Radio Rant: Katy Perry – Part of Me

Posted on March 1, 2012 by bgibs122

Hello, and welcome to Radio Rants! You know, it’s been a nice week at the Ranting About Music office. The past couple of Radio Rants have had new some new faces, and I’ve been able to talk about not just one, but two great new bands. Keeping it fresh has never been so ea–

Fucking SERIOUSLY!? No, you know what? I won’t do it. I’ve reviewed so much Katy Perry that I’m past the point of complaining about complaining about her. I’m not going to touch “Part of Me” unless it’s the number one song on the Hot 100, the song perched up top above al–

I guess I can’t be too shocked at this. Katy Perry’s not the one that got away, no, she’s the one that won’t go away. At this point, what annoys me about her more than anything else is that I don’t especially love or, unbelievable as it sounds, hate her. On a song-to-song basis I enjoy her at best and dislike her at worst, but I’ve never had a sustained reaction to her as an artist.

Well, let’s get the obvious out of the way first: Dr. Luke and Max Martin produced this thing, didn’t they? That damn chorus “whoosh” effect, the processed rock band instrumentation, additional synths in the chorus and second verse, and the “Every beat is a kick in the head” drum beat wouldn’t be used by anyone but those two. More than anything else, “Part of Me” sounds like a rougher version of “Teenage Dream”, although that could just be because “Teenage Dream”, “California Gurls”, “The One That Got Away“, and now “Part of Me” have very similar productions. Here, the music is working overtime to pump you up to the point of oppression, which is especially weird when you examine the lyrics.

In fact, let’s see here…we’re dealing with Katy Perry. Katy “Do you ever feel like a plastic bag”, “Think I need a ginger ale/That was such an epic fail” “I wanna see your pea-cock-cock-cock” Perry. There’s gotta be some stupid lyrics in here somewhere.

“You chewed me up and spit me out/Like I was poison in your mouth” Did something about this metaphor not quite make it to anyone else? Normally, I spit poison out at first taste, or don’t put it in my mouth at all (try harder, Pitchfork). But I know that’s a nitpick.

“This is the part of me that you’re never gonna ever take away from me/Throw your stick and stones/Your bombs and your blows/But you’re not gonna break my soul” It seems that Katy Perry has entered the “Break up with me and I will have one hell of a song for it” arena. Such an open market. Anyway, we have some determination, and sticks, stones, bombs, and blows are all throwable things. What the hell? This Katy Perry chorus makes sense.

“So you can keep the diamond ring/It don’t mean nothing anyway/In fact you can keep everything/Except for me” Holy shit that’s a burn! Honestly, aside from minor nitpicks for the sake of nitpicks, I can’t find any fault with the lyrics of “Part of Me”.

I feel like I could complain about Perry’s voice, but it feels like a waste of time at this point. Yes, in studio her voice gets layered and treated enough that her annoying warble only shows at the start of the song, and yes she leans hard on her backing vocalists live, but here, it almost works. “Part of Me” has a distressed tone, so in a way, her voice kind of works here.

Yet, despite all that, I still feel like there’s something about “Part of Me” that gives me the wrong impression. I think that while, absolutely it’s a valid and great expression of post-divorce trauma, it also still feels just enough like a revenge fantasy in that it’s a little too picturesque to be realistic. But, much more than that, my problem with this song is the damn mix. I mentioned earlier that the beat felt like getting kicked in the head, and even on low volume settings, it’s harsh and headache inducing. Add in that all the elements sound like they’re trying to out-loud each other, and you have a song that’s rendered nearly unlistenable. Even against “Born This Way”.

Which is a shame because, at the end of the day, I don’t hate this. It’s far from perfect, but well-written and Perry sounds pretty good. Too bad that Dr. Luke’s production is more intent on selling records with catchy hooks than letting the song speak for itself. Where’s the Tylenol?

Posted in Radio Rants | Tagged , , , , | Leave a comment

New Music: The Jim Ivins Band – Everything We Wanted

Posted on March 1, 2012 by bgibs122

There are very few actual pop rock bands out there anymore.

The only two sustained groups I can think of off  the top of my head in the modern pop rock scene are Maroon 5, who get blander and stiffer with each release, and toothless soccer-mom bait, Train. It makes you forget that this is a genre that’s really lame, when it could be really fun.

That’s the job of The Jim Ivins Band. Based out of Richmond, Virginia, the quartet have the  stones to do what few independent groups do: write truly poppy pop rock. It’s not like Belle & Sebastian, where pop hooks are wrapped up in twee quirk and humor, or fellow New Music features The Perms, who souped their hooks up in distortion and loud instrumentals. No, The Jim Ivins Band plays pop rock straight in a way not seen since The Goo Goo Dolls or Third Eye Blind.

Everything We Wanted is short and sweet at seven songs and some twenty five minutes long. Lead single “The Sight of Fire”, with poppy drum beats, active basslines, acoustic strumming, and electric guitar embellishments, works as a great mission statement. The chorus is big and immediately sing-alongable, and it’s hard not to get caught up (especially on the dynamic bridge). It helps here and all over that lead singer, the eponymous Jim Ivins, has a “heart-on-the-sleeve” kind of voice that sounds earnest without being overwrought or put on, as well as charisma to boot.

The band themselves do a great job, creating songs that consist of similar aspects, but each song is distinct at the same time. “Lost My Mind” grooves more than anything else while “Emergency” feels born from a live breakdown of “It’s Getting Better”. Another boon for Everything We Wanted is that on record, these songs sound like they would be promising to see live. They’re propulsive and catchy enough that it’s hard to stay still while listening to them; instruments drop in and out, but it’s never chaotic.

For what it’s worth, I think that Everything We Wanted peaks in the middle with  “Rollercoaster” and “It’s Getting Better”. The former is a silly love song, but damn well knows and enjoys it for that, and builds layer by layer from a single acoustic guitar to a pretty, hands up chorus. “It’s Getting Better”, meanwhile, is probably the liveliest song on the EP; the drums and electric guitar hit harder than elsewhere, the melody feels completely natural, and the song segues right into “Emergency” in the most satisfying way (and, besides sharing a song title, “Emergency” has the muscle and oomph of Paramore in their prime, giving Everything We Wanted some needed grit).

Lyrically, the EP goes for the heart. Even when songs touch on tougher issues, there’s an unending sense of optimism, as embodied by “Everything We Wanted”. “Run” and “It’s Getting Better” celebrate romances new and old, and “Rollercoaster” is a love song about not wanting to be a love song, but screw it, sometimes you just can’t help yourself. Everything We Wanted also has a very personal bend; no matter what topic, it’s loaded with “you”s and “I”s to bring it home.

Everything We Wanted came out on Tuesday, and I think it’s really worth looking into. It’s refreshing to see something this poppy get taken seriously. If I had a complaint, it’d be that “Run” manages to unfortunately be the longest and weakest song on the EP, as well as the first. Maybe it’s just because the EP starts on the wrong foot, but it also took a few listens for most of these songs to really click. But, if you give it a fair shot, Everything We Wanted is the solid pop rock you didn’t know you missed.

For more, like The Jim Ivins Band on Facebook (help them break 500!), or follow Jim on Twitter!

Posted in Album Reviews, New Music | Tagged , , , , , , | Leave a comment

New Music: Moonlight Bride – Twin Lakes (EP)

Posted on February 26, 2012 by bgibs122

Even with indie breaking down subgenre barriers more and more in the past few years, noise pop has remained fairly consistent for better and worse. On one hand, it’s made for a number of great bands, but at the same time, it’s easy for bands to sound stale right away by replicating what’s already been done: write a pop song, don’t learn what production is, cover the whole thing in fuzz, and you’re done. And I say all of this as a noise pop fan.

Which makes Moonlight Bride, and Twin Lakes especially, a breath of fresh air. Twin Lakes is the follow-up to the band’s buzz-generating debut Myths in 2009. As far as noise pop goes, Myths was fairly typical, but exceptional at the same time; the songs ran a little longer than most, and the band had some Deerhunter-style experimentation. The core sound of Moonlight Bride is present on Twin Lakes, but in sharper, more excited focus. The EP counts somewhat as a warm-up for a tentative album later this year with a refocused line-up, and if Twin Lakes is anything to go by, that album will live up to–if not surpass–Myths.

Right off the bat with “Diego”, Twin Lakes tears out of the gate with a muscular sound. The production and mix are surprisingly sharp; everyone comes through crystal clear, something you want with a band like this where everyone’s doing something interesting that adds to the song. Moonlight Bride might be classified as noise-pop, but they approach the subgenre through a 90’s alternative rock lens. Listening to “Lemonade” and “Versinthe” together makes for a Sonic Youth style song/noise jam combo, and the band’s distorted guitar tones are more My Bloody Valentine than Vivian Girls.

The general advantage that EPs have over full albums is that, with planning, not a second goes to waste, and that’s the case with Twin Lakes. The pacing is fantastic: “Diego” and “Lemonade” make for an accessible, delightful opening before the ambient interlude “Versinthe”, then “Drug Crimes” and “And The Death Ship Had a New Captain” fill out the experimental ending section. Each song is well crafted to boot: “And The Death Ship…” in particular could drag at over six minutes, but keeps the tension and dynamics going, so the run time breezes by. Going back to the 90’s alt inspiration, Moonlight Bride have the knack for loud-soft dynamics not seen since early The Smashing Pumpkins records, and Sonic Youth’s fearlessness to let a song take a turn if it wants to (“Drug Crimes” shows this excellently).

But underneath layers of “inspired by” and “sounds like”, Moonlight Bride is still very much their own band. Even in noisier moments, the band never loses their sense of melody or texture; there’s a lot of care in these songs. “Lemonade”, a not-quite-three-minute, mostly clean guitar, sing-song melody, indie pop song could disappear into years of downtempo indie pop, but is instead a great first single with staying power. “Diego” balances dynamics, pop, and noise in a delightful opening track, and “Drug Crimes” is tuneful instead of turgid.

The EP isn’t out until Tuesday February 28th, so I highly recommend getting it then. Twin Lakes is noise-pop done right; the musicianship is tight, the songcraft is strong, and the hooks are there. It’s an EP, so if it sounds slightly too narrow, I say let it, and spread out more on the album. If a band’s been featured on New Music, then I think they’ve made a quality product, but Moonlight Bride’s honestly made me a fan. Keep an eye on these guys, 2012’s going to be a big year for them.

Like Moonlight Bride on Facebook!
Visit their website here!

Posted in Album Reviews, New Music | Tagged , , , , , , , | Leave a comment

Radio Rant: Madonna ft. Nicki Minaj and M.I.A. – Give Me All Your Luvin’

Posted on February 21, 2012 by bgibs122

Hello, and welcome to Radio Rants!

Sometimes I ask myself, “How did I get here?” And I don’t mean that in a deep, philosophical way, I mean that how did these particular circumstances and actions result in my current situation. I’ve asked myself this plenty of times before: that time I enjoyed a Selena Gomez album more than a Bon Iver one, the time I had to tell my mom “Yes, I’m leaving on my birthday for a six-day theater festival two states away that my school is paying for”, and the time a night ended with me and three of my best friends half asleep on a  couch while two women did interpretive ballet dances to “Lotus Flower” (yes, this happened). And today.

I’m reviewing a Madonna song.

I know I’m supposed to say something about the artist of the day, but…Madonna, people. She’s not called the Queen of Pop without reason; other pop stars might have done the genre-roulette distilled through pop with a lot of sex thing before, but Madonna’s outlasted and out cultured most of them. From mall-crazed teenybopper starts to more a more sophisticated image, she’s managed to still somewhat be in the game today, although more as a cultural fixture than relevant pop star. But, if you’ve been around this long, you have to know how to play the game, so what’s this new one sound like?

“L! U! V! Madonna! Y! O! U! You wanna?!”

No I do not, can I get this review switched out for something else? “Niggas in Paris” maybe? And I thought this cheerleader bit was just added for the video, but nope, this is in the actual song itself. Oh, this is going to hurt.

I swear I’ve heard this music before. Not just the “Hey Mickey” beat that’s been used all over, but the music itself. The corny pop synths, synth-as-bass, plastic drums…I was surprised that this wasn’t a sample. It’s also incredibly limp, but fast-paced at the same time, which is kind of a weird mix. The more I think about it, “mix” might be the operative word there; something about the way “Give Me All Your Luvin’ (that spelling, really?) is mixed sounds too claustrophobic to be fun. Something about how ineffectual the song sounds makes me think of it as pop-lite, complete with dubstep-x-tra-lite breakdown bridge.

And in that breakdown, we get Nicki Minaj and M.I.A! Kinda. They share a featured section. Ok, there’s maybe 26 of them combined. Nicki, in hyperactive Roman Zolanski mode, bangs out a typically giddy 1/4 of a verse that’s fun but unsurprising. And while neither of them really got much time, I really wish there was more M.I.A. here, because her appearance is probably the coolest 12 seconds of the song. The official reason both of them are here is because Madonna wanted some “free-spirited, independent women” on the track, but really, I think it’s just to give the song some 2012-ness. If she really wanted to let Nicki and M.I.A. show their creativity, then they should have been given more than a piecemeal part of the song.

I think I was so desperate for Nicki or M.I.A. to stick around because Madge herself is boring on “Give Me All Your Luvin'”. I tried to pick at the verses for some interesting lyrics, but aside from some hardcore meter abuse (“And pretend to be what you’re not” has to get twisted around just to fit), there’s nothing of note here. It’s Madonna telling some new fling that she doesn’t care what his name is, as long as he doesn’t bullshit her. Hm.

“Don’t play the stupid game/Because I’m a different kind of girl/Every record sounds the same/You better step into my world”. Oh, Madonna, this is not the song for those lyrics. You can’t play the “Everything sounds the same” record on the least engaging, dullest, most half-assed pop song I’ve heard in a while.

“Give Me All Your Luvin'” commits two major crimes: It’s boring and shameless. Avril Lavine’s “Girlfriend” uses the same “Hey Mickey” beat, and is the most shameless “I want a Hit” hit that I’ve heard in years, but at least the artist cared. On the flipside, Jessie J’s “Domino” is literally so boring I can’t review it, but at least it has fun. GMAYL is the dollar store bubble gum of pop music: lazily sugary, and devoid of enjoyment.

Posted in Radio Rants | Tagged , , , , , , , | Leave a comment