We’re All In This Together is the latest single form Canadian rock-n-rollers The Sam Roberts Band and the lead single from an upcoming album due in the next couple of months.
I must say I like where the Sam Roberts Gang has been going musically. In this single, it is clear that the band has decided to further their musical horizons in the same jazzy vein as their last offering Collider. While the song retains that distinct Sam Roberts rock sound of power chords and organ accentuation, the addition of horns and singalong choruses give the music a bit more of a cathartic feel (something I felt was a little lacking in the groups early material). I especially liked the swung melodies in the pre-chorus that see the bass and guitar intertwining in an infectious hook that dances like a flame in the wind.
While the lyrical content is true to form for this group (ie: vaguely populist political sentiment straight from 1967 and/or a sobering amount of sadness about life’s troubles), it meshes rather nicely with the peppier sound that the boys have put together for this single.
This song, like every other single Sam Roberts and Co. have released, is edging out a respectable amount of airplay on Canadian rock radio, which makes me happy. For those of you outside Canada who have maybe not heard much of Sam Roberts/The Sam Roberts Band, I recommend exploring their back catalogue. Another solid single from a solid rock group.
Firstly, apologies to any readers out there who were missing out on the music. Since I’m only one guy, the whole “blogging every day” thing isn’t always possible. But I’m back; so lets get at it:
Sixpack comes to us as the lead single off of JEFF the Brotherhood’s newest album Hypnotic Nights. Blending an infectious indie-rock melody with heavier, edgier grunge tainted guitars, JEFF the Brotherhood bring some much needed loudness to the indie genre, which in my opinion has been a little to heavy on the synth lately. Call me old fashioned.
With a chord progression that would be right at home in a Weezer song, JEFF the Brotherhood demonstrate that they aren’t afraid to utilize offbeat but effective structures in their songs. These two brothers from Nashville, Tenessee may have four studio albums and a great live records from Jack White’s Third Man Records in Nashville, but they have still been able to maintain a freshness to their sound, as demonstrated in this song.
Repetitive? Yes. Derivative? Absolutely. Unoriginal? Arguable. But it sure is a lot of mindless guitar rock fun.
Come A Little Closer is the teaser single for the Bowling Green, Kentucky based group’s upcoming third album Melophobia. Shifting gears quite a bit from their earlier work, Cage the Elephant has put together a much more elaborate and polished song than one would expect to hear off of either their debut album Cage the Elephant or their sophomore release, Thank you Happy Birthday. The group seems to have matured a bit from their first two albums with this track, layering on soulful, yet icy flourishes that build into a chorus that manages to remain subdued. With much more groove and low end emphasis than expected, Cage the Elephant demonstrate that they aren’t a one-trick indie/punk pony. While this track does retain more distorted guitar and vocal tracks that have become standard for this group, the heavier bassline and added keys give the song a degree of depth that accentuate the lyrical content well (even if the lyrics don’t exactly make sense). A bit of a shift in gears from a group that was getting stale. I for one am interested in seeing if Cage the Elephant have re-invented themselves on this new record, or merely put out the “most different” song as the lead single. Only time can tell.
The River comes to us as a new single from The Darcys in anticipation of their new album Warring, which is due for release in September. This track from the Toronto based group demonstrates their song-writing prowess, mixing an exciting blend of classic alt-rock sounds with spacey guitar and vocals as well as crisp electronic drum beats. The sinister, echoing guitar notes at the beginning of the song signal the masterpiece to come, laying down a foundation upon which the song slowly and dramatically builds like a brilliant plume of smoke out of a nineteenth century locomotive. The vocals are deceptively powerful, swelling and rising with the music in a controlled, mature way that is rarely experienced in a post Led Zeppelin world of rock singers. The River is a great indie tune that mixes just the right amounts of ambience, melodic hooks, and drama. Just one small sample of the burgeoning Toronto indie rock scene that has been steadily growing over the last decade, The Darcys are a great example of the innovation that has been wrought into Canadian music over the years.
You’ll want to keep an eye on this band.
Only For You comes off of Heartless Bastards’ 2012 album Arrow. This track, which demonstrates lead singer Erika Wennerstrom’s unique and captivating voice, is a mellow piece that is somewhere between folk, indie rock, and blues rock. With a subdued, slightly echoing guitar, this track has a more tex-mex feel to it; evoking memories of Stevie Ray Vaughan albeit without the same intensity. The bass and rhythm take the reins in this song, pushing the music along at a steady, desert highway pace. A great, laidback indie rock song for all comers.
Knock Knock comes to us off of Band of Horses 2012 release Mirage Rock. The track is simply a fun rock song with a driving guitar rhythm evocative of indie rock, but with a tone reminiscent of heartland rock of the late 1970s. What really makes this track however are the subtle elements in it. For instance, the harmonization of the vocals in the chorus and the use of cymbal crashing throughout the song give the track a more ethereal dynamic despite its driving rock tempo. Knock Knock is yet another great single from Band of Horses and Mirage Rock is worth looking into if you are a fan of rock music.
Holiday is the single off of Electric Guest’s 2012 debut Mondo. The mixture of acoustic and electric wah-wah guitar gives this song a distinctly psychedelic feel, and would be right at home in 1967. Despite these tonal similarities, the falsetto singing and harmonization by Asa Taccone demonstrates this Los Angeles based group’s indie personality. With a driving bass and drum rhythm accompanied by subtle electronic tinkling, This track maintains a slight edge that makes gives it a good groove. A good, lighthearted indie song.