matt’s music blog

I really like this song. And one of th things that I like a lot about it, is I have nearly no idea what it’s about. Okay, that not totally true. I mean, as far as I can tell, it’s mostly just a bunch of verses about what this guy wants to do. Shall we get into it then?

It starts off with a solid bass line, a little bit of reverb-y guitar, and hand claps. Also a little bit of synth on the top, and some shaker. Then, the first verse. Now before I get into the lyrics of the first verse, one of the things that I really like about this song is that there ISNT a chorus, it’s really just the verse part repeated over, separated by a little bridge part.

I want to go up to Detroit
I want to lie in the shade
I want to visit the president
And then I want to get laid

Then, right on cue and perfectly timed, enter the drums!

I want to go down to Memphis
I want to talk to the king
I want to tell him we’re sorry
And it won’t happen again

What does that mean? Is he going to tell Elvis that… he’s sorry that he died maybe? I have no idea, but it’s a really cool line regardless. A little bit of lead synth, and then back to the verses. Notice, we’ve also added an acoustic guitar strum to the beginning of each phrase. And, possibly my favorite part, the amazing call and response singing.

I’ve got a photo of James Joyce
It’s a photo by Man Roy
It’s not very very much like him
But it’s not for me to say

Who’s Man Roy? That’s what I want to know. I used to think he was saying “memory” A quick jump on on wikipedia reveals… Nothing! Who is this mysterious Man Roy? Why did he take a photo of Jame Joyce? We may never know! But on to the next verse.

She sacrifices her body
Almost every night
Just like a lamb to the slaughter
And she thinks it makes him feel right

Bridge, then lead synth, with the addition of some little saxophone hits.

You gave me so many problems
You made me crash in my car
I’ll have a martini cocktail
And then we’ll see where we are

So just be nice to your brother
I’ll take your sister to bed
And I can bloc bloc bloc till the weekend
But you’d better come back soon

“I take your sister to bed!” Ahhhhh. So great! What exactly does bloc bloc bloc, mean? Once again, I have no idea. I really think it’s a song in the Bob Dylan style. Verses that are really just cryptic descriptions of things, instead of being a coherent story line. But instead of being kitschy, it’s well implemented. And kinda silly. But good. I would strongly suggest checking out the rest of this album, as it is similarly good.

-James Out

I first heard about Wolfsheim, when I was listening to a song called Die Flut (The Flood). Die Flut was a collaborative effort between Joachim Whitt and Peter Heppner, both popular German New Wave artists in the 80’s. I like the song a lot, so I wanted to see if they had done anything else together, or what their separate music was like. Joachim Witt’s music was pretty good. And Peter Heppner is the lead singer of Wolfsheim. Which leads us back to where we started.

We start off with some blippy little synth parts, poppy drums, and the lyrics. I haven’t actually looked at the lyrics for this song before, so I’m not totally sure what it’s about. This will be a little experiment, if you will. Anyway, verse one is as follows.

I won’t believe every lie
just ’cause you said you’re mine.
I won’t believe that your heart’s
been cheating from the start.
I won’t believe it’s just a game.
I won’t believe it’s just the same… again.

Hmmmm. So, it kinda looks like he’s using opposing statements. I mean The first part, is kinda negative, right? Not trusting. But then, the next, is like, I don’t believe that you are cheating on me. Like, people have been telling tales. Okay, so the music starts to pick up a little, gets a bit more solid on the drums, and a solid bass line going too.

I won’t believe… you could be far away
but staying on my mind.
I’ve to believe… at last, there won’t be
anything that’s left behind, my friend…
I understand, that you just saw
the signs, but not their sense
and laid your trust in me… I won’t believe

He won’t believe that he could really be missing this person, or that he’d still have feelings for her. So maybe this is really a song about denial? Anyway, we get into a little break-down bit, and build up in intensity, with more prominent drums and guitars, the synth moving into more of the background.

I won’t believe…
that you will be there at all…
you know… that I believe…
this is what a friend is for…
I said I won’t believe, but then…
I understand that you could see
the signs but not their sense…
don’t lay your trust in me…

See, here’s where I’m getting confused. Because sometimes this song seems to be about a guy that isn’t willing to accept that his lover is like… leaving him, or moving on, or whatever. And then sometimes it seems like it’s about a guy that’s kinda synical and scorned. This last verse continues to repeat and fade. Over all, a very good track. I’d encourage you to check out the rest of this album, at least.

-James out

I still have mixed feelings about  Passion Pit’s album, versus their EP (Chunk of Change). So in an attempt to better explain my conundrum, I thought that I’d post my favorite song off of each, and let you, the readers, decide.

The first thing you’ll notice as we start off is a upbeat little 80’s intro synth line. Then, as the lyrics start, we get powerful drums, and a little higher synth part. Some pretty cool lyrics, if not a bit cryptic.

When I came down the sun poured into me
I shook em up, the walls came crumbling
my fists kept trembling with these salty wounds
my stolen gold inside the emperors tomb
now baby wait looks like a lovely face
I built this cardboard neighborhoods disgrace
who let it said that you’re my favorite sphere
within the confines of such chemistry

So…. yeah. I’m not really really sure what that all means. But like I said, cool and cryptic. I especially like “I built this cardboard neighborhood in disgrace” and “My fists keep trembling with these salty wounds” But just hold on, my favorite part is coming up. The chorus! Complete with Matt’s favorite musical device. Little children singing!

Let this be our little secret
no one needs to know were feeling
higher and higher and higher
But I feel alive and I feel it in me
up and up I keep on climbing
higher and higher and higher

God. This song really gets better and better as we go. Okay, so now there’s this really nicely exicuted drum break. Syncopated rhythm, if I’m not mistaken, and we get right back into the next verse. Which happens to contain my favorite lyric in this whole song.

My face blew up at such a casual sight
this miracle is of ecstatic fright
they’ll rush above me to oblivion
outlining white sidewalks with halogen

Oh have you ever felt so goddamn strong
how come it takes some people so damn long
he tried to squeeze the lemon juice to rain
the citrus drawing out the seasons stains

“My face blew up at such a causal sight” Holy Fucking Shit. I don’t know if I have the words to tell you how amazing that is. Also, “He tried to squeeze the lemon juice to rain, the citrus drawing out the season’s stains” Is really really good. Then the bridge, gives us some more amazing lyrics.

Watch the basin drain
as your life lines wane
and you cant explain
as your friends complain

You’ve caused all this pain
and you proudly shame
your whole families name

Wait, did they actually say “as your life lines wane?” The answer is yes. Yes they did. And let me tell you, anyone who can use the word ‘wane’ in a song this cool, get’s like… a hundred golden stars from me. We return to the chorus, and that’s about the gist of it.

So lets reveiw what makes this an awesome song:

1. Really good 80’s style synthesizer parts
2. Interesting and cryptic lyrics
3. Intense drum break that leads into the second verse
4. Well placed use of the word ‘wane’
5. Children’s choir backing vocals on the chorus.

I’m not sure weather it was my Uncle Steve that first introduced me to The Faint, or if it was my brother. But ever since I heard Danse Macabre, I was in love. They often get a lot of flack from the punck-rock community for trying to be punk, or being too mainstream. Which is purely ridiculous, because if you pay attention to a lot of their songs, they are punk as hell.

Danse Macabre has always been my favorite of their albums. So much so that I own it on vinyl. But lately I’ve been listening to their third album (Wet From Birth) and enjoying it quite a bit too. One of my favorite tracks is Desperate Guys, the first track off the album. So, lets get down to it, shall we?

We are played in with a brief little violin intro. Then we get into the vocals and a little bit of bass syth, and drums.

Was it more than attraction and a physical lust?
Her loins, my imagination, that first inconceivable touch,
That I was planning, er, I mean wishing, uh..
How embarassed I’d been if you knew what I was thinking of.

Her loins? Nice! That verse is followed by this really cool bass snyth part that sounds something like “Ooo Ooo wah wah wah” Which I really like, and we move on to the next part.

And whoa, when it started, my first thought was love,
Not just lust, because when I heard you speak, I felt warm.
In the evening I saw you, you were warming the bass up.
Your hair covered your face up,
I was acting indifferent at the merch booth, putting on makeup

For some reason, it works really well with the rest of the song it cram that last line in, despite the fact that it’s a bit too long to fit in.

The prechorus, and then we move into the chorus, where the drums get a little more intense, and we get a little more orchestral action.

I crossed my fingers, but I didn’t beg, no ,
Cause I knew you knew,
Cause I knew you knew I liked you.
I knew you knew I liked you,
I knew you knew it,
But I figured desperate guys,
Never had a chance with you.
I figured desperate guys,
Never had a chance with you.

We get another prechorus and the chorus repeats a few more times. Finally we end with a cool little break-down outro.

All in all, this songs is really a pretty good one. I’d highly advise that anyone out there that’s tantalized by it, should investigate the rest of this album, and, indeed, the rest of their work. Except for the remix album, which is, in this man’s humble opinion, not really that 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

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:

I like Rammstein a lot, and there’ll probably me more tracks by them here eventually, but Zwitter is one of my favorites right off the top of my head.

Things start off nicely - guitar riff phased back, nice blippy little techno beat, serious rock drums, and then the same riff, this time front-and-center. “Zwitter, zwitter!” You get the idea.

Next, the first verse, over a momentarily placid version of the guitar, moved back to the back burner as a bassline. The guitar comes back during the second half of the verse, building back up the chorus, which we’ve already become familiar with.

The second verse features another higher synth line, which helps keep things fresh, while the lyrics grind onwards - but we’re coming to the best part of the song. It’s the transition that first happens at 1:47 - bam, we jump up to the bridge, higher vocals, a neat phased effect, and an overall epic ‘peak’.

Things drop back down, of course, for another verse, and then another chorus. There isn’t much more to the song musically.

However, there’s some interesting lyrics to be examined, in particular, the bridge. The song’s title and chorus line, ‘zwitter’ means ‘hermaphrodie’ in German, and here’s the bridge and (supposed) translation:

 

Eins für mich (One for me)
Eins für dich (One for you)
Gibt es nicht (Is there not one or ‘is not how it is‘)
Für mich (For me)

Eins für mich (One for me)
Eins für dich (One for you)
Eins und eins (One and one)
Das bin ich (That’s me)

I love how the words fit together in german - ‘me’ and ‘you’ rhyme, and a few other phonetic similarities (’für’ and ‘for’, ‘mich’ and ‘me’, ‘es’ and ‘is’, ‘ich’ and ‘I’) make it almost possible to understand the words if you know the context.

And of course there’s the (roughly translated) line:

I am not even downhearted then
When one tells me “fuck yourself”

Watch the music video on youtube.

A little bit of ska right up front in the beginning with that snare, some bass guitar, some spacey effect synth, and then the real song at 0:11. “Whoaaa”, ha ha. Right away you know how the groove goes - the fairly simple rock percussion, the bass and lead guitars, and the the shouty-yet-in-tune vocals. The distinctive distorted high guitar line helps tie everything together.

See them creep out to nightlife
You see them walk the streets
These children of the undead look dressed for the endless Halloweens
And this horror like production,
Takes total dedication
Of black clothes and pale complexions
Rock jet black hair and monster makeup

Listen for the zombie vocal accompniment at the end of each chorus line…

And who can blame them?
They walk through asphalt cemeteries
Zombie fashions—
They must have been born that way
So can you hear me?
Can you get hip to what I’m saying?
These fashion zombies don’t walk this world alone…

The instrumentation is solid, but doesn’t do much to distract from the lyrics, which are the real treat. And once you’ve seen the music video, you can’t get the ‘fight’ or ‘performance’ scenes out of your head. The song barrels onwards, past numerous explicit ‘Thriller’ references, until the ending bar, which cuts off after the bendy sci-fi synth.

The whole song doesn’t evolve much throughout, but I’d argue that it doesn’t need to - it comes it fast, says what it needs to say, and then leaves - and it’s fun. That’s what really matters - isn’t that right, kids?

The nineties were probably when I first really became aware of ‘music’ as an entity - before that it was always in the background (my mom is never not listening to music, a trait which I’ve thankfully inherited) but sometime between ages 4 and my early teens I started to become able to distinguish tracks, albums, artists, and genres. A friend of mine had the Chumbawamba audio cassette tape, and we’d listen and dance to it all the time - and while everyone might consider Tubthumber’s eponymous track overplayed, the rest of the album has some really fun stuff on it. The last track, ‘Scapegoat,’ is my favorite.

The album contains a lot of sampling used in ‘intermissions’ between tracks, and this one starts off with a little orchestral ‘presenting…’ sequence, which quickly drops off into an electronic into for the real song - warped synth and classic drum machine claps transition to an easily understandable electro-rock groove. Electric guitar, a dancey percussion / bassline combo, and a trancey snare fill lead into the first verse, courtesy very ‘folky’ (as opposed to ‘electronic’ or ‘rocky’) female vocals:

Aftershave and smoke 
And the same unfunny jokes 
They say they’ll take you 
‘Anywhere 
But there’ 
Believe every half-whispered 
Half-remembered lie 
Where truth is a luxury 
They can’t afford to buy 

The accompaniment takes a break during the chorus, cutting back to a nice punchy kick, sparse guitar (which synchronizes with the bassline), and the tasty brass lines that are generally featured on most of the tracks of this album. Things are kind of orchestrally electronic for a few moments, until the break at 1:36, with just the distorted synth line and the dancey percussion, and then we get back to the verse again:

Backed into a corner 
He barricades his life 
Fastens up the shutters every night 
This island is big enough 
For every castaway 
But most of us are looking round 
For someone else to blame 

And once again, the chorus:

Scapegoat 
Looking for a scapegoat 

There’s always someone else for 
you to blame 

By now we know exactly what to expect from this song - all the elements are pretty firmly established. But just for fun, another quick breaks gives us an almost mournful brass line which sounds a lot like an earlier track called ‘The Big Issue’, especially the last little melody bit, before the trancey snare fill and cymbal crashes pulls us back into the meat of the song again. One more break at 3:52, and we’re done - all the layers play at once, and the track fades out.

Once again, keeping with the album’s practice of sampled intermissions, we get a man admitting tearfully that “Boy - you can know out a bloody good tune, but what the fuck does that matter? Now I’m going to take my boys onto the town. Thank you.”

What does the song mean? I’ve got to admit that the parts I find most appealing are the solid electro-rock areas, especially how the intro resolves into the section at 0:26. The rhythm and sounds are perfectly spot-on, clean and poppy. I like the phrasing in the chorus too, although I change the words a little in my head: “Scapegoats, looking for our scapegoats, there’s always someone else for us to blame.” Culture wars, moral panic, scapegoating, and the resulting witch-hunts are human social phenomenon that I find fascinating (plus I feel a little smug that I have the detachment required to recognize them rather then just getting swept up, or at least I think I do), and my version of the chorus makes it sound like Chumbawamba is observing the same thing.

My friend Dan Beyer is a member of the duo known as ‘Speed Suit‘ (Nathanial Oester is the other player). After his first show in a basement somewhere in NE Portland, Dan hooked me up with a sweet bootleg CD of the tracks they performed. The second track is easily my favorite.

So compare the beginning to ‘Map of the Problematique‘ by Muse off of their album ‘Black Holes and Revelations’ - hot, totally danceable percussion right up front, an explosive stand-in for a splash cymbal, and then nearly the same grinding electric guitar sounding synth. The expertly-clipped drum samples and winding synth line drive the whole thing forward.

At 0:36 we get a short little ‘one two three four’ moment where the highhat counts us into the first verse: breathy vocals, the same punchy drums, and a great echoey synth on the off-beat.

show me some evidence, don’t give me lies
when left in the darkness we’re led by our hearts
and our hearts are so easily carried away

this isn’t a carousel ride this is life
so if youre feeling lucky and brave take the reigns

The coupling of the syncopated vocals with the kick at 0:50 doesn’t give us any time to catch our breath - it’s almost impossible to relax, because the song just keeps moving forward. The breathy sigh and vamps into the chorus at 1:10 is another bit of Muse-like sensability, while the break at 1:24 keeps things pretty solidly focused on the dancey percussion.

hey
is passion just a weakness
when were acting out on impulse

Another verse at 1:43, this time with an extra distorted synth lead atop the rest of the instruments, and a neat little bendy break at 1:58, which we didn’t get the first time around. I don’t even know what the lyrics are at this point, and I’m not really sure that it matters - enough words sneak through to give you a sort of general good feeling about things. Everything drops down for another great break at 2:14 - and back into the chorus again, and that Muse-esque bassline.

so take back the heresy unless you’ve got spite
meet me at dusk and we’ll settle this
lets bury the hatchet youre using as if its an axe

Short and sweet, things cut right off at 3:00. After talking to Dan and Nate, both Justice and Muse gave some  cues when they were hashing out the instrumentation for these tracks. If you’re into it, feel free to download and listen to the other Speed Suit tracks- I uploaded a .zip of the show for your listening pleasure. And if you’re interested in the group, check out Speed Suit on Myspace.

update july ‘09 - check out Speed Suit’s website on thehinge.net for some sweet new tracks!