Saturday, July 24, 2010

N is for Gnarly but Nice

N-No Time Soon. Some people were destined to sing. I certainly can’t see Cee-Lo Green doing anything but crooning his heart out. I enjoy all Gnarls Barkley pieces, but this one in particular struck me because I desperately needed an “n” song. At the beginning of the piece, the acoustic guitar is particularly effective. The song then cascades into a marvelous dissonance between Green and the back-up singers. No space in the song is wasted, and every note and sound effect has a particular piece to contribute to the entire aural experience. Listening to this song, I can’t help but reflect on my husband’s upcoming training and deployment. I must continually reassure myself that though he will be far away, my greatest fears for him will happen no time soon.

And I carry this, it’s heavy. And I miss you already…


Gnarls Barkley, “No Time Soon,” The Odd Couple, 2008

Friday, July 16, 2010

M is for Monotone Melodrama

M-Mr. Brightside. I don’t know why I like this song so much, but I suspect the dirty drums have something to do with it. The Killers are here to tell a story, and they are very successful at achieving that end. The mostly mono-dynamic melody maps out a narrative regarding the trials of unrequited love. In contrast to ample action by the instrumentation, the melody is comprised of surprisingly few notes. Though the subject matter might be viewed as depressing, the manner in which it’s delivered creates quite the snappy song. My only complaint is that the monotone melody makes it difficult to sing along with...

I just can't look, it's killing me...and taking control.

The Killers, “Mr. Brightside,” Hot Fuss, 2004

Thursday, July 1, 2010

L is for Laden Lullabye

L-Like a Stone. This song is one of the very good things to come out of the too-brief union known as the supergroup Audioslave. When first hearing the song, I didn’t pay much attention to the lyrics, and I assumed it was some kind of love song (along the lines of “Solid as a Rock” for lack of a better example). But when one really listens to this tune, it becomes clear that it’s a pretty little ditty ‘bout a thing called death. The beauty of the song is enhanced by Chris Cornell’s unique voice. But it is the expertly executed guitar solo by the extraordinary Tom Morello that truly throws the whole piece over the top. The day this song lost the Grammy to Evanescence was the day I stopped watching the Grammys.

The sky was bruised, the wine was bled, and there you led me on.

Audioslave, “Like a Stone,” Audioslave, 2002