writhaus

3.5 stars

The landscape of modern rock is littered with trash. There are so many crappy bands that have made it big such as Nickelback, Korn, and Evanescence. Nick Black is struggling to make it big, and from what I’ve heard there’s no reason he shouldn’t make it big.

I saw Black perform with his band on Friday, June 15 at The Keyclub on the Sunset Strip in West Hollywood. Their performance was pretty good, and I picked up a five-song sampler they were giving away for free in the club. For lack of something to call it, I’ve called it the Hollow EP. The CD includes the tracks “It’s Over,” “Let You Go,” “Sorry,” “Hollow,” and “Barracuda.”

The songs on the EP are ace. I am pretty surprised I like it because I tend to shy away from the new hard rock they play on the narrow rock format you find on the FM dial nowadays. Of course, there are exceptions such as Wolfmother and System of a Down. Black’s songs rock hard. They follow the proven rock song formula, but they avoid sounding overly contrived. The title track to their full-length album, Hollow, which is available on their Web site or on iTunes, is the obligatory rock ballad, but it truly is an exceptional track. It’s the perfect showcase for Black’s rich and deep voice. Black’s cover of Heart‘s “Barracuda” is tremendous. I think Black’s version is better than the original.

In a land where his genre has run its course, Nick Black is relevant and worthy of a listen. I honestly think the name Nick Black will be known by more people than just his cult following in the very near future.

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

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2.5 stars

I was sure I was going to give The Bravery‘s second disc, The Sun and the Moon, a glowing review. I’ve been spinning it since it dropped a few weeks ago. I’d enjoyed it tremendously, but today I gave it a more thorough listen. Standing alone, the music is interesting and catchy at the same time. It’s great post-punk revival stuff. It would be worthy of four stars. Also, the lyrics are great on paper. But when the lyrics are combined with the music, it’s like oil and water. The lyrics and music for each song were written by the band’s singer, Sam Endicott. The fact that the lyrics and music don’t jive, however, gives the record the feel of a singer and a band on different pages.

The lyrics on The Sun and the Moon are some of the saddest and most pessimistic lyrics you’ll ever find. “Believe” describes a horrible world: “We do our time like pennies in a jar — but what are we saving for?” The narrator of “This Is Not the End” is talking to someone on his or her deathbed. These two songs have the common theme of “need[ing] something to believe.” As you get deeper into the album, it’s clear Endicott doesn’t find what he’s looking for. “Bad Sun” is full of self-loathing: “We are liars like the summertime, like the spring we are such fools/Like fall we are false prophets, and like winter we are cruel.” The record’s first single, “Time Won’t Let Me Go,” is a heartbreaking track about lost youth: “All these precious moments you promised me would come in time/So where was I when I missed mine?” “Tragedy Bound” is about a suicidal girl whose father sexually abused her. “Fistful of Sand” is from the point of view of a man whose partner is vacant because she is cheating on him. In “Above and Below,” the narrator wants to escape the world and live underground. While the lyrics are depressing on The Sun and the Moon, they’re great lyrics. But before you stop reading this review and slit your wrists, let me tell you about the music on the album.

The music couldn’t be more cheerful! (Wait. R.E.M.‘s “Shiny Happy People” just popped into my head.) The music could be more cheerful, but it’s pretty cheery; all right? Take “Angelina” for instance. It might be the worst track lyrically and musically, and it also is the best example of how the music and lyrics don’t match: “I knew that nothing could tear us apart, I never even gave it a second thought/I was so sure and I was wrong, now every single thing I ever had is gone.” Picture that in your head. Now picture Beatles-like saccharin repetitions of “Angelina” in the background. Right. “Bad Sun” has whistling in it. (By the way, I think Peter Bjorn and John started a trend here. I’m hearing whistling more and more.) I could go on and on, but I’ll talk about the exceptions now.

The first track, “Intro,” is extremely short and has no lyrics, but it’s very sad organ music, which sets the tone perfectly. Of course, you know what happens, though. “Time Won’t Let Me Go” is almost an exception. It’s a great song, and the music fits the lyrics pretty well. Then, the “ba ba-ba-ba-ba ba-ba-ba-ba ba-ba-ba ba-ba’s” start coming. Why not do “oh’s” or “ooh’s”? “Tragedy Bound” is a wonderful acoustic song. “Split Me Wide Open” works. My favorite track on the record, though, is the closer, “The Ocean.” The harmony-laden song is the perfect finale for the record.

Perhaps you’re like my fiancée and will say, “Doesn’t Morrissey do that [combine dark lyrics with cheerful melodies]?” I can assure you The Bravery is not in the same league as The Smiths, and there does not seem to be any intentional irony here. The title of the record is ironic (music=sun/lyrics=moon), but I don’t think it was done on purpose.

This effort totally frustrates me because it could have blown The Killers‘ (a band to whom The Bravery constantly is compared) sophomore album out of the water. Sam’s Town was a letdown after The Killers’ amazing debut. The Sun and the Moon could have lifted The Bravery to the status of The Killers. Unfortunately, it will not.

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

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2.5 stars

Wilco recorded my favorite album of the century so far, so it’s possible I may not be the most impartial critic of their music. 2002′s Yankee Hotel Foxtrot was a landmark album. It’s one of my favorite records ever, and since I heard it for the first time, I have been holding every record I hear up to it. That being said, I expect a lot from Wilco, and Sky Blue Sky is a big letdown, even with 2004′s also-disappointing A Ghost Is Born as a buffer.

Wilco has evolved a lot since their 1995 debut, A.M. They were considered an alt-country band back then, but they’ve lost a lot of both the alternative and the country. Similar to A Ghost Is Born, Sky Blue Sky features a lot of guitar solos. Although there’s some great guitar work in there, especially in “Side with the Seeds,” often it comes off sounding as if it belongs on the “smooth jazz” FM station. Other times, the music on this record resembles 1970s classic rock, especially The Allman Brothers Band. Jeff Tweedy’s vocals mostly retain that hard-to-describe intimate quality that made Yankee Hotel Foxtrot so great. The music, however, is too adult contemporary, and it features almost none of the experimental sounds and loops that make Yankee Hotel Foxtrot so deep and a modern classic.

Wilco produced Sky Blue Sky themselves. It’s always a good thing when a band has complete creative control. The songs on this record mostly deal with a yearning for acceptance and love, insecurity, and a desire to shut out the world. For the most part, Tweedy’s “content with being blue.” Unfortunately, the listener who desires the Wilco of the past must be, too. The best songs on the record are “Either Way,” “Impossible Germany,” “Leave Me (Like You Found Me),” and the uplifting “What Light.” You can miss “Shake It Off” and “Walken.”

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

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4 stars

Perry Farrell is back, and you should check out his latest band, Satellite Party. An alternative rock legend (Jane’s Addiction/Porno for Pyros/Lollapalooza creator), Farrell has never sounded better. Ultra Payloaded, Satellite Party’s debut album, fuses funk and rock and adds some orchestra here and there, too. The record is loosely based on a story provided in the record’s liner notes: “The Ultra-Payloaded Satellite Party, ‘The Solutionists,’ are an elite group who master the art of public assembly and demonstration.” The Chief Solutionist (presumably Farrell) is taken to a hospital after being beaten by police. He looks out the window and sees a cluster of stars in the sky. He tells the beautiful night nurse, “There is a party up there.” They fall asleep together, and “their souls transcend up high to ‘The Satellite Party,’” where they are reborn. When someone shows them a view of Earth from above, “they feel an overwhelming passion to return to Earth and design a future together.” Their motto: “Just try and stop us, we’re going to love!” The motto is a lyric featured in a lost Doors song. The song, “Woman in the Window,” closes the album. It features the late Jim Morrison on vocals around music composed by Farrell. It is amazing and one of the coolest surprises I have ever had while listening to a record.

Ultra Payloaded features a number of living guest stars, too. Red Hot Chili Peppers bassist, Flea, co-wrote and is featured on “Hard Life Easy” and “Milky Ave,” which is one of my favorite songs on the record. Peppers guitarist, John Frusciante, plays on “Hard Life Easy,” too. The record’s opening track and first single, “Wish upon a Dog Star,” features Fergie on background vocals and Peter Hook (Joy Division/New Order) on bass. Fergie also sings on “Ultra-Payloaded Satellite Party.”

This record is an exceptional one. It’s free and joyous. Give it a listen. You even may be inspired to take “whatever’s in your closet” and “set it free.”

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

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3.5 stars

Kaiser Chiefs‘ second album, Yours Truly, Angry Mob, is an album full of unabashed catchiness. Unlike many current “catchy” bands, though, Kaiser Chiefs somehow avoid that saccharin quality that is so tiresome. Lead singer Ricky Wilson’s voice reminds me a lot of Pink Floyd co-founder Syd Barrett‘s voice. This gives the band an early-Floyd feel, though they mostly have inherited British New Wave and post-punk revival genes.

The opening track and first single, “Ruby,” peaked at 14 on the U.S. charts. It’s a terrific song that’s gotten plenty of radio play, but I wonder why Kaiser Chiefs haven’t blown up more in this country. To me, Kaiser Chiefs are better than many alternative rock bands that have achieved mainstream success such as OK Go. Of course, OK Go exploded when the video for “Here It Goes Again” came out. Although MTV has seen the fall of its Golden Age and has ushered in an Age of Utter Crap, perhaps they still have some say as to what’s cool among non-tweens. Regardless of the hows and whys, Kaiser Chiefs deserve more exposure.

Nearly every song on Yours Truly, Angry Mob is great. “My Kind of Guy” and “Retirement” are not so great. And skip “Highroyds.” It’s atrocious. “Ruby” features my favorite lyric on the album: “Due to lack of interest, tomorrow is cancelled.” The refrain in “The Angry Mob” is another lyrical highlight: “We are the angry mob. We read the papers every day. We like who we like, we hate who we hate, but we’re also easily swayed.” Other than “Ruby,” my favorite track on the album is “Everything Is Average Nowadays.”

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

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3.5 stars

This is what dance-pop should be! LCD Soundsystem‘s second album, Sound of Silver, is the kind of music they should be playing in clubs here in the States. If they did, I might consider going to one. Unfortunately, Europe is the place this music will be appreciated, and we here in the States are forced to settle for manure such as Pussycat Dolls.

A mix of disco, electronica, and rock, Sound of Silver, is a must-own record for any hipster hosting a dance party. You can’t help but like the innocent and infectious grooves of LCD Soundsystem. The first track is “Get Innocuous!” It seems to come straight from Remain in Light by Talking Heads. “Someone Great” is another highlight and is electronic pop at its best. “All My Friends” is the very worthy second single off the album. The catchy title track repeats the funny lyric “Sound of Silver talk to me/Makes you want to feel like a teenager/Until you remember the feelings of/A real live emotional teenager/Then you think again.”

By far the coolest track on the record, though, is the first single, “North American Scum.” Be sure to give it a few listens before you make a judgment. Believe me, it grows on you. The lyrics are what make the song great. Singer James Murphy proudly claims to be a North American while acknowledging North Americans surely aren’t perfect. This certainly is one of the best singles of the year so far. If you are unfamiliar with LCD Soundsystem, you owe it to yourself to give them a try.

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

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3 stars

Chances are you heard of Arctic Monkeys before you heard Arctic Monkeys. Their 2006 debut, Whatever People Say I Am, That’s What I’m Not, was the most hyped record since The Strokes‘ Is This It in 2001. And it delivered. It is a post-punk masterpiece that was my favorite album of 2006. Arctic Monkeys’ sophomore effort, Favourite Worst Nightmare, however, is a disappointment.

The record starts off with a bang. The opening to “Brianstorm,” which is one of the best tracks on the disc, is explosive. Many of the songs that follow feature catchy grooves, but the album is missing much of the attitude that came with their debut. The lyrics mostly deal with messed-up relationships and sex. They’re edgy and biting, but they’re not quite as edgy and biting as the lyrics on the first album. The same thing goes for the music. Also, some of the songs lack structure. A few tracks feature lots of tempo changes and melody changes. It’s as if the band wrote some of the songs without their Ritalin.

It’s obvious Arctic Monkeys wanted to experiment a little with Favourite Worst Nightmare. Given the title of their debut record, it seems important for them to reinvent themselves. Unfortunately for them, this record is at its best when it sounds like the first one. Despite this, Favourite Worst Nightmare is by no means a failure in the grand scheme of things. And at their worst, Arctic Monkeys sound much better than most other bands sound at their best.

Standout tracks include “Brianstorm,” “Teddy Picker,” “D Is for Dangerous,” “Fluorescent Adolescent,” “This House Is a Circus,” which is my favorite track on the record, “Old Yellow Bricks,” and “505.” You can miss “Balaclava,” “Only Ones Who Know,” and “The Bad Thing.”

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

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4.5 stars

Welcome to a world where politicians like George W. Bush prevail. Welcome to Year Zero. Nine Inch Nails‘ newest record is a concept album about a dystopia in the near future. The world is ruled by a military state that does not allow anyone to think for him or herself. It’s similar to George Orwell‘s account of the future in 1984. Trent Reznor, who basically is Nine Inch Nails, wrote, performed, and co-produced the record. He came up with some astounding music to go with his concept.

The record is war and the destruction of freethinking mankind put to music. The astonishing sound of the music is mostly computer-generated. It’s unlike anything out there right now. Indeed, Year Zero is the most revolutionary record since Radiohead‘s OK Computer blew our minds in 1997. The computerized, futuristic soundscapes are the most notable in “Hyperpower!,” “Vessel,” and “The Great Destroyer.”

My favorite song on the album is “Capital G.” The lyrics are from the point of view of a neo-conservative whose new god is George W. Bush. The greedy warmongerer describes his rebirth: “Well I used to stand for something/Now I’m on my hands and knees/Traded in my god for this one/He signs his name with a capital G.” It’s a scathing attack on neo-conservative doctrine that claims to be Christian but acts in very un-Christian ways. Never before has Bush-bashing been quite so dark. It’s implicit this concept of converting from Christianity to Bush’s and the late Jerry Falwell‘s version of Christianity has to do with the title of the record, given our present calendar is based on Jesus‘ birth.

Another tremendous track on the record is “The Great Destroyer.” This song is in the spirit of The Velvet Underground‘s “Heroin” in that it is more a work of art than a rock song. Some of the sounds are not exactly pretty, but it’s about a subject matter that’s not so pretty. You can picture the destruction of the world during the last part of the song. “The Great Destroyer” is followed by the quiet, minimalist, and heartbreaking instrumental, “Another Version of the Truth.” After that comes “In This Twilight,” which is the only song on the record that offers any hope.

Year Zero also has some cool things that are not related to the music. The CD is a thermo-chrome heat-sensitive CD that turns from black to white when you play it. Also, the CD case has a fictional warning from a fictional agency, the USBM (United States Bureau of Morality). It gives a toll-free number that is pretty amusing to call. It’s 1-866-445-6580.

Despite the fact that Year Zero is a cutting-edge record with a theme, much of the music actually is quite accessible. If you like Nine Inch Nails, you probably will like this record. I highly recommend this record to anyone, though. You owe it to yourself to check this out.

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

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4.5 stars

Bright Eyes have amassed quite a cult following, and their latest release, Cassadaga, should satisfy every fan they’ve earned. This album is brilliant, and anyone who has never heard of Bright Eyes owes it to him or herself to give it a listen. Singer/songwriter Conor Oberst is perhaps the best lyricist in indie music today. Oberst is the only songwriter I would feel comfortable with putting in the same sentence as Bob Dylan. There, I just did it.

Cassadaga is a spiritualist camp in Central Florida. The opening tracks says, “Cassadaga might be a premonition of a place you’re going to visit.” The themes of travel, wandering, uncertainty, and exploration are prevalent throughout the record. Vagabonds aren’t the only ones who will relate, though. Critics of monotheism have their time: “The Bible is blind. The Torah is deaf. The Qur’an is mute. If you burned them all together you’d get close to the truth.” “Classic Cars” is a great track about a struggling artist coming to terms with his life and work. “Cleanse Song” offers just the right imagery for someone trying to cope with a post-9/11 world. “No One Would Riot for Less” ponders a soldier’s mortality. My favorite track on the record, “Soul Singer in a Session Band,” is full of heartwrenching and brilliant imagery about a washed-up performer.

Though the lyrics are what make this album excellent, the music is very good, too. Band member Nate Walcott arranged some great orchestra parts, and for the most part, the updated-for-the-21st-century folk music is solid. Every track on this album is a work of art. Cassadaga is not to be missed.

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

(more…)

3 stars

I somehow missed Clinic, even though through doing research for this review, I found they were one of the first bands in the recent post-punk revival, a movement that I love and have followed for six years or so. I must say, though, I’m not very impressed with Clinic’s fourth album, Visitations.

The Liverpool-based band (didn’t another band come from there?) has some of the brooding darkness of Joy Division, some of the bluesy garage rock of The White Stripes, and some of the bounciness of The Rapture, but they’re missing something. It’s nearly impossible to decipher many of lead singer Ade Blackburn’s lyrics, but it’s more than that. There’s a feeling of disconnect and an inability to connect with the listener. They seem to keep the listener at an arm’s length. This lack of intimacy is symbolized by the fact that the band wears their trademark surgical masks in the album art, hiding their faces. The inaccessible quality definitely detracts from the music, which, in general, is very good. There’s some good guitar work and catchy riffs.

Standout tracks include: “Family,” “Harvest (Within You),” “Children of Kellogg,” and “If You Could Read Your Mind.”

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

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