The Soundtrack of My Life

Track of the Week: "Hollyood" by RAC ft. Penguin Prison

2013-10-24T20:30:00.000-05:00

Hey,
Can you believe it's almost November? Yeesh. Where is the year going? Not that I'm complaining; it's my senior year and I am so ready for it to be over with and start moving towards college. Oh, well, at least I have some great music to get me through these next few months.

This week's track of the week is "Hollywood" by RAC ft. Penguin Prison. I have to, one again, thank iTunes radio. Their alternative station has shown me some amazing artists, this one included. I really thought that app was going to be terrible, but it's been a musical blessing instead.

I am absolutely in love with this song because it has a chilled, laid-back vibe with smooth, complementing guitar lines and the lead singer's crooning vocals. The layered vocals give way to the other electronic influences in the chorus. It moves slowly, yet briskly, giving it an indecisive feeling. It could represent the confusion that the singer feels towards his friend who he compares to Hollywood, saying he does not know who she is anymore. Super relatable.

Seriously, keep your eyes on RC. I think they might accomplish some great things.

Until next week,
Bella

Track of the Week: "Nicotine" by Panic! At the Disco

2013-10-17T18:00:00.000-05:00

Hey,
Panic! At the Disco's newest album just came out and it is incredible! I love that they are doing what they do best: switching up genres. AFYCSO--their first album--was kind of eclectic, Pretty. Odd was Beatles-influenced, Vices & Virtues was anthemic, a brief return to some of the elements from AFYCSO with the strings section from Pretty. Odd, and Too Rare to Live, To Rare to Die has bits of AFYCSO with hints of the Killers and Neon Trees sprinkled in it. All of the tracks are great, but the one that really stands out to me is "Nicotine," this week's track of the week.

It starts out with twinkling piano line, then the guitar/bass comes in, followed by the thudding drums. then, it returns to the keyboard with Brendon's vocals layered on top. The instrumentals switch in and out until they come all in for the chorus, which is bold, loud, and perfectly arranged. Dallon's bass lines are ridiculous; this is their first album where you can really hear the role the bass plays. In the past, the bass has been kind of hidden in the corner, overshadowed by guitars, drums, and the string sections. The fact that the strings are buried in the song is a wise choice, opting instead for the slightly more electric feeling; having the strings in the forefront would have been out of place and awkward.
The lyrics detail a relationship that the speaker knows is bad, but cannot stop returning to. He knows it is unhealthy, "worse than nicotine." Yet he finds himself unable to "get rid of" the other person. The topic is relatable, but Brendon's delivery is what makes them fit so perfectly with the track. He is hushed and vulnerable in the verses, while the chorus is his declaration to the world that he is in a bad place. Very well done.

So, check out that track and the rest of the album. You won't regret it.
Until next week,
Bella

Track of the Week: "Mason Jars" by Smallpools

2013-10-10T17:24:00.000-05:00

Hey,

I wasn't totally sold on iTunes Radio at first, thinking it was just going to be a stupid Pandora Radio knockoff. Surprisingly, it's grown on me. The first few tracks it gave me on my Alternative Radio station were mainstream tunes disguised as alternative ones, but after I told it stop playing those, I received some beautiful surprises.

That is where this week's Track of the Week comes from. It is "Mason Jars" by Smallpools, a relatively new four-piece American band. Chances are, you've heard their song "Dreaming" on AltNation, but even if, like me, you weren't a fan of that one. You've got to try this one.

It has a Foster the People meets Lorde meets Youngblood Hawke vibe to it, if you can imagine that. The bass line is the underlying force propelling the song and the guitars flesh out the overall sound. The soft country twanging in the background make it a bit of a genre bouncing, while the slightly distorted vocals keep it in the alternative realm. I love how, right before the chorus, the lead singer pushes his vocals ever-so slightly above his range while managing to stay in complete control of them.
I promise you'll have this song on repeat for the next week, at least. Enjoy, my friends. :)

Until then,
Bella

Track of the Week: "Biting Down" by Lorde

2013-10-02T22:04:00.000-05:00

Hey,
For this week's installment of song of the week, I have picked "Biting Down" by Lorde. Unless you've been living under a rock, you've probably heard her song "Royals," and "Biting Down" is off the same album. Instrumentally, it is psychedelic, full of layered synth lines and repetitious vocals. Allegedly, the song is about doing drugs. Biting down is a term used to describe tripping on a psychedllic drug of some kind--matching the instrumental component. She says that she breathed "so deep" she thought she'd drown, meaning she took a deep breath and got high very quickly. she then enters a blissful high, cueing the repeticious lyrics, as she can no longer think in a linear fashion. Overall, Lorde's husky, trance-like vocals--she reminds me so much of a 17 year old version of Lana Del Rey--and the swirling synthesizers make the listener almost feel as if they are tripping on something as well. Masterfully done. I expect even more amazing things from her in the coming years.

Until next week,
Bella

Track of the Week: "This is Gospel" by Panic! At the Disco

2013-09-18T19:40:00.000-05:00

Hey,
So, like I said last week, Panic! has been releasing some new music, leading up to their new album dropping in October. The second single they released was "This is Gospel." I am totally loving this song because it is a big leap from their old material, but yet, at the same time, the lyrics are very Vices and Virtues, so they are not completely rewriting themselves. It's a smart move, evolving while recognizing the past.
The song starts out slow and minimal with Brendon's vocals filtered through a vocoder and a heartbeat like beat in the background. Then, all the other instruments come in. The guitar lines give it a nice body while the drumming keeps the song moving and flowing. As the song ends, it returns to the minimal set-up , which gives the song a nice rounded feeling. The lyrics are up for debate as I have heard rumors that they are about Brendon’s misgivings with the Mormon church and that they might be able Jon and Ryan leaving the band. They’re ambiguous enough that we’ll never know and perhaps that is the way Brendon intended it to be. Secrecy is a powerful tool and his lyrics masterfully wield it.

If this song is a sign of what we might be hearing on the new album, I’m excited! It’s nice to see them trying new things without leaving all their previous material completely behind. This should be a good album and I cannot wait to review it.

Until next week,

Bella

A Catch Up and A Marathon Mission of Musical Proportions

2013-09-11T20:41:00.000-05:00

Hey,
I am a terrible blogger. Actually, I'm an overwhelmed blogger with acute senioritis and a busy schedule to boot. Not that those facts excuse me from being MIA from this blog. I've been finding some seriously great music lately, but haven't had to the time to write about it. So, I'm going to try to hit as much as I can in this one blog post. Ready? Here we go...

Bastille- A British band, they bring electro-pop and alt rock together in a strangely captivating combination. You might have heard their track "Pompeii," which is a great song, but check out "Things We Lost in the Fire" which has more of a MSMR feel. Super amazing band.

Miley at the VMA's- crappy performance + shock value= two thumbs down from this blogger

Drake- His new track "Hold on We're Going Home" is a nice return to more of the "Find Your Love" format that honestly works better than his mediocre rapping. Not saying it's a good song, nor am I condoning the auto-tune, but I can handle it more than "HYFR," that's for sure.

Jesse McCartney is making a comeback. Not sure if that's a good thing. I thought we had lost him after his barely successful effort in 2010. Unfortunately, he's trying again. "Back Together" is not a good song, but I suppose it's less painful than "Beautiful Soul."

Panic! At the Disco "Miss Jackson" and "This is Gospel"- Holly heck on a stick. Seriously, these songs are a beautiful fusion of A Fever You Can't Sweat Out and Fall out Boy, in a good way. I love the new styles they are experimenting with and the courage they are demonstrating with said experimentation. I am so excited for the new album to come out in October!

Well, I'm sorry that's so quick, but I just wanted to hit as many major points as possible. I'll start trying to start regularly blogging on Wednesday nights. Hopefully. :)

Until then,
Bella

Where Have I Been and Other Updates

2013-08-16T19:49:00.002-05:00

Hey,
I can't believe I haven't updated this blog since June 1st. Where did the time go?
Well, actually, I know the answer to that question. This summer, before my senior year of high school, I decided to compile some of my writings into a compilation and self-publish it. I thought it would be a simple, fun project to just do in my off-time, but it ended up taking six hours a day for three months straight, just writing, organizing, and editing. I definitely enjoyed doing it; I just miscalculated how long it actually takes to do it all alone. I published it last weekend and received my proof copy today, so I can finally say, with much elation and pride, that it is done! :) If you would like to read the book, to check out my 19 poems and 5 short stories, click here.

Now, that the book is finished, I can finally get back to writing on here! I've missed updating you all on what I'm listening to, as I have found some incredible bands over the summer. I have some full-length posts planned for the coming weeks, but tonight, I'll just give you a little teaser.

Tonight, I present my track of the summer, AKA, the track that I couldn't stop listening to no matter how many times I played it: "Things We Lost In the Fire" by Bastille. Bastille is a British group and they are fantastically talented. they always bring something original to their music and this track is no exception. The tribal-feeling percussion in the beginning, giving way to the full instrumentation, and plucking string section all complement the emotional lyrics, making it feel like the emotions are rising with the instrumentation and vice versa.
I feel like Bastille is going to blow up a la Imagine Dragons very soon. Keep your eyes on them and soon, I will post a full review of their album. :)

Thanks for reading.
Until next week,
Bella

Another Edition of "What is Bella Listening To"

2013-06-01T21:27:00.002-05:00

Hey,
I'm actually posting on my promised day. Can you believe it? Me either.
So, this week, I have compiled five songs that I have discovered and are so good, I simply have to share them with you. :) It's been a while since I've done something like this, so this should be fun. :)

5. "Wake Up" by AWOLNATION- Yes, this is the man behind "Sail." This track gives "Sail" a run for its money. It's certainly less emotional, but holy crap, not by much. From what I can deduce, the song is about him encouraging people to wake up from a zombie-like sleep and live life, leaving behind the negativity and "haters." Coupled with the steady percussion, simple yet effective chord progression in the chorus, and the background vocals, this song is at the top of my running playlist. Worth checking out.

4. "Colour Fade" by Funeral Suits- This track is technically 2 years old, but I am so obsessed with it, I simply had to include it. This is one of my favorite finds on this list. I love the twinkling guitars, the layered vocals (especially with the falsetto around the 2:00 mark), and the line "I'm a machine/That sends the colour to your head." If you're into complex melodies and slight distortion, this may be the track for you. :)

3. "Carry Me Home" by The Dig- This track leads in with minimalistic piano, gradually adding in the percussion, the guitars, and finally the vocals. The vocalist sounds like a mix of Nate Reuss and the lead singer of the Neighbourhood, resulting in a finely-tuned croon with a rock edge. The lyrics from what I can tell, are not meant to be taken literally; people are not really going to carry him home. Instead, I think he is talking to his girlfriend/significant other who has died and he is trying to get killed one way or another so they can be together once more. Or, they could just be emotionally separated, but based on the line about a river carrying him home, I think he means he wants to die to be reunited with his special person.

2. "Head is Not My Home" by MS MR- Fresh off of MS MR's debut album, this song is a true standout. The shocking changes in tempo and the move from piano to fortissimo adds to the emotional complexity of this track. The song is about how they feel that their head is not really their own, overrun with thoughts and other people. The chorus, boasting lusty lyrics such as "my mouth/your lips/your hands/my hips," suggests that their frustrations can be solved by carnal measures. The bold statement is memorable and full of pitiable complexity. Fantastic.

1. "Global Concepts" by Robert Delong- I found this song a few months ago, wrote the name down, lost the paper, and then heard the song on AltNation the other day. Thank goodness. :) This song takes the number one spot, as Robert expertly combines alt-rock with electronica beats, resulting in this strangely addictive song. Instrumentally, Robert is a genius, from what I've read online. He uses computer programs, drum kits, and even video game controllers to make his sounds and he does it all by himself. He truly is a one man band and his music is fantastic, seriously. Instrumental elements aside, his lyrics are simply killer. This song is about how when he dies, he'll be able to assess his life and while he knows that he's made mistakes, he hopes that above all he made people dance with his music, which is the one thing that unites us all, his "global concept." Gorgeous.

Alright, that's it for this week. Be sure to check out those track and come back next week for another review.

Until then,
Bella

A Neighbourhood I Wouldn't Mind Residing In

2013-05-25T21:24:00.001-05:00

Hey,

I am officially the most unreliable blogger ever, as I have done a terrible job posting, but I've had a ton of AP tests and finals--which will all be over a week from this coming Tuesday--so I have an excuse, but not really. Also, I kind of became totally obsessed with Sherlock and, after I finished that, I started Arrested Development and Hannibal to deal with the hole created by Benedict Cumberbatch and Martin Freeman, so I've been kind of Netflix binging. It's a less acceptable excuse, of course, but I felt the need to be honest. :)
Tonight, I'm going to try to make it up with a post about a band I discovered a few months back: The Neighbourhood, an American band that uses the British spelling of the word. Most likely, you've heard their song "Sweater Weather," which is a great track, but some of their other stuff is simply remarkable. therefore, tonight, I present my top 5 favorite tracks.

5. Let it Go- I love the unusual rhythms in this track. It feels like an alt/indie song with a hip-hop-esque flair that showcases the versatility of the band. It has an angsty undertone, almost like the refrain of "let it go" is supposed to be construed as sarcasm. The background noises near the end of the track also support the idea, in the sense that it is like blocking out "what the people said" as he "wasn't listening at all."

4. Baby Came Home- This song is about a messed up relationship, but the lyrics offer a little more depth than the typical "we're messed up." Examples include: "She had all my trust/but I guess that was never enough...I think if you ever found her/that even you'd know she was mine." As well, the instrumentation is moody, the guitar riffs are sick, and the lead singer--who honestly looks like he would be in more of a punk band this is incredible outfit and I love it when people defy expectations--oh, my goodness, his voice croons. He sounds like the male version of Lana Del Rey and that is one of the highest compliments I can give. I also recommend checking out this stripped down version of the track.

3. A Little Death- Supposedly this song's title gets its name from the French phrase "la petite mort," an idiom for an orgasm, which makes sense considering the line "touch me/ make me feel like I am human." Apparently, sex is the only thing that makes him feel alive, though the fact that those lines are repeated so frequently maybe his way of saying that while it makes him feel alive, it's only for a little bit, so he has to do it over and over again just to feel alive. It's kind of a beautiful message, if you dig through it, for this sex-obsessed generation. Lyrics aside, the swelling instrumentation and gorgeous background vocals make this a full-bodied track. Good stuff.

2. Female Robbery- This song is about how he is so dissatisfied in life, he wishes a Tv-like kidnapping would occur, and he would be taken his from his boring life. Very relatable. Instrumentally, it's one of the best songs of the album. I admire their bravery for manipulating their guitars so they sound like synthesizers. It adds kind of a cool edge to the song. The faded vocals add a feeling of desperation to the sound. Additionally, the drummer's confusing drumming gives the song a disoriented feeling, which fits perfectly with the lyrics. Gorgeous.

1. Afraid- I've read so many bad reviews about this song particularly for the line "You're too mean/ I don't like you/f*** you anyway," but I have to disagree with the mainstream music media, as I always do. If you look at a line from one perspective, but never any others, everything can look incredibly shallow. But, if you pull back, examine it from a different one, it may take on a different context. It's not just someone who's in a bad relationship. I see it more like it's a mutual sense of "badness." His friends hate him, and he hates them, but he's too afraid to move on because someone might take his place, and as much as despises them, he doesn't want someone else to take his role in his friends' lives. It's relatable on so many levels and maybe it hits a nerve for some of the reviewers. No matter. Besides the lyrics, the steady percussion right before the chorus, big drop at the chorus, and the murky background vocals come together to form one of the most cohesive, beautiful songs on the album.

You should definitely check this band out. Seriously, you're missing out if you're not listening to them. :)

Anyways, thanks for reading.

Until next week,
Bella

Oops I Did It Again

2013-05-11T22:38:00.002-05:00

hey,
sorry for not posting. Had limited Wifi access as I'm visiting family. New post next Saturday. Given how many times I haven't posted recently, I'm beginning to think I have commitment issues. Please forgive me!

Love,
Bella

The British Invansion of the 21st Century- The 1975

2013-05-04T18:30:00.000-05:00

Hey,
Sorry for going AWOL. School has been absolutely crazy lately and it will be until about June 4th, unfortunately. Despite all this, I am going to do my best to get a post up every week. In order to make it easier on myself, I am going to most my weekly posts to Saturday nights, instead of Friday nights.

Okay, so all that aside, this week I am going to be talking about a band I discovered several months ago via We Are Hunted, that is beginning to receive some significant radio airplay, considerably on SiriusXM's Hits 1 channel: The 1975. They are a cool band from Manchester (that's in England, in case you didn't know) and their song "Chocolate" is well on its way to becoming a big hit. So, this week, I am picking my top 5 favorite The 1975 songs.

3. Chocolate- The song you've most likely heard before. From what I've read, it's very likely this song is about partaking in illegal activities, and other people who don't see them as illegal and dangerous, but those who are involved see it as normal. For the most part, I think most people are so caught up in the ridiculously catchy chord progression, the singer's barely understandable vocals, and the guitar lines, that no one really realizes the dark subject matter of this song. It's an oxymoronic song, I think: dark lyrics with light instrumentation. It's a genius trick, because only the people who really care about the music and the quality of it are going to research and try to figure out what the song contains. Genius.

2. Undo- I particularly like this song because it's so different from all of their other stuff. It has an ambient, chill, almost Bon Iver feeling to it. I normally discredit bands who use autotune, but here it works, as it is used in an artistic sense. It fits with the slower, almost sloth-like feeling. The light percussion complements the track; if it was any heavier, I don't know if it would flow quite as well. Very cool.

1. Sex- Yeah, this sounds like it's going to be some disgusting song about two people getting down, but it's not. The title comes from the line "all we seem to do is talk about sex," but that is the extent of it. The song is more about a boy and girl and the girl has a boyfriend, but the first boy wants the girl, but she's already is a relationship, and so the boy kind of settles for a verbally promiscuous relationship instead of a physical one because she can't decide who she wants, so she picks both. Deliciously tangled. Lyrics aside, the instrumentation is also awesome. The guitars are a constant presence in the background and the percussion sets a nice, steady feeling for the song, so even when the lead singer is crooning about his unrequited love, the song goes on, never pausing for air. Excellent.

So, if this sounds like your sort of music, you should definitely check out The 1975.

Until next week,
Bella

Fall Out Boy Saved Rock and Roll

2013-04-19T17:21:00.000-05:00

Hey,

Sorry for not posting last Friday, but I had plans. J Anyways, I was going to post a review of Fall Out Boy’s new album last week, so I’ll do it this week instead. Without further ado, my top 5 favorite songs off FOB”s new album “Save Rock and Roll…”

5. “Death Valley”- I am so freaking obsessed with this song; I hope I can put it into words. I have literally listened to this song like a million times since the album came on. Patrick’s incredible vocal range, the kicking drum section, and the guitar lines all come together to make a remarkably sick, genius song. I saw some negative comments online about the section around 2:50, which some fans have dubbed “FallStep.” I dunno, I think it’s kind of cool. FOB has the right to experiment with new styles if they want. It’s a cool track and I have a feeling this song is going to be so much fun performed live.

4. “Just One Yesterday” ft. Foxes- I am a big fan of this track as it switches from heavy to light back to heavy. It’s not just playing on one level, but rather many. My favorite aspect is the lyrics “Letting people down is my thing baby/ Find yourself a new gig/ This town ain't big enough for two of us/I don't have the right name/ Or the right looks/But I have twice the heart.” Dang.

3. “Young Volcanoes”- The third single off the album, it has a kind of bouncy, Cali, almost Train-like vibe to it. I appreciate that FOB is experimenting with some acoustic guitars, especially in this track. This song is probably the “happiest” song on the album, considering most of the other songs have a slightly darker tone, but I like it. Very cool.

2. “The Phoenix”-This is my second favorite on the album, though it really deserves like 1.75^th place, because it is just as good as The Mighty Fall. I like the darker sound, Patrick’s soaring vocals, the dynamic changes, and the song combines rock, alt, and a little pop into one big, super good track. I love to see artists branch out every now and then.

1. “The Mighty Fall” ft. Big Sean- I love how it starts out with the light percussion and then eventually everything else just comes in. Patrick’s vocals + the distortion give this song a nice, hard edge; it kind of combines their older stuff with his own Soul Punk album. I truly believe that chorus is the best thing on the album. It’s rough, raw, and entirely perfect. It’s almost taunting, which fits with the theme of the song. The only thing I don’t like is Big Sean’s part, as I don’t think he’s up to par with FOB, but I suppose it could have been worse. J Overall, though, it is by far, my favorite song on the album. Love it!

I just wanted to say really quickly that people on the internet have been complaining about how FOB is different, their new music sucks, it’s Patrick’s fault, they’ve changed, and so on and so forth. But, I saw this really good comment on YouTube that completely supports how I feel about FOB and other artists who change their style. “In music, we generally become fans of an artist on the basis of how he or she executes our own favorite style of music. When they deviate, we complain. Rather than trying to reorient our taste to keep up with the artist himself, we stick to the past. It exposes how we are not really lovers of music or artistry, but ourselves. Following an iconoclast, i.e.[Fall Out Boy], is a challenge, but doing so allows us to grow with [them] rather than using [them] to fulfill our stale expectations. Listen regardless.” Thanks to shotinthedark90 for that insightful statement. Think on that next time you or a friend starts to complain about artists changing their style.

Anyways, thanks for reading.

Until next week,

Bella

The Good Mad Review

2013-04-05T18:41:00.000-05:00

Hey,

Sorry for not posting last week, but I spent the better half of last weekend digging through moving boxes, trying to put my house back together. Anyways, I’m back with another band review.

This week, I’m highlighting The Good Mad. I found them a few months ago, as their lead singer Allie Gonino plays Laurel on the Lying Game, and in one of the episode, she performs with her band. I was intrigued by their sound features ukuleles, violins, and various instruments. Overall, the trio’s sound is unique, fusing alternative, pop, and folk music seamlessly.

Some of my favorite tracks are:

Baby’s On the Run which is reminiscent of The Civil Wars, featuring a prominent banjo, gorgeous harmonies, and a straight-up folk vibe. Allie’s violin at 1:42 fits perfectly; it is rich and full-bodied, adding to the song.

Follow Your Heart which leads in straight away with a strong strings section, mellows out, and fires back up again. I like the alternating vocals in this one especially. It has a darker tone which I like as it almost contrasts with the lyrics which are about following your heart. Normally, those types of songs are light, poppy and bouncy. This is heavier and I love their choice.

In the Gray is a slower song that really allows the lyrics to take center stage. “I don’t know why/you chose to evade… you should leave me behind/what if it’s true what they say/it’s better to end a love/then to throw it away.” Absolutely beautiful.

Sail on, which might be my favorite song they’ve put out, starts out like a folk song but evolves stylistically by the first verse or so. I like how comfortable they are with genre bouncing; it’s a very brave move that definitely pays off. Allie’s vocals are particularly stunning on this track and the background vocals provide the perfect complement to her already forceful voice. Additionally, “these days it seems like everyone is bidding on love/but it’s not up for sale” is an absolutely genius line.

In conclusion, The Good Mad have the ability to go far. I really admire their artistry and originality. Their songs are similar without being repetitious and by bringing in different instruments, they ensure that they are not just a folk band or a rock band or anything else.

They are one of my favorite new finds and you should totally check them out!

Website: http://www.thegoodmad.com/

Twitter: https://twitter.com/TheGoodMad

Facebook: https://www.facebook.com/Thegoodmad

Until next week,

Bella

Throwback To Those Not So Good Days

2013-03-22T20:39:00.003-05:00

Hey,

I’ve mentioned before that I had a questionable taste in music when I was younger. I wasn’t being facetious. I listened to some really crappy music. So, the other day, I was thinking about the old stuff that I used to think was amazing and how it is the exact same stuff I’m rallying against now. Then, I thought, why not highlight exactly how terrible my choice in music was. This blog is for music: the good, the bad, and the over-processed. Therefore, tonight, I present my Junior High Playlist.

Brace yourselves, y’all.

“Midnight Romeo” by Push Play- This song makes me laugh simply because it was the first song that introduced me to sexual innuendo of any kind, like “You’ll be the lock/I’ll be the key” or “Tonight your dinner’s free/what’s in it for me.” I didn’t pick up on that stuff at first but then later, I was like, “Whoa, did he just say that?” I suppose, if nothing else this song motivated me to make sure I’m going Dutch on dinner dates. Lyrics aside, I’ll give myself credit; this song does actually feature real instruments, including an obnoxious triangle. And it’s catchy enough that I see why I thought it was the coolest thing ever. Yet, that doesn’t excuse the shallow lyrics and lack of musicianship. Silly Bella.

“Thinking Of You” by Katy Perry – The worst song on this list. She’s try so hard on this song…oh my goodness. She sounds like she’s trying to be Dido, Ke$ha, and Jack Johnson all at the same time and it fails…massively. The whole song is about some sick love triangle between the dude she’s dating and how she’s thinking about another guy. Original. I mean, if the song was well-written or at least featured some elevated diction, I could respect her feelings and the song, but it just sounds so “Taylor Swift in a coffee house” that it falls flat. Not to mention, Katy is straining her voice which gives the song a weird feeling, though I suppose I’d take that over the massive auto-tuning she requires now because all her songs are written in the upper registers where her voice cannot reach. Oh, music industry…

“Ain’t No Other Man” by Christina Aguilera - I used to love her stuff back in junior high as it was about the time I started running hardcore and her music was pretty motivating. She has a good voice, I’ll admit that much. Essentially, though, this song is just about how some dude is like the best thing she’s ever had, making her point with poor grammar and clichés (He’s “bad,” guys! Sexy!) Not the worst on the list, but bad enough. J

“I Can’t Do it Alone” by 3OH!3- 3OH!3 used to be very popular when I was in junior high, with “Don’t Trust Me” (Who could forget that Helen Keller line?) and “Starstrukk.” Now, they’re not really that popular and it’s understandable considering their newest stuff sounds like Skrillex and Adam Levine’s ugly lovechild. (Translation: their new stuff stinks). However, this older song is kind of techno meets pop, but it works. They’re not really trying to be anything other than loud and truthful, I suppose, but the beats are sick and the lyrics are strikingly beautiful , all things considered.

“I Write Sins Not Tragedies” By Panic! At the Disco- Yes! Good job, younger me. I remember the first time I heard this song when I was in early 8^th grade. I was listening to the radio and they were doing a “Blast From the Past” thing and this came on! I had never heard this song but I couldn’t get Brendon’s memorable voice out of my head nor the very unusual violin section’s rhythmic plucking. I was hooked. Still, to do this day, I love this song. It’s not my favorite out of all their music, but it’s in the top 10 for sure. Between the complementary guitar lines, Spencer’s steady drums, and Brendon’s ridiculously glorious vocals, it’s still gives me goosebumps when I listen to it. J

That’s it for this week!

Until next Friday,

Bella

Unreleased Lana Del Rey Songs

2013-03-15T19:47:00.002-05:00

Hey,

I know I’ve mentioned it before, but I’ll say it again. I love Lana del Rey. I admire her voice, her persona, her confidence, and her lyrics. She fits the femme fatale mold that society squeezes her into, but jumps out of it just as quickly as she went in. She is equal parts sweet and tough and her songs show a wide of range of emotion. In my mind, she is one of the best female acts out there, perfectly straddling the line between indie and mainstream, a difficult feat, no doubt.

Bottom line: I love her. J I enjoy her released stuff, but there are definitely some hidden gems in her unreleased material, most of which is available on YouTube. Tonight, I present to you my top 5 favorite unreleased Lana Del Rey songs.

5. "You Can Be The Boss"- This song is different from her released stuff, which is why I felt it should be included. The instrumental section is nothing compared to her vocals, which travels from high and girlish to low and smoky. The lyrics detail some girl telling some guy he can "be the boss," whatever that means. I think, at its core, it's about a good girl dating a bad boy. Overdone theme, but at least it's well-written. :)

4. "Every Man Gets His Wish"- Opening with a whistle section, giving way to her immortalized love lyrics, and sultry vocals. Lana's music truly does feel like a throwback to music from decades ago. From some bold open references "We're gonna party like it's 1949" to just her bouncing vocals that switch as often as she wants, it sounds like something that could have been released in the 1950's instead of the 2000's.

3. "Kinda Outta Luck" This time, we have a bad girl who turns a good boy bad, she tries to be good, but it doesn't work and she leaves him or kills him; I'm not quite sure which one. Point being, she decides to run away and relies on the "kindness of strangers," an ambiguous phrase that she deliberately tosses in there. Lana is an expert at storytelling lyrics without feeling like she's telling a story. Her lyrics are creative while spinning a tale. Excellent song.

2. "Hollywood's Dead"- After a failed romance, Lana feels that everything she once held dear, old Hollywood icons, has died as well. She is alone and without direction. I love how the lyrics are depressing as heck but the instrumentation, though slow, is still swelling and grand, as opposed to reclusive and demure. The contrast is really powerful. As well, that sort of muffled thing she does about two minutes in proves that she could have been a famous singer back in the 1950's.

1. "Serial Killer" - I like how the song it begins with just her voice and some twinkling instrumentation but the percussion does not really begin until about 20-30 seconds in. The lyrics compare her to a serial killer of love, warning a guy not to fall for her. Love it.

I do want to make a quick note here. You may have noticed all of her songs I highlighted on here are about love and I've complained in the past about Taylor Swift writing all her songs about love. I am not a hypocrite, I swear. The reason I like Lana is because, first and foremost, she has a wide vocal range; Taylor just sounds pretty much the same unless they add dubstep in the background. Lana acknowledges that she cannot fit into one genre. She is baroque pop, soft pop, rock pop, and ballad pop. Taylor tries to be country but still be pop at the same time. Seriously, girl, adding a banjo does not make a song country. Evidence here. Anyways, Lana writes her songs with the help of one other dude; Taylor used to write her own stuff, but now has an entire team of people helping her who mostly just choose which words she should repeat.

Honestly, I don't totally care that Taylor writes all her songs about love;I mean, I get that. I'm young too, you know? I understand how exciting love is. But, Taylor's songs just show a lack of emotional maturity. When she was 16, it was kind of cute, like, "Awww, he broke her heart." Now, she's just mean about breakups. What the heck happened at the Grammy's? Seriously, T-Swift, that was a super lame British accent. Believe me, I'm not a Directioner, but I do admire Harry Styles, her ex, for not saying a single bad thing about her. She, on the other hand, is parodying him in music videos and openly mocking him. Maturity...she does not have it.
I saw this really good thing on Pinterest that showed that Taylor and Adele are the exact same age, but one still acts like she's in high school. It's really true. A high schooler could get away with what she says in her songs, but a twenty year old should not be writing musical taunts, i.e., "We are never, ever, ever, getting back together." Not very mature, especially compared to the majority of Adele's song which are lyrical masterpieces (and Lana's, as well).

So, that, readers, is why I like Lana even though some might argue she is somewhat similar to Taylor.

Thanks for reading!

Until next week,
Bella

What Is Bella Listening To...Minus the Bear Edition

2013-03-09T16:23:00.005-06:00

Hey,

Sorry this post is late but I had an event this morning that required me to get up super early, so I went to bed quite a bit sooner than I normally do. Consequently, this post is late. But, it’s here! J

Like I promised, it’s another installment of “What is Bella Listening To,” where I show you what I have been listening to for the past week or so.

So…here we go!

5. “Sleeping Ute” By Grizzly Bear- The song leads in with a single guitar and gradually adds in all the other instruments, including a prized tambourine. Just like the cowbell, songs just need more tambourine. All the instruments kind of clash in a beautiful way; if any other band did this, I’d call it cacophony, but with Grizzly Bear it’s sheer genius.

4. “It’s Real” by Real Estate-This track has a lovely flowing feeling to it, swaying rather than jumping. Ridiculously catchy, the oh’s surrounding the chorus will be stuck in your head for the next four days, at least. Though it is repetitive, it never gets boring, a sign of a truly well-composed song.

3. “The Fix” by The Minus The Bear- I included this song not only because it’s an amazing song, where the momentum really climaxes just before the first chorus and then keeps fighting right until the end, but also for the memories associated with it. I went to the MTB concert last week and some hipster fist-pumped through the entirety of this track and to be honest, it’s a fantastic song for that, especially those quick hits in the chorus. 10 Bears out of 10.

2. “Excuses” by Minus the Bear- I did promise a lot of MTB last week, didn’t I? J I love this song because it shows a slightly softer side of the band who are known for loud, powerful guitar riffs and crazy synthesizer parts. It glides, soaring through the stunning melody, but is powered by Erin’s drumming ability and Jake’s convincing vocals, highlighted by the raw, emotional lyrics, a rare sight for the band. I think this might be my favorite MTB track.

1. “The Listing” by Minus the Bear (Live at Daryl’s House, episode 62)- Yes, I realize this is another MTB song but I feel little shame in including it here as it’s live, it’s with Daryl Hall (yep, from Hall and Oates), and the setup is beyond incredible. I love the arrangement, all the vocals float together, creating a gorgeous harmony, and the guitars work really well with each other. Jake, the bearded guy, is one of my favorite lead singers, and together with Daryl, it’s like a power duo, really. Both guys really go for those big notes, and they never fall short.

If you haven’t seen Daryl’s web series before, you should check it out. He’s collaborated with other groups/artists like Patrick Stump and Jason Mraz.

That’s it for this week. I hope you enjoyed my MTB influenced music choices this week. Next week, I have something special planned so check back next Friday. Be sure to comment, tweet me, or e-mail me with your thoughts.

Until then,

Bella

Minus the Bear concert Review

2013-03-02T15:39:00.000-06:00

Hey!

Sorry for not posting last night, but I absolutely knew I could not pass up the Minus the Bear concert. Even though I’ve been feeling a bit under the weather recently, I went and I am so glad I did. I found them a few years ago when I was listening to our public radio station which mostly plays classical music during the day and alternative/indie music at night that sounds closer to wailing than music. Somehow, a gem like Minus the Bear’s “My Time” made it on there and then I ended up finding the song for free on a Dangerbird Records (their old record label) sampler a few days later. Ever since, I’ve been hooked on their music.

Minus the Bear’s sound is kind of like Mutemath and Fall Out Boy and Arcade Fire all mixed up together, yet with an unexpected twist. It’s polished, dissonant, intricate, harmonious, pure and raw all at the same time. And bottom line: it’s fantastic.

They came on right at 10:00 (I arrived at 9:58…perfect timing on my part) and opened right up with Steel and Blood, an explosion of guitar riffs and hard percussion. Seamlessly, they transitioned into an oldie “The Fix,” which got the dedicated fans in the crowd going crazy. Jake’s voice soared over the instrumentation nicely and the chorus was completely perfect: hard and rough yet not too over-the-top. Genius. They went into “Diamond Lightning,” mellowing it out a bit, but cranking it back up with “Toska” and “Secret Country.” Then, they went into the crowd favorite: “My Time,” where every single person was moving, most cradling their drinks, (except for underage me…I think I was the only one under 18 in that whole place, even though it was an all-ages show), rocking back and forth and some guy was even fist-bumping (who fist-bumps in Iowa? Well, props to him, I guess). The band seemed to feed off the energy, going hard and furious on this song. They cooled it down a bit with “Absinthe Party At the Fly Honey Warehouse” and “Knights,” though neither song dragged. By this time, I was beginning to feel pretty tired so I hung around for “Let’s Play Guitar in a Five Guitar Band,” “Throwin’ Shapes,” and “I’m Not Totally Down with Rob’s Alien,” and heard the full-bodied glory of “Double Vision Quest” as I walked to my car.

Overall, the concert was amazing. All of the guys are incredible musicians who give it their all, no matter if they’re playing the newer stuff from “Infinity Overhead” and "OMNI" or their earlier songs off of “Highly Refined Pirates," "Planet Ice" or "Menos El Oso." They put on an incredible show and based on the crowd, I’d say all who came had a great time. Including the couple who danced to nearly every song, an impressing feat considering Minus the Bear’s music isn’t exactly perfect“ dancing” music. haha it was fun to see the crowd so involved.

If Minus the Bear is coming to your town, I would highly suggest you go! If not, at least check out their music which is available on iTunes, Amazon, and Spotify.

Next week, I’ll do another “What is Bella Listening To” installment, which may or may not feature a ton of Minus the Bear songs.

Until then,

Bella

No Blog Post Tonight

2013-03-01T11:24:00.002-06:00

Hey,

So, tonight I'm going to see Minus the Bear in concert. Therefore, my blog post/review will be up tomorrow, Saturday, March 1st.

Here's to hoping we don't have another Panic! At the Disco experience, I guess. :)

Until then,
Bella

Fall Out Boy is Back And Other Songs I'm In Love With

2013-02-22T20:39:00.000-06:00

Hey,

So, last week, I wrapped up the series on lyrics. And this week, we’re back to actual music reviews! I know that other series deviated from my typical format, but it’s an issue I’m, obviously, very passionate about.

Without further ado, another installment of “What is Bella Listening To…”

My Songs Know What You Did In The Dark by Fall Out Boy- Who else is super excited about these guys getting back together????!!! I guess you can tell I am. J I seriously fell in love with Patrick Stump when I saw him open for Panic! At the Disco last year and I appreciate Fall Out Boy’s stuff a little differently now; I’ve always kind of liked their stuff, but not I really love it. J Anyways, this song starts out with dark distortion, choir-esque vocalizations, and then the down-and-dirty guitar riffs breakthrough and then, it’s Patrick time to shine. (Pardon the cliché) And that chorus!!! Holy crap. It’s just all like KABOOOMMM! That’s the best way I can explain it. It’s wild, yet controlled and just a beautiful explosion of the awesomeness that is Fall Out Boy.

About to Die by Dirty Projectors- I love the strange, African sounding drumbeats at the beginning, delicate plucking noises, and the way everything just trickles in. Some songs start off strong and others just kind of gradually grow. This song hits its peak around 1:18 or so, right before the chorus. Before and after, this song is fantastic.

All These Girls by Atlas Genius- Atlas Genius is one of my favorite discoveries of 2012. They’re Australian, which is totally awesome (I am such a sucker for accents, especially Australian ones J ). This song, like their other tracks, is a mixture of pop meets rock meets alt; and it is totally brilliant. The changing time signatures, varying rhythms, and undulating vocals make for a sweet find. Check them out. J

Running For Cover by Ivan & Aloysha- I like the kind of swaying beat, stripped instrumentation, and the intricately layered vocals. It has kind of a soundtrack feeling, like something that could play in an episode of White Collar or something. That’s cool, in my book. This song is absolutely gorgeous.

I Wanna Be Free by Panic At the Disco- a big throwback, considering this song came out several years ago as a bonus track off their album Vices and Virtues. Nonetheless, the song is easily one of Panic’s best efforts. I love Brendon’s glorious, soaring vocals, Spencer’s steady drumming that, at times, reminds me of Darren King from MuteMath. Love the swift change that occurs around 2:14-ish. I love how they are unafraid to throw something in there like that and it always works. An oldie, but a goodie. J

Well, that’s it for this week. Please comment and go to my Contact tab and send me a message or tweet at me. I love to hear from you all!

Until then,

Bella

Lyrics Part 4

2013-02-15T20:44:00.000-06:00

Hey,

Welcome to the fourth and final installment of my series on lyrics. In the past weeks, I’ve highlighted the good, the bad, and the ugly, but I want to wrap all this up with a small spotlight on Ed Sheeran. Chances are, you’ve heard his song “A Team” or perhaps “Lego House.” Beyond the fact that he has a deliciously smooth yet raw set of vocals, he writes some of the most creative, deep, honestly, best lyrics. I’m willing to peg him as the best songwriter of our generation. I realize I throw out titles like that all too often, but take a few minutes and listen to his lyrics. They are mind-blowing. In a sense, they remind me of Jason Mraz’s old lyrics before he hopped on the hippie train and stopped pushing himself lyrically. Remember “I’m Yours”? Yes, it was kind of soapy ballad on the surface but there was a little something more to the lyrics, if you took the time to pick them apart. That’s kind of how Ed is, save for the fact that his syntax and diction alone win me over, no unpacking necessary. J

Let’s look at his song “U.N.I”

“I found your hairband on my bedroom floor
The only evidence that you've been here before
And I don't get waves of missing you anymore
They're more like tsunami tides in my eyes
Never getting dry so I get high smoke in the day then I sleep with the light on
Weeks pass in the blink of an eye
And I'm still drunk by the end of the night
I don't drink like everybody else
End up forgetting things about myself
I'm stubborn I'm forward head's just blocked
My head's still with you but my hearts just not

So am I close to you anymore if it's over
And there's no chance that we'll work it out
That's why you and I ended over U-N-I
And I said that's fine but you're the only one that knows I lied
You and I ended over U-N-I
And I said that's fine, but you're the only one that knows I lied

Everybody said that we'll be together forever but I know that
I never wanna settle down come around break up the love like Lego now
Never wanna turn into another like you
Sleep with my thoughts dance with my views
Everything's great but everything's short
But you live in your halls and I live in a tour bus
Now I'm in position to be another stalker
And everything I say seems to always sound awkward
Like our last kiss it was perfect but we were nervous
On the surface
And I'm always saying every day that it was worth it
Pain is only relevant if it still hurts
I forget like an elephant or we can use a sedative
And go back to the day we fell in love on first kiss

So am I close to you anymore if it's over
And there's no chance that we'll work it out
Oh you and I ended over U-N-I
And I said that's fine but you're the only one that knows I lied
You and I ended over U-N-I
And I said that's fine but you're the only one that knows I lied

Because if I was gonna go somewhere I'd be there by now
And maybe I can let myself down oh
And thinking I am unaware I keep my feet on the ground
Keep looking around to make sure I'm not the only one to feel low
Because if you want I'll take you in my arms
And keep you sheltered from all that I've done wrong
And I know you'll say that I'm the only one
But I know that god made another one of me
To love you better than I ever will

'Cause you and I ended over U-N-I
And I said that's fine but you're the only one that knows I lied
You and I ended over U-N-I
And I said that's fine but you're the only one that knows I lied.”

The title alone shows Ed’s forthright creativity. “UNI” is slang for university, hence the song takes place/is centered about a university and “U.N.I” can be read like “You and I.” The reason I chose this song is it’s more than just a relationship song. The two have broken up and he is devastated. Rather than taking the Taylor Swift route and calling someone “mean” or telling them they will “never ever be getting back together,” he simply details how is healing and dealing with the cessation of the relationship. He’s obviously unhappy about it and overcome with emotions as demonstrated with the line “I don’t get waves of missing you anymore/ they’re more like tsunami tides in my eyes,” yet, at the same time, he is trying to block the pain with drinking and the amazing line “pain is only relevant if it hurts,” a sad yet understandable maxim that seems to sum up the song quite nicely.

This city never sleeps
I hear the people walk by when it's late
Sirens bleed through my windowsill
I can't close my eyes
Can't control what I'm into
This tower is alive
The lights that blind keep me awake
With my hood up and lace untied
Sleep fills my mind
Can't control what I'm into

London calls me a stranger
A traveler
This is now my home, my home
I'm burning on the back street
Stuck here sitting in the backseat
I'm blazing on the street
What I do isn't up to you
And if the city never sleeps
Then that makes two

The pavement is my friend
And it will take me where I need to go
I find it trips me up
And puts me down
This is not what I'm used to
The shop across the road
Fulfills my needs and gives me company
When I need it
Voices speak through my walls
I don't think I'm gonna make it
Past tomorrow

London calls me a stranger
A traveler
This is now my home, my home
I'm burning on the back street
Stuck here sitting in the backseat
I'm blazing on the street
What I do isn't up to you
And if the city never sleeps
Then that makes two

And my lungs hurt
And my ears bled
With the sound of the city life
Echoed in my head
Do I need this to keep me alive?
The traffic stops and starts
But I need to move along

London calls me a stranger
This is not my home, home
I'm burning on the back street
Stuck here sitting in the backseat
I'm blazing on the street
What I do isn't up to you
And if the city never sleeps
Then that makes two”

The other song I would like to feature is “The City,” a heartfelt masterpiece. Instrumentally, this song leads in with a strong guitar riff, but that’s not really what I want to focus on. J I love how he personifies the city, and then proceeds to identify with it (if the city never sleeps/then that makes two), even though he and London seem to be at odds (London calls me a stranger). The song is about when he went to London as a teen to pursue music, but instead of just laying it flat out there, you have to deduce a little. J One of my favorite lines is “Sirens bleed through my windowsill.” It’s just so creative. It sounds so different, so remarkable, you kind of have to stop and let it seep in. You’re not just hearing sirens from outside your window; they’re bleeding in, which serves as a bold image, like the rest of the lyrics.

That’s it for this week. Next time, it’ll be back to reviewing for a bit and if anyone else enjoyed it, I may do something like this in the future.

Have any comments, questions, or thoughts be sure to comment, e-mail, or tweet at me because I love to talk to y’all and any feedback is appreciated. I know someone out there is reading this and I would love to connect somehow. J

Until then,

Bella

Lyrics Part Three

2013-02-08T18:38:00.001-06:00

Hey,

So, in this week's installment of my series on lyrics, I will be breaking down repetition. Repetition is a commonly used literary technique and a fantastic one, at that. However, like everything else in music/literature, a little goes a long ways. Unfortunately for us, most mainstream musicians have yet discover this. On the other hand, alternative musicians utilize repetition as a tool, wielding it to accomplish something, whereas mainstream musicians' songs are 80% repetition.

Here are some examples:

First, let's compare "Scream and Shout" by Will.I.AM ft. Britney Spears with one of Noel Gallgher's High Flying Birds' songs.

"When you hear this in the club
You gotta turn the sh*t up
You gotta turn the sh*t up
You gotta turn the sh*t up
When we up in the club
All eyes on us
All eyes on us
All eyes on us
See the boys in the club
They watching us
They watching us
They watching us
Everybody in the club
All eyes on us
All eyes on us
All eyes on us

I wanna scream and shout, and let it all out
And scream and shout, and let it out
We saying, oh wee oh wee oh wee oh wee oh
We saying, oh wee oh wee oh wee oh wee oh
I wanna scream and shout, and let it all out
And scream and shout, and let it out
We saying, oh wee oh wee oh wee oh wee oh

You are now rocking with Will.i.am and Britney, b-tch

[beat break]

Oh yeah....
Bring the action

Rock and roll, everybody let's lose control
All the bottom we let it go
Going fast, we aint going slow, no
Hear the beat, now let's hit the floor
Drink it up, and then drink some more
Light it up, and let's let it blow
Hey yo, rock it out, rock it now
If you know what we talking 'bout
Turn it up, and burn down the house, hooouse
Hey yo, turn it up, and don't turn it down
Here we go, we gon shake the ground
Cause everywhere that we go we BRING THE ACTION."

I didn't finish copying the rest of the lyrics because they just repeat that turning the music up an oh-we-oh crap (what even is "oh we oh?). Wanna guess how many writers came up with that? If you guessed three, then you win 100 blog points (which are totally useless). Yes, three writers actually wrote this. This song pretty much 100% repetition. They rarely, until they get to that dumb verse about drinking up, say any idea just once. How many times is it necessary to remind the listener that your music must be turned up?

Okay, so that sucks. Now, let's look at a good example of repetition with (Stranded On) the Wrong Beach" by Noel Gallgher's High Flying Birds {one of my favorite bands}.

"Falling, I see you on the way down
I'll meet you on the rebound somewhere in between
Calling out across the airwaves
Faces that you can't say are calling out for me

And oh me, oh my, say so long baby, bye-bye
Pour me one for the road, it's a long journey baby
Where it's gonna take me just depends on the weight of my load
Oh no, depends on the weight of my load

So long, I'll see you in the next one
Cause everybody's been and gone, there's no one here but me

And oh me, oh my, say so long baby, bye-bye
Pour me one for the road, it's a long journey baby
Where it's gonna take me just depends on the weight of my load
Oh no, depends on the weight of my load

And oh me, oh my, say so long baby, bye-bye
Pour me one for the road, it's a long journey baby
Where it's gonna take me just depends on the weight of my load
Oh no, depends on the weight of my load
Oh no, depends on the weight of my load
Oh no, depends on the weight of my load

Dry land sinking in the quicksand
Stranded on the wrong beach, come and rescue me."

Here, the repetition accomplishes something. It is not mindless, like Will.I.Am's song. In that other song, the repetition is filler. It feels like the three writers ran out of material and just decided to repeat everything they had already written. In Noel's song, in which he is the only writer, the more he repeats the "....depends on the weight of my load" you can feel the load getting heavier, referencing a long journey that he is about to undertake, whilst carrying something. Good use. :)

Finally, let's look at another use of poor repetition in One Direction's "Rock Me," a silly stab at sexual lyrics.

"Do you remember summer ‘09
Wanna go back there every night
Just can't lie it was the best time of my life

Lying on the beach as the sun blew out
Playing this guitar by the fire too loud
Oh my my they could never shut us down
I used to think that I was better alone
Why did I ever want to let you go
Under the moonlight as we stared at the sea
The words you whispered I will always believe

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah

Yeah we were together summer ‘09
Wanna roll back like press and rewind
You were mine and we never said goodbye i-i-i
I used to think that I was better alone

Why did I ever want to let you go?
Under the moonlight as we stared to the sea
The words you whispered I will always believe

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah

R-O-C-K me again
R-O-C-K me again
R-O-C-K me again yeah
I want you to
R-O-C-K me again
R-O-C-K me again
R-O-C-K me again yeah

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah

I want you to rock me, mmm, rock me, mmm, rock me, yeahh
I want you to rock me, mmm, rock me, mmm, rock me yeah
I want you to hit the pedal heavy metal show me you care
I want you to rock me, mmm, rock me, mmm, rock me yeah."
Let's play the "guess the number of songwriters game." Ready? 5 writers, yet none of the actual group members. Now, I will admit I see what they did here. :) "Rock me" obviously is referring to sex. I'm not dumb and the repetition is like a rocking motion, happening over and over. However, it's overkill here. You really can have too much of a good thing. They say the phrase "rock me" 23 times. Yeesh. Too much repetition. Cut out a few of them and take out that awful auto-tune and it could be a half decent song. (I said half!)

Next week, I'll wrap up the lyrics series with a topic TBD. Then, I'll get back to highlighting new music and artists.
Until then,
Bella

Lyrics Part Deux

2013-02-01T16:54:00.001-06:00

Hey,
Welcome back to second installment of the new series I'm starting on lyrics! Last week, I compared Mutemath and Katy Perry and the depth of their lyrics and this week, I am going to explore the songwriting phenomenon of good songwriting versus good line writing.

Now, what exactly do I mean by that?

In essence, some songs are well written while others have one stand-out line with a bunch of meaningless lines. I do not, by any means, expect all artists to make every single line of every single song the most amazing things ever. I'm being realistic.

Do you remember a couple of years ago when "Airplanes" by B.O.B ft. Hayley Williams came out? Every single thirteen year old drama queen and her best friend would change their facebook status to "Can we pretend that airplanes in the night sky/are like shooting stars/I could really use a wish right now." Yes, I admit that is a pretty creative line; I'm impressed. However, the rest of the song is just about B.O.B whining about trying to be discovered and gain notoriety and blah-blah-blah. It's crap. Especially compared to that one line.

That is a prime example of good line writing.

Next, let's look at an example of good songwriting, "But It's Better If You Do" By Panic! At The Disco. This band is known partially for the fact that all of their songs are freaking amazing and partially because their lyrics kick some major butt. Ryan Ross, who wrote this song and eventually left the band, is a relative lyric genius, maybe one of the great songwriters of the 2000's. Still, Brendon Urie filled his role after he left and is doing a brilliant job. I digress.

"Now I'm of consenting age to be forgetting you in a cabaret
Somewhere downtown where a burlesque queen may even ask my name
As she sheds her skin on stage
I'm seated and sweating to a dance song on the club's P.A.
The strip joint veteran sits two away
Smirking between dignified sips of his dignified peach and lime daiquiri

And isn't this exactly where you'd like me
I'm exactly where you'd like me, you know
Praying for love in a lap dance and paying in naivety
Oh, and isn't this exactly where you'd like me
I'm exactly where you'd like me, you know
Praying for love in a lap dance and paying in naivety

Oh, but I'm afraid that I
Well, I may of faked it
And I wouldn't be caught dead in this place."

Well, it may not take a genius to figure out that this song is about a guy trying to forget about a girl and looks for pleasure in a strip club. It's one of Panic's more risque songs and I was hesitant to use it on here, but it's one of my favorite songs in a lyrical sense. In this song, all of the lines pack a punch of some kind. It's narrative, telling a story of a guy's experience, not just physically and emotionally and mentally. All of lines contribute to the overall tone--regret, remorse, and contemplation. Where B.O.B's track switches between Hayley's wishful tone and his bragging, swaggering, tone, it just does not flow. It's one great line smushed in between the other bad lines. With Panic's, it's a bunch of fantastic lines all put together, so that the song flows, without any unnecessary dissonance. Dissonance is a strong literary device, but B.O.B's song just contradicts.

Another example of fine line-writing is the chorus of Britney Spears' "Gasoline."
"Spark and it's like gasoline
I start burning like a machine
My heart only runs on supreme
So hot, give me your gasoline"

Terribly sexual in nature, it's honestly just another example of someone being crafty with euphemisms. Anyways, I still see it as "good" because it's rather creative. Not to say if Panic! came out with this song I'd call it good; I'd be pretty disappointed because I know they're better that that. But, this is Britney, the woman who sings about how toxic some dude is and how she's in love with criminals (my butt, you are). So, considering this is Britney (and I don't actually think she wrote this :D), it's passable.
So, this guy is making her cray-cray and she wants his "gasoline." Hmm, whatever could that be? :)

Well, that wraps it up for this week. Next week, I will talk about the use of repetition in lyrics and try to pick some less disturbing songs.

Until then,
Bella

Lyrics Part One

2013-01-26T17:09:00.000-06:00

Hey,

Sorry for the lack of a post last night, but I had to take the SAT at a school this morning that's about fifty minutes away from here, so I had to go to bed super early to get there on time.

Anyways, this week, I've decided to start a little series on lyrics. Love 'em, hate 'em, disregard 'em or appreciate 'em, they're a major component of music. Sometimes the lyrics are funny, sometimes they evoke an emotional response, sometimes they are sheer fluff and other times, the lyrics are the key component of a song.

This week I want to focus on the actual writers of these songs.

Songs are written by teams of people, as opposed to artists thinking and creating for themselves. Granted, some people are not able to create beautiful lyrics and melodies; some have talents in one area and not both. Fine, I understand that. But, explain why it took 6 writers and 4 producers to come up with this crap. I'm perfectly fine with bands/artists reaching out for a little help, but why does it all sound repetitious and pathetic?

Take, Katy Perry, for example. Her album "Teenage Dream" had nine producers and the title track had five writers. Contrasting directly with one of my favorite bands, MuteMath, and their newest album "Odd Soul" which had three producers (the band members) and their title track had three writers (the three members of the band). Both artists' title tracks are similar, in that they are narrative in style (story-telling) but that is the only similarity they share.

Let's directly compare lyrics.

Teenage Dream
"You think I'm pretty without any make-up on
You think I'm funny when I tell the punch line wrong
I know you get me, so I let my walls come down, down
Before you met me, I was a wreck
But things were kinda heavy, you brought me to life
Now every February you'll be my valentine, valentine
Let's go all the way tonight
No regrets, just love
We can dance until we die
You and I, we'll be young forever
You make me feel like I'm living a teenage dream
The way you turn me on, I can't sleep
Let's runaway and don't ever look back
Don't ever look back
My heart stops when you look at me
Just one touch, now baby I believe
This is real, so take a chance
And don't ever look back, don't ever look back
We drove to Cali and got drunk on the beach
Got a motel and built a fort out of sheets
I finally found you, my missing puzzle piece
I'm complete..."

Odd Soul
"I was once a son
Now I'm on my own
Wade through every rut
And I've got myself to show

And the trials and tribulations
Seem to always track me down
I'll ride off into the sunset
And try me another town

I'm an odd soul, oh yes, an odd soul
Walking side roads
'Cause that's the only way I know
I'm an odd soul, oh yes, an odd soul

Watch for who you know
Careful what you try
Everywhere I go
I still got myself to fight

And one day my child
Ever wonders what is wrong
I won't bat an eye when
I tell her, "Daddy don't belong"

I'm an odd soul, oh yes, an odd soul
Walking side roads
'Cause that's the only way I know
I'm an odd soul, oh yes, an odd soul

One of God's own
Just trying to find a place called home."

See the differences? I know I do. Katy and her gazillion other writers detail a stereotypical fling that escalates to much more, they'll be together forever, he makes her feel younger (she's only in her twenties, what the heck is wrong with her?) and he completes her. No set rhyme scheme, no real diction I mean, yes, they chose words, but obviously not strategically, and there is too much filler repetition. (I didn't copy all the lyrics because it essentially repeats all over again). In Mutemath's song, they present a personal anecdote of trying to find themselves and their purposes on Earth. Certainly, it's quite a bit deeper than "going all the way tonight" like Katy. They actually utilize some rhymes (down/town, etc) and I absolutely adore the phrase "wade through every rut," as it shows they know how to use dark diction and careful syntax to get their ideas across.

In conclusion, though both songs are narrative, in essence, one clearly outshines the other. MM tells a deep story of looking for meaning, both relating to God and life in general, while Katy discusses a fling with a guy who makes her feel like an irresponsible teenager. Overall, it is easy to see the discrepancies between the two.

Next week, for the second part of this series, I will break down the notion of good songwriting versus good "line-writing."

Until then,
Bella

The Good, The Amazing, and the Superamazing Playlist

2013-01-18T20:23:00.000-06:00

Hey,

It’s been a while since I’ve done a “What is Bella Listening To,” so tonight, I present my new playlist.

Here we goooo….

Relapse (Cosmonaut Grechko Remix) by Jhameel and Blue Satellite- I’ve highlighted Jhameel before, but this track is totally different from his normal music. It’s a remix of one of his original songs “Relapse” and the remix brings something new to an already great song. It makes the list because of the strong piano lines intermixed throughout the track, the perfect distortion, and the lyrics are sheer poetry. Put all these elements together, you have an amazing song. Worth checking out, even if you’re not into electro/remixes (as well, you might have heard this song if you’ve been to Hollister recently).

Act Like You Know by That Work- I love the electro meets alternative feeling of the song. Like “Relapse,” it’s slightly different from what I highlight on my blog, but sometimes, it’s a good thing to listen to all sorts of music. Anyways, I love this song because that chorus is constantly stuck in my head, the singer’s voice is so unique, excited yet soothing, and the lyrics are just as stunning as the music, for example “Ain’t got no eyes for no other…/you make it hard to get over/this feeling’s just too much…/I’m catching a fever.” Lovesick, yet with perfect syntax. Love it.

Flexxin’ By Dutch Uncles- String sections can truly enhance a song, as demonstrated in this track. This one really grew on me. Additionally, I like the layered vocals, catchy chorus, and the lead singer’s croon—so sick. J

Empty Party Rooms by Minus The Bear- One of my favorite bands! They are coming to my town in March and I really hope to go see them. The tickets are super affordable and I’ve listened to them for several years now. They are known for their flawless harmonies, steady beats, and ridiculously memorable lyrics. This song is no exception. It builds, crescendos, decrescendos, and repeats with perfect accuracy. Jake’s vocals blow me away each time, too. J

Pawn Shop Blues by Lana Del Rey- Oh, Lana. I realize I’ve reviewed like a million of her songs, but she has a ton of unreleased material on Youtube, a freaking goldmine for music lovers like me and considering the song has two million views, I suppose I’m not the only one who loves her unreleased material. The main difference between her unreleased music and her released music is her unreleased is relatively undoctored. “Pawn Shop Blues” is just plain and simple elegance flowing from her lips with a barebones arrangement of strings and guitars. The lyrics carry the song and you can feel her emotion, sympathize with her plight: selling things that an ex gave her in order to bury the memories. We’ve all had those low points—metaphorical or not—and Lana—or Lizzie, if you want to be specific—has a certain knack for connecting on several levels with her listeners, not just spewing hatred or sadness.

I like to contrast her with Taylor Swift. Both women write music (though Lana usually only requires one other person to help fine tune her lyrics, not write them for her, whereas Taylor usually uses two or more people) about their lives—autobiographical songs hold a special place in our hearts, don’t they?—but Lana varies her subjects, discussing love, but heartache, depression, memories, and even fantasies. Taylor, on the other hand, writes about love, breakups, and love, usually repeating and recycling old subjects and material, pawning it off as a new single. (Not to mention, she’s dated like half of Hollywood now, right? I love that Lana is so secretive about her private life; it makes me respect her even more). Point being, just because someone wants to write about their lives in their music doesn’t mean it has to be fluffy with repetitive lines and identical songs. That is why I love Lana and why “Pawn Shop Blues” beats “We Are Never Ever Getting Back Together,” two break-up/never reconciling songs but one clearly outshines the other. Just my musings for the night. Overall, “Pawn Shop Blues” is one of my favorite songs of Lana’s and I wish she would release it so I can get it on my iPod. Such beauty. J

Well, that’s it for this week. Next week, I’ll get to part Three of the Twilight soundtrack reviews; I’m trying to mix it up here and there.

Until then,

Bella

Twilight Saga: New Moon Soundtrack Review

2013-01-11T18:11:00.000-06:00

Hey,

Ready for the next installment in my throwback series? Today, I'm reviewing the soundtrack to Twilight Saga: New Moon. Yes, I realize that it is from 2009 and it sounds totally random, but Twi-hard or not, you have to admit the music on the soundtracks was amazing. So, without further ado...

1. Meet Me On the Equinox by Death Cab for Cutie- A smart move by the execs to get Death Cab on the soundtrack; these guys have a massive fanbase. And, Death Cab never disappoints. Leading in with that recognizable riff and Ben's strong vocals carrying the song, it's not hard to understand why Death Cab is so popular. They are some of the best musicans of our generation.

2. Friends by Band of Skulls- Love Band of Skulls! Between their hard rock edge and throwback vocals, I'm sold. The song has a very dangerous, rebellious edge that reflects Bella's (the constantly whining main character, not me...I'm as different from that Bella as can be) frame of mind in the book/movie.

3. Hearing Damage by Thom Yorke- The lead singer of Radiohead was another good pick; Radiohead's "15 Step" was played in the end credits of Twilight even though it was not featured on the CD. I'm not a big Thom Yorke fan, though I like this song. I love the electronica-like intro, sick drum beats, and the overall disoriented feeling.

4. Possibility by Lykke Le- Easily the most depressing song on the soundtrack song, Lykke Li's song is full of distortion, beyond sad lyrics, and her fantastic voice.Good pick.

5. A White Demon Love Song by The Killers- Oh, The Killers. Another amazing band. The keyboard lines, guitar arrangements, and Brandon's lilting voice make this one of the best songs on here.

6. Satellite Heart by Anya Marina- Anya Marina gained some notority for her cover of T.I's song "Whatver You Like," which was featured on Gossip Girl, and she has a stunning voice. It sounds like she's partially singing and partially whispering, and, for some reason, it works.

7. I Belong To You by Muse- Gotta love Muse. They really cannot do anything wrong. Matthew's voice is so unique and paired with the instrumentation (that piano line makes me melt!), this song really stands out.

8. Roslyn by Bon Iver & St. Vincent- The first time I heard this song, I thought somehow the Gregorian choir had gotten put on the album by accident, but nope, it's just some super moany vocals. It's pretty, if you can get past the fact that it sounds like something you'd hear at a funeral.

9. Done All Wrong by The Black Rebel Motorcycle Club- Good moody song. The lead singer sounds as depressed as Bella does in the movie, so it fits perfectly. Love that guitar in the backgroud too!

10. Monsters by Hurricane Bells- I like this song in the movie, but outside of the movie, it's just a little too weird for me. The lead singer's voice rubs me the wrong way.

11. The Violet Hour by Sea Wolf- One of my other favorites on here. The song is fantastic because of the poetic lyrics, the lead singer's crazy good vocals, and the guitars that allow the gorgeous melody to come out.

12. Shooting the Moon by OK Go- Like Thom Yorke, I'm not a bad fan of Ok Go (though I do love their music videos) but I LOVE this song. The lyrics detail faking the moon landing, which sounds like something OK Go would do, and that percussion won me over the first time I heard it. :)

13. Slow Life by Grizzly Bear- I love how this song climaxes, the voices meld, and the dark/light themes that constantly battle each other. Super good.

14. No Sound But the Wind by The Editors- I usually skip over this track, but I like it a lot more than I thought I did. The lead singer's voice is SOOOO deep; I was a bit taken aback. Like, whoa! Where did that come from? Crazy voice aside, the keyboard line and minimal instrumentation is what makes this track stand out. and makes me feel bad for skipping. :)

Alright, that's it for this week! Comment, Follow me on Twitter, and send me an e-mail with your thoughts!

Until then,
Bella