Search Details

Word: bandã (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

...similar fashion, “Here Today, Gone Tomorrow,” marks the band??s sole instance of musical experimentation. In a departure from the soft rock which defines much of the rest of the album, this track is marked by a heavier bass line and more reverb. Much like the rest of the album, however, the lyrics still leave a little to be desired—“You’re all talk and nothing to say / We don’t want, don’t want what you’re giving...

Author: By Chris A. Henderson, CONTRIBUTING WRITER | Title: Lifehouse | 3/2/2010 | See Source »

Overall, “Smoke & Mirrors” is marked largely by a rinse, wash, repeat cycle of music with very limited tonal shifts, alteration in subject matter, or attempts at breaking the band??s music-writing norm. Taken individually, the songs are largely appealing and easy to listen to, but in the context of the record as a whole, many of the elements are lost due to mere repetition, a problem which plagues the album throughout...

Author: By Chris A. Henderson, CONTRIBUTING WRITER | Title: Lifehouse | 3/2/2010 | See Source »

...Permalight” finds Rogue Wave in transition. The Bay Area indie band??s first two albums, 2003’s “Out of the Shadows” and 2005’s “Descend Like Vultures,” were both critically praised as mixtures of lo-fi acoustic numbers, rockers, and soulful, sometimes morose pop songs, drawing endless comparisons to classic indie bands like Built to Spill and The Shins. Before their 2007 follow-up, “Asleep at Heaven’s Gate,” they were dropped...

Author: By Thomas J. Snyder, CONTRIBUTING WRITER | Title: Rogue Wave | 3/2/2010 | See Source »

...catchy and occasionally danceable sound. On “Good Morning (The Future),” Rogue states, “The future / isn’t what it used to be / I’m not surprised.” With this, he seems to sum up the band??s current direction: a perhaps-not-unexpected move from an intimate sound into more electronic...

Author: By Thomas J. Snyder, CONTRIBUTING WRITER | Title: Rogue Wave | 3/2/2010 | See Source »

...foot-tapping rhythms of the title track demonstrate, “Dear God, I Hate Myself,” continues the band??s habit of making songs that shout and lament over a din of schizophrenic, yet somehow coherent compositions. But the band also continues to experiment, as on the song “Cumberland Gap,” where the twanging of a banjo surprises listeners as it accompanies Stewart’s vocals, both moving over the same notes in unison. The song is a reworking of a famous folk tune named for a pass...

Author: By Michael E. Danto, CONTRIBUTING WRITER | Title: Xiu Xiu | 2/23/2010 | See Source »

Previous | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | Next