To hold you over

Sorry that I've been a bit behind in posting new reviews...my next one should be up in a few days, but until then, enjoy this little gem I discovered.  The video isn't much, but the song is really neat.

Going With the Flo

I usually write about music that I like that nobody knows, or very few people know.  There is so much good quality music out there that is being ignored by the masses, and I’ve made it my job to present the internet public with my opinions on it, as it appears in my iTunes library in alphabetical order.  That trend sort of continues with the letter F, yet this is a band that has already gotten some moderate-level recognition in the States, and COULD possibly get more attention.  This is Florence and the Machine.

Florence Welch and her session musicians (called the Machine) released their debut disc Lungs in the UK in the summer of 2009.  It wasn’t until over a year later that they made their mark on the States, first with their music featured in the trailer for Eat, Pray, Love, and (rightfully) stealing the show at the 2010 MTV VMAs.  Since then, the public ands media appearances still occur, but not to the extent of more popular but less talented “stars” who thrive more on gimmicks.

So do Flo and her Machine deserve more mainstream attention?  Is Lungs an album full of audible art, or is it just not catchy or commercial enough to tussle with the perceived “big guns”?  And no, that was not a direct reference to Katy Perry’s whipped cream-vomiting bra.  Not really.

“Dog Days Are Over,” We open the album with the song that was used in the aforementioned Pray trailer, and the song that inspired a VMA performance that made Justin Bieber, Katy Perry, et al look like a bunch of circus rejects that failed to make the list of Water For Elephants extras.  The lilting ukulele, tambourine-infused cadence, and rich vocals against a production that made it sound like it was recorded in Westminster Abbey give the song a very majestic feel, and I really love the chorus of “Run fast for you mother, run fast for you father/Run for your children/For you sisters and brothers.”  A very energetic and uplifting tune.  Grade: A+.

“Raise it Up (Rabbit Heart),” This song has a bit of an 80s, Human League-type feel, with the synth and piano and vigorous snare drum cadence.  Flo’s voice gets a little lost in the production during the chorus, but it’s still a cool song.  Grade: B+

“I’m Not Calling You a Liar,” The slow, flowing hand-clapping beat is enough to get you swaying, and the subtle use of the harp make me feel like I’m listening to this song in a forest straight out of Stardust.  You think she’d make a video for this song and use Robert DeNiro dressed in drag?  No? Grade: A-

“Howl,” This is a song that sounds like it could have been used in Red Hiding Hood…*chorus of boos*….kidding!  I’m kidding!  This song is above that trite of a film.  The eerie piano chords that kick in after a few seconds and stay throughout the song, coupled with the violin cadence, sounds just flat-out cool, and Flo basically, well, howls the chorus.  The live versions I’ve heard show cracks in Flo’s vocal armor, but the sound is just as big and bold, and the song is still a highlight of her shows.  Grade: A

“A Kiss With a Fist,” Flo has stated that this song is not about domestic violence, but the lyrics seem to suggest otherwise.  I mean, seriously…black eyes, beds on fire, kicking and slapping?  Yeesh.  I guess you could take it to mean that the relationship portrayed in the song thrives on violence and is at least not boring and dead, but that does not make it any less disturbing.  And the punk-like arrangement seems somewhat fitting for the lyrics. Grade: B

“Girl With One Eye,” This musical tale of revenge really showcases what Flo’s voice is capable of.  It’s mournful, scheming and blues-y, yet soulful at the same time.  Flo’s voice shows great range and nuances that are a little more covered-up in the other songs on the album, and that wail on “Cryyyyyyyyyyyyy!!”?  Rich and gorgeous.  Best song on the album. Grade: A+

“Drumming Song,” There is a lot of drumming here.  Literally and lyrically.  Those pounding tympanis are really resonant and overpower Flo in a few spots.  The repetitiveness of the chorus gets a little grating, but it’s a nice song, nonetheless. Grade: B

“Between Two Lungs,” I love how the choir in the background gradually swells throughout the song, especially when matched with an alternating tempo of djimbe, tambourine and hand-claps.  I hear a little She & Him influence in this song, and I like that. Grade: A

“Cosmic Love,” Another movie trailer song, as this one was used heavily in the Water for Elephants trailer, among TV promos for The Office, The Vampire Diaries, etc.  The harp, the tympanis, the keyboards…all of it comes together to form this gorgeous, space-like symphony that can be used as a majestic anthem for any big, momentous occasion.  The second-best on the album. Grade: A+

“My Boy Builds Coffins,”  From the majestic to the dark.  This song is, of course, about a coffin maker/undertaker.  It’s much more low-key and quiet, and the way Flo sings about making coffins for him, her, and the listener is spine-tingling and creepy.  And I think the point of this song is to remind us that death is inevitable for everyone.  Good to know.  Grade: B+

“Hurricane Drunk,” It seems that this song is the token drinking song on a British album.  Though the lyrics seem to subtly portray the setting of Mardi Gras, and the subject goes on a major Hurricane binge after seeing her boyfriend with another girl among the massive throngs of party-goers.  The tempo is a nice mid-tempo groove, and Flo’s voice, though not magnificent, powers nicely through it. Grade: B+

“Blind,” We go back to another big, anthemic song, though this one is much more ethereal and minor-key.  The violin riffs are really cool, but the rest of the song drags a little in places.  Grade: B

“You Got the Love,”  This is a cover of a song by 70s singer Candi Staton, and while it’s a nice, uplifting closer for the album, it also seems slightly out of place, as many of the elements that are showcased in the rest of the album are absent here.  Flo does, however, use more of her upper register and conquer the lyrics with gusto, but I think this song would have been put to better use in the middle of the album instead.  Grade: B.

And there you have it!  Lungs is one of my favorite albums of last year, and while I get excited to see it used in the mainstream media in one way or another, I do remain cautiously optimistic.  If the band does take off and become really well-known, I hope it doesn’t dumb down their music into commercial fluff crap.  It just needs to go with the Flo and let them be.

Recommended Tracks: "Cosmic Love," "Girl With One Eye," "Between Two Lungs," "Dog Days Are Over," "Howl"

Until next time....Long live the harp

Super (Beautiful) Freak

I’ve been in quite a freaky mood lately (Heads out of the gutter….I don’t meant that!!).  I just finished a manga series about a freaky notebook owned by freaky death gods that kills people. Now I’m reading Water for Elephants, with its freaky animals (a horse with a tail where its head should be! Auuuggghhh!!!) and freaky bearded people.  Yet while my eyes are looking at these words and pictures of freaks, my ears yearn to participate in the show.  They long to get their freak on and experience these things that my eyes are snottily keeping from them.  To remedy that, I give them Beautiful Freak, the 1996 album by E (aka Mark Oliver Everett) and his indie band, The Eels (stylized as eels).

This is the band’s third set, and if the album cover art is any indication, then we are in for hopefully some of the freakiest sounds to ever come out of plastic and silicone and brush up against my eardrums.  So let’s not waste any time….let’s explore the Beautiful Freak.  And let’s take a drink for the number of times I’ve already used a variation of the word “freak”.

“Novocaine for the Soul,” We start of with a track that has a nice little mid-tempo groove and a neat, ethereal synthesizer mix to it.  The song talks about needing things to numb yourself and get away from the stresses of life, and the feel-good vibe it has seems appropriate.  Either that or it’s a subliminal message to off yourself completely.  Grade: B+.

“Susan’s House,” The only sung lyrics in this song are the ones in the chorus.  The verses are just E talking and describing things he’s seeing in different neighborhoods as he goes to his girlfriend’s house.  It’s a pretty simple song, but the structure of the lyrics, coupled with the cool piano riffs make this one of the best on the album.  Grade: A-.

“Rags to Rags,” This is a song that relates to a lot of current events, as the songs narrator tells of his financial hardships and losing his wealth.  The menacing guitar riff and slow build at the beginning are neat, and when the band kicks in full gear, the track turns into a good car jammer.  Grade: B+.

“Beautiful Freak (Drink!),” The title track is a haunting, gorgeous song about loving and accepting someone for their differences.  It’s a wonderful social commentary that’s lyrically simple and straightforward.  The keyboard and synth work create a lullaby-like atmosphere, and E croons softly and smoothly to the object of his affection, despite how freaky (Drink!) she really is.  Another highlight.  Grade: A.

“Not Ready Yet,” We go back to the edgier, electric guitar-laden sound and pounding drums.  I’ve read that this song is about E’s sister, who suffered from depression and/or agoraphobia and how she struggled with doing day-to-day activities.  It’s a song that’s appropriate for lounging around on a rainy day, but may also be to depressing considering the subject matter.  Grade: B+

“My Beloved Monster,” We now come to the band’s most well-known song.  For anyone not living under a rock, “My Beloved Monster” was used in the first Shrek movie. And appropriately so…it’s basically a great little buddy song with a jaunty guitar riff and cute lyrics.  It’s also the shortest song on the album.  Viva Shrek!  Grade: A-.

“Flower,” This is a slow-tempo song with a drum cadence that you can still bop along to and a simulated choir in the background that adds an uplifting element to an otherwise depressing tune.  The subject is paranoia, and E mourns the fact that everyone is against him and out to get him and basically make him feel like a freak (Drink!).  A solid track, though it fades into the background.  Grade: B.

“Guest List,” Like “Beautiful Freak” (Drink!), this song also deals with acceptance.  The subject is wondering if he’s doing all the right things in order to be included and be on the “guest list.”  The tempo drags a little, and the guitar riff isn’t the most interesting, but the overall message of the song is still important.  Grade: B.

“Mental,” The bass line and guitar work really well with the sarcasm in E’s voice.  The subject is frustrated and confused with not knowing the truth (of what?), and the aggressive arrangement of the song marries well with the lyrical content.  Another good song to jam to in the car.  Grade: B+.

“Spunky,” The lyrics are cryptic and give many ideas as to who Spunky is (Sister?  Girlfriend?  Pet Affenpinscher?) and what she’s trying to do.  This is a very piano-keyboard heavy track with a nice, flowing 6/8-time rhythm and a very soft overall feel.  It’s short, yet sweet.  Grade: B+.

“Your Lucky Day in Hell,” This song is choc-full of freaks (Drink!).  From a Winston Churchill dressed in drag to a Father Theresa, you really never can tell who’ll be at your doorstep, as the song suggests.  The arrangement has sort of a sixties-seventies influence, and E’s voice has a cool echo-y sound.  Probably the most sonically creative song on the album.  Grade: A.

“Manchild,” What a beautiful way to end the album.  Everything about this song is gorgeous, from the slow, lilting arrangement, to the positive, uplifting lyrics of reassurance, to the snippet of a phone call from E’s sister…it’s a sad song, yet a great one to listen to on a really bad day…especially if you’ve gotten sick from all the drinking at the mention of the word “freak” (oops…Drink agai…eh, not to this song).  Grade: A.

And there you have it!  A very solid sonic effort from the band.  Also an important album to listen to if you’re an advocate of inclusion and other social and mental issues.  While it got some minor to moderate attention in the mid-nineties, many strong songs still managed to go under the radar.  So check it out, and find out if you are indeed a Beautiful Freak (Drink!).

Recommended Songs: “Susan’s House,” “Beautiful Freak,” “Your Lucky Day in Hell,” “My Beloved Monster,” “Manchild.”

Until next time…Long live Sprite (That’s what I drank.  Ha ha.)

Let's Get Rich!

I've always loved this chick's music, but this song really takes the cake.  This is a fan video set to one of the greatest musical gems I've discovered thus far this year (and maybe EVER).

Like one commenter said....Why is Miley Cyrus more famous than her?!?!?

Forget Disgruntled Postmen…How’s About a Disgruntled Sailor?

Uggggghhhhh….stupid s’mores.  I ate so many last week that I tried to walk it all off this week.  I got some good workouts in, but I also got some really sore hips.  Add in the fact that I'm running on 4 hours of sleep, and I’m a total bum today with not much energy.

“Oh, but you can’t be a bum, Tiger!” you say.  “You have a job to do!  You have to sit around and listen to really weird music that nobody’s ever heard of, and you have to convince us that it’s really really really awesome and the bestest stuff we’ve ever heard, and if we don’t listen to it, the universe will implode, and….and…”

Ok, you all probably didn’t just say that.  At least I hope not.  But I’m sure that many of you are thinking I’m not going to have something ready for you to read since all I want to do is relax and refuel.  Though while I’m not much of a multitasker, I’m still able to both relax and listen to a band that is alphabetically next in line and also produces music that doesn’t always require me to get up and do the Running Man.  That band, my friends, is Colin Melloy’s Baroque-pop band The Decemberists and their 2005 story-song album Picaresque.

So enough of my whiny rambling….let’s roll.

The Infanta:  Ooh, coyotes!  I’m really loving the blend of the piano, organ, and percussion here.  The Cavalry-like rhythm and cadence give it a great bounce and make me feel like I’m riding a horse.  Grade:  A-

We Both Go Down Together:  This mid-tempo track tells a very Wuthering Heights-ish tale of star-crossed lovers, set to pounding drums, subtle piano, and a light, yet somewhat wistful violin riff.  While the subject is a bit morose, the music has a curious little toe-tapper quality.  Grade:  B

Eli, The Barrow Boy:  Dear Lord, this is depressing….more death!  First Eli’s lady love is dead (murder? Suicide?)  and then Eli himself is found dead (murder?  Suicide?)….and then, in the last verse, he’s a ghost pushing his wheelbarrow!  Creepers!  The guitar with the very soft accordion in the background does a brilliant job of bringing out just how truly sad this situation really is.  I love it, yet at the same time, I’m getting the urge to go jump off a bridge.  Grade:  A

The Sporting Life:  Ahh, finally, we go to something a bit more humorous!  Well, at least the percussion and bass work give it that funny, quirky feel.  However, getting humiliated on the football field is really no laughing matter, especially if your coach and family have such high hopes like this song suggests.  Still though, Colin Melloy’s voice works well as the failed athlete.  Grade:  B+

The Bagman’s Gambit:  Yet another star-crossed lovers tale, but I think government espionage is involved in this one.  The guitar riff is nice, but starts to drag a little fairly early in the song.  Finally, two minutes in, the rest of the band kicks in and juices everything up for a few seconds before going back to just the guitar.  This goes on for a little while before letting a great string section take over on the bridge, transitioning to a big cacophony of sounds, and finally back to just the guitar.  With the lyrics the up-and-down playing of the band is well-done, but at times it feels like it goes on for way too long.  Grade:  B-/C+

From My Own True Love:  More lost love….this time, a ship supposedly went down, and the subject is waiting to see if he gets a letter from his wife who was supposed to be traveling on it.  The melancholy nature of the man’s yearning blends gorgeously in with the guitar, tympanis, and mandolin.  Grade:  B+

16 Military Wives:  This isn’t so much a story-song as it is a war protest song.  Though the topic is pretty controversial, the beat and chorus are insanely catchy, and Colin’s use of numbers throughout the songs lyrics is pretty genius.  I also love the balance of drums, tambourine, horns, and organ on the bridge.  The best song on the album.  Grade:  A+

The Engine Driver:  What’s cool about this song is the way that the snare drums and guitar play off other to create a subtle train-like sound.  The female backing vocals really help enhance the chorus, and the accordion is a nice touch.  Grade:  B

On The Bus Mall:  Right from “Engine Driver” we segue into the next track, about two male prostitutes in Portland (!!!) using the public transit system to, um, do business.  Colin’s guitar work is heavily featured here, as is some great rim percussion work.  It’s the type of song that, while long, is one you can just sit on your bed listening to on a quiet afternoon.  Grade:  A

The Mariner’s Revenge Song:  And now we get to the song that inspired this article’s title.  Oh, this is a fun one.  Basically, the subject is telling a fellow sailor, whom he is trapped with in the belly of a whale (not sure if that literally or figuratively) the story of how this guy was taken in by the narrator’s mom, only to completely screw her over.  As he relives his mother’s situation, the female band member briefly takes over as the mother and tells her son to go get revenge in very graphic and gruesome ways.  While the narrator is telling his “friend” the story, his tone becomes increasingly creepy and obsessed with revenge, and the song ends just before he can finish him off and become vindicated.  While all this is going on in the lyrics, accordion and tambourine accompany, and make me want to do a Russian folk dance.  And I don’t mean that as a bad thing.  Grade:  A+

Of Angels and Angles:  The last song is a stark contrast to the long, raucousness of the previous track.  This one is short, soft, and only has some acoustic finger-picking.  And yes, lyrically, it’s about yet more death and suicide.  Whee.  Grade:  B+

And there you have it.  Considering the many songs about death, one would think this album was just a flat-out downer.  However, there are enough up-tempo tracks to keeps a little variety in the album, and even the depressing songs have some really beautiful elements.  But really….it’s a great album worth checking out, especially if you like hearing unique instruments tied in with more traditional ones.

Recommended Songs:  “16 Military Wives,” “On The Bus Mall,” “Eli, The Barrow Boy,” “The Mariner’s Revenge Song,” “The Infanta”

Until next time…..long live sore hips and ticked-off sailors

Stromata: Jungle Dancing, Milk Jugs, and a Bunch of Pills

Hi kids.  Are you in the mood for some s’mores?  I sure am.  Oh, but not just because I long for the feel of smooth, velvety chocolate.  Not because I have a carnal hunger for billowy, fluffy marshmallows.  Not because I know my body will be satisfied with the sweetness and semi-healthiness of graham crackers.  And certainly not because I want to see a bunch of mindless Greek pledges and middle schoolers try to egg each other on in a game of Chubby Bunny.

 No, I mainly want some s’mores because I feel like sitting around a campfire and telling you all a story.  A story of hope, rejection, and redemption.  A story of underappreciation and recognition.  A story of a fair musical maiden by the name of Charlotte Martin.

Before going into the music industry, Charlotte competed in the Miss Teen USA pageant, then went to Eastern Illinois University to study opera and vocal performance….

OMG!  Did you hear that, Music Industry?!  An artist that actually knows a lot about music!  Sacre bleu!  Que horror!  Hoe afschuwelijk!  Oh il mio dio!! Oh mein Gott!! OH ο Θεός μου!  哎呀!

Anyhoo, after graduation, she moved to Los Angeles and began writing albums and EPs independently, before signing with RCA Records in 2002.  While RCA released one of the EPs shortly after her signing, they pretty much messed around and “sat on me”  (according to one interview) until late 2004, when her first full-length album, titled On Your Shore, was released.

Of course, Charlotte isn’t the only artist that RCA and Clive “The Dinosaur” Davis has screwed the pooch with, but that’s for another article down the road.

Charlotte left RCA in 2005,  just before touring to promote 2 EPs she had written in preparation for her second full-length album, Stromata.  She signed with Dinosaur Fight Records in early 2006 and released Stromata in September.  Since then, she and husband Ken Andrews own their own label, where Charlotte continues to write, record, and produce her own music.  While her foray into the mainstream music world was brief, she still continues today to bring new and interesting music to fans and music lovers all over the world.

I discovered Charlotte’s music 2 years ago with On Your Shore, and subsequently purchased Stromata plus several extra songs.   Between the 2 albums, I was at a loss as to which one to review.  On Your Shore, though controlled more by The Dinosaur and his minions, was a very solid effort with great acoustic piano material and a very Tori-meets-Sarah sound.  However, after splitting from RCA, Charlotte really let her artistic creativity rip and came up with an extremely different yet extremely intriguing album that includes everything from piano to synthesizers to milk jugs.  Yeah, you read that right.

So, my lovelies, I’ve decided to take a deeper look into the weird, wonderful world of Stromata.  Make more s’mores, mix more hot chocolate, sit back, and enjoy the melodies.

"Stromata":  Right off the bat, we get a pounding, piano-synthesizer tune and more influence from Tori Amos.  Lyrically, it’s very unclear what the song is about, but the song title refers to connective tissue frameworks of bodily organs.  So maybe she minored in Biology.  Grade: B+

"Cut The Cord":  Here Charlotte talks about the difficulty of freeing oneself from a toxic relationship.  Though the lyrics almost get a little drowned out in places, the jungle drum beats are really really cool.  Grade:  A-

"Drip":  I’ve heard conflicting information on what this song is about.  Some say it’s about being aware of your body and sexuality (like a “birds and the bees” song).  Some say it’s about eating disorders.  Some say it’s about a struggling relationship.  Whatever the meaning, the synth work is really neat, and the chorus really catchy.  One of the top songs on the album.  Grade:  A+

"Little Universe"":  This is probably the most experimental track on the album, with major synth and keyboard work.  While it’s a cool sound, it’s almost a little TOO electronic sounding and comes off as a little creepy.  Grade:  B-

"Civilized":  Here Charlotte takes on a more angry, Fiona-esque vibe, with fast-pace piano and drums.  And I think this song is about a breakup after the guy got caught cheating.  Maybe.  It’s a little hard to tell.  Grade:  B+

"A Hopeless Attempt":  The keyboard takes on a very melancholy tone as Charlotte sings about the pointlessness of rekindling a dead relationship.  It has almost a bit of a “lullaby” feel to it, like the subject is supposed to be crying herself to sleep.  It’s both soft and powerful at the same time.  Grade:  A-

"Four Walls":  This is another heavily-synthed arrangement, though it’s not as intense and creepy as “Little Universe.”  It’s a smidge on the filler side, but still an interesting track.  Grade:  B

"Inch":  Here, it’s a simple piano arrangement to a song about not letting a significant other get too close.  The riffs are beautiful, though a tiny bit draggy.  Grade:  B+

"Keep Me In Your Pocket":  The pace of the album picks up with this track, which uses a quirky,  absurdly catchy mix of finger-snapping, clock-ticking, and the aforementioned milk jugs.  The chorus and the bridge especially stick in your head for days.  Grade:  A+

"Pills":  Now THIS is artistry!  On the surface, you have simple lyrics describing a list of different kinds of pills, set to a jaunty, quirky piano rhythm and a fun little chorus of “Baaaaa-ba-ba-ba-ba-baaaa.”  Sounds cute and fun, right?  Actually, this song is about a drug addict who has taken so many pills that he goes out and steps in front of a train (yes, there are train sounds, too).  The cleverest song on the album.  Gotta love morbid irony.  Grade:  A+

"Just Before Dawn":  Charlotte shows off more of her versatility and immense talent by composing and singing an operatic track entirely in German.  Though it’s very short at 1:15, the song does a phenomenal job of allowing Charlotte to show off a powerful, 3-octave range.  It’s heartbreaking that artists like her get passed up for bimbos like Ke$ha.  Grade:  A+

"Cardboard Ladders":  It’s another lyrically cryptic song, but the piano and the echoing vocals give it a lush, majestic beauty.  Grade:  B+

"The Dance":  This is probably Charlotte’s most well-known song, and, in an album of very strong songs, the strongest one on the entire thing.  It has been used in the show So You Think You Can Dance,  among other places.  Its play count on my iTunes is one of the very highest.  As for the arrangement, the knee-slapping cadence is incredibly infectious, despite giving me the urge to go leaping thought a meadow playing a piccolo.  However, the slow build of the intensity of the piano throughout the song, mixed with the backing vocals singing “Amen” like a choir is absolutely exquisite.  There really aren’t enough words to describe how cool this song is.  Grade:  A+

"Redeemed":  The title and lyrics to this song are self-explanatory.  I love the soft, lingering piano riff transitioning to a more pounding intensity halfway through the song.  It’s a great way to end a really cool album.  Grade:  A+

This is usually the point where I sum up my overall feelings about the album and bid you all adieu for the week.  However, there is one more song that is not on the album that I want to review anyway. 

One of the EPs released before Stromata was titled Veins, and included several songs that were included on the album.  Yet the title track was not.  So I’m going to review it.  Why?  ‘Cause it’s cool.  And I just wanna.

Veins:  This song uses a little bit of religious imagery within the lyrics to portray self confidence and self-acceptance without the need to be revived.  The arrangement is electronic, ethereal, and creepy, yet very cool with pounding drums and a bridge of repeated hallelujahs.  It’s another song that has had many repeated plays on my iTunes, and I do think it’s a shame that it wasn’t included on the album.  Grade:  A+

NOW you have it!  Stromata may have its fair share of strange, experimental arrangements, but the array of sounds does a brilliant job of showcasing Charlotte’s musicianship and versatility.  Many of the lyrics take a page from Tori Amos and become a bit confusing, but they also make you think and try to come up with your own interpretations.  And if you ask me, someone who can write music that triggers lots of thought and deciphering is someone who deserves all the recognition in the world.

Recommended Songs:  “The Dance,” “Pills,” “Drip,” “Veins,” “Keep Me in Your Pocket,” “Cut The Cord,”  “A Hopeless Attempt,” “Just Before Dawn,” “Redeemed”

Until next time….long live s’mores.

What MTV is missing out on.....

Snooki and her ilk aren't worth passing gems like this up.  Creativity should rule over crap...not the other way around.