Whatever place music plays in our lives, in some capacity we draw inspiration from it. From having a bad day, to having the most incredible day of your life, there is undoubtedly a soundtrack to our experiences.
So what is making or breaking my day? After a lengthy and trying day of work, there was nothing better to cure my ailments than Thrice's 'Vheissu' which contains the exact amount of heaviness and melody that made me want to go and throw some punches in the mosh pit; not to mention geek out and lament over the fact that Dustin Kensrue can write better melodies than I could ever think of.
Music is always such a great way to vent how we feel. It's like the comfort food to our feelings, hopes, dreams; and also nightmares. It can get you through the most trying times, but luckily right now music is the soundtrack to a great chapter of my life.
The strangest thing about finding inspiration for writing music has been trying to translate that feeling of happiness without sounding corny and short-handed. It's always been a good way to vent a general dismay for a current situation, but what happens when artists that draw from that unhappiness inevitably become happy? Almost every one of my top artists have been known to be severely depressed, or at least are going through something that permits drawing from poor situations. It seems to create this heavy, almost crushing atmosphere in the music and art that truly translates how the said artist is feeling at the moment.
So I pose the question, does an artist have to be in a shitty situation to create some of the most memorable art? There was a recent story I read (http://www.psych.ucalgary.ca/pace/va-lab/avde-website/vangogh.html) that brought Vincent Van Gogh's life to light for me. One of the most revered painters of his time, Van Gogh was known to have suffered from depression after being rejected by the love of his life, and suffered increasingly from schizophrenia as he got older; the article leaning towards the notion that when he painted "Starry Night" he was actually painting what he saw. Elliot Smith, one of the most underrated songwriters of our time, was known to suffer from severe depression; and his music painted a picture of that beautifully; however very tragic.
Kurdt Cobain, Jim Morrison, and countless other memorable songwriters suffered from alcoholism and drug addiction with co-occuring depression symptoms.
So why; I ask, does this make for such good art? We have struggled for a long time with trying to channel our emotions and describe what we see, how we feel, and how were dealing with it. It's comforting to know that in some regard, others feel exactly how you do.
Another point is the amount of passion that goes into this fringe of songwriting. When you feel so down and out, and disparaged the amount of heart that goes into making something beautiful is exponentially increased. That paintbrush becomes something more than a paintbrush, those guitar strings also become something much more than steel tuned to EADGBE. They become a an extension of self, an extension of your own eyes into a canvas or into an amp and microphone. For many this can be the ultimate therapy, a complete window into one's soul that can not quite be described but incredibly understood. It's amazing to me to listen to these people speak about their art and how they don't think much of it, it just being something they do on an everyday basis.
To liken music to life in general, out of tragedy and despair often comes the best part of living; or in this case songs. Is it fun? No. But does it pay off? Absolutely. I wouldn't trade any of my bad experiences for an easy life, and I hope none of the amazing artists that created so many amazing things we appreciate today would either. Inspiration can come from the strangest things, but the strangest things can be the best.
Saturday, January 14, 2012
Sunday, October 30, 2011
Music Fads: Part One
We all go through a point in our lives where it's really cool to like a certain thing. We MUST HAVE what is cool at that point and our lives seemingly depend on it. Pokemon, Ninja Turtles, Beanie Babies, and Hammer Pants were all things that were just too cool for school at some point in time.
Unfortunately, we see these same trends happen in music all the time. We call them fads and we are all victim to them. One of the biggest musical fads I have seen go in and out a couple times already is Ska. There are even designated time periods that ska has that clarified when it was popular and who was making it popular. First, Second, Third, and now even Fourth Wave Ska are all testaments of a genre that has continually swept in and out of popularity since its inception into the music scene in the late 60's and early 70's. When I got into it, Ska was in it's full-fledged third wave in the early 2000's when I was in high school and starting college. It seemed like there were endless amounts of punk and/or rock bands that were capitalizing on this music style made popular at the time by bands paving the way like Reel Big Fish & Catch 22.
We all are susceptible to musical growth, but are musical trends just one of those things that is the unfortunate casualty of this growth? Is ska music a genre that we all need to experience and be aware of on our ongoing path to musical enlightenment? I think so. I am very fond of these bands such as Reel Big Fish & Streetlight Manifesto, but I definitely don't identify with it as something that I listen to on a regular basis, and very rarely do I find someone that doesn't share these views. Does it mean that ska isn't cool to listen too? Absolutely not. It just appears that it's a fad that goes in and out of style every few years.
WHY THOUGH?! Why doesn't ska have the staying power to stay a relevant genre for more than a couple of years at a time? I am at a loss for this information.
Reel Big Fish's "Turn The Radio Off...", Catch 22's "Keasby Night's", and Streetlight Manifesto's "Everything Went Numb" are all groundbreaking albums that broke down barriers of what ska can be and do. They all have much of the chemistry needed to be incredibly popular albums, but get lost in the sands of time, as well as the tides and waves that ska falls victim to. Bands like NOFX, and Rancid draw influence from the ska and reggae scene, but do not rely on it to maintain their popularity and follow these same waves of popularity with the inclusion of ska influences in their music and on their respective labels.
In the end, it is just food for thought. I don't have the answer for why this happens; especially with ska. I guess I'm just looking for the answers myself.
1. Streetlight Manifesto- "Everything Went Numb"
http://www.youtube.com/watch?v=_XKs8TsY3XI
2. Reel Big Fish- "Beer"
www.youtube.com/watch?v=SCgX4ixCRcQ&noredirect=1
Unfortunately, we see these same trends happen in music all the time. We call them fads and we are all victim to them. One of the biggest musical fads I have seen go in and out a couple times already is Ska. There are even designated time periods that ska has that clarified when it was popular and who was making it popular. First, Second, Third, and now even Fourth Wave Ska are all testaments of a genre that has continually swept in and out of popularity since its inception into the music scene in the late 60's and early 70's. When I got into it, Ska was in it's full-fledged third wave in the early 2000's when I was in high school and starting college. It seemed like there were endless amounts of punk and/or rock bands that were capitalizing on this music style made popular at the time by bands paving the way like Reel Big Fish & Catch 22.
We all are susceptible to musical growth, but are musical trends just one of those things that is the unfortunate casualty of this growth? Is ska music a genre that we all need to experience and be aware of on our ongoing path to musical enlightenment? I think so. I am very fond of these bands such as Reel Big Fish & Streetlight Manifesto, but I definitely don't identify with it as something that I listen to on a regular basis, and very rarely do I find someone that doesn't share these views. Does it mean that ska isn't cool to listen too? Absolutely not. It just appears that it's a fad that goes in and out of style every few years.
WHY THOUGH?! Why doesn't ska have the staying power to stay a relevant genre for more than a couple of years at a time? I am at a loss for this information.
Reel Big Fish's "Turn The Radio Off...", Catch 22's "Keasby Night's", and Streetlight Manifesto's "Everything Went Numb" are all groundbreaking albums that broke down barriers of what ska can be and do. They all have much of the chemistry needed to be incredibly popular albums, but get lost in the sands of time, as well as the tides and waves that ska falls victim to. Bands like NOFX, and Rancid draw influence from the ska and reggae scene, but do not rely on it to maintain their popularity and follow these same waves of popularity with the inclusion of ska influences in their music and on their respective labels.
In the end, it is just food for thought. I don't have the answer for why this happens; especially with ska. I guess I'm just looking for the answers myself.
1. Streetlight Manifesto- "Everything Went Numb"
http://www.youtube.com/watch?v=_XKs8TsY3XI
2. Reel Big Fish- "Beer"
www.youtube.com/watch?v=SCgX4ixCRcQ&noredirect=1
Wednesday, October 5, 2011
Blink 182- Neighborhoods
Without a doubt, this has been for me personally the most anticipated release of this year. I have been a diehard Blink fan since I can remember. The fact that they have gone through such a great amount of turmoil, and a growth experience that has been unrivaled amongst so many other pop-punk bands; has led me to become even more stoked about what they have to offer after a long, long eight years.
Upon purchasing this album, I was so eager, nervous, and incredibly excited to hear Blink as what they described themselves as: a more modern, mature, but still relevant form of what everybody came to know and love them as.
The first song "Ghosts On The Dancefloor" sets the mood for the album with its proggy guitar riff, synth layers, and dance-oriented drums. The lyrics set the same landscape by crooning "I saw your ghost tonight, the moment felt so real." The bridge is the only part of the song that is questionable, with its unnecessary noodling, and Barker's flashy excuses to place himself in the rock drummers' heirarchy.
"Natives" is such a great example of what the band was and what the band is. The opening riff is very reminiscent of "M+M's" opening guitar part, while the trade-off of vocals and musical styles in the chorus reminds me of a song on TOYPAJ. The final chorus bleeds a passion for melody that easily makes this my favorite song on the album.
Refer to my earlier post regarding "Up All Night", the first single on the album. My opinion remains the same.
"After Midnight" is by many opinions an "instant classic" as far as the Blink 182 catalog is concerned. It is instantly catchy in the verses as well as the choruses, and is equally easy to sing along to.
"Snake Charmer" finds itself reminiscent of Delonge's side project Boxcarracer, complete with heavy riffs and dissonant chords. I think that the crowning achievement of this song is the outro and flow into the second half of the album. Regardless of this fact, the guitar riff in the song is heavy as fuck, and makes you want to learn how to play it and think you can find beauty in such simplicity.
"Hearts all Gone Interlude"- One of the most delicate and well thought out songs on the record in my opinion. This is exactly where my tastes lie... somewhere in between coherence and progressive rock craziness.
Where this progressive rock ends, and the straight forward rock begins is such a great transition and sets the mood for the second half of the album. "Hearts all Gone" is a simple, pop-punk track that yearns for the youth and angst that Blink came from; but also the darkness that has helped this machine come what it has today. The bass is screams through the song with such authority, and the lyrics makes me rethink every relationship I've ever had.
It's hard to listen to the song "Wishing Well" without thinking about the lyrics to the early Blink song "Carousel", but the pre-chorus's "la-da-da-da-da-da-das" make it difficult to not sing along. It's such a cool song about finding yourself, and it's so catchy.
"Kaleidescope" is definitely a Hoppus track. It's decidedly more concise easier to digest, and much more indie-rock oriented than a lot of the record. It's cool that there's this dichotomy on the record.
In listening to interviews about "This Is Home", it's interesting that the song was actually written by Mark Hoppus, but ended up being sung by Tom Delonge. It makes this sing have a little more meaning, and it's reassuring to know that they actually worked together to make this record; regardless of being in separate studios. It's synthy domination, and use of acoustic guitars throughout make this a much more interesting song if listened to at more than face value.
"MH 4.18.2011" is another one of Mark's tracks that brings it home to the indie/pop-punk craftwork that he is known for. It's another anthem that voices the fact that we have a lot more to be thankful for than we really know.
"Love is Dangerous" is, for lack of better words ominous and creepy. The octave lyrics in the verses leave me with the chills every time.
"Fighting The Gravity" got the most negative reviews from the whole album from others, while I think it's one of the coolest tracks. It's super electronic, dark, progressive, and not really what I would expect from these guys at all. Once again, it borders between coherence and oblivion; which is exactly where my tastes lie. I'm so impressed with this song and how weird it is. I can't say enough good things about this song.
The last song "Even if She Falls" (which is only on the deluxe edition I might add) is the only song in this set that I would categorize as filler. I'm not really sure if I like it still. It just seems like regurgitation of what people wanted to hear. Don't get me wrong, it's catchy, fun, and upbeat, but it seems to lack the depth that the other songs possess on the album.
What I have to say about this album is that I'm impressed with where they decided to go with it. I thoroughly enjoy listening to it (I've probably played it through ten or more time since I got it). What I'm more interested to hear is where they'll go next. It seems like it's more of a stepping stone into being a more mature and pragmatic band than they were previously. When you break it down, it has many of the same song, chord, and album structures, that identifies itself as a Blink 182 album. That is what people like, and I'm VERY, VERY ok with that. However, with benchmarks like "Fighting The Gravity" and "Natives" that set this album very much apart from what they have done previously, I want to see what this band can do if they set there minds out to create something really creative, progressive and different.
Upon purchasing this album, I was so eager, nervous, and incredibly excited to hear Blink as what they described themselves as: a more modern, mature, but still relevant form of what everybody came to know and love them as.
The first song "Ghosts On The Dancefloor" sets the mood for the album with its proggy guitar riff, synth layers, and dance-oriented drums. The lyrics set the same landscape by crooning "I saw your ghost tonight, the moment felt so real." The bridge is the only part of the song that is questionable, with its unnecessary noodling, and Barker's flashy excuses to place himself in the rock drummers' heirarchy.
"Natives" is such a great example of what the band was and what the band is. The opening riff is very reminiscent of "M+M's" opening guitar part, while the trade-off of vocals and musical styles in the chorus reminds me of a song on TOYPAJ. The final chorus bleeds a passion for melody that easily makes this my favorite song on the album.
Refer to my earlier post regarding "Up All Night", the first single on the album. My opinion remains the same.
"After Midnight" is by many opinions an "instant classic" as far as the Blink 182 catalog is concerned. It is instantly catchy in the verses as well as the choruses, and is equally easy to sing along to.
"Snake Charmer" finds itself reminiscent of Delonge's side project Boxcarracer, complete with heavy riffs and dissonant chords. I think that the crowning achievement of this song is the outro and flow into the second half of the album. Regardless of this fact, the guitar riff in the song is heavy as fuck, and makes you want to learn how to play it and think you can find beauty in such simplicity.
"Hearts all Gone Interlude"- One of the most delicate and well thought out songs on the record in my opinion. This is exactly where my tastes lie... somewhere in between coherence and progressive rock craziness.
Where this progressive rock ends, and the straight forward rock begins is such a great transition and sets the mood for the second half of the album. "Hearts all Gone" is a simple, pop-punk track that yearns for the youth and angst that Blink came from; but also the darkness that has helped this machine come what it has today. The bass is screams through the song with such authority, and the lyrics makes me rethink every relationship I've ever had.
It's hard to listen to the song "Wishing Well" without thinking about the lyrics to the early Blink song "Carousel", but the pre-chorus's "la-da-da-da-da-da-das" make it difficult to not sing along. It's such a cool song about finding yourself, and it's so catchy.
"Kaleidescope" is definitely a Hoppus track. It's decidedly more concise easier to digest, and much more indie-rock oriented than a lot of the record. It's cool that there's this dichotomy on the record.
In listening to interviews about "This Is Home", it's interesting that the song was actually written by Mark Hoppus, but ended up being sung by Tom Delonge. It makes this sing have a little more meaning, and it's reassuring to know that they actually worked together to make this record; regardless of being in separate studios. It's synthy domination, and use of acoustic guitars throughout make this a much more interesting song if listened to at more than face value.
"MH 4.18.2011" is another one of Mark's tracks that brings it home to the indie/pop-punk craftwork that he is known for. It's another anthem that voices the fact that we have a lot more to be thankful for than we really know.
"Love is Dangerous" is, for lack of better words ominous and creepy. The octave lyrics in the verses leave me with the chills every time.
"Fighting The Gravity" got the most negative reviews from the whole album from others, while I think it's one of the coolest tracks. It's super electronic, dark, progressive, and not really what I would expect from these guys at all. Once again, it borders between coherence and oblivion; which is exactly where my tastes lie. I'm so impressed with this song and how weird it is. I can't say enough good things about this song.
The last song "Even if She Falls" (which is only on the deluxe edition I might add) is the only song in this set that I would categorize as filler. I'm not really sure if I like it still. It just seems like regurgitation of what people wanted to hear. Don't get me wrong, it's catchy, fun, and upbeat, but it seems to lack the depth that the other songs possess on the album.
What I have to say about this album is that I'm impressed with where they decided to go with it. I thoroughly enjoy listening to it (I've probably played it through ten or more time since I got it). What I'm more interested to hear is where they'll go next. It seems like it's more of a stepping stone into being a more mature and pragmatic band than they were previously. When you break it down, it has many of the same song, chord, and album structures, that identifies itself as a Blink 182 album. That is what people like, and I'm VERY, VERY ok with that. However, with benchmarks like "Fighting The Gravity" and "Natives" that set this album very much apart from what they have done previously, I want to see what this band can do if they set there minds out to create something really creative, progressive and different.
Monday, September 19, 2011
It's just another monday night in paradise
With admittedly nothing to really write about, I've got 10 shuffle picks to keep things moving since we've got the new Thirce (Major/Minor) coming out tomorrow, and the new Blink 182 (Neighborhoods) coming out next Tuesday. There's definitely going to be a lot to write about in the next couple weeks, but until then random songs on my itunes will have to do.
1. Cat Power- "(I Can't Get No) Satisfaction" -The Covers Record
http://www.youtube.com/watch?v=W97TF9PCKWg
A haunting cover of a great song. I wouldn't say it's better or worse than The Rolling Stones, it's just different
2. Rivers Cuomo- "Wanda (You're My Only Love)"- Alone: The Home Recordings
http://www.youtube.com/watch?v=W48yINUF_1A
Rivers' musings alone in his room are all like blueprints of Weezer songs that were just a little too weird to make it to a record. Some of them are SO good, and some are just kinda out there. "Wanda" is a cool introspect into Cuomo's mind outside of Weezer.
3. Radiohead- "Bloom" -King Of Limbs
http://www.youtube.com/watch?v=1g6R89fCUBE
Radiohead is doing cool shit as far as releasing their music in a changing landscape. Bloom is a song that I need to listen to more, along with the entire album. I don't quite get it, but I think if I get really stoned it might make a lot of sense.
4. Radiohead- "15 Steps" -In Rainbows
http://www.youtube.com/watch?v=tk4goNqMdwE
I love this song. The guitar line is catchy, and Yorke's lyrics and melody line keep you interested. A small relapse into coherence in later Radiohead work.
5. Rise Against- "Give it All" - Rock Against Bush Vol: 1
http://www.youtube.com/watch?v=dhldbymXK-8
To me, the heart's there, but the music is not. I like that they're trying to send a message in their music, but I think the music is boring and over produced "punk". (read my previous post for my rant on this genre.)
6. A.F.I.- "Bleed Black" - Sing The Sorrow
http://www.youtube.com/watch?v=llzNXZ5JFlM
Now this! This, is a quintessential punk rock record in my opinion. Everything in this song and record breathes what progression and punk rock should be; and why they should go hand in hand. I love this song.
7. Mars Volta- "Intertiatic E.S.P." - Deloused in the Comatorium
http://www.youtube.com/watch?v=vzRFlXbq-cY
Such a great song. It's a damn shame the band got so incoherent after this album. Octahedron is close to where this band started out, let's hope Omar can sacrifice some of his noodling for melody on their next effort
8. Jimmy Chamberlain Complex- "Loki Cat" - Life Begins Again
http://www.youtube.com/watch?v=gMAZubL9VzQ
Though this song gets some help from former companion and Pumpkins bandmate Billy Corgan, The Jimmy Chamberlain Complex sets itself apart from the Pumpkins with its jazz/fusion sound and Chamberlain's booming and complex (but amazing) drum beats. He knows when to be upfront and when to keep the time.
9. The Strokes- "Two Kinds of Happiness" - Angles
http://www.youtube.com/watch?v=6J385pjZzfA
I'm sad to say that this record coming out earlier this year was one of the bigger disappointments as far as records go. There was so much hype surrounding its release, and I was greeted by something I was not impressed with. It seems like they got stuck in a rut with this record, and the song is no different. I like this song/record, but I think that they could've done something better.
10. Bloc Party- "Halo" -Intimacy
http://www.youtube.com/watch?v=6J385pjZzfA
Bloc Party is one of my favorite bands for so many reason. They are ambitious, different, complex, but they manage to keep you hooked with memorable riffs and melodies. I had a hard time getting into this record, but the time spent was worth it.
1. Cat Power- "(I Can't Get No) Satisfaction" -The Covers Record
http://www.youtube.com/watch?v=W97TF9PCKWg
A haunting cover of a great song. I wouldn't say it's better or worse than The Rolling Stones, it's just different
2. Rivers Cuomo- "Wanda (You're My Only Love)"- Alone: The Home Recordings
http://www.youtube.com/watch?v=W48yINUF_1A
Rivers' musings alone in his room are all like blueprints of Weezer songs that were just a little too weird to make it to a record. Some of them are SO good, and some are just kinda out there. "Wanda" is a cool introspect into Cuomo's mind outside of Weezer.
3. Radiohead- "Bloom" -King Of Limbs
http://www.youtube.com/watch?v=1g6R89fCUBE
Radiohead is doing cool shit as far as releasing their music in a changing landscape. Bloom is a song that I need to listen to more, along with the entire album. I don't quite get it, but I think if I get really stoned it might make a lot of sense.
4. Radiohead- "15 Steps" -In Rainbows
http://www.youtube.com/watch?v=tk4goNqMdwE
I love this song. The guitar line is catchy, and Yorke's lyrics and melody line keep you interested. A small relapse into coherence in later Radiohead work.
5. Rise Against- "Give it All" - Rock Against Bush Vol: 1
http://www.youtube.com/watch?v=dhldbymXK-8
To me, the heart's there, but the music is not. I like that they're trying to send a message in their music, but I think the music is boring and over produced "punk". (read my previous post for my rant on this genre.)
6. A.F.I.- "Bleed Black" - Sing The Sorrow
http://www.youtube.com/watch?v=llzNXZ5JFlM
Now this! This, is a quintessential punk rock record in my opinion. Everything in this song and record breathes what progression and punk rock should be; and why they should go hand in hand. I love this song.
7. Mars Volta- "Intertiatic E.S.P." - Deloused in the Comatorium
http://www.youtube.com/watch?v=vzRFlXbq-cY
Such a great song. It's a damn shame the band got so incoherent after this album. Octahedron is close to where this band started out, let's hope Omar can sacrifice some of his noodling for melody on their next effort
8. Jimmy Chamberlain Complex- "Loki Cat" - Life Begins Again
http://www.youtube.com/watch?v=gMAZubL9VzQ
Though this song gets some help from former companion and Pumpkins bandmate Billy Corgan, The Jimmy Chamberlain Complex sets itself apart from the Pumpkins with its jazz/fusion sound and Chamberlain's booming and complex (but amazing) drum beats. He knows when to be upfront and when to keep the time.
9. The Strokes- "Two Kinds of Happiness" - Angles
http://www.youtube.com/watch?v=6J385pjZzfA
I'm sad to say that this record coming out earlier this year was one of the bigger disappointments as far as records go. There was so much hype surrounding its release, and I was greeted by something I was not impressed with. It seems like they got stuck in a rut with this record, and the song is no different. I like this song/record, but I think that they could've done something better.
10. Bloc Party- "Halo" -Intimacy
http://www.youtube.com/watch?v=6J385pjZzfA
Bloc Party is one of my favorite bands for so many reason. They are ambitious, different, complex, but they manage to keep you hooked with memorable riffs and melodies. I had a hard time getting into this record, but the time spent was worth it.
Friday, September 16, 2011
What is punk rock? Or even music for that matter?
The simple statement of these questions can unlock a feud that could never be solved. Even though there is no definitive answer, the question begs for one simply because anything resembling it is SO multifaceted.
So to answer the seemingly unanswerable, let's first look at some basics here.
Punk rock was started as a counter-culture movement. Whoever we deem "the founders" (i.e. Sex Pistols, Ramones, Velvet Underground) It doesn't really matter. It started as a group of artists and musicians that disagreed with the popular culture of the mid 70's and wanted to change it by doing something different. By creating a community and culture that thrived on seperating from the norm, an amazing group of people; and eventually a genre flourished into something many people could call "home". It was a thing where the freaks and the geeks were in control.
Unfortunately, like anything else the genre got flooded by people that believed they could make money, be cool (how ironic), and capitalize on something like punk rock that had become so near and dear to people's hearts. Through the incorporation of punk as a genre, people seemed to quickly become judgmental within the punk community as to what is deemed "punk rock" by calling out any band that came along that strayed from the blueprint that the genre had created for itself.
So, when you think about it, punk rock as a whole completely turned it's back on it's very own musical ideals. Eventually bands like Bad Religion, Rancid, and NOFX were thrown into the well known pop-punk pile and advertised as sell outs because they wrote catchy songs people from the "popular culture" liked. Bands that take D.I.Y. ideals, or punk rock song structures, are characterized as posers, sellouts, etc.
That brings me to my next point, music is about making it your own. There would be no culture or genre if everything followed a blueprint of what your music was supposed to sound like. Who cares if a band like Yellowcard has a violin, and embraces pop music song structures and hooks? Who cares if Blink 182 puts out a record that doesn't sound anything like their last one? I also feel like Elliot Smith fits ideally into the category of punk. He also did something different, but embraced the ideals of a community he grew up in.
To me, this is the most punk rock thing someone can do; which is go against what the status quo has made punk out to be. Music is about progression. Art is about progression. Passion is passion, and chastising someone for their art should be a crime. If you're not into it don't listen to it.
With all of that being said, the simple answer to "What is Punk Rock?" is doing something that you want to do. In the words of Mathew Lillard's character in SLC Punk! : "If you want to break it down, the best way to do it is from the inside."
If you want to change what popular music is, the most punk thing to do is become part of it by doing something that is different and that people will recognize as doing so.
So to answer the seemingly unanswerable, let's first look at some basics here.
Punk rock was started as a counter-culture movement. Whoever we deem "the founders" (i.e. Sex Pistols, Ramones, Velvet Underground) It doesn't really matter. It started as a group of artists and musicians that disagreed with the popular culture of the mid 70's and wanted to change it by doing something different. By creating a community and culture that thrived on seperating from the norm, an amazing group of people; and eventually a genre flourished into something many people could call "home". It was a thing where the freaks and the geeks were in control.
Unfortunately, like anything else the genre got flooded by people that believed they could make money, be cool (how ironic), and capitalize on something like punk rock that had become so near and dear to people's hearts. Through the incorporation of punk as a genre, people seemed to quickly become judgmental within the punk community as to what is deemed "punk rock" by calling out any band that came along that strayed from the blueprint that the genre had created for itself.
So, when you think about it, punk rock as a whole completely turned it's back on it's very own musical ideals. Eventually bands like Bad Religion, Rancid, and NOFX were thrown into the well known pop-punk pile and advertised as sell outs because they wrote catchy songs people from the "popular culture" liked. Bands that take D.I.Y. ideals, or punk rock song structures, are characterized as posers, sellouts, etc.
That brings me to my next point, music is about making it your own. There would be no culture or genre if everything followed a blueprint of what your music was supposed to sound like. Who cares if a band like Yellowcard has a violin, and embraces pop music song structures and hooks? Who cares if Blink 182 puts out a record that doesn't sound anything like their last one? I also feel like Elliot Smith fits ideally into the category of punk. He also did something different, but embraced the ideals of a community he grew up in.
To me, this is the most punk rock thing someone can do; which is go against what the status quo has made punk out to be. Music is about progression. Art is about progression. Passion is passion, and chastising someone for their art should be a crime. If you're not into it don't listen to it.
With all of that being said, the simple answer to "What is Punk Rock?" is doing something that you want to do. In the words of Mathew Lillard's character in SLC Punk! : "If you want to break it down, the best way to do it is from the inside."
If you want to change what popular music is, the most punk thing to do is become part of it by doing something that is different and that people will recognize as doing so.
Monday, July 18, 2011
Blink 182's "Up All Night"
If you are not familiar with Blink 182 other than 3 guys who put out songs in the late 90's and early 2000's about balls, wieners, and inappropriate jokes about your mom; than they definitely have been warranted a second look.
Recently the band put out a new single entitled "Up All Night" after an eight year hiatus consisting of feuding band members, fighting spouses, and a few side projects. (Mark Hoppus & Travis Barker's +44, an electronic tinged "Hoppus-song heavy" collaboration; Tom DeLonge's stadium rock Angels and Airwaves, as well as individual work such as successful producing careers from both Barker & Hoppus. The later producing records from Motion City Soundtrack most notably, and Barker remixing a slew of hip-hop songs.)
Understandably, many are very skeptical as to what a new Blink song will "sound like" given these many and varying paths each have chosen to take. However, it is also important to remind ourselves of the band's last effort, (Blink 182, 2003) which showed us that these guys do have the talent & the dedication to put out a legit rock record that still managed to keep you singing along; sans dick jokes.
All that being said, I found myself about as giddy as a 13 year old girl before a Justin Bieber concert, anxiously checking my phone for updates last Thursday night as to when I could listen to a new effort from the band.
After an initial listen, and just getting my boyish anxiousness out of the way; it was important to critique the song for what it was: a Blink 182 song. Markedly poppy, simple, but fuck! Fun to listen too.
Lyrics/Melody:
For something that's been hyped up for so long, I was kind of disappointed that the lyrics seem hastily put together and at some points fail to flow into each other. It gives the impression that Hoppus & Delonge are fighting for lead vocals on the song, with Delonge pushing himself to the front by stomping on Hoppus's last line in the verses to start the pre-choruses. Beside that fact the harmonies in the chorus are pretty cool and they flow nicely. The lyrics and melody are catchy and fun, but with pretty dark lyrics and a 'glass half-empty' mentality.
Song Structure/Production:
It seems like they are trying to be different just for the hell of it. Many of the parts are based in groups of 3's and 5's, (where a typical pop song would be 2's and 4's). This is great though. I like the fact that it's just a bit different and not everyone is going to pick up on that fact. The chord structures are of typical Blink 182 nature, employing the traditional "box" chord structure that makes a lot of pop-punk bands sound like they do. The verse's guitar hangs on the root while the bass plays along the structure, the chorus unites the guitar and bass (with a little lead guitar riff buried in the corner) , and the intro/outro riff is interesting but still plays along the same structure. Simple. But simple is right, if it isn't broken don't fix it; just make it a little more interesting and fun for us music geeks out there.
Mixing:
This the thing that both made me really happy, but also I was most skeptical about. It is ambitious and different. The thing that I noticed the most is that each band member seems to make themselves sound how they want, and not what would be a cohesive sound for the band. The pre-chorus lyrics (Delonge) are swimming in reverb while the rest of the song stays quite dry in comparison, the drums are very biting and are pretty much a copy/paste of what the drums sound like on Barker's solo album; which I am not a fan of. There is also some synth program or pad that plays through the intro/outro and choruses that is borderline annoying and very unnecessary. Also, the bass pattern in the verses does not play to the drums?! Come on. The thing I am the biggest fan of is Hoppus's conservative approach to his singing and bass playing (minus the verse pattern) in mixing and production that still lets us know that there is a sane ear left in Blink 182.
All in All Critique:
I think that this is a great song at face value. It is a simple, catchy, and more mature version of Blink 182 that I am very excited to see and hear more of. It shows every single part of where the band has been individually and as a whole, showcasing important values the members have learned through working in other projects. I've heard things like "it sounds too much like Angels and Airwaves/+44/Boxcarracer, not enough/too much Mark/Tom. I think it sounds like a stronger and healthier Blink 182; which is right where they need to be. Their new album "Neighborhoods" drops on September 27th, and I am super excited to hear what this band has been up too.
So check this song out:
http://www.youtube.com/watch?v=JkoCkva-rBc
Saturday, July 2, 2011
It's all about knowing your limits
We can all apply this term to many, many contexts of our lives. However, in the music world, how many theoretical drinks are too many?
I am sitting here at my desk trying to apply this analogy to some of my favorite groups of bands. The stipulation being: a band that broke up and formed two equally as successful groups that have separate; and sometimes equal purposes.
(*Disclaimer* since this is my blog, I am not going to be objective in my statements. This is a strictly opinionated point of view. I like both bands equally in the end.)
I am of course talking about the timeless controversy of The Mars Volta V. Sparta. Both bands formed from the remnants of the iconic post-hardcore group At The Drive In, which achieved mild success in the early 2000's with the song "One-Armed Scissor".
http://www.youtube.com/watch?v=7NYbojdoAQE
Between two guitarists' Omar Rodriguez-Lopez and Jim Ward's duality of pop sensibility (Ward), and progressive/ambient (Rodriguez-Lopez) influences, the group maintained an incredible balance of power throughout their short but eventful career. The result of this unstable combination proved to be one that was incredibly tasty, but you wouldn't be able to remember past your first sip. (tacky alcohol related reference).
The unstable combination proved true when the band split in 2001, leaving fans waiting for what would come next. Singer Cedric Bixler-Zavala and Guitarist Omar Rodriguez-Lopez went on to form progressive rock band The Mars Volta, with a promising first effort entitled "De-Loused in the Comatorium" (2003) which was an amazing and understandable departure from ATDI's post-hardcore sound into a more mature, yet slightly less coherent sound that still aimed to please even the most skeptical Drive-In fan. HOWEVER, after this first record, one can clearly see why the departure occurred. With 2004's Frances the Mute, we are shown the ten minute noodling and unnecessary complexities that undoubtedly split the band up in the first place. The Mars Volta is without a doubt one of the most ambitious groups I've heard, but one that is ridiculously complex for no reason. To cite the alcohol references I mentioned earlier, The Mars Volta clearly "had to many". We get it. You're a good guitar player, you understand how your instrument works. Now let's just make it sound like something other than a beached whale.
On the other hand, we have Jim Ward (guitar/vocals); as well as Tony Haijar (drums) went on to form the alternative rock band Sparta. Sparta started off with a much quieter and well planned out start with Wiretap Scars (2002). We can clearly see where the melody came from in ATDI with this release. However, with the release of Porcelain (2004) the band truly found their ground as a more melodic, as well as more accessible effort from ATDI alums.
In my opinion, "Porcelain" is how a record should sound. Everything about it is, for lack of a better word, beautiful. There are no soft spots, slow points, or parts where one would question where the band came from or where they were going. It's hard to say anything bad about this record.
Even better in my eyes, is that the band decided to call it quits after their third record Threes (2006) to pursue other projects. How awesome is this? In complete contrast to The Mars Volta, they did not and are not bleeding and beating a dead horse by continuing something that is not permanent and/or is losing momentum. They quit while they were strong and dignified. They accomplished something admirable by putting out three great records that people liked and were full of great songs.
So in the end, what I have to offer is that bands are full of duality; and that is often what makes great music, both pre and post breakup. Both groups have put out good efforts, and some prove to be a bit more successful in any perception. It's important to have that pop sensibility, as well as that exploration that sends things close to the edge of coherence.
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