Kasabian's third studio album is a bit of a landmark... okay, it's not 'Nevermind' but for Kasabian this is certainly a grown up album considering their previous effort 'Empire' was more appealing to Britain's very horrible scene of scenesters and it's very nice to see at least one of the early 'NME Bands' to have shone through the mud. Kasabian also go for a very unusual album title 'West Ryder Pauper Lunatic Asylum'. You can either call it wonderfully funny or one of the worst album titles ever... either way, the album title doesn't matter.
So 'West Ryder...' has it's high energy start with 'Underdog', as Sergio Pizzorno's eye fluttering-like guitar sound plucks away in distorted flashes and when Tom Meighan's vocals kick in, you fall straight in love with Kasabian just like how you did when their debut was released. After 'Underdog' in comes 'Where Did All The Love Go?' which sounds very Oasis-like, but even at that, it parts itself from Oasis with it's middle eastern influence on the solo, which would go down well in a concert in India. Kasabian also dabble in electronic art, which is their primary field, but in 'Swarfiga, which is simply two minutes and eighteen seconds of synthesizers, bass and the odd percussion, but the previous track 'Where Did All The Love Go?' sets into 'Swarfiga' so well that you would think it was just an extended jam. With the slightly slow tempo 'Swarfiga' complete, which perhaps slows the albums mode down by a considerable amount, but then 'Fast Fuse' is thrown at us, and this song is driven by a bass line, in the same form as Muse did in their album 'Origin of Symmetry' which the bass was a main power throughout the album. 'Fast Fuse' doesn't stop there however, it also proves Kasabian are attempting to bring this album out in a higher tempo compared to their self titled and 'Empire' where both those albums varied in pace and melody but never sustained any specific speed of energy.
What is also striking about Kasabian's third album, is that they continue to show different styles within their music, even their vocalist Tom Meighan shows different vocal styles in this album, again, in 'Underdog' he sounds more 'English' and expresses his Leicestershire accent perfectly. Sergio Pizzorno is a bit of a wizard with the guitar, as he's proved in many departments... need I suggest you to listen to 'Shoot the Runner', 'Reason Is Treason' and 'Stuntman' from their previous two albums, but in 'West Ryder...' he shows you how to play the acoustic guitar in 'Ladies and Gentlemen (Roll The Dice)'. His playing is some simply yet fantastic, while he just plucks away as if it all comes to him on the spot and again... Tom Meighan doesn't fail either as his baritone vocals smother the guitar flicks around him as he sings along almost drunk-like along to the beautiful melody.
The main highlight of the album would come in the form of 'Secret Alphabets' and this song suggests what Kasabian do best and that's in their primary field of 'Electronica'. This song also points out the development Kasabian have made in their song writing and development as musicians. Their bassist Christopher Edwards shows his progression as a bassist, this song is primarily fuelled by his mono bass lines and Ian Matthews simple, yet artistic drumming is key in this song, because that's all the song is... drum and bass with the in and out use of synthesizers. Tom Meighan's vocals just add to the haunting and fearsome chill of this song by groaning and crooning the lyrics out as he wanders around in his own mental asylum.
After the brilliant nightmare of 'Secret Alphabets' we are introduced to the lead single of the album, 'Fire'. Now, it's probably one of the most commercially acceptable songs of the album, but it's certainly not the most worthy one, reasons for being so, it's simply not as hard hitting as 'Underdog' and not as jingly and catchy as 'Where Did All The Love Go?' which doesn't make it a bad song, it just makes it the wrong choice of a lead single. The album closes with something less Kasabian like which is 'Happiness' a nice ballad of simple love and joy in life, which is what we all like to hear in some form or another. This song also feels like it might have appeared from the Rolling Stones 'Let It Bleed' and it's main comparison would be in the form of the Stones cover of 'Love In Vain' from the great Robert Johnson. The song expresses use of piano techniques that the Stones frequently used in 'Let It Bleed' and gospel choirs, even the vocals from Tom Meighan could be compared to early Mick Jagger when they were full of sole and heartlessness feelings.
Kasabian's third studio effort is close to fulfilling their potential, if not completely fulfilling it. 'West Ryder Pauper Lunatic Asylum' is masked in the usual Kasabian forms of Rock and Electronica. But what makes it more original is that they have experimented more mentally and instrumentally, they are more open to different forms of music and made it their own which is what most artists in music in Britain are lacking at the moment, which will make the 'Lunatic Asylum' something they should be VERY proud of and work very hard to follow up.
4/5
Linus Broadbent.
Wednesday, 26 August 2009
Wednesday, 19 August 2009
The Horrors - Primary Colours
So The Horrors have dropped the goth look and went for something a little more socially acceptable and that's in dress sense and musical style. Still, at least Faris still has his gigantic hedge-like hair style.
Primary Colours is a surprise in more ways than one, it's far more complex and more structured in comparison to 'Strange House' which was just a garage rock orgy. Primary Colours is also in a total different style compared to it's predecessor with it being more post-punk-ish.
The Horrors don't stop with the surprises, 'Mirror's Image' the opening song to 'Primary Colours' is an electronic dream. The intro dots along at a pacey speed and when Faris enters the fold he dominates the music behind him with his graceless vocals that makes the song more of a dreamy opener. Straight after 'Mirror's Image' we are plunged into 'Three Decades' which is another electronic dream, the drumming in particular is the main highlight in this song as 'Coffin' Joe Spurgeon sustains the rhythm elegantly as he bashes his cymbals at a glancing speed.
A lot of people have been comparing 'Primary Colours' to Joy Division, well there are similarities I guess, especially in the song 'Do You Remember' as the guitar playing would be reminiscent of some of the songs of 'Unknown Pleasures' may I suggest 'Disorder' in particular. Still, The Horrors don't exactly replicate Joy Division entirely, they have the sense to distort their sound perfectly which gives it a sense of originality and makes it marvellous sound to behold. The Horrors even slightly go back to their roots on 'New Ice Age' which has the punky 100 MPH feel from 'Strange House' but even at that, the song itself isn't a minute and a half long, they drag it out a bit and make it fit with the rest of the album perfectly.
If I was to pick out the weak tracks in 'Primary Colours', then I guess there's only two out of the ten tracks available, which would be 'Who Can Say' and 'I Only Think Of You' reasons for being so, in 'Who Can Say' Faris comes out with a lame and corny spoken line of statement 'And When I Told Her I Didn't Love Her Anymore, She Cried And When I Told Her Kisses Were Not Like Before, She Cried', sorry Faris, but really, cheese and punk don't go! and with 'I Only Think Of You' well, I guess it's a nice depressing song about love and friendship but with the song being at such a slow tempo, they really don't have to drag out for seven minutes and repeat the same lyrics constantly it tends to get boring after the first two minutes and makes you think "I get the point".
The Horrors also get Stooges-like, for example, in 'I Can't Control Myself' we kind of here 'No Fun' from The Stooges self titled album back in the 60's. The sound is similar in the vocals as they stutter and strut along to the brash guitar chords that make the song entirely punk and for The Horrors, they just went retro there. One of the key songs of 'Primary Colours' would have to be the song that closes this very complex album is 'Sea Within A Sea', this song is certainly a grower, it will take it's time, but really it's worth listening to and all seven minutes and 58 seconds of it to. This song is built around an electronic buzz that constantly startles itself around Faris' vocals which just whisper for the first couple of minutes and then the rest of the band do the talking, but not lyrically... instrumentally, yes. After Faris' vocals have ceased, the keyboards stamps it's mark on the song and probably makes it the most exciting part to listen to, where it just buzzes and flickers around your brain and washes your mind clear and lets you fall in love with the music that surrounds you then suddenly Faris brings you to attention as he comes back with his groaning vocals that are sounding sleepy by this point but full of romance, he eventually puts us to sleep as he we march into a 'Sea Within A Sea'.
For a second album, The Horrors have really went for it, this is a very ambitious effort and even their debut 'Strange House' received good responses and would be a hard album to follow up, The Horrors however have executed their second album perfectly, most of 'Primary Colours' sounds nothing like it's predecessor and for that they deserve respect for their ambition and ability to change their sound so drastically but in amazing fashion, 'Primary Colours' will certainly be considered for the Mercury Prize at the end of the year, if not win it.
4½ / 5.
Linus Broadbent.
Primary Colours is a surprise in more ways than one, it's far more complex and more structured in comparison to 'Strange House' which was just a garage rock orgy. Primary Colours is also in a total different style compared to it's predecessor with it being more post-punk-ish.
The Horrors don't stop with the surprises, 'Mirror's Image' the opening song to 'Primary Colours' is an electronic dream. The intro dots along at a pacey speed and when Faris enters the fold he dominates the music behind him with his graceless vocals that makes the song more of a dreamy opener. Straight after 'Mirror's Image' we are plunged into 'Three Decades' which is another electronic dream, the drumming in particular is the main highlight in this song as 'Coffin' Joe Spurgeon sustains the rhythm elegantly as he bashes his cymbals at a glancing speed.
A lot of people have been comparing 'Primary Colours' to Joy Division, well there are similarities I guess, especially in the song 'Do You Remember' as the guitar playing would be reminiscent of some of the songs of 'Unknown Pleasures' may I suggest 'Disorder' in particular. Still, The Horrors don't exactly replicate Joy Division entirely, they have the sense to distort their sound perfectly which gives it a sense of originality and makes it marvellous sound to behold. The Horrors even slightly go back to their roots on 'New Ice Age' which has the punky 100 MPH feel from 'Strange House' but even at that, the song itself isn't a minute and a half long, they drag it out a bit and make it fit with the rest of the album perfectly.
If I was to pick out the weak tracks in 'Primary Colours', then I guess there's only two out of the ten tracks available, which would be 'Who Can Say' and 'I Only Think Of You' reasons for being so, in 'Who Can Say' Faris comes out with a lame and corny spoken line of statement 'And When I Told Her I Didn't Love Her Anymore, She Cried And When I Told Her Kisses Were Not Like Before, She Cried', sorry Faris, but really, cheese and punk don't go! and with 'I Only Think Of You' well, I guess it's a nice depressing song about love and friendship but with the song being at such a slow tempo, they really don't have to drag out for seven minutes and repeat the same lyrics constantly it tends to get boring after the first two minutes and makes you think "I get the point".
The Horrors also get Stooges-like, for example, in 'I Can't Control Myself' we kind of here 'No Fun' from The Stooges self titled album back in the 60's. The sound is similar in the vocals as they stutter and strut along to the brash guitar chords that make the song entirely punk and for The Horrors, they just went retro there. One of the key songs of 'Primary Colours' would have to be the song that closes this very complex album is 'Sea Within A Sea', this song is certainly a grower, it will take it's time, but really it's worth listening to and all seven minutes and 58 seconds of it to. This song is built around an electronic buzz that constantly startles itself around Faris' vocals which just whisper for the first couple of minutes and then the rest of the band do the talking, but not lyrically... instrumentally, yes. After Faris' vocals have ceased, the keyboards stamps it's mark on the song and probably makes it the most exciting part to listen to, where it just buzzes and flickers around your brain and washes your mind clear and lets you fall in love with the music that surrounds you then suddenly Faris brings you to attention as he comes back with his groaning vocals that are sounding sleepy by this point but full of romance, he eventually puts us to sleep as he we march into a 'Sea Within A Sea'.
For a second album, The Horrors have really went for it, this is a very ambitious effort and even their debut 'Strange House' received good responses and would be a hard album to follow up, The Horrors however have executed their second album perfectly, most of 'Primary Colours' sounds nothing like it's predecessor and for that they deserve respect for their ambition and ability to change their sound so drastically but in amazing fashion, 'Primary Colours' will certainly be considered for the Mercury Prize at the end of the year, if not win it.
4½ / 5.
Linus Broadbent.
Wednesday, 12 August 2009
Franz Ferdinand - Tonight: Franz Ferdinand
Franz Ferdinand have returned, with 'Tonight: Franz Ferdinand' it comes as a bigger hit than what Katie Price's break up with Peter Andre was and we all knew that was coming.
But moving away from them, 'Tonight' is less surprising than the hype it got, it starts out in ordinary Franz Ferdinand fashion 'Ulysses' a catchy song. That's all it is. It's not like 'Take Me Out' or 'Do You Want To' as they had the instant catchy pop guitar hooks, especially in 'Take Me Out' as that was one of the best songs to appear in the early 2000's along with The White Stripes 'Seven Nation Army' and both songs were similar in a lot of ways. 'Ulysses' falters in some parts, it's badly put together, more like there was no effort put into it what-so-ever and the song writing is also weak on a consistent basis and the entire track itself, shows what Britain is lacking in many aspects of it's recent bands which is repetitiveness, predictability and most of all plain flat out boring to listen to degenerate copy-cat Indie Rock bands.
'Tonight' does briefly now and then show some light, although not much and shows some glimpses of Franz's early work which can be considered almost genius. In the short 2 minutes and 21 seconds of 'Turn It On' Franz display their guitar work which sounds similar to 'Cheating on You' which appeared on their debut album is definitely more worthy a lead single than 'Ulysses'.
The album progresses in it's obvious fashion, 'No You Girls' appears and no doubt you would have heard it in some night club or on the radio at work. The track achieves its purpose and that's by getting extensive radio and TV play, this is another song that expresses the problem with the British music scene at the moment, this song tries to replicate the sound on 'Take Me Out' and does sound like the entire band have no long term plan on which direction they want to take their music in and so they try to produce songs similar to their previous work which is just not cutting it.
Now, 'Tonight' does bring out an instant classic in it, probably not in the eyes of the mainstream but what I mean is, this is the best song Franz Ferdinand have ever constructed and that song is 'Lucid Dreams', nearly 8 minutes long and it starts out in calm manner as it peacefully strolls around in a park with pop fever and as that fades, in comes around three to four minutes of instant instrumental Electronic haze, which will fizzle your mind until it fries out and dries up and leave you wondering were you on an acid trip. The album also closes out in a nice sing-a-along fashion 'Katherine Kiss Me' is just a simple acoustic melody which Alex Kapranos sings to in his low voice which makes you fall in love with him and makes you ask 'Alex Kiss Me?'
Finally, 'Tonight' is a solid effort, considering 2005's 'You Could Have It So Much Better' wasn't well received but even at that, it flowed better than 'Tonight' which nearly everything was just replicated from it's predecessor, songs like 'Send Him Away', 'Twilight Omens' and 'Live Alone' really could have been left out and stuck in some vault and be released posthumously or something, because they don't even give of the 'filler' feel, they just bore you, because you simply think you've listened to these songs before from somewhere else. This album will also raise no eyebrows amongst music critics or even hardcore Franz Ferdinand fans which will be slightly disappointed and will expect more from a band like this who have so much talent and potential to fulfil, plus this album will surely not be nominated for 'Album of the Year' or anything but I guess it shall give fans of Franz Ferdinand something to listen to until they hopefully release a more ambitious and less predictable record on their fourth effort.
2½ / 5.
Linus Broadbent
But moving away from them, 'Tonight' is less surprising than the hype it got, it starts out in ordinary Franz Ferdinand fashion 'Ulysses' a catchy song. That's all it is. It's not like 'Take Me Out' or 'Do You Want To' as they had the instant catchy pop guitar hooks, especially in 'Take Me Out' as that was one of the best songs to appear in the early 2000's along with The White Stripes 'Seven Nation Army' and both songs were similar in a lot of ways. 'Ulysses' falters in some parts, it's badly put together, more like there was no effort put into it what-so-ever and the song writing is also weak on a consistent basis and the entire track itself, shows what Britain is lacking in many aspects of it's recent bands which is repetitiveness, predictability and most of all plain flat out boring to listen to degenerate copy-cat Indie Rock bands.
'Tonight' does briefly now and then show some light, although not much and shows some glimpses of Franz's early work which can be considered almost genius. In the short 2 minutes and 21 seconds of 'Turn It On' Franz display their guitar work which sounds similar to 'Cheating on You' which appeared on their debut album is definitely more worthy a lead single than 'Ulysses'.
The album progresses in it's obvious fashion, 'No You Girls' appears and no doubt you would have heard it in some night club or on the radio at work. The track achieves its purpose and that's by getting extensive radio and TV play, this is another song that expresses the problem with the British music scene at the moment, this song tries to replicate the sound on 'Take Me Out' and does sound like the entire band have no long term plan on which direction they want to take their music in and so they try to produce songs similar to their previous work which is just not cutting it.
Now, 'Tonight' does bring out an instant classic in it, probably not in the eyes of the mainstream but what I mean is, this is the best song Franz Ferdinand have ever constructed and that song is 'Lucid Dreams', nearly 8 minutes long and it starts out in calm manner as it peacefully strolls around in a park with pop fever and as that fades, in comes around three to four minutes of instant instrumental Electronic haze, which will fizzle your mind until it fries out and dries up and leave you wondering were you on an acid trip. The album also closes out in a nice sing-a-along fashion 'Katherine Kiss Me' is just a simple acoustic melody which Alex Kapranos sings to in his low voice which makes you fall in love with him and makes you ask 'Alex Kiss Me?'
Finally, 'Tonight' is a solid effort, considering 2005's 'You Could Have It So Much Better' wasn't well received but even at that, it flowed better than 'Tonight' which nearly everything was just replicated from it's predecessor, songs like 'Send Him Away', 'Twilight Omens' and 'Live Alone' really could have been left out and stuck in some vault and be released posthumously or something, because they don't even give of the 'filler' feel, they just bore you, because you simply think you've listened to these songs before from somewhere else. This album will also raise no eyebrows amongst music critics or even hardcore Franz Ferdinand fans which will be slightly disappointed and will expect more from a band like this who have so much talent and potential to fulfil, plus this album will surely not be nominated for 'Album of the Year' or anything but I guess it shall give fans of Franz Ferdinand something to listen to until they hopefully release a more ambitious and less predictable record on their fourth effort.
2½ / 5.
Linus Broadbent
Tuesday, 28 July 2009
Metric - Fantasies
Where did this come from? it's not Blondie is it? no, not at all. But Metric's return to the world of music has not been on top of all the major magazines lists of hot anticipations of the year or merely been spoke about. Metric's first album since 2005's 'Live It Out' has a fresh sound to it, it's more new wave, but rock & roll at the same time, it's more catchy than 'Live It Out' or 'Old World Underground, Where Are You Now?' and completely dominates 'Grow Up and Blow Away'.
As we enter 'Fantasies', we are drowned in electonica as Emily Haines, the frontwoman of Metric, beats out, her heart is "Beating Like A Hammer" in 'Help, I'm Alive'. The heavy use of keyboards are heard prominently throughout the song, but hey... it's Metric, that's what you would expect huh? what else is surprising in this song, is that Josh's bass lines, they are probably the most important part in the song, apart from Emily's sneering keyboard beats, as they keep the rhythm flowing properly and giving time for Emily to take control as the song beats out it's chorus. Straight after 'Help, I'm Alive' we have no time to rest, as we're hit by 'Sick Muse', which is new wave at it's peak. Poppy and catchy, is what sticks in our heads but without the pretentiousness cheesiness degenerate pop star-esque from 1982. It's straight forward, even almost rock & roll to an extent and it's something Debbie Harry of Blondie should take note of for the next Blondie album if such a thing happened. Again, we have no time to rest, suddenly, out of no where, comes in 'Satellite Mind' with real flow and structure, which is probably the strongest track of the album, it's flow and rhythm through out the song is exquisite. The song is like a roller-coaster, you're up and down before you know it and guitarist James Shaw is the one to point the finger at, his displays of guitar craft is beautifully done as he steadily keeps the pace of the song in every part, and making everyone else, including Emily to catch up with him.
We eventually get time to rest in this album, as 'Twilight Galaxy' settles us down with it's slow and almost ambient style tempo. 'Twilight Galaxy' is like the story of a dramatic come down, as Emily groans 'I'm Higher Than High, Lower Than Deep' to the sound of an electronic frenzy as the song closes out with a shallow low tempo dying out and fading as Emily continues till the point the song gorgeously finishes.
To the commercial success of Metric, well, 'Gimme Sympathy' has been a popular song on alternative radio stations in America and Canada and can you see why? Simply, it's radio friendly, which is usually a bad thing, for example look at Kings of Leon, but with Metric, on a smaller scale obviously, 'Gimme Sympathy' doesn't bore you, like 'Sex On Fire' would and it's not over done and over played, reasons why? well, there's hundreds, to many to discuss, but Metric have the cunning line here "Who would you rather be, The Beatles or The Rolling Stones?" well, probably the best response to that I've heard is from the likes of NME, who said "Can we be Metric instead" and yeah, who wouldn't.
The album doesn't stop here with the classic tracks. More hot spots from the album would consist of the tracks 'Front Row' and 'Stadium Love'. Which again, are quite poppy, but far from radio friendly but both excellent in their own way. 'Front Row' has even been used for the series 'Grey's Anatomy' and 'Stadium Love' is your typical party song when you're so wasted to stand up you just want to dance along anyway as the electronic fantasy continues with the heavy drumming from Joules Scott-Key blasts the song into a new dimension.
Metric's 'Fantasies' has surely came as a surprise. It appears Emily and co, have managed to show the world what their made of and 'Fantasies' is surely, not an album to be overlooked as a potential top ten entry in 2009's top ten albums.
5/5
Linus Broadbent.
As we enter 'Fantasies', we are drowned in electonica as Emily Haines, the frontwoman of Metric, beats out, her heart is "Beating Like A Hammer" in 'Help, I'm Alive'. The heavy use of keyboards are heard prominently throughout the song, but hey... it's Metric, that's what you would expect huh? what else is surprising in this song, is that Josh's bass lines, they are probably the most important part in the song, apart from Emily's sneering keyboard beats, as they keep the rhythm flowing properly and giving time for Emily to take control as the song beats out it's chorus. Straight after 'Help, I'm Alive' we have no time to rest, as we're hit by 'Sick Muse', which is new wave at it's peak. Poppy and catchy, is what sticks in our heads but without the pretentiousness cheesiness degenerate pop star-esque from 1982. It's straight forward, even almost rock & roll to an extent and it's something Debbie Harry of Blondie should take note of for the next Blondie album if such a thing happened. Again, we have no time to rest, suddenly, out of no where, comes in 'Satellite Mind' with real flow and structure, which is probably the strongest track of the album, it's flow and rhythm through out the song is exquisite. The song is like a roller-coaster, you're up and down before you know it and guitarist James Shaw is the one to point the finger at, his displays of guitar craft is beautifully done as he steadily keeps the pace of the song in every part, and making everyone else, including Emily to catch up with him.
We eventually get time to rest in this album, as 'Twilight Galaxy' settles us down with it's slow and almost ambient style tempo. 'Twilight Galaxy' is like the story of a dramatic come down, as Emily groans 'I'm Higher Than High, Lower Than Deep' to the sound of an electronic frenzy as the song closes out with a shallow low tempo dying out and fading as Emily continues till the point the song gorgeously finishes.
To the commercial success of Metric, well, 'Gimme Sympathy' has been a popular song on alternative radio stations in America and Canada and can you see why? Simply, it's radio friendly, which is usually a bad thing, for example look at Kings of Leon, but with Metric, on a smaller scale obviously, 'Gimme Sympathy' doesn't bore you, like 'Sex On Fire' would and it's not over done and over played, reasons why? well, there's hundreds, to many to discuss, but Metric have the cunning line here "Who would you rather be, The Beatles or The Rolling Stones?" well, probably the best response to that I've heard is from the likes of NME, who said "Can we be Metric instead" and yeah, who wouldn't.
The album doesn't stop here with the classic tracks. More hot spots from the album would consist of the tracks 'Front Row' and 'Stadium Love'. Which again, are quite poppy, but far from radio friendly but both excellent in their own way. 'Front Row' has even been used for the series 'Grey's Anatomy' and 'Stadium Love' is your typical party song when you're so wasted to stand up you just want to dance along anyway as the electronic fantasy continues with the heavy drumming from Joules Scott-Key blasts the song into a new dimension.
Metric's 'Fantasies' has surely came as a surprise. It appears Emily and co, have managed to show the world what their made of and 'Fantasies' is surely, not an album to be overlooked as a potential top ten entry in 2009's top ten albums.
5/5
Linus Broadbent.
Sonic Youth - The Eternal
Another Sonic Youth album and the follow up to 2006's 'Rather Ripped' comes in a groovy pop rock feel. Okay, that sounds pretty bad, but what I mean is, 'The Eternal' is far from sounding like 'Daydream Nation' and far from sounding like 'Confusion Is Sex'.
The album kicks of in fast motion, as 'Sacred Trickster' whirls round you like a tornado does but in double quick time, before you know it this song is finished the moment you start enjoying it and at the end of it you're feeling like 'Ohh' but in that 'Ohh' you can certainly think to yourself "good song". Then, we enter a dominating power chord riff in 'Anti-Orgasm' this song is simply beautiful in many ways. First of all the title is humorous, and again back to the opening riff mention, it feels like a heavy metal song at times and as Kim screams "Anti-War - Is Anti-Orgasm" it drones back to the feel of heavy metal as the vocals connects so well with the dominating riff. As the song takes a winding close, it calms right down in to Sonic Youth normality, with the dreamy instrumental closing, you almost forget the past that was three minutes ago when you were pounded with probably the most heaviest riff they've came up with since 'Daydream Nation's' 'Silver Rocket'.
More highlights from Sonic Youth's 16th studio album comes up with 'Antenna', not much to say about this song apart from it's epic beauty, Thurston Moore's vocals are really romantic in this song, he seduces his listeners by singing calmly lines like "Radio transmitting nowhere it falls away, she's far away" which am sure Kim would enjoy having that sung to her before she goes to bed with her hubby Mr. Moore.
Straight after 'Antenna' we go back to rock & roll, 'What We Know' is simple straight forward rock, similar to the opener 'Sacred Trickster' it's over all to quickly, but again a worthy highlight as the music fits around the lyrics perfectly once more as it all just clicks so soundly. As we move on to 'Poison Arrow' I somehow and I mean, somehow got the feel of ABC's 'Poison Arrow' in this song, even though they are both two completely different songs but as Kim skips through the chorus "Who Shot The Poison Arrow?" you should get the feel of the 1980's classic by ABC, but on the song itself, it's a worthy single, it's nothing that's going to 'Wow' Sonic Youth listeners but it's solid enough to please them.
Now, probably the strongest song on the album by a mile would have to be, 'Malibu Gas Station'. Reasons why? Well, it's typical Sonic Youth, the song speeds up and slows down, creating a whirlwind tempo for it's listeners. It's all classic Sonic Youth as well, as it re-creates their sound back from the 1990's and compares to songs like 'Dirty Boots' from 1990's 'Goo' and possibly 'Sugar Kane' from 1992's 'Dirty.
Sonic Youth's 2009 release 'The Eternal' has proved that they are still capable of releasing solid music even in their later stages in life, but it's hardly blowing everything out the water. In conclusion, it's a 'safe' album. Like 2006's 'Rather Ripped' it achieved that Sonic Youth are still 'here' but unlike 'Rather Ripped, it didn't experiment much, as songs from 2006's 'Rather Ripped' like 'Turquoise Boy' and 'Pink Steam' blemished Sonic Youth's hazy and melodic jams. You might be able to criticise the point that maybe Sonic Youth deliberately tried to re-create the sound from 'Sonic Nurse', for example 'The Eternal's' 'Massage The History' sounds bitterly like 'Sonic Nurse's' 'Patter Recognition' with the slow tempo trance like manner. But really, to sum the album up, 'The Eternal' simply struts out in a rock & roll way and a few pop hooks to make you feel this was a worth listen.
3/5
Linus Broadbent.
The album kicks of in fast motion, as 'Sacred Trickster' whirls round you like a tornado does but in double quick time, before you know it this song is finished the moment you start enjoying it and at the end of it you're feeling like 'Ohh' but in that 'Ohh' you can certainly think to yourself "good song". Then, we enter a dominating power chord riff in 'Anti-Orgasm' this song is simply beautiful in many ways. First of all the title is humorous, and again back to the opening riff mention, it feels like a heavy metal song at times and as Kim screams "Anti-War - Is Anti-Orgasm" it drones back to the feel of heavy metal as the vocals connects so well with the dominating riff. As the song takes a winding close, it calms right down in to Sonic Youth normality, with the dreamy instrumental closing, you almost forget the past that was three minutes ago when you were pounded with probably the most heaviest riff they've came up with since 'Daydream Nation's' 'Silver Rocket'.
More highlights from Sonic Youth's 16th studio album comes up with 'Antenna', not much to say about this song apart from it's epic beauty, Thurston Moore's vocals are really romantic in this song, he seduces his listeners by singing calmly lines like "Radio transmitting nowhere it falls away, she's far away" which am sure Kim would enjoy having that sung to her before she goes to bed with her hubby Mr. Moore.
Straight after 'Antenna' we go back to rock & roll, 'What We Know' is simple straight forward rock, similar to the opener 'Sacred Trickster' it's over all to quickly, but again a worthy highlight as the music fits around the lyrics perfectly once more as it all just clicks so soundly. As we move on to 'Poison Arrow' I somehow and I mean, somehow got the feel of ABC's 'Poison Arrow' in this song, even though they are both two completely different songs but as Kim skips through the chorus "Who Shot The Poison Arrow?" you should get the feel of the 1980's classic by ABC, but on the song itself, it's a worthy single, it's nothing that's going to 'Wow' Sonic Youth listeners but it's solid enough to please them.
Now, probably the strongest song on the album by a mile would have to be, 'Malibu Gas Station'. Reasons why? Well, it's typical Sonic Youth, the song speeds up and slows down, creating a whirlwind tempo for it's listeners. It's all classic Sonic Youth as well, as it re-creates their sound back from the 1990's and compares to songs like 'Dirty Boots' from 1990's 'Goo' and possibly 'Sugar Kane' from 1992's 'Dirty.
Sonic Youth's 2009 release 'The Eternal' has proved that they are still capable of releasing solid music even in their later stages in life, but it's hardly blowing everything out the water. In conclusion, it's a 'safe' album. Like 2006's 'Rather Ripped' it achieved that Sonic Youth are still 'here' but unlike 'Rather Ripped, it didn't experiment much, as songs from 2006's 'Rather Ripped' like 'Turquoise Boy' and 'Pink Steam' blemished Sonic Youth's hazy and melodic jams. You might be able to criticise the point that maybe Sonic Youth deliberately tried to re-create the sound from 'Sonic Nurse', for example 'The Eternal's' 'Massage The History' sounds bitterly like 'Sonic Nurse's' 'Patter Recognition' with the slow tempo trance like manner. But really, to sum the album up, 'The Eternal' simply struts out in a rock & roll way and a few pop hooks to make you feel this was a worth listen.
3/5
Linus Broadbent.
Sunday, 26 July 2009
The Dead Weather - Horehound
Who was surprised? Indeed, we all were, or should have been. This stunning line up for a band is the best thing as a super group since Velvet Revolver or Audioslave. Which both failed to deliver what The Dead Weather did deliver, and guess what that was? Complete originality. Does this album sound like The White Stripes? No it doesn't, does it sound like the Kills, Queens of the Stone or even The Raconteurs? Again, no it doesn't.
So the album stars of in slow motion, as Alison screams she's 60 feet tall, not only does '60 Feet Tall' prove The Dead Weather are tight. It also proves that Alison isn't afraid of the great task she's undertaken, fronting a band that's not been fronted by Jack White, that's a hard duty to carry out. Still, '60 Feet Tall' teases it's listeners continuously, as it drifts in and out of racing pulsing tempo's to a slow come down. Dean Fertita (from Queens of the Stone Age) shows his art of guitar playing, as he drives in these pulsing solos in our faces and stops when the time is right, when we have to come down from the high he's given us.
As the album progresses, we reach 'Hang You From The Heavens', the leading single from 'Horehound'. Does it disappoint? Probably not, it's certainly a grower, as Alison wants to 'Drag you by the hair and hang you up from the heavens'. This song is definitely a worthy lead single, especially for an album that was just cut in three weeks. The second single however, 'Treat Me Like Your Mother', now this is the blues isn't it? This is rock n roll huh? As Jack belts out 'Who's got it figured out?' well who has got it figured out? Certainly Jack has, the drumming in this song is simply superb, as it throws itself into crescendos more than it slows down.
To the down points of the album, which there isn't many, if any at all. But songs like 'I Cut Like A Buffalo' and 'New Pony' are certainly songs they could have missed out on. Seeing how 'New Pony' was a Bob Dylan cover, they could have easily put in the b-side of the single 'Hang You From The Heavens' cover of Gary Numan's 'Are Friends Electric?' in place of it. 'New Pony' simply sounds messy all over, although not something good ol' Bob D' would be disgusted about, but it simply falters. 'I Cut Like A Buffalo' on the other hand, the only song on the album that has been solely wrote by Jack White, which turns out to be probably the weakest song of the album. It gives of the 'filler' feel to it, the lyrics are hardly present if noticeable at all. The instrumentation on the other hand is even worse, it basically doesn't turn up and everything sounds of key and the music doesn't fit around the lyrics, never mind fitting with itself.
As the album draws to a close, it brings out the gems in it and possibly the brilliance out of each individual member of this supreme super group. 'Bone House'? Where did that come from? The groovy electronic intro might prove otherwise, but it shoots of the blues in a flash, as soon as you might freak out about the heavy use of Synthesizers and organ's, the guitar work from Dean shows up once more along with Jack Lawrence's fitting and smooth elegant bass lines. Jack's timed perfection in his percussion skills blows the skin out of the water while Alison smokes everything out with her haunting and chilling voice that would send the devil crazy itself. The later half of the album continues to grow strong, as we approach 'No Hassle Night'. Goth blues. This is what Jack White wanted wasn't it? He wanted something different in his hectic music schedule and damn well got it in this track. This song grooves and slides along the path of grinding rock, which fits in brilliantly with Alison's vocals again, as she groans along to the music of her peers with her sneer of a 'No Hassle Night'. Now, probably the most deserting, haunting, spooky and chilling song of the album and probably the most bluesy track that Jack has ever believed in, the most raunchy vocal performance I've ever heard from Alison as she bellows 'Will There Be Enough Water?' well, I hope for their sake there isn't, because if there wasn't enough water for this group, I'd gladly let them go thirsty, if they pull out classic tracks like 'Will There Be Enough Water?' which is surely a track Bob Dylan would envy.
In conclusion to this devilish experience of music, The Dead Weather pull out all their weapons when it comes to experimenting with the blues. They execute and time nearly everything to perfection apart from the odd song or two. This is what music has been missing, people who are in touch with blues and people that are out of touch with themselves as they feel that music is all that matters, just as Jack White and look at his music schedule! If people thought blues rock was dead, then think again, because this super group has brought what the great Robert Johnson brought to the world and what was that?... well I repeat once more, he and they, brought the blues.
4/5
Linus Broadbent. (15/07/09)
P.S. Considering this review was wrote on the 15th of July and I created this blog, on the 26th, it would suggest that I wrote the review before this blog, just in case you got confused.
So the album stars of in slow motion, as Alison screams she's 60 feet tall, not only does '60 Feet Tall' prove The Dead Weather are tight. It also proves that Alison isn't afraid of the great task she's undertaken, fronting a band that's not been fronted by Jack White, that's a hard duty to carry out. Still, '60 Feet Tall' teases it's listeners continuously, as it drifts in and out of racing pulsing tempo's to a slow come down. Dean Fertita (from Queens of the Stone Age) shows his art of guitar playing, as he drives in these pulsing solos in our faces and stops when the time is right, when we have to come down from the high he's given us.
As the album progresses, we reach 'Hang You From The Heavens', the leading single from 'Horehound'. Does it disappoint? Probably not, it's certainly a grower, as Alison wants to 'Drag you by the hair and hang you up from the heavens'. This song is definitely a worthy lead single, especially for an album that was just cut in three weeks. The second single however, 'Treat Me Like Your Mother', now this is the blues isn't it? This is rock n roll huh? As Jack belts out 'Who's got it figured out?' well who has got it figured out? Certainly Jack has, the drumming in this song is simply superb, as it throws itself into crescendos more than it slows down.
To the down points of the album, which there isn't many, if any at all. But songs like 'I Cut Like A Buffalo' and 'New Pony' are certainly songs they could have missed out on. Seeing how 'New Pony' was a Bob Dylan cover, they could have easily put in the b-side of the single 'Hang You From The Heavens' cover of Gary Numan's 'Are Friends Electric?' in place of it. 'New Pony' simply sounds messy all over, although not something good ol' Bob D' would be disgusted about, but it simply falters. 'I Cut Like A Buffalo' on the other hand, the only song on the album that has been solely wrote by Jack White, which turns out to be probably the weakest song of the album. It gives of the 'filler' feel to it, the lyrics are hardly present if noticeable at all. The instrumentation on the other hand is even worse, it basically doesn't turn up and everything sounds of key and the music doesn't fit around the lyrics, never mind fitting with itself.
As the album draws to a close, it brings out the gems in it and possibly the brilliance out of each individual member of this supreme super group. 'Bone House'? Where did that come from? The groovy electronic intro might prove otherwise, but it shoots of the blues in a flash, as soon as you might freak out about the heavy use of Synthesizers and organ's, the guitar work from Dean shows up once more along with Jack Lawrence's fitting and smooth elegant bass lines. Jack's timed perfection in his percussion skills blows the skin out of the water while Alison smokes everything out with her haunting and chilling voice that would send the devil crazy itself. The later half of the album continues to grow strong, as we approach 'No Hassle Night'. Goth blues. This is what Jack White wanted wasn't it? He wanted something different in his hectic music schedule and damn well got it in this track. This song grooves and slides along the path of grinding rock, which fits in brilliantly with Alison's vocals again, as she groans along to the music of her peers with her sneer of a 'No Hassle Night'. Now, probably the most deserting, haunting, spooky and chilling song of the album and probably the most bluesy track that Jack has ever believed in, the most raunchy vocal performance I've ever heard from Alison as she bellows 'Will There Be Enough Water?' well, I hope for their sake there isn't, because if there wasn't enough water for this group, I'd gladly let them go thirsty, if they pull out classic tracks like 'Will There Be Enough Water?' which is surely a track Bob Dylan would envy.
In conclusion to this devilish experience of music, The Dead Weather pull out all their weapons when it comes to experimenting with the blues. They execute and time nearly everything to perfection apart from the odd song or two. This is what music has been missing, people who are in touch with blues and people that are out of touch with themselves as they feel that music is all that matters, just as Jack White and look at his music schedule! If people thought blues rock was dead, then think again, because this super group has brought what the great Robert Johnson brought to the world and what was that?... well I repeat once more, he and they, brought the blues.
4/5
Linus Broadbent. (15/07/09)
P.S. Considering this review was wrote on the 15th of July and I created this blog, on the 26th, it would suggest that I wrote the review before this blog, just in case you got confused.
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