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.