I'm glad we've reached a point in our friendship where I can say "I like The War On Drugs" and you know what I mean. That other war on drugs is "bullshit", but Adam Granduciel and gang are "the shit". That Future Weather EP from 2010 still gets plays on my iTunes, and Slave Ambient was a perfect followup/expansion, working together some Tom Petty-channelling, road-trippin' rockers with some more, well, ambient soundscape-style songs. It's weird to listen to some of their quieter numbers because whenever I think back to when I saw them live last summer, I don't recall any dull moments or lulls or even feeling like I was being swept downward by their tunes. And yet, that's exactly what some of their songs do, in particular a new B-side they just released, somewhat appropriately-entitled "Don't Fear The Ghost".
Stream it here:
Oh wait! That's the more rockin' tune. "Snake Tongues" is the languid, hazy, psychedelic track that's newish. That seems backwards to me. I expected "Snake Tongues" to be some upbeat rocker about evil serpents nipping at your heels as you sprint through the desert or something like that. Instead, it seems to be about a weird drug trip. Whatever, it's great. Head over to any of these 1, 2, 3, 4 places to download the mp3 since I can't host it here.
One of my personal favorite tracks from both Future Weather and Slave Ambient is "Baby Missiles". It's not so different on the LP, maybe a slightly different mix or something, but the parts that always get me going are the way Granduciel's voice modulates rapidly in both pitch and fervor ("He's up and down like A NEW JACK TONE") and that fucking harmonica solo! How awesome is that?! Too few modern indie rock bands use harmonica, in my opinion, and I'm not just recommending it for the "let's be different" kind of thing. This is a damn fine instrument and deserves to be used more often. The War On Drugs took to the stage on Late Night with Jimmy Fallon last night and jammed out this tune, complete with that harmonica part we all love. Dig it:
Say what you will about Mr. Fallon, his show, and his ability to ruin every SNL sketch with shattering-the-fourth-wall laughter, but he and his staff have their ears to the grindstone vis-à-vis the indie rock scene. They've pulled plenty of great bands on for sessions and had a bunch make their TV debut there, TWOD included (as well as a recent, lovely appearance by Sharon Van Etten). I'm thankful for this trend: more exposure for good bands, a chance to see ?uestlove play backup percussion, all good stuff.
The War On Drugs on the web: Website / Bandcamp / Facebook / Twitter
Buy Slave Ambient: Secretly Canadian / Insound / Amazon / iTunes / eMusic
A convenient place for me to unload scoops of metaphorical brain matter. The title refers to a book of poetry by Charles Bukowski.
Wednesday, January 11, 2012
Jams of the day, harmonicas in rock, and indie music on TV: The War On Drugs / "Don't Fear The Ghost" + "Snake Tongues" + "Baby Missiles"
Labels:
?uestlove,
adam granduciel,
baby missiles,
future weather,
harmonica,
jam,
jam of the day,
jimmy fallon,
late night,
live,
mp3,
slave ambient,
stream,
tv,
video,
war on drugs
Saturday, January 7, 2012
Jam of the day, road trip radio, and the semantics of "classic rock": Bad Company / "Feel Like Makin' Love"
I made a six-hour drive from New Jersey to Pittsburgh last weekend with some college buddies who I hadn't seen in a while. In my friend's rental car, he had a couple of CDs that we played a few times through: Can's Delay 1968, which is great driving music; Devendra Banhart's Smokey Rolls Down Thunder Canyon, only half of which we got through after playing the 8-minute, slow-burning jam "Seahorse" three times in a row; and the debut, Gros mammouth album, of Montreal's French-speaking indie pop-rock band Les Trois Accords (The Three Chords, which is an accurate description of their melodies). We chatted, we napped, we snacked, and we played a fizzling round of "more like a rock or a theory of justice", everyone's favorite, wacky binary search game.
Eventually, I suggested turning on the radio as we got closer to Pittsburgh, and we found a classic rock station. Within a few minutes, Bad Company's hit single "Feel Like Makin' Love" came on. We all groaned. We laughed. But I'll be god damned if the chorus didn't come around after a minute and find us all singing at the top of our lungs. Just try it:
This has to be the cheesiest fucking song known to man. (Watching it with the lyrics displayed makes it even more obvious. Who writes this stuff?!) After we caught ourselves singing along with gusto, we chuckled at the thought of some mustachioed dude in a leather jacket putting this song on the jukebox in some dive bar and strutting down the dance floor with his arm outstretched, pointing at some "hottie" at the other end of the room and singing along. What an image. Who else is this song for?
While we're on the topic of classic rock radio, I should mention an interesting debate I had on Twitter yesterday with some Pittsburgh folks. I tweeted a link to a Tumblr blog that compiles great 90s indie rock hits with the description "90s rule". The Post-Gazette's music critic Scott Mervis wrote back that the 90s were "Maybe the 4th best decade for rock". Yowza. I asked where the 50s were in his ranking? What followed was an interesting debate about what decades were best for "rock music", what "classic" actually means, and some good-natured ribbing. Here's my favorite exchange from the whole thing: Hugh says this, I say this. Check out the thread on Twitter and join the conversation, or leave your thoughts here. I'm listening.
Eventually, I suggested turning on the radio as we got closer to Pittsburgh, and we found a classic rock station. Within a few minutes, Bad Company's hit single "Feel Like Makin' Love" came on. We all groaned. We laughed. But I'll be god damned if the chorus didn't come around after a minute and find us all singing at the top of our lungs. Just try it:
This has to be the cheesiest fucking song known to man. (Watching it with the lyrics displayed makes it even more obvious. Who writes this stuff?!) After we caught ourselves singing along with gusto, we chuckled at the thought of some mustachioed dude in a leather jacket putting this song on the jukebox in some dive bar and strutting down the dance floor with his arm outstretched, pointing at some "hottie" at the other end of the room and singing along. What an image. Who else is this song for?
While we're on the topic of classic rock radio, I should mention an interesting debate I had on Twitter yesterday with some Pittsburgh folks. I tweeted a link to a Tumblr blog that compiles great 90s indie rock hits with the description "90s rule". The Post-Gazette's music critic Scott Mervis wrote back that the 90s were "Maybe the 4th best decade for rock". Yowza. I asked where the 50s were in his ranking? What followed was an interesting debate about what decades were best for "rock music", what "classic" actually means, and some good-natured ribbing. Here's my favorite exchange from the whole thing: Hugh says this, I say this. Check out the thread on Twitter and join the conversation, or leave your thoughts here. I'm listening.
Labels:
bad company,
Can,
cheesy rock,
classic rock,
debate,
delay 1968,
devendra banhart,
feel like makin love,
hugh,
Jerry's,
les trois accords,
Pittsburgh,
post-gazette,
road trip,
twitter,
vinyl
Saturday, December 17, 2011
Jam of the day, songs that make you cry, and the devolution of liner notes: "A Hard Rain's A-Gonna Fall"
Artist: Bob Dylan
Album: The Freewheelin' Bob Dylan
Song: "A Hard Rain's A-Gonna Fall"
Released: 1963
Label: Columbia Records
I was hanging out with a friend at my place last weekend and he revealed that he had never sat and listened to a Bob Dylan album straight through. So, of course, I made him sit there as we played Freewheelin' and then Blonde on Blonde and then … well, then it got late. We laughed out loud at some lyrics, marveled at the ingenuity, and generally enjoyed the tunes, but I made a particular point to stop doing whatever we were doing and really pay attention when "A Hard Rain's A-Gonna Fall" came on. Something about it hits me hard, and I find myself unable to not pay attention to it. I remember just crying to myself in the car while driving down an empy highway and listening to it. I still don't know exactly why, but it's just that powerful.
I also sat there and read the liner notes on this old vinyl copy of Freewheelin' I have, marvelling at the detailed, enthusiastic deconstruction of Dylan's songs and what they meant to the culture at the time of release. Why don't we have these notes anymore? Do we despise that much the idea of someone telling us what art is that, even if they're right, we won't pay attention, so no one bothers? Just read this particular passage, on this specific song, and tell me it isn't helpful, a true aid in listening to, understanding, and enjoying the music it describes. [Original punctuation/emphasis style preserved.]
And that's just about this song! The entire back cover is filled with paragraphs like these about every song on the album, and some others, setting the record in historical and cultural context, describing its ingenuities and influences alike. It's obviously written by a fan, but not a fanboy. This Mr. Nat Hentoff (who is, as the notes say, "a frequent contributor to such periodicals as 'The Reporter,' 'The New Yorker,' 'Playboy,' 'Commonweal' and 'The Village Voice'") has a lot of positive things to say about Mr. Dylan, but he does so intelligently and interestingly. Record reviews are one thing, but having this kind of critical analysis contained within an album's packaging is an interesting and helpful idea, and I really wonder why it has disappeared. Would some major labels ever consider bringing this back? Thoughts?
On a related note, here's a great blog essay about music criticism and how/why we read it: what i think makes a record review great after reading a couple thousand, and my favorite pitchfork review of all time from Pitchfork Reviews Reviews.
Album: The Freewheelin' Bob Dylan
Song: "A Hard Rain's A-Gonna Fall"
Released: 1963
Label: Columbia Records
I was hanging out with a friend at my place last weekend and he revealed that he had never sat and listened to a Bob Dylan album straight through. So, of course, I made him sit there as we played Freewheelin' and then Blonde on Blonde and then … well, then it got late. We laughed out loud at some lyrics, marveled at the ingenuity, and generally enjoyed the tunes, but I made a particular point to stop doing whatever we were doing and really pay attention when "A Hard Rain's A-Gonna Fall" came on. Something about it hits me hard, and I find myself unable to not pay attention to it. I remember just crying to myself in the car while driving down an empy highway and listening to it. I still don't know exactly why, but it's just that powerful.
I also sat there and read the liner notes on this old vinyl copy of Freewheelin' I have, marvelling at the detailed, enthusiastic deconstruction of Dylan's songs and what they meant to the culture at the time of release. Why don't we have these notes anymore? Do we despise that much the idea of someone telling us what art is that, even if they're right, we won't pay attention, so no one bothers? Just read this particular passage, on this specific song, and tell me it isn't helpful, a true aid in listening to, understanding, and enjoying the music it describes. [Original punctuation/emphasis style preserved.]
A Hard Rain's A-Gonna Fall represents to Dylan a maturation of his feelings on this subject since the earlier and almost as powerful Let Me Die in My Footsteps, which is not included here but which was released as a single record by Columbia. Unlike most of his song-writing contemporaries among the city singers, Dylan doesn't simply make a polemical point in his compositions. As in this song about the psychopathology of peace-through-balance-of-terror, Dylan's images are multiply (and sometimes horrifyingly) evocative. As a result, by transmuting his fierce convictions into what can only be called art, Dylan reaches basic emotions which few political statements or extrapolations of statistics have so far been able to touch. Whether a song or a singer can then convert others is something else again.
"Hard Rain," adds Dylan, "is a desparate kind of song." It was written during the Cuban missile crisis of October, 1962 when those who allowed themselves to think of the possible results of the Kennedy-Khrushchev confrontation were chilled by the imminence of oblivion. "Every line in it", says Dylan, "is actually the start of a whole song. But when I wrote it, I thought I wouldn't have enough time alive to write all those songs so I put all I could into this one."
And that's just about this song! The entire back cover is filled with paragraphs like these about every song on the album, and some others, setting the record in historical and cultural context, describing its ingenuities and influences alike. It's obviously written by a fan, but not a fanboy. This Mr. Nat Hentoff (who is, as the notes say, "a frequent contributor to such periodicals as 'The Reporter,' 'The New Yorker,' 'Playboy,' 'Commonweal' and 'The Village Voice'") has a lot of positive things to say about Mr. Dylan, but he does so intelligently and interestingly. Record reviews are one thing, but having this kind of critical analysis contained within an album's packaging is an interesting and helpful idea, and I really wonder why it has disappeared. Would some major labels ever consider bringing this back? Thoughts?
On a related note, here's a great blog essay about music criticism and how/why we read it: what i think makes a record review great after reading a couple thousand, and my favorite pitchfork review of all time from Pitchfork Reviews Reviews.
Labels:
1963,
a hard rain's a-gonna fall,
bob dylan,
columbia records,
jam,
jam of the day,
music criticism,
pitchfork reviews reviews,
sadness,
video
Sunday, December 4, 2011
Jam of the day, a surprising Rolling Stones lookalike, and ramblings on the evolution of communal listening experiences: Nick Drake / "Pink Moon"
Artist: Nick Drake
Album: Pink Moon
Song: "Pink Moon"
Released: 25 February 1972
Label: Island Records
Nick Drake is an incredible musician and an enigmatic figure in modern musical history. I undoubtedly underappreciated his music (and his life story) when first introduced to him by an older and wiser (and funnier) friend during my freshman year of college. I never let go of him, though, and over the years, I've developed a wonderful appreciation for his music. No one else's songs can actually cause physical chills to run through my limbs as I sit listening, feeling as if this person is reaching across time and space to play me a special show. No one.
I've never known too much about Nick's life, though; this is partly because no one really does, either. Precious few photographs of him exist, and no videos, leaving only his albums and a handful of demo tapes that have reappeared as a "home recordings" compilation to connect his past to our present. I was aware of his tragic story—depression and suicide in his early 20s—but never learned much beyond that, partly because I didn't know how and, I suppose, partly because I wasn't sure that I wanted/needed to. Something changed recently, though, and I found myself picking up Nick Drake: The Biography, by Patrick Humphries, from the local library.
It's a delightful read, and an honest and amibitious attempt to piece together as many facts and personal impressions as possible from contemporary sources—school friends, teachers, family, etc. I'm not even a third of the way into the book, and I already feel like several doors and windows into his music have opened, simultaneously casting some light on dark corners and bringing some dusty, cobwebby, depressing corners into view.
Earlier this year, I stumbled on a new vinyl copy of Pink Moon while out shopping for Record Store Day and snatched it up. It's great for early morning listening, settling down in the recliner with a cup of coffee for a wistful stare out the window. As I mentioned, I picked up this bio at the library about a month ago, and just last week, CC featured a video of a Volkswagen ad using "Pink Moon" in his 5 Songs Ruined By Commercials post. All signs pointed to sharing this song. So here it is. I beseech you, just turn off/tune out/forget about whatever you were doing just now and focus on this song. You'll feel rewarded for your earnest enthusiasm, trust me.
Note: the top commenter's suggestion to run Rainymood simultaneously is a pretty good one.
On a lighter note, I've come across several amusing anecdotes in the biography thus far. One particularly amusing one is told by a high school friend about a summer road trip from Morocco to Chad during which their car broke down, forcing them to stop in the small town of Meknes. Their mechanic was suprisingly friendly and asked to take before-and-after photos of Nick and his pal with their car. They obliged, paid a small fee, and went on their merry way a few days later. On their way back through Tangiers, they were stopped by the local police and searched for drugs. Apparently, The Rolling Stones had toured through Morocco recently, and the mechanic mistook the boys for Mick and Keith, or something, their photo was published in the local paper, and they were subsequently pulled over and searched. Wild.
Another passage that struck me was more about the nature of the times—the 60s—and how the public interacted with music. The author and his interviewees note the connection between LP sleeves and joint rolling, and then discuss the sense of awareness of the musical charts, the communal nature of music listening, the social aspects:
That just sounds incredible to me, and so entirely different from our modern technologically-oriented musical landscape. No iPods. No mixtapes, even. Just shared, long-player listening. Turntables and speakers, or headphones. Attentive listeners, active listeners, caring listeners. I'm sure this sounds odd to anyone from an older generation, but god damn I really wish things were like that now. Not completely, because I do appreciate the marvels of the internet and mp3s and all that new-fangled jazz, but … a big part of me longs for those past times (not "simpler times", mind you, though) where there was a sense of universal appreciation for music and art, of communal experience, of … something larger than ourselves, of an awareness of that, and of marveling at it. We need that again.
Album: Pink Moon
Song: "Pink Moon"
Released: 25 February 1972
Label: Island Records
Nick Drake is an incredible musician and an enigmatic figure in modern musical history. I undoubtedly underappreciated his music (and his life story) when first introduced to him by an older and wiser (and funnier) friend during my freshman year of college. I never let go of him, though, and over the years, I've developed a wonderful appreciation for his music. No one else's songs can actually cause physical chills to run through my limbs as I sit listening, feeling as if this person is reaching across time and space to play me a special show. No one.
I've never known too much about Nick's life, though; this is partly because no one really does, either. Precious few photographs of him exist, and no videos, leaving only his albums and a handful of demo tapes that have reappeared as a "home recordings" compilation to connect his past to our present. I was aware of his tragic story—depression and suicide in his early 20s—but never learned much beyond that, partly because I didn't know how and, I suppose, partly because I wasn't sure that I wanted/needed to. Something changed recently, though, and I found myself picking up Nick Drake: The Biography, by Patrick Humphries, from the local library.
It's a delightful read, and an honest and amibitious attempt to piece together as many facts and personal impressions as possible from contemporary sources—school friends, teachers, family, etc. I'm not even a third of the way into the book, and I already feel like several doors and windows into his music have opened, simultaneously casting some light on dark corners and bringing some dusty, cobwebby, depressing corners into view.
Earlier this year, I stumbled on a new vinyl copy of Pink Moon while out shopping for Record Store Day and snatched it up. It's great for early morning listening, settling down in the recliner with a cup of coffee for a wistful stare out the window. As I mentioned, I picked up this bio at the library about a month ago, and just last week, CC featured a video of a Volkswagen ad using "Pink Moon" in his 5 Songs Ruined By Commercials post. All signs pointed to sharing this song. So here it is. I beseech you, just turn off/tune out/forget about whatever you were doing just now and focus on this song. You'll feel rewarded for your earnest enthusiasm, trust me.
Note: the top commenter's suggestion to run Rainymood simultaneously is a pretty good one.
On a lighter note, I've come across several amusing anecdotes in the biography thus far. One particularly amusing one is told by a high school friend about a summer road trip from Morocco to Chad during which their car broke down, forcing them to stop in the small town of Meknes. Their mechanic was suprisingly friendly and asked to take before-and-after photos of Nick and his pal with their car. They obliged, paid a small fee, and went on their merry way a few days later. On their way back through Tangiers, they were stopped by the local police and searched for drugs. Apparently, The Rolling Stones had toured through Morocco recently, and the mechanic mistook the boys for Mick and Keith, or something, their photo was published in the local paper, and they were subsequently pulled over and searched. Wild.
Another passage that struck me was more about the nature of the times—the 60s—and how the public interacted with music. The author and his interviewees note the connection between LP sleeves and joint rolling, and then discuss the sense of awareness of the musical charts, the communal nature of music listening, the social aspects:
"… in those days everyone knew what number one was. These days nobody knows, because the whole thing is so fragmented. I think accessibility to material was much more difficult, so there was much more of a sense of belonging to a cult. So if you managed a trip up to London and got hold of a copy of, I don't know, Mississippi John Hurt, this was like gold dust. People would come round and it would be an event to listen to it … I remember hiring the cellar in my college because I'd somehow or other managed to get hold of a first copy of Tommy, and actually playing it like a concert."
…
"Everyone took music much more seriously than we do these days. You'd gather together, sometimes people would be floating in and out of a particular room where people were smoking, they'd be playing records all day and people would come in and just sit, listening quite seriously all the way through The Beatles' White Album, and then drift off."
That just sounds incredible to me, and so entirely different from our modern technologically-oriented musical landscape. No iPods. No mixtapes, even. Just shared, long-player listening. Turntables and speakers, or headphones. Attentive listeners, active listeners, caring listeners. I'm sure this sounds odd to anyone from an older generation, but god damn I really wish things were like that now. Not completely, because I do appreciate the marvels of the internet and mp3s and all that new-fangled jazz, but … a big part of me longs for those past times (not "simpler times", mind you, though) where there was a sense of universal appreciation for music and art, of communal experience, of … something larger than ourselves, of an awareness of that, and of marveling at it. We need that again.
Tuesday, November 1, 2011
Jam of the day, and an upcoming film screening: "Glósóli" and Inni
I just found out that Inni will be screened at the Three Rivers Film Festival next weekend, and I had to share. Inni is a live album, with footage from a 2008 performance at the Alexandra Palace in London, directed by Vincent Morisset. The CD/DVD will be officially released on November 7, but the 3RFF will be screening the film on both Saturday, November 5 and Friday, November 11! (You can buy tickets to those screenings here and here; $9 each night.) A description on the band's website nicely summarizes the appeal of the film and how it fits into their discography and band history:
unlike many concerts, watching sigur rós is seldom a communal experience; it is instead intensely personal. by almost entirely removing awareness of the crowd and any sense of place, morisset brings you closer than ever to the players, using multiple camera angles to reveal in sometimes minute close up the concentration and effort involved in delivering such a powerful rock show. …
the performance captures the band playing as a stripped down four-piece for the first time since they were joined by string section amiina at the start of the decade. this fundamental 'boiling down' makes 'inni' a more forceful and primal proposition, much at odds with the popular misconception of the band as purveyors of instant emotional heft for film-makers in need.
the album features 15 tracks, with songs taken from all five sigur rós studio albums. there is also the bonus of an unreleased studio track in the form of 'lúppulagið', which is used both over the credits of the film and as the final non-live track on the album. the dvd/blu-ray, meanwhile, also includes four extra songs from the night.
This sounds incredible. You can pre-order a deluxe edition of the film/album here (with CDs, DVD, Blu-Ray, 7", photos, etc.) or a more reasonably-priced DVD/CD combo here. I really want to check out one of the screenings here in town (probably Nov. 11) and see if they're selling DVDs there, perhaps. In the meantime, here's a trailer for the film:
While we're here, I might as well share one of my favorite Sigur Rós songs, too. I think Takk… is what got me into Sigur Rós in the first place, so it will always have a special place in my listening heart. This particular song is lovely and energetic and perfectly arranged and executed, and the same can be said about the outstanding music video. (Read more about the song and the video on Wikipedia.)
Sigur Rós / "Glósóli" / Takk… [EMI, 2005] / dir. Arni & Kinski
Sigur Rós: Website / Facebook / Twitter
Labels:
dvd,
film,
glosli,
iceland,
inni,
jam,
live,
live album,
sigur ros,
takk,
three rivers film festival,
video
Monday, October 31, 2011
Jam of the day, and an upcoming concert: "I Need More" of The Cynics at the 31st Street Pub
Artist: The Cynics
Album: Spinning Wheel Motel
Song: "I Need More"
Released: June 20, 2011
Label: Get Hip Recordings
I'll cut to the chase: The Cynics rock. They've been cranking out album after album chock full of garage rock/pop tunes for years and years, and they never disappoint. Lots of bands try to mimic that 60s psych pop sound, with jangly guitars and driving percussion and alternately sweet/punky vocals, but … man, The Cynics embody that sound. They're not mimics, they're the real fucking deal. They released Spinning Wheel Motel just this past summer, and it's a great record, swirling in some punk ("I See More") and blues ("Zombie Walk") and folk ("Bells and Trains") wherever they see fit. (The LP itself has great packaging, too, with an actual spinning wheel on the front cover to reveal the tracklist. Clever!) The first track, "I Need More" is an wild, energetic ride, and the video below is just a perfect match for this tune.
The Cynics / "I Need More" / Spinning Wheel Motel [Get Hip, 2011]
The Cynics are coming to the 31st Street Pub this Saturday, November 5, and you owe it to yourself to get out and see them, especially if you haven't before. They actually don't play shows in Pittsburgh all that frequently, unfortunately (despite being one of our city's best bands), so you gotta take advantage when you can. (Their last show there was incredible; check out my review and some live video footage.) They're on tour with a new Toronto band, Pow Wows, whose originally-self-produced debut LP, Nightmare Soda, is being reissued on vinyl via Get Hip, as well. This band should fit in perfectly at this show, churning out some heavy guitar jams and 60s pop grooves. (Check out a video for their track "Seeing Black" below.) Detroit's The Sights will join the party with some funky garage rock tunes. This will be a fun one, that's for sure. Doors @ 9 pm, only $10. Check out a tour promo video here, too, and here's a Facebook event. And hey, see yinz there.
Pow Wows / "Seeing Black" / Nightmare Soda [Get Hip, 2011]
The Cynics: Facebook / Twitter / Last.fm
Pow Wows: Facebook / Myspace
The Sights on the web: Website / Facebook / Twitter
Labels:
31st Street Pub,
concert,
garage rock,
get hip,
jam,
live,
Pittsburgh,
pow wows,
The Cynics,
the sights,
video,
vinyl
Thursday, October 13, 2011
The Song Remains the Same-ish: The Apples In Stereo vs. Big Eyes
[This is a "series" that lets me point out when two songs sound really similar or something about one song reminds me strongly of another one, or something like that. Its frequency obviously depends on me finding these similarities, so who knows when it will happen again.]
This same-ish similarity snuck up on me. I've been listening to a lot of The Apples In Stereo lately because I went and saw The Olivia Tremor Control a few weeks ago and it was fucking amazing. I sat front and center, it was an awesome theatre, the band sounded great, they played for a long time, and I was incredibly lucky and went backstage to interview Will Cullen Hart after the show, also chatting briefly with Bill Doss and John Fernandes in the process. But that's really beside the point; I just wanted to mention it :-) Since then, I've had a renewed interest in all that is Elephant 6 and have been listening to a lot of albums from Beulah, of Montreal, OTC, NMH, and so on. I renewed my devotion for Robert Schneider and The Apples and, particularly, my affinity for Velocity of Sound, their emo-punk album. It is surprisingly good. Seriously.
Earlier tonight, I was listening to a new LP, from a newish band named Big Eyes, entitled Hard Life. I was enjoying the pop-punk ride, with quick and catchy guitar-heavy numbers, but then I got to track 10: "Now That You Aren't Mine". The opening guitar line reminded me of something … I couldn't quite place it just yet, so I played the first minute of the song again. I listened to the first verse and noted how it matched the guitar melody in pitch. Then I played it again. And once more. And then it hit me. This melody is almost exactly the same as the beginning of a random bonus track tune from Velocity of Sound! Playing the two songs back to back now, I recognize that the connection is a little stretched—the tempos are different, the guitar scuzz layers are different, the intro/ending of the melodies are different—but hey, this series isn't about finding identical songs, right? It's just about pointing out similarities, and I believe I've found two songs whose guitar riffs sound remarkably similar. (It's a little odd that the song titles are slant rhymes, too, isn't it?) What's weirder to me is that I was able to recall this Apples In Stereo tune just from this random guitar riff, considering it's a non-standard-issue bonus track. Luckily, I've listened to this album four or five times over the last three weeks, and that I was pointed to this Big Eyes album earlier today via a message board I frequently read. Huzzah, serendipitous coincidences!
So, see for yourself! Do they sound alike? Am I making shit up? Tell me! (Seriously, tell me …)
The Apples In Stereo / "She's Telling Lies (Bryce's Mix)" / Velocity of Sound [Elephant 6, 2002]
Big Eyes / "Now That You're Not Mine" / Hard Life [Don Giovanni, 2011]
By the by, this Big Eyes LP is awesome pop-punk. Check it aht. Also The Apples In Stereo are one of my fave bands of all time. VoS is good, Her Wallpaper Reverie is great, and Fun Trick Noisemaker is a fucking masterpiece.
Big Eyes on the web: Blog / Bandcamp / Facebook / Twitter
Buy Hard Life: Don Giovanni Records / Insound / Amazon / iTunes / eMusic
The Apples In Stereo on the web: Website / Facebook / Twitter
Buy Velocity of Sound: Amazon / iTunes / eMusic
| Artist: | The Apples In Stereo | / | Big Eyes |
| Song: | "She's Telling Lies" | / | "Now That You Aren't Mine" |
| Album: | Velocity of Sound | / | Hard Life |
| Label: | Elephant 6 | / | Don Giovanni |
| Released: | October 8, 2002 | / | August 23, 2011 |
This same-ish similarity snuck up on me. I've been listening to a lot of The Apples In Stereo lately because I went and saw The Olivia Tremor Control a few weeks ago and it was fucking amazing. I sat front and center, it was an awesome theatre, the band sounded great, they played for a long time, and I was incredibly lucky and went backstage to interview Will Cullen Hart after the show, also chatting briefly with Bill Doss and John Fernandes in the process. But that's really beside the point; I just wanted to mention it :-) Since then, I've had a renewed interest in all that is Elephant 6 and have been listening to a lot of albums from Beulah, of Montreal, OTC, NMH, and so on. I renewed my devotion for Robert Schneider and The Apples and, particularly, my affinity for Velocity of Sound, their emo-punk album. It is surprisingly good. Seriously.
Earlier tonight, I was listening to a new LP, from a newish band named Big Eyes, entitled Hard Life. I was enjoying the pop-punk ride, with quick and catchy guitar-heavy numbers, but then I got to track 10: "Now That You Aren't Mine". The opening guitar line reminded me of something … I couldn't quite place it just yet, so I played the first minute of the song again. I listened to the first verse and noted how it matched the guitar melody in pitch. Then I played it again. And once more. And then it hit me. This melody is almost exactly the same as the beginning of a random bonus track tune from Velocity of Sound! Playing the two songs back to back now, I recognize that the connection is a little stretched—the tempos are different, the guitar scuzz layers are different, the intro/ending of the melodies are different—but hey, this series isn't about finding identical songs, right? It's just about pointing out similarities, and I believe I've found two songs whose guitar riffs sound remarkably similar. (It's a little odd that the song titles are slant rhymes, too, isn't it?) What's weirder to me is that I was able to recall this Apples In Stereo tune just from this random guitar riff, considering it's a non-standard-issue bonus track. Luckily, I've listened to this album four or five times over the last three weeks, and that I was pointed to this Big Eyes album earlier today via a message board I frequently read. Huzzah, serendipitous coincidences!
So, see for yourself! Do they sound alike? Am I making shit up? Tell me! (Seriously, tell me …)
The Apples In Stereo / "She's Telling Lies (Bryce's Mix)" / Velocity of Sound [Elephant 6, 2002]
Big Eyes / "Now That You're Not Mine" / Hard Life [Don Giovanni, 2011]
By the by, this Big Eyes LP is awesome pop-punk. Check it aht. Also The Apples In Stereo are one of my fave bands of all time. VoS is good, Her Wallpaper Reverie is great, and Fun Trick Noisemaker is a fucking masterpiece.
Big Eyes on the web: Blog / Bandcamp / Facebook / Twitter
Buy Hard Life: Don Giovanni Records / Insound / Amazon / iTunes / eMusic
The Apples In Stereo on the web: Website / Facebook / Twitter
Buy Velocity of Sound: Amazon / iTunes / eMusic
Labels:
Apples In Stereo,
big eyes,
don giovanni,
elephant 6,
hard life,
jam,
mp3,
olivia tremor control,
psychedelia,
Song remains the same-ish,
velocity of sound,
video,
youtube
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