I haven’t written anything for National Underground in several months. I’d really like to. I haven’t received any of the mass e-mails that they send to their writers and editors, and I’m not surprised. I rarely click on the site's bookmark anymore, out of fear of discovering all that's progressed without my contributions. Honestly, I’d like to be able to say that I was too busy with school, but that’s only true to an extent. After all, the time spent on each one of my meandering blog entries could have been attributed to music reviews. Come to think of it, a few of them were, ironically enough.
When it comes down to it, it’s difficult to think of new terminology when describing a particular sound. If I spend enough time, I can do an adequate job. More often than not, however, I’m plagued by writer’s block. It’s pretty discouraging, to say the least, especially since I was hoping to make a career out of using this one, for lack of a better word, talent. I listen to a lot of new music, and I’ve formed thoughtful opinions regarding so much, but sometimes it’s agonizing to translate certain feelings into words.
The lack of proper vocabulary constantly hinders my descriptions. Obviously, it’s not enough to say that something is “good” or “cool.” I need to be able to identify the subtle nuances of a unique sound. But how do I identify a sound that doesn't necessarily tread new ground? Most music is derivative, of course, but that doesn’t always equate to staleness. Dear Landlord, for instance, is a fantastic pop-punk band. The three-part vocal harmonies and (insert description of musical characteristics here) evoke the similar strengths of their obvious influence, Dillinger Four. The similarity here serves more as an homage than a blatant rip off, and it works remarkably well. If a band plays a traditional form of punk without pushing any musical barriers, how do I convey that said band is exceptional without relying on comparisons?
Comparison, by the way, is inevitable. It is a practical tool used to outline a general sound. For new bands and debut releases, it is especially useful. On the other hand, it is often my writing’s greatest downfall.
“Dear Landlord, eh? I’ve never heard of them,” said a Generation Records employee upon my purchase of their 2008 split 7”.
“They’re kind of midwestern pop-punk,” I replied. “A lot like Dillinger Four.”
It was an effective description, but for professional reviews, I feel as though I need a lot more. Where typical music journalist jargon should enter, I fall short. As the blogger bio on this page points out, I love music, but I am incapable of playing it. What, for example, are power chords? I feel like I should know. In fact, it’s embarrassing not do. Thankfully, my Music Appreciation class last semester enlightened me on a lot of terminology, so hopefully that will benefit my writing in the future. Dynamics, texture, time signatures... at least I’ll be able to examine those elements more thoroughly from now on.
And don’t get me wrong. I’m far from giving up. There’s just been a selective type of writer’s block lately that’s been preventing me from sharing my thoughts on that which I’m most passionate about, music. Ironically, I decided to confront this dilemma by, you guessed it, writing this very blog entry.
The latest Crime in Stereo album was pretty unconventional. I think I’ll get to work soon, starting with that. It’s pretty experimental, as they've evolved considerably from a typical Long Island punk/hardcore band.
A lot like Brand New.
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