Tea Time

GENRE: hip hop, rap, k-pop  I guess this was bound to happen at one point. Let me say this straight out of the gate though—it's not a very likable song. It's got some beats that I guess would be appropriate for dancing, but otherwise it doesn't have redeemable qualities that would reel me back in for another listen. Like honestly, it's probably just a song about having a cold. Or is it, you need chicken noodle soup and soda because the beat is so sick? If so, then I think I've solved the most interesting mystery that has me listening to this song. I will admit that the cadence and intonation of j-hope 's verses are particularly staccato and energetic. Becky G though... like what? I'm not sure if she's there as a discount Ariana Grande or something. I just can't get over what they're singing about it, while still maintaining such a serious composure. Is this comedy? Rating: 4.5/10

GENRE: indie rock Ok, after listening the recent song by beabadoobee, I figured it's about time I finally listen to this Stephen Malkmus guy. With this song, I'm hoping to peer into the indie scene from before I was actually into indie. Surprisingly, it's not too different from something you'd hear these days. There's nothing anachronistic about it I guess. With some bands, you can seriously tell that it was plucked from a different era. In my opinion, how this song and band achieves that is its limited use of instruments. You really only have a simple drum set, electric guitar chords (with a surfy vibe), and a harmless bass line. There's not much here to differentiate from other artists. Except, there is Stephen Malkmus. I have a feeling that his style of singing, being very laid-back and almost lethargic and in the throat, is what attracts his fans. What's more, it's probably the lyrical content that resonates with a lot of the current generation. I

GENRE: math rock tricot  continue to suprise me in their latest release. I've been a bit desensitized to their latest works just because of the timbre and instrumentation. It can get stale after listening on repeat. What does bring me back to this one is the creative use of rhythm and modulations interjected between verses. Although, there is not much to say about the instrumentation in this particular single, I can say some of their sections are highly redeeming. It also seems lately that the singer's melodies have gotten less melodic  over the years, for lack of a better word. My favorite section is undoubtedly the thrasher around two minutes in. Not only does it incorporate an awesome, novel riff, a half-time groove, the accompanying melody is pretty cool too. Of course, soon after we get to typical tricot  stuff. It almost seems like their getting poppier and trying to hit a certain anime  style of rock. I just don't think that's where they excel. Rating: 6.5/10

GENRE: math rock, j-rock Well, I personally know that I said I was getting tired of math rock for its genre-wide timbre and stylistic features. They tend to fall into the same tropes. This song is a little different in that they take a slower route to where they're going. The flute is a really  nice addition to the ensemble. The problem I have with most math rock songs is that they feel like they take the rhythmic complexity first before considering the underlying harmonies. It ends up sounding like chords thrown in a food processor.   On the the other hand, it genuinely feels like JYOCHO  took into consideration the structure of their pieces and the aesthetic of their progressions before turning it on the side with their rhythmic sensibilities. They don't go way off the tracks, and allow the complexity to take the backseat instead of overcomplicating the inherent piece. They're truly something to watch out for. Rating: 9/10

GENRE: jazz Shocking as it may be, this is actually a new song off some unreleased tapes back from 1964. I know very little about John Coltrane, and only know of his influence and grip on the ever-changing jazz genre. His saxophone work is something unique to him; quite frankly, I am not versed in jazz theory enough to truly understand the minute details that go into this song. What I can say though, is that it's jazz. Well, a little more than that. The backing harmony has a well structured rhythm. I would need a jazz chart to really look into the chord progression though. The sax work itself, I can't comment other than the fact that there is some thematic riffing here and there. I guess I can't truly appreciate the work unless I'm really in the moment and experiencing it first hand with my own instrument. There are a tone of improvisational riffs delving into really atonal, experimental territory, but that's Coltrane I guess. Rating: 6/10

GENRE: country My first impression is how solid of a duo this is. They share the lines so well together. I love the back and forth, especially when their voices are almost polar opposites. His voice has a sultry, smooth charm to it. Meanwhile, Loretta has such a bright tone. The combination reminds me of salted caramel. Also, I don't think I've had a fiddle be such an integral part of the song. It brings about a different dimension of authenticity to the whole piece. Alongside the fiddle, the cadence of the lyrics is incredibly jumpy. Honestly, it's as if their accent affects the way they sing their songs (which is researched well I'm quite sure).  I'm also a believer in the message they sing about. Conway Twitty is quite the romantic, isn't he? Rating: 8/10 

GENRE: indie  Today we're adding another one to the current library subgenre of "indie bands with a female-lead". It has all the bits and pieces needed, although I do have a few qualms here and there. The chord progression, although leaning on the side of cheesy, definitely fits well with her caricatured voice. Those strong descending chords are what I would describe as edgy and maybe drawn from another era. What I like most about this song is the sheer mood swings. You have huge guitar chords mimicking a Green Day  rock ballad (big fan by the way), and other times you get a small interlude of twangy surf rock and typical indie rock. Save for the simpler lyrics, I think this song has a place among the more influential songs that have altered my tastes over this year. Rating: 6.5/10

GENRE: rock Seriously, I need to brush up on my CCR  knowledge. I've heard so many of songs of theirs without knowing their name. Honestly, there's a feeling in my gut that I've heard this song before too. What astounds me is how short each of their songs can be while at the same time being such classics. This is one of those cases. What they've got going for them is a really strong melodic theme. This one almost sounds like a children's song but adapted to be for a country-style rock song. You've got lighter drums, the same raspy vocals, and the catchy-as-hell melodies, something their quite well known for. I can't say much else except that this is a CCR  song as much as one can be. I do enjoy the ritardondo though—very endearing. Rating: 7/10

GENRE: indie rock This is something along the lines of what I imagine indie bands to sound like—a little rough on the edges in terms of production and chaotic in its composition, but overall put together in a meaningful way. The singer has way about putting melodies to her words without them sounding like complaints or whining. They give off a tone of frustration in such an energetic way. I would guess that it almost serves like an outlet. In that way, I believe this song very closely represents that archetype of the young, up and coming, reaching for the stars, indie band. And for that, I can really respect. Their frantic energy and instrumentation really tells me that. Rating: 6.5/10  

GENRE: psychedelic rock As rough and rugged as it gets, this song is not all that bad. From their biography, it definitely seems it like it came from a jam session. The drummer is kind of doing his own thing within the confines of the established themes. That being said, there are some really consistent phrases going on that are really groovy. Being a more psychedelic song helps a bit this though; being that there are less strict rules. You can feel free to mess around with whatever you like. I'm not taken away by any of the solos or anything. Really, it's that drummer. They've really got a way moving around that kit of theirs. Otherwise, it's a fun song to hop onto and move on. Rating: 6/10

GENRE: rock, instrumental Lately, I've been pretty disappointed by Strawberry Girls.  Their most recent works haven't had quite the punch their older songs had. This one is more in the right direction though. You still have the flowery riffs in the intro, but with the sixteenth note snare patterns entering in, I knew immediately that this was going somewhere. The jump into a melodic minor scale was the right choice. I guess that's why they called it Mini Ripper . The syncopated riffs are back in action too, especially when Ben Rosett gets to work his magic. Before we get back to that intro riff, we get a development section too. Honestly, for my tastes, it's a leaning a little on the too  poppy side. I personally enjoy their more unapologetic thrashing riffs that retain a small sense of finesse. I just wish we got more of it. Rating: 8/10

GENRE:   indie, instrumental Now here's a genre I don't think I've done. I don't exactly have the expertise or esoteric knowledge of music composed for film, TV, etc. But, what I can say is that I can definitely see this piece fitting perfectly with wide shots of vast plains or mountains. The repetition of that guitar riff in the background maintains a steady feeling of tension throughout the entire piece, as if something is not sitting totally right. It's essentially a minor arpeggio, with a solo guitar singing over the top. Using acoustic guitars in general implants images of the rural countryside. Now, I'm not sure what the state of Colorado has to do with it, but I'm guessing it's the mountains? Either way, this piece does take me to a different place of mind. Although it's not exactly a peaceful place, it's certainly a profound one. Rating: 8/10

GENRE: country I swear I've heard this song somewhere before, and sung by a woman too. I'll have to look into it later, but I have a feeling this is the original. Either way, it's a cute little song about the open road and the common niceties that go along with it. Instrumentation is simple as ever, but you can't deny that the melody is really unforgettable. Something about the interval between "Trailers" and "Rooms" within the same line is so memorable (is it just a half-step down?). It's also a fusion of both swing and country, combining Southern charm and themes with cool, fun swagger (just listen to those finger snaps). Realistically, the song just a bunch of choruses strung together. I don't even think I can remember the verses, if you can even call them that. I'm not against it though. The song certainly does its job. Rating: 8/10

GENRE:   pop I'm always down to include a Kero Kero Bonito song. What's more, they continue to evolve with each coming album. The most recent one was jam-packed with a fusion of rock, pop, and sometimes experimental. This song in particular is far different from any of their past works, taking on a bit of a darker, solemn tone. Anchored by the riff in the beginning, you can sort of tell that they wanted to get off on a different foot. I wouldn't be surprised if they used some of their older synths, and re-purposed them for this newer song. And honestly, I didn't recognize it as a KKB  song until Sarah came in. Although she retains her characteristic tone of voice, the melody itself is less poppy and jovial. Overall, the song gives off a determined, more mature vibe from this once cheery band. I don't even think they lean on the Japanese anymore. Rating: 7/10

GENRE: indie Wow, I'm kind of just blown away by this song. I would almost describe it as a progressive indie song. I would divide it into 4 four distinct sections. The introduction is characterized by a formless, streamlined verse accompanied by just one guitar. Once the drums enter, you light a fuse that slowly builds into the later sections. Man, the drums don't even enter until about 2 minutes in. You something similar to the chorus here, and it definitely raises the bar a bit here. Halfway through the song, everything quiets down, and the next section starts, where we reach the actual chorus and the elucidated topic of the song. Distorted guitars enter in full blast, but we haven't quite reached the climax yet. The song, keeps on building, where Lucy sings an octave up to really sell the point that this is a progressive song man. For an indie song, it's 6 minute long, which I find to be longer than most. I just adore the musicianship and care taken to really make

GENRE: indie Now, back to our roots. I haven't had an indie like in quite a while. It's seemingly a good fit too, given its softer tone, choice of acoustic instruments, and chilled singer. Oh wait, never mind I take it back. There's a section in here that builds up and climaxes with a outpouring of pent-up frustration. As is tradition. Nevertheless, I think this song has quite the identity! From the cynical, depressing lyrics, the melody is carried along a somewhat less harmonic line. It blends in with the rest of what's going on instead of standing out on its own. In another way, you can almost see it as a willing self-destruction, with the full-intention to be reborn fresh. She mentions all these rotting things, and frantically (and atonally) yells about her need to start a garden, a rebirth. Rating: 7.5/10

GENRE: pop rock First of all, who are the Shondells? Second, as good as this song might be, I can't help but feel like it's a bit too  plain, perhaps poppy. Obviously, this could be attributed to the time of when it was written. It definitely sounds a bit dated when I think about the musical phrases. The lyrics themselves are quite lackluster. They don't do much for me, especially when they're so simple. The melody itself, although memorable, just doesn't have enough of a catch. It's the worst kind of memorable. Oddly enough, it's in a very similar genre to yesterday's song by The Mamas & Papas. I can respect the psychedelic interlude, but frankly it just isn't enough. Rating: 4/10

GENRE: pop Don't you want to just sway side-to-side to this song? Or perhaps, get in a car and drive out on the highway? Wholesome from start to end, you have a soft-spoken singer, a deliberate and genuine bass line, a poppy and cheerful xylophone, and even a tambourine. Another way to put it, we've found quintessential hippie music. The content itself is about a specific person that's gotten out into the peaceful, quieter life in Texas. I absolutely love the way they've incorporated the lyric in the second verse: "She's living in a cool green farmhouse"  The cadence is much more rapid compared to the slower-paced verses, but it's presence gives the song much more energy and variety. Overall, it's a very well-written song with something to like for anyone and everyone. Rating: 8/10

GENRE: heavy metal Oh, joyous day. Megadeth  is one of my favorite metal bands, but I never looked much past their Holy Wars  album. Solos are abound in this song (perhaps too much for my taste), but it's all a testament to Megadeth's  composition and skill. They can be pretty unpredictable in their songs. After a minute of mind-blowing solos, you get one of my favorite verses. That guitar riff is magnificent, especially when it's given context by the entrance of the drums. I, like many others hopefully, perceived it as a triplet rhythm. But, voila, it's a sixteenth note riff, a very typical Megadeth  riff at that. I'm a big fan of the singer's voice too (I forget the name). It has just the right amount of anger and raspy. Solos just permeate this entire song too. I almost feel bad for the guitarist. Overall, the song is pretty awesome. The solos can get a little old, but it's as classic a Megadeth  song as ever. Rating; 8/10

GENRE: alternative rock  This hasn't happened before but I basically pulled this song from a Guitar Hero stream. It's an old song, but damn if it have a unique sound to it. Harmonics are fun now and then, but this song makes it work a main component of the instrumentation. The bass line is simplistic and one-note. I would enjoy something with more momentum to match the tone of the rest of the song though. The singing is meh. It doesn't strike me as anything out of the ordinary. The spotlight is rather on the rest of the band, because they have some pretty cool breaks in between the verses, ESPECIALLY at 3:20 ish. I am absolutely a stan for syncopated sections like. It's just so fun to groove to. I mean, I got to give it a high rating just for that daring move. Rating: 7.5/10

GENRE: country Ah yes, bring it back around to that old-time soulful country style. This one just breaks my heart. The lyrics are written SO well, and they tell a captivating, poignant story. The phrasing is structured so nicely too, being easy to follow and catchy as a consequence. Plus, the energy is just exactly the one I need when sitting around a campfire. It gives me that Blue Eyes Cryin'  vibe almost. To be fair, it's just another love song. To its benefit, in my opinion, is its simplicity. The lyrics don't tell a straightforward story, and instead lay out a finer detail associated with breakups. Plus, it's in a nice register for singing if you're into singing along. Short and sweet—although maybe not so lovey-dovey from the perspective of the singer. Rating: 7/10

GENRE: pop Wow, this was not quite exactly what I was expecting. My last impression of Post Malone  was this rap hip-hop fad. However, I do know in his history that's been a fan of a whole bunch of things. I guess you could say that we had very similar tastes in music. We just generally like music across various genres. And I respect him a lot for branching out his interests. The music video I have to watch some time later. It looks ridiculous and hilarious. Circles  feels a lot more poppy, almost like Katy Perry had a helping hand in writing it. The snappy bass line is shines through all the production, but everything else to feels a bit plain. I would describe it as a sugar donut. It's a plain donut, with the mildest topping. Still sweet, but there are better things out there. Rating: 5/10

GENRE: soft rock Hmm, I have a profound attraction to this song, and I can't quite explain why. It's a pretty mild rock song, with a longer-than-usual length. It feels a like slow burn. It feels like you've lit a small candle at your desk. The muffled sounds of the guitars, the singer's lower register, the extreme reverb, it's a weird, drawn-out concoction that seems to work. I feel like this song was written to get you lost in the sounds and passion of the artist; maybe I could describe it as desensitizing? What I mean by that is that the rhythm guitar stays there the entire time without fail. While comfortable, it's almost mind-numbing to a fault, so much so that it sort of drowns out the synth solo. And honestly, that was a conscious decision given the rest of the song. Overall, the entire instrumentation is slightly distorted and the composition is quite simple and beautiful, giving way to a twisted, tense experience. Rating: 8/10

GENRE: latin rock Oh would you look at that, a double-feature! Santana two times in a row is not to be expected, but it's certainly deserving. This piece does not sound like Santana  at all. It's like when he was writing the piece Professor Utonium accidentally spilled some  Dave Matthews into it. It has an incredibly upbeat and contemplative mood to it. And very infrequently do you hear the acoustic guitar being the main feature of his songs. Fun fact: Santana  did the singing himself! It's not bad. To be honest, his songs are pretty fun to sing because they overlap with my own register by quite a bit. Either way, it's truly a surprise to hear pieces that fall just a little bit outside the usual spectrum of an artist's discography. I just can't believe I've found such a good piece. Rating: 8/10

GENRE: latin rock  Who would've thought I'd be revisiting Santana , out of all crusty old people out there? I was on a major childhood nostalgia binge when I ran into some of his work, and this one happened to be a new one for me. It's a short ditty with the absolute minimum lyrics. Just read the title and you're halfway there. This isn't an uncommon method by any means. Santana  puts the focus on the surrounding instruments rather. In total, this song is pretty much a jig. A small little dance piece. It's pretty much over in like 2 minutes too. But then again, it's not like there was much to bring to the table here either. Gone, but not forgotten. Rating: 5/10

GENRE: progressive, metal All right, I just had to do it. With TOOL 's latest album, there's no reason not to talk about what is probably the best song on the album. It's 15 minutes of classic TOOL  goodness. I was trying to figure out why the first letter is a 7. And honestly, I don't really have the time to. It could either be time signature, the lyrical content, or something else I'm not getting entirely (which wouldn't be so far-fetched for a band like them). They take such simple, irregular riffs, and really milk good quality stuff out of it. It's just so damn catchy. I know I'm gushing over this song, but this is the type of stuff that keeps this genre alive. Rating: 9/10

GENRE: lo-fi  Remember when I said I really didn't like lo-fi, except for its purpose as background noise while I'm studying. This one's a little different though. There's quite a bit of development in the momentum of the song. Of course, it couldn't escape the void that is the repetitive melody. It's lucky that it doesn't get annoying, especially with the timbre of the background and melody co-developing throughout. I couldn't quite study with this song in the background. It's got quite an impact in its chorus. Well, I guess that's why it deserves to be on today's listing. Rating: 7/10

GENRE: pop  I like some of Katy Perry's songs (mostly her big ones). This one is not one of those. She usually puts in powerful, impactful anthems for teenagers across the world. Small Talk  is a little bit more subtle. Overall, I can relate to the message. But omg, that verse is just a mess. The cadence and pacing is all over the pace. It's just too hard to follow. Nothing really stands out to me, and it ends up feeling like a stream of consciousness. Also, what is going on with the "blah blah blah" in the background of the chorus? Seriously, she has potential but there's something a little lost here. Rating: 3/10

GENRE: metal, rock They are such a fun band to listen to. They've really tapped into their potential market and ran away with it. Satirizing 80's hair metal and doing such a good job at it that you could almost say that they've become the thing they've mocked. Their first album was undeniably their best album. It's been a while since I've listened to a song as good Asian Hooker , so let's see if their most recent release holds a candle to that. I think their most amazing feature is their lyrical prowess. Combining comedy and blunt, vulgar phrases makes for a really catchy and memorable song. I mean, the title says it all. This is one of those songs that gets played to a large concert audience. I can just see it. If it weren't for a lyrics, it could easily by a Bon Jovi song, don't you think? Maybe Steel Panther  is just that good. And truly, they are. Time to go see them live! Rating: 7/10

GENRE: math rock, j-rock, japanese It's been awhile since I've listened to Tricot , and personally that's a good thing. They've come out with a lot of material since I've been gone. I was in this transition where I had listened to them a lot, but their particular timbre and sound was sounding stale to me. I was so desensitized to their style that their music wasn't really doing it for me anyway. Taking this break was good, because when I listen to their music again, it really brings back good memories and a firm understanding of why they're so celebrated. Right off the bat, you get this groovy drum beat that I just have to go learn later. As with any of their songs, you get off-beat guitar chords and harmonic licks that guide the vocals. My favorite part of Tricot  music is the flowery melodies. Unfortunately this piece, I don't get quite the same feeling. The verse is nice, but their high-energy chorus doesn't quite have the same impact, especial