In 2015 Mumford and Sons went electric.
After massively successful debut and sophomore albums, the British neo-folk rock band that stomped and banjo-plucked their way to the music industry's heights decided on a new direction, and asked their fans to trust them on this journey. But amid the weeping and gnashing of teeth, distant wails of "where's the banjo?" and clockwork dismissals by industry critics, it wasn't a happy journey. As I wrote in an earlier blog post, Wilder Mind was a perfectly charming rock album, but in the shadow of the folk revival M+S helped engineer it paled in comparison for many, and perhaps a majority of, fans.
Three and a half years later their newest album, Delta, strays even further from the original formula, almost as if fealty to music's possibilities and group evolution is more important to them than glowing reviews. And again, the reception is middling at best. So have M+S officially lost their way, tone-deaf to the quality of the magic they used to make? Or is there possibly another explanation?
***
Sigh No More and Babel are the M+S acoustic albums, and share plenty in common: four-part harmonies, furiously syncopated guitar strumming, dramatic crescendos, excellent hooks, grandiose lyrics, and a very abused kick drum. M+S, in their old-timey vests and hats, were peddling a populist new folk that dispensed with the regional intricacies that often make historical folk difficult to penetrate.
It helps to place these albums in the context of the larger musical landscape of the late-aughts and early teens. It may be hard to remember a time when music was quiet, but singer-songwriters dominated the 2000s, and Colbie Caillat, Jason Mraz, Regina Spektor, Glen Hansard, Corinne Bailey Rae, and dozens of their contemporaries specialized in quirky, even Gallic sounds and ruminations. When Mumford and Sons and fellow British act Florence + the Machine came screaming onto the world stage in 2009, they woke everyone up. Music became big, epic, vast - everyone from Lady Gaga to Fun. to Kings of Leon to Beyonce to OK Go to Katy Perry to Sia got in on the game.
When M+S debuted, what they were doing was fresh and exciting by 21st century standards. Their stage name sounded appropriately hipster-vintage, their album cover was inscrutably indifferent, and their carefully curated look ran directly parallel to the elder Millennial men with their silly mustaches and just-burgeoning beards. Fans amassed in veritable hordes. Small-venue concerts sold out. Music festivals were abuzz. Babel was released in 2012 and was exactly more of the same; the boys won Album of the Year at the Grammys (partly to make up for them not winning Best New Artist previously). The love affair was solidified.
And then came that moment when every musical act has to decide where to go from there - risk criticism for sticking with the formula, or risk criticism for trying something new? Take your pick! I say very confidently that M+S fans would have been blissfully content with a third album of exactly more of the same, and critics would have chided them for playing it safe while still paying homage to their legacy which is the most anyone can ask for.
So they mindfully chose moving in a new direction.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
7.04.2019
8.19.2018
New music part 3/Music roundup.
Lots to cover!
Joseph. Discovered via Pandora. This trio of sisters from Joseph, Oregon is rooted in folk sensibility but also manages to defy description over the course of three albums; if I were to try I'd call it neo-alt-folk. Their first album, Native Dreamer Kin, is firmly three-part harmony swelling over acoustic accompaniment, with gorgeous standout "Tell Me There's a Garden"; the second, I'm Alone No You're Not, was produced by Mike Mogis and joins the strengths of their harmonies and songwriting with modern accoutrements. Tracks like "Planets" and "Sweet Dreams" bring the neo-folk; "S.O.S." and "Blood and Tears" sound like chart-toppers from the early 90s; and "More Alive Than Dead" is just insanely beautiful, evoking the quiet, mystical forests of the northwest with just a muted piano, that harmony, and a soft river of synths.
Their most recent album, Stay Awake, is a short seven tracks which sounds frankly like the sisters singing whatever the hell they please. There's a cover of "Everybody Wants to Rule the World," a stripped down, folksier cover of their own song "Planets," and a synthesized, beat-heavy version of, again, their own track "Lifted Away" from Native Dreamer Kin. It also features one of my newest favorite jams, "Moonlight Mile." These sisters are mega-talented and their music is endlessly listenable; check 'em out!
Joseph. Discovered via Pandora. This trio of sisters from Joseph, Oregon is rooted in folk sensibility but also manages to defy description over the course of three albums; if I were to try I'd call it neo-alt-folk. Their first album, Native Dreamer Kin, is firmly three-part harmony swelling over acoustic accompaniment, with gorgeous standout "Tell Me There's a Garden"; the second, I'm Alone No You're Not, was produced by Mike Mogis and joins the strengths of their harmonies and songwriting with modern accoutrements. Tracks like "Planets" and "Sweet Dreams" bring the neo-folk; "S.O.S." and "Blood and Tears" sound like chart-toppers from the early 90s; and "More Alive Than Dead" is just insanely beautiful, evoking the quiet, mystical forests of the northwest with just a muted piano, that harmony, and a soft river of synths.
Their most recent album, Stay Awake, is a short seven tracks which sounds frankly like the sisters singing whatever the hell they please. There's a cover of "Everybody Wants to Rule the World," a stripped down, folksier cover of their own song "Planets," and a synthesized, beat-heavy version of, again, their own track "Lifted Away" from Native Dreamer Kin. It also features one of my newest favorite jams, "Moonlight Mile." These sisters are mega-talented and their music is endlessly listenable; check 'em out!
Haim. Yes, I know I'm late to the Haim party, and here's why: back in 2014 when their debut album came out, I swear they were described as a folk trio. I swear. But they're not, they just are again a trio of sisters who sing in perfect harmony - over perfectly produced pop. That wasn't my bag at the time so I let it go, and gave them another chance this summer with their newest, Something to Tell You. It's still perfectly produced pop, but so dang catchy.
I don't require that singers also be songwriters and instrumentalists, but I love when young talented women go all in, as Haim does (and Joseph, and First Aid Kit, and...). They have an inherent sense of rhythm which they display in an impressive use of percussion, and they also know their influences inside and out - you can attach almost every song to not just a genre or era but a specific act. Throughout the album you'll hear Prince, George Michael, TLC, MJ, Florence + the Machine, Phil Collins, etc. Something to Tell You is impeccably produced and a ton of fun; go listen!
2.03.2018
New music part 2.
My life is a series of music eras; I go through kicks. Throughout all four years of high school I was on a classical kick; in college it was rock. Post-college I devoured blues and soul; then I swerved to pop and neo-alternative in the 2010s. In my previous new music post in 2016 I heralded James Blake, Active Child, Banks, and Lo-Fang, all acts who are experimenting with the vanishing boundaries of their genres (and a couple who are simply creating their own). And now, after flirting with it on and off for a few years, I believe I have entered the folk era.
Though as with any genre there are various types of folk, the sound I'm most drawn to centers on simple harmonies, acoustic backing, and the kind of simmering melancholy that runs through even songs about real love. Please, keep your twang to a minimum and take your hoedowns elsewhere.
First Aid Kit. I'm leading off with my newest discovery and, I confess, my newest obsession. While giving Pandora literally one last shot to do what it's supposed to, the app brought forth two Swedish sisters singing (in English) robust Americana by way of the 60s. I caved after about three songs and jumped to my Prime music app to listen to the albums proper.
Ruins is Klara and Johanna Soderberg's most recent album, out just a few weeks ago, and it is stunning in its alternating moments of darkness and light, fragility and power, and in its despair. I believe some of the best art is born from loss, and the pain of younger sister Klara's broken engagement courses through the entire album; but wisely, and never wallowing. What I really like about the sisters, musical prodigies who write everything they sing, is how they join upbeat sounds with 'downbeat' lyrics, and how it is not in the least bit jarring. All the same, the tonal universe they craft never loses sight of the melancholy I seek. On "Rebel Heart" they sing "Nothing matters/all is futile" to a march tempo; "To Live a Life" is so delicately beautiful you don't notice at first when one of them nearly whispers "I'm alone now." "Fireworks," an instant crowd pleaser, sounds like an unreleased track from Neptune City-era Nicole Atkins, and the title track is so perfect I'd have to cease with words and use shades of color and light to try and describe what it evokes in me.
Though as with any genre there are various types of folk, the sound I'm most drawn to centers on simple harmonies, acoustic backing, and the kind of simmering melancholy that runs through even songs about real love. Please, keep your twang to a minimum and take your hoedowns elsewhere.
First Aid Kit. I'm leading off with my newest discovery and, I confess, my newest obsession. While giving Pandora literally one last shot to do what it's supposed to, the app brought forth two Swedish sisters singing (in English) robust Americana by way of the 60s. I caved after about three songs and jumped to my Prime music app to listen to the albums proper.
Ruins is Klara and Johanna Soderberg's most recent album, out just a few weeks ago, and it is stunning in its alternating moments of darkness and light, fragility and power, and in its despair. I believe some of the best art is born from loss, and the pain of younger sister Klara's broken engagement courses through the entire album; but wisely, and never wallowing. What I really like about the sisters, musical prodigies who write everything they sing, is how they join upbeat sounds with 'downbeat' lyrics, and how it is not in the least bit jarring. All the same, the tonal universe they craft never loses sight of the melancholy I seek. On "Rebel Heart" they sing "Nothing matters/all is futile" to a march tempo; "To Live a Life" is so delicately beautiful you don't notice at first when one of them nearly whispers "I'm alone now." "Fireworks," an instant crowd pleaser, sounds like an unreleased track from Neptune City-era Nicole Atkins, and the title track is so perfect I'd have to cease with words and use shades of color and light to try and describe what it evokes in me.
1.14.2018
American Idol Albums: Best of the alumni.
Disclaimer: no, I haven't heard every single album put out by a former AI contestant, for clear reasons.*
American Idol flipped the script on the hegemonic music industry by allowing potential superstars to bypass the well-established (unethical, sexist, pay-for-play) gauntlet while simultaneously cultivating a huge fanbase; naturally, this means that many voices over its lifespan strained to make sure we all knew the contestants were nothing but hacks, that 'literally' none of them could hold a tune in a bucket, that the show had never produced a viable music industry artist. You, dear reader, being of sound mind and good judgement, are at least dimly aware that can't really be true.
But discussions of the way people lost their mind over Idol are for other blog posts. I simply state this in order to segue to a list of the albums put out post-Idol that give the lie to the rabid naysayers.
A basic Google search will show that there have been more successful Idol albums, and contestants, than the establishment would want you to remember. For example, Kelly Clarkson, Fantasia Barrino, Carrie Underwood, and Jennifer Hudson have all won Grammys (and all have won multiple save for Tasia) and the list of those who have been nominated is quite long. There are even more who have gone platinum - the industry standard of success, at least unless an Idol contestant achieves it - including the aforementioned plus Ruben Studdard, Clay Aiken, Jordin Sparks, David Cook, and Taylor Hicks. Hell, Daughtry's debut album sold 4 million copies. Carrie's Some Hearts sold 7 million. At this point, if you're naysaying, you're just a jerk.
Even so, you can factor in the rabidity of fan bases (especially when albums were forced out the same year to capitalize on a winner or contestant's popularity) or the naturally welcoming arms of genres like country. When it comes to overall quality - and not record sales or even runner-up status - which contestants can go to their grave saying that they put out music that they are damn proud of, no matter what? (IMO, of course) Herewith, that list.
American Idol flipped the script on the hegemonic music industry by allowing potential superstars to bypass the well-established (unethical, sexist, pay-for-play) gauntlet while simultaneously cultivating a huge fanbase; naturally, this means that many voices over its lifespan strained to make sure we all knew the contestants were nothing but hacks, that 'literally' none of them could hold a tune in a bucket, that the show had never produced a viable music industry artist. You, dear reader, being of sound mind and good judgement, are at least dimly aware that can't really be true.
But discussions of the way people lost their mind over Idol are for other blog posts. I simply state this in order to segue to a list of the albums put out post-Idol that give the lie to the rabid naysayers.
A basic Google search will show that there have been more successful Idol albums, and contestants, than the establishment would want you to remember. For example, Kelly Clarkson, Fantasia Barrino, Carrie Underwood, and Jennifer Hudson have all won Grammys (and all have won multiple save for Tasia) and the list of those who have been nominated is quite long. There are even more who have gone platinum - the industry standard of success, at least unless an Idol contestant achieves it - including the aforementioned plus Ruben Studdard, Clay Aiken, Jordin Sparks, David Cook, and Taylor Hicks. Hell, Daughtry's debut album sold 4 million copies. Carrie's Some Hearts sold 7 million. At this point, if you're naysaying, you're just a jerk.
Even so, you can factor in the rabidity of fan bases (especially when albums were forced out the same year to capitalize on a winner or contestant's popularity) or the naturally welcoming arms of genres like country. When it comes to overall quality - and not record sales or even runner-up status - which contestants can go to their grave saying that they put out music that they are damn proud of, no matter what? (IMO, of course) Herewith, that list.
12.12.2015
The year of music.
Every now and then a bunch of my favorite artists will come out with new albums all within the same calendar year, which is obviously awesome, so I've cobbled together a rundown of each from this richly musical 2015. Keeping my 'analysis' to one paragraph apiece is almost heartbreaking, but I must.
Kelly Clarkson, Piece by Piece
Release date: March 3
Though her last album, Stronger, won her her second Best Pop Album Grammy award, I feel this is the, er, stronger album - more variety, more vivid production, even if she doesn't break any molds. It's shocking but her American Idol contract had her locked in for SEVEN albums, and with this release she is finally free. Seriously, OMG. Here's hoping with her next one she can really try something new. Side note: Piece by Piece was just nominated for Best Pop Album for 2016.
Best song: "Good Goes the Bye"
Her best album: Piece by Piece
Mumford and Sons, Wilder Mind
Release date: May 4
Their latest release is a sad study in the bullshit way nobody is ever happy with anything. If M&S had put out another acoustic album everyone would have allegedly been bored, but they did a 180 and went 'electric' and everybody was all omg, whaaat, I don't get it, who do they think they are, Coldplay, omgaaah... Objectively Wilder Mind is a perfectly solid rock album that is very charming and would have been the darling of worthless overpaid music critics everywhere had this been their debut. As with some of the best things, the more you spend time with this album, the more you understand it, and the more brilliant it becomes.
Best song: "Tompkins Square Park"
Their best album: Babel
Florence + and the Machine, How Big, How Blue, How Beautiful
Release date: June 1
See here.
Best song: "Long and Lost"
Their best album: How Big, How Blue, How Beautiful
Lana del Ray, Honeymoon
Release date: September 18
A gentle recap: Born to Die was a huge breath of fresh air; Paradise is stunningly beautiful and dark. We'll forgive her Ultraviolence since apparently Dan Auerbach knows hypnosis. Honeymoon is a true return to form - yes, she seems to be singing even slower, yes, somehow she's even more tortured - but that's why we listen. The first four songs come off a bit disappointing at first, because an entire album along their lines would sink like a stone, but everything picks up with "High By the Beach" and doesn't let up till we've floated past "Swan Song." LDR has a funny way of setting up a song's core melody, and then hitting the bridge and spinning a whole new soundscape; the effect is just subtle enough to make you lose yourself for a moment.
Best song: "Blackest Day"
Her best album: Born to Die
Carrie Underwood, Storyteller
Release date: October 23
Carrie can do no wrong, let's just get that out of the way. But her last album, Blown Away, was a bit underwhelming. She has new producers for Storyteller and it definitely shows - she's got some blues, some 80s, and - some R&B, which I think is fantastic. It shows in her inflections in the song "Heartbeat" and the structure of the chorus of "Clock Don't Stop." While rap-country may never take off (sad! just kidding), I'm a huge fan of musical acculteration and think there's so much potential in marrying country and R&B, and frankly it should be the direction of Kelly Clarkson's next album. Just sayin'. The only negative I have for this album is it's missing a really beautiful ballad in the vein of "Someday When I Stop Loving You" and "Wine After Whiskey." I was so looking forward to a new one.
Best song: "Clock Don't Stop"
Her best album: Play On
Ellie Goulding, Delirium
Release date: November 6
Ho-kay. Halcyon is my favorite album of the decade. She killed me and raised me from the dead with that one. I needed more of that. And...she went in a completely different direction and I KNOW, I just defended Mumford & Sons, but come on. Like 98 dance tracks, seriously. Beneficent critics have tried to point out 'ballads' - that's a joke, there ain't one damn slow song. Anyway, there are a couple of quality tracks but I'm so let down with this...plus, ok, she's in a relationship, fine, whatever, but of course that means she has lost the ability to write some real-ass lyrics. Amid the ridiculously overproduced beats scientifically designed to induce people to dance in da club, there's no way she could fit in a line like 'I think of dying all the time.' Tsk, tsk!!
Best song: "Army"
Her best album: Halcyon
Adele, 25
Release date: November 20
So there's this British singer who puts out some good songs, don't know if you've heard of her, but I'm sure one day she'll get her due. Anyway. I think 25 is legitimately better than 21 - 21 had some highest highs ("Hiding My Heart Away") but also several tracks I would regularly skip. The only track on 25 I find myself zoning out on is "River Lea." She's keeping up with the times by having fresh backing beats, and yes, her voice sounds stronger; let me give you a little tip. A person's voice doesn't fully mature until their early 30s. So...expect her voice to continue to get stronger. Be 'in the know' at your next party. Side note: I don't get the high praise for the Smeezingtons' production of the track "All I Ask." How hard is it to produce a vocal over a piano. Geez, people.
Best song: "Water Under the Bridge"
Her best album: 25
Well that was fun. Maybe next year my dudes can come out with new stuff? Ray LaMontagne, Kings of Leon, Gavin deGraw, Jonny Lang, Casey James? Etc. etc.? Please and thank you. :)
Kelly Clarkson, Piece by Piece
Release date: March 3
Though her last album, Stronger, won her her second Best Pop Album Grammy award, I feel this is the, er, stronger album - more variety, more vivid production, even if she doesn't break any molds. It's shocking but her American Idol contract had her locked in for SEVEN albums, and with this release she is finally free. Seriously, OMG. Here's hoping with her next one she can really try something new. Side note: Piece by Piece was just nominated for Best Pop Album for 2016.
Best song: "Good Goes the Bye"
Her best album: Piece by Piece
Mumford and Sons, Wilder Mind
Release date: May 4
Their latest release is a sad study in the bullshit way nobody is ever happy with anything. If M&S had put out another acoustic album everyone would have allegedly been bored, but they did a 180 and went 'electric' and everybody was all omg, whaaat, I don't get it, who do they think they are, Coldplay, omgaaah... Objectively Wilder Mind is a perfectly solid rock album that is very charming and would have been the darling of worthless overpaid music critics everywhere had this been their debut. As with some of the best things, the more you spend time with this album, the more you understand it, and the more brilliant it becomes.
Best song: "Tompkins Square Park"
Their best album: Babel
Florence + and the Machine, How Big, How Blue, How Beautiful
Release date: June 1
See here.
Best song: "Long and Lost"
Their best album: How Big, How Blue, How Beautiful
Lana del Ray, Honeymoon
Release date: September 18
A gentle recap: Born to Die was a huge breath of fresh air; Paradise is stunningly beautiful and dark. We'll forgive her Ultraviolence since apparently Dan Auerbach knows hypnosis. Honeymoon is a true return to form - yes, she seems to be singing even slower, yes, somehow she's even more tortured - but that's why we listen. The first four songs come off a bit disappointing at first, because an entire album along their lines would sink like a stone, but everything picks up with "High By the Beach" and doesn't let up till we've floated past "Swan Song." LDR has a funny way of setting up a song's core melody, and then hitting the bridge and spinning a whole new soundscape; the effect is just subtle enough to make you lose yourself for a moment.
Best song: "Blackest Day"
Her best album: Born to Die
Carrie Underwood, Storyteller
Release date: October 23
Carrie can do no wrong, let's just get that out of the way. But her last album, Blown Away, was a bit underwhelming. She has new producers for Storyteller and it definitely shows - she's got some blues, some 80s, and - some R&B, which I think is fantastic. It shows in her inflections in the song "Heartbeat" and the structure of the chorus of "Clock Don't Stop." While rap-country may never take off (sad! just kidding), I'm a huge fan of musical acculteration and think there's so much potential in marrying country and R&B, and frankly it should be the direction of Kelly Clarkson's next album. Just sayin'. The only negative I have for this album is it's missing a really beautiful ballad in the vein of "Someday When I Stop Loving You" and "Wine After Whiskey." I was so looking forward to a new one.
Best song: "Clock Don't Stop"
Her best album: Play On
Ellie Goulding, Delirium
Release date: November 6
Ho-kay. Halcyon is my favorite album of the decade. She killed me and raised me from the dead with that one. I needed more of that. And...she went in a completely different direction and I KNOW, I just defended Mumford & Sons, but come on. Like 98 dance tracks, seriously. Beneficent critics have tried to point out 'ballads' - that's a joke, there ain't one damn slow song. Anyway, there are a couple of quality tracks but I'm so let down with this...plus, ok, she's in a relationship, fine, whatever, but of course that means she has lost the ability to write some real-ass lyrics. Amid the ridiculously overproduced beats scientifically designed to induce people to dance in da club, there's no way she could fit in a line like 'I think of dying all the time.' Tsk, tsk!!
Best song: "Army"
Her best album: Halcyon
Adele, 25
Release date: November 20
So there's this British singer who puts out some good songs, don't know if you've heard of her, but I'm sure one day she'll get her due. Anyway. I think 25 is legitimately better than 21 - 21 had some highest highs ("Hiding My Heart Away") but also several tracks I would regularly skip. The only track on 25 I find myself zoning out on is "River Lea." She's keeping up with the times by having fresh backing beats, and yes, her voice sounds stronger; let me give you a little tip. A person's voice doesn't fully mature until their early 30s. So...expect her voice to continue to get stronger. Be 'in the know' at your next party. Side note: I don't get the high praise for the Smeezingtons' production of the track "All I Ask." How hard is it to produce a vocal over a piano. Geez, people.
Best song: "Water Under the Bridge"
Her best album: 25
Well that was fun. Maybe next year my dudes can come out with new stuff? Ray LaMontagne, Kings of Leon, Gavin deGraw, Jonny Lang, Casey James? Etc. etc.? Please and thank you. :)
7.25.2015
Review: How Big, How Blue, How Beautiful
It's safe to say that all three of Florence + the Machine's albums have been radically different from each other. The first, Lungs, contains three styles: torch songs, 'big' songs, and girl group pop songs. Weighted, there are more of the first two styles, and to me only 'Dog Days Are Over' and 'Between Two Lungs' fall into the third category, but taken as a whole it feels nicely balanced stylistically.
Their second album, Ceremonials, pointedly favors 'big' songs. This was cool with me because I had loved 'Cosmic Love' and 'Blinding' so much, and now I had even more in 'Seven Devils,' 'Heartlines,' 'No Light, No Light,' 'Spectrum' - wait, actually, the entire second half of the album. Which in hindsight, was not the best choice. (Dudes, it was nominated for Best Pop Album at the Grammy's and lost to Kelly Clarkson. Whom I love, BUT STILL) Ultimately the album felt bogged down in the heaviness, and this was pointed out a lot by fans who were hoping for an album that contained torch songs in the vein of 'Girl With One Eye' from Lungs. They could see what I couldn't because I'd gotten what I wanted. Ha.
Now, with How Big, How Blue, How Beautiful, F+TM have refocused again, this time favoring the girl group pop. If this was a conscious decision, it makes sense - moving away from the mistakes of the previous album but still mining the potential in a style not unprecedented for Flo. It also made it easier, I think, to introduce a much wider range of dynamics and expression with the several moodier, rock-influenced songs on the album. There are no highs higher than anything in their catalogue, but there are much lower lows and it is fantastic.
There is also a noticeable difference in the songwriting. The lyrics finally sound like they come directly from her experiences, instead of consisting mostly of literary enigmas which, while interesting, ultimately can prevent one from fully immersing in a song. 'Various Storms and Saints' is a great example of a track which might be tossed aside as initially uninteresting, except the words and the way she owns them turn it into a performance that gets more urgent and beautiful the longer she sings. Those words are raw, too: "I don't know how I don't just stand outside and scream."
Their second album, Ceremonials, pointedly favors 'big' songs. This was cool with me because I had loved 'Cosmic Love' and 'Blinding' so much, and now I had even more in 'Seven Devils,' 'Heartlines,' 'No Light, No Light,' 'Spectrum' - wait, actually, the entire second half of the album. Which in hindsight, was not the best choice. (Dudes, it was nominated for Best Pop Album at the Grammy's and lost to Kelly Clarkson. Whom I love, BUT STILL) Ultimately the album felt bogged down in the heaviness, and this was pointed out a lot by fans who were hoping for an album that contained torch songs in the vein of 'Girl With One Eye' from Lungs. They could see what I couldn't because I'd gotten what I wanted. Ha.
Now, with How Big, How Blue, How Beautiful, F+TM have refocused again, this time favoring the girl group pop. If this was a conscious decision, it makes sense - moving away from the mistakes of the previous album but still mining the potential in a style not unprecedented for Flo. It also made it easier, I think, to introduce a much wider range of dynamics and expression with the several moodier, rock-influenced songs on the album. There are no highs higher than anything in their catalogue, but there are much lower lows and it is fantastic.
There is also a noticeable difference in the songwriting. The lyrics finally sound like they come directly from her experiences, instead of consisting mostly of literary enigmas which, while interesting, ultimately can prevent one from fully immersing in a song. 'Various Storms and Saints' is a great example of a track which might be tossed aside as initially uninteresting, except the words and the way she owns them turn it into a performance that gets more urgent and beautiful the longer she sings. Those words are raw, too: "I don't know how I don't just stand outside and scream."
7.30.2014
Snapshot.
What I'm reading: Last Call: The Rise and Fall of Prohibition
What I'm watching: Raising Hope
What I'm listening to: In the Lonely Hour, Sam Smith
Mood: content
Smells: somebody barbecuing at nearly midnight
Sounds: Jimmy Fallon's musical guest
Temperature: 68 degrees
Thoughts: honestly can't tell if this band is three women or three dudes.
What I'm watching: Raising Hope
What I'm listening to: In the Lonely Hour, Sam Smith
Mood: content
Smells: somebody barbecuing at nearly midnight
Sounds: Jimmy Fallon's musical guest
Temperature: 68 degrees
Thoughts: honestly can't tell if this band is three women or three dudes.
12.31.2013
2013 music picks.
As in the past, I'm listing the songs that resonated the most with me this past year. And as with Uncle Stevie over at Entertainment Weekly, they're not all songs that came out this year - just songs I discovered this year. Because I can do that. :) Enjoy!
Note: these are listed in random order.
1. "Dead in the Water," Ellie Goulding, Halcyon
You may have heard Goulding's previous hit single, "Lights," from her debut of the same name, but fortunately her second album explores a much wider range of moods, making possible this absolutely gorgeous album closer. I am actually one day going to hang up the lyrics to the first verse and the chorus on my wall, because like the best songwriters Goulding hits on ageless truths of human experience - and she does so to unapologetically beautiful melodies. That's simply a combination I am too weak to refuse.
2. "What Are You Going to Do When You Are Not Saving the World?" Hans Zimmer, Man of Steel
Some of you know how I feel about Hans Zimmer, dating all the way back to The Lion King. So I won't rehash here. But he's the best. Anyway, he got to score this summer's Superman reboot and did a fantastic job (of course). John William's original theme is one of the top pieces of movie music in history, but with the darker turn in comics these days (and every villain capable of causing an extinction-level event, apparently), this new theme fits a new day in our societal evolution. There's hope even amongst the most minor chords, though, and notice that the long tones evoke a sense of flying, of scaling new heights. I hope you got to hear this via a cinema sound system while you could.
3. "Birthday," Katy Perry, Prism
Someone, who shall remain nameless, noted that this song is a lot like "Teenage Dream" - but I say, who cares. It's a slice of "eighties Minneapolis funk" that is just too infectious not to like. Perry inhabits her own sphere of technicolored happy-rotica, and when compared to artists like Ellie Goulding it's evident how much Perry holds her own self back - but you have to admit that when she's good, she's really good, and I defy you not to at least think about getting up and boogeying when you hear this song.
4. "Rock 'N Roll," Avril Lavigne, Avril Lavigne
Don't forget how much we all loved Avril once upon a time! And don't say she's not relevant - the old guard are rarely ever contemporaneously relevant but that's not what the old guard are for. There's some reinvention in her fifth studio album, mostly thanks to her marriage to Chad Kroeger, and while I can't stand Nickleback, I do admit he's a pretty solid songwriter. His stamp is all over this song, and paired with Avril's delivery it really works. It helps her get back the old vivaciousness and audacity, and puts out an APB to not give up on her yet.
5. "Wake Me Up," Avicii with Aloe Blacc, True
We all know this song. And we all like parodying Aloe Blacc's earnest delivery. And we all know this is a freaking awesome song. Too bad Mr. Blacc couldn't have been on the whole album - now that would have really been something.
6. "Young Girls," Bruno Mars, Unorthodox Jukebox
I really like Bruno Mars; I think he's got a great voice and makes some great songs. I belatedly saw his performance of this song on SNL and was totally hooked - it's really not like anything else out there right now, for which so many other 'artists' should be ashamed. Just take familiar subject matter, put it to a near-perfect melody, enrich it with multi-layered harmony, back it with a tight beat, and sing your heart out. Is that really so hard???
7. "V.S.O.P.," K. Michelle, Rebellious Soul
I don't really listen to R&B...but I love this song. As a child of the 80s who did listen to a lot of early rap with her brother, I'm always sucker for a great beat, and besides having that this song is just infectious and spirited, with a very cool old-school vibe. However, I have no idea what the title means.
8. "What Makes You Beautiful," One Direction, Up All Night
DON'T YOU JUDGE ME.
9. "Not With Haste," Mumford and Sons, Babel
I had obviously memorized the entire album less than a week after it was released in 2012 - but did not realize that this particular song was part of the Brave soundtrack until I watched it again earlier this year. (On the soundtrack version the lads play backing band to singer Birdie) I love that movie, man. And I had no idea going in that it was about a mother-daughter relationship, so of course I went with my mom to see it, and she was all, "Wait, are you crying?" Anyway, this is a beautiful and wistful song on its own, gently Celtic and such, and is as good a movie-ender as anything Celine ever did.
Well, that's it! Happy New Year!
Note: these are listed in random order.
1. "Dead in the Water," Ellie Goulding, Halcyon
You may have heard Goulding's previous hit single, "Lights," from her debut of the same name, but fortunately her second album explores a much wider range of moods, making possible this absolutely gorgeous album closer. I am actually one day going to hang up the lyrics to the first verse and the chorus on my wall, because like the best songwriters Goulding hits on ageless truths of human experience - and she does so to unapologetically beautiful melodies. That's simply a combination I am too weak to refuse.
2. "What Are You Going to Do When You Are Not Saving the World?" Hans Zimmer, Man of Steel
Some of you know how I feel about Hans Zimmer, dating all the way back to The Lion King. So I won't rehash here. But he's the best. Anyway, he got to score this summer's Superman reboot and did a fantastic job (of course). John William's original theme is one of the top pieces of movie music in history, but with the darker turn in comics these days (and every villain capable of causing an extinction-level event, apparently), this new theme fits a new day in our societal evolution. There's hope even amongst the most minor chords, though, and notice that the long tones evoke a sense of flying, of scaling new heights. I hope you got to hear this via a cinema sound system while you could.
3. "Birthday," Katy Perry, Prism
Someone, who shall remain nameless, noted that this song is a lot like "Teenage Dream" - but I say, who cares. It's a slice of "eighties Minneapolis funk" that is just too infectious not to like. Perry inhabits her own sphere of technicolored happy-rotica, and when compared to artists like Ellie Goulding it's evident how much Perry holds her own self back - but you have to admit that when she's good, she's really good, and I defy you not to at least think about getting up and boogeying when you hear this song.
4. "Rock 'N Roll," Avril Lavigne, Avril Lavigne
Don't forget how much we all loved Avril once upon a time! And don't say she's not relevant - the old guard are rarely ever contemporaneously relevant but that's not what the old guard are for. There's some reinvention in her fifth studio album, mostly thanks to her marriage to Chad Kroeger, and while I can't stand Nickleback, I do admit he's a pretty solid songwriter. His stamp is all over this song, and paired with Avril's delivery it really works. It helps her get back the old vivaciousness and audacity, and puts out an APB to not give up on her yet.
5. "Wake Me Up," Avicii with Aloe Blacc, True
We all know this song. And we all like parodying Aloe Blacc's earnest delivery. And we all know this is a freaking awesome song. Too bad Mr. Blacc couldn't have been on the whole album - now that would have really been something.
6. "Young Girls," Bruno Mars, Unorthodox Jukebox
I really like Bruno Mars; I think he's got a great voice and makes some great songs. I belatedly saw his performance of this song on SNL and was totally hooked - it's really not like anything else out there right now, for which so many other 'artists' should be ashamed. Just take familiar subject matter, put it to a near-perfect melody, enrich it with multi-layered harmony, back it with a tight beat, and sing your heart out. Is that really so hard???
7. "V.S.O.P.," K. Michelle, Rebellious Soul
I don't really listen to R&B...but I love this song. As a child of the 80s who did listen to a lot of early rap with her brother, I'm always sucker for a great beat, and besides having that this song is just infectious and spirited, with a very cool old-school vibe. However, I have no idea what the title means.
8. "What Makes You Beautiful," One Direction, Up All Night
DON'T YOU JUDGE ME.
9. "Not With Haste," Mumford and Sons, Babel
I had obviously memorized the entire album less than a week after it was released in 2012 - but did not realize that this particular song was part of the Brave soundtrack until I watched it again earlier this year. (On the soundtrack version the lads play backing band to singer Birdie) I love that movie, man. And I had no idea going in that it was about a mother-daughter relationship, so of course I went with my mom to see it, and she was all, "Wait, are you crying?" Anyway, this is a beautiful and wistful song on its own, gently Celtic and such, and is as good a movie-ender as anything Celine ever did.
Well, that's it! Happy New Year!
12.31.2010
My 2010 music picks.
It's a tradition, you know.
"John Wayne," Sons of Sylvia
The first track on their album drew me in more than any of the others I previewed, and I love it for the epic heights they strive for, from the lead singer's unexpected vocal leaps into the stratosphere, to the audacity to tell a woman he's going to come save her just like John Wayne would. Before all the American Gothic ticks were smoothed out of their creativity, this song slipped through, a little dusty, a little dangerous, and all heart.
"It Is What It Is," Lifehouse
Though the height of their fame came ten years ago, Lifehouse is still one of the best groups around. Their latest album felt a little more uneven than the others, but this song, with its slightly R&B flourishes and seriously effortless melody, is mellow and earnest at the same time, and really never gets old.
"You Lost Me," Christina Aguilera
I raved about this after she performed it at the AI finale, and the recorded version proves that sometimes nothing can match the raw emotion of a live song. Still, it's out of place on a mostly throwaway album for its simplicity and haunting arrangement, and I have to give props once again to Sia for writing this song out of the depths of her totally eccentric and fascinating soul.
"Paris (Oo La La)," Grace Potter and the Nocturnals
This band does vintage rock 'n roll and blues and does them well. I saw this performed on the Tonight Show and was blown away. It's gritty, it's got swagger, and it even feels a little dirty though it's not (I think). Grace's voice is captivating. I love it when a group creates a guitar and rhythm lick that's completely infectious and makes me want to dance to it, which I should not be doing.
"God Willin' and the Creek Don't Rise," Ray LaMontagne and the Pariah Dogs
The title song from his fourth studio album is the best one, and again, I've raved about it here. Ray is just a genius. That's it. It's like he has access to this place juuuuust beyond our own dimension, and he just reaches in and pulls out melody after gorgeous melody, and sets them to perfect lyrics. You need to own all of his albums, but if you're wary, start with this song.
"Islands," Shakira/The xx
Everything Shakira does is fabulous, but that's beside the point; this song off her latest Spanish-language album (but sung in English) is particularly fabulous, and I was surprised to find out it was a cover of an original by The xx. It's just that the lyrics sound exactly like what she normally writes herself. Anyway, her version is breezy, summery, yellow, danceable; the British group's version is low-key, a little brooding, and obviously very hip. I think they wrote a great song, and you should check them out.
"Straight to You," Josh Groban
Unfortunately in our current society, an un-ironic man singing un-ironic lyrics is a strange thing, to be held at bay and regarded suspiciously. This is why Josh will always just kind of be on the outside, doing what he does. (Well, that and he got famous singing classical crossover in other languages) His latest album is a much better reflection of him. This song is beautiful. That's all, it's just beautiful, and as it's a cover of a song from 1991, it was reworked to be this kind of ethereal moment in time. (The original? Not so much) And the words just slay me. "And the sky will throw thunderbolts and sparks/Straight at you/But I'll come running/Straight to you..."
"Roll Away Your Stone," Mumford and Sons
So I just got their album two days ago. Typically when some band is poised to be the next big thing, I shy away; can't explain it, I just do. But I also want to support real music, and they obviously have it in spades. They're a London-based folk group, guys in their twenties, who create very earnest and tightly-drawn songs; some are boot-stompers, some are more delicate. My favorite so far is "Roll Away Your Stone," but I kind of get the feeling this is an album where my favorite will keep changing, until I love 'em like a Ray LaMontagne.
Any good music to share? ;-)
"John Wayne," Sons of Sylvia
The first track on their album drew me in more than any of the others I previewed, and I love it for the epic heights they strive for, from the lead singer's unexpected vocal leaps into the stratosphere, to the audacity to tell a woman he's going to come save her just like John Wayne would. Before all the American Gothic ticks were smoothed out of their creativity, this song slipped through, a little dusty, a little dangerous, and all heart.
"It Is What It Is," Lifehouse
Though the height of their fame came ten years ago, Lifehouse is still one of the best groups around. Their latest album felt a little more uneven than the others, but this song, with its slightly R&B flourishes and seriously effortless melody, is mellow and earnest at the same time, and really never gets old.
"You Lost Me," Christina Aguilera
I raved about this after she performed it at the AI finale, and the recorded version proves that sometimes nothing can match the raw emotion of a live song. Still, it's out of place on a mostly throwaway album for its simplicity and haunting arrangement, and I have to give props once again to Sia for writing this song out of the depths of her totally eccentric and fascinating soul.
"Paris (Oo La La)," Grace Potter and the Nocturnals
This band does vintage rock 'n roll and blues and does them well. I saw this performed on the Tonight Show and was blown away. It's gritty, it's got swagger, and it even feels a little dirty though it's not (I think). Grace's voice is captivating. I love it when a group creates a guitar and rhythm lick that's completely infectious and makes me want to dance to it, which I should not be doing.
"God Willin' and the Creek Don't Rise," Ray LaMontagne and the Pariah Dogs
The title song from his fourth studio album is the best one, and again, I've raved about it here. Ray is just a genius. That's it. It's like he has access to this place juuuuust beyond our own dimension, and he just reaches in and pulls out melody after gorgeous melody, and sets them to perfect lyrics. You need to own all of his albums, but if you're wary, start with this song.
"Islands," Shakira/The xx
Everything Shakira does is fabulous, but that's beside the point; this song off her latest Spanish-language album (but sung in English) is particularly fabulous, and I was surprised to find out it was a cover of an original by The xx. It's just that the lyrics sound exactly like what she normally writes herself. Anyway, her version is breezy, summery, yellow, danceable; the British group's version is low-key, a little brooding, and obviously very hip. I think they wrote a great song, and you should check them out.
"Straight to You," Josh Groban
Unfortunately in our current society, an un-ironic man singing un-ironic lyrics is a strange thing, to be held at bay and regarded suspiciously. This is why Josh will always just kind of be on the outside, doing what he does. (Well, that and he got famous singing classical crossover in other languages) His latest album is a much better reflection of him. This song is beautiful. That's all, it's just beautiful, and as it's a cover of a song from 1991, it was reworked to be this kind of ethereal moment in time. (The original? Not so much) And the words just slay me. "And the sky will throw thunderbolts and sparks/Straight at you/But I'll come running/Straight to you..."
"Roll Away Your Stone," Mumford and Sons
So I just got their album two days ago. Typically when some band is poised to be the next big thing, I shy away; can't explain it, I just do. But I also want to support real music, and they obviously have it in spades. They're a London-based folk group, guys in their twenties, who create very earnest and tightly-drawn songs; some are boot-stompers, some are more delicate. My favorite so far is "Roll Away Your Stone," but I kind of get the feeling this is an album where my favorite will keep changing, until I love 'em like a Ray LaMontagne.
Any good music to share? ;-)
5.30.2010
You Lost Me.
So I raved about Christina Aguilera's performance on the Idol finale last week of a song off her upcoming album Bionic (due June 8). Even if you're not a fan, check out the song in the video below. I think it's crazy awesome and she is memsmerizing to watch; she interprets the hell out of that song.
As I've been replaying this song over and over the last few days, I wondered what genius had sat down at a piano and plunked it out. Found out last night - Australian singer/songwriter Sia, about whom I'm sure I've blogged at least once. Her last album, Some People Have Real Problems, came out in January of '08 and is fantastic; she's a little quirky, definitely has her own sound, and a serious set of pipes. "You Lost Me" has her stamp all over it. I'm stoked! I love it when a music collaboration comes out so right. I only have to wait like ten days to get the album version and that still feels like way too long.
(for some reason, sometimes video embeds mess up the comment link, so if you don't see it just click on the blog post title and it'll take you to the post's individual page with comment section)
Happy Sunday! I have absolutely nothing on my plate, so I might drive to Old Navy and try on some dresses; I wanna have at least one for my trip!
As I've been replaying this song over and over the last few days, I wondered what genius had sat down at a piano and plunked it out. Found out last night - Australian singer/songwriter Sia, about whom I'm sure I've blogged at least once. Her last album, Some People Have Real Problems, came out in January of '08 and is fantastic; she's a little quirky, definitely has her own sound, and a serious set of pipes. "You Lost Me" has her stamp all over it. I'm stoked! I love it when a music collaboration comes out so right. I only have to wait like ten days to get the album version and that still feels like way too long.
(for some reason, sometimes video embeds mess up the comment link, so if you don't see it just click on the blog post title and it'll take you to the post's individual page with comment section)
Happy Sunday! I have absolutely nothing on my plate, so I might drive to Old Navy and try on some dresses; I wanna have at least one for my trip!
2.23.2010
This Week's Top Picks.
I wrote this as though I were being interviewed. So...yeah.
Movies:
Eve's Bayou "My favorite movie ever. It is absolutely, perfectly done, from the pacing to the cinematography to the mood of the time period. Jurnee Smollett's performance is masterful and should have been recognized by the Academy."
Terminator 2: Judgement Day "What I consider one of the best movies ever made. It's much more than an action movie and anyone who doesn't realize that is missing out on on so many amazing things. It actually took me years and years to realize there are three terminators in the film, not just two."
Forrest Gump "It always moves me to dwell on the contrast between Forrest's life--full of great luck and major events and success--and Jenny's, because her childhood abuse led her down such a sad, destructive path. I love how the story never shies away from how arbitrary life can seem."
Books:
Return of the Primitive, Ayn Rand "She was the perfect Aquarian! A woman who never shied away from stating her opinion loud and clear, who created her own philosophy (Objectivism), and who stuck to her beliefs and wrote passionately about the Truth at the dawn of the Postmodern era. This book of essays reflects all of that."
The Giver, Lois Lowry "This book is about a future utopia, and all that we had to leave behind in order to achieve and sustain it. It forces the reader to think about what they consider most important in life and society, and shows just how much diversity and chance are necessary evils. Really, really profound the way it's told. And, it's a 'children's book'."
Chaos and Harmony, Trinh Xuan Thuan "Interestingly, he never really shows how closely related the two things are, and only hints at how they are just different forms of the same thing. But he does his best to illiminute quantum theory, and even lends credence to the oft-discredited idea of Platonic forms."
Albums:
Trouble, Ray LaMontagne "One of those perfect albums, really atmospheric, intimate. A great folk-soul acoustic song-cycle. He may never top it, and hasn't so far with his subsequent albums (not for lack of trying)."
Neptune City, Nicole Atkins "This album has its own atmosphere, too, to the point where sometimes I get uncomfortable listening to it. It is so perfectly what it is. Somehow she updated mod '60s pop without ever losing the past, so it's this synthesis of old and new with original melodies that sound familiar the first time...it's so hard to describe what a wonder this album is."
Midnight Boom, The Kills "Dirty garage band-type rock played by a duo who are so hip it hurts. But as in-your-face and, dare I say, cacophonous as their music can be, I know one thing: they know what the hell they're doing."
Apps:
Unblock Me "This was the first app I got really addicted to. You have these wood blocks trapped in a square (your screen), and then there's a red block, and you have to move the blocks all around to get the red one through the little doorway on the righthand wall. It ain't easy. But the thrill of success is hard to match."
LineUp "Can't even explain how addicted I am to this. There are lines of little colored squares that keep getting added on to; you have to keep the lines from hitting the top of the screen. You can only tap areas of three or more of the same color to make them disappear. I really do feel like some poor animal in an experiment when I play this. But I can't stop."
Word Warp "You get a six-letter word, scrambled, and have to find all the words within it. If you don't find the whole word, you don't go on to the next level. For the lingual-minded."
Movies:
Eve's Bayou "My favorite movie ever. It is absolutely, perfectly done, from the pacing to the cinematography to the mood of the time period. Jurnee Smollett's performance is masterful and should have been recognized by the Academy."
Terminator 2: Judgement Day "What I consider one of the best movies ever made. It's much more than an action movie and anyone who doesn't realize that is missing out on on so many amazing things. It actually took me years and years to realize there are three terminators in the film, not just two."
Forrest Gump "It always moves me to dwell on the contrast between Forrest's life--full of great luck and major events and success--and Jenny's, because her childhood abuse led her down such a sad, destructive path. I love how the story never shies away from how arbitrary life can seem."
Books:
Return of the Primitive, Ayn Rand "She was the perfect Aquarian! A woman who never shied away from stating her opinion loud and clear, who created her own philosophy (Objectivism), and who stuck to her beliefs and wrote passionately about the Truth at the dawn of the Postmodern era. This book of essays reflects all of that."
The Giver, Lois Lowry "This book is about a future utopia, and all that we had to leave behind in order to achieve and sustain it. It forces the reader to think about what they consider most important in life and society, and shows just how much diversity and chance are necessary evils. Really, really profound the way it's told. And, it's a 'children's book'."
Chaos and Harmony, Trinh Xuan Thuan "Interestingly, he never really shows how closely related the two things are, and only hints at how they are just different forms of the same thing. But he does his best to illiminute quantum theory, and even lends credence to the oft-discredited idea of Platonic forms."
Albums:
Trouble, Ray LaMontagne "One of those perfect albums, really atmospheric, intimate. A great folk-soul acoustic song-cycle. He may never top it, and hasn't so far with his subsequent albums (not for lack of trying)."
Neptune City, Nicole Atkins "This album has its own atmosphere, too, to the point where sometimes I get uncomfortable listening to it. It is so perfectly what it is. Somehow she updated mod '60s pop without ever losing the past, so it's this synthesis of old and new with original melodies that sound familiar the first time...it's so hard to describe what a wonder this album is."
Midnight Boom, The Kills "Dirty garage band-type rock played by a duo who are so hip it hurts. But as in-your-face and, dare I say, cacophonous as their music can be, I know one thing: they know what the hell they're doing."
Apps:
Unblock Me "This was the first app I got really addicted to. You have these wood blocks trapped in a square (your screen), and then there's a red block, and you have to move the blocks all around to get the red one through the little doorway on the righthand wall. It ain't easy. But the thrill of success is hard to match."
LineUp "Can't even explain how addicted I am to this. There are lines of little colored squares that keep getting added on to; you have to keep the lines from hitting the top of the screen. You can only tap areas of three or more of the same color to make them disappear. I really do feel like some poor animal in an experiment when I play this. But I can't stop."
Word Warp "You get a six-letter word, scrambled, and have to find all the words within it. If you don't find the whole word, you don't go on to the next level. For the lingual-minded."
1.05.2010
In three-part harmony.
You are my sunshine
My only sunshine
You make me happy when skies are gray
You'll never know dear
How much I love you
So please don't take my sunshine away
****
The other night, dear
While I was sleeping
I dreamt I held you in my arms
When I awoke, dear, I was mistaken
So I hung
My head
And cried
My only sunshine
You make me happy when skies are gray
You'll never know dear
How much I love you
So please don't take my sunshine away
****
The other night, dear
While I was sleeping
I dreamt I held you in my arms
When I awoke, dear, I was mistaken
So I hung
My head
And cried
12.31.2009
My 2009 music picks.
As I said, I'll be doing this a bit differently this year. Last time around I heralded my list as the best music of 2008, and as I've been making a new list I realized, how could I ever think I would have heard so much music as to have a handle on the best? I'm sure there are tons of artists I've never heard of, with albums sublime, who deserve to be called the best.
So, I'm just going to offer up a list of the music I personally enjoyed the most this year. There are several artists from AI on the list, so please go into this knowing that though you may not watch the show or agree with it's methodology, some great singers have come from it and deserve a chance.
1. "Wonderful," Gary Go
This up-and-coming British singer does remind one of Coldplay, whom you all know I hate, and so I like to say that he does Coldplay better than they do. This song has a seriously killer hook, and is bolstered by a solid backing piano and an awesome beat that propels every verse and chorus with ridiculously infectious momentum. There's also a positive vibe in the song's message that isn't a new sentiment but I love the way it's stated: "The person that you were has died/you've lost the sparkle in your eyes/You fell for life into its cracks/now you want to bridge the gap..." So what do you do? You gotta look yourself in the eye and say I am...wonderful.
2. "Fireflies," Owl City
This is another song I told you guys about as soon as I heard it. Remember, cartoon clouds? Since then it of course exploded onto the scene and into people's iPods and I heralded myself as a great seer. While I'm not a huge fan of his West Coast accent, I do like the happy-go-lucky vibe and its contrasting undercurrents; I always think that this song is so upbeat but I never imagine the singer himself being at all naive. Plus, it's just good electronica, something with a real melody and creative beats and that tinkling opening that will make your mother say, 'Hmm, that's nice.'
3. "Gimme What You Got," Amanda Blank
I don't like rap and I make no bones about it. But, when this lady rapper was featured briefly on iTunes I checked her out just for novelty's sake (she's white) and ended up liking what I heard. This is one of the most fun songs I have heard in years. Yeah, it's explicit. The chorus is just her saying "Hottest mothaf**** on the whole damn block" over and over. But it's just so feisty and shameless and the beats are insane. There is, of course, a guest rapper, which she doesn't even need. She's got the flow, the swagger, the talent. And she makes me like rap for 2:46.
4. "Number With No Name," Ben Harper
When you talk about a musician being prolific, you talk about Ben Harper. He has like eighty-six albums. Seriously, at least one a year. With White Lies For Dark Times he got back to that funky, cigarettes-and-liquor 70s sound that I love, and this song is one of those gritty sonic experiences that makes you wish you were making out with some shaggy-haired guy in bell-bottoms in someone's basement while the Stones (or this song) spins on a record console from Sears.
5. "Pray," Amanda Overmyer
I already did a whole post about the greatness of this song, so I'll keep it brief. It's deceptively simple and as beautiful as a sunrise in the heartland. The contrast, almost the anachronicity, of Amanda's smoky voice over the Johnny Cash and the Tennessee Two bass line lulls you into thinking you've just been listening to a song, when actually, it's your soul you're hearing.
6. "Let It Rain," Kris Allen
One of those songs that gets better every time. Just a solid track from a solid album, but one that sounds familiar in a strange way, as if perhaps it's a cover from an obscure song I once heard in childhood. Or maybe all music is from the same big pot of joy and Kris just knows that better than the rest of us.
7. "If I Had You," Adam Lambert
I'm not a huge fan of the guy, but I am a huge fan of music so that fortunately lets me listen to whatever I want. For those who were for some reason expecting an album of Smokey Robinson and Rat Pack covers, the out-and-out glam-disco-electronica-80s audacity of For Your Entertainment strains their puzzler. Not I. I just like to wallow in all the pink and yellow of this song, the club beat, the heavenly Giorgio Moroder harmonies, and pretty snappy lyrics like "There's a thin line/'tween a wild time/and a flat line..." Honestly, I don't know how Katy Perry didn't write this song. Sing it, girl!
8. "Halo," Beyonce
Hard to believe there was actually a time when I thought there was no such thing as too much Ryan Tedder. The man behind Leona Lewis' "Bleeding Love," Kelly Clarkson's "Already Gone," and Jordin Sparks' "Battlefield" lent his heavy percussion and repetitive choruses to a song that's actually from a 2008 album, but didn't become a single till this year. "Halo" really is addictive, and while the operatic aspirations of Mrs. Jay-Z are a little jarring at first, you gotta love her for sticking to a theme.
9. "Street Lights," Kanye West
From another 2008 album, but it's my list so I can do what I want. I did a whole post on this song also, about its postmodern greatness, so I've got nothing new to offer except to say that it reinforces what I said earlier, that the best music isn't always the most-heard, the most popular, the most rewarded. Such is life.
10. "Paparazzi," Lady GaGa
What I like about her is that though her music is for the club, it is still inherently melodic. A lot of music isn't, a lot of it is completely uninspired in terms of aesthetics (cough*U2*cough). So I am able to enjoy a song like "Paparazzi" because it, very simply, has a pretty melody and good harmonies (technically, I really like the harmonic progression but all that talk will get us nowhere). Same for "Pokerface." And this is a good thing; aspiring wannabes take note.
Honorable mentions: "Let It Rain," Jordin Sparks; "Manhattan," Kings of Leon; "I Do Not Hook Up," Kelly Clarkson
So, I'm just going to offer up a list of the music I personally enjoyed the most this year. There are several artists from AI on the list, so please go into this knowing that though you may not watch the show or agree with it's methodology, some great singers have come from it and deserve a chance.
1. "Wonderful," Gary Go
This up-and-coming British singer does remind one of Coldplay, whom you all know I hate, and so I like to say that he does Coldplay better than they do. This song has a seriously killer hook, and is bolstered by a solid backing piano and an awesome beat that propels every verse and chorus with ridiculously infectious momentum. There's also a positive vibe in the song's message that isn't a new sentiment but I love the way it's stated: "The person that you were has died/you've lost the sparkle in your eyes/You fell for life into its cracks/now you want to bridge the gap..." So what do you do? You gotta look yourself in the eye and say I am...wonderful.
2. "Fireflies," Owl City
This is another song I told you guys about as soon as I heard it. Remember, cartoon clouds? Since then it of course exploded onto the scene and into people's iPods and I heralded myself as a great seer. While I'm not a huge fan of his West Coast accent, I do like the happy-go-lucky vibe and its contrasting undercurrents; I always think that this song is so upbeat but I never imagine the singer himself being at all naive. Plus, it's just good electronica, something with a real melody and creative beats and that tinkling opening that will make your mother say, 'Hmm, that's nice.'
3. "Gimme What You Got," Amanda Blank
I don't like rap and I make no bones about it. But, when this lady rapper was featured briefly on iTunes I checked her out just for novelty's sake (she's white) and ended up liking what I heard. This is one of the most fun songs I have heard in years. Yeah, it's explicit. The chorus is just her saying "Hottest mothaf**** on the whole damn block" over and over. But it's just so feisty and shameless and the beats are insane. There is, of course, a guest rapper, which she doesn't even need. She's got the flow, the swagger, the talent. And she makes me like rap for 2:46.
4. "Number With No Name," Ben Harper
When you talk about a musician being prolific, you talk about Ben Harper. He has like eighty-six albums. Seriously, at least one a year. With White Lies For Dark Times he got back to that funky, cigarettes-and-liquor 70s sound that I love, and this song is one of those gritty sonic experiences that makes you wish you were making out with some shaggy-haired guy in bell-bottoms in someone's basement while the Stones (or this song) spins on a record console from Sears.
5. "Pray," Amanda Overmyer
I already did a whole post about the greatness of this song, so I'll keep it brief. It's deceptively simple and as beautiful as a sunrise in the heartland. The contrast, almost the anachronicity, of Amanda's smoky voice over the Johnny Cash and the Tennessee Two bass line lulls you into thinking you've just been listening to a song, when actually, it's your soul you're hearing.
6. "Let It Rain," Kris Allen
One of those songs that gets better every time. Just a solid track from a solid album, but one that sounds familiar in a strange way, as if perhaps it's a cover from an obscure song I once heard in childhood. Or maybe all music is from the same big pot of joy and Kris just knows that better than the rest of us.
7. "If I Had You," Adam Lambert
I'm not a huge fan of the guy, but I am a huge fan of music so that fortunately lets me listen to whatever I want. For those who were for some reason expecting an album of Smokey Robinson and Rat Pack covers, the out-and-out glam-disco-electronica-80s audacity of For Your Entertainment strains their puzzler. Not I. I just like to wallow in all the pink and yellow of this song, the club beat, the heavenly Giorgio Moroder harmonies, and pretty snappy lyrics like "There's a thin line/'tween a wild time/and a flat line..." Honestly, I don't know how Katy Perry didn't write this song. Sing it, girl!
8. "Halo," Beyonce
Hard to believe there was actually a time when I thought there was no such thing as too much Ryan Tedder. The man behind Leona Lewis' "Bleeding Love," Kelly Clarkson's "Already Gone," and Jordin Sparks' "Battlefield" lent his heavy percussion and repetitive choruses to a song that's actually from a 2008 album, but didn't become a single till this year. "Halo" really is addictive, and while the operatic aspirations of Mrs. Jay-Z are a little jarring at first, you gotta love her for sticking to a theme.
9. "Street Lights," Kanye West
From another 2008 album, but it's my list so I can do what I want. I did a whole post on this song also, about its postmodern greatness, so I've got nothing new to offer except to say that it reinforces what I said earlier, that the best music isn't always the most-heard, the most popular, the most rewarded. Such is life.
10. "Paparazzi," Lady GaGa
What I like about her is that though her music is for the club, it is still inherently melodic. A lot of music isn't, a lot of it is completely uninspired in terms of aesthetics (cough*U2*cough). So I am able to enjoy a song like "Paparazzi" because it, very simply, has a pretty melody and good harmonies (technically, I really like the harmonic progression but all that talk will get us nowhere). Same for "Pokerface." And this is a good thing; aspiring wannabes take note.
Honorable mentions: "Let It Rain," Jordin Sparks; "Manhattan," Kings of Leon; "I Do Not Hook Up," Kelly Clarkson
12.25.2009
So this is Christmas.
O holy night, the stars are brightly shining
It is the night of our dear Savior's birth
Long lay the world in sin and error, pining
Till He appeared, and the soul felt its worth
A thrill of hope, the weary world rejoices
For yonder breaks a new and glorious morn!...
My favorite Christmas song. It wasn't until just a few years ago that I for once really listened to the words, and was surprised at how there is such meaning in them, and how profound it is.
*****
I may have done this last year, but here are the lyrics to one of the loveliest and saddest songs ever, found in of all things Mr. Magoo's Christmas Carol. As a musical cartoon, Belle sings this to Ebenezer.
Winter was warm
Summer soft that year
The winter was warm
Without a sign of frost
Like winter lost
Its way that year
It seems as I recall
No blossoms fell that fall
May didn't leave at all
Or did love paint an illusion?
Now trees with a sigh
Stand and shiver
While their dreams fall and die
And all my dreams are there
Wrapped up somewhere
In summer leaves
Oh, what I'd give to be
To be in love again
This year the winter is cold
Will it ever be warm
As it was then?
It is the night of our dear Savior's birth
Long lay the world in sin and error, pining
Till He appeared, and the soul felt its worth
A thrill of hope, the weary world rejoices
For yonder breaks a new and glorious morn!...
My favorite Christmas song. It wasn't until just a few years ago that I for once really listened to the words, and was surprised at how there is such meaning in them, and how profound it is.
*****
I may have done this last year, but here are the lyrics to one of the loveliest and saddest songs ever, found in of all things Mr. Magoo's Christmas Carol. As a musical cartoon, Belle sings this to Ebenezer.
Winter was warm
Summer soft that year
The winter was warm
Without a sign of frost
Like winter lost
Its way that year
It seems as I recall
No blossoms fell that fall
May didn't leave at all
Or did love paint an illusion?
Now trees with a sigh
Stand and shiver
While their dreams fall and die
And all my dreams are there
Wrapped up somewhere
In summer leaves
Oh, what I'd give to be
To be in love again
This year the winter is cold
Will it ever be warm
As it was then?
10.09.2009
On Beethoven and artistic determinism.
"Beethoven...turned out pieces of breath-taking rightness. Rightness - that's the word! When you get that feeling that whatever note succeeds the last is the only possible note that can rightly happen at that instant, in that context, then chances are you're listening to Beethoven. Melodies, fugues, rhythms - leave them to the Tchaikovskys and Hindemiths and Ravels. Our boy has the real goods, the stuff from Heaven, the power to make you feel at the finish: Something is right in the world. There is something that checks throughout, that follows its own law consistently: something we can trust, that will never let us down."
From Leonard Bernstein's "The Joy of Music" (Simon and Schuster, 2004)
*Feel free to substitute the name Beethoven with Zimmer, Goldsmith, Doyle, Fenton...
From Leonard Bernstein's "The Joy of Music" (Simon and Schuster, 2004)
*Feel free to substitute the name Beethoven with Zimmer, Goldsmith, Doyle, Fenton...
9.16.2009
A brief history of perfect music.
In 1999 the movie Anna and the King, starring Jodie Foster and Chow-Yun Fat, was released in theaters, and while it only grossed several million dollars domestically, it is a fine movie, an epic really, and I recommend it to everyone.
I've always thought the soundtrack was so beautiful, but never really felt an urgency to purchase it until I saw that the manufacturer had discontinued its production. So I went to Amazon and ordered a used CD for very cheap, and it came in the mail a few days ago.
The history of music in movies is a good one. It actually begins in the era of music history known as Romanticism, when "program music" burst onto the scene thanks to Berlioz and his Symphonie Fantastique, which premiered accompanied by a paper program for audience members detailing the story behind the work. Music had been set to a story before, of course, in the form of opera, but this was something new. Whereas before, the music of Haydn and Bach and Mozart and Beethoven found its purpose in perfecting the classical composition, program music tells a story.
So even though in the grand scheme music has moved from Romanticism to Modernism, movie music, as it tells a story, still clings to that old tradition of taking the listener through an experience by setting a mood and highlighting action.
What truly made music in the post-Beethoven era Romantic, however, was its obvious beauty. And some of the best movie music today still gives us that. John Williams was once the master of the form, though his recent works have declined in creativity, in my opinion. Jerry Goldsmith passed away several years ago but left absolute gems, including his work on First Knight. Hans Zimmer should be heralded as the current master, beautifying everything from The Lion King and Crimson Tide to Gladiator and Kung Fu Panda.
The soundtrack to Anna and the King is another perfect example of how "program music" both elevates a cinematic work of art, and stands alone as a composition worthy of high praise. Unfortunately there's no way to post snippets, but trust me when I say that the themes George Fenton created are among the absolute best (and most beautiful) I've ever heard.
How can something like this not be nominated for an Oscar for Best Score? I know the Oscars aren't truly the be-all end-all, but I watch like a fan every year and it's still an immense honor to be nominated. In the same vein it's ridiculous for Patrick Doyle's incredible score for Harry Potter and the Goblet of Fire not to have been nominated, or a certain Harlequin-haired crooner's work on one of the best movie songs of the last few decades ("Remember" from Troy). But, this isn't the time to air grievances. *grr*
I think, at the end of the day, what makes music so fulfilling and universal is its ability to convey the profound. Whether you're listening to a movie soundtrack or a jazz piece or a classic rock tune, every now and then you're just struck with the overwhelming notion that not only is this what music was meant to be, but that it's trying to tell you something, and no matter how hard a wordsmith may try, the message is still best conveyed in the mind and heart; felt, rather than uttered.
And that's how I felt listening to the soundtrack to Anna and the King; that the music meant something beyond the theme of the movie, that it relayed truths and ideas that lie too deep for mere mortals...try as we may to unlock the secrets.
I've always thought the soundtrack was so beautiful, but never really felt an urgency to purchase it until I saw that the manufacturer had discontinued its production. So I went to Amazon and ordered a used CD for very cheap, and it came in the mail a few days ago.
The history of music in movies is a good one. It actually begins in the era of music history known as Romanticism, when "program music" burst onto the scene thanks to Berlioz and his Symphonie Fantastique, which premiered accompanied by a paper program for audience members detailing the story behind the work. Music had been set to a story before, of course, in the form of opera, but this was something new. Whereas before, the music of Haydn and Bach and Mozart and Beethoven found its purpose in perfecting the classical composition, program music tells a story.
So even though in the grand scheme music has moved from Romanticism to Modernism, movie music, as it tells a story, still clings to that old tradition of taking the listener through an experience by setting a mood and highlighting action.
What truly made music in the post-Beethoven era Romantic, however, was its obvious beauty. And some of the best movie music today still gives us that. John Williams was once the master of the form, though his recent works have declined in creativity, in my opinion. Jerry Goldsmith passed away several years ago but left absolute gems, including his work on First Knight. Hans Zimmer should be heralded as the current master, beautifying everything from The Lion King and Crimson Tide to Gladiator and Kung Fu Panda.
The soundtrack to Anna and the King is another perfect example of how "program music" both elevates a cinematic work of art, and stands alone as a composition worthy of high praise. Unfortunately there's no way to post snippets, but trust me when I say that the themes George Fenton created are among the absolute best (and most beautiful) I've ever heard.
How can something like this not be nominated for an Oscar for Best Score? I know the Oscars aren't truly the be-all end-all, but I watch like a fan every year and it's still an immense honor to be nominated. In the same vein it's ridiculous for Patrick Doyle's incredible score for Harry Potter and the Goblet of Fire not to have been nominated, or a certain Harlequin-haired crooner's work on one of the best movie songs of the last few decades ("Remember" from Troy). But, this isn't the time to air grievances. *grr*
I think, at the end of the day, what makes music so fulfilling and universal is its ability to convey the profound. Whether you're listening to a movie soundtrack or a jazz piece or a classic rock tune, every now and then you're just struck with the overwhelming notion that not only is this what music was meant to be, but that it's trying to tell you something, and no matter how hard a wordsmith may try, the message is still best conveyed in the mind and heart; felt, rather than uttered.
And that's how I felt listening to the soundtrack to Anna and the King; that the music meant something beyond the theme of the movie, that it relayed truths and ideas that lie too deep for mere mortals...try as we may to unlock the secrets.
6.09.2009
Interview #1: Jay Clifford
For the uninitiated, Jay Clifford is the former leader of South Carolina band Jump, Little Children, which disbanded several years ago. They released three official studio albums, Magazine, Vertigo, and Between the Dim and the Dark, along with some demo tapes and EPs and live albums.
1. JLC spent some time in Ireland learning the musical traditions there, and it influenced quite a few of your melodies and lyrics. Why the Irish tradition in particular, and not something else?
2. Vertigo is probably the most experimental and ornate of the three studio albums. What influenced the new ideas?
3. With BTDATD, did the band feel the need, as a sort of last-ditch effort at broad commercial success, to "mainstream" their sound and if so, how was that decision reached?
4. Talk about the song Pidgeon and its inspiration. Did you have to research all the flora you name-dropped, or is gardening a secret hobby of yours?
5. The piano opening of Mother's Eyes is gorgeous. Have you ever composed classically, or ever thought about doing so?
6. Cathedral, from your first album, is perhaps your biggest hit. What do you think made it so popular?
7. For my sake, for once and for all...what is Say Goodnight really about?
8. Music has of course evolved since 1998 when you guys formally debuted. If the band were to put an album out today, what kind of sound do you think it would have?
9. Who are some of the musicians and bands today who you feel are most similar to the JLC catalogue?
10. Will you sign my arm? :-)
1. JLC spent some time in Ireland learning the musical traditions there, and it influenced quite a few of your melodies and lyrics. Why the Irish tradition in particular, and not something else?
2. Vertigo is probably the most experimental and ornate of the three studio albums. What influenced the new ideas?
3. With BTDATD, did the band feel the need, as a sort of last-ditch effort at broad commercial success, to "mainstream" their sound and if so, how was that decision reached?
4. Talk about the song Pidgeon and its inspiration. Did you have to research all the flora you name-dropped, or is gardening a secret hobby of yours?
5. The piano opening of Mother's Eyes is gorgeous. Have you ever composed classically, or ever thought about doing so?
6. Cathedral, from your first album, is perhaps your biggest hit. What do you think made it so popular?
7. For my sake, for once and for all...what is Say Goodnight really about?
8. Music has of course evolved since 1998 when you guys formally debuted. If the band were to put an album out today, what kind of sound do you think it would have?
9. Who are some of the musicians and bands today who you feel are most similar to the JLC catalogue?
10. Will you sign my arm? :-)
12.31.2008
The best music of 2008.
If iTunes can have celebrity playlists, and Stephen King can provide a head-scratcher of a top ten list, then I can tell you which songs I feel were the best of this year.
To hear the songs named, simply go to the music player in the right-hand column, where they are listed in order. (To scroll beyond the first eight songs, click the forward button in the player's toolbar) Discover awesome music today!
1. "Closer" Kings of Leon. This is the best song I've heard in years. I like atmospheric music that reeks of shadows and deep colors and a certain agelessness. So while not everyone may enjoy this song - too dark, too spooky, too whatever - I am gonna love it for a long, long time. (from the album Only By the Night)
2. "Neptune City" Nicole Atkins. While technically her album came out in 2007, I discovered it in February and bought it on faith that my friend Mark knows his music. Surreal sixties pop with flashes of beautiful color mixed with the oceanic hues of the titular planet, "Neptune City" is just one awe-inspiring musical moment after the other. It is the most gorgeous, other-worldly green for me. Yes. Synesthesia. Anywho, I should clarify that Neptune City is her Jersey hometown, and also, that this is one of the best albums ever. (from the album Neptune City)
3. "Light On" David Cook. There are Idol contestants I've been more rabid about. But David is a rocker I can get behind, and his album is extremely solid. This is his debut single and it's really catchy and earnest and should be number one but the machine, man, the machine holds us down... (from the album David Cook)
4. "The Girl You Lost to Cocaine" Sia. I think her album was the first I purchased this year, and it has yet to disappoint. I like this song because it's peppy and orange and doesn't back down from the title. And...there's just this 'something' about Sia's music that is instantly identifiable as hers. Something quirky, something a bit off, kind of like the woman herself. (from the album Some People Have Real Problems)
5. "Last Day of Magic" The Kills. I have the iTunes Free Digital Download of the Week to thank for discovering this group. Just a guy, a girl, and their underground garage rock. One reviewer described their sound as being piped through a dirty gym sock. Don't let that scare you off, though; there is some serious musicianship and musical knowledge underlying these edgy, gritty, cantankerous songs. 'LDM' is just one of many gems. (from the album Midnight Boom)
6. "Rockferry" Duffy. Initially her voice irked me, but when put to use on a song as soulful as this one, I can hang. I don't know what's in Britain's water lately, but they're gaining the edge on what used to be an American institution. (Uh, that would be soul music) (from the album Rockferry)
7. "A Falling Through" Ray LaMontagne. I've already sung his praises in this blog. This song is slow, dreamy, sad, unapologetically wistful. The chorus is so beautifully simple: "Why? Why did you go away from me?" (from the album Gossip in the Grain)
8. "See My Side" Jordin Sparks. I'm cheating again. Her album came out last year. But it's another great album from an Idol winner, and this song, whether or not laypeople and suits alike know it, is a grand achievement. Robotically minimalistic and quite melodic at the same time, it's the best song a lot of so-called 'superstars' in Jordin's genre never got to sing. (from the album Jordin Sparks)
9. "Going On" Gnarls Barkley. A go-go dance of a song with an intriguingly creepy atmosphere. It's been nominated for a Grammy. I know good music, people!! (from the album The Odd Couple)
10. "Hometown Glory" Adele. Another British soul singer. She's getting pretty popular and that's awesome. If you catch her performing live or on talk shows, I know you'll be impressed. Recently she performed on Leno and it was just her and a guitar. The voice, top notch. And she's plus-sized. We need more like her, desperately. (from the album 19)
11. "Limbo No More" Alanis Morissette. Alanis and I have been through some stuff. That's all I can write without getting choked up. I typically like her out-and-out rockers more, but this is one of the very few 'slow' songs of hers that is just beautiful. And it's life-affirming, too. (from the album Flavors of Entanglement)
12. "Elephants" Rachael Yamagata. Love. Predatory instinct. Together at last. While I don't know too much about this singer yet, this song is quiet and honest and lovely. And what a nice change to hear such an alto. (from the album Elephants...Teeth Sinking Into Heart)
Well, I have to stop somewhere, huh. I hope I've introduced you to a least a couple of new songs you can enjoy. Nothing too annoyingly mainstream, nothing too ridiculously elitist. Just the way it oughtta be.
Happy New Year, all.
To hear the songs named, simply go to the music player in the right-hand column, where they are listed in order. (To scroll beyond the first eight songs, click the forward button in the player's toolbar) Discover awesome music today!
1. "Closer" Kings of Leon. This is the best song I've heard in years. I like atmospheric music that reeks of shadows and deep colors and a certain agelessness. So while not everyone may enjoy this song - too dark, too spooky, too whatever - I am gonna love it for a long, long time. (from the album Only By the Night)
2. "Neptune City" Nicole Atkins. While technically her album came out in 2007, I discovered it in February and bought it on faith that my friend Mark knows his music. Surreal sixties pop with flashes of beautiful color mixed with the oceanic hues of the titular planet, "Neptune City" is just one awe-inspiring musical moment after the other. It is the most gorgeous, other-worldly green for me. Yes. Synesthesia. Anywho, I should clarify that Neptune City is her Jersey hometown, and also, that this is one of the best albums ever. (from the album Neptune City)
3. "Light On" David Cook. There are Idol contestants I've been more rabid about. But David is a rocker I can get behind, and his album is extremely solid. This is his debut single and it's really catchy and earnest and should be number one but the machine, man, the machine holds us down... (from the album David Cook)
4. "The Girl You Lost to Cocaine" Sia. I think her album was the first I purchased this year, and it has yet to disappoint. I like this song because it's peppy and orange and doesn't back down from the title. And...there's just this 'something' about Sia's music that is instantly identifiable as hers. Something quirky, something a bit off, kind of like the woman herself. (from the album Some People Have Real Problems)
5. "Last Day of Magic" The Kills. I have the iTunes Free Digital Download of the Week to thank for discovering this group. Just a guy, a girl, and their underground garage rock. One reviewer described their sound as being piped through a dirty gym sock. Don't let that scare you off, though; there is some serious musicianship and musical knowledge underlying these edgy, gritty, cantankerous songs. 'LDM' is just one of many gems. (from the album Midnight Boom)
6. "Rockferry" Duffy. Initially her voice irked me, but when put to use on a song as soulful as this one, I can hang. I don't know what's in Britain's water lately, but they're gaining the edge on what used to be an American institution. (Uh, that would be soul music) (from the album Rockferry)
7. "A Falling Through" Ray LaMontagne. I've already sung his praises in this blog. This song is slow, dreamy, sad, unapologetically wistful. The chorus is so beautifully simple: "Why? Why did you go away from me?" (from the album Gossip in the Grain)
8. "See My Side" Jordin Sparks. I'm cheating again. Her album came out last year. But it's another great album from an Idol winner, and this song, whether or not laypeople and suits alike know it, is a grand achievement. Robotically minimalistic and quite melodic at the same time, it's the best song a lot of so-called 'superstars' in Jordin's genre never got to sing. (from the album Jordin Sparks)
9. "Going On" Gnarls Barkley. A go-go dance of a song with an intriguingly creepy atmosphere. It's been nominated for a Grammy. I know good music, people!! (from the album The Odd Couple)
10. "Hometown Glory" Adele. Another British soul singer. She's getting pretty popular and that's awesome. If you catch her performing live or on talk shows, I know you'll be impressed. Recently she performed on Leno and it was just her and a guitar. The voice, top notch. And she's plus-sized. We need more like her, desperately. (from the album 19)
11. "Limbo No More" Alanis Morissette. Alanis and I have been through some stuff. That's all I can write without getting choked up. I typically like her out-and-out rockers more, but this is one of the very few 'slow' songs of hers that is just beautiful. And it's life-affirming, too. (from the album Flavors of Entanglement)
12. "Elephants" Rachael Yamagata. Love. Predatory instinct. Together at last. While I don't know too much about this singer yet, this song is quiet and honest and lovely. And what a nice change to hear such an alto. (from the album Elephants...Teeth Sinking Into Heart)
Well, I have to stop somewhere, huh. I hope I've introduced you to a least a couple of new songs you can enjoy. Nothing too annoyingly mainstream, nothing too ridiculously elitist. Just the way it oughtta be.
Happy New Year, all.
11.09.2008
Would that be the Pacific, or the Atlantic, or......?
Disclaimer: into a vast ocean, I merely dip a toe.
I find the trend in current music interesting, how popular the artists are who draw on old-school soul and rock. Generally, a mixing of musical styles is something that excites me so I have no qualms about it. My personal favorite example is Nicole Atkins, who exceptionally recreates a sixties pop haze while gently incorporating contemporary flavors. If you haven’t heard her album Neptune City, then you honestly don’t know what you’re missing.
The first quote of Baudrillard’s that I used on Nov. 7 was, I believe, a prediction, a foreshadowing of the pinnacle of a postmodern world. “A universe where…it has all been done.” Are we getting there? I think so.
Oftentimes I’m driven to think, what if the ‘best’ has already been done? (And yes, I understand what an incendiary word that is in these postmodern times) The middle of the last millennium saw such a perfecting of forms in art and music and literature (baroque and classical and romantic); what if, to continue creating new forms in art, we are forced to go further and further from that which human discernment finds acceptable? And in avoiding that, what if all that is left to be done is ‘playing with the pieces,’ as Baudrillard said?
That being said, I'm aware that no one truly knows what the future holds. There have been some sci-fi prophets but, it will always be difficult for the contemporary mind to comprehend a futuristic world. (Just look at the old show "Space: 1999")
I quoted the French philosopher’s ‘radical antagonism’ statement because, in short, I believe that chaos is a direct result of infinite diversity and the free will given us. There is to be no equilibrium found, though we may conceive of it and hope for it.
And the ‘immanent purpose of obscenity,’ I see it as I have always seen it: the human mind becomes bored. There is no recycling of interest. Whether individually or as a group, we must take something to its extreme as an alternative to abandoning it; you know the extreme has been reached when the only thing left to do is to reflexively go backward and reclaim some of the old order. And what are we left with?
Playing with the pieces.
The book is Postmodern Theory: Critical Interrogations.
I find the trend in current music interesting, how popular the artists are who draw on old-school soul and rock. Generally, a mixing of musical styles is something that excites me so I have no qualms about it. My personal favorite example is Nicole Atkins, who exceptionally recreates a sixties pop haze while gently incorporating contemporary flavors. If you haven’t heard her album Neptune City, then you honestly don’t know what you’re missing.
The first quote of Baudrillard’s that I used on Nov. 7 was, I believe, a prediction, a foreshadowing of the pinnacle of a postmodern world. “A universe where…it has all been done.” Are we getting there? I think so.
Oftentimes I’m driven to think, what if the ‘best’ has already been done? (And yes, I understand what an incendiary word that is in these postmodern times) The middle of the last millennium saw such a perfecting of forms in art and music and literature (baroque and classical and romantic); what if, to continue creating new forms in art, we are forced to go further and further from that which human discernment finds acceptable? And in avoiding that, what if all that is left to be done is ‘playing with the pieces,’ as Baudrillard said?
That being said, I'm aware that no one truly knows what the future holds. There have been some sci-fi prophets but, it will always be difficult for the contemporary mind to comprehend a futuristic world. (Just look at the old show "Space: 1999")
I quoted the French philosopher’s ‘radical antagonism’ statement because, in short, I believe that chaos is a direct result of infinite diversity and the free will given us. There is to be no equilibrium found, though we may conceive of it and hope for it.
And the ‘immanent purpose of obscenity,’ I see it as I have always seen it: the human mind becomes bored. There is no recycling of interest. Whether individually or as a group, we must take something to its extreme as an alternative to abandoning it; you know the extreme has been reached when the only thing left to do is to reflexively go backward and reclaim some of the old order. And what are we left with?
Playing with the pieces.
The book is Postmodern Theory: Critical Interrogations.
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