New Music

So it's been a while since I posted, and the font may be off, because I'm posting for the first time straight from the blogger website. I wanted to comment on a few things that I've noted about the music industry. 

For one thing, since all pop music sounds the same anyways, I think it's interesting to note that there's been a distinct shift from really base heavy, slower rap songs to more fast paced, dance oriented rap music. I mean to call it rap is almost disrespectful to the idea of rap music in general. I guess rap music can never be pop music, because real rap will never be mainstream. But groups like the Pussycat Dolls, who are very much pop artists, have much more electronica sounds to them. They use more synthesizers to accentuate their vocals, and their songs have much faster tempos than say... the popular hip hop and pop music of the late 90's and early 2000's. Britney Spears' new hit single, for instance, is much faster than her older singles. I mean good times, you know, it's easy to see why this is currently popular; everyone likes a song they can work out to, run to, do something fast-paced to. That's easy listening, that's background music. It's easy to see why it's popular, and it's easy to see why it doesn't have any real staying power in the market. This is the kind of music that gets played several decades later at themed parties. Just like I spent my college career at parties featuring 80's music, future college students will party listening to music from the turn of the century, that is 2006, 2007, and 2008. Very cool, right?

That said, there are definitely real artists out there, but as my younger brother so aptly put it, "they fly under the radar." I honestly believe that quality artists are simply much less likely to get signed to big deals on big labels in this climate, the record companies want a sure thing with a reliable sound, so they sign artists that all sound the same, that they know can make a reliable hit and sell records. They don't want to sign unusual sounds for other reasons as well; people who like unusual sounds tend to be the ones savvy enough to get it for free. 

Speaking of getting it for free, it just occurred to me that the internet is really a two-edged sword for record companies. It gives them the opportunity to market individual songs directly to consumers, and has changed the game that way. In addition, it gives the chance to try out singles, and their success, prior to recording an entire album with an artist. While radio ratings and song ratings that are linked to them are a bit abstract, the number of times a song is downloaded or listened to online is hard data that can be verified and analyzed. I wouldn't be all that surprised if albums were intentionally leaked by the record companies to see how they fare on P2P and bit torrent sharing sites before they go to all the trouble of pressing a ton of CDs and LPs.  Leaking an album early allows record companies to do a test run, especially if the album they leak is poor quality, or has other noise intentionally embedded on it, as a lot of it does. As we've seen from recent album releases, records can still sell, despite the availability of online music. I think for record companies, success will come from controlling how music is downloaded, as opposed to their current strategy, which is to simply prevent downloads at all costs. 

Mash-ups

So a recent musical phenomenon that I have grown quite fond of is the idea of the mash-up. This is when a kid with a computer, or possibly two or three kids with computers, take several pop songs, and mix them together so that they sound good. The three relatively successful mash-up DJs that I know of are Girltalk, the Hood Internet, and Norwegian Recycling. All of these guy’s works have a slightly different tone, and they all obviously do it for different reasons. Girltalk is party music; all of it, at least all of it that I’ve heard. He usually takes several high energy songs, and mixes them together, with the lead vocals usually coming from a very prominent pop song. He usually only uses one song’s lyrics, as opposed to several, but he often uses more than one pop song for the background, the bass and the rhythm. I’ve actually heard that Girltalk puts on an amazing live show. It’s just this guy with a computer on stage, but he really has a good time, and sometimes crowd surfs. Solid.

            The Hood Internet does the simplest mash-ups. They usually take two pop songs, usually rap or hip-hop songs, and mix them together. It’s great work out music, a lot of fun to run to, or mountain bike to, in my case. It pumps you up, and some of them are really quite good. My personal favorite song by the Hood Internet is a mash up of “all my love,” by Led Zeppelin, and “scrubs,” by TLC. It’s really well done, the timing is perfect, and it’s just a really cool sound. I like the Hood Internet, they consistently provide music I can work out to, or just listen to if I’m in the mood for something quick and amped. They make safe choices regarding the songs that they mix, and they work 99% of the time. It’s not as inspired as Girltalk or Norwegian Recycling, but it’s still fun.

            This brings us to Norwegian Recycling, who happens to be my favorite of the three. This guy is ballsy, he takes two, four, sometimes even eight songs and mashes them all together. He doesn’t just take lyrics from one and music from another, he usually puts several different choruses and verses, from each song, into all the songs he creates. He takes big risks, and granted sometimes his songs don’t come out perfectly, the timing might be a little off, or you can tell that he messed with the pitch significantly. When it works though, it works. He has this amazing ability to find these songs that really compliment each other, and the music he creates with it isn’t just for partying, it isn’t just for working out, its for anything. He doesn’t just match the songs in terms of sound, but also tone. He takes sad songs and pairs them with sad songs, he takes fast songs and reinforces them by adding other quick songs. It’s really a great ability, and he makes good music. He obviously spends a lot of time on it, and I have to applaud his effort. Most of the stuff he’s made has really worked for me, I listen to it a lot, and I haven’t gotten tired of it. Norwegian Recycling has retained the musical complexity that makes a really great song.

            So now that I’ve talked about a few of my favorite mash-up artists, I want to just say a few things about the music they make in general. Mash-ups are cool. They’re kind of post-modernist in that they are purely aesthetic, in most cases. It is very difficult to retain any kind of theme, or poetry of lyrics, when you’re creating a new song from two old ones. That said, most pop music doesn’t have a whole lot of substance anyways, so I see no problem with mixing it all together and making a new sound. Plus Mash-ups have an automatic advantage in terms of listenability. People tend to like songs that they’ve heard before, so mash-ups are very easy to listen to because they’re usually two songs that the public is familiar with, as opposed to one. It’s basically a new way to listen to old music. It shouldn’t replace musical creation by legitimate artists, but I don’t think there’s any danger that it will. 

Justin Mckee

Hey all, and welcome to the second entry of my music blog, which no one may ever actually read. I’m going to apologize in advance for several things. Firstly, I’m sorry if my grammar is not always perfect, and I don’t always seem organized and whatnot. I’m primarily doing this for fun, so I’ll do my best to edit stuff, but it’s going to be imperfect. Secondly, I’m going to apologize for the length of this particular post; I have a lot to say.

            I want to give mad props, in the words of my youth, to Justin McKee for his work; I went to high school with this guy, he’s working on his second album and while he is a little rough around the edges, the music is good. He tells you his story on his website, so I won’t bore you with the details here. Suffice to say, he’s making pretty interesting music considering he’s had very little formal musical education. His first album is entitled Entelechy, which, according to Wikipedia, means “having the end within itself,” and denotes actuality and reality as opposed to potential. Thank you Wikipedia.

            Entelechy as an album is very…. Sing/songwriter. It’s fully of deep lyricism and deep, resounding chords on the piano and guitar. The rhythm section almost seems to take a backseat to the bass in many of his songs. The focus is not on the guitar, but on the bass and vocals. He pounds on the piano, and plays a hard base, but there are no upbeat, catchy rock riffs that you would expect from a child of the 90’s. This is not to say that the album is in any way slow, or that it lacks power. It doesn’t. While it isn’t what you would call upbeat, it definitely conveys emotion in a powerful way.

            I enjoy the entire album, but I have several songs that I favor over others: “Livin’ Lady,” “Cover,” and “Maya.” “Livin’ Lady,” is for me a very exciting song, mostly about growing up. Justin sings about being with someone, when it is convenient. It discusses the change that occurs in relationships both in the real world, and as you become more comfortable with someone’s presence. “She lets me in the room when she’s still looking in the mirror,” is perhaps my favorite line from this song, as it reminds me of my own experiences dating and in relationships. Often times your presence in the other person’s life is taken for granted, and the only noticeable difference between how you are treated and how others are treated is the fact that you get to see all sides of a person. While it’s an enormous privilege, it can also be painful to be relegated to this place. Justin conveys the pain of growing up, with the excitement in brings.

            The song “Cover” has similar subject material, although it isn’t as explicitly about a girl. It’s more about leaving yourself exposed, leaving shelter and attempting to strive out on your own, either in love or elsewhere. Leaving yourself exposed, and outside of your comfort level can be a very difficult thing to do. The last song I want to talk about is called “Maya;” It is similar to his other songs in subject material. It’s a (relatively) upbeat song and waxes poetically about love, life, and leaving your heart open to others. In this song, as in Justin’s others, the driving force of the music comes from the pairing of the piano and Justin’s voice. They complement each other nicely, Justin’s voice is not very deep and in the majority of his songs he pairs it with a deep piano or bass guitar. The effect is cool, as he has created powerful songs that in some ways mimic hip-hop, but with 90’s rock subject material and vocals.

            Justin’s newest EP is available on his myspace page, which I will link to, but is markedly different. My new favorite Justin song is entitled “All the girls in Brooklyn,” and pairs the traditional McKee deep bass line with a more complicated rhythm section. This song is more complex than his other works, but while it threatens to become overly complicated and crowded, it never does. The focus, despite all the other things going on in the song, remains Justin’s voice and the poetic lyrics he relates to us.

            I sincerely hope that Justin keeps creating music for a couple reasons. He is obviously not at his peak, musically, and I want to hear what it sounds like when he works out all of the kinks in his style and presents us with a mature finished product. It’s also just really cool to see someone from my high school, that I played water polo with, become successful. I like everything Justin has created so far, and I hope he continues to make music, I’m very interested in hearing what he has to say.

I said at the beginning of this post that it would cover two different things, but I’m flagging, I’ll have to finish it up later. I hope anyone who reads this can forgive my grammar, and the presentation, I’m new at this but I’ll figure it out.