Tag Archives: Music

The Top 10 Songs of 2013 – Preview

5 Dec

15655191-music-for-new-year-2013-3d

Rejoice! The Music Court is bringing back the end-of-the-year Top 10 song list. Hooray. It’s the highlight of any holiday season! Ok … maybe it’s just some reading fodder that you can scoff at when you binge on holiday leftovers. For the rest of December, the Music Court will feature our list of the top 10 songs of 2013.

Check out the full-song in-review of The Top 10 Songs of 2010 and The Top 10 Songs of 2011 by clicking on those links, or click on the subcategories on the right-hand side of this page to view individual posts. There is no 2012 list (sorry!)

First, some logistics prior to previewing the list. In order to be considered for this list, the song must have been released in 2013. Yes, this seems obvious. But when I say 2013, I mean that the song may have been released as a single in 2013, or if it was not released as a single, it must have appeared on an album released in 2013. Often songs are released on albums the year prior to when the song is released as a single. This simply provides us with more options.

This list is clearly subjective. It is completely biased to the taste of those at the Music Court. That being said, you can certainly berate us for getting everything wrong. That’s the fun part of these lists. Comment on rankings you disagree with. Give us your top 10! We want to hear from you. Also, please understand that I (Matt) am not the biggest rap/hip-hop fan. Thus, the list is skewed towards pop/folk/rock (my beloved genres). There is a rap song on the list, though. I promise.

So … what songs almost made it on to the list but couldn’t quite supplant any of the top 10 songs? Here is the list leading up to the top 10:

19. “A Song about Love” by Jake Bugg

18. “Afterlife” by Arcade Fire

17. “Southern United States” by Leif Vollebekk

16. “Winter Road” by Bill Callahan

15. “New” by Paul McCartney

14. “Blurred Lines” by Robin Thicke

13. “Get Lucky” by Daft Punk

12. “365 Days” by ZZ Ward

Robin-Thicke-Blurred-Lines-Ft-TI-Pharrell

Get_Lucky

But, how? “Get Lucky” and “Blurred Lines” were arguably the two most popular songs in 2013. They should most certainly appear on the top 10 list. You must have something against Pharrell Williams, who is featured in both songs. Credit to Pharrell, by the way. What an amazing year! In June he became the 12th musician in history to hold the #1 and #2 spot on the Billboard Top 100 at the same time … and for two COMPLETELY different songs. Incredible. But, while both songs fall close to the top 10, I do not just go by mainstream success. Both songs are as infectious as chocolate-covered pretzels, but, to me, the top 10 songs all have more enlightened qualities.

And … just missing the top 10. The #11 song of 2013:

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Know the lyric? It is “Demons” by Imagine Dragons, which many of you know because of it was overplayed on mostly all rock stations since it was released as an official single in October of this year. The lyric of the song is powerful; a clear depiction of a protagonist with pernicious flaws. It is somewhat hidden behind the crashing melodies and dramatic harmonies, but the music is just so good. Imagine Dragons certainly knows how to intertwine a catchy melody with hard rock sentiments. It’s a great song. Can you imagine the excellent stuff on the top 10 list?

Be Tuned in on Monday, Dec. 9 for the #10 song on the list! 

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Holding on For Life After the Disco

28 Nov

Broken Bells

When James Mercer (of the Shins) and Brian Burton (Danger Mouse) first collaborated in 2010, the duo created a fresh, Indie album under the moniker Broken Bells. The album not only saw huge commercial success, but also it depicted the seamless collaboration between acoustic and electronic sounds. “The High Road,” the first single off of the band’s debut, is a quintessential example of the “melodic” and “experimental” sounds the band produces. Here is a live version of “The High Road” for your eager ears.

Flash forward to 2013 and the dangerous shins are at again with the release of a new single, “Holding On for Life,” which will appear on their new album After the Disco in early January, 2014. In what I presume will be an early album of the year candidate, After the Disco, if “Holding on For Life” is any indication, will feature a more natural amalgamation of the complementary styles of Mercer and Burton. Listeners can look forward to an even more comprehensive mixture of sound. Let’s listen to the first single.

If the cover of the album and trippy opening suggests anything, it is that we have slipped the surly bonds of Earth and entered into some psychedelic, Van Gogh-like space dreamscape. And, in typical Broken Bells fashion, the music suits the scenery. Mercer’s skilled vocal is carried by a strummed acoustic that sits over spacey electronics and segmented percussion. At 50 seconds, though, Broken Bells transforms into the disco. In what we English nerds can best term allegorical, Broken Bells turns into the Bee Gees, and it is bloody awesome. It is short, but the call-back is skillful. It’s an excellent single from a band that just continues to prove its creativity in what often is a dry musical landscape

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The X Factor – Season Least?

14 Nov

The X Factor Season 3

The X Factor USA is the middle sibling of vocal talent shows. The older sibling, American Idol, has settled down, had a few kids, and lives in placid suburbia in a three-story house with double white doors and a patio with a grill. The younger sibling, The Voice, is getting all of the attention because, well, it’s frankly more entertaining to many people. That leaves the gangly, awkward X Factor in the middle to acquire acne and try to make it in the cruel world of reality singing competitions.

Now in its third season, the X Factor has desperately tried to spice things up. An x-shaped battle round provided a little juice to the competition, but, despite its differences, it was seen as a reaction to the little sibling’s vocal battles. Some strange form of live voting was attempted, but it failed miserably and caused a 2-hour live show to be scrapped and wasted (there is something the X Factor can proudly say was unprecedented).

Frankly, though, no matter what the show does, people will watch it for the singers. And, no matter how much the judges want to praise this stock of vocalists, this is really the season of the least. Of the remaining contestants on the show, I can count on a few fingers how many actually have the so-called X Factor. In year’s past, I have put together a full review of each contestant. For this season’s remaining contestants, I am going to do something a little different. Each contestant will receive a ranking between 1 and 5 Xs (1 the worst, 5 the best) as well as a brief, frank reason why they are ranked this way. Let’s get to it. Oh, and two of these individuals are voted off tomorrow, by the way.

BOYS

Tim Olstad

Tim Olstad (XXX)

Three Xs for soft-spoken Tim Olstad. He seems like a kind and genuine person. His voice is sweet and he carries a good tune. His issue is his kindness. He lacks an edge. Besides from his good voice, he has nothing else that sets him apart.
Josh Levi

Josh Levi (XXXX)

Early favorite. He has the combination the X Factor is looking for: looks, dance moves, and good enough voice. His vocal needs a bit of work, but, let’s be honest, the studio does wonders. He is marketable; that’s what matters. If the female voters think so too, he will be around for a long time in this competition. He’ll play on the Bieber factor for as long as he can.

Carlito Olivero

Carlito Olivero (XX)

An older, less talented version of Josh Levi. He will also try to play to the public with his combination of looks, dance moves, and vocals, but his vocal is a bit whiny and that won’t last long in this competition.

Girls

Ellona Santiago

Ellona Santiago (XX)

Same person as Jessica Sanchez from Season 11 of American Idol? Both Filipino singers from California around the age of 17-18. Both sing the same style of pop-diva music. I’m fairly confident they are the same person. Too bad Jessica Sanchez is better, and Ellona is the doppelgänger.

Khaya Cohen

Khaya Cohen (XXXXX)

Give it up for the saving grace of season 3 of The X Factor. Raspy, Amy Winehouse-like voice paired with some gritty classic rock ‘n’ roll soul all mixed together with modern flavor; Cohen is hands down the best singer in the competition, and she should sail to the end of the show without must issue.

Rion Page

Rion Page (XXX)

Rion Page has arthrogryposis multiplex congenita, which screws with the joints in her hands. Despite this, she is perhaps the most optimistic person you’ll ever meet, and I do not think it’s an act. While she inevitably has to play the sympathy card (because people see the disability), she clearly doesn’t want to. She just wants to be a country singer, and, frankly, she is pretty good (better than most of the people in the competition). Who are we to judge? She is talented, kind, and better than all of the over 25s and groups combined!

Over 25

Nicole (Lillie) McCloud

Nicole (Lillie) McCloud (X)

What a great way to start off the two worst categories on the show. If you watch the X Factor, you know this contestant as Lillie McCloud. But, as the X Factor finally admitted during the show yesterday, Lillie is actually Nicole McCloud, a recording artist from the 1980s – 2000s. But she only put out one single and never made (“I was so close”), right? Wrong. She is a fraud. FRAUD. She recorded four studio albums and her single “Don’t You Want My Love” became an international hit. This single reached the top 10 on the U.S. dance charts, in addition to charting in Belgium, France, Germany, the Netherlands, and Sweden. Her 1994 single “Runnin’ Away” peaked at No. 3 on U.S. Dance charts. She has had 7, yes, 7 charting U.S. singles, the latest one just a little more than a decade ago. Never made it? Are you kidding me? She is an absolute fraud who should never have been allowed in the competition. I know X Factor does not have a record contract clause like some other shows, but come on, it destroys the purpose of these competitions. I just feel bad for the other contestants who are just looking to make it for the first time. Move aside and let someone else get his/her turn.

Jeff Gutt

Jeff Gutt (XX)

An uninspiring rocker with a decent rock croon and, uh, that’s basically it. It’s good that the show has a true rock singer, but I just don’t see where Gutt fits in the market. I guess he is a good enough band singer, though, so hopefully he joins up with some semi-successful band and provides solid lead vocals.

Rachel Potter

Rachel Potter (XX):

In the process of writing this post, I had seen Potter’s name every time I glanced over at the contestants, but as I started writing her segment I had to look back to get her name again. What does that mean? She is forgettable. Is it just me or are you also sick of fringe female country singers? They are limited vocally and generally hokey. Last night’s performance was overdramatic and almost comical.

The Groups

Alex and Sierra

Alex and Sierra (X)

Ah, the groups – Simon’s babies. One issue. He doesn’t have any talent this year. Oh well. This duo is terrible. Let me sum them up with some vocabulary words: mawkish, maudlin, syrupy, and nauseating. The girl is an awkward mess. The guy does a terrible Jack White impression. The act is garbage, but it will stay because they are a couple and for some reason this resonates with a desperate American public. They should have never made it past auditions.

Sweet Suspense

Sweet Suspense (X)

Sweet Suspense provides me with such suspense that every time they perform I immediately fast forward through the performance. Why? They suck. No lead singer. No harmony. Just three young, pretty girls performing hackneyed, karaoke renditions of mostly terrible songs.

Restless Road

Restless Road (XX)

I am starting to get a bit restless. A product of Simon, Restless Road is a country boy band. I loved Simon’s thinking. I actually think this concept can work … with better singers. One of the three is good. The other two are filler. This act could last for a while because it is country, but ultimately it will wear out.

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Little Red Lung is a Rare Bird

9 Nov

LRL

I’m not sure I can sufficiently write words that can compete with the press photo above. Generally, any combination of soldier with an alligator head on his shoulder, braided and bucolic headdress, and suited recreations of the Pale Man, take the perennial eclectic cake and leave me speechless. But that would do Little Red Lung a major disservice, as there is much to talk about concerning this Los Angeles Indie band.

Modern music reviewers – and I’m one of the greatest offenders – often bandy around the genre Indie when describing current bands. We do this because the genre is low-hanging fruit; so many bands fit the encompassing description that it is easy to attach the title to several musicians. The genre itself has been perverted through the years, initially only serving to describe bands who abided by a do-it-yourself approach without the aegis of labels. So, when I describe Little Red Lung as a quintessential example of true Indie music, you must bear with me.

Little Red Lung is everything you want in an Indie band. As the photo above suggests (and the music will suggest when I post it), the band is eccentric and attractive. Each tune is a diverse sampling of innovative instrumentation and esoteric organization. Indie music at its purest is like a Dali, a delicate smattering of surrealism mixed with distorted shapes and emotions. Little Red Lung’s music is art, and it’s absolutely delightful to listen to it.

Little Red Lung grew out of a solo project by singer/keyboardist Zoe-Ruth Erwin, a musical free spirit, who, after a sabbatical in East Tennessee, returned to LA and gathered a trio of local music veterans (Ali Nikou – guitar, Rob Hume – bass, and John Broeckel – drums). Together, this unconventional quartet formed Little Red Lung. In 2012, the band released its self-titled debut and received overnight success. A U.S. Tour, features in Deli Magazine, and a performance at Bonnaroo in 2013 have cemented this band among burgeoning Indie superstars.

“Rare Bird” is a perfect depiction of Little Red Lung’s talent. Erwin’s vocal is flawless; it features a Florence-like passion that projects over the abstruse instrumentation to form a perfect complement. Everything from the unconventional percussion to the eerie marimba to lyrics like “a hairline fracture in the wind” build this song into an odd, tender track, which makes the depressed, grungy drop-down even cooler. The song falls like Alice down the rabbit hole. It’s unsettling and frankly really cool.

“Fangs” is different. An acoustic guitar lets Erwin’s tender vocal harmonies shine. The vocal is a huge strength of Little Red Lung, and I’m glad it is emphasized in the track. The song also features well-placed strings that help create a contradictory warmth, considering the lyric (“I knew you were waiting to die the whole time”).

Conclusion? Get on the Little Red Lung train. More great music to come.

You can check out the Full EP at Bandcamp. Track the band on Facebook or Twitter.

 

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The World Will Miss You, Lou

28 Oct

Lou Reed

““There’s only X amount of time. You can do whatever you want with that time. It’s your time.” — Lou Reed

I was watching TV around a week ago when I heard the instrumentation of Lou Reed’s “Perfect Day” in a Playstation 4 advertisement. In it, two friends take on different competitive video game roles and sing the song to each other. Considering that the deceptively complex song is most likely about some combination of Reed’s sexuality and drug use, I found it funny that it was used in a commercial about mindless simulation. A week later, Reed is dead, and I am here writing a post I do not want to write. Seventy-one years fit the variable in Reed’s apt quotation, and, while the years seem cut off too soon, Reed once stated that he always believed he had something important to say, and there is absolutely no doubt that he said it.

Without Lou Reed, music is radically different. The underground New York rock scene of the 1960s – an extension of the crafty Beat generation – was instrumental in dynamically changing the face of music as an art form, and Reed had perhaps the grandest impact on this. One of the main reasons behind this shift was Reed’s uncensored lyrics. His sobsersided voice crooned about unconventional topics like heroin, drug dealers, withdrawal, and sex. While some musicians in the mid-1960s hid these elements under cheeky metaphor and symbolism, Reed just came out and said it. The Velvet Underground’s debut album, The Velvet Underground & Nico, saw barely any commercial success, but is now considered one of the greatest albums of all time. Reed, who wrote all of the songs (by himself or with other bandmates), scripted songs that still penetrate listeners like the cold tip of a needle. “Heroin,” for example, features lyrics like:

‘Cause when the smack begins to flow 
Then I really don’t care anymore 
Ah, when the heroin is in my blood 
And that blood is in my head 
Then thank God that I’m as good as dead 
Then thank your God that I’m not aware 
And thank God that I just don’t care

Lyrics like these were unheard of. Reed was the unmitigated voice of a popular underground of perpetual drug users, prostitutes, and eccentric virtuosos. The album, aptly recorded during Andy Warhol’s Exploding Plastic Inevitable tour, was a work sticky with Warhol’s artful experimentation (including the iconic album cover) and, despite its small initial draw, was so inspirational that Brian Eno once famously proclaimed that of the 30,000 albums sold, 30,000 bands were created. Quite simply, Reed and his bandmates (especially viola player John Cale) were almost fatidic – like musical Nostradamus.’ They bent conventions and complacency and engendered the youth to rise up and talk openly about topics that were affecting them. It should come to no surprise to anyone that Punk aficionados consider Reed to be a Godfather figure.

Not enough can be made of Reed’s impact and intelligence. He was a rare breed of musician – a transformer. He shook away common conventions and formed his own music to tackle his own personal feelings and demons. His religion was rock ‘n’ roll and guitar, as he said, and he was damn good at it. And while Reed was the first to admit that everything happens for a reason and when it’s your time it’s your time, it still is very hard to say goodbye to a musical legend like Reed. His music will forever live  with every clandestine artist, closeted individual, and so-called misfits, helping those in consternation understand that the only people who have issues are those who spew hate.  He opened up a safe, artistic community for everyone living in the “underground.” So … while there may be no consensus on what “Perfect Day” is explicitly about, I will reach to the lyrics “you just keep me hanging on” and hold on to Lou Reed as a musical inspiration. The world will miss you. I hope you are enjoying your walk on the wild side.

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