Albert Hammond Jr.- AHJ

The third musical release and first EP from The Strokes rhythm guitarist, Albert Hammond Jr., features his best compilation of songs yet, showcasing his signature lighthearted guitar work and airy vocals. Hammond Jr. releases AHJ on friend and fellow band mate Julian Casablancas’ Cult Records, with Casablancas giving the songs on AHJ his stamp of approval, saying “It’s his best work yet.” After a listen or two and surely many will agree, as this EP displays his most well crafted songs to date.

Starting with the excellent “St Justice,” Hammond Jr. harmonizes three guitars to form one singular sound. Upon digging slightly further, one can hear that actually all three are playing nearly identical notes, albeit at a slightly different time. It’s really cool how similar yet distinguishable all of the guitars are on this song. The bleeps and blips the guitars produce form a great melody over which Hammond sings “I’m beginning to feel you don’t know what you do/it’s impossibly true that emotions get lost on you.” “St Justice” is a sensational pop song that begs to be heard with the extremely catchy melodies and chorus that it boasts.

“Strange Tidings” is complete with a solid strumming guitar line that is very well complemented by the stabbing guitar riff from Hammond Jr. himself. The up tempo, tattering drums with minimal cymbal round out the sound to form another light, poppy song that evolves as the song progresses. Hammond Jr. rips off a solo about halfway through that is right in line with the rhythm guitar from earlier in the track. Things seamlessly flow back into the chorus with a cymbal crash and Hammond Jr.’s vocal line of “Watch, what you say/If I’m guilty, I will pay.” For listeners of his earlier music, it is reminiscent of Yours to Keep, his underrated debut LP that was very accessible and pop centric. After the strength of the first two songs on AHJ, one might expect the following three tracks to follow suit; however, this album loses a little steam after the strong beginning.

That ever so slight downswing begins with “Rude Customer,” a fine song in its own right, but one that is somewhat out of place when compared with the first two songs. Track number 3 sees Hammond Jr. enter a weird, Radiohead like territory on the verse and chorus. It’s unlike anything he’s done before, but that’s not the reason it isn’t up to par. Despite featuring the most “Strokes-like” sequence of guitar chords found on any of these songs, the opening drum beat and guitar tones don’t really mesh, and it’s somewhat startling when heard with headphones upon first listen. It does improve upon repeated listens; however, the initial impression is alarming to say the least. It’s the really poor choice of tone that hampers this track most, as well as the general frantic and unhinged instrumentation that occurs during the chorus. It’s slightly too busy, and the bass and rhythm guitars don’t quite line up. It also owns a weird, off-kilter time signature, especially with the drums being what they are in that section: quick, frantic, and hurried. There is a really nice part where everything cuts out to leave just bass and drums that sounds quite good, as well as the best and most ferocious guitar solo that the album has in its arsenal. However, the odd nature of the rest of the song somewhat diminishes the brilliance of the aforementioned sections.

The fourth song “Cooker Ship” begins with a semi-rapping Hammond Jr. who spits his lines over some very ambient guitar picking and tapping drums, but his vocals quickly change into a high pitched, curdling scream. The bridge section is nice, but the really weird, rapid fire vocal style from Hammond Jr. on this song isn’t close his best decision musically. The scratching and clawing guitars battle one another, and although his desired effect of “aggressive and pretty” is accomplished, it just doesn’t sound that great when combined with the vocals. By no means a poor song, it’s definitely worth a listen.

The final song, “Carnal Cruise,” is barely worth that. It has a chorus that really clashes and sounds too chaotic for enough enjoyment to be had with it to consider it a success. Easily the worst song on the album, it’s not hard to see how this was left off the EP and was only available if you ordered through Cult Records. It’s a loud song with parts that never quite sync up or make much sense musically to the listener. Oddly enough, Albert picked this song to make a video for, as well as St. Justice, although the latter is expected due to its excellence. Do yourself a favor, skip the last song and enjoy the previous 4, as there is surely something there for fans of guitar driven pop. All in all, this an EP with a definite musical theme and tone tying it together, and minus the verses and chorus of “Rude Customer” most all of it sounds like it should definitely be together on an album. The previously mentioned strengths makes AHJ a more than worthy entry into his catalog, and will treat listeners and fans both new and old.

Overall--75

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

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

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!