Midlake - Roscoe
Cool synth+electric, setting up a circular groove, and around which that perfect bassline spreads, and the rhythm gutiar works, adding...well, rhythm to the drum line as it comes in. Really good growth and introduction, that. The drum fills help create ebbs in the flow, perfect and creative addition of ride cymbols which creates a feeling of surfacing to air. Once again through...vocals are nice and all. Harmonies expand and contract, making even more flow. Flow like water. The harmony for the chorus-like part is especially badass...awoooo...now a creative rhythm and melodic acoustic on low and high frets. Gosh, these guys know how to write a song and put the bits together. Nice solo, descending lines, calmed with those double-tracked vocals after. Bass shifts surprisingly, again ebbing and flwoing. Now a rising, not descending line into the solo, which reaches farther than its counterpart while being borne into the past. 1891 must be an epicly deep, percussive yearh. Soaring, shouting, all still cyclical and excited. Ride sticks along for the last verse. and so you can just here the beginning cycling line there. Woooo!
Supergrass - St. Petersburg It's encrypted.
Yeasayer - Sunrise Yay!
More strange harmonies. Textured and creepy piano, screeching and striking. The crying and noise evolves into a beat, distrubted...maybe a bit ineffective but very cool. Nice bass, great use of vies to evoke and string things together, but the rest of the groove keeps on behind it, for better or worse. Beats get more interesting, but omsething's off...there's no...basis. Listening more to the percussive entrances/exits make it cooler/more interesting, but something isn't going right. Nice touch on the chorus. Doesn't feel like a breakdwon after it, though..wasn't in it to break, you know?Vocals build nicely but never did make for the the epicness of the start. It's denser...and not much else. Looking pack, the percussion deserves a lot more credit, but it's all too choppy to have flow, that's it. The flow doesn't work for me. The bass and voice and vibes just aren't enough. I sort of want to say "Too artful," but what I mean is that they should clear away the crap and really do what they do well. Simplify, simplify, simplify. Nice, though.
Camper Van Beethoven - Take the Skinheads Bowling
Hops into a solid groove. Like the balence: held notes on the top electric, some shift in the lower electric, and nots of good shhift in the bass. Drums is a good balence of simplicity and interestingness...oh screw you Hiro. I am laughing so hard. Thi is just...lul.
Peter Bjorn and John - The Chills
Cool fuzz-bass and good drum groove under that vibes shit and the shhhing. Breaks down nicely. The drum work is really good...even if it's a loop. Love the haunty shifty vocals. Great reintroduction of material into the verse. An unexpected breakdown...buildingand receding with drums. But once everything roars in...there isn't much actually there. It's a sweet groove, but it's just sorta burning, having some stuff thrown in. His reedy voice is less soulful, stirring, and evocative then needed...that's one of my bigger problems with PB&J, they have great hooks and great beats, and then things just sorta sit there and feel less interesting. I could see this being wonderful for dancing. Most of this stuff is wonderful for dancing, dear.
Ratatat, Slim Thug, T.I. & Bun B. - Three Kings
Again, great beat on their part. That electric is a bit annoying, but the drums and synthy moanings are really good, vary nice with the voice. Again, no discernable point in lyrics besides misogyny and hubris, great breakdown as we get closer to the chorus form, adding and removing things. Some of the rhymes are nice, but neither rapper so far is really impressing me. I like this kind of stuff, rap with a bit more variation in the beat and change as things continue on. It's quite the challenge to make a hip-hop beat and hide it an sorts of other percussion, and still have it flow, which this song acheives. But this Slim Thug man just strikes me as an asshole. Third guy I like a bit better, plays with rhythm more. Some of my favorite rappers, mostly Doesone and Subtitle, use crazy rhymes and sonorities along with rhythm and subject. But none of them are particurally inspiring. Good, but not my thing. Rhyming a bunch of things with "ug" is also pretty stupid in its own right, I'll say.
Midlake - Young Bride
Builds, emerges out of the silence on violin and octaves on the acoustic...staging, setting. The violin plays on a blues scale solemnly and reflectively, the acoustic builds up, and these drums which are simple yet really compelling, and easily and effectively altered. Like a tired old woman. They know when to stop speaking to make it awesome. Adding in bass creates more flow, and then they cut it in half by adding the second, stronger snare. Builds together for the chorus, the crazy shimmering over all that we've created, that we now receede. Drums and bass start it back off, drums starting off and become slightly more complex, more exciting and dense. Nice throwaway double and triple tracking for effect. It still feels organic and natural, even though that electronic wailing and sorta bright synth tone sits over everything. Great second set of vocals on the chorus, which is a tapestry of sounds in the most exciting sort of way. Awesome. Nice breakdown to violin solos, now building and mirroring each other so as to evoke...more of that natural growth, despite the fact that we've gotten so much energy. Third chorus is just ten times more badass because of this, and because of the extra vocal work going into it. Oh man, oh man, oh man. Wonderful! Great intervals on that vocal line, reminiscent of the violins. That's smart, that's friggin' smart. I love it! Keeps going, perhaps a bit less exciting, but there's a good solo over it so I don't care. Midlake is amazing, amazing. We're drowning in more synthy winthy wonderful hundred-fold intensity then further dying away into its source, grasshoppers. Oh boy that was fantastic and wonderful. LOVE.
Jesse Sykes and the Sweet Hereafter - Birds over Water
Unfolding in an arpeggio, to those violin notes flittering about the dominant, ready to resolve...wow. Evoking, pulling. Electric is simple and really fantastic, manages the same thing. Percussion moving little, but not needing to. Electric builds more, allowing the violins to really push what's going on. It's slowly, it's somewhat bluesy, but that's great. Rumbling of a snare, I think?, in the background. Nice chromatism, everything, the rhythm and the flow, rest on that guitar. But now it's secondary, jumping in with piano to frame each vocal line, adding all this drama. Vocals fit perfectly, descending and bridging those two chords. More activity on violins and guitar and piano, plus vocal harmonies, make more tension. We're almost, but not quiet, at a regular percussion, not just epic frames and throwins. Rides and snares jump in and create it. Here we are. Shit, man. Voilins create tonality, electric frames and creates rhythm and tension, resolved by the nature of the chords itself. Piano is really percussion. A really good balance and mix exists here, how amazing. Gosh. Like birds over water, such a buildup, after we've had all of this. The chords are changed to awkward counterparts, needing even more resolution and care, and the piece meets that requirement fantastically. Oh wowie. Love it, love it! How wonderful! The formula is getting old but I don't care. Acoustic is just...so damn pretty, evocative. Breaks to a solo part, she really knows what she's doing and how to achieve it. I love everything follows the path of the guitar, even though the guitar is the supported one: all of the emotion lies there, and thus brightens everything around it. How...that's just impossible. Impossibly done. Fall down on me. I can't even hear everything because I'm on this fucking plane and this is just making me feel warm inside. Fall down on me. Second solo, holding on notes and then descending, using piano to vault back up to the tonic. Each resolution to that tonic is such a sweet release of pain, like she's holding back very subtly and then bringing us home. I feel carried, loved, appreciated, welcomed in in this respect. She's speaking to me. Secondary acoustic is simple enough to really enhance everything. Such damn good use of violins. Like seriuosly, holy shit Kaz. If the rest of this pack is that good you should win a Nobel Fucking Peace Prize. I love you so much.
Cool synth+electric, setting up a circular groove, and around which that perfect bassline spreads, and the rhythm gutiar works, adding...well, rhythm to the drum line as it comes in. Really good growth and introduction, that. The drum fills help create ebbs in the flow, perfect and creative addition of ride cymbols which creates a feeling of surfacing to air. Once again through...vocals are nice and all. Harmonies expand and contract, making even more flow. Flow like water. The harmony for the chorus-like part is especially badass...awoooo...now a creative rhythm and melodic acoustic on low and high frets. Gosh, these guys know how to write a song and put the bits together. Nice solo, descending lines, calmed with those double-tracked vocals after. Bass shifts surprisingly, again ebbing and flwoing. Now a rising, not descending line into the solo, which reaches farther than its counterpart while being borne into the past. 1891 must be an epicly deep, percussive yearh. Soaring, shouting, all still cyclical and excited. Ride sticks along for the last verse. and so you can just here the beginning cycling line there. Woooo!
Supergrass - St. Petersburg It's encrypted.
Yeasayer - Sunrise Yay!
More strange harmonies. Textured and creepy piano, screeching and striking. The crying and noise evolves into a beat, distrubted...maybe a bit ineffective but very cool. Nice bass, great use of vies to evoke and string things together, but the rest of the groove keeps on behind it, for better or worse. Beats get more interesting, but omsething's off...there's no...basis. Listening more to the percussive entrances/exits make it cooler/more interesting, but something isn't going right. Nice touch on the chorus. Doesn't feel like a breakdwon after it, though..wasn't in it to break, you know?Vocals build nicely but never did make for the the epicness of the start. It's denser...and not much else. Looking pack, the percussion deserves a lot more credit, but it's all too choppy to have flow, that's it. The flow doesn't work for me. The bass and voice and vibes just aren't enough. I sort of want to say "Too artful," but what I mean is that they should clear away the crap and really do what they do well. Simplify, simplify, simplify. Nice, though.
Camper Van Beethoven - Take the Skinheads Bowling
Hops into a solid groove. Like the balence: held notes on the top electric, some shift in the lower electric, and nots of good shhift in the bass. Drums is a good balence of simplicity and interestingness...oh screw you Hiro. I am laughing so hard. Thi is just...lul.
Peter Bjorn and John - The Chills
Cool fuzz-bass and good drum groove under that vibes shit and the shhhing. Breaks down nicely. The drum work is really good...even if it's a loop. Love the haunty shifty vocals. Great reintroduction of material into the verse. An unexpected breakdown...buildingand receding with drums. But once everything roars in...there isn't much actually there. It's a sweet groove, but it's just sorta burning, having some stuff thrown in. His reedy voice is less soulful, stirring, and evocative then needed...that's one of my bigger problems with PB&J, they have great hooks and great beats, and then things just sorta sit there and feel less interesting. I could see this being wonderful for dancing. Most of this stuff is wonderful for dancing, dear.
Ratatat, Slim Thug, T.I. & Bun B. - Three Kings
Again, great beat on their part. That electric is a bit annoying, but the drums and synthy moanings are really good, vary nice with the voice. Again, no discernable point in lyrics besides misogyny and hubris, great breakdown as we get closer to the chorus form, adding and removing things. Some of the rhymes are nice, but neither rapper so far is really impressing me. I like this kind of stuff, rap with a bit more variation in the beat and change as things continue on. It's quite the challenge to make a hip-hop beat and hide it an sorts of other percussion, and still have it flow, which this song acheives. But this Slim Thug man just strikes me as an asshole. Third guy I like a bit better, plays with rhythm more. Some of my favorite rappers, mostly Doesone and Subtitle, use crazy rhymes and sonorities along with rhythm and subject. But none of them are particurally inspiring. Good, but not my thing. Rhyming a bunch of things with "ug" is also pretty stupid in its own right, I'll say.
Midlake - Young Bride
Builds, emerges out of the silence on violin and octaves on the acoustic...staging, setting. The violin plays on a blues scale solemnly and reflectively, the acoustic builds up, and these drums which are simple yet really compelling, and easily and effectively altered. Like a tired old woman. They know when to stop speaking to make it awesome. Adding in bass creates more flow, and then they cut it in half by adding the second, stronger snare. Builds together for the chorus, the crazy shimmering over all that we've created, that we now receede. Drums and bass start it back off, drums starting off and become slightly more complex, more exciting and dense. Nice throwaway double and triple tracking for effect. It still feels organic and natural, even though that electronic wailing and sorta bright synth tone sits over everything. Great second set of vocals on the chorus, which is a tapestry of sounds in the most exciting sort of way. Awesome. Nice breakdown to violin solos, now building and mirroring each other so as to evoke...more of that natural growth, despite the fact that we've gotten so much energy. Third chorus is just ten times more badass because of this, and because of the extra vocal work going into it. Oh man, oh man, oh man. Wonderful! Great intervals on that vocal line, reminiscent of the violins. That's smart, that's friggin' smart. I love it! Keeps going, perhaps a bit less exciting, but there's a good solo over it so I don't care. Midlake is amazing, amazing. We're drowning in more synthy winthy wonderful hundred-fold intensity then further dying away into its source, grasshoppers. Oh boy that was fantastic and wonderful. LOVE.
Jesse Sykes and the Sweet Hereafter - Birds over Water
Unfolding in an arpeggio, to those violin notes flittering about the dominant, ready to resolve...wow. Evoking, pulling. Electric is simple and really fantastic, manages the same thing. Percussion moving little, but not needing to. Electric builds more, allowing the violins to really push what's going on. It's slowly, it's somewhat bluesy, but that's great. Rumbling of a snare, I think?, in the background. Nice chromatism, everything, the rhythm and the flow, rest on that guitar. But now it's secondary, jumping in with piano to frame each vocal line, adding all this drama. Vocals fit perfectly, descending and bridging those two chords. More activity on violins and guitar and piano, plus vocal harmonies, make more tension. We're almost, but not quiet, at a regular percussion, not just epic frames and throwins. Rides and snares jump in and create it. Here we are. Shit, man. Voilins create tonality, electric frames and creates rhythm and tension, resolved by the nature of the chords itself. Piano is really percussion. A really good balance and mix exists here, how amazing. Gosh. Like birds over water, such a buildup, after we've had all of this. The chords are changed to awkward counterparts, needing even more resolution and care, and the piece meets that requirement fantastically. Oh wowie. Love it, love it! How wonderful! The formula is getting old but I don't care. Acoustic is just...so damn pretty, evocative. Breaks to a solo part, she really knows what she's doing and how to achieve it. I love everything follows the path of the guitar, even though the guitar is the supported one: all of the emotion lies there, and thus brightens everything around it. How...that's just impossible. Impossibly done. Fall down on me. I can't even hear everything because I'm on this fucking plane and this is just making me feel warm inside. Fall down on me. Second solo, holding on notes and then descending, using piano to vault back up to the tonic. Each resolution to that tonic is such a sweet release of pain, like she's holding back very subtly and then bringing us home. I feel carried, loved, appreciated, welcomed in in this respect. She's speaking to me. Secondary acoustic is simple enough to really enhance everything. Such damn good use of violins. Like seriuosly, holy shit Kaz. If the rest of this pack is that good you should win a Nobel Fucking Peace Prize. I love you so much.
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