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
Subscribe to:
Posts (Atom)