'Single
songs are sweet little kisses, but albums are sloppy, wet kisses from
the one you love.' (Eric Alper, Toronto)
This
assertion caught my eye and attention on twitter recently. As I found
myself nodding in agreement to it (in belief I perceived and
understood the essence of this slippery yet accessible metaphor) I
began to wonder if I might have been all too quickly lured in,
without decently reasoning out the statement's scope.
It's
a frequent phenomenon that musicians release singles instead of albums
nowadays. It's for multiple reasons, whether they want to introduce
their music to an audience, make a musical mark and define their
sound so people know what to expect of releases yet to come, so
people get a glimpse of what shapes their being as artists, or they
launch it to prelude to an album, to shorten the wait for its
release, or put it out there to get a positive response - not only a
response to their creative compositional endeavours, but also
financially, as many hope to make people thereby more inclined to buy their
music. After all it's only one song, equals approximately 79 pence the affectionate listener would spend on it (which is in my book way too little, given the
investement of time, passion, constructiveness, money itself, given
the musicans' aptitude, emotional involvement whilst he puts heart
and soul into every single note he composes - but this isn't about lecturing,
it's not wrong though to be aware that the amount of effort, the
song's emotional and creative value isn't reflected in the songs'
actual one. Any way, that's a different story, hence moving on...). Thus, whenever a musician decides to bring forth a single, not a
full length record, it doens't necessarily mean he is desperate to
release something in order to make himself a name among people, in
order to make money - at least not primarily. It's - in the best case
- for believing in the songs' strength to appeal on its own, being
memorable and eye-catching enough to draw attention to him and his
music making, prompt people to stick around for forthcoming releases,
even if the single eventually doesn't make the cut to be featured on a subsequent album.
Beyond
question, a musician must be confident about releasing a single only,
must be certain that this very song makes it to stir, thrill an
audience, to incite and introduce him, may it be for the first time
or in a new livery, tonally. Some dare to experiment yet most play it
safe, what doesn't deprive the songs from being inspiring, cunning
ones, yet admittedly attributes them to be catchy, accessible and
fetching at core. An album, however, has more time and space to
reveal its charm, to unfold its compositional range, its melodic
depth and thematic variety, its generic ventures and shifts even.
With a more or less vast number of colourful, distinct songs an album
takes more time to grow on the listener, yet is not running low of
the very same to reach out to those who are eager to listen, as it
doesn't depend so much on initial liking, on convicing its audience
within the few minutes of its duration like songs do. Sure,
favourites can be found on an album pretty soon in the process of
one's listening experience, yet the more time one spends to indulge
in the compositions provided, the higher the chances are that one
changes one's mind and find refreshing and appealing characteristics in yet another track on the playlist. Listening to a sole song can
also be surprising, suspenseful, yet it's undeniable that the tonal
dimensions of an album yield more intense and brisk, fulminant
moments for its audience to cherish.
Single
songs can be both expressive, convincing and inspired drafts of a
refined and colourful framed picture that eventually will be an
album, and they can be skilful, mature artwork, precise
'masterpieces' of art already. They are a musican's flagship, his
signature, audible attestors of the music making process, composed to
win an audience over, to make a lasting first or deepened impression
on the listener. Whereas the first impression can't be altered,
renewed, it can be intensified and approved by future releases.
And that's when albums come in, not only to engage previous listeners
once more, to confirm their first impressions as they present
something familiar, flattering but also to come up with something new
and edgy, audacious and bracing, without lacking an overall
compositional and melodic harmony. It's where pieces are put together
in chime, and even though it often seems as if there is no theme,
accord that connects all songs, there is almost always a musical
meeting point, a compositional concord and unifying concept indeed,
as versatile and as extensive all songs may be. It's an album that comes
up with a thorough and deep portrayal of the musician behind the
compositions, whereas a single makes an incisive imprint, yet gives
only a vague nonetheless trenchant direction of the music to be
created. It's an album, in the end, that gives a detailed, multifarious and coherent insight into the music an artist
aspires to compose and expose. The details, the spectrum of sound are
obviously brought about by each song featured.
Now, back to the metaphor: single songs are exciting, keen and intense, they surprise,
electrify, at least when done right. Whilst they sound, prospect and
anticipation is in the air, as singles foreshadow something yet to
come, but are solid, vigorous and imposing enough to speak for
themselves in the very moment. They seem to be indeed 'little' and
'sweet', yet perky and inciting, make you, as a listener and
enthusiast of the somehow familiar unknown, crave for more. They are
no heralds for an album only, they are the exhilarating and elaborate
offspring of a creative process, an offspring the musician is
satisfied with and believes in, otherwise he would not have shared
it, would he?! Albums, on the other hand, offer an eclectic
indulgence, one wants not only to come back to - yet singles invite
the listener to do the very same - but also to explore. Whilst doing
so, or even at first approach, the favourable listener may find songs
which simply don't speak to him, he actually needs to grow familiar
with. And even if he doesn't - who has determined music should be all
about liking, falling rampantly for a melody, arrangement, message, a
song displays and conveys? Music is also and foremost about
understanding and appreciating it for what it is: it's an outcome of
love and sincerity, the artist's love for the songs he composes and his honesty in
approach to them, it's a personal, means an emotional, soulful,
passionate project to realize for himself and his audience. Some
songs may sound odd - equals 'sloppy' and ' wet' in the opening
metaphor - at first, rebell against one's senses and requirements for
favour and fondness, the listener soon will learn though it's the
compositional boldness, deviation and versatility that excites, the
urgency and complexity, creativeness that deepens the affinity for
the sound evolving and altering throughtout the track; he moreover
will find that the stirring unpredictability and absorbing commotion - he eventually embraces whilst indulging in the suspenseful once
unfamliar, therefore peculiar, compositions - is a vehement and
forceful, ardent and promising incentive, just like a kiss from
someone he has deeply, inevitably fallen in love with.
Without
further ado now, here are 10 songs released as singles, strong and vibrant enough to capture, to make a solid music mark, defined and
determined yet also leaving room for the musicians to grow in sound,
to amend, to differentiate their standards. All out of the 10 songs
have come upon us in their own time, hence appreciate and enjoy ….
Genre: Blues Rock
Members: Daniel Parkin (vocals/guitar), Wesley Stringer (bass), Tommy Judd (drums)
Songs: Gimme The Night
Bang Bang
Gimme The Night
With languorous and melodically clinging guitar riffs, dynamic and
dim drum beats, deep, ambient yet sharply stirring vocals 'Gimme TheNight' comes mildly upon the listener and evokes a rather blue and
sentimental atmosphere, which is laced with a pinch of bluesy rock
attitude. The vocals' vigorous and punchy volume unfolds within the
chorus which leaves no doubt about the song's defining vein: it's
briskly, vehemently pulsating blues rock, infused with mellow,
dreamful but enthralling folk music characteristics as the
composition's intro has impressively displayed. As long as the chorus
lasts, fulminant and sonorous vocals of edgy timbre resonate and
adapt to the thrilling drum beats, to the brazzy and piercing cymbal
addendum, as well as to the vibrant and acutely ringing riffage. It's
eye-catching that 'Gimme The Night' boasts with a solid and rousing
chorus, further edged by almost screaming, yet controlled and sharp vocals which echo in a grungy and pricking manner. The listener is
lured in by a smooth, appolonian arrangement once more, awoken and
stirred due to both impetuous, scratchy vocals and audacious,
fast-paced melodies - it's a repetitive yet each time absolutely
absorbing pattern The Albino Peaches impose on their audience.
Apparently to stress the vehemence of the bold and fierce chorus
for the last time, a brief instrumental interlude sets in - lightly
resounding, faraway seemingly riffage is soon replaced by a
staggering and imbuing bass line, followed up by strong voice power
and an eccentric, keen tonal outburst, only to be concluded by a
reverberative drum finish, by the sound of clangorous cymbals which
stridently linger on. Electrifying, exciting and exhausting in good
way, 'Gimme The Night' strikes with a clamorous, then faint, with an
insistent, then melodically loosened, an overall dynamic and
challenging compositional concept.
Without any hesitation the listener is drawn into a fuzzy, swift
whirl of tensely wavering riffage, learns quickly that 'Bang Bang',
as the song's title already implies, is of fast-paced, urgent and
resolute tonal nature. The firm and grungy, to a certain extent cocky
vocals add to an upbeat and imbuing melodic picture. Whilst
staggering, feisty and nimbly plucked guitar riffs dictate the
rhythm, deep-toned and dim drum beats support, sassy and rebellious
vocals back the strongly reverberative and impetuous composition,
thereby make for an exciting and intensive listening experience. As
'Bang Bang' approaches its tonal resolution, the riffage disgresses
and shows off in a cracking, pulled manner, still bears a defined
rousing core, the vocals are stressed, thrusting - and the song
itself revolts one more time with an orotund, dashing and trenchant
drum sequence, interwoven with a scattered and straint guitar
backing. Eventually the band's frenzied and energetic opus ends with
a big 'bang' indeed.
soundcloud
Path Unknown (4 piece rock outfit from Southport)
Genre: Alternative Rock with grunge bits
Members: Benjamin Stephen Jones (singer/rhythm guitar), Jack Wade (drums),
Nathan Wheddon (bass), Patrick Hibell (lead guitar)
Songs: Sit & Wonder
Viral Parasitoid
Sit & Wonder
It's an atmospheric, gloomy setting you find yourself in listening
to 'Sit & Wonder', one that brings an apocalyptic and grim feel
into being which is fueled by both a 'grey' still stirring
instrumental arrangement and ethereal, huskily echoing vocals which
lucidly engross the composition. This resigned, bleak nonetheless
poignant tonal atmosphere is maintained until the one minute mark,
when inciting and dashing drum beats join in and the song gains pace
and dynamic. The now vigorous and dark vocals resound firmly and it's
with edge and sharpness that they break through the more trenchant
and absorbing instrumentation, being a tonal might that in the end
culminates in fluttery, erratic and nebulous riffage.
Melodically erupting, rhythmically evolving, it's intense sound the listener is exposed to with 'Sit & Wonder'.
Viral Parasitoid
Layer after layer, full of promise 'Viral Parasitoid' invades the
listeners' minds, lures with dreamy and smooth vocals, with a longing
and languorous sound - at first only by deploying light and haunting
guitar melodies, then by deepening the instrumental layout with a
soul-stirring, imbuing and mellifluous string section episode. The
instrumentation brightens, grows to be more dynamic and bracing
henceforth, is brisked up due to softly echoing polyphonic elements
and hollow, atmospheric percussion incisions which slightly sharpen
the rather mellow, gently flowing sound of 'Viral Parasitoid'. Its
sentimental undercurrent is stressed by lyrical disclosures such as
'I am the problem, you are the cure. I don't know what is wrong or
right anymore. I need you, but I'm killing you, I've become a viral
parasitoid'. It shows that the song's persona is torn between his
needs and the consequences of chasing and fulfilling them. In the end
it's not with virulence that the song reaches out to the listener,
in fact the melodies and vocals sneak balmly in - however, they do so
in a highly infectious manner.
website
soundcloud
bandcamp
Genre: Alternative Rock
Members: Gary Nelson (vocals/guitar), Iain Brewster (backing vocals/guitar),
Thom Bedford (backing vocals/bass), Ben Devenport (drums)
Songs: Afterglow
Hide & Seek
Afterglow
A gradually deepened instrumental intro unfolds, creates tonal
tension and reveals the song's defining components by degrees: for
the moment reserved yet atmopspheric in sound, an interaction between
imbuing bass chords and brassy, bright cymbal chimes takes the lead,
whilst vigorous drum beats slowly soak in. It's when a tight and
pulled, vibrant guitar riff strikes, broadens and merges into a
jaunty and energetic sequence of sound that the stage for raucous and
intense vocals is set - vocals which bear witness to regrets, chances
left unexploited as time goes by, as people move on, yet which also
admit that one has to take it as it comes and thereby grow with one's
challenges. The moody atmosphere of 'Afterglow' is loosened up by
frisky, electrifying riffage, accentuated and incisive drum beats,
later on by a rousing and evocative bass line, further on by airy yet
rasp backing vocals; a dominant longing vocal colour reminds of the
gloomy lyrical content still. Whereas the instrumentation eventually
revolts, excites with a final rapid and fulminant dash, the vocals
subside in a rasping, faint yet emotionally stirring manner, firmly
concluding: 'Times they are changing, can't sleep at night. Nothing
is perfect, we'll be alright. My body's aching, mind on the floor,
take a look darling, ready, unsure.'
Hide & Seek
Only about 2:30 minutes lasting, 'Hide & Seek' dashes from the
very beginning with exhilarating and bold dynamics. Rough and
energetic guitar riffs, vivacious drum beats and a dark bass echo
swirl fuzzily and in an edgy manner, sharp and raw vocals are backed
by an evocative and enigmatic choral-esque arrangement, when a
rapidly wavering and vehement instrumentation gains the upper hand.
The vocals split into a sometimes fervent and fierce, sometimes dim
and grave component - lead and backing vocals blend in chime,
intensify, a staggering, impetuous drum period sets in and stirs up.
As the composition approaches its closure, the riffage blurs, comes
forth frantic, erratic, foremost exciting. It shows that 'Hide & Seek' is definitely no song to be in hiding - audacious, spirited and
atmospheric, it is one that exposes itself loudly and vigorously in
all its diversified and dynamic glory.
bandcamp
Genre: Psychedelic Rock
Members: Jack McAllister (vocals/guitar), Jack Sanders (lead guitar/vocals), Andrew Hawley (drums/vocals), Sam Knott (bass)
Songs: Under Your Thumb
Art Of Retribution
Under Your Thumb
'Under Your Thumb' is rock 'n' roll with soul - atmospheric,
bracing and full of ideas. Sonorous and rich in sound, the
instrumental concurrence of sweeping guitar riffs, an imbuing and
suspenseful bass interlude and pungent, feisty drum beats calls
heavily upon the listener. The harmony and diversity of vocals - once
passionate and incisive, then bluesy, darkly shaded and cocky,
another time diffusing in haunting, gloomy vocal murmur - involves
the audience further, stresses the message of the song in a bold,
expressive manner. Brutally honest, to a certain extent rebellious,
the lyrics tell of a relationship in which one lover doesn't want to
be formed and controlled by the other, in which one doesn't want to
hold back, yet to embrace and accept the truth and wishes to
re-establish the affectionate interaction on the very same, as verses
such as 'green never looked that good on you, now it's about time I
told the truth […] spent half my time trying not to mess it up'
depict.
Eventually it's the whimsical, keen vocal layers, the thrilling
instrumentation, whose depth is primarily caused by accentuated,
rhythmic and piercing drum beats, whose dynamics rely on infectious
and ardent rifffage, that make 'Under Your Thumb' a song to return
to, and that without any outside demand, but due to a fiery, flaming
yearning.
Art Of Retribution (b-side)
Repetitive patterns of sound, rich in incentive and suspensful
contrasts though, manifest themselves and overwhelm the listener with
a ponderous, forceful drum episode, rampant, rushing riffage, brisk
and sharp vocals, in turns with an exuberant, almost quaint guitar
arrangement and a mellow, melodious vocal input. A story of betrayal,
astray relationships, of denied trust evolves. An audible insection
takes shape as guitar strings are struck in a deep, frisky manner and
prelude the atmospheric chorus of 'Art Of Retribution'. Eccentric and
tense vocals, a reserved, nonetheless passionate tonal accompaniment,
an apollonian and lucid polyphonic episode merge, accelerate and
segue in an imbuing and egdy interlude, which is quickly taken over
by harmoniously escalating, high-pitched backing vocals and spirited
riffage. It's the guitar chords that give the beat now - fuzzy,
fast-paced, vehement and dashing - whilst heavy yet carefully placed
drumming refines the song's instrumetal finish. A trenchant, rapid
tonal downfall engrossingly potrays the demise of deceiving men.
soundcloud
bandcamp
Listen to their interview on DrBones' music show
Apollo Junction (5 piece pop outfit from Leeds)
Genre: Electronic Pop
Members: Jamie (vocals), Matt (guitars), Jonathan (drums), Ben (bass), Sam (keys/synths)
Song: If I fell (release due on April 1st)
If I fell
Time
flies by quickly whilst listening to 'If I fell' - and as a listener
you indeed fall in, delve into the brumous and luring tonal space the
anthemic song provides, moreover you are captured by the dreamy, then
dynamic, electrifying sound the ambient composition reveals.
Initiated with a haunting, languorous keys section, accompanied by
gently lingering, sensitive vocals, the track runs smoothly and
unveils a sentimental longing. Vibrant and grave beats, perky and
sweeping melodies enrich the eclectic instrumental setting, brisk up
the consistently mellow and quaint arrangement, also define the often
elusive tonal moments with vivacious and refreshing zeal. Tingling
and incisively drawn synth components, an edgy vocal echo shape and
distinguish the overall melodic concept, blend well with the sunny,
euphonious nature of 'If I fell' as well. Reminiscent of Owl City's
music, Apollo Junction's blithe and colourful work soars up,
enhances in an upbeat fashion yet fades out dreamfully in a blurry
silkiness of sound. Honestly, who hasn't fallen for this poignant and
charming song by now?!
website
soundcloud
bandcamp
Midnight Hour (5 piece rock outfit from OC California)
Genre: Alternative Rock (their FB page claims 'Summer Music' to be their genre, and the band's debut single 'Modern Love' sure mislead to believe that, yet their sound has grown and is more egdy, feisty now)
Members: Bradley Lodge (vocals), Dan Ardis (drums), Tim Johnson (lead guitar), Jeff Fernandez (bass), Mark Johnson (guitar)
Song: Monster
Monster
Enthralling
and emphatic - 'Monster' announces itself in a jaunty and frisky
manner, flaring and fuzzy riffage merges with fast-paced and feisty
drum beats, when poignant and passionate vocals join in. A tense yet
dynamic tonal atmosphere is set from the very beginning, undeniably
furnished with a dim and adamant, absorbing melodic coating. Whereas
the lyrics tell of an untamed, consuming desire and do so in a
straightforward and narrative style, the instrumentation appears
impetuous but controlled. Brad's vocals are pushed, play to their
full potential, don't sound strained though, rather adapt a welcome
daring vibrancy, a perky and stirring timbre.
Frenzied
and swirling guitar riffs, a high-pitched and cracking vocal echo, a
piercing and accentuated bass line increasingly contribute to the alluring and
vivacious compositional concept of 'Monster'. Midnight Hour set free a hauting and catchy song with it, one that overwhelms with a
firmer, darker, more intense sound than the band's former releases
hold ready for the audience. It's as a whole a gloomy but brisk, spirited composition - now don't be scared and let the 'Monster' in ...
website
webstore
soundcloud
The band's interview on DrBones' music show has been removed from spreaker, yet you can ask @drcbones to send you the audio file.
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