Senses on Fire- Mercury Rev

As this song crawls into my ear canals, starting its journey to the middle and inner ears and further on to the ultimate area of my cerebrum, I feel its progression, as though listening to a song in working- almost like being walked through its architecture and engineering piecing themselves together with the highlight of the song laying itself down for me- much to my liking.

The striking thing about it is how it develops itself into an audio complexity having started of with the simple sound of background raindrops. I find the high frequency sound at the beginning of the song to be very inviting. Then it slowly builds itself up to a siren with accompanying characteristic drumming. Characteristic because it reminds me of Joy Division’s She’s Lost Control. I have confirmed this suspicion by playing the two songs back to back, and I am comfortable to say that they sound similar. If you care to argue, do compare yourself. But in no way am I slating Mercury Rev of copying. In actual, I do admire the resemblance because I love how one good song prompts me to another good song. I barely noticed this likeness at first, but after much looping….

The first minute is purely devoid of lyrics. This could be a put off for someone who isn’t an instrumental music enthusiast, unlike me. Although I am sure we all have that one song we love so dearly that has dragging introductory instruments in advance of the words, but we tolerate because it’s just pretty and perfect that way. Well this song enters that category for me (and my list stretches longer than a song). And for me, this song would be fine still even if it turned out instrumental. For those who need lyrics, I don’t have much to offer than “My sense are on fire” and “Ready or not? Here I come!” But this mustn’t be a cause for frustration- limited by amount, the variation of intonation compensates.

The whispering voice comes from a distance, announcing to all, matter-of-factly that “My senses are on fire.” He keeps at this until the very truth of this announcement wakes him up and he tells to himself that his senses are on fire and finally for emphasis, he softly screams to himself “My senses are on fire” (uh-oh!) The urgency of this knowledge is further accentuated by the siren that follows.

Then he says “Ready or not? Here I come” times four. I wouldn’t know if the change in tone in all four times was just vocal sprinkles or if it actually carries any weight. But to my own interpretation, the first time he is informing the other person “I am charging at you with my senses on fire. And off I go!” The second time he sounds like “Whether or not you’re ready, I’m coming at you.” The third time, he stresses on not in “ready or not”, which makes him sound impatient. And at last, he says “Ready or not?” for the sake of formality, without any intention to an answer or to intimidate or to demonstrate irritability; before he finally executes “Here I come!”

Immediately to follow is again his declaration to the world that his senses are on fire. I hear a plea for help which fades weakening, perhaps because nobody is listening or offering anything. Then he exits by repeating the words to himself to serve no purpose at all, almost like a robot malfunctioning and reciting an instruction from its dying brain over and over.

Another attraction to this song is how it begins with low mood music that bounds you to think of it as the theme of the song, however enters a zone of energy and anger with “Ready or not? Here I come” before fading downwards again.

I cannot resist saying to the musicians: well done!

Senses on Fire

ps: My apology,I had trouble putting up the link to Joy Division here, so you're gonna have to work a muscle to find the song.

In Praise of the Vulnerable Man (in praise of my feminist alter ego)

I will start off with a thank you for the invitation to the inventors of this blog- Kye & Fifer. =)

I do have quite some songs I wish to write my opinions about....but I would like to honor my first post to Alanis Morissette.


Yup, Alanis is back and back with her long wavy hair too. I have yet to listen to the whole album to comment on it, so I'll just limit myself to the songs I've been overplaying.

The first single is Underneath. It caught me the first time, but didn't really have that intensity to stay around much at the beginning, although it soon infects me. And very Alanis of the lyrics- aren't we glad for this? Also, New York Magazine named it the best song we’ve heard all day.

There is no difference
In what we’re doing in here
That doesn’t show up as bigger symptoms out there
So why spend all our time undressing our bandages
When we’ve the ultimate key to the cause
Right here all underneath

The first song that I kept on repeat is Orchid. I like how the song opens with a simple acoustic guitar followed by her singing "Me and my helmet, such an unconventional kid. All intense and kinetic, at best tolerated from afar." And I guess as with all Alanis' song, the lyrics will keep coming at you in striking brilliance. I will rest my case with the next line of lyrics:

I'm a sweet piece of work
Well intentioned and unloved
Unlabeled and misunderstood
Treated like a rose as an orchid

Next is In Praise of the Vulnerable Man. On a first listen, this song started off weak for me, but wait till the chorus. And then when you get back to it, the whole song will sink you in. It may just begin as a romantic love song, but with a title like that (and the fact that it's Alanis), you keep in mind that something else is developing:

And I vow and I vow to be true
And I vow and I vow to not take advantage
This is in praise of the vulnerable man
Why won’t you lead the rest of your cavalry home
This is a thank you for letting me in
Indeed in praise of the vulnerable man

I will end my Alanis tribute with Tapes. When everything appears dark for no apparent reason and the world reminds you again that it is the mastermind behind the conspiracy to bring you down and you feel uncared for and you want somebody to agree with you to all these, this song comes as a sort of emergency treatment before friends can intervene. I love how her voice fades towards the end. A good kind of eerie.

I'm too exhausting to be loved
A volatile chemical
Best to quarantine and cut off
All these tapes in my head swirl around
Keeping my vibe down
All these thoughts in my head aren't my own
Wreaking havoc

Chad VanGaalen- Willow Tree

What I like about Chad VanGaalen is that he sounds fragile, but steady. Like a spider's web. In Willow Tree, this is resonated through out the seemingly simple pluck of the guitar. It's just a duet between the two of them, until the accordion eases its way in. And there you have the sweetest love song. Utter devotion, but plainly put- no affectation whatsoever. Surely this is not romantic love he's singing of. Romantic love is never this selfless.

Sleep all day
Just waiting for the sun to set
I hang my clothes
Up on the line

When I die
I'll hang my head beside the willow tree
When I'm dead
Is when I'll be free

And you can take my body
Put it in a boat
Light it on fire
You can use the kerosene

Take my body
Put it in a boat
Light it on fire
Send it out to sea

Chad VanGaalen- Willow Tree

Gfc- Albert Hammond Jr

Gfc- Albert Hammond Jr.

Gfc from Albert Hammond Jr's new album, ¿Como Tel Llama? is ticklish. The high-pitched innocuous riff, the rise and drop of the bass, are like tips of feathers that relaxes you into thinking this is harmless.
It is all a trick.
“Inside me there's a sad machine, wants to stop moving. I disagree for the things you do, you should stop doing it' sounds passive, almost laidback from Albert's nonchalant tone.
Then suddenly he lets go and tells you the truth. 'Oh! All the while, all the while! I want the frustration to know that you are alright. Not what I was doin'...you played a fool!'
Then he calms down, and the music releases all energy and reenters it's sleepy lullaby. But it is only momentary, before they pick you up again and toss you against the wall, the bass and drums steadily keeps your attention, lets you know this is grave business. AHJ pins you by shoulders and accuse you again and again. 'Hold my head, it's about to fall, all that is happening,' Albert pleads, resigned. Follow this with the guitar angsty guitar solo, refrained from complete self-righteous anger by the soft and carefree 'Ooh' accompanying it.
And like one who has bared everything, but in the midst of it all, in self-deprecating fashion- thinks he makes sense to no one; AHJ abruptly gives up. Gfc ends, without an exit. Leaving you behind, the jilted-lover. Unhinged, assaulted, wanting.

Review: Apostle of Hustle- National Anthem of Nowhere

There is a breed of songs that make me feel a certain way. It feels like my heart is being caressed, and I am dizzy and ecstatic by the intrusion of sound into something otherwise heavily protected by my lungs and ribcage. It is like that feeling I get before I pass out. But it is marked by the onset of pleasure instead of pain.
The waves vibrate throughout my cochlea, and the chemicals released at the acme of its helica stimulate that part of my brain that has the postal code: HEAVEN.
Like all highs, the feeling is but fleeting. I soon tire of the song, that I so easily fell into love, playing in loop. I would have to take a break from it.
For now, National Anthem by Apostle of Hustle is steadily pressing the buttons of my 'happy' cortex.
Oh those trumpets that still try their darndest to keep spirits high! But the bass and drums won't lie. They are pragmatic, they are constant and keep us from steering away too far. That easy riff, the glue that shifts the weight of its thickness to keep everything together. It is the riff of deception, letting you hear what you think you want, then pushing you away when you come to close.
And Andrew Whiteman's voice, that soft drone of a man singing between consciousness and higher grounds. His voice is like the waters of the Dead Sea, silky and salty, and lingering. He begins, 'we know words float through her veins, her sexual use of pain. as she sends her sailors in. well, they don't come back, and they don't give in.'

But suddenly he breaks free from entrancement, and yells desperately post-hard riff, 'oh the sea I cannot save! from across the waves! with a knife!' He then resigns and sadly croons, 'Sleep comes This can’t last long Darling, watch the sunrise Sleep comes This can’t last long
Darling, watch the sunrise'


Then the riff takes it away. Takes away the regret, tells us that it is sad, but there is nothing wrong with that.

And repeat. And repeat. And repeat.

Apostle of Hustle- National Anthem of Nowhere