Tag Archives: Music

Top 10 Songs of 2014 – #9: “Beware the Dog” by The Griswolds

4 Dec

The Griswolds

Formed in 2012 and signed to Wind-up Records in 2013, The Griswolds continued its meteoric rise to Indie stardom in 2014 with the release of its first album Be Impressive in August. And impressive it was. Tremendously impressive. The Sydney-based band’s infectious style of sticky pop tunes that beat around your mind like a maniacal drum circle is simply unavoidable. Unavoidable. This might be the best one-word description I can give to the #9 song on the Music Court’s top 10 countdown: “Beware the Dog”

The first song vocalist Chris Whitehall and lead guitarist Daniel Duque-Perez wrote together, “Beware the Dog” combines an odd lyric with a Spanish-style beat carried by an unavoidable guitar riff; there is that word again. Seriously, though, just listen to that riff: simple, clean, and catchy as heck! The song moves with creative percussion and island synth, but perhaps most impressive is the choral call and response that peaks with the wonderful line:

“We used to walk where the wild things grow
But now you’re f**king crazy.”

The song continues with chants at the bridge and a culmination of all instrumentation and vocals that wraps up the song wonderfully. It’s a ditty in every sense of the word, but one that drips with true melodic weight and a mixture of lyrical sarcasm and seriousness. Put simply, the song is enjoyable and as catchy as the cold, but it is a cold you just want to keep getting. If this is what 2014 held for the Griswolds, I for one cannot wait for the upcoming years!

For more information on the Griswolds visit the band’s Facebook, Twitter, or Website

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Top 10 Songs and Albums of 2014 – Are You Ready?

30 Nov

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There is much truth to the musical pendulum of “Sunrise, Sunset” from Fiddler on the Roof; time, like the gold attachment on a grandfather clock, swings back and forth and back and forth and suddenly 2011 turns to 2012 to 2013 to 2014 and now, in one month, 2015. With the perpetual swing of the pendulum is the many moments that make up one’s year. And, within those moments, tucked away like a child in bed, is the music that has stuck with you from the year, nestled comfortably in your mind.

So we have reached the almost-end to another year, and, to stay on the topic of the Music Court, we have seen some transformations. Our kick-ass new writer Zoe Brown has taken an active posting role, and she is doing a tremendous job. Stand up and clap for her; yes, get out of your chairs wherever you are and clap! She has helped establish the Music Court as your source for new, eccentric tunes. Many of those songs might be those nestled in your mind as you reminisce on another year in music. Before we officially kick off the annual top 10 countdown, I thought it might be fun to look back on the winners of year’s past and read a little clip from each post (no 2012).

 

2010

#1 “The King of Spain” by The Tallest Man on Earth

Before the song ends, Matsson holds out the word “the” in this vocal climax that is shattering. It is also a perfect way for me to end this countdown. There is an animation in Matsson’s croon that is warm, inviting and aggressive. This is a true strength in his music. He is a folk musician who can provide the erupting emotion that Spector’s “wall of sound” does, but with only himself and a guitar. He is a one-man-band who is significantly stronger then mostly all of his five or more band counterparts. That is an impressive feat. Heck, he might actually be the “King of Spain”

2011:

#1 “The Afterlife” by Paul Simon

… A hypothetical heaven, though, one scribbled down by the consummate raconteur who knows the meaning of excellent music. “The Afterlife” is a keen, hilarious, zany, unexpected, metempirical, almost practical (I cannot list enough adjectives to describe the song’s utter beauty), take on heaven and dying.

2013:

#1 – “Pompeii” by Bastille

“The song begins with a Blue Swede-like vocal rhythm. This rhythmic chanting sets an almost allegorical tone, meaning the melody is representative of intense Roman religiosity. One can almost hear this dark chanting in a temple of worship – overwhelmingly spiritual and subtly lugubrious … While the song is quite literally representative of the destruction of Pompeii, it is difficult not to take it as a metaphorical look at when any unwelcome change occurs in life. Sometimes it is difficult to be “an optimist” and you must “close your eyes” and dream of better days.”

 

Who will hold the top spot in 2014? You will just have to wait to find out. And, this year, at the behest of Ms. Brown, the Music Court will feature a Top 10 Albums of 2014 list as well, which will directly follow the Top 10 Songs of 2014. Get ready! The list begins tomorrow, and will continue almost every day for the majority of December. You better have your eyes ready for some quality music-related reading. We are counting on you!

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We All Want to Get Better

2 Nov

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Jack Antonoff is no stranger to catchy music. Not many realize that the creator of 2014’s hands-down alt/rock summer anthem “Rollercoaster” is the same bespectacled musician stage-left to Nate Reuss in Fun’s 280 million views mega-hit “We Are Young.” He was also the lead singer-songwriter of the Indie staple Steel Train and has helped pen some recent tunes like “Brave” by Sara Bareilles and “Out of the Woods” by Taylor Swift. It is really no surprise that his less than a year old project Bleachers released its first album Strange Desire to immediate chart success in the summer. Now, as the weather grows colder (at least in the northeast), Bleachers is kicking butt on a nation-wide tour, and I still cannot get “I Wanna Get Better” out of my head.

Released back in February as the band’s first single, “I Wanna Get Better” is a jaunty ode to the innate human desire to get better. The song is carried by a sputtered piano riff over persistent percussion. Antonoff’s desperate whine carries verses of jumbled and creative lyrics to theatrical chorus’ where musicians literally stand on the “overpass screaming at the cars” and sing “I wanna get better.” The best part of the song is the “screaming” bridge that leads into a buzzy guitar solo that distorts on top of a whirlwind of sound. The song is brought back to reality by Green Day-like power chords and then swings right back to the catchy-as-hell chorus. Hey, we all want to get better, but this song does not have much room to grow.

Personally, I know I have to get better about posting more consistently. Life as a first-year teacher has been time consuming to say the least, and I want to take the opportunity to thank Zoe, who has done a magical job keeping the blog afloat. Stay tuned for more tunes as always!

Check out more of Bleachers at the website, Facebook, or Twitter

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Runaway Dorothy in the Blue Kentucky Rain

15 Jul

Runaway Dorothy

Dorothy has run away with a Brooklyn-based four-piece into the blue Kentucky rain. It sounds like a mix between a pastoral film about America’s heartland and a horror movie. But don’t worry, there is nothing horrible about Runaway Dorothy; on the contrary, this band, which has already been featured on a variety of TV, Internet, and Print outlets, successfully melds a bucolic snapshot of America with Northeastern edginess. Runaway Dorothy tugs at the heartstrings of Americana, and much like The Avett Brothers, connects southern folk and country together effortlessly.

Runaway Dorothy is the pet project of Dave Parnell, who, after playing guitar for a showcasing rock band, chose to pursue his own tunes. After moving to Brooklyn, Parnell enlisted the permanent support of his brother Brett “Bert” Parnell (electric guitar), Sam “The Reverend” Gallo (bass), and Evan Mitchell (drums), who aided in the release of the band’s first album, The Wait, in February of this year. The album, a skillful take on classic folk harmonies and subdued country, plays like a potent combination of The Head and the Heart and The Everybodyfields. All of the flowery language and comparisons aside, the album is worth a listen … or two or three.

How can we best showcase the band? Well, let’s take a look at two of its hits – one more country and one more folk. First up, a trip into the “Blue Kentucky Rain” for a little slow-dance Country/Americana; more simply put, a ballad.

A melancholy acoustic guitar strums in the background of Dave Parnell’s smooth, clean croon. There are no rough edges to his voice; he draws out notes effortlessly and with the precision of a professional (which he is). The dulcet harmonies in the chorus help carry out a lugubrious guitar riff of the song’s primary melody. The song is a bit of a lamentation and/or an entreaty. Parnell plays the part exceptionally well; his vocal a testament to desperation mixed with some hope. And the Springsteen-esque harmonica is spot on.

“Sing With Me” has more hop to its step. I love the rhythm of this song. It fulfills all one wants in a song. There is neat harmony when there should be neat harmony. The acoustic guitar is apt, and the lyric falls off the tongue of Dave Parnell with tenderness and ease. The song is just a joy to listen to.

Make sure to check out more about Runaway Dorothy on the band’s website, Facebook, and Twitter.

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Holy Holy Hozier

16 Jun

Hozier

 

When I first heard Hozier’s dark croon masterfully guide the lyric of his subtle condemnation “Take Me to Church,” I listened in silent awe and quickly lapped up his EP. That was month’s ago, and since then Hozier has taken the alt/rock world by storm by way of YouTube, Reddit, and the eager ears of many active listeners. He has also released a new EP, From Eden. I am not that different from the rest of the millions of ears that have allowed Hozier’s voice to soothe them; his vocal has become unmistakable and one listen can easily ensnare any music lover.

What is it about the 24-year-old Irish musician that is so enticing? Is it his aforementioned voice, which blends the passion of Dan Auerbach and command of Bhi Bhiman? Is it his instrumental diversity, wet and heavy with foreboding percussion mixed with lightly plucked guitar accompanying consequent softness? Clearly both of these elements play to Hozier’s draw, and it is an absolute pleasure to write about such a skilled musician.

Hozier is a true musician. He has consistently been involved in groups, including Anuna, an Irish choral group, which he sang in for three years. Now, he has shifted his focus to unique rock music, and the music scene is the better for it. Hozier’s seminal piece “Take Me to Church” is not only a commentary on religion but also an oddly spiritual experience; the vocal and voluminous melody transport the listener to a melodious shrine. It is difficult not to listen to this song on repeat.

“Like Real People Do,” which also appears on Hozier’s debut EP (Take Me to Church) is a completely different tune. While “Take Me to Church” is a dark, rhythmic piece, “Like Real People Do” is more Iron & Wine than Airborne Toxic Event. The song is subdued and, dare I say, pretty. The guitar is picked with Hozier’s voice, and the song is fluent.

I suggest checking out more of Hozier’s music on his website. You can also check out his Facebook and Twitter.

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