Tuesday, August 27, 2013

The phenomenon of fake hipsters

This is not really a music-related post, but it's relevant. There has been a growing phenomenon (which I'm sure you've noticed) of fake hipsterism. Now, hipsters have ALWAYS annoyed me, but at least there was a point where they were sincere. Now, what are considered "hipsters" are just high school girls who wear plaid and fake glasses. These are not hipsters. Another example of people misunderstanding hipsters is when someone says, "oh you probably haven't heard if them, they're not mainstream" and people say, "oh you're a hipster." This happens to me often, because most of the music that I like is almost unheard of in the so-called "mainstream." But just because you like music that the people around you haven't heard of, it doesn't make you a hipster. It doesn't even mean you have better taste, for that matter. And wearing plaid and fake glasses because they're "in?" That is not ironic, that is stupid. And, it's literally the opposite of the "hipster mindset." But people continue to think that doing certain things makes them a hipster when they aren't. In fact, I will go so far as to assert this: there is no such thing as a hipster. There is a recent movement of people who think certain things pit them in a certain category, but the category is a LIE.

Wednesday, August 21, 2013

How Steppenwolf is more sincere of a band than they get credit for

You've heard of Steppenwolf. The guys that play "Born to be Wild" and "Magic Carpet Ride?" Yeah, you know 'em. The two songs that I just mentioned are slowly, horrifyingly becoming the only two songs that the casual rock listener knows that are by Steppenwolf. Sure, people know a couple other ones, but everyone that I've talked to about Steppenwolf seems to think that all they are is a fairly decent hard rock band with two good songs. I myself used to think this as well. But then I listened to their "Greatest Hits" album, and realized that there were probably many more great Steppenwolf songs than just the ones that I had heard. So I listened to their classic discography (the stuff that they made before their breakup and reunion) and realized: this is not only the coolest, grooviest band EVER, but that they are also very opinionated and political, more than they ever get credit for. They have two extremely political albums ("Monster" and "7," both terrific records) but also address issues on other albums. Some of the subject matter that they get into includes legalization of marijuana ("Don't Step on the Grass, Sam") draft dodging ("Draft Resister") as well as patriotism and the desire to bring Anerica back to her origins ("Monster/Suicide/America"), among other things. I've said that "If Steppenwolf ran for president, I'd vote for them." 
But it's not just politics that Steppenwolf gets into. They also give their own assessment of several moral issues, including religion ("Spiritual Fantasy") drug addiction ("Snowblind Friend") and even how and why to treat your woman right ("Tenderness," and pretty much the rest of the "For Ladies Only" album). And another thing about Steppenwolf: they seem to hit the nail on the head for every issue they address. It would be one thing to be an overly political band that preaches nonsense that no one cares about, but it's another thing to be political and be accepted by everyone simply because... well, all your ideas make sense. And some political bands don't get attention because either they're TOO political, or because they just are no good. Steppenwolf is the perfect mix of politics and pure rock n' roll, and they are one of the most consistently good bands I have ever heard. I would highly recommend exploring this group beyond only their radio hits.

Monday, August 19, 2013

Is being in a band still the ultimate measure of "coolness"?

Think about it. All your life, you've always wanted to be in a band, even if you didn't know it. If you know anyone else in a band, they are actually your idol. Even if you didn't know it. Disagree with me? Well, you're probably right. You see, back in the seventies and eighties (and even the nineties, with the rise of Grunge) everybody was starting bands. All the cool kids, that is. Sure, the kids who got the good grades and wore the nice clothes didn't all want it, but even they secretly liked idea of sex, drugs, and rock n roll. But the kids who were actually IN the band were looked up to by everybody else who WASN'T in a band. But is that still the case? Nowadays, now that all the popular music is rap and electronic, all kids want is a gold chain around their next and a "hoe" on their sleeve. Yes, there is still a huge number of people who want to strap on a strat and jam out. But when compared to the number of rock fans back when Led Zeppelin ruled the world, modern music is slowly being dominated by... bad music. As a result, there is less respect for "real bands," and so less people wan to be IN a band... and therefore, the less cool it is to actually be in a band.

...But that's not to say that being in a band doesn't still add coolness. It still works as a fairly decent pick up line (it doesn't, I know) and you're still "that kid in the band" at school. Plus, all your friends will come see your band's gigs, and they'll at least respect you for being a good musician (provided the band doesn't suck). So, being in a band is still cooler than being just another guy, but not as cool as it used to be.

Wednesday, August 14, 2013

Are Rage Against the Machine selling out by being signed?


I asked myself this when I first heard of them, and I still ask it to this day: are Rage Against the Machine (RATM) “selling out” simply by being signed to a record label? After all, their message is that of rebellion, and fighting the system. However, they do kind of… work for the system to a degree simply by being a signed band. Sure, they’ve been on BBC radio and gotten cut short for flipping off the camera and cursing, (just one example of this type of thing) but they’re still signed and make money every time someone buys and album or song of theirs. Their bassist even threw a fit at a music video awards show simply because they were beat out by Limp Bizkit. For a band that prides itself on fighting the system, they sure don’t seem to handle it well when the system doesn’t deliver for them. However, this is just an example, and cannot be used to define a band’s entire career.
Another way to look at this, however, is in the way that RATM wants to get their message across at any cost, and to do that they simply have to sign to a major label to get any attention from the public. The fact that they make money simply comes with the fact that they are signed, and the main point is that they are making people question authority and sticking it to the man. I have come to embrace this mindset when thinking about RATM, both because they are a great band, and because this theory makes just as much sense as the one mentioned above. The second viewpoint is my opinion, but you can make up your own mind. 

Thursday, August 8, 2013

Queens of the Stone Age "...Like Clockwork" Review

Queens of the Stone Age are a unique group. With their members drawn from the stoner metal pioneer group Kyuss, there were high expectations since the group’s inception (by Kyuss guitarist Josh Homme), and Queens of the Stone Age (QOTSA) have certainly delivered. Although they are not truly “metal,” they have metal elements, and are certainly heavy. Their song “Mexicola” (off QOTSA’s self-titled debut album) is considered by many to be a stoner rock classic. Over the years, their sound and members have changed, but they have a consistent style and feel that continues from album to album. Recently, they released a new album entitled …Like Clockwork. This is a review of that album.
...Like Clockwork is an instant classic. The flow of the songs is unparalleled in any of their previous releases, yet each song is unique and powerful, and could stand alone on a single. Each of the tracks has a different vibe and sound, and it is sure to satisfy any hard rock fan, even if they are unused to QOTSA. Although it has less hard rock elements than some of the band’s other albums, it is instantly recognizable as a QOTSA release, as it bears the signatures of the group: a polished recording sound that somehow still retains a garage rock feel, interesting drums grooves, Josh Homme’s distinct David Byrne/Bowie vocal style, and of course the underlying heavy feel of the whole album. The Album was also released with accompanying videos for several of the tracks, which when put together form a 15 minute mini-movie (which can be found on YouTube) that some believe is about the four horsemen of the apocalypse.
               The first track on ...Like Clockwork is “Keep Your Eyes Peeled,” a decidedly dark piece that is probably the heaviest song on the album. It is not heavy in a death-metal sense, but more in an ominous, intimidating and creepy way. The guitar tone is distorted and dark. This song has an interesting drum track, played around the beats on which the guitar is strummed. Its strange, off-kilter style is a testament to the skill of new QOTSA drummer Jon Theodore. It is a slower track, but packs a heavy punch as the opener for the album.
               Song 2 on …Like Clockwork is the track “I Sat by the Ocean,” which is probably the most upbeat song on the album, especially when compared to the dark album opener. If you were sitting at the beach and needed some music, this would be the song to put on; even the title encourages it. The song features all the usual QOTSA elements: a guitar solo, terrific vocals from Josh Homme, impressive drumming, and a solid song structure.
               …Like Clockwork’s next song is “The Vampyre of Time and Memory,” which is a mellow tune that starts out with only piano, but moves on to feature light guitar and drum work. It is well-crafted so that the beginning is softer and melancholy, but it begins looking up towards the end, with the drums and a guitar solo. But the lyrics stay in the same low place, as the song is about loneliness and wanting to die. However, the album’s next track gets you back on your feet.
               “If I had a Tail” is …Like Clockwork’s fourth track, and it comes just in time after the darkness of “The Vampyre of Time and Memory.” It is a track whose best description can be found through watching the music video: it makes you want to drive through the desert at night and destroy things with Molotov cocktails. It features a driving drumbeat, a rousing chorus, and a fantastic riff/solo ending segment. According to Josh Homme, “If I had a tail, I’d own the place.” This song already does.
               ”My God is the Sun” was released as the first single from …Like Clockwork, and holds slot 5 on the album itself. It is a phenomenal track, with an excellent riff that stays with you, and a powerful rhythm section. It is also powerful as a desert rock piece, with distortion and riffage that is signature to the genre. Even the lyrics scream “desert rock,” (almost literally) as they are about healing with fire and worshipping the sun. The music video for this song is also quite unique, as it features the “four horsemen” from the other videos from this album rising up into the sky and being consumed by the sun.
               The next song, “Kalopsia,” is a stark contrast from “My God is the Sun,” featuring soft-loud dynamics, but mostly focused around the softer piano side to the song. It is a fairly straightforward song, even with programmed (or at least programmed-sounding) drums during the piano sections. It does not have any of the desert rock associations that QOTSA are known for, and could barely be considered a hard rock song. But that is not to say that it is not a solid tune. It contributes greatly to the superb flow dynamic of the album as a whole, and is still recognizably a QOTSA song even out of context.
               “Fairweather Friends” features the most guest appearances of any song on the record. Even though Josh Homme changes the QOTSA lineup almost every album, as well as inviting guest musicians, this track takes the cake for not only the most non-Queens of the Stone Age personnel, but also some of the most impressive: Dave Grohl (who, yes, also played drums on many other tracks on this album, but is still most definitely worth mentioning), ex-Kyuss and Queens of the Stone Age bassist Nick Oliveri, who sings backup, Nine Inch Nails frontman and sole contributor Trent Reznor (also on backing vocals) and Sir Elton John, who of course plays piano on the track. In addition to these mentioned, the song was also played on by the current standard QOTSA personnel. The song itself is a solid hard rock piece, and each contributing musician brings a great contribution, making this one of the more memorable songs on the record.
               “Smooth Sailing” is probably the strangest song on the album. It begins with a high-noted strumming on the guitar, and immediately launches into a greasy stomp with a simple but extremely powerful drumbeat. The verses are carried by a low distorted guitar tone, but the choruses have the same high strumming heard at the beginning of the song. Then, towards the end, the song launches into a strange, off key guitar portion that finishes off the track. The different sections of the song give it an interesting feel, one of both stoner metal distortion and of pop catchiness.
               “I Appear Missing” is the second to last song on the album, and it reinstates the darker and more melancholy mood felt earlier on with songs like “Keep Your Eyes Peeled” and “The Vampyre of Time and Memory.” However, “I Appear Missing” is nothing like either of these songs. It features an odd drumbeat that is played around the guitar, and a softer guitar tone. However, despite the softer tone, it does not keep it away from an obvious hard rock base, and still retains a mental image of desert scenery. Its mood and tone perfectly preserve the flow of the album, and return it to its initial themes before the end.

               “…Like Clockwork” is the final song on the album, and is also (obviously) the title track. In the return to the mellow feel, this song certainly preserves that direction, beginning with piano that wouldn’t sound out of place on and Adele record. However, at about the midpoint of the song, it starts in with a drumbeat and guitars. It also adds elements like brass instruments over the guitar. The song winds back down and finishes out with a softer feel. Like every other song on the album, and like the album itself, it is brilliantly made and written, with everything being done purposefully to aid the flow of the album. This is a phenomenal record, with perfectionism a sense of direction unseen even in other Queens of the Stone Age album. It is a masterpiece of a band that has already proved itself master of the genre.

Sunday, August 4, 2013

Introduction

Hello Everyone! This is the first post of a music blog that will be posted on every week or so. This blog will be both my own opinions and observations about music, as well as reviews of albums, both new and old. The music selection will be that of rock, alternative, and metal. If I contradict your opinions, please don’t be offended. I hope you enjoy this blog, and if you don’t, then don’t read it.