Category: Reviews
Courtney Barnett: ‘Sometimes I Sit and Think, and Sometimes I Just Sit’
Considering the considerable press Courtney Barnett has garnered in recent months, it may surprise some that she’s only just released her first album, Sometimes I Sit and Think, and Sometimes I Just Sit. Her singles and EPs have upped the anticipation ante, and have worried initial fans – myself included – about whether or not the album itself would stack up. Well worry not, because it does.
Songs like “An Illusion of Loneliness (Sleepless in New York)” and “Nobody Really Cares If You Don’t Go to The Party” are filled with 90s slacker shoegaze with the low end scooped out. They’re spiky slices of college radio-informed punk. But Barnett’s got other tricks up her sleeve, as the bluesy, circus-y waltz “Small Poppies” and sun-and-surf, Vile-borrowing “Depreston” prove. They’re self-aware, smartly arranged, likable… and very, very relatable. Barnett’s lyrics are rapid-fire and approach spoken word at times, especially on lead single “Pedestrian At Best” and the nervous post-grad anthem “Elevator Operator”. These are songs about the anxious, meta-to-a-fault search for authenticity; about existential quarter life crises, the seemingly inescapable move to suburbia, and always feeling financially behind. “We either think that we’re invincible / Or that we are invisible / Realistically, we’re somewhere in between” she drones on the dark confessional “Kim’s Caravan”. Even the album’s title expresses the sought-after fine line between excessive reflection and zen-like emptiness. This is a record about the millennials who have simultaneously had everything handed to them and everything taken away.
And who better in this day and age to explore such a theme? Barnett is a woman who shreds her left-handed guitar and makes no attempt to hide her Australian accent for the sake of marketing demos. “Debbie Downer” is a sly feminist nod to the Stop Telling Women To Smile campaign, and she casually refers to Jesus as a “she”. Barnett is the embodiment of a current generation that’s inspired a million thinkpieces, the unsmiling Broad City of indie rock. We can’t wait for album #2.
4/5
Laura Marling: ‘Short Movie’
After many grueling hours in the studio, up-and-coming artist Laura Marling may deliver the best folk Americana album this month. With every song drenched in depth, this singer-songwriter branches from her usual acoustic to much grungier electric guitar.
The album’s concept primarily lies within Marling’s exploration of herself. As a child growing up in London, she started strong in the business, even racking up a famous relationship with a Mumford brother. Marling moved to LA during her time off from the scene and searched for her soul, taking a full break from music. However, after two years, she found her way back. Short Movie, recorded in London’s Urchin Studios, marks her return.
The album features musicians Matt Ingram on drums, Ruth De Tuberville on Cello, Nick Pini on bass, Tom Fiddle, and of course Marling on guitar. All songs were written and produced by Laura herself.
The album starts off with song “Warrior,” a Bonnie Tyler/American lyric-inspired synthy western love story. She presents herself in this moody, ambient mix, reminding listeners of exactly who she is as an independent singer/songwriter.
The album only gets better with “False Hope.” Marling fans have probably played this song a thousand times from her “Short Movie Sessions” available both on her website and YouTube. The song shows off not only Laura’s lyrical abilities but also the band that helps bring her magic to life. As she sings about her life in New York, her band – even live – hits every note perfectly and provides the ideal balance with every riff and drum beat to this upbeat yet melancholy piece of genius.
The next song, which is just as brilliant, has a similar sound to the “Warrior.” Unlike “Warrior,” however, “I Feel Your Love” includes the beautiful sounds of the violin instead of synth. Touching on relationships in life, this song provides you with a continual chill as she creates an image of a caged bird yearning for freedom, regardless of the love she feels.
The album takes a turn with the song “Strange.” Instead of showing off her singing, Marling speaks straight poetry as bongos and maracas play, giving a different twist to this folk game she plays.
Tracks “Easy” and “Gurdijeff’s Daughter” have a similar taste but differ in the lyrical scenarios Marling presents. And trust me – the album only gets better – “Worship Me” is not one to be overlooked – and worship you, we do, Marling.
Although Marling has been placed in the folk-Americana-indie singer/songwriter genre, which has become overrun with many musicians these days, Marling strives for innovation through self-reflection in this album. Every song brings a different thought to the table.
5/5
Marina and the Diamonds: ‘Froot’
It’s been close to three years since the release of Marina and the Diamonds’ sophomore record Electra Heart, a polarizing concept album about female archetypes. With Diamandis’ third album, FROOT, she forgoes listening to the input from others to deliver a tight 12 song set that she co-produced with Bat For Lashes producer David Kosten. The resulting product is her most sonically cohesive effort to date and depicts the maturing songwriter’s state of mind throughout her hiatus.
Album opener “Happy” begins with a dry vocal that’s accompanied by a piano as the lyrics play off the forlorn atmosphere (Couldn’t relax, couldn’t sit back / and let the sunlight in my lap.) While the first verse doesn’t sound like the title would suggest; the stacked harmonies that come in towards the end of the second verse establish a more optimistic tone. It’s an interesting choice to start the album with since the campaign has been full of bright, neon colors; however it works as a good lead-in to the disco title track “Froot.”
Although “Happy” appears to be the most introspective track on the record based on a topical listen, “Gold” is truly the show runner from a thematic point of view. In a recent interview, she mentioned this song was written during her opening run for Coldplay. Perhaps she didn’t intend for the track to be interpreted as her internal conflict regarding how Electra Heart was initially perceived, but it certainly comes across as such with the lyrics “I’ve been waiting for the penny to drop / I’ve been working to get back what I lost / But whatever happens I’ll be okay.”
Farther along in the album is “Solitaire,” and it’s easily one of the best tracks on the album. Dissonant sonar blips set the stage for the deeper end of her range; this time slightly reverberated and filtered to appear like it’s coming from an old fashioned radio. The title itself is a play on the definition of the word “solitaire” as Diamandis juxtaposes the feeling of singularity in first verse (Don’t wanna talk anymore / I’m obsessed with silence / I go home and I lock my door / I can hear the sirens) against the uniqueness of a diamond in the chorus. The minimalist approach to the song builds to its bridge as the blips combine into cascading synth sparkles.
The second to last track “Savages” is a cliché – by her standards — musical approach to showing her disdain for how human treat one another, but she considers it to be the most important song on the album. It contains the same snarky mentality as other songs in her back catalog like “Girls” and “Hermit the Frog” with far less metaphorical imagery. The song’s saving grace is the fourth verse which concludes with “I’m not afraid of God / I’m afraid of man” after listing off the animalistic ways in which humans interact with one another.
With this record, Marina has nothing to prove to her fans and critics because they already know what she’s capable of producing. Instead, FROOT is an inside look into the alternative pop artist’s mind as she confronts her dislike for her last record and wants to strip everything back down to the essentials. As Diamandis sings in the title track “Good things come to those who wait / but I ain’t in a patient phase,” the finished product truly shows what happens when an artist is left to their own devices and achieves a true moment of self-realization.
3.75/5
Top 5 Shows at Savannah Stopover 2015
In our Stopover preview, we highlighted a bunch of locals acts worth making a point to check out. A number of them managed to stand out from the pack, even within the mix of touring acts. Cusses, Crazy Bag Lady, and Boy Harsher all pulled decidedly large crowds and delivered truly epic performances. The Furious Hooves label showcase was a hit as well, with fantastic performances from the likes of Black Water Choir, Heavy Boots, and Blackrune. But discounting those acts we’ve already spoken about, here are our top five picks from the weekend… some more expected than others.
The Prettiots
NYC-based all-girl trio The Prettiots play sweet and innocent-sounding art pop tunes about boys and heartbreak. With a drummer that looks straight-up like a baby doll and lead singer Kay Goldberg crooning away with her ukelele, it couldn’t get much sugary and cute, but they do it so damn well. All the members are under 25, and that may account for why Goldberg has such a fresh memory of all the boys that she dated in high school. They played an early evening set at Hang Fire Bar on Friday to a modest crowd, but no doubt these girls have bigger crowds and bigger stages in the near future.
Penicillin Baby
There will always be something to be said for some good rock music. And people will always appreciate it. Take note of Penicillin Baby, an up and coming group out of Nashville that push the boundaries of rock n roll with their fuzzed out psych pop tunes. Their energetic performance at Ampersand Friday evening was as crowded as I’ve ever seen the place, and speaks to the truth of my earlier statement. Grunge rock, surf rock, cosmic rock… call it what you will. We’ll just call it good.
Generationals
With arguably the most hype leading into Stopover weekend, New Orleans electopop duo Generationals put on a fitting showing late Friday night at Club One. The perfect spot for a dance party, this venue is a gay club every other weekend of the year, and boasts an impressive light rig, massive disco ball, and sizeable dance floor to hold the feet of a bunch of jazzed up festival attendees enjoying the hits like “Gold Silver Diamond”. Generationals put out their fourth LP on Polyvinyl last fall to a wave of success and they’re not ready to slow down just yet.
San Fermin
San Fermin’s performance in Trinity United Methodist Church Saturday evening was both energetic and serene. With a big stage and an even bigger arena to fill, the Brooklyn-based chamber pop group brought out all the horns, strings, and sireny vocals to have folks both glued to their seats in the pews and dancing dancing in front of the altar. The group is helmed by classically trained composer Ellis Ludwig-Leone but the impressive vocals of Allen Tate and Charlene Kay take center stage in beautiful ballads like the glorious cut “Sonsick” off their debut self-titled album. We eagerly await the follow-up.
French Horn Rebellion
French Horn Rebellion’s set at Hang Fire Bar was perfectly placed and timed for a dance party, and that’s just how it turned out. Where the “cool kids” would hang out on a Saturday night anyway, and being one of the last shows of the weekend, out-of-towners and locals alike were able to let loose, down maybe one too many drinks, and soak in the lush and danceable tunes coming from the tiny stage in the corner. The NYC-based duo have been cranking out remixes for the likes of Beyonce, Savoir Adore, and Sleigh Bells while collaborating on original tracks with Haerts, JD Samson, Ghost Beach, and plenty more. According to their Twitter, “We used to play French horn. Now we make hot dance beats.”
St. Vincent shares “Teenage Talk” on latest ‘Girls’ episode
Girls has a reputation for being astute when it comes to the music that plays over final credits, and its 3/8/15 episode “Tad & Loreen & Avi & Shanaz” is no exception. After main character Hannah is given some bombshell news by her mom, her expression of confusion and fear cuts to an unreleased St. Vincent b-side called “Teenage Talk”. Annie Clark and Girls creator Lena Dunham are friends, and the show’s music supervisor reached out to Clark’s team, who had this unused demo lying around. Besides Clark’s pensive, honeyed voice, the 90s alt-synths and stuttering drums are immediate St. Vincent tip-offs. The song is way too short – as with most things surrounding this fabulously talented artist, we’ll never have enough.
In the track St. Vincent looks back on the past, specifically the generally overrated period of teenagerdom. Her sad and reflective lyrics (“I don’t think the past is better, better / Just cause it’s cased in glass / Protecting us from our now and later”) make the song sound like an update to Vanessa Carlton’s “White Houses”. Clark closes out “Teenage Talk” by wondering what her former beau thinks of her now. As is her wont, she uses esoteric imagery to get to the relatable heart of heartbreak.
An official version hasn’t yet been released, but fortunately a high-quality stream has been circulating around Tumblr. It’s that or deal with the monstrosity that is HBO Go, so choose wisely.
Madonna: ‘Rebel Heart’
Back in December 2014, the Internet was still repairing itself from the assault of Kim Kardashian’s nude photo shoot when 13 demos in various stages of completion from Madonna’s upcoming thirteenth LP Rebel Heart surfaced. This was met with severe backlash from Madonna herself, who broke an iPod and posted the picture on Instagram likening to situation to terrorism.
Despite the leaks, she insisted some of the tracks would not be used and the ones on the final album would be tweaked. Less than a week later, the floodgates opened, and by January 2015, not only had nearly every single demo from the recording sessions leaked, but so did an unmastered copy of the super deluxe edition.
While she remained quiet about the final batch of leaks, more and more information surfaced about how the record was supposed to be a double disc with one being Rebel and the other Heart. Though the product was not a double disc, the thematic duality of the record coupled with some of Madonna’s most genuine lyrics makes Rebel Heart her most sonically interesting release in the last decade of her 30+ year career.
Instead of focusing on working with a single producer much like her first few albums, the album includes production from Avicii, Diplo, Kanye West, and Ryan Tedder. The album opener “Living For Love” is a deep house cut that features a piano part played by Alicia Keys, background vocals by MNEK and a grandiose bridge. The album juxtaposes the concept of empowerment between a menacing bassline and an unrelenting beat, a common theme repeated throughout the duration of the record.
“Joan of Arc” showcases the vulnerable side of Madonna is a poignantly reflective first verse “Every time they write a hateful word / dragging my soul into the dirt / I wanna die / never admit it but it hurts.” It’s interesting to hear her deconstruct the image that media has constructed for her. My only complaint with the finished track is the seemingly out of place drums that weren’t present in the leaked demo.
“Iconic” and “Veni Vidi Vici (feat. Nas)” are two of the album’s most self-referential songs, the first being a trap track – yes, you read that correctly – with a spoken intro by none other than Mike Tyson and a rap verse by Chance the Rapper. The latter song sees Madonna’s voice somewhere between spoken word and singing as she describes her career by interpolating the titles of her previous singles (I opened up my heart / I learned the power of goodbye / I saw a ray of light / music saved my life) within the verses. If you listen closely you can hear a small “Ray of Light” sample and the horn section from “Holiday” during Nas’ fiery guest verse.
“S.E.X” is an interesting turn in the momentum of the album as it recalls the Erotica era with more spoken word, this time in a laundry list of objects needed for S&M: twisted rope, a leather mask, fish nets and raw meat. It’s a jarring transition before the orchestral “Messiah” but it stands as a testament to how Madonna strives to rebel ageism in the industry.
At 19 songs, the deluxe edition is one of Madonna’s longest albums clocking in at 74 minutes and is certainly one of her most diverse. Grab a listen when the album officially drops tomorrow.
4.25/5
Saturn Valley: ‘On The Rings’
Without a doubt, the streets of Athens consistently churn out exceptional musical talent. One particular band to take note of is the up and coming Saturn Valley. Consisting of five players Chris Freiberg on Keys, Christian McDaniel on percussion, Nick Jones on guitar, Zach Webster on drums, and Scott Andrews on bass (previous bassist/bassist on On The Rings Charlie Ferrell), this band channels the funk of Santana, the skills of Jimmy Page, and the overall essence of Widespread Panic. Each and every song consists of creatively different jazz tones, especially in their recent album, On the Rings.
The song “Odysseus” begins with one of the tastier riffs on the album. However, once the drums ensue, this tune starts to take on many different routes. The drums lead listeners into a metal-based synth spell and then bring listeners back to that original riff. Quite a fitting song title for such a journey.
“Rusty Bane” brings out the more sensual side of SV. The song begins with a horn section, opening the door to the keys and guitar’s simple, soul-filled notes. Then, all hell breaks loose when nothing but funk enters the mix, a surprising segue from the prior melancholy tone. Each note then ventures into classic funk, leaving you bouncing as there music fills your speakers. Billy Cobham fans, this one is for you.
“Tollbooth” is another great catch on this album, focusing primarily on the skills of Frieberg as he takes the lead in his own style. This song shows truly the skill and effort these lads have dedicated to this band, as well as their love for music. Miles Davis circa Bitches Brew would be so proud.
What’s truly beautiful about this album is the apparent and absolute hard work these guys have put into its creation. Each song was well mixed – including their live show, which you can find on ReverbNation.
Saturn Valley has created music that can relate to any music lover out there (unless you are truly against instrumentals). With their hard work and experience, Saturn Valley can really rise. Athenians, you can currently snatch this catch at Wuxtry.
3.8/5
Bright Light Social Hour: ‘Space Is Still The Place’
Touring legends Bright Light Social Hour are at it again with their kick-ass new album Space Is Still The Place. Courtesy of band mates Jack O’Brien, Curtis Roush, Edward Braillif, and Joseph Mirasole, this compilation will be just another step of progress in the name of Rock. Woven with funk, soul, psychedelic tones, and straight good ole fashion rock n’ roll, this album brings a unique sense to the scene moving this band up in the ranks alongside artist like Moon Taxi, The Tontons, and Quiet Company.
The premise behind the album comes straight from Bright Light’s insane touring schedule throughout the south. After their southern binge, they created the concept of “Future South” and collaborated to bring this idea to life.
The album starts off with a bang with the song “Sweet Mandele,” a western trip backed by a Beatles mentality. The drums provide an almost tribal element as the guitar rings out bluesy chords with the occasional post punk twist. However, you will receive inexplicable chills once the breakdown occurs. Slowing tempos and spacy vibes turn suddenly into the perfect indie dance tune.
The next song to turn to on this album is “Dreamlove.” Bringing out that synth that fans adore these days, this song brings you back to 80’s culture, releasing memories for those who remember when the Jam and Bauhaus reigned supreme. Diving deeper underneath the musical fills, the bass line is quite amazing. A total jam song you should play at your next party – trust me, the entire song seems to be about getting high.
The bass lines only get better with “Ghost Dance.” Starting off with killer bass runs accompanied by those Jimi-inspired guitar riffs, “Ghost Dance” is just another hit on this album. By this song, fans will get a sense of Jack White-esque writing.
Their slower tune, “Sea of the Edge,” is also noteable. The guitar gets more simplified, and a jazzy tone shines through. This song is one of the more generic sounding listens on this album, reminding us more of their genre counterparts, really.
Such basicness becomes completely overruled once “Outerboros” hits your speakers. With repetition, this band brings the blues back with yet another Jack Whitey sounding song, yet still possessing that badass southern feel.
The next song shows BLSH’s diversity by bringing forth a pop sounding beat. The drums are tight as the guitarist strums those chill chords. The song holds true to the BLSH sound, but adds more of a radio-sounding side to their portfolio.
The album overall is worth a listen. There truly is a song for anyone. Good job, boys.
Be sure to catch BLSH on tour (dates below), and pre-order Space Is Still The Place here and here for vinyl.
5/5
BLSH Spring Tour Dates:
3/5 New York, NY @ Mercury Lounge (Early Show)
3/6 New York, NY @ Mercury Lounge (Late Show)
3/7 Philadelphia, PA @ Boot & Saddle
3/27 Austin, TX @ Stubb’s **Official Album Release Show**
3/31 New Orleans, LA @ Gasa Gasa
4/1 Pensacola, FL @ Vinyl Music Hall
4/2 Jacksonville, FL @ Jack Rabbits
4/3 Orlando, FL @ The Social
4/4 St. Petersburg, FL @ The State Theatre
4/6 Macon, GA @ Cox Capitol Theatre
4/7 Atlanta, GA @ The Earl
4/8 Carrboro, NC @ Cat’s Cradle – Back Room
4/9 Washington DC @ DC9
4/10 Brooklyn, NY @ Baby’s All Right
4/11 Cambridge, MA @ Middle East (Upstairs)
4/12 Burlington, VT @ Higher Ground Showcase Lounge
4/14 Montreal, QC @ Quai Des Brumes
4/15 Toronto, ON @ Horseshoe Tavern
4/16 Grand Rapids, MI @ Founders Brewing Co
4/17 Chicago, IL @ Empty Bottle
4/18 Cincinnati, OH @ The Woodward Theatre
4/19 St. Louis, MO @ Off Broadway Nightclub
4/21 Nashville, TN @ The Stone Fox
4/22 Little Rock, AK @ Revolution Music Room
4/23 Tulsa, OK @ Vanguard
4/28 El Paso, TX @ Lowbrow Palace
4/29 Phoenix, AZ @ Valley Bar
4/30 San Diego, CA @ The Hideout
5/1 Los Angeles, CA @ Bootleg HIFI
5/2 Costa Mesa, CA @ The Wayfarer
5/3 San Francisco, CA @ The Chapel
5/5 Portland, OR @ Mississippi Studios
5/6 Vancouver, BC @ Media Club
5/8 Seattle, WA @ Tractor Tavern
5/9 Spokane, WA @ The Bartlett
5/10 Boise, ID @ Neurolux
5/12 Salt Lake City, UT @ Kilby Court
5/13 Denver, CO @ Bluebird
5/15 Dallas, TX @ The Kessler Theater
5/16 San Antonio, TX @ Jack’s Patio Bar
6/6-7 Houston, TX @ Free Press Summer Festival
My Morning Jacket Share Three New Tracks From Upcoming ‘The Waterfall’
Today, My Morning Jacket announced their upcoming LP The Waterfall (being released May 4 on ATO Records) and shared the studio version of their first single, “Big Decisions.” This will be their seventh studio album, with another due in 2016 arising from the same sessions that yielded The Waterfall. For this first set, its themes are centered around those midlife transitional periods that crop up after you’ve settled down. Lead singer Jim James likens the songs to embodying “a weird turning point for the universe. … the sound of the page turning and not being sure what’s coming next.”
All told, they’ve shared three of its tracks, all of which were premiered live in early February at the band’s yearly Mexican festival One Big Holiday. Though it’s hard to discerningly review live tracks because their sound quality is all over the map, Vinyl Mag makes its own rules, so here ya go.
“Big Decisions”
“Big Decisions” starts off like a tropical drink, but quickly switches to some of the best Flying V power chords the band has put to tape. Jim James puts on his best McCartney affectation for the chorus: “What do you want me to do?” becomes “What do you want me ta tooooo?”, and his falsetto doesn’t make itself as known as it has in the past. But the band’s formative pedal steel DOES, which is just one component that makes this a return to form. Jacketheads felt betrayed by the sonic departures of 2008’s Evil Urges, whose songs like “Highly Suspicious” felt even more like a drug trip than usual. But “Big Decisions” has the circa 2002 southern charm and big, tough choruses a la “One Big Holiday.” My Morning Jacket have proven time and again that they can reinvent themselves while staying true to their farm jam essence.
“Compound Fracture”
We’ll forgive MMJ for copping the drumbeat from Drake’s “Hold On, We’re Going Home,” because what follows is a swirling, anthemic ode to enduring friendship. Bits of “Compound Fracture” sound like a sped up War On Drugs melody, which makes sense given the band’s multiple stage collabs with TWOD frontman Adam Granduciel (including at this very festival).The warm guitar hugs you as the synth spurts send you skyward. In line with “Big Decisions” it’s a pretty straightforward classic rock take, but thankfully features some vintage James screamo.
“Only Memories Remain”
“Only Memories Remain” is the sleepiest, meandering-est of the trio. As with most MMJ album closers (“Good Intentions” doesn’t count), it’s the closest thing to a waking dream state. Live it clocks in at six minutes and change, which, unusually, is brief for them. Though the live recording masks the lyrics, its title and tracklisting placement heavily imply that it focuses on death. Given that My Morning Jacket like to present codified bodies of work, this parallels nicely with the track ender “Movin’ Away” on their last record Circuital, which examined how a life in transition can sometimes create another life entirely.
The tracklisting for The Waterfall is as follows, whose song names reinforce what themes we should expect to hear:
- Believe (Nobody Knows)
- Compound Fracture
- Like a River
- In Its Infancy (The Waterfall)
- Get the Point
- Spring (Among the Living)
- Thin Line
- Big Decisions
- Tropics (Erase Traces)
- Only Memories Remain
WATCH: Modest Mouse: “Of Course We Know”
Modest Mouse is a band with big ideas, and now that they’ve released “Of Course You Know,” that’s never been more apparent. Given everything we know about their forthcoming (3/17) release Strangers To Ourselves, we’re in for some heavy you-know-what.
“Of Course We Know” is the FIFTH new song we’ve heard, and you can bet the order the singles were rolled out in has been intentional. The first four, “Lampshades On Fire,” “The Best Room,” “The Ground Walks, With Time In A Box,” and “Coyotes” more or less sprouted up every couple of weeks. Their titles hint at a companion record to Arcade Fire’s The Suburbs, and their accompanying artwork thusly frames the target of choice: the dreaded suburban sprawl. With “Lampshades On Fire,” it was concentric circling waterfront homes up close; soon enough it was a similar image, but from a higher birds eye view. Now, “Of Course We Know” features evil-eyed businesspeople, presumably the sprawl’s developers. So, the question arises: of course they know what?
“Of Course We Know” is some doom-laden, chanting Monk-type indie rock. Isaac Brock’s shimmering vocals and chiming chords give it a cultish feel. The lyrics are unsurprisingly vague, repetitive in the creepiest ways. “The streets are just blankets and we sleep on their silky corpse / Covered up by them, why would we ever want to wake up?” is a hell of a way to open the song. Each chorus, if you could call it that, has Brock whisper-howl-grunting, “We just do not know.” At clear odds with the song’s title, the narrator must be lying about something. And not to jump to conclusions, but real estate developers are known for lying. Though it may be way too early to hurl thematic guesses around, big picture, Modest Mouse are attempting to tell us something about the American Dream. Hey, 2015 is as good a year as any to examine society through song.