four of 'em - enjoy folks!
"Amongst the Waves" by Pearl Jam: This song seemed like it was long overdue for making its way onto the adult alt. airwaves, as Sirius XM's Spectrum has been playing this one since January. Other stations, however, seemed to have taken until now to catch up with this song. Of the three songs on Pearl Jam's latest CD, "Backspacer", this might just end up being the one I like best if it doesn't receive overkill airplay like the other two ("Just Breathe" and "The Fixer") did. However, it's more than just airplay that makes (or would make?) "Amongst the Waves" better than those songs. It serves as a perfect balance between "The Fixer"'s rough garage rock sound and "Just Breathe"'s gentle folk-rock sound, as a sound that seems to hearken back to classic Pearl Jam songs like "Black" and "Yellow Ledbetter", with its melancholy blues-rock inspired vibe. Here's to hoping "Amongst the Waves" will do well, but hopefully not TOO well on adult alt. stations!
"Call Back" by Truth & Salvage Co.: With both well-established bands like My Morning Jacket, The Hold Steady, and Wilco and newcomers like Alberta Cross and Dawes, it seems like classic rock revivalism is becoming increasingly more common in indie rock (if it can even be called that anymore...) Truth & Salvage Co. are the latest to jump onto this bandwagon with their song, "Call Back". The feel of this song is not only rootsy, but very earthy as well. Add to that its well-produced sound, and it comes off sounding like the typical Joe Walsh-less Eagles song (think "Take It Easy", "Peaceful Easy Feeling", "Lyin' Eyes", etc.) Perhaps "alt-country" would be a better way of describing this song than "indie" since that's just how organic (for lack of a better term) this song comes across.
"Fixed" by Stars: Amazingly, this is probably the only song I'm reviewing for this week that DOESN'T have a classic rock-ish feel to it (unless of course you consider Depeche Mode and/or The Cranberries classic rock, which I don't). To give a background to what Stars generally sound like, they often sing chirpy songs with dark subject matter ("Your Ex-Lover Is Dead" is a good example of this). "Fixed" is a departure, both lyrically and musically, from the typical Stars song. Instead of sounding like a somewhat macabre Burt Bacharach type of song, "Fixed" takes on a sound that more suggests, like I pointed out earlier, a cross between Depeche Mode and The Cranberries (with a bit of a Killers sound mixed in there for good measure). Lyrically, the subject matter isn't exactly positive, but it seems to deal with more general subject matter (a crumbling relationship, from what I can tell) than their other songs. This isn't the Stars that I'm used to, but it's still a good song.
"North" by Widespread Panic: In the '90s, there were two major "cult" jam bands - Phish and Widespread Panic. The former could easily be likened to a modern-day Grateful Dead, while the latter typically take on a more Allman Brothers-ish sound. "North", however, seems to trade in the bluesy improv of the typical Widespread Panic song for a more radio-friendly Southern rock sound that is especially evident in many Lynyrd Skynyrd songs. The philosophical lyrics of "North" tend to provide an interesting contrast to its barn-burnin' Southern rock sound (much like how Skynyrd used their typical upbeat bar band sound to disguise the dark nature of "That Smell"). For people hoping for an epic worthy of a song like "That Smell", "Freebird", or "Sweet Home Alabama", you might be a little disappointed in "North" since it's only three and a half minutes long. It does, however, give off the general vibe of such songs (particuarly "Sweet Home Alabama").
Wednesday, May 26, 2010
Wednesday, May 12, 2010
new songs for May 12th, 2010
three of 'em this time. Enjoy!
"Anchor" by Alejandro Escovedo: Alejandro Escovedo is one of those alt-country artists (think Old '97s, early Wilco, etc.) who proudly wears his classic rock influences on his sleeve. His previous single from 2008, "Always A Friend", even had a live version with Bruce Springsteen's E Street Band backing him up on it! The follow-up single from his 2008 album, "Sister Lost Soul" was a bit weaker, emotionally, to me, so I didn't know what to expect for Alejandro's latest effort, "Anchor". Thankfully, he has once again cranked up his amp on this one, a la Neil Young! Perhaps Alejandro is one of those musicians whose "electric" songs are actually better. Keep up the good work!
"Bushwick Blues" by Delta Spirit: Yet another band who hasn't made a record since 2008 (it's like 2008 all over again this year!!) Delta Spirit were one of those bands who were indie even AMONG indie audiences. They did manage to score a hit on adult alt. stations that year with the sunny, catchy, '70s pop-rock-styled "Trashcan" (and a modest one with the slightly more indie-leaning "People C'mon"), but they still haven't gotten as much recognition in the indie rock world as much as, say, Spoon, Death Cab for Cutie, Wilco, or even slightly lesser-known bands like Neutral Milk Hotel, for that matter. "Bushwick Blues" has a bit less of a "retro" feel than either of the other two songs I know by Delta Spirit, so hopefully this will make them more well-known to indie audiences. It comes off sounding like a cross between Spoon and The Strokes, and it ends up with a musical flavor that's more unique than either of them!
"I Should Have Known It" by Tom Petty: Is this the year for classic rock comebacks or what?! The Stones and Hendrix have already landed songs on adult alt. (and mainstream rock) radio this year (as has Johnny Cash, though I'm not sure if everyone would count him as "classic rock" - he kinda predates it in my opinion). Petty has managed to, surprisingly, make what could be the most hardest rocking of all these songs with "I Should Have Known It", with its nearly Led Zeppelin-y stomp (not to mention the faster pace and epic guitar soloing at the end of it!) Petty hasn't rocked out this hard since "Runnin' Down A Dream" in '89, and "I Should Have Known It" has more of a juicy, spicy feel than that song. Petty has long been a staple of adult alt. stations, but although this song is no "Free Fallin'" or "I Won't Back Down", they haven't shyed away from this one. With the inclusion of this song and the Stones and Hendrix songs, I'm thinking 2010 will go down in adult alt. radio history as the year such stations got more "edgy"!!
"Anchor" by Alejandro Escovedo: Alejandro Escovedo is one of those alt-country artists (think Old '97s, early Wilco, etc.) who proudly wears his classic rock influences on his sleeve. His previous single from 2008, "Always A Friend", even had a live version with Bruce Springsteen's E Street Band backing him up on it! The follow-up single from his 2008 album, "Sister Lost Soul" was a bit weaker, emotionally, to me, so I didn't know what to expect for Alejandro's latest effort, "Anchor". Thankfully, he has once again cranked up his amp on this one, a la Neil Young! Perhaps Alejandro is one of those musicians whose "electric" songs are actually better. Keep up the good work!
"Bushwick Blues" by Delta Spirit: Yet another band who hasn't made a record since 2008 (it's like 2008 all over again this year!!) Delta Spirit were one of those bands who were indie even AMONG indie audiences. They did manage to score a hit on adult alt. stations that year with the sunny, catchy, '70s pop-rock-styled "Trashcan" (and a modest one with the slightly more indie-leaning "People C'mon"), but they still haven't gotten as much recognition in the indie rock world as much as, say, Spoon, Death Cab for Cutie, Wilco, or even slightly lesser-known bands like Neutral Milk Hotel, for that matter. "Bushwick Blues" has a bit less of a "retro" feel than either of the other two songs I know by Delta Spirit, so hopefully this will make them more well-known to indie audiences. It comes off sounding like a cross between Spoon and The Strokes, and it ends up with a musical flavor that's more unique than either of them!
"I Should Have Known It" by Tom Petty: Is this the year for classic rock comebacks or what?! The Stones and Hendrix have already landed songs on adult alt. (and mainstream rock) radio this year (as has Johnny Cash, though I'm not sure if everyone would count him as "classic rock" - he kinda predates it in my opinion). Petty has managed to, surprisingly, make what could be the most hardest rocking of all these songs with "I Should Have Known It", with its nearly Led Zeppelin-y stomp (not to mention the faster pace and epic guitar soloing at the end of it!) Petty hasn't rocked out this hard since "Runnin' Down A Dream" in '89, and "I Should Have Known It" has more of a juicy, spicy feel than that song. Petty has long been a staple of adult alt. stations, but although this song is no "Free Fallin'" or "I Won't Back Down", they haven't shyed away from this one. With the inclusion of this song and the Stones and Hendrix songs, I'm thinking 2010 will go down in adult alt. radio history as the year such stations got more "edgy"!!
Wednesday, May 5, 2010
from A to Z
decided to title my latest entry as such since my first song begins with an "A", and my last song, a "Z". Unfortunately, it seems like a lot of these have only gotten airplay on a couple stations. Shame, since they're all great songs.
"American Slang" by Gaslight Anthem: For a band who was initially labeled "punk", they sure don't sound like it in this song. In fact, they have more of a classic rock vibe, a la Springsteen and Neil Young. This seems to be a trend (albeit a small one) in indie rock lately, as The Hold Steady, Band of Horses, and My Morning Jacket seemed to have all taken on this aesthetic at least once in their careers. "American Slang" also boasts an epic, catchy riff that's instantly memorable upon first hearing it. This song is proof that indie rock doesn't have to be all about weird, random instrumentation. Sometimes it's good to just go back to the basics!
"American Troglodyte" by David Byrne and Fatboy Slim: Unlike the first single off their latest effort ("A Perfect Hand", featuring Steve Earle), this song manages to capture the offbeat-but-catchy vibe of Byrne's unlikely 2008 smash with Brian Eno, "Strange Overtones". The beat (and instruments) aren't the only cool thing about this song, though. The lyrics are also pretty interesting. Beneath its insanely danceable hooks, the ex-Talking Heads frontman sings about disappointed he is with current American culture. Lyrical dissonance doesn't always work, but somehow, in this song, it just seems right!
"Big Jet Plane" by Angus and Julia Stone: I'm mainly including this one since I loved their previous song, "The Beast", so much, that as soon as I heard they had a new record/single out, I just had to hear it! And it's pretty good, though it's got more of an uneasy (yet still melodic) feel to it than the wistful, bittersweet qualities that "The Beast" had. The guitar hook almost makes this sound like one of Radiohead's later efforts (like "I Might Be Wrong", or Thom Yorke's solo song, "Black Swan"), yet the violin (and Julia Stone's vocals) make "Big Jet Plane" distinguishable from such songs. When listening to this song, I don't know whether to call it angst-ridden or sad, since at times it sounds like both, but perhaps that's what makes this song so unique!
"Bloodbuzz Ohio" by The National: Even within the already eclectic world of indie rock, The National are one of those bands who manage to take that eclectic-ness a step further than most indie rock bands (except for possibly Wilco and Beck). They have been influenced by country-rock, contemporary British rock, and power pop ("power pop" would be bands, largely between the '70s and '90s, that sound a lot like The Beatles and The Kinks, often with Beach Boys-esque harmonies), and "Bloodbuzz Ohio" seems to reveal a new facet to their already diverse musical pallet - that of the gothic rock of Joy Division and Nick Cave. Vocally, The National's lead singer even sounds like Joy Division's lead singer, Ian Curtis, on this song. "Bloodbuzz Ohio", in fact, reminds me a great deal of Joy Division's "Love Will Tear Us Apart" for a couple reasons. Both songs are in A major, despite their gloomy sound. They also tend to both have an atmospheric quality with their "walls of sound" (use of multiple instruments that sound orchestral, in a rock and roll kind of way), and they both manage to compensate for their depressing nature with their fast drumbeats (at least to me they do). And, yes, they both have downbeat (and somewhat creepy) lyrics. Yet the non-synthesized keyboards and the almost continual transition in "Bloodbuzz Ohio" from A major to F sharp minor manage to make it distinct from "Love Will Tear Us Apart". Nevertheless, if bands that sound like a cross between Joy Division and Wilco are your thing, then "Bloodbuzz Ohio" is a surefire winner for you!
"Love Me Chase Me" by Carney: Don't be fooled by this song's slow, churning intro. This song's a real kicker from the chorus on up! It almost sounds like a modern-day update on one of the songs from The Beatles' "White Album". Its sound is like pop music that somehow manages to sound somewhat blues-y in its riffs, almost like one of The Raconteurs' songs. The lyrics are a bit simplistic from what I can tell ("if you love me, chase me"), but the riffs are both chunky and pop-y. Who knew the best guitar soloing on this week's list would come from a pop-rock band?! Not me. But I sure am glad someone out there is trying to preserve the sound of good ol' British rock and roll!! ("British" by sound, that is, as I'm not sure if Carney are actually British or not)
"Numbers Don't Lie" by The Mynabirds: I love the "retro" sound of this one! (Though practically all the songs on here have a "retro" sound, so I'll specify in the next few sentences 'bout that). This one has almost a "girl group" sound (a la Phil Spector) to it instrumentally that sounds like Chan Marshall (better known as "Cat Power" to you indie fans!) is taking the lead on vocally. Beneath the chirpiness that the vibe of this song gives off, "Numbers Don't Lie" is actually a very bitter, angst-ridden song lyrically. The chorus pretty much states it all ("Baby if you want to be right, I will let you be right, I will let you be right/You know that the numbers don't lie, you know the numbers don't lie, two wrongs will not make it right"). This technique of blending a happy melody with confrontational/controversial subject matter is nothing new, though (The Shirelles, anyone? "Will you STILL love me tomorrow?" The lyric there is both demanding AND sexual) The Mynabirds are just here to remind us in "Numbers Don't Lie" how to mask a tale of a relationship gone wrong with a harmonious, uplifting melody!
"Zebra" by Beach House: Not since "Zoot Suit Riot" back in '98 has there been a song that begins with the letter "Z" that I've really liked! (and "Zebra" is WAY better, to me). This has got to be one of the most beautiful songs I've ever heard! And it doesn't take a minor key melody to do that in this song. "Zebra" is written in G sharp major, but still manages to make me cry on the inside. The word "zebra" isn't mentioned anywhere in the song (though the chorus mentions a "black and white horse", which I think is close enough). It's interesting that color seems to be a theme throughout the song (examples include the opening lyrics "You know you're gold", and "Your love is stag in the white sand"), yet none of these are colors of the rainbow. Perhaps this is symbolic of how beauty can be found in unlikely, seemingly "dull" places. The simplistic but elegant nature of this song is to die for! I highly recommend this one!!
"American Slang" by Gaslight Anthem: For a band who was initially labeled "punk", they sure don't sound like it in this song. In fact, they have more of a classic rock vibe, a la Springsteen and Neil Young. This seems to be a trend (albeit a small one) in indie rock lately, as The Hold Steady, Band of Horses, and My Morning Jacket seemed to have all taken on this aesthetic at least once in their careers. "American Slang" also boasts an epic, catchy riff that's instantly memorable upon first hearing it. This song is proof that indie rock doesn't have to be all about weird, random instrumentation. Sometimes it's good to just go back to the basics!
"American Troglodyte" by David Byrne and Fatboy Slim: Unlike the first single off their latest effort ("A Perfect Hand", featuring Steve Earle), this song manages to capture the offbeat-but-catchy vibe of Byrne's unlikely 2008 smash with Brian Eno, "Strange Overtones". The beat (and instruments) aren't the only cool thing about this song, though. The lyrics are also pretty interesting. Beneath its insanely danceable hooks, the ex-Talking Heads frontman sings about disappointed he is with current American culture. Lyrical dissonance doesn't always work, but somehow, in this song, it just seems right!
"Big Jet Plane" by Angus and Julia Stone: I'm mainly including this one since I loved their previous song, "The Beast", so much, that as soon as I heard they had a new record/single out, I just had to hear it! And it's pretty good, though it's got more of an uneasy (yet still melodic) feel to it than the wistful, bittersweet qualities that "The Beast" had. The guitar hook almost makes this sound like one of Radiohead's later efforts (like "I Might Be Wrong", or Thom Yorke's solo song, "Black Swan"), yet the violin (and Julia Stone's vocals) make "Big Jet Plane" distinguishable from such songs. When listening to this song, I don't know whether to call it angst-ridden or sad, since at times it sounds like both, but perhaps that's what makes this song so unique!
"Bloodbuzz Ohio" by The National: Even within the already eclectic world of indie rock, The National are one of those bands who manage to take that eclectic-ness a step further than most indie rock bands (except for possibly Wilco and Beck). They have been influenced by country-rock, contemporary British rock, and power pop ("power pop" would be bands, largely between the '70s and '90s, that sound a lot like The Beatles and The Kinks, often with Beach Boys-esque harmonies), and "Bloodbuzz Ohio" seems to reveal a new facet to their already diverse musical pallet - that of the gothic rock of Joy Division and Nick Cave. Vocally, The National's lead singer even sounds like Joy Division's lead singer, Ian Curtis, on this song. "Bloodbuzz Ohio", in fact, reminds me a great deal of Joy Division's "Love Will Tear Us Apart" for a couple reasons. Both songs are in A major, despite their gloomy sound. They also tend to both have an atmospheric quality with their "walls of sound" (use of multiple instruments that sound orchestral, in a rock and roll kind of way), and they both manage to compensate for their depressing nature with their fast drumbeats (at least to me they do). And, yes, they both have downbeat (and somewhat creepy) lyrics. Yet the non-synthesized keyboards and the almost continual transition in "Bloodbuzz Ohio" from A major to F sharp minor manage to make it distinct from "Love Will Tear Us Apart". Nevertheless, if bands that sound like a cross between Joy Division and Wilco are your thing, then "Bloodbuzz Ohio" is a surefire winner for you!
"Love Me Chase Me" by Carney: Don't be fooled by this song's slow, churning intro. This song's a real kicker from the chorus on up! It almost sounds like a modern-day update on one of the songs from The Beatles' "White Album". Its sound is like pop music that somehow manages to sound somewhat blues-y in its riffs, almost like one of The Raconteurs' songs. The lyrics are a bit simplistic from what I can tell ("if you love me, chase me"), but the riffs are both chunky and pop-y. Who knew the best guitar soloing on this week's list would come from a pop-rock band?! Not me. But I sure am glad someone out there is trying to preserve the sound of good ol' British rock and roll!! ("British" by sound, that is, as I'm not sure if Carney are actually British or not)
"Numbers Don't Lie" by The Mynabirds: I love the "retro" sound of this one! (Though practically all the songs on here have a "retro" sound, so I'll specify in the next few sentences 'bout that). This one has almost a "girl group" sound (a la Phil Spector) to it instrumentally that sounds like Chan Marshall (better known as "Cat Power" to you indie fans!) is taking the lead on vocally. Beneath the chirpiness that the vibe of this song gives off, "Numbers Don't Lie" is actually a very bitter, angst-ridden song lyrically. The chorus pretty much states it all ("Baby if you want to be right, I will let you be right, I will let you be right/You know that the numbers don't lie, you know the numbers don't lie, two wrongs will not make it right"). This technique of blending a happy melody with confrontational/controversial subject matter is nothing new, though (The Shirelles, anyone? "Will you STILL love me tomorrow?" The lyric there is both demanding AND sexual) The Mynabirds are just here to remind us in "Numbers Don't Lie" how to mask a tale of a relationship gone wrong with a harmonious, uplifting melody!
"Zebra" by Beach House: Not since "Zoot Suit Riot" back in '98 has there been a song that begins with the letter "Z" that I've really liked! (and "Zebra" is WAY better, to me). This has got to be one of the most beautiful songs I've ever heard! And it doesn't take a minor key melody to do that in this song. "Zebra" is written in G sharp major, but still manages to make me cry on the inside. The word "zebra" isn't mentioned anywhere in the song (though the chorus mentions a "black and white horse", which I think is close enough). It's interesting that color seems to be a theme throughout the song (examples include the opening lyrics "You know you're gold", and "Your love is stag in the white sand"), yet none of these are colors of the rainbow. Perhaps this is symbolic of how beauty can be found in unlikely, seemingly "dull" places. The simplistic but elegant nature of this song is to die for! I highly recommend this one!!
Wednesday, April 21, 2010
new songs for Apr. 21st, 2010
here they are!!
"Crash Years" by The New Pornographers - Unlike the previous single from The New Pornographers' most recent album ("Your Hands Together"), this song is a bit more typical of the New Pornographers style. It's melodic, somewhat folk-rock and '60s pop influenced, and is also clever enough to pick up on musical "trends" indie rock songs have had, such as whistling (Don't believe me? Listen to Peter Bjorn and John's "Young Folks", Andrew Bird's "Fitz And the Dizzyspells", Edward Sharpe and The Magnetic Zeros' "Home", and The Black Keys' "Tighten Up" - they ALL have whistling!!) As an added bonus, indie rock songbird Neko Case takes the lead vocals here, giving "Crash Years" an almost Fleetwood Mac-y vibe (much like fellow indie band Rilo Kiley, whose lead singer Jenny Lewis also qualifies, to me, as a modern day Stevie Nicks - musically, not vocally). Like Fleetwood Mac, The New Pornographers consists of both male and female lead vocalists, and the female ones in both bands seem more distinct - they give the bands some flavor. If you prefer hearing more consistently melodic music coming from the New Pornographers (like I do), then give this one a listen!
"I Learned the Hard Way" by Sharon Jones and The Dap-Kings: Indie SOUL?! Though such a term hasn't been applied (at least to my knowledge) to any particular musician or band, it oughta!! Especially in the case of Sharon Jones and The Dap-Kings whom, despite their Aretha Franklin-ish sound, have received massive praise from both indie fans and indie publications (and some pretty major ones, at that)! Neo-soul is a term that has existed for quite awhile, and probably first became a household name with artists like Macy Gray, and shortly afterwards, Joss Stone. The trend continued in the mid-to-late-2000's with Amy Winehouse, Duffy, and Adele. However, there's something that all five of those musicians have had that Sharon Jones and The Dap-Kings haven't yet received - mainstream recognition. I hate to sound like a "music snob", but mainstream recognition for neo-soul musicians almost seems to be a kiss of death, making a once vibrant and unique sound seem more commonplace. Thankfully, Sharon Jones and The Dap-Kings are in no such position! The best thing about songs like "I Learned the Hard Way" is that they sound like they really ARE from the '60s - if I hadn't known better I would've thought this was a previously unreleased Aretha Franklin (or some similar artist) track!
"Junebug" by Robert Francis: This song has been out since November 2009, so why has it not gotten recognition by adult alt. stations until now?! This really boggles my mind, especially considering that this truly is a GREAT song!! I've always been a huge Ryan Adams fan, as well as a big Cranberries fan, and this song seems like a combination of the two. "Junebug" OOZES emotional quality of the finest sense, in a wistfully romantic and bittersweet way that still somehow manages to rock (which might explain the comparisons it's gotten by others to U2 and Springsteen). It's one of those songs that makes me "cry on the inside" so to speak, because it's just THAT beautiful and haunting. I think this is the best song I've reviewed for this week, so please check it out if you haven't done so already!!
"Laredo" by Band of Horses: The great thing about Band of Horses is the emotional quality (once again) that just oozes from songs like "Is There A Ghost?", "The Funeral", and (especially) "No One's Gonna Love You". All three of those songs seem to meld Velvet Underground-ish experimentation with "Pet Sounds"-era Beach Boys harmonies. "Laredo" is, well, a little different. It almost sounds like they're trying to be the indie rock version of Creedence Clearwater Revival in this song, so it's definitely not as good as the other three Band of Horses songs I know of. However, though the music might have changed a bit, the harmonies are still the same. Those harmonies just always tug at the heartstrings for me! And plus, BOH could be going for something worse than a CCR vibe (since there are plenty of things that are much worse than Creedence Clearwater Revival, who are a good band, but just not one that I would picture Band of Horses going after stylistically - and no, the lead singer of BOH does NOT sound a THING like John Fogerty on this track - I was referring specifically to the musical style here). Perhaps the other thing worth note about "Laredo" is that it still manages to get in an arpeggiated folk-rock-y guitar pattern a la The Byrds' "My Back Pages", which, it seems, is a surefire way to make a song likable in the indie rock world.
"Plundered My Soul" by The Rolling Stones - Those who are "true fans" of The Stones know that despite the "bad boy" image they cultivated throughout the '60s and '70s that they do have a softer side, be it the bittersweet folk-rock of "Angie" and "Wild Horses", or the heartfelt smooth R & B of "Time Waits For No One" and "Fool to Cry". The Stones continue to show their softer side (well, kind of) on "Plundered My Soul". Musically, it combines country, blues, and R & B like only The Stones can, making it seem like the one track they decided to leave off of "Exile On Main Street". Lyrically, however, "Plundered My Soul" is more along the lines of the sarcastic, cheeky mock-country of "Dead Flowers" than it is the sincere, soulful pop of "Waiting On A Friend" (particularly in the chorus, when Mick says "I f**ed your women for money, but you plundered my soul" - not exactly what I'd call "sincere"). Whether you like the harder or softer side of The Stones more, this should appeal to you if you're a fan of theirs even a little bit.
"Crash Years" by The New Pornographers - Unlike the previous single from The New Pornographers' most recent album ("Your Hands Together"), this song is a bit more typical of the New Pornographers style. It's melodic, somewhat folk-rock and '60s pop influenced, and is also clever enough to pick up on musical "trends" indie rock songs have had, such as whistling (Don't believe me? Listen to Peter Bjorn and John's "Young Folks", Andrew Bird's "Fitz And the Dizzyspells", Edward Sharpe and The Magnetic Zeros' "Home", and The Black Keys' "Tighten Up" - they ALL have whistling!!) As an added bonus, indie rock songbird Neko Case takes the lead vocals here, giving "Crash Years" an almost Fleetwood Mac-y vibe (much like fellow indie band Rilo Kiley, whose lead singer Jenny Lewis also qualifies, to me, as a modern day Stevie Nicks - musically, not vocally). Like Fleetwood Mac, The New Pornographers consists of both male and female lead vocalists, and the female ones in both bands seem more distinct - they give the bands some flavor. If you prefer hearing more consistently melodic music coming from the New Pornographers (like I do), then give this one a listen!
"I Learned the Hard Way" by Sharon Jones and The Dap-Kings: Indie SOUL?! Though such a term hasn't been applied (at least to my knowledge) to any particular musician or band, it oughta!! Especially in the case of Sharon Jones and The Dap-Kings whom, despite their Aretha Franklin-ish sound, have received massive praise from both indie fans and indie publications (and some pretty major ones, at that)! Neo-soul is a term that has existed for quite awhile, and probably first became a household name with artists like Macy Gray, and shortly afterwards, Joss Stone. The trend continued in the mid-to-late-2000's with Amy Winehouse, Duffy, and Adele. However, there's something that all five of those musicians have had that Sharon Jones and The Dap-Kings haven't yet received - mainstream recognition. I hate to sound like a "music snob", but mainstream recognition for neo-soul musicians almost seems to be a kiss of death, making a once vibrant and unique sound seem more commonplace. Thankfully, Sharon Jones and The Dap-Kings are in no such position! The best thing about songs like "I Learned the Hard Way" is that they sound like they really ARE from the '60s - if I hadn't known better I would've thought this was a previously unreleased Aretha Franklin (or some similar artist) track!
"Junebug" by Robert Francis: This song has been out since November 2009, so why has it not gotten recognition by adult alt. stations until now?! This really boggles my mind, especially considering that this truly is a GREAT song!! I've always been a huge Ryan Adams fan, as well as a big Cranberries fan, and this song seems like a combination of the two. "Junebug" OOZES emotional quality of the finest sense, in a wistfully romantic and bittersweet way that still somehow manages to rock (which might explain the comparisons it's gotten by others to U2 and Springsteen). It's one of those songs that makes me "cry on the inside" so to speak, because it's just THAT beautiful and haunting. I think this is the best song I've reviewed for this week, so please check it out if you haven't done so already!!
"Laredo" by Band of Horses: The great thing about Band of Horses is the emotional quality (once again) that just oozes from songs like "Is There A Ghost?", "The Funeral", and (especially) "No One's Gonna Love You". All three of those songs seem to meld Velvet Underground-ish experimentation with "Pet Sounds"-era Beach Boys harmonies. "Laredo" is, well, a little different. It almost sounds like they're trying to be the indie rock version of Creedence Clearwater Revival in this song, so it's definitely not as good as the other three Band of Horses songs I know of. However, though the music might have changed a bit, the harmonies are still the same. Those harmonies just always tug at the heartstrings for me! And plus, BOH could be going for something worse than a CCR vibe (since there are plenty of things that are much worse than Creedence Clearwater Revival, who are a good band, but just not one that I would picture Band of Horses going after stylistically - and no, the lead singer of BOH does NOT sound a THING like John Fogerty on this track - I was referring specifically to the musical style here). Perhaps the other thing worth note about "Laredo" is that it still manages to get in an arpeggiated folk-rock-y guitar pattern a la The Byrds' "My Back Pages", which, it seems, is a surefire way to make a song likable in the indie rock world.
"Plundered My Soul" by The Rolling Stones - Those who are "true fans" of The Stones know that despite the "bad boy" image they cultivated throughout the '60s and '70s that they do have a softer side, be it the bittersweet folk-rock of "Angie" and "Wild Horses", or the heartfelt smooth R & B of "Time Waits For No One" and "Fool to Cry". The Stones continue to show their softer side (well, kind of) on "Plundered My Soul". Musically, it combines country, blues, and R & B like only The Stones can, making it seem like the one track they decided to leave off of "Exile On Main Street". Lyrically, however, "Plundered My Soul" is more along the lines of the sarcastic, cheeky mock-country of "Dead Flowers" than it is the sincere, soulful pop of "Waiting On A Friend" (particularly in the chorus, when Mick says "I f**ed your women for money, but you plundered my soul" - not exactly what I'd call "sincere"). Whether you like the harder or softer side of The Stones more, this should appeal to you if you're a fan of theirs even a little bit.
Wednesday, April 14, 2010
New songs for Apr. 14th, 2010
Here they are!!
"Burning the Bowery" by Jesse Malin: Seems like "going electric" has become somewhat a trend among indie-folk-rock artists, particularly those inspired by the one who started it all (a.k.a. Bob Dylan). My Morning Jacket and Ryan Adams have already done so, and Jesse Malin and his band, The St. Marks Social, are the latest to jump on to this bandwagon. It sounds a little like My Morning Jacket's "I'm Amazed", which seemed like their big "going electric" breakthrough, and probably the hardest-rocking MMJ song that I know of. "Burning the Bowery", similarly, has ended up being the hardest-rocking Jesse Malin song I've known of (though perhaps that shouldn't be as surprising to me considering that Jesse got his start in the cleverly named punk band "D Generation"). This might not be the same Jesse Malin as the one in folk-rock-y songs like "Mona Lisa" and "Don't Let 'Em Take You Down", but it's a fun song to rock out to (and jam to) so check it out!
"Change of Time" by Josh Ritter: Unlike Jesse Malin, Josh Ritter has remained loyal to his acoustic roots, and perhaps even more so on this song than most of his other material. The first half of the song is entirely acoustic, and wistfully so, in the manner of the typical Nick Drake song (only slightly more optimistic). Despite the fact that an electric guitar gets added into the mix of instruments during the second half of the song, it still manages to sound like a pleasant, winsome song. Lyrically, "Change of Time" is also interesting, particularly in that in each of the song's three verses, Josh "has a dream" that he describes in great detail that ends up sounding adventurous, as though the listener is listening to a story more than he/she is listening to a song. This is the type of song I oughta write someday - a song that's compelling enough for listeners to get lost in both the music and the lyrics that tells a story!
"Spinning" by Malea McGuiness: Nobody seems to know who Malea McGuiness is so far (even me!!) After listening to "Spinning", however, I feel like people oughta know who Malea McGuiness is. She seems to be filling what has long been a void in adult alt. music (and alt. music in general). Malea takes after that class of female musicians who both rock out and have vocals and lyrics that are expressive enough to deliver poetry through their songs, ranging from Patti Smith, Liz Phair, Alanis Morissette, Chrissie Hynde, and everywhere in between (though Malea seems to add more "traditional" elements such as '70s-style organs in her music). Although musicians like Feist, Regina Spektor, and Joanna Newsom are excellent, charming, clever musicians, their music (for the most part, at least) is rather benign and gentle in comparison to people like Smith, Phair, Morissette, and Hynde. Malea McGuiness seems like she might just be next on the bandwagon of artists who seemed to have gone either missing, underrated, or changed in format (in the case of Phair and Morissette in particular) in the 2000's. Girl rockers might just finally be makin' a comeback - let's hear it for them!!
EXTRA BONUS FUN TIME!!! I almost forgot - since I reviewed The Black Keys' "Tighten Up" last week (or, rather, 2 weeks ago) and talked about its hilarious music video, I thought y'all might want a link to the video...so here it is!!
http://www.youtube.com/watch?v=DNXwicxlsvI
Enjoy!! Oh and please feel free to comment on it! :)
"Burning the Bowery" by Jesse Malin: Seems like "going electric" has become somewhat a trend among indie-folk-rock artists, particularly those inspired by the one who started it all (a.k.a. Bob Dylan). My Morning Jacket and Ryan Adams have already done so, and Jesse Malin and his band, The St. Marks Social, are the latest to jump on to this bandwagon. It sounds a little like My Morning Jacket's "I'm Amazed", which seemed like their big "going electric" breakthrough, and probably the hardest-rocking MMJ song that I know of. "Burning the Bowery", similarly, has ended up being the hardest-rocking Jesse Malin song I've known of (though perhaps that shouldn't be as surprising to me considering that Jesse got his start in the cleverly named punk band "D Generation"). This might not be the same Jesse Malin as the one in folk-rock-y songs like "Mona Lisa" and "Don't Let 'Em Take You Down", but it's a fun song to rock out to (and jam to) so check it out!
"Change of Time" by Josh Ritter: Unlike Jesse Malin, Josh Ritter has remained loyal to his acoustic roots, and perhaps even more so on this song than most of his other material. The first half of the song is entirely acoustic, and wistfully so, in the manner of the typical Nick Drake song (only slightly more optimistic). Despite the fact that an electric guitar gets added into the mix of instruments during the second half of the song, it still manages to sound like a pleasant, winsome song. Lyrically, "Change of Time" is also interesting, particularly in that in each of the song's three verses, Josh "has a dream" that he describes in great detail that ends up sounding adventurous, as though the listener is listening to a story more than he/she is listening to a song. This is the type of song I oughta write someday - a song that's compelling enough for listeners to get lost in both the music and the lyrics that tells a story!
"Spinning" by Malea McGuiness: Nobody seems to know who Malea McGuiness is so far (even me!!) After listening to "Spinning", however, I feel like people oughta know who Malea McGuiness is. She seems to be filling what has long been a void in adult alt. music (and alt. music in general). Malea takes after that class of female musicians who both rock out and have vocals and lyrics that are expressive enough to deliver poetry through their songs, ranging from Patti Smith, Liz Phair, Alanis Morissette, Chrissie Hynde, and everywhere in between (though Malea seems to add more "traditional" elements such as '70s-style organs in her music). Although musicians like Feist, Regina Spektor, and Joanna Newsom are excellent, charming, clever musicians, their music (for the most part, at least) is rather benign and gentle in comparison to people like Smith, Phair, Morissette, and Hynde. Malea McGuiness seems like she might just be next on the bandwagon of artists who seemed to have gone either missing, underrated, or changed in format (in the case of Phair and Morissette in particular) in the 2000's. Girl rockers might just finally be makin' a comeback - let's hear it for them!!
EXTRA BONUS FUN TIME!!! I almost forgot - since I reviewed The Black Keys' "Tighten Up" last week (or, rather, 2 weeks ago) and talked about its hilarious music video, I thought y'all might want a link to the video...so here it is!!
http://www.youtube.com/watch?v=DNXwicxlsvI
Enjoy!! Oh and please feel free to comment on it! :)
Wednesday, March 31, 2010
I'm ba-ack!! With EIGHT new entries!!!!
You heard right, folks - EIGHT new entries!!! Quite a bit to make up for my absence last week. So here goes!!
"Horchata" by Vampire Weekend: Honestly, this one should have been reviewed about a month ago when adult alt. stations started to spin this one, but it took me awhile to realize just how awesome this song (and band) is! I love the tropical vibe that songs like this (and VW's 2008 hit, "Cape Cod Kwassa Kwassa") give off! Sounds almost like Ray Davies from the Kinks fronting Paul Simon's backing band from the '70s and '80s. I have no idea what "Horchata" is (from the lyrical context, an alcoholic beverage - "In the summer drinking Horchata"). Bottom line, this song makes me smile and makes me want to jump into a pool and cool off from the heat of the sun. A song this fun really should have been reviewed by me the moment it started getting attention, but at least I've reviewed it now!
"Hurricane J" by The Hold Steady: I've only heard one other song by this band (2008's Springsteen-meets-Wallflowers-ish "Sequestered In Memphis"), but MAN, this song ROCKS!! The Hold Steady seem to have abandoned their bar band schtick they had in "Sequestered", and gone more for a crowd-heavy, somewhat "Americanized" U2 type of sound. The Hold Steady could sell out arenas with this one, it's THAT good!! "Hurricane J" has just the right sound for an encore number in a rock concert (and if it gets popular enough, "Guitar Hero" and "Rock Band" oughta feature this song!!) It's official, folks - rock 'n' roll is here to stay with this song!! Long live rock!!
"Run" by Vampire Weekend: This song almost sounds like a sequel to VW's 2008 song, "Cape Cod Kwassa Kwassa". Both songs have a uniquely swaying reggae-influenced rhythm, and are also both in the key of D major. The main difference between the two songs (besides the lyrics)? "Run" features a mariachi band! Pretty cool if you ask me! "Run" also seems to bear more of a rhythmical resemblance to Paul Simon's "Late In the Evening" (VW seem to be pretty huge Paul Simon fans!) The band Vampire Weekend remind me of the most is probably The Police, in that they both combine reggae rhythms/guitar riffs with eclectic instrumentation. If you're a Police and/or Paul Simon fan, chances are you'll enjoy this one!
"Shake Me Like A Monkey" by The Dave Matthews Band: Songs like this one and "Why I Am" (from the same album, "Big Whiskey And the Groogrux King") make me think that DMB were aware of their reputation of being a "softer" rock band, so they decided to amp things up a bit on both of those songs. "Shake Me Like A Monkey" seems to almost dive into Red Hot Chili Peppers-ish territory. It's not as heavy as the typical RHCP song, but it does maintain the funkiness, groovy staccato guitar/bass riffs, and wild 'n' crazy fun of the typical RHCP song. There are even lyrical tongue twisters in the middle of the verses (my personal fave: "I like my coffee with toast and jelly, but I'd rather be licked from my back to my belly") to go with the manic energy of this song. All that being said, this is a fun song to both rock out to and get up and groove to!
"The Rain" by The Swell Season: Another song from the actor and actress of the beloved indie flick "Once". Having heard three songs off their latest album, "Strict Joy", it seems like Glen and Marketa wanted to go more for the more "mixed instruments" sound of '60s folk-rock than the more stark, acoustic sounds of Cat Stevens and Nick Drake that they went for on the "Once" songs. One thing they've managed to maintain from those songs that they've brought into their latest material is a sentimental, wistful quality. I love how this song starts out entirely acoustic, and in a minor key at that. Perhaps Glen and Marketa weren't aware that the chord sequence in this song is similar to "The Beast" by fellow indie-folk-rock duo Angus and Julia Stone, but it's still a nice song to listen to, especially on a rainy day (which, of course, is apt to the title).
"Tighten Up" by The Black Keys: I love the "happy psychedelic" sound on this one. It's the kind of sound that I think would be likely to be featured on a car commercial (or perhaps even another James Bond spoof, a la "Austin Powers"). What takes the cake for this song, however, is the video. It's hilarious!! Jim Henson would be proud, since the entire video is a PUPPET DINOSAUR singing along to the song!! Sounds like the kind of thing that would be quirky enough to be featured in a '70s or '80s episode of "Sesame Street" (who were also quite psychedelia influenced back in those days). Somebody call the folks who did "Avenue Q" and tell 'em to watch the video for The Black Keys' "Tighten Up"!! It's a hoot!
"Vaporize" by Broken Bells: Not that "The High Road" (the previous hit from this band) was bad, 'cuz it wasn't, but this song just sounds more fitting for a band whose lead singer is James Mercer from The Shins. It sounds kinda like The Beatles (a huge influence on The Shins). Much like The Black Keys' "Tighten Up" (see above), "Vaporize" also takes a foray into '60s psychedelia. It takes a Beatlesque approach instrumentally by adding in "unexpected" instruments such as organs and muted trumpets. "Sgt. Pepper" fans, rejoice! Speaking of which, "Vaporize" seems like it'd feel right at home on that album.
"Your Hands (Together)" by The New Pornographers: If any of you have heard of the classical composer Haydn's "Surprise Symphony", this song is like the rock and roll reincarnate version. It starts out melodic and happy like the typical New Pornographers song, but right in the middle of each line is a crunchy, loud "DA-NA-NA-NA-NA!!" guitar sound that sounds more like it'd fit in a Black Sabbath song than a New Pornographers song. If you're ever feeling like you just don't want to get up in the morning, put this song on. It's BOUND to make you wake up and smell the coffee!!
"Horchata" by Vampire Weekend: Honestly, this one should have been reviewed about a month ago when adult alt. stations started to spin this one, but it took me awhile to realize just how awesome this song (and band) is! I love the tropical vibe that songs like this (and VW's 2008 hit, "Cape Cod Kwassa Kwassa") give off! Sounds almost like Ray Davies from the Kinks fronting Paul Simon's backing band from the '70s and '80s. I have no idea what "Horchata" is (from the lyrical context, an alcoholic beverage - "In the summer drinking Horchata"). Bottom line, this song makes me smile and makes me want to jump into a pool and cool off from the heat of the sun. A song this fun really should have been reviewed by me the moment it started getting attention, but at least I've reviewed it now!
"Hurricane J" by The Hold Steady: I've only heard one other song by this band (2008's Springsteen-meets-Wallflowers-ish "Sequestered In Memphis"), but MAN, this song ROCKS!! The Hold Steady seem to have abandoned their bar band schtick they had in "Sequestered", and gone more for a crowd-heavy, somewhat "Americanized" U2 type of sound. The Hold Steady could sell out arenas with this one, it's THAT good!! "Hurricane J" has just the right sound for an encore number in a rock concert (and if it gets popular enough, "Guitar Hero" and "Rock Band" oughta feature this song!!) It's official, folks - rock 'n' roll is here to stay with this song!! Long live rock!!
"Run" by Vampire Weekend: This song almost sounds like a sequel to VW's 2008 song, "Cape Cod Kwassa Kwassa". Both songs have a uniquely swaying reggae-influenced rhythm, and are also both in the key of D major. The main difference between the two songs (besides the lyrics)? "Run" features a mariachi band! Pretty cool if you ask me! "Run" also seems to bear more of a rhythmical resemblance to Paul Simon's "Late In the Evening" (VW seem to be pretty huge Paul Simon fans!) The band Vampire Weekend remind me of the most is probably The Police, in that they both combine reggae rhythms/guitar riffs with eclectic instrumentation. If you're a Police and/or Paul Simon fan, chances are you'll enjoy this one!
"Shake Me Like A Monkey" by The Dave Matthews Band: Songs like this one and "Why I Am" (from the same album, "Big Whiskey And the Groogrux King") make me think that DMB were aware of their reputation of being a "softer" rock band, so they decided to amp things up a bit on both of those songs. "Shake Me Like A Monkey" seems to almost dive into Red Hot Chili Peppers-ish territory. It's not as heavy as the typical RHCP song, but it does maintain the funkiness, groovy staccato guitar/bass riffs, and wild 'n' crazy fun of the typical RHCP song. There are even lyrical tongue twisters in the middle of the verses (my personal fave: "I like my coffee with toast and jelly, but I'd rather be licked from my back to my belly") to go with the manic energy of this song. All that being said, this is a fun song to both rock out to and get up and groove to!
"The Rain" by The Swell Season: Another song from the actor and actress of the beloved indie flick "Once". Having heard three songs off their latest album, "Strict Joy", it seems like Glen and Marketa wanted to go more for the more "mixed instruments" sound of '60s folk-rock than the more stark, acoustic sounds of Cat Stevens and Nick Drake that they went for on the "Once" songs. One thing they've managed to maintain from those songs that they've brought into their latest material is a sentimental, wistful quality. I love how this song starts out entirely acoustic, and in a minor key at that. Perhaps Glen and Marketa weren't aware that the chord sequence in this song is similar to "The Beast" by fellow indie-folk-rock duo Angus and Julia Stone, but it's still a nice song to listen to, especially on a rainy day (which, of course, is apt to the title).
"Tighten Up" by The Black Keys: I love the "happy psychedelic" sound on this one. It's the kind of sound that I think would be likely to be featured on a car commercial (or perhaps even another James Bond spoof, a la "Austin Powers"). What takes the cake for this song, however, is the video. It's hilarious!! Jim Henson would be proud, since the entire video is a PUPPET DINOSAUR singing along to the song!! Sounds like the kind of thing that would be quirky enough to be featured in a '70s or '80s episode of "Sesame Street" (who were also quite psychedelia influenced back in those days). Somebody call the folks who did "Avenue Q" and tell 'em to watch the video for The Black Keys' "Tighten Up"!! It's a hoot!
"Vaporize" by Broken Bells: Not that "The High Road" (the previous hit from this band) was bad, 'cuz it wasn't, but this song just sounds more fitting for a band whose lead singer is James Mercer from The Shins. It sounds kinda like The Beatles (a huge influence on The Shins). Much like The Black Keys' "Tighten Up" (see above), "Vaporize" also takes a foray into '60s psychedelia. It takes a Beatlesque approach instrumentally by adding in "unexpected" instruments such as organs and muted trumpets. "Sgt. Pepper" fans, rejoice! Speaking of which, "Vaporize" seems like it'd feel right at home on that album.
"Your Hands (Together)" by The New Pornographers: If any of you have heard of the classical composer Haydn's "Surprise Symphony", this song is like the rock and roll reincarnate version. It starts out melodic and happy like the typical New Pornographers song, but right in the middle of each line is a crunchy, loud "DA-NA-NA-NA-NA!!" guitar sound that sounds more like it'd fit in a Black Sabbath song than a New Pornographers song. If you're ever feeling like you just don't want to get up in the morning, put this song on. It's BOUND to make you wake up and smell the coffee!!
Wednesday, March 17, 2010
New songs for Mar. 17, 2010
Here they are. Enjoy, folks:
"A Perfect Hand" by David Byrne and Fatboy Slim (with Steve Earle on the vocals):
David Byrne and Fatboy Slim I could see doing something together, but Steve Earle?! Doesn't seem to be in quite the same caliber, but he makes it work in this song! Unlike Byrne's unlikely 2008 smash with Brian Eno, "Strange Overtones", this one moves away from the Modest Mouse-y territory and goes more toward a gentle, even-keeled sound that sounds suitable enough for Steve Earle. Byrne is not heard anywhere in the vocals, it's just Steve Earle, but like I said, he makes it work here! Typically, the only Steve Earle I'd really go for is his late '80s hit, "Copperhead Road", but this one's good too, though perhaps that's mainly due to the fact that David Byrne is (instrumentally?) featured on this track. Well, it's unique to say the least!
"Norway" by Beach House:
Don't be fooled by the name "Beach House", this isn't happy, upbeat music. It's more like dreamy, trance-y music with that arpeggiated folk-rock guitar sound that seems to have become commonplace in indie rock these days. The lyrics are disjointed enough to be as trippy as the song itself is (and furthermore, the title - mentioned in the one-word chorus - seems even less relevant to the song than the rest of it, lyrically). But the simultaneous trippiness and dreamlike quality this song provides make it a winner for me!
"Stranger" by Dr. Dog:
Unlike the previous song mentioned here, this song IS happy and upbeat! It almost sounds like a song from the '60s with its uptempo beat and brass instruments mingling with its somewhat psychedelic guitar sounds. Lyrically it's a bit hard to tell whether or not this song is sincere, particularly in the chorus ("I do believe/That there's no more tricks up my sleeve/The good old days have past/And the good times after that/And slowly I become undone/A stranger with a strange act"). Perhaps they're not meant to be sincere or insincere, but just quirky. If that's so, this is another surefire winner for me from the indie rock world!
"A Perfect Hand" by David Byrne and Fatboy Slim (with Steve Earle on the vocals):
David Byrne and Fatboy Slim I could see doing something together, but Steve Earle?! Doesn't seem to be in quite the same caliber, but he makes it work in this song! Unlike Byrne's unlikely 2008 smash with Brian Eno, "Strange Overtones", this one moves away from the Modest Mouse-y territory and goes more toward a gentle, even-keeled sound that sounds suitable enough for Steve Earle. Byrne is not heard anywhere in the vocals, it's just Steve Earle, but like I said, he makes it work here! Typically, the only Steve Earle I'd really go for is his late '80s hit, "Copperhead Road", but this one's good too, though perhaps that's mainly due to the fact that David Byrne is (instrumentally?) featured on this track. Well, it's unique to say the least!
"Norway" by Beach House:
Don't be fooled by the name "Beach House", this isn't happy, upbeat music. It's more like dreamy, trance-y music with that arpeggiated folk-rock guitar sound that seems to have become commonplace in indie rock these days. The lyrics are disjointed enough to be as trippy as the song itself is (and furthermore, the title - mentioned in the one-word chorus - seems even less relevant to the song than the rest of it, lyrically). But the simultaneous trippiness and dreamlike quality this song provides make it a winner for me!
"Stranger" by Dr. Dog:
Unlike the previous song mentioned here, this song IS happy and upbeat! It almost sounds like a song from the '60s with its uptempo beat and brass instruments mingling with its somewhat psychedelic guitar sounds. Lyrically it's a bit hard to tell whether or not this song is sincere, particularly in the chorus ("I do believe/That there's no more tricks up my sleeve/The good old days have past/And the good times after that/And slowly I become undone/A stranger with a strange act"). Perhaps they're not meant to be sincere or insincere, but just quirky. If that's so, this is another surefire winner for me from the indie rock world!
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