Monthly Archives: November 2013

New Music: “Marriage” – The Eversons

 

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Taking a cue from The Who’s “My Wife”, The Everson’s take on a title that seems sentimental and lovely, and offer up something witty instead.  The video is also worth checking out as well.  If you like Pavement and the Talking Heads, you’ll most likely love the Eversons.

“Marriage” can be found on the group’s debut album Summer Feeling.  For more info, check out the band’s Facebook page.

New Music: “So Broken” – Wise Girl

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Wise Girl’s “So Broken” is a gem of a power-pop song. It’s catchy, but with an edge.  “So Broken” recalls late ’70s early ’80s rock-pop songs in its delivery and attack. The guitars are buzzing but never overbearing.  Singer Abby Weitz’ vocal delivery walks a fine somewhere between apathy and sympathy.

“So Broken” can be found on Wise Girl’s debut full-length You’ll Just Have to Wait out now.  For more info on the band, check out their web-site.

Listen to “So Broken”:

New Music: “Pop Song” – Jazz Mills

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It’s perfectly fitting that Jazz Mills would title her latest single “Pop Song”.  It’s not “pop” in the 2000’s sense, but harkens back to pop hey-day during the early 1960s.  There’s no big sweeping chorus but “Pop Song” is pure ear candy.  Mills’ melodic and chirpy voice over simple drums and piano comes as a welcome relief in an era when pop songs are devoid of life and simple pleasures.

“Pop Song” can be found on Mills’ self-titled EP due out 11/12/13.

 

 

Song of the Week: “Pale Blue Eyes” – The Velvet Underground

My first exposure to “Pale Blue Eyes” – and the Velvet Underground for that matter was through R.E.M.’s Dead Letter Office. The record of outtakes and covers up through Document is non-essential, but it does contain 3 really good covers of Velvet Underground songs: “There She Goes Again”, “Femme Fatale” and “Pale Blue Eyes”.

It should come as no surprise that R.E.M. would worship at the feet of the Velvet Underground, like many bands of their era. But unlike the Pixies and Sonic Youth – who used the noise of White Light/White Heat as their template – R.E.M. found more in common with the quieter moments that came from The Velvet Underground. Michael Stipe also probably identified with Lou Reed’s lyrics of sexual ambiguity, which became more apparent as the years went on.

The original version of “Pale Blue Eyes” is stunning its simplicity: Reed singing over a simple riff with a tambourine in the background.  It’s the first Velvet Underground song where Lou Reed truly exposed himself.  The fury of White Light/White Heat was a perfect foil for Reed’s tales of sex and drugs. In a song like “Heroin”, the scratching viola made the lyrics more menacing.  Even the “tender” songs on the debut like “I’ll Be Your Mirror” was sung by Nico.

But it’s the moving lyrics which really steal the show. Like “Perfect Day” from Transformer, its prettiness underscores Reed’s true intent. For most of the song, it seems to be a very tender love song, but at the end is revealed to be a plea to a married woman.  Reed being Reed, he doesn’t gloss over that either.

On “Pale Blue Eyes” for a brief moment, Lou Reed steps away from his coolness and seems to be human. It’s not something he would do very often, but when he did, he could still do it better than most.

R.E.M. performing “Pale Blue Eyes” live: