Track of the Week: "Mason Jars" by Smallpools

Hey,

I wasn't totally sold on iTunes Radio at first, thinking it was just going to be a stupid Pandora Radio knockoff. Surprisingly, it's grown on me. The first few tracks it gave me on my Alternative Radio station were mainstream tunes disguised as alternative ones, but after I told it stop playing those, I received some beautiful surprises.

That is where this week's Track of the Week comes from. It is "Mason Jars" by Smallpools, a relatively new four-piece American band. Chances are, you've heard their song "Dreaming" on AltNation, but even if, like me, you weren't a fan of that one. You've got to try this one.

It has a Foster the People meets Lorde meets Youngblood Hawke vibe to it, if you can imagine that. The bass line is the underlying force propelling the song and the guitars flesh out the overall sound. The soft country twanging in the background make it a bit of a genre bouncing, while the slightly distorted vocals keep it in the alternative realm. I love how, right before the chorus, the lead singer pushes his vocals ever-so slightly above his range while managing to stay in complete control of them.
I promise you'll have this song on repeat for the next week, at least. Enjoy, my friends. :)

Until then,
Bella

What Is Bella Listening To...Minus the Bear Edition

Hey,

Sorry this post is late but I had an event this morning that required me to get up super early, so I went to bed quite a bit sooner than I normally do. Consequently, this post is late. But, it’s here! J

Like I promised, it’s another installment of “What is Bella Listening To,” where I show you what I have been listening to for the past week or so.

So…here we go!

5. “Sleeping Ute” By Grizzly Bear- The song leads in with a single guitar and gradually adds in all the other instruments, including a prized tambourine. Just like the cowbell, songs just need more tambourine. All the instruments kind of clash in a beautiful way; if any other band did this, I’d call it cacophony, but with Grizzly Bear it’s sheer genius.

4. “It’s Real” by Real Estate-This track has a lovely flowing feeling to it, swaying rather than jumping.  Ridiculously catchy, the oh’s  surrounding the chorus will be stuck in your head for the next four days, at least. Though it is repetitive, it never gets boring, a sign of a truly well-composed song.

3. “The Fix” by The Minus The Bear- I included this song not only because it’s an amazing song, where the momentum really climaxes just before the first chorus and then keeps fighting right until the end, but also for the memories associated with it. I went to the MTB concert last week and some hipster fist-pumped through the entirety of this track and to be honest, it’s a fantastic song for that, especially those quick hits in the chorus. 10 Bears out of 10.

2. “Excuses” by Minus the Bear- I did promise a lot of MTB last week, didn’t I? J I love this song because it shows a slightly softer side of the band who are known for loud, powerful guitar riffs and crazy synthesizer parts. It glides, soaring through the stunning melody, but is powered by Erin’s drumming ability and Jake’s convincing vocals, highlighted by the raw, emotional lyrics, a rare sight for the band. I think this might be my favorite MTB track.

1. “The Listing” by Minus the Bear (Live at Daryl’s House, episode 62)- Yes, I realize this is another MTB song but I feel little shame in including it here as it’s live, it’s with Daryl Hall (yep, from Hall and Oates), and the setup is beyond incredible. I love the arrangement, all the vocals float together, creating a gorgeous harmony, and the guitars work really well with each other. Jake, the bearded guy, is one of my favorite lead singers, and together with Daryl, it’s like a power duo, really. Both guys really go for those big notes, and they never fall short.

If you haven’t seen Daryl’s web series before, you should check it out. He’s collaborated with other groups/artists like Patrick Stump and Jason Mraz.

That’s it for this week. I hope you enjoyed my MTB influenced music choices this week. Next week, I have something special planned so check back next Friday. Be sure to comment, tweet me, or e-mail me with your thoughts.

Until then,

Bella

No Blog Post Tonight

Hey,

So, tonight I'm going to see Minus the Bear in concert. Therefore, my blog post/review will be up tomorrow, Saturday, March 1st.

Here's to hoping we don't have another Panic! At the Disco experience, I guess. :)

Until then,
Bella

Fall Out Boy is Back And Other Songs I'm In Love With

Hey,

So, last week, I wrapped up the series on lyrics. And this week, we’re back to actual music reviews! I know that other series deviated from my typical format, but it’s an issue I’m, obviously, very passionate about.

Without further ado, another installment of “What is Bella Listening To…”

 

My Songs Know What You Did In The Dark by Fall Out Boy- Who else is super excited about these guys getting back together????!!! I guess you can tell I am. J I seriously fell in love with Patrick Stump when I saw him open for Panic! At the Disco last year and I appreciate Fall Out Boy’s stuff a little differently now; I’ve always kind of liked their stuff, but not I really love it. J Anyways, this song starts out with dark distortion, choir-esque vocalizations, and then the down-and-dirty guitar riffs breakthrough and then, it’s Patrick time to shine. (Pardon the cliché) And that chorus!!! Holy crap. It’s just all like KABOOOMMM! That’s the best way I can explain it. It’s wild, yet controlled and just a beautiful explosion of the awesomeness that is Fall Out Boy.

About to Die by Dirty Projectors- I love the strange, African sounding drumbeats at the beginning, delicate plucking noises, and the way everything just trickles in. Some songs start off strong and others just kind of gradually grow. This song hits its peak around 1:18 or so, right before the chorus. Before and after, this song is fantastic.

All These Girls by Atlas Genius- Atlas Genius is one of my favorite discoveries of 2012. They’re Australian, which is totally awesome (I am such a sucker for accents, especially Australian ones J ). This song, like their other tracks, is a mixture of pop meets rock meets alt; and it is totally brilliant. The changing time signatures, varying rhythms, and undulating vocals make for a sweet find. Check them out. J

Running For Cover by Ivan & Aloysha- I like the kind of swaying beat, stripped instrumentation, and the intricately layered vocals. It has kind of a soundtrack feeling, like something that could play in an episode of White Collar or something. That’s cool, in my book. This song is absolutely gorgeous.

I Wanna Be Free by Panic At the Disco- a big throwback, considering this song came out several years ago as a bonus track off their album Vices and Virtues. Nonetheless, the song is easily one of Panic’s best efforts. I love Brendon’s glorious, soaring vocals, Spencer’s steady drumming that, at times, reminds me of Darren King from MuteMath. Love the swift change that occurs around 2:14-ish. I love how they are unafraid to throw something in there like that and it always works. An oldie, but a goodie. J

 

Well, that’s it for this week. Please comment and go to my Contact tab and send me a message or tweet at me. I love to hear from you all!

Until then,

Bella

 

Lyrics Part Three

Hey,

So, in this week's installment of my series on lyrics, I will be breaking down repetition. Repetition is a commonly used literary technique and a fantastic one, at that. However, like everything else in music/literature, a little goes a long ways. Unfortunately for us, most mainstream musicians have yet discover this. On the other hand, alternative musicians utilize repetition as a tool, wielding it to accomplish something, whereas mainstream musicians' songs are 80% repetition.

Here are some examples:

First, let's compare "Scream and Shout" by Will.I.AM ft. Britney Spears with one of Noel Gallgher's High Flying Birds' songs.

"When you hear this in the club
You gotta turn the sh*t up
You gotta turn the sh*t up
You gotta turn the sh*t up
When we up in the club
All eyes on us
All eyes on us
All eyes on us
See the boys in the club
They watching us
They watching us
They watching us
Everybody in the club
All eyes on us
All eyes on us
All eyes on us

I wanna scream and shout, and let it all out
And scream and shout, and let it out
We saying, oh wee oh wee oh wee oh wee oh
We saying, oh wee oh wee oh wee oh wee oh
I wanna scream and shout, and let it all out
And scream and shout, and let it out
We saying, oh wee oh wee oh wee oh wee oh

You are now rocking with Will.i.am and Britney, b-tch

[beat break]

Oh yeah....
Bring the action

Rock and roll, everybody let's lose control
All the bottom we let it go
Going fast, we aint going slow, no
Hear the beat, now let's hit the floor
Drink it up, and then drink some more
Light it up, and let's let it blow
Hey yo, rock it out, rock it now
If you know what we talking 'bout
Turn it up, and burn down the house, hooouse
Hey yo, turn it up, and don't turn it down
Here we go, we gon shake the ground
Cause everywhere that we go we BRING THE ACTION."

I didn't finish copying the rest of the lyrics because they just repeat that turning the music up an oh-we-oh crap (what even is "oh we oh?). Wanna guess how many writers came up with that? If you guessed three, then you win 100 blog points (which are totally useless). Yes, three writers actually wrote this. This song pretty much 100% repetition. They rarely, until they get to that dumb verse about drinking up, say any idea just once. How many times is it necessary to remind the listener that your music must be turned up?

Okay, so that sucks. Now, let's look at a good example of repetition with (Stranded On) the Wrong Beach" by Noel Gallgher's High Flying Birds {one of my favorite bands}.

"Falling, I see you on the way down
I'll meet you on the rebound somewhere in between
Calling out across the airwaves
Faces that you can't say are calling out for me

And oh me, oh my, say so long baby, bye-bye
Pour me one for the road, it's a long journey baby
Where it's gonna take me just depends on the weight of my load
Oh no, depends on the weight of my load

So long, I'll see you in the next one
Cause everybody's been and gone, there's no one here but me

And oh me, oh my, say so long baby, bye-bye
Pour me one for the road, it's a long journey baby
Where it's gonna take me just depends on the weight of my load
Oh no, depends on the weight of my load

And oh me, oh my, say so long baby, bye-bye
Pour me one for the road, it's a long journey baby
Where it's gonna take me just depends on the weight of my load
Oh no, depends on the weight of my load
Oh no, depends on the weight of my load
Oh no, depends on the weight of my load

Dry land sinking in the quicksand
Stranded on the wrong beach, come and rescue me."

Here, the repetition accomplishes something. It is not mindless, like Will.I.Am's song. In that other song, the repetition is filler. It feels like the three writers ran out of material and just decided to repeat everything they had already written. In Noel's song, in which he is the only writer, the more he repeats the "....depends on the weight of my load" you can feel the load getting heavier, referencing a long journey that he is about to undertake, whilst carrying something. Good use. :)

Finally, let's look at another use of poor repetition in One Direction's "Rock Me," a silly stab at sexual lyrics.

"Do you remember summer ‘09
Wanna go back there every night
Just can't lie it was the best time of my life

Lying on the beach as the sun blew out
Playing this guitar by the fire too loud
Oh my my they could never shut us down
I used to think that I was better alone
Why did I ever want to let you go
Under the moonlight as we stared at the sea
The words you whispered I will always believe

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah

Yeah we were together summer ‘09
Wanna roll back like press and rewind
You were mine and we never said goodbye i-i-i
I used to think that I was better alone

Why did I ever want to let you go?
Under the moonlight as we stared to the sea
The words you whispered I will always believe

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah

R-O-C-K me again
R-O-C-K me again
R-O-C-K me again yeah
I want you to
R-O-C-K me again
R-O-C-K me again
R-O-C-K me again yeah

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah."
Let's play the "guess the number of songwriters game." Ready? 5 writers, yet none of the actual group members. Now, I will admit I see what they did here. :) "Rock me" obviously is referring to sex. I'm not dumb and the repetition is like a rocking motion, happening over and over. However, it's overkill here. You really can have too much of a good thing. They say the phrase "rock me" 23 times. Yeesh. Too much repetition. Cut out a few of  them and take out that awful auto-tune and it could be a half decent song. (I said half!)

Next week, I'll wrap up the lyrics series with a topic TBD. Then, I'll get back to highlighting new music and artists.
Until then,
Bella

Lyrics Part Deux

Hey,
Welcome back to second installment of the new series I'm starting on lyrics! Last week, I compared Mutemath and Katy Perry and the depth of their lyrics and this week, I am going to explore the songwriting phenomenon of good songwriting versus good line writing.

Now, what exactly do I mean by that?

In essence, some songs are well written while others have one stand-out line with a bunch of meaningless lines. I do not, by any means, expect all artists to make every single line of every single song the most amazing things ever. I'm being realistic.

Do you remember a couple of years ago when "Airplanes" by B.O.B ft. Hayley Williams came out? Every single thirteen year old drama queen and her best friend would change their facebook status to "Can we pretend that airplanes in the night sky/are like shooting stars/I could really use a wish right now." Yes, I admit that is a pretty creative line; I'm impressed. However, the rest of the song is just about B.O.B whining about trying to be discovered and gain notoriety and blah-blah-blah. It's crap. Especially compared to that one line.

That is a prime example of good line writing.

Next, let's look at an example of good songwriting, "But It's Better If You Do" By Panic! At The Disco. This band is known partially for the fact that all of their songs are freaking amazing and partially because their lyrics kick some major butt. Ryan Ross, who wrote this song and eventually left the band, is a relative lyric genius, maybe one of the great songwriters of the 2000's. Still, Brendon Urie filled his role after he left and is doing a brilliant job. I digress.

"Now I'm of consenting age to be forgetting you in a cabaret
Somewhere downtown where a burlesque queen may even ask my name
As she sheds her skin on stage
I'm seated and sweating to a dance song on the club's P.A.
The strip joint veteran sits two away
Smirking between dignified sips of his dignified peach and lime daiquiri

And isn't this exactly where you'd like me
I'm exactly where you'd like me, you know
Praying for love in a lap dance and paying in naivety
Oh, and isn't this exactly where you'd like me
I'm exactly where you'd like me, you know
Praying for love in a lap dance and paying in naivety

Oh, but I'm afraid that I
Well, I may of faked it
And I wouldn't be caught dead in this place."

Well, it may not take a genius to figure out that this song is about a guy trying to forget about a girl and looks for pleasure in a strip club. It's one of Panic's more risque songs and I was hesitant to use it on here, but it's one of my favorite songs in a lyrical sense. In this song, all of the lines pack a punch of some kind. It's narrative, telling a story of a guy's experience, not just physically and emotionally and mentally. All of lines contribute to the overall tone--regret, remorse, and contemplation. Where B.O.B's track switches between Hayley's wishful tone and his bragging, swaggering, tone, it just does not flow. It's one great line smushed in between the other bad lines. With Panic's, it's a bunch of fantastic lines all put together, so that the song flows, without any unnecessary dissonance. Dissonance is a strong literary device, but B.O.B's song just contradicts.

Another example of fine line-writing is the chorus of Britney Spears' "Gasoline."
"Spark and it's like gasoline
I start burning like a machine
My heart only runs on supreme
So hot, give me your gasoline"

 Terribly sexual in nature, it's honestly just another example of someone being crafty with euphemisms. Anyways, I still see it as "good" because it's rather creative. Not to say if Panic! came out with this song I'd call it good; I'd be pretty disappointed because I know they're better that that. But, this is Britney, the woman who sings about how toxic some dude is and how she's in love with criminals (my butt, you are). So, considering this is Britney (and I don't actually think she wrote this :D), it's passable.
So, this guy is making her cray-cray and she wants his "gasoline." Hmm, whatever could that be? :)

Well, that wraps it up for this week. Next week, I will talk about the use of repetition in lyrics and try to pick some less disturbing songs.

Until then,
Bella

Lyrics Part One

Hey,

Sorry for the lack of a post last night, but I had to take the SAT at a school this morning that's about fifty minutes away from here, so I had to go to bed super early to get there on time.

Anyways, this week, I've decided to start a little series on lyrics. Love 'em, hate 'em, disregard 'em or appreciate 'em, they're a major component of music. Sometimes the lyrics are funny, sometimes they evoke an emotional response, sometimes they are sheer fluff and other times, the lyrics are the key component of a song.

This week I want to focus on the actual writers of these songs.

Songs are written by teams of people, as opposed to artists thinking and creating for themselves. Granted, some people are not able to create beautiful lyrics and melodies; some have talents in one area and not both. Fine, I understand that. But, explain why it took 6 writers and 4 producers to come up with this crap. I'm perfectly fine with bands/artists reaching out for a little help, but why does it all sound repetitious and pathetic?

Take, Katy Perry, for example. Her album "Teenage Dream" had nine producers and the title track had five writers. Contrasting directly with one of my favorite bands, MuteMath, and their newest album "Odd Soul" which had three producers (the band members) and their title track had three writers (the three members of the band). Both artists' title tracks are similar, in that they are narrative in style (story-telling) but that is the only similarity they share.

 Let's directly compare lyrics.

Teenage Dream
"You think I'm pretty without any make-up on
You think I'm funny when I tell the punch line wrong
I know you get me, so I let my walls come down, down
Before you met me, I was a wreck
But things were kinda heavy, you brought me to life
Now every February you'll be my valentine, valentine
Let's go all the way tonight
No regrets, just love
We can dance until we die
You and I, we'll be young forever
You make me feel like I'm living a teenage dream
The way you turn me on, I can't sleep
Let's runaway and don't ever look back
Don't ever look back
My heart stops when you look at me
Just one touch, now baby I believe
This is real, so take a chance
And don't ever look back, don't ever look back
We drove to Cali and got drunk on the beach
Got a motel and built a fort  out of sheets
I finally found you, my missing puzzle piece
I'm complete..."

Odd Soul
"I was once a son
Now I'm on my own
Wade through every rut
And I've got myself to show

And the trials and tribulations
Seem to always track me down
I'll ride off into the sunset
And try me another town

I'm an odd soul, oh yes, an odd soul
Walking side roads
'Cause that's the only way I know
I'm an odd soul, oh yes, an odd soul

Watch for who you know
Careful what you try
Everywhere I go
I still got myself to fight

And one day my child
Ever wonders what is wrong
I won't bat an eye when
I tell her, "Daddy don't belong"

I'm an odd soul, oh yes, an odd soul
Walking side roads
'Cause that's the only way I know
I'm an odd soul, oh yes, an odd soul

One of God's own
Just trying to find a place called home."

See the differences? I know I do. Katy and her gazillion other writers detail a stereotypical fling that escalates to much more, they'll be together forever, he makes her feel younger (she's only in her twenties, what the heck is wrong with her?) and he completes her. No set rhyme scheme, no real diction I mean, yes, they chose words, but obviously not strategically, and there is too much filler repetition. (I didn't copy all the lyrics because it essentially repeats all over again). In Mutemath's song, they present a personal anecdote of trying to find themselves and their purposes on Earth. Certainly, it's quite a bit deeper than "going all the way tonight" like Katy. They actually utilize some rhymes (down/town, etc) and I absolutely adore the phrase "wade through every rut," as it shows they know how to use dark diction and careful syntax to get their ideas across.

In conclusion, though both songs are narrative, in essence, one clearly outshines the other. MM tells a deep story of looking for meaning, both relating to God and life in general, while Katy discusses a fling with a guy who makes her feel like an irresponsible teenager. Overall, it is easy to see the discrepancies between the two.

Next week, for the second part of this series, I will break down the notion of good songwriting versus good "line-writing."

Until then,
Bella

A Little Alternative Christmas

Hey,

As I’m sure you guys are aware, we have four days until Christmas. At this point, I’m sure we’re all pretty tired of hearing “Jingle Bells” and that screechy Mariah Carey song every radio station seems to over-play. Since I strive to be your musical savior, this week I am highlighting five good renditions of these Christmas songs performed by alternative/indie acts.

Here we go…

5. Auld Lange Syne by Andrew Bird- Granted, this song relates more to New Year, but I’m including it because it’s in the same season and a solid song. Andrew brings a barebones feel to this typically flowing, heavily orchestrated song. I love that violin after the introduction and the light-hearted feel his vocals give the song.

4. Little Saint Nick by She and Him- It wouldn’t really be a Christmas post if I did not highlight these indie darlings who released a fantastic Christmas album last year. Typically, this song gives me a headache, partially due to the fact that this song has absolutely nothing to do with the real meaning of Christmas and partially because the original arrangement is obnoxious and tries too hard to be cute. She and Him specialize in cute, so it works. Zooey’s vocals complement the twinkling strings section in the background and the harmonies are perfect.

3. O Come O Come Emanuel by Surfjan Stevens- Absolutely beautiful interpretation. Between the woodwinds, varying instrumentation, and his gravelly yet smooth vocals, I’m sold. He took a slightly boring Christmas carol and brought some depth and splendor back to it. Amazing.

2. Tonight It’s Christmas by Hey Ocean!- One of the few Christmas songs I can listen to all year. I love the strong, alternating vocals, different percussion lines, and surprising horn lines. Take out the Christmas lyrics and it sounds like your everyday Alternative hit. Love it.

1. Sleigh Ride by fun.- One of my favorite indie-now-gone-mainstream-bands. I hate to be a jerk, but I like to remind everyone when I bring fun. up that I knew “We Are Young” a year before it got big. Alright, hipster antics out of the way, this is probably the best cover I’ve ever heard of this lackluster Christmas song. It opens with a gentle, swaying orchestra section, in a typical fun. fashion, adds in distinctive percussion, sound effects, and eventually adds in Nate’s distinctive voice. This song is always stuck in my head, which means if you listen to it, it will be too. J

Next week, the 28^th, will be the last Friday of 2012, which means it’s time to do a review of my favorite songs from 2012. I could pick the worst songs of the year, but my goal with this blog is to bring some positivity to the music industry, not add more negativity. Yes, I do like to highlight the flaws in the music industry, but my job is not to solely critique. So, that’s why I’m going to do a “best of” list, rather than a “worst of.” If you’re looking for a worst of 2012, click here to listen to one of my favorite guys on YouTube.

Have a Merry Christmas and Happy Holidays,

Bella

Beecher's Fault Continues to Amaze Me

Hey,

A few months ago, I highlighted a band by the name of Beecher’s Fault. These amazing guys, from Astoria, New York, just released a new EP and it’s so amazing I just had to review it.



1. Misbehavior- A great song to start the album. I love how instruments all trickle in, climaxing with the addition of the lead singer’s distinctive vocals. The keyboard line really stands out, as well as the tambourine; tambourines are by far the most underappreciated instrument out there. J The percussion has an incredible effect, allowing the song to nicely flow.

2. In Waves- Love the drum-only introduction and how the instruments come in “in waves.” Very creative. The song has a very 1980’s flavor, which automatically gets my approval. Still, the track remains totally modern. The two styles could have clashed, but they don’t, which goes to show that Beecher’s Fault is here to stay.


3. Say Something- My personal favorite track. I love the opening line of “quit scaring my friends.” It instantly piques my interest. The instrumentation is simple—yet complex—permitting the vocals to be the main focus. The harmonies are stunning and the melody will be stuck in your head for the next week, at least. J


4. Wall Street- Maybe this one is my favorite track. I can’t decide; they’re all great. This song is, indeed, a “hell of a time.” I particularly like the minor tone, truthful lyrics, steady percussion in the background, and the guitar solo around 2:12.

5. Photos- A solid final track. The song boasts a bittersweet melody, a tambourine (you know my thoughts on tambourines) and once again, showcases their amazing drummer. I love the various instrumentation and the  lead singer’s falsetto.


Overall, Beecher’s Fault is a band where all the members are remarkable musicians, excellent songwriters, and beautiful performers. This EP sets that in stone. I wish these guys the best of luck. Tell all your friends about these guys, buy their album (I promise you’ll have these songs stuck in your head), and support them; they deserve it.

 
If you want to connect with the band, their music is available on iTunes, Spotify, and their website. You can find them on Twitter, Facebook, MySpace, and their official website.

Here are the links:
Twitter: http://twitter.com/beechers_fault

Website: http://beechersfault.com/

Facebook: https://www.facebook.com/BeechersFault

MySpace: http://www.myspace.com/beechersfault

YouTube: http://www.youtube.com/beechersfault

 

Until next week,

Bella