here they are:
"Bang Bang, Boom Boom" by Beth Hart: Beth debuted back in the early 2000's with the Alanis Morissette-ish "L.A. Song", but I would think that that's a song she'd rather forget about, because ever since then, she's gone in a more blues-y, jazzy direction. Her latest song, "Bang Bang, Boom Boom", takes her brand of blues-rock in a direction that is rarely touched upon in music these days. Instead of using the guitar as the dominant instrument, the piano takes center stage for "Bang Bang, Boom Boom", and it works really well in this song, too! Instead of using the piano in a delicate, fragile manner, Beth puts it to use as though it's a seductive instrument being used in a cabaret or a nightclub. The syncopation in the song is set to a marching rhythm, adding yet another element to "Bang Bang, Boom Boom" that makes it one hot firecracker of a song!
"Grace For Saints And Ramblers" by Iron and Wine: As you might expect, Iron & Wine's latest song is a folk-rock song. What you might not have expected is for that song to be a happy one instead of a sad one. "Grace For Saints And Ramblers", the most recent song from IAW, has more orchestration than most of the songs from Sam Beam's one man band. The combination of acoustic guitars with sax and violins is closer to recent indie-pop stars like Regina Spektor and Belle & Sebastian than it is to IAW's usual influences, such as the more somber, stark folk-rock of Nick Drake and Elliott Smith. The lyrics are pure abstraction (for instance, "Bodies full of penny wishes, parties full of pretty dishes, side by side with the birds and bees"...Huh?!), but at least it shows that Sam Beam is more of a free spirit than his fans might like to think he is!
"Hacienda Motel" by Pickwick: Pickwick's sound is probably a bit too close to bands like Modest Mouse and Dr. Dog to be as memorable as their rhyming name, but their back story is still an interesting one! Originally their sound was closer to a neo-folk-rock type, a la Ryan Adams, Wilco, and My Morning Jacket, but they wanted to change things up a bit for themselves once they found out that pretty much everyone was trying to sound like that, so they decided to go with more of an "alternative soul" sound instead. "Hacienda Motel", the first song so far to get attention from Pickwick, was like a "bridge song" for the band, because it officially marked the point when they quit on folk-rock, and started up on the indie-pop world's answer to neo-soul. What can I say, it never hurts to try something different!
"Staying Alive" by The Whigs: Before I review this song, I'd like to issue a warning to any Bee Gees fans that might be reading this review. This song is NOT a cover of The Bee Gees' "Staying Alive", it's a completely different song!! Now that I've gotten that out of the way, on with the song. Like The Whigs' previous song, "Waiting", "Staying Alive" boasts a blues-y brand of indie rock comparable to bands like The Hold Steady and The Gaslight Anthem, both of whom can be described as a "missing link" between Bruce Springsteen and The Replacements. "Staying Alive" could be said to be even more Springsteen-ian than The Hold Steady or The Gaslight Anthem, since it has a soulful sax solo that the late Clarence Clemons would probably be proud of if he got the chance to hear it! Not exactly the longest song in the world, and nor is it too heavy on lyrics, but "Staying Alive" still manages to be the perfect combination of gritty, working class roots rock and soulful, spirited jazz-rock!
"The Stars Are Out Tonight" by David Bowie: For a rocker that has been around for nearly 4 decades now, Bowie is still making waves to this very day with his music!! As was the case with his "Where Are We Now" from January of this year, "The Stars Are Out Tonight" is the most heavily anticipated song of this week, as far as material on the adult alt charts goes!! "The Stars Are Out Tonight" has a bit more of a psychedelic influenced sound than the almost crooner-ish sound of "Where Are We Now?", but it still manages to sound like nothing I've ever heard! This song is just more proof of what a "chameleon" Bowie truly is when it comes to how many styles of rock (and popular music in general, really) he has covered. The theme of stars in the song is also interesting, as it could reflect both Bowie's lifelong fascination with outer space, or it could also mean "stars" as in "celebrities". The world may never know!!
Showing posts with label The Whigs. Show all posts
Showing posts with label The Whigs. Show all posts
Wednesday, March 6, 2013
Wednesday, October 10, 2012
New songs for October 10th, 2012
here they are:
"All Your Gold" by Bat for Lashes: Natasha Khan, better known as "Bat for Lashes", could be called a 21st century Bjork. She is a mysterious, but strangely charming figure in the music world, whose music is both dark and unpredictable. Her last big song, "Daniel", was a moody, hypnotic combination of electronica and rock, with some classical violins tossed into the mix for good measure. "All Your Gold" retains the mystique that Natasha put into "Daniel", but with even more of a sense of unpredictability. During the first minute or so of "All Your Gold", the listener is led into thinking that he/she won't get much more than a faintly thumping bassline and a light, ticking percussion sound. As "All Your Gold" progresses, though, more instruments (both acoustic and electric guitar, synthesizers, and string sections) get thrown in, and Natasha's voice gets increasingly higher and more dramatic. You never know what you're gonna get in a Bat for Lashes song, and "All Your Gold" continues to prove this!
"Default" by Django Django: And the weirdness continues in our second song of the week, "Default" by Django Django. It isn't just the repetitive name repetitive name of Django Django that makes them "weird". Their song "Default" also has some of the most bizarre mix of instruments (and even vocals) since some of Beck's songs from the mid-'90s! The lyrics don't seem to make a lot of sense either (e.g. "Forget about the cause, press rewind then stop and pause"). Yet, like Beck, Django Django are as out there as they are catchy! "Indie" doesn't always mean "quirky" like it used to, but Django Django are determined to put the "independent" back into "indie". And how!!
"Flavor" by Tori Amos: Been waiting for Tori to put out a song that's both tender and haunting like she did throughout the '90s! She put out quite a bit of material in the '00s, actually, but most of it was largely unnoticed in comparison to gems of hers like "Silent All These Years" and "Cornflake Girl". Tori's inner poet seems to be largely rejuvenated in "Flavor". Instead of writing almost embarrassing attempts to be sexual (like the "M-I-L-F, don't you forget" part of "Big Wheel"), or lyrics that are angst-y but generic ("Welcome to my world of hurt", from "Welcome to England"), Tori is now waxing philosophical about God ("Whose God, then, is God? They all want jurisdiction in this Book of Earth. Whose God spread fear, spread love?"), much like she did in some of her more classic songs like "Crucify" and "God". Unlike some of her peers from the '90s (i.e. Alanis Morissette, Sarah McLachlan, etc.), Tori has continued to attempt to straddle the line between "alternative" and pop music even after the '90s, instead of just going straight for pop. She has struggled along the way, but now, with "Flavor", it seems as though she has finally come full circle!
"Midnight On the Interstate" by Trampled By Turtles: Trampled by Turtles tugged at quite a few heartstrings earlier this year in spring, with their bittersweet song, "Alone". Their second big song, "Midnight On the Interstate", isn't exactly "bittersweet", but it still has the tender, mellow feel of "Alone". There aren't a lot of lyrics in "Midnight On the Interstate", but its beautiful melody and harmonies speak for themselves. Somehow, TBT are able to paint a picture of traveling down the highway in the dead of night just by playing their instruments in "Midnight On the Interstate". The lyrics, of course, are important in the song, but "Midnight On the Interstate" seems like the kind of song that could function just as well with lyrics as it could without.
"Picture This" by Rhett Miller: Whether he's singing about losing his cat ("Murder Or A Heart Attack") or losing his girlfriend ("Every Night Is Friday Night Without You"), the Old '97s frontman never seems entirely happy with anything he sings about, and is often snarky in the process of delivering his lyrics. "Picture This" is a departure from this. The lyrics are completely sincere, and they revolve around "living together happily, never a dull moment" with his girlfriend. The gentle, swaying melody of "Picture This", combined with its earnest, heartfelt lyrics, make the song seem almost nostalgic in a way.
"Santa Ana Wind" by Everclear: Much like Alanis Morissette, Everclear are '90s rockers that usually sound better when they're angry than when they're not. "Santa Ana Wind" is a notable exception to this. Art Alexakis and co aren't trying too hard to be pop-y in "Santa Ana Wind" like they did in "Wonderful" and "AM Radio". It has a catchy enough guitar hook that you would almost expect Art to explode with fury like he did on some of Everclear's best known material like "Santa Monica (Watch the World Die)" and "Father of Mine". But no, "Santa Ana Wind" is mellow throughout. The weird thing is, it actually WORKS here!! No lyrics about "watching the world die", arguments with parents, or "making me feel like a whore" here. Instead, they revolve around things like "Sunshine and Mexican food on a Christmas day", and "almost see(ing) the blue sky in the middle of the day". Some classic Everclear lyrical themes, like escapism from the frustration of everyday life, are present in "Santa Ana Wind", though, and the music, while not "hard" rock, is still rock enough for Everclear's original fans to enjoy it.
"Waiting" by The Whigs: Not to be confused with proto-grunge group The Afghan Whigs, The Whigs are also an interesting brand of alternative rock, but more in the power pop-y direction of Fountains of Wayne or Dandy Warhols (albeit a bit harder edged than both of them). "Waiting" is a pretty simple song, built mostly around A major and D major chord progressions, and not much else. While its nothing new, it doesn't mean that "Waiting" isn't an enjoyable song! It still boasts an incredible riff and passionate vocals, enough to get stuck in one's head at the end of the day!
"All Your Gold" by Bat for Lashes: Natasha Khan, better known as "Bat for Lashes", could be called a 21st century Bjork. She is a mysterious, but strangely charming figure in the music world, whose music is both dark and unpredictable. Her last big song, "Daniel", was a moody, hypnotic combination of electronica and rock, with some classical violins tossed into the mix for good measure. "All Your Gold" retains the mystique that Natasha put into "Daniel", but with even more of a sense of unpredictability. During the first minute or so of "All Your Gold", the listener is led into thinking that he/she won't get much more than a faintly thumping bassline and a light, ticking percussion sound. As "All Your Gold" progresses, though, more instruments (both acoustic and electric guitar, synthesizers, and string sections) get thrown in, and Natasha's voice gets increasingly higher and more dramatic. You never know what you're gonna get in a Bat for Lashes song, and "All Your Gold" continues to prove this!
"Default" by Django Django: And the weirdness continues in our second song of the week, "Default" by Django Django. It isn't just the repetitive name repetitive name of Django Django that makes them "weird". Their song "Default" also has some of the most bizarre mix of instruments (and even vocals) since some of Beck's songs from the mid-'90s! The lyrics don't seem to make a lot of sense either (e.g. "Forget about the cause, press rewind then stop and pause"). Yet, like Beck, Django Django are as out there as they are catchy! "Indie" doesn't always mean "quirky" like it used to, but Django Django are determined to put the "independent" back into "indie". And how!!
"Flavor" by Tori Amos: Been waiting for Tori to put out a song that's both tender and haunting like she did throughout the '90s! She put out quite a bit of material in the '00s, actually, but most of it was largely unnoticed in comparison to gems of hers like "Silent All These Years" and "Cornflake Girl". Tori's inner poet seems to be largely rejuvenated in "Flavor". Instead of writing almost embarrassing attempts to be sexual (like the "M-I-L-F, don't you forget" part of "Big Wheel"), or lyrics that are angst-y but generic ("Welcome to my world of hurt", from "Welcome to England"), Tori is now waxing philosophical about God ("Whose God, then, is God? They all want jurisdiction in this Book of Earth. Whose God spread fear, spread love?"), much like she did in some of her more classic songs like "Crucify" and "God". Unlike some of her peers from the '90s (i.e. Alanis Morissette, Sarah McLachlan, etc.), Tori has continued to attempt to straddle the line between "alternative" and pop music even after the '90s, instead of just going straight for pop. She has struggled along the way, but now, with "Flavor", it seems as though she has finally come full circle!
"Midnight On the Interstate" by Trampled By Turtles: Trampled by Turtles tugged at quite a few heartstrings earlier this year in spring, with their bittersweet song, "Alone". Their second big song, "Midnight On the Interstate", isn't exactly "bittersweet", but it still has the tender, mellow feel of "Alone". There aren't a lot of lyrics in "Midnight On the Interstate", but its beautiful melody and harmonies speak for themselves. Somehow, TBT are able to paint a picture of traveling down the highway in the dead of night just by playing their instruments in "Midnight On the Interstate". The lyrics, of course, are important in the song, but "Midnight On the Interstate" seems like the kind of song that could function just as well with lyrics as it could without.
"Picture This" by Rhett Miller: Whether he's singing about losing his cat ("Murder Or A Heart Attack") or losing his girlfriend ("Every Night Is Friday Night Without You"), the Old '97s frontman never seems entirely happy with anything he sings about, and is often snarky in the process of delivering his lyrics. "Picture This" is a departure from this. The lyrics are completely sincere, and they revolve around "living together happily, never a dull moment" with his girlfriend. The gentle, swaying melody of "Picture This", combined with its earnest, heartfelt lyrics, make the song seem almost nostalgic in a way.
"Santa Ana Wind" by Everclear: Much like Alanis Morissette, Everclear are '90s rockers that usually sound better when they're angry than when they're not. "Santa Ana Wind" is a notable exception to this. Art Alexakis and co aren't trying too hard to be pop-y in "Santa Ana Wind" like they did in "Wonderful" and "AM Radio". It has a catchy enough guitar hook that you would almost expect Art to explode with fury like he did on some of Everclear's best known material like "Santa Monica (Watch the World Die)" and "Father of Mine". But no, "Santa Ana Wind" is mellow throughout. The weird thing is, it actually WORKS here!! No lyrics about "watching the world die", arguments with parents, or "making me feel like a whore" here. Instead, they revolve around things like "Sunshine and Mexican food on a Christmas day", and "almost see(ing) the blue sky in the middle of the day". Some classic Everclear lyrical themes, like escapism from the frustration of everyday life, are present in "Santa Ana Wind", though, and the music, while not "hard" rock, is still rock enough for Everclear's original fans to enjoy it.
"Waiting" by The Whigs: Not to be confused with proto-grunge group The Afghan Whigs, The Whigs are also an interesting brand of alternative rock, but more in the power pop-y direction of Fountains of Wayne or Dandy Warhols (albeit a bit harder edged than both of them). "Waiting" is a pretty simple song, built mostly around A major and D major chord progressions, and not much else. While its nothing new, it doesn't mean that "Waiting" isn't an enjoyable song! It still boasts an incredible riff and passionate vocals, enough to get stuck in one's head at the end of the day!
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