Video Review

July 28, 2011

Debut single and music video, “Anna Sun,” from breakout Ohio (it’s always Ohio) indie rockers, Walk the Moon. The first day I had a chance to check out this video, I was in absolute awe. They shot the whole video in one cut à la Russian Ark? Ho yah! …Or so I thought. When I finally started compiling this treasure trove, I gave it my undivided attention. Twice. Maybe thrice (lead singer Nicholas Petricca is très adorable). And promptly realized that the single cut is only the first portion in a potpourri of dancing joy. Watch it for the multiple types of film roll (shot in studio, shot in natural light, shot on vintage film, or at least with vintage, Super8-esque effects), the dazzlingly bright colors, and to throw a hop into your step! “We got no money, but we got heart… What do you know? This house is falling apart./ What can I say? This house is falling apart…” Some of the best hooks I’ve heard in a while… or since “Pumped Up Kicks.” Ha. Giggles.

This whimsical little vid. features the band members of Fair Fjola lackadaisically bobbing along to “Water Tower” while their animated little log cabin house floats away in a great big animated flood among some very whimsical mountain peaks (Would be hard to find such triangular formations out in any real-life mountain ranges… is all I’m sayin’!).

This creation to accompany Blonde Redhead’s “Equus” is also a semi- or mostly-animated extravaganza… The whole thing is actually severely disturbing.  The female lead of the band, Kazu Makino, who in 2002 was trampled by a horse after it bucked her, transformed the traumatic event that disfigured one side of her face (and left her to reconstruct her singing voice and self-perception) into fantastical, lyrical tales like “Equus”: “Sometimes I think I must/ just let you be a horse./ All I want is to be a rider,/ to be part of you.” The semi-animated video seems to feature all the band members, with the instrumentalist twins playing Kazu’s doctors and Kazu playing herself, with her face almost entirely masked and flattened by the animation effects and her body turned into a mannequin-robot mechanical entity. It also, of course, prominently features a horse and then a panoply of horses. … “Equus, by nature,/ timid creature,/ ready to run away. Equus, by nature,/ timid creature,/ cares nothing/ for the plans they made.” Better Propaganda has speculated that the band’s creative process was already centered around world-weariness before The Accident. That might be a fair assessment, but as this video and one or two other songs were my first introduction to the 18 year-old band, I cannot at this moment judge that assessment. But disturbing effects and imagery aside, I’m quite glad Kazu got back on her feet and brought those breathy vocals back. Otherwise, I would be down one heck of an indie band (signed to 4AD!) in my listening dossier!

“Mr. Peterson” – Perfume Genius

This is another one of those instances where I wasn’t paying enough attention the first time I encountered something. When I first heard “Mr. Peterson,” the main thing I noticed was the Joy Division reference – which carried extra points in my tally. But I missed the whole point of the story. In the video, it’s beyond difficult to ignore the palpable pain of singer Mike Hadreas as he relives the story of the teacher with a thing for the sixteen year-old, who commits suicide the same year. The stark simplicity of the video, just two keyboards and their players spotlighted against a black backdrop, definitely honors that life.

“Round the Moon” – Summer Camp

Here I absolutely have to resort to the words of TurnTable DJ Neowman – ” This video is awesome, too… it’s like a cut from some crazy 80’s Swedish movie.” Having watched the film and mulled over it for a couple days, I can definitively say that Neowman is absolutely right. There is no better way to describe this video than to summon the ghost of Ingmar Bergman (and maybe a bit of John Hughes, while you’re at it). From the color processing to the coming-of-age themes (Someone tell that girl she is much too young to be sleeping with that bullied-about, leather-jacket-wearing houligan and that there is never a good age to wear miniskirts that miniature!), 80’s all the way. Minus those cars that date back probably earlier than just the 80’s.

“Vampires” – Mr. Gnome

Oy. Where do I even start? I watched this epic ten-minute narrative twice this week, and both times, I shirked from the gruesome images on-screen and resorted to peeking at the frames through my fingers, only difference being that the second time I was prepared, with a blanket to hold tight for reassurance. I guess it’s a bit of a new day “Thriller,” but with buckets and buckets of blood. The story revolves around four characters who work on the set of a some wacky children’s television program titled, tellingly, Space Magic. With some intensive drug use, glorification of fire-arms, and a ghoulish army of sharp-toothed vampire-zombies sprinkled in for good measure. You might pick up a whiff of Pulp Fiction, I Am Legend, Alice in Wonderland, and some horrifically demented Pappyland, etc.. A ghastly short which might be three parts horrid, five parts pure genius.

“Shake Me Down” – Cage the Elephant

Okay, this one isn’t so much a new find as just brilliant, in every sense of the word. Whimsy, love, loss – the very stuff of existence and the hardiest stuff for creative inspiration. Not much else to say! “In my life, I have seen/ people walk into the sea,/ just to find memories,/ plagued by constant misery,/ their eyes cast down…”

Oh, and I forgot to mention! It’s made me cry every single time I’ve watched it. That powerful!

“Simple Math” – Manchester Orchestra

I really don’t know anything about this group and am not feeling up to researching them at the moment. I only know that they make me think of Mannheim Streamroller… and then gag. Until the music starts in, of course. And this video? Just… Wow. A whirlwind tour through childhood, imagination, and a deer-riffic wood, with some great staging, effects, and editing. I can’t remember much of the song at the moment, but the imagery certainly stuck with me.

“Out Getting Ribs” – Zoo Kid

This kid is way too young to be singing with that voice! What is going on? Gah! What? Woah! Wow. So this is Archy Marshall, 16 or 17 year-old vocal wunderkind. Well, yeah, he plays instruments, too, but can’t you hear it? Ohmygod. Leave it to the Brits! I think there’s a new Brit indie icon on the horizon. If he can just manage some snazzier titles for his tracks!

I’m really confused by the lone observer in the room here. Is that his mom? Can someone please explain it to me? What the ‘eck is she doing there?

“Frontier Psychiatrist” – The Avalanches

The Avalanches are hands-down my favorite Aussie group (and that’s saying a lot, with disbanded Leonardo’s Bride quite close to my heart). I love what they do with radio, er – audio, collage. Lots of recycled and collage art I’m gushing about these days… which is a good thing, as I am always gushing to myself. So this means the terrain of this little blog, Turtle-landia, is moving toward more and more nuanced reflections of those cultural insights lodged somewhere in my thoughts. Woo. Anywho… The Avalanches! Apparently their collage aptitude goes beyond the merely audible. What the heck is going on here? (Oh, sorry. Is that refrain getting too familiar?) My favorite part are the dancing sheets. What’s yours?

“Seven Sisters,” self-made/homemade/home-brewed music collaboration from the Bastard Child of Rock And Roll – self-christened Le Blorr – based out of the dueling worlds of New York and Florida, not-at-all-understandably unsigned, and quite possibly the next big thing, electronic, drum-loving duo of Adam Winn and Chris Hess are… (I’m gonna go out on a limb here…) decidely bigger and better than, but still close genre neighbors to, Film School. If it were even a contest, this video should cinch the deal. Look, just look. Muted mermaid-enchanted waters and the way the air bubbles multiply to evoke the feel of shimmering stars… it doesn’t get much better than this.

…Oh, you noticed the predominance of double-lettering, too?

First Aid Kit, energetic, shimmering, siren, Swedish sister duo, covers “Tiger Mountain Peasant Song” off the 2008 debut album from Seattle’s Simon & Garfunkel, The Fleet Foxes. We’re transplanted to another wooded scene, though this one’s much more serene than Manchester Orchestra’s. All quite stunning in its simplicity!

Warm Weather

April 11, 2011

A word-sparse post for you today, whoever you may be, from contemporary folk legend, Iron & Wine. To make everything okay, let’s just say we’re functioning on Mountain, Pacific, or Hawaii time for the purposes of feeling less bad about posting at 1:20 Eastern time. And remember, it might feel like summer outside, but death comes knocking any time Death pleases. But that’s a cause for letting go and living each moment fantastically, rather than cowering in a corner, teeth clacking, all lit up with fear (though I admit I am guilty of the latter far more than the former; in other words, don’t get too down on yourself if you also struggle to pull off that stunt of living thoroughly, day in and day out). Cheers!

 

Naked As We Came

She says, “Wake up, it’s no use pretending.”
I’ll keep stealing, breathing her.
Birds are leaving over autumn’s ending.
One of us will die inside these arms,
Eyes wide open, naked as we came;
One will spread our ashes ’round the yard.

She says, “If I leave before you, darling,
Don’t you waste me in the ground.”
I lay smiling, like our sleeping children.
One of us will die inside these arms,
Eyes wide open, naked as we came;
One will spread our ashes ’round the yard.


Forget Me Not

April 7, 2011

Switching modes slightly today, we’re taking a turn from the splendidly surreal yet quite grimy lyrics from The National to the simple but exquisite storytelling of William Fitzsimmons, that beloved folk musician with the light, airy, rather magical voice and the fix’d beard. (Check out Gold in the Shadow, released in recent weeks. A balm of an album! Such soothing songs for the soul! – If you have hurts, your own compounded sadnesses, and you’re human so you do, check it out!)

Today’s song-poem, “Find Me to Forgive,” is structured around a heartbreaking story of botched romance. I know enough of his bio to know that some of his earlier work is pitted in the pain of divorce, yet I cannot tell whether (or how much) this composition is true-to-life or entirely fabricated. If I were acquainted with him in person, I wouldn’t want to pry. And in any case, the storytelling is spell-binding. Just try and resist its tugs on your heart-strings! Futile!

Musically, I (think I) love the time-signature in this piece. The song comes on, and I start thinking of tangos (hung up on strings!*), but there’s probably no correlation. Something for a ballroom, though. Lots of wooshing, dazzlingly red skirts to distract attention from runny mascara and sobbing frames. Or you could just go the Parisian route. I imagine myself in a cramped historic quarter with lots of light bouncing off soft stone, the faint trail of concertinas and violins wafting through. But I’m definitely teary-eyed, reenacting the last scenes of L’Auberge Espagnole (The Spanish Apartment), where, in this case, I am Xavier. Not that that’s much of a stretch. Would the film have been as moving if I didn’t have so much in common with Romain Duris’s character? Do we ever?

Find Me To Forgive

You were the only thing I ever loved.
Taken for granted, you couldn’t stand it, anymore.
You were my lover for nearly eight years,
But I am my father, and I found another.

The last sixteen months have been nothing but hell.
I thought about jumping, well that would be something.
In the short time that I learned how to fly,
Would you forgive me, or bring flowers to me, by the grave?

Will you look the same when I meet you up there?
Remember my name, please.
Will you look the same when I meet you up there?
Remember my name — find me to forgive.

I haven’t seen you for over a year.
I heard you were married. The baby you carried isn’t mine.
I don’t suppose that you’ll still have my name.
You’ll have another, if you’re not my lover, anymore.

Will you look the same when I meet you up there?
Remember my name, please.
Will you look the same when I meet you up there?
Remember my name — find me to forgive,
find me to forgive, find me to forgive, find me to forgive.

 

 

*From a poem I wrote for a creative writing class several years ago.

I know I just shared another brilliantly composed song from The National a couple days ago, but while that bit was impromptu, this one was planned into the National Poetry Month schedule over here in Turtle-land. “The Geese of Beverly Road” is probably tied with a gazillion other songs by the Ohio-via-Brooklyn band for my third-favorite out of their entire collection. By far, the aspect of The National I most adore is the way that Matt Berninger’s lyrics get stretched across the entire ouevre. There’s all this delicious repeating imagery of feathers, swan-geese, and such, the threads of which you can spend years following across their albums, like some young kid in a red coat chasing a red balloon down city streets.

"Serve me the sky with a big slice of lemon..."

In this case, the geese reappear two albums after Alligator, on “Vanderlyle Crybaby Geeks” from High Violet. And, in between, we mistakenly listened to our mother-in-laws and passed over the “swans on t.v.” while asking Jenny to “Wake Up Your Saints.” When the geese make their comeback, they manage to flock there with the swans. “Man, it’s all been forgiven. Swans are a swimmin’. I’ll explain everything to the geese.”

As this marathon month of blogging progresses, my stockpile of readily-available adjectives and other discuss-able material diminishes, and I find myself lavishing blander and blander praise on musical compositions I genuinely love. Really need to take some cues from established music bloggers and bona fide music journalists.

I wanted to share something clever about a step-by-step of how to explain everything to the geese (and why doing so is a good idea), but right now, I’m too spent. To be continued!

The Geese of Beverly Road

We’ll take ourselves out in the street
And wear the blood in our cheeks,
Like red roses.

We’ll go from car to sleeping car
And whisper in their sleeping ears,
“We were here, we were here.”
We’ll set off the geese of Beverly Road.

Hey, love, we’ll get away with it.
We’ll run like we’re awesome, totally genius.
Hey, love, we’ll get away with it.
We’ll run like we’re awesome.

We won’t be disappointed.
We’ll fight like girls for our place at the table,
Our room on the floor.
We’ll set off the geese of Beverly Road.

Hey, love, we’ll get away with it.
We’ll run like we’re awesome, totally genius.
Hey, love, we’ll get away with it.
We’ll run like we’re awesome.

We’re the heirs to the glimmering world,
We’re the heirs to the glimmering world.
We’re the heirs to the glimmering world,
We’re the heirs to the glimmering world.

We’re drunk and sparking, our legs are open,
Our hands are covered in cake,
But I swear we didn’t have any.
No, I swear we didn’t have any.

Hey, love, we’ll get away with it.
We’ll run like we’re awesome, totally genius.
Hey, love, we’ll get away with it.
We’ll run like we’re awesome.

We’re the heirs to the glimmering world,
We’re the heirs to the glimmering world.
We’re the heirs to the glimmering world,
We’re the heirs to the glimmering world.

Oh, come, come be my waitress, and serve me tonight,
Serve me the sky up tonight.
Oh, come, come be my waitress, and serve me tonight,
Serve me the sky with a big slice of lemon.

We’re the heirs to the glimmering world,
We’re the heirs to the glimmering world.
We’re the heirs to the glimmering world,
We’re the heirs to the glimmering world.

Oh, come, come be my waitress and serve me tonight,
Serve me the sky up tonight.
Oh, come, come be my waitress and serve me tonight,
serve me the sky with a big slice of lemon.

Common Vs. Common

April 4, 2011

Today only!

Geographers’ Special: Cities, Decadence, et cetera …

Another day featuring bands with male vocalists. I kind of feel like I need to wedge The Go-Go’s in here somewhere just to balance it out. Or Portishead, maybe. And it’s another British and another American band. C’mon, other countries, catch up! (Actually, that’s ultimately the focus of this blog – more on that in future posts!)

Architectural Style: Brutalism. Exhibit A.

I’m really glad I had the month divvied up before I started blogging musical poetry for National Poetry Month because it sure keeps things flowing smoothly around here, but I’ve only stuck to the chosen song once (on the 2nd), and every other day, I’ve shuffled things around, made alternate arrangements. Today, I changed my mind, on a dime, as usual, this time due to a lovely line I came across in an interview with poet Catherine Theis on the semi-blog from Salt Publishing. She responded to a question, in part, with the remark, “The inside of a verse play or poem (or a painting or a song) is one of the last decadent places on earth.” I then went hunting for a decadent song tucked away in my little list of April’s flowers. (If you didn’t guess on the first day, yes, that’s a layered reference to all these gorgeously-written and mellifluously-echoed songs, as well as the fact that in spite of April’s showers, April has some of its own flowers.) And after paying more careful attention to the exact wording of one of my newer favorite compositions from Editors, “The Boxer,” off their most recent 2009 album, In This Light and On This Evening, I decided it would make an even better double-feature with my second-favorite creation from The National, “City Middle,” off of Alligator, from way back in 2005. The amateur geographer in me tries to look for inspiration even in diversions, like rock music obsessions, which really shouldn’t be considered diversions but appreciated for the high art they so often achieve (and critiqued when they don’t, of course!).  I think part of me feels guilty for lavishing more attention on this blog than on my more academically-oriented endeavors. Ah well. Music heals those wounds, too.

Architectural Style: Brutalism. Exhibit B.

As much as I want to wrap this up and get this syndicated to you guys, some points I shouldn’t put off:

1. If there’s a Simon & Garfunkel connection in Editors’ lyrics, it’s slight, but I don’t disavow its potential presence. That would, of course, only make the gravelly-smooth beauty of the song more delectable.

2. “City Middle” (and its counterpart, “Karen”) features some of The National’s most explicit, grimy lyrics, but the instrumentation and vocals are so beautiful that they would perfectly make up for the partially crude storyline if the storyline itself didn’t have its own redeeming qualities. For me, its in the vividness of the imagery and the way that hazy (or not so much hazy as uncertain) childhood memories are evoked for me by the line “pissing in a sink, I think.” I swear the woman that lived in the next room in the communal apartment of my childhood, who I wholeheartedly believed was my Great Aunt (also uncertain on that now, after all these years, though I still continue to believe it, for lack of an alternative explanation for pieces of my memories, some including threads of conversations structured explicitly around the referent, Great Aunt, though what if that’s an inaccurate memory, too? My toddler years were so very long ago, after all!), had some incident in the apartment which afterward involved a lot of screaming by all parties about pissing in sinks. Maybe a fabrication of my imagination? What an imagination that would be, though… Doesn’t seem right to me. TMI again? Oops. Sorry.

3. The thing about what remains, in our society, of archaic poetry — that is, sung verse — is that there seems much more repetition in song than in printed, never-attempted-sung verse. Aside from ballads, most of today’s songwriters, even the best ones, adhere fairly strictly to industry conventions involving choruses, bridges, echoing of verses, and all that jazz. It’s true — We the audience do very much like the tantalizing hooks, mostly to ensure we have some snatch of tune stuck in our heads all day. We hate silence above all else, it seems (which is quite disheartening!). Repetition works. Poets do use it, too. And there are songwriters who use it less than others. (I dare you to give me example of those who hardly use it at all!) But in our inexhaustible taste for easily-devour-able material, written lyrics can seem not at all smooth, a bit jumpy, a bit coarse, a bit bogged down, to drag their feet more than slightly. Yet when we listen, we are hardly aware of the echoing. It’s a strange phenomenon, and I’m not entirely sure that I have a preference one way or another in terms of the written versions, in spite of all that obstructiveness.

4. Okay, I’m getting antsy and impatient now. Tennessee Williams references! You can easily connect them back to Ms. Theis’s comment about “verse plays” ; I once dreamt that Common Vs. Common was a band that came to play at my school ; I’m having too much fun adding punctuation to lyrics to find the best ways to enunciate the poetic in these lyrical creations, which we might otherwise overlook as too mundane for poetry (shame!) ; … long red socks and red shoes! Are you overwhelmed yet? Great!

Now on to the poems of our bleak cities, occasionally beautiful in their dreariness!

When all the world is dripping poetry, how easily we forget our concrete prisons.

 

The Boxer

A bruised full moon
Play-fights with the stars.
This place is our prison,
its cells are the bars
So take me to town,
I wanna dance with the city.
Show me something ugly, and
Show me something pretty.

Damn this place
— makes a boy out of me.
The ring meets my face
by the count of three!

An unwanted sun
pulls rank in the sky.
The boxer isn’t finished,
He’s not ready to die.
I’m attracted to the light,
I’m attracted to the heat.
It’s a violent night;
There are boxers in the street.

Damn this place
— makes a boy out of me.
The ring meets my face
by the count of three!

And damn this place
— makes a boy out of me
The ring meets my face
before an oak tree!

Dazed in the final rounds,
Dazed in the final rounds,
Dazed in the final rounds,
Dazed in the final rounds.

"I wanna dance with the city..."

 

City Middle

Karen, take me to the nearest famous city middle,
Where they hang the lights,
Where it’s random,
And it’s common versus common, la dee la.

Karen, take me to the nearest famous city middle,
Where they hang the lights,
Where it’s random,
And it’s common versus common, la dee la.

I’ve got five-hundred in twenties,
And I got a ton of great ideas;
I’m really worked up.
I’m on a good mixture, I don’t want to waste it.
I’m on a good mixture, I do not want to waste it.
I wanna go gator around the warm beds of beginners;
I’m really worked up.

Karen, take me to the nearest famous city middle,
Where they hang the lights,
Where it’s random,
And it’s common versus common, la dee la.

Karen, take me to the nearest famous city middle,
Where they hang the lights,
Where it’s random,
And it’s common versus common, la dee la.

I have weird memories of you,
Wearing long red socks and red shoes,
I have weird memories.
I have weird memories of you,
Pissing in a sink, I think;
I have weird memories of you.

I wanna go gator around the warm beds of beginners.
I’m really worked up.
I wanna go gator around the warm beds of beginners.
I’m really worked up.

Karen, take me to the nearest famous city middle,
Where they hang the lights,
Where it’s random,
And it’s common versus common, la dee la.

Karen, take me to the nearest famous city middle,
Where they hang the lights,
Where it’s random,
And it’s common versus common, la dee la.

I have weird memories of you,
Wearing long red socks and red shoes,
I have weird memories.
I have weird memories of you,
Pissing in a sink, I think;
I have weird memories of you,
Parking your car — you said, “I’m overwhelmed.”
You were thinking out loud, you said, “I’m overwhelmed.”

You were parking your car, you said, “I’m overwhelmed.”
You were thinking out loud, you said, “I’m overwhelmed.”

You said, “I think I’m like Tennessee Williams.
I wait for the click,
I wait, but it doesn’t kick in.”

“I think I’m like Tennessee Williams.
I wait for the click,
I wait, but it doesn’t kick in.”

I have weird memories of you,
Wearing long red socks and red shoes,
I have weird memories.
I have weird memories of you,
Pissing in a sink, I think;
I have weird memories of you,
La da da da …

I have weird memories of you.

Sadness is My Girl

March 6, 2011

Well, aside from the gap between today and yesterday’s fun post, that hiatus was a bit longer than two days! Oops!

So let’s hit the ground running, with…

Music News (or, if you prefer, Reports from the Turtle):

Charmar… Yup, still pregnant!

*NEW* William Fitzsimmons album out March 22nd (U.S.) – lusciously titled Gold in the Shadow.

Via @indabamusic: Queens of the Stone Age, the rock band responsible for the hit, “No One Knows,” have apparently admitted that they allegedly performed an appendectomy on a fan backstage in Munich.

Umm…yeah.

All the Rest

“My wounded rhymes make silent cries tonight…”

Speaking of fresh albums, let’s talk Wounded Rhymes. The buzz of Lykke was wearing off when HypeMachine previewed the album Wounded Rhymes for a week pre-release. By the time I heard the whole thing, I wasn’t impressed. “I Follow Rivers,” played thirty-plus times, had kind of exhausted me, I guess, and even in spite of the exhaustion, that particular song is the powerhouse on that album, so it largely overshadowed everything else on my first listen-through. And then, post-release, listening to it on Zune, I found the album growing on me. I’ve also found myself having difficulty refraining from crooning the chorus to “Sadness is a Blessing,” the track whose lyrics are responsible for the laudably original title –- “Sadness is my boyfriend. Oh sadness, I’m your girl.” This track is all the more meaningful for me, having read SPIN’s cover-story interview (mentioned in the previous Lykke-centric post), in which she describes how her sorrows have shaped her music. (“[S]orrow, the only lover I’ve ever known.”) As such, I have decided I dig this new Lykke Li album, after all. That is, with one heck of an exception. By this I mean… I enjoy Wounded Rhymes, with the exception, and I stress with the exception, of “Unrequited Love,” which is just too whiny for my tastes. The way she lingers on words and draws out the spaces leading in to the chorus, and, well, let’s be honest, the lackluster quality of the subject of unrequited love, which has been done to death in music for centuries!…  it just doesn’t cut it for me. It makes for impossible listening. I skip it every time it comes around. As for the album as a whole?  I’d say it’s a superb addition to Ms. Zachrisson’s growing oeuvre.

“I gotta feeling… tonight’s gonna be a good, good night!”

And I’m not just quoting lyrics! I’m serious! Tonight, Rosi Golan is playing Rockwood Music Hall. And! Alex Wong is playing at the stage next door after Rosi finishes her set. I’m so excited! This will be one heck of a worthwhile trip to the city! Will definitely post photos and other tidbits after the shows!

“Sometimes I feel like I am drunk behind the wheel, the wheel of possibility – however it may roll. Give it a spin, see if you can somehow factor in… You know there’s always more than one way to say exactly what you mean to say.”

Moving into some territory we haven’t yet covered here on the Turtle’s music blog…

My favorite nineties bands are the ones that are still going, still kicking. I’ve found Gin Blossoms radio on Last.FM radio to be a great overarching station to tune in to all my favorite nineties bands (e.g. The Goo Goo Dolls, Tonic, The Wallflowers, Fastball, Sugar Ray, The Barenaked Ladies, etc.)! Check it out sometime, yo.

And why are Gin Blossoms so named?

According to Wikipedia, Gin Blossoms “took their name from a photo of W.C. Fields, which bore the caption, ‘W.C. Fields with gin blossoms,’ referring to what appeared to be the actor’s gin-ravaged nose, but was actually a skin condition known as rosacea.” Ha ha ha. Quite a story for a band naming! The stories aren’t always so entertaining. But those that are, they’re usually delectable!

Okay then, that was one jam-packed, if a bit jumpy, post! Until next time, folks!

Now if I could just get the crazy-cool word, “sriracha,” out of my head!

I have decided I dig it, after all.with the exception of “Unrequited Love,” which is just too whiny for my tastes. The way she lingers on words and draws out the spaces leading in to the chorus, and, well, let’s be honest, the lackluster quality of the subject of unrequited love, which has been done to death in music for centuries!…  it just doesn’t cut it for me. It makes for impossible listening. As for my review of the album in general? Superb addition to Ms. Zachrisson’s growing oeuvre.

Mellow

February 10, 2011

CAKE’s new album, Showroom of Compassion, is so mellow and easy to listen to, compared to some of their earlier work. I’m fast falling in love!

Similarly, Editors and The Cinematics constantly surprise me with the way they make kind of hard-core rock seem mellow and comforting. Favorite Editors tune at the current moment? Definitely “Weight of the World”: “Every little piece of your life…will mean something to someone.” It’s so reassuring! Not sure about my favorite tune from The Cinematics, at present.

Also mellower than expected? Evols and Local Natives.  Good stuff.

 

P.S. : I like that, thanks to Last.fm software, I can “love” “Teenage Pregnancy.” Yea-ya!