Unlike many young Americans these days, I’ve never been too fond of rap or hip-hop. Attending a very “urban” high school, I was immersed in the rap culture and music, and found myself surrounded by people who listened solely to this genre. Despite this, I decided pretty early that rap music just wasn’t for me…at least until I heard first heard Childish Gambino.

I initially heard about Childish Gambino through NBC’s show “Community,” on which he characterized Troy Barnes, and after listening to his album Camp several times, I had to adjust my prior thoughts about rap. Different from the likes of Meek Mill or Juicy J, Childish Gambino throws out his own form of “hate rap” that seems to resonate with me more than any other hip-hop artist has. Though the problems that he raps about seem to be relatively superficial at first glance, the emotion behind his tracks is incredibly powerful, almost tangible at times. Writing primarily about not being taken seriously in his music career, his audience can truly identify with his situation through is lyrics, even if they’ve never felt something remotely similar.

Gambino also utilizes an incredibly diverse range of references and allusions throughout his songs. In one song alone, for instance, he references: the NASDAQ, PETA, Invader Zim, Princess Diana, Jolibee, and Casey Anthony. On top of these allusions, Gambino also has single lines that stick with you long after you’ve listened. My favorite line, referring again to not being taken seriously, has to be “like rap’s stepfather, yeah, you hate me but you will respect.” This lines, though short in length, pack a punch harder than an entire song by many other artists.

As someone who defiantly avoided rap music for a long time, artists like Childish Gambino make me more than happy to admit I was wrong. Though I’m sure he’s not fond of the moniker, Gambino has been called “rap for people who don’t like rap,” similar to your Macklemores or Watskys. For someone who hated rap music (and continues to hate most), Childish Gambino is a refreshing addition to the genre. His new album Because the Internet is to be released next week, and I would highly recommend checking it out.

Since I moved into my dorm earlier this year, I have probably listened to a greater variety music than I have in my entire life. Countless hours have been spent late at night, surfing Spotify or flipping through Youtube videos to find new music. Yet through all this variation, no artist has consistently taken up as much of my time as LA-based rock band Dawes.  Forming after lead songwriter Blake Mills left, punk-band Simon Dawes transitioned into a more folk-rock sound with Taylor Goldsmith taking the wheel. Characterized deep, story-driven lyrics and folky, almost country, guitar riffs, Dawes perfectly captures the sound of 70s California.

The first thing you noticed about the music of Dawes is the iconic California sounding guitar. Sporting moderate reverb and mellowing effects, the style of Dawes’s music is reminiscent of 1970 and 80s Los Angeles, while still maintaining a modern sound. Sometimes they stray from this Jackson Browne-like, LA sound, into a more John Denver, mountain-man style. All of this is done while still maintaining an identifiable type of sound.

Dawes is also characterized by very powerful, story-driven lyrics. Songs like “A Little Bit of Everything” or “Coming Back to a Man” perfectly exemplify songwriter Taylor Goldsmith’s knack for detail in his lyrics. Through his lyrics he makes a point of telling a unique story, even if it’s only something like his thoughts during an airplane ride, as is prevalent in songs like “From a Window Seat.” These lyrics produced by Goldsmith perfectly portray the self-loathing feeling LA is known for, while still maintaining a sense of general happiness.

On paper, Dawes is really nothing special. Interesting musical style and great lyrics are characteristics I’ve attributed to almost every band I have talked about through these blogs. Yet Dawes still stands out above the rest. Their style may not sound unique, but their music is perfectly executed and sounds fantastic. Out of any of the the bands I’ve discussed on this blog, I think Dawes would be the one most worth listening to.

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Like most sensible people, I have made it a point to see as many live bands as I possibly can. Living close to Philadelphia offered many opportunities to see live music, and over the years I have seen so many good shows. I was lucky enough to see OK Go with NeedToBreathe as well as Alt-J, Walk off the Earth, and Panic! at the Disco at the Pizza. And this past year I was front row at a Morning Parade and The Wombats concert. However, of all these bands I have seen, Streetlight Manifesto sticks out above the rest as the best live show I have been to.

For those of you who don’t know (which is probably all of you), Streetlight Manifesto are a punk-ska band that formed from the remnants of Catch-22, a moderately popular 90s ska band. I first saw Streetlight at the Theater of the Living Arts on South Street, a small venue, allowing bands to really interact with their audiences. While I was familiar with their music, I was in no way an avid listener before this show. After Lionize opened with a pretty mediocre set, Streetlight, led by Thomas Kalnoky, came on stage and immediately I could sense it would be a good show. The energy they felt while playing was tangible, and was instantly transferred to the already-psyched audience.

Throughout the entirety of their set they maintained this raw energy, and the excitement of the crowd only seemed to further fuel their power. The biggest draw of Streetlight Manifesto is the full sound they produce, which can’t fully be expressed on their recorded albums. The blaring brass and saxophone section contributes to this sound, providing a fullness that simply can’t be matched by a three or four piece band.

Simply put, Streetlight Manifesto puts on an amazing show. Their unique music and high-energy work perfectly through live music, more so than through recorded tracks. Though they announced they would like to take a long hiatus from touring, they will still be playing shows here and there. If the opportunity to see them live ever presents itself, take it. You certainly won’t be disappointed.

What bands are your favorite to see live? Are there any that you think truly sound better than on their albums or, perhaps, vice versa?

On October 8^th of this year both Cage the Elephant and Panic! At the Disco released brand new studio albums. After taking two weeks to listen to each thoroughly, I think I’m finally ready to pass judgment.

                                                                                                               Up first is Melophobia, meaning “the fear of music,” the third studio album from Kentucky’s Cage the Elephant. This band’s first two albums blew me away, so I was incredibly excited for this new release; and after listening to each track several times I can say with certainty that I was not disappointed.

The album was solid as a whole, but a few tracks stand out above the rest. “Spiderhead,” for instance, starts the album off with a bang and immediately sets the tone for the rest of the LP. I also really enjoyed “It’s Just Forever,” featuring Allison Mosshart on backing vocals. Both Matt and Allison brought this track to life with their falsetto voices on the verse, and the bridge was almost reminiscent of some 70s style songs. Overall though my favorite track off this album has to be “Come a Little Closer.” Released as a single, I had an opportunity to listen to this song early and the fantastic bass and powerful chorus undeniably grew on me over that time.

The only song I really didn’t like off this album was “Take it or Leave it.” Though it wasn’t necessarily a bad song, it seemed uncharacteristic of Cage the Elephant and reminded me more of something Phoenix would put out. Despite this, the album was overall pretty solid, and I would definitely recommend giving it a listen if you liked their earlier stuff.

                                                                                                         Panic! At the Disco also released their new album, Too Weird to Live, Too Young to Die, on October 8^th, though I was less thrilled with the outcome.

Panic has always been known for changing their style album to album, so the transition from Vices and Virtues to this should have come as no surprise. However, Brendan Urie seems to have taken a complete 180-degree turn, from Baroque-Pop to Electro-Pop, and the result is somewhat disappointing. If I had no prior knowledge of this band, I might be able to appreciate this LP as a decent Electro-Pop album. However, listening to their previous work I know what Panic is capable of, and, at risk of sounding like a hipster, I feel like this album went a little too mainstream-sounding.

Despite being somewhat disappointed, this album still operates well as a synthpop CD. I really like “Casual Affair,” as it combined the futuristic techno with a string section. “The End of All Things” was also really well done, with a beautiful piano playing throughout.

Regardless of these few decent tracks I was still disappointed with the album. I personally believe that this lack of character can be attributed to less influence from co-member Spencer Smith, after he admitted to intense drug-addiction.

By all logical accounts, there is no reason the music of Tom Waits should sound pleasing. The tunes are often dysfunctional and sound completely disorganized and Tom’s voice is grating and raspy, like that of someone who’s had far too many cigarettes and whiskey for one lifetime. Yet despite these “flaws”, Tom Waits has found moderate success in the music industry, making his way into the Rock and Roll Hall of Fame, with hundreds of thousands, myself included, listening in. This is because of the character that Waits puts into each and every song, through both the music, and the lyrics.

Musically, Tom Waits’s style is hard to pin down. His earlier works, for instance The Heart of Saturday Night, were far more influenced by jazz, with a distinct, sweet New Orleans sound. Whereas his newer material, like Bad as Me, sounds more influenced by blues or rock, with brilliant 50s style guitar and piano riffs. And, of course, some of the albums in between, Orphans or Mule Variations for example, give off a country-folk vibe. Despite the wide array of genres Waits draws from, it is clear that every note and tone in his songs is intentional.

Beyond the actual music, Waits found success because of his apparent mastery of the art of imagery. Every song he has ever written has depicted a scene and told a unique story. “Shore Leave” off of Swordfishtrombones for example, tells the story of a sailor on shore leave in an Asian country, longing for his love in Illinois. Another lyrically driven song, Rain Dogs off the album of the same name, compares Waits to a dog that can’t seem to find its way home. The personality that Waits puts into each song emotional and powerful storytelling is only accentuated by his gravelly, unique voice.

Though his music is clearly quite esoteric, Tom Waits is an artist whose music base can only continue to grow. I, like most, certainly did not appreciate the genius of his music the first time I heard it, yet it is something you can learn to appreciate. His unique voice, fantastic music, powerful lyrics, and uncanny way with words makes Waits one of the most under-appreciated musicians I’ve come across. Even after 40 years and sixteen albums, Waits’s music continues to get better with age. If you’re interested in listening to Waits, I would definitely recommend starting with his iconic album Rain Dogs, as in encompasses all that this man is capable of musically. However, The Heart of Saturday Night is probably my favorite of his discography.

If you have read either of the reviews I have posted here in the past couple weeks, you will no doubt recognize that honest, emotional lyrics are one of the best qualities a musician can have. In my opinion, no band has more powerful lyrics than Manchester Orchestra.

With no formal, musical training, this band relies solely on their lyrics to guide their influential style. Front man Andy Hull writes all these lines, citing song writing as a form of therapy, a way to sort through the experiences of his life (Relevant). Standing tall with a burly beard, most would have a hard time pegging Hull as the emotional type, yet the lyrics he produces are unmatched in their honesty and power.

Primarily, this emotion is written into songs referencing the struggles, but ultimate triumphs, Hull has had in his family. For instance, “Pale Black Eye” on their newest album Simple Math, illustrates how Hull and his wife Amy seemed to lose the love they had at the start of their marriage. He cries, “…I’m tired of lying, I wish I loved you like I used to.” This brutal honesty would be avoided by most songwriters, yet Hull writes and performs these songs with no hesitation. Another prominent example is found in “Sleeper 1972” off of I’m Like a Virgin Losing a Child. In this tune, Hull mentions the death of his father, and depicts the effects of this tragedy on his sister, his mother, and himself.

Overall, Manchester Orchestra’s strongest lyrical draw is their ability to transfer these emotional lyrics into vivid stories. One of their earlier songs “I Can Feel a Hot One” is a perfect example of this. Throughout the track, Hull patiently describes a car crash he experienced, in which he almost lost his wife and their unborn daughter. The honesty and emotion that Manchester Orchestra conveys is almost unheard of in modern music, and makes this band truly one of a kind.

Source Used:

Studarus, Laura. “Manchester Orchestra | RELEVANT Magazine.” RELEVANT Magazine. N.p., Nov.-Dec. 2011. Web. 09 Oct. 2013

Over the past few months of surfing for music, no band has caught my attention quite like Little Green Cars. Formed out of Dublin, Ireland, this indie band has only slowly been gaining more and more attention in America, finding their way onto smaller radio stations like WXPN from Philadelphia or KEXP in Seattle. Showcasing unbelievably beautiful harmonies and an enhanced ability to convey emotions, Little Green Cars has quickly become one of my favorite bands.

As mentioned before, one of the biggest draws of this band is their ability to harmonize perfectly in their songs. With vocal contributions from all members of the band, songs like “The Consequences of Not Sleeping” or “Please” are on an entirely different level than songs in the same genre. The band also has an excellent range of sound, all while still retaining a broad genre. For instance, the folky banjo in “Goodbye Blue Monday” sounds drastically unlike the more generic rock in “Big Red Dragon”, yet somehow the overall sounds are the same.

Another strength of this band is their capability of conveying deep emotions through their lyrics and general tone. “Goodbye Blue Monday” sticks out as one example, with passionate lyrics telling a story of love and loneliness. “Kitchen Floor” is also fantastic at transmitting these raw emotions, illustrating the struggles with ending a clearly failing relationship. The general tone and styles of these songs perfectly match the passion the lyrics provide, turning these songs into quite profound pieces of true art.

In such a fantastic, though short discography this band has produced, “Red and Blue” is the only song that I honestly dislike. Something about the vocal effects and overly synthesized tune I find displeasing. Especially when literally the entire band is comprised of singers with beautiful voices, masking these sounds with a vocal effect seemed like an odd choice. However, every other song this band has produced has been fantastic in my opinion. “Them” and “Harper Lee” stick out as great songs, but my favorite has to be “The John Wayne.” This song is surprisingly good, considering the basic chord structure is the same throughout the entirety of the tune.

Without a doubt, Little Green Cars is one of the best bands I have ever listened to. Their style is unique, and their musically ability is unmatched by other bands. I would highly recommend listening to their full-length album and the few singles they have released. With the musically ability they have serious potential for success, and I cannot wait to see what they put out over the next few years.

In the summer of 2012, Cincinnati based band Walk the Moon released an eponymous album, their first record through a major label. Songs from this album like “Anna Sun” quickly gained popularity, becoming one of the major hits of the summer. Despite being released well over a year ago, I had not had a chance to listen to this self-titled album until recently. After finally giving it a few plays, I can be completely honest when I say this album blew me away.

Though on the surface they appear to be simply another Indie Pop group, riding to success on the typical, upbeat, summer sound, their style is on an entirely different plateau. Veiled beneath their bubbly, synthesized tracks lie lyrics that are quite deep, telling powerful stories in most of their songs. A perfect example of this is in their song “Iscariot”, alluding to Judas Iscariot, the disciple who betrayed Jesus Christ. This track depicts a rift between brothers, perfectly transmitting the raw emotion felt in such a situation. Their songs also utilize strong metaphors and similes, particularly in their tune “Jenny”.

On such a strong album, it’s no surprise that there are multiple tracks that stick out. As mentioned before, “Iscariot” and “Jenny” convey strong emotions through their lyrics. The vivid imagery used in “Anna Sun” also makes this song great, despite nearly being killed by the radio. Speaking solely to music, “Tightrope” has fantastic guitar riffs scattered throughout the song, and the thumping bass and drum patterns in “I Can Lift a Car” help this song stand out. The only tracks I did not seem to care for on this entire album were “Lisa Baby” and “Fixin’”. Though there is nothing directly wrong with these tracks, I just found them to be somewhat boring, with nothing special to support them.

Despite a few uninventive tracks on this album, I found the collection as a whole to be a refreshing addition to the Alternative Indie-Pop genre. The powerful imagery and metaphors in their songs, as well as fairly decent music to back them up, allow this album to be a truly great listen.

If you want to listen to this album, check out my Spotify Playlists. (Copy the URL from the Sidebar.)

In 2006, The Arctic Monkeys, a Brit-Rock alternative band released their debut album Whatever People Say I Am, That’s What I’m Not. The album gained near-immediate success, quickly becoming one of the most listened to albums of the year and in alternative music as a whole. The following year, they released Favourite Worst Nightmare, a solid album, despite containing a slight unwanted style change. Regardless of tracks such as “Brianstorm” and “Teddypicker” gaining success, the album as a whole did not seem to live up their first.

Since then, the Arctic Monkeys have released three more albums, all with vastly unique sounds and styles. In fact, lead singer Alex Turner has even cited American hip-hop as a source of inspiration for their latest album AM. Those who embrace the change of style credit it to a superior musical ability, stating evolution of sound is the mark of a truly great band. They claim that the band’s sound is maturing along with its members, and that this transformation should be appreciated. However, I, along with a great deal of others, feel that while each album has changed stylistically, it is not for the better. In fact, many believe the band has completely abandoned their initial genre, deserting their early fans.

While many ideas have been thrown around as to why this difference in sound was so rapid and dramatic, I personally believe it can be accredited to change in scenery. To be more specific, I believe the Arctic Monkeys have sadly been “Americanized”. After the release of Favourite Worst Nightmare gaining mild success in America, the band eventually moved there to record. After this transition, they seemed to have lost their fast paced garage-sound, and moved into more toned down, subtle rock. America is not solely to blame though; it’s simply the change in country provided entirely new influences to the band, drastically changing the sound of their music.

The band’s latest album AM, however, did contain brief moments reminiscent of their earlier work. This means that the original Arctic Monkeys are still somewhere in Alex Turner and the rest of the group, resonating hope that the unprecedented sound of their first album is not lost forever.