The Bravery "The Bravery" (Island) Sounds like: a grittier Killers B
In this mix of synthesized and traditional rock instruments, Sam Endicott of the Bravery shares stories of his personal sliminess on the band's self-titled debut - he "can't control himself" and "doesn't have a ring on his finger" (which obviously gives him free reign to nail as many chicks as possible). These shallow lyrics are magnified to their full extent by his vocal talents, which are dripping with sex and raspiness. His moan spills over the needle and thread of synth-line that pulls the whole album together.
The first U.S. single, "An Honest Mistake," starts off the album with an upbeat electronic riff, some guilt-ridden wailing from Endicott, and Mike Zakarin's triumphant, escalating guitar work. This track is one of the Bravery's top tunes, and it does its job of setting the stage for a Killers-esque album full of rock/electronica ventures.
The music's always thumping, yet some of the lyrics (which are easy to ignore) are pretty high on the cringe factor. On "Public Service Announcement," the words "Stop, drop and roll/ Stop, drop, and roll/ Stop, drop and roll/ you're on fire" are actually part of the chorus. Endicott really doesn't know what he wants, specifically in two main lines of lyrics; on "Give In," he whines "All I want is everything" while on "Unconditional" he claims to "just want something/something for nothing."
The listener also has to wonder how many girls have been wronged by Bravery band members. The hype surrounding this album, plus the band's pattern of sporting tight pants and gelled mohawks, has obviously led to vast numbers of bed mates. Though the band members don't seem to be feeling loads of remorse for their wrongdoings, it's not hurting them. The album is packed with dance-friendly, self-righteous anthems that ooze sexual tension, and it's working, at least for the time being.
- REBECCA ARMENDARIZ
Chariots "Congratulations" (Troubleman) Sounds like: some screaming, and some riffs and stuff C+
Let's meet Chariots, shall we? They're another noise-rock hardcore band whose major distinction is the annoying choice to forego the "the" from their name and annoy reviewers still mad at (the) Pixies. They have the usual blurry liner photo of the longhaired, plaid-shirted band thrashing around wildly. They have the quirky song titles ("Twister Party Fails to Get Dirty") that almost undoubtedly have no relevance to the song, although this isn't quite clear thanks to the incoherence of what's being screamed about.
They're fairly run-of-the-mill, but their debut "Congratulations" is not without its share of catchy riffs and palpable energy.
Perhaps the biggest compliment for "Congratulations" is that it never fails in maintaining its raw, sweaty assault. Cymbal crashes, guitar riffs and flailing bass lines are switched up several times throughout songs, helping to keep struggling lead singer Arthur Gandy on point and focused. Chariots enlisted Dave Gardner, who re-mastered two of 2004's gems, Rocket from the Crypt's "Circa: Now!" as well as Hot Snakes' "Audit in Progress," and the same varied and full finishing touches are clear. The album sometimes dips into offensively bad, chugging, repetitious chanting (think overly energetic monkey soldiers from "The Wizard of Oz,") but for the most part stays afloat on their sincere energy that blasts from their riffs.
- DAN POTOCKI
Beck "Guero" (Interscope) Sounds like: Beck digs for Latin roots A
With the breakup theme that bogged down "Seachange" behind him, Beck returns with his most fun and accessible CD since "Odelay." Beck is eclectic as always, yet at the same time his music has never felt so cohesive and on target. "Guero," spanglish slang for white guys (like Beck), is infused with the musician's roots growing up in Los Angeles among Spanish American immigrants. Title track "Qu? Onda Guero" feels like walking through a Latino neighborhood, picking up the colorful not quite English, not quite Spanish dialogue along the way.
Opening track and single "E-Pro" is a rush of energy, ushering in the latest hip Beck sound. It's one of his most aggressive, straightforward songs to date, and it rocks.
"Earthquake Weather" is another great track, slowing things down just a bit and evoking a similar vibe to Blur's excellent "Think Tank." Immediately following is "Hell Yes," seemingly Beck's take on hip-hop. A female voice mixed into the bouncy track says "Your beat is nice," and it's hard to disagree.
Beck has by no means abandoned writing mellow material and several tracks, most notably "Broken Drum," have a darkness not present in early works. Less obvious upon initial listen are the lyrics, which constantly refer to death and confusion. Perhaps this melding of Beck's dark side into his groovy beats of yore is a sign of his maturation as a musician. Whatever it is, it works well.
The truth is that one could really find something positive to write about every track on "Guero." The album is superb from start to finish, easy to listen to and never too charged or too mellow. Beck is sure to gain many new fans with this one, something that wasn't as easy to say on last two albums "Seachange" or "Midnight Vultures." Beck fans and non-Beck fans alike can't go wrong giving "Guero" a listen.
- ADAM BENDER
Morrisey "Live at Earl's Court" (Attack/Sanctuary) Sounds like: the Morrissey album that reminded you why you liked him and forgave you for forgetting. A
"The Past is a Strange Place." These words belong to Steven Morrissey after finishing the Smith's standard "Bigmouth Strikes Again," taken from the album "The Queen is Dead," the band's great gift to the world via the U.K. in 1986. But he can tell the same thought is running through the minds of many at Earl's Court who are witnessing the last leg of his tour following the release of "You Are The Quarry." Morrissey will perform several more Smith's standards co-penned with collaborator Johnny Marr in the set list for "Live at Earl's Court." But before the performance reaches its high point or even dives into a consistent rhythm, the past indeed becomes odd. If "You Are the Quarry" fought to put added pages on Morrissey in history books, "Live at Earl's Court" claws to plaster his likeness on the cover.
In a time where live albums are scarce or little more than over glorified b-sides/session outtakes, Morrissey bleeds the sum of his talent and entire life in front of the London crowd. When he provided lead vocals for The Smiths, he contributed to a sound that would become the dark id of U2. It was poetic Manchester instead of emotional Dublin, and its core lied in the theaters of the heart, rather than the four senses Edge and Bono sought to open. For anyone who ever doubted that Morrissey could go back to the '80s and recapture the magic of his era, you're absolutely right. Instead, he made the magic anew, modifying his voice to not just become an integral part of music, but an entire symphony buoyed by back-up rhythms.
"Live at Earl's Court" in some ways feels like a classical album, referencing the works of renown, adding substantially new variations on them while gliding through movements of great emotional highs with a steadiness present throughout. Yet it's still new wave crooning, still rock and roll, still Morrissey heart and soul. 'Til the end of the earth this music should endure, its time and history intact and its sentiments explained through little more than pushing play.
- NEAL FERSKO
Stars "Set Yourself on Fire" (Arts and Crafts) Sounds like: Ivy with strings B+
Oh Canada, you're already so hot right now with the likes of the Dears and the Arcade Fire, and Stars' "Set Yourself on Fire" is helping to fuel the flames, no pun intended. The album begins sweetly and ends with a girl's advice; the work is your typical artist's leather-bound journal, the songs like entries penned during major events.
The entire album seems to revolve around the life cycle, with happenings as trivial as a high school reunion or a break up chronicled alongside those about revenge and death. This is Stars' third effort, and members also work in varying side projects like Broken Social Scene and the Pat McGee Band, so their performance is firmly ingrained in their experience. Stars' time-tested array of instrumentals and complex arrangements give the listener something to contemplate and pick apart, while the perfectly timed tempo changes prevent the possibility of distraction.
The combination guy/girl vocals on the first track, "Your Ex-Lover is Dead," melt the heart. From a cynic's point of view, the lyrics are cheesy and emotionally overloaded: "I'm not sorry I met you/I'm not sorry it's over/I'm not sorry there's nothing to save." But it works. It works because of just how easily Amy Millan's voice forms the words. It works because the strings and vocals meet at a crossroads, but each element stays in its own lane.
Tracks that begin with a fast-tempo are automatically pleasing because of their erratic synth lines and constant aural stimulation. The angelic breakdown in these songs comes a few minutes after the intro. "Set Yourself on Fire" is one example because of the meshing of its vocals, bass, and synthesizer. "What I'm Trying to Say" begins just as quickly and mixes in a piano/sax interlude and the sigh-worthy words, "We are collapsed in the act of just being here."
Through spacey synth lines and delicate vocals, Stars conveys feelings of love, lust, and jealousy. All of these emotions are treated like a fact of life, and the anger sensed on certain tracks comes through on the lyrics and not the sound. Experience has served them well.
-R.A.
Nine Inch Nails "The Hand That Feeds" EP (Interscope) Sounds like: Marilyn Manson, David Bowie and every other Nine Inch Nails Song B-
In 1999, awkward and angry 16-year-olds, adorned in JNCO jeans and Doc Martens - some clad in all black, others in raver gear, others still with spiked hair and dark rimmed glasses - were all really, really, into Nine Inch Nails. For these artistic, misunderstood individuals, clumped together at lunch in the hallway of the high school art department, the first Nails album in five years, "The Fragile," was a big deal... to say the least.
Six years have passed with no word from Nine Inch Nails or Trent Reznor, who has been the mastermind behind the dark, angry anthems of awkward adolescents for the past 15 years. "The Hand That Feeds," the first single off Nails' upcoming release "With Teeth," is happily more of the same. The current batch of angry 16-year-olds will discover the only artist out there who truly understands them, and all former angry 16-year-olds will look back and smile with love in their hearts.
-GREG WASSERSTROM
Mike Doughty "Haughty Melodic" (ATO) Sounds like: a lot of forgettable mid-'90s crap we all heard on whatever ClearChannel station we happened to be listening to in 1996 F
Once upon a time, there was a band out of Brooklyn called Soul Coughing that was so incredibly awesome that mere language is unable to do them justice. From 1994 - 1999, they built a large cult following that went mainstream in 1998 with the release of "Circles," their only single to ever receive serious radio play. Sadly, they left us with merely three intelligent, enigmatic, wandering records to play over and over again when we get homesick.
Soul Coughing was driven, in part, by the curious lyrics and sylistic voice of Mike Doughty, who cooed to us about subway rides and early morning drunks to the "blue light of live at five." Doughty's solo has reminded us that he does, in fact, have a solo career, with the upcoming release of his new record, "Haughty Melodic." While this solo effort was one that started relatively promisingly with his 1994 "Skiddish," this newest record is pretty much a steaming pile of dog crap. While Soul Coughing fans might be curious, it's 43 minutes that you'll never get back. Skip it.
-G.W.
LCD Soundsystem "LCD Soundsystem" (DFA/Capitol) Sounds like: The Rapture, !!!/Out Hud, The Faint A
Thank you, LCD Soundsystem, for recording the catchiest dance-rock record the world has ever known. Finally, with a full-length debut, you can stop skipping over all the songs between LCD Soundsystem tracks on our wonderful DFA Compilation 2, where most of their work had been collected to date. Even if you're not an enormous fan of the sub-genre, damn it if this isn't one of the best releases of the year so far.
Dancey, funky and upbeat, creating a compelling combination of beats, words and melodies, there were more songs recorded for this record than could fit on a single CD, so this debut LCD Soundsystem album spans two discs with some remixes thrown in to boot. You won't notice right away, however, since you're going to listen to the first track, "Daft Punk is Playing at My House," for the next four straight days.
-G.W.
