here they are:
"Everybody's Falling In Love" by World Party: World Party have been around since the mid 1980's, and scored a couple of modest hits in the early '90s, but ever since then, they seemed to have dropped off the musical map. So where have they been all these years?! Thankfully, fans of World Party need not wonder about this anymore! Their first big song in almost 20 years, "Everybody's Falling In Love", sounds exactly like how one might expect it to sound! It's a very happy, upeat, almost soulful song, slightly reminiscent of songs like The Beatles' "Let It Be", only without the minor key chorus. In fact, "Everybody's Falling In Love" is almost entirely in major key. Kinda like R.E.M.'s "Shiny Happy People" with a slower beat, more sunshine, and more sincerity!
"Heaven" by The Walkmen: When The Walkmen debuted a couple years ago, I had mistakenly lumped them in that sort of fractured, "neo-new-wave" category that bands like Franz Ferdinand and Bloc Party might fall under. Boy was I wrong!! The Walkmen actually have a sound that's closer to bands like Wilco, The National, and Delta Spirit, and no song of theirs illustrates that better than their latest song, "Heaven"! Despite its title, "Heaven" doesn't exactly sound...well...heavenly. That doesn't mean its sound isn't pleasant or mellow, it is. It's just that it starts off in minor key with a sort of urgency that almost sounds like Wilco trying to cover The Police's "Message In A Bottle". It switches to major key during the chorus, but its persistent, spiraling mantra of "Remember, remember" in the chorus also makes it sound rather urgent, just like the verses. That being said, the title "Heaven" for this song (which is not mentioned anywhere in the lyrics), seems at least half sarcastic in a a way, and the lyrics to the song seem more sad than they are blissful. However, the compelling sound and passionate vocals of "Heaven" still manage to make it a great song!!
Wednesday, April 25, 2012
Wednesday, April 18, 2012
new songs for April 18th, 2012
here they are:
“Closer I Get” by Rebelution (featuring John Popper from Blues Traveler): Ever since Bob Marley became internationally known (and a little later on, when The Police combined reggae rhythms with rock instrumentation), reggae and rock have occasionally become “bedfellows” with each other, and in a rather successful way, at that. Rebelution are a reggae band that enlisted the help of rocker John Popper from Blues Traveler on harmonica on Rebelution’s latest track, “Closer I Get”. However, this sounds more like POP-reggae (think Matisyahu) than “rock-reggae”. “Closer I Get” manages to sound even more laid back than most Bob Marley tracks, actually. Its sound suggests that of when the funk-influenced rock group 311 briefly flirted with reggae on songs like “Amber” and “I’ll Be Here Awhile”. I was hoping for a vocal spot from John Popper on this song, but instead, all I got was a harmonica solo from him at the end of the song. “Closer I Get” is just one step ahead of Donovan’s “Mellow Yellow” on the color spectrum – it is “mellow green”, and more so than most reggae (and reggae influenced) songs. Not the best sounding song, but still a good one to hear on those sunny days when you feel like chilling in your backyard on a hammock with a pineapple flavored drink!
“Honey” by The Parlotones: This being the third major song I’ve come across from The Parlotones, one thing I can say about them that I can’t say about a lot of contemporary alt/indie acts is that no two Parlotones songs sound alike! So far, they have touched upon urgency (“Should We Fight Back?”) and balladry (“Save Your Best Bits”), and this time around, they’ve come out with a fun, quirky song with “Honey”. Unlike most songs with the word “honey” in the title, The Parlotones’ use of that word refers to the substance, rather than simply being a nickname for a boyfriend/girlfriend. The saxophones in “Honey” make it an even more enjoyable song than it already is! Looking forward to whatever surprises The Parlotones want to pull out next!
“Just Breathe” by Willie Nelson: Just like in the first song I reviewed this week, I’m going outside the rock ‘n’ roll box here! Well, kinda. This is a cover from a legendary country musician of a melancholy alternative rock song, much like Johnny Cash’s version of Nine Inch Nails’ “Hurt”. Cash practically made “Hurt” his own song, though! Nelson doesn’t quite do the same thing to “Just Breathe”, originally an introspective folk-rock song by Pearl Jam from just a couple years ago. However, it’s definitely a spirited, dedicated attempt at a cover song for Willie (as well as his son, Lukas, who does some of the vocals on this version of the song). This version actually rocks a bit harder than the original, believe it or not, if only for the fact that Willie sneaks in some electric guitar solos towards the end of the song, whereas the original Pearl Jam song was entirely acoustic. If only Johnny Cash were alive to hear Willie Nelson’s take on this song. I bet he’d be pretty impressed!!
“The Real Thing” by Audra Mae and The Almighty Sound: Audra Mae might be a young woman who’s new to the music biz, but she does not intend on sounding like just another “pretty young thing”, neither musically nor vocally! When Audra proclaims she’s “the real thing”, you’d better believe her!! Her vocal qualities suggest what a younger, clearer-voiced version of Janis Joplin might sound like, and her band, well, let’s just say it ain’t called “The Almighty Sound” for nothin’!! The Almighty Sound is a powerhouse of blues, country, and rock that stands as a force not to be reckoned with! If you’re the kind of person who prefers more of a kick in your music, as opposed to a gentler sound, then give “The Real Thing” a listen. It lives up to its title…and how!!
“This Head I Hold” by Electric Guest: If Beck decided to have a jam session with Fitz and The Tantrums, it would probably sound like Electric Guest! This is a band that is as soulful as they are detached, and somehow, they manage to pull it off!! How they do so without making their music sound somewhat forced in the process is anyone’s guess, but I’m glad they don’t! It just makes their material sound that much more original. In the 21st century, I guess anything can happen in the music world, and that would include having the Motown sound getting the new wave treatment! Never thought the day would come when the two sounds of the aforementioned genres merged into one, but the fact they have is nothing short of exciting!!
“Closer I Get” by Rebelution (featuring John Popper from Blues Traveler): Ever since Bob Marley became internationally known (and a little later on, when The Police combined reggae rhythms with rock instrumentation), reggae and rock have occasionally become “bedfellows” with each other, and in a rather successful way, at that. Rebelution are a reggae band that enlisted the help of rocker John Popper from Blues Traveler on harmonica on Rebelution’s latest track, “Closer I Get”. However, this sounds more like POP-reggae (think Matisyahu) than “rock-reggae”. “Closer I Get” manages to sound even more laid back than most Bob Marley tracks, actually. Its sound suggests that of when the funk-influenced rock group 311 briefly flirted with reggae on songs like “Amber” and “I’ll Be Here Awhile”. I was hoping for a vocal spot from John Popper on this song, but instead, all I got was a harmonica solo from him at the end of the song. “Closer I Get” is just one step ahead of Donovan’s “Mellow Yellow” on the color spectrum – it is “mellow green”, and more so than most reggae (and reggae influenced) songs. Not the best sounding song, but still a good one to hear on those sunny days when you feel like chilling in your backyard on a hammock with a pineapple flavored drink!
“Honey” by The Parlotones: This being the third major song I’ve come across from The Parlotones, one thing I can say about them that I can’t say about a lot of contemporary alt/indie acts is that no two Parlotones songs sound alike! So far, they have touched upon urgency (“Should We Fight Back?”) and balladry (“Save Your Best Bits”), and this time around, they’ve come out with a fun, quirky song with “Honey”. Unlike most songs with the word “honey” in the title, The Parlotones’ use of that word refers to the substance, rather than simply being a nickname for a boyfriend/girlfriend. The saxophones in “Honey” make it an even more enjoyable song than it already is! Looking forward to whatever surprises The Parlotones want to pull out next!
“Just Breathe” by Willie Nelson: Just like in the first song I reviewed this week, I’m going outside the rock ‘n’ roll box here! Well, kinda. This is a cover from a legendary country musician of a melancholy alternative rock song, much like Johnny Cash’s version of Nine Inch Nails’ “Hurt”. Cash practically made “Hurt” his own song, though! Nelson doesn’t quite do the same thing to “Just Breathe”, originally an introspective folk-rock song by Pearl Jam from just a couple years ago. However, it’s definitely a spirited, dedicated attempt at a cover song for Willie (as well as his son, Lukas, who does some of the vocals on this version of the song). This version actually rocks a bit harder than the original, believe it or not, if only for the fact that Willie sneaks in some electric guitar solos towards the end of the song, whereas the original Pearl Jam song was entirely acoustic. If only Johnny Cash were alive to hear Willie Nelson’s take on this song. I bet he’d be pretty impressed!!
“The Real Thing” by Audra Mae and The Almighty Sound: Audra Mae might be a young woman who’s new to the music biz, but she does not intend on sounding like just another “pretty young thing”, neither musically nor vocally! When Audra proclaims she’s “the real thing”, you’d better believe her!! Her vocal qualities suggest what a younger, clearer-voiced version of Janis Joplin might sound like, and her band, well, let’s just say it ain’t called “The Almighty Sound” for nothin’!! The Almighty Sound is a powerhouse of blues, country, and rock that stands as a force not to be reckoned with! If you’re the kind of person who prefers more of a kick in your music, as opposed to a gentler sound, then give “The Real Thing” a listen. It lives up to its title…and how!!
“This Head I Hold” by Electric Guest: If Beck decided to have a jam session with Fitz and The Tantrums, it would probably sound like Electric Guest! This is a band that is as soulful as they are detached, and somehow, they manage to pull it off!! How they do so without making their music sound somewhat forced in the process is anyone’s guess, but I’m glad they don’t! It just makes their material sound that much more original. In the 21st century, I guess anything can happen in the music world, and that would include having the Motown sound getting the new wave treatment! Never thought the day would come when the two sounds of the aforementioned genres merged into one, but the fact they have is nothing short of exciting!!
Wednesday, April 11, 2012
New songs for April 11th, 2012
here they are:
“April Fool” by Patti Smith: It’s no joke! Patti Smith decided to release her latest CD right around April Fool’s Day, with a fitting song to go with it! Those expecting something punk-y but free-spirited along the lines of Patti’s charmingly bizarre cover of Van Morrison’s “Gloria” might be a bit disappointed since this a “softer” song of hers. That’s not to say that Patti’s mellower material is bad (“People Have the Power” and “Dancing Barefoot”, for instance, are both absolute classics!) However, “April Fool” brings nothing new to the table in terms of passion or musical innovation. It is a sweet, bouncy, almost naïve sounding song. However, Patti revealed that even back in her punk rock days she was a big softie (in a good way) underneath it all in her recent autobiography, “Just Kids”, so “April Fool” is an apt song for her in that aspect.
“Blood For Poppies” by Garbage: Hmmmm…don’t exactly know what qualifies this song as “adult alternative” since it’s a rather dark song that combines grunge with techno, but for some weird reason it’s gotten airplay on so many adult alt stations by now, that I thought I’d give it a go and review this one! For old school Garbage fans, this has gotta be quite a treat! “Blood For Poppies” doesn’t have the techno-pop sound of “Stupid Girl” or the bittersweet alt-pop sound of their biggest hit, “Special”, but rather the angst-ridden, Nirvana-goes-dance-pop sound of songs like “Only Happy When It Rains” and “I Think I’m Paranoid”, and it seems like that is the sound Garbage’s fans like the most from their catalog. The lyrics seem rather haphazardly thrown together, and the song itself does too, to a certain extent, but it’s things like that which prove that Garbage’s music…wel…ISN’T “garbage”!!
“Settle Down” by Kimbra: Now that Gotye’s “Somebody That I Used to Know” has become such a huge hit, there are probably enough people who know that the song featured a “guest” female vocalist during the last verse. This, ladies and gentlemen, is that very female vocalist, and this time without the aid of Gotye! So how does Kimbra fare on her own?! She does so quite well, if I do say so myself. “Settle Down” comes off as a song with a minor key “alternative” take on contemporary female R & B musicians (mixed with Bobby McFerrin-style “instruments” at the beginning). The video for “Settle Down” is also very inventive and quirky. It appears to take place in a fake “dollhouse” of sorts. It also shows what a cutie (and good dancer) Kimbra is! The video for “Settle Down” can be viewed here (http://www.youtube.com/watch?v=yHV04eSGzAA)
“The Wolves” by Ben Howard: The latest in a long line of people that could be considered the “new Nick Drake” (Damien Rice, Iron & Wine, and Jose Gonzalez among them), Ben Howard’s debut song fits only two verses (with a six-line chorus between each verse) into a nearly 5 minute space, with a “running” drumbeat accompanying urgent acoustic guitar strumming. “The Wolves”’ urgency peaks once Ben’s vocals quiver into an unusual yet memorable trill in the middle, and towards the end of the song. Like many songs of the “singer/songwriter” subgenre, “The Wolves”’ lyrical content can be interpreted in multiple ways. In particular, the song’s refrain of “We lost faith, in the arms of love”, could be about struggles with religion just as much as it could be about struggles with a relationship.
“Tongue Tied” by Grouplove: A growing trend in indie/alt music seems to be combining the singsong melodies and technology used in dance-pop with rock attitude and instrumentation. Few songs today illustrate this trend better than Grouplove’s song “Tongue Tied”, with its almost bubble-gum-y, stick-in-your-head chorus that hides a capoed acoustic guitar beneath all its glitz and glamour. It’s easy to mistake this song for just another Top 40 hit at first (in fact I’m surprised it hasn’t even made the “Hot Adult Contemporary” charts yet!) but there does seem to be SOMETHING “indie” about it nonetheless (perhaps the similarity it bears to an indie/dance-pop crossover from around 5 years earlier, “I Don’t Feel Like Dancin’” by Scissor Sisters). I guess if you want to impress people both on the dance floor and at coffeehouses, playing Grouplove’s “Tongue Tied” would be a good way to do so!
“April Fool” by Patti Smith: It’s no joke! Patti Smith decided to release her latest CD right around April Fool’s Day, with a fitting song to go with it! Those expecting something punk-y but free-spirited along the lines of Patti’s charmingly bizarre cover of Van Morrison’s “Gloria” might be a bit disappointed since this a “softer” song of hers. That’s not to say that Patti’s mellower material is bad (“People Have the Power” and “Dancing Barefoot”, for instance, are both absolute classics!) However, “April Fool” brings nothing new to the table in terms of passion or musical innovation. It is a sweet, bouncy, almost naïve sounding song. However, Patti revealed that even back in her punk rock days she was a big softie (in a good way) underneath it all in her recent autobiography, “Just Kids”, so “April Fool” is an apt song for her in that aspect.
“Blood For Poppies” by Garbage: Hmmmm…don’t exactly know what qualifies this song as “adult alternative” since it’s a rather dark song that combines grunge with techno, but for some weird reason it’s gotten airplay on so many adult alt stations by now, that I thought I’d give it a go and review this one! For old school Garbage fans, this has gotta be quite a treat! “Blood For Poppies” doesn’t have the techno-pop sound of “Stupid Girl” or the bittersweet alt-pop sound of their biggest hit, “Special”, but rather the angst-ridden, Nirvana-goes-dance-pop sound of songs like “Only Happy When It Rains” and “I Think I’m Paranoid”, and it seems like that is the sound Garbage’s fans like the most from their catalog. The lyrics seem rather haphazardly thrown together, and the song itself does too, to a certain extent, but it’s things like that which prove that Garbage’s music…wel…ISN’T “garbage”!!
“Settle Down” by Kimbra: Now that Gotye’s “Somebody That I Used to Know” has become such a huge hit, there are probably enough people who know that the song featured a “guest” female vocalist during the last verse. This, ladies and gentlemen, is that very female vocalist, and this time without the aid of Gotye! So how does Kimbra fare on her own?! She does so quite well, if I do say so myself. “Settle Down” comes off as a song with a minor key “alternative” take on contemporary female R & B musicians (mixed with Bobby McFerrin-style “instruments” at the beginning). The video for “Settle Down” is also very inventive and quirky. It appears to take place in a fake “dollhouse” of sorts. It also shows what a cutie (and good dancer) Kimbra is! The video for “Settle Down” can be viewed here (http://www.youtube.com/watch?v=yHV04eSGzAA)
“The Wolves” by Ben Howard: The latest in a long line of people that could be considered the “new Nick Drake” (Damien Rice, Iron & Wine, and Jose Gonzalez among them), Ben Howard’s debut song fits only two verses (with a six-line chorus between each verse) into a nearly 5 minute space, with a “running” drumbeat accompanying urgent acoustic guitar strumming. “The Wolves”’ urgency peaks once Ben’s vocals quiver into an unusual yet memorable trill in the middle, and towards the end of the song. Like many songs of the “singer/songwriter” subgenre, “The Wolves”’ lyrical content can be interpreted in multiple ways. In particular, the song’s refrain of “We lost faith, in the arms of love”, could be about struggles with religion just as much as it could be about struggles with a relationship.
“Tongue Tied” by Grouplove: A growing trend in indie/alt music seems to be combining the singsong melodies and technology used in dance-pop with rock attitude and instrumentation. Few songs today illustrate this trend better than Grouplove’s song “Tongue Tied”, with its almost bubble-gum-y, stick-in-your-head chorus that hides a capoed acoustic guitar beneath all its glitz and glamour. It’s easy to mistake this song for just another Top 40 hit at first (in fact I’m surprised it hasn’t even made the “Hot Adult Contemporary” charts yet!) but there does seem to be SOMETHING “indie” about it nonetheless (perhaps the similarity it bears to an indie/dance-pop crossover from around 5 years earlier, “I Don’t Feel Like Dancin’” by Scissor Sisters). I guess if you want to impress people both on the dance floor and at coffeehouses, playing Grouplove’s “Tongue Tied” would be a good way to do so!
Wednesday, April 4, 2012
New songs for April 4th, 2012
here they are:
"Are You Gonna Waste My Time?" by Zeus: Just the very name of the mighty Greek god of thunder probably brings to mind, musically, the name of a heavy metal band, or perhaps a progressive rock band, probably from somewhere in Europe, like Norway or Germany. Surprise! Zeus, in this case, are a Canadian indie rock band, whose sound probably wouldn't be too out of place on a classic rock (or oldies) station. Traces of songs like The Faces' "Stay With Me" and The Rolling Stones' "Can't You Hear Me Knockin'?" can be heard throughout "Are You Gonna Waste My Time?", and even the lead vocalist sounds somewhat like a young Rod Stewart. With The White Stripes and The Black Keys making the '70s rock sound cool again, I'm thinkin' Zeus oughta be next on the bandwagon!
"Don't Leave Me (Ne Me Quitte Pas)" by Regina Spektor: The quirky, red-haired, doe-eyed indie-pop-ster known as Regina Spektor takes her musical influences a step further than she usually does in her latest song, "Don't Leave Me (Ne Me Quitte Pas)" (the French words in parentheses literally translate to "don't leave me"). Instead of the typical piano-pop sound Regina offers in most of her songs, we are treated to a delectable mix of synths, bass, and muted trumpets! The fact that this is a rather bubbly, free spirited take on a typically sad song that was originally performed by Belgian-born French composer Jacques Brel only makes me like this song even more! Was waiting for Regina to release a new CD for a couple years. Now that she has, I must say, I'm quite pleased with the results so far!
"Headlights" by Morning Parade: Sound-wise, there is nothing particularly special about this song, as it basically sounds like a cross between The Killers and Kings of Leon, two great bands that have somehow spawned a legion of second and third rate imitators. I like this song anyway, though. I guess that's partly because I've become accustomed to the sound that songs like this one have. The lyrics to the first line in the chorus ("like a rabbit in your headlights") provide particularly interesting imagery for me, though. Morning Parade's lead singer is probably just referring to the feeling of being surprised or dumbfounded, but for some reason, I still like that line.
"New Ceremony" by Dry the River: Even before "New Ceremony" hit the adult alt airwaves (which was quite recently), Dry the River were heavily hyped because of their performances they had at indie rock showcase, South By Southwest (better known by its acronym, "SXSW"). Upon hearing "New Ceremony" for the first time, it's not hard to see why they were so talked about! Though it has the typical Arcade Fire/Mumford and Sons/Decemberists type sound, it also plays with chord structure in a suspenseful way that has only been used in a handful of songs in rock/pop history (most notably Eddie Money's "Baby Hold On" and Barenaked Ladies' "It's All Been Done"). Its quiet-to-loud dynamics seem to borrow from the grunge era, but they are presented here in a more orchestral manner than a heavily distorted one. "New Ceremony"'s lyrical combinations of religious imagery (phrases like "angel of doubt" and verses like "I named you like a prayer", for instance), and its general theme of regrets about a relationship also make this song well worth listening to. Highly recommended!
"One Engine" by The Decemberists: Not planning on seeing (or reading) "The Hunger Games", but for those who are interested in knowing, The Decemberists' latest song, "One Engine" was made specifically for the soundtrack of that movie. The lyrics of the song seem to center around how dismal and violent having a competitive nature can be, which seems fitting for a movie about violence and competition. Musically, this is an interesting leap back for The Decemberists, who seemed to be focusing on honing more traditional, rustic, folk-y sounds into their music for the past couple years. "One Engine" sounds more like The Smiths (particularly "Bigmouth Strikes Again"), and would probably be much more at home on their 2006 CD "The Crane Wife", than it would on their 2010 release, "The King Is Dead". The Smiths are one of The Decemberists' biggest influences, though, so perhaps they're trying to pay them more homage here.
"Are You Gonna Waste My Time?" by Zeus: Just the very name of the mighty Greek god of thunder probably brings to mind, musically, the name of a heavy metal band, or perhaps a progressive rock band, probably from somewhere in Europe, like Norway or Germany. Surprise! Zeus, in this case, are a Canadian indie rock band, whose sound probably wouldn't be too out of place on a classic rock (or oldies) station. Traces of songs like The Faces' "Stay With Me" and The Rolling Stones' "Can't You Hear Me Knockin'?" can be heard throughout "Are You Gonna Waste My Time?", and even the lead vocalist sounds somewhat like a young Rod Stewart. With The White Stripes and The Black Keys making the '70s rock sound cool again, I'm thinkin' Zeus oughta be next on the bandwagon!
"Don't Leave Me (Ne Me Quitte Pas)" by Regina Spektor: The quirky, red-haired, doe-eyed indie-pop-ster known as Regina Spektor takes her musical influences a step further than she usually does in her latest song, "Don't Leave Me (Ne Me Quitte Pas)" (the French words in parentheses literally translate to "don't leave me"). Instead of the typical piano-pop sound Regina offers in most of her songs, we are treated to a delectable mix of synths, bass, and muted trumpets! The fact that this is a rather bubbly, free spirited take on a typically sad song that was originally performed by Belgian-born French composer Jacques Brel only makes me like this song even more! Was waiting for Regina to release a new CD for a couple years. Now that she has, I must say, I'm quite pleased with the results so far!
"Headlights" by Morning Parade: Sound-wise, there is nothing particularly special about this song, as it basically sounds like a cross between The Killers and Kings of Leon, two great bands that have somehow spawned a legion of second and third rate imitators. I like this song anyway, though. I guess that's partly because I've become accustomed to the sound that songs like this one have. The lyrics to the first line in the chorus ("like a rabbit in your headlights") provide particularly interesting imagery for me, though. Morning Parade's lead singer is probably just referring to the feeling of being surprised or dumbfounded, but for some reason, I still like that line.
"New Ceremony" by Dry the River: Even before "New Ceremony" hit the adult alt airwaves (which was quite recently), Dry the River were heavily hyped because of their performances they had at indie rock showcase, South By Southwest (better known by its acronym, "SXSW"). Upon hearing "New Ceremony" for the first time, it's not hard to see why they were so talked about! Though it has the typical Arcade Fire/Mumford and Sons/Decemberists type sound, it also plays with chord structure in a suspenseful way that has only been used in a handful of songs in rock/pop history (most notably Eddie Money's "Baby Hold On" and Barenaked Ladies' "It's All Been Done"). Its quiet-to-loud dynamics seem to borrow from the grunge era, but they are presented here in a more orchestral manner than a heavily distorted one. "New Ceremony"'s lyrical combinations of religious imagery (phrases like "angel of doubt" and verses like "I named you like a prayer", for instance), and its general theme of regrets about a relationship also make this song well worth listening to. Highly recommended!
"One Engine" by The Decemberists: Not planning on seeing (or reading) "The Hunger Games", but for those who are interested in knowing, The Decemberists' latest song, "One Engine" was made specifically for the soundtrack of that movie. The lyrics of the song seem to center around how dismal and violent having a competitive nature can be, which seems fitting for a movie about violence and competition. Musically, this is an interesting leap back for The Decemberists, who seemed to be focusing on honing more traditional, rustic, folk-y sounds into their music for the past couple years. "One Engine" sounds more like The Smiths (particularly "Bigmouth Strikes Again"), and would probably be much more at home on their 2006 CD "The Crane Wife", than it would on their 2010 release, "The King Is Dead". The Smiths are one of The Decemberists' biggest influences, though, so perhaps they're trying to pay them more homage here.
Wednesday, March 28, 2012
New songs for March 28th, 2012
here they are:
"Looking For A Sign" by Beck: Beck might as well be called the David Bowie of the '90s and 21st century. You never knew what kind of Beck you were gonna get next. The wacky hip-hop/funk influenced Beck, the sensitive folkie Beck, the surf-guitar Beck, the moody, trip-hop/jazzy Beck, and the list goes on and on from there! For his latest song, "Looking For A Sign", Beck has chosen to go for sensitive folkie mode, which makes sense, considering it is on the soundtrack to the (comedic) indie film, "Jeff, Who Lives At Home". The highlighting moments of "Looking For A Sign" are not in the mood or lyrics, though, as much as they are in the unique chord progression of the song! What can I say, Beck never ceases to amaze me!
"Never Go Back" by Grace Potter and The Nocturnals: And here is yet ANOTHER musician (with a backing band) who has trodden eclectic waters! Grace started out as a quiet country-pop/rock musician, but soon went into more hard rock territory with her cover of Jefferson Airplane's "White Rabbit", as well as the punchy, Lenny Kravitz-ish "Paris (Ooh La La)". "Never Go Back" is NEITHER of the subgenres I've mentioned so far, but rather an electronic alterna-pop sound. "Never Go Back" is catchy, and combines synthesizers and guitars kind of like the typical Killers song might, but Grace sounds more detached on this song than she did on "Paris", in which she had wild but passionate vocals. Perhaps not the best decision Grace and The Noc's have made, but I still like it, and personally, it holds my attention much better than the dry, country-ish sound she had on "Ah, Mary" and "Ain't No Time".
"No Light, No Light" by Florence and The Machine: This song is equal parts electronic, alternative, soul, and gospel, but it still sounds great!! I'm pretty convinced Flo can do no wrong with every new song I hear by her! "No Light, No Light", of course, is no exception, no exception! The lyrics of this song seem to indicate this is a breakup song, as many of her songs tend to be, but our red-haired beauty takes the angst of her situation and turns it into full-blown, four minute opera/sermon with this song. Flo, you're just too amazing for words, what can I say?!
"North Side Gal" by JD McPherson: Wow! Has Little Richard released his comeback album?! Or maybe that's Fats Domino, or perhaps Chuck Berry?! Nope, it's the latest '50s rock influenced sensation from the 21st century, JD McPherson! I swear, this song sounds like it came out back when rock 'n' roll was as young as a newborn baby!! With the increasing lack of zippiness and zest in today's music, though, I think that's a good thing! Sometimes I feel like the world might need a new Elvis Presley, and I can't think of anyone better than JD McPherson (well, maybe the sexy, snazzy Irish gal, Imelda May would be an exception, but still...)!! It even sounds like it's own song, despite having the chord progression almost every '50s rock song has (although the end part of the song, in which JD repeatedly sings, "Crazy 'bout a north side gal", sounds a bit too similar to when Elvis repeatedly sings "Dancin' to the jailhouse rock" at the end of "Jailhouse Rock"). This is a real swingin' song, though, and I highly recommend it!!
"Paddling Out" by Miike Snow: No, "Miike" is not a typo, that's how this band spells their name. And it's not pronounced like "Mike" or "Mikey" (or "Mi-yike", as I have jokingly pronounced their name based on how it has two "i"s), but it's actually pronounced like "MEE-kay". The piano hook in this song combined with its hip-hop beats remind me of people like Fatboy Slim, only Miike Snow seem like their music is more directed at a neo-hippie, NPR-ish audience than Slim's music was. It seems as though terms like "alternative" and "indie" aren't good enough to describe a song like "Paddling Out", though. Something about it sounds more eclectic than most songs/bands that are typically considered as such. The unique musical qualities of "Paddling Out" only make me want to know more about Miike Snow, though, and hopefully the same can be said of most (if not all) of the listeners of this song!!
"Stare Into the Sun" by Graffiti 6: Before their adult alt mega-hit, "Free", "Stare Into the Sun" was actually the FIRST song to get noticed by Graffiti 6, but I guess it didn't go anywhere initially. Now, however, "Stare Into the Sun" is slowly but surely attracting more listeners! Like "Free", "Stare Into the Sun" is basically a "psychedelic soul" type of song, but it has a bit more of a "retro" '70s-style sound than "Free" did. The organs and tambourines in "Stare Into the Sun", in addition to the relentlessly optimistic sound of this song overall, make me picture a rainbow with musical notes going around Graffiti 6 as they sing this song! Plenty of songs are trippy, and plenty more are soulful, but it's rare that they'd be combined into one sound. That being said, I think we've got another big hit on our hands with this song!
"We Are the Selfish Ones" by Cowboy Junkies: To wrap up this week's review, we end with a somber song, and we started with a somber song, but the other songs in between were energetic! Odd, but I guess that's what I get for reviewing songs in alphabetical order, haha!! Anyway, this song is pretty much an entirely acoustic song from Cowboy Junkies. Not anything too out of the ordinary, I guess, but usually their songs have a bit more backbone than this one does. I was expecting a little more than this from Margo Timmins and co. It's also just a little under 3 minutes, so I feel like it could have been longer, too. This isn't a bad song, as I pretty much like everything I've heard so far from Cowboy Junkies, I just feel like "We Are the Selfish Ones" COULD use just a LITTLE more tweaking wouldn't ya say?!
"Looking For A Sign" by Beck: Beck might as well be called the David Bowie of the '90s and 21st century. You never knew what kind of Beck you were gonna get next. The wacky hip-hop/funk influenced Beck, the sensitive folkie Beck, the surf-guitar Beck, the moody, trip-hop/jazzy Beck, and the list goes on and on from there! For his latest song, "Looking For A Sign", Beck has chosen to go for sensitive folkie mode, which makes sense, considering it is on the soundtrack to the (comedic) indie film, "Jeff, Who Lives At Home". The highlighting moments of "Looking For A Sign" are not in the mood or lyrics, though, as much as they are in the unique chord progression of the song! What can I say, Beck never ceases to amaze me!
"Never Go Back" by Grace Potter and The Nocturnals: And here is yet ANOTHER musician (with a backing band) who has trodden eclectic waters! Grace started out as a quiet country-pop/rock musician, but soon went into more hard rock territory with her cover of Jefferson Airplane's "White Rabbit", as well as the punchy, Lenny Kravitz-ish "Paris (Ooh La La)". "Never Go Back" is NEITHER of the subgenres I've mentioned so far, but rather an electronic alterna-pop sound. "Never Go Back" is catchy, and combines synthesizers and guitars kind of like the typical Killers song might, but Grace sounds more detached on this song than she did on "Paris", in which she had wild but passionate vocals. Perhaps not the best decision Grace and The Noc's have made, but I still like it, and personally, it holds my attention much better than the dry, country-ish sound she had on "Ah, Mary" and "Ain't No Time".
"No Light, No Light" by Florence and The Machine: This song is equal parts electronic, alternative, soul, and gospel, but it still sounds great!! I'm pretty convinced Flo can do no wrong with every new song I hear by her! "No Light, No Light", of course, is no exception, no exception! The lyrics of this song seem to indicate this is a breakup song, as many of her songs tend to be, but our red-haired beauty takes the angst of her situation and turns it into full-blown, four minute opera/sermon with this song. Flo, you're just too amazing for words, what can I say?!
"North Side Gal" by JD McPherson: Wow! Has Little Richard released his comeback album?! Or maybe that's Fats Domino, or perhaps Chuck Berry?! Nope, it's the latest '50s rock influenced sensation from the 21st century, JD McPherson! I swear, this song sounds like it came out back when rock 'n' roll was as young as a newborn baby!! With the increasing lack of zippiness and zest in today's music, though, I think that's a good thing! Sometimes I feel like the world might need a new Elvis Presley, and I can't think of anyone better than JD McPherson (well, maybe the sexy, snazzy Irish gal, Imelda May would be an exception, but still...)!! It even sounds like it's own song, despite having the chord progression almost every '50s rock song has (although the end part of the song, in which JD repeatedly sings, "Crazy 'bout a north side gal", sounds a bit too similar to when Elvis repeatedly sings "Dancin' to the jailhouse rock" at the end of "Jailhouse Rock"). This is a real swingin' song, though, and I highly recommend it!!
"Paddling Out" by Miike Snow: No, "Miike" is not a typo, that's how this band spells their name. And it's not pronounced like "Mike" or "Mikey" (or "Mi-yike", as I have jokingly pronounced their name based on how it has two "i"s), but it's actually pronounced like "MEE-kay". The piano hook in this song combined with its hip-hop beats remind me of people like Fatboy Slim, only Miike Snow seem like their music is more directed at a neo-hippie, NPR-ish audience than Slim's music was. It seems as though terms like "alternative" and "indie" aren't good enough to describe a song like "Paddling Out", though. Something about it sounds more eclectic than most songs/bands that are typically considered as such. The unique musical qualities of "Paddling Out" only make me want to know more about Miike Snow, though, and hopefully the same can be said of most (if not all) of the listeners of this song!!
"Stare Into the Sun" by Graffiti 6: Before their adult alt mega-hit, "Free", "Stare Into the Sun" was actually the FIRST song to get noticed by Graffiti 6, but I guess it didn't go anywhere initially. Now, however, "Stare Into the Sun" is slowly but surely attracting more listeners! Like "Free", "Stare Into the Sun" is basically a "psychedelic soul" type of song, but it has a bit more of a "retro" '70s-style sound than "Free" did. The organs and tambourines in "Stare Into the Sun", in addition to the relentlessly optimistic sound of this song overall, make me picture a rainbow with musical notes going around Graffiti 6 as they sing this song! Plenty of songs are trippy, and plenty more are soulful, but it's rare that they'd be combined into one sound. That being said, I think we've got another big hit on our hands with this song!
"We Are the Selfish Ones" by Cowboy Junkies: To wrap up this week's review, we end with a somber song, and we started with a somber song, but the other songs in between were energetic! Odd, but I guess that's what I get for reviewing songs in alphabetical order, haha!! Anyway, this song is pretty much an entirely acoustic song from Cowboy Junkies. Not anything too out of the ordinary, I guess, but usually their songs have a bit more backbone than this one does. I was expecting a little more than this from Margo Timmins and co. It's also just a little under 3 minutes, so I feel like it could have been longer, too. This isn't a bad song, as I pretty much like everything I've heard so far from Cowboy Junkies, I just feel like "We Are the Selfish Ones" COULD use just a LITTLE more tweaking wouldn't ya say?!
Wednesday, March 21, 2012
New songs for March 21st, 2012
Here they are:
“Man On Fire” by Edward Sharpe and The Magnetic Zeros: A deceptively cheerful, naïve sounding band, whose biggest hit so far has been the surprise 2010 indie/alt hit “Home”, Edward Sharpe and The Magnetic Zeros were loved by indie fans from the time they debuted in late 2009. Their faux-‘60s Mamas and Papas-meets-Simon and Garfunkel type folk-pop/rock sound has only gained them more fans ever since then! Unlike “Home” and “40 Day Dream”, both of which were merely happy sounding songs with dark lyrical content, “Man On Fire” seems to evoke joyful emotions both in its child-like, clap-along sound, and in its simplistic choice of words (“Man on fire/Walking down the street/Got one guitar/two dancing feet”). Is this really reason for the initial fans of Ed and The Zeros to complain?! I think not!! It’s rare to find songs that bear even a slight resemblance to rock music that make one think of “Sesame Street” more than The Stones, so I say embrace the opportunity to hear songs like this one!
“Myth” by Beach House: Continuing their tradition of one-word song titles (“Norway”, “Zebra”), the hypnotically dreamy indie duo known as Beach House are back with another song, “Myth”, that will put you to sleep in a charmingly trippy way just like how most of their songs tend to. “Myth” seems to go for a bit more of a studio-based sound than “Norway” and “Zebra” did, but Beach House still retain their trademark “psychedelic lullaby” type sound, as lead singer Victoria Legrand urgently sings, “Help me today” in its chorus, in a way that is pleading, yet irresistible, like the voice of a siren from Greek mythology in human form! I can’t help but feel like I’m floating on the most delicate, billowy clouds every time I hear “Myth”. It is a magical song that is not “magical” in the cheesy way. “Myth” is a pure, unadulterated stardust fantasy of a song!
“Man On Fire” by Edward Sharpe and The Magnetic Zeros: A deceptively cheerful, naïve sounding band, whose biggest hit so far has been the surprise 2010 indie/alt hit “Home”, Edward Sharpe and The Magnetic Zeros were loved by indie fans from the time they debuted in late 2009. Their faux-‘60s Mamas and Papas-meets-Simon and Garfunkel type folk-pop/rock sound has only gained them more fans ever since then! Unlike “Home” and “40 Day Dream”, both of which were merely happy sounding songs with dark lyrical content, “Man On Fire” seems to evoke joyful emotions both in its child-like, clap-along sound, and in its simplistic choice of words (“Man on fire/Walking down the street/Got one guitar/two dancing feet”). Is this really reason for the initial fans of Ed and The Zeros to complain?! I think not!! It’s rare to find songs that bear even a slight resemblance to rock music that make one think of “Sesame Street” more than The Stones, so I say embrace the opportunity to hear songs like this one!
“Myth” by Beach House: Continuing their tradition of one-word song titles (“Norway”, “Zebra”), the hypnotically dreamy indie duo known as Beach House are back with another song, “Myth”, that will put you to sleep in a charmingly trippy way just like how most of their songs tend to. “Myth” seems to go for a bit more of a studio-based sound than “Norway” and “Zebra” did, but Beach House still retain their trademark “psychedelic lullaby” type sound, as lead singer Victoria Legrand urgently sings, “Help me today” in its chorus, in a way that is pleading, yet irresistible, like the voice of a siren from Greek mythology in human form! I can’t help but feel like I’m floating on the most delicate, billowy clouds every time I hear “Myth”. It is a magical song that is not “magical” in the cheesy way. “Myth” is a pure, unadulterated stardust fantasy of a song!
Wednesday, March 14, 2012
New songs for March 14th, 2012
here they are:
"Alone" by Trampled by Turtles: The name ALONE of this band is enough to make me like them!! Anyway, this is one of two "bluegrass rock" songs I'm reviewing this week, though they are very distinct from one another. This song is by FAR the more relaxed of the two. It recalls bluegrass instrumentation, while also bringing to mind the arpeggiated patterns of many a folk-rock song. The peak of "Alone" is probably towards the middle of it, in which the fiddle section swells up to the point of sounding like a full blown orchestra. The fiddles are actually the most intense instruments used in "Alone" (though they are probably also the most enjoyable part of it).
"Country Girl" by Carolina Chocolate Drops: As if by coincidence, this is the second out of two "bluegrass rock" songs I'm reviewing this week! The Chocolate Drops seem to add a bit of "hipness" into the few songs I've heard from them so far, whether by covering a song from early '00s pop chanteuse Blu Cantrell ("Hit 'Em Up Style"), or, in this case, adding a slight bit of hip-hop influence to an otherwise bluegrass-y song. The Carolina Chocolate Drops' lead vocalist is also quite talented in terms of her singing range. The CCD's lead singer might be telling a story about how she was raised a "country girl", but I think she enjoys mixing a bit of city life into this song for good measure. Sure makes for a unique, memorable song!
"Isn't That So?" by Lyle Lovett: A man of many talents, you never know what kind of Lyle Lovett song you're gonna get next! His musical style ranges from country, jazz, vocal standards, rock, blues, folk, and more (and, in addition, he is also a skilled actor). I tend to prefer Mr. Lovett when he's more energetic, though, and "Isn't That So?" most CERTAINLY is!! It starts out with a vaguely country-ish acoustic guitar emulating the beat of The Fixx's "One Thing Leads to Another", but the brass section, drums, and electric guitar kick in merely seconds later. The lyrics are typical for Lyle Lovett, concerning relationship advice, but the musical aspects of "Isn't That So?" are fantastic! Makes me think Lyle and his band are probably really good live with the instrumentation they have set up for this song!
"Revolution" by Dr. John: In Louisiana, Mac Rebennack, better known by his stage name, "Dr. John", is a living legend! His mix of blues, jazz, and rock 'n' roll are often combined into a spicy musical gumbo that New Orleans just can't seem to get enough of! Outside of Louisiana, Dr. John is best known for his lone classic rock radio hit, "Right Place, Wrong Time". That being said, this is probably the first time since that song came out (which was back in 1972), that he's gotten this much attention for a song of his, rather than his performances! His latest song, "Revolution" (not to be confused for the Beatles song of the same name), somehow manages to combine the swampy '50s blues-rock sound of Screamin' Jay Hawkins with the "retro soul" sound of people like Amy Winehouse. The organ solo in the middle of this song is both the most exotic and most enjoyable part of this song! It's a fun sounding song, but the lyrical content strays far from the stream-of-consciousness vibe of "Right Place, Wrong Time", and instead focuses more on protesting the current state of politics and religion. But still, it's one of the most distinct sounding songs so far of the 21st century, and that's something worth listening to!!
"Towers" by Bon Iver: A bit more uptempo than most of Bon Iver's material, "Towers" almost seems like Simon and Garfunkel's "The Boxer" with a Snow Patrol-ish "softened" electric guitar sound instead of an acoustic guitar sound. It has a similar rhythm and use of backing instruments (though I can't quite tell if that's a sax or a harmonica playing in the background of "Towers"). "Towers" has enough of its own type of sound that it doesn't sound like a "ripoff" of "The Boxer". As a matter of fact, it changes key from E major in the beginning, to a D major towards the end, and usually songs don't change key very much these days. In some ways, "Towers" might just be one of the folk-iest songs, lyrically, that Bon Iver have ever done, what with its references to Norse mythology ("F**k the fiercest fables I'm with Hagen", which also uses alliteration with the letter "F"), and even classic, well-known fairy tales ("In the towers of your honeycomb, I'd a' tore your hair out just to climb back darling", referring to Rapunzel...hmmmm...wonder if Justin Vernon watched "Tangled" right before writing this song!!) In days of old, it was usually heavier rock bands (albeit with folk influence) that typically referenced mythology, like Led Zeppelin and Jethro Tull. Bon Iver's references to folklore and fables, combined with the pleasant atmosphere of the song, almost make this seem like a children's lullaby (except for his use of the "f" word towards the middle). A fantastic song, as usual, from the indie rock band whose name is an intentional misspelling of the French way of saying "good winter"!
"Alone" by Trampled by Turtles: The name ALONE of this band is enough to make me like them!! Anyway, this is one of two "bluegrass rock" songs I'm reviewing this week, though they are very distinct from one another. This song is by FAR the more relaxed of the two. It recalls bluegrass instrumentation, while also bringing to mind the arpeggiated patterns of many a folk-rock song. The peak of "Alone" is probably towards the middle of it, in which the fiddle section swells up to the point of sounding like a full blown orchestra. The fiddles are actually the most intense instruments used in "Alone" (though they are probably also the most enjoyable part of it).
"Country Girl" by Carolina Chocolate Drops: As if by coincidence, this is the second out of two "bluegrass rock" songs I'm reviewing this week! The Chocolate Drops seem to add a bit of "hipness" into the few songs I've heard from them so far, whether by covering a song from early '00s pop chanteuse Blu Cantrell ("Hit 'Em Up Style"), or, in this case, adding a slight bit of hip-hop influence to an otherwise bluegrass-y song. The Carolina Chocolate Drops' lead vocalist is also quite talented in terms of her singing range. The CCD's lead singer might be telling a story about how she was raised a "country girl", but I think she enjoys mixing a bit of city life into this song for good measure. Sure makes for a unique, memorable song!
"Isn't That So?" by Lyle Lovett: A man of many talents, you never know what kind of Lyle Lovett song you're gonna get next! His musical style ranges from country, jazz, vocal standards, rock, blues, folk, and more (and, in addition, he is also a skilled actor). I tend to prefer Mr. Lovett when he's more energetic, though, and "Isn't That So?" most CERTAINLY is!! It starts out with a vaguely country-ish acoustic guitar emulating the beat of The Fixx's "One Thing Leads to Another", but the brass section, drums, and electric guitar kick in merely seconds later. The lyrics are typical for Lyle Lovett, concerning relationship advice, but the musical aspects of "Isn't That So?" are fantastic! Makes me think Lyle and his band are probably really good live with the instrumentation they have set up for this song!
"Revolution" by Dr. John: In Louisiana, Mac Rebennack, better known by his stage name, "Dr. John", is a living legend! His mix of blues, jazz, and rock 'n' roll are often combined into a spicy musical gumbo that New Orleans just can't seem to get enough of! Outside of Louisiana, Dr. John is best known for his lone classic rock radio hit, "Right Place, Wrong Time". That being said, this is probably the first time since that song came out (which was back in 1972), that he's gotten this much attention for a song of his, rather than his performances! His latest song, "Revolution" (not to be confused for the Beatles song of the same name), somehow manages to combine the swampy '50s blues-rock sound of Screamin' Jay Hawkins with the "retro soul" sound of people like Amy Winehouse. The organ solo in the middle of this song is both the most exotic and most enjoyable part of this song! It's a fun sounding song, but the lyrical content strays far from the stream-of-consciousness vibe of "Right Place, Wrong Time", and instead focuses more on protesting the current state of politics and religion. But still, it's one of the most distinct sounding songs so far of the 21st century, and that's something worth listening to!!
"Towers" by Bon Iver: A bit more uptempo than most of Bon Iver's material, "Towers" almost seems like Simon and Garfunkel's "The Boxer" with a Snow Patrol-ish "softened" electric guitar sound instead of an acoustic guitar sound. It has a similar rhythm and use of backing instruments (though I can't quite tell if that's a sax or a harmonica playing in the background of "Towers"). "Towers" has enough of its own type of sound that it doesn't sound like a "ripoff" of "The Boxer". As a matter of fact, it changes key from E major in the beginning, to a D major towards the end, and usually songs don't change key very much these days. In some ways, "Towers" might just be one of the folk-iest songs, lyrically, that Bon Iver have ever done, what with its references to Norse mythology ("F**k the fiercest fables I'm with Hagen", which also uses alliteration with the letter "F"), and even classic, well-known fairy tales ("In the towers of your honeycomb, I'd a' tore your hair out just to climb back darling", referring to Rapunzel...hmmmm...wonder if Justin Vernon watched "Tangled" right before writing this song!!) In days of old, it was usually heavier rock bands (albeit with folk influence) that typically referenced mythology, like Led Zeppelin and Jethro Tull. Bon Iver's references to folklore and fables, combined with the pleasant atmosphere of the song, almost make this seem like a children's lullaby (except for his use of the "f" word towards the middle). A fantastic song, as usual, from the indie rock band whose name is an intentional misspelling of the French way of saying "good winter"!
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