here they are:
"Jejune Stars" by Bright Eyes: I don't exactly know what "jejune stars" are supposed to be, but both the music and lyrics of this song are absolutely wonderful! The themes of karma and redemption appeal very much to my "inner Buddhist" and philosophical side, and the rather abstract lyrics of the chorus ("So I go umbrella under my arm, to the green of the radar"), just add to how creative this song truly is! You would think that with such spiritual lyrics that this would be one of the more calming, folk-y songs from Bright Eyes, but it isn't. Instead, its sound is rather new wave-y and Cars-y, which makes this song all the more worth listening to for me! With only two songs for this week, I would highly recommend this one!
"The Whole Enchilada" by Keb' Mo': The few songs of Keb' Mo' that I've heard were mostly acoustic guitar based contemporary blues songs. With his latest song, "The Whole Enchilada", Keb' adds in a '70s soul/funk influence along with his typical blues fare. As with most Keb' Mo' songs, the appeal of "The Whole Enchilada" is more in the guitar riffs (and, in this case, the rhythm) than it is in the lyrics. To answer Keb's question in the chorus ("Now that you got-a the whole enchilada, what'cha gonna do, what'cha gonna do?"), I'm gonna try to listen to this song enough times to learn both the lyrics and the licks of this song!
Wednesday, June 8, 2011
Wednesday, June 1, 2011
June BLOOM, 8 new songs for one new month!!
After about a month's absence on here, don't you think it's time I reviewed some new songs?! Well, you're in luck!! Here they are:
"Back Down South" by Kings of Leon: I never would've expected the same guys who debuted back in 2003 with the rough garage-rocker "Molly's Chambers" to have such a melancholy country/folk influenced tune almost a decade later, but lo and behold, KOL have done so with their latest tune, the aptly titled "Back Down South". This song has a very wistful vibe to it, and would probably also make a great "road" song, but not in the energetic, boastful way the typical '70s hard rock song would, but more like the "coming back home" sort of way that a song like "Teach Your Children" or "Heart of Gold" might. If your favorite songs are bittersweet ones, then this might be the one to check out for this week!
"Calgary" by Bon Iver: First of all, for those wondering how "Bon Iver" is pronounced, it's not "Bahn EYE-vur", it's "BONE ee-VAIR", a pun on a French phrase that translates to "good winter". Now that I've gotten that part out of the way, here's a bit of background info on Bon Iver. Though they weren't that big on adult alt stations in 2009, they quickly made a name for themselves nevertheless among indie fans with Nick Drake/Elliott Smith influenced neo-folk-rock such as "Blood Bank", "For Emma", "Re: Stacks", and "Skinny Love". "Calgary" is a bit of a departure from the somber, acoustic sound of these songs. Well, the somber is still there, but the acoustic?! Well, not so much. Instead, more electronic instruments are used, which is a bit of a letdown for me, as the acoustic instrumentation of Bon Iver was part of their charm to me. "Calgary" isn't bad, though. Bon Iver still manage to pull off an uplifting, ethereal sort of sound in spite of the synthesizer dominating the music, in a way that reminds me a great deal of the song "Daniel" by another electro-indie act, Bat For Lashes.
"Can't Keep Johnny Down" by They Might Be Giants: Ahhh, what's not to love about TMBG?! They're two of the goofiest guys in rock history! Even during their debut in the mid-'80s, their unique brand of alternative rock managed to somehow be more suitable for Nickelodeon and Cartoon Network than it was for MTV and VH1. "Can't Keep Johnny Down" takes a turn towards the "darker" side of TMBG, though, which is a bit of a disappointment for me. And why is that such a letdown?! Well, first of all, both their name (taken from a B-movie), and their song titles (including, but not limited to, "Put Your Hands Inside the Puppet Head", "Dr. Worm", and "Birdhouse In Your Soul"), are goofball gold, in the '00s they released a series of children's albums that held just as much appeal to children as they did to Gen X adults nostalgic for the days of "Sesame Street" and "Schoolhouse Rock", and even the material they intended more for an "adult" audience was "kid-friendly" enough that shows like "Tiny Toons" and "Where In the World Is Carmen San Diego?" incorporated the use of their music!! About the "darkest" song in their catalog I can even THINK of is "Don't Let's Start", and even THAT has weird lyrics (i.e. "Wake up and smell the cat food"), and a play on the word "don't" that makes fun of a similar play on the word "love" Nat King Cole was known for using (the one where Nat goes, "L is for the way you look at me...", etc.) There doesn't seem to be ANYTHING redeeming at first about "Can't Keep Johnny Down", though, a song that's primarily about a guy with a difficult life. However, upon closer examination of the lyrics to the song, it's really about a guy who, as the song's title suggests, "can't be kept down" by the troubles he faces in his life. I suppose that makes it more redeeming than it might seem upon initial listening, but I still think TMBG could've done better than this!
"Chapel Song" by We Are Augustines: Both the title of the song and the name of the band might suggest a "Christian rock" band, but it's far closer to bands like Arcade Fire and Modest Mouse, particularly the more melancholy, sentimental side of those bands. Lyrically, this song seems like it would have been perfect for "The Graduate", as they seem to hint at the disappointment the lead singer feels about the girl he loves getting married to another man (could be wrong on this, though, as I haven't yet heard the song that many times). The repetition of both the lyrics (i.e. "I shake, shake, shake like a leaf, and I'm lyin', lyin', lyin' through my teeth") and the progression of the four guitar hooks used throughout the song seem to make it a memorable one!
"Don't Gotta Work It Out" by Fitz and The Tantrums: How do you follow up the success and insanely catchy hooks of the blue-eyed soul smash hit, "MoneyGrabber"?!? Well, I would think that'd be pretty hard!! But Fitz and The Tantrums have managed to do so with their second single, "Don't Gotta Work It Out"! Though it's not as much of a get-up-and-dance song as "MoneyGrabber" was, it still manages to be catchy (and Motown-esque) enough to once again win over the hearts of both classic soul fans and alternative/indie fans. The minor key that "Don't Gotta Work It Out" was written in is also emphasized a bit more than that of "MoneyGrabber"'s minor key, with the exception of "Don't Gotta Work It Out"'s bridge, consisting of an organ playing in F major. Still, this is definitely a song worth checking out for the week!
"Learn How to Love" by The Tedeschi-Trucks Band: If this is supposed to be a follow-up to "Bound For Glory", I kinda feel like it's a bit too early (but perhaps that's because "Bound For Glory" hasn't played on enough stations yet, at least from what I've observed). Unlike the triumphant, chug-along blues-rock of "Bound For Glory", "Learn How to Love" seems to be a bit more of a juicy, gritty blues-rock number. This one definitely emphasizes the "rock" element of "blues-rock", evoking the sounds of many blues-influenced classic rock bands, from Led Zeppelin to ZZ Top to The Allman Brothers (of whom Derek Trucks occasionally plays guitar for), and then some! Who knows, perhaps the hard, solid rock 'n' roll influence of this song will guarantee "Learn How to Love" more success on adult alt radio than "Bound For Glory". We'll see!!
"Rider" by Okkervil River: I think I'm a bit late in my review for this one, but here goes. Though "Rider" has only received airplay on a handful of adult alt stations so far, it seems like its airplay is slowly but surely starting to increase, and it also has a unique sound that managed to capture me immediately upon hearing it! Its sound is the "orchestral indie" sound used frequently in Arcade Fire's music, and used additionally in other indie acts such as Sea Wolf, Edward Sharpe and The Magnetic Zeros, and Andrew Bird. The "orchestral" sound in "Rider" uses piano as the central instrument, and a dynamic and forceful, yet still catchy sort of rhythm. I especially like the end of this song, in which the instruments start to speed up, building up to a fantastic finish! I highly recommend this song!!
"Rise Above 1" by Reeve Carney and U2's Bono and The Edge: Apparently this song is supposed to be a part of the Broadway production of "Spider-Man"!! WHAAA?!? Well, as far as U2 songs go, this one is rather mediocre, I think. The fact that Reeve Carney contributed to this, though, I guess makes this worth listening to, and I kinda like this song despite how "average" it sounds. - EDIT - my bad - I confused my Carneys - it's PATRICK Carney (not REEVE Carney) who sings on this track - Reeve Carney is merely the guy that plays "Spider-Man" in the Broadway production of "Spider-Man", he has nothing to do with The Black Keys - what can I say, I get confused sometimes, and I apologize to those who might have thought I was spreading "false information" online - your fears should be calmed down by now
"Back Down South" by Kings of Leon: I never would've expected the same guys who debuted back in 2003 with the rough garage-rocker "Molly's Chambers" to have such a melancholy country/folk influenced tune almost a decade later, but lo and behold, KOL have done so with their latest tune, the aptly titled "Back Down South". This song has a very wistful vibe to it, and would probably also make a great "road" song, but not in the energetic, boastful way the typical '70s hard rock song would, but more like the "coming back home" sort of way that a song like "Teach Your Children" or "Heart of Gold" might. If your favorite songs are bittersweet ones, then this might be the one to check out for this week!
"Calgary" by Bon Iver: First of all, for those wondering how "Bon Iver" is pronounced, it's not "Bahn EYE-vur", it's "BONE ee-VAIR", a pun on a French phrase that translates to "good winter". Now that I've gotten that part out of the way, here's a bit of background info on Bon Iver. Though they weren't that big on adult alt stations in 2009, they quickly made a name for themselves nevertheless among indie fans with Nick Drake/Elliott Smith influenced neo-folk-rock such as "Blood Bank", "For Emma", "Re: Stacks", and "Skinny Love". "Calgary" is a bit of a departure from the somber, acoustic sound of these songs. Well, the somber is still there, but the acoustic?! Well, not so much. Instead, more electronic instruments are used, which is a bit of a letdown for me, as the acoustic instrumentation of Bon Iver was part of their charm to me. "Calgary" isn't bad, though. Bon Iver still manage to pull off an uplifting, ethereal sort of sound in spite of the synthesizer dominating the music, in a way that reminds me a great deal of the song "Daniel" by another electro-indie act, Bat For Lashes.
"Can't Keep Johnny Down" by They Might Be Giants: Ahhh, what's not to love about TMBG?! They're two of the goofiest guys in rock history! Even during their debut in the mid-'80s, their unique brand of alternative rock managed to somehow be more suitable for Nickelodeon and Cartoon Network than it was for MTV and VH1. "Can't Keep Johnny Down" takes a turn towards the "darker" side of TMBG, though, which is a bit of a disappointment for me. And why is that such a letdown?! Well, first of all, both their name (taken from a B-movie), and their song titles (including, but not limited to, "Put Your Hands Inside the Puppet Head", "Dr. Worm", and "Birdhouse In Your Soul"), are goofball gold, in the '00s they released a series of children's albums that held just as much appeal to children as they did to Gen X adults nostalgic for the days of "Sesame Street" and "Schoolhouse Rock", and even the material they intended more for an "adult" audience was "kid-friendly" enough that shows like "Tiny Toons" and "Where In the World Is Carmen San Diego?" incorporated the use of their music!! About the "darkest" song in their catalog I can even THINK of is "Don't Let's Start", and even THAT has weird lyrics (i.e. "Wake up and smell the cat food"), and a play on the word "don't" that makes fun of a similar play on the word "love" Nat King Cole was known for using (the one where Nat goes, "L is for the way you look at me...", etc.) There doesn't seem to be ANYTHING redeeming at first about "Can't Keep Johnny Down", though, a song that's primarily about a guy with a difficult life. However, upon closer examination of the lyrics to the song, it's really about a guy who, as the song's title suggests, "can't be kept down" by the troubles he faces in his life. I suppose that makes it more redeeming than it might seem upon initial listening, but I still think TMBG could've done better than this!
"Chapel Song" by We Are Augustines: Both the title of the song and the name of the band might suggest a "Christian rock" band, but it's far closer to bands like Arcade Fire and Modest Mouse, particularly the more melancholy, sentimental side of those bands. Lyrically, this song seems like it would have been perfect for "The Graduate", as they seem to hint at the disappointment the lead singer feels about the girl he loves getting married to another man (could be wrong on this, though, as I haven't yet heard the song that many times). The repetition of both the lyrics (i.e. "I shake, shake, shake like a leaf, and I'm lyin', lyin', lyin' through my teeth") and the progression of the four guitar hooks used throughout the song seem to make it a memorable one!
"Don't Gotta Work It Out" by Fitz and The Tantrums: How do you follow up the success and insanely catchy hooks of the blue-eyed soul smash hit, "MoneyGrabber"?!? Well, I would think that'd be pretty hard!! But Fitz and The Tantrums have managed to do so with their second single, "Don't Gotta Work It Out"! Though it's not as much of a get-up-and-dance song as "MoneyGrabber" was, it still manages to be catchy (and Motown-esque) enough to once again win over the hearts of both classic soul fans and alternative/indie fans. The minor key that "Don't Gotta Work It Out" was written in is also emphasized a bit more than that of "MoneyGrabber"'s minor key, with the exception of "Don't Gotta Work It Out"'s bridge, consisting of an organ playing in F major. Still, this is definitely a song worth checking out for the week!
"Learn How to Love" by The Tedeschi-Trucks Band: If this is supposed to be a follow-up to "Bound For Glory", I kinda feel like it's a bit too early (but perhaps that's because "Bound For Glory" hasn't played on enough stations yet, at least from what I've observed). Unlike the triumphant, chug-along blues-rock of "Bound For Glory", "Learn How to Love" seems to be a bit more of a juicy, gritty blues-rock number. This one definitely emphasizes the "rock" element of "blues-rock", evoking the sounds of many blues-influenced classic rock bands, from Led Zeppelin to ZZ Top to The Allman Brothers (of whom Derek Trucks occasionally plays guitar for), and then some! Who knows, perhaps the hard, solid rock 'n' roll influence of this song will guarantee "Learn How to Love" more success on adult alt radio than "Bound For Glory". We'll see!!
"Rider" by Okkervil River: I think I'm a bit late in my review for this one, but here goes. Though "Rider" has only received airplay on a handful of adult alt stations so far, it seems like its airplay is slowly but surely starting to increase, and it also has a unique sound that managed to capture me immediately upon hearing it! Its sound is the "orchestral indie" sound used frequently in Arcade Fire's music, and used additionally in other indie acts such as Sea Wolf, Edward Sharpe and The Magnetic Zeros, and Andrew Bird. The "orchestral" sound in "Rider" uses piano as the central instrument, and a dynamic and forceful, yet still catchy sort of rhythm. I especially like the end of this song, in which the instruments start to speed up, building up to a fantastic finish! I highly recommend this song!!
"Rise Above 1" by Reeve Carney and U2's Bono and The Edge: Apparently this song is supposed to be a part of the Broadway production of "Spider-Man"!! WHAAA?!? Well, as far as U2 songs go, this one is rather mediocre, I think. The fact that Reeve Carney contributed to this, though, I guess makes this worth listening to, and I kinda like this song despite how "average" it sounds. - EDIT - my bad - I confused my Carneys - it's PATRICK Carney (not REEVE Carney) who sings on this track - Reeve Carney is merely the guy that plays "Spider-Man" in the Broadway production of "Spider-Man", he has nothing to do with The Black Keys - what can I say, I get confused sometimes, and I apologize to those who might have thought I was spreading "false information" online - your fears should be calmed down by now
Wednesday, May 4, 2011
New songs for May 4th 2011
here they are:
"Barton Hollow" by The Civil Wars: For those expecting a melancholy, sentimental tune from these guys, like "Poison and Wine" was, please don't! "Barton Hollow" is a bluegrass-y song like most of The Civil Wars' material, but it's also a very gritty, juicy sort of tune. Its drop D tuning seems to somehow suit it perfectly, as do the blues-y sounding lyrics (i.e. "I'm a dead man walking", and "Can't no preacher man save my soul?") Acoustic blues are alive and well thanks to The Civil Wars, and quite rightfully so!
"Grown Ocean" by Fleet Foxes: Not quite the straight up folk-rock of the exquisite, poignant title track to "Helplessness Blues", but like pretty much every Fleet Foxes track I've had the pleasure of hearing so far, it's still a great song! Think of what it would be like if Simon and Garfunkel attempted to do a song from "Pet Sounds". One of the absolute best things about Fleet Foxes' songs is that they always manage to get me in a nostalgic, reflective sort of mood! "Grown Ocean" is no exception to this, in fact upon hearing the song initially, I felt like I was in a really pleasant dream! I would LOVE for Robin Peckold and co to release more material like this, it would really make me happy!!
"Holdin' On to Black Metal" by My Morning Jacket: It appears as though this song is both the most popular AND the most bizarre of all the songs I'm reviewing this week!! For a band who started out doing Neil Young-esque folk-rock material like "Golden", MMJ have sure come a long way, diversifying their musical pallet into reggae-tinged rock ("Off the Record"), barn-burnin' Stones-y hard rock ("I'm Amazed"), '70s soul influenced music ("Thank You Too!"), and progressive rock (both parts of "Touch Me I'm Going to Scream"). "Holdin' On to Black Metal" puts MMJ right up there with best eclectic, quirky indie groups and musicians like The White Stripes, Wilco, and Beck! I wouldn't know how to describe what "genre" it's trying to go after, as it seems to be a combination of many (I have jokingly described it as "psychedelic-folk-gospel-punk-soul", and other silly sounding, but somewhat accurate descriptions). It starts with a vaguely "psychedelic" guitar, but then horns that sound like they'd be more at home in an Otis Redding song start to kick in, and a chorus of CHILDREN (of all things) echo the words "black metal" after lead singer Jim James sings it in the chorus! The "black metal" in question (mentioned in the title and chorus) is a musical genre (also known as "death metal"), and not ACTUAL dark metallic material, which only makes the song even MORE bizarre than it already is! This is by far the weirdest song I've heard so far from MMJ...and I couldn't be happier!!!
"Time Spent In Los Angeles" by Dawes: SoCal's roots-y indie rockers, perhaps best known for their late 2009/early 2010 adult alt radio hit, "When My Time Comes", are back for more! Nothing says "I love L.A." like both singing about it AND being praised by L.A.'s own '70s rock musician Jackson Browne! For a city that spawned 1000 "soft rock" musicians (among them Browne, as well as The Eagles), "Time Spent In Los Angeles" has an aptly laid back kind of mood, evoking something between the organ driven folk-rock approach of The Wallflowers and the "alt-country" vibe of groups like The Avett Brothers. Having grown up in L.A. myself, it's actually a rather frantic, fast-paced city from what I've come to know, but musically, this song does a great job of capturing the more mellow side of L.A.!
"Two Against One" by Danger Mouse (featuring Jack White from The White Stripes): The title of this song couldn't be more apt! Well the "two" part, anyway, as Danger Mouse and Jack White are both masters of creating eclectic musical catalogs for themselves! The "against one"...the media perhaps?! Well, who cares! This is still a great song! I especially dig how the acoustic guitar in the lead mingles with the syncopation of the electric guitar in the background, and how the minor key used throughout the song seems to build up to something suspenseful instead of something melancholy. Danger Mouse and Jack White have truly come up with a masterpiece here. Here's to hoping Jack and Meg will get back together soon and reconsider the "break-up" of their band!!
"Barton Hollow" by The Civil Wars: For those expecting a melancholy, sentimental tune from these guys, like "Poison and Wine" was, please don't! "Barton Hollow" is a bluegrass-y song like most of The Civil Wars' material, but it's also a very gritty, juicy sort of tune. Its drop D tuning seems to somehow suit it perfectly, as do the blues-y sounding lyrics (i.e. "I'm a dead man walking", and "Can't no preacher man save my soul?") Acoustic blues are alive and well thanks to The Civil Wars, and quite rightfully so!
"Grown Ocean" by Fleet Foxes: Not quite the straight up folk-rock of the exquisite, poignant title track to "Helplessness Blues", but like pretty much every Fleet Foxes track I've had the pleasure of hearing so far, it's still a great song! Think of what it would be like if Simon and Garfunkel attempted to do a song from "Pet Sounds". One of the absolute best things about Fleet Foxes' songs is that they always manage to get me in a nostalgic, reflective sort of mood! "Grown Ocean" is no exception to this, in fact upon hearing the song initially, I felt like I was in a really pleasant dream! I would LOVE for Robin Peckold and co to release more material like this, it would really make me happy!!
"Holdin' On to Black Metal" by My Morning Jacket: It appears as though this song is both the most popular AND the most bizarre of all the songs I'm reviewing this week!! For a band who started out doing Neil Young-esque folk-rock material like "Golden", MMJ have sure come a long way, diversifying their musical pallet into reggae-tinged rock ("Off the Record"), barn-burnin' Stones-y hard rock ("I'm Amazed"), '70s soul influenced music ("Thank You Too!"), and progressive rock (both parts of "Touch Me I'm Going to Scream"). "Holdin' On to Black Metal" puts MMJ right up there with best eclectic, quirky indie groups and musicians like The White Stripes, Wilco, and Beck! I wouldn't know how to describe what "genre" it's trying to go after, as it seems to be a combination of many (I have jokingly described it as "psychedelic-folk-gospel-punk-soul", and other silly sounding, but somewhat accurate descriptions). It starts with a vaguely "psychedelic" guitar, but then horns that sound like they'd be more at home in an Otis Redding song start to kick in, and a chorus of CHILDREN (of all things) echo the words "black metal" after lead singer Jim James sings it in the chorus! The "black metal" in question (mentioned in the title and chorus) is a musical genre (also known as "death metal"), and not ACTUAL dark metallic material, which only makes the song even MORE bizarre than it already is! This is by far the weirdest song I've heard so far from MMJ...and I couldn't be happier!!!
"Time Spent In Los Angeles" by Dawes: SoCal's roots-y indie rockers, perhaps best known for their late 2009/early 2010 adult alt radio hit, "When My Time Comes", are back for more! Nothing says "I love L.A." like both singing about it AND being praised by L.A.'s own '70s rock musician Jackson Browne! For a city that spawned 1000 "soft rock" musicians (among them Browne, as well as The Eagles), "Time Spent In Los Angeles" has an aptly laid back kind of mood, evoking something between the organ driven folk-rock approach of The Wallflowers and the "alt-country" vibe of groups like The Avett Brothers. Having grown up in L.A. myself, it's actually a rather frantic, fast-paced city from what I've come to know, but musically, this song does a great job of capturing the more mellow side of L.A.!
"Two Against One" by Danger Mouse (featuring Jack White from The White Stripes): The title of this song couldn't be more apt! Well the "two" part, anyway, as Danger Mouse and Jack White are both masters of creating eclectic musical catalogs for themselves! The "against one"...the media perhaps?! Well, who cares! This is still a great song! I especially dig how the acoustic guitar in the lead mingles with the syncopation of the electric guitar in the background, and how the minor key used throughout the song seems to build up to something suspenseful instead of something melancholy. Danger Mouse and Jack White have truly come up with a masterpiece here. Here's to hoping Jack and Meg will get back together soon and reconsider the "break-up" of their band!!
Wednesday, April 27, 2011
New songs for Apr. 27th, 2011
Here they are:
"Pumped Up Kicks" by Foster the People: I've always been somewhat entertained by the idea of "lyrical dissonance" in music, and "Pumped Up Kicks" is one such example of a newer song that uses this technique. The lyrics are very grim, as they are (probably) about someone going on a shooting spree, yet the music suggests something upbeat and danceable (though still with minor chords), slightly similar to Peter, Bjorn, and John's song "Young Folks". The title is also a bit deceiving, as "Pumped Up Kicks" sounds like it should be about dancing (or perhaps one of many strange metaphors for sexual intercourse), but it isn't. Clearly, Foster the People are a clever band if they can manage to come up with material like this!
"Roll Away Your Stone" by Mumford and Sons: It appears as though London's favorite Irish-sounding indie-folk-rock quartet are back a THIRD time around on the adult alt charts!! I adore the intro of this song, with its rhythm matching that of a typical "Irish jig" (and, also, the rhythm of the "Spongebob Squarepants" theme song), but once the vocals kick in and the rhythm speeds up, I can't help but think that American audiences probably WANTED this to be the third major Mumford and Sons song, as it really just sounds like a combination of the rhythm of "Little Lion Man" and the chords of "The Cave". M & S are really a much more diverse band than that, with the lively, muted-trumpet-dominated sound of "Winter Winds", the melancholy, regretful "White Blank Page", and even a sound that evokes Springsteen's "Nebraska" in "After the Storm". That being said, though, "Roll Away Your Stone" is certainly not a bad song, it just makes me a little afraid that if it gets popular enough that some American audiences will begin complaining that Mumford and Sons' songs all "sound the same", which, if you listen to the examples of the (currently) lesser known M & S songs I listed, you will find that such is not the case!
"The Last Crusade" by Sam Roberts: Canadian rocker Sam Roberts is a very eclectic one from what I've heard in his material so far, which includes the upbeat roots-y indie pop/rock of "Them Kids", and piano-rocker "Detroit '67". So how does his latest song, "The Last Crusade", fare in comparison?! Well, I think it's even better than those songs are, personally!! It seems to come off as a grittier, edgier version of some of the more "jam band"-oriented songs from The Dave Matthews Band (think "What Would You Say?", "Too Much", etc.) It fuses jazz, blues, and rock effortlessly like the typical DMB song, yet the "alternative" vibe that Sam Roberts tends to give off in this song is purely his own! We need more musically diverse songs/bands/artists like this in today's musical climate, I think!
"Pumped Up Kicks" by Foster the People: I've always been somewhat entertained by the idea of "lyrical dissonance" in music, and "Pumped Up Kicks" is one such example of a newer song that uses this technique. The lyrics are very grim, as they are (probably) about someone going on a shooting spree, yet the music suggests something upbeat and danceable (though still with minor chords), slightly similar to Peter, Bjorn, and John's song "Young Folks". The title is also a bit deceiving, as "Pumped Up Kicks" sounds like it should be about dancing (or perhaps one of many strange metaphors for sexual intercourse), but it isn't. Clearly, Foster the People are a clever band if they can manage to come up with material like this!
"Roll Away Your Stone" by Mumford and Sons: It appears as though London's favorite Irish-sounding indie-folk-rock quartet are back a THIRD time around on the adult alt charts!! I adore the intro of this song, with its rhythm matching that of a typical "Irish jig" (and, also, the rhythm of the "Spongebob Squarepants" theme song), but once the vocals kick in and the rhythm speeds up, I can't help but think that American audiences probably WANTED this to be the third major Mumford and Sons song, as it really just sounds like a combination of the rhythm of "Little Lion Man" and the chords of "The Cave". M & S are really a much more diverse band than that, with the lively, muted-trumpet-dominated sound of "Winter Winds", the melancholy, regretful "White Blank Page", and even a sound that evokes Springsteen's "Nebraska" in "After the Storm". That being said, though, "Roll Away Your Stone" is certainly not a bad song, it just makes me a little afraid that if it gets popular enough that some American audiences will begin complaining that Mumford and Sons' songs all "sound the same", which, if you listen to the examples of the (currently) lesser known M & S songs I listed, you will find that such is not the case!
"The Last Crusade" by Sam Roberts: Canadian rocker Sam Roberts is a very eclectic one from what I've heard in his material so far, which includes the upbeat roots-y indie pop/rock of "Them Kids", and piano-rocker "Detroit '67". So how does his latest song, "The Last Crusade", fare in comparison?! Well, I think it's even better than those songs are, personally!! It seems to come off as a grittier, edgier version of some of the more "jam band"-oriented songs from The Dave Matthews Band (think "What Would You Say?", "Too Much", etc.) It fuses jazz, blues, and rock effortlessly like the typical DMB song, yet the "alternative" vibe that Sam Roberts tends to give off in this song is purely his own! We need more musically diverse songs/bands/artists like this in today's musical climate, I think!
Wednesday, April 13, 2011
The Allman Brothers connection (plus one more song)
Interesting that TWO of the songs I'm reviewing this time have alumni of The Allman Brothers featured on the tracks! Here they are (plus one more song):
"Bound For Glory" by The Tedeschi-Trucks Band: A husband and wife match made in blues-rock heaven! Susan Tedeschi is a blues based musician with a heavy influence of Stax Records brand R & B (think Otis Redding, Sam and Dave, etc.) in her music as well, and Derek Trucks is a blues-rock guitarist that occasionally plays in legendary blues-rock combo The Allman Brothers Band. So what do they sound like together?! A powerhouse, that's what! Especially with Derek Trucks mad guitar skills in the middle of what would probably be more of a '60s R & B/gospel pastiche without his contributions. "Bound For Glory" is quite an apt title for a song that builds up to glorious proportions as it continues to chug along!
"Man In Motion" by Warren Haynes: Yet another (occasional) member of The Allman Brothers Band (as well as more contemporary blues-rock musicians, Gov't Mule). The vibe this song gives off is definitely more of a '70s classic rock one than that of the previous song, and in particular, it reminds me of the blues-gone-somewhat-hard-rock feel of Eric Clapton's mid-'70s rock anthem, "Cocaine". Once again, amazingly talented guitar skills show up in this song! What can I say, sometimes you just gotta let out your blues on the 'lectric guitar and ROCK OUT!!
"Will Do" by TV on the Radio: Amazingly, this is the ONLY song I'm reviewing this week that HAS an "indie" feel to it!! Weird, huh?! Anyway, to give you a background on the cleverly named TV on the Radio, they have been around since roughly the mid 2000's, and their material is typically somewhere between the more "experimental" side of classic rock (i.e. David Bowie, Peter Gabriel, Talking Heads, etc.) and the more icy cold, claustrophobic, tensed up feel that bands of the post-punk era typically give off (i.e. Gang of Four, Public Image Ltd., Joy Division, etc.) "Will Do" is, quite possibly, the first TVOTR song that strips away the band's typical post-punk influence and instead goes for more of a '70s "soul ballad" vibe a la Marvin Gaye, though it still has the Gabriel/Bowie type sound dominating the tune. It is also one of the few (if not the only) song by TVOTR that I find has a memorable, catchy chorus ("Anytime will do...my love"), delivered by the smooth, soulful vocals of lead singer Tunde Adebimpe. Though this song is atypical of their style, it's also the first song of theirs so far that's won my affection!
"Bound For Glory" by The Tedeschi-Trucks Band: A husband and wife match made in blues-rock heaven! Susan Tedeschi is a blues based musician with a heavy influence of Stax Records brand R & B (think Otis Redding, Sam and Dave, etc.) in her music as well, and Derek Trucks is a blues-rock guitarist that occasionally plays in legendary blues-rock combo The Allman Brothers Band. So what do they sound like together?! A powerhouse, that's what! Especially with Derek Trucks mad guitar skills in the middle of what would probably be more of a '60s R & B/gospel pastiche without his contributions. "Bound For Glory" is quite an apt title for a song that builds up to glorious proportions as it continues to chug along!
"Man In Motion" by Warren Haynes: Yet another (occasional) member of The Allman Brothers Band (as well as more contemporary blues-rock musicians, Gov't Mule). The vibe this song gives off is definitely more of a '70s classic rock one than that of the previous song, and in particular, it reminds me of the blues-gone-somewhat-hard-rock feel of Eric Clapton's mid-'70s rock anthem, "Cocaine". Once again, amazingly talented guitar skills show up in this song! What can I say, sometimes you just gotta let out your blues on the 'lectric guitar and ROCK OUT!!
"Will Do" by TV on the Radio: Amazingly, this is the ONLY song I'm reviewing this week that HAS an "indie" feel to it!! Weird, huh?! Anyway, to give you a background on the cleverly named TV on the Radio, they have been around since roughly the mid 2000's, and their material is typically somewhere between the more "experimental" side of classic rock (i.e. David Bowie, Peter Gabriel, Talking Heads, etc.) and the more icy cold, claustrophobic, tensed up feel that bands of the post-punk era typically give off (i.e. Gang of Four, Public Image Ltd., Joy Division, etc.) "Will Do" is, quite possibly, the first TVOTR song that strips away the band's typical post-punk influence and instead goes for more of a '70s "soul ballad" vibe a la Marvin Gaye, though it still has the Gabriel/Bowie type sound dominating the tune. It is also one of the few (if not the only) song by TVOTR that I find has a memorable, catchy chorus ("Anytime will do...my love"), delivered by the smooth, soulful vocals of lead singer Tunde Adebimpe. Though this song is atypical of their style, it's also the first song of theirs so far that's won my affection!
Wednesday, April 6, 2011
new songs for Apr. 6th, 2011
here they are:
"Changing" by The Airborne Toxic Event: It's funny that this song has been around since February of this year, yet it's taken adult alt stations until now to add this into their playlists. Well, better late than never. Or is it? "Changing" is not a bad song, but somehow something feels lacking in it in comparison to songs from their debut from three years ago like the Springsteen-esque "Wishing Well" and the U2-ish alt-rock epic "Sometime Around Midnight". "Changing" just seems more...well...ordinary. Even the chorus seems to suggest an ordinariness about it ("You always want to talk about changing, changing/Well guess what I am the same man, same man", a bad choice in rhyming, but the catchiness of the song, and perhaps the rest of it, compensates for this). "Changing" is an apt title for this song, but perhaps not for the better. At least it has a memorable hook, and for some reason I like it (perhaps because it's an Airborne Toxic Event song), so I would think that would count for something.
"In Every Direction" by Junip: Swedish indie-folk sensation Jose Gonzalez (yes, he IS Swedish, despite how his name sounds) continues to have success with a full band in this song. Like their previous "hit", "Always", "In Every Direction" is written in D minor. Despite its similarity to "Always", "In Every Direction" is distinguishable from that song because it is slower, and also Jose's backing band seems to have more importance in this song than they did in "Always", particularly the rather forceful, dynamic organ section. As an aside, I have no idea what this "magic feather" Jose keeps referring to in the song is, but it's probably the lyric in "In Every Direction" that stands out the most to me!
"Just Fine" by G. Love: After G. Love's previous success in the acoustic-blues-y, fiery "Fixin' to Die", my faith in his musical ability and talent have been somewhat renewed. "Just Fine" only continues to prove this, perhaps even more so, with its mellow but somewhat spicy sound, suggesting something between the "softer" material of The Red Hot Chili Peppers and the Blues Traveler song "Hook". I especially like how "Just Fine" mixes acoustic and electric guitar sounds, only to come out with a gritty, sublime sound as a result. Despite the optimistic sounding title, "Just Fine" does seem to have somewhat angst-ridden lyrics, with the chorus hinting more at a "life sucks, but I'm doing just fine" kind of attitude than a "everything is just fine, and I like it" sort of vibe. For G. Love, who seemed to take a musical dive in 2008 with songs like the lightweight "Peace, Love, and Happiness" and his even MORE mellow-minus-the-substance song "Beautiful", which he did with folk-pop musician Tristan Prettyman, the angst of "Just Fine", combined with its juicy flavor, is a GOOD thing!
"Options" by Gomez: Is it just me, or have the members of Gomez suddenly taken such a liking to Spoon's "The Underdog" that they wanted to make their own version of it?! This is basically what "Options" sounds like, especially in the beginning of it. It is a song written in G major with a bouncy beat suggestive of Billy Joel's "Only the Good Die Young" - which is EXACTLY what "The Underdog" was! Gomez start to shake things up a bit as "Options" draws closer to the chorus, adding in chords that are sharp/flat chords instead of "regular" ones. As the chorus closes, they add a unique chord that even I had trouble figuring out. Aside from being a "copycat" song of "The Underdog", "Options" does have some things going for it. Like I mentioned before, the change in chord structure during the chorus is one thing, but for another, it shows just how eclectic Gomez truly are. How many other bands can simultaneously pull off having influences like Oasis ("Nothing Is Wrong"), your typical bluegrass song ("How We Operate"), folk-pop ("See the World"), a combination of blues and indie ("Hamoa Beach"), The Flaming Lips ("Airstream Driver"), and a folk-pop/indie combination ("Little Pieces")?! Not many that I can name off the top of my head, that's for sure!!
"Sorry" by The Smithereens: The SMITHEREENS?!? The SAME guys who had hits in the late '80s with catchy rock 'n' roll tunes like "A Girl Like You", "Only A Memory", and "Behind the Wall of Sleep"?!? Yep, that's right!! The SAME guys!! This is pretty unbelievable to me considering that its been about 20 years since these guys last had a hit, let alone released a record!! Perhaps their big comeback moment was worth the wait, though, as "Sorry" actually sounds even BETTER than the three songs I mentioned! It's a "Satisfaction"-esque rocker, with the tuning just a half-step down from that song, and, for a band who was already "retro" enough in the '80s, The Smithereens have somehow managed to sound even MORE "retro" on "Sorry"! The one question I have is this. "Sorry" for WHAT exactly?! That we didn't get to hear this song sooner?!? That's the only thing I can think of they should be "sorry" for, this song ROCKS!!
"You Are A Tourist" by Death Cab for Cutie: Wow!! It's pretty clear from how fast this song has been climbing the adult alt (and "regular" alt) charts that both sides of the alt-rock "spectrum" just can't get enough Death Cab!! And rightly so, considering how guitarist Chris Walla makes his transition from quiet indie/contemporary folk-rock guitarist to an almost The Edge (of U2 fame) -ish earnest but passionate and skilled rock guitarist! I've always suspected U2 were an influence on Death Cab, but never as much as they have been on "You Are A Tourist"! If this song does NOT end up being one of my Top 20 of 2011 come December 23rd, I'll be pretty shocked!!
"Changing" by The Airborne Toxic Event: It's funny that this song has been around since February of this year, yet it's taken adult alt stations until now to add this into their playlists. Well, better late than never. Or is it? "Changing" is not a bad song, but somehow something feels lacking in it in comparison to songs from their debut from three years ago like the Springsteen-esque "Wishing Well" and the U2-ish alt-rock epic "Sometime Around Midnight". "Changing" just seems more...well...ordinary. Even the chorus seems to suggest an ordinariness about it ("You always want to talk about changing, changing/Well guess what I am the same man, same man", a bad choice in rhyming, but the catchiness of the song, and perhaps the rest of it, compensates for this). "Changing" is an apt title for this song, but perhaps not for the better. At least it has a memorable hook, and for some reason I like it (perhaps because it's an Airborne Toxic Event song), so I would think that would count for something.
"In Every Direction" by Junip: Swedish indie-folk sensation Jose Gonzalez (yes, he IS Swedish, despite how his name sounds) continues to have success with a full band in this song. Like their previous "hit", "Always", "In Every Direction" is written in D minor. Despite its similarity to "Always", "In Every Direction" is distinguishable from that song because it is slower, and also Jose's backing band seems to have more importance in this song than they did in "Always", particularly the rather forceful, dynamic organ section. As an aside, I have no idea what this "magic feather" Jose keeps referring to in the song is, but it's probably the lyric in "In Every Direction" that stands out the most to me!
"Just Fine" by G. Love: After G. Love's previous success in the acoustic-blues-y, fiery "Fixin' to Die", my faith in his musical ability and talent have been somewhat renewed. "Just Fine" only continues to prove this, perhaps even more so, with its mellow but somewhat spicy sound, suggesting something between the "softer" material of The Red Hot Chili Peppers and the Blues Traveler song "Hook". I especially like how "Just Fine" mixes acoustic and electric guitar sounds, only to come out with a gritty, sublime sound as a result. Despite the optimistic sounding title, "Just Fine" does seem to have somewhat angst-ridden lyrics, with the chorus hinting more at a "life sucks, but I'm doing just fine" kind of attitude than a "everything is just fine, and I like it" sort of vibe. For G. Love, who seemed to take a musical dive in 2008 with songs like the lightweight "Peace, Love, and Happiness" and his even MORE mellow-minus-the-substance song "Beautiful", which he did with folk-pop musician Tristan Prettyman, the angst of "Just Fine", combined with its juicy flavor, is a GOOD thing!
"Options" by Gomez: Is it just me, or have the members of Gomez suddenly taken such a liking to Spoon's "The Underdog" that they wanted to make their own version of it?! This is basically what "Options" sounds like, especially in the beginning of it. It is a song written in G major with a bouncy beat suggestive of Billy Joel's "Only the Good Die Young" - which is EXACTLY what "The Underdog" was! Gomez start to shake things up a bit as "Options" draws closer to the chorus, adding in chords that are sharp/flat chords instead of "regular" ones. As the chorus closes, they add a unique chord that even I had trouble figuring out. Aside from being a "copycat" song of "The Underdog", "Options" does have some things going for it. Like I mentioned before, the change in chord structure during the chorus is one thing, but for another, it shows just how eclectic Gomez truly are. How many other bands can simultaneously pull off having influences like Oasis ("Nothing Is Wrong"), your typical bluegrass song ("How We Operate"), folk-pop ("See the World"), a combination of blues and indie ("Hamoa Beach"), The Flaming Lips ("Airstream Driver"), and a folk-pop/indie combination ("Little Pieces")?! Not many that I can name off the top of my head, that's for sure!!
"Sorry" by The Smithereens: The SMITHEREENS?!? The SAME guys who had hits in the late '80s with catchy rock 'n' roll tunes like "A Girl Like You", "Only A Memory", and "Behind the Wall of Sleep"?!? Yep, that's right!! The SAME guys!! This is pretty unbelievable to me considering that its been about 20 years since these guys last had a hit, let alone released a record!! Perhaps their big comeback moment was worth the wait, though, as "Sorry" actually sounds even BETTER than the three songs I mentioned! It's a "Satisfaction"-esque rocker, with the tuning just a half-step down from that song, and, for a band who was already "retro" enough in the '80s, The Smithereens have somehow managed to sound even MORE "retro" on "Sorry"! The one question I have is this. "Sorry" for WHAT exactly?! That we didn't get to hear this song sooner?!? That's the only thing I can think of they should be "sorry" for, this song ROCKS!!
"You Are A Tourist" by Death Cab for Cutie: Wow!! It's pretty clear from how fast this song has been climbing the adult alt (and "regular" alt) charts that both sides of the alt-rock "spectrum" just can't get enough Death Cab!! And rightly so, considering how guitarist Chris Walla makes his transition from quiet indie/contemporary folk-rock guitarist to an almost The Edge (of U2 fame) -ish earnest but passionate and skilled rock guitarist! I've always suspected U2 were an influence on Death Cab, but never as much as they have been on "You Are A Tourist"! If this song does NOT end up being one of my Top 20 of 2011 come December 23rd, I'll be pretty shocked!!
Wednesday, March 23, 2011
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!!
"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!!
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