Tag Archives: trackoftheday

Weezer’s “Piece of Cake” (2019)

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By Mina Wiebe

I’m not usually a huge fan of pop songs brimming with “do-do-do-do” fillers, but for Weezer I’ll make an exception.  Their new 2019 “Black Album” has faced some pretty harsh critiques so far, and despite loving the band, I’ll admit I’m not particularly amazed by the album as a whole. I wanted to love it, but instead I decided to go with my gut and give the band a break since they’ve managed to push out an impressive thirteen albums. And “Black Album” does have good moments; for me, the album’s hidden gem is the fourth track: “Piece of Cake”.

The light, cheery title pairs with the song’s opening outpour of “do-do-do-do’s” to make you think you’re about to hear another upbeat Weezer tune. But in typical Weezer fashion, don’t be fooled by first impressions. Suddenly the opening lyrics pop up and your hear Rivers Cuomo’s tenor vocals declare “Let’s do hard drugs/ Fix our problems/Let me swing by/Tears in my eyes” leading in to the song’s hook: “She cut me like a piece of cake”. So yeah, not the sweetness you’re expecting.

Lyrically, the song is pretty simple, but I couldn’t help but enjoy the cynical wittiness of some of the lines. Near the end of the song for example, the lyrics “Hey man, cheer up/Make your own luck/Have a nice life/Have some more Sprite” made me absolutely giddy because if you’ve ever been sad, there’s always that one asshole who tells you to just “stop being sad”, and here he sounds exactly like that asshole. I could hear the sarcasm dripping off of Cuomo’s tongue in this line, and I appreciated the subtle yet brilliant self-awareness that I’ve come to expect from the band.

So no, “Black Album” wasn’t a win for me, but I guess you could say that “Piece of Cake” definitely…takes the cake (should I hold for applause, or let myself out?). But in all seriousness, it’s worth giving the album a listen to form your own opinions, and I really think that “Piece of Cake” in all of its bleak, sarcastic glory wins my vote for best track of the album.

Jessica Pratt, “This Time Around” (Quiet Signs, 2019)

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By Allesandro Rotondi

“This Time Around” opens with a somber yet mystical chord cycle that encircles itself in the opening four bars. Jessica Pratt’s voice eases into the guitar strumming, like the songbird she sings about slowing its flight into a landing. Pratt sings softly to the major seventh chords that encompass the song and provide its reflective atmosphere. Pratt uses these chords effectively throughout the song, and it’s often considered one of the dreamiest chord qualities due to its open sounding interval construction. The major seventh chord contains the farthest interval of unique notes, before repeating the same note again as an octave, or perfect eighth. Because of this, the sound is always reaching up, and never quite arriving. This is the reason for the reflective and longing nature of the chord, and likely the reason Pratt made it the primary chord choice on her palette of desired sounds.

Pratt’s major seventh chord strumming repeatedly spins like a merry-go-round, encircling itself in a seemingly endless way. That is, until the resolution that presents itself in the chorus. The chorus hits hard, as she inverts the chord progression of the verses backwards, and resolves beautifully into another major seventh chord in the root of the home key. Pratt sings “I don’t wanna find that I’ve been in marching under the crueler side of the fight”, answering the reflective music with a lyrical theme of reaching for conclusions. But more specifically, it’s Pratt’s apprehensions as to whether or not she’s prepared to hear them. This song hits home for obvious reasons—no one is ever prepared for less than ideal but inevitable conclusions to life’s many challenges. Much like Pratt, it makes me want to cry. This time around, we have a chance to avoid them again, or face them. After all, there are only so many times around in life.


Billie Eilish’s 2019 “Bury a Friend” – An Homage to Horror

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By Mina Wiebe

In an eerie blend of pop and horror, Billie Eilish’s new track “Bury a Friend”—for the lack of a better term— gave me the heebie-jeebies. Usually I’d refrain from describing a song as “creepy” because it’s such a vague and indeterminate descriptor, but this song is creepy. It starts out with this low, jittery beat with an almost immediate lead-in to Eilish’s airy falsetto. Her vocals are layered over the faint sound of an incredibly deep voice singing the same lyrics, which creates this unsettling rumble.

At this point, you’re intrigued by the appeal of Eilish’s sweet and airy tone, but don’t be fooled by her angelic pitch—this is by no means your average radio-bop. There’s a brief break of total silence after Eilish sings “[w]hen we all fall asleep, where do we go?” and a man’s voice eerily whispers “come ‘ere” followed by a sharp, piercing screech.

Half of what makes this song so creepy is the deep, rattling beat that plays throughout, accompanied by an array of familiar horror movie sound effects. A third of the way in there’s this low, showstopping rumble that sounds like something you’d hear in a slasher movie as the killer approaches his attractive yet oblivious female victim.

To me, this song is one big, gorgeous homage to the horror genre. It’s clear that the song is heavily influenced by it, and my hunch was confirmed when I watched Eilish’s music video for the track. A demon-eyed Eilish is seen hiding under an unsuspecting victim’s bed, as well as floating dramatically midair in a poorly lit, dingy hallway. It doesn’t get any more horror than that.

The other large component of creepiness for this track, is Eilish herself. Her soft and delicate vocals juxtapose the harsh horror sounds, conforming to one of the genre’s most utilized strategies of pairing creepy music with an innocent, child-like voice. As an avid scary-movie watcher, I can appreciate a song that is simultaneously catchy and bone-chilling, so for me this is a win. I’m incredibly excited to see what the rest of her album is like when it comes out in March.

Lana Del Rey’s “Hope is a Dangerous Thing for a Woman Like Me to Have” (2019)

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By Mina Wiebe

Yet again, Lana Del Rey has managed to outdo herself in what I find to be one of her best tracks to date. Recently she released “Hope is a Dangerous Thing for a Woman Like me to Have”, a teaser-track for her upcoming album “Norman Fucking Rockwell”, and the song is stunning. (But I mean, with a title that long, it had better be).

The song is incredibly cynical, with the title being one of the central lyrics of the piece; it sets you up to realize that this isn’t going to be one of Lana’s more playful songs. She delves into her internal struggles in which she relays her battle with fame, death, narcissism, and a handful of other issues. The minimalist piano accompaniment was in my opinion a perfect artistic decision for the song because it provides necessary breathing room from these dark subjects.

To my delight, the track is absolutely layered with my favourite “Lana” characteristics. There’s drama, melancholy, and best of all, every time I listen to it I never fail to get chills—all signs of a good Lana track. She’s no stranger to the theatrics of music, whether it be through her dark lyrics or captivating voice, and this song is no exception. You’re presented with her usual haunting vocals, and there’s also an added soulful richness that I’ve definitely heard in her previous songs, but never to this extent. Her singing is simultaneously delicate and strong, and you hear this intense longing in her voice that is somehow both innocent and scarred.

If melancholy were a sound, it would be Lana’s voice—perhaps this song specifically.

Although I credit Lana’s vocal abilities as being the primary source of the song’s hauntingly beautiful resonance, like for any recording artist, there’s some editing and vocal effects involved. Don’t get me wrong, that’s not a bad thing—in fact, I think her sound really benefits from the addition of the slight echoing effect found in many of her other songs. It creates that iconic, angelic tone that Lana is so known for and it’s applied beautifully in this track.

Choosing this track for early release was smart—it’s captivating, and I’m excited to experience the album to its full extent. But now the bar is set high, and I’m hoping this won’t be the album’s only crown jewel.

Chad Brownlee, “Forever’s Gotta Start Somewhere” (Single, 2019)

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By Chelsea Ives

Fellow Canadian Chad Brownlee has made a sweet comeback with the release of his newest single, “Forever’s Gotta Start Somewhere” just in time for Valentine’s Day, and all those lovebirds out there who like to make sappy playlists on Spotify (unless burning CD’s is still a thing?) for their significant others. On January 4, 2019, Brownlee released his second major label single since his latest album was released in 2016. Brownlee’s single, “Dear Drunk Me” from 2018, bumped him up into the number 2 spot in the Canadian country music charts and gained him his recent recognition.

Chad Brownlee is a mix of old-school country ideals with new school country sound. Picture Tim McGraw meets Luke Combs’ down-to-earth vibes, with Kane Brown’s sweetheart songs and themes, all mixed together in a big ol’ batch of Miss Bell’s sweet tea. “Forever’s Gotta Start Somewhere,” is a hopeful, inspiring song about taking chances to find love – with a slow build into a fun, fast-paced beat. The song starts with the classic country twang which builds into electric guitar and tambourine which makes for a classic yet fun sound.

 “Forever’s Gotta Start Somewhere,” definitely has a different flavour from his last single in 2016, “I Hate You for It”. Brownlee shows that he has grown up a bit. The song truly shows Brownlee’s musical ability – he isn’t going to be another Florida Georgia Line, with pop-country superficial sing-alongs. Brownlee shows he’s seriously a grassroots country boy looking for love.

He is currently finishing his first major label debut album, and so far, the title of the album has not been released, leaving much to the imagination of his fans. Although if “Forever’s Gotta Start Somewhere” is an indication of what’s to come, it’s safe to say I’ll be waiting expectantly for some more heartfelt and authentic country music from Brownlee.

Chad Brownlee’s 2019 Single, “Forever’s Gotta Start Somewhere”

Toro y Moi, “Baby Drive It Down” (Outer Peace, 2019)

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By Allesandro Rotondi

I first took a liking to this song because I thought it didn’t sound like dance/pop music, as opposed to many other tracks on the album. Rhythmically, it grooves like a dance tune, and the instrumental loops like a dance tune, but it sounds like a chillwave-synthpop song. The marimba-sounding synthesizer part loops and dances around the pulsing kick drum beat that drives the song forward and acts as the backbone. The marimba sound is light and fluffy, constantly fluttering in the foreground. It gives off a tropical vibe, like something off the Super Mario Sunshine soundtrack. Because of this, it makes me happy, and gives me feelings of childhood nostalgia.

The lead vocals are strong, but cool. Stacked with two layers of voice, the melody comes off as thick, but smooth in execution. There is also autotune, which is popular in modern pop music, and the hip-hop and dance genres particularly. The repetitious line that clamours “You know I want you right now” for the entirety of the choruses, thrusts this track into the dance/pop genre, noted for its looping instrumentally, melodically, and lyrically. However, it is not forced. It feels intended by the artist, and perhaps this voiced repetition is because he really wants the object of affection to know he means business. I want you, like, right now. The auto-tune and double tracked vocal almost create an unnatural, robotic feel, like a love song from a free-thinking machine.

Since the marimba loop is unchanging, the droning bass tones are the only musical element that can change the chord root. With two or three chords total at best (“Moves Like Jagger”, anyone?), Toro y Moi does a fine job of crafting a well-landscaped, memorable, and interesting vocal melody. It’s one of the best melodies over a simple dance/pop progression that I’ve heard in a long time.

“Baby Drive It Down” definitely drives it home.

Alice Merton, “Homesick” (Mint, 2019)

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by Chelsea Ives

Alice Merton, Mint cover.

On January 30th of 2019, Alice Merton released MINT: in the making (part 1), the first part of a documentary series explaining her creative process for her debut album, Mint. Merton describes her songs in the documentary as “notes that I would put on a fridge,” as her songs a personally driven from her transient lifestyle. Many of her songs including “Homesick,” are meant to express the displacement she felt as part of her young life always moving around – but the notes are there to help her remember that life isn’t always so bad.

“Homesick,” opens with jazzy upbeat piano, and Merton’s soulful, gravelly voice – which reminds me of Florence + the Machine but with a definitive Taylor-Swift pop twist. To the ear, the first line, “I was the new kid / I was scared of dogs and the weather,” starts the song off with an upbeat and playful sound, while the lyrics reveal the underlying woe of a child in a new environment, having to make new friends in a place which is entirely foreign to them. The lyrics take a turn with Merton’s reminder – “tried my best to fit in / Started puttin’ it in a song” which is her self shout-out that life can’t be all that bad when you can make beautiful music that touches and comforts others who are in the same boat.

The chorus and post-chorus drives the upbeat sound further, with the introduction of guitar and fast-paced hand clapping which adds to the pop sound of the song.

The twenty-five-year-old singer/songwriter has shot to fame since her single, “No Roots,” was released in 2016.  The song (which appears on Mint) beautifully unites the themes of the album which include the difficulties of relocation, of meeting and keeping long-distance friends, and the overall struggles of youth. Merton successfully captures what it is like to be a young adult trying to situate themselves in the larger context of life.

Alice Merton, “Homesick”
(Mint, 2019)

Tori Amos, “God” (Under the Pink, 1994)

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By Chelsea Ives

Tori Amos’s song, “God” from her 1994 album Under the Pink, opens with funky electronic sounds that could be the interlude music between a 90’s sitcom cut – just picture the music between cuts in Friends and I think you get the idea. Although the album’s themes are as far from happy-go-lucky as you can get. Amos faces serious issues like rape, feminism, and religion head-on throughout Under the Pink.

The theme of “God” is an everyday truth for women: “You got your 9’9 iron in the back seat just in case […]”, Amos sings ironically acknowledging women’s necessity for arming ourselves with make-shift weapons in case we are ever attacked at our cars late at night.  Amos achieved a song which laments and condemns the position of women in 1994 – a sound and position which still resonates in 2019. The line, “a few witches burning,” can hardly be ignored when considering the way women are treated, even now in the 21st century. Too often have women been used as scapegoats for men’s violent tendencies – as if we both ask for it and are the reason for it.

The song quotes the book of Proverbs from the new Testament: “Give not thy strength unto women nor thy ways to that which destroyeth kings”. In an interview with WHFS Press, Amos describes how she was trying to represent the oppression of women and minorities in the bible in her music, and how her Methodist-minister father could not conceive of the oppression, “[…] it was very interesting to me how my father … just can’t acknowledge the way that the church has treated not just women, but people in other cultures […]”. No doubt this was all the proof Amos needed towards the importance of her musical activism.

Overall, the song fits perfectly in the setup of the album, which begins by laying out the plight of women with strong and ironic vocals from Amos, leading in to the second half of the album which rejoices in hopefulness for women taking back the control over their own lives and bodies.

Official Music video for Tori Amos’ song, “God”

Tori Amos, “Icicle” (Under The Pink 1994)

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“The one good thing about being a piano player folks, is that you have a really good left hand; the nice thing about it is that you can pretend it’s anybody you want”

-Tori Amos

The very least expected thing to say before playing a beautiful piano ballad. With a statement like that Tori Amos had the audience screaming for her. As soon as Amos played the first keys on the piano, the crowd immediately died down to listen to a song that is thrilling yet unsettling.

In her album Under The Pink, “Icicle” starts with a preempt to what is to be expected throughout the song. The piano bit in the beginning sounds like a little girl opening her ballerina jewelry box and being pulled into a fairy tale. It is genuinely pure. This doesn’t last long as the piano becomes off key and a winter beast approaches stripping away any last piece of innocence the little girl possesses. The beginning of this track literally had me grasping onto every word that is sung throughout.

Aside from Tori Amos’ angelic vocals, her lyrics are quite unsettling. Over the past 25 years, there have been so many different interpretations for this song. Some say it’s Amos masturbating to the divine, others say it’s about twisted priests. Whether it is or not, there is something disturbing happening throughout this track.  It makes anyone question what the true meaning behind “Icicle” is.

If you want to be pulled into a fairy tale that has been stripped away of its innocence, click the video below and give this track a listen. I promise you, you will be left with long lasting goosebumps that only a prayer or a heavy blanket will get rid of.

-Maria

Sharon Van Etten, “Comeback Kid” (Remind Me Tomorrow, 2019)

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Album cover for Sharon Van Etten’s, Remind Me Tomorrow.

By Chelsea Ives

Funky Electronica foregrounded by the folksy, haunting, but powerful vocals of Sharon Van Etten permeate “Comeback Kid” the fourth song on her newest album, Remind Me Tomorrow. “Comeback Kid” is also one of three of her newest songs to be released with a music video featuring her. The song seems to be meant as universal and individual all at once. “I’m recovering,” as SVE wraps her arms around herself in the video and looks away from the camera, the viewer is left with the sense that you are witnessing a private and intimate moment, as the video behind her sometimes shows flashes of her face. Although the moments seem individualized (especially in the video) the lyrics encompass more general ideas of the kinds of people you meet in your life – the hardly stays, the slips away, the turn arounds.

The video is a visual representation of the story SVE was trying to capture in the song, as she sings in front of screen which continuously plays clips of videos, lights, and abstract shapes which kaleidoscope together in a hypnotically confusing way. In a statement in Rolling Stone, SVE described her process for the song, “As the lyrics for ‘Comeback Kid’ unfolded, I realized I was talking about many selves: The kid, the adult, the sibling, the friend, the neighbor. I imagined a projector streaming over me of memories, unclear if they are mine or someone else’s, confronted by the disorientation of time and perspective […]”.

The final “comeback kid, come back,” which closes the song gives a cliff-hanger-like ending, suggesting that the stories of all these different “selves” are yet to be finished. Overall, the song has hopeful vibes which resonates with all – most of us being a sibling, friend, neighbor, and kid at heart.

Sharon Van Etten’s, “Comeback Kid” (2019).