matt's music blog

this is new: Ultrasound by Johnny Massacre

matt — Sat, 17 Apr 2010 11:04:54 +0000

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

This Is New: Flatland EP by Sound Of Stereo

matt — Mon, 12 Apr 2010 04:53:00 +0000

Flatland EP – Sound Of Stereo

These 3 tracks fall solidly under the category of “only if I’m in the mood.” And like sushi, I’m not in the mood very often… but when I am, this is exactly what I want. The way Metric settles into the groove at 1:30 just does it for me. It’s all repetitive, and it’s not exactly breaking an new ground in the genre, but I’m okay with that. It’s very good at what it does.

Alternative Rock as a category

matt — Wed, 24 Mar 2010 21:46:04 +0000

Apropos nothing, is ‘Alternative Rock’ far too watered down and worn out to be an effective way of describing any particular music style? I mean, if you’re talking about something like ‘Speed Metal,’ images of long hair, tight costumes, and lengthy guitar solos brimming with unearthly arpeggio and glissando fill your head.

Maybe it’s just that I haven’t been paying attention, but alt rock just doesn’t resonate with me the same way. It’s not as easy to visualize. Is it Beck? Chumbawamba? The New Pornographers? And what, exactly, is it an alternative to? Somehow it seems to get itself tangled in ‘college,’ but I don’t get that association either. Anyway, I don’t feel that any of those three examples wouldn’t be better described (both by intentional double-negative use and) by something like ‘Electro Rock.’ And when it comes down to it, I suspect my brother and I skew things far more towards being an electro rock blog than an alternative rock blog.

musicblog reborn

james — Mon, 22 Mar 2010 06:50:29 +0000

No one reads this, of course, but for posterity, let’s be a little ambitious and claim that things are changing around here – more regular posts, hopefully, more consistent content, possibly tie-ins to some other sites (lala.com and last.fm in particular) – we’ll see how that goes. a visual facelift is way overdue (ha ha, as if it ever even had a face to begin with.)

Anyway. keeping the posts from before, but new shit from this point forward, hopefully shooting for at least once a week.

Men Without Hats – Jenny Wore Black (Pop Goes the World, 1987)

james — Sun, 27 Sep 2009 21:59:22 +0000

Another amazing gem from Men Without Hats. This song comes to us from their amazing, possibly rock opera, if not then at least, concept album Pop Goes the World. Which details the lives of fictitious rock superstars, Jenny and Johnny, who are in the band The Human Race.

We start off with some solid Harpsichord, bass guitar, drum, and synth horns. Also, take care to listen to the cool call and response parts.

Jenny wore black
jenny wore white - WHITE!
and jenny was real
but almost not quite
and jenny was here
she was almost inside
and jenny was real
but jenny was frightened by the way
we looked at her
and jenny could see
she was only a child

The choruse contains some tasteful female backing vocals, and more cool harpsichord.
jenny concealed all but her smile
and when she smiled we said hey HEY!
you'll never see clear with tears in your face hey!
you'll never see clearly anyway
I said I loved you blindly, and I do
we're only two strangers in ways


The next verse is the same as the last. Take note of the cool voice agumentation on the "la la la"s

jenny wore black
jenny wore white, WHITE!
and jenny was real but almost not quite (la la la la la la)
and jenny was here she was almost on time
and jenny was real
but jenny was frightened by the way
we looked at her
and jenny could see within us for a while
jenny revealed all but her smile
and when she smiled we said hey HEY!
you'll never see clear with tears in your face hey!
you'll never see clearly anyway
I said I loved you blindly, and I do
we're only two strangers in ways
we should say

Finally we come to possibly my favorite part of this whole song. The bridge.
you always caught my eyes where
the dreams peter in
and I can't remember
wherever I've been
there's still holes for my eyes
where the dreams peter through
all I can remember
is when I was with you

Does this remind you of anything? Because to me it sounds like an allusion to the Beatles "Fixing a hole" And making musical allusions to the Beatles, is a really amazing feat, in my book.

The rest of the song pretty much continues like before. Another chorus then the end. Pretty much an amazing song.

Orchestral Movments in the Dark – Bloc Bloc Bloc (Crush, 1985)

james — Sat, 19 Sep 2009 21:29:29 +0000

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

The Incredible Machine – Will We? (The Incredible Machine, 2009)

james — Mon, 07 Sep 2009 23:05:15 +0000

The final in my Incredible Machine triad. I’m really tempted to keep on doing songs by them until Matt starts to get annoyed with me, and kicks me off. But unfortunatly there are so many good songs, and so little time. Anyway, Will We?

We start off with a killer banjo lick, and bass guitar, and jump right into it.

I’m going to write the song that breaks your heart today.
Trade pretty tears for pretty chords,
Leave you standin’
with nothing left to say.

Like a lemon, so bitter and sweet
Just desserts are not a fun dish to eat

“Like Lemon, so bitter and so sweet” Recalls the famous folk standard “Lemon Tree” And then “Just desserts are not so fun to eat” Just ties it together amazingly well. We move next to the chorus, which contains a bit of snare percussion (accenting the beat) and some backing vocals.

‘Cause I’m trying to see
What exactly it is you want from me
I guess we’ll never know
Will we?

The next verse is just more of the same goodness.

This is the hardest part I have to do today.
When I tell myself I never cared and
just imagine
this all away.

If this is a game then you’ve sure got me beat
Staring awkwardly down at my own feet

Oh no! Our scorned angry narrator is not possibly as scorned or angry as he would like to be. He’s torn between wanting revenge for a broken heart, and still having feelings for the person. I’d especially like to point out “If this is a game then you’ve sure got me beat” Next chorus is same as the last. The last Verse is most certainly my favorite. It goes on as usual, then during the list of things, we get this cool breakdown part. Complete with hand claps and tambourine.

I’m going to write that song that breaks your heart today
Trade pretty tears for pretty chords,
Notes that shake you to the core
Let’s see what I’ve got to say:

She’s the one gives me the blues
Her tiny toes In dancin’ shoes
With hair that’s like a summer breeze
a picnic under Autumn trees
I lost the game I’d like to play
I’m feeling so alone today
I’m feeling so alone today

We end with another chorus (tambourine included) and a nice little ending bit. All in all, a fantastic song. Lots of really good descriptive lyrics at the end, combined with a simple poppy sound, makes this one a real winner in my mind.

-James Out

The Incredible Machine – Jump Ship (The Incredible Machine, 2009)

james — Sun, 06 Sep 2009 19:42:03 +0000

Another amazing song from our friends at The Incredible Machine. This song is the opening track, and works really well to that effect, because it really sets the tone for the whole album.

We start off with a nice little harmonizing bit and then jump right into the song, with acoustic guitar.

We’re finally taking on water
Turns out I was the Captains’ Daughter
Personify us as sinking
Like the Loveboat with less drinking
I know I shouldn’t say it
But I feel the metaphor’s appropriate
Seems I just spend all my time
On a sinking ship that never hits the land line

“Personify us sinking, Like the love boat with less drinking” Is a really great line. The the song suddenly changes directions, and we get a bouncy little piano part, that reminds me of a song from a musical.

Okay,
I can say,
That this metaphor is probably sounding quite cliché
That’s okay,
It’s exactly how I felt when I was standing on the blue
Next to you,
And It feels just like there’s absolutely nothing I can do
Absolutely nothing
Absolutely nothing I can do
Absolutely nothing
Absolutely nothing I can do to get through to you.

I think that it’s safe to say that’s probably my favorite part of the whole song. “I can say, That this metaphor is probably sounding quite cliché, That’s okay” Is pretty amazing all on it’s own. The whole talking to the audience style. Then the epic build up during the “Nothing I can do” section is also really good. We move then to the next verse, which is similar to the first, in instrumentation.

In truth we were nothing like a sinking ship
Sinking takes a long time, plus you get a little wet
And even though we’re both sick of untrue metaphors
We keep repeating the same old shit we’ve said before

“Sinking takes a long time, plus you get a little wet” Very very true words. I really like having two people sing two different things at the same time, in a song. I think that it’s a really good technique to use, and if implemented correctly, can really dad depth to a song. This time it works very well. Marissa sings the first verse, while Jordan sings the second over top of it, coming to the climax at

I’ve got to jump ship to make this work,
I’ve got to jump ship to make this
work, I’ve got to jump ship to make
this work,
I’ve got to jump ship!

Then some intense instrumental sections, all ending, like the beginning, with some nice vocalizing harmonies. Like I said, this is a perfect way ton start out a album. It sets the bar high, and then easily clears it.

-James Out

The Incredible Machine – One Time at Choir Camp (The Increbible Machine, 2009)

james — Tue, 01 Sep 2009 23:12:57 +0000

When I try to think of a way to accurately describe The Incredible Machine, genre wise, I usually fail. The best that I can do is to say that they sound like a mixture of Barenaked Ladies, and They Might Be Giants, with a little Jonathan Coulton thrown in there too. Which is to say, semi silly, sort of geeky lyrics, presented in a very serious fashion. On the other side, very powerful and moving, very lyrically poetic love songs. Also, their command of harmonies, and the interplay between Marrissa’s and Jordan’s voices (The two members) is impressive. I have to say, since I got their album, not a day has gone by that I haven’t listened to it atleast once. And the fact that they are a local band, of which I actually know the members, helps too.

One Time at Choir camp starts off simply with a little piano, and the first verse.

I’m only trying to believe
That you and I weren’t meant to be
I’m much too difficult for you
I couldn’t follow their rules

The tempo kicks up, some acoustic guitar is added, and the piano becomes more bouncy. I’m always reminded of the Freezepop song Science Genius Girl (this isn’t the real music video). I think it’s the chording that sounds similar to me. I dunno. Maybe I’m crazy. Anyway, verse two!

I couldn’t say that I was happy
And you would be the one to know
On these summer nights we’d consecrate our flaws
In hopes our zippers wouldn’t show
Oh, how embarrassing

Oh man. “On these night we’d consecrate our flaws” What a great line. The second part of the verse contains really great higher, almost haunting, backing vocals from Jordan. Make sure to catch them when they come around.

I want you to dance
I’d like you to sing for me
Regardless of romance
I’ve still got your music to keep me,
company

Verse three continues in a similar manner, the the addition of more backing vocals.

It was the way you looked above me
And it wasn’t just your height
My silly sorrows weren’t enough to tie me down
I’m simply not the type to need
Oh, the comforts of sympathy

I want you to dance
I’d like you to sing for me
Regardless of romance
I’ve still got your music to keep me,
company

Then for the chorus the piano moves into a little pattern that sounds more like it would be at home in a classical composition. It repeats it’s self twice. The second time around, the addition of “I know too much” in between each line.

pavement, concrete on the street
will never touch her feet
as long as she has you to
lift her tiny shoes from

Then finally we get a cool solid piano and guitar part, accenting the first and third beat, giving you the impulse to tap your foot, or nod your head in time. Also, the “Wah-ah-oh”s in between each line, are really solid. The song climaxes, and ends in vocalization.

Stop screaming and believe me
that I was right for leaving

It’s over! Okay, so if that wasn’t an amazing song, then I don’t know what is. This is going to be the first of three that I’m going to review. Ideally I would do the whole album. But I think that it might be a bit much. I’d highly encourage you to see them live, if you can get a chance.

-James Out

Belle and Sebastian – Family Tree (Fold Your Hands Child, You Walk Like a Peasant, 2000)

james — Sat, 29 Aug 2009 21:14:21 +0000

It’s a wonder to me that I’ve gone such a long time posting on this blog, without doing a Belle and Sebastian song. Especially since they are possibly one of the greatest bands of all time. And it’s also kinda interesting to me, that the first song (I assure you that I’ll be posting on their other stuff too) that I’m doing is coming off a semi-obscure album, that not a lot of people know. Fold Your Hands Child, You Walk Like a Peasant, was released in between The Boy with the Arab Strap, and Dear Catastrophe Waitress, and was not very very well received. Understandably, coming off the heels of The Boy with the Arab Strap, it would be a tall order top that album. One of the reasons that I like this album in particular is because it features a lot of the band on vocals, that don’t normally get lead singing roles. But enough exposition on the history, let’s move on to the actual song it’s self.

We start off with a little guitar intro, a drum intro into the verse. I’d like to take this moment to point out that this song is sung by Isobel Campbell, who’s vocals can be previously heard on “Is it Wicked not to Care” Off of their album, Tigermilk. Anyway, the first verse contains possibly some of my favorite lyrics in all of their songs. I think you’ll see why.

Ive been feeling down
Ive been looking round the town
For somebody just like me
But the only ones I see
Are the dummies in the window
They spend their money on clothes
It saddens me to think
That the only ones I see are mannequins
Looking stupid, being used and being thin
And I dont know why I hang around with them

The way they act, Id rather be fat than be confused
The way they act, Id rather be fat than be confused
Than be me in a cage
With a bottle of rage
And a family like the mafia

Okay. So first of all, comparing shallow friends to mannequins? Totally genius. But also, “The way they act, I’d rather be fat, then be confused” Has got to be one of the greatest lines of all time. There’s a bit of tasteful vocalization, some nice backing piano and flute, and then the next verse.

Ive been feeling blue
And I dont know what to do
And I never get a thrill
And they threw me out of school
cause I swore at all the teachers
Because they never teach us
A thing I want to know
We do chemistry, biology and maths
I want poetry and music and some laughs
And I dont think its an awful lot to ask

So wont you please get up off your knees, and let me go
So wont you please get up off your knees, and let me go
Cause Im here in a cage
With a bottle of rage
And a family like the mafia

That perfectly describes my feelings about school “I want poetry and music, and some laughs” The next section could be described as the bridge I suppose, but it’s a bunch or repetitive phrases. Note the addition of a little trumpet part, that, like the flute, just hovers over the melody.

If my family tree goes back to the romans
Then I will change my name to jones
If my family tree goes back to napolean
Then I will change my name to smith
If my family tree goes back to the romans
Then I will change my name to jones
If youre looking at me to be an accountant
Then you will look but you will never see
If youre looking at me to start having babies
Then you can wish because Im not here to fool around
You can wish because Im not here to fool around
You can wish because Im not here to fool around

Pretty great song, if you ask me. I really like Belle and Sebastian’s ability to not only craft really cool sounding lyrics, but create really beautiful instrumentation. If you’ve never really given them a serious listen, I’d strongly encourage you too. I promise, you won’t be disappointed.

-James out