Need For A Change

I must admit I've never been so much into Fuck Buttons. Their tunes might seem interesting at a first listening, but after a while you tend to get bored, even annoyed, as they always use the same recipe: repetition-distortion-vocals. New-Noise said they sound like the end of the world. That's true. You could wait until the end of the world for a change in their songs' structure.

And I said "you could" because it seems the situation is different now. Fuck Buttons have just released Surf Solar, the first single from their second album, Tarot Sport. Don't expect some major changes – you might be disappointed. However, they use another recipe on this song. It begins with the same beats we know and (don't) love, but the band starts to introduce new elements gradually, making the sound more and more complex as time passes. It's very interesting to listen to it in the dark, with your eyes closed and thinking about your life and what have you done etc. It still isn't that interesting as critics claim it to be, but it is a welcomed change.

Well, let's hope the rest of the album doesn't follow the same rule too. Maybe they've (finally) learn the meaning of the word "diversity".

*photo courtesy of Fuck Buttons MySpace.

Let's Forget That D.O.A.

Islands - Heartbeat/Devout

It’s hard not to smile when you think of Islands. Their lead singer used to call himself Nick Diamonds and the drummer’s stage name is J’Amie Tambeur. Not since We Are Scientists’ take over at NME Awards 2008 did we have such a good laugh. And, just like We Are Scientists, one can imagine that taking themselves seriously isn’t really one of Islands’ things.

You get that feeling when you hear ‘Heartbeat’. It has all those things that no, we do not like… no. Even T-Pain would blush due to the heavy use of Auto-Tune and it’s been tagged as ‘what Kanye imagines when he listens to *insert ‘indie’ band here *’. It’s finger licking tongue-in-cheek.

Not far from the tongue-in-cheekiness of ‘Heartbeat’ is four-to-the-floor disco number ‘Devout’ with its 1-2 drums. At any rate, both songs are a clear reminder that, nowadays, the ones who make brilliant pop songs are our alternative heroes and not the actual mainstream MTV stars.

An Album Made By Girls

When you have a band called Girls and a debut album called Album, I'd say that it is a little bit difficult to make the announcement about the release. I mean… The boys from Girls had just released their first album, called Album – how does that sound? Yes, you got it. It sounds interesting enough to make you want to listen to their songs. Hell, some guys who call their band Girls should have all the appreciation they can get, right?

Album has twelve tracks, almost each and every single one of them being about women. Or maybe we should say girls, just to match. On Lust For Life, the first song, frontman Christopher Owens points back to his own life as a former member of Children of God cult, raised without a father. So it's not much of a surprise these are not happy songs. To use a cliché, when it comes about relationships nothing is simple, and there's never a single person to blame, as Owens admits several times, most noticeable on Laura, where he sings about his girlfriend being a "bitch" and about him being an "ass". The sincerity of his words and his apparently relaxed voice keep the lyrics away from becoming too sentimental (and thus annoying). The sadness is not pushed in the front; it is carefully hidden. It's like when you smile, being in terrible pain at the same time.

The sound is more elaborate that you could think at first listening, when you just tend to move your head to the rhythm of music. Someone played with those instruments and made a damn good job. The guitar parts are simply stunning, even if they build an introspective atmosphere (Hellhole Retrace) or a "let's party" one (Big Bad Mean Mother Fucker). This album must be listened to on headphones, to completely appreciate the sound's quality and complexity, as some details might be hidden at a normal listening.

And that's how, at the end, you wonder: "Was this really a debut album?" Yes, it was. It just happened to be a really good one.

*photo courtesy of Matador Records official site.

No Second Album Syndrome

Some posts before, I was talking about how The Twilight Sad’s ‘I Became a Prostitute’ has the great quality of bringing out emotions that will stick around. The rest of the band’s sophomore album, ‘Forget the Night Ahead’, does the exact same thing. It leaves a bitter taste in your mouth, a hole in your stomach, and so on.

And you know it’ll do this only by glancing at James Graham’s lyrics. There’s pain and angst (after all, the writing was done under the influence of a loss). There are also almost everywhere lost, lonely, isolated or hopeless characters like the girl with fingers in eyelids on ‘I Became…’ or the grandson whose toy watches from a corner on ‘That Room’, people whose world has been turned upside down. People who, like Graham, wish the day would end before it even starts.

Add to those words the instrumentals and it’s all too much to bear. There are the obvious Sonic Youth (‘Seven Years of Letters’ starts of as ‘Schizophrenia’s little sister) and MBV-styled guitars. There are, of course, the epic over-the-top-loud songs that have a moment of clam to anticipate the storm and which only add anger to the pain of the lyrics(‘That Birthday Present’ stands out as Twilight Sad’s most punk song). And then there are songs like ‘That Room’ on which the tension builds steadily and the sonic elements (a simple piano line, pounding drums, a web of tiny distorts) creep their way in the whole structure of the song. The vocals do not fail you: Graham means what he sings and cares about it. He puts passion and it almost doesn’t matter that his thick Scottish accent makes it hard for one to understand what he says after one play alone.

We had to wait for two years for a second album, but ‘Forget the Night Ahead’ delivers: it’s dark and emotional, loud and heartfelt. It is a strong sophomore that resizes to the expectations and displays more than enough musical skill.

Photo courtesy of The Twilight Sad

Good Old Folk Journey

A folk album has its own advantage even from the beginning. It doesn't actually matter how long ago it has been released – the listener will always have the impression that it was released a long time ago, somewhere back in the well-known flower-power era. That is what makes it enjoyable in the first place. But it still needs certain things to be a really good album.

When the album you're talking about is a project of some well-known musicians, there are only two possibilities left. First one: the album being a classic shit - you know, the battle of egos and stuff. And the second one: the album being a classic.

The Folk Album of the Month is called Monsters of Folk (oh wow, that's what we call modesty, you might think) and it comes from, well, Monsters of Folk. However, taking in consideration the fact that this project has been brought to life by Jim James (My Morning Jacket), M Ward (She & Him), Conor Oberst and Mike Mogis (both from Bright Eyes), the title doesn't actually seem to be so exaggerated.

And it's not. The album has the right dose of vintage harmony which one could expect from such a project. It brings back the lovely 60s period – even reminding at certain points of The Beatles. The musicians' warm voices blend together (and fit the instrumentals) perfectly, making the experience more than enjoyable. There are certain tracks which stand out, including Say Please, Whole Lotta Losin', Ahead of the Curve and, I'd say, Dear God (sincerely M.O.F.). Not even a single wrong step – and if there is any, it is quickly corrected, so you don't actually feel the need to skip a track or another. You just stay there with your eyes closed and enjoy the moment, detaching yourself for a while from the real world. Of course eventually you'll have to come back, but remember you can always listen to this album again.

So at the end of the day there is only one possibility left. And I think we all know now which one.

*photo courtesy of Monsters of Folk official site.

A Bottle Of PJ, Please

Here we have it. The new Pearl Jam album, one of the most beloved bands of the past decade, the band which always carried around some kind of 60s nostalgia. Three years distance from its predecessor, Pearl Jam, Backspacer brings in the house, at least according to one of band's members, guitarist Mike McCready, new-wave and pop elements. It's also the first time after a long period when the band had rehearsed in studio prior recording.

And the beginning of the album seems to fit McCready's description. It is full of strong guitar riffs (not that it would be something unusual for Pearl Jam), and, more important, lyrics seem to have a more positive approach. "Yeah, right", you'll say. Well, then, what do you think about Gonna See My Friend? A drug song, actually a song about a friend who was on drugs but he isn't anymore – sounds complicated, isn't that so? Anyway, there's hope everywhere, you got the idea. However, there's no actual hope to hear Vedder's voice very well, as the instrumentals are the ones which stand out. At least for this track and for the following three (Got Some, The Fixer and Johnny Guitar).

The tempo slows down as we reach the fifth song, called (huh, what a coincidence) Just Breathe – a perfect piece of folk. After that energetic beginning, this seems somehow strange, but okay, especially if you belong to those people who love this kind of songs. Next tracks are a bit more energetic, without returning to the rocket-launch impression given by the four tracks mentioned above (excepting Supersonic which is another straight-in-your-face-baby type of song). And after all of these little ups and downs, the album ends with (surprise) The End, which reminded me somehow of Bruce Springsteen because of its nostalgic instrumental. Not to mention that Vedder's voice also has a springsteen-esque air about it.

The overall impression? Pearl Jam hasn't actually brought important changes in its sound on this one. That might be a good thing, if you're a hardcore fan – this album will be like a bottle of good old wine for you. But if you are looking for innovative stuff, maybe you should try something else.

*photo courtesy of Pearl Jam official site.

Jay gets a B+

Jay - Z throws us another album called ‘The Blueprint 3’ that starts already as an interesting product when you first get a sight of it : an excellent cover – WOW! As an image fanatic that is exquisite! Then, on to the content. Let me digest and break: first song is like a list of the things he talks about in his songs in comparison with what other people talk about – smells to me of too much vanity, nevertheless the negative is a fine blend of techno and minimal touches. Then he thanks the audience, or so it seems; the song is nothing more than a playroom of funny toys, toys represented by various blowing instruments and rather strange mixed - feeling lyrics.

Jay - Z then throws ‘D.O.A.’, and awful attempt of presenting a self belief regarding musical actions with a chorus that makes me only bow my hat in front of him. Why? Well the dude makes millions of dollars from his music with no voice what so ever, he sucks even more than Shakira or Snoop Dog. The instrumental is completely and utterly brilliant. But, it only seems so because is such a copy of something that seems so obvious, yet I can’t seem to pin point it. Still, a theft!

’Run this town’ is my favorite song. I hate Rihanna and Kanye is utterly obnoxious, sometimes it makes me press the fast forward over his part because is so damn long and with the most stupid lyrics ever (I can’t believe the man wrote some time ago the lyrics for ‘Jesus walks’ ….Jesssusss!). The song is a foreplay against a battle for conquering a town, Jay delivers beautifully and powerfully and then Rihanna adds the so dismissed auto tune in the previous song – and an auto tune not at all bad. I admit the song is infectious; it has all the qualities for a constant abusing on your speakers.

Next track ‘Empire state of mind’ introduces another interesting guest on the album: Mrs. Alicia Keys. A song about and for New York. I adore New York, but I don’t the adore the song. Tricky attempt of an homage for this incredible city, but just a nice song that is all. ‘ Real as it gets’ is confusing, is completely mediocre, it is just a song and it made me move without hesitation to the next track ‘On to the next one’. Brash, bold and a modern track. The negative is a fascinating combination that delivers along the 2 voices, those of Jay-z and guest Swizz Beatz. The result is a hypnotic and quite sensual product.

I hardly passed to the next song ‘’Off that’ that featured Drake. A rather high tempo and provocative beat that succeeds in appearing like a rather good experiment in terms of mixing noises and decent lyrics. ‘A star is born’ is nothing more than a mid album track; it is there to fill, not at all to shine but still to complete the album. ‘Venus vs. Mars’ represents the sensual touch of the album, an all too well known metaphor for the battle between man versus woman and their sexual personalities.

‘Already home’ is the kind of violin star track in terms of instrumental composition. ‘Hate’ is another track with Kanye and like any other track featuring Kanye it features some imbecile lyrics delivered from that … creature with last name West, supported by some mouth sounds that blow literally and figurately. This should be it, right? No , Jay- Z adds 3 more tracks in the forms of ‘Reminder’ catchy cute tune, ‘So ambitious’, that stands as the track that had to feature Pharell, not just as a voice but also as his touch on the negative. It is a mellow track that could easily stand as a soundtrack for a lap dance as does ‘Off that’ And at last ‘Young Forever’, a song featuring a sample from A-ha. A-ha are part of the ‘vox dei’ category mentioned in previous reviews, and Jay - Z does not even come close, but the voice of that Mr. is rather beautiful and the slow tempo of the track is a nice try and good choice as last track. Still, leave masterpieces like this and Wonderwall alone!

After 15 tracks the verdict is good. A mature well powered album that brings a warm nod of head to such a courageous artist around for such long time.

This goes up to 11

OK, here’s the deal: I just want a new Strokes album. The ones who know me already know that anything else is rather irrelevant. I don’t care about the Albert Hammond, Nikolai Fraiture and Fab Moretti’s side projects (although it's good stuff), I just daydream about the follow up to ‘First Impression of Earth’. Hearing Julian Casablancas will too make a solo album just gave me the impulse to spam their inboxes with mails threatening them to put out an album together.

Hearing the first single made me rethink this. Not that I don’t care about that album, but Casablancas managed to pull off a fun song. It has his bored ragged voice, it has an 80’s synth, it has a very funky bass line and it has what I love the most about Strokes – Julian’s clever observation of the modern world. And this is about when me (and the rest of us Strokes fanatics) somehow forget about the Strokes album and daydream about the new solo project of one of the band’s members.

And, by the way… Hey, Valensi, when are you making an album alone? It’s about time, don’t you think?

Higher And Higher

The Pains of Being Pure at Heart will soon release a new material, titled Higher Than the Stars, an EP which comes after their first major release, the self-titled debut album. The new material has four songs which follow the same line we were used to. A nice and powerful sound that is always completed by ethereal vocals and which makes them quite enjoyable (if you manage to understand the words – and that might take you a while).

The title track stands out thanks to the strong drums, which, combined with the keyboards, make the experience really, really interesting. The vocals hidden in the layers of the instrumental give it a retro vibe that is pleasant and fits perfectly. Higher Than the Stars indeed. That's also the case with the next song, 103, which amplifies the energy felt on the first track, making you to want to dance all night long. Yeah, all night long, even if it might sound like a cliché.

Falling Over resembles New Order a bit, due to its bass line, but goes beyond that, transforming itself in a piece of pure Pains' pop. And then we have the last track, Twins – and you can tell it's the last one, as the tempo is slowing down. Not much, just a bit, but enough to make you feel the trip's over, enough to inoculate you some kind of nostalgia. And the need to hear this again, even if only for understanding (once and for all) the words.

*photo courtesy of The Pains of Being Pure at Heart MySpace.

Don't Fight The Resistance

For a long period of time, Muse was considered "that band which resembles Radiohead, even if they are good in their own (special) way". Well known as an experimental band, Muse mixed alternative, psychedelic and progressive, which, combined with Matthew Bellamy's high vocals, led to a unique, easy recognizable sound.

As for their fifth album, called The Resistance... you might say that Muse continued to follow the same line they followed until now. And that's because the taste for experiments is still there, you can feel it in almost every track on this album. However, it takes you a little time to convince yourself that it is Muse you are listening to, when the first track, Uprising, starts. Somehow the rhythmic sound on this song doesn't seem to resemble their previous releases too much. But, as you start to listen carefully to the lyrics (They will not force us / They will stop degrading us / They will not control us / We will be victorious), you can rest assured this IS Muse. And the game just started.

Resistance, the next track, somehow brings the atmosphere from [insert any novel about dystopian societies here], if we take in consideration the idea of love (and making love) used as a form of rebellion. As Uprising, this will probably be a great song to be played live.

Next one, Undisclosed Desires, pushes the experimental part a little bit too far, with its tempo which reminds more of a pop-R&B-whatever-we-don't-care-we-want-to-dance song. But even if you don't like the instrumental and you feel that Muse ceases to be Muse on this one, you must admit lyrics are breathtaking. Somehow, listening to them, I remembered Placebo's I'll Be Yours – lyrically, they're pretty much alike.

And here we are, at United States of Eurasia, a track which seems to be part of Queen's back catalogue. Yeah. Queen. Bohemian Rhapsody part II, ended with a piano sonata called Collateral Damage, which includes a modified Chopin's Nocturne. The title says it all about this song's lyrics: peace, love, empathy, unity in diversity. The end of this song begins with the next track, Guiding Light, which is basically a trip back to '80s rock music. Guns 'n Roses would have been proud to have this one in their setlist.

And now back nowadays with Unnatural Selection. Nowadays? Well, then why this "I've heard it before" feeling? Well, that's because this track resembles very much the sound Muse had somewhere around 2001. Not that it would be such a bad thing, especially if you loved Origin of Symmetry. The lyrics are (again!) a form of rebellion against to the self-called "special ones". Okay... MK Ultra goes on almost the same line, lyrically speaking. "Almost", because this time "they" seem to have the control, and "we" have to wake up. The instrumental helps a lot to our awakening; the guitar riffs and the drum line are amazing, full of freshness, like a cold glass of water on a hot day.

And then we have I Belong To You, another love song, which incorporates towards its ending elements from the aria Mon cœur s'ouvre à ta voix (My heart opens itself to your voice). Piano and Matt Bellamy singing in French? Well, yes. It's a nice introduction to probably the most praised part of this album, the three-part symphony Exogenesis, which includes bits of classical piano, and is the most diversified song on the album (if we take in consideration the fact that Bellamy said this song features an orchestra of over forty musicians). Its three parts, Overture, Cross-Pollination and Redemption are a journey which starts in agony, despair and solitude and ends with a hope for a new beginning. Impressive!

And this is how the new journey in Muse's experimental universe ends. As always, they managed to do something different. Something good. Something worth trying.

*photo courtesy of Muse official site.

Hey, White Boy!

Remember how shocked/disgusted/hyped you were when you read that Beck had a new project and this project meant covering an entire fucking album with a bunch of his friends? And not just anyhow. The recording of the cover-album was to happen in one day with no rehearsal. Even if you hate Beck (and your name’s probably Nicky Wire), you still have to admit it’s a gutsy move. So the world waited impatiently to see which albums were to be covered. The first release (and the one we’re talking about today) is Velvet Underground’s classic (yes, I know VU have ONLY classic albums) ‘Velvet Underground and Nico’. Incredibly gutsy, I said to myself.

Now, say what you want about aspects of his personal life etc., but Beck is one hell of a musician. You’d naturally expect this to be, if not a great work of art, at least an interesting and fun musical experience. Which, to a certain extend, it is. There are two things that hold it back from becoming a great work of art.

First, ‘There She Goes Again’, ‘European Son’ and ‘Heroin’. First two actually become gradually acceptable though you know you will only play them if forced. But ‘Heroin’ is just a ‘no’. The piano goes all too chaotic and all over the place, the vocals miss the calm of the original, there’s too much shouting and that goddamn guitar is stuck somewhere between being actually lo-fi and melodic exactly in that place where the sound’s not great or experimental but just plain annoying.

Then, this isn’t a collection of covers but Beck and his arty friends don’t go all the way to actually rethink the album so, at times, what they’re doing seems… well, pointless. I guess this is due to the ‘no rehearsal’ think, but maybe a little talk about where you want to take this before the actual recording? I don’t know, just saying. And Beck’s voice is so reminiscent of Lou Reed’s and share the same boredom (especially on ‘Black Angel’s Death Song’ and ‘Sunday Morning’) that you could swear it’s the original you’re hearing.

On the other hand, there are the fantastic bits of the album. ‘I’ll Be Your Mirror’ stands out because it’s just perfect and everything falls in the right place, every instrument is carefully played and they all come together like they should. This ‘Sunday Morning’ holds the same sweet and hopeless tone as the VU one (the similar vocals help). And then there’s the moment Nicky Wire (with his hate for Beck’s loops) dreaded: ‘Run Run Run’ and ‘All Tomorrow’s Parties’ are reinterpreted as electro-pop songs, first via a drum loop and a video game quirky sound (finally, someone who makes good use of such a beat), second thanks to the dreamy background sounds.

So, maybe, just maybe, the whole ‘pick an instrument and make me a cover on the spot’ thing isn’t always such a good idea. You know, they are right, talking about it solves many issues. And, at the end of the day, this album remains a fun and ambitious idea.

Placebo bleah!

We have two new singles from Placebo – remember that biblical verse, more exactly as a ‘Chop Suey’ lyric: ‘’oh God, why have you forsaken me’’?!Well it feels that way! ‘Ashtray Heart’ and ‘The Never Ending Why’, first one for everyone and the second track only for UK and Norway, or in other words darker shit for most of the world and a lighter shit just for the Brits and some Nordic people. Yes, we are talking about Placebo, that band that we placed in the ‘vox dei’ category, it is they that offer these two … songs.

‘Ashtray heart’ is beyond awful, it’s got lyrics in Spanish , we love Spanish but why would you put as chorus a foreign synonym for the word ‘ashtray’?! FYI: ‘cenicero’ is ashtray in Spanish. Moving forward into the awfulness, the rest of the lyrics are beyond mysterious, they really make no sense, and I one am a master in metaphors and not even I don’t get it. And then there is the background, wow I almost didn’t hear it there! That mediocre is.

‘The Never Ending Why ‘ is a lighter shit , because on a loud volume it does well, it’s catchy, the negative succeeds in effectiveness and Mr. Molko keeps up quite decent. Should I say something about the lyrics?! I am too bored and too tired from listening to these songs to try to make some sense, let alone decide if there is something out there.

The only thing I have left is hope, hope that the new decade will bring some sort of epiphany and inspiration for Placebo! Because, gentlemen this simply will not do.

Comrades, Welcome To The Disco!

The Polyamorous Affair. They manage to impress you somehow right after you hear their name. You can feel it in the air: something forbidden, something sexy, but tender. And that makes you so impatient to hear their songs. And you know from the first chord that it was a great idea to do so. Congratulations and welcome to the polyamorous world.

Bolshevik Disco is the name of the second album released by Eddie Chacon and Sissy Sainte-Marie. A very interesting title, I must say, which makes you think of the strangest things one can imagine. I mean, Bolshevik Disco – could it be a more powerful contradiction? So, with your mind still charmed by songs as Nightlife or Babayaga, you prepare yourself for another musical travel.

The sound of guns from the first song, The Interrogation, its rhythm which reminds about some kind of military parade, serves you well. And there you are, right in the middle of the action, so to speak. Nothing has changed; the sound is similar with the one of the debut album. This is not a bad thing, on the contrary. Sainte-Marie's warm, seductive voice combined with the rather simple instrumentals (synths are the ones who make the rules around mostly) and backed-off by Chacon's grave vocals give you the thrills. From this point of view, one can say that White Hot Magic, the fourth track, is almost sexual.

Some other interesting songs are the love song You Are, with its chill tempo, and In Love, which is maybe the song who stands out the most, not only because of its instrumental, but also because of the perfect match between Sainte-Marie and Chacon's voices. Let's not forget about Satellite of Love, the cover made after Lou Reed. Of course, no one can surpass Reed (at least that's my opinion), but this cover is an interesting experiment. Just like the whole album. You won't find deep lyrics or sophisticated instrumentals on this one – but it's an enjoyable experience.

*photo courtesy of The Polyamorous Affair MySpace.

They Bang The Drums

Los Campesinos! – The Sea Is A Good Place To Think Of The Future

Say goodbye to the ‘I’m a nerdy losers and enjoying every moment of it’ atmosphere these guys got us used to. What we get here is a darker sound that’ll just make you want to file them next to The Smiths in the ‘Songs that leave you lying hopeless on the floor’. Best bit? The strangled shouty vocals that embody all the pain and angst one can go through.

Hadouken! – M.A.D.

Remember when Hadouken! were well… the shit? Before their ‘Meah, I think I’ll pass’ (yet with a great title – Coupland much?) debut? Yes, that band is back. So get your glowsticks out of the freeze and your neon-coloured hoodie out of that box in the basement and let’s bang those drums.

Dananananaykroyd – Some Dresses

There’s shouting, there’s a crazy chorus (‘Pop pop! Something irrelevant Huh huh!’), there’s a guitar that sometimes makes you feel this is actually a Hot Club de Paris song and there’s a chant in the beginning which only adds up to the whole HCDP-air of it all. Really now, if you can pronounce or spell or whatever this band’s name, learn how and learn it fast. They’re so worth it.

It Might Go Wrong Or It Might Go Right

I must admit the first Vivian Girls album didn't quite impress me. Okay, that's good old punk and stuff, but none of those songs was interesting enough to make me remember it, even if Cassie Ramone's voice is actually quite nice from a certain point of view and, somehow, brings back memories… Anyway, you never know when things might change, isn't that so? That's why I took the challenge and listened to their second release, Everything Goes Wrong.

And yeah, if you'd have to judge the whole album reporting to the first two tracks, everything is wrong. Same noisy tunes, same nice, but apathetic voice, and that's the case with the most of the songs on this album, unfortunately. Some of them are saved in a way, either by the drum line, or (most rarely) by the guitar and bass, but that doesn't make them too impressive.

However, there are three tunes which could enter in "that's more like it" category. First one is Can't Get Over You, which has a more interesting and diversified instrumental than the rest of the songs, and a voice more… energetic, I'd say. Second one is I'm Not Asleep. It doesn't give you such a strong impression as the one mentioned above, but it's okay. The title matches perfectly with the impression this song gives to you. The third, and the last track, Before I Start To Cry is maybe the slowest song on this album, allowing you to actually hear the music and Ramone's voice in a proper way. But three songs from thirteen isn't that great.

Overall, the impression is not bad if you liked the first album. You will like this one too. If you're one of the people who weren't so impressed by the first one, this one won't impress you either, except maybe the three tracks mentioned above.

*photo courtesy of In The Red Records official site

Spread Your Love

You know the feeling you get when you just know something but can’t quite put it into words? You have the ideas, you know what it’s about, what it reminds you off and still you can’t find a decent way to say it. No, wait, cross ‘decent’ out and replace it with ‘interesting’. Cause this is what I have to do as a journalist (-to-be). Find an interesting way to say something that is obvious.

I mean, when you listen to Cold Cave’s debut, ‘Love Comes Close’, isn’t it obvious they’re incredibly 80s? But not in a La Roux-cheesy-synths-all-over-the-place kind of way, even if their songs do turn out to be strange dancefloor fillers and odd disco numbers. Yes, they check two essential 80s electro bands: New Order ( the title song is blatantly influenced by them) and Human League (the cold atmosphere of the album plus the detached female vocals). But they also have elements of industrial the have a scent of Throbbing Gristle and they use their synths for the same reason Kevin Shields uses his guitar: to create a wall of sound. Cause for Cold Cave it’s all about sonic experimentation, noise, dissonance. Yes, they’ll make you dance, but they’ll make you dance like Joy Division would. Even the voice is reminiscent of Ian Curtis’s and at times, Wesley Eislod aims for the same gloom that Peter Murphy’s voice has. And in this bleak world of what seems to be nihilism and despair, the almost-too-chic lyrics about disdain fit perfectly.

It’s a surprisingly experimental album given the fact that Eislod used to front a number of hardcore bands (Some Girls among them), but if you consider that a former Xiu Xiu member is a part of this project, maybe you shouldn’t be so amazed of how it (sometimes) sounds. And, after all, people are allowed to experiment and shift musical directions if they feel like it, especially when the experimentation ends up being this good.

*photo courtesy of Cold Cave

MMMadonna!

I love Mama Madonna . The Queen has launched a new compilation of her most and un-most refined, fine and terrible tunes , (assumed all songs) greatest hits under the name of ‘Celebration’ ( without ‘Bad Girl’ and ‘Nothing Really Matters’ – I, one am appalled and Jean Paul Gaultier should give her a spanky ). With a terrible cover art ( yeah yeah, we all know the style and worship the dude), I mean for one album’s cover art she had pictures taken by Mario Testino ( the God), for ‘ Ray of light’, or photographed by Tom Munro ( Sticky and Sweet Tour), Steven Meisel ( Vanity Fair, Louis Vuitton Campaign), Steven Klein, Gilles Bensimon, Patrick Demarchelier etc, and she puts that picture shot by Jean-Baptiste Mondino (mixed with an 1987 portrait by Alberto Tolot) from 1990, as cover album?!

Anyway, the compilation is promoted under the new single with the same name ‘Celebration’. An awesome surprise, not at all some mediocre, fill up album track, but a very good dance tune, a ‘Hung Up’ reminder with a cool remix from co-producer Paul Oakenfold , excellent choice I may add, and of course a video to match: a masterpiece in editing, great collage of bright images showing a sexy Madonna ( in Balenciaga glitzy dress ) moving excellent and a whole line of incredible dancers showing off, from Sofia Boutella to Lourdes ( the Daughter) who moves quite fine, praising the good genes on both sides. It rubs off quick and easy on you and you find yourself moving on it ‘till you’re actually dancing and the celebration theme can apply to anything wanted celebrated (as was probably the idea, dooh).

Well Known Pleasures

"I always knew Ian Curtis isn't actually dead." Your first thought when you hear O Children. However, before starting to really believe that Curtis is alive, along with Cobain and of course, with Hendrix, you realise that you don't listen to Joy Division, but to some other band. A new one. The band born from the ashes of Bono Must Die, called O Children (yes, yes, Nick Cave and The Bad Seeds, you got that right).

Now, even though we're speaking about another band than Joy Division, the first impression remains. O Children could call themselves "Ian's Children" and that wouldn't be very far from the truth. Their songs give you a dark feeling, resembling that kind of feeling you have when you listen any song from Unknown Pleasures.

The most interesting (or should I say creepiest) of all of their songs is Dead Disco Dancer, lyrically as well as instrumentally. And when you see the video, you cannot help but remember The Horrors appearance, even if the resemblance between these two bands is not actually as obvious as it seems. It's just about the way they move, and a little bit about the way they dress.

However, even if their songs are good, it seems that they still don't have that certain something which makes you jump from your seat and scream "Oh, that's THAT band, you know it!" But it also seems they're on the right way. Their tunes are good enough to make you listen to them, and listen carefully. And if you like no-matter-what-band-with-creepy-lyrics-and-creepy-instrumentals-and-creepy-appearance, you might like these guys too. A few more songs like Dead Disco Dancer and Dead Eye Lover and we might have a very interesting album to talk about.

And Now I'm Flying Like An Angel To The Sun

AB4, Zdob&Zdub, The Herbaliser, Guano Apes – 5^th of September, Tuborg GreenFest Bucharest, Romania

A free festival? In our country? And the bands on the bill are actually good and ..well, some of them are rock bands? These was the general vibe as the artist that were to play Tuborg GreenFest were announced. This and the general concern that there will be too many people nosing around. Well, yes, there were people who just came for the beer (after all, it was a beer-related festival), but there were also people genuinely interested in the bands (and quite many, I have to say) and the crowds for each band seemed great.

First up were AB4. Back in the day, they were known as ‘Placebo of Romania’. Nowadays, they’re trying to be more ‘Editors of Romania’. I’m not really sure whether it’s a good or bad thing – not being Placebo-ish anymore and being more Editors. AB4 have the luck of being one of the veteran alternative bands of this country and, maybe because of this, will always be able to gather a crowd. There will always be those who have listen to their music for many years and still do. Then, there are the youngsters who are just discovering the band. And then there are people like me. People who, even if they don’t really listen to AB4 anymore and who can’t really be called fans anymore, still attend every gig and always get a huge smile on their faces because of the memories they are remind of. I guess it’s safe to say the crowd will always make AB4 feel loved. Even though we don’t always know the lyrics or think that the lead, Doru, might need some help with his English grammar.

A short break for sound check and some beers and I was again in the middle of the crowd this time for Zdob&Zdub. Now, I have to admit to it, their music isn’t something I listen to. It’s ok, I appreciate them but that’s it. However, I always get excited at a thought of a Zdob&Zdub concert. Why? Because they’re great entertainers and they get the people going so heavy pogoing and a good moshpit are always a must at their gigs. The only problem during the concert was the dust that was rising due to all the pogo – you see, the concerts were held in a park which meant dirt and, of course, no one thought they could use some sort of protection.

Another break and a few more beers and this time I was a bit lost. See, The Herbaliser are ok, they’re funky, I’d listen to their music (although I never did), but they’re not very … well, rock. And I can’t really see how they fitted in between to ..well, rock bands. Especially when the people in front of the stage where there because the wanted to see Guano Apes. Also, I didn’t really stay to see them. I just chilled on what was supposed to be grass trying to get some energy for the main gig.

And so, before the ending of The Herbaliser’s concert, I crept back in the crowd took off my spectacles, shoved my small bag and phone in a friends backpack so I could pogo and got a little scared at the sight of shirtless rockers who were getting ready for the moshpit. And, yes, there was an epic moshpit. Three songs in and I could barely breath and was sweating like a pig. I was shoved back and forth while Sandra Nasic was yelling ‘You’re amazing’ between songs. Sure, the moshpit wasn’t so ‘violent’ afterwards and, though I did get stepped on my right foot (I was sitting on the edge of the pit) one too many times, it was ok, no one got hurt. The best bit was when Sandra told all the boys to take their shirts off and make her happy. And you could see almost all the guys in the crowd taking them off and waving them in the air. Of course, everyone wanted to hear ‘Lords Of The Boards’. Hell, it’s the perfect song for pogoing. This and the fact that it was kept as the last song (thus only increasing our desire to hear it) only means one thing. Remember what I was saying about those first songs? Triple it! Oh, what a feeling.

And what a great festival day. Even if I still can’t feel the back of my neck.

Video Killed The Radio Star

Seven videos that make you fall in love with them at first sight.


1. The Horrors, Sheena Is A Parasite (2006)
Directed by Chris Cunningham

Oh yeah. This one is epic. How else would you call a video where Samantha Morton shakes her head and body like she'd be escaped from Bellevue? Not to mention the fact that you can actually see her intestines. Let's not talk about the oh-my-God-what-the-hell-is-that-creature head. The strange atmosphere is enhanced by the band itself: their strange facial expressions, the way they move, the music they play. But one couldn't expect less from Chris Cunningham.


2. Placebo, Special Needs (2003)
Directed by Paul Gore

A girl and a boy who make love with each other in spite of the fact they're not in the same room. "The idea of making love with a memory" (as Brian Molko said) couldn't have been expressed better.


3. Radiohead, Street Spirit (Fade Out) (1996)
Directed by Jonathan Glazer

A black and white classic. The slow-motion moves are fascinating – and the combination between them and the normal ones is pure perfection. The part with the kid who approaches the dog that barks, looks at it and then leaves is maybe one of the best video moments ever.


4. Red Hot Chili Peppers, Otherside (2000)
Directed by Jonathan Dayton and Valerie Faris

Definitely one of the strangest videos around, but also one of the best. It's nothing but a nightmare presented in black and white, the world of dark dreams, where everything seems to be possible, even fighting with your own shadow. Best bit: John Frusciante playing a rope as if it was a guitar.


5. Soundgarden, Black Hole Sun (1994)
Directed by Howard Greenhalgh

As a kid, didn't you just hate everyone in this video? Especially the girl melting the Barbie doll cause you were such a Barbie fan? And weren't you incredibly happy when they were all sucked in the black hole? They did deserve it after all, even if only because of their stupid, huge grins.


6. Suede, Everything Will Flow (1999)
Directed by Howard Greenhalgh

Probably one of the best videos Suede has, this one feels very dynamic and fresh, with water flowing everywhere. Highlights: the girl falling on the grass, and the water splashing around her, and the lovers who run onto each other.


7. The Verve, Bitter Sweet Symphony (1998)
Directed by Walter A. Stern

Just walk. Straightforward. Who cares if you bump into some innocent people, eventually making them fall? Who cares if you almost get hit by a car? Who cares about that lady who comes after you shouting as if she's crazy, just because you jumped on her car? Richard Ashcroft definitely doesn't care. 'Cause it's a bitter sweet symphony this life.

Here she comes again

Trailer Trash Tracys come from London and are a boy-girl shoegaze duo. Yes, they try to make 50s girl group harmonies and fuzzy distorts meet. Yes, they use that drum pattern that might remind on of The Ronettes and The Shangri-Las and then throw in a feedback that is so typical to My Bloody Valentine. And, yes, just like them, TTT mix melodies and distortion beautifully. Yes, Susanne Aztoria’s ethereal voice (a strange mix between Elizabeth Frazer and Siouxsie Sioux) is almost hidden in the layers of the instrumental. But for once, there’s honesty and heart in the equation, more the controlled utter boredom and detachment that seems typical to such bands. And this is what makes single ‘Candy Girl’ an amazing musical trip, if not great proof that TTT are a contender for the ‘new My Bloody Valentine’ seat.

The B-side ‘You Wish You Were Red’ starts with a sort of post-punk version of the infamous ‘Be My Baby’ drum pattern. However, it evolves into an out-of-this-world lo-fi ballad that seems to borrow its broken voice and guitars from Joe Meek’s ‘I Hear A New World’.

*Photo courtesy of No Pain In Pop

The First Days Of Autumn

When I've heard for the first time a Noah and the Whale song, my first thought was "mountain trip". Yeah, their songs gave me the same feelings as the ones you sing when you go with your friends on a mountain trip. A mix of vintage and new, somehow their songs didn't seem belong to a certain period of time. They seemed okay, musically as well as lyrically, and I was wondering how their next album will sound. Now that my curiosity has been satisfied, I can tell you a few things about the second Noah and the Whale album, The First Days of Spring.

The title could suggest that this is about a different approach towards life, about a new way of seeing things. Well, not quite. Not even the title track fits this idea. In fact, the songs seem to remind one of autumn. Each and every one of them has a slow, sad, nostalgic instrumental, which made me forget completely about that mountain trip. Now it's too cold for us to go to the mountains, let's just stay in our houses and watch the cold autumn rain falling outside.

And it's not only about the instrumentals; it's also about the lyrics. Even if the first two lyrics from the title track ("It's the first day of spring / And my life is starting over again") could make you believe that I'm wrong and these guys are actually speaking about new beginnings, the truth is another one. The songs off The First Days of Spring are songs about broken hearts, about regrets, about sadness, about separation. And the thought there's nothing you can actually do is everywhere.

It's a story about painful memories (The First Days of Spring), about knowing that it is time to brake up without being ready for it (Our Window), about the need to be on your lover's side (I Have Nothing), about numbness (My Broken Heart). The state of spirit changes somehow after Instrumental I, with the track Love of an Orchestra, but Instrumental II brings you back deep into sadness, preparing the field for Stranger. Maybe the most painful track (and definitely one of my favourites), Stranger describes the feelings of someone who slept with another person while still thinking of their former lover. Blue SkiesM shows a bit of hope ("It's time to leave those feelings behind"), even if it won't be easy. And the last two songs, Slow Glass and My Door Is Always Open, seem to bring the release. First one says that the two are strangers from now on, and second one denies even the former feelings they had for each other. Nevertheless, the lyrics of the last song seem to fit the idea of the title's track first few lines. And that makes you wonder if everything could actually be a cycle.

Even if that's the case or not, I must say that this album proved to be better than I thought, as I was prepared to write a review about an okay album. From this point of view, The First Days of Spring isn't a cycle, it is an evolution.

*photo courtesy of Cherrytree Records official site

Panic on the Streets of Wakefield

Johnny Marr of The Cribs. Here’s something I couldn’t seem to get used to. People referring to him as ‘The Cribs’ guitarist’ makes me feel uncomfortable. And, somehow, the thought of a new Cribs album with Marr on guitar made me feel uncomfortable. I was really praying it wouldn’t turn into “Dashboard” Part 2. So it took me a while to actually play “Ignore The Ignorant”.

And instead of wondering why is Marr in this band (like it happened why Modest Mouse), I actually enjoyed it from first to last chord. Yes, what Marr is playing is, to some extent, a variation of The Smiths. Which is only natural, I guess, as:

1. It is Marr we’re talking about his. His tunesmith won’t change over night.
2. It does fit The Cribs music (and not Electronic).

But saying his guitar is Smiths-like does not mean The Cribs are now a bunch of The Smiths copy-cats. Marr’s guitar exists only to enhance the Jarmans music, not suffocate it or just offer media hype. His chords are nicely wrapped around what was already there – a great and really creative band. And you kind of do know he’s the reason why the title track is a small brother of Smiths’ “Panic”.

But “City of Bugs” can pass for a Sonic Youth song (god, Gary Jarman does sound like Thurston Moore), while the following track, “We Share The Same Skies”, throws you in a New Order world. Not to mention that closing track “Stick To Yr Guns” is pure “Transformer” Lou Reed and “Cheat On Me”'s jingly guitar is a nod to The Charlatans. And if we’re talking about similarities, you may also say “Victim Of Mass Production” is a lyrical tribute to The Kinks’ “Dedicated Follower Of Fashion”.

And, as a whole, it is clear that among the ones who crafted this album are the tree people who wrote “Men’s Needs” and “The New Fellas”. It might not be that raw as its predecessors and it’s definetly a more mature record, but “Ignore The Ignorant” is just angry, its lyrics spit the same amount of bile as always (lyrics like ‘The mid-shelf masturbation/Leaves a smear on half the nation’ are typical Jarman lines) and it’s going to make the crowd jump as high as they used to before.

Photo courtesy of The Cribs myspace

Stay Together For The Kids

Six bands of the new millennium that should’ve been huge but instead just broke up

1. Boys Of Brazil. Punk to the bones. Plus their keyboardist was Emily Rotter.

2. Elle Milano. Art school sense of humour. Bring it back and make the snob in me happy.

3. GoodBooks. Great voice, great lyrics and a passion for music to match. Infectious keyboards and drums.

4. BoNO Must Die. Just because of their name. Yes, you’ve heard me. They also had some great tunes.

5. Black Wire. Dark, moody, perverted. And lots of black eyeliner.

6. Yourcodenameis:milo. Progressive hardcode band that loved to experiment around. Really, we might not really get the point of that song with Lethal Bizzle, but it sure sounds fantastic.

Worth mentioning: Ipso Facto

The all-female London-based trio announced on Friday that they are going to split. Sure, the members all have new projects, but deep down inside, you just wanted to hear their debut and see them as big as The Horrors are now.