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Once again several of us have a listen to several newer songs (which are all available for listen in our music player up above) and then we give our take on them:

Radiohead – “These Are My Twisted Words”

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“These Are My Twisted Words” marries the (sometimes overweening) confidence of recent Radiohead with the macabre and brooding background of Amnesiac-era Radiohead; the result is like a drop of blood in the crystal clear waterfall of In Rainbows. There is an ominous guitar howl near the end of the song that sounds like a wail of pain, followed by the frantic working of an idly chattering mind fed through a guitar amplifier. For all the heavy subject matter, the tune holds up pretty well, although the function of the monotony of the first two minutes (call-and-repeat almost, guitar-wise) of the song doesn’t really become clear until a pretty deep analysis. 3.5/5  ~Andrew Kottwitz

The best thing I like about this band is that it’s impossible to guess what they’ll do next. I was getting used to the flow of this song, thinking it might end up being instrumental only. The spooky, dreary side of Thom Yorke’s vocals are put on the shelf for this song, yet the song still straddles the line between the dark and the light. Again, they continue to amaze.  4.5/5  ~Mackenzie McAninch

If you ever wanted to know what it was like to hallucinate without the side effects and nasty after taste in your mouth than this is a great alternative. Despite being a Radiohead hater I think it can be said that this song does display a lot of skill from each of the band members. Each instrument comes in with the right amount of pace and rhythm and is given the right amount of room to breathe. The only downside is that Yorke’s vocals feel a twinge out of place. I believe the track would have been much more successful and ambient as an instrumental but it is still enjoyable. 3/5 ~Ken Grand-Pierre

I really think this is new ground for the band.  The first two and a half minutes of the song feels like the band going through a dark and uncertain place with the beat and main rhythm trying to find ground while guitar riffs morph and swirl around them.  I know what you’re thinking:  That’s not new ground at all for them, which would make you only partially right.  The dark tone of the song is not new but the band’s playfulness is.  I can’t think of any other song that they have where they’ve been so willing to just sit back and let the song develop.  They’re experimenting again and I can’t wait to see what they cook up next.  4/5 ~Allen Cooley

Pearl Jam – “The Fixer”

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This isn’t the Pearl Jam I remember! But there in lies a good thing. You can’t always expect to hear the same old song and dance when it comes to music. This track is fairly solid and constructive with the instruments but it still finds a way to be more reserved. That is except for the vocals, which singer Eddie Vedder puts his entire soul into the song, which is ironic due to the reserved nature of it. Overall this track shows that Pearl Jam still has it and is ready to take on the world once more. 4/5 ~K.G.P.

“The Fixer” could be a tribute to Barack Obama, our economy having been stolen by the ultra-rich, with the new president framed as a solution to the problems. Pearl Jam warns, however, he may have to “fight to get it back again.” The chorus is moving, and proves that Vedder can still yelp like an animal, and the verses are simple responses to simple problems. “If it’s too low / I want to put a little high on it.” Perhaps there is hope, and our nation hasn’t slid back to the point of no return, if we could only learn to moderate a little, and “learn to love again.”

The problem is that there is nothing rock and roll about moderation. And I think I caught a banjo somewhere in the mix near the end of the song. Music that’s rooted in the blues requires some suffering to be any good, and I think Pearl Jam misses the mark, failing to capture the urgency and freedom of “The Boys Are Back In Town.” Pearl Jam’s new single doesn’t really do it for me, but it might be a new direction for the band. 2.5/5 ~A.K. 

Vedder has always had a great set of pipes and it’s easy to see why in this song. His voice seems to soar over the instruments on the opening verse and Stone Gossard and Mike McCready’s guitars riff out a killer rhythm that really drives the entire song. Pearl Jam has always been a political band, and without trying to derive specific examples, it’s clear that Vedder and company seem to think that we’ve lost something over the years and that it’s time to “fight to get it back again.” And with as much enthusiasm as Vedder exudes in this song, I don’t think that the fight will last very long. 3.5/5 ~A.C.

In 1994 I probably would have imagined that by 2009 Vedder’s voice would not be able to withstand the strains and pains he pushes it to. I would have been wrong. The instruments aren’t fantastic or note-worthy in this song, but what’s interesting is that I hear less of their influences of The Ramones and The Who in this song yet more of a blend of Nirvana and Cold War Kids. The band sounds more upbeat with songs like this and their last self-titled album than they have in years. I feel like the “old” Pearl Jam is back, with a dash of that old vinegar on board too. 3.5/5 ~M.M. 

 

Phoenix- “1901”

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This song is so bright, with synthesizers and guitar that really makes you wish that the summer wasn’t coming to a close. I’m actually mad that this song is getting radio play three months too late because this is a great summer song. The vocals are really awesome and they’re fired off like gunshots. Right before the infectious chanting of “fold it, fold it, fold it,” at the end of each chorus, a synthesizer skyrockets up like an air horn. That’s the sound of your minds being blown. At least it was for me. 4.5/5 ~A.C.

The beginning electro-fuzz sound made me cringe thinking I had accidentally hit play on a Lady Gaga song. Luckily this morphed into a pretty upbeat pop song; probably fun to listen to loudly on a warm, sunny Saturday afternoon while driving around with the sun roof open. I’ll probably be whispering the “hey hey hey hey” line tomorrow at work. 4/5~M.M.

With its clean chords, infatuating vocals, and vastly mature form, it must be asked: Can Phoenix do wrong? With a tune such as this it’s almost impossible for one to say that they could. With a song so well crafted in form yet having the most melancholy of lyrics, it is defiantly a marvel to behold. Thomas Mars’ voice rings in our ears as well as the recesses of our hearts. The crisp guitars along with the lyrics of “oh your girlfriends drifting away” might be enough to warrant Phoenix as your new favorite band. 5/5 ~K.G.P.

If Vampire Weekend were to cover and really try to do faithful renditions of Mew, it might sound something like Phoenix. “It’s twenty seconds to the last call / Going ‘Hey-ey-ey-ey-ey!’…It’s not a miracle we needed / and, no, I wouldn’t let you think so. / Fall in.” There’s something ominous and gross about the militant stridency of this song in its call for lust and confusion. These guys are French, so perhaps they can be forgiven for their pretense and arrogance at the assumption that imbecilic happiness is necessarily the best or only socially responsible choice; but the song is pretty sweet as long as you don’t sink your teeth too deep into it. 4/5 ~A.K.

 

Eels – “That Look You Give That Guy”

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Mark Oliver “E” Everett has the biggest pair of Gonzaga’s on the face of the planet the way he wears his mangled heart on his sleeve in his songs. Either that or he’s a genius fiction writer. Regardless, this song invites us all into the mind of the guy who never seems to get the (or any) girl. The neat, clean and pretty guitar strumming accompany this nicely to make the song a tad playful instead of morose. I can’t think of one thing that should be changed about this song. 5/5 ~M.M.

To say the song writing here hits home is like saying The Who were just alright. This song encompasses the emotion that every man (possibly women as well) have felt before of wanting to be more than they are. The way it’s sung isn’t too loud, leaving the song to have a very contemporary air to it. Still, you do somewhat feel that you want a little bit more from the instruments, but the keyboards dancing off of the guitar strums really make this an ideal track. 4/5 ~K.G.P.

Eels’ front-man “E” has a voice that sounds like he has worked in a coal mine; the harmonies get a little muddy without clear timbre, so they are kept backgrounded for the most part. The guitar work is beautiful, arpeggiated chords that George Harrison would have been proud of. The point I’m trying to get across here is, I guess, is that this song is ripping off the Beatles, but you could do worse than to imitate the Beatles. “That Look You Give That Guy” is really an acoustic solo song with a bit of production to fill it out. 3.5/5 ~A.K.

This is such a beautiful, bittersweet song. The song is about a guy watching the girl he wants to be with, walking with another guy and wishing he could be that guy. He harbors no hard feelings toward the guy and even wishes he had some of his same attributes but he knows that he could never be like him. It’s a feeling that I think many of us have felt but have never voiced out loud. It’s a very intimate and romantic song. It’s a song for those lonely nights when you know you should be out on the town but you can’t work up the energy or the enthusiasm to get out there. I really love it. 4.5/5 ~A.C.

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