You are currently browsing the tag archive for the ‘music’ tag.

You’ll have to forgive this entry if it is uninteresting, but I keep coming across the topic of stars in my reading (as I roll through the Young Adult section of Borders) and in the music I listen to and I wonder if I’m reading too much into things, or if this is legitimate.

One can generally assume in Western Literature that if it’s a reference it probably comes from one of three places: Shakespeare, the Bible, or Greek/Roman myth. Right? Right. These are the three pillars of Western literature pretty much. There are others, of course, but these are the Big Three, if there were any at all. And, at a cursory glance, the stars in the night sky seem to pop up a lot as symbols for practically everything. They are a big part of the current world’s modern mythology, for more than a few reasons.

So just chew on this for a moment:

  • Probably one of the earliest references would be in the Bible’s first book Genesis (15:5, KJV) when God commands to Abraham–currently childless–to “Look toward heaven and number the stars if you are able to number them… So shall your descendants be.” So initially stars symbolize a promise, and they symbolize the future, and they symbolize fertility. All at once in those two little sentences. But there’s more–much, much more.
  • And according to Ovid in the Metamorphoses when a god created man he created him upright with his head towards the stars in the heavens, and not like other animals whose gaze is constantly directed at the ground. And then, in another creation story they become the sign of man’s intelligence, of his higher being, or his status as master over the animals, of his privileged place in the world, and of that which man can accomplish, even–that being anything. Limitless potential.
  • The stars are also the symbols of astrology and take on the role as guides of fate and fortune.
  • And then there’s Shakespeare. I could write a thesis about all of his references to stars, just in his tragedies, and all that they mean; but I’ll take one of the more popular references: When Romeo begins his little “But soft! What light through yonder window breaks?” as Juliet appears on her balcony he continues on saying “Two of the fairest stars in all the heaven/Having some business, do entreat her eyes/To twinkle in their spheres till they return.” Getting us to the more basic symbol of beauty, not getting into to the lengthy discussion of eyes as the portals into the soul and what starlight in those eyes could mean…
  • And, just to get more modern more quickly, there is the classic Walt Disney animated motion picture Pinocchio where “When you wish upon a star” … and I’m assuming you know the rest, where the stars here are promises for the future, wish granters, almost representative of gods you could pray to and grant your deepest desires.
  • And just to give these bullet points a nice symmetry, I’ll just end with the reference from Lois Lowry’s book Nubmer the Stars, the title she borrowed from the passage in Genesis, about the Jews of Denmark in the escalating years right before and in the beginning of World War II. There the stars are the Jews, the descendants of Abraham, the people who were represented the Star of David, the fulfilled promise from ages before.

And then I hear a song like “After Tonight” by Justin Nozuka. Here are some select lyrics

There’s something in your eyes
Is everything alright
You look up to the sky
You long for something more

Darling, give me your right hand
I think I understand
Follow me and you will never have to wish again

(Chorus)
I know that after tonight
You don’t have to look up at the stars
No, No, No, No…

And I can’t help but wonder if he’s consciously or unconsciously taken in all of those cultural references about stars, even if just from watching Pinocchio as a kid, and the power that they seem to hold in and out of literary, cultural, and collective imagination.

Advertisements

Side note before I get into anything: If anyone could explain why hero is pluralized with an extra “e” and yet zero isn’t, that would be greatly appreciated. Confusing English grammar aside:

So there’s this band. And they’re from Norway. And they’re called Heroes and Zeros.

That’s the basic info. Now, the more complicated stuff… This band is getting a lot of hype lately for a few reasons, the foremost being the single “Into the Light” of their latest album Strange Constellations which was released in April 2007–the song being featured on the video game FIFA 08. Their song “Into the Light” was my introduction to the band, and it is a good song. It’s what is becoming a somewhat standard rock song with solid lyrics, take a gander if you care to (not the complete lyrics, just a sampling):

I wanna be with you
despite the stupid things that I’ve said
it was just that my cool got scared

Hey, you’ve got eyes like burns of prey
that made me shy away
oh, you’re gonna tear my heart out

Hey, this insane flesh has failed,
let’s burst this ribcage jail
oh, and then we’ll be together

Let’s carry on into the light…

But besides the lyrics and the understanding of what makes a good pop/rock song, these guys really impressed me with their philosophy of music. It’s an old school philosophy if I’ve ever heard one. They wrote in their blog:

In spite of our success with single songs, we feel our greatest achievement is we’ve managed to create a complete album, just as we set out to do…. Being album lovers, we still admit the times they are a’changing, and people don’t save money for weeks to buy an album they listen to for months anymore. Music is found everywhere; on every street, in every commercial, in every video-game, in every store, on every phone or mp3 player. And of course we acknowledge the effect and impact one song can have on ours, as well as on our fans lives. In spite of this, nothing can beat the feeling when you turn your lights down low, pull down your winter curtains, lay back in your sofa and press play on your iPod/CD-player/record-player after your parents or neighbours have gone to sleep, and listens to an album you really like from start to stop, going crazy in between. If only a handful of people have done so with our “Strange Constellations”, it’s worth all the struggle making it!

Reading that truly made me want to listen to the whole album just as they had intended it. I haven’t yet so I’m going out on a limb here writing these things, but merely the fact that these guys have taken an approach of such care leaves a distinct impression. It resonated with me, thinking back to those days in the ’90s when I would buy a new CD (Radiohead’s The Bends leaving the biggest impression) and putting it into my boombox back home and just listening to it straight through. It’s a good feeling to know that a band understands they are making a whole product and not just a product that’s supposed to contain a few hit songs.

Just knowing that makes me treat the band and their music differently, knowing they intentionally put two songs on their album, one called “The Foolproof” and the other called “The Argument”, that are meant to complement each other, knowing they meant the album to be taken as a whole makes me want to like them more–whether or not I will.

To contrast: I would never treat a Nickelback album like this. Ever. Not even if aliens came to earth and admitted that they did build the pyramids as giant landing pads that they flipped upside down so no one else could use them. Not ever. Nothing could convince me they are a good band. Just like nothing could convince me that, despite it’s chart-topping success, “4 Minutes” by Madonna and Justin Timberlake with Timbaland at the helm is a good/decent/better-than-fish-guts song, or that a Grammy is a consistently valid award. There are just some things my mind is hardened against.

So coming across a band who takes the time, goes the extra mile, I figure that’s worth reporting, even if that mile they go isn’t too spectacular.

It’s great news to read something like this in the news:

Coldplay’s new album Viva La Vida has taken an unusual iTunes record, becoming the best-selling album pre-sale ever released in the history of Apple’s music store.

But it’s kind of tragic that the same article reveals that the album has leaked. I know, this isn’t brand new news, but I want to write about it so I am. I mean, when I get called late at night with a friend yelling excitedly “The Coldplay album leaked!” I figure it’s an event worthy of recording.

Back to the focus. The album has leaked…in a major way. Simply checking ThePirateBay.com (the only torrent website I’ve ever been told about) and seeing that thousands upon thousands of people dowloading a half dozen different torrents all claiming to be Colplay’s new album entitled “Viva La Vida (, or Death and All of His Friends)” (but I think they cut the second half of the title) was shocking. Looking at the “Top 100” list for music, the closest torrent numbers don’t even compare. I can only assume, looking at the numbers, that at least several million people have the full pirated album now, about two weeks before the scheduled US release.

This has to be one of the biggest cultural leaks. It’s huge. This is one of the most anticipated albums of the year from a band that is garnering a lot of media based just on how big they are. Just check out the opening lines from this news article (a little overstated in my opinion):

It is no wonder the music world is so eagerly awaiting the release of the new Coldplay album. Coldplay may very well be the last of the super acts.

The release of ‘Viva La Vida or Death and All His Friends’ is without a doubt the most anticipated release on the planet in some time. Maybe that is because Coldplay is the last of the great groups.

The article has an interesting thesis, to say the least. But their jumping-off point is sound. Coldplay is a huge band right now. One of the biggest, playing sold out show after sold out show. Headlining at Live8London alongside the reunited Pink Floyd and other Rock and Roll legends is probably getting to the highest point on the totem pole, at least that I can imagine. So when one of the world’s biggest bands releases a new album, it’s safe to assume it’s going to be one of the worlds biggest selling albums.

And then the album becomes available for download for millions of people to access at no cost but the threat of an impending federal lawsuit.

So the band reacted by streaming the album on their MySpace page.

Not that releasing an album over the internet (with the band’s permission, such as in this streaming case) isn’t without precedent (Radiohead, Nine Inch Nails). And the move is a solid one–and probably one that should be adopted as standard in the future if major bands want to succeed in an age where modern piracy is exclusively technological. It’s also a problem labels of major acts are going to have to learn to elegantly sidestep, because no easy solution is presenting itself but to release the album a week or two early.

Moral: you can listen to the new Coldplay album! I’m still going to submit into evidence that ever since daily falling asleep to Parachutes for my afternoon naps years ago, that album remains my favorite, although for about the first year I could never stay awake long enough to hear the last three tracks: a true story.

This album, according to some, is a very important album for Coldplay, the album heralding what’s called the “make or break” time. A time I’m not so sure is here. The album is solid, but it doesn’t exactly take the band in a new direction. But I like the album and will continue listening to it. I imagine the next album will be the make it or break it album. Others conjecture otherwise.

Ah, enough of me: just read the article here.

I want to first apologize if I have ever written anything pretentious on this blog. It’s something I’m a little self-conscious about because I am a firm believer in the idea that simplest is best. However, in those rare moods where I’m feeling verbose (encouraged by professors who demand papers with a certain length as opposed to quality) the words just flow out like I’m not even speaking them. And I’m not really speaking them, some idiotic voice in the back of my head is going “Yeah, that sounds great write that, just keep going, don’t think about it, just keep writing.”
But all that ends up being is fluff: nonsensical, pretentious, important-sounding-but-really-unimportant-and-pointless fluff.
I bring this up because I was just reading a review of Spoon’s Ga Ga Ga Ga Ga album on Pitchforkmedia.com and these were a few of the sentences in it:

What in lesser hands could be extra-textual gobbledygook instead feels the product of studio freestyling, something to which the murky mixing-board wizardry of Jamaican dub is an obvious precursor.

Backed by an irresistible Holland-Dozier-Holland gospel-pop-stomp, “Cherry Bomb” re-imagines the heart/sleeve cliché as a vivid bicep tattoo, as Daniel implores his love to three-point-turn and chill out.

With Ga Ga Ga Ga Ga, Spoon have once again found a gray area between the poles of pop accessibility and untested studio theorizing, modifying a formula that has grown to feel familiar even as it wanders, and refusing to square the circle while doing so.

All I can say after reading sentences like these is “I’m sorry, what?” Because they are so unnecessarily dense, filled with words that don’t need to be there, they have no effect. Even if someone could elicit meaning from these sentences, it took then too long to do it. pretentious

So in that last case, the bolded sentence, how could that have been improved? I’m not even sure. I’m still trying to figure out what place he’s trying to describe as the “gray area between the poles of pop accessibility and untested studio theorizing”? What formula they’ve created that feels “familiar”, and why it still feels familiar as it’s wandering? And what circle are they “refusing to square”? Is the square the “pop accessibility? Is the circle the “untested studio theorizing” (which, keep in mind, can never actually exist because once something is recorded it is no longer “untested” and therefore is the purely theoretical, but I”m wondering how that is antithetical to “pop accessibility”)? Is the gray area where Spoon is wandering while they’re modifying their formula?

I could go on, but it would only depress me.

What I’m wondering is how this ever got published. Who edited this? Because this is Grade-A crap. This is pretentious to the nth degree. It’s just throwing out words that don’t need to be there so he can sound smart, and impress upon his readers how erudite he is, and how great this band is for “refusing to square the circle”, when really all he needed to say is “This band is different in a good way because they avoid the cliches of the pop music formulas they work so closely with.” Simple. Clear. Precise.

So please, if I ever write anything near as pretentious as any of that drivel by our dear Eric Harvey, please call me out on it. Lambaste me publicly. I want to hear it, so that I don’t turn into something far, far worse: the pretentious writer.

Never in my life would I have guessed that i would be writing a blog, much less a blog entry with the title “Love by Cartier.” But as I was doing a little research into the band Phoenix (more on them later) their website advertised a “Free Download” and, as you probably know, I’m a sucker for anything free and more of a sucker when that free thing is music. So I followed the link. To the Cartier website.

I was in a mild form of shock and a definite state of confusion. Because I was greeted by this website:

http://love.cartier.com/

It’s not exactly what I was expecting. But it’s always a pleasant experience to find more then you were expecting. In this case I was glad, because it led me to a whole CD (12 tracks, standard) of music for free download. And there are some really good songs on it. There are also films on the website, a link to the charity, and highlights of the new Cartier jewelry collection. I briefly viewed one of the films, but when I realized it was just an artsy, black and white excuse to promote the aforementioned new collection, I stopped. I can only take so much propaganda in one day, and that website was too much to begin with–as pretty looking as it is.

Back to the music: there are some incredibly great songs on that CD, and sadly the reason I was there, for the Phoenix single, was not the highlight. Well, really that’s better news for me because it means I’m expanding my musical horizons. And I’m sorry this review isn’t more in depth, but I keep falling asleep during my listening sessions. You try and see if you can get through the whole thing without at least getting a little droopy eyed.

  1. “The Ground That We Stand On” by Hawksley Workman – In my opinion, the best song on the compilation. Unassuming, simple, delightful. A near perfect song. Wonderful lyrics, such as the lines where the title is derived: “The time that we keep wasting, like we don’t know the pain we’re called to bear. Oh the ground that we stand on won’t long be there.” It’s a song that passes my ultimate test: relistenability. Unlike my favorite Weezer songs that I have to take a pause from, this I cannot get enough of, repeat listen after repeat listen. If you download one song from this website (though you should download them all) it should be this one.
  2. “The Strong Ones” by Marion Cotillard – It’s just one of those infectious ballads that you’re kind of tempted to cry along with. Not really, but just a little. And sung by Marion Cotillard, the actress who (more than deservedly) won the Best Actress Oscar this year for her performance in the biopic of Edith Piaf, La Vie En Rose. And now she sings, and sings much better than other actress turned singers (such as the most recent disaster: Scarlett Johansson. Or even the disappointing Julie Delpy album.) This song is just sweet, a song for people in love (which is a pretty common theme if you haven’t already guessed.)
  3. “Love in This World” by Khalil Fong – how many soul and R&B performers do you really expect to come out of Hong Kong? Seriously? If you’re impressed by that idea alone, you’ll love the track. This very smooth Jack Johnson-esque track is sung in goodness knows which (or how many different) languages, and it’s just so smooth, and so good.
  4. “Drive Around Another Time and Stop” by Grand National – From the first seconds of this track I assumed I would hate it. It sounded like the overhead music I would expect to be in a Cartier store, or worse: the elevator music in the Cartier store. But I got over it. The over synthesized background isn’t so bad, because ultimately these guys do know what they’re doing, and they do make a good song out of it, regardless. At the very least, it’s quite different, at least to my ears, and so somewhat exciting simply because of that.
  5. “Twenty-One One Zero” by Phoenix – I’ll highlight it, if only because it was the track that got me there in the first place. I do want to say it is a good song, it really is, but having listened to the rest of the Cartier compilation, I admit it is not my favorite. I was inspired by Phoenix’s latest album “It’s Never Been Like That” to seek out this new song in the first place, and I was initially surprised by the lack of lyrics throughout most of the song (not that they aren’t there). As the Cartier website says of Phoenix’s music: “a blend of youthful excitement and the mysterious science of the counterpoint.” A fair and good description to this mysterious little song.

Ok, that’s all. I’ll stop there, lest I get carried away, and more critical as I get to the songs I don’t like as much–like the weepy, voiceless, curious, but ultimately boring “Mor” by fennesz+sakamoto.

The other songs on the compilation are: “Liz and Jonny” by Dan Black, “Infinite Love” by Little Dragon, “The Power of the Heart” by Lou Reed, “Sur l’Ecorce” by Pauline Croze, “I Am Snow” by Sol Seppy, and “Everybody Knows” by Thomas Dybdahl.

However what I would like to impress upon you: Please download the track “The Ground That We Stand on” by Hawksley Workman. It’s a great song.

So, when I first heard Amy Winehouse’s Back to Black album I thought: cool. A refitting of those standard ’50’s and ’60’s motown background beats with a little modern revision and some actual bass. Great. Everything works out. Except her lyrics were much more modern and concerning questionable things. But that was really the only difference. But now that I look at it, this has been the direction for a while.

Iguess the Indie bands had the idea first really. They kept alive to old traditions without much addition. Take Guster’s “All the Way Up to Heaven” to feel like they’ve done nothing to the Beach Boys’ style except added whistling–which is still in the same vein. And that came out in 1999. Or really, just listen to most of Spoon’s album Kill the Moonlight, which draws heavily on the style of the lesser bands from the British invasion, and the funky/psychedelia of the ’70s. Then there’s the almost Mamas and the Papas style of the current indie band She and Him. It’s all been around for a while, in one form or another: blatant borrowing. Good borrowing. Worthwhile borrowing. But borrowing nonetheless.

And the big name now: Duffy (who I like). He beats, her music, much like Amy Winehouse is a very obvious note taken from motown. If I could compare her to anyone ti would be a modern motown version of Dusty Springfield. Decidedly British, decidedly a very good singer. With the solid band background emphasizing the drums and, in the case of Mercy, the keyboard sounding like an organ, a few stringed instruments to emphasize the drama and importance of the chorus, and a few very classic background singers “hoo hoo”-ing and “yeah, yeah, yeah”-ing in the background. (They probably have matching outfits and hairdos.) Let me see if I can find that anywhere else.

Why not try Betty Everett’s “Shoop Shoop Song (It’s in His Kiss)”, or Little Eva doing “The Locomotion”? It’s not like she stole the hook to Heat Wave, but I think it’s great that this style of music is going through a major revitalization in a big way, considering Duffy is all over the British Billboards these days, and Amy Winehouse’s Rehab single was a huge success last year. At least, I heard about it. Which means it was at least a little popular.

I find myself seeking out new and different music all the time. All the time. Browsing through the internet, through Last.fm, Pandora.com, blogs, myspace.com (the only reason I have a myspace page at all), recommendations from friends, and all other forms you can think of. (Oh no, I ended my sentence with a preposition! Oh well…)

But it isn’t often instead of me seeking out a band, a band seeks out me. I mean, I go to shows and concerts all the time, but rarely do those bands feel the need to spend a day in the life of me. But, hey anything can happen, right?

And it did…

I was hanging out at All Saints a few weeks ago, relegated to the table by the back stairs with a dude I didn’t/don’t know because the place was especially crowded and there were these annoyingly loud guys hanging out on the couches. Well, coming out of the bathroom one of the guys on one of the couches asks me what schools are around here.

“Uhhh, which schools?” I ask, sounding like an idiot. But I had no idea if he was talking about high schools, colleges, middle schools, who knows. But he responds to me without taking my nuanced replay into account and treating me like a fool: “You know what colleges are around?”

“Oh, well there’s TCC, FSU, and FAMU.” (Oxford comma implied. But not when talking about the College of Engineering.) “Wait, which?” he asked. And I know I tend to mumble so I repeated my self v-e-r-y s-l-o-w-l-y a-n-d p-r-e-c-i-s-e-l-y…like when I’m talking to my father on the phone, and I really want him to understand. And one of the guys still didn’t understand I was saying FAM-U. So I clarified all around: “Tallahassee Community College, Florida State University, and Florida A&M University.” That finally shut them up.

What followed was a very short and (not but, really) sweet conversation where we exchanged names and places of origin (they were impressed I could have lived in a place like Tallahassee so long, and I said it was really a great town) and they explained what they were doing there. “We’re a band. We’re called Playradioplay!” And then they looked at me. And I stared back blankly. And they kept looking expectantly, so I looked back expectantly. And they kept looking for me to realize their band name, and all I could really say was “That’s a good band name. Better than most.” And that was it. Sufficiently awkward. Sufficient enough, at least, for them to quickly leave thereafter. I think I scared them away, but I’m not going to give myself that much credit.

Anyways: shoot to the present. I looked them up on myspace, listened to their music, and decided I liked them. Wondered how I hadn’t heard about them before. I mean, Wal-Mart made one of their songs a download of the week, and I had missed their press? There is a great imbalance in the world when Wal-Mart’s more ahead of the times than I am.

If you’re interested in downloading a free MP3 of his music, or just reading about his, or listening to a few streaming songs, here are a few useful links:

And just so you know, it apparently is properly spelled Playradioplay! All one word (like your email address), and with an exclamation point at the end. At least I think so. If it is supposed to be just “play radio play” well, then I apologize in advance.

“Music is not a loaf of bread.” Jeff Tweedy, Wilco lead singer.

My first introduction to Wilco was a show in a smoky Bar/Club in Tallahassee, Florida. And never having listened to them before (but claiming their entire discography on my iTunes) I thought maybe I should man up and see what the hype was about.

…because there was hype. Almost everyone I knew from Tallahassee absolutely loved the band. But I had no clue what was going on. The people at the show were as mixed as I’ve ever seen it, everything from construction workers who were speaking exclusively in Spanish (the guys sitting next to me) to college students from FSU, FAMU, and TCC (crowding the stage). So I took a seat in a balcony style seating arrangement to passively see what this band was like. Although I was beginning to wonder how a band could appeal to everyone at that show.

They were incredible.

It’s fairly often a band will exceed expectations live–with the harsh reality that many bands will still fail to be as good and their studio records. But, for me, it’s rare to enjoy a band I am not familiar with at a standard rock show where there are the five guys hanging out with their instruments strumming their songs away. But I had a blast. The songs were infective, delightful. Ballads. Rock songs. Counry music. Close to folk or bluegrass, even. When I left I knew I had to listen to every song they produced; I was also wondering why such a good band would ever come to Tallahassee.

You have no idea how thrilled I was when I discovered my home stomping grounds were the center of one of their songs Monday: “get me out of FLA,” “he must be down in Pensacola hiding from the snow,” “get me out of TLA.” They even understand what it feels like to live in the Panhandle–rare, amazing.

But I cannot recommend these guys enough. They get five stars out of five without question. Even a seemingly relaxed song like “A Shot in the Arm” they turn into an incredibly dynamic rock song live. If I could convince you to see a concert I would.

They also really surprised me with a list on their website of charities they support, including: Anti-Violence Partnership of Philadelphia, 826NYC, DC Central Kitchen, The Growing Connection, Chicago Coalition for the Homless, and the Willie Mae Rock Camp for Girls.

If you was a professional description, this is from the Rolling Stone about their album Yankee Hotel Foxtrot:

ingratiating melodies of pop and the chaos of noise, the reassuring strum of an acoustic guitar and the discomforting hum of radio static, the warmth of Tweedy’s voice and the icy swirl of lost-in-space keyboards. Yet it hangs together thanks to the brilliant sequencing, a world unto itself that rewards repeat visits.

And if you’re interested in a few songs to check out: Monday, What Light, I Am Trying to Break Your Heart, A Shot in the Arm, War on War, Heavy Metal Drummer, Ashes of American Flags, Jesus Etc., I’m the Man Who Loves You, Impossible Germany, Walken, and/or I’m Always in Love.

Rarely do I feel the need to impress a song, rather than an artist, here, and I would be remiss if I didn’t encourage this band (Athlete) in particular, however I do love this song. And I love the band. But the song will come first.

El Salvador:

So this song is a mildly unassuming song, beginning with the occasional bells, electronic-like doo-hickeys, and a persistent percussion that, throughout the song at different times, seems to progress it, pace it, or hamper what could become an almost exuberant celebration. The song is a masterpiece in pacing, moving at somewhat slow but deliberate pace. It plods like a smiling giant.

The philosophy of the song I relate to, I think many can. It’s that idea of running away from what has become the average day in the life of you. For him it’s the touring, the hotels, the drinking, the constant music.

So he’s flying to El Salvador: “don’t know why and I don’t know what for.” But he’s doing it. And that is the important thing. To do and break the monotony and see just somewhere exotic, that place where you see the pictures and wish you were there indefinitely.

It’s a song of regret and celebration. Few things are more universal for every age.

So before I move on, if I haven’t talked up this song enough: please listen to it with video here.

Or with no video here.

Or live here. (I like giving you guys options, what can I say.) Not the best quality, so if you can’t live with that, don’t watch this link.

And I must say I do enjoy their music immensely, however uneven it may be. But it is varied which I like. Their three albums, that I know about at least, are in chronological order “Vehicles and Animals”, “Tourist”, and the most recent “Beyond the Neighborhood.” And they are all quite nice.

Some other good tracks to look out for: Tokyo (Beyond the Neighborhood), Wires (Tourist), and Half Light (Tourist). Hope you enjoy. And if you don’t like the song after a few listens (I usually recommend three generally to figure out whether you absolutely do or do not like a song) let me know. I’ll be interested to hear why.

I swear I’ll get to more movies and books later. The original idea was to rotate, but let’s be honest: I do these things in phases. First it was high school where I wasn’t exactly sure what music was outside of the alternative rock station (which in hindsight isn’t “alternative” at all), and I didn’t go to movies. I was just clueless. But after years of homeschooling, the primary weekly event being Library-Sam’s-Day on Monday, I was perfectly comfortable with the concept of books.

And then there was Hume, which only means OurTunes and a buttload of music. And then there was the IMDb Top 250 list with I was thrilled to watch all of (and I guess you could include my film class in this) and now I’m mixing books and music. But I’m really only reading kids books for next year’s teaching extravaganza, and I’m figuring you’re not too interested in my take on KiddieLit so I’m trying to expand musical horizons instead.

So, onto the original topic: The Envy Corps

I first heard about The Envy Corps via their single “Wire & Wool” which I like a lot. Here’s the music video. It’s a little weird, but funny. But the band has humor, and that’s one of my favorite things about a band: one that can laugh at itself, one that doesn’t take itself seriously. The reason I found out they were hilarious was surfing on YouTube, where I found their other single “Story Problem” which is one of the most hilarious music videos I’ve seen in a long time. It’s really quite funny. Check it out here. Oh, and I guess I’ll mention that the song’s nice too.

(To be honest, they endeared themselves to me when I heard one of their lyrics: “I could have crossed my last Rubicon,” and if there’s anyone who’s a sucker for a classical reference it’s me. All I have to say is alea jacta est.)

Anyways, I’m not the first to get here by far. Apparently Black & White Magazine called them “the most promising band of 2004.” This clearly means I’m about four years late. Although, and not to shove this in the band’s face, but they’re a little bit of a late bloomer themselves. Or maybe they’re not good with promises. Or maybe B&W magazine has a bad habit of being premature about their predictions. Who knows.

I’ve also discovered I really like tagging only tangential topics here. It’s fun.

Pages

Follow The Current on WordPress.com
Advertisements