Spare Parts for Broken Hearts: Songs that Stick to my Brain part 1

I’ve spent the last several days listening ad nauseum to eight songs by Spare Parts for Broken Hearts, an LA-based rock band about whom I’ve been aware for at least a year, but had neglected to spend any significant time with. I’ve been missing out.

Last week I finally bought all eight singles that are available for download from their website. From what I can tell, they have yet to put out an EP or LP, but I’m still pleased with their eight-song playlist on my phone. (Reading the about page on their site, they plan to release an LP this year!)

Today, I’m going to take the first four songs from my playlist and look at them a little more closely. I’ll do the other four songs I have in a follow-up. I’m just doing these in the order they appear on my phone. If you’ve never read one of my album reviews before, I like to review the musical and lyrical tones of the songs and try to interpret them together. So this is not a critique so much as an attempt at understanding this music.

“I don’t want to be the voice of your prophet, your profit”

“Dirty Milk” opens with a fast, distorted bass line, feedback chords, and ringing cymbals. Lead Singer Sarah Green’s voice is melodic with just the right bit of scratchiness: “I am anonymous / Are you just like me / I need a friend”. And the refrain: “I don’t wanna be the voice of your prophet / I just want to be alone”

The song repeats its only verse and refrain twice each, never relenting until an abrupt ending that briefly fades out with squealing distortion feedback. This pace is more what you would expect from a heavy post-grunge band, but it’s not what Spare Parts for Broken Hearts typically do.

“Tell me the story from a different angle”

“Big Win” is more of a slow burn to start that builds into a soaring chorus: “All that I want from you / You can’t take back”

Even as Green’s voice rattles and nearly drowns out the dirty guitar chords, she still finds the space to lower her refrain to a gentle, almost sweet level, only to come back to a final chorus with fury and anguish. Spare Parts, or perhaps Green herself, perfectly blend these opposite emotional levels in most of their songs.

This is easily my favorite song of the bunch.

“I could swim til the bitter end”

“Cold Wave” similarly transitions from floating verse to torrential chorus and back. These transitions are jarring in that the listener feels the sudden weight of Green’s pain. Her first belting cry of “With no air” is powerful on its own, but its true meaning is only revealed when she growls: “I’m holding my breath / With no air”.

These songs run 3-4 minutes each– an average length– but each one is so full of sound and feeling that they feel like frozen moments.

“Where you end I begin / Severed”

Most of SPFBH’s songs are laden with inner turmoil, but perhaps none feels as forceful as “Ever”. Green’s wail on the first word of the chorus is a challenge and a rebuke: “What you can’t give / You can’t take from anyone.”

Plucking strings and distortion-rended chords. Soft hi-hat and crashing cymbals. Airy verses and wailing choruses.

All of these elements mingle throughout most songs for Spare Parts for Broken Hearts, and they never feel out of place or forced.

That the band can embody these dichotomies so completely is a testament to their songwriting skill and their authenticity. Whatever inspired these songs, I believe it, and that’s part of what makes them unforgettable.

I’ll come back with the other four songs in a couple weeks.

How do you like Spare Parts for Broken Hearts so far?

Steve D

Welles and the “Silky” Sounds of Early 90s Grunge

You may remember me writing a few weeks ago about Dead Sara’s new EPTemporary Things Taking Up Space, and about how Jessie and I went to see them in DC last month.

Well, we also saw another band that night, upon whom I am very happy I stumbled.

Continue reading “Welles and the “Silky” Sounds of Early 90s Grunge”

I Wanna Be An Alien: Finding a Place in Dead Sara’s New EP

Dead Sara occupies a strange space in music right now, at least for me.

I have never heard them on the radio, and when they venture to the east coast from their L.A. home, it always seems to be in smaller venues.

But I have trouble thinking of a band that more poignantly encapsulates my general sense of the world as a 29-year-old American. Their first two albums, 2012’s Dead Sara and 2015’s Pleasure to Meet You, provide nostalgia and newness in their sounds simultaneously.

Their new EP, Temporary Things Taking Up Space, has achieved the same.

Continue reading “I Wanna Be An Alien: Finding a Place in Dead Sara’s New EP”

Strange Birds + Grandpa vs. Prowler + Dead Sara = The Best Rock Show I’ve Ever Seen

Dead Sara - Ottobar, Baltimore, 8/5/16
Dead Sara – Ottobar, Baltimore, 8/5/16

Ottobar in Baltimore is not a large venue, but it is the perfect venue to see three high-energy bands leading up to Dead Sara, who have rapidly become one of my favorite bands. Continue reading “Strange Birds + Grandpa vs. Prowler + Dead Sara = The Best Rock Show I’ve Ever Seen”

Bad Girl’s World: Halestorm’s Unequivocally Hard Rock

Halestorm’s May 2, 2015 show at Pier Six Pavilion in Baltimore was cancelled due to the anticipated protests, and the state of emergency then still in effect in the city. I was supposed to go, but I was relieved when the show was postponed to September 26. The rioting and the presence of the National Guard was weighing too heavily on the city and my mind to see myself truly enjoying what would have been a positively energetic concert.

I have seen Halestorm live twice already, and I knew I wanted to see them again. Their on-stage energy and enthusiasm is genuine and infectious. Continue reading “Bad Girl’s World: Halestorm’s Unequivocally Hard Rock”