Posts Tagged ‘Album’

The Tears – Here Come the Tears

Wednesday, May 18th, 2005

Released: June 6th 2005

Released: June 6th 2005

This must be one of the more anticipated albums of the year. People want to see if former glory can be recaptured. Can The Tears do it? Can they help revive the ghost of a lost era? Well, they’ve definitely made something true to heart. Their heart, that is.

The first half is sublimely positive: book-ended by ‘Refugees’, the current single, and ‘Lovers’, the catchiest tune on the album, upbeat and soaring in its carefree attitude. But the first half also has a marked lack of truly impressionable lyrics. Not to say that happy songs cannot have good wordplay, but lines such as “we stick like shoe in gum” from ‘Imperfections’ cannot help but inspire laughter at the silliness of it all. Though it is a very good thing that Brett Anderson has brightened up enough to sing about it. The reason for this contentedness was surely caused by his reunion with Bernard Butler. When things are right, they’re right and those two have the precise dynamic to create truly good music together. ‘Co-Star’ seems like a right enough way to commemorate this joint vision.

The second half is much more somber and melancholy. ‘Brave New Century’ is poignant in pointing out the pitfalls of the modern age and ‘Beautiful Pain’ mirrors the split of mood apparent in the songs following it. It wraps up with two achingly beautiful tracks. ‘Apollo 13′ and ‘A Love As Strong As Death’ build up with a slow burn – sweeping guitars and earnest words – not laughable in the least. They break your heart and sweep you off your feet. Top form from all concerned.

‘Here Come The Tears’ may not change the face of a generation, but the music is pleasant at worst and inspirational at best.

Previously published on This Is Fake DIY.

Nine Inch Nails – With Teeth

Sunday, May 1st, 2005

Released: May 2nd 2005

Released: May 2nd 2005

There is so much expectation riding on this album, that it seems it is impossible to reach them all. After all, five years give a lot of time for writing and rewriting and then yet more fiddling to get it to sound just right. There are no purely instrumental-incomprehensible-ten-minute dirges and nothing that reinvents the established sound, but it’s not a regurgitation of the past either. The music is mostly mournful and sometimes lashes out in anger, in fits and spasms, like a dying animal, in true Nine Inch Nails style.

The tracks that follow take their cue from the two musical spectrums that fill Reznor‘s book – hopelessly depressing and horribly angry. ‘All The Love In The World’ kicks things off in a low key. Instrumentally saturated and minimalist in every other aspect, it does not truly unfold until the last minute. ‘The Hand That Feeds’ is the heaviest track (if you define heaviness as a relentless beat) and is somewhat deceiving as it’s the most straightforwardly structured of the bunch. ‘Every Day Is Exactly The Same’ is quite melodic and therefore memorable; unlike the other selections, it can even be called beautiful.

The title track is a shock to the system; just when you think it’s over, it grinds to a start again and it is not a pretty sound. ‘Only’ and ‘Sunspots’ have a great staying power and almost beg repeat listens in order to show off all their little nuances. Half of the tracks benefit from the special guest drumming of Dave Grohl, giving them focus, a grounding element, if you will, among the chaos. ‘The Line Begins To Blur’ is a good example. And after all the ups and the downs, it ends as quietly as it began, a few piano notes resonating in the silence.

It’s almost possible to forget the five years of absence because it’s now no more than a distant dream.

Previously published on This Is Fake DIY.

Louis XIV – The Best Little Secrets Are Kept

Monday, March 21st, 2005

Released: March 21st 2005

Released: March 21st 2005

As the cover would suggest, Louis XIV are not the ones to turn to for good, clean fun; they bring the sex, drugs, and rock ‘n’ roll and proffer it to the listeners with an endearing grin. And it’s hard to resist that playful sound.

The album starts off on a deceptive note, with tender violins, before suddenly breaking into Louis XIV, quite the effective opener and the inspiration for the group’s name, followed by the radio success Finding Out True Love Is Blind. Paper Doll has the dirty rhymes and A Letter to Dominique is perfect for a group sing-along, as are most of the remaining tracks. Illegal Tender still resonates as one of the better tracks with its compulsive clapping and theatrical moans in perfect time with the steady beat. Pledge of Allegiance has a nod to Stacey Q and with lines such as: ‘we don’t have to go to the pool/if you want me to make you wet,’ they certainly fulfil their quota of innuendo that’s bordering on the obscene.

In comparison, All the Little Pieces and Ball of Twine are much more low key, lending the quartet a quieter dimension. The former is much more melodic and alluring than the latter, which ends with the same strains of violin music that opened the disc. However, they are not as memorable when compared to the teasing and mischievous sound of the rest of the album.

The riffs are simple and the vocals are breathless, the promise of gratification accomplished. The whole album is a pleasure to listen to because it sounds as if the band had just as much fun recording each song as we have bobbing along to them.

Previously published on This Is Fake DIY.

Louis XIV – Illegal Tender EP

Tuesday, March 8th, 2005

Released: March 7th 2005

Released: March 7th 2005

What a strange thing, to have a parental advisory sticker on the cover due to the risqué pictures on its cardboard folds rather than any obscenity in the lyrics. But it’s downright appropriate for a band named after one of the more decadent Kings of the past. Each word drips and tingles with the overt sexuality, and when paired with a danceable rhythm, the mix is hard to resist.

The San Diego four piece has already started taking over the American radio waves with their first single, ‘Finding Out True Love Is Blind,’ liked almost immediately by most upon first listen even though the exact reason why cannot be truly pinpointed. ‘Louis XIV’ is just that, an egotistical trip all about ‘me, me, me, me’, but they are quite ‘neat’ and pull it off neatly. The EP’s title track, ‘Illegal Tender,’ stands as the highlight of this little EP, bringing to mind Jack White and his penchant to sing in a nasally voice over quirky guitars. ‘Marc’ is the slow one of the bunch, while ‘Louis Reprise’ is the mute one. And is that a hint of country music?

Overall, a nice taster of things to come on their forthcoming debut album. One can only hope that they will not be killed by their own hype and the keenness of radio DJs to play good songs one time too many.

Previously published on This Is Fake DIY.

The Karelia – Divorce at High Noon

Monday, February 21st, 2005
kerl2001

Released: February 21st 2005

The Karelia are not a band that would sound familiar to most, and that is quite a shame. It could have something to do with the heavy jazz, ska, and other out-of-the-way influences that heavily permeate every track.

Featuring Alex Kapranos (then accredited as Huntley) of Franz Ferdinand fame on vocals, guitar, bouzouki and banjolele, Glen Thompson, now the Franz manager (small world), on bass guitar and percussion, Allan Wylie on trumpet, and Thom Falls on drums (what a talented bunch), the quartet released their only record, ‘Divorce at High Noon’, on Roadrunner Records in 1997. As the copies went scarce, selling for small fortunes on eBay, Roadrunner timely decided to re-release the album for those wishing to hear the earlier work of that enigmatic, cutting edge (and fringe) musician, Alex Kapranos.

Containing the original fifteen tracks plus bonus material consisting of two more tracks and a video (the only one the band made), it is a very interesting listen, though not so easily accessible on the musical level. It is a far cry from the simple, catchy tunes of Franz Ferdinand and seems more like an experiment in sound and song structure. Songs range from a fifty second romp of sound to a ten minute philosophical discussion complete with imitated, quirky voices that make it quite the retelling.

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