The first half of this list is marked by songs that rock out really hard. The second half is marked by songs that are outside your normal arrangements.
Rock Out / Quirk Out
1. “Station Wagon Apocalypse” – The Outfit. I’d just like to point out that this incredibly-named garage-rock tune is not even the best name on the two-song EP. (That would be “Tyrannosaurus Surfboard,” YOU’RE WELCOME.) As to the tune itself: Big drums, big guitars, big vocals, big fun.
2. “Be Cool” – Cancers. Cancers is the missing link that makes me think Sleigh Bells might not have been robots from the future and instead were just really, really hyped up ’90s kids.
3. “Last Forever” – Fenech-Soler. As a bassist myself, I appreciate it when a song is so thoroughly dominated by bass that the guitar and keys just kind of follow along. When those songs are also jubilant dance tracks with irresistible shout-it-out vocals, well. Well, well.
4. “Metronome” – The Yuseddit Brothers. There was a brand of ’90s grunge/slacker-rock that took pride in sounding like it was kind of underwater. This low-slung groove has that fuzzy-edged production value to match the not-so-ambitious tempo and tone. Chillax, y’all.
5. “Bright Eyes, Black Soul” – The Lovers Key. Sometimes I hear a song outside of genres I usually cover and think, “WHOA WHY DON’T I LISTEN TO THAT GENRE MORE.” Probably because I’m hearing an elite artist, but I don’t know. Anyway, The Lovers Key has me interested in aggressive Blue Eyed Soul with some serious motown horns stacked up on it. This makes me think of a James Bond movie. Can’t really explain that either.
6. “All in a Day’s Work” – Horizontal Hold. As a mid-point between rocking out and quirking out, I submit Horizontal Hold, which is out-Pixie-ing the Pixies at the moment.
7. “You Are My Summer (feat. Coleman Hell and Jayme)” – La+ch. This is a perfect electro-pop tune. In musical world that I ran, this would be the big hit of the summer. It’s got Icona Pop infectiousness and Cobra Starship restraint. What’s not to love?
8. “Old K.B.” – The Solars. Speaking of motown influences, here’s a piano-pop tune fronted by a guy who sounds like Jack White that features organ and horns. This thing grooves way more than piano-pop fans are probably comfortable with. THAT’S OK!
9. “Unrevenged” – Floating Action. Rubbery bass, ethereal background vocals, driving percussion? Clearly indie-pop, but not any like you’ve imagined recently. Has me all stoked for the album.
10. “I’m To Blame” – Anand Wilder and Maxwell Kardon. After sending us a folky tune for the first single, the second one is a incredible mash-up of jazz trumpet, Radiohead vocals, Muse craziness, and a totally rad guitar solo. It is, in a word, different.
11. “It Doesn’t Even Matter” – Onward Chariots! If the Kings of Convenience had more quirky pop arrangements, it might end up something like this.
12. “Rockingham” – Kasey Keller Brass Band. 58 seconds of found sound, gentle synths, and meandering acoustic guitar paint a sonic picture extremely well. Very cool stuff here.
13. “Shadow’s Song” – Foxes in Fiction. Chillwave + Owen Pallett? TOTALLY THERE, MY FRIENDS.
So I’m getting caught up on MP3s too. Soon I will be back on schedule!
MP3 Drop 1: DANCE IT OUT
1. “Wear You Out” – Amerigogo. Punk-funk-party-rock with muscle, grit and old-school “we play our own damn instruments” passion. If you don’t want to dance to this, I’m not sure this blog can help you much on that front.
2. “Gold” – Half Sister. There will always be room in my heart for more girl-fronted power-pop, especially when it’s as crisp and surprisingly emotive as this. Tender is not a term given to power-pop that often, but more power to Half Sister for pulling it off.
3. “Small Pony” – Dott. Girl-fronted power-pop that features an impressive bit of drumming; if you’re on the Best Coast train, you’ll find much to love here.
4. “Get Down” – Like Clockwork. Somewhere between the Postal Service and Ke$ha lies this track and its catchy chorus. Cobra Starship? Maybe?
5. “TTYN” – SCRNS. Is Lorde on the front edge of something, or is she already causing? SCRNS has similarly minimalist electro production going on, and it’s similarly catchy and fun.
6. “Partners in Crime” – We Were Lovers. I don’t think I can ever think of rich, majestic, night-time dance-rock without invoking The Killers. So a female-fronted Killers it is, and I love it.
7. “My Song 9” – Nova Heart. Ominous, foreboding female-fronted indie-electro-rock with an excellent production job.
8. “Inhibitionist” – Starlight Girls. The line between campy horror and surf-rock has never been harder to find. Fun all around, whatever you think the sound is.
9. “Earthquake” – Passafire. The only reggae I know much about is Matisyahu, but Passafire caught my attention with this track: smooth vocals, great chorus, a bit of tough edge to the guitar.
10. “Moonlight” – Message to Bears. A hypnotizing, gently rolling tune that inhabits the space between artsy R&B and atmospheric indie-folk.
I knew the first time I heard the “ra-ra-ah-ah-ah” riff of Lady Gaga’s “Bad Romance” that it was going to be an enormous smash. It has the unnamed x factor that makes pop songs into classics.
Cash Cash‘s “Love or Lust” has ten tunes in the Cobra Starship mold that all have the ability to be minor radio hits. But there’s not a track here that has the x factor. I only bring it up because every song is so close to having it. I don’t usually listen to dance-pop, because the majority of it is bland and formulaic. Cash Cash’s is not bland, and if it’s formulaic, it’s the formula listeners want. But there’s no go-for-the-throat melody, riff or hook here.
“Wasted Love” shows great promise through the verses and bridge, but the chorus is too soaring and sultry for the down’n’dirty mood. “Sexin’ on the Dance Floor” acknowledges that it’s a straight-up club jam, and the verses crackle with tension. But the chorus spins a bit too far into pop-punk to fit the tune perfectly. “Naughty or Nice” has the same tension bristling the verses, but the pre-chorus and chorus drops the energy with their choice of atmospheric synths instead of straightforward ones.
“Dirty Lovin'” is the most honestly techno tune here, and it’s a highlight. It’s like Cascada with a dude singing, and I like it. Again though, the charm is laid too thick on the pre-chorus, giving it a winking, pop-punk, Boys Like Girls attitude. It’s so incredibly close to being a killer.
“One Night Stand” has all the musical parts, but the lyrics are brutal (“Don’t touch my heart/I told you from the start/I’m only looking for a one night stand”). I don’t put it past the modern public to like harsh songs (I already quoted a song called “Bad Romance”), but this one is nearly unpleasant in its callousness.
You’ll have bits and pieces of these tunes haunting the aural part of your brain for days. But you won’t find a whole song that just won’t leave your ear. I hope Cash Cash keeps making songs, because they have all the pieces here to make a whole string of hit songs. They just need to spin the BINGO tumbler once more and get a new combination of pieces. It’s a bright future for Cash Cash, if they can get there.
Here Are Some Things is a teaser EP for Like Clockwork‘s very long awaited album These Are All Things, which could be as big as a triple LP. The current press says “full-length record,” so make of that what you will.
The EP contains four pop songs. “Grappling Hook” dabbles in Cobra Starship-esque dance pop, while “Televisionary” is like a Fountains of Wayne power-pop song. “Method Act” is a Guster-esque acoustic tune. “Starchild” is a distorted garage-rock tune. None of them are bad, but the vast array of genres makes it feel like nothing more than a teaser. There’s no coherence, nor does it seem that any was attempted. It’s literally “some things.”
Like Clockwork has experience with dance-pop, so his skills in that area are a bit more refined in “Grappling Hook” than in other areas. Ending track “Starchild” is a bit of a mess, but it’s an enjoyable crash. The most ambitious of the set, it starts off at a punk-fueled clip and then spins out into a spaced-out, flowy jam before throwing down some intermittent guitar noises for a long outro.
The EP certainly shows the breadth of Like Clockwork’s songwriting interests. I don’t know how the album is going to pan out after hearing this EP, because it could go in any direction. But the EP certainly has me looking forward to the album, so it’s done its job very well.
Nathan Leigh’s glitch ep features “Let’s Get Lost (Alternate Mix),” whose soaring melody and piano-led pensiveness stuck in my head for several weeks. If Owl City absorbed some Transatlanticism-era Death Cab moods, he’d be making moving tunes like “Let’s Get Lost,” as Nathan Leigh operates in a similar electronic pop idiom (but without much of the kitsch and bubblegum).
The rest of the tunes fare decently, but none stand out in the long run. Many of them are heavy on the glitchy production of the name, and the heavy static hits hurt my enjoyment of them. “Breathing in Fast” is an exception, an upbeat pop song that evokes Cobra Starship or Like Clockwork. Overall, it’s decent, with a shining star among the rest.