Author: bella.king

The Melodic Tree’s Weekly Playlist

1. Coming Home – Kaiser Chiefs

2. Rasberry Beret – Prince and Revolution

3. Rango – Catfish and theBottlemenn

4. Your Protector – Fleet Foxes

5. Higher Ground – Red Hot Chili Peppers

6 Kateiswaar – Divided Heaven

7. Night On The Sun – Modest Mouse

8. Auto Pilot – Queens of the Stone Age

9. Fresh Strawberries – Franz Ferdinand

10. Break It Up – We Are Scientists

11. The Man Who Would Be King – The Libertines

12. Coliseum – Bloc Party

13. Summer’s End – Foo Fighters

14. The Good Life – Weezer

15. Seasons (Waiting On You) – Future Islands

16. Shuffle – Bombay Bicycle Club

Melodic Tree’s Weekly Playlist

Pink Floyd To Release New Album in October

To commemorate the twentieth anniversary of The Division Bell, Pink Floyd is set to release a new album, The Endless River sometime in October. The album is based on a 1994 session with Richard Wright. David Gilmour’s wife, Polly Samson, initially announced the new album in a tweet that read, “Btw Pink Floyd album out in October is called ‘The Endless River[.]'”

Touring backing vocalist, Durga McBroom-Hudson gave more information on the album on her Facebook page, along with a picture, stating, “The recording did start during The Division Bell sessions (and yes, it was the side project originally titled “The Big Spliff” that Nick Mason spoke about). Which is why there are Richard Wright tracks on it. But David and Nick have gone in and done a lot more since then. It was originally to be a completely instrumental recording, but I came in last December and sang on a few tracks. David then expanded on my backing vocals and has done a lead on at least one of them. That’s the song you see being worked on in the photo.”

The Endless River is set to release the October of this year.

The Melodic Tree’s Weekly Playlist

Alone In My Home – Jack White

Sparrow and the Wolf – James Vincent McMorrow

Mr Tambourine Man – Bob Dylan

Pocketknife – Ferraby Lionheart

Land of the Bloody Unknown – The Middle East

Fall At Your Feet – Boy & Bear

Changes – Neil Young

Mojo Pin – Jeff Buckley

Songbird – Fleetwood Mac

Maybe I’m Amazed – Paul McCartney

To Be Alive – Brother and Bones

Yet Again – Grizzly Bear

Fireworks – Animal Collective

No One Does It Like You – Department of Eagles

Animal – Miike Snow

Suburban War – Arcade Fire

Dark Eyes – Iron & Wine and Calexico

Melodic Tree’s Weekly Playlist

On Oni Pond – Man Man

Experimental rock, over the course of its history, has grown and has been molded to describe a wide variety of bands and sounds. However, Man Man seems to collect all of these sounds into their own albums, especially in On Oni Pond. The band consists of Honus Honus (Ryan Kattner) on vocals, piano, and organ, Pow Pow (Christopher Powell) on percussion and programming, Brown Sugar (Adam Schatz) on DiPinto guitar, trumpet and percussion, and Shono (Bryan Murphy) on DiPinto bass, malletKAT, saxophone, and keyboards. In their previous 2011 album, Life Fantastic, Man Man took a more melancholic approach on their sound, but this follow-up shows that they can bounce back to their eccentric sound, even if it is more refined than previous albums.

On Oni Pond‘s lyrics are clever and shifts from the themes of Life Fantastic. Notably, their single, “Head On” is one of the catchier songs on this record and yet, it still has somewhat of a dark theme to it. Honus seems to roll the lyrics off his tongue while keeping a sort of intensity to it. However, this vocal delivery makes On Oni Pond feels more like a dance album, unlike their previous releases.

To date, On Oni Pond is probably Man Man’s most melodic release as they move toward a poppier sound. Man Man explores this new sound of theirs and gives indie pop a new sort of sound as they add their own elements to On Oni Pond. Throughout the album, Honus leaves breaks in his vocals, giving the hooks the ability to excel. Working once more with producer and multi-instrumentalist, Mike Mogis, Man Man’s instrumentation seem to be more cohesive rather than disjointed, much like their previous albums.

This new sense of maturity for Man Man in On Oni Pond allows the band to be more approachable while never straying from their typical sound. This new music allows Man Man to explore without ever completely reinventing themselves.

Modern Vampires of the City – Vampire Weekend

Vampire Weekend, an indie pop band from New York City, released their third full-length album, Modern Vampires of the City, and seems to give the band more of a fluid sound than their previous releases. The band consists of Ezra Koenig (lead vocals and guitar), Rostam Batmanglij (keyboards and guitar), Chris Tomson (drums and percussion), and Chris Baio (bass). Although there is a new sound on this album, there are still elements in these songs that are reminiscent to Contra and Vampire Weekend, such as Koenig’s bright vocals and their rich melodies. Vampire Weekend seems to experiment more on this album, especially with pitch shifting on various aspects of the instrumentation and Koenig’s vocals.

Throughout Modern Vampires of the City, the lyrics touch upon more mature themes, such as religion, in an imaginative way. It seems as though Koenig questions his faith in God throughout many of the tracks on this record, such as “Unbelievers” and “Ya Hey.” Even with these themes, Koenig keeps his vocals seemingly effortless, much like Vampire Weekend’s previous works. The effects Koenig puts on his voice in this album gives the album an exciting result. The choruses in this album are sweeping and yet catchy which makes them compelling.

Instrumentally, this album is far different from Vampire Weekend and Contra in the sense that Vampire Weekend seems to pull away from their world music influences and tries to create their own style on this new record. There are some beautiful orchestral arrangements throughout the album that are combined with experimental melodies. Staccato percussion in “Worship You” seems to drive this song in a fast tempo and this type of instrumentation has always seemed to play a key role in Vampire Weekend’s sound. The plucking cello and the piano in “Young Lion” bring this mostly energetic album into a quiet and subtle end.

Overall, Modern Vampires of the City seems to be a step away from Vampire Weekend’s typical sound and yet, there is still something about it that remains characteristic to the band. Vampire Weekend seems to strip away the elements they are most known for in this new album as they head into a different direction.

Sergio Mendoza Y La Orkesta: the Modern Mambo

Tucson-based Latin band, Sergio Mendoza y La Orkesta brings a new generation of expansive sound to Mambo. Forming in 2009, Y La Orkesta is full of high-energy music as they combine various sounds from the different bands the members play in and influences. Bandleader, Sergio Mendoza pilots the band through their swift melodies and rhythms. After the release of their debut album, Mambo Mexicano in 2012, Y La Orkesta has been on a seemingly continuous tour, playing with a variety of musicians and bands.

With a first connection with music being the Beatles’ Meet The Beatles at the age of four, Mendoza soon started to play the keyboard at the age of five and thus began his eagerness to become a musician. Picking up the clarinet, saxophone, and eventually the guitar and drums in middle school, Mendoza broadened his abilities as a musician, allowing him to eventually become the verse composer and arranger he is now. As Mendoza pursued college and his musical career in Tucson, he began playing with the band Calexico and soon began playing full-time with the band, putting school off until “things slowed down,” thus never returning since.

In being in such a large band, it can be difficult, both financially and spaciously, to travel and tour but this never stopped Mendoza from forming Y La Orkesta. Mendoza expresses that he could have never been a solo act and says he enjoys the different sounds that the diverse members bring in. “I always saw my talent as a person who can arrange a song and get people together,” says Mendoza.

“I want to create a new sound, and I think I’m on my way to finding it, but I’m not there yet,” Mendoza said. “And I think it’s developing for sure.” As the band continues to diversify and continue recording, the sound will continue to develop and expand. Mendoza also states that he expects to release the sophomore Y La Orkesta album in February of 2015 as twenty-two songs have been written as of June.

With the opportunity to bring in a variety musicians into their sound both on stage and in the studio, Sergio Mendoza Y La Orkesta maintains a unique sound with the confident percussion and horn sections or the baritone vocals of Salvador Duran. The stage presence of the band is captivating as each musician begins to get into their own world making performances energetic and crowd-pleasing. Having always been in bands with a horn section, Mendoza makes them one of the essential part of his sound, with strong harmonies and various solos.

“I really like [it] when if I go see a concert, when the artist comes out and you can ask them a couple of questions or just say ‘I really like what you did here’ and ‘what kind of gear are you using?'” Mendoza said about his interactions after shows with fans. “It’s something to make you feel a little more connected.”

Using a blend of different genres in their sound, Sergio Mendoza Y La Orkesta have always maintained that unique characteristic to them. Their next show is at the Rialto theater in Tucson, Arizona, on Friday, June 27, playing at the CD release of Ro Velazquez’s debut.

Lazaretto – Jack White

The eccentric Jack White is back with his sophomore solo album, Lazaretto, and this might be his biggest album to date. As well as a multi instrumentalist, singer-songwriter, and producer, Jack White owns Third Man Records since 2001, where he released Lazaretto and various other releases of his own and other musicians, such as Neil Young. Jack White, with Lazaretto, set a record for most vinyl sold, beating Pearl Jam’s Vitalogy, selling 140,000 copies of the ultra LP. On the LP, White set the bar high as it features two hidden tracks inside the inner label, the song “One More Drink” has two intros, depending on where the needle falls, features all three speeds on the record player, and has a hologram floating above the record on certain songs.

The vocals on this album are classic to Jack White, as there is something distinct about his voice and even with this more of a folksy sound to Lazaretto, the tone in his voice remains the same. Lyrics are partially inspired by poems, short stories, and plays he had written when he was nineteen. However, he reworked the writings instead of throwing them away, which he initially was going to do. White, in “That Black Bat Licorice,” raps his lyrics like a raconteur at a festival, which is very reminiscent to his older work, especially in the White Stripes. The backing vocals in Lazaretto feature women and finely contrasts White’s stark vocals.

Instrumentals on Lazaretto are have a much more folk sound to them as White features the fiddle, mandolin, and the harp. The guitar remains prominent throughout and White maintains his classic sound with it. The fuzzy sounding bass on the title-track, “Lazaretto,” is one of the best things on the track and seems to drive this heavy song and this is one of the strongest tracks on the album especially with the fiddle solo near the end of it.

Jack White returns with Lazaretto and shows that he can play country rock and still have his garage rock tone even with fiddle solos. Having his own way in his song-writing since the White Stripes days, it seems like with this bluesy new album, Jack White is testing his waters on what he is able to do.

Reflektor – Arcade Fire

Arcade Fire, a Canadian indie rock band that combine extravagant instrumentals and thematic songwriting, seems to have a different approach in their sound in their new album, Reflektor. This album has a more groove-oriented feeling to it, in comparison to their previous albums. Known for their first three critically acclaimed albums, The Suburbs, Neon Bible and Funeral, this new album seems to be a step away from their typical lavish sounding music. The band consists of multi-instrumentalists, Win Butler, Régine Chassagne, Richard Reed Parry, William Butler, Tim Kingsbury, and Jeremy Gara. Reflektor maintains the expansive sound and deep lyrical themes of Arcade Fire.

Lyrically, Arcade Fire seems to put out their themes in a more obvious way than their previous works but nevertheless, Arcade Fire does maintain their complex meanings. Much like their previous albums, Arcade Fire sings about being an outsider, especially in the songs, “We Exist” and “Joan of Arc” which deals being ignored by a majority that they don’t agree with. Vocally, Win Butler and Régine Chassagne, the lead vocal duo in the band, remain subtle but powerful throughout. The darkness in the vocals seem to add to the various themes in the lyrics which has always given Arcade Fire their original sound.

Reflektor goes into something much different from their previous works, and rather than having instrumentation as layered as previous albums, there is a mixture of genres, varying from new age to disco. Tempo wise, Arcade Fire maintains their epic sound but seems to slow it down a bit and seems to draw out some of their instrumentation more. Although not as layered as older albums, Arcade Fire maintains their large sound and shows that they can perform different genres but it seems that they put all of these experimentations into the one album, Reflektor. 

With an eclectic mix of sounds, Arcade Fire came back with a semi-new sound in Reflektor, and although lyrically they have remained the same, the band has changed up their sound instrumentally. Even though this album is not what many expected from Arcade Fire, there is still something in Reflektor that everyone will enjoy.

Melodic Tree’s Weekly Playlist

Summer is officially upon us and these songs will help you get through these longer and hotter days:



1. Dreaming – Smallpools

2. Undercover – Nightmare & The Cat

3. Cayucos – Cayucas

4. Crag – Human Behavior

5. The Best – The Rocketboys

6. Love Lust – King Charles

7. Daydreamer – Young the Giant

8. Horchata – Vampire Weekend

9. The Wire – Haim

10. I Can Lift a Car – Walk the Moon

11. Head On [Hold On To Your Heart] – Man Man

12. Little Games – The Colourist

13. Bitin’ The Bullet – Grouplove

14. Dirty Night Clowns – Chris Garneau

15. Homecoming Heroes – The Head and the Heart

 

Days Are Gone – Haim

Haim, a pop-rock trio of sisters, has recently released their debut album, Days Are Gone, and shows that they more that just a one-hit wonder band of siblings, much like Hanson. However, before they were the effortlessly cool Haim, Danielle and Este were two-fifths of tween-pop band, Valli Girls, most likely remembered for the theme song of the short-lived animated series, “Trollz.” Not wanting to perform songs they did not write, the sisters left the Valli Girls in 2005. Growing up in a family band, Rockinhaim, the two sisters were joined by the youngest, Alana, and the trio soon branched out to become the band they are today.

The sisters, Alana Haim (rhythm guitar, keyboards and percussion), Danielle Haim (guitar and vocals), and Este Haim (bass) are heavily influenced by 70’s rock, especially Fleetwood Mac. Throughout Days Are Gone, there are hints of these influences as well as hints of R&B stylings. Gaining commercial success with their first EP, Forever, Haim signed to Polydor Records in June of 2012.

The vocal harmonies on this album are strong and that the sisters can blend R&B and soft rock in an interesting way. Danielle’s vocal delivery remains consistently staccato and gives the album a unique twist. Combined with R&B beats, there are times in Days Are Gone that the vocals give them the sound of 90’s girl groups, such TLC, especially in the title track, “Days Are Gone” and “My Song 5.” Lyrically, there is not something to closely research into, but, Haim does provide fun lyrics throughout. They do provide a breakup anthem, “The Wire,” which shows, both vocally and instrumentally, that Haim has written one of the kindest breakup songs ever written, with lyrics such as, “I know it’s hard to hear me say it, but I can’t bear to stay and I just know that you’re gonna be OK anyway.”

The instrumentation on this album blends well with Haim’s obvious influences in 70’s rock, R&B and pop rock. Even with these obvious influences, there is something about distinct about Haim that sets them apart from these influences and shows that they take these influences and create their own sound. Their light-hearted melodies seem to come naturally to this trio and contrasts nicely with the lyrics. The percussion and bass across this album are something entirely on their own, as they are not hidden behind the vocals or guitar but rather, they are given their own, well-deserved, spotlight. Making music their entire lives, it is understable why Days Are Gone sounds the way it is.

Whether it is the infamous “bass face” of Este or having their parents join them on stage, Haim proves that they are amiable musicians as well as great musicians. Also, the trio shows that siblings can be musicians together and display good musicianship.