Hello! I've taken a long....very long...hiatus from the blog and I feel somewhat guilty, but here I am again. So, happy belated Christmas, Hanukah, New Years, Valentines, etc. Very over due. In the last couple of months I have listened to A LOT of new music, which is good! Usually I don't really listen to a whole lot of new bands at once, because I get overwhelmed. However, it's been wonderfully distracting, and in many ways, therapeutic. I've come up with a new term to describe what seems to be a common trend among many of the bands I've been listening to: not only are the good ones mostly from Canada, but they seems to have 6,7,8, 154 people. Maybe the 154 was a slight exaggeration, but you see where I'm getting at. I would like to label this type of band as the "Canadian SuperGroup." They don't necessarily need to have a lot of people, but it has to be a band that is so raw and talented, it's as if it sounds like 100 people are playing...I would even put Wolf Parade in this category. The two bands that I want to focus on now are Broken Social Scene and Arcade Fire. I LOVE..love love love...these groups. I barely just started listening to Broken Social Scene, and though I've had heard of them several times, I never really got into them. I've always loved Feist (was once a member of the group) but never got around to giving BSS the chance that it deserves. Anyways, the first song I want to share is called "Ibi Dreams of Pavement (A Better Day)" from their self titled album in 2005. "7/4 (Shoreline)" is really their most popular song off this album, but I have it saved for another future post. Anyways here's "Ibi Dreams of Pavement." Watch the vid, read the lyrics, and let it move you:
Lyrics to Ibi Dreams Of Pavement :
(A-Section)
I got shot right in the back
And you were there
I said I was never coming back
And you were there you were there
I know the eyelids are under attack
'Cause you were there you were there
All this pressure wants to retract
And you were there you were there
(B-Section)
And if God is what they made
Cut the hands off believers
Don't get high on what you create
(a-section)
I saw Gaza turn into light
And you were there you were there
All the subtractions made it on time
You were there, you were there
All the nice boys wait for a sign
You were there , you were there
And all the time, the time, the time, the time you were there, you were there
(b-section)
And if love is what they gave
Turn wives into healers
Don't get high on what you create
Oh it might just steal ya
(Coda-instrumental)
One of the greatest things about this song is that it immediately starts off powerful. Really, there's not much "build" throughout the song except for maybe the coda...there's simply no place to go. The intro is interesting because it starts with outdoor chimes. This ambient noise is soon disturbed by a single note in the guitar which lingers for a second or two, and then slowly slides its way down to what seems to be the tonic (the first note of the key that the a piece is in). The tonic is thus established with the entrance of the rest of the instruments, providing harmonic basis for the tune (a G-Majorish key, might even be modal). When the tonic is finally reached and the rest of the instruments join in, it's a truly an amazing moment. Harmonic motion occurs in "some" of the guitars and basses (remember, it's a large group), along with this driving force in the drums. This is all enhanced by a couple of guitars playing alternating major 2nds in unison above the texture. Though there are a lot of instruments playing at once (this coming from a girl who spends most of her time in symphony orchestra), the group seems to be very well balanced.
When the vocals finally enter, the texture changes, but not completely...it actually gets more intense. I love how the word "shot" (from opening line "I got shot") is such a STRONG downbeat...it's at this moment where the texture changes from intense, to actually exciting. "Shot" is also a very strong word...it's almost as if the listener feels a pang of noise that can actually affect them physically at that moment. The vocals are SO powerful in this. You just want to scream a long with him. He creates this vocal line that's somewhat melodious, but at the same time, it's speech-like...I guess you could call this a watered down rock version of a sprechtstimme (a singing-speech-like vocal technique). I know it's a pretentious term, but hey, this kinda music is pretentious in its own way. However, in both B/b sections, he goes back to a more melodious line (unlike the screaming A-Sections). I love this tone def sense of the vocals, it's so passionate and powerful. The first time I really listened to this song in an analytical sense, it was almost overwhelming to me. That's when I know a song or a piece of music is good...when it's too overwhelming for me to describe/or process what emotions and feelings are going through me while I'm listen to it. It's religious. It's spiritual. It's impossible to describe.
The Coda section near the end is very interesting because it leaves the listener in suspense. I actually keep expecting a re entrance of the vocals, every time I listen to it but thus my expectations are thwarted. What it DOES instead, that's very cool, is that it adds trumpets to the texture. Not only and makes it that much more powerful but it just enhances the experience. A re entrance of the vocals are not needed!
The lyrics are interesting, and actually I think the video does a pretty good job of conveying the tone of the song. I believe that this song is mostly about organized religion and how something that is supposed to be so healing has caused so much violence. Whether you agree or not, it's hard to refute the fact that many, many wars and conflicts have been attributed to radical religious ideals. Just look at the first B-Sections ("And if God is what they made, cut the hands off believers, don't get high on what you create"). It's basically saying that if God (or can be interpreted as organized religion) is a product of man that has caused violence everywhere, then why believe in a God of healing and shame on those who follow these radical ideas. Then it warns you not to "get high on what you create" because you will become part of the problem. Just so all of you know, I'm in no way trying to offend people and I try to leave my personal views out of the lyric interpretation...I'm merely dissecting the views of others through song. If nothing else, I hope this song left you awestruck.
The next song I want to discuss is by Arcade Fire, which is quickly making it's way up my favorite bands list. Not only are they original in their instrumentation (includes everything from violin, to bass clarinet, to accordian) but there is something so whimsical about their music. It's complex, breathtaking, dark, simple, and beautiful...all at the same time. It's almost like listening to a modern day fairy tale soundtrack. Anyways, this song is entitled "Rebellion (Lies)" from their first album "Funeral." Sit back, watch the vid, read the lyrics, and ENJOY all that it is:
Lyrics to Rebellion (Lies) :
Sleeping is giving in,
no matter what the time is.
Sleeping is giving in,
so lift those heavy eyelids.
People say that you'll die
faster than without water.
But we know it's just a lie,
Scare your son, scare your daughter.
(bridge)
People say that your dreams
are the only things that save ya.
Come on baby in our dreams,
we can live on misbehavior.
Every time you close your eyes
Lies, lies!
Every time you close your eyes
Lies, lies!
Every time you close your eyes
Lies, lies!
Every time you close your eyes
Lies, lies!
(Chorus)
Every time you close your eyes
Every time you close your eyes
Every time you close your eyes
Every time you close your eyes
People try and hide the night
underneath the covers.
People try and hide the light
underneath the covers.
(Repeat)
Come on hide your lovers underneath the covers
Come on hide your lovers underneath the covers
Hidin' from your brothers
underneath the covers,
Come on hide your lovers
underneath the covers.
(bridge)
People say that you'll die
faster than without water,
But we know it's just a lie,
Scare your son, scare your daughter,
(Repeat)
Scare your son, scare your daughter.
Scare your son, scare your daughter.
Now here's the sun, it's alright!
(Lies, lies!)
Now here's the moon, it's alright!
(Lies, lies!)
Now here's the sun, it's alright!
(Lies, lies!)
Now here's the moon it's alright
(Lies, lies!)
(Chorus enhanced)
Every time you close your eyes
Lies, lies!
Every time you close your eyes
Lies, lies!
Every time you close your eyes
Lies, lies!
Every time you close your eyes
Lies, lies!
Every time you close your eyes
Ahhhh! Sooo goood! Okay, moment over. From the get-go it has this groovy, driving beat in the bass drum along with this ambient noise. Then, a bass line enters with a sixteenth note pattern along with a "scratchy" ( but subdued) guitar line. It seems very repetitive, but it helps to establish some sort of key area. Then entering on top of that is a piano, only playing one chord in sixteenth notes. The guitar continues to play a few offbeat patterns until the vocals enter. The vocals are very serene when it enters and the music underlying it continues to stay the same with the addition of the one note in the piano chord. After the first verse, it gets to this heavy bridge in which the motion and the texture are intact, but the guitar is given more presence. Also, a violin enters with this new melodic passage. It almost imitates and harmonizes with the underlying guitar riff. The following stanzas are pretty much the same until the entrance of the chorus.
The Chorus ("Every time you close your eyes (lies)") is interesting because it imitates the previous stanzas. It's also more free and intense. It then moves to this interesting change, in which the "Lies, lies" vocal line is absent...the vocals just repeat "every time you close your eyes." I love how the "lies" vocal line is continuously repeated by the rest of the group. It's like a dialogue (question and answer) between the lead vocals and the band.
In terms of the form of this piece, it's extremely ambiguous. The stanzas remain pretty much intact for a lot of the song, but now and then certain vocal lines are repeated, and varied (for example, "hidin' from your brothers underneath the covers"). The second entrance of the chorus actually adds the "lies, lies" part, but harmonizes a different key! This is very unlike the first entrance of the chorus.
In terms of the lyrics, they're very obscure. At the heart of it, I believe that this song is basically about people telling you things that you know aren't true, and in this case, it's "sleeping is giving in." It then goes on to say that you live out your dreams while you sleep, and the only way to survive is through your dreams (metaphorically, and realistically). Ultimately, if you don't sleep, you will die (faster than without water, get it?). I'm not sure if any of this makes sense, but despite the obscurity, it's such a beautiful song and so whimsical. The lyrics are very dreamy. It's like I'm watching a Michele Gondry movie through song. The song references the sun, the moon, lovers, and dreams. It's all so romantic. And all so badass. Though whimsical and ambient, the music behind it is still driving, dark, mysterious, and beautiful. *Sigh* I love this song.
Anyways, feel free to share you thoughts as always. I hope that you fall in love with these songs (and these groups) as much as I have.
Thursday, February 19, 2009
Sunday, December 14, 2008
So. Loud.
I'm going to be kickin' it old school with these next two songs straight out of the late 60s. Now, the late 60's was when rock began to evolve into this hard, raw, and exposed sound. This is mostly what we hear today in "rock" music...except this early stuff is so much better than 90 % of the popular rock music that we hear today. The first song to be discussed is by one of my favorite bands of all time, The Who, entitled "I Can See for Miles and Miles." The Who for some reason hold a very special place in my heart. I was pretty much raised on listening to the Who, so perhaps that's why I love them so much. This isn't the last time I'll be writing about them, by the way. This song is from the album "The Who Sell Out" released in 1967. I don't really remember the first time I heard this song, but to this day, it still give me chills. Anyways, here it is.
Lyrics to I Can See for Miles and Miles:
(A-Section)
I know you've deceived me, now here's a surprise
I know that you have case there's magic in my eyes
(Chorus)
I can see for miles and miles and miles and miles and miles
Oh yeah
(B-Section)
If you think that I don't know about the little tricks you've played
And never see you when deliberately you put things in my way
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
(b-Section)
You took advantage of my trust in you when I was so far away
I saw you holding lots of other guys and now you've got the nerve to say
That you still want me
Well, that's as may be
But you gotta stand trial
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
(A- Section))
I know you've deceived me, now here's a surprise
I know that you have cause there's magic in my eyes
I can see for miles and miles and miles and miles and miles
Oh yeah
(b-Section)
The Eiffel tower and the Taj Mahal are mine to see on clear days
You thought that I would need a crystal ball to see right through the haze
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while
(Coda- Repetition of the Chorus)
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
And miles and miles and miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
This song does not waste any time from the get-go. It automatically picks up with an intense driving motive. The interesting part about this song instrumentally is that each instrument is rather independent (motivically speaking), but they work together cohesively. Though they are all in some kind of rhythmic unison, there's a sense of "organized chaos" amongst the instruments. It's important to mention the incredible technical facility of the band, most notably drummer Keith Moon. The drums are fascinating. They are SO powerful, and they are able to both disappear and explode out the texture without completely overwhelming the rest of the ensemble. Pete Townshend (guitar) is rather impressive, too. Though this isn't much of a guitar-piece (absent of solos-etc.), his ability to merely create "noise" on the guitar to compliment the drums is really cool. For example, he'll play repeated notes at a slightly lower pitch with each articulation. However, I still believe that this song is all about the drums. This is one of the things I love most about the Who: they are able to make interesting/complicated-sounding songs that are not only pleasing to listen to, but are incredibly virtuosic and exciting.
This song starts of in a minor-ish type key, but by the end, it dabbles in the major. We see a sense of this gradual move to the major near the beginning, in the middle part of the B/b-section ("well here's a poke at you, you're going to choke on it too). In terms of the song's form, it's a little complicated and rather difficult to divide up, mostly because the chorus shows up everywhere. So in this case, I divided the song into rather long sections. It's interesting, because the two occasions where the A-Section shows up, it remains intact, whereas the the B-section differs at each entrance. Also, the harmony in the B-Section (in the chorus) changes. The chorus itself is not really an individual section, except for the end where becomes repetitive coda that just ends the song.
In this song there isn't really a constant build up to a certain point. It really just starts off at this incredibly fierce tempo. The only points where there's a notable build is at each entrance of the chorus where the drums help to push the momentum forward. It is then carried on by the repeated notes in the guitar. The harmonies within the vocals are so cool because they harmonize both major and minor chords in multiple inversions. This creates this amazing, open harmony.
Even though all this technical stuff is appealing to a certain few (or hundreds, I don't know), I mostly like this song because of the way it makes you feel, or more specifically, how it makes me feel. It's such an upper/confidence builder song because it's so powerful. In terms of the lyrics, I believe it's about someone being deceived by a lover. However, this person is able to see past this deception and and see this lover for who they really are. No matter how deceiving someone may be and how much pain this deception involves, the smarter person always wins in the end. According to The Who, this clear but unpleasant portrait of someone that you once loved allows you to see for miles and miles and miles. This deception is no longer painful or valid, but liberating.
This next song I want to talk about is by my all time favorite group ever, The Beatles. Now, I don't like to play favorites with bands, but the Bealtes (like the Who) have a special place in my heart. I will go through phases of which bands I like/don't like, but these two (and a few others) will always remain constant. "Helter Skelter," from the "White Album" release in 1968, is a very interesting song because it is very unlike anything the Beatles have ever done. It's actually meant to be a reaction to the previous song "I Can See for Miles and Miles." Pete Townshend (The Who) mentioned that "I Can See for Miles and Miles" was the "loudest, and rawest" song that The Who had done up to that point. Of course, being a fierce competitor, Paul McCartney reacted by writing a song just as loud. Here it is:
Lyrics to Helter Skelter:
(A-Section)
When I get to the bottom I go back to the top of the slide
Where I stop and I turn and I go for a ride
Till I get to the bottom and I see you again
Yeah yeah yeah hey
(B-Section)
Do you, don't you want me to love you
I'm coming down fast but I'm miles above you
Tell me tell me tell me come on tell me the answer
Well you may be a lover but you ain't no dancer
(Chorus)
Now helter skelter helter skelter
Helter skelter yeah
Ooh!
(b-Section)
Will you, won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
(Chorus)
Look out helter skelter helter skelter
Helter skelter ooh
Look out, cause here she comes
(Bridge-guitar solo)
(A-Section)
When I get to the bottom I go back to the top of the slide
And I stop and I turn and I go for a ride
And I get to the bottom and I see you again
Yeah yeah yeah
(b-Section)
Well do you, don't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
(Chorus)
Look out helter skelter helter skelter
Helter skelter
(Coda)
Look out helter skelter
She's coming down fast
Yes she is
Yes she is coming down fast
[My head is spinning, ooh...
Ha ha ha, ha ha ha, alright!
I got blisters on my fingers!]
Like I've said before, this song is unlike anything the Beatles have ever written. It's so incredibly heavy, but at the same time, it maintains a certain charm that the Beatles always seem to incorporate into their music. Like the previous song, it instantaneously starts out with a driving musical theme. However, the guitar is clearly the driving rhythmical force at the beginning of the song rather than the drums. There is a gradual build that is only enhanced by the vocals, bass, and drums until it finally reaches the end of the A-Section ("and I get to the bottom and I see you again"). This kind of build happens throughout the song.
As previously mentioned, I believe that the guitar has the main rhythmical precedence over the drums, which is interesting (it's usually equal, or drums over guitar). There's also a small guitar solo before the second appearance of the A-Section. The guitars are so heavy, it sounds like there's about 3 playing (which is very plausible, because J, P, and G, of course, were all proficient guitar players). The vocals are just as raw as the guitar, and you can literally hear Paul's voice begin to break from screeching. This crunchy, loud song just goes to show how much range the Beatles actually had. It's notable to mention that the "White Album" was probably the most tense Beatles album, almost breaking them up. You can hear their frustration by the end of this song and how they just loose all control. John even bitterly stated that this song was, "Paul's completely ... It has nothing to do with anything, and least of all to do with me." As you can see, this song has a very angry history.
Both the history behind this song and the lyrics are interesting. The term "Helter Skelter" is another word for a playground slide ("when I get to the bottom, I go back to the top of the slide"). Charles Manson even interpreted this song (and many others from the "White Album") as prophecies of a race war between blacks and whites. The recording session of this song was extremely chaotic (for ex. George burning an ashtray and running around with it, Ringo throwing his sticks across the room, etc.). The original cut was 27:11 long (much of that being screaming and pure noise), but they were able to cut it down to 4:37. In many ways, this song was just an emotional release from all this tension. To read more about it in detail click HERE. Even though all of this tension was a sign of things to come, it sure did culminate in an incredible song.
This was a rather long, in depth post, but both of these songs are incredibly interesting. They're both so loud and raw, and in many ways, planted the seed that was to become the future of rock.
Lyrics to I Can See for Miles and Miles:
(A-Section)
I know you've deceived me, now here's a surprise
I know that you have case there's magic in my eyes
(Chorus)
I can see for miles and miles and miles and miles and miles
Oh yeah
(B-Section)
If you think that I don't know about the little tricks you've played
And never see you when deliberately you put things in my way
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
(b-Section)
You took advantage of my trust in you when I was so far away
I saw you holding lots of other guys and now you've got the nerve to say
That you still want me
Well, that's as may be
But you gotta stand trial
Because all the while
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah
(A- Section))
I know you've deceived me, now here's a surprise
I know that you have cause there's magic in my eyes
I can see for miles and miles and miles and miles and miles
Oh yeah
(b-Section)
The Eiffel tower and the Taj Mahal are mine to see on clear days
You thought that I would need a crystal ball to see right through the haze
Well, here's a poke at you
You're gonna choke on it too
You're gonna lose that smile
Because all the while
(Coda- Repetition of the Chorus)
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
And miles and miles and miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
This song does not waste any time from the get-go. It automatically picks up with an intense driving motive. The interesting part about this song instrumentally is that each instrument is rather independent (motivically speaking), but they work together cohesively. Though they are all in some kind of rhythmic unison, there's a sense of "organized chaos" amongst the instruments. It's important to mention the incredible technical facility of the band, most notably drummer Keith Moon. The drums are fascinating. They are SO powerful, and they are able to both disappear and explode out the texture without completely overwhelming the rest of the ensemble. Pete Townshend (guitar) is rather impressive, too. Though this isn't much of a guitar-piece (absent of solos-etc.), his ability to merely create "noise" on the guitar to compliment the drums is really cool. For example, he'll play repeated notes at a slightly lower pitch with each articulation. However, I still believe that this song is all about the drums. This is one of the things I love most about the Who: they are able to make interesting/complicated-sounding songs that are not only pleasing to listen to, but are incredibly virtuosic and exciting.
This song starts of in a minor-ish type key, but by the end, it dabbles in the major. We see a sense of this gradual move to the major near the beginning, in the middle part of the B/b-section ("well here's a poke at you, you're going to choke on it too). In terms of the song's form, it's a little complicated and rather difficult to divide up, mostly because the chorus shows up everywhere. So in this case, I divided the song into rather long sections. It's interesting, because the two occasions where the A-Section shows up, it remains intact, whereas the the B-section differs at each entrance. Also, the harmony in the B-Section (in the chorus) changes. The chorus itself is not really an individual section, except for the end where becomes repetitive coda that just ends the song.
In this song there isn't really a constant build up to a certain point. It really just starts off at this incredibly fierce tempo. The only points where there's a notable build is at each entrance of the chorus where the drums help to push the momentum forward. It is then carried on by the repeated notes in the guitar. The harmonies within the vocals are so cool because they harmonize both major and minor chords in multiple inversions. This creates this amazing, open harmony.
Even though all this technical stuff is appealing to a certain few (or hundreds, I don't know), I mostly like this song because of the way it makes you feel, or more specifically, how it makes me feel. It's such an upper/confidence builder song because it's so powerful. In terms of the lyrics, I believe it's about someone being deceived by a lover. However, this person is able to see past this deception and and see this lover for who they really are. No matter how deceiving someone may be and how much pain this deception involves, the smarter person always wins in the end. According to The Who, this clear but unpleasant portrait of someone that you once loved allows you to see for miles and miles and miles. This deception is no longer painful or valid, but liberating.
This next song I want to talk about is by my all time favorite group ever, The Beatles. Now, I don't like to play favorites with bands, but the Bealtes (like the Who) have a special place in my heart. I will go through phases of which bands I like/don't like, but these two (and a few others) will always remain constant. "Helter Skelter," from the "White Album" release in 1968, is a very interesting song because it is very unlike anything the Beatles have ever done. It's actually meant to be a reaction to the previous song "I Can See for Miles and Miles." Pete Townshend (The Who) mentioned that "I Can See for Miles and Miles" was the "loudest, and rawest" song that The Who had done up to that point. Of course, being a fierce competitor, Paul McCartney reacted by writing a song just as loud. Here it is:
Lyrics to Helter Skelter:
(A-Section)
When I get to the bottom I go back to the top of the slide
Where I stop and I turn and I go for a ride
Till I get to the bottom and I see you again
Yeah yeah yeah hey
(B-Section)
Do you, don't you want me to love you
I'm coming down fast but I'm miles above you
Tell me tell me tell me come on tell me the answer
Well you may be a lover but you ain't no dancer
(Chorus)
Now helter skelter helter skelter
Helter skelter yeah
Ooh!
(b-Section)
Will you, won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
(Chorus)
Look out helter skelter helter skelter
Helter skelter ooh
Look out, cause here she comes
(Bridge-guitar solo)
(A-Section)
When I get to the bottom I go back to the top of the slide
And I stop and I turn and I go for a ride
And I get to the bottom and I see you again
Yeah yeah yeah
(b-Section)
Well do you, don't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer
(Chorus)
Look out helter skelter helter skelter
Helter skelter
(Coda)
Look out helter skelter
She's coming down fast
Yes she is
Yes she is coming down fast
[My head is spinning, ooh...
Ha ha ha, ha ha ha, alright!
I got blisters on my fingers!]
Like I've said before, this song is unlike anything the Beatles have ever written. It's so incredibly heavy, but at the same time, it maintains a certain charm that the Beatles always seem to incorporate into their music. Like the previous song, it instantaneously starts out with a driving musical theme. However, the guitar is clearly the driving rhythmical force at the beginning of the song rather than the drums. There is a gradual build that is only enhanced by the vocals, bass, and drums until it finally reaches the end of the A-Section ("and I get to the bottom and I see you again"). This kind of build happens throughout the song.
As previously mentioned, I believe that the guitar has the main rhythmical precedence over the drums, which is interesting (it's usually equal, or drums over guitar). There's also a small guitar solo before the second appearance of the A-Section. The guitars are so heavy, it sounds like there's about 3 playing (which is very plausible, because J, P, and G, of course, were all proficient guitar players). The vocals are just as raw as the guitar, and you can literally hear Paul's voice begin to break from screeching. This crunchy, loud song just goes to show how much range the Beatles actually had. It's notable to mention that the "White Album" was probably the most tense Beatles album, almost breaking them up. You can hear their frustration by the end of this song and how they just loose all control. John even bitterly stated that this song was, "Paul's completely ... It has nothing to do with anything, and least of all to do with me." As you can see, this song has a very angry history.
Both the history behind this song and the lyrics are interesting. The term "Helter Skelter" is another word for a playground slide ("when I get to the bottom, I go back to the top of the slide"). Charles Manson even interpreted this song (and many others from the "White Album") as prophecies of a race war between blacks and whites. The recording session of this song was extremely chaotic (for ex. George burning an ashtray and running around with it, Ringo throwing his sticks across the room, etc.). The original cut was 27:11 long (much of that being screaming and pure noise), but they were able to cut it down to 4:37. In many ways, this song was just an emotional release from all this tension. To read more about it in detail click HERE. Even though all of this tension was a sign of things to come, it sure did culminate in an incredible song.
This was a rather long, in depth post, but both of these songs are incredibly interesting. They're both so loud and raw, and in many ways, planted the seed that was to become the future of rock.
Friday, December 5, 2008
Songs that Make You Hurt So Good
Although I was planning on doing a 'blast from the past' 60's type post, I decided that I needed to write about songs that musically and lyrically get down to the core of one's soul. Without trying to sound super emo, I believe that there's a song out there for everyone that brings out some kind of emotion whether nostalgic, confused, happy, etc. The songs I've chosen are so beautiful, they're heartbreaking. The first song is actually a cover (which is another subject I will post about at some point). Jose Gonzalez's rendition of "Heartbeats" (off the album Veneer) might be incredibly different from the original by the Knife, but it's just as good if not better...probably one of the most beautiful/best covers out there. While the original is very rhythmic, electronic, and almost dance like, Jose Gonzalez changes the texture, making it poignant, thoughtful, and gentle. To hear the original as a point of comparison, click HERE. Anyway, here it is...please read the lyrics for this one (and the video is pretty cool too, ignore the Sony Bravia ad, though)). I'd recommend a tissue (yes, I'm being serious).
Lyrics to Heartbeats :
(A-Section)
One night to be confused
One night to speed up truth
We had a promise made
Four hands and then away
Both under influence
We had divine scent
To know what to say
Mind is a razor blade
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
(a-Section)
One night of magic rush
The start a simple touch
One night to push and scream
And then relief
Ten days of perfect tunes
The colors red and blue
We had a promise made
We were in love
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
(C-Section/Bridge)
And you, you knew the hands of the devil
And you, kept us awake with wolf teeth
Sharing different heartbeats
In one night
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
The intro of this song is just a simple guitar motive that literally stays the same (harmonically and melodically) the entire song, except for what I labeled the "C-Section/bridge." Although this song is so simple and there really isn't that much to analyze, it's just so beautiful. Sometimes, it's the simplest of songs that get the mark. It's just vocals and guitar, and that's all it needs. It's not very rhythmically driven like the majority of songs that I've posted, but it isn't meant to be. It just flows so well.
Even though the guitar line is repetitive, this song doesn't get boring. There's a certain build from section to section. One of my favorite parts in the song is at the end of the C-Section where there's this chordal "confusion" in the guitar which just leads back to the last statement of the chorus (B-Section). Now the C-Section deserves some explaining because it is a much needed departure from the rest of the song. The harmony and melody both change to fit this departure, but I think this section is mostly present to really set up the last statement of the chorus. The harmony kind of waivers until you really hear the V-I cadential motive into this chorus.
In terms of the lyrics...it's important to note that the Knife (who wrote the original version, remember) are Swedish and it's my belief that some of the lyrics didn't translate well (ex. "Mind is a razor blade"). I really hope that didn't sound mean. But, by keeping that in mind, this can account for its obscurity. Although, I somewhat like the obscurity because it allows for it to mean different things to different people. However you take it, I believe it's a love song (torrid lover affair gone wrong, perhaps?). Despite some of the confusing imagery in this song, it is very sweet. In many ways it makes you smile and sob at the same time.
The next song I want to share is straight out of the 1960s/70s. Now, this blog isn't just about "newer" music, but all good music. I feel that this group, Crosby, Stills, and Nash (and Young), deserve so much credit in being able to create beautiful music through their amazing use of harmony. It's truly some of the most beautiful harmony you'll ever hear. Anyways, this song is entitled ''Helplessly Hoping" from CSN(Y)'s self titled debut album in 1969. Though the lyrics are beautifully heartbreaking, the harmony only exacerbates this painful sentiment. Take a listen:
Lyrics to Helplessly Hoping:
(A-Section)
Helplessly hoping
Her harlequin hovers nearby
Awaiting a word
Gasping at glimpses
Of gentle true spirit
He runs, wishing he could fly
Only to trip at the sound of good-bye
(a-Section)
Wordlessly watching
He waits by the window
And wonders
At the empty place inside
Heartlessly helping himself to her bad dreams
He worries
Did he hear a good-bye? Or even hello?
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
(a-Section)
Stand by the stairway
You'll see something
Certain to tell you confusion has its cost
Love isn't lying
It's loose in a lady who lingers
Saying she is lost
And choking on hello
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
Like the previous song "Heartbeats," this song remains so simple: all it is are vocals and guitar. Nothing rhythmic about it. This just goes to show that even the most simplest of songs can create the most power and meaning. As I've said before, the most beautiful thing about this song other than the lyrics is the harmony in the vocals. It's like velvet. Their voices just mesh so well and the intonation (disregarding studio techniques) is so in tune, it's heavenly. It also ends, just the way it begins: with a lovely strumming guitar.
What's interesting about this song is that it doesn't really have a main chorus. The B-Section, which is usually the chorus in rock music (or in this case folk), is really more of a bridge to the next section, or a concluding statement (the B-Section is the last thing stated in the song). This plays very well throughout. Also, the B-Section is the only place within the song that has a real diatonic center. Though the previous sections are very tonal, I would say that they're much more modal in terms of an established key.
The lyrics in this song are not meant to be over looked. Obviously it involves some kind of "love hurts" sentiment, but the lyrics just flow so well and offer a very poignant view on lover's pain. They're so honest because everyone at one time or another has these feelings of confusion, loss, love and desperation. I'm not a poetry expert, but the lines like "choking on hello," and "helplessly hoping her harlequin hovers nearby," are just so melodious and clever to not only listen to, but to say. These lyrics could stand alone as a simple poem, but the it's the lyrics added with the harmony melody that truly makes this song come alive.
Anyways, that's all for now. I expect all of you to be crying tears of heartbreak/joy after listening to these gems.
Lyrics to Heartbeats :
(A-Section)
One night to be confused
One night to speed up truth
We had a promise made
Four hands and then away
Both under influence
We had divine scent
To know what to say
Mind is a razor blade
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
(a-Section)
One night of magic rush
The start a simple touch
One night to push and scream
And then relief
Ten days of perfect tunes
The colors red and blue
We had a promise made
We were in love
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
(C-Section/Bridge)
And you, you knew the hands of the devil
And you, kept us awake with wolf teeth
Sharing different heartbeats
In one night
(Chorus/B-Section)
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
To call for hands of above
To lean on
Wouldn't be good enough
For me, no
The intro of this song is just a simple guitar motive that literally stays the same (harmonically and melodically) the entire song, except for what I labeled the "C-Section/bridge." Although this song is so simple and there really isn't that much to analyze, it's just so beautiful. Sometimes, it's the simplest of songs that get the mark. It's just vocals and guitar, and that's all it needs. It's not very rhythmically driven like the majority of songs that I've posted, but it isn't meant to be. It just flows so well.
Even though the guitar line is repetitive, this song doesn't get boring. There's a certain build from section to section. One of my favorite parts in the song is at the end of the C-Section where there's this chordal "confusion" in the guitar which just leads back to the last statement of the chorus (B-Section). Now the C-Section deserves some explaining because it is a much needed departure from the rest of the song. The harmony and melody both change to fit this departure, but I think this section is mostly present to really set up the last statement of the chorus. The harmony kind of waivers until you really hear the V-I cadential motive into this chorus.
In terms of the lyrics...it's important to note that the Knife (who wrote the original version, remember) are Swedish and it's my belief that some of the lyrics didn't translate well (ex. "Mind is a razor blade"). I really hope that didn't sound mean. But, by keeping that in mind, this can account for its obscurity. Although, I somewhat like the obscurity because it allows for it to mean different things to different people. However you take it, I believe it's a love song (torrid lover affair gone wrong, perhaps?). Despite some of the confusing imagery in this song, it is very sweet. In many ways it makes you smile and sob at the same time.
The next song I want to share is straight out of the 1960s/70s. Now, this blog isn't just about "newer" music, but all good music. I feel that this group, Crosby, Stills, and Nash (and Young), deserve so much credit in being able to create beautiful music through their amazing use of harmony. It's truly some of the most beautiful harmony you'll ever hear. Anyways, this song is entitled ''Helplessly Hoping" from CSN(Y)'s self titled debut album in 1969. Though the lyrics are beautifully heartbreaking, the harmony only exacerbates this painful sentiment. Take a listen:
Lyrics to Helplessly Hoping:
(A-Section)
Helplessly hoping
Her harlequin hovers nearby
Awaiting a word
Gasping at glimpses
Of gentle true spirit
He runs, wishing he could fly
Only to trip at the sound of good-bye
(a-Section)
Wordlessly watching
He waits by the window
And wonders
At the empty place inside
Heartlessly helping himself to her bad dreams
He worries
Did he hear a good-bye? Or even hello?
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
(a-Section)
Stand by the stairway
You'll see something
Certain to tell you confusion has its cost
Love isn't lying
It's loose in a lady who lingers
Saying she is lost
And choking on hello
(B-Section)
They are one person
They are two alone
They are three together
They are for each other
Like the previous song "Heartbeats," this song remains so simple: all it is are vocals and guitar. Nothing rhythmic about it. This just goes to show that even the most simplest of songs can create the most power and meaning. As I've said before, the most beautiful thing about this song other than the lyrics is the harmony in the vocals. It's like velvet. Their voices just mesh so well and the intonation (disregarding studio techniques) is so in tune, it's heavenly. It also ends, just the way it begins: with a lovely strumming guitar.
What's interesting about this song is that it doesn't really have a main chorus. The B-Section, which is usually the chorus in rock music (or in this case folk), is really more of a bridge to the next section, or a concluding statement (the B-Section is the last thing stated in the song). This plays very well throughout. Also, the B-Section is the only place within the song that has a real diatonic center. Though the previous sections are very tonal, I would say that they're much more modal in terms of an established key.
The lyrics in this song are not meant to be over looked. Obviously it involves some kind of "love hurts" sentiment, but the lyrics just flow so well and offer a very poignant view on lover's pain. They're so honest because everyone at one time or another has these feelings of confusion, loss, love and desperation. I'm not a poetry expert, but the lines like "choking on hello," and "helplessly hoping her harlequin hovers nearby," are just so melodious and clever to not only listen to, but to say. These lyrics could stand alone as a simple poem, but the it's the lyrics added with the harmony melody that truly makes this song come alive.
Anyways, that's all for now. I expect all of you to be crying tears of heartbreak/joy after listening to these gems.
Monday, November 24, 2008
MGMT: It's amazing what a simple scale pattern can do!
Even though MGMT is a band that has become quite popular in the indie music world, I still meet people everyday that have no idea who they are...so this is for you! In many ways, I believe that MGMT is groundbreaking because the basic instruments that make up a rock band (guitar, drums, bass) are of somewhat little importance in this duo...it's my belief that electronic means take the place of those major instruments. The first song I'm showcasing is probably their most memorable tune (and my personal favorite) "Kids" off the album "Oracular Spectacular." Now there are atleast two versions of this song that I know of: the EP version and the album version. I personally like the EP version much better. The differences are actually very present, especially since in the album version the song is about a 1/2 step lower (pitch wise) than the EP version. If you would like to listen to the album version, click HERE. Otherwise, enjoy the EP version, which to me sounds brighter and cleaner...just a better recording (musically) in general. So, sit back, gather some thoughts about the song, follow the lyrics, and rock out.
Lyrics to Kids :
(A-Section)
You were a child
Crawling on your knees toward him
Making momma so proud
But your voice is too loud
We like to watch you laughing
Picking insects off of plants
No time to think of consequences
(Chorus and B-Section)
Control yourself
Take only what you need from him
A family of trees wanting to be haunted (?)
Control yourself
Take only what you need from him
A family of trees wanting to be haunted
(a-Section)
The water is warm
But it's sending me shivers
A baby is born
Crying out for attention
Memories fade
Like looking through a fogged mirror
Decisions too
Decisions are made and not bought
But I thought this wouldn't hurt a lot
I guess not
Chorus 2x
(bridge)
Chorus 4x (also a sort of coda section)
In a lot of MGMT's music i've noticed, they have some sort of "noise" intro that makes way into the song. In this case, it's laughing children. This is a clever way to start the song, because it obviously imitates the title. The first musical thing we hear is this simple upward scale in an electronic synthesizer. What this basically tells the listener is that this song has an established diatonic key, which concerning music these days, is very rare (most rock songs today are very modal). This scaler passage basically sets up the main musical theme that we will be hearing throughout the song, and precedes what will be heard in the chorus. After this scaler passage is introduced, the harmony is then completely filled electronically. In terms of a beating pattern, the idea of a strong downbeat/weak upbeat alternation is quite apparent here. When the vocals finally enter, most of the musical extras drop out, and all you're left with is the vocals, the bass, and the synthesizer figure. What's interesting here is that even though scaler passage is dropped when the vocals enter, the same harmony remains intact even though the vocals are a different musical line. In the B-Section (when the chorus finally enters) all of the musical ideas that were initially introduced at the beginning, emerge along with the vocals, including that important scaler passage.
In the a-section (as opposed to the A-Section), all signs of a specific pulse drop out, and just the harmony and the vocals remain, almost as if it were just lingering there. When the line "decisions to, decisions are made and not bought" a very prominent pulse enters until the chorus re-emerges.
After the chorus, a very extended bridge enters which includes a very eratic synthesizer solo with a electronic trumpet-like fanfare that leads into musical variation on the opening scaler passage. What I mean by this is that this main musical them is changed and manipulated by means of different percussive qualities and even harmony! It's important to note that even though the harmony and percussive qualities underlying the scaler passage is changed, the scaler passage itself remains intact; those same notes are always present. This bring us to, what I'd like to call, the coda section (ending section) even though it's just the chorus being repeated about 4x. When we finally reach the ending of this song, it seems to just fade away with a shimmering electronic motive that lingers then dissolves.
In terms of the lyrics, they're a bit obscure, especially the chorus. I've even seen MGMT give interviews where they've admitted to creating the music before they write the lyrics, so in a way, this obscurity makes sense. My analysis of this song would be forgotten memories of childhood and how innocence is ever present in the fragile beginning stages of life. That eventually fades into adulthood, where are decisions can either make us or break us.
The next MGMT song I'd like to feature is entitled "Electric Feel." It's definately one of the more popular songs off the album. If you would like to watch the video, which you should because it's RIDICULOUS, click HERE. I've heard it described as Crazytown's "Butterfly" (remember them?) meets the children's movie"Fern Gully." The one I'm going to post here is rather cute because it features those creepy animals bands that little kids seem to love at Chuckie Cheese. Anyways, here ya' go. Follow along with the lyrics and boogie.
Lyrics to Electric Feel :
(A-Section)
All along the western front
people line up to receive
she got the current in her hand
just shock you like you won't believe
sun in the amazon
with the voltage running through her skin
standing there with nothing on
she gonna teach me how to swim
(B-Section-chorus)
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
(mini bridge)
(a-Section)
All along the eastern shore
put your circuits in the sea
this is what the world is for
making electricity
you can feel it in your mind
oh you can do it all the time
plug it in, change the world
you are my electric girl
(B-Section-Chorus)
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
(Main Bridge)
(Coda)
do what you feel now
electric feel now
do what you feel now
electric feel now
do what you feel now
electric feel now
do what you feel now
electric feel now
do what you feel now
electric feel now
This song starts out with an electronic swell into the main theme. After this swell, a strong bass motive enters, which incidently stays the same throughout the entire song. Lying on top of this strong bass is an embellished synthesizer motive that doesn't really take precedence in the song, but is used mainly for embellishment. When the guitar enters a few moments later, it serves the same purpose.
When the vocals enter, pretty much any extra musical embellishments (the synth and the guitar) drop out, just leaving the bass, drums, and vocals. When we finally get to the chorus, the bass remains intact, leaving out the synthesizer embellishment that was present in the beginning. After the first chorus, there is a "mini bridge" which isn't that long (hence the term mini) and only introduces one new musical idea in which what sounds like plucked strings, lie above the strong bass.
And finally, we get to the main bridge. It features the synthesizer solo from the beginning which is followed by a constant rhythmic build that leads into the coda ("Do what you feel now").
This song is very groovy, sexy, and almost goes back to the kind of dance (disco) music that we heard in the 70's. It's very dance-able. The lyrics very much reflect this kind of sexy, "come hither" dance music. Rocktastic.
Anyways, here's my analysis for today. Hope you enjoyed the music!
Lyrics to Kids :
(A-Section)
You were a child
Crawling on your knees toward him
Making momma so proud
But your voice is too loud
We like to watch you laughing
Picking insects off of plants
No time to think of consequences
(Chorus and B-Section)
Control yourself
Take only what you need from him
A family of trees wanting to be haunted (?)
Control yourself
Take only what you need from him
A family of trees wanting to be haunted
(a-Section)
The water is warm
But it's sending me shivers
A baby is born
Crying out for attention
Memories fade
Like looking through a fogged mirror
Decisions too
Decisions are made and not bought
But I thought this wouldn't hurt a lot
I guess not
Chorus 2x
(bridge)
Chorus 4x (also a sort of coda section)
In a lot of MGMT's music i've noticed, they have some sort of "noise" intro that makes way into the song. In this case, it's laughing children. This is a clever way to start the song, because it obviously imitates the title. The first musical thing we hear is this simple upward scale in an electronic synthesizer. What this basically tells the listener is that this song has an established diatonic key, which concerning music these days, is very rare (most rock songs today are very modal). This scaler passage basically sets up the main musical theme that we will be hearing throughout the song, and precedes what will be heard in the chorus. After this scaler passage is introduced, the harmony is then completely filled electronically. In terms of a beating pattern, the idea of a strong downbeat/weak upbeat alternation is quite apparent here. When the vocals finally enter, most of the musical extras drop out, and all you're left with is the vocals, the bass, and the synthesizer figure. What's interesting here is that even though scaler passage is dropped when the vocals enter, the same harmony remains intact even though the vocals are a different musical line. In the B-Section (when the chorus finally enters) all of the musical ideas that were initially introduced at the beginning, emerge along with the vocals, including that important scaler passage.
In the a-section (as opposed to the A-Section), all signs of a specific pulse drop out, and just the harmony and the vocals remain, almost as if it were just lingering there. When the line "decisions to, decisions are made and not bought" a very prominent pulse enters until the chorus re-emerges.
After the chorus, a very extended bridge enters which includes a very eratic synthesizer solo with a electronic trumpet-like fanfare that leads into musical variation on the opening scaler passage. What I mean by this is that this main musical them is changed and manipulated by means of different percussive qualities and even harmony! It's important to note that even though the harmony and percussive qualities underlying the scaler passage is changed, the scaler passage itself remains intact; those same notes are always present. This bring us to, what I'd like to call, the coda section (ending section) even though it's just the chorus being repeated about 4x. When we finally reach the ending of this song, it seems to just fade away with a shimmering electronic motive that lingers then dissolves.
In terms of the lyrics, they're a bit obscure, especially the chorus. I've even seen MGMT give interviews where they've admitted to creating the music before they write the lyrics, so in a way, this obscurity makes sense. My analysis of this song would be forgotten memories of childhood and how innocence is ever present in the fragile beginning stages of life. That eventually fades into adulthood, where are decisions can either make us or break us.
The next MGMT song I'd like to feature is entitled "Electric Feel." It's definately one of the more popular songs off the album. If you would like to watch the video, which you should because it's RIDICULOUS, click HERE. I've heard it described as Crazytown's "Butterfly" (remember them?) meets the children's movie"Fern Gully." The one I'm going to post here is rather cute because it features those creepy animals bands that little kids seem to love at Chuckie Cheese. Anyways, here ya' go. Follow along with the lyrics and boogie.
Lyrics to Electric Feel :
(A-Section)
All along the western front
people line up to receive
she got the current in her hand
just shock you like you won't believe
sun in the amazon
with the voltage running through her skin
standing there with nothing on
she gonna teach me how to swim
(B-Section-chorus)
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
(mini bridge)
(a-Section)
All along the eastern shore
put your circuits in the sea
this is what the world is for
making electricity
you can feel it in your mind
oh you can do it all the time
plug it in, change the world
you are my electric girl
(B-Section-Chorus)
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
i said ooh girl
shock me like an electric eel
baby girl
turn me on with your electric feel
(Main Bridge)
(Coda)
do what you feel now
electric feel now
do what you feel now
electric feel now
do what you feel now
electric feel now
do what you feel now
electric feel now
do what you feel now
electric feel now
This song starts out with an electronic swell into the main theme. After this swell, a strong bass motive enters, which incidently stays the same throughout the entire song. Lying on top of this strong bass is an embellished synthesizer motive that doesn't really take precedence in the song, but is used mainly for embellishment. When the guitar enters a few moments later, it serves the same purpose.
When the vocals enter, pretty much any extra musical embellishments (the synth and the guitar) drop out, just leaving the bass, drums, and vocals. When we finally get to the chorus, the bass remains intact, leaving out the synthesizer embellishment that was present in the beginning. After the first chorus, there is a "mini bridge" which isn't that long (hence the term mini) and only introduces one new musical idea in which what sounds like plucked strings, lie above the strong bass.
And finally, we get to the main bridge. It features the synthesizer solo from the beginning which is followed by a constant rhythmic build that leads into the coda ("Do what you feel now").
This song is very groovy, sexy, and almost goes back to the kind of dance (disco) music that we heard in the 70's. It's very dance-able. The lyrics very much reflect this kind of sexy, "come hither" dance music. Rocktastic.
Anyways, here's my analysis for today. Hope you enjoyed the music!
Sunday, November 16, 2008
Tom Vek Isn't Saying Goodbyes
For those of you who haven't heard of Tom Vek (which are few, I only know one other person who listens to him), he is a British "pop" artist whose musical capabilities are rather unique compared to anyone else out there. His music blends and mixes many different musical genres like dance, rock, new wave, electronic, pop, mod etc. This whole myriad of genres is very interesting because you can't really pin him down to any one genre. His style is totally his own...and he does it oh so well. Before I say anything else about Tom Vek, take a listen to the first song. It's entitled "I Ain't Saying My Goodbyes" off his first album "We Have Sound" (damn right Tom Vek has sound!). If you don't want to read along with the lyrics (which you should, because they're really interesting) I encourage you to get up and dance. Disclaimer: the video is not the real one, because Universal Music Group is stupid and disabled their embedding. Whatevs, you can look it up on youtube here if you must see the video. Otherwise, just listen to the song posted here. Enjoy:
Lyrics to I Ain't Saying My Goodbyes :
(A-Section)
There is still so much to see
There is still so much to do
I can't be more than half way through
I know I'm wasting precious time
But I'll take it in my stride
I’ve got a lot of things to put right
(B-Section)
Don't get upset
It's not my time yet
I ain’t saying my goodbyes
Don't get upset
It's not my time yet
I ain’t saying my goodbyes
(1st Bridge)
(A-Section)
You won’t take life out of me
You can't take it out on me
I know a good enough reason will come along
I can't tell you how it feels
Ain’t no other way you'll heal
All these young men obsessed with death
(B-Section, chorus)
Don't get upset
It's not my time yet
I ain't saying my goodbyes
Don't get upset
It's not my time yet
I ain't saying my goodbyes
(Bridge)
(Coda)
You don't get upset
You don't get upset
You don't get upset
You don't get upset
The first thing that stikes me about this song is of course, the intro in the guitar which is of course preceded by a strong drum beat and bass (which in this case, is also used as a strong, somewhat "percussive, " rhythmic motive). This song immediately is tonally ambiguous, but the guitar has a sort-of V-I figure (think "ti-do"), but modal...there's not really a strong sense of tonality. The bass line is interesting when it enters because (like in most of Vek's music) it's continuous, with it's motives lying purely within the pulse. It basically stays rhythmically driving throughout the song. In many ways its role is more important than any percussion.
The tonality, as previously mentioned, is initially ambiguous with the entering guitar motive...and it stays that way! When the vocal line enters, a tonal center still isn't clearly established...or rather, it isn't as strong as the ear is used to hearing. This is a common theme throughout Vek's music. The vocals are curious because the only time you ever hear anything melodic is in the chorus, or as I've labeled, the B-Section. Other than that one section, Vek "sings" in a speaking-singing style that can probably account for the song's tonal ambiguity. Also, in the B-Section, the guitar keeps the rhythmic motive, but only changes chordally along with the bass.
The beat is extremely strong throughout the song which is why I really relate this to a dance number. Both the 1st and 2nd bridges show this. The first bridge is somewhat subtle, but unlike many rock numbers, lacks both the guitar and bass and just uses a synthesizer and other percussion. The 2nd bridge expands on this and intoduces this pulsating pumping sound created by a synthesizer. This is definately something you'd hear at a club. Both bridges aren't necessarily about establishing or expanding on any tonality, but purely about rhythm.
In terms of the lyrics, Vek's are just very slick, and somewhat modish. I gather that this song is about a young, immature (albeit "douchebag"), 20-something young man who's not willing to be tied down to one person and still wants to play. Hence the "don't get upset, it's not my time yet" and "all these young men obsessed with death." The latter is an interesting concept because the word "death" (according to a long history of music) is often a double entendre. Although, I can't really speak for Vek on the meaning of this particular line, this is just something that came to mind. Despite all this, he's not quite willing to give up whomever he's courting, thus keeping her on a string but unwilling to settle.
The second song is also from the same album and entitled "Nothing But Green Lights." I'm a little angered (again) because I can't post the video directly on the blog (Universal Music Group can kiss my...blog), so click HERE to listen to the song. I apologize and hopefully I will find a better way to ease the situation. PLEASE CLICK ON THE LINK TO LISTEN TO THE SONG, IT'S IMPORTANT. Ehem, okay, here are the lyrics. Sit back, enjoy the video (by clicking on the link!!!!!), and we'll discuss:
Lyrics to Nothing But Green Lights :
I can see your eyes from here
I cant see anything imbetween
Everything i thought i ought to know about you has vanished
Like the snow when the sun comes out
Theres nothing but green lights from here
Nothing but empty roads
You and i gonna drive ourselves outta this town
In a 1989 black mercedes benz
(Bridge)
I can hear your voice from here, girl
And i cant hear no other sound
No need to spend anymore time apart
Thats it
Im not being left out anymore
I gotta hold on whats going on
I've got my foot in the door, so to speak
Theres nothing but green lights from here
Theres nothing but green lights from here
From here
This song is so cool, because you can almost imagine yourself driving (we don't do that in NYC, but just humor me a bit) and not having to stop for traffic, red lights, etc. In other words, "nothing but greenlights from here" is the equivalent of saying "it's all downhill from here." Again, we see this tonal ambiguity that Tom Vek is keen on, making the rhythm that much more driving. The pulse is established by an electronic "wave" of sound. It keeps going in and out. This curious fade and emerge cycle set the rhythm. The mood is very shimmering, almost as if one can see/hear the psychedelic flashing of traffic lights.
Okay, now going back to the tonal ambiguity. Unlike the previous song where some melody could be established, tonality is virtually obsolete here. When the bridge emerges with the FIRST entrance of the guitar (oh my! it's all synth up until this point) it just makes the tonality that much more ambiguous and unstable! But the good ol' bass stays the same, like the last tune.
This is the type of song I listen to when I'm done with a test/audition/something heavy. It's just so positive and great.
Now, listen to these songs again, and hopefully you'll hear some of what I'm talking about.
Lyrics to I Ain't Saying My Goodbyes :
(A-Section)
There is still so much to see
There is still so much to do
I can't be more than half way through
I know I'm wasting precious time
But I'll take it in my stride
I’ve got a lot of things to put right
(B-Section)
Don't get upset
It's not my time yet
I ain’t saying my goodbyes
Don't get upset
It's not my time yet
I ain’t saying my goodbyes
(1st Bridge)
(A-Section)
You won’t take life out of me
You can't take it out on me
I know a good enough reason will come along
I can't tell you how it feels
Ain’t no other way you'll heal
All these young men obsessed with death
(B-Section, chorus)
Don't get upset
It's not my time yet
I ain't saying my goodbyes
Don't get upset
It's not my time yet
I ain't saying my goodbyes
(Bridge)
(Coda)
You don't get upset
You don't get upset
You don't get upset
You don't get upset
The first thing that stikes me about this song is of course, the intro in the guitar which is of course preceded by a strong drum beat and bass (which in this case, is also used as a strong, somewhat "percussive, " rhythmic motive). This song immediately is tonally ambiguous, but the guitar has a sort-of V-I figure (think "ti-do"), but modal...there's not really a strong sense of tonality. The bass line is interesting when it enters because (like in most of Vek's music) it's continuous, with it's motives lying purely within the pulse. It basically stays rhythmically driving throughout the song. In many ways its role is more important than any percussion.
The tonality, as previously mentioned, is initially ambiguous with the entering guitar motive...and it stays that way! When the vocal line enters, a tonal center still isn't clearly established...or rather, it isn't as strong as the ear is used to hearing. This is a common theme throughout Vek's music. The vocals are curious because the only time you ever hear anything melodic is in the chorus, or as I've labeled, the B-Section. Other than that one section, Vek "sings" in a speaking-singing style that can probably account for the song's tonal ambiguity. Also, in the B-Section, the guitar keeps the rhythmic motive, but only changes chordally along with the bass.
The beat is extremely strong throughout the song which is why I really relate this to a dance number. Both the 1st and 2nd bridges show this. The first bridge is somewhat subtle, but unlike many rock numbers, lacks both the guitar and bass and just uses a synthesizer and other percussion. The 2nd bridge expands on this and intoduces this pulsating pumping sound created by a synthesizer. This is definately something you'd hear at a club. Both bridges aren't necessarily about establishing or expanding on any tonality, but purely about rhythm.
In terms of the lyrics, Vek's are just very slick, and somewhat modish. I gather that this song is about a young, immature (albeit "douchebag"), 20-something young man who's not willing to be tied down to one person and still wants to play. Hence the "don't get upset, it's not my time yet" and "all these young men obsessed with death." The latter is an interesting concept because the word "death" (according to a long history of music) is often a double entendre. Although, I can't really speak for Vek on the meaning of this particular line, this is just something that came to mind. Despite all this, he's not quite willing to give up whomever he's courting, thus keeping her on a string but unwilling to settle.
The second song is also from the same album and entitled "Nothing But Green Lights." I'm a little angered (again) because I can't post the video directly on the blog (Universal Music Group can kiss my...blog), so click HERE to listen to the song. I apologize and hopefully I will find a better way to ease the situation. PLEASE CLICK ON THE LINK TO LISTEN TO THE SONG, IT'S IMPORTANT. Ehem, okay, here are the lyrics. Sit back, enjoy the video (by clicking on the link!!!!!), and we'll discuss:
Lyrics to Nothing But Green Lights :
I can see your eyes from here
I cant see anything imbetween
Everything i thought i ought to know about you has vanished
Like the snow when the sun comes out
Theres nothing but green lights from here
Nothing but empty roads
You and i gonna drive ourselves outta this town
In a 1989 black mercedes benz
(Bridge)
I can hear your voice from here, girl
And i cant hear no other sound
No need to spend anymore time apart
Thats it
Im not being left out anymore
I gotta hold on whats going on
I've got my foot in the door, so to speak
Theres nothing but green lights from here
Theres nothing but green lights from here
From here
This song is so cool, because you can almost imagine yourself driving (we don't do that in NYC, but just humor me a bit) and not having to stop for traffic, red lights, etc. In other words, "nothing but greenlights from here" is the equivalent of saying "it's all downhill from here." Again, we see this tonal ambiguity that Tom Vek is keen on, making the rhythm that much more driving. The pulse is established by an electronic "wave" of sound. It keeps going in and out. This curious fade and emerge cycle set the rhythm. The mood is very shimmering, almost as if one can see/hear the psychedelic flashing of traffic lights.
Okay, now going back to the tonal ambiguity. Unlike the previous song where some melody could be established, tonality is virtually obsolete here. When the bridge emerges with the FIRST entrance of the guitar (oh my! it's all synth up until this point) it just makes the tonality that much more ambiguous and unstable! But the good ol' bass stays the same, like the last tune.
This is the type of song I listen to when I'm done with a test/audition/something heavy. It's just so positive and great.
Now, listen to these songs again, and hopefully you'll hear some of what I'm talking about.
Sunday, November 9, 2008
Joy Division to the World
If you know me personally, you know that I'm not a big fan of the punk genre that rose to popularity during the late 1970's-80s. I really don't understand why any sort of message of anarchy should overtake musical integrity. Bands like The Sex Pistols are 'well respected' to a certain few, but it's just angry music that lacks thoughtfulness. Despite my opinion (and I apologize for offending anyone), I do believe that one band coming out of this era understood the idea of musical integrity and how it should be kept intact: Joy Division. Unfortunately, they're lumped into this kind of anarchist-driven genre, but they're so much better than that! Ian Curtis' voice, though inherently "imperfect," has character and is more importantly, controlled and melodious. There's no yelling or screaming involved, just pure melody. The first song that I want to talk about happens to be my favorite Joy Division song. It's entitled "Disorder" off the "Unknown Pleasures" album. The video is very boring but it had the best sound quality of any I could find, so I apologize. Anyways, follow along with the lyrics, and enjoy the song:
Lyrics to Disorder :
I've been waiting for a guide to come and take me by the hand,
Could these sensations make me feel the pleasures of a normal man?
These sensations barely interest me for another day,
I've got the spirit, lose the feeling, take the shock away.
(Bridge)
It's getting faster, moving faster now, it's getting out of hand,
On the tenth floor, down the back stairs, it's a no man's land,
Lights are flashing, cars are crashing, getting frequent now,
I've got the spirit, lose the feeling, let it out somehow.
(Bridge)
What means to you, what means to me, and we will meet again,
I'm watching you, I'm watching her, I'll take no pity from your friends,
Who is right, who can tell, and who gives a damn right now,
Until the spirit new sensation takes hold, then you know,
Until the spirit new sensation takes hold, then you know,
Until the spirit new sensation takes hold, then you know,
(Coda Section)
I've got the spirit, but lose the feeling,
I've got the spirit, but lose the feeling.
Feeling, feeling, feeling, feeling, feeling, feeling, feeling.
The music itself is very minimalist and repetitive, but it has all the components of a good song. It starts with a basic drumbeat pattern that alternates between downbeats and offbeats. Right off the bat, you know that this song is going to drive. Then the bass enters with a motive, which is intervalically, very interesting. It's basically stacked 6th intervals (starting out with a minor sixth down, then a major sixth down), with an occasional minor third up (most notably on the first statement of the motive). This is interesting to me because, you don't hear a lot of stacked 6th's in rock music, but hey, anything goes. When the guitar comes in, it somewhat imitates the bass, but instead, it plays an alternating perfect 5th back and fourth, thus separating itself from the motive in the bass. During this introduction, the tonality of the song remains ambiguous (caused by these intervalic motives) until the vocals enter.
One of the things I love about Joy Division is Ian Curtis' voice. After I saw the movie "Control" I compared the voice of the actor who played Ian Curtis to that of the real Ian Curtis. Actually, the actor over perfected Ian Curtis' voice. I didn't like Curtis' voice at first, but it has grown on me. Though his intonation isn't necessarily accurate, his flatness is unique and works well for his style. As a musician, I'm constantly taught that being flat is worse than being sharp, but Ian Curtis is a rare exception to that rule. His voice has a raw, dark, and haunted quality that is one of Joy Division's greatest attributes.
The bridge in this song features the guitar, but I wouldn't necessarily describe it as a guitar solo. It's not very virtuosic, or something that I would describe as soloistic material. In other words, it doesn't really depart tonally or melodically from the rest of the song because it still concentrates on the alternation of intervalic relationships (like the beginning). In this case, the guitar concentrates on the alternation of major and minor 2nds (even using sliding techniques to incorporate both intervals). The guitar even changes placement in the register and moves up a minor 3rd. I believe that this is mainly to cause tension, ultimately leading up to the climax of the song. As discussed in previous posts, these songs keep building and building up to a certain point.
Before the climax, the guitar has what I'd like to call "crunchy" motives that are tonally and rhythmically ambiguous. This tension all leads up to the climax. At that point, the bass completely escapes the tonal direction of the other voices (musical lines), and obviously stands out as this motive that has no tonal relationship to the rest of the voices ("I've got the spirit, don't loose the feeling"). This is an excellent way to say "okay, here's the climactic moment!" In this way, the bassline's chromatic (half step motion) here is totally original from any other song, I've heard. This climax section is more of a coda (ending section) to the end of the song, because it's only introduced at the end and the previous sections are all pretty much tonally and rhythmically the same.
The next song I want to discuss is from the album "Substance." A rather haunting song, it's important to note that Anton Corbijn who directed the movie "Control," directed this video. It's more of a tribute to Ian Curtis than anything (for those of you who don't know, he committed suicide). Watch the vid, read the lyrics, and we'll discuss:
Lyrics to Atmosphere :
Walk in silence,
Don't walk away, in silence.
See the danger,
Always danger,
Endless talking,
Life rebuilding,
Don't walk away.
(Bridge)
Walk in silence,
Don't turn away, in silence.
Your confusion,
My illusion,
Worn like a mask of self-hate,
Confronts and then dies.
Don't walk away.
(Bridge)
People like you find it easy,
Naked to see,
Walking on air.
Hunting by the rivers,
Through the streets,
Every corner abandoned too soon,
Set down with due care.
Don't walk away, in silence,
Don't walk away.
This song is so poignant, powerful, but at the same time, very painful. I really beilieve that the video in this case accurately describes the mood of this song: very bleak, strange, and haunting. Like the last Joy Division song we discussed, the stanzas maintain the same melodic and harmonic nature, but the lyrics themselves are different. The only lyrical material that comes back is "don't walk away, in silence." Even though the stanzas pretty much remain the same, the singing material plays around a little bit, embellishing on the line, making it different from the previous stanza. Both bridges are interesting because they both seem to electronically blossom via synthesizer out of these dark lyrics, being the only colorful/hopeful thing about this sad song.
The lyrics themselves are not necessarily direct, but one can tell that it evokes the "atmosphere" of someone going through something quite heavy. I suggest you read about Ian Curtis to completely understand what can be seen in these lyrics. I imagine that these lyrics might be about someone who lacks a backbone to approach necessary confrontation (whether to a particular person or life in general). This lack of confidence obviously hinders him, and when he finally does confront what he loves, he's afraid that this one thing will leave him.
The way Ian Curtis sings in this song is so haunting. You can literally hear is voice crack, almost as if holding back tears in the last stanza of the song. He almost seems angry and jealous at one point when stating the lyrics "People like you find it easy, etc." It's heartbreaking. His unique flatness is extremely apparent here, but it's imperfect nature is what is so painful/beautiful about his voice and this song.
Anywho, this is all I can manage for now. Lots o' material. Listen to the songs again, think about what we've discussed, and see if any of it makes sense to you.
p.s. I WANT YOUR COMMENTS. I really want to know what you get out of these songs. I get sick of my own opinions.
Lyrics to Disorder :
I've been waiting for a guide to come and take me by the hand,
Could these sensations make me feel the pleasures of a normal man?
These sensations barely interest me for another day,
I've got the spirit, lose the feeling, take the shock away.
(Bridge)
It's getting faster, moving faster now, it's getting out of hand,
On the tenth floor, down the back stairs, it's a no man's land,
Lights are flashing, cars are crashing, getting frequent now,
I've got the spirit, lose the feeling, let it out somehow.
(Bridge)
What means to you, what means to me, and we will meet again,
I'm watching you, I'm watching her, I'll take no pity from your friends,
Who is right, who can tell, and who gives a damn right now,
Until the spirit new sensation takes hold, then you know,
Until the spirit new sensation takes hold, then you know,
Until the spirit new sensation takes hold, then you know,
(Coda Section)
I've got the spirit, but lose the feeling,
I've got the spirit, but lose the feeling.
Feeling, feeling, feeling, feeling, feeling, feeling, feeling.
The music itself is very minimalist and repetitive, but it has all the components of a good song. It starts with a basic drumbeat pattern that alternates between downbeats and offbeats. Right off the bat, you know that this song is going to drive. Then the bass enters with a motive, which is intervalically, very interesting. It's basically stacked 6th intervals (starting out with a minor sixth down, then a major sixth down), with an occasional minor third up (most notably on the first statement of the motive). This is interesting to me because, you don't hear a lot of stacked 6th's in rock music, but hey, anything goes. When the guitar comes in, it somewhat imitates the bass, but instead, it plays an alternating perfect 5th back and fourth, thus separating itself from the motive in the bass. During this introduction, the tonality of the song remains ambiguous (caused by these intervalic motives) until the vocals enter.
One of the things I love about Joy Division is Ian Curtis' voice. After I saw the movie "Control" I compared the voice of the actor who played Ian Curtis to that of the real Ian Curtis. Actually, the actor over perfected Ian Curtis' voice. I didn't like Curtis' voice at first, but it has grown on me. Though his intonation isn't necessarily accurate, his flatness is unique and works well for his style. As a musician, I'm constantly taught that being flat is worse than being sharp, but Ian Curtis is a rare exception to that rule. His voice has a raw, dark, and haunted quality that is one of Joy Division's greatest attributes.
The bridge in this song features the guitar, but I wouldn't necessarily describe it as a guitar solo. It's not very virtuosic, or something that I would describe as soloistic material. In other words, it doesn't really depart tonally or melodically from the rest of the song because it still concentrates on the alternation of intervalic relationships (like the beginning). In this case, the guitar concentrates on the alternation of major and minor 2nds (even using sliding techniques to incorporate both intervals). The guitar even changes placement in the register and moves up a minor 3rd. I believe that this is mainly to cause tension, ultimately leading up to the climax of the song. As discussed in previous posts, these songs keep building and building up to a certain point.
Before the climax, the guitar has what I'd like to call "crunchy" motives that are tonally and rhythmically ambiguous. This tension all leads up to the climax. At that point, the bass completely escapes the tonal direction of the other voices (musical lines), and obviously stands out as this motive that has no tonal relationship to the rest of the voices ("I've got the spirit, don't loose the feeling"). This is an excellent way to say "okay, here's the climactic moment!" In this way, the bassline's chromatic (half step motion) here is totally original from any other song, I've heard. This climax section is more of a coda (ending section) to the end of the song, because it's only introduced at the end and the previous sections are all pretty much tonally and rhythmically the same.
The next song I want to discuss is from the album "Substance." A rather haunting song, it's important to note that Anton Corbijn who directed the movie "Control," directed this video. It's more of a tribute to Ian Curtis than anything (for those of you who don't know, he committed suicide). Watch the vid, read the lyrics, and we'll discuss:
Lyrics to Atmosphere :
Walk in silence,
Don't walk away, in silence.
See the danger,
Always danger,
Endless talking,
Life rebuilding,
Don't walk away.
(Bridge)
Walk in silence,
Don't turn away, in silence.
Your confusion,
My illusion,
Worn like a mask of self-hate,
Confronts and then dies.
Don't walk away.
(Bridge)
People like you find it easy,
Naked to see,
Walking on air.
Hunting by the rivers,
Through the streets,
Every corner abandoned too soon,
Set down with due care.
Don't walk away, in silence,
Don't walk away.
This song is so poignant, powerful, but at the same time, very painful. I really beilieve that the video in this case accurately describes the mood of this song: very bleak, strange, and haunting. Like the last Joy Division song we discussed, the stanzas maintain the same melodic and harmonic nature, but the lyrics themselves are different. The only lyrical material that comes back is "don't walk away, in silence." Even though the stanzas pretty much remain the same, the singing material plays around a little bit, embellishing on the line, making it different from the previous stanza. Both bridges are interesting because they both seem to electronically blossom via synthesizer out of these dark lyrics, being the only colorful/hopeful thing about this sad song.
The lyrics themselves are not necessarily direct, but one can tell that it evokes the "atmosphere" of someone going through something quite heavy. I suggest you read about Ian Curtis to completely understand what can be seen in these lyrics. I imagine that these lyrics might be about someone who lacks a backbone to approach necessary confrontation (whether to a particular person or life in general). This lack of confidence obviously hinders him, and when he finally does confront what he loves, he's afraid that this one thing will leave him.
The way Ian Curtis sings in this song is so haunting. You can literally hear is voice crack, almost as if holding back tears in the last stanza of the song. He almost seems angry and jealous at one point when stating the lyrics "People like you find it easy, etc." It's heartbreaking. His unique flatness is extremely apparent here, but it's imperfect nature is what is so painful/beautiful about his voice and this song.
Anywho, this is all I can manage for now. Lots o' material. Listen to the songs again, think about what we've discussed, and see if any of it makes sense to you.
p.s. I WANT YOUR COMMENTS. I really want to know what you get out of these songs. I get sick of my own opinions.
Wednesday, November 5, 2008
The Genius of Wolf Parade Cont'd
So, I don't want to be too repetitive on this blog, but I think Wolf Parade is just too important to not discuss. I don't think anyone realizes how amazing but overlooked this band is. I'm so incredibly eager to share their music to everyone. It's so satisfying and substantive, and these next two songs are probably their trade marks (at least off of the "Apologies to Queen Mary" album). The first song I want to share is probably their most famous song, "I'll Believe in Anything." Though it's not my personal favorite song off the album, it's truly remarkable and deserves all the credit it gets. Sit back, listen, follow the lyrics/watch the vid if you must, but most importantly, let it take your breathe away.
Lyrics to I'll Believe In Anything :
Give me your eyes
I need sunshine
Give me your eyes
I need sunshine
Your blood
Your bones
Your voice
and your ghost
We've both been very brave
Walk around with both legs
Fight the scary day
We both pull the tricks out of our sleeves
but I'll believe in anything
and you'll believe in anything
said I'll believe in anything
and you'll believe in anything
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd take you where nobody knows you
And nobody gives a damn
said nobody knows you
and nobody gives a damn
and I could take another hit for you
and I could take away your trips from you
and I could take away the salt from your eyes
and take away the spitting salt in you
and I could give you my apologies
by handing over my neologies
and I could take away the shaking knees
and I could give you all the olive trees
oh look at the trees and look at my face and look at a place far away from here
Give me your eyes
I need sunshine
Give me your eyes
I need sunshine
Your blood
Your bones
Your voice
and your ghost
We've both been very brave
Walk around with both legs
Fight the scary day
We both pull the tricks out of our sleeves
but I'll believe in anything
and you'll believe in anything
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd take you where nobody knows you
And nobody gives a damn
I said nobody knows you
and nobody gives a damn
I said nobody knows you
and nobody gives a damn either way
About your blood
your bones
your voice
and ghost
because nobody knows you
and nobody gives a damn either way
and now I'll believe in anything
Wow, powerful much? I'm going to try and not say too much about this song, because I think it's powerful nature speaks for itself. It starts off with this simple triadic figure in the synthesizer. This triadic figure outlines C major which to me is such an great choice for this song. It's the simplest of keys, but yet, WP is able to build so much momentum that it inevitably overtakes you. Like in true WP musical nature, it starts out simple with the outlining of a C Major triad, and then the layering happens. By the end there's just this one huge wall of percussive, building, sublime sound. The pulse never changes, but the number of voices (music lines within the song) add, subtract, and change.
The lyrics are actually not too obscure, even for Spencer Krug who's known for his poetic strengths. I think it's not to far off to assume that these lyrics describe desperately needing someone's physical presence when it's impossible (even going as far as needing their "ghost"). The music inevitably reflects that with its drive and build. The lyrics are repetitive (especially the "give me your eyes" chorus) but each time the lyrics are stated, the music gets more intense, more agitated, more different and thus you can really feel the intense passion and longing that the words represent. By the end of the song, the repetitive lyrics are so exhausted that the guitar and drums are just hammering away...but continues to draw the listener until it comes to an abrupt end, which in my mind, is the only right way to end this anthem. Now listen again and see if any of this makes any difference to you.
The second song to be discussed happens to be my personal favorite. It's a Dan Boeckner song that is the ultimate upper/downer (will discuss the lyrics in a bit). I can literally listen to this song ad naseum, and with each listen it gets better. Truly rocktastic. Give it a listen:
Lyrics to Shine A Light :
(Guitar Intro in Octaves)
(A-Section)
I keep my head up tight
I know my plans at night
And I don't sleep I don't sleep I don't sleep 'til it's light
Some folks float some are buried alive
There is an awful sound
This haunted town
It will not it will not it will not just be quiet
Some ghosts sink some will get called to the light
(a-Section)
I spend boring hours in the office tower
In a bus on a bus back home to you and
That's fine I'm barely alive
It's just a matter of time
No one gets out alive
And I'm content, I'm content, I'm content to be quiet
Some will sink some will get called to the light
(B-Section)
You know our hearts beat time out very slowly
You know our hearts beat time they're waiting for something that'll never arrive
You know our hearts beat time out very slowly
You know our hearts beat time they're waiting for something that'll never arrive
(A-Section, pretty much)
I keep my head up tight
I make my plans at night
And I don't sleep I don't sleep I don't sleep 'til it's light
Some folks float and some are buried alive
With our little boots, we built another world
Gonna chain, chain, chain, chain, chain, chain to the light
That's fine our blood is alive
(B-Section, pretty much)
You know our hearts beat time out very slowly
You know our hearts beat time they're waiting for something that'll never arrive
The reason I like this song so much is simple: I can bounce around to it. Again, we see this repetitive nature in WP that is so interesting and fun to me. The form is basically AaBAB (the capital letters meaning much same lyrics, harmonies, etc., lower case meaning same harmonies, different lyrics). When the guitar first starts out, it just plays continuous octaves. The ear isn't really able to discern the key of the song until the Vocals, synthesizer, and percussion come in. At that point, the guitar kind of drops out of the main precedence but still provides the necessary rhythmic drive and harmony. Off beats (weakbeats), especially in the second statement of the A section, are given a lot of care and importance which is pretty ballsy, rather than just feeling a strong downbeat pulse for the entirety of the song. Though the musical layering isn't quite as apparent as in "Modern World" or "I'll Believe in Anything," voices are still added in repetitive stanzas (for example the oohh-ing in the second statement of A). I really believe that WP uses this to not only make a repetitive stanza more interesting, but to build intensity without really making a conscious effort to change the volume persay. The end just goes into this music romp in which no key is discernable, coming to a rather abrupt but expected end.
In terms of the lyrics, they're a bit obscure, and granted I'm not a poetic junkie. However, I believe this to be a positive "sounding" song with negative undertones. To me, the lyrics are about a person who is obviously unhappy with their life/job situation, but has to go about his mundane day putting on a mask of confidence (????). He's/she's just letting the time pass by slowly and waiting for change to come, even though they know that chances of any change are bleak. In its own way, waiting for something positive that may never happen is a hopeful sentiment, but that's a discussion that I won't delve into in a music blog. Again, these are my own interpretations, and I'm eager to hear your thoughts. Anyways, this song is so balls to the walls and I will probably never get sick of it. Like always, take another listen and see if these ideas have any bearing.
If you don't like this song, I'm pretty sure you're a boring person.
Lyrics to I'll Believe In Anything :
Give me your eyes
I need sunshine
Give me your eyes
I need sunshine
Your blood
Your bones
Your voice
and your ghost
We've both been very brave
Walk around with both legs
Fight the scary day
We both pull the tricks out of our sleeves
but I'll believe in anything
and you'll believe in anything
said I'll believe in anything
and you'll believe in anything
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd take you where nobody knows you
And nobody gives a damn
said nobody knows you
and nobody gives a damn
and I could take another hit for you
and I could take away your trips from you
and I could take away the salt from your eyes
and take away the spitting salt in you
and I could give you my apologies
by handing over my neologies
and I could take away the shaking knees
and I could give you all the olive trees
oh look at the trees and look at my face and look at a place far away from here
Give me your eyes
I need sunshine
Give me your eyes
I need sunshine
Your blood
Your bones
Your voice
and your ghost
We've both been very brave
Walk around with both legs
Fight the scary day
We both pull the tricks out of our sleeves
but I'll believe in anything
and you'll believe in anything
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd share a life and you'd share a life
If I could take the fire out from the water
I'd take you where nobody knows you
And nobody gives a damn
I said nobody knows you
and nobody gives a damn
I said nobody knows you
and nobody gives a damn either way
About your blood
your bones
your voice
and ghost
because nobody knows you
and nobody gives a damn either way
and now I'll believe in anything
Wow, powerful much? I'm going to try and not say too much about this song, because I think it's powerful nature speaks for itself. It starts off with this simple triadic figure in the synthesizer. This triadic figure outlines C major which to me is such an great choice for this song. It's the simplest of keys, but yet, WP is able to build so much momentum that it inevitably overtakes you. Like in true WP musical nature, it starts out simple with the outlining of a C Major triad, and then the layering happens. By the end there's just this one huge wall of percussive, building, sublime sound. The pulse never changes, but the number of voices (music lines within the song) add, subtract, and change.
The lyrics are actually not too obscure, even for Spencer Krug who's known for his poetic strengths. I think it's not to far off to assume that these lyrics describe desperately needing someone's physical presence when it's impossible (even going as far as needing their "ghost"). The music inevitably reflects that with its drive and build. The lyrics are repetitive (especially the "give me your eyes" chorus) but each time the lyrics are stated, the music gets more intense, more agitated, more different and thus you can really feel the intense passion and longing that the words represent. By the end of the song, the repetitive lyrics are so exhausted that the guitar and drums are just hammering away...but continues to draw the listener until it comes to an abrupt end, which in my mind, is the only right way to end this anthem. Now listen again and see if any of this makes any difference to you.
The second song to be discussed happens to be my personal favorite. It's a Dan Boeckner song that is the ultimate upper/downer (will discuss the lyrics in a bit). I can literally listen to this song ad naseum, and with each listen it gets better. Truly rocktastic. Give it a listen:
Lyrics to Shine A Light :
(Guitar Intro in Octaves)
(A-Section)
I keep my head up tight
I know my plans at night
And I don't sleep I don't sleep I don't sleep 'til it's light
Some folks float some are buried alive
There is an awful sound
This haunted town
It will not it will not it will not just be quiet
Some ghosts sink some will get called to the light
(a-Section)
I spend boring hours in the office tower
In a bus on a bus back home to you and
That's fine I'm barely alive
It's just a matter of time
No one gets out alive
And I'm content, I'm content, I'm content to be quiet
Some will sink some will get called to the light
(B-Section)
You know our hearts beat time out very slowly
You know our hearts beat time they're waiting for something that'll never arrive
You know our hearts beat time out very slowly
You know our hearts beat time they're waiting for something that'll never arrive
(A-Section, pretty much)
I keep my head up tight
I make my plans at night
And I don't sleep I don't sleep I don't sleep 'til it's light
Some folks float and some are buried alive
With our little boots, we built another world
Gonna chain, chain, chain, chain, chain, chain to the light
That's fine our blood is alive
(B-Section, pretty much)
You know our hearts beat time out very slowly
You know our hearts beat time they're waiting for something that'll never arrive
The reason I like this song so much is simple: I can bounce around to it. Again, we see this repetitive nature in WP that is so interesting and fun to me. The form is basically AaBAB (the capital letters meaning much same lyrics, harmonies, etc., lower case meaning same harmonies, different lyrics). When the guitar first starts out, it just plays continuous octaves. The ear isn't really able to discern the key of the song until the Vocals, synthesizer, and percussion come in. At that point, the guitar kind of drops out of the main precedence but still provides the necessary rhythmic drive and harmony. Off beats (weakbeats), especially in the second statement of the A section, are given a lot of care and importance which is pretty ballsy, rather than just feeling a strong downbeat pulse for the entirety of the song. Though the musical layering isn't quite as apparent as in "Modern World" or "I'll Believe in Anything," voices are still added in repetitive stanzas (for example the oohh-ing in the second statement of A). I really believe that WP uses this to not only make a repetitive stanza more interesting, but to build intensity without really making a conscious effort to change the volume persay. The end just goes into this music romp in which no key is discernable, coming to a rather abrupt but expected end.
In terms of the lyrics, they're a bit obscure, and granted I'm not a poetic junkie. However, I believe this to be a positive "sounding" song with negative undertones. To me, the lyrics are about a person who is obviously unhappy with their life/job situation, but has to go about his mundane day putting on a mask of confidence (????). He's/she's just letting the time pass by slowly and waiting for change to come, even though they know that chances of any change are bleak. In its own way, waiting for something positive that may never happen is a hopeful sentiment, but that's a discussion that I won't delve into in a music blog. Again, these are my own interpretations, and I'm eager to hear your thoughts. Anyways, this song is so balls to the walls and I will probably never get sick of it. Like always, take another listen and see if these ideas have any bearing.
If you don't like this song, I'm pretty sure you're a boring person.
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