Isis "Panopticon" (Ipecac) Sounds like: Neurosis' artsy little brother. A-
For almost a decade, post-metal/prog act Isis has been tearing up the post hardcore and metalcore scene with their unique style of metal, one that cannot be confined to words. In short, Isis has it all. Elements of prog, post hardcore, metalcore, death metal, thrash - name it and they've got it. For these reasons, when encountering an Isis album, approach it as if it is an art piece rather than a heavy metal album. That is the only way to truly grasp the power and emotion with which Isis plays their music.
Released in 2004, "Panopticon" is part five in Isis' continuing saga of concept albums. This album reintroduces the tower as a means of a subconcious control in prisons. Needless to say, this band has a lot going on in the mind to dream up themes such as the power struggle within a prison. The album starts off with the aptly titled, "So Did We," a song about delusion and the loss of one's self. The album does not let up as it blasts through seven powerful and heartfelt tracks, each one distinctly different from the last and a new concept unto itself.
The album really hits its stride with the song "In Fiction," starting off with the low hum of strings and eventually building up into a monster of a song with a breakdown that's any headbanger's wet dream. The album ends with the song "Grinning Mouths." Rest assured, the song doesn't end all soft and calm the way normal "progressive" acts tend to end their albums. The vocals are tossed aside in favor of a death howl that rings in your ears until the final note.
With all that is going on with this band, you'd think that they would have already released another album. This album is a bit old, but is still a definite must for any metal, hardcore, indie or music fan. Isis picks up where legendary acts like Neurosis and Godflesh left off, using art and the mind to take the music to another level, leaving you floored with music that can only be described as "heavy."
-CHRIS MORENO
Various Artists "Dave Chappelle's Block Party" (Geffen) Sounds like: The best live hip-hop album in years. B+
It may not be as good as the movie, but for all of its faults, the soundtrack to "Dave Chappelle's Block Party " is still an absolute must-own for any hip-hop fan. The album features an all-star roster of MCs, including Dead Prez, Jill Scott, Mos Def, Talib Kweli, The Roots and Common, all of whom are just as outstanding on the soundtrack as in the film. While there isn't a bad track on the album, there are certainly some true highlights. The opening track features Dead Prez ripping through a killer performance of "Hip Hop" and sounding even more ferocious than on their terrific last album, "Revolutionary But Gangsta." Mos Def and Talib Kweli revisit their Black Star days by reminding us just how much we miss them together as they breeze through the flawless "Definition." Former spouses Common and Erykah Badu have never sounded better together as they team up once again on a wonderfully soulful performance of "The Light."
Perhaps the best track of them all is the Jill Scott/Roots collaboration, "The Way." The song features ?uestlove drumming like a man possessed and Scott absolutely belting her way through seven minutes of pure musical bliss.
There are a few glaring omissions from the soundtrack that prevent it from earning a perfect grade. Missing is the amazing Kanye West live version of "Jesus Walks" from the film, which features a college marching band and some killer guitar work from Roots bass player Leon Hubbard. Most importantly, for the movie to trumpet itself as the return of The Fugees and not include any tracks from their rare performance together is not merely unfair, but inexcusable. It is one of few missteps in what is otherwise an excellent film soundtrack.
-MAX ROLLINGER
The Influence "The Influence" (Garage Band) Sounds like: A drugged version of The Dave Matthews Band and Nickleback. B+
The Influence's self-titled first full-length album is an attractive mix of strings, percussion and keyboard, ultimately cut short by non-inventive vocals.
Lead guitar plays a dominant role in this album, usually opening up each song with a punch and creating the overall feel of the song. The song is then enhanced by the introduction of drums, and finally keyboard and other elements enter into the mix. This pattern works fine but is mired by the fact that most songs build up to nothing. The majority of songs on the album meander around with no defining chorus, solo or catchy beat.
Lead singer Matt Stephenson's vocals can best be described as a loud whisper. They have a pleasant sound to them but come across flat in most songs. Both Stephenson's range of voice and emotion is very low. Songs with vivacious guitar and hopping beats are brought down by Stephenson's uninspiring vocals.
When The Influence does do a song right, though, it sounds excellent. The two best tracks on the album ("Dust and Sun," "Beautiful") combine great lead guitar, solo and group vocals, powerful choruses and just the right mix of instruments.
For a first album, The Influence has done an excellent job. They have broken the mold that most modern bands get trapped in and have emerged with an influential sound.
-MICHAEL REICHENBERG
Liars "Drum's Not Dead" (Mute) Sounds like: Boring noise with a lot of tribal drumming and a Lou Reed wannabe on vocals. C
It's been almost five years now since Liars released their breakthrough album, "They Threw Us in a Trench and Stuck a Monument on Top," which garnered praise from every music critic one can think of. Everyone was sure they were going to be the next big thing. With 2003's release, "They Were Wrong So We Drowned," they took their sound in a different direction that puzzled most fans and critics. With their latest offering, "Drum's Not Dead," Liars change their sound once again and, in doing so, deliver a muddied and monotonous collection of songs that will probably leave everyone puzzled once again.
It's easy to see what Liars were trying to do with this album. It's a concept album chronicling the story of two characters, "Drum" and "Mount Heart Attack." Almost every song title has one of the names in it and each song pretty much goes along with the song title. If it has "Drum" in it, expect a lot of heavy drums. If it has "Mt. Heart Attack" in it, expect a loud and spastic catharsis. The album only has one real problem, but it's one that plagues many bands when they are trying to take their music in a different direction. Almost every song sounds the same.
While it's commendable to see what Liars were trying to do, each song comes off as if it was a continuation of the last song. While this may be the point of a concept album, each song is not supposed to sound almost exactly like the last song. There are some standout moments on the album, like "Let's Not Wrestle Mt. Heart Attack" and "It Fit When I Was a Kid" (the only track not using one of the characters' names). And the final track, "The Other Side of Mt. Heart Attack," is a touching, almost poignant song that lends emotional credibility to the album.
For the most part though, the album drags through one monotonous and noisy track after another, and though the DVD is cool, it's not cool enough to save an album that suffers from complete and utter mediocrity.
-C.M.
Mates of State "Bring it Back" (Barsuk) Sounds like: Musicians in love finally discovered some semblance of '80s rock 'n' roll... but decided they'd pass on it and have babies instead. B+
Kori Gardner and Jason Hammel have achieved fame and notoriety just for being indie rock's cutest couple, so it may come off as slightly disconcerting that "Bring it Back," their fourth full-length album, questions the nuances of commitment, romance and love, not to mention having babies (heck, there's even a recording of their daughter, Magnolia ... awww, gee!).
Those who live vicariously through Gardner and Hammel's marriage need not read into the lyrics too much. Mates of State may chronicle both the ups and downs of being in love, but with lyrical statements like, "I know I've never loved this much," it's evident that going through the struggles of marriage has only made these lovebirds stronger and that they are simply in a state of nostalgia and hopefulness.
"Bring it Back" isn't a total diversion from Gardner's and Hammel's head-bopping organ-and-drums pop, but the duo's musical evolution is evident. This effort focuses less on the raucously good harmonies prevalent in older albums and more on being instrumentally melodic, as well diverting from traditional Mates of State dance-pop style (think more '80s style drum beats and more piano ballads, less organ dance-pop). "Bring it Back" feels much more multi-tiered, but is disjointed compared to prior Mates of State efforts. This may or may not be due to the record label switch from smaller Polyvinyl to major indie label Barsuk, which is evident in the album's more fully produced sound.
Some standout tracks include opening track "Think Long," harmonious love ballad "Like U Crazy" and nostalgic "Nature and the Wreck."
-ANNIE REBEKAH GARDNER
