My iPod #260: Billy Talent – Definition of Destiny

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You know what I just figured out? Literally a few minutes before typing this, every last song on Billy Talent’s albums from “Voices of Violence” to “Dead Silence” went through my mind. Despite differences in tempo, structure and everything – all of them are in D major… I wonder why that is. Do you think that they even realised this? Has anyone else pointed this out before? What the hell, Billy Talent, what the hell. They are all solid tracks, I have all of them on my iPod, but they have to use another key sooner or later, right?

On with today’s song.

“Definition of Destiny” is the final track on Billy Talent’s third album “Billy Talent III”, the last of their usual Roman numerical naming order, released in 2009. Normally the last songs on Billy Talent albums are worth the wait, and the same applied to “Definition” too. It is quite similar to “Burn the Evidence” in that the instrumentation during the verses mirrors the reflective and observational lyrics, staying at a steady beat and keeping a cool rhythm with guitar arpeggios, before turning the levels up and continuing into a stomping and chord heavy chorus which puts emphasis on the intense message of living life to the full your own way before ending up in the casket. Good way to end an album all in all.

I won’t say too much about listening to the album for the first time or how I felt waiting for its release; I’ll probably save that for “Devil on My Shoulder”. However, I will simply state my opinion which is that ‘III’ is not their best work. Some may agree, others may not. The album is okay, but not as good as their first two. The production is different (which is understandable as they used the same producer for the two before) but the tracks lack in something as a result. Less of a bite in guitar tone, perhaps. But most importantly…. there is barely any screaming. That was a disappointment on first listen.

My iPod #259: The Futureheads – Decent Days and Nights

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When I was standing on a chair in the living room and being an idiot like every other child, the original video for “Decent Days and Nights”, the song from The Futureheads’ debut album came on MTV2. In the video, the band were in a huge warehouse, standing on podiums whilst playing their instruments. That video seems to have disappeared, as it’s not even on YouTube. Does anyone else remember the version I am talking about? It is cool if you do.

No, the video above is one they produced when they re-released the single in 2005. That was the radio mix, which included a new introduction and overall cleaner production. The version I listen to is the original album version, which is the opposite. The guitars sound a bit rough and messier, I swear I always hear this hissing sound during the ‘chorus’ but apart from that the punchy drums, those sweet harmonic vocals the band are known for and the song structure is the same.

I also didn’t recognise until recently why I thought this song was a bit disorienting. The time signature changes throughout the bloody thing. It is 4/4 for the majority, but it switches to 3/4 and 2/4 too. It’s very strange, but does it makes the track a lot more fluid. The verse just rolls right into the ‘chorus’ (which it doesn’t really have hence the apostrophes) which then segues into the bridge and so on and so forth. Not one section drags on for too long and so it maintains your attention.

Another one to remember from the good times that were the mid-2000s.

Update (18/11/2014): Here’s the original video. How good is that!

My iPod #258: Pixies – Debaser

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“Debaser” is the crazy, loud and energetic opener to Pixies’ 1989 album “Doolittle”. Lead singer Black Francis wrote it after seeing a movie where the first scene shows an eyeball being slit by a razor.

I wish I had more to say about this song. But it’s just one of those that hasn’t had that much impact on my life than it probably has for many other people. I simply like it.

It’s not the first one of the band’s I listened to, that goes to “Velouria” or “Here Comes Your Man”….. maybe even “Build High” – my memory’s fading. But I do think I saw the official video (above) on TV and thought “What the hell, is this even a song?” or something along those lines. Francis’ yelling definitely threw me off the first time as it may do for any listener who hasn’t heard “Debaser” before. But listening to it along with the other fourteen tracks that accompany it on the album, it all made sense.

My iPod #257: Coldplay – Death and All His Friends

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Ah, Coldplay. Not my favourite group. But nevertheless they are back with a new album, their sixth to be exact, in May entitled “Ghost Stories”. They’ve put out two songs already: “Midnight“, which got some polarizing feedback due to its minimalism  – and the first official single “Magic” which is quite similar to “Midnight in the way that there are barely any instruments in it, but actually has a beat and a good melody. It is the one which I like a bit myself and it is better than the former song. But that’s just my opinion.

Today’s song is the other title track from Coldplay’s fourth album “Viva la Vida or Death and All His Friends“, commonly known as “Viva la Vida”. Most people know it for the album where Coldplay changed. They went around wearing suits a la The Beatles during the Sgt. Pepper phase and generally went for a new approach in making their music. Some may have found it pretentious. I think it’s their best album. I have “Parachutes“, “A Rush” & “X&Y“; they have their moments, but “Viva” along with “Prospekt’s March” – that is good listening. No to “Mylo Xyloto” though.

The beginning of “Death and All His Friends” is actually a song that was meant to be separate altogether. This was its original incarnation. It’s very calm and soothing for the first half before bursting into life when the rest of the band join in and abruptly changing into the soaring and climactic ending (in 7/4 time signature) which will catch any first listener by surprise. The song is a triumphant ending to a wonderful album. There is a full version of the instrumental that you hear at the beginning of the very first track of the album, but I cut that out before putting it on my iPod. You can’t beat that ending.

My iPod #256: The Beatles – Dear Prudence

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“Dear Prudence” is the second track on the first disc of The Beatles’ self titled album from 1968. It was one of many to be written by John Lennon when the group visited India earlier in the year for a meditation course, in order to get away from all the added attraction the band brought onto themselves the previous year. Many people joined the band on their visit and would be entertained by the group whenever there weren’t any lectures occurring, but there was one who would retreat back to their room, meditate some more and barely keep in contact with anyone. That person was Prudence Farrow, this was John’s message to her.

That’s just a bit of background info.

I became a huge Beatles fan in late 2009. Around the time the new album remasters and The Beatles: Rock Band came out, coincidentally. I downloaded (almost) every Beatles album as I was awed at just how consistently good their songs were, even as they changed through the years.

If only I was typing this to you from the computer back home, I could tell you when I actually first downloaded “The Beatles” and therefore listened to “Dear Prudence” for the first time. I can’t remember if I had seen its dreamscape from the game before listening to the whole album, or vice-versa……. It’s nothing to dwell upon, really.

I don’t think I’ve typed anything that would have convinced you to listen to the song. I’m not able to tell you just how good this song is with the less-than-satisfactory vocabulary I have.

It is one of Lennon’s best – a beautiful and timeless track.