web analytics

Pop Rock Nation

Tag: Titus Andronicus

  • PAUL’S TOP 100 OF 2010 – PART 7: #40-31 “Put your palms to the ceiling like yes, yes…”

    Here comes the Top 40!

    #40
    #40: “THE HIGH ROAD” by BROKEN BELLS.
    “The dawn to end all nights. That’s all we hoped it was…” For whatever reason, that line always gives me a shiver. I’m not even sure I know what it means, but it sounds amazing, doesn’t it? The video’s pretty amazing too… a sort of dream-walking odyssey perfectly tuned to the song’s dark, mysterious atmosphere.

    #39
    #39: “WRITTEN IN REVERSE” by SPOON.
    I’ve had a love/indifference thing going with Spoon for about the last 10 years. It’s been about 90% indifference and 10% love. But when it’s love, it’s really really big love. For example: this song. I love singing along with this song. I love the primal disregard of pitch. I love yelling at drivers in my rear view mirror at clogged intersections: “I’m not standing here! No, I’m! Not standing here!”

    #38
    #38 (TIE): “PARACHUTE” by CHERYL COLE / “PARACHUTE” by INGRID MICHAELSON.
    Formerly of the British girl-group Girls Aloud, Cheryl Cole released her debut solo album late last year. This dramatic take on a track Ingrid Michaelson wrote (but didn’t record) became a hit in the UK earlier this year.

    #38
    And then Ingrid put out her own version of the song. Sorta like Michael Bolton did with that Laura Branigan song in the 80s. Only not disgusting. “How am I supposed to live without you…” Oh my gawd. We should have known Michael Bolton would be nothing but trouble when we saw his writing credit on that Laura Branigan 45. What were we thinking?

    #37
    #37. “WHITE NIGHT” by THE POSTELLES.
    Not that I wish the band ill, but this is one of those debut singles that comes so close to pop perfection that you (almost) know they will only disappoint you in the future. I (almost) want them to be a one-hit-wonder, because I know they’d be awesome at that. This song also features my favorite call-and-response moment of the year. Oh, and I think you can probably still download this for free directly from the Postelles.

    #36
    #36: “I’M A PILOT” by FANFARLO.
    I imagine Fanfarlo is what Arcade Fire would sound like if Arcade Fire were as obsessed with Tigermilk as they are with The River. They write songs that sound simultaneously huge and modest – sweeping and, at the same time, specific. Also, even though albums are sort of on the wane these days and so such things are becoming less relevant, “I’m a Pilot” is a great album opener in the tradition of great album openers.

    #35
    #35: “O.N.E.” by YEASAYER.
    What I like most about this video is that the dancing is exactly what I would like to believe I look like when I’m dancing to this in my basement and nobody can see. What I like second most is that the fictional musical instruments the band plays in the video look exactly like what I imagine the real musical instruments would look like based on the sounds they make. What I like least about this song is that it will be forever linked in my brain as the song I was listening to when someone rear-ended my brand new car two weeks after I’d bought it. Urgh.

    #34
    #34: “A MORE PERFECT UNION” by TITUS ANDRONICUS.
    I would like to believe that this is the stuff of Chris Christie’s nightmares. A little bit of Bruce Springsteen. A little Billy Bragg. A little Bright Eyes, a little Replacements, a little Thin Lizzy. A little Abraham Lincoln, a little William Lloyd Garrison. And a great big joyful noise. This video edits the song down significantly from its 7 minute album version. That version is well worth hearing, but you get the gist of it here.

    #33
    #33: “DANCE FLOOR” by THE APPLES IN STEREO.
    Probably the most adorably unpretty band in the world right now (and yes, I do have a small crush on Robert Schneider – I mean, come on, who wouldn’t?), The Apples in stereo take us on a journey through space, time, analog synth technology and aging hipster fashion. Elijah Wood isn’t just making a cameo here. He has his own record label, and The Apples in Stereo were the first band he signed to it.

    #32
    #32: “WE, MYSELF, AND I” by SHAD.
    Of Rwandan descent, born in Kenya, straight outta London, Ontario comes Mr. Shadrach Kabango (just call him Shad), who financed his first album with money he won the old fashioned way – at a radio station talent contest. On his first two albums, Shad delivers rhymes that go from goofy to poignant over old school R&B samples, but this song, from his latest record TSOL is a stormy, confrontational rocker. And the award for the Best Use of the Word “Yes” in Song goes to…

    #31
    #31: “MY BEST THEORY” by JIMMY EAT WORLD.
    This band generally releases new albums about three years apart, and those long intervals give us time to forget why they were ever a big deal. And then the new album comes, with a single like this – all sweat-drenched urgency – and you remember: Oh yeah, they’re just a great band. As far as the video goes, well who knows what’s going on there, and the lyrics are vague enough to be either profound or banal. It doesn’t matter though. Whatever it’s all supposed to be about, that part where you “feel the air rush out!” sounds exactly like what it’s saying.

    In the next installment: A dance diva on motherhood and a rapper on puberty.

  • Awesong Song Alert! Four Year Strong “Tonight We Feel Alive (On a Saturday)”

    The triumphant (or rather triumphalist) return of the tri-cornered hat may go down as the most dubious – certainly the most strident – fashion (err- political?) trend of 2010. But who knew it would trickle down to the unwashed masses of New England’s indie punk scenes so quickly. Already this year, we’ve seen Titus Andronicus go all Revolutionary (while quoting pre-Presidential Abraham Lincoln) with their video for “A More Perfect Union”. Now, from Worcester, Massachusetts, we have the band Four Year Strong paying earnest tribute to the soldiers of the American Revolution in their video for “Tonight We Feel Alive (On a Saturday)”.

    It’s a near-perfect video for both the song and the band in that the beautifully shot battle scenes match the song’s urgency, while the story highlights and is strengthened by the vocal interplay between the group’s three vocalists. It’s one of those rare feats where the video and the song are each better because of the other. It’s also a nice showcase for the band’s bounty of facial hair (including singer Dan O’Connor’s “expressive eyebrows”).

    You get a sense from the video that the band is pretty politically engaged, but at the same time, it’s pretty impossible to discern where there political sympathies lie; and the truth is the video itself isn’t at all political. It’s just a good, simply told story set to a song that, however confrontational in tempo and delivery, is maddeningly vague. My favorite couplet:

    You asked, What would I stand for?
    The truth is: I STAND FOR THIS!

    I have to say, that hits pretty close to home in a state (Wisconsin) that just un-elected one of the country’s most diligent, principled Senators in favor of a self-funded cypher. Check out the video:

    A couple weeks ago, the band, who outed themselves as unabashed 90s nostalgists with their 2009 covers album Explains It All, posted a new, “pop-up” version of the video. Enjoy:

  • Awesome Song Alert! Titus Andronicus “A More Perfect Union”

    This is a song Glenn Beck stole from Sam Adams. Titus Andronicus is stealing it back. It’s a seven minute indie-rock epic, named for a clause from the Preamble to the Constitution. It opens with an excerpt from Abraham Lincoln’s 1838 Lyceum Address. It ends with a quote from prominent 19th Century abolitionist William Lloyd Garrison. Along the way, it (literally) shouts out punk rock transliterations of Bruce Springsteen, Billy Bragg (a folk singer who, unlike most recently polled Americans, can speak with some authority on what is and what is not socialism), and “The Battle Hymn of the Republic”, all while sounding like Bright Eyes singer Conor Oberst trying his damnedest to front a volume-uncompromised Thin Lizzy, circa ’76 (Seventeen-76, that is.). I had no idea what I was watching when I, half-sleeping, caught my first glimpse – the last thirty seconds or so – of the video for this song on TV a couple months ago, but it kept me awake that night, the same way watching Spielberg’s remake of War of the Worlds did.

    “A More Perfect Union” is the lead single from the New Jersey quintet’s sophomore album The Monitor, and it comes on with the sort of triumphal mob rage that Lincoln’s Lyceum Address presciently decried and warned against – the 28-year-old Lincoln believing more than anything that the Union’s demise would come not at the hands of some foreign conqueror (or al-Qaida), but by the pitchforks and nooses of its own rioting hordes (Fox News?) – the same triumphal mob rage that seems to fuel the current Tea Party movement, blindly and nonspecifically angry, fairly puking on its own broad hubris, wrapping itself up in the spirit of the American Revolution, creating itself in the time-and-history-and-politics-distorted image of the Founders. It’s a punk rock opera built out of slogans – “Rally around the flag!” – and proud nationalistic proclamations – “Will I not yell like hell for the glory of the Newark Bears!”. In couplets that Woody Guthrie could sue over, they sing (?) the praises of “brutal Somerville summers” and “cruel New England winters”; of interstate highways, the Garden State Parkway, and the lights over Fenway. You could imagine Sarah Palin as a compulsively literate New Jersey loyalist (I think I just discovered the formula for Sarah Palin anti-matter!); or maybe Springsteen as a fervent, third generation punk rocker on the campaign trail for Van Buren ‘48. Either way, this song is wicked awesome.

    Sadly, the video edits the song down to a more manageable length, but it’s well worth hearing in all its unruly 7 minute glory. Listen here: