Word: songã
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...force of Case’s melodies breaks out of its cage. The song begins with constant guitar tremolo and quick, brushed cymbal strokes, feeling like an orchestrated locomotive marching lazily through the countryside. Once Case enters with her famed pathos, the train never stops rolling. The song??s morphological character is only briefly disrupted by the piano and string fills. These examples of clever instrumentation and uplifting melody are Case at her best. “I’m an Animal” adds some color to the album with an organ in the beginning...
...Don’t Go Crazy Tonight” redeems its dopey title with swelling violins, a soaring chorus, and an impassioned falsetto turn from Bono. On the lively “Breathe”—a contender for the album’s best song??he spits the lyrics with so much snarling fervor that when he shouts “I found grace” in the song??s final lap, it’s wholeheartedly convincing.Unfortunately, the rest of the album seems lost in a muddled haze, the result of Eno?...
...sounding like excerpts from “Classical Music for Dummies.” Kapilow is remarkably straightforward with his comments and makes the information easy to retain through funny quips—“Yes, ‘bum’ is the first word of this song??—and activities like creating sixteenth notes by slapping on the thighs. The techniques behind musical phrasing and motifs are brought down to the comprehensible level of his junior audience. The ensemble itself is small, including only two violinists, one violist, one cellist, and one bassist...
...songwriting is the glue that holds these various stylistic elements in harmony rather than in dissonance.On a consistent basis, M. Ward is able to integrate his eclectic instrumentation brilliantly as he does on the album’s best song, “Epistemology.” In the song??s chorus, for instance, M. Ward fields not just a traditional rock set-up with guitars and drums, but an orchestra and a folksy hammer dulcimer. If one listens closely, every instrument can be heard distinctly—the light-speed chiming of the dulcimer, the sweeping musical...
...don’t need a friend when you’re a teenager in love with Christ and heroin.” And like that, Molly Ringwald is cast to the background in the mental picture, lingering to strike an evocative contrast to the song??s underpinnings. This is The Pains of Being Pure At Heart at their best, when they avoid the “aw shucks” puns that they can otherwise be drawn to, crafting excited, conflicted hymn-ditties for the “Pete and Pete” set.At times, they miss...