Melophobia- Cage the Elephant

Cage the Elephant’s latest album, titled Melophobia, is an album of truth; it pushes boundaries with an enveloping theme of sincerity and unapologetic honesty. It elicits genuine emotion, and it challenges the limits of self-consciousness and conformity. The name of the album, Melophobia, is a word meaning “the fear of music”. In its oxymoronic simplicity, this title seems to coax listeners into reflective expansion of an otherwise basic definition. Instead of purely implicating “the fear of music”, it seems that Cage the Elephant is trying to convey the broader idea that modern music is an industry phobic of pure, raw, authentic music. Recently and consistently, musicians have begun producing songs and albums considered fitting of the modern music "status quo"- making the top ten has become more important than the musical translation of feelings and ideas. With money and status at stake, bringing emotions to life and revealing artistic depth have both become secondary to producing, packaging, and marketing the perfect tune that will entertain anyone and reach no one. 

        Armed with Melophobia, Cage the Elephant hopes to remain heartfelt and candid, ignoring the risks of vulnerability for the sake of authentic art. In essence, they present unfiltered songs with messages that they genuinely wished to communicate, and they create an overarching theme of rejecting the conventional to unearth the grit of artists and their unique artistic offerings. In this way, the album celebrates individuality and originality and condemns the staleness of mainstream music culture.  It appreciates honesty no matter how risky, painful, or embarrassing the message, and it considers this honesty more valuable than avoiding, changing, or omitting the truth, or worse yet- creating music simply to sell it. The importance of art, according to the message conveyed by Melophobia, is that its value is not in the product, but rather in the product's process and intention. If art is made with the purpose of honest expression, it can then truly be considered a work of art. Otherwise, it is a façade, and it caters to the chronic “melophobia” of the modern, mainstream music industry.

Closely linked to this theme of Melophobia is the concept of postmodernism. Postmodernism is essentially the rejection of infectious conformity and wide-scale mob mentality. It encourages individuality and rejects compliance with societal norms, glorifying independence and ingenuity instead. When considering Melophobia, it seems to be something of a postmodernist musical masterpiece. It is genuine and individual and revels in its own uniqueness. The problem, however, is in the delicate balance that Melophobia manages to maintain between true postmodernism and contrived postmodernism. When postmodernism exists purely to contest modernism, it ironically becomes modernism. The perfect example of this phenomenon is the recent “hipster” trend. This trend has made it “cool” and “mainstream” to oppose and challenge the expectations of culture and society as a whole. It has created a paradox of postmodernism and modernism that confuses the true implications and purpose of the postmodernist movement. Cage the Elephant is almost in danger of becoming part of this paradox by creating an album like Melophobia- an album eagerly charged by its anti-conformist theme. If used with the wrong intent, this type of theme could strangle authenticity, and the honesty that is so valued and coveted could be lost in the very process of obtaining and preserving it. When listening to Melophobia however, it's obvious that Cage the Elephant is able to maintain their purity and openness while avoiding the downfall of artificial honesty. When examining songs from the album more closely, such as “Come a Little Closer”, “It’s Just Forever”, “Halo”, and “Cigarette Daydreams”, the boundary-testing messages seem to reassure that Melophobia remains in the realm of postmodernism, escaping the enticing yet dangerous contradiction of modernist postmodernism.

            The song “Come a Little Closer” is the second listed on Melophobia, an almost upbeat song with a melancholy twist and psychedelic tones. It ties in with postmodernism in its lyrical message. The song investigates the intricacies of life; it encourages a deeper look at the ordinary and unassuming. Inviting the listener to “come a little closer” because “things aren’t always what they seem to be”, it reveals that life can contain hidden meaning and can become truly enlightening when one takes the time to look “a little closer”. This idea directly correlates with the theory of postmodernism itself. Since postmodernism is founded in the extraordinary and the unexpected, taking a closer look at things in hopes of enlightenment is a postmodernist idea. Modernism encourages surface examination and seeing things as they immediately appear to be, ignoring depth and any possible profundity- a direct contradiction of the message in “Come a Little Closer”. Also, by approaching this topic in the very first song on the album, Cage the Elephant dives right into a postmodernist perception of Melophobia, introducing an investigative tone that invites listeners to adjust to the idea of postmodernism and distinguish the genuine nature of the music.

           A second song worth discussing from Melophobia is “It’s Just Forever”. This song is grating and unnerving, with a fast pace, retro guitar, and screeching tones and noises. This song is unsettlingly honest in that it touches on the subject of obsession. It reveals the dark and twisted nature of love when it transforms from passion to mania. Stating things such as “gonna make you mine forever” and “never stop until you love me”, this song is a warped version of a love song, addressing the subject of perverse romance. It connects to postmodernism through it’s unconventional approach to love; instead of describing the typical euphoria of love that is portrayed in countless songs, movies, and pieces of art and literature, this song delves into the shady side of love that often is ignored. Choosing to investigate an unconventional idea is postmodernist in its resistance of normal expectations. By rejecting the usual construct of romance and taking the subject into nearly uncharted territory, “It’s Just Forever” pushes boundaries and combats modernism. It pioneers its way into a distorted notion and confronts the widely expected and commonly addressed idea of love, defying it in its modernist state.

            The song “Halo” is also significant in its raw message. “Halo” seems to touch on the addictive nature of relationships and the deception and manipulation that can arise from being taken advantage of in a romantic situation. The song develops the ups and downs of relationships by talking about how the good memories and fond feelings override the ability to avoid manipulation. The song states “you knew I/couldn’t help myself” to convey the message that although the subject has “lost [his] halo” and the relationship has become detrimental, he cant escape it because he is too invested in it and “all the good times [they] had”. It is an honest confession of being willingly deceived and controlled by love, and how the exceptionally strong hold romance can have over decision-making affects a person’s ability to do what is right. The song is postmodernist in its blatant honesty, contesting the commonly romanticized version of romantic deception by exposing it for what it truly is. Relationships become less black-and-white, like they are viewed from a modernist standpoint, and the complexity and messiness are revealed as the reality of romance. The postmodernism of the song effectively transforms the general concept of romantic love.

          

            One last song from Melophobia is “Cigarette Daydreams”, a song that seems to be about relationships, dealing with the unknown, and holds general nostalgia with a touch of sadness. The band sings about driving “all night/looking for the answers in the pouring rain”, introducing a wistful, contemplative mood that enhances the song as a reflective piece. There is mention of an unnamed person who was “only 17”, and a broken relationship is implied, as the listeners learns that he or she nearly brought the singer “to his knees”. The postmodernism of this song occurs in its unmasked confusion and melancholy. The subject of the song is clearly a painful and sensitive one, but Cage the Elephant is honest about everything from the positives to the negatives of the situation, admitting confusion and weakness where many artists would not have. Perhaps the most common symptom of a modernist love or heartbreak song is the lack of personal admittance of guilt; most songs either glorify relationships and ignore their problems, blame the other person for the relationship going wrong, or simply wallow in the sadness of a breakup. For “Cigarette Daydreams” to address all aspects of a relationship, while adding in some existential ponderings as a result of this, means that this song stays true to its postmodernist intentions and fits perfectly within Melophobia.

            

            Overall, Melophobia succeeds in being an honest album and staying true to the intentions of postmodernism. It avoids being forced or unnatural in its postmodernist implications, and resultantly does not loop back into modernism and contradict itself. It is a blunt, exposed music album that extends beyond mainstream boundaries, touches on subjects uncommonly touched on, and it questions the most basic ideologies of modern society and culture. The album’s success lies in its dedication to it theme; Melophobia refuses to conform.

Feature Post Four “Cultural Criticism”

How to Dismantle an Atomic Bomb by U2 is an album of complexity and art, a harmonious blend of the strains of love and peace, violence and misfortune, faith and the loss of it. Its cultural relevance comes in the form of its applicability; it’s an album that touches on every painful and passionate experience of life, and its broad interpretations allow anyone to relate to it. It’s a manifestation of the ups and downs of life’s daily struggles, and the spiritual struggle of any individual trying to make sense of themselves in a senseless world. It exposes the fact that global culture lacks depth; that people attempt to connect over materials and status, but no one truly understands and utilizes the complexity of human emotion, and the convoluted nature of what it means to be human. How to Dismantle an Atomic Bomb uses lyrics and sonic elements to communicate the innate desire to be understood, and the universal challenge of trying to find oneself amidst the turmoil of existence.

Every song on How to Dismantle an Atomic Bomb touches on a different aspect of life and the human experience. Most notable, however, are the songs “Vertigo”, “Miracle Drug”, “Sometimes You Cant Make it On Your Own”, “One Step Closer”, and “Original of the Species”. Arguably the most popular song from this album, “Vertigo”, is intriguing because it details a total loss of control. It is a song about confusion and being driven absolutely insane by the shitstorm that is life. The lyrics are a jumble of metaphors and ideas and imagery and the guitar riff is hard and fast, creating a desperate intensity. It seems to represent the chaos of the mind as it wrestles with reality, what constitutes reality, what is only perception, and whether or not there is a distinction between any of them. As Bono sings “It’s everything I wish I didn’t know”, the overwhelming nature of life becomes obvious, and it speaks to the subtle cultural ideology that in life, no one knows what they are doing or where they are going; they are merely navigating its obstacles the best they can.

However, the songs “Miracle Drug”, “Sometimes You Can’t Make it On Your Own”, and “One Step Closer” all have similar tones that are very different from that of “Vertigo”. “Miracle Drug” is also about confusion, but in a different way than the frantic, erratic confusion of “Vertigo”. “Miracle Drug” speaks to the melancholy confusion of the individual, the misunderstandings between people and the misunderstanding of oneself. It anonymously begs the subject to free their mind, and implores whether or not there is a “miracle drug” to help inspire this freedom, claiming “I’m not giving up” and “I want a trip inside your head” to “hear the things you haven’t said”. It is a song about personal growth and the mystery of everything that is left unsaid, how it can misconstrue the understanding of an individual. In terms of culture, it exposes the human tendency to 'play it safe' or look for fulfillment in outside sources instead of coming to terms with individuality and unapologetically expressing it.

In the same tone but with a different message, “Sometimes You Can’t Make it On Your Own” reveals the reality that people are frequently unwilling to ask for help. In a cruel world with a general, widespread ‘every man for himself’ mentality, there is a subversive cultural expectation to constantly achieve and excel. “Sometimes You Can’t Make it On Your Own” highlights this fact and the resulting attitudes people often take on because of it, believing that they don’t need anyone else to survive and that the basic human need for love and comfort is a sign of weakness. It challenges this ideology, stating that “you’re telling me and anyone/you’re hard enough” but “you don’t have to put up a fight/you don’t have to always be right”.

The song “One Step Closer” is actually about the death of Bono’s father, and therefore has a more general theme concerning the mystery of what happens when a person dies. It addresses the culturally shared and instilled fear of death and the unknown, seeming to express that this idea should be challenged and death should be treated less as a sentence by society and more as the next mysterious step after life, something that should be contemplated rather than immediately feared. The song is slower and the profound, atmospheric sounds that radiate throughout it immediately create a philosophical sadness surrounding the song that is more than simple misery.

            The last especially extraordinary song on How to Dismantle an Atomic Bomb is “Original of the Species”, which appears toward the end of the album. It wraps the album up on a more uplifting note, still addressing the existential topics that are U2’s specialty on this album, but in a more positive way. “Original of the Species” is about embracing individuality and being unafraid of uniqueness. Bono declares, “everywhere you go you shout it/you don’t have to be shy about it”, giving this song an empowering vibe that encourages personal pride. It challenges the cultural idea that everyone should strive for perfection, and annihilates the mold of conformity that is often forced upon the population through advertisements, entertainment, and belief systems. It is a radical song in that it encourages love, peace, and acceptance, shattering low-lying cultural ideologies.

             How to Dismantle an Atomic Bomb is an insightful commentary, reflecting on culture and the ideologies that we share globally as a result of the world we have created through actions, ideas, and inactions. It reveals the illusion of superficiality, pulls back the curtain of all that exists on the surface to uncover the intricacy of the human mind and spirit. It speaks volumes to the individual, as well as to society as a whole, and acts as a mirror to these entities. It is essentially the perfect cultural criticism simply because it applies to every culture that exists.

           

Genre Analysis 2: For Emma, Forever Ago

     For Emma, Forever Ago by Bon Iver is an album that truly stands alone, a collection of the sonically serene and whispering, haunting tunes that echo an indie folk genre. With the guitar and singing pattern of Elliott Smith, and unusual, synthetic sounds that give his music the mysterious vibe of bands like Vancouver Sleep Clinic and Lord Huron, Bon Iver’s album comes across as an introspective conglomeration of sound. For Emma, Forever Ago touches on heartbreak and desolation, and becomes an interesting depiction of divine, transcendent noise painted on a folksy, raw musical background. Justin Vernon, creator and performer of the Bon Iver project, is a troubled-looking, rustic guy with sensitivity so deep and penetrating that his songs can only touch you in the most emotional of ways. His style of music, while deeply folk, has indie touches and flourishes that set him apart from the pack.

            
     If Bon Iver has any king of a tone, it exists simply as winter. Something about the brisk, crisp guitar strumming and soft, high-pitched, humming vocals give way to images of falling snow and blustery skies. Vernon takes folk music and gives it a seasonal spin, pulling listeners into the universe of Bon Iver- melancholy and bleak, but somehow not totally unpleasant. In fact, many of the songs on For Emma, Forever Ago sound like something you would do yoga or meditate to, or they just make you want to lay outside on frozen ground, staring at a grey blanket of clouds, contemplating anything and everything. These songs reach a deeper consciousness, and it’s intriguing how well Justin Vernon accomplishes this by taking folk to a new level. He separates himself simply by giving his music an echo-y, tranquil twist through variation in vocal and instrumental style. The basic acoustic guitar gives the music a stripped down, bare atmosphere, while added dream-like noise effects enhance the indie ambiance and give his songs that extra Bon Iver nudge.

            
     Vernon is very fond of singing in falsetto, a technique that could easily be overused or worn out- and yet it never gets old on For Emma, Forever Ago, or on any of Bon Iver’s album for that matter. He also loves to harmonize, and this grants many of Vernon’s songs an almost spiritual aura, with multiple voices singing at once in an almost ghostly fashion. It resembles the drama of the legendary band Queen, not just in the harmonies, but also in the escalation of sound and in the emphasis on how sound works together. While Bon Iver may not have quite the volume of Queen, the quiet energy of the band, and specifically this album, is unique and matches Queen’s style of creating epic sonic constructions.

            
     Also very noteworthy is the almost random musical pattern of the individual songs on For Emma, Forever Ago. Some songs stay constant, mellow and relaxed, while others start softly and suddenly burst into the chorus and build. Still others alternate between soft lulls and louder ruptures, although loud may not be the correct term for Bon Iver’s peppered surges in indie folk energy. Intense, arresting, or consuming may be better adjectives to describe this overwhelming influence Bon Iver’s sound can have on listeners. Vernon’s engaging, gripping emotion is part of what completes Bon Iver’s ascension from a purely folk artist to an elusively indie mash-up of folk and dreamy yet provocative acoustics.

            
     To identify individual songs, “Flume” and the more popular and well known “Skinny Love” are pieces from For Emma, Forever Ago that both have a more wistful, painfully heartbroken sound. The acoustic guitar is somehow orchestrated to sound gentle and yet it also aches, like a throbbing injury or pounding headache that wont let up.  Perhaps the consistent guitar strumming combined with a slightly faster pace is what makes these songs resonate more with pounding, underlying anguish. Whatever the reason, this success in writing and performing folk songs that are distinctly different from one another in something that can be as subtle as tone shows the mastery of Bon Iver in the indie folk genre. “Flume” and “Skinny Love” communicate the passionate heartbreak Vernon faced in the ending of a relationship, and they speak most directly to this romantic crisis out of any of the songs present on For Emma, Forever Ago. Somehow, Justin Vernon creates this type of direction in his songs that becomes obvious when heard but is difficult to pinpoint or specifically define.

           
     Other songs off of this Bon Iver album like “Blindsided” and “Re: Stacks” carry a more blanketed yet almost peaceful gloom, and have a profoundness to them that inspires quiet reflection and simply sounds like existence. “Blindsided” is more resigned and almost carefree in its acquiescence, and the slightly faster pace and haphazard sounds in the background that sound like adjusting instruments encourage this careless attitude. The humming vocals also incite a curiously easygoing feeling, despite the obvious pain motivating this song, and this reinforces the emergent theme of acceptance. 

With “Re: Stacks”, Vernon is more glum and the song is a soft, continuous melody that sounds like Vernon basking purely in his sadness. It’s a song that fits the soundtrack of a gloomy scene in a movie, a song that is thoughtful and pensive of its own misery. The guitar is constant and slower, and Justin Vernon lowers his singing pitch in a way that helps to emphasize that feeling of being “down” that surrounds and identifies this song.

     Vernon uses instruments and musical style on For Emma, Forever Ago to alter the indie folk genre, and these modifications reveal Vernon’s unique style within his generic niche. This talent for manipulating genre is something that he certainly possesses, and it makes a clear statement about the originality and individuality of For Emma, Forever Ago. Without abandoning his folk origins and completely succumbing to the intricacies of new-wave indie, Vernon builds and nourishes an album that ranges from one end of a generic spectrum to the end of another, making For Emma, Forever Ago an engaging album choice.