matt’s music blog

First off, music video: http://www.weebls-stuff.com/songs/Ultrasound/

Fun from the beginning. The effects on the voice and those phased percussion is just a tad bit amateurish/’default presets’ sounding, but that’s not so much a bad thing – makes me think of the streets, lends some character. And no, not just because of the accent.

If you like it, buy it: http://www.amazon.com/gp/product/B0033T0XXE/ref=dm_ty_adp_rd?ie=UTF8&parent=B0033T1BWQ

My next project is going to be an ambitious one, to be sure. But I think it’ll pay off. The Decemberists have known for writing amazingly good songs, all of which usually tell a story of some sort. With the realease of The Craine Wife, we saw them move closer to a concept album. And finally, with the release of The Hazards of Love, they’ve done it. So what is my task, you might ask? I’m going to go through each song, track by track, and try and figure out: 1) How many story lines there actually are, and 2) How they are arranged cronologically, acording to the stories. Ambitious and Daunting, but ultimatly, will pay off. I’m going to try and fit it all into one giant post, but it might need to be broken up. We’ll see. Also, I’ll be focusing mostly on lyrical content, and very little on the actual musical side of things.

I’ve started off by rolling the prelude and second track (hazards of love 1) all into one, through the magic of FL Studio. Since it’s goning to save us a lot of space, I’m just going to link you to the lyrics, and we’ll talk about them in dept.

http://www.metrolyrics.com/the-hazards-of-love-1-lyrics-decemberists.html

So the album starts off with the singer’s true love riding out, and coming upon a a wounded fawn. She, being full of charity, tries to set the fawn’s legs. But then, the taiga starts to change, and so does the fawn. This next verse is the one that is kinda vague and confusing. We find out that the subject of the song is Margeret (a major player in this story), and that she makes love to the fawn (hopefully in a human shape, although, once again, it’s not really clear on this point)

http://www.metrolyrics.com/a-bower-scene-lyrics-decemberists.html

So later, I’m going to guess a good 7 or 8 months, Margeret is being chastized by her sister. And  she’s actually starting to show that she’s preggers. So she returns to the taiga, to find her lover.

http://www.metrolyrics.com/wont-want-for-love-lyrics-decemberists.html

This one is pretty simple. Margeret is setting out to find her love, in the taiga.

http://www.metrolyrics.com/the-hazards-of-love-2-lyrics-decemberists.html

This one is a bit vauge too. But I’m going to go ahead and guess that this is Margeret’s lover (who is still unnamed, and, as mentioned in the first song, used to be a fawn) who’s waiting for her, in the taiga (I’m really milking that word for all it’s worth)

http://www.metrolyrics.com/isnt-it-a-lovely-night-lyrics-decemberists.html

The next song, The Queen’s Approach, is an instruamental, so I’ll roll it into the next one, Isn’t it a Lovely night.

Once again, I think this is about Margeret and her lover. Pretty simple song.

http://www.metrolyrics.com/the-wanting-comes-in-waves-lyrics-decemberists.html

This one is one of my more favorite ones. Once again, there is very little naming, in this story, but I think that it’s a conversation between Margeret’s lover, and his mother (who’s called The Queen). So basically he’s trying to convince her to let him go and see Margeret. And then she’s trying to guilt trip him into not going. Finally she agrees to let him go, if he promises to come back at dawn, and then give his life to her.

http://www.metrolyrics.com/the-rakes-song-lyrics-decemberists.html

The next part is a little musical interlude, and then The Rake’s Song. The Rake’s song is a fairly innocolated song (as far as I can tell) because it has no bearing on the rest of the story line. It’s only mentioned again, in a later song, in a reprise. But We’ll get to that later. It’s about this guy that get’s married to a rich woman. Then when she starts having babies, he becomes dissilutioned with the idea. She dies in child birth, and not wanting to deal with the kids, he kills them off in various fashions.

http://www.metrolyrics.com/the-abduction-of-margaret-lyrics-decemberists.html

For some reason or annother, Margeret gets captured, and her captor has to now cross the river.

http://www.metrolyrics.com/the-queens-rebuke-lyrics-decemberists.html

Now we find that it’s by the Queen’s command that Margeret has been captured. This song is adressed to Margeret’s captor, sung by the Queen. We learn that it was through the Queen’s power that Margeret’s lover is changed into a fawn, durning the day time.

http://www.metrolyrics.com/annan-water-lyrics-decemberists.html

This one is also a bit tricky. It could be about a few things. It, once again, could be totally isolated from the main story line. Or, it could be sung by Margeret’s captor, who, is crossing the sea, with Margeret in tow, on the Queen’s request.

http://www.metrolyrics.com/margaret-in-captivity-lyrics-decemberists.html

This one is a bit more stright forward. It’s sung by Margeret’s captor. Margeret calls out to her love, but it seems to be in vain.

http://www.metrolyrics.com/the-hazards-of-love-3-lyrics-decemberists.html

This is a reprise of The Rake’s Song, sung from the point of veiw of his children.

The Next one, is simply a reprise of The Wanting Comes in Waves

.

http://www.metrolyrics.com/the-hazards-of-love-4-lyrics-decemberists.html

Once again, this one throws me for a loop. Obviously it’s about Margeret, who’s on the ocean, if you remember. But last time that I checked, she was with her captor. Maybe, he’s really in love with her. And that’s why he complied with the Queen’s request? And so, as the ship is going down, he finally confesses is love for her.

PHEW. And there you have it folks. A comprihensive interpertation of the story. Any comments or suggestions are very much welcome.

-James Out

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”

 

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.

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!

Horse The Band – Bunnies music video

The epic beginning… the synth chords… and then the devolution into screamo madness. Luckily it’s not all bad – occasional breaks make it bearable, which is good, because those synths are hot! And the lyrics are interesting, the delivery is good, the guitars fit in nicely, the percussion is exactly what the doctor ordered… it’s just all too much sometimes. Anyway, the music video fits in nicely both with the oldskool synth sound and Horse The Band’s signature ‘nintendo-core’ sound. What’s the song about? Maybe we care a bit more then Cutsman:

And a beef will rise… again!
broken machine in his hand!

Ten words:
snapping - bunnies - twitching - gurgling – forget – the – bombs – in – your – eyes

Roaring with whispers to the tiny bunnies
SMASH/SPLAT those fucking bunnies.

Send them information in a sensationalist manner, THEY CORRUPT!
Heads snapping and misspelling eyes twitching in response to the sound of the words.

Red world-like words
zooming, boiling
Moons in the shallow sky.

Roaring with whispers to the tiny bunnies
SPLAT/SQUISH those fucking bunnies.

Twitching, bleeding, screaming,
bring the hammer down.
Screaming bunnies bleeding
bloody bunnies smeared across the ground.

Drool spilling down his chin
unto his beard
as he screams red words at
A blank and pointless sky
of mothers.
Red words popping and crackling black.

Ten words:
Snapping – bunnies – twitching – gurgling – forget – the – bombs – IN – YOUR – EYES!

Forget the bombs in your eyes,
Speak the words to crack open the sky.

What’s going on? “forget the bombs in your eyes” is an excellent line, and the breakdown at “drool spilling down his chin” is good too, bringing up the ‘red words’ again, the ‘red world-like words’. The “Send them information in a sensationalist manner, they corrupt! Heads snapping and misspelling eyes twitching in response to the sound of the words.” line seems like the important part. It sounds like people with knee-jerk reactions – paranoid people, people who watch the news and keep their kid inside or out of chat rooms, people who post totally ignorant comments on any news article or piece of online media they run across.

Anyway, you’ve got to admit this song is a wild ride. Due to my general lack of appreciation of the genre, Horse The Band rarely comes up with tracks that I really enjoy, but this one is definite a winner. The music video is cool as well, of course.

Normally I’m not into this kind of music – but this track has several saving graces that round out the harder-to-stand attributes: it starts off with a sample from ‘The Wizard‘ talking about the Power Glove… and then the oldskool synth arpeggio hits you at :18. It’s raw, it’s held together by occasional bursts of percussion and guitar, and slides right into the hardcore instrumentation that populates the rest of the song.

What are they singing about? Do you really care with all the guitar and drums and synthesizer? I don’t! But it warms my heart to know that it’s at least somewhat related to the eponymous megaman boss. Luckily it isn’t all-screaming-all-the-time, and the breakat 1:50 is fun… “cut, Cut, CUT, CUT!”

Luckily, the synth reappears at 3:08, in time to save the song from descending into screamoblivion with some well-placed perky chording, and wraps up with another Power Glove reference from The Wizard. Breath a sigh of relief – we made it! What a ride, amiright?

things start off weird, with some almost wild-west theatrical vocals, which quickly transition into something that reminds me more of The Offpsring. Then, at :29, we get the female vocals:

everyone livin in ghost town
everyone buried in wasteland

we don’t want to we don’t have to
be like that livin in ghost town

all the boys shout it out loud now
all the girls scream it out loud uh,

we don’ t want to
we don’t have to
live like that.

pull me back you know
we’re never gonna back down

Like ‘When Did This Storm Begin’, once the female singer starts belting out those lyrics, time flies by – the backing instrumentation keeps things solid in the background, but it’s really all about the sound of her voice. The male singer jumps in to help out with the chorus: “we’re dead in this ghost town, you’re better than ghost oh, let go let go.”

A break at 2:32 returns to the brief intro, then moves into the bridge, with new lyrical melodies and additional accompaniment, and then a nice big break at 3:02, ending at 3:12 and jumping right back into the chorus. The synths bend around, the guitar jams, and everything stops suddenly as the track ends, leaving the two vocalists hanging in midair.

The nearly minute-long intro for this track sort of makes sense to me – it’s like a bridge from the previous album ‘We Are Pilots’ to this next one. The staccato bass line is joined by occasional bursts of vocal samples and spacey synth sound effects until a short burst of kicks at 1:09 heralds the arrival of the Muse-esque male vocals: ”Call my name, answer me where I stand.”

In the background of this plea, trance pads warm up, until – boom! angry female vocals at 1:34!

Here’s a story of the way I wasn’t meant to be raised,
bright yellow sun that fades away to black and blue every place
There’s a bottle in the shape of your love for me

A little more reasonably, she continues: “Now the clouds are racing higher, blinding arrows away. There’s in darkness off the streets that my electricitay,” before getting angry again:

Gold ( or God?) shatters the sky,
this is the first day of the rest of our lives,
’cause no one really lives or dies.

You can’t help getting caught up in the epic 3/3/2 drum line, the heavy pads and guitar, and the reverbed vocals – the next few minutes go by quickly, droning requests to “call my name, where I stand” are interrupted only once more by the angry girl from before:

Every night you drink the money left to pay all the bills.
No room for us, but there’s another fucking bottle of pills.
Here’s your trophy on my face, it’s just an eye anyway..

Now the clouds are racing higher, blinding arrows away.
There’s in darkness off the streets that my elec-tricity

This will go no further, I swear it dies today.
Your nights will stay forever if you dare once more touch me.

The ‘plot’ is fairly familiar – a girl with an abusive alcoholic of a lover/father finally getting the balls to stand up for herself. But the lyrics go so well with the vocal style, and the whole thing works incredibly well as an introduction to Shiny Toy Gun’s new musical direction on their new album. The track ends with a school bell, but it’s only there to set up the next song. Unfortunately the majority of the other tracks don’t live up to the expectations that this one suggests, with the exception of ‘Ghost Town’, and possibly ‘Ricochet’, both of which are in the same vein.

My other favorite track from Bowie’s ‘Outside’ album, ‘Hallo Spaceboy’ starts out heavy and barely lets up – the crunchy synth line at the beginning keep things on-track while various ambient vocal samples swirl around (similar to the intro to The Heart’s Filthy Lesson), until the percussion hits hard at :25. This relentless pounding lets up just as it edges on annoying, making room for the vocals:

Spaceboy, you’re sleepy now,
Your silhouette is so stationary
You’re released but your custody calls
And I want to be free
Don’t you want to be free?
Do you like girls or boys?
It’s confusing these days
But Moondust will cover you, cover you
This chaos is killing me

At the mention of the murderous chaos, the percussion slams back into the track, along with some more guitar and subtle synths in the background, spreading out into a sort of industrial soundscape, which boils around for a bit until a short break at 2:20. The berse repeats, but this time along with the pounding percussion, which intensifies as the lyrics wrap up, ending in another short break at 3:02 (filled by mutterings about moon dust), immediately stepping back up into the familiar pounding rhythm and guitar exploration. This time things break off at 3:34, as brass stings and spiraling electric piano spread out for a bit, before collapsing back to the default lineup. At this point, the song has given all it has to offer – it continues to rage for another minute or so, ultimately fading out.

The repeated return to the slamming ‘kick and snare on every beat’ pattern doesn’t ever really get annoying, since it’s broken often enough to give the listener time to rest, and the lyrics are obscure enough to catch your attention – is this song about drugs? about sex? about rock’n'roll? Anyway, played through headphones at full volume, it’s inescapably catchy.