Walter The Producer – THEY TOOK THE NIGHT
Genre: Psychedelic Rock, Indie Rock, Indie Pop
Are most of the really big hit songs already written? Well, songwriters and producers might be licking their lips at this prospect. Working with an empty canvas would be terrifying to any artist regardless of their unbridled imagination. Working from a previously approved format is less. Walter The Producer may not be inventing the wheel, but I dare you not to shake your rump to this one.
Like many other songs in recent memory, there’ll be something nagging at your brain while this rattles in your brain. Sure, you must have heard this before. Like listening to Oasis, you may soon find yourself engaged in a game of trying to name-check the various influences that must’ve surely poured into the making of this piece.
But don’t worry. Take a load off. Producing good songs is not an easy task. Few do it well. And even fewer work without a map to guide them. Walter the Producer’s “They Took the Night” is a pleasant Daft Punk-styled indie-pop song with a bit more bite and ultra-modern, flashy production tricks. Sometimes, you just need to say thanks for the drink and not worry about who and why it was ordered for you.
Nate Bergman – War on the Working Class
Genre: Americana, Garage Rock
The entertainment industry has done its very best to keep working-class folk out of business. Of course, you wouldn’t know it from all of the PR messages raving about the blue colour credentials of stars. But, for the most part, that’s not true. When someone from the regular folk does make it in the entertainment industry, their accent gets changed along with their name, haircut, and life story.
Nate Bergman writes a song for the regular people whose struggles are anything but charming. Songs have often been sold to these people. But few times have stars truly aligned themselves with them. It’s been a while since working-class heroes singing songs about others like them have been popular. It’s a shame, and it’s unfair.
Nate Bergman’s “War on the Working Class” doesn’t hide the truth behind clever arrangements or unfounded claims. Back-breaking work breaks the spirit also, and there’s nobody to grieve over you. But there’s always a song to sing and nobody that can force you to keep it to yourself. Bergman’s guitar-driven blues-rock captures the despair, as well as the ember of truth, in a poignant way.