matt’s music blog

Another artist that you can thank Sam for introducing me to. It’s really very impossible for you to not like this song. It’s catchy, up beat, and infectious. Driving drums, bass line, and guitar part start off strong, and keep us rolling through out the whole song. Ida’s voice is straining and cracks in some spots, giving us the impression that she’s really yelling, face first into the mic.  And then there’s the title, which I love.

For the most part, the lyrics aren’t really that different. They stay pretty constant, but are effective. The first verse starts us off

Oh the clever
things I should say to you
They got stuck somewhere
Stuck between me and you
Oh I’m nervous
I don’t know what to do
Light a cigarette
I only smoke when I’m with you

“Light a cigarette, I only smoke when I’m with you” is a really great line. Then we move on to the prechorus, where there are great little vocal “Whoooaaaas” That give the song a peppy rock feel. And then, the chorus it’s self, which is

‘Cuz I like you so much better when you’re naked
I like me so much better when you’re naked
I like you so much better when you’re naked
I like me so much better when you’re naked.Yeah!

In my opinion it’s really the best part of the whole song. Pounding drums, crashing guitars, male backing vocals, and Ida belting it out. I can confess, without any shame, that whenever this song comes up on my MP3 player, or stereo, I yell it out too. This has made me the victim of many a strange glance from passers-by, or people in my house.

From here on out, the song continues pretty much in a similar manner. Listen to this song once, and you’re like, “Oh yeah, this is pretty cool” By the second time, I guarantee that you’ll be belting the lyrics out too. I promise. The combination of Ida’s ernest singing style (slightly reminiscent of Feist or Ragina Spektor), backed by powerful drum, bass, and guitar, makes this song a real winner in my book.

-James Out

Say what you will about 90’s music. I think that, as a child of the 90’s, it will always hold a special nostalgic place in my heart. Especially music from the late 90’s. I’m sure that you know a few Savage Garden songs. If you listened to the radio at all, it seems almost impossible that you didn’t hear Truly Madly Deeply, and I Want You (both appearing on their self-titled album). And while these were certainly the tracks that got the most air time, they are by no means the best. Which brings us to our current song.

It starts out with pretty dancy drum loop and a bit of a guitar part. I’m going to warn you right now, the song really doesn’t get any more complex from here on out. It changes a bit for the chorus, maybe adding in a little bit of string synth. The real genius, in my opinion, lies in the lyrics of this song. Lets take a look at the first verse.

And we stare each other down like victims in the grind
Probing all the weakness and hurt still left behind and we cry
The tears of pearls
We do it. Oh we do it.

Now if that’s not an epic lyric, then I don’t know what is! Intensity is brewing. I especially like “victims in the grind” It reminds me of the opening video for Final Fantasy 8. Then we move on to someone questioning another person views.

Is love really the tragedy the way you might describe?
Or would a thousand lovers still leave you cold inside?
Make you cry…
These tears of pearls

Man these lyrics are good. Questions about feeling scorn about relationships. Is love as bad as you say? Or is it just because of your mindset? Then we move on to the chorus. I’d like to take this opportunity to say that when I first listened to this song, all those many years ago, I used to think they were saying “Stone man Pearls” not “Stolen Pearls” Listen closely, I think you’ll see why I was confused.

All these mixed emotions we keep locked away like stolen pearls
Stolen pearl devotions we keep locked away from all the world

For some reason, the metaphor of mixed emotions being like stolen pearls is really cool to me. Very nice imagery. Moving on to the next verse, we hear a bit more of the story. The girl tried to live, but always had a bad experience. This guy tried to be the one to open up her heart, but ended up with tears of pearls.

Your kisses are like pearls, so different and so rare
But anger stole the jewels away and love has left you bare,
Made you cry…
These tears of pearls
Well I could be the tired joker pour my heart to get you in
Sacrifice my happiness just so I could win
Maybe cry…
These tears of pearls

Then, the music starts to diversify a little as we go into the bridge. Some more lyrics that are more imagery then anything else. We get through the bridge in time for a little solo, and a electric organ part that sounds like it would be more at home in a 70’s funk song. After that, we return  to the chorus a few more times.

Now see? Wasn’t that a good song? You know it was. I would encourage you to look up the rest of songs on that album. Except for Truly Madly Deeply, which really, isn’t that god of a song.

-James Out

I’ve been agonizing over weather to do this song or not. I mean, as it is, I’m not sure I really have a lot to say about it. Not because it’s a bad song. But more that it’s all built around layering, repeating sections over and over, and building on them. Similar to what we heard in David Gray’s Please Forgive Me. Only, instead of being fairly simple stuff being added, this is awash with arpeggios, synthesizers, and fun little drum parts.

But actually what I really wanted to point out is the lyrics. After hearing it once (or maybe you’re listening to it right now?) I think you’ll see that it’s really easy to just get caught up in the music and energy of the song, without really paying attention to the lyrics. When I first started listening, all I could really pick out of it, is the bridge/break which goes:

I don’t mean to seem like I care about material things like a social stats

Let me just pause to say, on it’s own, that’s a pretty great line. There’s another part after that, but I could never really make it out. Luckily for us, the internets provide us with the answer. However, we’ll address that later. Anyway,what does it all mean? How does it fit into the rest of the song? Well dear readers, that’s what we’re going to talk about today. So, let’s look at the first verse, which gets repeated bunch.

There isn’t much that I feel I need
A solid soul and the blood I bleed
With a little girl, and by my spouse
I only want a proper house

Oh. Okay. So he’s talking about wanting a house for his wife and kid. That makes sense! Wouldn’t really catch that from the song. After that it moves on to what can be considered the chorus part.

I don’t care for fancy things
Or to take part in a precious race
And children cry for the one who has
A real big heart and a father’s grace

So he’s telling us that really all he wants to be, is a good father! Man, what a sweet guy. Okay, now remember the bridge/break part?

I don’t mean to seem like I care about material things like a social status
I just want four walls and adobe slabs for my girls

Ahhhh. He’s reassuring us that it’s not actually the possession of the house that he’s worried about. More the fact that he wants a place for his wife and kids to live. Who saw that coming?

Anyway, the fact that this song is so… emersive, that you can totally lose track of what the lyrics are, is a real credit to the amazing songwriting ability of Animal Collective. I strongly encourage you all to check out the rest of the songs on this album, as they are equally as good.

-James out

How totally excited would you be if I told you that Empire of the Sun, is basically the Australian MGMT. Because that’s exactly what they are. Except the members of the band, look kinda like the guys in Fischerspooner. Anyway, every since Sam alerted me to their existence, I’ve been hooked. And after hearing this song, I’m sure you will be to. Anyway, on to the analysis.

It starts out with a simple little Yamaha drum synth hi-hat, and keyboard part. Then Bam! You get thrown into the song, with these really solid lyrics.

Walking on a dream
How can I explain
Talking to myself
Will I see again

Then the music gets a little bit more intense, and we move straight on to the wonderful chorus, which is arguably the best part of the song.

We are always running for the thrill of it thrill of it
Always pushing up the hill searching for the thrill of it
On and on and on we are calling out and out again
Never looking down I’m just in awe of what’s in front of me

Just the imagery in it is really cool. And epic sounding. “Running for the thrill of it”, and “pushing up the hills”, both resonate really strong with me. And then “Never looking down, just in awe of what’s in front of me” God. It’s just really powerful. The rest of the song just continues in a similar manner, with verses and choruses. But man, I could seriously listen to this song forever. It’s the perfect thing to wake up to. I would strongly encourage anyone that likes it, to investigate the rest of the album. You won’t be disappointed, “I guarantee it” Like the Men’s Warehouse guy.

-James out

This is my first post. A daunting thing to be sure. I was concidering maybe going with a strng classic track. Something that lots of people would see and be like “OH yeah. James really knows his music” But then I considered that the whole point of this blog is for people to discover new music. And so, with that in mind, I’ve settled on this amazing song, by Owl City.

There are tons of reasons I love this song, the least of which is the awesome job of instrumentation, and really good synth choice. Imagine this, if you will: if Colin Malloy (of The Decemberists) wrote a crazy sci-fi song, and it was performed by The Postal Service. In essence, that’s what this song is. I know that’s a pretty ambitious description, but it’s the truth.

Before we even jump into the lyrics of the song, let me take a second to talk about the opening section. It starts off with a cool little metallic bit and some basic syth percussion. Then, wasting no time, you get this really cool little bouncy synth lead part, back by a pretty simple bass syth. It’s very strikingly Postal Service-esc. Especially the drum parts remind me of Jimmy Tamborello (the other half of The Postal Service. Part of Dntel and The Figurines) Anyway, lets not get bogged down. Moving on.

This song is formatted really well. Starting out, like a story, with the background. Cool and very image invoking disctiptions of life in Denver.

Glamour and fashion
Models and magazines… a striking runway entrance
Beauty and passion
Stardust and high class scenes of popular teens

Then we move quickly on to the meat and subject of the song.

When I lived in Denver, I met a millionaire
With ribbons in her blonde hair
I still remember
She was like a princess straight from a dreamy castle in the air

Man. All I can say, is what a solid opening for a song. We move back to the little opening lick, and then power stright into the chorus. Which I absolutely love. Because before we were talking about just normal stuff. Meeting girls, and falling in love. But then we hit,

We played golf on the moon
And tennis on the sun
Like athletes of the afternoon
The solar flares burned my arms
And made her makeup run
On our super lunar honeymoon

Whoa, what? Now we’ve totally moved on into some crazy sci-fi universe, where there are sports happening on the moon and sun! Awsome!

Finally, the last verse gives you a little bit more description. But what I really like are the lines

I was the youngest son of a congressman
And everything was my fault…
She was a gymnast, happily swinging
On the uneven bars, tucked in a somersault

I don’t know why. But for some reason, those are both really simple, but really amazingly descriptive. And then it just falls back into the chorus, and repeats the opening synth lick a few more times.

All in all, one of my favorite songs that I’ve recently heard, by far.

-James out

The drum machine percussion is solid, as it is on most MIA tracks – a nice bouncy bassline, breathy female vocals, and then, at :23 – the string sample! Each phrase is punctuaed by a little ‘pew!’ spacey sound effect, and in the middle you get to hear a neat little bloopy arpeggio sting that always reminds me somehow of Final Fantasy 8 music.

When you go Rwanda Congo
Take me on ya genocide tour
Take me on a truck to Darfur
Take me where you would go

Got static on ya satellite phone
Got to get you safe at home
Got to get you some where warm
So you get me all alone

As usual, the song’s simplicity is offset by its extreme catchiness – it’s easy to find yourself humming the chorus:

Time and time and time and time again
You keep pushing that button but I don’t know what your sayin
You hit me on AIM tryin’ flip me on some game
Are you coming are you going are you leaving are you staying

You told me that your busy
Your loving makes me crazy
I know that you hear me
Start acting like you want me

You told me that your busy
Your loving makes me crazy
I know you can hear me
Start acting like you want me

In short, the song is about trying to get ahold of a guy – but it’s the bouncey disco groove, the string sample, and the vocals that make it all worthwhile. It’s actually a cover of a bollywood musical number – here’s the original: Disco Dancer – Jimmy Adja (which is itself arguably a bollywood version of Ottawan – T\’es OK)

MIA is quite an artist – her music is strikingly simply, yet unavoidably catchy. There are hooks that are just impossible to ignore.

Take for instance Bucky Done Gun, a song about child soldiers. Right off the bat, you get slapped hard with snappy snares, rumbling bass, and spunky female vocals – and then that iconic horn sample.

Bucky Done Gun
What you want
The Fire Done Burn
What you want
Bucky Done Gun
Get Crackin’ Get Get Crackin’

The breaks are repetitive – tom, tom, glitchy kick, snare, horns – but so satisfying! The cut up and remixed version at 1:53 really milks it to get the most out of the sample and sequence. It’s simple, short, but man – oh so very satisfying. Good for blasting when you’re stuck in traffic.

I’m trying something new – rather than pointing out particular songs that I like, I’m going to go through my music library. Hopefully this’ll give me an excuse to post a little more regularly, instead of only when I decide that any particular track is worthy of ‘favorite’ status. Also, this’ll probably result in me reviewing stuff that I don’t actually like – maybe even things that are better off being deleted from my collection.

Myth Takes always plays first by default on my car stereo, by merit of ‘!!!’ (pronounced as making a clicking sound three times in a row, e.g. ‘chk chk chk’) being the first artist name alphabetically. The titular first track is catchy, with percussion that’s precise enough to be attention-grabbing, but there’s enough grittiness that it blends well with the rest of the instrumentation. The low whispery vocals alternating with wide guitar solo lines build anticipation, even though you could argue that the payoff never comes on this track – it’s the next one where you get a climax.

‘All My Heroes Are Weirdos’ is arguably better in the first 20 seconds then in the entire rest of the song – the guitar gets a little too crazy, I think, and it makes it tough to listen to for very long – it’s nothing like the driving intro.

‘Must Be The Moon’ settles into a nice almost disco-y groove as soon as it starts, and holds onto the kick/snare/tambourine pattern throughout the rest of the track – and it’s good stuff. The vocals are interesting too – there’s just enough there to keep things interesting, but they know when to pull back and let the instruments have their turn. The electronic stuff that elbows its way in towards the end of the track is also much appreciated.

‘A New Name’ has some interest growly bass and what might be some bells, as well as occasionally cool  percussive elements, and a neat establishing guitar line, and sort of reminds me of Damon Albarn’s vocal stylings at some points.

I almost feel like ‘Heart Of Hearts’ is sort of a bridge song, I don’t want to say ‘filler’ because that sounds negative, but it just doesn’t work for me out of the context of the album – but within that context, its inclusion was fairly insightful, since it feels like it really ‘fits’ there between the first and second half.

‘Sweet Life’ isn’t all that exciting either, and I guess it kind of continues the ‘bridge’ section.

‘Yadnus’ on the other hand, starts out with a nice ragged synth lead, and one of my favorite percussion patterns – ‘Like It Or Not’ off of Confession On A Dance Floor by Madonna, for instance, sports the same 3/4 rhythm. Something about that sort of swaggering configuration always sounds really good to me. The rest of the song sort of swings around between staccato falsetto and guitar, then back to nice sparse guitar picks, and has a pretty neat finale ending.

‘Bend Over Beethoven’ is like 8 minutes, which is crazy, and it’s pretty standard !!! stuff – it does a good job of exploring all the possibilities that the song’s time affords it. I’ll bet it’d be fun to watch this song performed live.

Not a whole lot happens (apart from some interesting horns and synths) in ‘Break In Case Of Anything’, and I almost wonder if the song’s title is a reference to this track acting as a ‘break’ after the previous one.

‘Infinifold’ is the final track – and it fits in the last slot nicely. The eerie grungy guitar echoing around behind the piano and hushed vocals sound like an ending. Finally, things start to build back up at the end, about three and a half minutes into the song… but it never peaks again, it just fades out. A good way to end things.

It’s tough to pick my favorite song, but I’m gonna say that all three of the first tracks (Myth Takes, All My Heroes Are Weirdos, and Must Be The Moon) plus Yadnus are probably tied for first – Must Be The Moon might be slightly ahead, though, so here it is, for your listening pleasure:

The chords you hear in the opening minute or so are what you’re going to be hearing throughout. After a bit of reverby jammed up samples, a few vocals, and a dramatic “Ladies and gentlemen, fasten your seatbelts,” you’re dropped right into the main groove – deep kicks, splashy snares, a brassy bassline supplemented by a barely audible sub line, and an incredibly catchy little hook. Punctuated by occasional “Sound Boy” and “Combination Style!” vocal samples, things continue forward – there’s a lot going on, all revolving around what we were initially introduced to. Occasionally things will break for a moment, or some piano will appear, but it’s mostly the same, until the break at 3:40.

Bleeps and bloops, plus a phased-out pad, and the ever-present “sound boy, you’re too young to be a soldier, combination style!” sample (I don’t know if that’s really what they’re saying, but it sounds like that.) At about 4:45 the song essentially comes full circle, kicking you right back to that head-bobbing hook.

There isn’t really much more to say about this, since it’s a little repetitive, but that little melody line is undeiably catchy – I’ve found myself whistling it several times since I ran across this album.

I’m not a huge fan of The Killers – but this latest album has had more good tracks then bad, and this one is arguably is one of my favorites (a couple others are probably as enjoyeable, if not as quantifiably good).

So we get a nice electronic intro, which jumps into a sort of updated Killers groove at 0:15. Vocalizing is a good way to make a track fun. The drop down to simpler instrumentation works great for the first verse, keeping the percussion and a guitar or two.

It started with a low light
Next thing I knew, they ripped me from my bed
And then they took my blood type
It left a strange impression in my head

You know that I was hoping
That I could leave this star-crossed world behind
But when they cut me open
I guess I changed my mind

And you know I might have just flown too far
from the floor this time, ’cause they’re calling me by my name
And they’re zipping white light beams
Disregarding bombs and satellites

And that was the turning point
That was one lonely night

Can you hear the accoustic guitar panned left on the second part of the verse, at ‘and you know I might have just flown too far’? Could this be a Bowie reference? Maybe it’s just the title, but I’m going to guess that there’s a ‘Space Oddity‘ connection her, because it seems intentionally distinctive. Anyway, here comes the chorus, which is once again very ‘Killers’, but with sort of a new poppy twist:

The star maker says it ain’t so bad
The dream maker’s gonna make you mad
The spaceman says everybody look down
it’s all in your mind

It makes me think a little of Flaming Lips too, maybe because I went and saw Christmas on Mars recently, and I’ve seen their UFO Show, in a state where I’m prone to make strong sensory associations.

There isn’t much new going on past the first verse and chorus – the return to the verse at 1:31 is a nice comfortable fall into the previously established theme, and the lyrics continue to be ingruigin:

But now I’m back at home and
I’m looking forward to this life I live
You know it’s gonna haunt me
So hesitation to this life I give

You think you might cross over
You’re caught between the devil and the deep blue sea
You better look it over
Before you make that leap

And you know I’m fine
But I hear those voices at night sometimes
And they justify my claim
And the public don’t dwell on my transmission
‘Cause it wasn’t televised

But it was a turning point, oh what a lonely night

There’s a nice quiet break at 2:45, though, which adds a bit of mystery to the song, and the line “They say the nile used to run from east to west” evokes time-travel imagery – was he a space traveler who set off to find the earth, but arrived much later then he expected, and (like The Man Who Fell To Earth) just decided to stay, and become human?

Anyway, the vocalizing comes back at the end, which fades out to some appropriately spacey synth pads – the ride is over.