FINNEAS - Musical Analysis

Introduction

Finneas O'Connell is a singer-songwriter, producer, and actor who has produced music for numerous artists and has also won a large number of awards for his work, including eight grammys. He is famously known as pop artist Billie Eilish's brother and producer, but is also lately gaining popularity for his own albums. Finneas was born in Los Angeles and began writing songs at the age of twelve after taking a songwriting class with his mother, Maggie Baird. 

Originally, I was going to make a blog post titled "The Art of Songwriting," but after realizing that it was too broad of a topic, I decided to focus on a single songwriter and the aspects that make him good at what he does. In this blog post, I will present three different songs that serve as prime examples of Finneas' unique writing style. 

Song 1: "Naked" (2022)

I'm not usually a fan of upbeat music, but I was immediately attracted to this song when I first heard it. Though it sounds a bit complicated, being in a minor key, it only consists of four chords throughout: G, Em, Bm, C. There is a lot happening both instrumentally and lyrically in this song, giving the complex first impression. 

"Naked" is about slowly letting go of past relationships and the regret of giving oneself away. The line "I can't believe you've seen me naked" is probably literal, but it may also represent the overall vulnerability that the narrator surrendered to their partner at one time. The more someone gives themselves away to someone else, the longer it may take to be free of that person. "Naked" also gives several references to both truth and lies, as if the narrator is finally being honest about the lies that used to go around. 

The arrangement of this song is incredible because there is no repeated verse. It is almost as if there are three bridges and three choruses, each one differing significantly from the last. Even the final chorus changes lyrically, adding to the writer's pain and the meaning of the song. Although there is so much change throughout "Naked," it somehow all comes together in a satisfying fashion. Everything matches within in the song, keeping a bright and almost grungy timbre. 

Song 2: "Hurt Locker"(2021)

One of the first characteristics that originally drew me to Finneas' music is his ability to create a range of strong emotions while somehow keeping the music ethereal and comforting. Oftentimes when music is angry, it is not necessarily relaxing, and while opinions may vary with this particular song, I think that "Hurt Locker" conveys a combination of anger and deep pain in a pretty way. 

The U.S. military uses the phrase "hurt locker" as slang for serious injury. Finneas' song seems to be about a couple who is either struggling to maintain their relationship, or the relationship is already long gone. The singer uses filming vocabulary to create a visual for the song: "A close up on your lips...A jump cut to the bed we used to share...A wide shot of the aisle of a grocery store." This is a technique that I have never seen before in music, but I quite admire it. Finneas sparks the imagination of the listener to perhaps allow a closer look into his mind as he writes these lyrics. 

Dynamics are extremely important in this song as well. Of course, the song begins soft and remains steady until the first chorus when Finneas jumps an octave and belts the words. It is once again quiet at the second verse, and then proceeds to grow loud at the second chorus followed by the bridge. The song ends where it began. Though the transitions are quick, it works altogether for the song because I suppose it represents the contrast between utter disappointment and passionate anger as the narrator fights to stay with their loved one. 

Song 3: Die Alone (2019)

"Die Alone" is my favorite song by Finneas. I don't even know where to begin, other than by saying that I think this song is beautiful in every way possible, and if there was ever a perfect song it would be this one. 

This song starts off with a sweet piano melody and the sound of a crowd. The people's voices die away when Finneas begins to sing, perhaps emphasizing the "alone" in the song. "Die Alone" is about the end of things, and promising to hold onto the ones he loves no matter the circumstance. Finneas accounts that the first verse of this song is about a past girlfriend, while the second verse is solely about his parents and his home in California. 

The range of Finneas' voice in this song is absolutely stunning--I have tried to sing it using mostly chest voice in a different key and I can't quite reach it. Finneas begins the song with his signature soft voice, keeping it low until the chorus. He then builds his voice, accompanied by several harmonies, creating a melodic structure in the shape of a hill, raising his voice high and ending low again. His range reaches a peak about 3 minutes and 45 seconds into the song, jumping into falsetto and landing on a beautifully high note. Naturally, he ends the song with a repeat of the first line, once again bringing his voice back to the lower end. This is similar to the juggling technique he used in "Hurt Locker," bringing his audience's emotions every which way throughout the entire song. 

Conclusion

There are many more songs that I could show, but I think the three from this post summarize Finneas' genius quite well. I am in love with his deep, complex lyrics and smooth music style. What is your favorite of the three that we discussed? 

Sources

Definition of Hurt Locker, BuzzWord From Macmillan Dictionary. www.macmillandictionary.com/us/buzzword/entries/hurt-locker.html.

“Finneas - Naked (Chords).” Ultimate Guitar, 28 Mar. 2022, tabs.ultimate-guitar.com/tab/finneas/naked-chords-4124827.

‘Naked’ Review: FINNEAS Bares All | Arts | the Harvard Crimson. www.thecrimson.com/article/2022/4/1/finneas-single-naked-review.

Smf. “‘Die Alone’ by Finneas.” Song Meanings and Facts, Oct. 2019, www.songmeaningsandfacts.com/die-alone-by-finneas.

Wikipedia contributors. “Finneas O’Connell.” Wikipedia, Apr. 2023, en.wikipedia.org/wiki/Finneas_O%27Connell.

You Were Meant For Me - Music and the Fictive Dream

Introduction

One of my favorite childhood movies is called Singin' In the Rain, a brilliant Hollywood musical that was released in 1952 and directed by Stanley Donen and Gene Kelly. It tells the story of how the introduction of sound changed the film industry, which "made plenty of new stars while destroying many established ones" (Pfeiffer 1). Actor Don Lockwood, played by Gene Kelly, falls in love with a woman named Kathy (Debbie Reynolds), hurting the feelings and pride of his co-star Lina Lamont (Jean Hagen). Lina has an infamously pitchy voice, which is not good for the changing times. As Don deals with the love triangle he has created, he must also find a way for his first audible movie to be a great success. 

Partway through the movie, Don promises to say what is on his heart to Kathy. He demands that they need the proper setting, so he takes Kathy to an empty stage and creates the moment of a glowing sunset. Don pours his heart out into a song called "You Were Meant For Me," originally written by Nacio Herb Brown and and Arthur Freed in 1929. "Nature patterned you, and when she was done, you were all the sweet things rolled up in one," he sings. This song represents a turning point in the story, as Don and Kathy had started off with a rocky relationship just days before. However, they quickly realize how sweet their chemistry is and decide to forget about their first impressions of one another. 

"You Were Meant For Me" is a soft, romantic song that conveys a feeling of new love. It is almost cautious in such a way that the singer does not want to scare his lover away. Gene Kelly does a splendid job in singing the song gently, with a sweet, colorful timbre in his voice. Perhaps, if a sunset could become a song, it would become this song. The melody is simple but meaningful, and seems to tiptoe across itself with the accompanying instruments. And, though there are not very many words sang in this song, they are all quite impactful and applicable to the story itself. 

I'm not sure that this song is meant to convey a larger message to the rest of the world. It is a simple song that proclaims Don's love to Kathy in this particular story. However, the setting of this song in the movie is intended to entertain the audience by showing how the producers of a movie go about creating scenes. The sunset is, of course, not real, rather it is a painted backdrop. The moonlight that Don points toward Kathy is just a large, glowing stage light. He turns on a fan to create an evening breeze--the list goes on. While the audience can see that they are on a stage, there are a few intentional moments in this scene that look as though Don and Kathy are truly standing together outside as the sun goes down. 

It is movies like these that make me think I was born in the wrong era, but I am truly thankful for an opportunity to experience a part of those years again through Singin' In the Rain.

Sources

Pfeiffer, Lee. “Singin’ in the Rain | Plot, Cast, Crew, and Facts.” Encyclopedia Britannica, 22 Jan. 2010, www.britannica.com/topic/Singin-in-the-Rain-film-1952.

“‘You Were Meant for Me’ (Song) and the Myth of Entertainment in Singin’ in the Rain.” Gene Kelly Fans, www.genekellyfans.com/articles/you-were-meant-for-me-and-the-myth-of-entertainment-in-singin-in-the-rain.

Wikipedia. “You Were Meant for Me (Arthur Freed and Nacio Herb Brown Song).” Wikipedia, 4 Oct. 2022, en.wikipedia.org/wiki/You_Were_Meant_for_Me_(Arthur_Freed_and_Nacio_Herb_Brown_song).

VoicePlay - Role of the Performer

Introduction

I recently discovered a band called VoicePlay, an a capella group that posts covers on YouTube. They have been posting since 2012, but recently started to gain fame and have been rising in popularity for the last few years. The band has lost and acquired different members since they first started, and they also feature other singers on their channel, but the main four are Geoff Castelucci, Eli Jacobson, Cesar De La Rosa, and Layne Stein. These four singers each pursue an individual career apart from the band, but they are also constantly working together to provide new content for their fans. 

As far as I can find, VoicePlay has yet to post an original song of theirs. They are solely working on recording music by other artists, adding their own sound and unique voices to each song. Layne is the main percussionist with incredible beat boxing skills, Eli and Cesar both have stunning ranges and control over their voices, Geoff provides bass and has mastered the art of subharmonics (which is a way to sing very low, as you'll hear in the songs below). 

I appreciate artists who cover songs because it gives the audience an opportunity to hear the song in a different light. Oftentimes, I like the cover better than the original because it may be softer and more natural sounding. There is such a thing as an overproduced song, which is why bands like VoicePlay should continue to do what they do. It may also be that some singers have phenomenal talent without the ability to produce an original song, which is perfectly admirable. 

The Songs

The two songs I would like to show you are "Nothing Else Matters," originally performed by Metallica, and "I Can't Make You Love Me," originally performed by Bonnie Raitt. 

"Nothing Else Matters" is a rock song from the early 90s, featuring a grungy voice and an electric guitar. It is sang with great passion to accompany the heavy lyrics, starting soft and building volume as the song progresses. VoicePlay covers a very similar version of the song, and does not take away from many of its qualities. They begin quiet, building intensity in preparation for the guitar solo, which they substitute with Layne's violin. Though the two performances are similar, VoicePlay seems to add more layers to the song, and the overall sound is much cleaner than Metallica's version. The harmonic texture that they give is quite beautiful and certainly adds to depth of the lyrics. 

"I Can't Make You Love Me" came out the same year that "Nothing Else Matters" did, in 1991. It belongs to a much different genre, however, so the two songs sound almost nothing alike. Bonnie Raitt's version of "I Can't Make You Love Me" is emotional and almost whimsical. The texture of the song remains somewhat the same throughout, with her voice accompanying soft instrumentals. VoicePlay's version starts much quieter, opening with tender vocals followed by Cesar's smooth voice in the first verse. Similarly to their cover of "Nothing Else Matters," they once again slowly build intensity and then fade away as the song ends. It's a bit slower than Bonnie Raitt's performance, and while both versions are emotional, the cover seems to have more of an accepting sadness rather than an angry sadness. And of course, there is a lot more going on in the cover harmonically, since there are five voices instead of one. I think I like the cover better, but both are unique and I suppose it depends on the day.

Conclusion

What are your thoughts about the role of the performer? Did you like the original versions of each song better, or did you prefer the cover? As I said before, I think that covers give us an opportunity to hear the song differently, by perhaps hearing an emphasis on something we hadn't noticed before, or by simply hearing the song with different voices and instruments. 

Sources

Bentley, Lisa. “VoicePlay - Once Upon an Ever After / Album Reviews / More Than the Music.” More Than the Music, 4 July 2012, www.mttm.uk/voiceplay-once-upon-an-ever-after.

Hale, James. “YouTube Millionaires: Meet the Fab Five Behind VoicePlay.” Tubefilter, 13 Jan. 2022, www.tubefilter.com/2022/01/07/youtube-millionaires-voiceplay.

Wikipedia contributors. “I Can’t Make You Love Me.” Wikipedia, 8 Mar. 2023, en.wikipedia.org/wiki/I_Can%27t_Make_You_Love_Me.