writhaus

Signed to Universal Records in 2006, William Tell’s latest release represents a well-rounded work from an artist who is maturing nicely. He knows his way around instruments, he knows his way around the studio and now we know he knows his way with lyrics, too.

“Fairfax (You’re Still the Same” talks about how some lovers stay the same even as we grow and change. It’s up tempo which helps cut the bittersweet of the lyrics. Tell’s former bandmate Andrew McMahon worked on the song with him. Fortunately, it has its own feel and not that of a Something Corporate single.

Maybe I am just a sucker for songs that mention the power of music, but among the best of the album is “Slipping Under (Sing Along to Your Favorite Song).” The song is about feeling pressure to change who you are. Tell’s lyrics suggest, “Just sing along to your favorite song, Takes you back to where you come from, Time and place, you cant erase When innocence is your only shame.” Again, the tempo is upbeat. It has a lightness that will keep you singing along while your brain processes the lyrics.

With “You Can Hold Me Down,” former Something Corporate guitarist William Tell comes into his own as a solo artist. This 10-song album (depending where you buy it) is filled with emotive songs and thoughtful lyrics. This album opens the door for Tell. Here’s to hoping his career continues fill our lives with music like this. Writhaus gives it a 4 and recommends Tell as an artist to watch over the next few years.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

One of the harder things to do when abroad is dig into indigenous music. Sure, you want a taste of culture while you are abroad, but what happens after a certain period of time is you realize you just want things that are familiar and in a language you understand.

But then you wonder, “Why? Am I not supposed to be embracing the people around me?” Then, revitalized, you dig back in and see what your new surroundings have to offer.

It was with that in mind that I picked up the 2006 release by Russian pop act Авиатор titled Мания (that’s Aviator - Mania for the non Cyrillic readers). When in Rome, right?

The lead single gives the album its title. In all honesty, it isn’t bad. It’s kind of rhythmic without having music that interferes with the repeating of key lyrics. Sadly, as the album progresses, the sound stays the same. I’d like to see the band take some chances. You know, mix it up a little. It’s not like Nickelback, but it could be one day with more studio polish…and that’s a bad thing.

Overall the album wasn’t a waste. It’s enjoyable. It doesn’t offend. It’s sure to drive teenage Ukrainian girls crazy. I think that’s all it’s designed to do. If my Russian was better, I might give a better or worse rating, but as it stands, this disc is a solid C+.

With that said, I did see a fun video by these guys with attractive women on a beach. If I can that cd, maybe it would get a higher rating. Only time will tell, I suppose.

3 stars

Philly, PA’s the Starting Line has had a tough go of it. When Geffen Records showed no interest in publicizing their 2005 disc (Based on a True Story), they moved to Virgin. Two years later, we have Direction, an up tempo, Emo-tinged disc that plays strongly to fans over the course of its 12 (13 via iTunes) tracks.

Kenny Vasoli’s voice sounds great singing these songs. The first single, Island, is a great song. The lyrics float lightly, and the beat thumps steadily. It will flow brilliantly from the open roof of your convertible as you wind down the PCH. It’s a song about getting away. What better summer album concept!

What You Want should be the second single, in my opinion. Thematically, the song speaks of wanting to make a difference, opening people’s eyes and changing their outlooks. The guitar work that begins the song is infectious and ties the whole song together. What You Want brings the album to a nice positive close.

The downtempo Need to Love stands out as well. Who hasn’t been lost in thought while traveling posing unasked questions to strangers? The pace of the song transports me to a different place which is exactly what good music should do.

The songs between feature solid performances, although get a bit repetitive lyrically. Several songs mention writing songs and explore problems that happen in that process. None of them are bad songs; they just indicate the importance songwriting had for TSL. It does get repetitive, which is something you don’t really want in an album. This might be might be attributed to an albumic theme, but for me, it doesn’t play as well.

Overall the album represents the band well. I do think Based on a True Story was a stronger album (and feel the bands pain at Geffen simply dumping it on the market). TSL kept it together though, and hopefully growth between this album and the next will knock it out of the park instead of this discs double.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

3.5 stars

The Smashing Pumpkins are back! Well, at least two of the members are. The Pumpkins are now a duo consisting of Billy Corgan and Jimmy Chamberlin, and Zeitgeist is the band’s first record since 2000’s Machina/The Machines of God. Zeitgeist is a guitar-driven record that rocks hard like the Pumpkins did in the days of old. Gone is any hint of the electronica the band dabbled in during the late ’90s.

Though this record rocks like the old days, in many ways, it seems as if this is the natural follow-up record to Machina. The sound of the band hasn’t changed much since that record or since the 2003 release, Mary Star of the Sea, by Zwan (a band that also featured Corgan as the frontman and Chamberlin playing drums).

Billy Corgan always has been the chief songwriter and the one who guides the Pumpkins’ sound. I was a little worried when I heard The Smashing Pumpkins were working on a new album. That’s because Jesus had been creeping into Corgan’s music, and I was worried it would get worse. Nothing ruins a good rock band like Jesus. Look at Live, for example. Thankfully, the only Christian reference is in “God and Country,” and I’m not even sure whether it’s pro-Christianity or not. (Sidenote: “God and Country” seems to steal a riff from the Sin City theme song. Listen for it.)

In fact, I’m not sure what most of Corgan’s lyrics mean on this record. But is that any different from usual? Corgan’s lyrics tend to be obtuse reveries that sound great but lack significance. I was hoping for a little bit more lyrical content on Zeitgeist, if for no other reason than the artwork on the liner notes is so provocative. The artwork includes a photo of Paris Hilton with a nuclear explosion in the background. Also, there’s the Grim Reaper as the president of the United States. The cover art is a picture of the Statue of Liberty knee-deep in water. These provocative images seem to imply lyrical substance is contained within the record. Unfortunately, there’s none.

Musically, Zeitgeist is excellent. Corgan’s voice shows virtually none of the strain you typically hear with singers his age. And this record rocks. My favorite track is “United States.” The track is nearly 10 minutes long, and it shows a lot of classic rock influence. It even has a little psychadelic interlude à la “Whole Lotta Love” and “Magic Carpet Ride.” The anthemic chorus of “Revolution!” is amazing. Every track on Zeitgeist is solid, except the last song, “Pomp and Circumstances,” which should have been a B-side.

One can hope Corgan continues to evolve The Smashing Pumpkins’ sound, but I don’t think many people will complain if he keeps producing records like this one. And here’s to Jimmy Chamberlin laying off the smack and continuing to smack the drums, as he does so well.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

4 stars

From Elton John to Billy Joel, piano rock has a long and distinguished history in rock and roll. It’s still a bit early to know whether Andrew McMahon will join their ranks, but with his Something Corporate work and side project, Jack’s Mannequin, he is well on his way.

In the summer of 2005, Jack’s Mannequin released Everything in Transit, a record that deals with what happens when you return home after being away and find everything different. The initial single, “The Mixed Tape,” has someone compiling a mixed tape for a lost love. “Bruised” touches on the feelings when you leave a lover behind. To say that loss is a theme here is an understatement.

The music blends together effortlessly, which isn’t surprising given McMahon’s past experience. His piano work is in fine form and lyrically, the album is very strong with the sounds veering from rock (”The Mixed Tape”) to beach music (”Miss Delaney”).

It’s unfortunate McMahon spent more than a year battling leukemia beginning just as the album was released. Without touring to publicize it, there was an attention deficit this release suffered undeservedly. That’s made up somewhat by the popularity of Jack’s Mannequin on movie soundtracks and theme albums.

There are tales that this year might see a follow-up released. Fans of Andrew McMahon, Jack’s Mannequin, and Something Corporate have reason to be excited if the release is as strong as this.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

4.5 stars

In the United States, half the DNA for modern alternative rock comes from Seattle via grunge bands such as Nirvana and Pearl Jam. The other half comes from the other side of the country from Athens, Ga.’s, R.E.M. In the ’90s, a short(ish) ride up I-95 would lead you to Chapel Hill, N.C., the stomping ground of Archers of Loaf.

With their very raw sound, you can see the punk DNA appear. Listening through Icky Mettle, it courses through the album adding an edge that lets this album stand right beside Nevermind and not appear any the lesser. The first single, “Web in Front,” begins the album on a high note that never falters for the following 13 tracks. Tracks on the album blend together into what feels like a killer live show with songs as short as 1:19.

From down tempo “Wrong” to the relentless cacophony of “Sickfile,” Archers of Loaf build an album of parts that comes together perfectly. When the last chords of “Slowworm” fade out, you know you have completed a journey. The upside for us today is we can move right onto their next album, an EP titled vs. The Greatest of All Time.

Icky Mettle blasts its way into historical significance by being released at the dawn of alternative rock’s ascendance. You can hear the bits of punk weaving together in this album. It’s a signpost on the road to our current rock music. You deserve to give it a listen.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

1.5 stars

The White Stripes‘ sixth disc leaves you wondering what the hell happened. After all, Jack and Meg White’s third album, 2001’s White Blood Cells, brought the garage rock revival to the mainstream. It was the mixture of stripped-down guitar, catchy riffs, and intimate vocals that got me hooked along with everyone else, and I consider White Blood Cells to be among the top records of the decade. The White Stripes’ subsequent efforts, Elephant and Get Behind Me Satan, were not as good, but they certainly served their purposes. So why is Icky Thump so bad?

Jack and his ex-wife sound generic. I never thought this was possible, but it’s happened. “You Don’t Know What Love Is (You Just Do as You’re Told)” sounds like a shell of what the duo used to be. It’s almost as if they’re another band trying to sound like The White Stripes.

Then, there’s the guitar issue on Icky Thump. Although Jack White once was named the 17th all-time best guitarist by Rolling Stone, much of his work on Icky Thump is the musical equivalent of going to the dentist. In fact, the guitar often sounds like a dentist’s drill. It’s at its fingernails-on-the-chalkboard worst on “Catch Hell Blues.” I don’t know what White was trying to do here. Much of the album stays away from the band’s recent experimentation with other instruments such as the piano, and in general, it’s a back-to-the-basics garage record. While garage rock often is earsplitting, it tends not to be guitar solos that do it.

Other hands-over-your-ears moments come during “Rag and Bone” (when Jack White, a Michigan native living in Memphis, talks in an awful faux-southern accent) and “I’m Slowly Turning into You” (when at the song’s end there’s a crescendo to a cacophony). The lowest point Icky Thump reaches is on the only cover on the record, “Conquest.” The song is written by Corky Robbins. I’ve never heard Robbins’ version, but it has to be better than the Stripes’ version. Love him or hate him, everyone knows Jack White can’t carry much of a tune. So, why, oh, why did he have to put us through his rendition of this Spanish-style song where he wails completely off-key, “Co-o-onquest”? This is one of the worst songs I ever have heard from a good band. Add to all this the fact that Jack White has almost nothing to say in his lyrics, and you’ve got a huge disappointment.

A few songs on Icky Thump make it semi-tolerable, though. The title track and first single is pretty good. It features about the only lyric with substance: “Why don’t you kick yourself out you’re an immigrant too.” During this line, Jack White’s voice reminds me a lot of fellow Detroit native Eminem’s voice. Some parts of “Icky Thump” remind me of “I’m Shipping up to Boston” by Dropkick Murphys, which is that street-tough punk song with bagpipes in The Departed. The best song on the record, though, is “Bone Broke.” The song just rocks, and it’s The White Stripes at their best. “Prickly Thorn, but Sweetly Worn” is an Irish-sounding song that works pretty well. “A Martyr for My Love for You” would be good if it weren’t for terrible lyrics.

In general, Icky Thump lacks charm and heart. It’s going to be hard to top as the most disappointing album of the year. There is a silver lining in this mess, though: We still have The Raconteurs.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

3 stars

Though you wouldn’t know it from their name, Fujiya & Miyagi are a British trio. Fujiya is the name of a record player, and Miyagi comes from the character on The Karate Kid. They thought it looked cool. I didn’t really like the name until I listened to “Ankle Injuries,” the opening track on their latest disc, Transparent Things. In the song, they chant their name to the beat: “Fujiya, Miyagi, Fujiya, Miyagi…” There’s no doubt the words have a catchy ring to them.

In general, Transparent Things is a good “chill” album. It’s a fairly cerebral offering, but I would like to hear a little more depth. There are not enough loops, and the keyboards aren’t utilized as much as they should be. Combine that with the breathy and soft vocals, and you get a sometimes-boring record. Much of it is quite good, though. The first half of the record is far superior to the second half. The record’s highlights (”Ankle Injuries,” “Collarbone,” “Photocopier,” “Conducter 71,” and “Transparent Things) are the first five tracks. “Collarbone” is my favorite song on the record, and I dare you not to bob your head as you listen to it. The band’s sound peaks in “Conducter 71,” a cool instrumental track. If only they could replicate the soundscape in that song on the rest of the record.

In general, Transparent Things is a fun and light record. It’s beat-centric and is a great album to put on while you’re knocking a few back with friends.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

4 stars

Queens of the Stone Age have a new record, and it’s alive.  The band’s fifth album, Era Vulgaris, is macho and aggressive hard rock at its best.  There is not a weak track on it.
The dense music is layered such that the music on much of Era Vulgaris is like a stew at the bottom of a pit threatening to boil over and consume the songs.  The stew seems to breathe life into the record, giving it a life of its own.  I was ready for the CD to jump out of my stereo and walk out of the room.

The first single from Era Vulgaris is “Sick, Sick, Sick.”  It features Julian Casablancas of The Strokes, but you have to listen closely near the end of the song to hear him.  “Sick, Sick, Sick” pulsates with energy.  It’s sin and debauchery put to music, which is what rock and roll is all about.  “I’m Designer” sounds like a cross between Crosby, Stills and Nash, Alice in Chains, and Foo Fighters.  “Into the Hollow” could have been on Stone Temple Pilots‘ No. 4.  Perhaps my favorite track on the record, though, is “Make It wit Chu.”  The brazen track oozes sex.

It’s clear the band had fun making this record. You should have fun hearing it. You either need to stop and give this record a listen or get out of the way.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

4 stars

I was introduced to Das Llamas‘ music when I caught them live on Wednesday, June 20 at Safari Sam’s in Hollywood. They rocked live, and I picked up their latest disc, World War. It’s their first full-length album. Das Llamas’ unique style is captured perfectly on the record. The Seattle-based band mostly has post-punk roots, but their influences include everything from classic rock to New Wave.

There are no standout tracks on World War, but there are no weak ones, either. Das Llamas’ style is frantic and spastic, yet they’re contained and tight. Thomas Burke’s drums are relentless, and they duck and weave around staccato and repetitive guitar riffs. Above it all, Kerry Zettel’s clouded vocals seem to propel the music. There’s hardly a chance to catch your breath during the frenetic 31-and-a-half minute record. Throughout this whirlwind of a record, Das Llamas maintain an original sound. To me, they sound like many New York City bands of this decade such as Liars, Interpol, and Yeah Yeah Yeahs, but they add a gray Seattle scuzzy quality to the proceedings, giving them a whole lot of lock-up-your-daughters attitude.

Das Llamas likely won’t achieve mainstream success, but they seem to have a bright future with indie rock fans. Listen for the buzz. It’s coming soon.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic