It’ s almost been a decade since the start of their career, and the Arctic Monkeys have aged gracefully into their talentedly world-weary image with an established album ‘AM’. For a band whose lyrics in the early days were jam-packed with mischievous and sassy one-liners, we all wondered whether the Arctic Monkeys actually enjoyed being in a band, or if they were just socially awkward and not used to the fame with their hair covering their face and the really baggy brown hoodies that seemed about twice their size. At times, they also seemed very doubtful of their own fame, whilst their last two albums seemed to be not loved but taken very seriously.
The Arctic Monkey’s fifth album ‘AM’ is by no doubt the most outstanding album of their career. It manages to connect to all the different directions – the melancholy pop of ‘suck it and see’ and the powerful melodies of ‘Humbug’, with their rising energy and sense of excitement that boosted their initial tracks. From this point, the Arctic Monkeys can sound however they like, do whatever they want and will always be known as the Arctic Monkeys and just the Arctic Monkeys. But that’s all for another time during their ridiculously optimistic future so for now let us just celebrate this album for what it is, 42 minutes of pure perfection.
‘AM’ is so good that it may as well be the greatest album of the last decade. It’s the work of a band that is still continuing to grow. They’re learning, they’re experimenting and they’re perfecting. They won’t look back at this album and say that it was their career’s highest point, (as we can expect far more albums just like this, or even better), but they will look back to the moment when they will be no longer defined by their genre. No longer kn...
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...es the impression that he has moved on from telling stories of sleazy nightlife, to songs that more self-lacerating, with a sound that is so relevant to the subject matter, something the Arctic Monkeys have always been good at, sharing each and every one of their member’s talents, to make something spectacular.
‘AM’ goes beyond all the sweaty nightclubs and flirting, that the previous Arctic Monkeys albums have implied. It’s clearly a turn of direction for the band, instead they talk about scruffy hotel rooms, after parties and the bad decisions that can follow up from there. Like I said before, it’s the work of a band that’s growing rapidly but still experimenting with the marvellous talents that they have. And so they created their own artists who can do whatever it is they want, because by no doubt we all definitely know ‘Who The F**** Are The Arctic Monkeys.’’
Through creating such a distinctive approach to music, Rivers has developed a fan base that stands out from the mainstream crowd. For the most part, a Weezer fan has a distinct look, age, emotional status, and social status. The socially inept, clumsy nerds who sport black-rimmed glasses, and are between the ages of 17-28 are usually put under the category of being a Weezer fan. The main characteristic of th...
album contains an amazing combination of poetic lyrics and edgy music that make it an
The song though, is not very memorable. “What If I’m Right” reminds me strongly of their old sound. This song plays heavily off of a repeating chorus which is very catchy. It has the most memorable chorus out of all of the tracks, and is also a personal favorite. “Take a Bow” is the eighth song, and is a filler track. The only thing that makes it interesting is the violin chords. There is not much more to say about it, except that it is extremely forgettable, and is my least favorite song. “Relax, Relapse” is all about anger and failure. The bridge has Matthews sounding like as if he is going to mentally collapse. His desperate screams in the bridge adds to the strong emotion evoked in the song. Unfortunately, it is my second least favorite song, as it is not very memorable either. “Second Guessing” is the tenth track and is the softer, redeeming song on the album. After listening to such dark themes, it gives the listener a much needed reminder of hope and purpose. The piano and lead guitar makes the song stand out because it gives it more of a rock sound. Last, the closing track, “R.I.P.,” is a strong song to conclude the album. The group chants in the song are actually apart of the song rather than background. It gives it a unique sound compared to the rest of the album. It makes the band sound more
To conclude this paper Greenday's contributions did not come from the band members playing something musically in a new revolutionary way. Their contributions came from being themselves and being at there at the right time. Their music contributions gave punk the popularity it needed to make a comeback in the 90's and to sort of come back to a type of rock and roll. This specific album had obvious teen angst and more lighthearted compared to “American Idiot.” Overall this album is very catchy, very pleasant to the ear, and a classic punk album to be enjoyed by most people.
I have always said the only thing I miss of a past girlfriend is her collection of Barenaked Ladies albums. After recreating her collection for myself, I learned that a new album was on the way. Maroon -- the band's sixth album is filled with 12 brand new songs with enough quirkiness and pop that will forever be the marks of the Barenaked Ladies (BNL). To my surprise Don Was, a Grammy Award winning producer whose name was also on my B-52's and Rolling Stones albums, produced this album. This pop-infused CD displays the BNL's signature of happy, jangly, tunes filled with sarcasm, irony, truth and passion embedded into every song that brings out old memories to everyone.
When listening to the song both reflectively and analytically did put a dapper on the initial meaning behind listening to the song, however, the song’s influence and history with my Child Hood prevented this assignment from completely taking my enjoyment and engagement of the song. Through this assignment I have found a new respect for the song and its simplicity and overall appeal with the vocaloid culture that I am involved in both as a listener and an artist. Through this assignment I have also been given a deeper insight into Deco*27 as an artist and how he effectively conveys his music as an art through both the vocaloid system and, in this case, through his own talents as a singer.
Through his use of carefully chosen vocabulary, Ed Sheeran produces a worthy song choice for the next addition of Form and
The celebrity who will be the subject of this paper will be Trent Reznor, the widely acclaimed musician and frontman for the band known as Nine Inch Nails. Though it is considered a band, Reznor is the only permanent member, the primary songwriter and performer, and it is widely considered that his “band” is primarily just him mostly alone working under the name Nine Inch Nails.
...egan to lure fans at the same time. Known for their catchy lines and unique sound, this band confidently released an EP titled “Five Minutes with Arctic Monkeys” with two tracks on it – “From The Ritz To The Rubble” and “Fake Tales Of San Francisco” on May 30, 2005. The track “Fake Tales of San Francisco” was voted their best song in 2013 by NME Magazine.
It could be argued that ‘In-A-Gadda-Da-Vida’ served exemplary as testament to the changing attitudes towards rock music and psychedelic acid rock of the time. The prevalence of the genre was tangible, even the AFVN (American Forces Vietnam Network) added a special channel in 1968 for those soldiers serving overseas who had reported an interest in the musical style (Kramer, 2006). Perhaps this song was indeed the natural progression of music in a time of so much uncertainty for an entire generation fraught with equal parts revolutionary ideals and Cold War paranoia. The track’s tone, ambiance were defined by an eerily dark otherworldliness unheard of up until that point in rock music and arguably not replicated again until Black Sabbath’s NIB
The Who, a band defined by their destructive stage performances and appeal to the rock ‘n’ roll scene of the 1960’s, revolutionized the music world with their hit “My Generation” in the fall of 1965 (Erlewine). The four band members, Pete Townshend, Rodger Daltrey, John Entwistle, and Keith Moon, took the world by storm with the song as it appealed to the younger population and defiantly projected hatred towards the old and wise (Greene, Simon, and Schuster). “My Generation” was a call to the conservative adults of the 1960’s that traditional principles were of the past, and the vibrant, young aged had arrived and were there to stay (Shmoop Editorial Team).
Then he reflects on how he was sucked in by the modern consumer world. This song is
True to the mysterious character of their name, Midnight Voices opens the album with a curious chant titled “If You Knew Us.” Beginning with a gradual fade-in, the group chants the puzzling phrase “If you knew us, then uh . . .” repeatedly and without any musical accompaniment. A steady rhythm is maintained throughout, even when the Voices modify their chant by including their names. After the chant is repeated a few more times, the group throws in yet another mysterious line, which further heightens the listener’s curiosity. The line, “If you knew the voices, then uh . . . you would know the world and uh . . .” provides a hint to the listener of the social commentary to come. The chant then returns to its first verse, and slowly fades out. This short piece serves as an introduction to both the group and the general message of their music and album.
Throughout their years at the top they were shrouded in mystery and intrigue, and seemed to leave behind a trail of question marks wherever they went. They were not a “public” band (they didn’t hire a publicist until their 9th US tour, almost five years after their formation!); they continually distanced themselves from the media, instead relying on word of mouth and their often-astounding live performances to promote themselves. Not surprisingly, this low profile led to wild rumors about their lifestyles and habits and as a result little was known about the men behind the music.
Being on the cutting edge of bizarre, alternative music is an elite privilege, complete with buzz words to exclude the mainstream. The music makes or breaks the scene. One rave deejay explains to Rosen and Flick (1992), "A great rave or techno record is like a religious experience. A bad one will give you a headache