MUSIC YEAR IN REVIEW...
(Note: Copied from an email that I send out to all my peeps. Everything else should apply. Yes, I wrote this all by myself)
Happy Holidays,(belated) Merry Christmas, Happy New year and all that jazz. Its my yearly music review where I get to pretend Im a music critic!
For those of you new to the email, I do something like this every year. It serves two purposes - 1) Kind of a Christmas Card type thing - saying hello to all my friends who I speak to rarely and often. (The ones who I speak to rarely should reply. DO IT!) and 2) I get to give my opinion on all things music related in an only somewhat condesceding way. Go me!
Anyway, hope everyone has had a great year. Drop me a line (that means email me or call) and we'll discuss. And read whatever you feel like below. I know its long and it probably doesnt interest everyone. But it can help to kill some time on that Friday afternoon at 4:30. And if you feel like forwarding to any other music friends you may know, feel free. If any of YOU are reading this and feel like commenting, etc, email me at maaskesr@hotmail.com
Now, on to the music!
This was the year of great singles, followed by mediocre albums, for the most part. You will probably read "I loved this song......the album was a disappointment" more than a few times. But a few albums managed to put the whole package together. Anywho, here we go....
Gwen Stefani, "Love. Angel. Music. Baby.": This album is all sugar. "What you waiting for" is a pop radio playlist's dream - and its well deserved. You've surely heard this one on the radio by now - its a pop masterpiece thats just daring and different enough to stand out amoung the countless other sugary pop tracks on such stations. "Cool" seems to be a 80's throwback of sorts (as many tracks on the album are) that manages to evoke enough emotion to mention. A large part of the album is sort of a mess, however. The 80's influence goes on a little thick on some songs, and other tracks come off a little disorganized and even bland. Dont knock her for not taking a chance, though.
Green Day, "American Idiot": Just as Im about to write Green Day off as being over the hill, past their prime, and all the other phrases that go with it, they come and drop a truely good album. For the most part, "American Idiot" is nothing like older green day albums. The punk isn't so "stick your nose up" anymore - the album is a little more lyric based, as it appears more time went into each piece. One noteable exception is the first single (the title track), which shines of the Green Day of old. The "rock opera" that is "Jesus of Suburbia" shines brighter though, fusing 5 completely different songs together into one. Every part of the opera could stand alone here, and together they form the best track on the album. Second single "Boulevard of Broken Dreams"' lyrics reminds me a bit too much of hair metal ballad, but, on the whole, this album is strong enough to pick up.
God Lives Underwater, "Up Off the Floor": Im not quite sure how, but somehow I really like this album. Its got a bit of new-metal too, it - but also uses a bit of industrial to fill out its sound. The story behind the record (although incomplete) is of interest: The band actually broke up a few years back, just after completing the record. However, the record label they were signed too went under, and they had no distributor. I had seen a few online petitions to try and get the album out, but they appeared to be failing as of a year ago. Then, suddenly, I saw the album on store shelves. Still not sure how it happened. As for the music itself, opener "White Noise" works up quite a bit of energy, and "Whatever You've Got" pulls at your heart strings a bit. The familiar rock theme of drugs is found throughout, though its mainly in his struggle to get over them, such as on "72 hour hold." The ballad of "slip to fall" has a horribly bad chorus, but the versus are somewhat spine-tingly, especially as he tells of his failures when the music drops out and he utters "I wish the best for us both..but I dont know....". If you are into industrial music, or, heaven forbid, the current state of mainstream rock, then this is an album you should definetly check out.
The Cure, "The Cure": I admittedly wasn't a big Cure fan before this year, but I've come to realize the great music they've put out recently. The new album proves they can still put out good music, just maybe not for a whole album. The opener "Lost" is a growing, rolling, masterpiece, akin to NIN's "Somewhat Damaged" (thanks R.D.) that builds to its climax as Robert Smith laments losing himself in someone else (Robert Smith sad? Nooooo!) Other notable tracks include "Atl. End" and "The End of the World", but the other tracks on the album are stuck in mediocratiy.
The Faint, "Wet from Birth": I had some high hopes for this album after the Omaha bands' last effort "Danse Macabre", but, in all honesty, I cant find much about this album that I like. Nothing is catchy here in a music genre (80's techno dance?) that almost requires it. Maybe others can find it here, but I get bored in the record.
Franz Ferdinand, "Franz Ferdinand": This one just missed out on my "Top 5" for the year. If you haven't heard "Take Me Out" you've been living in a hole somewhere, and its worth it to get out of your hole just to hear this song. The songs starts out with an urgent beat and longing lyrics before completely changing rhythm and going into that classic guitar riff. Simply put, if you haven't heard this song, find a way to hear it - its gold. There are quite a few other notables on the album as well...opener Jacqueline (which opens with only voice and piano before going into rock and lyrics like "That's why we only work when we need the money!") and "The Dark of the Matinee" could both be radio hits as well. The vocals here have an almost 70's feel to them and project a feeling of superiority somehow. I love it in small doses, though it can grow weary. Despite that, this is a very good album. Worth Buying.
The Polyphonic Spree, "Together We're Heavy": If you want different, here it is. The band consists of about two dozen members, all dressed in (different) uni-colored robes, all with their own different roles. The music is mainly vocal based, but it shines when the instruments are brought into the mix. The music is all happy, all cheery, with not a spot of glum. Opener "We sound amazed" is a pretty journey of sound, and second track "hold me now" seems somewhat of a throwback to "Sgt. Peppers" era Beatles - which they nail. Unfortunatly the album grows thinner as it goes, and the unrelenting happiness actually becomes a little much to take. But its nice to be able to say "unrelenting happiness" for a change.
The Libertines, "The Libertines": Seeing this album on a few year end "top ten" lists intrigued me enough to pick this one up. After the first song "Can't Stand Me" I was convinced these reviewers were all right. A carefree romp featuring different vocals, the song is one of the best of the year. However, I cant find a single other song on this album that I like. Sounds like a watered down (VERY watered down) Strokes album.
Modest Mouse, "Good News For People Who Love Bad News": If you could buy half an album, then this would probably be the best album of the year. The first 5 or 6 songs here are absolutley great. After a short horn intro, "The World at Large" comes on in an urgently relaxed spin. Free of a notable chorus, the song is beautiful enough to survive on its own. The singles "Float On" and "Ocean Breathes Salty" follow, both worty of the radio airplay they've received. However, after track 6, the album is filled with, well, filler. "Dance Hall" is a mess, "This Devil's Worday" is a lyrical travesty, and "One Chance" is a ballad of sorts that never clicks. One exception in the last ten songs is the gentle "Blame it On the Tetons". Maybe they could move that track up 6 songs and you'd have the best ever EP.
Kanye West, "The College Dropout": I was just thinking, "You know what we need? Another rap album full of skits, supposed pledges to God followed by songs about hoes and drugs, with the N-word dropped throughout." (Please note sarcasm). I picked it up anyway. Its tough to ignore 10 Grammy Nominations. So I put it in. And you know what? Its pretty freaking good. While everything noted above is present, it also features (when at its best) the struggles of the working class (Can you believe it? Something more than half the population can actually RELATE to!) such as in "We Don't Dare" and "Graduation Day". The required God song is the best I've heard on a rap album (Jesus Walks), and, on the whole, the album just SOUNDS great. Everything is smooth, nothing seems forced, and it seems to just make sense. I still think this form of rap has a long ways to go, but this is still a really good album. The Grammy's could've done a lot worse.
The Vines, "Winning Days": I really loved "Highly Evolved" (The bands first release), so how is that I think this album is probably better than that, yet still one of the most disappointing albums of the year? I still havent figured that out. Opener "Ride" is as good as a rock song gets, and closer "F*** the World" is as "balls out" as mainstream rock gets. Theres moments in between that deserve credit too - "TV Pro's" changing beats is sexy even if the lyrics aren't, Rainfall is a pretty ballad that deserved to be a single (and some airtime to go with it), and "She's Got something to Say" is a servicable laid back rocker (well, for the Vines, anyway). But there's misses here as well, including "Autumn Shade II" and the meandering "Evil Town". On the whole, its not that this album is necessarily bad, its just that I expected more.
Wilco, "A Ghost is Born": Well, if the Vines had one of the most disappointing albums of the year, then this one takes the cake. Im not sure what happened here. Everything went right on Wilco's last two albums. Then they go and put this out. Perhaps its a star's head that got too big, or possibly they just went the "expiremental" route a bit too hard, or, more likley, both. Unless you absolutly love Wilco, just, please, stay away from this album.
Velvet Revolver, "Contraband": Guns N' Roses is back! Well, ok, they're not. But most of them are! The former members minus Axl team up with former Stone Temple Pilots frontman Scott Wielend here for the newest "supergroup". Like previous supergroups (such as the rage/soundgarden Audioslave) it comes off sounding, well, exactly like you thought it would sound. Which, in this case at least, isn't too bad. Granted this is no masterpiece, but its qutie serviceable as a standard rock album. Opener Suckertrain Blues starts right in, and songs such as "Big Machine" simply sound very kick ass. The weakest link of the album, however, is a bit of a suprise - its Wielands lyrics. While his vocals sound great here, the lyrics are non-senseical and for the most part jibberish. There are exceptions, such is in the diary-esque "Fall To Pieces" which seems to chrnoical his battle to get over his drug issues (Which, by the way, Im not buying. Has anyone SEEN Scott Wielend lately? He should be the poster boy for what you will look like if you do heroin. Geesh.), but for the most part, a quite bad lyrical album, akin to the ol' "Secret Samahdi" album by Live.
Beastie Boys, "To the Five Burroughs": I've been on and off the Beastie Boy's bandwagon through the years, and you can count me back on after this album. "Ch-Check It Out" is one of the best songs they've ever released. "Hey F*** You" is mellow, yet straight forward and hits the spot, and "triple trouble" sounds like it could've come straight from "Liscence to Ill" (This is a good thing). Theres a lot more hits than misses here, even when they go political. If you've ever been a fan, this would be a good one to pick up, as you've probably matured as the band has.
Now Its Overhead, "Fall Back Open": An album full of felt distance and feeling, the lyrics never quite make sense, yet you seem to get the gist of it. Opener "Wait in Line" is probably the strongest track on the album, full of emotion with the beautiful background voices of the girls in Azure Ray (which are found throughout the album). The vocals seem to get stuck in the same rut over and over on the album, though, which grows tiring. Still, a deeper album than most on this list.
The Futureheads, "The Futureheads": An album that makes great use of vocals (of all members) that use their voices as much as their guitars. The album is carefree, with songs about robots and the happenings in a garage. The pointlessness of the lyrics get old after a few songs, however, and its tough to sit through the whole album. First single "Decent Days and Nights" is a direct hit, though, that is immediately agreeable. Your head will bob unwillingly as lyrics like, "If you work it out, tell me what you find.." blaze by.
The Killers, "Hot Fuss": Another one of those albums where there are some truly great songs, but it just cant stretch the whole album. Still, it challenged for a top 5 spot because the good songs are just sooooo good. The opener (Jenny was a friend of mine) has a guitar riff that wont leave your head anytime soon, and its followed up by the suprisingly heartfelt, yet upbeat, "Mr. Brightside". First single "Somebody Told Me" is undeinably catchy, if not nonsense. But songs like "Andy, You're A Star" really bring the album as a whole down. If you like some of the newer "lo-fi" bands (though this album isn't), but with a bit of an 80's techno hint, this is the album for you.
FINALLY! We're down to the top 5 albums of the year! Weeeeeeeeeeeeeeee!!!!!!!!!!!!!!!!!
NUMBER 5: The Streets, "A Grand Don't Come for Free"
For those unfamiliar with The Streets, its a one man rap artist, but its not like any rap you've heard before. Hailing from Brittan, Mike Skinner raps about things like love, flirting, gambleing and drinking. With a noticable Brittish accent, he works through 11 gems on this album. He loses a grand (of euro's?) on the opener, and that loss ties all the tracks together. The first track is actually one of the weakest, but its followed by one of the strongest, "Could Well Be In". As simple piano hits in the background, the song opens, "Cause the last relationship really f***ed her, got hurt majorlly, finds it hard to trust", the song chronicals Skinner meeting a girl who seems interested in talking to him, and the night of conversation that follows. The heartfelt manner of they vocals and lyrics is something I've never heard before in rap. This song (and others on the album) show that the two can mix. The next track "Not Addicted" is somewhat addicting in and of itself, as it tells of a gamblers "sure thing" that may not turn out so good. And my favorite song of the year has to go to "Fit But you Know it", a rap about a hot girl who is just a bit too high on herself. The song is hillarious, catchy, and you'll just never get enough of it. Everyone should by this album for that song alone. The sad "Dry Your Eyes" is another attempt at the heartfelt rap, as Skinner is told his partner no longer wants to see him. The discriptive manner in which he tells what he physically sees around him is amazing, and really puts you in the moment. Its really quite a sad song, but undeniably good. If you can get by Skinner's obvious British accent and the manner in which he puts down his rhymes, you should love this album.
NUMBER FOUR: The Hives, "Tyrannosaurus Hives:
Like Oasis, I really hate the members of the Hives. Man, I just cant stand them. The overstated "We are better than you" attitude is just too much to handle, rather it be just an act or the real deal. But, damn, you cant ignore this album. The opener (Abra Cadaver) is a 90 second urgent sprint that doesnt let up, with lyrics that seem like they mean something ("they tried to stick a dead body inside of me") even if I can figure it out. Second song "Two-Timing Touch and Broken Bones" picks right up with the rock, and first single "Walk Idiot Walk" follows. While not the catchiest single I've heard on the radio, its one of the best put together songs. Still the Hives lacked something in diverseness. Simple rock song after simple rock song can get boring, even at its best. Luckily, they put a song that shows they CAN evolve (at least a little) with "A Little More for Little You". The song almost seems like an updated old 50's song with guitar, before breaking rhythm and going into the chorus. Its clearly the best song on the disc, and fades out with a completeness that most Hives songs lack. While most of the first half of the album is all A's, the second half is more B's, and that keeps it from climbing higher on the list. Still, this is the best hard rock album of the yaer.
NUMBER THREE: Interpol, "Antics"
Easily the most complete disc on the list, this album never breaks down of faulters. You may have to get used to the somewhat unchanging, and what seems, unemotional, vocals, but once you get into the groove of the record, you can see that there is quite a lot to offer here. It's been said on several albums already, but the best song is, again, the single "Slow Hands". Whether you've actually HEARD it on radio is doubtful, but it should be a station staple. The most upbeat song on the disc, it features lines like "Cant you see what you've done to my heart and soul? This is a wasteland now", a great chorus, then lines that are equally hopeful ("You make me want to pick up a guitar and celebrate the many ways that I love you."). Even though the song is probably meant to be a depressent, its just too upbeat and powerful to get you down. In fact, it has the opposite effect.
On the rest of the album, everything here FEELS deep with the vocal style and surrounding guitars and strong percussion. "Not Even Jail" is foremost amoung these, with lines like "I'm subtle like a lions cage, such a cautious display", and some possible political jabs thrown in. The opening track "Next Exit" starts it all off with the line, "We ain't goin to the town, we're going to the city." If thats their way of saying "We're ready for the big time", well, the album follows suit.
NUMBER TWO: The Arcade Fire, "Funeral"
I had a hard time putting this album number two. I really debated having it number one. Its a somewhat restrained album with the typical instruments backed up with piano and violens, always subtle, to match the albums tone. The first track starts out that way, with a quiet backing piano introducing a voice that, while it may take getting used to, reeks with emotion. The song tells of passing youth and all that is lost, with lines like "Then we think of our parents. Well whatever happened to them?" The album doesnt really get started till the fourth track, however, with "Neighborhood #3 (Power Out)". A driving beat and guitar and vocals that even follow the "coming out" that the music portrays, with lyrics like "I went out into the night, I went out to pick a fight" and urgency on lines such as "Light a candle for the kids, Jesus Christ don't keep it hid!" it serves as a taste of what lies ahead. Track 6 "Crown of Love" is dowsed in feeling and remorse, as the chorus repeats "If you still want me, please forgive me. The Crown of Love has fallen from me". Violins back this song up, and they match the feeling of it to a T. And as the emotion kicks up, so does the music, until it bursts in the last 30 seconds as the vocals repeat "You've gotta be the one, You've gotta be the one...". The epic song of the album (and the year?) lies in the next track, though, "Wake Up". Vocals ala the Polyphonic Spree open the song, before lines like "Something filled up my heart with nothing. Someone told me not to cry." The song, as with the album as a whole up to this point, is full of gloom and wondering how they will ever get by. However the song, and album as a whole, finally reach an apex like no other album I've ever heard, as the lead singer screams out, "I GUESS WE'LL JUST HAVE TO ADJUST!" After the pain and heartbreak of the first 6 and a half songs, its such a moment of release and acceptance that it gives the listener a genuinely good feeling. And the songs that follow (while weaker than the previous song) keep that feeling going, as they all have a more optimistic feeling.
A record that gives a deep, satisfying expirience, its worth the trouble you'll go through of actually FINDING it somewhere (Try Homer's for all you Omaha folk).
NUMBER ONE! Rilo Kiley, "More Adventerous"
I must admit, I may be a bit biased. You see, I fell in love with lead singer Jenny Lewis (I had to look her name up). I mean, I've never met her, and haven't even really seen a picture. But her voice and lyrics are just so danged agreeable. Actually, the whole sound of the album is incredibly agreeable, easy to listen to, easy to get into, easy to love. From one of the opening lyrics of "Deploy more troops than salt shakers.. (Chookachookachooka)," you become engrossed in this piece of music that is great social commentary, well adjusted, and, somehow, fun. Opener "It's a Hit" begins your voyage, as Lewis talks about all things going on in the world currently, from the war to the death penelty, before closing the song hoping that the song turns out a hit. The next song is quite the keeper, to, as "Does He Love You" documents two friends' relationships with their men, before turning a twist ending that actually takes you by suprise (How often does THAT happen in a song?). "Portions for Foxes" follows as Lewis tells of physical lonliness ("The talking leads to touching, the touching leads to sex. And then there is no mystery left") and delivers agreeable lyric one after another before admitting she's "bad news" (over and over) and that she's "damaged goods". Later on in the album "The Absence of God" (Dont worry my Religious friends, its not really about that), is a beautiful song that tells how those in the arts are "Only relief for those doctors and lawyers", but then goes in to have Lewis take adivce on love from each of her friends both good ("Maybe love wont let you down. All of your failures are training grounds") and bad ("You love love love, then you die), before finally making up her own mind ("And I say theres trouble when everything is fine. My need to destroy things creeps up everytime. And just as loves sillouhete appears I close my eyes and disappear tonight."). The whole album is just well produced, full of Lewis' sweet voice and gentle music that just, simply, never gets old. Eight of the Eleven songs here are simply great (but I'll spare you going into every one). Simply put, its a great album, the best I've heard this year, and its agreeable sound is likely to rake you in, too. Now go get it.