Word: basses
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After this first perfect little gem of a song, two minutes and 12 seconds long, the strangest thing happened. The second song, " Beat on the Brat," was exactly the same! Well, not exactly, different lyrics, different tune, but the guitar attack was still unremitting, the tempo unforgiving, and the bass and the drums were still threatening the integrity of my speakers. And the lyrics! I quote them in their entirety...
...Farrelly Brothers and has a song on a Dawson Creek compilation. But don’t get the wrong idea, he’s not a teenager’s popstar nor is his music suitable for the WB. Rather Yorn is a serious musician, who plays the guitars, bass, piano, drums, tambourines and synth strings on the album and sings as well. His self-created sound mixes folkish American rock with the luscious melodies of British pop. The songs revolve around themes of distance and intimacy, and Yorn refuses to fall into the cliche of lonely singer/songwriter. Instead...
...band parted ways within a year of Underwater Moonlight’s release. In the U.S., the band never toured the material beyond an eight-day run in metropolitan New York. Following Matador’s reissue of Moonlight, lead vocalist and guitar player Robyn Hitchcock, guitarist Kimberley Rew, bass player Matthew Seligman and drummer Morris Windsor revisited the States as a group for the first time in 20 years, giving many long-time fans the opportunity to hear the material, live and in-person, for the first time ever. The Harvard Crimson recently had the opportunity to speak with...
...Barrett, Captain Beefheart, the Beatles, the Byrds, and William Burroughs—was recorded (Hitchcock has previously described “the Soft Boys” as a Burroughs amalgam of Soft Machine and the Wild Boys). After one more switch (Seligman replaced Metcalfe on bass), the Soft Boys sound that would go on to influence the likes of the Replacements, R.E.M. and the L.A. Paisley Underground scene was solidifying...
...hatching out under my chin / Now there’s tiny insects showing through / And all them tiny insects look like you.” Along the same musical and topical lines, “Insanely Jealous” starts with an urgent but subdued bass throb, agitated hi-hat and the slender and raw tremolo of a violin. It gradually works into a deliberately guided frenzy of dipping and weaving bass and guitar squall—and, of course, the spit and muttered skewering of love: “But all I hear when they embrace...