New songs for July 6th, 2022

 here they are:


"Cracker Island" by Gorillaz (featuring Thundercat): Thus far, no Gorillaz song has reached near the levels of popularity and catchiness that "Feel Good, Inc." and "Clint Eastwood" have, but no song that these fictional, non-human primates have recorded has been lackluster, and "Cracker Island" is no exception to the rule! Contemporary R & B musician, Thundercat, guests on Gorillaz' latest song, "Cracker Island," a song whose apocalyptic lyrics slip under the radar thanks to its super-catchy sound. How a "band" of musicians who are figments of Damon Albarn's imagination have managed to outlast many three-dimensional, human-led bands is truly a wonder to behold, but if you consider that just about every hit they've had has managed to get into the heads of many creatures who aren't "Gorillaz," it should make sense. 

"Miles and Miles" by The Heavy Heavy: Hey hey! Is there an echo, is there an echo, in here, in here?! Both the song title AND the band who does it contain repetition! "Miles and Miles" is the debut song of the American-sounding British duo, The Heavy Heavy, and its country-rock sound is fitting to its theme of being on the road. The song's simultaneously mellow yet energetic sound combined with its road-centered lyrics make this one a great summer treat!

Happy Ground-blog Day!

 It's Groundhog Day...again. But this time, I'm doing something I don't think I've done on previous Groundhog Days: a music blog! Here are today's songs of the week:


"Hold U" by Indigo de Souza: The late '80s brought us the innovative, cutting-edge folk-rock duo, Indigo Girls. The early 2020's have brought us an equally innovative and cutting-edge indie-pop girl NAMED Indigo. Indigo de Souza, that is. Indigo is a North Carolinian with Brazilian heritage whose style of music can't be easily defined. It combines elements of techno, R & B, new wave, and pop music to create a uniquely catchy sound. Her breakthrough song, "Hold U," is a simple love song lyrically, but its sound is truly a breath of fresh air on alt and adult alt radio stations.

"Paddle to the Stars" by The Dip: As far as the indie-folk/rock record label, Dualtone, is concerned, The Dip are probably the most jazz and soul influenced band on their roster. The Dip have cultivated such a sound for a few years now, but "Paddle the Stars" marks the first time that adult alt radio has truly taken notice of their music, which carves out a sound more reminiscent of Stax Records than it does Dualtone. The song's lyrics aren't out of the ordinary for a love song, but the song definitely seems like it would hold appeal to fans of vintage, sax-heavy soul musicians like Otis Redding and Wilson Pickett. 

"Pierced Arrows" by Hurray for the Riff Raff: Where our first two entries of the week focused on love (fitting for the month of February), "Pierced Arrows" by Hurray for the Riff Raff focuses on heartbreak, and possibly on other negative emotions like fear. The song even starts on a sour, questionable note, with the lyrics, "Trying to avoid running into my ex on Broadway." Yikes! HFTRR's Alynda Segarra must have had some bad experiences with love before, if we are to go by those lyrics. The title alone indicates something negative, but Alynda holds nothing back right from the start in this paranoid yet catchy synth-driven indie-pop song. The song might also be a "screw-you" to the world at large (the third to the last line of the song is "The whole f**king world is changing.") Alynda gets both more fearful and more fierce than she ever has before on "Pierced Arrows." 

"Seventeen Going Under" by Sam Fender: Sam Fender's bittersweet yet catchy and Springsteen-esque song, "Hypersonic Missiles," might have just been the perfect song for 2019, exactly one year before the coronavirus pandemic. The song focused on the end of the world, but in a very triumphant and poetic manner. Two years later, Sam gives us the equally Springsteen-esque "Seventeen Going Under," combining shimmering, soulful jangle-pop guitars with stellar sax riffs, much like The Boss did during his early years. Lyrically, the song is about being 17, the age Sam was exactly a decade ago, and how awkward it is to be such an age. It's also about both the hunger and the pressure many teenagers feel to "grow up" at that age. Sam was no exception to the rule. He made the realization at this age that although he was no longer a little boy, he didn't feel like a fully-grown man either, and he struggled to cope with the confusing reality of this situation. At age 27, Sam has now realized that "growing up" and growing old are two different things, unlike what his teenage self probably thought. I think a lot of people can relate to this one!

"Simulation Swarm" by Big Thief: One thing that might jump out at listeners about Big Thief's latest song, "Simulation Swarm," if they listen carefully enough, is the contradiction between how sweet and warm the song sounds and how weird the lyrics are. It's a bit hard to make sense of Adrianne Lenker's rather stream-of-consciousness narrative, which consists of vivid imagery that never quite comes to fruition as a coherent story. Midway through, the gentle vibe of "Simulation Swarm" becomes slightly more trippy with its fuzzed-out, psychedelic guitar solo, yet it never climaxes to a point of intense loudness, remaining in the same state of blissed out calm throughout. The song leaves on a quiet, almost whispery note upon fading out. 

Twos-Day! Two songs for Two thousand Twenty Two a day after Tues-day! (Happy New Year)

 Hey everyone! Happy New Year! (Or should I say, Happy TWO Year?!) I guess 2 is a lucky number this year! Two songs to start the year that is mostly twos with the exception of the zero in the middle of it. And it IS the day after Twos...I mean Tuesday. Ready 2 begin! How 'bout you?!

"B-Side" by Leon Bridges (featuring Khruangbin): Leon's effort from last year, "Motorbike," was not exactly the retro-soul I was used to from him. It sounded more like he was trying to emulate contemporary R & B with that song. With "B-Side," however, his second collaboration with Khruangbin since 2020's "Texas Sun," Leon gets his groove back! The song indulges in a 1970's funk influenced sound throughout as Leon tells the tale of a lover he feels he is missing in his life. The subject here doesn't seem to be as important as the music, though. To quote one of Leon's other songs, "If It Feels Good (Then It Must Be)"!

"Cheer Up Baby" by Inhaler: Those Irish rockers! Being part Irish myself, I love whenever I hear about any Irish musician trying to make it big, and indie-rockers Inhaler are the latest of the pack. They sound a bit more like the British Kooks or the Scottish Franz Ferdinand than they do like U2 or The Cranberries, but it's still a catchy sound! "Cheer Up Baby" has actually been around since the members of Inhaler were teenagers, but the song has taken on a new meaning during the pandemic. Rather than the song's original intent of cheering up a girlfriend, people (including Inhaler themselves) have now interpreted the song's message as one of hope during difficult times. 

New songs for March 24th, 2021

 here they are:


"All You Ever Wanted" by Rag 'N' Bone Man: Expecting another smooth alt-R & B song from Rag 'N' Bone Man like his mid-2010's mega-hit, "Human"? Think again! On "All You Ever Wanted", Rory "Rag 'N' Bone Man" Graham shows a bit more of a passionate rock and roller side! The ardent enthusiasm and echoic sound of earnest arena bands and performers like Kings of Leon, U2, and Bruce Springsteen have clearly influenced Rag 'N' Bone Man here! A refreshing change of pace, isn't it?! The lyrics seem a bit Springsteen-ian as well, especially during the part when Rory says, "It's a city of a thousand heartbeats/No room for another soul." Fusing rock and roll and poetry with such vivid, touching imagery used to be a thing during the genre's heyday. It's time that fusion was brought back to the mainstream!

"Click Click Domino" by Ida Mae (featuring Marcus King): Husband-and-wife duo, Ida Mae, debut onto this blog with an earthy, gritty brand of blues-rock! Equally gritty blues-rocker, Marcus King, is no stranger to this blog, though, and he is featured as the guest guitarist on Ida Mae's "Click Click Domino." I have yet to find out what the phrase "Click Click Domino" actually means. Could be onomatopoeic, for all I know! However, I do know what the song itself is about. Apparently, it came about as a response to all the "rumors on the internets," to paraphrase one of the best known "Bush-isms," that have been spread about today that make their way into news outlets, the political world, and seemingly everywhere we look. Ida Mae decided they are sick of all that, and make their feelings about it known in "Click Click Domino"!

"Dried Up River" by The Lone Bellow: The laid-back, Americana influenced folk-rock sound of The Lone Bellow's "Dried Up River" makes it seem like something from early in the trio's career. As their career progressed, they seemed to add increasingly more detailed instrumentation into their music. "Dried Up River" just seems like the basic two guitars, bass, and drum (with keyboard in the background) formula that The Lone Bellow used for their first three adult alt radio hits back in 2013. Much as its title suggests, "Dried Up River" really isn't very..."deep" (if you'll pardon the pun). Nothing to really take away from it aside from its billowy, breezy, somewhat rural sound. The lyrics seem to suggest a disconnect of sorts, though it's never made clear whether the problems are romantic or if they're between two struggling friends.

"Questions" by Middle Kids: At the end of this list are Middle Kids, who have been interesting since the beginning of their career (see what I did there?!), providing us with one of the few songs in the history of this blog to begin with the letter Q. Lead singer Hannah Joy sings with anything but joy, laced with doubt and fear, about a relationship in which her partner is probably cheating on her in Middle Kids' latest song, "Questions." The "questions" she has are all about whether the cheating she has suspected has really occurred. The songs sounds sweet enough, though, that some listeners might never suspect that the song is about such a troubling subject, with its fun sounding handclaps and bright, spirited brass section. This being the end of my blog for the week, I hope you have no more questions about "Questions"! 

When Irish "I"s are smiling...

 Hi everyone! Happy March, and top o' th' mornin', lads and lassies! Just like the word "Irish" itself, both our entries for this list start with the letter I, hence the goofy title for this week's blog. Here goes!

"I Hear the Ax Swinging" by Ghost of Vroom: Some of you may know Mike Doughty from his mid '90s alt-rock group, Soul Coughing. Others of you may be familiar with his more folksy yet still quirky solo material from the 21st century. His latest project, Ghost of Vroom, is probably closer to Soul Coughing than it is to his solo stuff. It's been a long time since I've heard a Mike Doughty that's this rockin'! Probably not since "Super Bon Bon" back in 1996! Like most Doughty songs, "I Hear the Ax Swinging" has a bit of a caustic edge to it lyrically. Some of the lyrics seem random, but the title of the song, which also serves as its chorus, is probably reflective of how Doughty feels about the world today. In other words, he feels that, at any time, we could be "axed out" of the world! Some clever musical references in this song too ("Reach the beach like The Fixx," referencing the British new wave band's biggest album, and "Roundabout, yes..." referencing the song "Roundabout" by prog-rock group, Yes).

"I Ran Away" by Dinosaur Jr.: Fitting to their somewhat intimidating name, Dinosaur Jr. often had an element of heaviness and unpredictability to their music. This, however, is not such a song. It's almost got a country-rock flavor, actually, although that is not too surprising knowing how much lead singer J. Mascis was influenced by folk-rock legends like Bob Dylan and Neil Young as much as he was by noisier groups like The Velvet Underground and The Stooges. Mascis has recruited help from contemporary musicians influenced by his own work, such as The War on Drugs' Kurt Vile, for this particular tune. Adding to the retro flavor of this tune is the 12-string Vile contributes to it! 

New songs for February 10th 2021

 Here they are:


"Break My Baby" by Kaleo: There are two sides to Kaleo's music. There's the sweet folk/soul/rock combo that has made them popular among millennials, and then there's the more blues-y side that can sometimes get so intense that it slides into Led Zeppelin territory. "Break My Baby" falls into the latter category. No Zeppelin-esque stuff here, but it does manage to capture the blues-rock influence of bands like The Black Keys, albeit in somewhat softer form. Sort of a cross between The Black Keys and Hozier here, really. Lyrically, it's an interesting song as well. Underneath its surface as a possible breakup song, "Break My Baby" might also be about the music biz! When lead singer JJ Julius Son spouts lines like, "They'll take you in and spit you out. You're only worth how much you sell," his lyrics are pretty representative of his venom towards the industry! Perhaps the "baby" in the song is the very group of people who produced it!

"C'Est La Vie" by The Killers: Breaking from the "epic" sound of "Caution" and "My Own Soul's Warning," "C'Est La Vie," the latest single from The Killers, is noticeably different from most of their stuff. First of all, there isn't near as much guitar in the song (if any) as most of their material. Instead, "C'Est La Vie" is keyboard dominated. It also has a happy, quirky sound to it. It's not aiming to be a "crowd pleaser" the way most of their songs do. Even the lyrics are somewhat quirky, especially the line about frogs falling from the sky! 

"Faith Healer" by Julien Baker: My closest online friend actually recommended Julien to me awhile back. A few years later, and now I'm reviewing her music on my blog! How 'bout that? Anyway, onto the song, which is a very bittersweet and meaningful one. The titular "faith healer" Julien is hoping for is one who can help her fight her addiction to drugs. She talks candidly about how she misses the buzz drugs gave her, while at the same time acknowledging how harmful they have been in her life. Anyone struggling with anything, be it mental or physical, could benefit from hearing this song!

"Hold Yourself" by tUnE-YaRdS: Even among "indie" bands, tUnE-YaRdS hAvE AlWaYs bEen on the wEirdEr sIDe of the inDie rOcK spEcTRum! (SeE wHat I dId tHeRe?!) The surreal video of their latest song, "Hold Yourself," employs techniques like cutout animation and features a muscular lookalike of Benson from "Regular Show." Ummm...WHAT?! As for the song, it starts out as sort of a synth-pop ballad, but halfway through, it quickly devolves into what appears to be a badly orchestrated trumpet section. Once again...WHAT?! About the only way this song might make even remote sense is in the lyrical department. It seems to be about how, just because one has parents, doesn't mean they're always mature people who know what they're doing. I get the feeling tUnE-YaRdS don't quite know what they're doing either! (Here is the song's bizarre music video: https://www.youtube.com/watch?v=2hcG6UgTHiU

"Pendulum" by Jealous of the Birds: 22-year-old Northern Irish musician, Naomi Hamilton, is Jealous of the Birds. I'm not saying she's actually jealous of any particular group of birds, or any anything, for that matter. "Jealous of the Birds" is simply what she has chosen to call herself on stage. Why?! Ummm...darned if I know! Anyway, it was none other than my dad who recommended this musician to me merely a few days ago, and I can see why! "Pendulum," the song currently poised to be her breakthrough hit, is a sweetly hypnotic song that bears similarity to other innovative female musicians of the past 10-ish years, such as St. Vincent, and Florence Welch of Florence and The Machine. The title comes from how Naomi views relationships as a constant back-and-forth, as though swinging on a pendulum. I hear ya, Naomi. With Valentine's Day just around the corner, I feel like I've been swinging from a pendulum all week!

"Say" by Moon Taxi: After the bittersweet folk-rock of Moon Taxi's previous single, "Hometown Heroes," "Say" continues more in the anthemic indie/alt-pop direction Moon Taxi have become known for. Sound-wise, it's almost like Queen's "We Will Rock You" with keyboards and drum machines instead of guitars and hand claps. The message of the song is simple but powerful: "If you wanna say something, say it!" Not much more to say (no pun intended) about this song, but sometimes songs can say (no pun intended, I swear!) so much even though they seem to be conveying so little!

"The Divine Chord" by The Avalanches (featuring Johnny Marr from The Smiths, and MGMT): I don't know The Avalanches very well yet, but I do know Johnny Marr and I do know MGMT. Of the three acts featured here, this seems to be mostly in MGMT's ballpark. The combo of keyboard and a faint hint of guitar swirling into a pleasantly psychedelic flavor has become MGMT's trademark sound, though they didn't start out that way. The recurring line, "the stars are rearranging, my love," seems very fitting for a song as billowy and fluffy as this one is. There's also an aura of mystery in this song, though, since what "the divine chord" is is never mentioned in the song (and nor is the phrase itself). 

Funk-tober!!

I noticed all three entries this week were a blend of funk and rock, hence the silly name I gave this week's blog entry. Here are the songs:


"Colors" by Black Pumas: Neo-soul group, Black Pumas, made the adult alt charts not once, but twice, both times with the funky yet haunting, "Black Moon Rising". Their second song (and third entry?) on the adult alt charts is "Colors", one of the few songs I know that could be called "acoustic funk". The song starts out with a vaguely acoustic strum, only for a soulful rhythm to be gradually added into the song as it progresses. What the song is about could be up for debate. Some of the lyrics hint at the colors of nature, but during the chorus when he talks about "all my favorite colors, my sisters and my brothers", it could be symbolic of the idea of racial harmony, an idea that is desperately needed in today's increasingly divided world.


"Hey Rose" by Son Little: Son Little's slinky, catchy mix of blues and funk continues in his latest song, "Hey Rose". The song is unique in Little's catalog for its use of handclaps. The earthy yet gutsy vibes he got across in his debut single, "The River", back in 2014, are shown prominently on "Hey Rose". The song seems to be about wanting to fall in love with someone by inviting them to a concert, as evidenced by the "big brass band" that Son Little keeps telling the titular Rose about, despite there being no brass instruments on the song itself.


"Over You" by Seratones: The combo of funk and rock music seems to be pretty trendy this week since it makes up the entirety of this week's blog! Our last entry for the week comes from Seratones, the sassy soul sensations from Shreveport who brought us "Gotta Get to Know Ya" in spring of this year. "Over You" is considerably less loud than "Gotta..." but it's just as jagged and unapologetic in its lyrics. "We made love like pianos falling down the stairs", AJ Haynes viciously sings during one part of the song. If that's not proof she's "over" the subject of her song, I dunno what is!

New songs for the 4th of July 2018!!

It's a Wednesday AND the 4th?! Let the celebration begin!!


"Apollo" by St. Paul and The Broken Bones: There seems to be a trend this year for contemporary musicians who emulated '60s R & B previously to go one decade forward for their next release. Leon Bridges has already done it this year, and now it's St. Paul and The Broken Bones' turn. It's a bit disappointing to hear the Alabama sextet go from an Otis Redding styled sound to a more disco influenced one, but "Apollo" is not a bad song. For one thing, it still contains the horns that SPATBB's other songs are known for having. However, the resulting song still sounds like what it'd be like if Wilson Pickett tried covering "Rock With You" by Michael Jackson. Something here just doesn't add up. At least it has a groovy rhythm, though.


"Humility" by Gorillaz: The Gorillaz and The Monkees have a few things in common. Aside from the obvious fact that both groups are named after primates (and how they're also perpussly myspelld rokgrüps), they're also both bands who...well...aren't really bands! The Monkees were originally marketed as a "TV band", and Gorillaz are a cartoon band. Yes, a cartoon band, similar in concept to The Archies and The Chipmunks, but far more edgy and modern than either one. Among their best known songs is the aptly named "Feel Good Inc.", the feel-good techno-pop summer jam of 2005. "Humility" is another feel-good summer jam for the band (or faux-band, rather), although it has a slower, more chilled out sound than "Feel Good Inc." The lyrics of "Humility", centering largely around isolation, are also darker in tone than "Feel Good Inc." They both SOUND like feel-good songs, though!


"Miracle Man" by M. Ward: M. Ward's musical style has always felt a little out of step with current trends, but that's part of his charm. His latest song, "Miracle Man", sounds a bit like Roy Orbison's "(Oh) Pretty Woman", especially in the beginning. Another thing "Miracle Man" shares in common with Ward's other material is its short length, barely measuring up to a mere 3 minutes. The song itself isn't exactly a miracle, but the way it was released kinda was. It arrived quietly, without any real hype surrounding it. How perfect, then, that we're hearing this one for the first time on the 4th of July, so it can start off life with a bang!


"1950" by King Princess: Both the title of the song and the name of the performer here are somewhat enigmatic. I mean, what's a "king princess"?! Is it a king or is it a princess...and does that mean there's a Queen Prince as well?! The title of the song also seems somewhat arbitrary. 1950 wasn't really known for being a particularly memorable year, after all. Turns out, there's an explanation for both, and they're both discussed in the song! The moniker "King Princess" comes from how the performer is a lesbian, and therefore a "princess" by gender, yet a "king" in terms of what people expect her behavior to be like. As for the year that gives the song its title?! Well, it actually represents the decade of the 1950's, when LGBTQ people were far more oppressed than they are today. The song is a protest against people who are not open minded about those whose sexual orientations aren't "traditional". So has society now gone back to "playing 1950", as King Princess says in her song?! Yes and no, to be honest. However, the point of the song is to challenge societal norms more than it is about asking whether we have truly made progress in our points of view about sexuality.

New songs for June 27th 2018

here they are:


"Castles" by Lissie: "Castles" pretty much represents the essence of indie-folk songstress, Lissie. It is a quiet, reflective song that fuses brass instruments, acoustic guitar (with an electric guitar solo), and piano into a tasty treat for Lissie fans that feels as billowy as a warm summer breeze. It has lyrics that are both quirky and meaningful, and a sound that is both hip enough for Lorde fans and nostalgic enough for Carole King fans. When Joni Mitchell sang of "ice cream castles in the air" on "Both Sides Now", perhaps the castles described in this song were the ones she was talking about. Dreamy imagery that still somehow manages to stay down to earth. Lissie's sound seems to have matured as she's gotten older. Perhaps her lyrics have, too.


"Come On To Me" by Paul McCartney: The legendary Sir Paul just doesn't want to quit making music...and that's a good thing! A VERY good thing! His latest song, "Come On To Me", is a sunny but kickin' power pop song, in true Macca fashion. The song is both upbeat enough and quirky enough to be mistaken for a Beatles number (at least it would be if it weren't for the shimmering, contemporary production techniques used for this song). The song is a silly love song (pun intended) about his current wife, Nancy Shevell. As Sir Paul himself once asked, though, "What's wrong with silly love songs?" Well, in the case of "Come On To Me", absolutely nothing!


"Disappointing Diamonds Are the Rarest of Them All" by Father John Misty: With a total of eight words in the title of this song, Father John Misty would certainly win the award this week for "song with the longest title"!! It's kind of a random title too, but as FJM's fans probably know, that's just how he rolls. The song is both weird and edgy, as many of his songs are. Who ELSE would open a song with the lyrics, "Like a pervert on a crowded bus, the glare of love bears down on us"? There aren't too many songs I know that even USE the word "pervert" (perhaps that's a good thing, though). This baroque pop track is only two and a half minutes long. Songs of absurdly short or absurdly long lengths seems to be a FJM trademark as well. To paraphrase a line from Elton John's "Bennie and the Jets", Father John Misty is so weird and he's wonderful!

A D-lightful pair of songs!

Only two songs this week, and they both begin with the same letter. Here they are:


"Darling" by Real Estate: A hypnotic, tantalizing swirl of psych-pop guitars and new wave synths grace the first minute and a half of this song without vocals. Once the vocals kick in, they sound halfway between sweet and dazed, fitting for this song. Not a whole lot here in the lyrical department, which is basically a love song with nature related images for its words, such as black and yellow finches, the sun, and the moon. The F, C, G pattern of the chords continues throughout this song too. The hazy, loopy, yet still melodic vibe of this song make me think that the "real estate" these guys bought was probably somewhere up in Santa Cruz, or maybe Haight-Ashbury!


"Devil's Teeth" by Muddy Magnolias: The eras this song goes for is basically any time but now! Soul, blues, bluegrass, and garage rock fuse into one genre for this song. No auto-tune, samples from other songs, or synthesizers to be found here. The spooky but fun title of this song makes it sound sorta blues-y, and that's pretty much exactly what you'll get when you hear this song! Come to think of it, the "Muddy" part of the band's moniker makes me think of legendary blues singer, Muddy Waters. I'm pretty sure that's not merely coincidence!

"G" Whiz!!

The punny title comes from how both song titles for this week begin with the letter "G" (and you can't have the word "goofy" without the "G", right?!) Anyway, here they are:


"Get Out" by Frightened Rabbit: Probably the closest to a pure rock and roll sound (albeit with techno beats) that Frightened Rabbit have come to so far would be their latest song, "Get Out". The normally folk-rock-y Scottish group amps it up a bit for this song, which has quite interesting lyrical metaphors for love. These include lines like, "I'm a worshiper, a zealot king, cursed, a devotee of the heady golden dance she does", and "She's an uncut drug. Find the vein and pulse". Strange yet somewhat insightful and clever lyrics, if I do say so myself. If Scott Hutchinson's girl is an "uncut drug" then I guess sooner or later he's gonna have to face that he's addicted to love!


"Gimme the Love" by Jake Bugg: Yet another former folk-rocker trying to get away from the sound he's become known for. Jake Bugg actually has had some pretty hard rocking songs before, like "What Doesn't Kill You", the sound of which bore slight resemblance to bands like Green Day. Normally, though, Jake is like a slightly edgier Mumford and Sons. "Gimme the Love" sounds like neither Mumford nor Green Day. Instead, it sounds like an outtake from U2's "Achtung Baby", fusing rock and techno into one fluid musical movement.

New songs for August 12th, 2015

here they are:


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


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


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


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


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

"Star Wars" Episode IX: Return of the Tweed-eye (and 4 other good ones)!!

In honor of Wilco's new album, "Star Wars", I have decided to make the title of this week's blog a reference to the "Star Wars" movies!! Here are this week's songs:


"Phone In A Pool" by Ben Folds (featuring yMusic): Ben Folds is one quirky dude! I mean, who ELSE would come up with a song title as random as "Phone In A Pool"? As it turns out, the title is not as random as it seems. It actually comes from how Ben was sick of answering his cell phone all the time. This resulted in how he did, in fact, throw his phone in a pool, out of the anger that rooted from having to answer it so often, even when he just got off stage. The song itself is charmingly odd, like most of Ben's material. New York ensemble yMusic provides a bit of light classical influence to the song to add to Ben's signature piano sound.


"Random Name Generator" by Wilco: So here's the moment you've all been waiting for, folks! A long time ago (1995, to be precise) in a galaxy far, far away (actually Chicago, Illinois), a singer named Jeff Tweedy decided to form a band, and he called it Wilco, after a military term short for "will comply". They started off as a country-rock group, but soon ventured into more folk, psychedelic, and even punk influenced territory as their career progressed. Their ninth and latest album is called "Star Wars", though no one quite knows why (yet). The first single off that album, "Random Name Generator", is, well, random! Both the title and the lyrics are rather mysterious, perhaps as an ode to musical heroes of theirs, such as Bob Dylan, though the song itself sounds more like something from what a Lou Reed led Led Zeppelin might have sounded like.


"Spots of Time" by Warren Haynes (featuring Railroad Earth): As a temporary member of The Allman Brothers Band, Warren Haynes is quite an accomplished "jam band" guitarist! His studio songs often feel more like live recordings due to their enormous length. Another thing he has in common with The Allmans is how blues-y he sounds. Well, normally. Warren's latest song, "Spots of Time", sounds more like an amalgam of flamenco, bluegrass, and jazz. So how did this happen?! Perhaps it's because he chose to jam with Railroad Earth, who are known for being more bluegrass than blues. For you guitar solo hungry folks, though, fear not! There is still plenty of chunky guitar jams in this song! It's just that this time around, they're interspersed with fiddle solos, too.


"The Next Storm" by Frank Turner: Plenty of folks have opted for folk-rock in the 2010's, but in 2013, Frank Turner won over more than just the usual folk-rock crowd with songs like "Recovery" and "The Way I Tend to Be", both of which made it into my Top 20 of 2013 at the end of the year. Songs like these were invigorating, lively, and quite clever as well! Frank continues this pattern with his newest song, "The Next Storm", proving himself to be England's answer to Bruce Springsteen in the process of performing it! "I'm not gonna live my whole life indoors, I'm gonna step out, and face the next storm", Frank proudly and defiantly proclaims in the chorus of "The Next Storm". Adventure, ho!


"Trouble" by Keith Richards: Since quite a large number of adult alt stations have started spinning this song when it isn't even a week old yet, I was expecting this to be a softer Keith/Stones song. It is not! It's basically a Stones song with Keith taking the lead vocals instead of Mick. The song has plenty of juicy Chuck Berry style riffs, a fast, propulsive beat, and an overall rebellious (but fun) sound. The world's oldest looking Stone is still young at heart! The dry, sardonic delivery of the lyrics is also worth noting here, as a marked contrast to the louder, more direct vocal delivery of Mick Jagger.

New songs for February 25th, 2015

here they are:


"Archie, Marry Me" by Alvvays: The first thing I wondered about this song, when I heard its title, was whether any of the members of the band were named "Betty" or "Veronica". As it turns out, they are not. The lead singer of Alvvays is named Molly Rankin. Anyway, this song does have ONE thing in common with "Archie" comics, aside from its title, and that's the sunshiny, bubblegum chewing, summery fun vibe the song gives off! The "alternative surf" sound of the song brings to mind groups like Best Coast, though the subject matter here is more blissful than the typical Best Coast song.


"Flashed Junk Mind" by Milky Chance: The second hit song from German duo, Milky Chance, sounds...well...kinda like their first one! To me, that's a little disappointing, because I pretty much fell in love with "Stolen Dance" from the moment I first heard it, because of its unique blend of Latin, folk, rock, and soul. "Flashed Junk Mind" is basically more of the same where that came from, and it's even written in the same key as "Stolen Dance" (B major). It's still a catchy song, but I kinda think they can do better than this, personally.


"Midnight" by Tor Miller: TIME FOR GO TO BED!! Oh wait, that's Tor JOHNSON, from the B-movie, "The Unearthly", the only other "Tor" I have ever heard of. Anyway, Tor Miller is entertaining, too, but in a vastly different way from Tor Johnson. Right away you pretty much know how good it is, since the opening lines mention the late Jeff Buckley's album, "Grace". The song itself is more Tom Waits than Jeff Buckley, for its urban folk-jazz-rock piano blend, but with vocals that sound far more melodic than Waits' gravelly growl. "Midnight" takes place in New York City, but probably in a cafe somewhere in NYC, as opposed to one of the louder, more active places in the city.


"Silent Movies" by Madisen Ward and The Mama Bear: Madisen Ward and The Mama Bear are a rarity! It's not because they are black folk musicians. After all, people like Tracy Chapman, Leadbelly, and Richie Havens have all had successful careers in the music world. It's because the "Mama Bear" here is, in fact, a mama, and Madisen Ward is her son. Unlike Chapman, Havens, etc., Madisen Ward and The Mama Bear have rather upbeat music that depends more on making silly rhymes than on statements about politics and civil rights. Madisen Ward and The Mama Bear are a family affair like no other!!


"Take You Home" by Scars on 45: You could say that Scars on 45 are essentially a folk-rock band, but their folk-y-ness has never been as evident as it has on their latest song, "Take You Home". The fingerpicked strumming in the opening sounds a bit like the songs in the "Into the Wild" soundtrack. While "Take You Home" is lyrically a love song, like a lot of Scars' material is, the song is noticeably less pop-y than their other material. It is a very sweet and sentimental song, but in the most honest way possible!

New songs for September 10th, 2014

here they are:


"Budapest" by George Ezra: He might not be from Budapest (he's British), but George Ezra's song about the capital of Hungary is still a song that grabs your attention just from the first listen! "Budapest" combines the world music influenced rhythmic patterns of later Paul Simon songs with the more galloping acoustic rhythm of Mumford and Sons. As neo-folk-rock is becoming more and more in demand these days, it's no wonder George Ezra's rise to stardom has climaxed so quickly! "Give me one good reason that I should never make a change", Ezra demands during the chorus. I'm with Ezra, personally. He should make a change, stylistically, as many musicians do, so I can see just how capable and diverse his musical range is. Some folks might sound better than Ezra (including Better than Ezra), but he's still worth listening to for the moment.


"Forgotten Man" by Tom Petty: In less than three minutes, Petty proves that he can really rock no matter how little time he has, with "Forgotten Man"! The song opens with a Bo Diddley shuffle and Chuck Berry licks, and it continues to use them both throughout. Not too many chords are used in the song, either. Petty might be complaining that he "feels like a forgotten man" during the song, but it's pretty much impossible to forget a song like this one! Sometimes, simple is best!!


"Happy Idiot" by TV on the Radio: If "love will tear us apart", as Joy Division frontman Ian Curtis coldly claimed almost three and a half decades ago, then what is there left to do afterwards?! Well, according to TV on the Radio's Tunde Adebimpe, the answer to that is to be a "happy idiot". The chords, atmosphere, and lyrics of "Happy Idiot" all owe a lot to Joy Division. "Happy Idiot" is an icy, brutally honest song about how retreating to idiocy can be a way of escaping the harsh reality of certain situations. In this particular case, the other TVOTR members are probably using this song to grieve over how their original bassist, Gerard Smith, died last year. It almost seems eerie that the word "idiot" and the Joy Division influence in the song can serve as a potential parallel to how Iggy Pop's similarly titled album, "The Idiot", was the last album that Joy Division's Ian Curtis listened to due to the fact that he hung himself after putting it on. Isn't music history fascinating?!


"Home (Leave the Lights On)" by Field Report: Folk-rock group, Field Report, seemed like they had one of the saddest, most beautiful songs of 2012, with the stark "I Am Not Waiting Anymore". The fact that no other songs from their debut CD got any attention led me to believe that Field Report were pretty much destined for one-hit wonder status. Two summers later, it appears as though I've been proven wrong with the release of Field Report's "Home (Leave the Lights On)", the bouncy sound of which shines like a glimmer of hope next to the more bittersweet "I Am Not Waiting Anymore". With "Home", Field Report actually sound more like a band, as opposed to sounding like one person posing as a band. A rhythm section is added in, and it sounds like there are two different guitars being used as well. Field Report probably kept their original fanbase in mind, though, as "Home" still sounds as poignant as ever.

New songs for June 18th, 2014

here they are:


"Just One of the Guys" by Jenny Lewis: The Rilo Kiley frontwoman's latest song is a piece of alt-country melancholia, centering around how she feels regret for how she just can't be "one of the guys" no matter how hard she tries. The titular phrase could be interpreted in one of two ways. It could refer to how she always feels like a female in a crowd full of males, or it could refer to how she doesn't feel like an individual even though she wants to be seen as one ("guys", in this case, would simply mean "people", referring to both genders). The second part of the chorus states that she also feels regretful about not having an open mind. The irony about the statements in this song are that she is incredibly individual, she usually blends in successfully with men (I particularly like it when she collaborates with Elvis Costello, which she has done a few times by now), and that she (as far as I know) does have an open mind. Is this a song of true regret, or just four minutes of sarcasm disguised as a lonesome country-rock song?! Perhaps we'll never know!


"Rent I Pay" by Spoon: It's been about four years since the indie-pop/rock quintet known as Spoon last released an album. Their simple but quirky name goes well with their musical style, which is also simple but quirky, influenced equally by rock, pop, and folk, with a dash of Elton John/Billy Joel-esque piano-pop thrown in there on occasion. Spoon's latest song, "Rent I Pay", almost seems like their attempt at trying to be The Rolling Stones, with its main riff sounding somewhat like a slowed down version of "Street Fighting Man". The lyrics, though, are pure Spoon. I mean honestly, would you expect Mick Jagger to have lyrics like, "that's the rent I pay/like my brother say"? Probably not. But such offbeat lyrics would seem pretty typical for a guy like Britt Daniel!


"Slow Motion" by Phox: Monica Martin is a black woman who leads an indie-folk-rock group!! Not every day you come across that! The instrumentation of "Slow Motion", the debut song from her band, Phox, is also something unusual, even by indie standards. In the beginning of the song, you think you're gonna get a bluegrass song, but it quickly turns into something that comes off as a cross between Florence & The Machine and The Kopecky Family Band. Top it all off with a clarinet solo in the middle, and a section towards the end with a slight reggae influence, and you've basically got a tasty indie-pop stew on your hands! "Everything I do, I do in slow motion", Monica sings during the chorus. An apt description for the song, but the eclectic mix of sounds chosen for the song seem like they were done in anything but slow motion!



"U Get Me High" by Tom Petty: Doesn't it bother you when musicians release one single off their new album one week, and then the VERY NEXT WEEK they release ANOTHER one?! Well, it bothers me!! This is exactly what Tom Petty did with his latest album, "Hypnotic Eye". "American Dream Plan B" was released last week, and now we have "U Get Me High". Not exactly as forceful and driving as "American Dream Plan B", but rest assured, "U Get Me High" is still good. It sounds a bit like something Petty might have done circa the mid '90s, using rock 'n' roll guitars with a mid-tempo drumbeat. This song may or may not be about drugs, as it is equally likely to be about a girl he's in love with, who gives him "something so deep". There's only one other complaint I have about this song, aside from its earlier than expected release date, and that is that eye don't no Y Tom Petty chose 2 have the letter "U" in the title of the song instead of the pronoun "you", with its proper spelling. Seriously, what did he have 2 do that 4?

A "light" entry

I can't resist a good ol' bad pun, what can I say?! This week's pun comes from the "light" amount of songs (only two), and how the word "phosphorescent" and the prefix "lumi-" both refer to "light" (as in light of the sun). Anyway here are today's songs. Enjoy!


"Song For Zula" by Phosphorescent: "Grey's Anatomy" has promoted quite a few adult alt songs into more popular territory, but I know few that are as beautiful (or as long) as "Song For Zula", the debut song from the band Phosphorescent. Its lush string laden sound combined with its echo-y drums recall Daniel Lanois, who was best known for producing some of the more atmospheric, poignant songs from U2. I don't know who (or what) "Zula" is, but he/she/it must have been pretty special in the band's life in order to make a song that both tugs at the heartstrings, and one that's over 6 minutes long. The length of this song is truly a rarity in 21st century music, and arguably, so is the song itself! Highly recommended!!


"Submarines" by The Lumineers: Two guys, a girl, and some of the catchiest folk-rock tunes that ever existed! That would be a good way to describe the Denver trio known as The Lumineers. "Submarines" continues the trend they have with catchy songs, but it veers in a different direction than "Ho Hey" and "Stubborn Love". Where the two aforementioned songs centered around guitars, "Submarines" centers around piano. A comparison to Edward Sharpe and The Magnetic Zeros could easily be drawn to "Submarines" because of the quasi lo-fi recording techniques the song has, combined with its sweet harmonies and unusual subject matter. The friendly sound of "Ho Hey" sounded a little like a children's song to me when I first heard it, but "Submarines" hones in that kiddie sound even more. In fact, I'd say it sounds little like another band who did a children's music influenced song about submarines that were the same color as the sun!

The Novemberists...ummm...I mean The Decemberists release a newbie (plus 6 other goodies!!)

here they are!

"Bitter Pill" by Mt. Desolation: Mt. Desolation is Tim Rice Oxley's side project for his more well-known band, the British contemporary soft rock group Keane, so, not surprisingly, "Bitter Pill" sounds a lot like a Keane song. It's funny, then, that I actually like this song despite the fact that I'm not a fan of Keane's music (except for possibly "Is It Any Wonder?") I guess the main thing about "Bitter Pill" that I LIKE is that it doesn't sound like Tim's trying too hard to emulate the more crowd-pleasing side of Coldplay's music that he often seems to emulate with Keane. Instead, it comes off sounding more like a lightweight yet genuine contemporary British alt-rock/indie tune, with the bouncy, charming qualities of Aqualung (the band, not the song), the honest, heartfelt qualities of Snow Patrol, and the lilting, wistful melodies of Travis (whose lead singer Fran Healy is going to be reviewed later during this blog!) While "Bitter Pill" definitely doesn't have the more lasting qualities of established "piano-rockers" like Elton John, Tori Amos, and Ben Folds, it definitely has a more unique sound quality than most "Britpop" piano-rock tunes.

"Down By the Water" by The Decemberists: Hmmmm...interesting...The DECEMBERists decided to release their latest tune in NOVEMBER!! This is just too funny!! (Their last release was in late February of last year, which wouldn't have been as funny). Also, this is not a cover of the sublimely dark PJ Harvey tune of the same name for those wondering. Joking aside, though, "Down By the Water" represents yet another eclectic facet of The Decemberists' career that I don't think they've taken on yet. So far, the adventurous indie rock group have taken on folk-rock of both buoyant ("16 Military Wives") and somber ("The Hazards of Love 1") qualities, R.E.M./Smiths influenced indie-pop tunes that have so far become their biggest hits ("O Valencia!" and "The Perfect Crime # 2"), minor key post-punk influenced tunes ("The Rake's Song"), and even various concept albums/songs worthy of Pink Floyd/Jethro Tull comparisons! So how does "Down By the Water" compare to their already diverse library of songs?! Well, it seems with this song, The Decemberists have explored yet another side of their inner classic rocker(s), as "Down By the Water" shares instrumentation somewhat similar to Bruce Springsteen's "The River" and chord progression similar to Tom Petty's "Flirting With Time". I'm just a little disappointed by this, as I was expecting more of either an adventurous and/or hypnotically melodic tune from The Decemberists, as opposed to the heartland/roots rock revival they have set up in "Down By the Water", but The Decemberists, so far, have a certain charm to all the songs I've heard of theirs that has never failed to please me. This song is no exception to the rule!!

"Golden State" by Delta Spirit: This song, the second single off Delta Spirit's 2010 release, "History From Below", should probably come as a breath of fresh air to those who found the first hit off the album, "Bushwick Blues", to be too punk-y and/or depressing. "Golden State" is neither of these things, and marks a return to the fun, bouncy, roots-y indie-pop/rock of their 2008 song, "Trashcan". It even has the exact same rhythm as "Trashcan", though perhaps that's just what Delta Spirit typically sound like when they're at their happiest. While "Bushwick Blues" certainly distinguished itself from other Delta Spirit songs (and probably became their most successful song to date, aside from possibly "Trashcan"), "Golden State" is the kind of song that doesn't NEED distinguishing, "different" qualities in order to make it stand out. It's fine the way it is!

"Howlin' For You" by The Black Keys: If The White Stripes, The Raconteurs, Kings of Leon, and/or Muse (or Wolfmother?) covered Gary Glitter's glam rock classic "Rock And Roll Part 2" (you know, the one with the guitar riff that goes "da-NANANA-NA-NA-nuh..HEY-EYYY!!...da-na-na-nahh...), it would probably sound a lot like "Howlin' For You". Actually, it also takes quite a bit of its vocal rhythmic patterns from The Yardbirds' "I'm A Man", in addition. The Black Keys are a band who wear their classic rock influences on their sleeve (especially T. Rex) and proudly so, but "Howlin' For You" actually sounds like a COMBINATION of classic rock songs that would sound as much at home on an alt-rock station as it would a classic rock station! It has catchy enough qualities to it that the very moment after one first hears it, it takes control of your ears in a very similar manner to "Rock And Roll Part 2", and should, someday, get played at sporting events like that song often does! Ordinarily I wouldn't say that about an indie song/band, but this one has potential! And sorry folks, unlike "Tighten Up" (and its mid-summer follow-up song, "Next Girl"), this song does NOT feature a video with Frank the Funk-a-saurus Rex (that I am aware of).

"Money Grabber" by Fitz and The Tantrums: I'm not aware of the show "Criminal Minds", but apparently this song became the surprise hit of early November 2010 because of that show (and also thanks to a T-Mobile commercial, apparently). Anyway, the name "Fitz and The Tantrums" sounds like the name of an indie band, right? Heheh...WRONG!! Well...kind of. It's really an "indie soul" group, in the manner of Sharon Jones and The Dap-Kings, Black Joe Lewis and The Honeybears, and the later work of Jamie Lidell. For a good description of this song, imagine what it would've been like if The Temptations, The Four Tops, etc. covered Electric Light Orchestra's "Evil Woman". In other words, this song is probably what some would be tempted to call "retreaux" (a portmanteau of the words "retro" and "faux"). I'd say it's just plain "retrO", though, it's a catchy, feel-good song that captures the feel of a typical Motown tune without being too pretentious.

"Raise Your Right Hand" by Hill Country Revue: If you've heard Hill Country Revue's song "You Can Make It", which came out a year before this one, you probably wouldn't expect the same guys who did a mellow but kind of catchy country-blues influenced number like "You Can Make It" to follow it up with a Skynyrd/ZZ Top/Joe Walsh-ish powerhouse classic rock revival number like "Raise Your Right Hand"! I was pretty surprised by how hard-rocking (well, for Hill Country Revue, anyway) this song really is!! It even has about a minute long guitar solo that was probably influenced by the three classic rock acts I previously mentioned in this review! A band with a name like "Hill Country Revue" probably wouldn't be one you could expect to sell out arenas, but if they keep on churning out material like "Raise Your Right Hand", you can bet that'll happen one of these days!!

"Sing Me to Sleep" by Fran Healy (of Travis) and Neko Case: Perhaps this duet is trying to one-up the one Greg Laswell did with Ingrid Michaelson earlier this year. If so, it's doing a good job at it! For starters, I like Fran better than Greg, and Neko MUCH better than Ingrid. Where Greg and Ingrid's "Take Everything" was merely light, buoyant folk-pop, "Sing Me to Sleep" tugs a bit more at the ol' heartstrings. The chemistry between Fran and Neko's vocals is cute, romantic, and almost dreamy (for both of them!) If high school proms start playing indie tunes, this would make for a mighty fine slow dance song!