Archive for May, 2009

Essence of Me

{ May 29, 2009 @ 4:43 AM } · { Music }
{ Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , } · { Leave a Comment }

So, for this post I’m going to do every song on my iPod which I have listened to 100 or more times, of which there are 28. I think this list demonstrates how versatile my musical taste is. So wasting no more time, here they are.

28) “Black & Gold” by Sam Sparro – This song starts out with the quietest bassline you’ll ever hear, and then a synth melody comes in over it, giving the hint of what’s to come. A high note hits once, and the staccato synths come in. This track is just so danceable, but that’s not even the best part. Sam’s voice comes in. I was blown away the first time I heard it. My dad loves to sing along to this song, and my mom loves to hear me sing it. It’s one of the best songs on my iPod, without a doubt. 101 listens.

27) “Bathtime in Clerkenwell” by The Real Tuesday Weld -This song is just plain crazy; there are no lyrics, just nonsense syllables. But it’s so damn catchy! You can thank my sister Bri for this one. 101 listens.

26) “The Minstrel’s Prayer” by Cartel -This song is a soaring anthem of innocence and earnestness. The pounding drums start, and you’re a little worried, but then the guitar comes in, and the gentle melody, and then the strings. This is one of those song’s that inspires me to sing harmony even though it’s not in the song, and it always reminds me of my sister, Kerida, because I put it on a playlist and she felt the need to call me and tell me that she couldn’t stop listening to this song. 102 listens.

25) “Boston” by Augustana -This is the first song I learned to play on piano, and so it reminds a lot of people of me. I have mixed memories about it though; looking back, it’s not as great of a song as I thought it was, but it’s still quite good/nostalgic. Ooh, see now I’m listening to it and it’s bringing back so many memories. I think maybe I just listened to it too much. I have no idea where I first heard this song. 103 listens.

24) “Feel Good Inc.” by Gorillaz – I FUCKING LOVE GORILLAZ. Beginning to end, this whole album is fantastic, but this was (obviously) the first song I heard off of it, so I’ve listened to it a lot. That laughing is fucking genius! and that bass line! and the guitar melody! and the “feel good!” Oh gad, this song makes me geek out. “Windmill, windmill, for the land…” Genius. 112 listens.

23) “Potential Breakup Song” by Aly & AJ – This song is so catchy! and good! The best thing Disney’s pumped out in the last ten years (musically, at least.) This song is a pop masterpiece. And I can’t stop dancing. 116 listens.

22) “Neighborhood #3 (Power Out)” by The Arcade Fire – This song is also a masterpiece, but of a different kind. The best song Arcade Fire has ever recorded, which is saying a lot. It tells an interesting story, and gets stuck in your head so easily. I can’t listen to this song enough, which explains why it’s on this list.  118 listens.

21) “Headlock” by Imogen Heap – This song is kinda overwhelming in the first listening; there’s so much going on, and half of it’s sounds like it’s just barely on beat, like the mixing is a little off. But let me tell you, this is purely intentional. This song is another exploder, when we get to the second chorus. And then she brings it back down for the bridge. This is a great song, but one where the video makes in even better. 119 listens.

20) “Don’t Stop the Music” by Rihanna – I loved this song for about 7 months before it was a hit. And honestly? I was almost mad it was, because I love thinking I’m the only person I know who knows a truly amazing song. This song is infectious, clever, and different every time the chorus hits (Believe me, I know. I arranged this song to be sung a capella. You notice these things.) And I know it’s about dancing, but some songs about dancing are really boring to dance to. Not this fucking song. This song fucking rocks. 125 listens.

19) “All Alone” by Gorillaz – This is the sleeper on the Demon Days album. It has a simple but weird hook, a fun rap part, and an airy bridge, all surrounded by a background melody that almost sounds like a clown horn through an autotune. Plus, it’s really fun to dance to. I always wished there was a video for this one… 125 listens.

18) “One of These Things First” by Nick Drake – This is one of the best songs from the Garden State Soundtrack, a truly incredible collection of songs. It was the first album that I listened to because I liked it, and not one of the five older people in my family that already had their own musical tastes. This song is absolutely gorgeous, but still fast paced, and it feels great to sing it. Although holding the “n” on “Could beennnnnnnnnn one of these things first,” always feels funny. 130 listens.

17) “Soul Meets Body” by Death Cab For Cutie – I. Adore. This. Song. It introduced me into the wonderful world of Ben Gibbard (Although I knew all the words to Give Up already because Kerida would play it before I felt the overwhelming need to know who something was by. Same story with Jimmy Eat World’s Bleed American.) This whole album is amazing, I don’t even know if this is the best song, but I can just keep listening to this song. I remember one day in math class, freshman year, I asked Sara if she knew who Death Cab was, and she said no, so I smiled, we crawled under the counter to do our work, and we listened to this song and “I’ll Follow You Into The Dark.” I also remember another time when a friend of mine was arguing that no one can listen to a song endlessly and not get tired of it. And I said “I have songs that I don’t get tired of…” and they said “Oh yeah? Like what?” and I replied “Soul Meets Body.” Then they laughed and told me Death Cab For Cutie sucks. I stared at them for a moment, and then promptly consumed their finished math homework. 135 listens.

16) “Knights of Cydonia” by Muse – This song rocks my damn socks. Lit’rally. It channels Journey and Kansas and Stix, but it’s more awesome than EVERY SONG THOSE BANDS HAVE EVER RECORDED COMBINED. Not many songs can boast that when they have like 4 lyrics. This also wins the award of longest song on this list. Anywho… I’m a sucker for horns and harmonies, and this song has them a plenty. Also? What a fuckin’ kick-ass guitar solo. I mean seriously. 139 listens.

15) “No Air” by Jordin Sparks & Chris Brown – My mother loves this song. What does that tell you? That’s it’s another fricken’ fracken’ great song. I seriously want to give this song a great big hug. This is probably the best thing American Idol has produced. And I always applaud songs that have backup vocals and harmonies that you can barely detect; as though you have to sit back and truly appreciate the song to catch them. And boy do these kids have some pipes. 145 listens.

14) “Wraith Pinned to The Mist and Other Games” by Of Montreal – I was a little surprised this song was on the list at all, let alone this high on it. And then I started listening to it, and I remembered. I think this song can definitely be attributed with the reason I always notice bass lines (that’s all the song is for a little bit,) and maybe sending me off on my way of dissecting individual parts of a song and loving them, and not just the song as a whole. In order to dance to this song, all you have to do is walk in place and swing your hips really far. This song always makes me think of my friend Natalee, because we would dance to this song backstage during the fall play. This is another one that was on a mix CD from Briavael. “Let’s pretend we don’t exist. Let’s pretend we’re in Antartica.” 154 listens.

13) “Hide and Seek” by Imogen Heap – We’re back to a gorgeous one. If you’ve never heard this song (and I don’t see how that’s possible) It’s 100% voice (well, and computer-on-voice action) but it’s just so beautiful. It’s on of those songs where you know all the lyrics, but you don’t know what it means. And you don’t care. You just sing your little heart out. There are quiet parts, and powerful parts, and almost tearful parts. Hold out for the bridge; it might be one of the best pieces of music ever written. 164 listens.

12) “Let Go” by Frou Frou – Another one from Garden State. This song has been with me through a lot. One day after rehearsal for Into the Woods, I walked home, saw all of our stuff in boxes, crawled under a chair, listened to this song on repeat, and cried. It was the first time it hit me that we were leaving our home town. I sat there for about half an hour, no one saw me. But regardless, this song is powerful all the way through. The layers of sound are almost distinguishable from each other. My dad once said that one of the reasons to listen to music is the tension, and this song is chock full of it. 177 listens.

11) “We Will Become Silhouettes” by The Postal Service – This song reminds me of the bed and breakfast my parents used to own (one room in particular.) I sat on the couch and looked out the window, which was at the floor because the ceiling of the room was the roof, and imagined exactly what this song describes. I pictured myself putting my head where the window and the floor met and just screaming my head off, and there were people in raincoats walking outside, completely oblivious to me. So then of course I imagined them exploding. And then I just danced like a moron and sang the “Bah bah bah bah’s” because I was alone. It made the song very real to me. I don’t wanna become a silhouette. Another time I was listening to this song with my brother, Sam, and I turned to him and said “Just another happy little song about nuclear holocaust.” 183 listens.

10) “Nothing Better” by The Postal Service – Can you tell I like Postal Service? I saw a music video for this about three years ago. It was homemade, but it was so good, that I thought it was the real one, and now I think of it every time I hear this song. This song is so amazing! It’s clever, and real, and catchy. All requisites of an amazing song. “Tell me am I right to think that there could be nothing better than making you my bride and slowly growing old together.” 186 listens.

9) “Harder, Better, Faster, Stronger” by Daft Punk – I remember hearing Kanye’s “Stronger” and really liking it, mostly because of the background. Then my brother came to me and was like “Do you know the song “Stronger?” Well, apparently he sampled a different song and I want to find it.” So we googled the lyrics. And that was my introduction to the wonderful world of Daft Punk. If you haven’t seen the unofficial video to this song, it really is fantastic. I also remember going to a slumber party and being the only one still awake at like 2:00 in the morning and watching Toonami (Omigod do you remember Toonami? Holy shit, we’re old.) They were showing music videos, and they were all from Interstella 5555 and the first Gorillaz album, but I didn’t know it then. I just thought they were really weird. Now look; two of my favorite bands. 186 listens

Eight) “Dashboard” by Modest Mouse – This song another truly incredible one. That guitar riff is a work of pure genius, and you know me, always a sucker for well placed horns. This is one of the few songs on this list that doesn’t remind me of something. Well, nothing besides sitting up in my loft bed late at night at night in my giant, empty room at the bed and breakfast, leaning up against the wall. Wow. That’s pretty specific for a nothing memory. 188 listens.

7) “Thnks Fr Th Mmrs” by Fall Out Boy – This is the only song I listened to for like two weeks. Well, this and the rest of this album. I was a little obsessed. I knew this song long before it was a hit. In fact, I knew this song long before anything from the album was played on the radio. Again with the horn weakness, again with the string weakness, and again with the power. I’m a sucker for songs with power; I think everyone is. A powerful intrigues you, brings you in. “See, he tastes like you. Only sweeter.” 202 listens.

6) “Nth Degree” by Morning Wood – Another kick-ass bassline on this one, and this one holds a ton of memories. I first heard this song on our first trip to Madison (I think? Maybe it was just a town that reminds me of Madison. Like is Michigan or somewhere random like that. Yeah, I deff. new this before we moved to WI.) Anyway, I heard it on a mix CD that Kerida had made, and I liked it so much in my ten-year-old form  that I asked my mom to go back to it. Years later (in WI this time,) Sara and I both had it playing on our respective iPods, and instead of just rock out together, we put one headphone from each player in our ears so we were connected and rocked out in the lunch room, and everyone looked at us funny. There was another time in the lunch room when we rocked out, but it was significantly emptier, I think at a drama club pizza party of something. The most recent memory is rocking out in the parking lot of the movie theater with Sara and Adam. Yeah. This song makes you rock out. 205 listens.

5) “DARE” by Gorillaz – Whenever I see this, I go “Why the hell have I listened to this song so many times?” And then I listen. And remember. It’s simple. And Catchy. And Awesome. And totally Gorillaz. Let’s use periods. Instead of commas. Huzzah? This one deff. makes me think of the video. Can I just say I wish everyone in the entire world danced like that? 207 listens.

4) “Girlshapedlovedrug” by Gomez – This song starts with an awesome groove, and the hits keep happening. The vocals one this one are adorable. And the backup vocals are as cool and fun to sing as the melody. And I can never get it right whether it “my” or “your.” Sigh… 212 listens.

3) “The Way I Are” by Timbaland Featuring Keri Kilson & D.O.E. – This song also fucking rocks. I downloaded it after Christmas of ’07, and I’ve been jamming out ever since. The synth part in this song is so good, there almost doesn’t have to be anything else in the song. The fact that there is is just a bonus. The vocals on this one are also fun and catchy. I listen to this song and wish that it was either still a hit or old enough where it could be cool so I could play it again. Because this is the reason Timbaland is so awesome. This song. Sadly, this song actually reminds me of a total whorebitch that I never liked in the first place and then she called me a fudgepacker. I stole her phone and broke up with her boyfriend via text message. Oh, high school… 226 listens.

2) “Maneater (Single Version)” by Nelly Furtado – This song… Oh god this song… I heard this song, and four hours later I’d heard it probably 30 more times. At least. I knew all the lyrics by the third time through, so the rest was learning every single drum beat, every computer beep, every little thing the synth in the background does, every echo. I will never tire of this song. As is exhibited by the 243 listens.

Here it is, Ladies and Gentlemen. The moment you’ve all been waiting for,

1) “Such Great Heights” by The Postal Service – Yeah, no surprises here. You already knew I loved The Postal Service, but I don’t think you truly understand how much. If you could marry a song, it would be this song. If you could marry a sound it would be the percussive beeps in the intro of this song. If you could marry a feeling, it would be the feeling you get while listening to this song. It’s impossible to make a bad cover of this song. Iron & Wine and Ben Folds do fantastic jobs, and there are plenty more great ones on Youtube and iTunes. I mean, I wrote a harmony for the guitar part. This song has been played throughout the last 6 years of my life, at least, so I think my mind just associates it with itself; it’s its own memory. 290 listens.

Notable misses: “Apologize” by Timbaland Featuring OneRepublic – 99 listens, “Burn This City” by Cartel – 97 listens, “Turn To Stone” by Electric Light Orchestra – 97 Listens, “Zak and Sara” by Ben Folds – 96 listens, “Boy With A Coin” by Iron & Wine – 96 listens, “The District Sleeps Alone Tonight” by The Postal Service – 95 listens. Note that “Turn To Stone” is the only oldies in this whole document, but I love almost everything that came out of the 70′s.

Also, #8 is typed out because “8″ immediately followed by a parenthesis makes this: 8) Which is really annoying because I can’t figure out how to turn smileys off. And I couldn’t just add a space because then it would be different from all the other ones and it looked bad. And this looks less like a mistake than adding a space. God, my reasoning really doesn’t make any sense.

Alright. Bedtime. See y’all tomorrow.

Did I just say “y’all?” Oh dear…

Now, I’m No Mad Man, But That’s Insanity.

{ May 28, 2009 @ 4:20 AM } · { Music }
{ Tags: , , , , } · { Comments (1) }

Alright. I’ve had this album since March, but I still love it, and If you don’t know of it, TV on the Radio‘s Dear Science is and Indie Pop masterpiece. From the early hits of “Halfway Home” to the final notes of “Lover’s Day,” this album fails to disappoint. Note the double negative. Relish it. And also? I can’t tell which is Kyp and which is Tunde all of the time, but I do my best. I won’t take my earlier mentions out, but I won’t try anymore. If anyone knows, feel free to tell me.

“Halfway Home” opens the album with a guitar wall and an immeasurable amount of tension. Kyp starts off with a slow, subdued verse, followed by Tunde singing the chorus in falsetto. Rinse, and repeat. This is one of those songs that isn’t really catchy, but you can’t stop listening to it because you feel like you relate. You just relate to the feel of the song. It seems mildly angry, like you just want to punch something if you don’t get your way. Good thing you don’t know what your way is because it’s just a fricken song. Like I said. Tension.

“Crying” is much more upbeat than you’d expect from such a title. Tunde leads on this one, and you can’t help but dance as he whines his way through a song about how life just kinda sucks sometimes.

“Dancing Choose” is proof that a song don’t gotta be long to say a lot. Tunde attacks on this one, the only song that seems like rap on the whole album, although it develops a melody eventually. Now this? This is a crazy ape-shit song that just makes me spazz out every time I hear it, and in the midst of craziness, Kyp shines through with a dream analysis before you get swept up again in the flow of lyrics. It’s one of those songs you wish was longer so you could bask in it’s awesomeness for a longer period of time. And the horns at the end? Fuckin’ Awesome!

“Stork and Owl” starts off like it’s going to be something off of Daft Punk’s Homework, but then the strings come in, and so do those familiar whiny vocals. I think this might be one of the few times where whiny vocals are appreciated. The chorus of this song has you feeling sympathetic for whatever troubles this poor dude seems to be going through.

Be prepared for this next track. Especially after the low-key slowness of “Stork and Owl,” “Golden Age” is a jolt to the system. You already know this song is good in the first 10 seconds, as the kickass bass line comes in. I mean, holy shit! It’s two notes! How is it that cool? And the vocals hold all kinds of excitement, that have you bouncing your shoulders and grinning like a fool. “Age of miracles, age of sound. There’s a golden age comin’ round, comin’ round, comin’ round.” Those horns! Whay are horns so cool? And whoever decided hand claps were exciting was also a genius. This song is happyful. It truely does hail a golden age.

“Family Tree” is kinda boring, kinda creepy, but still beautiful in it’s own slow way. However, “Red Dress” kinda screams at you. It’s like this song is saying “Don’t be stupid! Come party, ya hoe!” Another very powerful and exciting track. “Love Dog” come in with another slow background/really fast beat combo, the signs of a not-boring ballad. The ever-faithful “ooh’s” come in, and prominently. Then the verse comes in, and you furrow your brow, again, in understanding. This song swells towards the 2:15 mark, and you just sway with it. Yeah. Just sway with it. And embrace that nopise that sounds like frogs croaking towards the end.

“Shout Me Out” begins quietly, but in a way that says it’s obviously going to explode at some point. It has a catchy melody, and an interesting use of really high notes in the instrumantation. The best songs always build, and this one’s no exception. “Lord, if you got lungs, c’mon, shout me out.” When it does explode, it’s the kind of things that makes you dance really fasty even though it doesn’t really fit the song when you think about it. Also, shouting “Hey!” shouldn’t be as good as it is, but Arcade Fire does it all the time and I love it when they do too.

“DLZ” is probably, no not probably, far and away the scariest song on the album. It starts with plain anger at someone who seems to have royally fucked up, and escalates to a feeling of suffocation, of hopelessness, and then screaming a big “Fuck You” to the world. “This is beginning to feel like the dawn of the luz of forever.” I looked it up, and apparently the luz is a bone in your spine. Muslims and Jews believe that this is the bone that the body will be regrown from at the time of ressurection.

“Lover’s Day” ends the album on a MUCH happier note. A note of non-stop sex. An entire day devoted to it, in fact. This song is truely a masterpiece of sound that deserves to have the whole world listen to it. It might be one of the most uplifting songs I’ve ever heard; it makes you chest swell with pride, like you just won a decisive victory over all the evil in the world or something. It has one of the best uses of horns I’ve heard in years.

“Held naked in the light,
Held gently,
Held tight,
So soft!
Get off!
Get off!
Ball so hard,
We’ll smash the walls,
Break the bed, And crash the floors,
Don’t Stop! Laugh and scream!
And have the neighbors call the cops!
’till all the eyes that they’ve seen our fire play!
Can’t forget,
Mark it down,
Call it Lover’s Day!
Yes here of course there are miracles.
Under your sighs and moans.
I’m gonna take you, I’m gonna take you,
I’m gonna take you home.

I’m gonna take you home.

I’m gonna take you home.

I’m gonna take you home…”

You Know I’m Happy Up Here

{ May 27, 2009 @ 4:30 AM } · { Music }
{ Tags: , , , , , , } · { Leave a Comment }

This is the same review that used to tacked onto the end of the Phoenix review, but I decided it was to long. So here it is;

And now, Ladies and Gentlemen

Röyksopp!

Okay, can I just say that I think every album should start with giggling? That’s right, the first noise you hear on “Happy Up Here” is the two Norwegian men that make up this duo laughing. How bitchin’ is that? It the starts in right away with a fantastic synth hook, and the thrills don’t stop there. The giddy hook is accompanied by breathy vocals singing about “really liking it,” and “being happy up here,” followed by computerized “what you got for me” and shouts of “I’M READY FOR IT!” and then there’s super. Huzzah for this song!

“The Girl and The Robot” kicks off with some minor key fuzz and mildly creepy “aahs.” at 0:33, Swedish singer Robyn’s powerful voice comes in, singing a song of longing for what you already have. This isn’t the kind of song you’d expect pretty harmonies form, but you get them anyway in the fourth stanza. “Fell asleep in front of MTV.”

“I’m in love with a robot.”

“Vision One” starts like it’s going to be a cute little electric ballad, but I’m pretty sure you can go ahead and not expect any of those on this album. The synth chords end and in comes a funky ass-shaker, again with a growling bass line that ends up holding the melody. Fellow Nord Anneli Drecker come in on vocals with siren like qualities, and you find that you just can’t stop listening to this damn song. Bravo.

So, “This Must Be It” seems like it could have been a good song, but I can’t stand this chick’s voice. “This chick” is Karin Dreijer Andersson, of The Knife fame (apparently some people were very excited that she was on this album,) and her voice just kind of drills into my head. Eew. Next please.

“Röyksopp Forever” This song is fucking awesome. Allow me to explain… It starts quiet, as is common in songs in general. It holds the same note on strings for a while (crescendo, decrescendo, of course) and then it changes notes, and then goes back up, and you think you might hear a beat. But then it’s gone as suddenly as it came. Just wait. Aah, there it is. Bass and drums. And then the actual melody starts. There’s no vocals in this one, but it doesn’t matter. Again, just wait. Until 2:15, where some more tension is made with dueling guitar and synth. Send in the angry cellos and frantic violins; it almost sounds like something from pirates. Aaaaaaand key change! Now it’s happy, and in come the “aah’s.” Maybe you won’t think this song is fucking awesome. Maybe it has to be absorbed a couple of times. Maybe it ends with more laughing.

The next track, “Miss It So Much,” brings in another Swede, Lykke Li. This songs picks up on the happy note of the song before, and every sound is so percussive, you can’t miss anything. Lykke Li’s voice comes in, and you might think they multi-tracked a four year old. Her innocent voice purrs “Days turn to nights turn to weeks turn to paper into rocks into plastic/My material heart/How it keeps us apart.” and you can’t help but bounce your head along to the steady rhythm.

“This Chick” is back for “Tricky Tricky” and ruins another perfectly viable song.

“You Don’t Have A Clue” brings Anneli Drecker back in to croon about (vague creepiness? stalkers? seduction? homicidal wants? We’re not quite sure.) Well, despite, the creepy subject matter and creepy synths and creepy piano and creepy bass and creepy strings, it’s still pretty catchy. Fer Sher check-check this one.

“Silver Cruiser” is the other instrumental, and, what a surprise, starts out quiet, with just guitar and drums. But then the bells and bass come in, and you sit listening, intrigued. This one never explodes, it just sort of builds and then fades, sort of like a glorious civilization that reached it’s peak and then slowly died out.

You could say that “True To Life” is represents that civilization just after it’s citizens realize it’s falling. A pounding drum paired with a synth ticking the same not, and Anneli’s echoy vocals make a great swan song. There’s a sadness, and then a bass line comes in and you barely even notice it at first, but then you realize it’s given the song an almost revengeful sound. Wow, I’m actually really proud of this metaphor. The bridge sounds like the anger of the civilization mounting, and then when she comes back in for the ending, it all kinda explodes into a thousand voices screaming, and then it all dies back down.

“It’s What I Want” ends on a slightly happier note, but not really. The actual duo sing on this one, as in the first track. Over a staccato synth beat, they breath “It’s what I want that’s easy; it’s getting it that’s complicated.”

Just listen to this whole damn album, okay?

My Parents Keep Scolding Me

{ May 27, 2009 @ 2:05 AM } · { Music }
{ Tags: , , , , , } · { Comments (1) }

for doing this instead of my homework. Oops. But here I am, doing a quick update. Just one song by, you guessed it, Iron & Wine.

Kerida was talking to me about how she was listening to “Dark Was The Night” and had to stop because she had a sudden urge to listen to “Trapeze Swinger.” Now, Everyone on the whole planet should listen to this song. It’s gorgeous, and spiritual, and hypnotic. And nine minutes long. It’s a trek. No, it’s not a trek of pure awesome, but a trek of pure beauty. The never ending “ooh’s,” the steady bass, the thoughtful and thought-provoking lyrics, the harmony that comes in halfway through, and the dozens of instruments that get to have their moment to shine throughout the song before fading back into the river of noise. This is

The Trapeze Swinger.

Wolfgang Amadeus From 1901

{ May 26, 2009 @ 10:23 PM } · { Music }
{ Tags: , , , , } · { Leave a Comment }

So I saw an electronica band that got a fairly good review in EW, so I of course went immediately to my computer and got it. And then I thought, huh, I’ll finally get that album that Jeph Jacques keeps talking about (or at least he used to, I’m a little behind.) So here’s a dual review of two albums from 2009.

Phoenix‘s Wolfgang Amadeus Phoenix

WAP starts off and you’re instantly sucked into an upbeat fantasy world called “Lisztomania.” This song saves no time getting started, and it’s the kinda of thing where the sound stops and starts suddenly, but the smile-inducingly earnest vocals of Thomas Mars stay constant throughout. A fun technique used here is multiple instruments playing the same two notes over and over again, but it’s so infectious, you don’t even notice. If the whole album was this good, these guys’d be superstars. “1901″ continues on in a similar fashion, with yet another crazy-infectious hook, shoutin’ “Heyheyheyheyheyhey!” and the like. “Fences” features lots of falsetto, but it’s not as well delivered as, say, Bon Iver or Prince. Plus, the track’s not as rockin’ as the first two.

“Love Like Sunset” is a seven and a half minute electronic celebration of life. The last 2 minutes have vocals, but up ’til then, it just features melodies that come and go with fizzing bass in the background, each instrument fades in, has it’s swan song, then fades out. Even the fizzing disappears, and is replaced by single note strings and danceable beat. around 4:30, this starts to grow, both in volume and pitch, to suddenly cease in a toneless droning. A different beat comes in, and so do the guitars. And the track finally resolves.

Since the album only has 9 tracks, “Love Like Sunset” sort of serves as a barrier between the last five and the first three. Take heed, the second half has officially begun. It begins with “Lasso,” a quick track that seems to be about being trapped ina relationship. Next up comes “Rome,” which I thought was over at 2:00, but I still had two and a half minutes to go. Christ. “Countdown (Sick For The Big Sun)” is already more interesting than the last two in the first thirty seconds. And the hook of “sick sick sick” is strikingly quiet in comparison to the rest of the song. The soaring vocals and piano on the ending give a sort of note of hope. “Girlfriend” continues to be unimpressive, with more repetition of the same word like twelve times. It was good in the other songs, but in this one it seems really annoying. The album wraps up with “Armistice.” What’s this? Aggression? What happened to the happy BS that permeated this whole experience? Still, nothing other than that stands out in this one, and we’re left wanting just a little more.

Now, don’t be confused. This whole album is fairly good, but kinda monochromatic as far as different sounds go. Be sure to check out “Lisztomania,” “1901,” “Love Like Sunset,” and “Countdown (Sick For The Big Sun)

EDIT: I decided that the dual review was too long, so the Royksopp portion has been moved to it’s own post, entitled “You Know I’m Happy Up Here.”

The Shepherd’s Dog Part Two

{ May 25, 2009 @ 5:34 PM } · { Music }
{ Tags: , , , , , } · { Leave a Comment }

Track 6: Innocent Bones

I don’t listen to this one a ton, I think maybe because I just zone out while I listen to it, and that’s not usually what I like to do, especially whit Iron & Wine. His music is so gorgeous, you want to get every last intricate detail. The vocals on this one are reminiscent of something he would have recorded on Creek Drank the Cradle; very breathy and quiet, but still understandable. However, the production is just like the rest of the album. This song is very Caribbean touched, and at 3:43 is one of the shortest songs on the album.

Track 7: Wolves (Song of the Shepherd’s Dog)

The title track doesn’t disappoint. It has a fast beat, and a constant bass strumming. The acoustic guitar is almost completely gone on this one, but there happens to be a great electric riff. There’s also a little piano splashed in there, another uncommon thing for Mr. Beam. This is one of those songs that even though there’s so much going on, it sounds like it’s coming at you from about a mile away; some slight echo in the vocals and a constant background drone help to add to the storytelling effect of the song. It also features one of the longest outros to be experienced in an Iron & Wine song.

Track 8: Resurrection Fern

I kinda liked this song at first, but I didn’t think it was anything fantastic. The harmonies are great, but that’s a usual I&W motif. And then I went on iTunes, and everyone said it was the best song of the album. What? There are at least 5 better songs on this disc. I mean, this song is good, but way overrated. And then my sister’s friend Stacie, someone I have a lot of respect for, was talking about I&W, and said “Oh yeah, Resurrection Fern is my favorite.” Am I missing something? Is there a hidden meaning here that I’m not getting? What’s so great? Please, If you read this and you know, comment.

Track 9: Boy With a Coin

This was the first Iron & Wine song that I knew (other than “Such Great Heights.”) And it’s still one of my favorites, if not my favorite. I love how the key and harmonies are mildly creepy, and how the handclaps speed up during the chorus. I love the guitar solo, I love the imagry it brings up, I love how the verses end, I love the “Aah’s” I love the guitar melody. This is the best of the best right here. As the song starts, you can already tell you’re in for something good, even the melody of the verses is interesting, but not strange enough to be jarring.

“A girl with a bird she found in the snow that flew up her gown, and that’s how she knows that God made her eyes for crying. That bird then left the ground, and circled the earth.”

Track Ten: The Devil Never Sleeps

Now, here’s a really strange song. It’s completely piano driven! Hardly any guitar at all! And it’s refreshing and fun. An upbeat sarcastic look at (What? Southern Society? I don’t even know.) This is by far the shortest track on the album (only 2:07!) but it’s still a fun little jaunt into what Sam Beam would be if he was a pianist: still good old Sam with his Southern Gothic poetry. Fantastic. Everybody bitchin’; there’s nothing on the radio.

Track 11: Peace Beneath the City

This one actually leaves me a little cold. It seems foreign to me, like my brain just doesn’t want to listen to it. It’s a weird sensation, let me tell you. Maybe you’ll love this song, though. So I’ll leave it alone.

Track 12: Flightless Bird, American Mouth

I was a quick, wet boy, dive into deep for coins…

This song is really powerful to me – it might be one of the most beautiful sounds ever produced by humankind. This is the other song that my mother has voiced her opinion about. She said, simply, “This is so beautiful.” and I don’t think she could have captured it any better. This is another one where I don’t even care what the lyrics; I just like to sit and listen to the noise. Especially during the outro – it’s all kinds of arpeggios going at once and overlaping, with “aahs ” and “La la la’s” and “Ah ha’s” going over it in a wonderful conglomeration of sound. Truely fantastic.

Love Was A Promise Made of Smoke

{ May 24, 2009 @ 4:44 AM } · { Music }
{ Tags: , , , , , } · { Leave a Comment }

In a frozen copse of trees.

For my next review (I’m on a roll! Heh.) I’m gonna go way back. All the way back to, like, 2007. Holy Shit! Such a long time. And what came out in 2007 that I still listen to all the time, you ask? Well, a lot of things, but this is one of the most notable ones. I give you:

Iron & Wine:

The Shepherds Dog

Track one! (Pauses, stares at the screen, then the keyboard.) What’s track one? Hold up, let me open iTunes… *cue elevator music*

Aha! Track one! Pagan Angel and A Borrowed Car. What a fantastic song. You know, I named this post before I even knew what the first song was, and ended up naming after the first lyrics on the album. KZS. (KraZy-aSs. Don’t ask. Just embrace.) I’ve listened to this song *checks playcount* 47 times, and I still don’t know all the lyrics. Wanna know why? Because I just sing the backup vocals to my hearts content. They’re so much fun! And so easy! This was one of my favorites back when the only reason I knew who Iron & Wine was *now pause because I hate it when there’s the same word twice in a row even when it makes sense* was because he was mentioned in Questionable Content and I decided to LimeWire (who uses that awful thing anymore) every band mentioned in the entire comic. Alright. Now to actually talk about the song. *presses play*

Quiet beginning. Makes me turn it up everytime. And you know what happens then? You’re engulfed in the fantastic noise that Sam Beam is gracing the world with. I always picture every single lyric of this song, word for word, as they happen.  Smoke drifting up out af a cirdle of snow heavy branches, coming up from a fire keeping a large bearded man warm. Possibly accompanied by a wolf. A dead body floating in a harsh gray ocean. The flaming sword of a red haired angel looking sexy, with God in the background just shrugging. You get it. This song just makes me want to do nothing besides listen to it, which is a very powerful thing in this world of distractions. Luuuuuh leather boots. Beauuuuuu chapel pews. Mooooorrrn at the well. Eeeeeeeee all the horses fell. Snnaaaaaaaa posibility. And how about that last image?

While with his gun the pagan angel rose to say
“My love is one made to break every bended knee”

I love you Sam Beam.

Track Two! White Tooth Man. I didn’t like this one at first, but then it grew on me. Just like how the intro fades in, it faded into my… thing. Wow. That died. Anyway, song. There are so many lyrics flying by you, it’s almost overwhelming. Not almost. It is. And then you get a break at 55 seconds with these amazing harmonies. It lasts for 12 seconds, and then you’re right back into the crazy. Aw man.

Track Three! Lovesong of The Buzzard.  Another early favorite. When the guitar goes into the high part in the sixth measure, you’re just like “Yep. This is gonna be good.” Yesterday the solace of a Poison Fish. Tomorrow I’ll be guessing on her blood red lips. Cue the organ! Cue another harmony! Cue whatever that is! (Guitar? or something more sinister? Who knows? It seems awfully swoopy for a guitar. I notice that Sam often puts really long instrumental breaks between two verses and that’s the whole 4 minute song. Works for me.)

Tattoo of a Flower on a broken wrist.

Track Three! Four! Carousel. You know an album is good when not only do you love it, but your mother requests tracks from it. This is one of those tracks. Mama Kathleen loves this one, and that love is more than justified. This track was discovered after the initial wave of buying random I&W songs on iTunes, but before the very last couple of tracks from this album were discovered (last ones being White Tooth Man, Innocent Bones, Wolves, and Peace Beneath The City) One time this song came on in a random play and one of my friends turns to me and goes “What the fuck is this shit?” That’s when I knew I had two things in my hands. A polished turd, and a true gem. So I threw out the turd-friend and treasured the gem-song. And now! Song!

Almost home when I missed the bottom stair. There are a lot of people who hate the autotune. This is one of those places where the autotune is so beautiful and so right. This song would not be the same without the (warbling? That seems like too much of a negative thing to describe this wonderful sound.) and the pause before the word “bees.” is just so amazing. Who new a pause could be a powerful. I sure did. and the part the begins at 1:57? Best part of the whole album. Hands down. All the way through 2:49. And then that gorgeous guitar comes back in. That’s another thing about I&W songs. The guitar usually has the hook if there is one. Who cares about the vocals, just listen to the instrumentation! When that crackhead built a boat, ans said “Please before I go; May our only honoured bond be the kinship of the kids and the riot squad.”

Track Five! House By The Sea. Is that a sax? I can’t tell. Well it’s great either way. Huh! There’s the guitar! And instant harmonies. Always good. I love harmonies the most. One of the few songs on this album that actually makes you want to dance. It also tells a fantastic story; definitely listen to the lyrics on this one. He sounds almost desperate on “Changing the sound of my name” It’s just so awesome. Alright. I’m tired. I’m probably gonna publish just these tracks and return at alater date when I can think. Do you see the review for this song? It sucks hardcore. Becaus eI can’t think of anything to say. Because. I’m tired. Goodnight.

A Mix CD That I Would Make

{ May 24, 2009 @ 3:29 AM } · { Music }
{ Tags: , , , , , , , , , , , , , , , , } · { Comments (3) }

Alright, Bri. You were nice enough to me and I thought “I could do this. This could be fun.” So I’m a blogger now. Huzzah. I wrote the following review of “Dark Was The Night,” a charity album released by Red Hot for the iTunes store but it was too long so I copied and pasted it onto facebook and then here. Enjoy my first official review! Here’s to my quality going up soon! And hopefully I’ll figure out how to link to stuff (songs, official artist websites, et cetera.)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

“Knotty Pine” by Dirty Projectors and David Byrne – 8/10: This is a good opener, a kind of palette cleanser for the rest album. This is not standard rock, and you can definitely hear the David Byrne influence. I love the Piano beat throughout.

“Cello Song” by The Books and Jose Gonzalez – 9/10: I would go so far as to say that not only does this cover do justice to the original (by Nick Drake) but is in fact better, a rare occurrence in the music world. The sort of dull smack of the guitar in the background is a great effect, as well as the rain noises. I always loved this song, and this just confirms my love.

“Train Song” by Ben Gibbard and Feist – 7.5/10: I think this song’s score might be affected by how overrated it is. I think people go “OMG Feist and Ben holy shat.” Although, I’m listening to it now and it is pretty catchy. Fine. 8/10. … 8.5? Okay this is making me smile really big. 9/10. Congrats guys.

“Brackett, WI” by Bon Iver – 9.5/10: This song is a masterpiece. No really, It’s almost as good as “Skinny Love” (Which is a solid 10 in my book.) When he hits those harmonies at 1:15, it gives me goosebumps. And that bass beat is so pulsating. You feel the life in this song. And another thing, I don’t usually care about lyrics, I’m more of a “just listen to the music” guy, but these lyrics fill me with hope and longing. Another SCORE! for Mr. Good Winter (which is what Bon Iver means in French if you didn’t know.)

“Deep Blue Sea” by Grizzly Bear – 8.3/10: Reminds me of something Iron & Wine would write, but the vocals are nothing like him. It adds a fun touch to the Southern Gothic that we’ve grown to know. I’d never heard of Grizzly Bear before this album, but I’ll probably seek them out sometime soon. I’m impressed. Especially with their song with Feist. (See: Service Bell)

“So Far Around the Bend” by The National- 7/10: Eh. It’s okay. It’s not bad or anything, but it kinda seems like a song anyone could write. I’m sure this song will grow on me. They always do. Bonus points for the flute part after the hook. Very Sufjan. And I love Sufjan.

“Tightrope” by Yeasayer – 8/10: From the first notes of this song, I start giggling. And then he starts singing, and I keep giggling. Oh man. If being earnest can be this good, then please do. Also? “Never mind, never mind, never mind,” etc… get me every time. Especially that low one. Ahaha.

“Feeling Good” by My Brightest Diamond – 10/10: Since purchasing this album, this cover has driven me to exploring all of My Brightest Diamond’s work. It’s so simple, yet so powerful. The guiet grow with her Shara’s gorgeous voice, the slight dissonance of the strings, and then that smooth, slow bass groove comes in, and Oh! The trumpets. And then when she wails on that last refrain, perfection. I’m listening to this song again. And you know what? “I’m feelin’ goooood.”

“Dark Was the Night” by Kronos Quartet- 5/10: I would be okay if this song didn’t exist. I mean, it obviously has a melody, but it just sounds like screwing around with your badly tuned guitar and violin. Great title, boring song.

“I Was Young When I Left Home” by Antony and Bryce Dessner- 8.5/10: BEWARE: This song is a grower. Give it a couple of listens before you give it a final verdict. Kind of like “I Just don’t Think I’ll Ever Get Over You” form the Garden State Soundtrack. Gorgeous song of longing and reminiscence. Who’s singing? Antony or Bryce? He deserves an award.

“Big Red Machine” by Justin Vernon and Aaron Dessner – 10/10: What’s this? More strings? I’m always a fan of strings. Ooh and piano walls. And Bon Iver-esque vocals (Yes, I realize he wasn’t the first.) I can’t even understand the lyrics and this song makes me well up. That takes major skill. Maybe it’s not even supposed to be sad. I don’t care.

“Sleepless” by The Decemberists – 6.5/10: This is one of those bands that I never got into even though everyone I know says I would like them, and this song isn’t motivating me. Even when the rest of the band comes in at 3:00, I still feel like the song is empty. But then the backup vocals come in at 3:55, and I’m like “Ah, there it is.” But then is goes away again after the chorus is over. It’s almost as if the build is too slow. Which is interesting because I can contentedly listen to Iron & Wine’s “The Trapeze Swinger” all the way through. *Le Sigh*

“Die” by Iron & Wine – 6/10: Speaking of Iron & Wine, this song is a major dissapointment. There’s nothing here! C’mon, Sam.

“Service Bell” by Grizzly Bear and Feist – 9/10: From the first notes, this song has you squinting one eye and cocking your head. The whole sound is exploratory from the beginning. And then you get a minute in and this gorgeous noise washes over you, with that same quizzical feel. This song is asking you a hidden question. Genius.

“You Are The Blood” by Sufjan Stevens – 11/10: The Best Song on the compilation. Holy crap, Sufjan. I was very surprised when I initially heard the computer squawking, and then I remembered Enjoy Your Rabbit (one of his earlier discs.) The blaring horns give me goosebumps everytime, and I get images of a robot army or something (forgive my strange brain.) This song almost makes me want to shamble aimlessly around like a zombie; I’m not sure whether or not that’s a good thing. Even in the quiet parts it has this nervous tension that is threatening to explode at all times. 3:00-3:52 is almost scary. I was telling my sister about this song, and I said “It’s ten minutes long, so be prepared for a trek. A trek… OF PURE AWSOME.” Be sure to listen to this song in both headphones everytime, because it loses some of it’s effect if you don’t.

“Well-Alright” by Spoon – 8/10: Standard Spoon, which is by no means a bad thing.

“Lenin” by The Arcade Fire – 9.5/10: Huzzah for The Arcade Fire! The syncopated piano featured during the chorus is one of the best parts, as well as the standard singing/yelling that is SO Arcade Fire. I love them. So much. They’re so quirky! Like me!

“Mimizan” by Beirut – 8.7/10: Is that accordian? WHAT? Who knew that could be pleasant? Another grin inducer.

“El Caporal” by My Morning Jacket – 6/10: Another Eh. Honey, who told you you could sing? They lied. And they have backup singers that sound like the guy who sings “All Good Gifts” on the original recording of Godspell. This… this whole song was just a bad plan.

“Inspiration Information” by Sharon Jones and The Dap Kings – 7/10: These guys wish they lived in the 70′s. Total classic funk. Which I’ve never been a huge fan of, so there we go.

“With A Girl Like You” by David Sitek – 6.7/10: Oooooooooooh Booy! Sub-par singing accompanied by fuzzy electronics, and an attempted saxophone hook. Usually I would like this, if you took out the words “Sub-par” and “attempted.”

“Blood Part 2 (Featuring Sufjan Stevens & Serengeti)” by Buck 65 – 4/10: Um… What? Rap? This is an indie rock album. This song would be good if it didn’t feel so out of place. Maybe if there were a couple other rap songs, but maybe not even then. Take out the distorted wailing, then call me. It just makes me want to listen to “You Are The Blood.”

“Hey, Snow White” by The New Pornographers – 8.5/10: This song would be a solid 9 if there was a little less repetition and a little more lyrics. What does Snow White have to do with the company going public? But the harmonies are fun, and all the instrumentation.

“Gentle Hour” by Yo La Tengo – 9/10: Another band I should probably start listening to. And this song is motivating me. This gorgeous 5-minute piece nearly puts me to sleep. Not out of boredom, put out of the gentle rocking it gives my ears. Maybe I’ll put this song on whenever my dad gets angry.

“Another Saturday” by Stuart Murdoch – 5/10: This song just makes me roll my eyes. Stealing a melody only works if the melody isn’t boring, and if you can do something interesting with it. Not just plod through like a camel. Oh and your singing sounds like one to. Okay, that may be a little harsh, but…

“Happiness” by Riceboy Sleeps – 8/10: Beautiful 8-minute ambiance? Yes, please.

“Amazing Grace” by Cat Power & Dirty Delta Blues – 5/10: It’s Amazing Grace. It’s boring. Always.

“The Giant of Illinois” by Andrew Bird – 9/10: I’m always a fan of layers of sound, and this song deploys them masterfully, at just the right moments. Also, humming, when used correctly, is a very powerful effect. This man’s stratching vocals make this song what it is on the word “Giant.”

“Lua” by Conor Oberst and Gillian Welch – 7.3/10 : From the first release of the melody of this song, I’m intrigued. I was never a Conor Oberst fan because I felt I just couldn’t listen to his voice. But maybe it’s time to give the Bright Eyes hype-proclaimed-genius another try. The harmonies in this one are not standard, and are almost hard to listen to; they’re the only dissonance in the whole song as far as I can tell.

“When the Road Runs Out” by Blonde Redhead & The Devastations – 4/10: Ew. The only thing to hear in this song is a whiny, breathy, sad little girl. Backed by a really slow, percussionless, dirging, fuzzy piano played backwards that fades away until all you hear is static.

“Love vs. Porn” by Kevin Drew – 6/10: So, apparently the end of this album is actually meant to lull you to sleep. You’d think something with the word “porn” in the title would be harsher. Again with the distorted and quiet background, backing distorted and quiet vocals. Not even use of the trumpet could save this one. How sad.

Overall, this album is really good, but looses steam towards the end.

Follow

Get every new post delivered to your Inbox.