PJ Harvey - "Rid of Me" (1993)
Producer Steve Albini had just finished working on this album when he was asked to work on Nirvana's In Utero.
This is a raw sound. Three musicians, two doing some vocal work, but in one case it can not really be called singing. The drums, bass and guitar are menacing, no other word for it. The instruments are there, in the darkness, waiting, willing to hold off until you are too weak to run, and then they are going to hurt you. The lead vocal is angry, she has been wronged and so the idea that her partner should be punished is strong. She threatens to force the perpetrator to do things they don't want to do and find distasteful until they admit that it would have been better if they never met. This is the ego, bruised and demanding. But it is the background voice, the singer's angriest id that screams and rants, wanting and hating all together. This is a really powerful song with a really simple message: Do not. Make PJ Harvey. Mad.
Showing posts with label indie rock. Show all posts
Showing posts with label indie rock. Show all posts
Monday, July 9, 2012
Sunday, June 24, 2012
"Chicago"
Sufjan Stevens "Chicago" (2005)
The album cover originally contained a drawing of Superman, which in later versions was covered by a sticker of balloons.
So much music has been tied up with The Second City. It's got a classic song from the 20s that has been recorded hundreds of times, most notably by Frank Sinatra. It's also got a song from the early 60s that Sinatra sang that virtually drove the early song out of people's heads. It's got its own musical, which opened in 1975. It's got a Progressive, Jazz Fusion Rock/Adult Contemporary band that named itself after the transit authority, then changed to just be named after the whole city. Graham Nash wrote a song in 1970 as a plea to the rest of his band mates to come and protest on behalf of the Chicago 8. There are also lesser known songs in the electronica, pop folk confessional, metalcore, and Tom Waits genres. So how does an indie singer-songwriter from Detroit come to write one of the most critically regarded songs about the city?
In 2004 Sufjan Stevens expressed an interest in writing an album for each of the fifty states of the US. The first he wrote back in 2003 about his home state of Michigan. When he eventually released Illinois, often called by the name on the cover: Sufjan Stevens Invites You To: Come On Feel the Illinoise in 2005 it was a lo-fi complexly orchestrated extraveganza. The titles of the songs were sometimes longer than the title of the album, he used over a dozen musicians, not including the choir, and played close to two dozen instruments himself. In more recent years, as he has released other non state related albums, there have been hints about others, but also statements that it was all a promotional gimmick.
The song is about growing up in general, and having one defining moment that encapsulates that growth in maturity. The vibraphone that starts the song is such an unheard song in music anymore that I love hearing it. the layers of sound just sit on top off each other perfectly, the strings in particular I really enjoy. There is a anoying little sound in the chorus that reminds me a little too much of a clock alarm, but overall I can't dislike the song over it. I like the trumpet, particularly because it is in the moment that the trumpet comes in that you realize that it's not a super hi-fi slick production with auto tune correction everywhere. It's musicians playing a song they love and with people they respect and appreciate. The layers of sound, and in particular the backing choir remind me of a band that does not have a place in the 1001 Songs You Must Hear Before You Die book: The Polyphonic Spree.
The album cover originally contained a drawing of Superman, which in later versions was covered by a sticker of balloons.
So much music has been tied up with The Second City. It's got a classic song from the 20s that has been recorded hundreds of times, most notably by Frank Sinatra. It's also got a song from the early 60s that Sinatra sang that virtually drove the early song out of people's heads. It's got its own musical, which opened in 1975. It's got a Progressive, Jazz Fusion Rock/Adult Contemporary band that named itself after the transit authority, then changed to just be named after the whole city. Graham Nash wrote a song in 1970 as a plea to the rest of his band mates to come and protest on behalf of the Chicago 8. There are also lesser known songs in the electronica, pop folk confessional, metalcore, and Tom Waits genres. So how does an indie singer-songwriter from Detroit come to write one of the most critically regarded songs about the city?
In 2004 Sufjan Stevens expressed an interest in writing an album for each of the fifty states of the US. The first he wrote back in 2003 about his home state of Michigan. When he eventually released Illinois, often called by the name on the cover: Sufjan Stevens Invites You To: Come On Feel the Illinoise in 2005 it was a lo-fi complexly orchestrated extraveganza. The titles of the songs were sometimes longer than the title of the album, he used over a dozen musicians, not including the choir, and played close to two dozen instruments himself. In more recent years, as he has released other non state related albums, there have been hints about others, but also statements that it was all a promotional gimmick.
The song is about growing up in general, and having one defining moment that encapsulates that growth in maturity. The vibraphone that starts the song is such an unheard song in music anymore that I love hearing it. the layers of sound just sit on top off each other perfectly, the strings in particular I really enjoy. There is a anoying little sound in the chorus that reminds me a little too much of a clock alarm, but overall I can't dislike the song over it. I like the trumpet, particularly because it is in the moment that the trumpet comes in that you realize that it's not a super hi-fi slick production with auto tune correction everywhere. It's musicians playing a song they love and with people they respect and appreciate. The layers of sound, and in particular the backing choir remind me of a band that does not have a place in the 1001 Songs You Must Hear Before You Die book: The Polyphonic Spree.
Monday, February 20, 2012
"Float On"
Modest Mouse - "Float On" (2004)
Just an optimistic pop song from an unlikely source.
Modest Mouse were a small indie band known for "moody" and "edgy" lyrics with shouted vocals. Between their major label debut The Moon & Antarctica and the release of this single, four years of trouble had followed songwriter and frontman Isaac Brock around, including drug abuse, time in jail, a broken jaw, and rape allegations. Contrary to fan and critical expectations, the first single from Good News for People Who Love was this infectious jangly guitar track. No matter what happens to the singer, it's all going to be okay. Sure, the vocals are still shouted (sometimes) but there's also some very sweet harmony sections.
The use of discordant guitar when something bad is mentioned, (this practice occurs in the second verse) which then fades away as the band confirms that everything is going to float on binds the music to the lyrics in a really fun great way. Like a movie soundtrack, things get a little tense in the background music when the lead sees a shadow under their door, but once we see it is their best friend the music comes back to major chords and pushes onward. For those wondering, the opening hollow sounding drum intro is not from "In the Air Tonight" by Phil Collins. But I thought it was, so I checked. It's close, but not the same rhythm, I would swear it's the same sound though, either put through the same effects filter or the same setting on the same electric drum set.
Just an optimistic pop song from an unlikely source.
Modest Mouse were a small indie band known for "moody" and "edgy" lyrics with shouted vocals. Between their major label debut The Moon & Antarctica and the release of this single, four years of trouble had followed songwriter and frontman Isaac Brock around, including drug abuse, time in jail, a broken jaw, and rape allegations. Contrary to fan and critical expectations, the first single from Good News for People Who Love was this infectious jangly guitar track. No matter what happens to the singer, it's all going to be okay. Sure, the vocals are still shouted (sometimes) but there's also some very sweet harmony sections.
The use of discordant guitar when something bad is mentioned, (this practice occurs in the second verse) which then fades away as the band confirms that everything is going to float on binds the music to the lyrics in a really fun great way. Like a movie soundtrack, things get a little tense in the background music when the lead sees a shadow under their door, but once we see it is their best friend the music comes back to major chords and pushes onward. For those wondering, the opening hollow sounding drum intro is not from "In the Air Tonight" by Phil Collins. But I thought it was, so I checked. It's close, but not the same rhythm, I would swear it's the same sound though, either put through the same effects filter or the same setting on the same electric drum set.
Monday, January 30, 2012
"I Bet You Look Good on the Dancefloor"
Arctic Monkeys - I Bet You Look Good on the Dancefloor (2005)
"...I'm me and nobody else, whatever people say I am, that's what I'm not, because they don't know a bloody thing about me..." Sillitoe, Alan. Saturday Night, and Sunday Morning. United Kingdom, W. H. Allen Ltd.,1958
Fast and angry sounding, the song is actually kind of a modern love song. They vocals sound angry but he's actually wooing a woman without actually trying to sound like he's wooing a woman. If you see what I'm getting at. Maybe it would help if you knew that lead singer, guitarist, and songwriter Alex Turner was 19 when the song came out. He mentions the year1984 and the Duran Duran song Rio, which are both from before he was before. Before the whole band was born. Of course he also references Romeo and Juliet, which is before all of us were born. Musically I love the speed of the drums, the infrequent yelled harmony and the intensity of everything. They're not virtuosos on this debut album Whatever People Say I Am, That's What I'm Not, though there is a good guitar solo at the beginning; all four members of the band did not play instruments when they decided to start a band. Two years after that they had there first full length album. After the guitar solo it's very basic playing, but they play with such enthusiasm and the lyrics are smart, so it's hard to to give them a chance.
"...I'm me and nobody else, whatever people say I am, that's what I'm not, because they don't know a bloody thing about me..." Sillitoe, Alan. Saturday Night, and Sunday Morning. United Kingdom, W. H. Allen Ltd.,1958
Fast and angry sounding, the song is actually kind of a modern love song. They vocals sound angry but he's actually wooing a woman without actually trying to sound like he's wooing a woman. If you see what I'm getting at. Maybe it would help if you knew that lead singer, guitarist, and songwriter Alex Turner was 19 when the song came out. He mentions the year1984 and the Duran Duran song Rio, which are both from before he was before. Before the whole band was born. Of course he also references Romeo and Juliet, which is before all of us were born. Musically I love the speed of the drums, the infrequent yelled harmony and the intensity of everything. They're not virtuosos on this debut album Whatever People Say I Am, That's What I'm Not, though there is a good guitar solo at the beginning; all four members of the band did not play instruments when they decided to start a band. Two years after that they had there first full length album. After the guitar solo it's very basic playing, but they play with such enthusiasm and the lyrics are smart, so it's hard to to give them a chance.
Wednesday, January 25, 2012
"Take Me Out"
Franz Ferdinand - Take Me Out (2004)
Yep, named after the Archduke of Austria whose assassination was the catalyst for the first World War
As I am always a sucker for false endings, this song is great. It comes to an end early on. Then kicks off again, but into what is essentially an entirely new song! The first song is less than a minute long. Sir Paul McCartney when he was Wings would occasionally do a song with multiple parts that were that short, but very few other bands would take a great concept for a song and make it a minute long piece of a full song rather than expanding it out into a track itself. From 0:55 until 1:04 they are vamping in between songs. Then from 1:04 until 1:23 the band is vamping on the new song. This is classic thing to do during a live performance for any band segueing from one song to another. It lets everybody check to make sure they're in tune, and ready to go. So to me it gives the overall feel that we are listening to Franz Ferdinand live.
The lyrics are about a doomed relationship framed as a sniper battle. Love doesn't get deadlier: /And if you leave here/You leave me broken, shattered I lie/. But regardless of the lyrics, this song is about getting people up and dancing.It works.
Yep, named after the Archduke of Austria whose assassination was the catalyst for the first World War
As I am always a sucker for false endings, this song is great. It comes to an end early on. Then kicks off again, but into what is essentially an entirely new song! The first song is less than a minute long. Sir Paul McCartney when he was Wings would occasionally do a song with multiple parts that were that short, but very few other bands would take a great concept for a song and make it a minute long piece of a full song rather than expanding it out into a track itself. From 0:55 until 1:04 they are vamping in between songs. Then from 1:04 until 1:23 the band is vamping on the new song. This is classic thing to do during a live performance for any band segueing from one song to another. It lets everybody check to make sure they're in tune, and ready to go. So to me it gives the overall feel that we are listening to Franz Ferdinand live.
The lyrics are about a doomed relationship framed as a sniper battle. Love doesn't get deadlier: /And if you leave here/You leave me broken, shattered I lie/. But regardless of the lyrics, this song is about getting people up and dancing.It works.
Saturday, January 21, 2012
"Little Bear"
Guillemots - Little Bear (2006)
"...a very brave way to open an album..." - Sir Paul McCartney
I can't find an embeddable link to the full album version off this song. Youtube, dailymotion and others do not have the full song anywhere, embeddable or not. This link to tudou.com is the full version.
The first track off of their debut album Through the Windowpane, this UK based indie band had already released a few EPs and had a tour under their belts as the supporting act for Rufus Wainwright. You don't actually hear any of the band until over ninety seconds into this track. A beautiful lush string section starts the piece off, first with almost horror or thriller-esque high pitched screeching violins, then mellowing out into more standard bowed violins and violas. There are pizzicato cello and base notes, possibly some off which are played by double bass playing band member Aristazbal Hawkes but there is no way to know. Fyfe Dangerfield begins playing his oddly occasionally discordant piano and singing to his "little bear". The final fifty five seconds or so is back to just piano and string accompaniment. The very end has the orchestra collectively "powering down" using a glissando technique downward. You can't really say for sure if any of the other band members other than Dangerfield are on this track. Live, guitarist MC Lord Magrão plays theremin, and drummer Greig Stewart plays wind chimes and cymbal.
Lyrically the song is painfully about loss, but loss of love, or of self, or of mind? Is the singer talking to a lover or child with a pet name? Possibly he could be speaking to the beloved children's book character? I could easily hear the song as a grown up, talking to the inner child in his mind using the name his mother called him. Whatever way you interpret the song, it's not one you will easily forget.
"...a very brave way to open an album..." - Sir Paul McCartney
I can't find an embeddable link to the full album version off this song. Youtube, dailymotion and others do not have the full song anywhere, embeddable or not. This link to tudou.com is the full version.
The first track off of their debut album Through the Windowpane, this UK based indie band had already released a few EPs and had a tour under their belts as the supporting act for Rufus Wainwright. You don't actually hear any of the band until over ninety seconds into this track. A beautiful lush string section starts the piece off, first with almost horror or thriller-esque high pitched screeching violins, then mellowing out into more standard bowed violins and violas. There are pizzicato cello and base notes, possibly some off which are played by double bass playing band member Aristazbal Hawkes but there is no way to know. Fyfe Dangerfield begins playing his oddly occasionally discordant piano and singing to his "little bear". The final fifty five seconds or so is back to just piano and string accompaniment. The very end has the orchestra collectively "powering down" using a glissando technique downward. You can't really say for sure if any of the other band members other than Dangerfield are on this track. Live, guitarist MC Lord Magrão plays theremin, and drummer Greig Stewart plays wind chimes and cymbal.
Lyrically the song is painfully about loss, but loss of love, or of self, or of mind? Is the singer talking to a lover or child with a pet name? Possibly he could be speaking to the beloved children's book character? I could easily hear the song as a grown up, talking to the inner child in his mind using the name his mother called him. Whatever way you interpret the song, it's not one you will easily forget.
Wednesday, December 21, 2011
"Sweet Disposition"
The Temper Trap - Sweet Disposition (2008)
Produced by the Jim Abbiss, who did Arctic Monkey's debut album, Kasabian's debut, Adele's debut, Bombay Bicycle Club's debut; and worked with Ladytron, KT Tunstall, and DJ Shadow. He sleeps on a pillow made of indie cred.
The guitar riff that runs through this whole piece starts us off. It's echo-y, giving the song a dreamy start, even though the riff itself is forward moving. This balance between floating and driving in the guitar riff is found in the whole song. The lyrics are sung in a high falsetto and really stretched out. The lyrics themselves are about love and dreams, so they add to the floating around side of the equation. The style of singing just adds; putting the vocals fully on the side of the dream. The drums are my favorite part of the song. They drive forward, yet the odd accent beats make you feel like stumbling; which actually propels you further in and faster to try to keep your feet under you. Covers of the song without drums, or with a simpler drum part just fall flat. The bass part is a rock. Slow moving low notes, which because everything else is moving so fast actually make it noticeable.
Overall it's a nice song, a late summer wistful tune combined with a start of the school year kick out the jams rocker. The band is Australian but are much bigger in the UK and Ireland. I saw them play Virgin Free Fest in 2010. The were one of the early acts on the side stage. Very energetic and hard to understand, but the drummer was a beast.
Produced by the Jim Abbiss, who did Arctic Monkey's debut album, Kasabian's debut, Adele's debut, Bombay Bicycle Club's debut; and worked with Ladytron, KT Tunstall, and DJ Shadow. He sleeps on a pillow made of indie cred.
The guitar riff that runs through this whole piece starts us off. It's echo-y, giving the song a dreamy start, even though the riff itself is forward moving. This balance between floating and driving in the guitar riff is found in the whole song. The lyrics are sung in a high falsetto and really stretched out. The lyrics themselves are about love and dreams, so they add to the floating around side of the equation. The style of singing just adds; putting the vocals fully on the side of the dream. The drums are my favorite part of the song. They drive forward, yet the odd accent beats make you feel like stumbling; which actually propels you further in and faster to try to keep your feet under you. Covers of the song without drums, or with a simpler drum part just fall flat. The bass part is a rock. Slow moving low notes, which because everything else is moving so fast actually make it noticeable.
Overall it's a nice song, a late summer wistful tune combined with a start of the school year kick out the jams rocker. The band is Australian but are much bigger in the UK and Ireland. I saw them play Virgin Free Fest in 2010. The were one of the early acts on the side stage. Very energetic and hard to understand, but the drummer was a beast.
Thursday, October 27, 2011
"I Predict a Riot"
Kaiser Chiefs - I Predict a Riot (2004)
Spooky for two seconds, then a strong, grungy, fuzzy guitar intro; this song opens like a strong angry rock anthem. The lyrics support this. The focus of the song is the goings on in clubs and underground bars in Leeds including policemen, half-naked women, people getting in fights, and ultimately the titular riot. I'm just not buying the vocals.
Musically, you can't fault anything. The intro I already mentioned is stellar. The drums are a driving snare heavy beat. The bass is great, he never really sits on one note for too long, other than the chorus, he's playing on every beat and that helps push everything forward with a lot of momentum. It's just that the vocals are not quite right for this. He's not angry, or sneering, or even slightly mad. He's well over 3 minutes into the song before I hear any urgency in his voice, otherwise he's just singing pop, and fairly clear pop as well. The video doesn't help. It's about a pillow fight for goodness sake.
Thursday, September 15, 2011
"Hard to Beat"
Hard-Fi - Hard to Beat (2005)
Indie Rock with a dance beat. In fact, it's practically a disco song in disguise.
Obviously a real driving beat. During the verses the bass line is fast paced quarter notes and the guitar riffs on the 1s and 3s. There is a one vocal line - 4 measure spacer between the verses. It has a very airy electronic sound but with a weird almost underwater quality to the electric bass sound. The quote in the book from the writer of the song mentions listing to a lot of Daft Punk and that definitely comes to mind. The chorus is hard to break down instrumentally. There is guitar is playing sixteenth notes on the 1 and 2 letting it ring in to the rest of the measure and what sounds like keyboards is playing higher electric winds sounds. The first half of the chorus has very little bass, but the second half has a huge bass sound giving it a very different feeling. The drums keep on keeping on. I still feel like I'm missing something in the chorus. Between the chorus and the next verse, we get back to the guitar on the 1 and 3, but no bass line. A high pitched vocal yell echos off into nothing as the verse kicks back in.
After the second chorus we get a kind of break. The drums disappear aside from a very quiet high hat. The guitar really rings a long time and there is no bass at all. Then we get back into another chorus. Then they repeat the 4 measures between the verses 6 or 7 times while throwing out a very short rap. All this and it's a love song too.
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