After working with songs like the Stones “Satisfaction” and Dylan’s “I Believe in You”, Marshall turns mostly to 60’s soul to turn into loungey rasps. For instance, James Carr’s “Dark End of the Street” is a powerful, harmonized southern soul gem. Carr, the son of a Mississippi Baptist preacher, sang in gospel choirs, and it shows. Chan Marshall, while a Southerner raised by a blues pianist father, doesn’t have that same religious upbringing (to my knowledge), and that seems to greatly alter the music. As a genre, soul is, just as its name implies, highly spiritual. Combing through the 60’s soul stacks, you’ll come across musician after musician who started off singing in churches, and the spiritual power of their performance shows. ~ Consequence Of Sound Last edited:
The gritty, futuristic beat of "Sweet Dreams" is one of Beyoncé's finest moments as Sasha Fierce. The urgent, electropop groove works well with the more delicate vocal delivery she harnesses for the 2009 single. Still holding on to the funky R&B of her past, the more straightforward pop of "Sweet Dreams" (along with its more electronic elements) was a perfect preview of the sonic experimentation she explored on her follow-up album, 4. ~Rolling Stone
Could’ve happened to anyone, really. You buy a Ouija board in a curiosity shop in Jerusalem to mess around with on the tourbus. You start talking to it. It talks back. It soon transpires that said Ouija board contains the spirit of a malevolent saint named Goliath who wants to use you as a conduit to the real world. You politely decline. So the board drives your engineer mad, floods your studio, destroys your equipment and gimps your frontman’s foot to the extent that he has to learn to walk again. What to do? You bury the board in a mystery location and swear never to reveal its whereabouts to anyone. Then, if you’re The Mars Volta, you make a brilliant, baffling, headlong hellride into the metaphysical, murderous unknown. Like, duh. ~NME
The intro of the song starts slowly with harmonized guitars and only few bass and drums. It slowly builds up on speed until the end, where it implodes into a nice riff, but nothing special really. In the first verse the type of clean vocals are heard that we still remember of the crusade, which had only few screams and grunts. I knew that Matthew K. Heafy(lead vocals, guitar) said that when he wanted to sing over some parts of the songs, it just didn't work. So this album will bring back some of the screaming and grunting we heard in Ascendancy. After hearing this song, I can do nothing but agree with him. The choice of grunting over some parts, such as the bridge and the prechorus was a good one, which makes this song really diverse. It has heavy parts, which can either have a mid tempo rythm, or even a bit slower, but heavy it is. But as heavy as those parts are, as melodic is the chorus. ~Encyclopaedia Metallum
According to band leader Joseph Mount, the new Metronomy album is a "Half-arsed concept album about going out and having a crap time!".
As we all know, going out and having a crap time is a gold mine of lyrical possibilities... isn't it?
New single 'Heartbreaker' contributes to this avant-garde concept piece with its insight into the toils of friendship. Specifically those downer weekends, when your best mate refills your pint glass for you with tears, as he weeps over his ex-girlfriend. But dont recoil! This is all about cheering him back up.
The addictive alt-pop melodies of 'Heartbreaker' shout out 90's dance influence which the band have successfly wired into their previously electronic direction. The dulcet vocal talents of Joseph Mount has undoubtedly left many fans pondering blatant instrumental basis of their debut record ~Clash Music
Against a shuffling shaker-and-tambourine rhythm, "Ragged Wood" switches between Robin Pecknold's lead vocals and the band's harmonies after each verse, effectively translating classic rock via folk elements. There's as much Fleetwood Mac as the Band in the song's rousing finale. ~Pitchfork
Like the vast majority of their back catalogue, 'Gives You Hell' would sound great playing over a pool party scene in an American Pie movie. A teenage breakup anthem featuring a corny breakdown, Sum 41-style guitars and a cheery singalong outro, it certainly isn't innovative, but as many of their contemporaries have begun dabbling in politics and darker musical styles, there's a certain charm to the band's blissful ignorance of changing fashions. ~Digital Spy
Brooklyn-based electro-pop trio Chairlift may not seem familiar to you at first, but no doubt you've heard its ridiculously catchy single, "Bruises," while flipping through TV channels. The song recently earned a coveted spot in a commercial promoting a brightly colored line of iPod Nanos, with the memorable line "I tried to do handstands for you." "Bruises" is the perfect song for the ad: between its boy-girl duet, keyboard swells, drum machine beats and sweetly innocent lyrics, it's pretty colorful and bright itself. It's also one of the highlights of Chairlift's debut album, Does You Inspire You. ~ National Public Radio
85. "Dig, Lazarus, Dig!!!" - NICK CAVE & THE BAD SEEDS
This is how rock musicians are supposed to age. At 50, Nick Cave's hairline is receding, but he's turned that setback into a "look," growing out his locks and cultivating the coolest mustache in the industry. Over 30 years, first with the Birthday Party and then with the Bad Seeds, he has refined his lurid growl and lascivious subject matter-- the usuals: sex, death, God, murder, redemption, all in the most brutal and salaciously poetical terms possible-- without losing any of his charisma or menace. During the past decade alone, despite sounding hoarse on No More Shall We Part and Nocturama, he has transformed his swagger into a potent brand of musical and amoral authority, honing his persona in tandem with the Bad Seeds, who a few years ago were one of the tightest and most versatile backing bands around and have only gotten better with each release. ~Pitchfork Last edited:
With the benefit of hindsight, it's tempting to view Panic At The Disco's subtle name change as a shrewd distraction tactic. Their many, many fans - more than two million own their debut album - were so busy debating the relevance of a disappearing exclamation mark that the band, rather cheekily, managed to overhaul their sound without anybody really minding.
'Nine In The Afternoon', the first single from their Pretty.Odd LP, finds the Las Vegas four-piece getting in touch with their inner Beatles fans. Combining surging strings, lashings of brass and some wonderfully spirited piano work, it's a big, swaggering pop epic, filled with more heart and guts than a cheap sausage. Let's hope Brendon Urie's vocals, still slavishly devoted to his US pop punk heroes, don't put off potential new fans.
78. "Pork And Beans" - WEEZER
Considering this is 3 minutes and 9 seconds of Rivers Cuomo throwing a huge temper tantrum for some reason or other, the brash attitude displayed by 'Pork & Beans' actually makes it one of Weezer's better - and more successful - singles post-The Green Album. It makes the chords trudge that little bit more and the chest of each band member seems to be pushed out just that extra inch. There's an adorable carelessness at its core too.
77. "Midnight Madness" - THE CHEMICAL BROTHERS
An early career finding danceable solutions for the loved-up generation has served Tom and Ed well. Never likely to forget those roots, they return here in fine style. A beaverish bassline underpins a colossal conflagration of synths and samples. Add dancing keyboards, a host of head-spinning effects and voracious growling vocals and all that’s required is a classic Chems’ breakdown. It comes at 2:20, a point where the track becomes more intimate, more in your face than it already has been. Sweet insanity, indeed.
76. "I'm Yours" - JASON MRAZ
Jason Mraz re-emerged after his disappointing second album with this lead single, a Jack Johnson-esque ditty about giving yourself fully to someone else. The success of the reggae-tinged song (it earned two Grammy nods and a spot on the Billboard singles chart for well over a year) was something the folk-pop singer never predicted when he wrote it in 15 minutes at home. "I played a happy-hippie chord progression that would probably work without 50 different Bob Marley songs," he told Rolling Stone. "I thought, 'It's too novelty. This is a nursery rhyme,'" concluding that "you can never guess what's gonna be a hit."
75. "Cheap and Cheerful" - THE KILLS
James Hince’s latest incarnation as Kate Moss’ latest rock star squeeze and gossip magazine regular would normally put a damper on my affection for his band, had they not returned with a superb third album, Midnight Boom. This second single is a perfect example of their new and unexpectedly progressive sound. Alison’s hacking cough introduces a funky break beat and grinding electronic decoration that is surely the influence of its producer, Spank Rock’s Alex Epton. Yet the song retains enough of The Kills usual sparse furnishing to be comfortingly familiar. Unlike Hince’s newfound fame.
74. "Mad As Rabbits" - PANIC AT THE DISCO
73. "Run (I'm A Natural Disaster)" - GNARLS BARKLEY