Haven't updated in a while. Haven't written anything for the paper in a while. Hopefully going to be writing something for next week's Echo about records and the resurgence of tangible music into today's market.
But enough with what's practical, let's talk about random crap. I tried looking up my old xanga page today, and found it after some incredible searching. Looks like being an idiot, I created a name "The Balcony" and never used it again. It has like 3 years of crappy attempts at poetics buried within it. In case you desire some sort of proof, here's http://the-balcony.xanga.com/
Don't say I didn't warn you. I'm no professional.
Friday, November 27, 2009
Friday, October 9, 2009
Paramore - Extra Thoughts
You may already know you don't like Paramore, and that's just fine. I've always thought they were a bit over-hyped, and I really only liked songs like "Crushcrushcrush" and especially "Misery Business". The problem was that they felt like all those other psuedo-Christian rock bands, where you had this decent message but it was always wrapped around mediocre musicianship and a tendency towards tons of production. And the truth is, they still feel that way.
But then I'm reminded of one of my favorite albums: Cartel's Chroma. This album was given a number of horrible reviews because it didn't break any barriers, and ultimately didn't really bring much to the alternative genre. But I loved this album, and so did a LOT of other people. Eventually even the magazine Alternative Press had to apologize for giving them a bad review, when obviously they weren't in tune with what their listeners felt. This is one of the reasons I stopped getting that magazine, FYI. But the big deal was that, as a reviewer, you need to consider the actual genre that you're reviewing. And you need to come to grips with the fact that even though some bands may ride the rails of over-production to their doom, sometimes those bands can actually churn out a legit album without you knowing.
brand new eyes won't change your perspective on Paramore, if you have one already. But for a pop-punk album, it actually stands above most of the rest. I enjoyed almost every song, and plan on seeing myself revisiting this album more than even the Muse one I recently reviewed. Because this has some parts I can relate to, and especially just sit back and enjoy without having to feel like I'm being preached to.
But then I'm reminded of one of my favorite albums: Cartel's Chroma. This album was given a number of horrible reviews because it didn't break any barriers, and ultimately didn't really bring much to the alternative genre. But I loved this album, and so did a LOT of other people. Eventually even the magazine Alternative Press had to apologize for giving them a bad review, when obviously they weren't in tune with what their listeners felt. This is one of the reasons I stopped getting that magazine, FYI. But the big deal was that, as a reviewer, you need to consider the actual genre that you're reviewing. And you need to come to grips with the fact that even though some bands may ride the rails of over-production to their doom, sometimes those bands can actually churn out a legit album without you knowing.
brand new eyes won't change your perspective on Paramore, if you have one already. But for a pop-punk album, it actually stands above most of the rest. I enjoyed almost every song, and plan on seeing myself revisiting this album more than even the Muse one I recently reviewed. Because this has some parts I can relate to, and especially just sit back and enjoy without having to feel like I'm being preached to.
Thursday, October 8, 2009
Paramore - Brand New Eyes
I have a lot to say in excess of this article. I think it's fantastic for its genre, so my Echo perspective takes that into account. Here's how it goes:
What makes Paramore so special? Hayley Williams and crew aren't doing anything all that different, as female vocalists are a rarity in the rock scene but still nothing new. And their fusion of poppy, almost emotional vocals set to a backdrop of power-chord abusing punk is a scene in itself that's starting to show its age. But even with their newest release, brand new eyes, Paramore have beaten the odds and kept themselves alive.
What makes Paramore worth listening to is how much confidence they have for being such a young group. Ranging from ages 19 to 24, and originating when lead singer Hayley was only 15 years old, the band has done some considerable growing up in the past five years. Previous albums Riot! and All We Know is Falling attained their popularity quickly due to Hayley's demanding vocals and encouraging lyrics, inspired by the band's Christian background. And with brand new eyes, they've just gotten better at their own game.
Now, brand new eyes may not change up Paramore's game plan at all, but it positively builds upon their already near-famous repertoire. Every song on the album has at least one moment where it just pops, where Hayley's alarming voice raises expertly out of your speakers and demands your attention. She's easily found a confidence in herself that only experience can bring, which you'll experience in tracks like the first two singles, "Ignorance" and "Brick by Boring Brick". In both songs, Hayley's tone comes off as natural and strong, as she spits each lyric out in turn.
The rest of the album follows suit, as each new track is performed as only Paramore can. "Playing God" and "Feeling Sorry" are classic Paramore numbers, instantly easy on the ears while also riddled with allusions to actual life lessons. Gone are the blistering accusations off of Riot!, and while no song on brand new eyes really comes close to besting "Misery Business", as a whole there's a defining consistency that makes this album stand above their previous efforts.
Even the obligatory lighter tracks find their way into the mix, as the album concludes with the slower, more melancholy "Misguided Ghosts" and "All I Wanted". Together, they make for a couple of decent tracks to muse upon, but they're nothing compared to brand new eyes' sixth track, "The Only Exception". It's a cute, simple song on love, but has a feel of sincerity to it that the rest of the album cannot even reach. Definitely worth listening to.
The problem with brand new eyes is well-explained in opener "Careful", where Hayley proclaims "you can't be too careful anymore". Paramore leans on the edge of "too careful" with this album, and while it has a unifying feel and is arguably their best effort yet, brand new eyes is still just a very good pop-punk album. Musically, the album is uninspired, resorting to chords and riffs that eventually blend into each other. This isn't a huge surprise knowing the band's history, but they definitely need to change things up for their next album.
So why is this band so special? Chances are if you liked All We Know is Falling or Riot!, you've already figured it out on your own. If not, take some time and try out brand new eyes, and experience the confidence and encouraging spirit that is Paramore.
Rating: 4/5
What makes Paramore so special? Hayley Williams and crew aren't doing anything all that different, as female vocalists are a rarity in the rock scene but still nothing new. And their fusion of poppy, almost emotional vocals set to a backdrop of power-chord abusing punk is a scene in itself that's starting to show its age. But even with their newest release, brand new eyes, Paramore have beaten the odds and kept themselves alive.
What makes Paramore worth listening to is how much confidence they have for being such a young group. Ranging from ages 19 to 24, and originating when lead singer Hayley was only 15 years old, the band has done some considerable growing up in the past five years. Previous albums Riot! and All We Know is Falling attained their popularity quickly due to Hayley's demanding vocals and encouraging lyrics, inspired by the band's Christian background. And with brand new eyes, they've just gotten better at their own game.
Now, brand new eyes may not change up Paramore's game plan at all, but it positively builds upon their already near-famous repertoire. Every song on the album has at least one moment where it just pops, where Hayley's alarming voice raises expertly out of your speakers and demands your attention. She's easily found a confidence in herself that only experience can bring, which you'll experience in tracks like the first two singles, "Ignorance" and "Brick by Boring Brick". In both songs, Hayley's tone comes off as natural and strong, as she spits each lyric out in turn.
The rest of the album follows suit, as each new track is performed as only Paramore can. "Playing God" and "Feeling Sorry" are classic Paramore numbers, instantly easy on the ears while also riddled with allusions to actual life lessons. Gone are the blistering accusations off of Riot!, and while no song on brand new eyes really comes close to besting "Misery Business", as a whole there's a defining consistency that makes this album stand above their previous efforts.
Even the obligatory lighter tracks find their way into the mix, as the album concludes with the slower, more melancholy "Misguided Ghosts" and "All I Wanted". Together, they make for a couple of decent tracks to muse upon, but they're nothing compared to brand new eyes' sixth track, "The Only Exception". It's a cute, simple song on love, but has a feel of sincerity to it that the rest of the album cannot even reach. Definitely worth listening to.
The problem with brand new eyes is well-explained in opener "Careful", where Hayley proclaims "you can't be too careful anymore". Paramore leans on the edge of "too careful" with this album, and while it has a unifying feel and is arguably their best effort yet, brand new eyes is still just a very good pop-punk album. Musically, the album is uninspired, resorting to chords and riffs that eventually blend into each other. This isn't a huge surprise knowing the band's history, but they definitely need to change things up for their next album.
So why is this band so special? Chances are if you liked All We Know is Falling or Riot!, you've already figured it out on your own. If not, take some time and try out brand new eyes, and experience the confidence and encouraging spirit that is Paramore.
Rating: 4/5
Thursday, September 24, 2009
Muse Take II
I guess I can respect a band for taking their success (can you say "phenomenal"?) seriously. Many groups just write unintentional crap while very rarely promoting an agenda, when in reality the history of music is bathed in political opinions and counter-culture. So from that point of view, I can commend Muse for at least trying.
But when you're a Brit-rock sensation, you could be a little more...substantial, don't you think? Muse is in a position to overwhelm the majority of musicdom with real, personal opinions on how government should be run. But instead, we get cliche notions like "love is our resistance". I feel like they missed the hippie beat by way too long, because these ideas are no longer new! I'll admit, the concept isn't impractical and is in general a positive direction, but it's like some teenager wrote the lyrics during puberty. Angry at his parents and in love with his own emotions.
To be fair, there are some cool lyrics. I still like the chorus of "Unnatural Selection" where Matt sings "we're not droplets in the ocean". And the french in "I Belong to You", while not being entirely original, is a beautiful and poetic addition to the album. Otherwise, songs like "United States of Eurasia" sound awesome, but when you listen to the lyrics you realize there's little reason to care. Even though it even ends with a cool little Chopin piano bit at the end.
So we come to the music. It's Muse, ladies and gentlemen. You won't be surprised by many of the piano interludes, nor the chord patterns. But it's all orchestrated to provoke an epic feeling, because the songs are long and winded. It's intelligent, very intentional music, but at the core most of it is still what Muse has been doing for the past 3 albums. With the exception of Exogenesis, which has such beautiful symphonic elements that only disappoint when you realize they're turning the orchestral music into another Muse song.
What I find most compelling in The Resistance is Matt Bellamy's voice. I love it in songs like "Resistance" and especially "Unnatural Selection". He has a range that is being pushed to its limits, he's hitting lower notes and having much more fun. As much of a Queen rip-off as "United States of Eurasia" is, it's obviously a very fun song.
"Undisclosed Desires" and "Guiding Light" are boring, and "I Belong to You" is really only interesting to me because of the French part. Love songs are cool, but Muse used to write songs like "Unintended" (Go look it up, it's off of Showbiz, and is one of my favorite Muse tracks of all time).
I feel like I'm just whining by this point. Muse are excellent musicians, but their older stuff just sounds more...solid. Listen to Showbiz or Absolution, and I think you'll hear what I'm saying. I could have lived without The Resistance, especially after all the times I've listened to it. I won't be going back often.
But when you're a Brit-rock sensation, you could be a little more...substantial, don't you think? Muse is in a position to overwhelm the majority of musicdom with real, personal opinions on how government should be run. But instead, we get cliche notions like "love is our resistance". I feel like they missed the hippie beat by way too long, because these ideas are no longer new! I'll admit, the concept isn't impractical and is in general a positive direction, but it's like some teenager wrote the lyrics during puberty. Angry at his parents and in love with his own emotions.
To be fair, there are some cool lyrics. I still like the chorus of "Unnatural Selection" where Matt sings "we're not droplets in the ocean". And the french in "I Belong to You", while not being entirely original, is a beautiful and poetic addition to the album. Otherwise, songs like "United States of Eurasia" sound awesome, but when you listen to the lyrics you realize there's little reason to care. Even though it even ends with a cool little Chopin piano bit at the end.
So we come to the music. It's Muse, ladies and gentlemen. You won't be surprised by many of the piano interludes, nor the chord patterns. But it's all orchestrated to provoke an epic feeling, because the songs are long and winded. It's intelligent, very intentional music, but at the core most of it is still what Muse has been doing for the past 3 albums. With the exception of Exogenesis, which has such beautiful symphonic elements that only disappoint when you realize they're turning the orchestral music into another Muse song.
What I find most compelling in The Resistance is Matt Bellamy's voice. I love it in songs like "Resistance" and especially "Unnatural Selection". He has a range that is being pushed to its limits, he's hitting lower notes and having much more fun. As much of a Queen rip-off as "United States of Eurasia" is, it's obviously a very fun song.
"Undisclosed Desires" and "Guiding Light" are boring, and "I Belong to You" is really only interesting to me because of the French part. Love songs are cool, but Muse used to write songs like "Unintended" (Go look it up, it's off of Showbiz, and is one of my favorite Muse tracks of all time).
I feel like I'm just whining by this point. Muse are excellent musicians, but their older stuff just sounds more...solid. Listen to Showbiz or Absolution, and I think you'll hear what I'm saying. I could have lived without The Resistance, especially after all the times I've listened to it. I won't be going back often.
Wednesday, September 23, 2009
Muse - The Resistance
Here's my review (edit: not for the Echo, just i guess in conciseness) for Muse's The Resistance
There was a point while listening to The Resistance's first track "Uprising" that I understood what being brainwashed was like. Here I was, bouncing my head to a sexy bass-line and few well-placed shouts of "Come On!", while missing forceful politically-charged lines like "They will not force us" and "We will be victorious". I was entirely missing the point while getting lost in the music, which sadly is how I ended up relating to the album as a whole.
Fans of Muse may recognize my qualms here, because Matt Bellamy and crew's previous album Black Holes and Revelations was ripe with beauty but admittedly a little cheesy on the lyrical end. The Resistance is no different, and therein lies my problem. There's very little content on the whole, mostly vague whining about governments having too much power and some unsupported notion of love being able to simply overcome all these options. If you consider yourself a hopeless romantic, you'll adore tracks like "I Belong to You," and "Undisclosed Desires". But if you're looking for something to really believe in, I suggest you try something else.
Musically however, I am astounded by this album. It feels like a hybrid of rock anthems with operatic symphonies, and when they're not channeling Queen like in "United States of Eurasia," they're improving on their previous efforts with songs like "MK Ultra" which reminds me of Origin of Symmetry's track "Plug In Baby". Personally, I think their best effort is the anthemic "Unnatural Selection", a sensational counter-cultural ride. And the finalé "Exogenesis" is a literal symphony of breathtaking stature, showing Muse has matured into a realm of their own.
So The Resistance has two very unique sides to it. Muse have shown themselves to be musical geniuses in their time, but still produce forgettable, uninspired attempts at revolutionary lyrics. You'd be a fool not to listen, but you don't have to pay attention.
Review: 3/5
Monday, September 21, 2009
Daisy Part II
I could probably talk forever about this band, only less than forever on this specific album. Daisy is beautiful. It incorporates some of the most tested and emotional screaming with Brand New's perfected reflective lyrics and a musical talent that far surpasses what I expected. And it's about as draining as that sentence was. Jesse and Vinnie have crafted a dynamic experience, as rich in musicianship as Devil and God was, but unfortunately without all the content.
Don't get me wrong, I still believe that the album fits objectively into a 4-star out of 5 review, but it just wasn't what I expected. It's a maturity in many ways, but is so quick and easy to understand from the very beginning that I'm scared I'll forget about it in six months. With Devil and God it took me time and many listens to really experience songs like "Limousine" "Degausser" and "You Won't Know" (The latter of which I really still know maybe half the lyrics to). They were ripe with analogies, stories, and genuine emotions depicting the experiences each song delivered. With the exception of songs like "Sink" and the semi-industrial finisher "Noro", I feel like I grasped a lot of what each song portrayed so quickly in Daisy, that I was really left wanting more.
So why is Daisy so good then? Because we really haven't heard it before from Brand New, and as a whole the album is a new experience. "Vices" is a cacophony of almost Underoath-esque quality. Strangely audible, decipherable screams are purposefully distorted and layered with several guitar riffs, chord slams, and even slight feedback. It's over before you barely realize it started though, and transitions quickly to "Bed". This song is subtle, and feels like an extension of "Me vs. Maradona vs. Elvis" from Deja Entendu, but I haven't quite grasped its purpose. The repetition of "Laid her on the bed" and "Lie to all your friends" is very purposeful, and the lyrics feel random yet poetical. Almost pertaining to a sense of guilt and resistance to relationship. It's an interesting one, but albeit kind of a snoozer.
This dynamic basically carries on throughout the album, louder more explosive songs mixed in with what I can only call "brooding" tracks. "At the Bottom" is one of the few exceptions, as I almost feel like it just doesn't belong with the rest. It's got a much more produced, single-like feel to it, which I don't despise. It in fact will get a lot of people to listen to Daisy, with its Modest Mouse-ish parts and its sweet exploitation of guitar distortion. Also it reminds me a bit of Deja Entendu, but then again for some reason "Vices" reminds me of Your Favourite Weapon's "The Shower Scene." So take what you can from that, either way it's a fantastic single and will gather fans quicker than "Jesus" or "Sowing Season," even though I believe both of those songs are better than it.
So lets talk on a few of the more intense songs. "Gasoline" is also a quicky, which frustrates me to no end. From the moment it starts I am completely hooked. And when Jesse claims "I feel like I'm trying to hold smoke," you believe him completely. But then it's gone, and we're left with a light outro. "Sink" is a masterpiece of screaming glory, with a destructive chorus and a second half that will demand re-plays. Just when you think they've layered everything else into a song, on "In a Jar" you'll hear some sort of choir singing in the background for just moments. "Bought a Bride" is practically Rock Band ready, and is just a solid song that turns yelling into an anthem in a way I must have never heard. There's so much buried within each song I just listed that I'm sure I'll be going back multiple times just to delight in the intricacies each presents in a different way.
But believe me, if you dislike screaming you still give it a listen. "You Stole" is one of those brooding tracks and well performed at that, and I think my favorite will eventually be "Noro," with its impressive length and change of instrumental pace for the band. Like I said earlier, it has an industrial sense to it, along with the semi-experimental "Daisy". They both draw from heavy drums and cymbal work, while well produced, clean guitars just continually riff in the background. These two songs are the least like Brand New of the past, and I'm sure if a new album comes out sometime in the future any new material will be heavily influenced by these powerful tracks. Even when people talk during "Daisy" I don't mind, because it's all meaningful and intentional.
Lastly I want to address the strange additions to this album. "Be Gone" is amazing by the way, that minute and a half of Jesse screaming into his pickups. It's beautiful and original in my opinion, and reminds me of all the great live shows the band does. The intro and outro I can live without, and "Daisy" has those voices which I can rationalize but which can definitely detract when you just want to listen to the song. Seriously, when your album is about 40 minutes long, why would you add like 3 minutes of basically nothing? It confuses me, especially when I want to listen to "Vices" and I have to cut like 2 minutes in.
Brand New should continue to be my favorite band with Daisy, so we'll see how long that lasts. This album is the definition of maturity in ways that so many bands of this era need to take note of. So I'm basically done digging into it for now, just make sure you check it out.
Don't get me wrong, I still believe that the album fits objectively into a 4-star out of 5 review, but it just wasn't what I expected. It's a maturity in many ways, but is so quick and easy to understand from the very beginning that I'm scared I'll forget about it in six months. With Devil and God it took me time and many listens to really experience songs like "Limousine" "Degausser" and "You Won't Know" (The latter of which I really still know maybe half the lyrics to). They were ripe with analogies, stories, and genuine emotions depicting the experiences each song delivered. With the exception of songs like "Sink" and the semi-industrial finisher "Noro", I feel like I grasped a lot of what each song portrayed so quickly in Daisy, that I was really left wanting more.
So why is Daisy so good then? Because we really haven't heard it before from Brand New, and as a whole the album is a new experience. "Vices" is a cacophony of almost Underoath-esque quality. Strangely audible, decipherable screams are purposefully distorted and layered with several guitar riffs, chord slams, and even slight feedback. It's over before you barely realize it started though, and transitions quickly to "Bed". This song is subtle, and feels like an extension of "Me vs. Maradona vs. Elvis" from Deja Entendu, but I haven't quite grasped its purpose. The repetition of "Laid her on the bed" and "Lie to all your friends" is very purposeful, and the lyrics feel random yet poetical. Almost pertaining to a sense of guilt and resistance to relationship. It's an interesting one, but albeit kind of a snoozer.
This dynamic basically carries on throughout the album, louder more explosive songs mixed in with what I can only call "brooding" tracks. "At the Bottom" is one of the few exceptions, as I almost feel like it just doesn't belong with the rest. It's got a much more produced, single-like feel to it, which I don't despise. It in fact will get a lot of people to listen to Daisy, with its Modest Mouse-ish parts and its sweet exploitation of guitar distortion. Also it reminds me a bit of Deja Entendu, but then again for some reason "Vices" reminds me of Your Favourite Weapon's "The Shower Scene." So take what you can from that, either way it's a fantastic single and will gather fans quicker than "Jesus" or "Sowing Season," even though I believe both of those songs are better than it.
So lets talk on a few of the more intense songs. "Gasoline" is also a quicky, which frustrates me to no end. From the moment it starts I am completely hooked. And when Jesse claims "I feel like I'm trying to hold smoke," you believe him completely. But then it's gone, and we're left with a light outro. "Sink" is a masterpiece of screaming glory, with a destructive chorus and a second half that will demand re-plays. Just when you think they've layered everything else into a song, on "In a Jar" you'll hear some sort of choir singing in the background for just moments. "Bought a Bride" is practically Rock Band ready, and is just a solid song that turns yelling into an anthem in a way I must have never heard. There's so much buried within each song I just listed that I'm sure I'll be going back multiple times just to delight in the intricacies each presents in a different way.
But believe me, if you dislike screaming you still give it a listen. "You Stole" is one of those brooding tracks and well performed at that, and I think my favorite will eventually be "Noro," with its impressive length and change of instrumental pace for the band. Like I said earlier, it has an industrial sense to it, along with the semi-experimental "Daisy". They both draw from heavy drums and cymbal work, while well produced, clean guitars just continually riff in the background. These two songs are the least like Brand New of the past, and I'm sure if a new album comes out sometime in the future any new material will be heavily influenced by these powerful tracks. Even when people talk during "Daisy" I don't mind, because it's all meaningful and intentional.
Lastly I want to address the strange additions to this album. "Be Gone" is amazing by the way, that minute and a half of Jesse screaming into his pickups. It's beautiful and original in my opinion, and reminds me of all the great live shows the band does. The intro and outro I can live without, and "Daisy" has those voices which I can rationalize but which can definitely detract when you just want to listen to the song. Seriously, when your album is about 40 minutes long, why would you add like 3 minutes of basically nothing? It confuses me, especially when I want to listen to "Vices" and I have to cut like 2 minutes in.
Brand New should continue to be my favorite band with Daisy, so we'll see how long that lasts. This album is the definition of maturity in ways that so many bands of this era need to take note of. So I'm basically done digging into it for now, just make sure you check it out.
Thursday, September 17, 2009
Brand New - Daisy
Here's my review for Brand New's Daisy, which will appear in our school newspaper on Friday. I'll post more on the album later.
Brand New - Daisy
When it comes to the abundance of morbid scream-o bands these days, Brand New have always been a proverbial light in the darkness. Their 2006 album "The Devil and God are Raging Inside Me" was an emotionally draining effort, focused on the band's recent personal tragedies. And now, three years later, they continue their melancholy stories through "Daisy". Coming in at a little over 40 minutes, "Daisy" is a series of quick hits with a few slower tricks thrown in. And while previous Brand New efforts have been very lyrically focused, "Daisy" is layered with a musical maturity relying on guitar distortion, feedback, and everything else up their sleeves. And expect to be surprised, from an intro and outro based on an old-fashioned hymn to "Be Gone," where lead singer Jesse Lacey screams into his guitar's pickups for a minute and a half. And while these additions definitely can detract from the album as a whole, "Daisy" is still a force to be reckoned with. Songs like "Gasoline" and the excellent first single "At the Bottom" are some of the most well-written energetic tracks I've heard in years. Yet the album is dominated by songs where screaming takes a backseat, like the awkward-but-catchy "Daisy" or powerful closer "Noro". At the end, "Daisy" is a noble attempt and a definite maturity for Brand New, but could stand for a little more substance.
4/5 stars.
Wednesday, September 2, 2009
What I am Ashamed of
I am ashamed of the fact that I hate the song "Don't Trust Me" by 3OH!3, but I still listen to it every once in a while. When a song comes on and your entire table says "I hate this song," but you all sing every lyric to it, that's when you know something purely evil has taken ahold of you.
Don't listen to this song, you promote poor Helen Keller references and just plain horrible music.
That all being said, it's time for me to listen to it.
Don't listen to this song, you promote poor Helen Keller references and just plain horrible music.
That all being said, it's time for me to listen to it.
Tuesday, August 25, 2009
Say Anything - Hate Everyone
There's a drive within all bands to make the charts. The perfect strategy for this used to be: writing a great song, creating a unique identity, and giving something fresh and new to whatever genre you called yourselves.Obviously numerous hip-hop artists have proved this theory wrong, but generally it holds. The best artists will hit the charts with the draw of legitimate music, focusing on quality instead of ridiculous flash appeal. Yet there's no hard and fast rule nowadays, and these over-produced, shallow songs (which will never be remembered in 10 years by the way) still climb their ways to the top with ease.
Enter Say Anything, a band raunchy enough to catch everyone's attention years ago with well-written songs like "Alive With the Glory of Love," "Woe," and "Wow, I Can Get Sexual Too". And catchy enough to keep us holding on with the ambitious album In Defense of the Genre. Now Say Anything has a self-titled album coming, and their new single "Hate Everyone" just got released on iTunes. And, to validate that little exposition earlier, I'm getting scared that Say Anything is on the border of becoming one of these shallow, over-produced groups.
That's not to say this song will do them wrong, on the contrary they'll probably be more popular than ever. Because this song is dirty, extremely catchy, and retains lead singer Max Bemis's speaking-while-singing expertise so well. You can tell he loves singing the song, and every single line is quirky and distinctly Say Anything. In fact, the more I listen to it the more I know I'm gonna eventually be singing it everywhere I go. And I'll probably even recommend it to a lot of people, because I respect this band too much to just write them off. It just...doesn't really change anything for me, like a good song should. I should feel progression and maturity, when really all I'm hearing is a writer who's finally getting a chance at stardom.
Obviously their album will elaborate and maybe prove me wrong. I hate extrapolating so much negativity from one song, especially when ...Is A Real Boy is one of my favorite records of all time, and even their single "Baby Girl, I'm a Blur" was one of (in my opinion) the weaker songs on their latest album and the rest of it was fantastic. But I'm pretty sure "Hate Everyone" will come and go. Hopefully it won't take Say Anything with it.
Sunday, August 23, 2009
Top 15 Songs of My Summer
Well, I'm off to school on Wednesday. So as I was driving back home from U of I today, I thought it'd be a fun exercise to go through my summer and list off my favorite music. Today's list is the Top 15 Songs of My Summer! It was going to be 10...in fact I had 10 down but decided a few bands really had to make the cut. So you get 5 bonus songs, and I recommend every single one of them.
This doesn't necessarily mean that these songs came out this year, but I'm just going by what I listened to the most. There are some weird genre clashes here, so there's a good chance you'll find something interesting. Sorry it's long.
TOP FIFTEEN SONGS OF MY SUMMER:
15. A Love Like Pi - Innocent Man
This song epitomizes the guilty pleasures of power-pop. While abusing synthesizers and slammin' guitars, A Love Like Pi have ingrained this song in my head all summer.
14. Fleet Foxes - Ragged Wood
It goes without saying that Fleet Foxes are outstanding, and Ragged Wood is my current favorite song to spin. Complete with forest imagery and stunning vocals, it's a beauty.
13. Passion Pit - The Reeling
Passion Pit is top on my list of bands that we're gonna look back on and laugh off as a 2000's cliche. However, that may never stop me from loving The Reeling, a falsetto anthem buried in an electronic dream.
12. So Many Dynamos - New Bones
This genre is hard to explain...So Many Dynamos produces a dance-y sort of math rock that I find irresistible. And with Aaron Stovall's confident, unique voice, New Bones is a solid song worth trying out.
11. TV On the Radio - Shout Me Out
"Lord if you've got lungs, come on and shout me out." These are the first lyrics I ever heard from TV on the Radio, and that made their performance of Shout Me Out at Lolla this year one of my favorite moments. Diverse with a jazzy, simple electro sound. And a breakdown that really shouts.
10. Silversun Pickups - Lazy Eye
Thanks to Skala for this one. The Silversun Pickups are becoming one of my newest favorite bands, and it all started with Lazy Eye. It's a 6-minute long epic that starts off subtle but leads into one of my favorite yelling moments ever. It's an indie staple, in my opinion.
9. Forgive Durden - The Exit / The End and The Beginning
These are 2 songs, but they're part of Thomas Dutton's exceptional story-album Razia's Shadow, which features a delicious sampling of alternative cameos. These songs tell a great story and feature P!ATD's Brandon Urie, Dan Young of This Providence, and Greta Saltpeter of the Hush Sound.
8. Manchester Orchestra - Pride
This should be #1, but I really listened to it more in the spring. Andy Hull of Manchester Orchestra is a genius, and this is the song I sing on almost every drive. Best alternative song of the year in my opinion.
7. Right Away, Great Captain - Devil Dressed in Blue
Another song written by Andy Hull, except RA,GC is an acoustic, folky band based on old sea-captains' journals. This song I've played endlessly on guitar this summer, I love it so much.
6. Phoenix - 1901
Phoenix has been getting hype recently, and they deserve it. Legitimate music with punchy electronic work and a solid beat. My pick for this song though goes to the vocals, so light and easy to listen to that 1901 becomes extremely fun at every occasion.
5. Astronautalis - The Wondersmith And His Sons
Hip-hop? Seriously? If you like alternative/indie, or music with a point, Astronautalis is your man. Rapper Andy Bothwell has turned me from hating rap to an avid fan, singing on the antics of a family with illicit history. So good.
4. Kevin Devine - Brother's Blood
Favorite live song of the summer, hands down. Kevin Devine sings politically-charged anthems with simple structure yet more power than any of these other listed bands. He's serious, intense, and that screaming bit at the end is pure gold.
3. The Dear Hunter - He Said He Had a Story
Casey Crescenzo is a genius. The man is on his 3rd installment of this epic story for The Dear Hunter, a genre-bending alternative romp through World War I. This song carries very well the loss-of-innocence theme from previous albums, and sounds excellent while making me feel positively dirty for singing along.
2. Discovery - Osaka Loop Line
Discovery is an off-shoot of members from Ra Ra Riot and Vampire Weekend, and they've created an over-the-top electronic/synthesized masterpiece in their LP titled LP. Osaka Loop Line is a cute story of a train ride, so perfect because you can tell the lead singer is smiling the whole time through.
1. Neutral Milk Hotel - Holland 1945
When I hear Jeff Mangum say "one, two, onetwothreefour," I cannot keep myself calm. Holland 1945 is a distorted mess of eclectic lyrics and Mangum's wails. From each hauntingly beautiful, visceral phrase to the ending chorus of trumpets, this song demands your attention and reminds us why Neutral Milk Hotel is one of alternative music's defining bands.
This doesn't necessarily mean that these songs came out this year, but I'm just going by what I listened to the most. There are some weird genre clashes here, so there's a good chance you'll find something interesting. Sorry it's long.
TOP FIFTEEN SONGS OF MY SUMMER:
15. A Love Like Pi - Innocent Man
This song epitomizes the guilty pleasures of power-pop. While abusing synthesizers and slammin' guitars, A Love Like Pi have ingrained this song in my head all summer.
14. Fleet Foxes - Ragged Wood
It goes without saying that Fleet Foxes are outstanding, and Ragged Wood is my current favorite song to spin. Complete with forest imagery and stunning vocals, it's a beauty.
13. Passion Pit - The Reeling
Passion Pit is top on my list of bands that we're gonna look back on and laugh off as a 2000's cliche. However, that may never stop me from loving The Reeling, a falsetto anthem buried in an electronic dream.
12. So Many Dynamos - New Bones
This genre is hard to explain...So Many Dynamos produces a dance-y sort of math rock that I find irresistible. And with Aaron Stovall's confident, unique voice, New Bones is a solid song worth trying out.
11. TV On the Radio - Shout Me Out
"Lord if you've got lungs, come on and shout me out." These are the first lyrics I ever heard from TV on the Radio, and that made their performance of Shout Me Out at Lolla this year one of my favorite moments. Diverse with a jazzy, simple electro sound. And a breakdown that really shouts.
10. Silversun Pickups - Lazy Eye
Thanks to Skala for this one. The Silversun Pickups are becoming one of my newest favorite bands, and it all started with Lazy Eye. It's a 6-minute long epic that starts off subtle but leads into one of my favorite yelling moments ever. It's an indie staple, in my opinion.
9. Forgive Durden - The Exit / The End and The Beginning
These are 2 songs, but they're part of Thomas Dutton's exceptional story-album Razia's Shadow, which features a delicious sampling of alternative cameos. These songs tell a great story and feature P!ATD's Brandon Urie, Dan Young of This Providence, and Greta Saltpeter of the Hush Sound.
8. Manchester Orchestra - Pride
This should be #1, but I really listened to it more in the spring. Andy Hull of Manchester Orchestra is a genius, and this is the song I sing on almost every drive. Best alternative song of the year in my opinion.
7. Right Away, Great Captain - Devil Dressed in Blue
Another song written by Andy Hull, except RA,GC is an acoustic, folky band based on old sea-captains' journals. This song I've played endlessly on guitar this summer, I love it so much.
6. Phoenix - 1901
Phoenix has been getting hype recently, and they deserve it. Legitimate music with punchy electronic work and a solid beat. My pick for this song though goes to the vocals, so light and easy to listen to that 1901 becomes extremely fun at every occasion.
5. Astronautalis - The Wondersmith And His Sons
Hip-hop? Seriously? If you like alternative/indie, or music with a point, Astronautalis is your man. Rapper Andy Bothwell has turned me from hating rap to an avid fan, singing on the antics of a family with illicit history. So good.
4. Kevin Devine - Brother's Blood
Favorite live song of the summer, hands down. Kevin Devine sings politically-charged anthems with simple structure yet more power than any of these other listed bands. He's serious, intense, and that screaming bit at the end is pure gold.
3. The Dear Hunter - He Said He Had a Story
Casey Crescenzo is a genius. The man is on his 3rd installment of this epic story for The Dear Hunter, a genre-bending alternative romp through World War I. This song carries very well the loss-of-innocence theme from previous albums, and sounds excellent while making me feel positively dirty for singing along.
2. Discovery - Osaka Loop Line
Discovery is an off-shoot of members from Ra Ra Riot and Vampire Weekend, and they've created an over-the-top electronic/synthesized masterpiece in their LP titled LP. Osaka Loop Line is a cute story of a train ride, so perfect because you can tell the lead singer is smiling the whole time through.
1. Neutral Milk Hotel - Holland 1945
When I hear Jeff Mangum say "one, two, onetwothreefour," I cannot keep myself calm. Holland 1945 is a distorted mess of eclectic lyrics and Mangum's wails. From each hauntingly beautiful, visceral phrase to the ending chorus of trumpets, this song demands your attention and reminds us why Neutral Milk Hotel is one of alternative music's defining bands.
Thursday, August 6, 2009
The Morning Light
Today's recommendation:The Morning Light - The Morning Light
So by now you've read "The Morning Light"...4 or 5 times on this page. They're driving their name across, sorry about that. And it's a good name too...which was not my initial opinion. But their music fits the name "morning light" better than anything.
The Morning Light have created a sweet and poppy experience with their self-titled album, which was released quite a bit ago, though I never really got to brag about how much I've enjoyed them. They bring the always-fresh lightness of Mae or Copeland and add a little energetic beat to create a truly unique experience. It's the type of music that had to be a joy to write, because it's just so happy. Production is solid, and the energy is perfect for the summer.
It's hard for me even to choose a few songs out of the collection to recommend. I'd say I love the punch of "Brand, New, Friends," the rich dynamics of "Virgina," and the overly-catchy "Clouds". I could listen to this album, especially the first 6 tracks, any time I need a pick-me-up or it's just a sunny day.
Recommended for fans of Relient K's "High of 75," Mae, and smiling. The Morning Light are by no means on the menu if you're looking for serious music, but I'd say they're more than just your guilty pleasure band. If you're not singing along after a while, then you're not relaxed enough. I wouldn't be surprised if they became more popular over the next few years.
On an unrelated note, my blog is now up and running! I should hopefully update this a lot, so if you hate this music I'm sure you'll find something to like eventually. I'm a man of wide musical taste.
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