Monthly Archives: July 2012

Test Case of Music Exposure: Kari Kimmel – “Black”

Black cover art

I admit that I am a “Walking Dead” fan. Despite all of the frustrations associated with watching this show (Carl…Lori….so useless) I cannot help but continue to stick around to see if the program can live up to its full potential based off of its neat premise. Here is The Walking Dead Season 3 trailer from Comic-Con. Premieres October 14th on AMC.

Not going to lie here, the music  that starts at the 2:43 mark is pretty badass. It’s got me giddy for the Walking Dead again, even though I was exhausted from the atrocious pacing from Season 2. Oh well, it’s time to strap up and jump back into it again. However, since the tv discussion is best left to Dylan and his expertise (Although I like how he’s the lone supporter of the Newsroom haha), I must redirect the focus back to the music.

Although the comments on the youtube video of the music I will link below is dominated by nothing but Walking Dead discussion, I must admit that the track is pretty good as a stand-alone. It’s definitely a Wild Wild West kind of track with those twangs and devil may care attitude that is evoked.

According to her bio, she has done everything from writing, recording and co-producing her own music to placing her songs in over 250 film and tv shows from House and Being Human, it’s safe to say that Miss Kimmel is a well known artist among the sound people in Hollywood.  To provide context in how music and television are linked together, I pulled this Youtube comment out: “The day The Walking Dead trailer came out I found this song. It had 16k Views. Now it has close to 107k.” That was only a week ago. So here’s my question: How much of Kari Kimmel’s popularity is attributed to her talent, which attracted attention from producers and featured her work? To what degree is it the other way around? Finally, the question that remains is this: Does it matter anyway?

Quick thoughts to muse about, but in the meantime enjoy that track.

You Got Here How?

The latest YGHH features two like minded souls in search of one another, though they don’t know it yet. Somewhere, a boy and a girl are each looking for that person with whom they will spend the remainder of their life. A quiet existence. A modern existence. A low-key existence. Each cog in this match made at a Wavves concert is lonesome and deserving, yearning for a like-minded couch ridden companion. I feel that it is my duty to match these two together.

Step forward, that boy longing for “sexy lazy girls” , and step forward, that girl looking for “tumblr boys weed”; a life composed of stoned late night viewings of Malibu’s Most Wanted awaits.

Celeste and Jesse Forever – Film Review

It’s not perfect, but it’s wonderfully real and funny, and that’s all that should count. An excellent addition to and would-be influence on the genre of female-driven romantic dramedies.

Rashida Jones co-writes and stars in this film, and I can see how it could be polarizing. Shot in 22 days, director Lee Toland Krieger worked on a tight budget with strong actors and put together a film that tries its hardest to be incredibly realistic, an effort to be commended. However, on some minor level, it fails to reach that sense of total realism that other films like Young Adult have reached. Initially, I believed it to be Andy Samberg‘s performance, but upon reflection, I think it could be one of four things–the rhythm/pacing of the performances in general, underlying faults in an almost-there script (which could also very well be all-the-way-there), the rhythm/pacing of the direction, or the pacing present in the editing. It might be more than one, but I’d assume not. Regardless, the film is better (and funnier) than a whole bunch of other female-driven dramedies out there, so I’d definitely recommend the film. I’m just nitpicking.

The plot centers around Celeste (Rashida Jones), a controlling, smart, capable woman in the midst of a too-friendly separation with her best friend, man-boy Jesse (Andy Samberg), which turns less friendly when Jesse begins dating, and two big surprises are dumped on her lap, one at work (by her co-worker, played by Elijah Wood, in the form of a bratty pop star played well by Emma Roberts) and one at home ([SPOILER]). Chris Messina, Will McCormack, Matthew Del Negro, Ari Graynor, Eric Christian Olsen, and Rafi Gavron also get to have fun playing small roles that factor into the plot at various times.

What’s nice about the characters, and the performances therein, is that they feel incredibly real, like they could definitely be someone you know, and this could really be something that happens to them. Celeste is at times unlikable, and Rashida Jones isn’t afraid to play her like that, but at other times, she is also immensely relatable, wonderful, likable and human. Jesse is lazy and unmotivated, but he’s also funny, talented and growing into responsibility, slowly but surely. Paul, played by Chris Messina, isn’t a perfect man, but he’s not a caricature either, nor is Emma Roberts’ Riley Banks. They have layers, like everyone does. The fact that the film is unafraid to present all of these characters as unabashedly and sometimes unlikably human is courageous, noble and beautiful. It’s a great trend in a genre like romance films, which tend to be generic, formulaic and, frankly, stupid.

The message is great as well, with the absolutely brilliant ending serving as a great reminder as to why it’s so great. Most films would cop out of an ending like that. Not this one. And that made the entire movie so much better. What’s the ending?

You’ll have to go see it for yourself to find out.

Two Door Cinema Club’s New “Sleep Alone”

Two Door Cinema Club, the Irish, Indie Rock band is out fresh a couple days ago with “Sleep Alone”. They’ve actually have had this song for about a year now, but it is the first single from their upcoming album “Beacon” comes this fantastic effort following their insane premiere with their first album “Tourist History”. They’ve already set the bar pretty damn high with infectious hits such as “Something Good Can Work” or “What You Know” and coming off of great works like that, it’d be pretty hard to live up to. But the trio has definitely not lost their energetic, upbeat sound with this fresh track. 

From the start of the drums and the song, it definitely pulls the listener in. The hook of the song is very enticing and then sets the stage for the listener to listen and enjoy the rest of the song. While not as dance-y as “Something Good Can Work”, there is something just as contagious about the song. I personally like the parts where he says ‘Hold, hold , hold’ or where he stretches out ‘mind’ later in the song. The whole song just fits together, and is so damn appealing whether it be from the tinkling guitars, catchy vocals  or just that damn beat that keeps your head bobbing from its energy. Two Door Cinema Club still has it going on, especially with “Sleep Alone” and is for sure a great listen.

Now regarding the lyrics, reading them, you can get a bit of an insight about where the band comes from. Coming out of Northern Ireland, they actually left the Bangor Grammar school to pursue their musical interests. So taking a look at the lyrics, one can see that their musical pursuit comes from their confidence and passion to go and grab their dream of making music. That comes true in the chorus when it’s said that “He sleeps alone….And they can’t hurt him if he can’t see them, oh…The deepest desires in my mind”. Essentially the song’s meaning acts as a basic round-up of TDCC’s own confidence and courage to go out and grab what they desire most. Nice stuff:


Now, my only goal is to see
And I’m always fast asleep
It takes more than strength to find
This peace of mind

So I’ll hold, hold, hold
Hold it close to my heart
Beating with every step
Hold, hold, hold it close

He sleeps alone
He needs no army where he’s headed
‘Cause he knows
That they’re just ghosts
And they can’t hurt him if he can’t see them, oh
And I may go 
To places I have never been to 
Just to find
The deepest desires in my mind

We, we only know what we see
‘Cause we’re always fast asleep
Is it so hard not to believe
That we’ll never know

Oh, hold, hold, hold
Hold me close
I’ve never been this far from home
Hold, hold, hold me close
He sleeps alone
He needs no army where he’s headed
‘Cause he knows
That they’re just ghosts
And they can’t hurt him if he can’t see them, oh
And I may go 
To places I have never been to 
Just to find
The deepest desires in my mind

They’re in my head
And I have said
That I must be like you now
Who sleeps alone (x2)
And one last chance
To make sense
Of what has long escaped us
He sleeps alone
I sleep alone

He sleeps alone
He needs no army where he’s headed
‘Cause he knows
That they’re just ghosts
And they can’t hurt him if he can’t see them, oh
And I don’t know if in the morning I will be here
And if so
Let it be known
That I was worthy, I was worthy, I was worthy, I was


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“Ichiro’s Theme”

Here’s “Ichiro’s Theme” by Ben Gibbard (Death Cab for Cutie). Here is what he said about it: “I wrote this a few years ago. Today seems like the best day to let you all hear it. Thank you, Ichiro.” God it’s so weird being a sports fan right now.

Of Mice & Men stream “The Flood” Reissue (featuring 4 new tracks)

Rise Records is currently streaming the entirety of Of Mice & Men’s “The Flood” reissue, which features four new tracks from the band. The reissue drops thursday. This marks the band’s first material without bassist/vocalist Shayley Bourget, and Austin Carlile handles all vocal duties.

The playlist with all songs can be found here:

Check out one of the previously unreleased tracks here: 

My thoughts: The band has taken up a noticeably heavier and more groove-oriented sound compared to older material. Chuggy breakdowns still abound, but the production is significantly grittier and the guitar tunings have dropped even further. Personally I appreciate their attempts to evolve, since the sound from their self-titled record has been so overdone in the past few years, but I find their need to detune guitar strings more with every record a little disappointing. Austin Carlile’s screams have always been the high point of the band, and they sound far more biting when accompanied by riffage in C# as opposed to B or A. Regardless, the new tracks are enjoyable and bode well for their upcoming third record. (One more note: The first new “song,” The Calm, is really just and intro and probably shouldn’t have been billed as a full track).

My Top 5 Most Played Songs and iTunes (And what I have to say about them)

So here I am, sitting on my computer with a desire to write about music and myself. And there you are, with a desire to read about music… and me! Don’t be shy, I see your daydreams. Serious business ahead though, here are my top 5 most played songs on iTunes and what I have to say about them.

1. On Melancholy Hill, Gorillaz
I’ve been saying for years now that the best song of all “modern” music is Clint Eastwood by the Gorillaz. I have yet to find a soul that doesn’t love it. Regardless On Melancholy Hill is easily my favorite Gorillaz song. It’s relaxing, sentimental, somber, hopeful, and uplifting all in one. I’ve listened to this song in a vast variety of moods and each time it pleases in a different way.

2. So Damn High, Sol
Okay, so this one doesn’t need a whole lot of explaining. Suffice it to say that this song was played many-a-time after returning home from a night of debauchery. Sober or not though, this song will always remind me of high school and many nights spent just thinking… and thinking.

3. Party and Bullshit in the USA Hathbanger
Similarly, this song screams freshman year shenanigans to me. Why? Because Miley Cyrus, that’s why. This was probably one of the first really good mashups I ever listened to, so cheers to Hathbanger, here’s to taking apples and oranges and making oranpples.

4. Veridis Quo Daft Punk
On a similar level to #1, Veridis Quo is able to pack a whole lot of feelings into just a single song. It gives off a vibe of exploring and discovering something new (Hint: watch Interstella 5555). It also brings back the memory of figuring out for the very first time that “Veridis Quo” is a homophone of “Very Disco” which when switched becomes “Discovery” (The album name). Minds were bottled that day.

5. Livin’ The Dream (I’m on a Float) Super Mash Bros
Again, mashups. To this day I still can’t hear Viva La Vida without trying to break out into Twista rap. Chris can have his opinions on mashups, I’ll have mine, which are right. Regardless, this song is crazy and actually a blast to listen to.

❤ Cheers