072910

What's It Called?

Holy Fuck - Red Lights

What's The Story?

There are only two stories: someone comes to town, and someone leaves town. Sometimes it feels as though popular music suffers from this same morbid fate, and then a band comes along and does this. Holy Fuck are an electronic post-rock instrumental act from Toronto. That's a mouthful, but they're worth that--they set out to make electronic music using real sound effects from toys, a film synchronizer, etc. They have three full length studio albums; this is the second track from the third album.

Who's To Blame?

A tax accountant once known as The Bossman.

Why ♥ It?

This song begins by showcasing a funky bassline and a beat for walking down a road in the '70s. Once the electronic sounds kick in at 0:20, I get such a (Pink Floyd's) Run Like Hell feeling from the song. Music for walking down the road stoned in the '70s.

I really love the back-and-forth feeling from the bassline in the bridge (0:36). It feels like it's screaming "make a decision!" at me: pretty admirable for a bass guitar. It's really cool, and does a great job building for the chorus, which also feels a travelling-sort of drum and bass interaction... much like the verse, into which there's a smooth, barely noticable transition.

That's pretty much the whole song; there are those three parts, and the electronics change in various permutations and movements the whole time. I feel kind of like I'm listening to Kyuss at times. With those comparisons all made, needless to say it's a dandy tune for a space case.

072810

What's It Called?

deadmau5 - Not Exactly

What's The Story?

deadmau5 is quickly becoming the house artist to beat. The number of studio albums he has depends on your definition of a studio album, so we'll say it's from the popular one that's not For Lack of A Better Name.

Who's To Blame?

A 23 year-old with the nickname "old man" who will not stop until everyone knows how awesome deadmau5 is. (& rightfully so)

Why ♥ It?

deadmau5 is usually revered for his unorthodox use of chords and his unique and eclectic way of laying down beats. This song is not that.

I picked this as the song today because it's damn difficult to describe. If electronic had an easy listening branch, this track would be its posterchild. From the first second of the track, you're hearing the exact sound that you'll be hearing for the next 8 minutes. The line balloons and deflates, the beat changes, and other parts come and go, but the whole time, the spine of the song is that 1-2-3-1-2-3-1-2-3-3-3-3-3-3-3-3-etc that repeats over and over. The layout of the track is such that even when the intensity reaches peak, the relaxed nature of the song never leaves. By then, the tone has been set, and you're firmly along for the ride. I'm reticent to use the word due to its association with the dance genre, but I'd best describe this song as a serene trance.

If you've got 8 minutes where you want to kick your feet up and think about either nothing or everything, your soundtrack for that is right here.

072710

What's It Called?

Hiromi - Dancando No Paraiso

What's The Story?

Hiromi Uehara is a Japanese fusion jazz pianist. Dancando No Paraiso is the standout track from her 2003 debut album Another Mind.

Who's To Blame?

A Dutch internet friend from Mozambique who speaks 6 languages. I don't know if any of that is true (or if the language count is still accurate), but he gave me no reason not to believe him.

Why ♥ It?

The guy who first recommended this track & album to me told me that if I liked Jordan Rudess, I'd certainly like Hiromi's style. He was right. Another lede that might help here is that I particularly enjoy muting the music on Katamari Damacy games and playing this instead because I find it suits the scenario better.

This song grabs right from the intro; those piano chords give the feel that something grand is on the way, and it's not long coming. The main riff causes finger-snapping in an indeterminate time signature, and the cymbal beat present is addictive once you pay attention to it just once.

The solo swell starting around 2:48 is impressive and goes on forever in a good way, swelling to an awesome piano line around 3:42 that's easily my favorite part of the song.

Oh yeah, there's a sweet drum solo in there, too.

I don't think there's a way to sell a fusion jazz song on words, either you'll love it or won't. But you won't know unless you try!

072610

What's It Called?

Nonpoint - What A Day

What's The Story?

Nonpoint are your stock hard rock/heavy metal/numetal band. What A Day is from their 2000 album Statement.

Who's To Blame?

A guy who played in a stock hard rock/heavy metal/numetal band in high school, and currently plays in a hard rock/heavy metal/numetal band downtown.

Why ♥ It?

I've got a two pronged approach for this track.

First, the hands-down most impressive aspect of this track to me is how the vocals can be completely detached from the music at times, and still flow together so damn well. Perhaps when this is most apparent is at the start of the track, when Elias Soriano's vocals flow like a guy telling a story about last night, while the rest of the band goes from intro to verse to chorus almost independently. The actual track itself has some neat guitar and bass work as well. Sure, there are plenty of power chords played with a ton of attitude typical of the numetal movement, but it's worth looking past for some of the finer points. Example: the bass line that starts around 1:17 and works with the second verse is a really neat groove that flows independently, sort of like vocals for verse one.

The second approach I'm taking is that this song has been enjoyable for me during at least 3 distinct musical mood swings. When I was a teenager living just so I could learn Cowboys From Hell on guitar, this song appealed to me. In the mid-oughts, when progressive rock was my Wizard of Oz, the unique/weird layout of the song attracted me. And now again, when I don't know my musical mood well enough to quantify it, I just love blasting this track really loudly.

Hopefully that appeal extends beyond me and fourteen year olds with their guitars tuned to drop-D.

072510

What's It Called?

Sloan - Everything You've Done Wrong

What's The Story?

Sloan are a Canadian rock band with a strong fanbase and an extensive discography. This track charted well in Canada in the late 90's, but was virtually unheard of in the US. It's from their third studio album, One Chord To Another.

Who's To Blame?

A music festival dedicated to determined fish.

Why ♥ It?

This song is an intersection of a hum-all-day hook and a 90's pop-rock staple. To give an idea, the horn part is often just left to the crowd to sing when they play the song live, and for good reason. It's by far the most memorable part of the tune.

Aside the killer hook, the song is an upbeat feel-good number. The guitar strums chords that are every bit as lighthearted as Weezer's Island In The Sun. Although they don't actually sound anything like that song, they share a common life's-alright-fellas vibe. Also, the lead electric guitar parts that typically follow the chorus echo some of the more memorable standards of pop-rock in the 90's, and fits into that canon admirably.

Oh, and the lyrics are neat, too; supporting the positive feeling that emanates from the instruments.

All in all, although this song may fall prey to being typical of a decade's sound, it's one of the better-sounding and lesser-known offerings from an era of radio rock that--let's be honest--wasn't all that bad.

072410

What's It Called?

Earth, Wind & Fire - Got To Get You Into My Life

What's The Story?

First released by The Beatles on their 1966 album Revolver; Earth, Wind & Fire covered it and released it on their first greatest hits volume in '78.

Who's To Blame?

isohunt. Filesharing is both overrated and underrated.

Why ♥ It?

It's blogging suicide to down on The Beatles, but this song was made to funk it up. The brass section from the original is changed from a warm, sunshine sound to a cool, finger-snapping swing feel that a band like EWF sold millions with. Gone is the rugged emotion that Paul McCartney so prominently sings with in the original, and it's superceded by a casual jive that screams summer.

There are two parts that sell this track for me: the prechorus makeover that Earth, Wind & Fire give to the tune, and the bass guitar. In the original, these parts are ably written and performed, but really take a backseat to the gruff rock vocals and blaring horn section--not that there's anything wrong with that, but the funk seems to put all of the contributing sounds on an equal playing field that makes me love the song even more.

Of course, this whole post is written on the assumption of your familiarity with the original track. If you don't know any version of Got To Get You Into My Life... what are you waiting for?!

072310

What's It Called?

The Black Keys - Strange Times

What's The Story?

The Black Keys are an American duo that Wikipedia calls blues-rock. Strange Times is from the fifth studio album.

Who's To Blame?

A guy who once asked me if Central America is a real place.

Why ♥ It?

The lead guitar riff. Question answered. It's a hum-all-day kind of lead.

Fans of The White Stripes will appreciate the accessible, non-complex duo-style verse, whereas folks looking for a little more than a hook will find some solace in the chorus with some added piano and synth. I know I took a whole post to basically down on Bob Dylan last week, but if you like his vocal stylings, I can see this song having more added appeal. I can also see this song being in the vein of a Casey Jones; a live band could have a field day jamming over the solid main riff. The Black Keys don't utilize that potential all that much in the actual track, but who does in the studio these days?

What I really love about this song is the ability to take what you want from it. If you're in the mood for background, shut-off-your-brain music, the hook and beat alone make it more than apt. If you want to sit down with a nice set of headphones and just lose yourself in a track, I think you have that option, too.

072210

What's It Called?

Bag Raiders - Shooting Stars

What's The Story?

Bag Raiders are an Australian electronic duo who don't even release their first full length album until September 2010. Shooting Stars is a single from 2009.

Who's To Blame?

It was definitely a commercial. For either a restaurant or a piece of technology. (That's almost a genre nowadays.)

Why ♥ It?

As far as I'm concerned, Shooting Stars is kinda three songs in one. There's a movement that lasts for about a third of the song, and then a building transition in the middle, and then the real catch for the remainder. So, I'm gonna talk about each of those individually, acknowledging that I'm unable to describe with words the gestalt of all three combined.

First, think Daft Punk's Around The World. Now listen to the bassline in the first part of this song. That's a pretty solid foundation for any electro tune. The synth in part one also does a great job of sounding like it's ascending and building momentum for the whole part. Although the lyrics are an afterthought, the vocals fit perfectly with the chill nature of the song.

And that hook. Commercial-worthy, remember?

At around 1:20, there's part 2, which is an interesting bridge. The hook continues, the synth restarts, and there's a gradually swelling guitar sound, which eventually becomes the only sound left, and with the sound effect of a flying jet at 2:20 (unoriginal, but ideal), part three kicks in--the catchy vocal line with awesomehappy contributions from every other instrument.

One of my buddies has an affinity for "songs that make ya earn it"--tunes where much of the track time is spent building and adding parts until eventually there is an opus of all the best parts from the buildup. Shooting Stars makes ya earn it in the best way, and that is its biggest strength.

072110

What's It Called?

Bela Fleck & The Flecktones - The Sinister Minister

What's The Story?

The Sinister Minister was from the first of many Bela Fleck albums, released in 1990.

Who's To Blame?

An IT specialist who has a massive hard-on for Mike Portnoy.

Why ♥ It?

Come for the bassline, stay for the fact that you're listening to banjo jazz.

The name Victor Wooten will ring a bell to anyone who likes to watch men do things to a bass guitar that I would otherwise deem physically impossible. The grooving bassline intro to the song does complete justice to a funky & cheeky name like The Sinister Minister. Throughout the song, this main line is a solid foundation for everything else to come, although it morphs by the minute, adding slaps & pops & general Victor Wooten-esque wankery. I legitimately think that if the entire 4:36 was just the bassline, I'd still love the song. It is that good.

But, since it's not the whole song, let's talk about what else happens: Fleck's banjo creates a neat pensive atmosphere that will let you forget the funk if you try hard enough. Also included are some neat guiro sounds and a very hummable harmonica (I think?) lead that helps direct the flow and the pace of the song.

The result is something that you're unlikely to find anywhere else, and I would imagine that that was somewhat the intent.

Also, if you don't get the same awesome vibe that I do right away, try and listen to the track while imagining a sinister minister, and it might make considerably more sense.

072010

What's It Called?

The Gaslight Anthem - The '59 Sound

What's The Story?

The Gaslight Anthem hail from the city of New Brunswick, New Jersey, a factoid which is useful to know if you're going to argue with your friends that they're Canadian because they're from New Brunswick. The '59 Sound is the title track from their second full length album.

Who's To Blame?

A vegetarian cyclist who teaches teenagers French.

Why ♥ it?

Anyone who grew up as I did (in the late 80's & the 90's and pretending to skateboard and play music) is undoubtedly familiar with Pennywise's tune, Bro Hymn. I hope that kids growing up in the oughts find/found the same things in this song that we found in that one.

First, I'll draw some parallels: the song is pretty simple on any instrument really; any thirteen year old learning to play could aspire to play the catchy guitar lead or solid drum beat. The lyrics are energetically heartfelt: not all young teens have lost someone close, but they recognize the significance of it, no doubt. Those characteristics alone gave a generation an attachment to that Pennywise song.

But, I'm almost willing to venture that the most glaring difference between the tracks is that The Anthem's song is just better. The instrumentation, although simplistic, has a voice that doesn't get old quite as quickly, and the lyrics are markedly more clever while maintaining the heartfelt theme. SPIN magazine, among others, have approached The Gaslight Anthem by praising their "Bruce Springsteen-like" sensibility. Attaching that sensibility to a fun and energetic punk rock sound as they do could well pave the way for a rehash of some of the less forgettable music from the 80's. Probably not, but this song gives me at least a little hope for popular bands in the '10s.

If nothing else, though, listen to this tune just once to hear the delivery of the lyrics. It's worth that.

071910

What's It Called?

The Bloody Beetroots - Butter

What's The Story?

The Bloody Beetroots are a fun and ridiculous Italian electronic duo. They have one studio album, Romborama, released in 2009. Butter is the 9th of an impressive 22 tracks on the album.

Who's To Blame?

A professional chemical engineer currently working with troubled youth.

Why ♥ it?

Fans of Justice will probably appreciate mostly anything by The Bloody Beetroots, so I'll start there. I get a sense of the song Newjack from this--not necessarily because it's catchy in the same way (it's not), but some of the layers are similar in nature. However, one thing that the song has that Newjack doesn't is a pronounced use of the lowest, filthiest notes that can come out of a piano, and it really gives it voice. Although it's often somewhat of a backing vocal to the synthy lead line, there are sections where that piano demands serious attention.

I frequently listen to electronic music while doing repetitive things like studying or jogging, but this track in particular doesn't allow that. There are two or three main refrains, but the duo keep it fresh with novel sounds and movements that really fly almost against the grain of the rhythm section. Again, that dissonance is something I'd quantify as a Justice thing to do, simply because more people are familiar with them than with The Bloody Beetroots.

One thing that I've noticed about many fans of electronic music (myself included) is that they'll readily describe a beat as dirty or some synonym thereof, but if you ask them to quantify it, it's kind of a difficult thing. As fans, we all more or less know what it means, but it's so difficult to describe. One thing I will say, though, is that the low piano-led parts that pop up at around 2:00 & 4:00 of the song are perhaps the best single exemplification of what I mean when I say that a beat gets dirty*.

*Not to be confused with a Dirrty beat, which is just silly mind candy.

071810

Well, here goes nothing. I'm starting with a song that, depending on what day of the week you ask me, may or may not be my favorite ever written.

What's It Called?

Jimi Hendrix - All Along The Watchtower

What's The Story?
Released as a B-side on Jim's 1968 album Electric Ladyland. Written by Bob Dylan.

Who's To Blame?

Probably classic rock radio.

Why ♥ It?
Leave it to a poetic genius like Bob Dylan to throw together a wonderful riddle of lyrics with a more than competent chord progression, and then almost ruin his masterpiece by actually performing it himself. I count my blessings that Hendrix (among many others) came along to save it.
With that said, this song defies an easy description of why I love it so much. I think it's at least partially because of the simplicity; it is the quintessential classic rock hit. Guitar licks are thrown into every musical orifice, and after each verse, there's time for a solo section. However, despite the simplicity, the song doesn't really even have a chorus--sort of a standard.
I think the best example of the energy I love from this song is when, at the end of the long solo, the guitar builds the intensity for Hendrix to come back in singing the eponymous opening line in the third verse. That couple-second long moment makes the final verse feel almost triumphant, like I actually achieved something by listening to the song. I couldn't imagine how much better it would feel to actually play that--but I'm betting that could be the reason that bands like U2 & Dave Matthews Band cover it so frequently.