083010

What's It Called?

Paul Hartnoll - For Silence

What's The Story?

Paul Hartnoll was one of a brother-formed duo called Orbital. For Silence is an ambient symphonic electro track that is best known for its appearance in the Xbox 360 downloadable game Chime.

Who's To Blame?

Captain N's closest competition.

Why ♥ It?

This track has a number of different feels to it.

It begins by sounding like a tribal beat with bells. Quickly, upon entrance of vocals (which sound remarkably like you'd hear in a Cranberries track), the feel of the song starts moving from tribal and more towards that of a classic songstress.

The part at 2:15 is something that Clint Mansell would respect for its use of strings to create intensity.

Upon reaching 3:00, it doesn't feel like the song has evolved, but a fun exercise is to rewind the track to 1:00 or 1:20 and see how much the soundscape has erupted. It's surprising. The build is subtle but constant, turning an ambient tribal groove into a requiem.

For the best experience, I'd recommend tracking down the aforementioned Xbox 360 download. Being able to throw various notes over the versatile skeleton of For Silence gives it an even greater lustre than the track has as a standalone. It's only $5, and some of that gets donated to charity. So it isn't a waste per se.

Do it! Seriously, don't tell me you're out reading music blogs on the internet, but also thinking that you couldn't give an electro track a compelling voice using a simple game interface. That's just silly!

082910

What's It Called?

Lostprophets - The Fake Sound of Progress

What's The Story?

Yes, they're those Lostprophets; the emo band behind Last Train Home & Rooftops. This is the title track from their first album, released in 2001.

Who's To Blame?

A heavy metal rig pig.

Why ♥ It?

Get used to hearing that chorus that they open with; it's ever-present in this song. That's not a bad thing, though. Since they have the luxury of 4½ minutes (outro excluded) in this tune, it bears repeating.

The verses could pass for an electronic track, with vocals, simple drum & bass, effect-laden guitar sounds played at random, and turntables played on a similar interval. The tune carries well through these parts. The pre-chorus, with instruments coming together for some form of regularity, picks up intensity, and the chorus feels more like a punk or screamo song. This verse-bridge-chorus flow is great for while it lasts.

What comes from 3:22 on is a breakdown and intro where Lostprophets use the repetition they've built up with the chorus to give it an angry, lasting effect with an added vocal level of scream. And I positively love the da-da-da-da-da-da-da that kicks in at 3:32, harkening back to some of the things that older punk rock did very right.

I hate to be that guy with a music blog who says the popular band's older stuff is better, but... well, so it goes. Gotta give the stereotypes SOME basis, right?

082810

What's It Called?

Foals - Cassius

What's The Story?

Foals are a five-piece dance punk band from England. Cassius is the second track from their first album, Antidotes. They cite their main musical influences as Arthur Russell, Harmonia, Talking Heads and marijuana.

Hey, at least they're honest.

Who's To Blame?

A folk-playing big rig driver.

Why ♥ It?

This track has legitimate potential to move feet, despite its mishmash of contributors.

The high pitched guitar sounds throughout definitely show the marijuana influence, as taken on their own, they'd be a distant & hazy track, but along with the energetic drumming and moving bass, they sound less like Kyuss and more like the Arctic Monkeys' first two albums.

The drums, as mentioned, are always happening. Everything is quick and simple, and that allows the song to flow at the pace that it does.

The horns are a great addition too, much like a ska act, Foals throws them in sparingly in the perfect places to enhance their overall structure. Constant sustained notes are perfect to add a calm layer over the frenetic rock band.

These parts illustrate a gestalt; stoner rock guitar meets punk drumming and ska horns to make for an ungenred rock sound that, regardless of taxonomy, is worth moving to.

082710

What's It Called?

Neil Young - Alabama

What's The Story?

Odds are pretty good you've heard this one; from 1972's rock landmark Harvest, this track appeared alongside such timeless gems as Old Man, Heart of Gold and The Needle & The Damage Done.

Who's To Blame?

An always-laughing nautical engineer whose positive vibes are unmatched.

Why ♥ It?

The song opens sounding like a guitar riff from a rough cut jam session, but there's a realization that it's actually quite intentional once the clean, bright piano plays. I love the rough, uncut sound of the guitar that's persistent throughout.

The real draw of this tune for me is the chorus. The lyrics could be a metaphor for anything, and the whine of Neil's voice and fiery wail of the guitar sounds make it feel heavy and serious. A quick Wikipedia visit (or general knowledge of Neil Young; for me it was the former) reveals that the song is actually a stark condemnation of racism that pissed Lynyrd Skynyrd off enough to write Sweet Home Alabama. The idea of an anti-racist country tune is still something that doesn't come up all that often.

More on the chorus; the song is laid out in a way that's not entirely by the book. There's a chorus after the first verse, and then nothing until post-solo, when the track goes chorus-verse-chorus. It's a great way to convey a message and stick that part in your head. Rather than a chorus creating anticipation for a solo, the solo creates anticipation for another chorus. It's not unheard of, but it's not an everyday occurrence, and both the intrigue and the message of the song are enhanced by that.

This one's worth a reconsideration if you've never noticed any of the above before.

082610

What's It Called?

Fujiya & Miyagi - Knickerbocker

What's The Story?

Fujiya & Miyagi are an English group that started as a duo, but are now a quartet. They play minimalist, catchy pop rock. The track is from their largest commercial success, Lightbulbs.

Who's To Blame?

Two sweet friends whose names are neither Fujiya nor Miyagi.

Why ♥ It?

Vanilla, strawberry, knickerbocker glory.

Part of me would like to leave the post at that to do justice to the awesome minimalist style of the tune, but I like to talk (type?) so nevermind that. The song kicks in with a voice intro repeating the above for a few seconds, and then kicks into the main track: a constant, single bass note & about the simplest drum beat possible. They play with this format, adding bits of guitar & keys as the song progresses, but the spine of the track is one note, one beat and a stream of consciousness lyrical style that's more thought out than it first appears.

The lyrics themselves aren't minimalist at all, North American swine such as myself will find themselves Googling to figure out who in the hell Lena Zavaroni is, and what she has to do with anything.

Plain and simple, everything about this song is mindvirus, and I'm down with that.

082510

What's It Called?

Soilwork - As We Speak

What's The Story?

Soilwork are a heavy metal band from Sweden. As We Speak is a song that many of their fans affectionately refer to as "their pussy metal song". From 2002, it's on Natural Born Chaos, which was produced by Devin Townsend.

Who's To Blame?

A real life guitar hero with a Hetfield beard.

Why ♥ It?

The guitar in this song is so so heavy. The fact that the lyrics and synthesizers go for emotionally heavy only to help make the dirty, low guitar more effective. From the beginning and throughout the song, the post-processing process and guitar tech work in synchrony to make for a diabolical riff headlining the track throughout.

The scream of Speed Strid keeps up with the fast-paced verses, with the vocals in the chorus having a distinctively Devin Townsend creepiness in the their choral style.

The pre-solo bridge has a built intensity that the song plays with for 30 seconds or so. The palm muted guitar notes feel like a low, and the chords he plays feel like a high. With their powers combined the short riff constructs and destructs a great anticipation for what every metalhead is truly waiting for during a bridge: guitar solo!

The synth really reminds me of something, but I can't say what. Maybe someone could tell me? (Or maybe it just has one of those sounds that sounds like something previously heard anyways.)

Regardless, while death metal fans will spit on me for it, this is probably Soilwork's most attractive and accessible track, and anyone with any dabbling in metal should give it a listen.

082410

What's It Called?

Shawn Colvin - Crazy

What's The Story?

Shawn Colvin had a huge critically acclaimed album in the mid-90's, going as far as to win a Grammy for song of the year. Then, her, Christina Applegate, Fiona Apple and Alicia Silverstone all boarded a bus and were never heard from again.

...Until 2007, when she released a folk cover of the smash Gnarls Barkley hit, Crazy.

Who's To Blame?

A website where people trade obscenely overvalued inky pieces of cardboard.

Why ♥ It?

Shawn Colvin delivers this song in a manner that's not unprecedented, but shines regardless. This came out around the time when acoustic guitar Youtube covers of popular songs (see: Umbrella, Hey Ya, etc.) were all the rage and approaching a critical mass of overdoneness.

However, one thing that separates Shawn Colvin from the rest is that she's not a twenty-something who did it to get a laugh out of her friends; her mainstream success didn't come until she was nearing 40 and divorced. So, one thing about her folk style is that it's hardened in the way that many heroic folk/country artists are. She's been everywhere, man. When you listen to this novel pop hit delivered by a fifty year old siren, it has an entirely new context that robs the tune of its camp novelty and morphs the lyrics into a life lesson.

Oh, and the guitar work does bright justice to the original, too.

But mostly the other stuff.

082310

What's It Called?

Marillion - The Last Straw, Happy Ending

What's The Story?

Marillion are an 80's British rock band. That should conjure a pretty good idea of what to expect from one of their tracks from that description alone. This tune is the closing song from their concept album Clutching At Straws.

Who's To Blame?

Dick Raleigh. Pseudonyms are objective descriptions, right?

Why ♥ It?

Context important, so I repeat that this track is the final track on a concept album. Armed with that knowledge, I'm going to throw out that this song makes for a perfect finale. The intro riff and vocals seem like the topic sentence of a conclusion in an academic paper; energetically rehashing what's been said already. It's a great hook into the rest of the song, which drags pensively for a few bars after before picking up speed again.

The song really gets good from the guitar solo (3:27) out; the energy and pensive sections have finished, and the song kicks into the final movement that I'd compare to the last few minutes of Dream Theater's Finally Free. However, instead of a drum solo, there's a standout vocal performance, and instead of the same guitar riff over and over, it's the same intense piano chordage. From 5:05 until the end in particular is goosebumpworthy thanks to the female vocal, and an ideal end to the album.

What I do like and can't really quantify, however, is that this song is my favorite on the album, and I frequently find myself listening to it separate of the whole shebang. Along with the highlights itemized above, that makes this track worthy on its own merits.

082210

What's It Called?

Josh Ritter - The Temptation of Adam

What's The Story?

Josh Ritter is a clever, upbeat American folk artist. The Temptation of Adam is from his fifth studio album, The Historical Conquests of Josh Ritter.

(Don't you just love the name?)

Who's To Blame?

A radio geek that I had a Livejournal war with once.

Why ♥ It?

I am not a folk fan, most times. I'm definitely not a sappy love song fan. However, this sappy folk love song brings so much to the table that it's hard to deny.

The song is pretty basic. After the horn intro, most of the meat of the song is comprised of a fingerpicking guitar line and heartfelt vocals. The song tells a story of falling in love in strange conditions--hunkered in a missile silo during World War 3. The lyrics have massive geek appeal; there are constant references to the chemistry and physics of an atomic bomb, and a ton of sappy sentiment to go with. The string section that enters midway through the song work to elicit the sap even further from the song. It does all the folk/lovesong earmarks right, but brings that extra bit of lyrical effort to the table.

That's all there is to say really. It's a nice, heartfelt song that's worth huge credit if you happen to date a rocket scientist.

...And let's be honest here, how many other songs can you say that about?

082110

What's It Called?

Boys Noize - Jeffer

What's The Story?

Boys Noize is a German DJ & producer, best known for remixing pop & rock tracks left right and center. Jeffer is from the Starter EP according to Grooveshark. If that's incorrect, blame the shark.

Who's To Blame?

A man who would once eat nothing but grapes and hot wings for a week at a time.

Why ♥ It?

I apologize in advance if this is just rambling and doesn't actually make any sense; I don't know if I can quantify the parts of this that I really really like or not. I guess that's probably true for anything I write about, but this time I'm aware of it.

The transitions in this song are what really draw me in. There are two main parts, and the way that Boys Noize alternates between them is what does it for me. The best comparison I can draw is that key change after the guitar solo in Livin' On A Prayer; like or lump that song, it's generally agreeable that the change is ideally placed. I get that same intrinsic enjoyment from 5 or 6 spots in this track where the DJ alternates from one part to another. The first such example is at 1:01; after 30 seconds or so of the main line, there's a quick and smooth transition to another part and another key (maybe?). That exact same swap is pulled again at 2:33 to similar results.

That's not all though. The transition back from the second part is also appealing, and feels something like a comedown from a gradual high. From 1:08, the track comes further and further down before another sudden swap at 1:24.

These fluent changes make for a song that, overall, is rewarding when paid attention to, and still a bumpin' dance/techno track if not.

NB: in two posts, I've compared Rilo Kiley to Carrie Underwood, and Boys Noize to Bon Jovi. Why are you still here?

082010

What's It Called?

Rilo Kiley - Breakin' Up

What's The Story?

Remember that old Nintendo advertisement movie The Wizard? Remember the cute little girl? She has an indie pop band. Breakin' Up is from their fifth & most recent release Under The Blacklight.

Who's To Blame?

A guy who can outdo anyone in the drunken antic department.

Why ♥ It?

There are two ways to write a breakup song. One of these is to be sad and sappy while being inspirational. The other is to dig your key into the side of his pretty little souped up four wheel drive. This is definitely the latter of those.

The lyrics to this tune are every bit as cathartic as the above, but from the city rather than the country. Jenny Lewis' candy sweet voice is ideal for the delivery.

The music itself is somewhere on the spectrum between disco & pop, fitting a very fun niche.

The "Ooh, it feels good to be free" lines (1:34 & 2:39) are are sunny, dance-your-face-off pop magic. The line is generic enough that you don't have to be in Dumpsville (population: you) to want to break it down.

The jury is out on whether this type of song is better or worse after a breakup than the sad, sappy alternative; but in just about any other scenario, I'll take a tune like this any day.

081910

What's It Called?

Johnossi - Man Must Dance

What's The Story?

Johnossi are a Swedish duo who I really don't know anything about other than their member quantity and nationality. Man Must Dance is from their self-titled album.

Who's To Blame?

A guy whose contact info in my phone has a ? at the end of it, both to distinguish him from other people with that name, and because it actually really suits him.

Why ♥ It?

It's choose-your-own-adventure inspired post day at Psongaday!

1) If you like the Foo Fighters, continue to 2). If you do not like the Foo Fighters, skip to 3). If you want to use the golden key of Lonieria to open the black elf-wizard's door, go to 4).

2) Think of See You from The Color and Shape. This song isn't entirely like that tune, but it does share its fun, uptempo bluesy sensibility. One thing that differs and that I like about it is that it throws a bit of a rock edge into the song: there are two driving, distortion-guitar chorus sections that give a desire to thrash around a little (as the song's lyrics suggest is natural), and these fit well with a track that you could otherwise send home to grandpa.

Also attractive in this song are the vocals; they are present only when necessary and flow with the music. When the tune is carrying casually, the vocals are relaxed and low effort, and there's a feeling of vocal desperation that perks up during the chorus section.

Congratulations, you have saved the world! Or whatever happened in those choose your own adventure books; I never finished one without cheating.

3) ...Really? Shit. Go to 4).

4) You are eaten by a grue.

081810

What's It Called?

Arkells - John Lennon

What's The Story?

Arkells are a hardworking indie rock band from Hamilton, Ontario. They have one studio album, Jackson Square. They're known enough that you'll hear them talked about on TV, but they still work their own merch tables.

Who's To Blame?

The chillest barista in town.

Why ♥ It?

This is one of those has-it-all type tunes. The sound is friendly radio rock, but it's unique. You'll hear it on 10X.X FM, but it'll stand out.

The chorus is a deserving centerpiece for the track: the horns sound great, the lyrics are well sung and repeatable (I'm John Lennon in '67, too!), and the guitar, bass and percussion work together every beat to deliver a fist-pounding backing sound.

The bass walks through the verses, and is aided by a guitar riff that sounds like it's counting while it's walking. The organ does for the verse what the rest of the instruments do for the chorus. This track is always counting, marching and feeling pretty good about the world around it.

Also, the lyrics are devilishly amusing. Think of the B-sharps episode of The Simpsons: witty the first time & slightly less so each time after, but always fun and pleasant. You want to tell your friends about it.

& so I did!

081710

What's It Called?

Alanis Morissette - Forgiven

What's The Story?

Jagged Little Pill. 33 million copies sold worldwide. Heard it?

Who's To Blame?

A marketplace named for annoying, itchy bugs.

Why ♥ It?

Forget who this is by and what album it's on. It fits in about as neatly and unnoticed as There's A World does on Harvest.

The intro leaves it open to go to a lot of places; it could be any other Alanis song, or it could quickly change into something that sounds like Jane's Addiction (I'm sure Navarro had his hand in that somewhere). At 0:42, the song kicks in, and I keep thinking Genesis and Dream Theater and... progressive rock? Alanis Morissette? I rarely think of those two things in the same month, let alone the same thought.

But I've made peace with it. Alanis sings the track in the same manner and with the same efficacy as anything else on the landmark album, but the guitar shines like something indeterminate from some other genre. If you don't know the track well enough to hear it in your head, give it a listen, because it's worth a reconsideration.

081610

What's It Called?

Foreign Objects - Universal Culture Shock

(from Youtube today; Grooveshark is letting me down here)

What's The Story?

Foreign Objects are a death metal side project of CKY. Universal Culture Shock is the title track from the remastered, rereleased album in 2003 after Jess Margera & Deron Miller found fame with CKY.

Who's To Blame?

A beacon of journalistic integrity who's about to return from a 4-year hiatus.

Why ♥ It?

This track is able to take angry, energetic death metal and turn it into a very casual experience accessible to the average rock listener.

The intro chords are what you might expect from a death metal track; fast, heavy, effect-laden guitar chords, and spastic drums. However, at 0:20, a simple transition turns the track into a groove suitable for a city bus ride. The verse-chorus-bridge structure repeats a couple times, just enough to satiate. Then, suddenly at 2:42, there's a return to the intro's dissonant chords, which acts as a segue into a solo that manages both a meedly-meedly heavy metal style while maintaining a feel-good groove through simple, yet creative use of percussion. This fades back into the chorus, and then out with a well-placed wah pedal effect on the guitar.

In sum, this track is a weird one, but it's worth hearing to see what death metal does when it doesn't have the oft-maligned vocals. (Or what CKY do when they're not post-processing the tracks 17.4 times)

081510

What's It Called?

Jaydiohead - No Karma

What's The Story?

Those Jay-Z/Linkin Park Collision Course tunes were pretty big a few years back. This is the same thing with Radiohead. It's a mash of Jay-Z's No Hook & Radiohead's Karma Police.

Who's To Blame?

An accountant with a name that none of us ever pronounce right.

Why ♥ It?

I'm a huge fan of hybrids; take something from one genre and throw it into another or mix it with another, and I'm all for it. That's how I picked up a lot of my appreciation for the electronic genres.

This tune, however, isn't electronic whatsoever. The music is entirely from Radiohead, and the vocals are 95% Jay-Z rapping.

The music in Karma Police is what made that tune. Lewis Carroll could've written the lyrics, and it would still sound like a heartwrenching siren song to Radiohead-types. So, when you throw Jay-Z's rhymes over it, there's a really neat pity to the sound. No Hook goes from a cocky rap success story to a torrid tale of a troubled youth with that background.

That, and the mix is every bit as good as the work on Collision Course, so if that sounded like novelty, this is likely to work on the same level.

081410

What's It Called?

The Black Mages - Battle With The Four Fiends

What's The Story?

The Black Mages are a sort of progressive metal group from Japan dedicated entirely to covering tracks from the Final Fantasy series of video games. Added spice: the composer of the music, Nobuo Uematsu, plays keyboards. Battle With The Four Fiends is from their second compilation album, and originally appeared in Final Fantasy IV.

Who's To Blame?

Certainly not a white mage.

Why ♥ It?

I promise, I have an answer that isn't just campy nostalgia.

I feel context will help though; this music plays during the game when fighting major villains at plot apexes. Knowing that, consider the song sort of like a story.

The organ riff that plays 0:13-0:30 feels like an oppressive tyranny. The section that answers post transition (0:35-1:09) feels like a new hope; a heroic tale of saving the day. The next slow transition (1:11-1:20) feels like the calm before the storm, and the organ riff following conveys a sinister plot of Snidely Whiplash (1:23-1:52). THEN the transition there with the quick chords and energetic drums (1:53-2:04) feels like a back-and-forth battle between these heroic and sinister movements that bridge the gap and tell both sides of the story. Once the process is started, every section expands upon these themes somehow; I could detail the whole song like this, but I'll hold it here. Just know that this track is wonderful mood music and conjures a battle of good and evil without any visual required.

And hey, if that doesn't work for you, go for the campy nostalgia, that probably works better anyways.

081310

What's It Called?

Thrice - See You In The Shallows

What's The Story?

This tune is up there in the league of All Along The Watchtower for could-potentially-be-my-favorite-ever-ever. Thrice are a post-rock band from California; this track is from one of their earlier albums, The Illusion of Safety.

Who's To Blame?

A guy whose band in high school was called The Swiss Goggles.

Why ♥ It?

At just a scant 2:35, this song quickly and effectively hits hard. The best part by far is the breakdown to just vocals and guitar at 1:31. It posits an honesty that, although not unique, is definitely attractive. There's nothing complex about the whiny punk vocal or power chords coming from the guitar, but you can just feel that they mean it. That part alone is worth the price of admission.

The following transition back into the song proper features an energetic drum roll/spasm, and then kicks back immediately to the refrain with a well-placed key change. There's a tiny pregnant pause between that transition and the new-key rehash of the chorus, and that ever-brief silence gives a beautiful moment of musical anticipation that I really don't have a good comparison for. It's just perfect.

I always love the lead guitar of Teppei Taranshi, he has a way of giving another channel to experience Thrice's music with distracting leads during the verses, and See You In The Shallows shows this off as well as any Thrice song. The guitar rarely does the same thing twice in this song.

The lyrics are a spectacle as well; although repetitive for the second half of the song, I have a perfect picture in my head of the cliffs and the water and the jump, and I blame it entirely on the lyrical craft.

Long story short, I really really really love this song. There's probably no way it'll stand up to the praise I'm heaping on it here, but that's the fun in being the writer rather than the reader.

...Sorry about that.

081210

What's It Called?

Wolfmother - Woman (MSTRKRFT remix)

What's The Story?

MSTRKRFT are two DJs from Canada who remix with the best of them, as well as mixing their own material.

Who's To Blame?

The Zac Efron of classic rock.

Why ♥ It?

This really isn't a Wolfmother song anymore, and you'll appreciate it more if you go in knowing that. MSTRKRFT take just the vocal line from the original song, and create their own environment around it. This breeds familiarity and adds an accessibility; you can sing along without ever having actually heard the MSTRKRFT tune.

At the outset, it's not entirely MSTRKRFT's usual domain either. There's a fuzzy bass line and some lead guitar work, echoing more of member JFK's past work in Death From Above 1979 than current work in MSTRKRFT.

This guitar provides the character for the first post-verse breakdown, and helps along with the verses. A neat thing that the remix does is adds a different character after every verse; there's no real refrain, but rather three verses and three dance breakdowns. The second has a great induction from the fuzzy bass and guitar into a more dance-driven tune (still with fuzzy bass), and by the third breakdown and outro, it's all kinesthetic business.

I need to reiterate that Wolfmother fans looking for a mix that pays homage to the original should look elsewhere, but anyone who likes a good dance mix with a scattered legit instrument should give this one a groove.

081110

What's It Called?

Black Kids - Hit The Heartbrakes

What's The Story?

If funk was driving an old VW Bug and Brit-style synthpop was driving a K-Car, Black Kids are a car accident between the two. Hit The Heartbrakes is from their only studio album, Partie Traumatic.

Who's To Blame?

A happy pig who died an unfortunate death in October '07.

Why ♥ It?

This is perhaps the best musical advocacy of one night stands. The sound of the music is heartfelt, but a slightly closer listening reveals dorky, off-kilter lyrics. It's a fun contrast, and helps facilitate appreciation for the entire song.

I hear a lot of people call it cliché or overdone, but I sort of like the call-and-answer style of the lyric delivery as well: the male vocals are answered by a pair of backup female vocalists in a back-and-forth, and they come together for the chorus. Again, creates a pretty fun mood.

The breakdown at 2:13 with the synth solo is awesome for everything besides the synth solo. That fun(ky) bass line has legs, and is happening for pretty much the entire song, but has a tendency to go unnoticed until that point. The percussion is catchy too, whatever it is he's hitting. Again, this was present before and after, but the breakdown is a great spotlight.

No matter what the situation, this song is a definite breath of fresh air.

081010

What's It Called?

Ratatat - Seventeen Years

What's The Story?

Ratatat are a guitar player and a synth/bass player/producer from New York who, in addition to laying down upbeat electronic rock, remix a good number of rap tunes. Seventeen Years is the first track from their self-titled album.

Who's To Blame?

A drunk tank frequent flyer.

Why ♥ It?

Point form, due to stifled creativity:

- Catchy verse guitar riff

- Lead guitar during the bridge

- Chill outro

- Catchy verse guitar riff

- Catchy guitar lead during the second verse

- The sound coming out of that six stringed thingamabob during the verse
- Random voice clip intro

080910

What's It Called?

We Are Scientists - Chick Lit

What's The Story?

We Are Scientists are a New York-based indie rock group with a ton of personality. The tune is from their third of four studio albums, Brain Thrust Mastery.

Who's To Blame?

A friend who balances out having a hot mom with having a hideous dog.

Why ♥ It?

If you put a gun to my head and said "pick one part of the song Chick Lit by We Are Scientists that stands out above all others", I'd probably decide quickly enough not to get shot, and I can't say that about many of the songs here. The percussion during the chorus in this song is to die for; it's one of those beats that makes me want to be a drummer because it just sounds fun. The constant splashing cymbal goes with a beat that's so varied it could pass for Morse code, but still just flows.

This percussion is the basis for a chorus chock full of a driving, blaring pop/rock feel. The backing vocals add another layer that almost makes the song feel epic.

The intro and post-chorus guitar chords have sort of a swing if you bother to pay attention to them, although you can be forgiven if you don't.

Finally, the vocals and lyrics are accessible and exactly what We Are Scientists fans have come to expect. If you don't know what that implies, then this track is only the beginning.

080810

What's It Called?

The Sleeping - Stayin' Alive

What's The Story?

Well, you can tell by the way I use my walk; I'm a woman's man, no time to talk...

(It's also from a soundtrack to a crappy movie!)

Who's To Blame?

The New York Times affect a man, ya know.

Why ♥ It?

A punk band in the vein of Rise Against or Thursday take the Beegees' classic disco tune, keep much of the disco charm, and punk up some of the lead vocals and the lead guitar riff.

If you don't already ♥ it from that description, nothing I say will make you think I'm anything other than a clown, and as such, I will keep this short as to avoid wasting any more time than I already have.

Postscript: covers are cool.

080710

What's It Called?

Transatlantic - Out of The Night

What's The Story?

Transatlantic are a prog-rock supergroup composed of members and former members of Dream Theater, Spock's Beard, The Flower Kings and Marillion. If you've heard of any of those, I'd be amazed if you hadn't heard this band. Out of The Night is from the first Transatlantic album after an 8 year hiatus, The Whirlwind.

Who's To Blame?

Holland.

Why ♥ It?

This track manages to catch many of the more accessible caveats of progressive rock, while eschewing some of the more stigmatized elements.

It starts like an anthem; that steady 1-2-3-4 is a great hook that works most effectively to make the tune memorable.

Trewavas' bass is impeccable for many segments of the track. The bass in the first part (0:16-0:32) and the part immediately after (0:32-0:48) threaten to steal the show by walking all over the excellent vibe that the band sets up.

The track does a neat job of toggling from upbeat and driving to slow and heartfelt. It does this a couple of times, which sort of kills the inspirational mood of the main part, but allows the song to work on a subdermal level: it's not just a quick pick-me-up, but a song that tries to have serious lyrical impact and merit.

Also, anti prog-rock fans would hang me for this, but the way that the four members sing various parts and come together for harmonies during chorus sections reminds of The Beatles. There should probably be a Godwin's Law for comparing any non-Beatles tune to a Beatles tune, but I think that's what they go for, and I think that they pull it off pretty well.

And hey, at least their drummer is better than Ringo.

080610

What's It Called?

Wolfgang Gartner - Undertaker

What's The Story?

Wolfgang Gartner doesn't even have his own page on English Wikipedia for me to leech from yet, but what I do know is that his mixes are quickly making him a popular name in and around the electro scene. The original mix of Undertaker was in a torrent pack of upcoming tracks that also contained deadmau5's Some Chords.

Who's To Blame?

A guy who got his stage name from a dead rodent he found in his computer.

Why ♥ It?

There are so many things going on in this track, I'm not even sure where to start with it.

At the core, it's not hard to tell that Wolfgang Gartner is a mixer first, and a producer second. The beat he uses for Undertaker is just a 4/4 electronic beat with alternating bass and snare sounds.

...But that's not to detract from what he does with that solid floor track. The buildup to something happening is elongated; it's not until 0:30 that a lead track even begins to fade in, and that doesn't hit full capacity until 1:00. The real meat of the song begins in the form of a second buildup at 1:30; the layer that enters there sounds sort of like a ticking clock, and serves as a really effective end of what's essentially 2:00 of full build for a main line. The refrain (2:07-2:11 for an example) is five notes that appeal well beyond the duration of the track, and would make a great guitar riff. From there, the song flips between the tick-tock feel and variations on the main theme, but is fluid in delivery; the same thing is essentially happening with new caveats every bar.

I also find it neat how major changes seem to come in 30 second intervals. Keeps it fresh.

After deadmau5 played locally, the promoter asked him who he should pick up for another gig. He told him to get Wolfgang Gartner, and the more I listen to this track alone, the more I see why; his creativity in chord selection and expression (see again: the layer starting at 1:30) are both on a level that are easily appreciated from the progressive house genre.

080510

What's It Called?

The Fall of Troy - Mouths Like Sidewinder Missiles

What's The Story?

This track is from The Fall of Troy's second album, Doppelganger; although it originally appeared on their first, self-titled album.

Who's To Blame?

A plastic guitar with multicolored buttons.

Why ♥ It?

Take excitement, harness it into a ball of pure energy, and throw that ball at a small child. That is what it feels like to listen to this song.

The dissonant chords and screaming at 0:20 set an intense stage for what's coming. As this transitions into the verse, the song is off and sailing at a frantic pace. The scream is replaced with a clean vocal (The Fall of Troy alternates as well as anyone), and the verse is a flash. I think I might've liked the chorus better if it kept clean vocals, but I'm sure many would disagree, and I'm down with that. The band does a good job on both fronts regardless. Like alternating between a scream and clean vocals; The Fall of Troy does the entire post-rock genre justice.

& the lead guitar is phenomenal. There's always a voice from that layer.

The outro is totally noteworthy as well. The last minute feels like jamming over the same riff forever; on stage that minute could easily become 10. Generic jam songs aren't all too common in post-rock, but this may be as close as you're getting.

If you want something that is at once intense and fun, check this track out.

080410

What's It Called?

Ben Folds - Effington

What's The Story?

Hey, did you know Ben Folds kept going after that one Ben Folds Five album?

...If you didn't, shame on you.

This track is from his 2008 solo effort Way To Normal.

Who's To Blame?

A girl whose insanity is either endearing or crazy, depending on her mood.

Why ♥ It?

I have to comment on the intro to this song--perhaps I'm picking it today in anticipation of the 2010 NFL season, but you know the song is going to be fun when it starts with a choral vocal of "If there's a God, he's laughing at us and out football team".

I love how this song always feels like it's going somewhere. The lyrics talk about driving on a highway, and it's not hard to visualize the signs passing by because of the efforts of the piano and bass. The chorus feels like going somewhere as well--except on a summer road trip, or something equally fun.

When the opening vocal line is converted into a piano solo (2:13), the song begins to feel more like a memory than a journey. (Props as well to the woodblock-sounding roll into the solo) This continues after the "normal people do it too" part, when I can just hear the song playing over a frozen frame of a movie sports team celebrating their victory with credits rolling. Then, cut back to the fun chorus, and outro.

In 3 short minutes, this song makes me think of the Miami Dolphins, driving the TCH, the best summer ever, and Remember The Titans. When music evokes that many different thoughts and feelings that quickly, I say it's done its job.

080310

What's It Called?

Death From Above 1979 - Black History Month (Girl on Girl Revision ft. Final Fantasy)

What's The Story?

DFA1979 were not long for this world, however their short catalog did generate an album of remixes (due at least partially to band member JFK's connection to the electro scene). This is a revision of their most popular single from You're A Woman, I'm A Machine.

Who's To Blame?

A guy who bears a slight passing resemblance to Jesus and who hates being told that.

Why ♥ It?

This remix takes the stringwork of Final Fantasy and turns it into dance-synth magic. The memorable, I-could-run-to-this bassline from the original is still intact, and the vocals and drums remain. Aside that, the other sounds are some light electric keys and the string section. The sincerely played violin alternates between classical building phases (0:00-0:30; 1:28-1:40) and a string sound that belongs on Saturday Night Fever (1:16-1:28 ; 2:16-2:31). This shift from the philharmonic to the disco ball is a great dynamic.

Also notable is the drum beat. The open high hat hits (whether electronic or analog) give the percussion a flavor that keeps a much fresher beat than the thumping bass beat often associated with modern dance music.

The lyrics, though brief, have been known to be in the ears and on the lips for hours after hearing the tune. Another earmark brought forth by the electronic makeover. (Though, admittedly, that'll happen with the original, too)

In all, applying electronic dance standards and classical violin to a two-man punk rock racket gives a novelty of an enjoyable result, and anyone who likes any of that mishmash of genres should take something from this track.

080210

What's It Called?

Evergreen Terrace - Mad World

What's The Story?

This track is most often associated with Gary Jules' creepy. mood-perfect version in the movie Donnie Darko. Occasionally someone remembers it as a campy Tears For Fears song. This guilty pleasure version comes from Evergreen Terrace's aptly named cover album Writer's Block.

Who's To Blame?

The guy who thinks up the best nicknames on the spot.

Why ♥ It?

You're not going to make a better moody cover of this than Gary Jules, and Evergreen Terrace don't even try. Rather than going for the social isolation aspect of the song, the band tackles it from the social angst standpoint.

I'll go about this one by way of a guided tour.

The first verse is terribly simple: a dissonant chime sound, a bass line, palm muted guitar chords, and frank vocals. The chorus features some neat guitar work, adding neat chord structures and lead guitar sounds to enrich the song.

Starting at 0:50 and onward, the low, grim vocal line is joined with a second vocal track with a nice, gruff screaming vocal. The lyrics are not incomprehensible, but not plainly sung. This carries on into the second verse, giving a feeling that the song is building intensity as it goes along.

After the second chorus and subsequent bridge, the chorus/outro plays with all guns blazing; the most intense instrumentation and most pronounced gruff vocal section.

Ideally, this song isn't compared to Jules' cover as the same take, but a different take on the same theme: it's not hard to envision social isolation replaced by angst, and Evergreen Terrace convey that emotion very effectively.

080110

What's It Called?

Dispatch - The General

What's The Story?

This song has been frequently mislabeled on P2P networks as Jack Johnson or one of his clones. The General is from the second of three Dispatch studio albums, Bang Bang. If you've heard a Dispatch song, it's probably this one.

Who's To Blame?

A girl who once fell for the "I lost my number, can I have yours?" line.

Why ♥ It?

Emotional and casual at the same time. The lyrics are so very reflective, and the vocal line is delivered like a story; something that music doesn't do enough these days.

The music itself sounds like beach reggae. Dispatch are generally (HAR HAR) known for their ska stylings, but this tune takes that and slows it down. What results is a version of "that meaningful, heartfelt song" that almost every band has one or two of. Listening to the studio track of the guitar, it even sounds like a version of the tune that you'd hear around a campfire on a beach; the partially muted barre chords and random stylish funky sounds from the guitar are all part of the easygoing charm of the song.

Take this casual aura with the storytelling vocals, and it's no wonder this song is such an indie hit with teens and twenty-somethings. We live for taking it easy and telling stories about it.

073110

What's It Called?

Minus The Bear - When We Escape

What's The Story?

Minus The Bear are an energetic, spaced-out rock band who make that paradox make sense. When We Escape is the eighth track from their third studio album, Planet of Ice.

Who's To Blame?

Perhaps the most convincing living argument that Cleveland rocks.

Why ♥ It?

This track is a beautiful architecture of sound.

It starts with an ambient synth, and quickly adds a persistent guitar line that provokes thought. This sets an atmosphere that's pretty enveloping.

I need to mention the drums during the verse. The off-beat rhythm is a dandy complement to the spacy atmosphere that MTB create in their verse-chorus-verse flow.

Perhaps the best thing about this whole atmosphere that they create is how quickly they ruin it and how good an idea that is. At 1:30. there's an admirable rock-out section that lasts all of 10 seconds, and then it's back to the off-beat drumming and ambient instrumentation. Like coming in and out of a lucid dream; the song sets the stage masterfully.

Finally, the lyrics suggest exactly what this song is about. And then it makes sense. Perfect atmosphere to convey the meaning. Could something be this enigmatic without being about sex?

...Probably, but I still like it all the more because of it.

073010

What's It Called?

Led Zeppelin - Trampled Underfoot

What's The Story?

Ever hear of Led Zeppelin?

This is the second track from that album that happened in between Led Zeppelin II and Led Zeppelin IV.

Who's To Blame?

The ginger-headed devil that writes this blog, and his inability to pass up a classic album for $5 in a record store.

Why ♥ It?

Confession time: I only heard this song last week.

Or well, I've heard it before in the countless tracks today that steal some of its better sensibilities. But legitimately the first time I recall hearing it is last week when I picked up a long-neglected addition to my CD collection.

So let's start on the track. The lead guitar in verse that cooperates with the vocals really reminds me of Franz Ferdinand's Take Me Out. As do some of the transitional guitar leads. The song was made with a catchy sort of swing in mind.

Next up, this song succeeds really well in mashing hard rock and funk. Hard funk is probably a genre I haven't invested my ears far enough into, if indeed it exists. The keys in this song back up the aforementioned awesome sounds that the guitars bring forth in a way that I really don't think I'd heard until now.

I would love to be downtown somewhere and hear this song in a bar--this tune is a great feet-mover that will still satisfy the types that hit the bar to hear classic rock cover bands.

Oh, and that description applies to the studio track, too. If you like moving feet or Moving Pictures, this song is worth the 5:39.