The final installment in a new trilogy of albums, Tre! comes only several weeks after the recently released and quite underrated Dos!, which surprised many with its deep punk tinge and the general lack of power-pop Green Day has lately become known for. Whereas Uno! was dripping with stadium built songs, Dos! was more stripped back and sounded almost like it was recorded in a garage. Unfortunately, rather than continuing with that reinvigorating step forward, they've taken a half step back here by reaching into the pop filled jar a few too many times. It's not that the slower, more FM friendly songs are bad, it's just that they are incredibly safe and really lacking any kind of punch or power you would expect from you know, a former punk band.
Take album opener "Brutal Love", which borrows some melody and structure from The Animals, but none of the attitude and swagger that made that band iconic. It's the kind of song that I call "formula music", meaning I think that Green Day could write about a thousand songs of this tone and mood in their sleep, no problem. I've mentioned this before: it's the sound of an artist kind of coasting and resting on what has made them successful instead of consistently trying bold or new ideas. The same logic applies to "Drama Queen", which is a ballad-type that only stands out because the quality is lacking in comparison to other similar songs in their back catalog, such as "21 Guns".
Luckily for us listeners, they regain form in spots. Goofy lyrics aside, "Sex, Drugs & Violence" is a raucous stomper of a track that catches your attention with how immediate it sounds. When singer Billie Joe Armstrong & Co dial things up even further, the results are more pleasurable; "Amanda" continues their recently started tradition of having awesome throwback punk songs named after females. Just as Dos! standout "Ashley", "Amanda" has a nasty snarl and bite to it that gives it a certain freshness and lasting appeal. "Little Boy Named Train" is also quite good; I love the tempo and rhythm of the track, and the song does wonders to boost the quality of the middle of the album.
The best of them all, is the long and flowing "Dirty Rotten Bastards", which marks the second time in the trilogy of albums that Green Day scored a successful 6-plus minute track. They explore several different genres all within the same song, from indie rock that sounds almost like The Fratellis, to dirty and grimy punk. Best of all is the guitar solo, which explodes out of the speakers with a Van Halen like intensity. It's quite awesome to hear Billie and the gang tear it up like that, it's something they should unleash more often, especially since they have the technical skills to do so.
Overall, this album is a slight disappointment when compared directly to Dos!, but is certainly better than Uno!. For fans, this should be comforting enough.
75/100
Thursday, December 6, 2012
Tuesday, December 4, 2012
First Impressions of Earth- The Strokes
When they first exploded onto the scene in 2001, The Strokes seemingly had it all: fame, fortune, critical acclaim. To most people, they came out of nowhere. Although their debut Is This It? is viewed as one of the most important and influential rock albums of the last decade, there were still plenty of detractors who felt the band hadn't paid their dues and were anointed too soon. Those same people bashed sophomore effort Room on Fire for "sticking too close to the formula", so The Strokes decided to change things up for their third album, First Impressions of Earth. Critics once again were salivating at the chance to rib the band, only this time it was for changing too much. Although First Impressions of Earth is slightly long at 14 songs and 52 minutes, to write it off completely would be dismissing that it is clearly the best album of theirs lyrically and that it features complex arrangements that the band hadn't tried to pull off previously. The album is said to be about "what an alien would think if they came down and visited Earth," and it lends itself to thought provoking discussion. It makes for a mature sounding album, one that lacks the immediacy of its predecessors but has a certain depth to it that rewards repeated listens and makes for a disc that will slowly reveal its intricacies to you over time.
Album opener "You Only Live Once" is quite simply one of the best songs they've ever done; the insanely catchy riff will plant itself in your brain and nestle comfortably, refusing to leave. The lyrics are all about opposing viewpoints and the cultural and gender differences that slant our opinions of things. It's some of the best work frontman Julian Casablancas has ever done. It's quite refreshing to hear them contemplating and discussing important issues, not just analyzing humans and their relationships with one another. The raucous "Juicebox" keeps things fresh with its Peter Gunn-themed bass line by Nikolai Fraiture which is replicated by guitarist Albert Hammond Jr. The track sees Casablancas unleashing ravenous screams, tempting a woman with the lines "Why won't you come over here??/We've got a city to love," before lead guitarist Nick Valensi bursts into a righteous solo. The song is extremely aggressive and in your face in comparison to their previously released material, and the beefier production value goes a long way toward selling the song here. Third track "Heart In A Cage" features some of the best shredding on any Strokes song previous or current, and has a really cool and dark feel to it. Even better yet is "Razorblade", and despite the melody being plucked from "Mandy" by Barry Manilow, it still sounds unique and interesting. The bouncing bass line and chipper, intertwining guitar work of Valensi and Hammond Jr. when combined the quick drumming of Fabrizio Moretti make this one of the highlights of the album.
After that however, things do start to lose a little steam. "On The Other Side" is rather depressing in both tone and topic, which doesn't suit the band well considering they've made their reputation as being a fun and rather lighthearted band. The guitars do work well on this song, but it's not enough to make it a particularly gripping listen. "Vision of Division" is quite the technical accomplishment for the band, but the chorus is somewhat lacking and certainly could be more appealing. When people mention that this cd is too long and that some of the material should have been cut, they are most likely referencing the songs "Killing Lies", "Fear of Sleep", and "15 Minutes", all of which I personally enjoy because I'm a huge fan of the band, but I can clearly see that the quality isn't up to the standard that they're capable of. Those songs have no business being on a Strokes album, because their previous two albums contained virtually no filler, where it is somewhat abundant here. They're certainly talented enough to release a more consistent cd, as they have in the past.
It's not all bad after the fast start though. "Electricityscape" is extremely underrated and features a nice futuristic sound and big chorus. "Ize of the World" sees Casablancas going on about the various problems in the world by way of quick quips. It culminates with a fiery scream from Casablancas, and some incredibly furious and detailed work from the rest of the band. Then, there is the very soothing "Ask Me Anything", which is my go-to song when I'm feeling rather contemplative or if I'm in need of answers. I can listen to this song, and it will relax me to where I can focus on my thoughts. It's hard to explain, (pun intended) but I like the effect that it has on me when I hear it. Obviously it won't do the same exact thing for you, but there are rewarding qualities to be found in the track nonetheless. The Strokes are the kind of artist who makes no truly bad songs, so even when they are unquestionably at their worst as they are here, it's still listenable and would stack up decently to a lot of material written by other artists.
The album ends with "Red Light", which sees The Strokes continue their tradition of closing their albums with a quality piece. The middle of this album could have used some of the same energy and spirit as found here, as "Red Light" stands out for being one of the more upbeat songs of the album. It sounds great both instruments wise and vocally, as Casablancas does a convincing job of reassuring you that The Strokes have plenty up their sleeves still, despite what critics may say.
76/100
Album opener "You Only Live Once" is quite simply one of the best songs they've ever done; the insanely catchy riff will plant itself in your brain and nestle comfortably, refusing to leave. The lyrics are all about opposing viewpoints and the cultural and gender differences that slant our opinions of things. It's some of the best work frontman Julian Casablancas has ever done. It's quite refreshing to hear them contemplating and discussing important issues, not just analyzing humans and their relationships with one another. The raucous "Juicebox" keeps things fresh with its Peter Gunn-themed bass line by Nikolai Fraiture which is replicated by guitarist Albert Hammond Jr. The track sees Casablancas unleashing ravenous screams, tempting a woman with the lines "Why won't you come over here??/We've got a city to love," before lead guitarist Nick Valensi bursts into a righteous solo. The song is extremely aggressive and in your face in comparison to their previously released material, and the beefier production value goes a long way toward selling the song here. Third track "Heart In A Cage" features some of the best shredding on any Strokes song previous or current, and has a really cool and dark feel to it. Even better yet is "Razorblade", and despite the melody being plucked from "Mandy" by Barry Manilow, it still sounds unique and interesting. The bouncing bass line and chipper, intertwining guitar work of Valensi and Hammond Jr. when combined the quick drumming of Fabrizio Moretti make this one of the highlights of the album.
After that however, things do start to lose a little steam. "On The Other Side" is rather depressing in both tone and topic, which doesn't suit the band well considering they've made their reputation as being a fun and rather lighthearted band. The guitars do work well on this song, but it's not enough to make it a particularly gripping listen. "Vision of Division" is quite the technical accomplishment for the band, but the chorus is somewhat lacking and certainly could be more appealing. When people mention that this cd is too long and that some of the material should have been cut, they are most likely referencing the songs "Killing Lies", "Fear of Sleep", and "15 Minutes", all of which I personally enjoy because I'm a huge fan of the band, but I can clearly see that the quality isn't up to the standard that they're capable of. Those songs have no business being on a Strokes album, because their previous two albums contained virtually no filler, where it is somewhat abundant here. They're certainly talented enough to release a more consistent cd, as they have in the past.
It's not all bad after the fast start though. "Electricityscape" is extremely underrated and features a nice futuristic sound and big chorus. "Ize of the World" sees Casablancas going on about the various problems in the world by way of quick quips. It culminates with a fiery scream from Casablancas, and some incredibly furious and detailed work from the rest of the band. Then, there is the very soothing "Ask Me Anything", which is my go-to song when I'm feeling rather contemplative or if I'm in need of answers. I can listen to this song, and it will relax me to where I can focus on my thoughts. It's hard to explain, (pun intended) but I like the effect that it has on me when I hear it. Obviously it won't do the same exact thing for you, but there are rewarding qualities to be found in the track nonetheless. The Strokes are the kind of artist who makes no truly bad songs, so even when they are unquestionably at their worst as they are here, it's still listenable and would stack up decently to a lot of material written by other artists.
The album ends with "Red Light", which sees The Strokes continue their tradition of closing their albums with a quality piece. The middle of this album could have used some of the same energy and spirit as found here, as "Red Light" stands out for being one of the more upbeat songs of the album. It sounds great both instruments wise and vocally, as Casablancas does a convincing job of reassuring you that The Strokes have plenty up their sleeves still, despite what critics may say.
76/100
Monday, November 26, 2012
Unapologetic-Rihanna
Nearly four years ago, Rihanna became embattled in a grandiose abuse scandal with former flame Chris Brown that divided opinions and left many questioning whether or not she could salvage her career from the smoldering wreckage. She then released the predictably dark Rated R, which was quickly followed up with 2010's 6x platinum-selling Loud, announcing her comeback in full force. Rihanna released the slightly disappointing Talk That Talk last November, and she returns a year later to gift us with her seventh and most recent album, Unapologetic. The newest disc from the Barbados-born artist is a mixed bag at best, with one especially noteworthy and controversial exception.
Rather than running from the Chris Brown saga for all of eternity, she faces it literally head on with "Nobody's Business", which sees the temptress duet with the man who once brought her so much public humiliation. Not only is it ripe with a juicy back story, but it's also quite good; the driving club beat and piano make it extremely dance friendly and the song is excellently produced. The lyrics "Ain't nobody's business/just mine and my baby," really highlights what the on and off couple was wanting all along: a chance to heal and gain closure away from the spotlight. It seems they have not only done that, but have grown closer in the process. Quite honestly, it's some of the most revealing and refreshing material she has released in years. They obviously enjoyed making this track with one another, as you can hear almost instantly the chemistry the two of them possess. I would call it an electricity, if you will.
The rest of the material could have used the same energy.
Lead single "Diamonds" is a poor retread of a style she has done with more flair and bombast in the past and is dull in comparison to most of the singles in her back catalog. It just sounds unfinished to me. Most derivative of all is "Jump", which sees Rihanna murder the Genuine hit "Ride My Pony" via dubstep assault. Staying within the realm of dubstep/pop fusion is the slightly better "Right Now", which features current media sensation David Guetta. Rihanna continues to play it safe on R&B dud "Loveeeee Song", an undercooked and underwhelming track that could have used more time in the oven. Perhaps worst of all is "Stay", a tepid ballad that is an utter snore fest. Simply put, Unapologetic contains an inexcusable amount of filler, even for an album with 14 songs. It's never a good thing if half of your album sounds like a demo, especially when it isn't due to poor production values, but rather the sound of an artist casually resting on her laurels, continually relying on regurgitated ideas and mismatched genres to haphazardly patch together an album.
However, there are a few other bright spots to be found, although they are too few and far between. Opener "Phresh Out the Runway" is an electronic spasm of a song, as the instrumentation borrows heavily from Crystal Castles. It's an interesting sound for her, to say the least. One can feel Rihanna claw back to her reggae roots on "No Love Allowed", a pleasant surprise for longtime fans. It's on these tracks where she breaks free of the mold she has now established for herself and generates some of her best work.
If this is your first introduction to Rihanna, Unapologetic will ultimately fail to resonate with you. It sounds almost hollow at times, like it's missing that extra little something, that tangible spark. Lets hope she finds it again, and quickly.
6.2/10
Rather than running from the Chris Brown saga for all of eternity, she faces it literally head on with "Nobody's Business", which sees the temptress duet with the man who once brought her so much public humiliation. Not only is it ripe with a juicy back story, but it's also quite good; the driving club beat and piano make it extremely dance friendly and the song is excellently produced. The lyrics "Ain't nobody's business/just mine and my baby," really highlights what the on and off couple was wanting all along: a chance to heal and gain closure away from the spotlight. It seems they have not only done that, but have grown closer in the process. Quite honestly, it's some of the most revealing and refreshing material she has released in years. They obviously enjoyed making this track with one another, as you can hear almost instantly the chemistry the two of them possess. I would call it an electricity, if you will.
The rest of the material could have used the same energy.
Lead single "Diamonds" is a poor retread of a style she has done with more flair and bombast in the past and is dull in comparison to most of the singles in her back catalog. It just sounds unfinished to me. Most derivative of all is "Jump", which sees Rihanna murder the Genuine hit "Ride My Pony" via dubstep assault. Staying within the realm of dubstep/pop fusion is the slightly better "Right Now", which features current media sensation David Guetta. Rihanna continues to play it safe on R&B dud "Loveeeee Song", an undercooked and underwhelming track that could have used more time in the oven. Perhaps worst of all is "Stay", a tepid ballad that is an utter snore fest. Simply put, Unapologetic contains an inexcusable amount of filler, even for an album with 14 songs. It's never a good thing if half of your album sounds like a demo, especially when it isn't due to poor production values, but rather the sound of an artist casually resting on her laurels, continually relying on regurgitated ideas and mismatched genres to haphazardly patch together an album.
However, there are a few other bright spots to be found, although they are too few and far between. Opener "Phresh Out the Runway" is an electronic spasm of a song, as the instrumentation borrows heavily from Crystal Castles. It's an interesting sound for her, to say the least. One can feel Rihanna claw back to her reggae roots on "No Love Allowed", a pleasant surprise for longtime fans. It's on these tracks where she breaks free of the mold she has now established for herself and generates some of her best work.
If this is your first introduction to Rihanna, Unapologetic will ultimately fail to resonate with you. It sounds almost hollow at times, like it's missing that extra little something, that tangible spark. Lets hope she finds it again, and quickly.
6.2/10
Wednesday, November 14, 2012
Dos!-Green Day
Punk-rock band Green Day had the world at their fingertips following American Idiot; They were certainly one of the biggest if not the biggest band in the world at the time. That album somewhat divided their loyal fan base into two camps: Those who latched onto the band's earlier punk sound, who started to deride the band for their newfound success, and those who thoroughly enjoyed American Idiot and it's political commentary. It seemed at the time like there was little grey area on the subject. For fans of their earlier work, Dos! is a reminder that things never should have changed. For some of their newer fans, you might be left thinking "This isn't the Green Day I know, but I like it." If you have never listened to a Green Day album before, this is as good of an introduction as you'll find. There is something for everyone here.
"Ashley" could be the best example of Green Day going back to their punk roots, as the high tempo thrashing from Billy and the rest of the crew is great. "You say that you're fine/but I know that you ain't/you're looking like hell/and you're no fucking saint," snarls Armstrong over the hyper propelled instrumentation. There is "Lady Cobra", the most rock and roll statement the band has recorded in years. It's a fun song, but it has some serious bite to it as well. The excellent and aptly named "Wow! That's Loud" is a rush of guitar solos that sees the band unleash into a frenzy rarely seen from them. It's a huge surprise and an extremely pleasant one at that. I really love the production of "Lazy Bones", which has a Strokes-level of bareness to it that is really welcomed considering the rest of the album is fleshed out and full sounding. A tight, concise rhythm section plays over Billie singing "I'm too mental to go crazy/i'm too drunk to be pure/and my mind is playing tricks on me/and I can't sleep tonight because I'm so tired/I can't take it anymore, I'm with all the liars/Like a prisoner of war," very revealing stuff considering his public meltdown and subsequent rehab stint. He's a rather troubled individual, and you can tell it's genuine here.
Instrumentally speaking, "Makeout Party" is really good; I just wouldn't recommend it to those who like their music to be partnered with meaningful or thought provoking lyrics. It's rather tacky and almost embarrassing to hear a man in his 40's shouting on about "Spinning the bottle" and "Make out parties from another dimension." Don't you think you're a little old for that stuff, Billie? What about the overtly named "Fuck Time", which has even sillier lyrics considering the messenger. Musically, it's above average stuff, certainly nothing that would damage the reputation the band.
The same can't be said for the truly awful "Nightlife", quite honestly the worst song I've heard of the year. It's that bad. Listen to it solely for purpose of learning what not to do when crossing over genres. I don't know how this one made it onto the final disc. Slightly better but still not that good is "Wild One", a numbing affair of repetition and banality. It's just not particularly interesting material. Lead single "Stray Heart" has a warm, bouncing bass line, although that is the lone redeeming quality here. It's too poppy for my taste. The same goes for "Baby Eyes"; It's not bad, it's just not my taste. In my opinion, it's a little too soft and safe. The opening track "See You Tonight" is pretty boring, which is made bearable since the song is short. Once again, It didn't really need to be included.
The fact that Dos! is an above average album should be a feather in the cap of Green Day, considering the two increasingly lackluster albums that preceded it. It gives hope that maybe, just maybe, Green Day isn't out of ideas just yet. 78/100
"Ashley" could be the best example of Green Day going back to their punk roots, as the high tempo thrashing from Billy and the rest of the crew is great. "You say that you're fine/but I know that you ain't/you're looking like hell/and you're no fucking saint," snarls Armstrong over the hyper propelled instrumentation. There is "Lady Cobra", the most rock and roll statement the band has recorded in years. It's a fun song, but it has some serious bite to it as well. The excellent and aptly named "Wow! That's Loud" is a rush of guitar solos that sees the band unleash into a frenzy rarely seen from them. It's a huge surprise and an extremely pleasant one at that. I really love the production of "Lazy Bones", which has a Strokes-level of bareness to it that is really welcomed considering the rest of the album is fleshed out and full sounding. A tight, concise rhythm section plays over Billie singing "I'm too mental to go crazy/i'm too drunk to be pure/and my mind is playing tricks on me/and I can't sleep tonight because I'm so tired/I can't take it anymore, I'm with all the liars/Like a prisoner of war," very revealing stuff considering his public meltdown and subsequent rehab stint. He's a rather troubled individual, and you can tell it's genuine here.
Instrumentally speaking, "Makeout Party" is really good; I just wouldn't recommend it to those who like their music to be partnered with meaningful or thought provoking lyrics. It's rather tacky and almost embarrassing to hear a man in his 40's shouting on about "Spinning the bottle" and "Make out parties from another dimension." Don't you think you're a little old for that stuff, Billie? What about the overtly named "Fuck Time", which has even sillier lyrics considering the messenger. Musically, it's above average stuff, certainly nothing that would damage the reputation the band.
The same can't be said for the truly awful "Nightlife", quite honestly the worst song I've heard of the year. It's that bad. Listen to it solely for purpose of learning what not to do when crossing over genres. I don't know how this one made it onto the final disc. Slightly better but still not that good is "Wild One", a numbing affair of repetition and banality. It's just not particularly interesting material. Lead single "Stray Heart" has a warm, bouncing bass line, although that is the lone redeeming quality here. It's too poppy for my taste. The same goes for "Baby Eyes"; It's not bad, it's just not my taste. In my opinion, it's a little too soft and safe. The opening track "See You Tonight" is pretty boring, which is made bearable since the song is short. Once again, It didn't really need to be included.
The fact that Dos! is an above average album should be a feather in the cap of Green Day, considering the two increasingly lackluster albums that preceded it. It gives hope that maybe, just maybe, Green Day isn't out of ideas just yet. 78/100
Tuesday, November 13, 2012
The 2nd Law-Muse
Fresh off the heels of The Resistance, which saw Muse reach new heights in popularity, comes The 2nd Law. Whereas the album before was more of a space-rock opera, Muse decided to break free of that mold for their 6th album. Although better than it's predecessor, The 2nd Law is an example of how trying to mix too many different flavors together can be a bad idea.
Things certainly start out promising enough. Opening track "Supremacy" almost sounds like it could have been on Absolution. Despite the vague similarities to classic Led Zeppelin song "Kashmir" (which lets be honest, isn't a bad thing at all), the first song does a great job of capturing the attention of the listener with it's horselike rhythmic drumming and extremely epic chorus, which has Bellamy screaming at the top of his lungs. It's a great start to the album, I just wish there was more like it. The closest thing would be "Liquid State", featuring vocals and a heavy riff from bassist Chris Wolfenstein. Drummer Dom Howard surely has a great time playing this one live, too. Also, there's the surprisingly good "Animals", which sounds like the best song that Minus The Bear never wrote. The ending is especially heaving and roaring, complete a great solo and a piercing, escalating intensity. One thing that I picked up on was the lyric "Kill yourself/come on/and do us all a favor," which reeks of bad taste in a society where everything is interpreted literally. On the songs previously mentioned, Muse played it somewhat carefully by sticking to what they do best.
When they venture into other genres however, the cookie starts to crumble. Lead single "Madness" sees the band going in an electronic direction with little success. Despite the electronics, it manages to sound just like Queen, but not in a good way, only a derivative one. As I'm sure you have heard by now, yes, Muse did a dub-step song. No, "The 2nd Law: Unsustainable" isn't particularly interesting or riveting considering what else is available in the genre, but it is unique in the sense that it was recorded entirely with real instruments and not computers. However, this does not help the song to sound any better. Not all of the experiments fail to produce desirable results. "Panic Station" is a fresh and interesting style for the band, although it seems unlikely Muse will continue with in that direction.
Even when they go back to what has worked in the past, success is mixed. There's "Survival", a little song you might have heard a few thousand times during the Olympic Games this past summer. The lyrics here reach an all new level of cheesiness, with Bellamy deadpanning "Race/life's a race/and I'm gonna win/yes I'm gonna win/I'll light the fuse/I'll never lose/I choose to survive/whatever it takes." It sounds like they took the whole winning and losing thing a little too seriously. All they had to was make Uprising Pt. 2 and call it a day. Muse and the Olympics should have been the perfect match. Instead, they released this stinker. After that you have "Save Me", and "Explorers", two tracks that sound just like nearly every other slow song they have done, excluding the ones on Absolution. That's without mentioning the "Prelude", which Muse incorrectly thought was necessary.
Muse has mentioned wanting to play a show from space. Unfortunately, they seem lost in it. 67/100
Monday, November 12, 2012
Lex Hives-The Hives
When The Hives released The Black and The White Album almost 6 years ago, it was met with a little less fanfare than they were accustomed to. Fans had come to expect a certain sound from them, and consequently, struggled somewhat with the different style of the 2007 release. Faced with somewhat dwindling support in the States, and with what lead singer Pele Holmqvist described as "Typical rock & roll bullshit" the band found themselves taking a much needed break. They return to the scene a half decade later with Lex Hives, and one thing seems clear: If nothing else, the break allowed them to renew their focus and figure out what it is that they do well.
This is evident from the get go, as Lex Hives sees the band forgoing the gimmicks and skits in favor of a more straightforward approach that is sure to be noticed by fans of the band. No folks, there are no "A Stroll Through Hives Manor Corridors" or "T.H.E.H.I.V.E.S." here; whereas those tracks unsuccessfully diverted from the successful formula The Hives have established for themselves, Lex Hives is a much more concentrated effort. Noticeable as soon as raucous opener "Come On!" fires up, The Hives didn't mess around in the studio. They've really focused on highlighting their strengths.
Speaking of strengths, lead single "Go Right Ahead" is a bombast of a track, despite royally aping "Don't Bring Me Down" by ELO. Even considering the striking similarity, what this song lacks in originality it makes up for in fun; even the lyrics are supposed to be lighthearted. "Like a tiger breaking out of the zoo/Do anything that you wanna do/The rumors you heard, they were all true," shouts Pele, cocky persona entirely intact. The Hives return to the more traditional punk sound favored on their earlier albums with track "1000 Answers", which sounds like it was recorded during a cocaine fueled late night drive. It's so fast and the strumming is so rapid that it will be over before you realize it, but it doesn't seem like the writing process was rushed or hurried as it's a well crafted song.
Like a fresh coat of paint on a familiar vehicle, The Hives offer up "Wait A Minute", the second single off of the disc. The bass is funky and blends seamlessly with the drums and the repeated lines of "wait a minute now/wait a minute/wait a minute now" and steady guitar work from the typically steadfast Vigilante Carlstroem and Nicholaus Arson. "Take Back The Toys" is an aggressive and perfect portrayal of what listeners have come to expect from the band. Quite possibly one of the best tracks the band has penned, the 7th track on Lex Hives is sure to to be a favorite amongst old and new listeners alike.
That isn't to say there aren't any missteps; "I Want More" is a curious choice with it's stripped down approach of mostly bass and drums. That may work for other songs in their catalog, but it comes across as somewhat unfinished here. It could certainly be better. There are several tracks that are lacking a spark or an intriguing element, such as "Patrolling Days", and "Without The Money". Worst of all, is "My Time Is Coming", a song that could have easily found a place on The Black and The White Album, which is to say it possesses a style that the band should steer clear of.
The album closes with a bang though, as "If I Had A Cent" is a powerful blast of strumming and hasty drumming. Album conclusion "Midnight Shifter" is an excellent representation of the positive qualities of the album: the tenacious strumming, carefree lyrics and general sense of confidence that finds an artist whenever they have hit their stride. For their sake, and ours, lets hope they don't break pace any time soon. 81/100
This is evident from the get go, as Lex Hives sees the band forgoing the gimmicks and skits in favor of a more straightforward approach that is sure to be noticed by fans of the band. No folks, there are no "A Stroll Through Hives Manor Corridors" or "T.H.E.H.I.V.E.S." here; whereas those tracks unsuccessfully diverted from the successful formula The Hives have established for themselves, Lex Hives is a much more concentrated effort. Noticeable as soon as raucous opener "Come On!" fires up, The Hives didn't mess around in the studio. They've really focused on highlighting their strengths.
Speaking of strengths, lead single "Go Right Ahead" is a bombast of a track, despite royally aping "Don't Bring Me Down" by ELO. Even considering the striking similarity, what this song lacks in originality it makes up for in fun; even the lyrics are supposed to be lighthearted. "Like a tiger breaking out of the zoo/Do anything that you wanna do/The rumors you heard, they were all true," shouts Pele, cocky persona entirely intact. The Hives return to the more traditional punk sound favored on their earlier albums with track "1000 Answers", which sounds like it was recorded during a cocaine fueled late night drive. It's so fast and the strumming is so rapid that it will be over before you realize it, but it doesn't seem like the writing process was rushed or hurried as it's a well crafted song.
Like a fresh coat of paint on a familiar vehicle, The Hives offer up "Wait A Minute", the second single off of the disc. The bass is funky and blends seamlessly with the drums and the repeated lines of "wait a minute now/wait a minute/wait a minute now" and steady guitar work from the typically steadfast Vigilante Carlstroem and Nicholaus Arson. "Take Back The Toys" is an aggressive and perfect portrayal of what listeners have come to expect from the band. Quite possibly one of the best tracks the band has penned, the 7th track on Lex Hives is sure to to be a favorite amongst old and new listeners alike.
That isn't to say there aren't any missteps; "I Want More" is a curious choice with it's stripped down approach of mostly bass and drums. That may work for other songs in their catalog, but it comes across as somewhat unfinished here. It could certainly be better. There are several tracks that are lacking a spark or an intriguing element, such as "Patrolling Days", and "Without The Money". Worst of all, is "My Time Is Coming", a song that could have easily found a place on The Black and The White Album, which is to say it possesses a style that the band should steer clear of.
The album closes with a bang though, as "If I Had A Cent" is a powerful blast of strumming and hasty drumming. Album conclusion "Midnight Shifter" is an excellent representation of the positive qualities of the album: the tenacious strumming, carefree lyrics and general sense of confidence that finds an artist whenever they have hit their stride. For their sake, and ours, lets hope they don't break pace any time soon. 81/100
Sunday, November 11, 2012
Mondo-Electric Guest
When Electric Guest teamed up with Brian Burton, aka Danger Mouse,
success was ensured. It has been a long road up to this point.The
ambition of band member Asa Taccone, singer/songwriter, as well as
drummer Matthew Compton is undeniable; Burton has several Grammy's to
his name as well as a long list of acclaimed collaborators. The result:
an electronic dance and pop record that is well produced and honestly, a
lot of fun. Debut album Mondo, despite the inconsistencies, is a good launching point for a career.
Opener "Holes" is an offbeat number filled with dense lyrics and surrounded by a wash of synthesizers. It slowly builds over time, finally reaching a peak towards the end but ultimately fails to stand out. The following song, titled "This Head I Hold" wastes no time in bringing the fun. Catchy from the get-go, Asa designed a clever hook and rhythm that will certainly have you tapping your feet in delight. It's quirky and inviting all at once. "Awake" is one of the better songs as well, MGMT style chorus and mood included. The tempo change three-quarters in is welcomed and serves the song well, giving the last bit the legs it needs. The true highlight here, is the near 9 minute behemoth "Troubleman", a song that was clearly not written for airplay. That of course isn't why it's good: it's twisting, turning and ever morphing psychedelic grooves would be the reason. Asa sings "Me and my heart following the shadow she made/like a dull sky day I chased the sun/back at the start/I was still in love with the way/it's a long long way from what's become," like a man once curious with love but now unsatisfied. It's extremely catchy stuff, and absolutely worth the listen.
When Electric Guest experiment a little bit outside their box the results are decidedly more mixed. "Amber" is a weak song; It doesn't really fit with the rest of the album and is rather sluggish and tepid. When the repetitive nature of the lyrics are also considered, you have a recipe for a boring song."The Bait" is decent, albeit tedious. The final two tracks are somewhat paltry following the aforementioned "Troubleman" as neither do a good job of wrapping the album up with something memorable.
The album is somewhat of a mixed bag throughout, although there is some really good stuff here. The single is good, as well are several of the songs that are more aligned with that style. Other tracks see the band veer off course when they try to reach too much. Needless to say, I want more. 75/100
Opener "Holes" is an offbeat number filled with dense lyrics and surrounded by a wash of synthesizers. It slowly builds over time, finally reaching a peak towards the end but ultimately fails to stand out. The following song, titled "This Head I Hold" wastes no time in bringing the fun. Catchy from the get-go, Asa designed a clever hook and rhythm that will certainly have you tapping your feet in delight. It's quirky and inviting all at once. "Awake" is one of the better songs as well, MGMT style chorus and mood included. The tempo change three-quarters in is welcomed and serves the song well, giving the last bit the legs it needs. The true highlight here, is the near 9 minute behemoth "Troubleman", a song that was clearly not written for airplay. That of course isn't why it's good: it's twisting, turning and ever morphing psychedelic grooves would be the reason. Asa sings "Me and my heart following the shadow she made/like a dull sky day I chased the sun/back at the start/I was still in love with the way/it's a long long way from what's become," like a man once curious with love but now unsatisfied. It's extremely catchy stuff, and absolutely worth the listen.
When Electric Guest experiment a little bit outside their box the results are decidedly more mixed. "Amber" is a weak song; It doesn't really fit with the rest of the album and is rather sluggish and tepid. When the repetitive nature of the lyrics are also considered, you have a recipe for a boring song."The Bait" is decent, albeit tedious. The final two tracks are somewhat paltry following the aforementioned "Troubleman" as neither do a good job of wrapping the album up with something memorable.
The album is somewhat of a mixed bag throughout, although there is some really good stuff here. The single is good, as well are several of the songs that are more aligned with that style. Other tracks see the band veer off course when they try to reach too much. Needless to say, I want more. 75/100
Boys & Girls-Alabama Shakes
Every so often, an artist emerges who catches your attention upon the first few seconds of listening. Alabama Shakes, a fresh yet classic 70's sounding rock quartet, is one of those artists. I first discovered them via a live set they did on KCRW (check it out, it's fantastic) a few months before their debut album, Boys & Girls was released. After the rousing live set, I made sure to pick up the album when it came out.
Lead singer Brittany Howard possesses a voice evokes memories of legends past, such as Janis Joplin. She has the kind of voice that can sing any type of music and make it sound great. On lead single "Hold On" Howard sings "Bless my heart/bless my soul/didn't think I'd make it to 22 years old/There must me someone up above saying'/Come on Brittany, you got to come on up," over some bouncing bass, a steady, tapping drum beat and matching guitar parts. It's a good song no doubt; There's a reason why the band chose it as a single…It has an immediacy that is hard to deny. It gets you from the opening notes.
However, it may just be one of my least favorite songs on the album, a true testament to the strength of the disc as a whole. There's "Hang Loose" with the opening guitar hook and the keys that fill out the background and give the song a charm that's infectious. And that's not even mentioning Howard, who really belts it full force. The quiet, yet sneakily good "Goin' To The Party" brings things down to a hush before "Heartbreaker" crashes onto the scene with its 60's hard rock/soul flavor. The explosive "Be Mine" precedes the excellent "I Ain't The Same"- easily the highlight of the album. The next to last track on the LP is a great starting point if you want something a little more aggressive. The songwriting on the disc is typically good and especially so for a band with as little seasoning as them.
That's not to say the album is without flaws. "Rise To The Sun" utilizes a rather unpleasant guitar tone that overwhelms the rest of the track; Not to mention the chorus isn't especially noteworthy. It's a somewhat repetitive song, and the things that are being repeated aren't particularly interesting. Title track "Boys & Girls" is a tale about Howard in her youth, and how as she grew up she was told she could not keep her male best friend. There are certainly qualities about the song that I enjoy, namely her voice as it is rather soothing here as well as the story being told. However, I realize this song is not for everyone as it takes repeated listens until it fully reveals itself. Album closer "On Your Way" is a little heavy for my taste as the dream like instrumentation coupled with the quite depressing lyrics can be a little much if you are in a good mood. I appreciate a sad song every now and then, don't get me wrong. I just think it's a little much here.
All in all, it's an very solid debut album from an artist who is undoubtedly on the rise. The sky is truly the limit for them, as extreme mainstream appeal is certainly possible considering the catchy nature of some of the songs as well as the strength of the vocals. I thoroughly enjoyed this album, and i think you will to if you like classic rock. 88/100
Lead singer Brittany Howard possesses a voice evokes memories of legends past, such as Janis Joplin. She has the kind of voice that can sing any type of music and make it sound great. On lead single "Hold On" Howard sings "Bless my heart/bless my soul/didn't think I'd make it to 22 years old/There must me someone up above saying'/Come on Brittany, you got to come on up," over some bouncing bass, a steady, tapping drum beat and matching guitar parts. It's a good song no doubt; There's a reason why the band chose it as a single…It has an immediacy that is hard to deny. It gets you from the opening notes.
However, it may just be one of my least favorite songs on the album, a true testament to the strength of the disc as a whole. There's "Hang Loose" with the opening guitar hook and the keys that fill out the background and give the song a charm that's infectious. And that's not even mentioning Howard, who really belts it full force. The quiet, yet sneakily good "Goin' To The Party" brings things down to a hush before "Heartbreaker" crashes onto the scene with its 60's hard rock/soul flavor. The explosive "Be Mine" precedes the excellent "I Ain't The Same"- easily the highlight of the album. The next to last track on the LP is a great starting point if you want something a little more aggressive. The songwriting on the disc is typically good and especially so for a band with as little seasoning as them.
That's not to say the album is without flaws. "Rise To The Sun" utilizes a rather unpleasant guitar tone that overwhelms the rest of the track; Not to mention the chorus isn't especially noteworthy. It's a somewhat repetitive song, and the things that are being repeated aren't particularly interesting. Title track "Boys & Girls" is a tale about Howard in her youth, and how as she grew up she was told she could not keep her male best friend. There are certainly qualities about the song that I enjoy, namely her voice as it is rather soothing here as well as the story being told. However, I realize this song is not for everyone as it takes repeated listens until it fully reveals itself. Album closer "On Your Way" is a little heavy for my taste as the dream like instrumentation coupled with the quite depressing lyrics can be a little much if you are in a good mood. I appreciate a sad song every now and then, don't get me wrong. I just think it's a little much here.
All in all, it's an very solid debut album from an artist who is undoubtedly on the rise. The sky is truly the limit for them, as extreme mainstream appeal is certainly possible considering the catchy nature of some of the songs as well as the strength of the vocals. I thoroughly enjoyed this album, and i think you will to if you like classic rock. 88/100
Tuesday, September 4, 2012
Come Around Sundown-Kings Of Leon
Kings Of Leon-Come Around Sundown
The Kings Of Leon drop their earlier sound in favor of a new arena ready sound that more often than not is a letdown to fans of their earlier music. This cd is better than their last effort however. The one area I feel like they dropped the ball would be lyrically, as Caleb said himself all the lyrics were ad libbed in the studio, and it shows. Sub par on the front end, things do pick up slightly towards the end.
The End-This song enters U2 territory with its tapping drums and atmospheric guitar intro that flows into nothing more than a repetitive plucking baseline and accentual guitars. This definitely sounds like it belongs on their last effort, Only By The Night. As an album opener it falls short of their previous openers but at the same time is a decent indicator of what to expect on this album. --63/100
Radioactive- The lead single off this album was met with much backlash, although it was more so over the video than the actual song itself. That being said, when listening to this song it sounds like the boys from Tennessee are just going through the motions. It's a decent enough song without doubt, but would unquestionably pale in comparison to a number of songs on their first three discs. --67/100
Pyro- It begins with a twinkling guitar riff and a down tempo drumbeat that sets the tone early. As previously noted, this is the sound of a band that has reached the top and probably feels like they don't have anything left to prove. This is apparent in the quality of the songs, which are generally lower. There's not much interesting to report in this song, although the last minute of the song at least provides something worthwhile to listen to which cannot be said for most of the track. --64/100
Mary-It's not until the fourth song on the cd that the listener is rewarded for trudging through the first three tracks. With its groovy bass and nice rhythm guitar sections, the instruments are nicely complimented by the backing vocals and Caleb's voice. A nice guitar solo is sprinkled in the middle that really gives this song the legs it needs to be a winner. --73/100
The Face-This could be one of my least favorite tracks on the album. It's repetitive nature and lack of an interesting instrumental aspect really holds this song down. I do like the guitar part from Matthew, the lead guitarist, but overall this song is missing something. --67/100
The Immortals- Another down tempo track full of what you've come to expect from KOL over the past 2 years. There's not much to write about this song because it's neither good nor bad, it just exists. The lyrics are repetitive as is the overall sound. Another one of several songs on the cd that is missing that raw edge that used to be present in their band. --67/100
Back Down South- One of the better songs on the album, Back Down South shows the Kings moving into new territory with this arena ready country anthem. The difference this time is the influx of new instruments such as the violin. Combine that with a pounding bass drum beat that moves the song along at a brisk pace, and Caleb's voice sounds especially good on this track. Highly recommended for fans of the band, as this song could easily fall into place on any of their first three albums. --80/100
Beach Side-A surfy, sunny track that propels itself with its warm bass beat and guitar tracks that intertwine well to give the song a signature sound. Instrumentally speaking I feel like the song is well crafted and is well composed. --74/100
No Money- The nifty bass kicks in, and once the backing vocals chime in, you hear the new KOL at their best. Good drums as well as the churning guitars of Matthew and Caleb really help this song find its way. The solo starts out a little slow but eventually builds into something noteworthy, and it sounds especially good when the backing vocals come back in.--83/100
Pony Up-The poppy drums accentuate the almost identical guitar parts from Matthew and Caleb, and bassist Jared chimes in with a funky bass riff straight from their earlier music. If the band isn't going to turn back the timetable to 2003, then this is the direction that they should head. Not the best song on the cd, but a solid effort that fans of the band should enjoy. --74/100
Birthday-This song contains in my opinion some of the best bass on the cd, while the drums aren't particularly memorable. This is another example of how most of their new music is aimed at a different audience than before, but this isn't particularly a bad thing on this song. I do enjoy the twitching guitar that seems to tick along with the beat. --70/100
Mi Amigo- Instrumentally this is my favorite song on the cd, as I think they find their stride as musicians on this track. The tempo-keeping bass chugs along with short strumming guitar parts that pick up when Caleb sings, "Go on, you know," as the instruments all chime back in to create a nice full sound. My favorite part of the album comes in the last verse in the transition between verse and chorus. Overall a solid if not unspectacular song, and one that should be listened to more than once. --80/100
Pickup Truck-Not a huge fan of this song, although the creeping baseline at the beginning is a nice addition. This sounds like KOL-lite, something they can't seem to get away from now a days. --61/100
OVERALL SCORE--68/100
Phrazes For The Young-Julian Casablancas
Phrazes For The Young by Julian Casablancas, lead singer of The Strokes, is a futuristic pop disc with elements of soul, and country. It features his unique songwriting style and lyrics about the future and the uncertainty that comes with it. Released in 2009, I decided to revisit this album after a lot of time off.
River Of Brake Lights- Starting out with a polyrhythmic drum beat over keyed synths; the track escalates when Casablancas croons, "We might be in for a late night, stuck in a lava flow of brake lights."As the drum beat pounds in the background, the synthesizers twist and swirl around one another until it reaches a pulsing climax shortly after a video-game esque breakdown. "Like batteries we die, like rivers we dry. Refuel and recharge, that's humans and cars." Casablancas screams over layers of well crafted electro synth goodness. Overall this is a very good track and one that will be more rewarding with repeat listens. --80/100
11th Dimension- The first single off of Phrazes, 11th Dimension was anything but what I was expecting. To go from the style that The Strokes have to this is a big leap, but one that Mr. Casablancas makes successfully. From the opening synth bars you will quickly realize that this is unlike anything he has done before. The background melody is instantly appealing. As the song builds towards the chorus, strumming guitars and another complicated drumbeat take center stage. As Casablancas wails "Drop your guard, you don't have to be smart all of the time." the song makes a slight shift towards the futuristic. After a miniature breakdown, which sees nothing but a heartbeat like drum beat with clingy guitars, it busts back into the chorus with its sweeping synth sounds. Immediately catchy yet infinitely listenable, this song is one of the highlights of the album. --90/100
Out Of The Blue- "Somewhere along the way, my hopefulness turned to sadness. Somewhere along the way my sadness turned to bitterness. Somewhere along the way my bitterness turned to anger, somewhere along the way my anger turned to vengeance." It has been long speculated that there were lyrics in this song directed towards his band mates in The Strokes. "And the ones that I made pay, were never the ones who deserved it. Those who helped me along the way, I smacked them as I thanked them." Out Of The Blue is the most Strokes-like song on the disc, with its heavy rhythm guitars and up-tempo drums drawing from the best of the Is This It days. This song is interesting because when performed live, his backing band uses four guitars. Everything comes into focus when Casablancas lustfully sings "How could you be so perfect for me?" over a nicely done chorus. Fans of the Strokes should look here as a starting point, but shouldn't expect any similarity on the album beyond this song. --83/100
Left and Right In The Dark- With its Rod Stewart style intro, the song quickly turns from simple pop to a song about the cataclysmic doom Casablancas sees us heading for. "And it's not gonna take all day long, watching the urban decay all around us, oh boy. And I’m on my way, oh, somewhere. Feels like I’m going left and right in the dark." This pop gem is finely crafted and created, somewhat of a trademark of Casablancas'. As the song fades into nothing, it suddenly bursts back to remind the listener to pay attention. --83/100
Tourist- Starting with a hip-hop like backing beat, Casablancas shows his composing skills on this song. The lyrical content of the song is geared towards Casablancas feeling out of place wherever he goes, saying that "Feel like a tourist out in the country, once this whole world was all country side. Feel like a tourist in the big city, soon that will simply evaporate." This song is propelled by its drumbeat as well as the several simple yet sweet guitar licks in the background. Julian supplies another big chorus and he once again finds a way to keep things familiar yet unlike anything you've ever heard. He sprinkles in some keyboard and French horn for good measure. He ties the songs theme into a pretty bow with the last line "Everywhere I go I’m a tourist, but if you stay with me, I'll always be at home", and you can hear the soulfulness in his voice. --80/100
4 Chords Of The Apocalypse- Casablancas does funk/country on this track. While interesting enough, it's the least gratifying and tends to drag a little. I'm also not a huge fan of the chorus. "Our time is over, don't you know that if a time warp was open, I'd stay right in my place." One strong point in the surging guitar solo about halfway through the song. I can appreciate the effort Casablancas but into the song, but it ultimately falls just short of the quality of the rest of the tracks on the album. --62/100
Ludlow St.- The into starts with a synth and drum beat that flows into a folk like song equipped with a mandolin and a driving drum beat. I feel like Casablancas flexes his muscle here and he really outdoes himself. Once again, not the catchiest song on the disk but it is worth the extra listens. Perhaps talking about his past struggles with alcohol, Julian croons "Everything seems to go wrong when I stop drinking. Everything seemed to go my way last night. Everything seemed so wrong to me this morning, I know things will be brighter later tonight." just before the song takes off into the chorus. Nice breakdowns ensue with more horns that really give this song an old time feel while still escaping the feeling that you've heard it before. --76/100
Glass- This is without question the best song on the album. Starting out with an awesome hip-hop drumbeat, the song evolves into a mash up of beautiful synths and massive vocals. This is the best example of his songwriting abilities. Once again back with another large chorus, the layers of synthesizers that can be heard are almost overwhelming at first. On this track Casablancas makes it sounds easy as he shows of his newfound vocal range when he hits the falsetto on the line "Bulletproof glass, you really need it now", which perfectly meshes with the awesome guitar solo shortly after. Stripping it down towards the end where only the drumbeat and basic synth remain, he carefully adds the instruments back in for one final time at the end to tie the album together nicely. This song is highly recommended to anyone who not only listens to but also analyzes music. --86/100
FINAL SCORE---80/100
Angles-The Strokes
The long awaited and much anticipated fourth album from the American rock band The Strokes hits shelves March 22nd. The album sees the band venture into previously uncharted waters as they experiment with new instruments all the while attempting to retain their previous style.
Machu Picchu— After the initial crash, the song immediately brings to mind Duran Duran. The surging bass and cool intertwining guitars that complement the almost reggae feel really help to introduce the listener to the album. After a bridge where the melody is oddly reminiscent of ‘Wanna Be Startin Somethin’ by Michael Jackson, the song really starts to shine. “I’m just trying to find, a mountain I can climb,” Casablancas says as the guitars interlock and the background vocal track comes in, just before the intensity ratchets up where Casablancas is letting it rip with a curdling yell. --94/1000
Under Cover Of Darkness— For fans of their previous works, this would be a good starting point. It has a certain charm to it that is evident in some of their earlier music. Albert Hammond Jr.’s guitar mixes so well with what Valensi does, it they almost clash. The keyword there is almost, as the two continually weave in and out of one another with great precision. Under Cover Of Darkness has the bounciness of ‘Last Nite’ but guitar similar to You Only Live Once. There is a nice tempo change that leads into the solo and exits by changing tempo to a higher level than previously seen. This helps the song roll nicely to the next chorus/verse, which is accented by a high leap in vocal range from Casablancas. --88/100
Two Kinds Of Happiness— This song reminds me so much of The Cars, from the steady, driving guitar and bass to the low-key vocals. Once the opening verse busts out, The Strokes enter ‘First Impressions of Earth’ territory, but in the best possibly way; That is, keeping the complexity but adding a new found sense of confidence trying different styles. As with several songs on ‘Angles’, there is a heavy 80’s vibe. Towards the end of this track there is some peeking guitar that chirps it’s way through the rest of the song. The vocals are somewhat inaudible in parts of the song, greatly decreasing the score. The chorus also is not a pretty one, and honestly is so rude it makes me question the thought process of the band by leaving it in there. Not a wise decision. --70/100
You’re So Right— This particular effort seems rather lackluster and out of place on its own but when listened to in context of the album the quality seems to improve. That being said it’s still one of the weaker tracks on the album and shouldn’t be a starting point for those who have never heard the band. The lack of a noticeable melody and the nearly inaudible vocals detract from what could have been a much better song had a few changes been made. That being said, the aggressiveness of the last minute of the song is welcomed, as is the guitar solo. They almost dip into Radiohead territory here, albeit without much success. --65/100
Taken For A Fool—At last more familiarity strikes with The Strokes going back to what made them interesting in the first place. Taken For A Fool breaks in with heavy strumming on the guitar and a matching guitar riff and bass line that give the song an almost funk feel. The chorus has Casablancas wondering “You get taken all the time for a fool, I don’t know why. You’re so gullible but I don’t mind, that’s not the problem. You get taken for a fool all the time, I don’t know why." After an intense section where everyone in the band is simultaneously revving their engines, it explodes into a cool part that sounds like a band in overdrive. --93/100
Games—If this song were to be compared to any of their previous ones it would have to be ‘Electricityscape’, although that doesn’t do this song justice. ‘Games’ sees the band branching out by using synthesizers as well as an organ. “Livin in an empty world” coldly states Casablancas, over a mix of washed out synth and an 80’s drumbeat. After a machine gun like drum fill ‘Games’ has a brief letdown period that sees some barely noticeable guitar take backstage to the synths, but luckily things quickly pick back up. This could potentially be made into a club song due to its driving drumbeat. --77/100
Call Me Back— ‘Call Me Back’ is the most relaxed song on the album, presumably attempting to take on a similar role that ‘Under Control’ had for Room On Fire. This song just never materializes into anything much more than a progressive rock ballad. The lack of drums on this track is alarming considering that with them it would have been much improved. There are a few creepy vocal sections from Casablancas but other than that there isn’t much to talk about. --63/100
Gratisfaction— After hearing the first 5 seconds of this song it becomes apparent The Strokes have been listening to a little Thin Lizzy lately. The combo of drums and guitar really remind me of throwback 70’s guitar albums. One thing of note is the vocals are kind of hard to understand as Casablancas quickly spits out sentences, which wouldn’t be an issue if the vocals weren’t mixed so low. The chorus of “You’re never gonna get my love!” is a welcome addition to the song, and the drumming of Fabrizio is around its best here. --82/100
Metabolism— Another song that would have fit perfectly on First Impressions of Earth, ‘Metabolism’ has some great interlocking guitars that duck around each other yet make the beat. Julian opposes the chugging bass line like he’s tormented. I especially like the verses on this song; the drums are crazy difficult, which is something of a far cry from their earlier albums. Amidst high vocals leaps from a wailing Julian, the song ends with things intensifying to a high level before an abrupt stop. --68/100
Life Is Simple In The Moonlight—The final song on the album helps wind things down after the previous songs’ ferocity. This catchy track personifies what is good about this cd, and this band: Melody and guitar work. As being the only song on the cd exclusively written by Casablancas, his style is on display here. As yet another song that could be placed on Room on Fire, the album closer has a ton of pop sensibility oozing from its pores. “Making fools out of the best of us, making robots of the rest of us,” says Julian with his usual slyness before the song fades out. --85/100
All in all, an inconsistent album where the lesser songs aren't all that impressive, but the best songs on the album could potentially be on repeat. Considering it took them 5 years to serve this album to the public, I expected a much more even and well baked effort.
Overall score: 78/100
Suck It And See-Arctic Monkeys
Suck It And See- Arctic Monkeys
The Arctic Monkeys were riding high after a stellar debut effort and equally compelling sophomore album and looked to continue that momentum with Humbug. Working with Queens of the Stone Age front man Josh Homme, the Monkeys went with a darker sound both instrumentally and lyrically. Although some of their fans were not as fond of Humbug as previous albums, it was still thought to have been good, just different. The fourth album, entitled Suck It and See, has the Arctic Monkeys re-uniting with Josh Homme, whose style is slightly less noticeable here than on Humbug, but still present.
She’s Thunderstorms- Entering with an almost harrowing riff, things brighten up once lead singer Alex Turner emerges with his cool, slick delivery “She's thunderstorms/lying on her front/up against the wall/she's thunderstorms.” The guitar riffs are pretty light and mesh well with one another, as well as with the jerky drums of Matt Helders. The song is made by the mood it projects, and is a little similar to something you would have heard on their last album, which in my opinion isn’t a bad thing at all. —80/100
Black Treacle-The constant, tucked in the background bass is the unsung hero here as it keeps perfect time with the drums to form a great framework that is both upbeat and chill at the same time. The slashing guitars are great, and as mentioned earlier, the presence of Josh Homme is felt here in some of the riffs. “I’m out of place and I’m not getting any wiser/I feel like a sun dance kid behind a synthesizer/and I tried last night to pack away a life/like a key under the knife/but it never seems to be there when you want it” spouts Alex. A little more aggressive than the last song, but it certainly doesn’t sound angry. —93/100
Brick By Brick— This is the first song that I heard off of Suck It And See, and as it turns out this song was a great preview of what the album would be like. Considering it was the first single off of the album, I naturally would have expected it to be one of the better songs on the album, although in my opinion this isn’t the case. This isn’t to say it’s not good; it’s just mildly repetitive for my taste. That being said it has a classic guitar riff reminiscent of something from a previous decade that was given their usual spin. The 70’s style classic rock sound is something that the Monkeys need to dip into more often.–83/100
Hellcat Spangled Shalalala- A tight drum beat and sneaky bass sound great in context with the slyness of Turner on this track. When shouts of “Shalalala” mix with the atmospheric strumming and controlled aggression of drummer Matt Helders is when the song kicks into high gear. I really enjoyed the relaxing nature of the instruments as they are all well rounded and not punchy here. The bridge is great and really compliments the chorus well as the transition is nearly seamless. Once again this is yet another worth entry into their library. —82/100
Don’t Sit Down ‘Cause I’ve Moved Your Chair- I think this is one of the better songs on the album; I love the beginning riff and the way the song evolves into something certainly harder than any other Arctic Monkeys song before it. This is in part due to the fact that it is played in drop D, which is most commonly associated with metal. With the killer lead and titter tat drums, “Don’t Sit Down” is both aggressive yet relaxed. The calming vocals from Turner do wonders to set the perfect mood. The bass kind of blends with the guitars here but it’s all for naught as the song still kicks serious ass. —92/100
Library Pictures—After the ferocity of the previous track, I wondered what this would sound like. Starting with a simple beat the drumming quickly becomes overly complicated but in a good way. The first minute of the track is classic Monkeys; Aggressive guitar tones and intense drumming that not even the best air drummer could replicate. After a great tempo change, the song calms down and begins to sound like something featuring on Humbug before ratcheting up yet again and going out with an explosive bang that will definitely keep me listening. —89/100
All My Own Stunts—I don’t dislike this song but it is sandwiched between two great songs so it will tend to get overlooked. This is not without some justification however; I would say it’s my least favorite song on the album by a good measure because it fails to progress beyond just being mildly interesting to listen to. For being the least interesting song on the album it is still pretty good and isn’t a disrespect to their sound or any previous releases. —76/100
Reckless Serenade—The warm bass line and relaxed drumming are what make this song stand out on the album, as the sound is fresh and different than the rest of the songs. Twinkling background guitars that are slightly offbeat do a great job keeping the drums and bass from overpowering things. “I’ve been trying to figure out exactly what it is I need/Called up to listen to the voice of reason/And got the answering machine.” Clocking in at 2:43, it is just long enough to satisfy but brief enough to keep you wanting more. This is certainly one of the best songs of the album, and possibly of their catalog. —93/100
Piledriver Waltz—This song may be slow but do not let that trick you into thinking that it isn’t up to par. One thing of note is how it is in standard Waltz timing, per the title. I love the lyric “If you’re going to try and walk on water make sure you wear your comfortable shoes.” Great drums fills are aplenty and are in great company with some pulsing, surging bass that helps round out the experience. A good but not spectacular song; will most likely be one of the least well received on the album. —85/100
Love Is A Laserquest- A U2 like drumbeat and guitar combo gets things started with Mr. Turner doing his thing, crooning “Do you still feel like love is like Laserquest?/I’ve tried to ask you this in some day dreams I’ve had/But you were too busy being make believe.” I can also see some aspects that could have been inspired by INXS on this track. The drums remind me of “Howlin’ For You” by the Black Keys—87/100
Suck It And See- The title track is a good prequel to the last song and a fine sequel to the song before it. It is a natural fit in this spot and shows that proper song placement can pay off dividends. This is yet another consistent track from the Monkeys. “You have got that face that just says baby I was made to break your heart” is a lyric that I like and is delivery with a level of realness that I can relate to easily. —88/100
That’s Where You’re Wrong- The words “Make a wish that weighs a ton/There are no handles for you to hold/No one was standing where it goes” ooze out of Turner almost grudgingly. The final song on the album is built off of a rapid, tapping drum track and some more quality bass courtesy of their excellent bassist. The guitars on this track are used in accessory to the leading sections of drum and bass. A great album closer, the final song is a good ending to a great album full of diverse styles and sounds. —80/100
Overall: 85/100
The Arctic Monkeys were riding high after a stellar debut effort and equally compelling sophomore album and looked to continue that momentum with Humbug. Working with Queens of the Stone Age front man Josh Homme, the Monkeys went with a darker sound both instrumentally and lyrically. Although some of their fans were not as fond of Humbug as previous albums, it was still thought to have been good, just different. The fourth album, entitled Suck It and See, has the Arctic Monkeys re-uniting with Josh Homme, whose style is slightly less noticeable here than on Humbug, but still present.
She’s Thunderstorms- Entering with an almost harrowing riff, things brighten up once lead singer Alex Turner emerges with his cool, slick delivery “She's thunderstorms/lying on her front/up against the wall/she's thunderstorms.” The guitar riffs are pretty light and mesh well with one another, as well as with the jerky drums of Matt Helders. The song is made by the mood it projects, and is a little similar to something you would have heard on their last album, which in my opinion isn’t a bad thing at all. —80/100
Black Treacle-The constant, tucked in the background bass is the unsung hero here as it keeps perfect time with the drums to form a great framework that is both upbeat and chill at the same time. The slashing guitars are great, and as mentioned earlier, the presence of Josh Homme is felt here in some of the riffs. “I’m out of place and I’m not getting any wiser/I feel like a sun dance kid behind a synthesizer/and I tried last night to pack away a life/like a key under the knife/but it never seems to be there when you want it” spouts Alex. A little more aggressive than the last song, but it certainly doesn’t sound angry. —93/100
Brick By Brick— This is the first song that I heard off of Suck It And See, and as it turns out this song was a great preview of what the album would be like. Considering it was the first single off of the album, I naturally would have expected it to be one of the better songs on the album, although in my opinion this isn’t the case. This isn’t to say it’s not good; it’s just mildly repetitive for my taste. That being said it has a classic guitar riff reminiscent of something from a previous decade that was given their usual spin. The 70’s style classic rock sound is something that the Monkeys need to dip into more often.–83/100
Hellcat Spangled Shalalala- A tight drum beat and sneaky bass sound great in context with the slyness of Turner on this track. When shouts of “Shalalala” mix with the atmospheric strumming and controlled aggression of drummer Matt Helders is when the song kicks into high gear. I really enjoyed the relaxing nature of the instruments as they are all well rounded and not punchy here. The bridge is great and really compliments the chorus well as the transition is nearly seamless. Once again this is yet another worth entry into their library. —82/100
Don’t Sit Down ‘Cause I’ve Moved Your Chair- I think this is one of the better songs on the album; I love the beginning riff and the way the song evolves into something certainly harder than any other Arctic Monkeys song before it. This is in part due to the fact that it is played in drop D, which is most commonly associated with metal. With the killer lead and titter tat drums, “Don’t Sit Down” is both aggressive yet relaxed. The calming vocals from Turner do wonders to set the perfect mood. The bass kind of blends with the guitars here but it’s all for naught as the song still kicks serious ass. —92/100
Library Pictures—After the ferocity of the previous track, I wondered what this would sound like. Starting with a simple beat the drumming quickly becomes overly complicated but in a good way. The first minute of the track is classic Monkeys; Aggressive guitar tones and intense drumming that not even the best air drummer could replicate. After a great tempo change, the song calms down and begins to sound like something featuring on Humbug before ratcheting up yet again and going out with an explosive bang that will definitely keep me listening. —89/100
All My Own Stunts—I don’t dislike this song but it is sandwiched between two great songs so it will tend to get overlooked. This is not without some justification however; I would say it’s my least favorite song on the album by a good measure because it fails to progress beyond just being mildly interesting to listen to. For being the least interesting song on the album it is still pretty good and isn’t a disrespect to their sound or any previous releases. —76/100
Reckless Serenade—The warm bass line and relaxed drumming are what make this song stand out on the album, as the sound is fresh and different than the rest of the songs. Twinkling background guitars that are slightly offbeat do a great job keeping the drums and bass from overpowering things. “I’ve been trying to figure out exactly what it is I need/Called up to listen to the voice of reason/And got the answering machine.” Clocking in at 2:43, it is just long enough to satisfy but brief enough to keep you wanting more. This is certainly one of the best songs of the album, and possibly of their catalog. —93/100
Piledriver Waltz—This song may be slow but do not let that trick you into thinking that it isn’t up to par. One thing of note is how it is in standard Waltz timing, per the title. I love the lyric “If you’re going to try and walk on water make sure you wear your comfortable shoes.” Great drums fills are aplenty and are in great company with some pulsing, surging bass that helps round out the experience. A good but not spectacular song; will most likely be one of the least well received on the album. —85/100
Love Is A Laserquest- A U2 like drumbeat and guitar combo gets things started with Mr. Turner doing his thing, crooning “Do you still feel like love is like Laserquest?/I’ve tried to ask you this in some day dreams I’ve had/But you were too busy being make believe.” I can also see some aspects that could have been inspired by INXS on this track. The drums remind me of “Howlin’ For You” by the Black Keys—87/100
Suck It And See- The title track is a good prequel to the last song and a fine sequel to the song before it. It is a natural fit in this spot and shows that proper song placement can pay off dividends. This is yet another consistent track from the Monkeys. “You have got that face that just says baby I was made to break your heart” is a lyric that I like and is delivery with a level of realness that I can relate to easily. —88/100
That’s Where You’re Wrong- The words “Make a wish that weighs a ton/There are no handles for you to hold/No one was standing where it goes” ooze out of Turner almost grudgingly. The final song on the album is built off of a rapid, tapping drum track and some more quality bass courtesy of their excellent bassist. The guitars on this track are used in accessory to the leading sections of drum and bass. A great album closer, the final song is a good ending to a great album full of diverse styles and sounds. —80/100
Overall: 85/100
Reviews Done Write Now Active!
Reviews Done Write is now active! On this blog, you will find some of the most in depth reviews on the internet that come bias and motive free. I will be looking in depth into each album I review, and I will be giving each song on every album a score of 1/100, which will obviously give each album a composite score of 1/100. I hope you enjoy my reviews, as a lot of time and effort is put into them. Enjoy!
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