Category Archives: Music

#1104: The Strokes – Red Light

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Just the other day I was writing about another song from this album. Ah, well. These sorts of things are expected to happen on this blog. I pretty much explained my thoughts on The Strokes’ First Impressions of Earth in the ‘Razorblade’ post, so it leaves me with little to go with when it comes to writing this first paragraph. From what I know as a faraway Strokes fan, I believe the making of this album and the touring schedule for it was a time of growing tension between the band members – the outcome being that First Impressions would be the band’s “most recent” effort for a few years as they embarked on a hiatus. All of the members went on their solo tips. And those years really had us wondering. Would the Strokes ever get back together? Well, we all know they did when Angles came around in 2011. They almost had us, though.

‘Red Light’ is the last song on First Impressions…, bringing the band’s longest album to a close with a track about, I think, falling in love (true love, at that) and all the feelings that come along with it. Obviously when you hear the phrase ‘red light’, you can either think of the traffic signal or the red-light district. I’m sure that its usage was very much tongue-in-cheek in part by Casablancas. But I’m also sure that generally the track is very sincere in its tone. Casablancas had recently got married in the beginning of 2005, and lines like “Two could be complete without the rest of the world” and the sorta cheesy “All the girls could never make me love them the way I love you” could only reflect what he could have been feeling at the time. As well as that, ‘Red Light’ seems to also be a bit of a commentary on how life is sort of boring because everything that’s had to be invented now exists and the world seems to revolve in an eternal state of indifference. His own tired attitude to being the frontman of a rock band who’s constantly gaped at seems to take its toll too. Some contrasting frames of mind going on in this tune for sure.

All this being said, I do find myself singing along to the guitar lines during the verses, or that climbing/descending bassline that occurs at points throughout the track, rather than the words themselves. They’re all written by Casablancas. How he thinks all of these things up, I don’t know. But those melodies in those are just as infectious as that of the lead vocal line. Always like a track with a good finger-clicking, swinging tempo too. The first time I ever heard ‘Red Light’ was back in 2005 when MTV2 was showing a performance of The Strokes live in the channel’s studios, an exclusive in the lead up to the release of First Impressions…. They played ‘Red Light’, and the kid who was 1 years old (this is me) thought there was something cool about the song at the time. It’s never lost its touch. But that’s just how The Strokes roll, isn’t it? Always liked how it all ends on a dull thud rather than this big finish too. So understated but somehow also very emphatic.

#1103: Animal Collective – Recycling

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It was 19th February 2016, and it was finally here. Animal Collective’s new album Painting With. I’ve gotta tell you, I was very exciting for that record’s arrival. Having caught up on the majority of the group’s discography through 2013/14, Painting With was the first record of theirs that I was waiting for as a proper fan of their music. ‘FloriDada’ was revealed as its first single in November of the previous year, around the same time that Ween announced they were getting back together (that’s a whole other topic.) I joined the AnCo subreddit to witness the hype and clamouring among fans. Before I could blink, February arrived. I was working at a music magazine, so I could get away with having Spotify open all the time on the desktop. At some point, I went on there, pressed play, let the whole album play out, an by the end… I thought it was okay.

Painting With didn’t leave too much of a big impression, I’m sorry to say. Not to say I was disappointed in it, though. The majority of the songs just didn’t latch onto me that securely. Well, except for two big exceptions. Those being ‘Bagels in Kiev’ and ‘Recycling’, today’s topic of conversation, the track that closes the album out altogether. That track takes a while to get going. A lot of synthesizer work goes on until a stomping rhythm sets in and Panda Bear and Avey Tare trade vocals in the polarizing hocketing technique that is present throughout the album. The hocketing was something I recall fans having hot debates about in those first few days after the release. A lot just weren’t feeling it from the getgo. On some tracks, it does feel a bit egregious. ‘Summing the Wretch’, in my opinion, the worst offender. On ‘Recycling’, the hocketing makes Panda Bear and Avey Tare’s respective vocals somewhat interchangeable. Though the former is the lead vocalist here, you can easily sing the latter’s vocal part and notice that it, in its own way, could also act as the main melody too. Props to hocketing in this instance.

So, what’s ‘Recycling’ about? In Panda Bear’s words, it’s about “being a creative person and about making things that are shared with others.” And I can see it. It addresses the different questions that bands/artists ask others/themselves and decisions they make when creating their work. Fancy instruments aren’t needed to make something original. Sometimes it’s best to address your problems with your peers rather than bottle them inside and feel resentment. Smoke some weed, it’ll help you relax. Soak up the unpredictability and embrace it instead of resisting and pushing it away. All some little nuggets of wisdom to pass on, which bring a sense of closure to the album that’s unravelled before your ears. The song’s instrumental rides out for the last 50 seconds, a lot of rhythmic interplay goes on between various keyboard melodies, and it ends with an almost spooky blooping synth that echoes into silence. Sure, Painting With isn’t my favourite Animal Collective project. But I appreciate it for providing ‘Recycling’, it was an instant favourite of mine from that first listen. This thing’s almost 10 years old, lord save us all.

#1102: The Automatic – Recover

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I did say this song would get its own post a few weeks ago. And here it is. This is ‘Recover’ by The Automatic, the first song I ever heard by the band. I woke up in the morning, switched the TV on and headed straight to MTV2 to see what was going on. This song was what was going on. It was the exact video above that was being shown. I might have even watched it right from the beginning to its end. When it comes to these things, the video’s usually halfway through or nearing its end. I can’t really remember vividly, this would have happened in 2005 or something. I’m quite sure that’s how I came about it, though. It left a good impression on me. It made me think, “Hmm. I’ll look out for this ‘The Automatic’ again.” And then, ‘Raoul’ followed and so on, I explained it all in the post for that track.

‘Recover’ would end up being the fourth track on the band’s debut album Not Accepted Anywhere. In guitarist Rob Hawkins words, the song’s about “being a waster and trying to motivate yourself into doing something better than sit in front of the television.” Hangovers, situations of being shown pictures of a night you can’t remember and speaking a whole load of garbage until you suddenly forget what you were even talking about are alluded to and referenced. This narrator clearly likes their alcohol/drug usage, but suffers from the after effects of the indulgence. They know they should change, but when the next night out’s on the horizon, they’re back to it all over again. The chorus was the section that stuck out to me on that initial watch/listen (as it usually is for every song in existence), with the echoing delivery of “(Get) Get! (Up) Up!” before the vocalists sing “Recover” in unison. It’s a nice little hook. Also really enjoy the bridge where guitarist Hawkins and keyboardist Alex Pennie alternate their lines with the former in the left channel and the latter in the right, before harmonising on the final one and joining together with lead vocalist and bassist James Frost for the final choruses.

So, yeah, that’s ‘Recover’. That’s also the last you’ll be seeing of The Automatic on here, which I guess is a shame. If you enjoy this track quite a bit, it had three music videos made for it. The one above was the second. Its first version (below) was rarely shown anywhere, and the third (also below) was made when the decision was made to re-record and re-release the song after the success of their big, big hit ‘Monster’ in 2006. I never liked that re-recorded version. God bless the quality on those videos too. As for The Automatic, they went on to release two more albums. ‘Steve McQueen’ from 2008’s This Is a Fix was a huge favourite of mine when it initially arrived. Fell out of love with it, eventually. Then by the time 2010’s Tear the Signs Down came around, times were changing and the interest in a lot of those mid-2000s UK indie bands was waning. The band disappeared and never came back. They’re a reminder of those sweet and innocent years of Year 6 and those adolescent times, though. So I’ll thank them for that.

#1101: Dananananaykroyd – Reboot

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Let me take you back to the 17th June 2011. It was the day after my last GCSE exam, and I was finally free. A year of revising subjects to a strict timetable created by my mum was over. It was done. I could forget everything. I was lying in bed watching Freshly Squeezed on Channel 4, early in the morning, it’s a show that ran its course after a while, and to my surprise came the new music video for Dananananaykroyd’s new single ‘Muscle Memory’. This is a story I’ve told already, most recently in the post for that song a couple years ago. I was always vague on the time all this happened though. Why I can be so precise now is thanks to the option of being able to see my timeline on Facebook, where the 16-year-old me made it clear that exam time was finished and the world was his oyster.

Unbeknownst to me, the band’s new album There Is a Way – their second and what turned out to be their final LP – had already been out and available to purchase for four days by that date. According to the ol’ family computer, I downloaded the 21st June. It must have been on that day that I realized that There Is a Way wasn’t something that was months away, but was actually out and existing and available to hear. I got to downloading it. Shame on me for not fully supporting the effort and buying the CD, but I needed to hear it, there’s nothing much else to say. Especially after becoming a fan through their first album Hey Everyone! ‘Reboot’ starts it all off. The band kick into gear, droning on an open A chord for the most part while a guitar pulls off some melodic licks over the top. The main riff of the song doesn’t arrive until just over a minute. The first chord change in the track doesn’t happen until just under 1:30. You’re waiting and waiting in anticipation for some vocals to enter the frame. I know I was all those years back. And they do, eventually, with two and a half minutes of the song remaining.

It’s only just occurred to me that vocalist John Bailie Junior being the first voice you hear on the album may have been a very conscious choice. On the band’s previous album, he also provided vocals, though served more as a backup to fellow vocalist Calum Gunn due to the fact that he was also the band’s second drummer. Two separate drum kits can be heard on both channels throughout Hey Everyone!. But during a gig, he fell offstage and broke his arm in two places which put his drumming duties on hold. Bailie Junior is very much at the forefront alongside Gunn throughout There Is a Way. And it all begins on ‘Reboot’. The track itself is just a statement that the band were back in something of a new form – a reboot of their old selves you could say – with two proper vocalists, one drummer only and a new bass guitarist, and ready to unleash some havoc through dripping gloss, candyfloss and planting seeds that spread disease. I remember being so happy experiencing this new song on this new album, and when that final chord hit with the band cheering and whooping with the cymbals sizzling away… gotta say I got some goosebumps. Felt so good to be playing this record. Shame they had to go ahead and split up some months later though. Interestingly, the main riff of ‘Reboot’ was around as early as 2010, as in this tutorial by one of the band’s guitarist, they start busting it out spontaneously around 39 seconds in.

#1100: Eminem – The Real Slim Shady

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If you were to start going through this series from the very first post and up to here, you’d think that the only hip-hop artists I listen to on the regular are Eminem and Kanye West. Not that there’s anything wrong with this. They’re both two of the best to ever do it in the genre. But, you know… I’d like to think I have a varied taste now. I wasn’t able to write the posts in time, is all. I started this blog when I was 17, and at that age, in my eyes, Eminem and Kanye were the best ever and no one could beat them. Times have passed, and their flaws – musically speaking – have become apparent to see as the years roll on. But their classic songs are still classics, including this one right here, which everyone knows and is still one of Eminem’s most popular tracks almost 25 years after its release.

‘The Real Slim Shady’ was the first single to be released from Eminem’s second major-label album, The Marshall Mathers LP. It had only been just over a year since the rapper blessed everyone’s screens with ‘My Name Is’, introducing the world to Slim Shady and the persona’s wild, wild antics. Now Em was back, laughing at the chaos left in his wake and making his mark again as a labelled misogynist and advocate of domestic violence (taken from Wikipedia, I’m sorry), being the White man succeeding in a Black man’s game and ultimately poking fun at the imitators who had made themselves present in the aftermath of his success. It’s a mixture of silliness and seriousness as Eminem criticises vapid boy/girl pop groups, journalists and critics and the general public. He also cusses out Will Smith in one of the funniest diss lines to be put to paper.

I was five when all of this was happening, so I didn’t really grasp Eminem’s magnitude at the time. To me, he would just pop up with his new singles every time a new album was coming around. I wanna say I do remember watching that VMA performance of the song where he got hundreds of lookalikes to stand menacingly as he rapped through the track. ‘The Real Slim Shady’ doesn’t have that much a personal connection with me, but it’s always just been there existing almost as long as I’ve been around, and it’s damn good. Does it sound a bit dated? Sure. I mean, those cultural references in the lyrics aren’t anything but stuck in the late ’90s/2000 dead-on. But once Eminem gets to rapping, I never get that feeling to skip it.