than when you started listening to it, which begs the question: Do Tennis really "Need Our Love", or are they just playing with our hearts?!


"Shangri-La" by EOB (Ed O'Brien from Radiohead): Radiohead's Thom Yorke has gone solo a few times, and we got pretty much what we expected out of him: jaded yet pretty slices of music that melded post-punk with post-psychedelia. So what does Radiohead's guitarist, Ed O'Brien, have to offer us? The result is in his debut solo song, "Shangri-La", a song that manages to be even weirder than Thom Yorke's music, albeit in an intriguing manner. Where Thom highlights what make Radiohead such a great "alternative" band, Ed highlights the more prog-rock influenced side of the band that really shone during songs like "Paranoid Android". Pink Floyd, U2, Beck, and Nine Inch Nails are all accurate comparisons for this truly unique, hypnotic song!

New songs for July 17th 2019

here they are:


"Fighter" by Joseph: The somewhat ironically named all-girl trio, Joseph, graced adult alt radio in 2016 and 2017 with their harmonious, bittersweet brand of indie-folk with songs like "White Flag" and "S.O.S. (Overboard)". The success must have paid off well for the three of them because summer 2019 marks their return to adult alt radio with "Fighter". The song is a bit of a departure from the acoustic guitar driven sound of their previous songs, as it doesn't seem to feature guitar much at all. However, the mood of "Fighter" is pure Joseph. Like their biggest hit to date, "White Flag", "Fighter" is all about never giving up. It touches on a more personal level than "White Flag" did, though. "Fighter" is actually a song that almost didn't even come into existence due to personal strife within the band, but Natalie, Allison, and Megan took that tension, made it into a song, and as a result, have landed the biggest new adult alt radio hit of the week! Way to go, girls!


"Heat of the Summer" by Young the Giant: In the mood for a summer song to make a splash on alt and adult alt radio?! Then wait no more! Young the Giant might just have what you're looking for with "Heat of the Summer". The song is actually a clever mix of the traditional fun summer song and the more contemporary type of "summer boredom" song. Lead singer, Sameer Gadhia, expresses his boredom with summer during the verses, which are accompanied by sparse bass sounds, and the richer, guitar laden sounds of the chorus complement its more joyful lyrics quite nicely.


"Rylan" by The National: Who is Rylan? Furthermore, what kind of a NAME is Rylan?! I've heard of (and met) people named Ryan, but adding an "L" into the middle of their names just seems odd. Anyway, as to the question of who Rylan is, it's a bit of a mystery. From the context of the song, he seems to be a neglected, sad child who rarely speaks. Beneath Rylan's quiet lies a troubled boy, as Matt Berninger switches between saying that he "reminds him of everyone" during the first part of the song, to saying that "there's a little bit of hell in everyone" towards the end of it. "Everyone", to Matt Berninger, is flawed in some way. Rylan, therefore, reminds Matt of just how imperfect the human race truly is. The National have often talked about alienation in their music, but rarely at a level that cuts as deep as this one does.


"See You Through My Eyes" by The Head and The Heart: Although The Head and The Heart's previous hit, "Missed Connection", was a significant departure from the folk-rock sound they started out with, it ended up becoming one of the biggest hits of the first half of 2019. We have now arrived at the second half of the year, and The Head and The Heart's move from folk-rock to soft alt-pop still hasn't waned with their latest song, "See You Through My Eyes", which looks poised to become one of the year's biggest hits as well. Musically, it's pretty much the major key version of "Missed Connection". Lyrically, it touches on more positive themes as well, focusing primarily on learning to love yourself.


"Strangers" by City and Colour: If you first found out about City and Colour through their 2009 folk-rock song, "Sleeping Sickness", then you might be in for a surprise to learn that lead singer Dallas Green's previous band was a hard-edged emo band called Alexisonfire. C & C's latest song, "Strangers", seems to be an attempt at combining the sweetness and harmonies of City and Colour with the chord progressions and energy of Alexisonfire. The song has a sound that is both sweet and moody, probably the moodiest that C & C have recorded so far. Its title, "Strangers", gives it an air of mystery to match its moodiness. As for the lyrics ("we are strangers in this land with so much left to discover"), they almost make the song seem vulnerable. Any way you look at it, this song is packed full of emotion!


"Wasted Youth" by Jenny Lewis: According to the YouTube comments on this song, I'm not the only one who thought of Carole King when I first heard this song on my local radio station, KCSN, a few weeks ago. Jenny has emulated quite a few of the women who have helped to shape rock and alternative music, from Joni Mitchell to Patti Smith, but I have not heard her try to take on Carole's style yet. Carole has an almost nostalgic, childlike quality to her music, something that Jenny offers somewhat on the surface, often interspersed with world weary, sarcastic lyrics underneath. There is no sarcasm in "Wasted Youth", though. If anything, the song offers up bittersweet truths that lament her own drug addictions and deaths that have occurred in her family. The song is basically "It's Too Late" for millennials. Something inside has indeed died within Jenny, and she makes no attempts to hide or fake it either!

New songs for March 20th, 2019

here they are:

"I Was Wrong" by Bailen: Bailen isn't really doing anything new or different with their debut song, "I Was Wrong", but it's still a pleasant one to hear for those who enjoy contemporary folk-pop with electronic beats. The guy/girl harmony combinations are a nice touch for this song, and the girl has a solo singing part during the chorus. Not a whole lot of profound lyrics here to be found either, but not bad either. The most surprising part of this song is the brief electric guitar solo in the middle of it.


"Mettavolution" by Rodrigo y Gabriela: The best Hispanic instrumental flamenco-rock duo are back! They have had only one other release I've reviewed from them this decade, with 2014's "The Soundmaker". If it weren't for that song, it would have been a full decade that Rodrigo y Gabriela would have been on musical hiatus from adult alt radio stations. No other group combines flamenco and rock the way they do, and with their latest release, "Mettavolution", they keep their talent going! One way to distinguish R & G's songs from one another is to tell what key they're in. "Mettavolution" is in the key of F sharp minor, which hasn't been used for any other R & G song that's gotten significant adult alt radio airplay. The echoic distortion in the middle of the song also sets it apart.


"Missed Connection" by The Head and The Heart: The Head and The Heart were a wonderful group when they started out, but their third album went in more of a pop direction than I wanted them to. "Missed Connection" continues in that direction. The gooey yet catchy alt-pop sound is apparent right from the "la-la-la-la"s of the opening. This is probably the closest to mainstream pop that The Head and The Heart have gotten so far. The one entertaining thing about this song is how the pre-chorus sounds a bit like the irresistibly cheesy '80s pop song, "Rock Me Amadeus". Why they based "Missed Connection" on that song is anyone's guess, as it strays pretty far from the band's folk-rock roots, but perhaps that was intentional on their part.


"When Am I Gonna Lose You?" by Local Natives: While The Head and The Heart might be dumbing down their sound, Local Natives are actually improving theirs! Local Natives typically have hypnotic indie-pop and indie-folk songs, so they're already an alluring band to me. However, there seems to be something even more special about "When Am I Gonna Lose You?" Perhaps it's the way the pianos in the song flow so seamlessly into the vocal harmonies of the band. Perhaps it's just the bittersweet flavor the song gives off. Whatever it is, though, it's got me hooked! The lyrics are equally as poetic as the song itself, with such lines as, "I remember the trees summoned down by an archangel choir", and, "The ocean was all we could see and I knew that I wanted you." Pure beauty!

New songs for May 31st, 2017

here they are:


"Automatic" by Mondo Cozmo: Mondo Cozmo won the hearts of millions with their simple yet sentimental folk-rock tune, "Shine", back in fall of last year. You might be surprised to know that Mondo Cozmo's second big song, "Automatic", doesn't contain even a trace of "Shine"'s sincere, earnest folk-rock sound. Instead, it sounds a bit more like something Moby might have done, with its combination of melodic vocals and dance-pop-y music. Joshua Ostrander (who, by himself, is "Mondo Cozmo") was apparently influenced by Beck with both this song and Mondo Cozmo's other material, and how no Beck song sounds like the other. Joshua wants Mondo Cozmo to be perceived in the same manner. I'd say he's succeeded so far!


"City of Angels" by The Head and The Heart: What better subject matter for a song than falling in love with someone in my own hometown?! Well, while the topic of the song might be a good one, "City of Angels" seems to crank out more of the "new" Head and The Heart sound that they've had ever since spring of last year. The piano is still there, but the acoustic guitars are not present, just as they were absent on "All We Ever Knew" and "Rhythm And Blues". The sound of "City of Angels" suggests a slightly more rocking and roots-y version of Coldplay. One thing the song has going for it is how it becomes a bit slower midway through.


"He's Fine" by The Secret Sisters: The Secret Sisters might have been able to remain a secret from traditional FM radio stations, but adult alt and indie-folk audiences have known about them for quite awhile now. "He's Fine" looks like it will be their first significant adult alt radio hit, and not without reason. The sound of this song seems to emulate recent all-girl indie-folk acts, such as First Aid Kit and Joseph, as opposed to the bluegrass-rock sound they've become known for among fans. "He's Fine" might sound cute and fluffy on the surface, but upon closer listening, it becomes clear that the song is actually about a guy, Davey White, who has been seeing another girl and is still "fine" with the fact that he has betrayed his former lover's heart. Love might not be easy, but music always is!


"Mourning Sound" by Grizzly Bear: Grizzly Bear have often been known for their sleepy yet neo-psychedelic sound. Songs of theirs like "Sleeping Ute" and "Yet Again" are drenched with fuzzy guitar feedback, yet they still manage to sound dreamy. "Mourning Sound" is kind of like that, although it might be the first Grizzly Bear song to use artificial percussion instead of opting for the real thing. There is also noticeably more droning synthesizer used in "Mourning Sound" than there is on Grizzly Bear's other material. With a title like "Mourning Sound", I was expecting this song to sound bittersweet and melancholy. Instead, it sounds like a techno song mated with a psychedelic song that somehow got lost in the woods.


"Whiteout Conditions" by The New Pornographers: The NP's are really expanding their sound on their latest album! Their sound could typically be described as power pop, but their surprisingly big adult alt radio hit, "High Ticket Attractions", could be viewed as their hardest rocking track yet, recalling the sound of bands like The Cars, whose chunky, meaty guitar riffs were just as notable as their breezy, summery vibe overall. The title track of The New Pornographers' latest album, "Whiteout Conditions", also allows the band to explore previously uncharted musical territory. It might just be the most synth heavy NP's song yet. Its icy yet danceable sound recalls that of groups like Joy Division, The Cure, and Depeche Mode.

New songs for November 2nd, 2015

here they are:


"Katchi" by Nick Waterhouse and Leon Bridges: What happens when a critically acclaimed surf-rock revivalist gets together with a critically acclaimed revivalist of '60s soul music?! You get one heck of a jazzy song, that's what! The "retro" flavor of "Katchi" is further enforced by its vocalized "doo-wop-a-doo-wop, dooby dooby doo-wop" opening. With its rhythmically choppy chords and blazin' hot sax, "Katchi" is pure retro-rockin' bliss! Just one question. What IS "Katchi"?! Nick Waterhouse says that his girl "gives him Katchi all night long" during the chorus but never explains what "Katchi" is. I guess I'll just leave that up to my imagination!!


"Rhythm and Blues" by The Head and The Heart: Since the more-successful-than-usual airplay The Head and The Heart had from their pop-iest song yet, "All We Ever Knew", I was curious nonetheless to find out what other songs on their newest album sounded like. "Library Magic" and "Colors" would not have been bad choices for the second single, but instead its "Rhythm and Blues", which is anything BUT a rhythm and blues song. As a matter of fact, it sounds almost as pop-y as "All We Ever Knew" did, except during its out-of-nowhere electric guitar solo. The song contains the lyrics "stepped on my blue suede shoes, you made Elvis go crazy", except it doesn't sound a THING like Elvis (Costello or Presley). The group's heart may be in the right place, but their head isn't. Oh well, one out of two ain't bad, right?


"S.O.S. (Overboard)" by Joseph: The all-girl indie-folk trio Joseph send an S.O.S. to the world in their second single (and apparently it goes overboard). Much like "Message In A Bottle" from decades before, "S.O.S." is a song that uses nautical metaphors to describe isolation from a loved one. While nowhere near as catchy (or literary) as The Police, Joseph's "S.O.S." is a fun song in its own right. The seaworthy metaphors in Joseph's song show up mostly in the chorus, with lyrics like "screaming underwater" and "alone and overboard".

New songs for June 8th, 2016

here they are:


"All We Ever Knew" by The Head and The Heart: Well, this isn't ALL we ever knew about The Head and The Heart, that's for sure! Their signature piano sound is still the centerpiece of their latest track, "All We Ever Knew", but the roots-y down-homy-ness that the band has been known for seems like it's vanished from their work in this song. Instead, we get a clap-heavy, brightly colored sing-along punctuated by "la-la's" in between that seems like Josiah, Chris, Charity, and co's attempt at gaining a hit on the pop airwaves. There's a bit of salvation for old school Head & The Heart fans during the middle and end of the song where a violin sound appears, but for the most part, this song just doesn't seem the same as the others by the happy-with-their-sound band I saw about two summers ago at the Hollywood Bowl. I guess one thing the band IS starting to pick up on that I hadn't noticed in their other songs is lyrical dissonance. Witness, for instance, when Josiah sings, "You don't see why your world has no love to give? Well, what goes around comes around." Very cutting lyrics for such a happy song, dont'cha think?!


"Grand Canyon" by The Wind and The Wave: A song that opens with the lyrics, "Down to your skivvies at the watering hole, gonna get you wet, gonna save your soul" just gets you in the mood for summertime, doesn't it?! (Not to mention that upbeat acoustic guitar based sound before the lyrics come in). The title of the song as well, "Grand Canyon", also evokes summery images. Guy-girl folk-rock duo, The Wind and The Wave, sure know how to release a song at the right time of year, don't they?! The title of the song comes from lead vocalist Patricia Lynn Drew's insistence in the song that "You haven't lived until you've gone to the Grand Canyon". The fun, free spirited vibe of the song's rhythm is just as fun and free spirited as its lyrics and the delivery in which they're sung. Next stop, the beach!


"Low Life" by X Ambassadors (featuring Jamie N Commons): Despite Jamie N Commons' "Rumble And Sway" becoming one of the most played songs of 2013 on adult alt stations, not a lot of people seem to know who Jamie N Commons is, and he hasn't had a hit since then (until now, that is). As for X Ambassadors?! Who DOESN'T know "Renegades"?! The song was all over the radio and commercials in summer of last year, and their followup hit, the more melancholy but still memorable "Unsteady", was almost as inescapable. "Low Life" is what happens when alt-pop superstars join forces with a blues-y jazzy one-hit wonder, a combination that no one was probably anticipating, but a good one nonetheless. This is by far the blues-iest and jazziest song that X Ambassadors have had so far, and perhaps a song that could gain them a new audience in the process. Lead vocalist Sam Harris repeatedly claims he's "nothing but a low life" in this song, but he sure doesn't SOUND like a low life. He sounds like anything but, as a matter of fact!


"Never Gonna See Me Cry" by Good Old War: GOW are a good band, to be sure, but I'm just not feelin' it with the songs on their latest album. Their previous hit, "Tell Me What You Want From Me" just seemed to have way too much shiny, clean pop production, but at least it had the band's trademark folk-y guitar sound. In "Never Gonna See Me Cry", there isn't even a hint of acoustic guitar. Judging from the solo of the song, GOW seem to want to be going the other way around, actually, though it's mostly just a plain ol' pop song as far as I can tell. You're never gonna see me cry with this song, but you are gonna see me disappointed. It's not terrible, though.


"Opening Statement" by Hard Working Americans: Roots-rock supergroup Hard Working Americans are already releasing their sophomore album! It seemed like their debut was more recent than that, but it was actually from December 2013. Anyway, the slow burning roots-rock sound of HWA's "Opening Statement" is kinda similar to their debut single, "Down to the Well". Todd Snider's vocals are also similar to how they were on "Down to the Well". Nothing exactly remarkable about "Opening Statement", but it's still worth listening to on days when you just want to laze about and not have to worry about anything, 'cause it just gives off that kinda vibe.


"Wow" by Beck". Wow! Just...wow! That's all I gotta say about this one! OK, so it's not THAT impressive, but this IS Beck we're talkin' about here, so the title fits the song at least somewhat. Like his 2015 song, "Dreams", "Wow" is a single-only song that takes on the form of neo-psychedelic dance-pop. "Wow" actually hearkens back to Beck's early days with its zonked out hip-hop influenced rhythm. The chorus only contains two phrases, "It's like 'wow'" and "It's like right now", but they stick in your head like glue from dawn 'till dusk once you hear "Wow" for the first time. The self-proclaimed "loser" does it again, folks!

New songs for August 13th, 2014

here they are:



"I Hope This Whole Thing Didn't Frighten You" by The Hold Steady: Where Bruce Springsteen romanticized city life, The Hold Steady expose the seedy underbelly of city life. "I Hope This Whole Thing Didn't Frighten You" is basically meant to frighten you, at least lyrically it is. It's a woefully angry tale of Craig Finn's current life breaking into shambles before his very eyes. The passionately grungy sound of the song recalls similarly themed life-gone-wrong, downward spiraling songs, like The Afghan Whigs' "What Jail Is Like" and Goo Goo Dolls' "Long Way Down". The Hold Steady are clearly not holding steady!!


"Let's Be Still" by The Head and The Heart: While seeing The Head and The Heart in concert at the Hollywood Bowl on Sunday, I got a taste of this song before I reviewed it! "Let's Be Still" is a very calming song, as its title implies. It is probably one of the best contemporary songs to meditate to, for both its soothing melody and for its message of trying to find a blissful escape from the fast pace of the modern world. The vocal harmony of the song flows quite well with the spiritual harmony of the lyrics.


"Three Headed Woman" by Boy and Bear: For Boy and Bear to even come up with a song title as bizarre as "Three Headed Woman", they are probably more eccentric than the quaint folk-rock group they appear to be. The title is only mentioned at the beginning of the song, when Dave Hosking sings about how he "had one of those dreams where you were a three headed woman". What this means is anyone's guess, and Sigmund Freud would probably have a field day with trying to figure out its meaning! As for the song itself, it seems to be about being caught between loving and hating one's object of affection.


"Work It Out" by Knox Hamilton: Don't be fooled by the name, Knox Hamilton are a quartet, not a single person. You should also not be fooled by the gentle "Mr. Rogers"-ish chime of the xylophone in the intro of the song, as it is does not define the song, and it is also not used in the rest of the song, which is one of many alt-pop songs that I have come to label "new new wave" (using an anthemic contemporary pop/rock sound in which guitars and synthesizers are both dominant instruments). Not a whole lot of particularly memorable substance in the song, and the chorus of "I know we can work it out" is nothing new. Sure is catchy, though!

New songs for February 19th, 2014

here they are:


"Another Story" by The Head and The Heart: What a perfect song title for a group like The Head and and The Heart, who are quite skilled at being lyrical raconteurs (not THE Raconteurs, though, that's another band completely!!) Every song The Head and The Heart have had so far is like a story, with the unique, touching narratives and perspectives used in so many of their songs. "Another Story" marks a return for the more acoustic side of The Head and The Heart that their fans originally knew them for. The lyrics of the song are as poignant, lovelorn, and world-weary as the sound of the song itself. "Another Story" equates homesickness for love with homesickness for life out on the road. Quite a winsome song, if I do say so myself!


"Call Me" by St. Paul and The Broken Bones: Can you say "retro-soul"?! This song sounds like Al Green fronting a blues band from New Orleans!! Come to think of it, there are traces of Sam & Dave, Otis Redding, James Brown, and many other classic soul musicians in this song too! The twist?! St. Paul and The Broken Bones might SOUND like handsome black men, but they're actually a bunch of nerdy white guys! It's like a real live "Nutty Professor" if the "Buddy Love" persona stayed in the main character of the story forever! "Broken Bones" just isn't a fitting moniker for a band with such relentless energy like these guys have!! Perhaps the "Rolling Bones" was already taken?!


"Destination" by Nickel Creek: It is rather unfortunate that this band, a bluegrass-pop/rock trio who have now been around for a little over 10 years, has the word "Nickel" in its name, which has probably led so many people to refer to them as "Nickelback" by mistake!! Nickel Creek did what The Lumineers and The Civil Wars did about a decade before those bands came out! In the mid 2000's Nickel Creek won a fair amount of people over with their joyful bluegrass instrumental, "Smoothie Song", and their sad, soul searching song, "When In Rome", but their style wasn't exactly popular. Now it is!! And it seems like Nickel Creek are actually aware of how popular the bluegrass/rock fusion has become in recent years, since their latest song, "Destination", has a choppy but exhilarating rhythm in the style of groups like Mumford and Sons. Nickel Creek's lone female member, Sara Watkins, takes the lead on this song, with the other two members of the band singing backup in perfect harmony. I KNEW Nickel Creek would make a comeback in the 2010's!! I just didn't know when.


"Waves" by Sleeper Agent: A rather summery song blending psychedelic reverb with folk-rock guitar picking, "Waves" seems like its sound is awfully similar to the blend of indie-pop and surf music that groups like Best Coast have, albeit without as much "hipster" attitude. It even mentions California a couple times, much like a typical Best Coast song might. Sleeper Agent's Alex Kandel (in this case, a female Alex, not a male one) has somewhat deeper vocals than Best Coast's Bethany Cosentino, though, which is one way to tell the bands apart. With all the Bethany/Best Coast comparisons I've made to this song (and band) so far, it might seem interesting that Sleeper Agent's closest friends in the indie universe are not from Best Coast, but from Cage the Elephant! Sleeper Agent even claims CTE to be an influence on their music, along with similar sounding bands like Foxy Shazam. Sleeper Agent seem too mellow in comparison to Cage the Elephant, if you ask me, but perhaps that's because "Waves" is the only song I've heard so far of theirs.

New songs for August 14th, 2013

here they are:


"Another Is Waiting" by The Avett Brothers: Seemed like only yesterday that The Avett Brothers released a new album (though it was actually a year ago). Anyway, their latest song, "Another Is Waiting", is one that really seems to put the "rock" in "folk-rock". Part of the uniqueness of this song comes from how the instrumentation is led by a banjo (and not an acoustic guitar, as far as I can tell), but backed by an electric guitar and drums. That's right, DRUMS!! An instrument that is not typically featured on The Avetts' material, at least not prominently. Perhaps they have created a whole new subgenre with this song - "banjo rock". To accomplish all these instrumental feats in just a little over two minutes shows how amazing the band truly is to me!!


"Moving" by Travis: There's progressive rock, and there's progress-ING rock. Scottish indie-pop group, Travis, fits the latter category here. Their song "Moving" is all about...well...moving. Moving on through life, that is. Instrumentally, this song could easily be mistaken for a Radiohead or Snow Patrol song (though a lot of their material could be), but Fran Healy's distinctive vocals set Travis apart from such bands here. The recurring theme of going outside one's comfort zone becomes apparent in the ending lines of the first verse ("Home isn't where you are"), and third verse ("Home isn't where you stay"). Travis might not be "moving" from their typical sound, but they are making strides lyrically here, and that's a start!


"Shake" by The Head and The Heart: When The Head and The Heart debuted back in early 2011, their plaintive song "Lost In My Mind" won the hearts of many indie-folk fans, and the success of two more songs of theirs ("Down In the Valley" and "Ghosts") made them a household name among musically mellow twenty-somethings everywhere! So how does their newest song, "Shake", hold up in comparison?! The first few seconds of it make it sound noticeably different from most Head and The Heart songs because of the use of the electric guitar, but the piano that seems to serve as the central instrument in The Head and The Heart's music gradually makes its entrance shortly afterwards. "Shake" seems to have a similar rhythmic pattern to the band biggest hit so far, "Lost In My Mind", and perhaps The Head and The Heart purposely chose this rhythm for the song in hopes of making it another hit for them, and so far it's working! As for the use of electric guitar on the song?! Well, the band had their reasons. Though they don't mind doing folk-rock music, being likened to an "American Mumford and Sons" was not exactly what they wanted. The Head and The Heart desired to be a more musically eclectic band, and "Shake" is heading them in that direction so far!


"Sun Song" by Laura Veirs: Already, we have seen The Avett Brothers and The Head & The Heart leaning more towards the electric guitar than the acoustic for this week's reviews. Laura Veirs seems to have been the opposite. Her breakthrough song was the bubbly, neo-psychedelic pop song, "Galaxies", but every song since seems to have focused more on acoustic guitar than electric for her. Many of Laura's songs deal with an almost Neo-Paganistic view of nature and the universe, and her latest song, "Sun Song", is no exception to the rule (though the title of the song should make that obvious). This song "revolves" around the sun, so to speak, with every verse leading up to a chorus that praises how the sun makes many things possible. Neko Case also lends backing vocals to "Sun Song", which is interesting considering how defiant her song, "Man", from earlier this year was.

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 May 30th, 2012

Here they are:


"Blue Jeans" by Lana Del Rey: With the seemingly mundane titles Lana Del Rey chooses for her songs ("Video Games", "Diet Mtn. Dew", "Blue Jeans"), you would think that people who don't know Lana Del Rey's material might dismiss it easily because of how the titles of her songs come off. As the saying goes, though, still waters run deep (and thankfully, largely due to word of mouth on the Internet, there are more Lana Del Rey fans now than I would have thought possible). Like Lana's last successful song, "Video Games", "Blue Jeans" is a dark, smoky, alt-pop ballad about a relationship gone sour. The moody and hypnotic, but still pop-y atmosphere of songs like "Blue Jeans" seem to put Lana in the current position of Florence Welch's "little sister", musically speaking. Doesn't mean LDR can't rise above that position, though!


"Ghosts" by The Head and The Heart: The bittersweet neo-folk-rock of The Head and The Heart's "Lost In My Mind" and "Down In the Valley" caught on immediately with the indie and adult alt crowds! The Head and The Heart's latest song to get attention, "Ghosts", seems to be taking a little longer to catch on, but its on its way. Musically, "Ghosts" is a rarity in contemporary popular music, in that it changes key from B flat minor in the verses to D minor in the chorus (and it switches yet again to F major later on in the song). Name one other song from the past 50 or so years with as much of an abrupt key change! "Ghosts" isn't exactly a bittersweet song as much as it is like a jaunty, honky-tonk style version of Electric Light Orchestra's "Mr. Blue Sky". Definitely different than most songs you're likely to encounter these days, but that's a good thing, right?!


"How Do I Know?" by Here We Go Magic: "Here We Go Magic" is quite an apt name for a band with a sound that is as upbeat and innocent as it is swirly and psychedelic! A chunky, pulsating electric guitar draws the listener in initially, and as soon as the vocals kick in, the "magic" of "How Do I Know?" starts up! A relentlessly happy drumbeat backs up the guitars, as lead vocalist Luke Temple yearningly asks "How do I know that I love you?", "How do I know that I know you?", and similar questions to lure in the listener even more than they already are! An echoing, prog-rock-y Moog synthesizer hook that sounds like it was lifted directly from Van Morrison's "Wavelength" kicks in at about a minute into "How Do I Know?", continuing the mesmerizing, magical mystery tour of this song! Truly a wonder to behold!!


"1904" by The Tallest Man On Earth: Yeah, hate to burst your bubble, folks, but "The Tallest Man On Earth" is NOT Shaquille O'Neal's folk-rock alter ego!! It is, instead, the stage name of Swedish folk-rocker Kristian Mattson (which, personally, I prefer, as I've never been a sports person). Don't let the title fool you either, it's not a sequel to Phoenix's similarly titled "1901" (that new wave-y song from a couple years ago with the "fallin', fallin', fallin', fall-innn..." chorus). Now that you know what "1904" is NOT, let me tell you what it IS! "1904" is a song with surreal lyrics and quirky, yet memorable vocal delivery. His unusual but still hauntingly beautiful guitar tuning in this song (and most of his material, apparently) hearken back to the original folk-rock generation, particularly Joni Mitchell and Nick Drake, the latter of whom is a huge influence on The Tallest Man On Earth. Not exactly sure what The TMOE means by the refrain of "since they shook the Earth in 1904", but perhaps lines like that are better left to the imagination to interpret.


"Only For You" by Heartless B*st*rds: The name of this band might sound a bit intimidating to some, but the origin of their name is more humorous than it is disdainful (it comes from how a contestant on a game show thought that "Heartless B*st*rds" was the name of Tom Petty's backing group!!) Their sound isn't bad either, almost like Blind Melon's Shannon Hoon joining a roots-y, country influenced indie group. Their first big song, "Parted Ways" showed a rougher, more ragged side to Heartless B*st*rds, so it seems fitting, in a way, that they followed it up with a "ballad" with "Only For You". "Only For You" still has that "tough country" sound to it, but it definitely has a sweeter sound to it than "Parted Ways". One more thing to add that I thought would be worth pointing out, is that this band, along with fellow roots-y indie rockers Alabama Shakes, both have lead singers who sound like men with tenor vocals (to me, at least), when in fact, they are women! I don't suppose that's becoming a trend, is it?!


"Sunshine" by Matisyahu: A Jewish reggae musician?! Now I've seen everything! Of course, Matisyahu's fans are familiar with this aspect about him, and that seems to be part of what makes him so appealing! But it's also how simultaneously inspirational and catchy Matisyahu makes his songs that has gotten him so many fans. "Sunshine" is no exception to the rule. It's sunny, optimistic vibe has arrived just in time for summer! Lyrics like "reach for the sky, keep your eye on the prize" would probably sound cliche from any other musician, but Matisyahu manages to make it work, in such a way that it almost sounds like he invented those sorts of phrases! Next time you hit the beaches and there's a dance party going on, expect to hear this song!


"That Time Is Gone" by The dB's: One of the premiere acts in the "college rock" scene of the 1980's, The dB's seemed to be more of a "cult act" than one that scored any major hits (or minor hits, for that matter). But, as the title of this song indicates, "That Time Is Gone", and after ummm...what...30 years?!?...the dB's finally have a song that's getting them noticed beyond their core audience! I guess good things really DO come to those who wait!! My first impression of this song was that it combined the quirkily energetic keyboards of Elvis Costello's songs with the jangly alt-rock guitars of the typical R.E.M. song. R.E.M. and Costello are both some of my all-time faves! If the dB's material usually sounds like that, then I honestly don't see why they weren't such a big hit back in their day!! This song and the Here We Go Magic song are probably my two faves of this week. Highly recommended!!


"The Way We Are" by Scars on 45: A British alt-pop band with "soft rock" influences and lofty harmonies? Sounds like I'm describing Coldplay or Keane at first, doesn't it? Nope! I'm actually describing Scars on 45, a band whose more guitar-oriented approach to Britpop sounds closer to Snow Patrol or Travis than it does to Coldplay or Keane. Their previous two songs that garnered attention in the adult alt world, "Give Me Something" and "Heart On Fire", both became huge hits among that audience. "The Way We Are" seems to have the same formula as those two songs: laid-back yet pensive harmonies and neo-folk-rock instrumentation, so it won't surprise me if this becomes a huge hit for Scars on 45 as well (though so far it has some catching up to do). Somehow, even though Scars' songs sound similar to each other, they manage to win me over each time! Maybe it's just "The Way (They) Are"!! (rimshot)

New Songs for October 19th, 2011

here they are:

"Down In the Valley" by The Head and The Heart: Although The Head and The Heart's previous hit, "Lost In My Mind" has been one of the hugest successes so far on adult alt radio of 2011, I had always thought that they would be relegated to "one hit wonder" status. It took about 9 months for The Head and The Heart to prove me wrong about their "one-hit-wonder" status, but it's been worth it! "Down In the Valley" is an amazing song, with vocals and acoustic guitar similar to Iron & Wine's Sam Beam, and a piano sound similar to The Avett Brothers. There's something charming about the folksy-ness and quaint sound of The Head and The Heart's material, and "Down In the Valley" seems to emphasize these qualities. The change in rhythm between the verses and chorus is worth noting about this song, as few songs I know in indie/contemporary alt music tend to have this (Mumford and Sons' "Roll Away Your Stone" and The Avett Brothers' "Head Full of Doubt/Road Full of Promise" are exceptions). Who knows, if they're lucky enough, perhaps The Head and The Heart will perform at the 2012 Grammys, just like Mumford and The Avetts did in 2011. They sure seem to be headed (no pun intended) in that direction!

"Without A Map" by Sam Roberts: Perhaps this song isn't as rollicking or energetic as Sam's song from earlier this year, "The Last Crusade", but "Without A Map" has an equally good (if not better) flavor to it! Unlike the electric guitar dominated sound of "The Last Crusade", "Without A Map" seems to rely more on acoustic guitar (with a "clean" distorted electric during the solo). The best part, for me, about "Without A Map" is its bouncy rhythm and the singalong vibe of its lyrical scheme. Think The Beatles' "Good Day Sunshine" if you want a good idea of how the rhythm sounds. "Without A Map" itself isn't as sunny as "Good Day Sunshine", but it's still a pleasant, benign song to listen to.

new songs for March 23rd, 2011

here they are:

"Longing to Belong" by Eddie Vedder: This song suggests Pearl Jam's leading man longing to belong...to the "Into the Wild" soundtrack again. The same mix of acoustic guitar, ukulele, and bittersweet heart-melting emotional quality he used on such gems from the smash indie flick's soundtrack like "Rise" and "Guaranteed" are once again present on "Longing to Belong". It is less than three minutes long, though, unlike most (if not all) of the songs on the soundtrack, but somehow Eddie has managed to wrap all of his wistfully tearful thoughts into roughly two and a half minutes of pure bliss in this tune! As refreshing as it was to hear Eddie rock out with Pearl Jam on songs like "The Fixer" and "Amongst the Waves" two years ago, it's also nice to hear him at his more somber, precious moments as well.

"Lost In My Mind" by The Head and The Heart: This one is a very pleasant, wistful indie-folk tune, sounding like a cross between the autumnal folk-rock of Good Old War and the more rootsy variety from that of bands like The Avett Brothers. A real heart melter, just like the one I mentioned above (though so far, I like this one better). "Lost In My Mind" is a very apt title for a song that evokes nostalgic images of taking a road trip during the fall season with orange-gold leaves falling from the trees and an orange-y sunset sky in the background. The combination of being written in a major key, yet still retaining a somber mood, somehow makes this song a surefire winner for me!

"Rope" by Foo Fighters: I was gonna hold off on reviewing this one, it's been circulating on adult alt stations for awhile now, despite its resemblance to "harder" acts, mostly '70s classic rock/progressive rock like Queen, Rush, Yes, Pink Floyd, Led Zeppelin, and The Who. I was pretty shocked, though, when I found out Music Choice Adult Alternative, which I often have considered to be one of the most accurate representations of the (sub)genre, started playing this!! Therefore, I'm gonna give this one a go. "Rope" starts off benign enough with its unique chords played on echo-y distortion, but once the drums start kicking in, the song becomes faster and harder, and starts spouting off guitar riffs vaguely similar to songs like Yes' "Roundabout" and Rush's "The Spirit of Radio". The chorus is also a bit shaky, with Dave Grohl's somewhat frantic, desperate delivery of "Gimme some rope I'm fallin' dooowwwwnnnnn!!!!" A good song, but a bit rough for stations that are more known for playing more melodic, balanced acts like U2, R.E.M., and Counting Crows. Oh well, I guess different doesn't hurt once in a while!!

"Uberlin" by R.E.M.: For the legendary alt-rock band's third major song from "Collapse Into Now", they've calmed down a bit, but still retained their cleverness. The title alone, "Uberlin", is actually a pun, combining the phrase "Uber" (meaning "very") and the German capital, Berlin. Perhaps what makes this song so appealing, though, is not necessarily the song itself as much as a video for the song I recently discovered in which the lyrics are written out as though they are on a map, moving from place to place as they are written out. Since the lyrics of the song largely center around traveling, it's quite fitting as a "music video" (if indeed it is one).

"Velcro" by Bell X1: Until their big breakthrough with the Talking Heads soundalike song, "The Great Defector", Bell X1 were primarily an Irish folk-rock act. Ever since then, it seems as though they've tried to tweak their sound into sounding more like Modest Mouse than Damien Rice. "The Great Defector" was, in my opinion, one of the best songs of 2009, because it was just so...different!! And Bell X1's lead singer did an excellent David Byrne imitation (whether he intended it or not)!! So how does "Velcro" compare?! It's got the same new wave-y sound as "The Great Defector", but somehow it just isn't the same! Perhaps the saving grace for "Velcro" is in its quirky lyrics, from the chorus ("I'll be your velcro"), to random bits in the verses (for instance, "Watching a 6-year-old on YouTube playing drums to 'Billie Jean'", somebody tell me what THAT's supposed to mean!!) Heck, even the TITLE is quirky (how many other songs do you know called "Velcro", or that even USE that word for that matter?!)

"Werewolves" by The Damnwells: No, this is not a cover of the late, great Warren Zevon's "Werewolves of London", and it doesn't sound like the song either. It's a song simply called "Werewolves". This song is another one of those somber, autumnal, somewhat wistful/nostalgic sounding songs (see also the first two songs I reviewed in this week's blog). I seem to fall instant prey to these kinds of songs. I have only heard one other song by The Damnwells, the uber-melodic, somewhat Fleetwood Mac-ish "Golden Days", which was another song I just loved instantly! "Golden Days" had better harmony techniques than "Werewolves" does, though. But that by no means disqualifies "Werewolves" from becoming another instant classic for me, though. The Damnwells are melodic indie/neo-folk-rock geniuses, 'nuff said!

"You've Got the Love" by Florence and The Machine: The seven words Sting became famous for singing almost 30 years ago ("every little thing she does is magic") would most certainly describe the cute, redheaded Florence Welch from Florence and The Machine! "Dog Days Are Over" became the surprise smash hit of the summer/fall of 2010, and it looks like "You've Got the Love" is going to end up being the song following in its footsteps. Once again, Florence has used her eclectic musical palette to combine indie/alternative rock, pop, and soul to create an irresistibly catchy, danceable number on "You've Got the Love", which actually wasn't her song originally, but she seems to have made it her own! The video is also pretty awesome, with our ginger haired leading lady singing on a plastic moon in a silky golden outfit! Lookin' forward to knowing what she'll churn out next!!