Cascada "What Hurts The Most": I have no idea what or who the original is, but this is a passionate heartbroken sentiment that finds the murder in the boshin' stompin' beats. Has LeAnn Rimes ever tried her hands and feet at bosh? She'd be excellent: would knock the furniture through the walls and make the curtains weep.
Peter Gelderblom "Waiting 4": Functional beats, washes, chord changes. The lame voice achieves beauty amidst all the blips.
What I didn't tick:
J. Holiday "Bed": The vocals are standard r&b prettiness; I like that the beats have been twisted into alien bubbles, but this is passing over me. (So how do I explain that Lloyd is going to be in my top ten with standard r&b vocal prettiness that's even less distinctive: well, Lloyd's arrangement gives him a whole bed of beauty to rest on, which "Bed"'s doesn't.)
The Enemy "We'll Live And Die In These Towns": This starts really nice, the way the horns weep into each other's eyes. But then there's the boring indie stumble, as the horns are abandoned in favor of the usual rot and rue. This would almost be borderline, if it weren't intent in dying in its sad demographic.
Arctic Monkeys "Teddy Picker": Alex Turner is one of the few indie singers whose singing I like; he's pushy but finds his way to quick melodicism 'cause of the way his voice quavers higher or lower at the end of each line. But I just borrowed this album from the library and listening to it is a TERRIBLE experience. Nonetheless it's interestingly terrible in that the sound is all wrong. The bass and drum are just jabbing at you like a neurotic digging his fingers into your palms. This has a beat like a stick, not a beat that moves, simply one that cuffs you around the ears. Cuffs and palms, but nothing for the feet, nothing to do with dance, no rockin' in its rock. So what there is of melody stands on its own, while the band fires staple guns at our heads and throws bombs at our stomachs. If I weren't swamping myself with year-end catch-up I'd listen a lot to try to get into it, just to make sense of it. The record is strange enough that I might achieve something by liking it. Did the album actually sell well? Did it come near to the first album's sales? I'd be flabbergasted if it did.
Foo Fighters "Long Road To Ruin": Awful, thin dull singing, gets nice when the guitar and harmonies fill this out, but then the fullness gets muddled and irritating too.
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timeasmymeasure
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Date: 2007-12-10 03:07 pm (UTC)Cascada "What Hurts The Most": I have no idea what or who the original is, but this is a passionate heartbroken sentiment that finds the murder in the boshin' stompin' beats. Has LeAnn Rimes ever tried her hands and feet at bosh? She'd be excellent: would knock the furniture through the walls and make the curtains weep.
Peter Gelderblom "Waiting 4": Functional beats, washes, chord changes. The lame voice achieves beauty amidst all the blips.
What I didn't tick:
J. Holiday "Bed": The vocals are standard r&b prettiness; I like that the beats have been twisted into alien bubbles, but this is passing over me. (So how do I explain that Lloyd is going to be in my top ten with standard r&b vocal prettiness that's even less distinctive: well, Lloyd's arrangement gives him a whole bed of beauty to rest on, which "Bed"'s doesn't.)
The Enemy "We'll Live And Die In These Towns": This starts really nice, the way the horns weep into each other's eyes. But then there's the boring indie stumble, as the horns are abandoned in favor of the usual rot and rue. This would almost be borderline, if it weren't intent in dying in its sad demographic.
Arctic Monkeys "Teddy Picker": Alex Turner is one of the few indie singers whose singing I like; he's pushy but finds his way to quick melodicism 'cause of the way his voice quavers higher or lower at the end of each line. But I just borrowed this album from the library and listening to it is a TERRIBLE experience. Nonetheless it's interestingly terrible in that the sound is all wrong. The bass and drum are just jabbing at you like a neurotic digging his fingers into your palms. This has a beat like a stick, not a beat that moves, simply one that cuffs you around the ears. Cuffs and palms, but nothing for the feet, nothing to do with dance, no rockin' in its rock. So what there is of melody stands on its own, while the band fires staple guns at our heads and throws bombs at our stomachs. If I weren't swamping myself with year-end catch-up I'd listen a lot to try to get into it, just to make sense of it. The record is strange enough that I might achieve something by liking it. Did the album actually sell well? Did it come near to the first album's sales? I'd be flabbergasted if it did.
Foo Fighters "Long Road To Ruin": Awful, thin dull singing, gets nice when the guitar and harmonies fill this out, but then the fullness gets muddled and irritating too.