Don’t Call Me Fall,YO.
Autumn Busbee
October 2, 2009
Filed under A & E
Almost every time I introduce myself to a group, at least one person comments on my name. They say something like “Autumn…you must have been born in the fall!” And my reply to this (through a jaw-clenched grin) is “Why yes, I was. Nothing gets past you, does it?!” Although I passionately abhor this “witty” comparison of the season to my name, I can’t deny that I was born during the best season of the year and that I just so happen to share names with it. I also must confess that, like the seasons, I am constantly changing, and that the aspect of me that changes most constantly is my taste in music.
Although I may “listen to anything,” I’m not always listening to everything. All of September, I listened solely to The Beatles. But this month, my taste, like the weather, has drastically changed. I am now stuck on anything indie, acoustic, or experimental. So, like most people with knowledge in a specific subject, I am going to enlighten you, specifically with my top ten songs of early October. I implore you not only to listen to these songs, but also to the bands in general.
“Cath…”
Death Cab for Cutie
Above the clean and clearly defined riffs of the guitar and constant beat of the drums, the lyrics of “Cath…” should be highly admired. The lyrics are extremely visual and poetic, without being difficult to comprehend or uninteresting. They describe a person who regrets hastily-made decisions. The speaker though, is not being judgmental; he is understanding, and admits he would have made the same choices.
“I Woke Up Near the Sea”
Lydia
Not only do the lyrics refer and provide a visual of the ocean, so does the music. The song begins with a percussive crescendo that instantly gives the listener an image of waves crashing against the shore of a lonely beach. This imagery relates to the conflict of the speaker, who is having a restless night due to thoughts about a girl. As the song progresses, the “ocean” becomes more turbulent, only to calm down toward the end as the speaker settles with the fact that “no one ever knew” the problems this girl had.
“Pachuca Sunrise”
Minus the Bear
“Pachuca Sunrise” is easily an experimental-indie lullaby due to its charming, repetitive lyrics about missing someone while being away. The lyrics “don’t cry I’ll bring this home to you, if I can make this night light enough to move” especially convey emotions of comfort. Although the guitar has a sterling, almost keyboard quality, I couldn’t help but notice its slight similarity to Keyboard Cat.
“The Girl”
City and Colour
Even if you have the worst case of music ADD, it is completely impossible to not listen to this song all the way through. The song begins with Dallas Green singing, and a soft melody being played by a guitar and banjo (main and secondary, respectively.) After the second verse, the tempo picks up, and the only instruments switch roles with the banjo becoming the lead instrument and the guitar only a secondary instrument. Once the chorus is repeated a fourth time, a piano and drum take the musical foreground, and Green’s voice becomes the background music.
“Alley Cat”
Sherwood
With music comparable to Owl City and catchy lyrics, it’s obvious why this song is so addictive. Most computer generated music is cliché and unchanging, but “Alley Cat” surprises listeners with several variations in sound, including string instrumentals and keyboard. The lyrics describe a damaged relationship without making the listener feel too down due to the upbeat music.
“Black Hole Sun” (Soundgarden Cover)
Copeland
Unlike Chris Cornell’s raw, crisp vocals in this Soundgarden original, Aaron Marsh’s vocals seem to melt as they pour out of his mouth. Copeland’s cover also differs in that there is less emphasis on instruments as there is in the original. However, with this being said, it needs to be mentioned that Copeland includes the “voice through a walkie-talkie” segment and mild instrumental breakdown.
“Flightless Bird American Mouth”
Iron and Wine
Although this need not be mentioned for those Twilight movie fans: yes, this is the song Bella and Edward dance to at the end of the film. For those who are not fans of the movie (or book for that matter), don’t let this fact prevent you from listening to this song! Its lyrics and music are equally haunting and strikingly beautiful. The lyrics seem to refer to being forced to grow up, although they are quite ambiguous. The guitar and piano hand-in-hand create a perfect melody that is sure to get caught in your head.
“Maps”
Yeah Yeah Yeahs
Whether it’s the climbing guitar riffs, chilling lyrics, classic beat of the drums or intriguing voice of Karen O, something about this song is completely mesmerizing. Maybe it’s the combination of all the aforementioned. As Karen O sings “wait! They don’t love you like I love you,” the song’s mood changes from stubbornness to caring.
“One Man Wrecking Machine”
Guster
I’ll never forget that the first time I heard this song was on a cruise. The music video was playing on the cruise line’s version of VH1, and oh was it interesting. Like the video, the song is one that should be acknowledged due to its unique attributes. Don’t be fooled by Ryan Miller’s opening nonchalant vocals, the lyrics of “One Man Wrecking Machine” contain a deep remorse of events in his past that are expressed more and more as the song continues. The music in this song also becomes more moving as the song progresses, including a soft breakdown which sounds similar to the one in Greenday’s “When September Ends.”
“Kids”
MGMT
More so than “Pachuca Sunrise,” I couldn’t help but notice how similar this song sounds to Keyboard Cat, but understand there’s so much more to this song than what it slightly sounds like. MGMT’s distinct psychedelic/indie/pop is plainly exhibited in “Kids.” The lyrics “control yourself, take only what you need” should be inspiring to the American population for several reasons (including, but not limited to obesity, conservation, and modesty.)
wow, great work autumn! you put alot of work into this!!!
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