"'Til We See the Shore" by Seabird

Not many bands sound like Seabird. There are two reasons for that: the vocalist, whose voice (as weird as it sounds) almost sound sarcastic, with a sort of deadpan humor about life that is just fun to listen to. The other thing that makes this band great is their musical work: the instrumentations for just about all their songs are fresh and funky. Yes, the traditional instrumentation is here, but Seabird's choice in terms of how those instruments and melodies fit together are hard to find elsewhere. These guys will get you hooked after a couple songs, trust me. And here we go!

1. "Black & Blue" - Kick it off with some funky piano and guitar, maestro! The song is mischievous to the highest degree. The narrator sings about seeing something he shouldn't have seen, and his subsequent punishment for seeing it. He sings, "We're black and blue" over the course of the chorus. However, the melody of the entire piece has a feel of resistance to it, and you just know that our guy will live to make more trouble in the future.

2. "Apparitions" - This song opens up quite differently than the first song off the album, with an almost classical piano intro. However, Seabird kicks it into gear almost immediately, getting right back into the high energy base, piano, and guitar type of melody that I've grown to love. The lyrics of the song are, once again, clever and humorous, as our guy is singing of ghosts (literal or figurative, I'm not sure) that are trying to chase him out of the house he has worked so hard to attain. He's ready for them though: "Bring it on," he sings over and over again. Even more humorous is the shout out to the listeners at the end of the song: "Well, we don't really care what they think about our stupid songs, we just hope by the end that you'll all be sining along." Oh Seabird, silly silly Seabird.

3. "Not Alone" - This song sends things into a little bit more romantic territory, though with Seabird no love song is the typical "Hey I love you, cool me too" theme. Our narrator is singing to his love, who has, in a couple simple words, screwed up. Still, he assures her that Forgiveness (who he constructs as an actual entity) is with them, and they'll be alright. As always, the lead vocalist's rough and almost punkish voice lends extra energy and emotion to the song. One of my favorite songs on the album.

4. "Rescue" - Another one of my favorite songs, and (like many of my favorite songs, it's not exactly happy). Piano plays a big role in this song, which begins with the vocalist singing, "I'm pushing up daisies, I wish they were roses." The song kicks into high gear in the chorus, which is insanely catchy. What's more, the song is believable; our guy is pleading for someone to save him, and we really want that person to listen.

5. "Let Me Go On" - One of the more bitter songs on the album. Bass rumbles along, with piano joining it later. The lyrics are essentially break-up lyrics, and it ain't exactly a happy one. Exhibit A: "And now we know why they call it the bitter end." A fun song, but one of the weaker ones on the album in my opinion.

6. "Stronger" - Guess which instrument plays a cameo in this song: THE BANJO. Darn right it does. The banjo then hands the melody off to the guitar and the piano, something I had never heard before and was quite frankly just frickin good. Our guy is talking to himself. There's a girl he is obviously crazy about, but who he's never had the guts to say anything. Tonight, though, his conscious is telling him she's way to beautiful to stay quiet. It's one of my favorites, and it has a theme which I, along with tons of other guys and gals out there, can probably relate to.

7. "Cottonmouth (Jargon)" - Organ and vocals open up this melancholy number. It's about casting a friend out who has become a cancer to the group. Once again, the song is extremely relatable because, let's face it, our friends now are not the ones we started with in elementary school. Vocals really help this song along with the vocalist's raw frustration seeping through. A funky piano rhythm also pops in and out, which is always fun.

8. "Patience" - This song is morbid, but the lyrics are brilliantly written. Mournful piano also helps to make this song the powerhouse that it is. It's one of the few true ballads on this album, and I honestly think it's the strongest and most mature song on the album. The song is about one man who has lingered too long in the winter of his life. He has waited until all those around him have passed on. At the end of the song, he urges his caretaker to let Death in through the door "this time." Just a great song.

9. "Sometimes" - This song opens up with a sweet little keyboard melody, bolstered by guitar, bass, and then piano. Finally, vocals enter in to what becomes a fun beat that carries through for the verses. This song is a perfect song to dance and sing along to. It's got two very different sides - the emotional chorus and the bouncy verses. Let the head bobbing begin.

10. "Falling For You" - Get it started piano! Another piano ballad about confessing love. Our narrator has been in love with a girl since they were just kids, and he finally admits; "I'm falling, I'm falling for you, oh darling, it's finally true." Unfortunately, the piano sounds almost sad and the vocals sound a tad mournful. We hope that the song brings his love to him, but when it comes down to it, we really don't know. Ain't that life?

11. "Maggie Mahoney" - This song is also a love song, but it's downright goofy. The beat and vocals are delivered in a funky, almost jig-like manner. The pianos actually remind me a bit of "Naked in the Rain" by The Queen Killing Kings. The girl in the song led our guy on, and he's the sarcastic type (sarcastic people of the world, unite): "I know this girl named Phone Mahoney." Not exactly the friendliest set of lyrics, but that line alone, along with the infectious chorus and melody, have me sold.

12. "'Til We See the Shore" - Though these lyrics don't exactly tell a story, I think they are the most emotionally affecting. The message of this song is simple: never stop singing, not until you finally die. It is a song about the cathartic nature of singing, which I for one have employed in many a situation. Two lines sum this song, and the album for that matter, up perfectly: "Sing til your heart hurts, then sing some more. Don't stop singin til we see the shore." The lead singer backs these lyrics up perfectly, singing his heart out til the very end of the song, which is really uplifting. On a musical note, a great instrumental break leads up to the most emphatic chorus of the song, which really brings it home in style.

My brother introduced me to this band, and man am I glad he did. They really aren't like anything I had heard or have heard since. It sounds like these guys have a blast making music, and that makes its way through your headphones and right into you. This whole album is just a testament to how fun music can be to listen to. Give it a shot!

Here's a link to their Myspace

http://www.myspace.com/seabird

Please tell your friends about the blog! I'd love some more readers and/or followers :)

And, as always, until next time, enjoy!

"Med sud i eyrum vid spilum endalaust" by Sigur Rós

This, ladies and gentlemen, is Sigur Rós's most recent studio release. One of my cousins helped me to discover this band years ago and it has become probably my favorite band overall. In Irvine, being one of the four people who knew of and enjoyed the band's music was quite the bummer, and though I have found a few more people who know of them here at UCLA, these guys from Iceland don't get near as much attention as they deserve. I chose to review their most recent release because it is their most accessible. Admittedly, Sigur Rós is an acquired taste. Their sound is unique (perhaps you gathered that they're unique from their au naturale album artwork, but don't let that dissuade you from listening!), and the lead singer, Jónsi, doesn't sing in English. I believe there may be some Icelandic in there, but he's also known for singing emotions, if that makes sense. He sings feelings, not in any language. For some this may be a turn off, but in my opinion it makes the album universally accessible for anyone who values the emotion of music. Also, I think Jónsi has one of the most powerful, emotional voices of any lead singer out there. It's one of the most beautiful and transcending sounds of any band I've ever heard. Here we go!

1. "Gobbledigook" - This song starts extremely happy happy and stays extremely happy. With clapping and "la, la, la's" throughout, it's joy in musical form. Drums and guitar keep the song rolling along, and the complex layering of vocals ensure there is always something to listen to. This is one of the more mainstream-sounding songs on the album, if you can believe that. The song ends just as merrily as it begins. It just makes you smile!

2. "Inní mér syngur vitleysingur" - One of my favorite songs on the album. It starts of with a muted trumpet fanfare before exploding into an amazing xylophone (I think) melody. Jónsi's amazing vocal range is again on display here, but it's really the melody and instrumentation choices of the group that make this song such a standout. A beautiful, little instrumental section leads up the final triumphant statement of the song. Strings and trumpets play big roles in this song, which is a quick way for any song to snare my heart. Dance around and enjoy.

3. "Gódan daginn" - A beautiful, primarily acoustic guitar-driven ballad, something that Sigur Rós didn't do much of in their previous releases. It's definitely geared for a broader audience, but it's so beautiful that I frankly don't care. Synths provide a soft bed on top of which guitar and Jónsi's vocals work. Delicate and extremely well-executed, this is a perfect example of Jónsi singing his emotions (which is often what he does in lieu of singing in any particular language).

4. "Vid spilum endalaust" - Another happy song! It starts off with woodwinds and bass (how often have you heard that about a song?). The opening verse leads into yet another epic Sigur Rós chorus featuring trumpets, strings, and outstanding vocal harmonies. Like so many other Sigur Rós songs, the song culminates in an epic build the likes of which Zeus would even be excited by. These guys just have a talent for the majestic.

5. "Festival" - This song slows things down and resembles much more the kind of songs that we heard in Sigur Rós's previous albums. Subtle beds of synthesizer and string sound provide a bed on top of which Jónsi shows off his incredible vocal range and haunting voice. The song's first half is sad, contemplative, and melancholy, but it's beautiful nonetheless. Then it shifts gears into an equally wonderful, faster rhythm and melody. It becomes, once again, extremely majestic, with soaring strings, brass, guitar, and vocals creating one of the second-most uplifting moments on the album (keep reading to hear about the most uplifting). What I'm about to say will make reveal to you how much of a music nerd I am, but it should be noted that I make no attempt to hide my intense music nerdiness. Quite frankly, I could see myself walking through Middle Earth to this.

6. "Med sud í eyrum" - Piano and vocals once again share center stage in this song. Drums create the feel of marching ever onward, and this feel continues for most of the song. In fact, the drums are my favorite part of this song, which, though it is an good song, is probably one of the least dynamic on the album.

7. "Ára bátur" - My favorite song hands down and the most epic song I have ever heard in my life. That's saying something, because the amount of music I listen to borders on ridiculous. For the first half of the song, pianos and Jónsi create a slow, beautiful ballad-feel. Around the halfway mark, the song begins to build in volume and intensity... slowly at first, then gradually adding instruments and awesomeness until finally we get to the best moment on the album, in my opinion. It is, in a world, ethereal. A full symphony, children's choir, and Jónsi explode in a musical moment unlike anything else you're likely to hear outside of a movie theater. It's a 9 minute song, but I never skip it when it comes up on my iTunes, no matter how musical ADD I'm feeling. Sit back, enjoy, and feel free to conduct along - I always do :).

8. "Íllgresi" - After the Olympic-like feel of the previous song, Sigur Rós once again mellows things out with a ballad featuring acoustic guitar and, like always, Jónsi's raw, emotional voice. The song is beautiful, but not in the majestic way that other songs by the group are. Instead, this is a more intimate and subdued listen. Strings enter in towards the end of the song, adding to its delicate atmosphere.

9. "Fljótavík" - One of the saddest-sounding songs on the album, and definitely one of the most heart-wrenching. Without sounding too morbid, this song would fit in perfectly in the soundtrack of someone's life at a funeral when someone is looking at a loved one that has passed on... heartbroken that they are gone, but remembering all they did in life. Close your eyes and just fall into this song. The mournful combination of piano and strings, along with some of Jónsi's most emotional vocal work on the album, will definitely get to you. If any song were ever to make me tear up, this is it. I can't say enough... it's just heartbreaking.

10. "Straumnes" - This is an instrumental interlude, almost like it's easing you out of the emotional whirlwind that was the previous song. There's not much to it, simply lush pads of string sound for a couple minutes, though it has the same general melodic feel as "Fljótavík."

11. "All Alright" -  Once again, this song opens with delicate piano and vocals. Brass joins in to what is another mournful song. However, there is something else in this song that enters with another subtle piano melody a few minutes in: hope. Hope for the future, hope that all will be better in the future. Heartwrenching yet uplifting, intimate yet majestic - the perfect ending to the album.

I never get tired of listening to Sigur Rós's music. It's beautiful and ethereal at many times, but at others it can be joyous and frivolous. Unfortunately, the band announced that it would be on an indefinite hiatus as of January 2010. I cannot stress how much I hope this is not all we've seen of Sigur Rós. Still, the sound is not gone. Jónsi has released a solo album entitled "Go" that is wonderful; I'm sure I'll review it at some point. Until the day that Sigur Rós once again convinces me (as they always do) that music can truly do amazing things, I'll be listening to their previous CDs, listening, conducting, and enjoying.

Here's a link to their Myspace

http://www.myspace.com/sigurros

Until next time, enjoy :)

"Please Come Home" by Dustin Kensrue

If you have a porch with a rocking chair on it, you get fifty bonus points for listening to this album on it. "Please Come Home" by Dustin Kensrue is Kensrue's solo project away from Thrice. Now, before you think, "Whoa, Thrice???" be assured that Kensrue is one versatile guy. This album is an acoustic set with a Southern feel (the album artwork contributes to the vintage feel of the whole set of songs). The lyrical excellence of Thrice is here, as is Kensrue's rock solid voice. I had the opportunity to see Kensrue perform most of this album live, and he sounds exactly the same live. In short, this guy's the real deal. Here we go!

1. "I Knew You Before" - This song begins with emphatically strummed acoustic guitar and the sweet southern twang of an electric guitar. The theme is potent and relevant as well. Kensrue singes of a young woman, who he used to know well, succumbing to society's pressures and using her body and other superficial things to get the attention of people. The lines of the chorus are especially blunt and well-written. They capture the change of the girl over time: "Oh, and all I can say is I knew you before you were beautiful back then; before you grew up, before you gave in."

2. "Pistol" - Break out the harmonica! "Pistol" is by far the most romantic song on the album, despite it's name. From what I've heard, Kensrue wrote this for his wife, and adoration for her is pouring out of the lyrics. However, it doesn't stray into the unoriginal love song formula. He compares his wife to a pistol who "shoots [him] straight and true." I picture a man serenading his love on the back porch; it's intimate, but accessible at the same time. In the ultimate profession of love, Kensrue declares "Time to lay down my life, honey I'd do it gladly for you." With guitar and harmonica trading off importance over the course of the song, this is easily one of my favorite songs on the album.

3. "I Believe" - This song is just a great, simple song that encourages both head bopping and foot-tapping. Kensrue sings that "It's safe to say, I really don't know a thing" but that he firmly believes there will always be more good things down the road. I can't say this was one of my favorite songs of the set because it was almost bare in terms of melody, but the lyrics are, as always, well-written and well-sung.

4. "Please Come Home" - This is another of my favorite songs on the album. It is a heartbreaking plea from a father for his son to come home. The son had apparently left home and gone his own way, hitting rock bottom along the way. Still, the father loves his son unconditionally, and waits for him, staring at the road with tears in his eyes. He assures his son: "Don't you know son that I love you, and I don't care where you've been." Piano and guitar emphasize Kensrue's anguish-filled lyrics in what is probably the most emotional song on the album.

5. "Blood and Wine" - Easily the most humorous song on the album (in a dark sort of way). The narrator of this song is, to put it lightly, not sitting atop the pinnacle of society. A womanizer and a drug user, this song is about his own unique view on life. Drums and guitar run along urgently with the lyrics, mirroring the same frantic nature that I'm sure pervades this young scoundrel's life. A quick, energetic, and fun song.

6. "Consider the Ravens" - Another great song about a man who has little but nature and faith (plus the title's just plain cool). The narrator is sick of the pressures that society places on him; money ain't his strong suit. He's content with what he has, though: "Between the river and the ravens I'm fed, between oblivion and blazes I'm led, Father give me faith, providence, and grace." A plunky piano solo adds exponentially to the song, in my opinion. Listening to this song, you might as well be sitting in a saloon in the Old West. Sit back and enjoy.

7. "Weary Saints" - Kensrue is a master of writing from the perspective of others. This song is no exception. Here, he rights from the perspective of who I assume are travelling saints - missionaries, maybe. In addition to the guitar, which runs persistently on with the same general rhythm (much like the steps of the traveling saints), the lyrics take the form of a continuous narrative, as opposed to a verse and chorus feel. Kensrue captures the confusion and faith that the saints would feel, and presents them not as ethereal messengers of God, but more as human men, just as liable to have doubts as anyone else.

8. "Blanket of Ghosts" - This song opens with organ-like synths, setting an almost church choir-like atmosphere for the song, though it's more of a personal reflection than a song praising God. This man is lost; it seems he tries to do what is right, but always seems to miss his chances. He wants to go to Heaven, but he's not sure he can. He asks to be buried in snow until he's worthy. He asks; "Wake me when it's Springtime in heaven." A beautiful song to close out the album.

This album is quite different from Kensrue's other band, Thrice, but most certainly not in a bad way. I've never been a particularly religious man, but I respect the raw faith and emotion that he infuses his songs with. His lyrics are always emotional and well-written, and his raw voice multiplies the power of his lyrics tenfold. At a half-hour, this album is a perfect one to listen to if you have some spare time. Alternately fun, sweet, and questioning, this is Kensrue in top form yet again.

Here's a link to his Myspace

http://www.myspace.com/dustinkensrue

Until next time, enjoy :)

"Sigh No More" by Mumford & Sons

This album may be a relatively popular indie/alternative new release, but I think it still warrants a post because the songs on it are so unique in their alternative rock/freak folk sound. A quick disclaimer: I was already predisposed to like these songs as soon as the band had the ideas for them. Why? Banjo is one of the main stars of this album, and, as I have said extensively, I love me some banjo. The album artwork gives a fairly good representation of the music on the album. Namely, that its unique and quirky (exhibit A on the cover: the members of the band are posed inside an old-style shop window like mannequins. Unique much?). And with that, here we go!

1. "Sigh No More" - The album opens off in an almost Fleet Foxes-esque manner. A cappella style vocals, accompanied by simple piano and guitar. Around the midway point of the song, however, the Londoners of Mumford & Sons kick it into high gear with energetic vocals synth, guitar, and banjo! Overall, a strong and head-bopping opener.

2. "The Cave" - Banjo and almost indignant vocals share the stage in this song. Trumpets enter into the works as well in what becomes a wonderful cross between folk and rock. The lyrics are also clever in this song, as the narrator steadfastly declares "I will hold on hold on and I won't let you choke on the noose around your neck, and I'll find strength in pain and I will change my ways." The song builds to an triumphant and uptempo chorus that takes it out with a bang.

3. "Winter Winds" - We've got some good old fashioned guitar and banjo strumming going on in this song, which makes you feel like you're sitting around a campfire in the mountains somewhere. There's just a raw sense of joy to this song. Trumpet and other instruments combine to create infectious choruses. The song's message, in my opinion, is simple: we're all going to die eventually, so let's make the most of it while we can. That's it really. This song just sounds like, well, life.

4. "Roll Away Your Stone" - This song opens up with a meandering guitar rhythm akin to what you might hear on a morning in the country. Then, the tempo kicks into high gear as the day gets going. If you don't know this about me by now, I feel I should let you know that I'm a big fan of the banjo. The lyrics of this song also echo with a sort of sarcastic irony that I found extremely refreshing. The narrator muses: "It seems that all my bridges have been burned, but you say that's exactly how this grace thing works." Great music and lyrics + made me chuckle = happy listening camper.

5. "White Blank Page" - There's a bit more urgency to this song than others on this album. The song echoes with feelings of frustration at a love scorned, held back as much as possible, but still boiling under the surface. Vocals echo the feel of the lyrics perfectly; you can almost hear the concealed rage in the narrator's voice as he sings: "You did not think when you sent me to the brink... You desired my attention but denied my affections."

6. "I Gave You All" - This song fools you. It starts quietly, but builds into one of the most furious songs on the album. The impression I got was that a relationship is over, but the narrator doesn't quite understand. He asks, "How can you say your truth is better than ours?" As his anger grows, so too does the volume of the music and vocals. A chant begins: "I gave you all"... softly at first, then repeating over and over again, growing in intensity and anger until finally it explodes into a furious and still-confuses release of emotion, finally ending with "And now you've won, but I gave you all... [repeated]". Our narrator's pissed, and this song packs quite a punch.

7. "Little Lion Man" - This has been the biggest commercial hit off the album, and I'm sure you've heard the chorus to it somewhere. It's one of my favorites. The song starts with eager strumming. The song its entirety has sort of a controlled frantic-ness to it, as though the narrator has messed something up and is trying desperately to fix it. The chorus gives us a look into the heart of the problem: "And it was not your fault but mine, and it was your heart on the line. I really fucked it up this time, didn't I my dear?" Sentiments that have been echoed by men that have probably been echoed at least a couple times over the course of history. The song ends with a vocals-only repetition of the chorus, reinforcing the fact that the fault lies with the narrator, and with him alone.

8. "Timshel" - Though I think it's one of the least dynamic songs on the album, I liked it all the same from the beginning due to the name of the song along. For us literature nerds, "timshel," which John Steinbeck translates as "thou mayest," is basically the moral of East of Eden. Incidentally, I interpreted this song as a sort of retelling of the story line of the classic novel. The song opens up in Fleet Foxes fashion and builds slowly, using emotional lyrics that revolve around the idea of brotherhood: "But you are not alone in this... as brothers we will stand and we'll hold your hand."

9. "Thistle & Weeds" - This song echoes the sentiments of "The Cave," as the narrator sings about feeling alone and abandoned. He seems to feel as though his faith in God has gotten him nothing. He laments to God, "I know you have felt much more love than you've shown." Still, the narrator refuses to give up his entire system of beliefs. As strings, piano, and guitar provide some of the most emotional music on the album, the narrator sings out and repeats, "I will hold on." The song is pure, raw emotion, and it's one of the most affecting songs of the set.

10. "Awake My Soul" - This song is a bit more uptempo, and takes on the feel of musings. The narrator feels as though he is weak, and he must admit it. Still, he knows there is more to him than meets the eye, and he sings out to someone (it could be be God, it could be a lover, I guess that's where personal interpretation comes in) that, though he "struggle[s] to find any truth in your lies," he begs for whoever he sings to to "awake [his] soul." Through bass, banjo, guitar, and what sounds like organ, the song builds up to a hopeful repetition of a chant of "awake my soul." The song is uplifting in a down-to-earth kind of way. It allows you to buy completely into what this man is singing.

11. "Dust Bowl Dance" - Probably one of the best-written songs on this entire album. It song opens as a ballad, with solitary piano and vocals singing of the desolate Oklahoma panhandle during the time of the series of events surrounding the Dust Bowl and the resulting migration west. Banjo joins piano in what turns into a beautiful song, rich with emotion. It truly gives you a sense of the hopelessness and resignation people must have felt as they turned their backs on land that they had poured their sweat and blood into, only to have it spurn them by becoming barren. The narrator of the song becomes a man who is alone and has nothing to lose, a dangerous combination. Lay back and listen closely - the lyrics make this song a humdinger.

12. "After the Storm" - The final song on the album continues with the theme of "Dust Bowl Dance," ending the CD with our narrator beaten down, but not quite ready to give up hope. He sings about a time when he will once again be happy: "And there will come a time, you'll see, with no more tears." I got the impression that the narrator was either an older brother singing to reassure his little sister that they would see home once again, or a young husband reassuring his young wife of the same thing. The song tugs at your heartstrings, and ends the album beautifully.

When I first listened to this album in the car, I was along in the car. Immediately upon finishing the CD, I began it again and sang along with it all the way through once more. The album is overflowing with raw emotion, which makes it an extraordinarily powerful listen. The vocals are rough, making the always well-written lyrics that much more impactful. If you've never considered yourself much of a folk person, this is the perfect album to serve as an introduction. If you're a music fan in general, this is a perfect album to add to your collection.

Here's a link to their Myspace.

http://www.myspace.com/mumfordandsons

Thanks for reading! Spread the word if you liked the post and as always...

Until next time, enjoy :)

"Almost Everything I Wish I'd Said The Last Time I Saw You..." by Wakey!Wakey!

About a year ago, I made an impulse buy, probably one of the top 3 most impulse-esque music purchases I've ever made. One of the main reasons was, as always, the album artwork. It just screamed, "I'm going to be a cool indie-alternative album with some attitude, buy me!" So I did, and I'm so glad I did! This album took me a couple listens to get used to, but after I got used to the Wakey!Wakey! sound, I listen to it often. The best way I can describe this set of songs is that it almost has some musical theater elements to it. Almost every song has a bit of a theatrical feel to it. The instrumental and melodic work of this album is where it excels, as well as in its vocal rhythms and hooks. This album may be an acquired taste, but trust me, if you give it a chance, it will become a staple in your musical diet.

1. "Almost Everything" - This song starts the album off in amazing fashion, with amazing instrumentals featuring strings. The song may as well have been named "Something to get Andrew to Buy this Album." Not only that, but the song is touching. It's about a guy telling his love that he understands that things are rough right now, "but it's gonna get better some day." A great melodic song to start off this album, and probably my favorite of the set of songs.

2. "The Oh Song" - This song is exactly what it sounds. It starts with an extended "Ohhhhh" chant, which lathers, rinses, and repeats are various points throughout the song. The song has other lyrics though, don't worry, and though this song won't win any lyric awards, it's such a fun song to listen to that it doesn't matter. Violin makes another strong appearance in a wonderful little interlude in the middle of the song that builds into another chorus.

3. "Twenty Two" - I thought the whole concept of this song was great and original. It seemed to me that it was about a girl who got in over her head in a new environment, and the narrator of the song is telling her to leave while she's still got some money left. I also loved the chant-heavy chorus of this song, and the instrumentation and melody makes the song really catchy. With whistling sprinkled in at several points in the song, you can imaging the song playing in the girl's head as she packed, a last reminder of the guy who gave her some good advice. Overall, the song left me with the impression of "Life's gonna move on, no matter what happens."

4. "Square Peg Round Hole" - One of my favorites on the album, for a couple reasons. First, piano, strings, and vocals are the stars in this theatrical and infinitely catchy song. The chorus is essentially "Square peg in a round ho-oh-oh-oh-oh-oh-oh......." It's just so fun to listen to that you find yourself bouncing along with the melody. Simple, enjoyable music is one of the things that Wakey!Wakey! does best, and this song is a prime example.

5. "Dance So Good" - This song slows it down a bit, and it's another touching song. The narrator is trying to cheer up the girl in the song. He doesn't understand why she's so sad, when she's so beautiful. He wants her to cheer up and forget her cares for a while on the dance floor: "So tell me why we're talking when we dance so good." It's another wonderful song about taking life as it comes and making the best of it if life hands you lemons. A sweet song that brings a smile to my face every time I hear it.

6. "1876 - The Brooklyn Theater Fire" - Though I'm not a huge fan of the lyrics of this song (there doesn't seem to be a strong theme), the instrumentation of the verses and chorus, as well as the vocal harmonies in the chorus, make this song yet another enjoyable listen. For such a good melody, though, I wish the lyrics were a bit tighter. Not that that's going to stop me from conducting along with the chorus.

7. "Feral Love" - This would have to be my least favorite song on the album. It's got a nice groove to it, and there's a great instrumental section around three-fourths of the way through it, but the song doesn't progress much other than that. It's well executed, but it has a slight "filler" feeling to it.

8. "Got It All Wrong" - This is a great song, with great piano melodies with string accompaniment and still more well-written lyrics. From what I can interpret, the narrator is thinking about how he and his ex-girlfriend broke up when there was really nothing left to do to save the relationship, though they tried. Still, he thinks they may have been able to more, and asks continuously, "What if we got it all wrong?" Definitely a thought that has run through most of our heads at some point or another. The song finishes off beautifully with strings (what can I say, I'm a sucker for strings).

9. "Light Outside" - Ahh piano and strings, you've done it again. This is another of my favorite songs on the album. The instrumentation of this entire song is just plain beautiful. Electric guitars add in every once in a while for melodic bonus points. The lyrics are also well written and beautifully delivered. Yet another strong song.

10. "Car Crash" - I really thought this was a beautiful song, though it doesn't necessarily mesh with the feel of the album, in that this song is about a specific event - in this case, a car crash. The narrator is singing about how he's stuck in a burning car, "but at least you [his love] were thrown clear. When the strings, pianos, and brass enter for an instrumental lead in to the final series of vocals, it is such a beautiful musical sequence that it gives me shivers every single time. Another of my favorite songs on the album.

11. "Take It Like a Man" - This is a very two sided song. On one side is a string intro that sounds like a Russian polka, and on the other is a beautiful string and piano-driven chorus that gets me swaying to it without fail. And then, just when you get comfortable, the Russian polka violin re-enters. Still, it's an original and fun song, if nothing else. It ends with another Russian polka section after an amazing, majestic chorus that is introduced by... wait for it... a great instrumental build.

My recommendation for after you hear this album for the first time: listen to it again. The songs go by fast, and listening to the album a couple times in a row really helps you pick up the little nuances that make this set of songs so enjoyable. This music is great for walking somewhere at a fairly quick clip. For some reason, it just motivates you to walk faster. It tugs at your heartstrings and makes you feel like you're ready to take on anything.

Here's a link to their Myspace!

http://www.myspace.com/wakeywakey

Until next time, enjoy :)