Jeroen's Micro Blog

The six hundred eighty-ninth song: Freak Scene - Dinosaur Jr.

Freak Scene combines this heavily energetic music with slow, chill vocals that put you at rest even as the guitars are screeching. It's a nice little alternative rock song that doesn't demand too much, but gives a lot musically.

The six hundred ninetieth song: Follow the Leader - Eric B. & Rakim

As hip hop is still rising, we've had a lot of happier dance tracks. Here, however, we get the darker side, with a deep, oppressive beat and lyrics that sound more oppressive. There's a lot of talent in it and its grown up feeling really resonates that much more.

The six hundred ninety-first song: Where Is My Mind? - The Pixies

Inspired by Dinosaur Jr., The Pixies have similar slower vocals, with lyrics that match that slower delivery. The music moves along a lot faster and the combination jives well, a nice rock song that keeps moving along.

The six hundred ninety-second song: Waiting Room - Fugazi

Although this track has a clear metal influence, its music goes that much slower, lessening its intensity instead. The vocals are that bit more stripped down as well, with the real power coming as much from the larger choruses joining in instead. The music builds to being more celebrating in places, but the step down from metal does make it that much more accessible and listenable when you come across it like this.

The six hundred ninety-third song: Touch Me I’m Sick - Mudhoney

Following that, Touch me I'm Sick really brings the volume to the point where it becomes incredibly distorated. The repeating, simple chords and drum beat emphasize that further, while the screamed lyrics seem like they're needed just to get through them. It's a lot of energy and a lot of aggression, working to create that full atmosphere.

The six hundred ninety-fourth song: Feed Me with Your Kiss - My Bloody Valentine

Feed Me With Your Kiss loses its lyrics almost completely in its music, heavy guitars almost completely drowning out the lyrics. It's a bit too much for me - without the lyrics, this feels like a repeated chord that wears out its welcome quick enough, lacking the variation that's meant to sustain its four minutes.

The six hundred ninety-fifth song: Buffalo Stance - Neneh Cherry

Buffalo Stance has that classic hip hop build, with a build of energy, lyrics about life on the street, that quickly build into an R&B track for part of it, mixing both together with the samples and DJ stylings. It's a nice combination, not too innocent but also not going as grim in these. It's a pretty nice hip hop pop song that stands out for its own energy.

The six hundred ninety-sixth song: Fast Car - Tracy Chapman

Fast Car is a straight forward folk rock song. Its focused lyrics really sell this point, an appeal to leave, both discussing the life they want to escape (get out of the shelter) and the feeling of freedom when they travel. It's touching and really hits you with every aspect of it. Nothing is underperformed, but the music hits at just the right points.

The six hundred ninety-seventh song: Straight Outta Compton - N.W.A.

And if the previous hip hop tracks weren't enough, we really start getting the gangsta rap in. This feels like a song declaring war on other gangs and others they don't like. It's aggressive and dark, the beat really becoming secondary to the lyrics. The rappers on this album come back in bigger places later, and that's the rap legacy that I feel we see rise in the next two decades.

The six hundred seventy-eighth song: Birthday - The Sugarcubes

Since I only really know Bjork as a solo artist, hearing her with a rock band creates some stark contrasts. Her voice feels as odd and ethereal as it is in her solo work, but backed up by a proper rock sound with a deep base thrives on the contrast between the sounds rather than amplifying the oddness her songs have in another context. I really think it works, creating a contrast that really pulls everything to the front, and I just can't help but love this track.

The six hundred seventy-ninth song: Beds Are Burning - Midnight Oil

Although this number feels very danceable, the lyrics of Beds Are Burning have that darker feel as well. Even without diving into the details of the lyrics, there's an anger in the song, and the reason why this was written makes it that much stronger. At the same time, the ongoing beat, at times slightly sensual delivery and ongoing sound means there's something happier in there as well. It's an odd contrast - something that I somewhat associate with Australian culture anyway - and it pays off really well in this context, drawing you in while delivering its message.

The six hundred eightieth song: Ye Ke Ye Ke - Mory Kante

I've already mentioned that this year is the rise of house music and Ye Ke Ye Ke shows how it can embrace so much more. There's a driving beat in this song that underlies lyrics and a feeling that are from a more traditional African mold, creating a more traditional combination of sounds. It's addictive and I think I've heard the chorus sampled often enough - for a good reason.

The six hundred eighty-first song: Just Like Heaven - The Cure

If I have to pick a direction I'm happy rock and punk have gone into around this point in time, this is probably it. While with its new wave influences, it's mostly to add a bit of lightness to the sound. The subject of the song isn't too complex, but lyrically it is put together really well. It's a wonderful, happy love track that still stays far away from getting sappy.

The six hundred eighty-second song: The One I Love - R.E.M.

There's a real aggression in this track, a track describing a twisted love that has more to it. There's a definite role to it and it has that depth I feel R.E.M. can really bring to their music, with more ot interpret and look into than you might think at first glance. It's so well done, it sounds so good, it's a good accomplishment.

The six hundred eighty-third song: Fairytale of New York - The Pogues

After all that power, Fairytale of New York is a welcome comedown. The celtic sound works really well, the initial piano sound setting up the mood while the more abundant song that kicks off later keeps that tradition while having its larger, welcoming production. It's a celebration, one that sets its tone and runs it really well.

The six hundred eighty-fourth song: Paradise City - Guns N’ Roses

As another rock anthem, Paradise City hits all those moments so well, it's a joy and a party, a really good and memorable song that asks you to sing or shout along. It hits its beats and does it well.

The six hundred eighty-fifth song: Never Let Me Down Again - Depeche Mode

I can't say as much about this one - this is a decent new wave track, it hits the dance beats, I don't know whether I'd say it does a lot more than that.

The six hundred eighty-sixth song: Faith - George Michael

I have really been enjoying this. Faith isn't a very complicated track, but the sexual joy of it is amazing and there's something that just really engages you, a playful sound that carries further.

The six hundred eighty-seventh song: Need You Tonight - INXS

As another sensual dance song, the rockier sound here is a bit more explicit and dirtier. It's still a good sound that works well and gives some more depth to it. The call and response add to this, feeling like it's calling out more, as well as giving more internal thoughts.

The six hundred eighty-eighth song: With or Without You - U2

The build in this track is part of what makes it such a good track to listen to. It starts simple, a guitar, Bono's quite simple vocals, which start low and dark and very slowly build to a larger sound. It's well set up and sequenced through the song, the anticipation as important as the eventual, temporary crescendo. It's one of those songs that's well thought out, a sentiment that defines the band as much, whether it's a love song or a larger topic.