And is it wrong that I just got chills?
The teaser for I Am Legend is out, and it is that good.
That said, it is a long way off, so give yourself a treat and read the original work by Richard Matheson first. Something tells me it's going to make for a very interesting comparison.
The album opens on a haunting note with "3 Times and You Lose," a rich tapestry of acoustic guitar, mandolin, with just a hint of banjo as Healey leads into the melancholy refrain, "... you're throwing it all away." From there, it's straight on to upbeat, Motown-tinged, "Selfish Jean," followed by the album's first single, "Closer." The latter will feel comfortingly familiar, straight from annals of classic Travis. Sweet, bordering on bittersweet, as the quiet opener verses build to the hopeful invitation to "lean on me now, lean on me now."
With "Big Chair," things take a darker turn, lead by a killer, driving bassline by Payne that steals the show, the perfect underscore to Healey's vocals. At first listen, this is my favourite from the album. They've done dark and edgy before, but "Big Chair" demonstrates a refinement that was heretofore unseen. After a brief, cheery respite in "Battleships," "Eyes Wide Open" is another darker track. It starts out sparse, then builds to a rich and bleak climax, reminiscent of Neil Young's "Revolution Blues."
Things take a dreamier turn with "My Eyes" (written for Healey's son, think "Little James," but, you know, good) and "One Night." The discordant vocals in the latter are stunning, a veritable showcase of Healey's skill and range (including some oddly Dylan-esque moments...). "Out in Space" plays almost like a lullaby, a quiet number that practically begs for a sing-a-long, lyrics nostalgic and rhythm light. "Colder" stays in this vein, melodic and complex, and another of my top tracks.
Closing at the 11th track is "New Amsterdam," instantly endeared to me by mentioning Francois Truffaut, something of a miracle in and of itself. I'm a sucker for a song about movies, and this one is no exception to that rule.
Overall, a strong album from start to finish, and a welcome, long-awaited followup to 2005's 12 Memories. It definitely has some of its roots in American traditions, but they strike a good balance in their experimentation with new styles, building upon the foundations Travis fans have grown to love over the years, rather than replacing them. The result is something simultaneously familiar and new. Old fans will find The Boy With No Name to be an instant treasure, while the new sound will attract newcomers as well. The album is released on May 8, 2007.
The whole point of a review is to express one's own opinion, so debating one is kind of pointless. As the old saying goes, there's no accounting for taste. But every once in awhile, I'm so incensed by a review that I feel compelled to respond with one of my own. And, well, this is one of those times.
Why, Rolling Stone? Why? Not that I'm particularly surprised, of course. There's a reason I've been shelling out eight bucks a pop for imported issues of Q for the last ten years. Rolling Stone jumped the print media equivalent of a shark ages ago. But still, I'm always a little surprised when a reviewer manages to pan an album with the barest of references to any actual music.
One of Rob Sheffield's complaints? "[T]his is the Killers in 1980s Springsteen mode" in "their quest to rewrite Born to Run." That Born to Run came out in 1975 is probably inconsequential. That the two albums sound nothing alike, however, is. What really boggles my mind, however, is that this would actually be considered a bad thing. Who else should a young, American rock bad strive to be like if not Bruce Springsteen? I can't imagine anything nicer than if the glut of sound-alike, scream-o, schlock bands with the oh-so-cleverly misspelled monickers that presently dominate American poprock picked up a copy of The River or Born to Run and took a few notes.
There is one track that has a very Springsteen feel to it, the brilliant "This River Is Wild," and it's one of the best tracks on the album. It doesn't so much sound like Springsteen as feel like him. The rhythm and cadence and earnestness and epic feel of the lyrics and vocals fills a familiar void. The Killers are not a clone of Springsteen, but they are a child of him, and that's a glorious thing.
Sheffield's review is all downhill from there, getting as petty as to berate the titling of the songs (judge a book by its cover much?), scientifically inaccurate lyrics (huh? tell it to Elton John's "Rocket Man"), and Brandon Flowers's choice to, gasp, try something different with his vocal stylings in Sheffield's singular reference to the actual sound of the album.
That last, yes, Flowers is no Frank Sinatra. But he doesn't pretend to be either. He sings with feeling instead of flawlessness, and that's okay, because the instrumentation on Sam's Town? Tremendously good. It's wall-of-sound rock and roll at it's best, epic and loud and impossible not to dance to. The Killers accomplish something in both of their albums that would seem to be a rarity these days: emotion without ballads. Not that there's anything wrong with a ballad, mind you. They just don't do them. Can you imagine the endless airplay they'd get if they came up with their version of Coldplay's "Yellow" or "The Scientist"? That sucker would play at weddings until the end of time. And yet The Killers keep their tempos fast, their rhythms complex, and rock straight through another fifty minute album.
Sam's Town might not have the singles... There's no "Mr. Brightside" here, but it's as good of an album as Hot Fuss, if not better. This is my favourite album so far this year, and I recommend it without reservation.
And you know what? I like a well-placed glockenspiel. So suck it, Rob Sheffield.
When the first Keane album, Hopes and Fears, was released in 2004, it shone as something new and unique; a rock album without guitars. Despite Liam Gallagher's proclamation of the sound as "music for bedwetters," they saw a fair amount of success, both critical and popular. Hell, I'll be the first to admit I was hooked after "Somewhere Only We Know," saccharin aftertaste or not. Still, it was a bit too bubblegum to really sink my teeth into. Under the Iron Sea, I am happy to report, remedies this problem with a vengeance.
The new album opens with "Atlantic," a dreamy piece that sets a far darker tone for Under the Iron Sea than we've seen from Keane in the past. However, it is in the second track that we really get a look at something new. "Is It Any Wonder?" opens with a driving guitar riff. Yes, you heard me. Guitar. I was told later that, in fact, it was a guitar as played by a keyboard, but the sound is what's important, regardless of the vehicle, and it was exactly what the band was always missing. I appreciate their drive to approach rock from a non-traditional route, but, well, there's a reason 99% of the rock bands in the world have a guitarist. "Is It Any Wonder?" is, and will remain, one of the best singles of the year. And it's no wonder that of the rest of the album, the strongest tracks remain those that make use of the guitar sound.
The third track, "Nothing In My Way" is definitely piano-driven, for the purists out there, but remains a powerhouse, introducing stunning harmonies that give the track a real "wall of sound" feel. Things lag a bit over the next three tracks. "Leaving So Soon" is a bit of an acquired taste, and picks up towards the end, but the Oompa Loompa-esque intonations that open the track and resurface occasionally are enough to keep it from favourite status. "A Bad Dream," like "Leaving So Soon," picks up towards the end, but the opening has shades of bad 80s pop. "Hamburg Song" is a quiet ballad, and listenable enough in a channelling-Freddie-Mercury kind of way, but is pretty forgettable.
The album picks up again with the seventh track, "Put It Behind You," and continues with that same level of energy on "Crystal Ball" and "Try Again," all three making excellent use of that guitar. "Try Again" left me a little flat, but "Broken Toy" is a minor wonder. While it didn't impress on a first listen, on repeated turns, really clicks with it's yearning "guitar" and piano, setting the stage for a strong finish with "The Frog Prince," a fairy tale ending to a fantastic album.
Under the Iron Sea is a must for people who enjoyed the first album, and just might turn around folks who didn't. Highly recommended.
Oh, J.J. Abrams, you magnificent bastard. There are moments in M:I:3 that are so him, I can barely stand it, because I love him so dearly (feel free to insert fan girls icon here). Watching this third installment brought about that same comforting sense of familiarity that the second did with John Woo, and while some might chalk that up as a negative, I revel in it. There aren't enough auteurs in mainstream Hollywood these days, and we should cherish those few we are afforded.
Abrams comes out strong in his motion picture debut, after establishing a rabid fanbase with his three tv series. Looking at that line up, Felicity, Alias, Lost, the commonality is not instantly recognizable. M:I:3 acts as the missing link that binds them all. While the most obvious comparisons come by way of Alias, there are touches of all three shows in the film.
For those looking to avoid spoilers and/or babbling, I will say in short that Mission Impossible: III was a solid action film, and one I recommend for anyone looking for some popcorn-muching, escapist fun. The story operated around a basic MacGuffin of a nebulous bio-hazard, and blissfully spared us unnecessary details and politics, allowing for a simple enjoyment of the characters, action, and suspense without being completely brainless. Performances varied from adequate to impressive, dialog was cheeky and fun, and the action sequences were as spectacular as one might expect of both the series and the director (though not quite as spectacular as genius of John Woo, but then, how could it be?). See it and enjoy it and try not to think too hard. ;)
And now, for those brave enough to withstand spoilers (for this film, Alias, and Lost), proceed...
There is so much that went right with this show that writing this review without turning into a complete, gushing fangirl is going to be difficult. For your benefit, as well as mine, I will do my best. But I make no promises.
The venue is a fine enough place to start. Northrop Auditorium has always been one of my favourite places to see a show. Like the Orpheum, it is a classic theater where, to look at it, one might expect to see an opera or a ballet, rather than a rock show. That, in itself, gives me no small amount of joy. The visual juxtaposition of a bunch of post-punk revival rockers against that formal architecture and décor is excellent. For sound, Northrop actually surpasses the Orpheum, structured in such a way that the balcony doesn't have a muffling effect over the latter rows of the main floor. That, combined with the larger, more open stage (more room to spread the speakers out), and some top work by the technicians, resulted in a crystal clear sound experience. And sightlines? You just can't beat 'em. The snaking aisles and staggered seats guarantee that no matter where you're seated, and no matter how tall the jerk in front of you is, you're going to have a clear shot at the stage (from the main floor, at least; I've yet to see a show from the balcony). By far, my favourite theater venue, and possibly my favourite venue overall. Note to bands I like: Play there!
Moving on to the music, The Cribs served as the openers, and they more than held their own. Why these guys haven't made it big here yet is beyond me, but when they do, I will totally be saying "I toldja so." Instruments and vocals were spot on, and the band members were charming and fun. They played pretty much all of their album, The New Fellas, making it obviously a very strong set, but "Hey Scenesters," "Mirror Kissers," and "Hello? Oh..." (you know how I'm a sucker for songs that say "hello"!) were the highlights for me; favourites from the album that were even stronger live. Fans of The Libertines/Babyshambles, The Arctic Monkeys, and, of course, Franz Ferdinand should find them as fetching as I do.
Speaking of those Scottish darlings, Franz Ferdinand were up next. Given the proximity of the shows, it was difficult not to compare theirs to that of The Strokes, and I was taken by the vast differences in the performances. While both demonstrated unquestionable musical skill and talent, The Strokes' show seemed... almost too perfect, in retrospect. It was a tremendous performance, don't get me wrong. But it just didn't seem quite as live, somehow? Franz Ferdinand, on the other hand, did not have this problem. Their performance was such that you could envision seeing a completely different show from one night to the next, each song very much a departure from the album original. Different styles, tempos, and especially, vocals. I always assumed the restrained manner utilized by Kapranos on the albums was a conscious choice, and it may well be. But live, he completely cuts loose.
And even more importantly, they just seemed to have so much fun! One of my pet peeves is when rock stars take themselves too seriously. I mean, they've got the greatest job in the world. Why not enjoy it? And Franz Ferdinand totally did. Alex Kapranos seemed barely able to keep the grin from his face throughout the set, interacting with the audience, interacting with his band, dancing and running around the stage whenever he wasn't singing (and sometimes while he was).
The setlist was a good mix of new and old (including one brand new song, "Lindsey Wells," from "The Fallen" single). While I missed "Evil and a Heathen," they have an expansive catalog, and had some pleasant surprises from their selections. Highlights of the unexpected/forgotten variety? "Michael," "This Fire" (how I didn't remember how much I love this song, I'll never know, but I appreciated the live reminder), "Eleanor Put Your Boots On" (with a much punkier spin), "Walk Away," and "Dark of the Matinee." And of course, the hits remained hits. "Do You Want To" predictably killed, and the extended version of "The Fallen" was spectacular.
And the best part? They didn't play "Take Me Out," those cheeky monkeys. I love it.
Don't let their appearances, reputations, or Hollywood girlfriends fool you. The Strokes make up one of the hardest working quintets in rock and roll, and the proof is in the live show. Where others of their ilk seem to fall flat outside of the studio (yes, Sam Endicott, I am looking at you), The Strokes flourish, dominating the audience through a tremendously well-paced and tightly performed show, with a great selection of songs from all three albums. Do whatever you can to see these guys live, because they do not disappoint.
Personal highlights? "Reptilia," still the song to beat in a live show. "Juicebox" gave it a run for its money, however. I'm quite sure that opening bassline damaged something vital, played to an even more heart-poundingly frenetic rhythm than the album (which was nothing to shake a stick at, I assure you). "You Only Live Once" was another high point, excellent on its own, but made into something completely endearing by Julian Casablancas's fistpump/airkick combo. "The End Has No End" is always great live, and Tuesday night's performance was no exception. And finally, to round out my top five, I think I'd have to go with "Heart in a Cage," which opened the show with a bang.
My one and only complaint came at the end of the show, when members from opener, Eagles of Death Metal, joined the band on stage, and demonstrated a surprising unfamiliarity with The Strokes' work, stumbling over the simple and well-known choruses of "The Modern Age" and "Take It or Leave It". From what I could hear in the hall (I arrived late so didn't head inside), Eagles of Death Metal were competent enough musicians, but in the future, I'd rather they left The Strokes tunes to The Strokes themselves.
Setlist below the cut, and check back soon for some blurry pictures off of my phone.
Yes, kids, Graham Coxon is back with a sixth solo album, and in this rock fan's opinion, he's better than ever. To start, however, I must be clear on something. I'm a Damon Albarn girl. Always have been, always will be. And where I've followed Albarn's side projects avidly and enthusiastically (hell, I've even got the 101 Reykjavik soundtrack), I haven't been quite as devout when it's come to his bespectacled cohort. I adored 2004's Happiness in Magazines (I think I bought a copies of it for at least half a dozen people for birthdays and Christmas and the like), but I just never got around to getting the first four albums. After this, I'm starting to think it might be time to give them a listen.
Love Travels At Illegal Speeds is pure, unabashed, unadulterated britpop; a good-natured return to what most people consider Blur's golden age fused with earlier punk influences to create an album fun of danceable, energetic, sing-a-long drinking songs.
It opens with a bang with "Standing On My Own Again," far and away my favourite track on the album, wistful and triumphant at the same time, and, I suspect, with no small amount of reference to his former band ("Standing on the shore, watching a ship go down"). Followed by "I Can't Look at Your Skin" (sounds like a polished Buzzcocks), and "Don't Let Your Man Know" (an angrier, sexier turn than we're used to from Coxon about a suspected affair... his answer to "Mr. Brightside"?), the first three tracks are bound to leave you breathless, but the album is not without its ballads. The fourth track, "Just a State of Mind" is a return to what some people are probably more used to from Coxon, a dreamy, pining tune reminiscent of his final work with Blur. Later in the album, "Flights to the Sea (Lovely Rain)" doesn't start out sounding like much, but the honesty with which Coxon sings elevates it and makes it into one of the album's top gems.
The rest of the album veers more towards the opening numbers, however, and that's fine with me. Which is not to say, of course, that they run together (a frequent complaint of mine). Each one has a distinct sound and attitude, each one worth listening to, making for a very solid album. Will it change your world? No. But not every album has to. So grab a pint, turn it up, and fall in love with Graham Coxon all over again. I know I have.
I'm pretty sure the first time I heard Ryan Adams was at Brit's (not on Shake Night, luckily, or there'd have been violence). His cover of "Wonderwall" came on, and I was like, "wtf?" Because I was at Brit's, and "Wonderwall" was on, and it wasn't the Oasis version. Little did I know at the time that it was being sung by Ryan "Whiskey Town" Adams, who I had been long-since conditioned to hate by a surly Jeff Tweedy.
Some time later I was at Dunn Brothers, and for some inexplicable reason, the coffee dude asked me if I was at the Ryan Adams show the night before. I was like, "uh, no." He proceeded to tell me about how he was there, Adams was late, and completely trashed the stage before storming off of it. He also mentioned a rumor that Adams would have anyone kicked out of the club for requesting "Summer of '69." This all made perfect sense to me, because as far as I knew, Ryan Adams was a huge jackass.
Then came "Burning Photographs," and sonofabitch, was it ever good. It was like, top ten most played in iTunes good. And it killed me that I liked it, but I just couldn't help it. But hey, it's one song, right? The exception that proves the rule.
With last year came "The Rainy Day Women," one of the finer The O.C. episodes, and chock-full of 90's goodness on the soundtrack. And it closed with one of the finest rock songs of the nineties: "Wonderwall." Except it was the 2003, Ryan Adams version. Sonofabitch. But it served to further emphasize that my hatred was good and true, and that all was right with the world.
Except... a year later, that song was in my head. I broke down and got the single from iTunes and... it was good. It as so good. I read a few reviews of Love is Hell, and damn if it didn't sound like something I'd like. And, well, okay. I got it. A whole Ryan Adams album.
And I like it. Love it, even.
The damn thing is solid from beginning to end. Aside from a couple of days with The Delays and The Infadels, I haven't listened to anything since. The music is outstanding, Adams's voice is completely infectious, both sincere and a little bit cheeky at the same time, and the lyrics are consistent works of poetry.
Early standout tracks were "Love is Hell," "Anybody Wanna Take Me Home," and "English Girls Approximately," but as I continued to listen to the album, the quieter pieces began to emerge as frontrunners. "World War 24" is probably my current favourite, the melodic opening segueing into a heart-wrenching crescendo of repeated pleas. "City Rain, City Streets" has a deceptively light-hearted opener, but like "World War 24," shifts gears at the end to take a chillingly dark turn. The album closes with the bluesy growl of "Hotel Chelsea Nights," evoking vividly a wintery city street that, as a Minnesotan, I could definitely identify with.
And those are just the highlights. The rest of the album demonstrates near the same level of quality. "Avalanche" borders on the saccharine/schmaltz side of things, but even then, the lyrics are strong enough to make it forgiveable.
Adams might be as much of an arrogant bastard as the rumors claim, but he also just might have every right to be. Love Is Hell is a stellar album, and one this music listener highly recommends.
Any fellow iTunes junkies have probably seen the banner already, but I'm gonna pimp this out anyways, because we're talking about two of my favourite vocalists, and a very good cause.
The "In the Sun" EP features five versions of the Joseph Arthur song by Michael Stipe and guests Chris Martin (of Coldplay) and Joseph Arthur. The song is a stunning one. I first heard it during Stipe's guest stint during Coldplay's Austin City Limits performance, loved it then, and was reminded of it again as it played over the powerful closing moments of this week's Grey's Anatomy. At that time, I found myself wishing I had a studio recording of it, and then, as if by magic, this EP appeared. The instrumentals are lovely, but what really knocks these recordings out of the park is the vocal work. Individually, Stipe and Martin are both incredible talents, and together, their harmonies are just staggeringly beautiful and heartwrenching.
What really makes this an exceptional album, however, is that all proceeds go to the continued support of Katrina victims all along the Gulf coast, by way of the In the Sun Foundation established by Stipe himself. It's a win-win situation here, so check it out. (Note: link opens in iTunes)
Top Five Movies (Tentative, final coming pre-Oscars)
Walk the Line
Lord of War
Munich
King Kong
Sin City
Top Five Television Series of 2005
Deadwood (HBO)
Lost (ABC)
Alias (ABC)
Survivor (CBS)
Weeds (Showtime)
Top Five New Television Series of 2005
Weeds (Showtime)
My Name Is Earl (NBC)
Extras (HBO)
Eyes (ABC)
Supernatural (WB)
Top Five Old Songs Rediscovered in 2005
"Cocaine Blues" - Johnny Cash (1968)
"I'm On Fire" - Bruce Springsteen (1984)
"Bad" - U2 (1984)
"Don't Dream It's Over" - Crowded House (1986)
"Debaser" - The Pixies (1989)
Top Five Games of 2005
Dead or Alive 4 (XBOX 360)
Animal Crossing: Wild World (DS)
Mario Kart DS (DS)
The Sims 2: University (PC/Mac)
World of Warcraft (PC/Mac, and it came out in '04 but it's still the best game around)
So it took more than a week. Sue me.
Alright, so a reluctant #6 is obviously Oasis's Don't Believe the Truth. For all practical purposes, it should have beat most of the bands it didn't just by virtue of being Oasis. But the thing is, listening to it, even the very first time, I didn't feel like I was listening to a new album. It's a great, solid piece of work. There's nothing even remotely wrong with it. It's just not all that exciting. The thing that I loved about my top five for the year is that each one smacked me in the face with something vivid and fresh. It's that quality that I loved about each of Oasis's previous releases. This album just played like out-takes of earlier efforts (primarily "Heathen Chemistry"). I repeat, in case it sounds like I'm complaining, that Don't Believe the Truth is a great album. It just didn't excel. Is it fair to hold them to a different standard than the rest of the bands? I think it is. Oasis was, at one time, one of the top rock bands in the world. I want them to maintain that position, but to do that, they need to keep improving on themselves rather than just treading enough water to stay above the rest. Luckily, they're young. There's plenty of time. In the meantime, Don't Believe the Truth has some stellar tracks, including (but not limited to): "Keep the Dream Alive," "Love Like a Bomb," and the charming album opener, "Turn Up the Sun."
This year's critical darlings came in the form of Bloc Party with Silent Alarm, the debut effort from the London-based quartet. Some call them the next Franz Ferdinand, but I think there's just as much of Mike Skinner in the work as their is Alex Kapranos. Not putting this album in the top five was very, very difficult. I think the only thing that kept it out is that its sound is rather spare in a year that had band after band putting out these rich, wall-of-sound style albums. On the one hand, this makes Bloc Party stand out. On the other hand, I'm just a sucker for a wall of sound. :) Still, it's an essential album to the year of 2005. Top tracks? "Banquet," "This Modern Love," and "Like Eating Glass" are highlights, but you really can't go wrong with any of them.
Death Cab for Cutie's Plans was another of the year's shining releases, and an album that almost made the top five. I know, right? I'm as surprised as you are. In the past, I've always kind of wavered on them, stating that they require a certain mood. But Plans is a stunning album from beginning to end, their best effort by far, and a tremendous piece of work that is a treat for any mood. Plans gives us a darker Death Cab with rich tones and haunting lyrics, solid almost the whole way through (slowing only for "What Sarah Said," which sounds as if it may have escaped from one of the earlier albums, a decent song, but seemingly out of place on this album). "Brothers on a Hotel Bed" is by far my favourite on the album, but the first single, "Soul Meets Body," is another winner, as is the cautiously optimistic "Marching Bands of Manhattan."
Some other triumphant returns include:
Yeah, it's a little early. But albums aren't like movies.. They don't save all the best ones until the last possible minute on the assumption that the academy has the memory retention of a two year old. If a better album comes out in the next month, so be it. I'll issue a retraction. In the meantime, kids, this time they are in a particular order.
Starting at the top:
1. Stereophonics - Language. Sex. Violence. Other?
That this is my top album might surprise some folks, but for me? This album was this year's Hot Fuss or Think Tank.
The Stereophonics have always been a band that reinvent themselves with each album, but they went a cut above with this latest effort. I've always liked them, but this is truly the album that's made me fall in love. I don't know if it was the new chemistry brought by Javier Weyler replacing Stuart Cable on drums, or just sheer experience on the part of all of the band members, but Language. Sex. Violence. Other? is an album that is fresh and new while at the same time, kind of familiar, like the album I was waiting for without quite knowing I was waiting. It is a great and swaggering beast of an album, with absolutely no middle or safe ground.
Solid as an album or one song at a time, this is far and away the best album from the 'Phonics. From the poppy sing-a-long, "Dakota," to the sexy growling in "Devil" and "Superman," or the bittersweet stroll down memory lane in the almost U2-like "Rewind," LSVO shows us a new Stereophonics that is somehow simultaneously darker and glossier than previous efforts. I haven't been able to stop listening to it since its release early this year, and I don't think that's likely to change any time soon. In a stellar, stellar music year, this is the album that set the bar.
2. Coldplay - X & Y
Please. Like you didn't know this would be on here. Why is it not number one? I don't know, honestly. Probably just because LSVO came out first (I wanna say March, with the "Dakota" single in Feb.?), and has pretty much provided the soundtrack for my entire year. And I think also that there are a couple of tracks ("X & Y", "What if") that have kind of off-putting starts, to where I find myself skipping them a lot (despite loving them if I'm actually of a disposition to sit through the slow start). But enough about the (marginal) negative! This is an album that does so much right, you really have to nitpick to get at anything that could be even remotely considered wrong.
"Low" is by far my favourite of the album. This gives us a dark and driving Coldplay, of which we've seen glimpses, but is finally allowed to take center stage. "Fix You," "Square One," and "Speed of Sound" also shine. They've said they think its their best album yet, and I agree. Coldplay's taken what they're good at and gotten even better.
And, as loathe as I am to say it, because I always want to smack people who do, they're awesome live. One of the best, if not the best live band out their in their class. Chris Martin has said that he wants Coldplay to be bigger than U2, and, well, sorry Bono, you know I love ya, but I think he's well on his way. They were good when they toured in support of AROBTTH, but I was absolutely blown away on the Twisted Logic tour. This is an album full of songs that just kill live, and it's worth the cash (and some drivin' time, if that's what it takes) to see them.
3. She Wants Revenge - She Wants Revenge
Where the hell did these guys come from? With cited influences ranging from Public Enemy to the Valley Girl soundtrack, they wind up coming across sounding Joy Division might have if Ian Curtis hadn't been so bloody suicidal all the time. However, though their influences may be decidedly retro, their self-titled album delivers something entirely new. The combination of hip-hop (Justin Warfield's first album was produced by none other than Prince Paul) with late 80s Manchester dance scene sensibilities results in fantastic (if a bit dirty) lyrics over lush, synth beats and heavy bass that demand you move along with them.
I will reluctantly admit that there are a few duds on the album (they'd have won some points from me by swapping a few out for "Spend the Night" and "Black Liner Run" off of the These Things EP), but only a few, and they're duds only in comparison to the other tracks that border on sheer brilliance. Among the best of the best? The first single and the song that got me hooked from listen numero uno: "Out of Control." Close on its heels are the frenetic "I Don't Want to Fall in Love," "Tear You Apart," and "Us," the closest the album gets to a ballad (and the song I referred to as "the Bladerunner song" for about a month. Rewatch it and you'll know what I mean).
You will be hearing more from these guys in the future.
4. Gorillaz - Demon Days
I enjoyed the first Gorillaz album, but it really felt like someone's side project; a collection of oddities with some outstanding results, but no cohesive sense of itself. Demon Days offers us the first album from the cartoon quartet that really feels like an album, and oh, what an album it is.
Though I'd be lying if I said I wasn't an Albarn girl through and through (love that Mali Music, baby!), I have to give credit where credit is due. The production by Danger Mouse (replacing Dan the Automator) is insanely good, and a large part of what gives this album it's rich (and sometimes sinister) sound. But of course, Albarn's writing and vocals are as stunning and weird as ever, polished to a gleam by Danger Mouse's influence, and neatly accessorized by some stand-out guest stars, ranging from De La Soul ("Feel Good Inc.") to the inexplicable Dennis Hopper on the spoken word anomaly, "Fire Coming Out of a Monkey's Head."
Other gems include the creepy, zombie-flick-reminiscent "Last Living Days," the discordant disco of "Dare, " featuring none other than Shaun Ryder (not ringing any bells? how about a little band called The Happy Mondays?), and the weirdly genius "O Green World" and "White Light." Overall, a fantastic improvement over their debut, and a must-have album for 2005.
5. Franz Ferdinand - You Could Have It So Much Better
Love it. Better than the first one, and that's saying something. What is it with albums this year? How could so many bands walk that fine line that leaves them edgy and fun at the same time?
You Could Have It So Much Better takes what was started in the self-titled debut and amps everything up. The lyrics are punchier and pithier, the sound is richer, the rhythm more energetic.
With the exception of the very sweet "Eleanor Take Your Boots Off" (a track that plays as much as a lovesong to the Beatles as it does to Kapranos's girlfriend) and the hush of "Fade Together," the entire album is laden with cleverly-lyric'd The bouncy "Do You Want To," the first single, is another hit. "The Fallen" opens the album with a bang, setting the tone for the rest of the tracks. A close second would be "I'm Your Villain," but you really can't go wrong with any of the tracks on this album.
In a sea of sugared down mediocrity, here is a band of honest to god serious musicians, with smart lyrics and a sharp look, that manages not to take themselves too seriously. You Could Have it So Much Better is a fun album, whether enjoyed over a pint at your favourite pub, or just doing dishes at home.
Honorable Mention
This wasn't long enough? Jesus. But stay tuned next week, and I'll get to it (and yes, there will be an explanation for the lack of Oasis on this list).
My recommendation today is twofold:
idealcopy.com
If you live around here, or if you've known me for any length of time at all, you should be aware of two facts. 1) Let It Be Records was the finest record shop this city has ever known, and 2) It closed this summer, leaving a sucking black void when it came to finding imports and hard-to-finds in this city. When radio here was at its very worst, Let It Be is where I found new stuff to listen to. 90% of the time, I left that joint having purchased whatever it was they happened to be playing at the time, in addition to a really inappropriate number of just-for-the-b-sides singles. And they're gone. Gone.
But! I have found a surrogate. Everything that I would have gone to Let It Be for (and/or imported myself from amazon.co.uk) is now there. They're just getting started, so they don't have absolutely everything, of course. But get this. I made my first order, and in the confirmation, there was a little request to let them know how you heard about them, and if there was anything you were looking for that they didn't have. I'm on a big Stereophonics kick lately (and by lately, I mean for like, the last seven months, but whatever), and I was specifically after the Devil single, on account of that video rocks my world. So I sent 'em a note, mentioning that some singles from Language, Sex, Violence, Other. would be great. A couple of hours later, one of them replied with:
Excellent suggestion about Stereophonics. We still don't have all the
artists on our site that we want to have, and that's one of them. I'll put
them on the fast track.
Pat on the head, and off you go, right? Wrong. They came through with the hook-up in less than a week. These guys kick ass, so go buy lots of stuff from 'em.
And speaking of stuff I bought from them...
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