In brief: high energy, fairly diverse mix of tunes, speedy guitar work. Gordon Brown once said they wake you up in the morning; possibly (I haven't tried it), but they're great to listen to while you're working out; and fun in nightclubs too, of course, although I doubt Mr Brown knows much about that.
The lyrics: Alex Turner stands above Noel Gallagher, falls short of Jarvis Cocker and is miles below Morrissey (well, there's always somebody taller with more of a wit). The lyrics can be disjointed and incoherent but they do manage to raise a smile or two (On `Fake Tales of San Francisco' he sings, "I'd love to tell you all my problem/You're not from New York City, you're from Rotherham").
Other aspects of the songs are amateurish: the wimpy ending to `The View From the Afternoon', for example; on the same song there is an arbitrary pause halfway through which, needless to say, has no positive effect. The singing is technically not very good but having said that, Turner's broad northern accent - the `gritty realism', so called; the authenticity, the sincerity - is likeable, and on a song like `When the Sun Goes Down', actually quite moving. Technically, Whitney Houston has a great voice, but I'd rather stick needles in my ears than listen to an LP's worth of her tunes.
It doesn't matter that this album is not as polished as The Strokes' `Is This It' (the Arctics' biggest influence); and besides, Julian Casablancas spoils most of the songs by singing too close to the microphone. Someone should tell him it's not cool anymore.
The band is certainly not the new Smiths (the NME's hype machine in overdrive) - neither musically, nor lyrically nor in interview - but they are among the first to show that critical and commercial success can be found through the internet alone (with a bit of gigging thrown in). For the moment at least, the Arctic Monkeys are as super cool as their name suggests.
Monday, September 27, 2010
Monday, September 20, 2010
Company Of Thieves:Ordanary riches review
My days of seeking the 'next new and amazing band that nobody has heard of' are starting to whither away as I realize the purchasing-power deficit that 30 year olds wield against the predominantly teeny-bopper driven Music Industry. However, much like love happening when you stop trying to find it or car keys reappearing after you've given up looking, finding Company of Thieves came into my life by a brilliant stroke of fortuity that was neither planned, intended, nor expected.
Genevieve Schatz is a revelation. Her voice is at one-time Bjork-like, without the kitschy, Icelandic pretense and at another a riveting and commanding Fiona Apple who (happily) doesn't expend all of her lyrics trying to prove how 'different' or 'unloveable' she is. Her onstage performances are intense and focused, as well as unencumbered by fear of any kind. Fear clearly does not exist in Ms. Schatz's dojo.
You can tell she gives it her all with every performance, never seeming to mind if she looks 'cool' while doing it. And yet - that kind of comfort and self-confidence is exactly what makes her so damned cool.
The band, and not to give them short shrift here, are equally intense and focused on nailing their performances. No offense to the guys, who do their jobs expertly and are clearly not just stage-fillers. Rather, they seem attuned to what their front-woman is doing, completely absorbed in the organic performance on a given night. It's just hard to pay attention to them while that Siren is on stage singing, unless of course, you're bound to a mast like Odysseus.
Luckily for those of you not able to catch them in concert, their debut CD - "Ordinary Riches" - masterfully captures a fair representation of what Company of Thieves is capable of. Whether it's their first single, "Oscar Wilde" with its insanely catchy chorus (or the acoustic version also found on the CD) or the strings-dominated and haunting "Fire Song", you too will know that Company of Thieves is capable of stealing your heart...
Especially if you're not looking...
Genevieve Schatz is a revelation. Her voice is at one-time Bjork-like, without the kitschy, Icelandic pretense and at another a riveting and commanding Fiona Apple who (happily) doesn't expend all of her lyrics trying to prove how 'different' or 'unloveable' she is. Her onstage performances are intense and focused, as well as unencumbered by fear of any kind. Fear clearly does not exist in Ms. Schatz's dojo.
You can tell she gives it her all with every performance, never seeming to mind if she looks 'cool' while doing it. And yet - that kind of comfort and self-confidence is exactly what makes her so damned cool.
The band, and not to give them short shrift here, are equally intense and focused on nailing their performances. No offense to the guys, who do their jobs expertly and are clearly not just stage-fillers. Rather, they seem attuned to what their front-woman is doing, completely absorbed in the organic performance on a given night. It's just hard to pay attention to them while that Siren is on stage singing, unless of course, you're bound to a mast like Odysseus.
Luckily for those of you not able to catch them in concert, their debut CD - "Ordinary Riches" - masterfully captures a fair representation of what Company of Thieves is capable of. Whether it's their first single, "Oscar Wilde" with its insanely catchy chorus (or the acoustic version also found on the CD) or the strings-dominated and haunting "Fire Song", you too will know that Company of Thieves is capable of stealing your heart...
Especially if you're not looking...
Tuesday, September 14, 2010
Qotsa Album Review
The last album by the Queens of the Stone Age was "Songs for the Deaf," a frenetic collection of the hardest kind of rock. It was a thrilling, visceral experience, not one soon forgotten. Then nude bassist Nick Oliveri departed from the band, taking the wilder edge of the band with him. Oh, what would become of the Queens of the Stone Age?
Well, if "Lullabies to Paralyze" is any indication, then they are doing fine. This album relies on Josh Homme, and it's stripped down to... well, not down to the bare bones, but some very strong, lean sinew. The albums opens with a little acoustic ballad, "Lullaby," which starts things off on a strong footing.
From there on, things get stranger -- fast paced songs that just keep speeding up, ominous buildups, and nightmarish undertones. There are moments of quieter catchiness -- "Little Sister" seems perfect for the album's first single. And a few tracks feel a bit like filler. But overall, "Lullabies" is very much in the flavour of the Queens' second album, "Rated R." Only darker and somehow more whimsical.
Singer/songwriter/guitarist Josh Homme gets to rule in this one. Truth be told, he ruled all through the Desert Sessions, Kyuss, and now he sits in the middle of the Queens of the Stone Age, like a sinister-but-not-evil mastermind. Oliveri's manic style and gimmicks are gone, and in their place is steady, dark rock'n'roll that takes strange and unexpected twists.
It's not a concept album, but it feels that way -- the mood gets generally creepier as "Lullabies" goes on. Fuzzy guitars, dark metallic riffs, and eerie harmonies get a few unusual flourishes, such as that broken music box. And Homme's vocals blend into the songs like another instrument -- great stuff. It only emphasizes how central he is to the band's unique sound.
Queens of the Stone Age seemed to be endangered when Oliveri departed, but "Lullabies to Paralyze" shows that the band is just fine. Not quite perfect, but a solid creation.
Well, if "Lullabies to Paralyze" is any indication, then they are doing fine. This album relies on Josh Homme, and it's stripped down to... well, not down to the bare bones, but some very strong, lean sinew. The albums opens with a little acoustic ballad, "Lullaby," which starts things off on a strong footing.
From there on, things get stranger -- fast paced songs that just keep speeding up, ominous buildups, and nightmarish undertones. There are moments of quieter catchiness -- "Little Sister" seems perfect for the album's first single. And a few tracks feel a bit like filler. But overall, "Lullabies" is very much in the flavour of the Queens' second album, "Rated R." Only darker and somehow more whimsical.
Singer/songwriter/guitarist Josh Homme gets to rule in this one. Truth be told, he ruled all through the Desert Sessions, Kyuss, and now he sits in the middle of the Queens of the Stone Age, like a sinister-but-not-evil mastermind. Oliveri's manic style and gimmicks are gone, and in their place is steady, dark rock'n'roll that takes strange and unexpected twists.
It's not a concept album, but it feels that way -- the mood gets generally creepier as "Lullabies" goes on. Fuzzy guitars, dark metallic riffs, and eerie harmonies get a few unusual flourishes, such as that broken music box. And Homme's vocals blend into the songs like another instrument -- great stuff. It only emphasizes how central he is to the band's unique sound.
Queens of the Stone Age seemed to be endangered when Oliveri departed, but "Lullabies to Paralyze" shows that the band is just fine. Not quite perfect, but a solid creation.
Monday, September 13, 2010
Qotsa
I really like QOTSA...They're a great band good music, good live etc. Hopefully I'll see them live soon!
Monday, September 6, 2010
So today
So today I went for a long walk on the beach while jamming out to music, it was pretty awesome...I got lost in thoughts majority of the way it was kind of odd.
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