Music Monday :: my thoughts on Love Stuff

16 Feb

Mentions of the Yeah Yeah Yeahs and Jillette Johnson in the blurbs I’ve seen about this album are promising and I am intrigued by some of these song titles.

“Where The Devil Don’t Go.”  Mm, yep.  Slightly raspy-voiced alternative girl soul-rock with lots of nice classic touches like “got no good” and “preacher man” and “judgment day.”  It definitely has its place and I kinda groove on that place sometimes, so I’m pretty good with this.

“Ex’s & Oh’s.”  “I had me a boy, turned him into a man, showed him all the things that he didn’t understand, then I let him go.”  With some nice heavy kicking-your-yes-your-ass guitar for good measure.  Yeah, I’m perfectly comfortable with this.  This is the punchier sort of modern-Gothic Americana.  This is a Sons of Anarchy soundtrack if Sons of Anarchy was Daughters of Anarchy instead.

“Under the Influence.”  There’s also a certain note of girls-at-a-bar-in-a-Tarantino-film to it, possibly.  It doesn’t feel entirely modern, even though it doesn’t feel entirely vintage either.  There are notes of both.  It’s verses with twang and a chorus with notes of, like, Adele or something.

“Last Damn Night.” And country rock, but hard rock, plus a voice that’s nothing dainty at all.  I’m really grooving on this ambiance, I must say.  “And when the clock strikes twelve, we’re all gonna go to hell.”  If not a Tarantino film this would definitely have fit in the movie I wrote in high school that I’ve discussed here before, the one that was part-Tarantino part-Amelie part-True Blood even though I hadn’t read the books and the show hadn’t even been made yet.  This is the sort of thing that would belong there.

“Kocaine Karolina.”  Oh, cute twangy banjo that sounds like it’s possibly harboring something sinister.  Or maybe it’s just not quite as happy a song as it sounds from the instrument, and that’s fine by me.

“Song of Sorrow.”  And more banjo!  Gosh, that’s just a trend lately, the songs that tonally contradict their titles.  I’m fine with it, I mean, it’s just worth noticing.  I saw a review comparing her to Janis Joplin, and I’d venture a suggestion that she’s almost like a sandpapery Joanna Newsom on some of her vowels.  There’s a tiny bit of First Aid Kit at times, too.  A bit.

“America’s Sweetheart.”  Okay, this one is just pretty much straight-up country, between the riffs and the subject matter.  Except it’s country with a still-alt sort of edge, because it’s harder than a lot of country is.  I’m all right with it, though it’s not really my genre or anything.

“I Told You I Was Mean.”  Oh whoops twangs.  Ladies’ night at a Southern Gothic bar, the mix album.  That’s what this is meant to be a part of.  Amy Winehouse.  There’s also some of her in here.

“Ain’t Gonna Drown.”  Also a bit of the Southern Gothic — honestly, what is it with that aesthetic and drowning and water?  I don’t know, but I like it — and “miracles are too damn hard to find.”  Oh and a touch of a callout to “Wade in the Water,” too.

“Jackson.”  Good old ubiquitous Jackson.  I’ve not been, but it’s one of those places that pops up in songs fairly often.  And it’s a pretty ubiquitous song.  I’m fine with that.  It’s a rather ubiquitous album, but it’s solid and good.

“Make You Smile.”  Aw, and suddenly it’s twangier and cute again, a bit more country and I’d like someone to mash this up with Delta Rae’s “Morning Comes” I think, that makes sense to me.  (Less than two months to their new album I am exploding with joy anyway.)

“See You Again.”  More slow finish.  “You were standing there, fire in your eyes.”  It’s slow and it’s sweet and it’s wistful as hell.

–your fangirl heroine.

sweet revenge


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