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I’m always on the prowl for the next artist that I think will be impactful on the current musical landscape.  Nasty Cherry popped up on my radar because I read that they were put together by Charli XCX whom I am a huge fan of.  If it doesn’t fit what you all know about me to date you should know that I’m actually a big fan of pop music.  I have a very acute taste for pop though.  It has to be truly inventive and not the processed mechanical schlock that's routinely thrown out mindlessly to the top 40 stations.  Not to say everything on top 40 is bad but...I digress.  Back to Nasty Cherry.  Charli’s idea was that the group would be a power pop/rock group in the vein of The Runaways.  I’ve listened to all three singles and the closest comparison I get is to something like the Bangles or possibly more recently Haim.  The Runaways had some serious rock and roll chops and a lot of grit.  Nasty Cherry is overtly sexual and a lot more pop oriented.  That said they do have a good bit of talent and the singer was literally nobody before she was picked up for the band.  I think they’re worth a listen and we will see what the future brings.  Happy listening!

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In honor of TOOL’s upcoming release (finally!) I wanted to promote a favorite of mine. This is one of their earliest releases so it lacks the depth of their subsequent work but it’s pretty raw and true to their core ethos. I picked Hush because I think it’s relevant to what’s happening in America today and this topic has been coming up often lately. I won’t say anything more so you can listen to it and figure it out. Dedicated to Commissioner Ross (former).

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https://vimeo.com/38343771

Ok one more video for you all. Another SNL performance. If you haven’t caught on yet they are frequently pretty awesome although I’ve seen some terrible ones too (cough...Lana Del Rey). Fleet Foxes are an indie folk band from the Pacific Northwest that has drawn comparisons to CSNY. They also happen to have the rare quality that all members of the band are accomplished singers including drummer Josh Tillman aka Father John Misty. That ability was what really drew me in. When I saw how they were able to sing the end of the song I was blown away. I often listen to records and think about how they are created. Is it studio trickery layering parts together or is there genuine talent or ingenuity at work? This performance proves the latter because what they do is extremely difficult which is why it is not often seen. For further listening check out the following tracks.

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https://m.youtube.com/watch?v=QTFHQ2LWbG8

First of all you’ll have to ignore the subtitles cause it was the only version of this performance I could find. That said, some of you may remember this song because it was a pretty big hit but you probably don’t remember the artist. He went by Gotye and I remember being interested in the album because he composed the music largely from “found sounds” from the Australian wilderness. The reason I love this particular performance so much is because of the choreography between Gotye and Kimbra. This was early on in the song’s US life cycle and the first time I saw him do it live. It’s a very emotional performance even though they were not in a relationship. I think it’s further enhanced by the camerawork from the SNL staff. I recommend listening to the rest of the album because it is quite good especially if you’re a fan of Peter Gabriel.

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There have been a few notable moments when I’ve seen a live performance and have just been awestruck with the artistry shown. This was one of those. I have been a fan of Bon Iver since I first heard Flume back in my Sirius days but this song remains one of my favorites not just from the band but of all time. It’s a rare moment of perfect musical genius which I didn’t truly appreciate until I saw it performed. To witness all of those small parts played in harmony is amazing. I am reminded of the brilliance of someone like Brian Wilson (a likely influence) or even John Williams because of the orchestration. It’s simply astounding. On a side note I remember being impressed that this was allowed to play on the tonight show. I remember hearing stories about artists having to shorten songs to fit in the time slot. Usually about 3 minutes. This one clocks in over 5. It’s a reflection on Jimmy as a music fan and the ultimate music geek ?uestlove who serves as music director for the show.

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I was sitting on the couch a few nights ago reading and grooving to Michael Kiwanuka’s Love & Hate album when this song came on. Somewhere about a third of the way through the song I jumped up and ran in to put my ear closer to the speaker. There was this sound that was compelling me beyond reason.

A few days later I’m listening to it over and over on headphones and I can’t get it to come back. I thought it was the bass (which is excellent by the way.) that’s not it because the sound doesn’t start in until about a minute and a half. I adjust the EQ to up the low range sounds and there it is. It took a viewing of a live performance to realize it’s an extremely resonant bongo. It sounds like a soft mallet on a metal trash can lid. I don’t remember ever being that obsessed with a particular sound but crazy props to the engineer that put the percussion together. Didn’t mean to go off like that but when you listen to this song make sure you have bass big enough to capture what I heard.

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What makes a great pop song? Stellar vocals, a great catchy hook, simple lyrics. Check on all accounts. I don’t think anyone has been able to create more universally loved pop songs like Mark Ronson. Not since the Beatles at least but that’s another conversation. On this track Ronson is accompanied by my favorite Swede Lykki Li. If you’re not familiar please go through her entire catalog before you finish this post. I could do without the steel drum but I understand it’s part of today’s sound. What I truly love is when the song breaks down around the 2:30 minute mark and you hear a raspy inhale from Li. It lends a rawness to the song that feels intentional. I also enjoy the tap tapping of the hi hat in the last minute and the imperfect rattle of the snare. It gives the song a human element and doesn’t sound like manufactured pop.

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And now for a band you’ve never heard of. I’m not even sure how I picked this album up but it played on pretty heavy rotation for a while when it came out. WMMF fit neatly into the fold of indie pop/rock bands in the early oughts. What grabbed me initially was the sweeping synth that kicks in within the first few seconds. I thought “wow that’s something I haven’t heard before.” The vocals are a mix of their contemporaries (see Frank Ferdinand) and Abbey Road era Beatles. Mix in some reverb laden accent guitar and the lush layered keyboard at 3:12 and you have a pretty compelling example a very specific moment in music history. The rest of the album is actually quite enjoyable but I am typically impressed when an opening track can captivate it’s listener because I feel that it’s very important in the creation of an album.

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Let me start off by saying that the Chili Peppers are not may favorite band but I think they consistently play with a chemistry and harmony that I’ve only ever seen/heard topped by Crosby, Stills and Nash. I have such an appreciation for that unity and I think it pushes the music to another level when you have that kind of talent behind it. That said this is probably their most beautiful song. Much of their work is on the more experimental side and this is a fairly straightforward love song. What really impressed me is the simplicity and how organically the lead guitar and bass weave together with the drum knitting everything tightly. Just sit back, relax and listen to perfection.

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This song is all about the rhythm section for me. I’ve been a huge fan of Silversun Pickups since they emerged circa 2006. I’ve listened to this album many times over the years and managed to always overlook this song. It wasn’t until I learned a little bit more about percussion that I was fully able to appreciate it. The song begins with a scaling bass line which is pretty captivating by itself. A few seconds in the stuttering snare starts which really makes it for me. Chris Guanlao’s style is quick and relentless, just try playing Lazy Eye on Rockband. That said it’s not easy to maintain that precision and energy through a four minute song especially once he starts hammering on those crash cymbals. The atmospheric guitars and even the vocals seem more of an accompaniment to the drums and bass. I’ve always felt that their songs were exceptionally well composed and this one is extra special.

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What’s the best track off @Nas’ #Illmatic? http://apple.co/Nas-Illmatic

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I’m gonna go out on a limb and say that if you’re reading this blog you’ve never heard of Brendan Benson.  If you read his bio he’s been making music since the mid nineties but this album didn’t come out until 2012.  Benson however made a splash before then in The Raconteurs helmed by Jack White.  I will say that this is one of those instances where I just really fell in love with a single song.  I could forget about the rest of the album and “Bad For Me” could exist on it’s own island.  The vocals stand on top of an absolutely beautiful string arrangement that explodes into the end of the first minute. A pretty atypical move given the rest of Benson’s body of work.  As mostly every song I love does, it builds to an emotional crescendo in the latter third of the song and drops into acoustic guitar before building back up to the full arrangement that carries most of the song.  It’s just a perfect combination of simple and relatable lyrics, powerfully emotional singing and well executed instrumentation.

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Let me start by saying In This Moment is one of my favorite bands. That said this song strikes a particular chord with me. I’ve always had an obsession with the idea of the phoenix (as evidenced by this tattoo)

The message Burn presents is one of being torn down only to rise again in the presence of ones persecutor. In This Moment is pretty heavy and very theatrical but the message they convey is consistently one of positivity and empowerment. My favorite thing about this song is the raw emotion in Maria’s voice when she screams “burn!” This album (Blood) is pretty solid but for further listening check out The Dream. Happy listening.

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I would say that out of all genres of popular music, country is my weakest area. Not to say I don’t enjoy it, I just haven’t had a ton of exposure over the years. My favorite however is the eternal Dolly Parton. I love how Here I Am is so simple and powerful at the same time. The message is easy and uplifting. A shoulder to lean on when times are tough but her delivery is spectacular. Coming from an album that describes her upbringing in utter poverty, it shows her ability to transcend the hand she was dealt and to remain humble. It’s a true portrait of what an amazing woman Dolly was and is and what she’s given to the world in both her voice and lyrics. For further exploration check out the version performed as a duet with Sia on the Dumplin’ soundtrack.

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Let’s bring this to the current decade. When Ariana first showed up on the scene I kind of wrote her off as a tween pop star that I couldn’t relate to. Come around to Dangerous Woman and I realize not only does the girl have serious chops but she’s got swagger and some legit R&B DNA. Think Janet for a new generation. Moonlight is the truest example of her raw talent and it’s not a song you’ve heard a million times. It’s not a single. She shows off her belting ability but also that gentle sweetness that she can turn off and on effortlessly. Dangerous Woman is a home run all the way through but this is my highlight.

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Today’s selection is a rare song from the Yeah Yeah Yeahs.  IS IS was an EP released between Show Your Bones and Fever To Tell.  The Yeah Yeah Yeahs are more known for their up tempo garage rock sound with loud abrasive guitar work.  Karen O’s vocals remind me of what Lana Del Ray would one day aspire to.  This song however remains my favorite from the band as it strikes that balance between the dreamy atmospheric sound of Maps and the hard, crunchy sound of a song like Y Control.  I think that The Yeah Yeah Yeahs were very much a part of the NY garage rock music scene but were able to break out of that mold with the versatility of their sound and the dynamism of Karen O’s voice as well as some choice collaboration with artists like Danger Mouse.  The DNA that I hear is certainly owed largely to The Stooges and Blondie but I also hear the meandering guitar work of Joey Santiago of the Pixies.  For further listening please check out the Fever To Tell album.  I think it’s the best complete representation of what the band is capable of.

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So this is a weird place to start right?  I chose this song as my first song to post because I want everyone to understand that there’s no judging or harsh criticism.  Tiffany was and is classified as 80s teen pop and was largely dismissed as lacking substance.  If you listen with an educated and unbiased ear what you hear is the influence of New Wave and 80s synth.  Along with that is some vocal influence via iconic female leads like Cherrie Currie and Nancy Wilson.  Songs like “I Think We’re Alone Now” certainly influenced groups like the Backstreet Boys and Britney Spears but also informed Chvrches and Grimes.  What I urge everyone to do is to be open to surprises.  I certainly never thought that given the option to choose any song as an opening post for a hopefully successful music blog that I would choose...Tiffany. :)