Album Reviews - 25/10/07

Low - Drums and Guns

Can this band do no wrong? It's starting to seem that way in a career now spanning over 10 years. "Drums & Guns" isn't as abrasive in sound as it's predecessor "The Great Destroyer", but it lies somewhere in the middle of this great collectives catalogue of finely tuned jams.

The mix on 'Drums..' is different to any other the Minnesota trio has created, which may anger some listeners, however Low have never been an act to rest on their laurels. Guitar bending and feedback slowly draw as undertones with opener 'Pretty People' and the raw surroundings of 'Breaker' are the best examples of this new leaf taken by the band. 'Violent Past' is Low in their prime, and it's only fitting that this is the closing track off the album.

Although multiple listens are needed to appreciate in full, Low have done it again. The undercurrents of virtuoso are evident during the neatly structured craft they design. The irony plays it's part as the themes hint towards darkness, yet a blissful journey none the less prevails.

7/10


The Horrors - Strange House

Never judge a book by it's cover. Yes, The Horrors fall into this category. Let's be honest. They look like art wankery, where a decent wash, feed and educating wouldn't go amiss. All that bullshit aside, their music is a bit of a different story.

Their debut album, "Strange House", is something fans of The Birthday Party and the like thought they'd never hear again. Guitars that are a complete mess and vocals that creep and crawl with haunting obscurity. Yup, this effort is a complete and utter shambles of creepy noise!

The drenching guitar screeches and kooky keyboards during 'Sheena Is a Parasite' see The Horrors in their finest hour, while 'A Train Roars' is something that modern day horror films would want howling in the background of a murder scene.

Taking off where The Eighties Matchbox B-Line Disaster started. At the moment, Britain has too much rubbish clogging up its airways and not enough dangerous mess that The Horrors employ. It won't be the best 30 minutes endured all year, but it won't be the worst.

6.5/10


Dinosaur Jr - Beyond

Perhaps the most anticipated "comeback" album of the year, Dinosaur Jr have created something that begs the question "did they ever go away". Cliché, I know.

However, if you want a good reform album, then you're going to have a tough job pinpointing one as good as "Beyond". All the D’ Jr traits manifest themselves during this adventure of straight up no-nonsense indie rock.

J Mascis puts his right foot forward in the lyrical stakes not to mention his awe-stricken guitar nous, while Lou Barlow plays the perfect support role knocking out the notes and evens some jaw-breaking chords, on bass. There's no need to look any further than the opening beast that is 'Almost Ready'. The whole album continues on in this abrasive fashion.

Solidarity. Something Dinosaur Jr have always managed to deliver. With Sonic Youth and Nirvana gaining a lot of the plaudits back in the '90s, it's time for Dinosaur Jr to finally be given some of the praise that was lost on them all those years ago. "Beyond" is the perfect reference point.

7.5/10


Pelican - City Of Echoes

Post metal pioneers Pelican return with their third full-length album, "City of Echoes" and although, unlike their two previous ventures, "...Echoes" takes a little longer to hit the spot.

The themes instilled into Pelican's music are still very much at the forefront of this post metal beast, while the guitar prowess shown by Trevor de Brauw & Laurent Lebec is some of the best works Pelican have made thus far into their career. Look no further than the melodic brilliance of 'Far From Fields', while the title track and 'Lost In The Headlights' also establish the brilliant build-ups and break-downs that this band has made a living from creating.

However, that said, the rhythm section during "..Echoes" and in particular the drumming, leaves a lot to be desired, as it's just not strong enough to carry the weight of the almighty guitar riffs that de Brauw and Lebec respectively posses.

Despite one side of the band failing to weigh in with their side of the bargain, Pelican's music is still enough to attract wanting listeners. The guitars are the loudest they've ever been, however the drumming just doesn’t weigh in with the likes of the band's previous two albums, especially "Australasia". If you have the time, there's still enough solid music on this album to keep listeners intrigued, though.

6.5/10

Simon K

Reviews

Rooney - Calling the World

Several years have passed since Rooney's first effort, which was quite a success due to it's connection with popular television show The O.C. After scrapping numerous amounts of material throughout the last few years they finally settled upon Calling the World. Where the first album was effortlessly breezy pop rock this time around they seem much more desperate to regain the same spark.

From a weak opening with the Weezeresque title track to the uninspiring lead single "When Did Your Heart Go Missing". Even if the album is a lapse in progression it's still a reasonably fun listen from time to time, with the blatant hooks and melodies that are occasionally executed. Sporting the very retro Beatles/Doors inspired artwork and usually wearing the Beach Boys influence on their sleeve Rooney head in the direction of a more 80's power pop groove, especially in "Are You Afraid" and "I Believe in Me" with the use of synthesizers and the cheesy knock off riffs you just know you've heard before.

It's upsetting that the band couldn't successfully follow up the likes of "I'm Shakin" and "Blueside" which are some of the best work they've produced. Not to come away empty handed in this inferior effort. Robert and the boys supply us with some pop gems in "I Should've Been After You", strings induced "Help Me Find My Way" and riff rockin' "Don't Come Around Again". Hopefully next time they don't leave it too long between sessions and return more focused.

5/10


Marilyn Manson - Eat Me, Drink Me

It has to be said, ever since Twiggy left or was fired, whatever, things in the Manson camp haven't been quite the same. The quality in songs have dwindled substantially and he seems to of lost his relevance in today's music scene. Has Marilyn Manson lost his mojo? It certainly appears so, though Mike Myers ended up getting his back, being the character he is or portrays I wonder if he'll ever return to form.

With John 5 gone pursuing a solo career, ex-German industrial outfit KMFDM member Tim Skold has taken over the reins as Manson's main collaborator having the main creative output of this record. Quite a departure from 2003's Golden Age of Grotesque pop industrial feel, returning to the more traditional rocking roots of his previous efforts only lacking that suckerpunch edge which made the predecessor's so effective. This is the first record in over three years, with many stories and reports citing his ongoing personal problems. With a new muse at his side in Hollywood actress Evan Rachel wood, strangley enough he picked himself up and began writing new material.

The album sticks to a certain substance/structure leading off with "If I Was Your Vampire" almost boring but entertaining enough if you're game enough to presevere. Gone mostly is the cheesy generic riffs of GAOG exchanged for solos and more effiecient guitar work. "Heart Shape Glasses" is the catchy single while slowburning "Just a Car Crash Away" and pop fused "Mutilation is the Most Sincere Form of Flattery" could be the best the album has to offer. This is a standard rock affair in which newcomers will be sure to relish, though less edgy and provocative than his 90's records, some say this is a return to form and the start of a new creative tenure.

Sadly Eat Me, Drink Me is mostly style over substance, lacking any real long lasting masterpieces. Now a shadow of his former self or persona, Manson seems to be drowning in his own post-relevance, with most of the core members of any of his strong periods either now gone or fired it's just not the same.


5.5/10


Sean B

Reviews

The View - Hats off to the Buskers

Hailing from Scotland, the View are yet another copycat rock and roll band stuck on repeat. Since being released the album has spawned a number of singles and in particular "Same Jeans", has scored them an adequate amount of attention with it's annoyingly infectious vibe. "Coming Down" is a decent beginning to the album, balls out rock and roll that doesnt miss a beat. "Wasted Little DJ's" is a standout track for its many hooks, displaying their strength in songwriting.

"Skag Trendy" is a delight with it's upbeat tempo and for that it gives bass player Kieren Webster a shot at the mic, giving the sometimes annoying frontman Kyle Falconer a rest. This isnt an album that oozes confidence, there isnt anything risky or particular exciting about it in anyway apart from their inconsistent catchy hooks. Changing it up occasioanlly with an acoustic track here or there.

The View are hardley original, it seems instead of trying to come up with an entirely interesting body of work they have relied on the sounds of bands from the now and before to craft their sound, forming a somewhat varied collage of britpop and beyond. Comparions will be made without doubt, but I shouldnt forget that the album is indeed worked around the title Buskers if that means anything. For anyone who likes the idea of that then this is definitely for your ears, just not mine.

4.5/10

Sean B

Reviews

Kaiser Chiefs - Yours Truly, Angry Mob

Garnering massive amounts of attention with 2005's Employment comes a very confident sophomore effort. From the get go the hooks are aplenty on "Ruby", showing they havent forgotten how to pen a catchy tune and aren't afraid to re-establish their trademark kitsch rock riffs. Like many of the Chiefs contemporaries, they have all tasted a certain amount of success and though they are a forerunner they are only topped in popularity by the likes Bloc Party and the Arctic Monkeys.

After a solid start to the album, especially with "Angry Mob" things tend to regress into mediocracy. Lacking the energy and flair of the first few tracks which have been released as singles which isnt a suprise. "Love's Not A Competition" keeps the casual flow rolling as it has that Kaiser signature spark even if there is no light around.

It's quite ironic in track "Everything is Average Nowadays" cough displaying a cocky frontman Ricky Wilson in his swagger, with the possibility of the title being used against him. The album soldiers on in it's bluster continuing to thrust out hooks to captivate the conservative listener, "I Can do it Without You" is a great example of that. The albums flow is spoiled on more than one occasion due to banal material which ruins the albums groove. It's true without the singles this album would probably fall apart at the core.

The album is indeed jubilating, though after a few listens tends to lose it's edge with the constant cheap hooks that sometimes can be mistaken for something great which in turn is easily just as simple and ordinary. There is clear ambition to become an arena rock band, it's just not as good as it could have been. Besides the few catchy singles Employment reigns as the more consistent outing.

5/10

Sean B

Reviews

Foo Fighters - Echoes, Silence, Patience & Grace

"Seems just like yesterday we heard the fast paced, rip roaring “Monkey Wrench”, which would be an introduction to a wonderful journey that the Foo’s took us on “The Colour and The Shape”. So when I heard that the producer behind that album, Gil Norton, had come back for “Echoes, Silence, Patience & Grace”, I was immediately pleased.

Upon first listen, I came to the conclusion that it is the same producer, but this isn’t 1997. Gone is the freshness, free flowing straight out Rock that we once knew. In it’s place is a disjointed, typically flawed out LP that has mainstream written all over it. “The Pretender” is a good way to start off things with a calm build up that leads into a monster of a chorus, but towards the end we hear a bridge that awfully sounds a lot like one of their previous hits. That being said it’s still a good choice of a first single to let your fans know that you’re back. However hearing the opening guitar of the noise angst “Let It Die”, it sounds like we’re back on the 2nd disc of “In Your Honour”.

Things pick up again during the chorus, but it seems the former Nirvana skins man has decided to put that “Build it up then Scream!” formula into overtime, making it a little stale. “Erase/Replace” brings back a little essence of the older days, with Grohl telling us to “Pay Attention!” during the crunching riffs and strong thumping beats that have became a Foo’s trademark. Alas tracks such as “Statues”, “Long Road To Ruin” and the rodeo sounding “Summer’s End” cater to the new fans who would’ve gotten into the boys from the played to death “Best Of You”. The one song that does cry poise is the foot tapping “Stranger Things Have Happened” which asserts that the acoustic guitar can still produce a hard edged guitar solo when done right.

Overall it’s an album that has been watered down to please the new recruits that will call themselves Fighters of the Foo, but will still have the long time fan wanting to hear those brief moments of greatness that we know Mr Grohl can produce. "


6/10

Mark L

Reviews - 16/10/07

Art Brut - It's a Bit Complicated

If you liked what you heard on 2005's Bang Bang Rock and Roll, then you'll certainly be satisfied with the latest offering from the cheeky Brit band. Like many similar bands circulating right now it's hard to have your own distinctive sound.

Art Brut have seemingly established themselves to a certain degree with vocalist Eddie Argos unmistakable voice, moreso than the music which becomes quite lacklustre after the 20 minute mark. At least the first record was more straight to the point.

This album has a more mature feel to it which is probably a bad thing, rock anthem "Direct Hit" is the only track that seems like it could have been ripped from Bang Bang. "People in Love" is ever reminiscent of Jonathan Richman's Modern Lovers lyrical theme. Like the Hives, entertaining outfit, rocking and put on a good show but at the end of the day probably leave you wanting just a little more. With all things said, Art Brut rarely stray from their popular formulaic song structure keeping it neat, tidy and easily digestable.

4.5/10

Sean B

Reviews - 15/10/07

Hard Fi - Once Upon a Time in the West

Following up their 2005 debut "Stars of CCTV", Hard-Fi hit back with a slightly more ambitious set of songs. "Surburban Knights" the first single and opening track sets the direction in which the album follows. It's catchy enough, though rather cheesy at the same time.

Throughout the 40 minutes they go back-up singing crazy and the melodies become unavoidabably grating, getting tedious soon after the first listen.

Lacking the zest and emergency of their first album, Once Upon a Time in the West faces the sophomore slump, as it treads similar area but tends not to really experience any new ground. There is the occasional fun to be had in heavy bass riffer "Close My Eyes", the piano laden and Blur influenced "Television" and swaggering "We Need Love". Sadly the album as a whole is quite disengaging at most times, fans need not to worry as a handful of catchy tracks are present in which listeners can sink their teeth into.

5/10

Sean B