Thursday, March 31, 2011
Craft Spells - Idle Labor 76/100
In recent years indie has leaned heavily on the 1980's for inspiration. Each artist processes their influences from that decade, sets them to music recorded or produced on their laptop and unleashes a pop record from the confines of their bedroom. Whether that music comes in the form of chillwave (Washed Out), beach rock (Beach Fossils) or gothpop (Wild Nothing), some of the most noteworthy progress in rock seems to emanate from such designs. Idle Hands by Craft Spells fits quitely into that growing crowd as a dutiful piece of nostalgia shaped through modern musical mores.
Adventures in Netflix: The Rise and Fall of WCW 6/10
Who doesn't love professional wrestling? Okay, a lot of people, but I'm not one of them. I don't follow it anymore, but pro wrestling was pretty much more important than any current event for the first 15 years of my life. Just like many of my contemporary men, Hulk Hogan and G.I. Joe were heroes that shaped us into better, more patriotic Americans.
Wednesday, March 30, 2011
Super Street Fighter 3D: The Rick Butler Edition 90/100
For those of you who don't know who Rick Butler is, he's basically the Hearn's version of Justin Wong. If you don't know who Justin Wong is, google him. Ya see, Rick was born with a fightstick in his crib and his first words were "down right fierce". Because of this, he's ok at street fighter (he's awesome) (and a jerk to play against)
Steet Fighter 3D, however, somewhat levels the playing field. To make use of the touch screen on the 3DS, Capcom came up with the idea to allow the player to map 4 different attacks to a button on the touch screen. Can't seem to pull off that double circle ultra with the Gief? Sick of holding back for those charge characters? Well now you can just map Giefs ultra or Guiles flash kick to a button on the touch screen and voila! You're now Rick Butler. Well what if Rick Butler played it and had this ability? Wouldn't that make him even better at the game?
Steet Fighter 3D, however, somewhat levels the playing field. To make use of the touch screen on the 3DS, Capcom came up with the idea to allow the player to map 4 different attacks to a button on the touch screen. Can't seem to pull off that double circle ultra with the Gief? Sick of holding back for those charge characters? Well now you can just map Giefs ultra or Guiles flash kick to a button on the touch screen and voila! You're now Rick Butler. Well what if Rick Butler played it and had this ability? Wouldn't that make him even better at the game?
Tuesday, March 29, 2011
Lupe Fiasco - Lasers 50/100
In 2006 Lupe Fiasco burst on the scenes with his debut album Food and Liquor and followed up with his sophomore attempt The Cool. Seemingly with a great head of steam including both critical acclaim (Both records earned Grammy nominations for Rap Album of the Year) and fan support alike one could understand why Atlantic wanted to ensure one of their prized artists next release was a strong one. So why did Lupe's 3rd commercial release Lasers have to wait 3 years, wade through seemingly endless red tape, and deal with nonstop interference from Atlantic? This questions raises an interesting debate in the music industry: how much production is too much? Sadly, the feud between Lupe and Atlantic end up a cautionary tale of why record companies should let the artists create the album, instead of being a stronger release in an already impressive young career.
Monday, March 28, 2011
The Pains of Being Pure at Heart - Belong 87/100
Justifiably, some indie bands receive meager criticism for driving straight when they arrive at a fork in the road. Whether it's the fear of detractors or losing fans, many artists attempt to hedge their ambitions by choosing to superficially fold in new sounds while maintaining a carbon copy of what made them attractive in the first place. Although not a major crime, releases that seem like a balancing act between the old and new often end up sounding timid to a fault. Thankfully, Belong, the second album from The Pains of Being Pure at Heart, manages to successfully forge ahead while retaining all the charm of their prior work.
Sunday, March 27, 2011
3DS Review
Before going into the meat and potatoes of this thing one thing needs to be said. It WORKS. Today Nintendo has collectively blown the minds of millions as they've put 3D gaming in the palms of peoples hands across the world. It's a technical achievement that deserves respect an will probably spark an entirely new trend in the gaming industry as a whole.
The Look
Thursday, March 24, 2011
Wednesday, March 23, 2011
Cut Copy - Zonoscope 93/100
Remember the first time you did something out of your comfort zone and loved it almost to a fault? Perhaps you jumped off a thirty foot bridge, drunkenly boxed a friend or hooked up with somebody you never considered in such a way. Imagine those feelings and apply them to a band making exotic music that sounds like a failure waiting to happen: electropop meets dancerock with regular guitar appearances by a bunch of dudes from Australia. Put caution to the wind and either jump off the ledge, take a swing or give in to the advances of Zonoscope.
Adventures in Netflix: There Will Be Blood 7/10
Ever watch a movie that you knew was good, but you just didn't like it? That's how I feel with There Will Be Blood. Everything in this movie is expertly done. The acting, the soundtrack, the cinematography, and pacing could be taught to introductory film students as an example of how to pull it all together. So why didn't I love it? Even though Daniel Day Lewis gives a truly genius performance, I guess the story of Daniel Plainview just never really sucked me in. I enjoyed watching what he would do next, but I didn't really care about the outcome of the scene, just the scene itself. There Will Be Blood is the story of one man's descent into madness, but whether or not he pulled it back together never really matters. It's done wonderfully in almost every aspect of filmmaking. It just leaves you unaffected.
Recommendation: If you love films, watch it. This one was made the right way. If you love movies, tread with caution. It's probably not going to grab you. This one's more about appreciation than it is thought and emotion.
Tuesday, March 22, 2011
Adventures in Netflix - Middle Men 6/10
Last night I watched Middle Men, with Luke Wilson, Giovanni Ribisi, and Boris the Blade from Snatch. Overall, I liked the movie, but have no reason to ever watch it again. This confused movie could never really commit to being an ugly drama, a dark comedy, or an over-stylized combination of the two. That's a shame, though, because there's good moments of all three in Middle Men. The acting is pretty high-quality (if not award material) all around. Wilson is likable (for the most part) as the protagonist, and all of the supporting roles do well (if a bit stereotypical). There's no point in owning this one, though. It plays like a bastard child of The Social Network and Blow, but it never comes too close to either of them in the quality department.
Recommendation: The humor, interesting story, quality of acting and gratuitous female nudity make it worth a rental. This one feels like it will end up on Netflix Instant Queue within a couple of months, so I wouldn't even bother going out of your way to watch it. Save it for a boring Wednesday night later in the summer.
Recommendation: The humor, interesting story, quality of acting and gratuitous female nudity make it worth a rental. This one feels like it will end up on Netflix Instant Queue within a couple of months, so I wouldn't even bother going out of your way to watch it. Save it for a boring Wednesday night later in the summer.
Dragon Age 2 (87/100)
Dragon Age II is simply a better game than Origins. PC players are going to call this blasphemous but console owners will probably unanimously agree. Everything from the combat, character roster, graphics, inventory system, and more are improved and make for an altogether better experience than its predecessor.
Dragon Age II stars Hawke, a character who played no part in Origins. The game technically takes place just before the ending of Origins, with Hawke and his family fleeing the Darkspawn that the hero of the first game was currently conquering. From that point the player takes over Hawkes life in the new city of Kirkwall. Since Hawke isn’t a citizen, he is forced to take up the life of a mercenary in order to grant access for him and his family.
Hawkes family consists of his mother and his sister Bethany (or brother Carver if you played as a female. Which doesn’t really make any sense, because even if you’re female, it’d still be your sister…). Bethany (or Carver) is a mage, and is also a party member that you will rely upon in the early going.
If you choose to be a mage class yourself, your sibling will be a warrior instead. The reason it is important that one of you is a mage is because the overall storyline of the game comes down to a growing war between mages and templar’s. If this sounds like a weak plot, it is. While DA2 sports the excellent writing that all BioWare games are known for, its plot simply is not very good. You’ll spend the first part of the game doing side missions in order to raise enough money to pay off your mercenary debt, and you’ll spend the second half of the game doing more side missions that will continue to develop the plot.
That's not to say the story has no compelling or memorable moments because it does. There are a few scenes that will haunt gamers for quite some time as DA2 deals a lot in betrayal, death, love and just about everything in between. The problem is just that the overall plot of the game, Hawke's goal if you will, is almost non-existent.
If you choose to be a mage class yourself, your sibling will be a warrior instead. The reason it is important that one of you is a mage is because the overall storyline of the game comes down to a growing war between mages and templar’s. If this sounds like a weak plot, it is. While DA2 sports the excellent writing that all BioWare games are known for, its plot simply is not very good. You’ll spend the first part of the game doing side missions in order to raise enough money to pay off your mercenary debt, and you’ll spend the second half of the game doing more side missions that will continue to develop the plot.
That's not to say the story has no compelling or memorable moments because it does. There are a few scenes that will haunt gamers for quite some time as DA2 deals a lot in betrayal, death, love and just about everything in between. The problem is just that the overall plot of the game, Hawke's goal if you will, is almost non-existent.
This may all sound bad, but not when you realize how much fun side questing is.
The battle system has been completely redone for this game. The pause and strategize tactics of the first game are gone (you can still do it, but there’s no need to.) Some will consider this a tragedy as Origins was a great setup for PC players, but BioWare decided to make this game fun for the console players this time around. The combat is real-time in DA2.
As the characters level up, they’re awarded abilities that can be mapped to the X, Y, and B buttons (as well as a second set of attacks for holding RT) just like in Origins but the action is so much faster this time around that you don’t find yourself waiting for the chance to use the same attacks again. This makes for more intense battles that were sorely missing from Origins.
As the characters level up, they’re awarded abilities that can be mapped to the X, Y, and B buttons (as well as a second set of attacks for holding RT) just like in Origins but the action is so much faster this time around that you don’t find yourself waiting for the chance to use the same attacks again. This makes for more intense battles that were sorely missing from Origins.
As far as graphics, Dragon Age finally looks like it belongs in this console generation. Origins was an ugly mess, a fact BioWare even jokes about in this game. About an hour or so into the game Hawke is asked if he misses the constant brown of Fereldan, an obvious slight at its predecessor’s lack of environments. DA2 has forests, caves, dungeons, sunlit valleys, and even beach like areas which are much needed upgrades over the constant dark caves of the first game.
The only issue with the environments is the fact that BioWare was clearly forced to reuse them all, over and over again. Every environment has at least four or five different entrances/exits. For instance, in one mission you’ll be sent to a dungeon and you’ll enter from the south entrance and fight your way to the north exit. Then, later on in the game, in a different mission, you’ll be sent back to the same dungeon but this time you’ll enter from the north and work your way south.
It’s a very clever solution to the time and budget constraints EA was probably putting on them, but it is unfortunately a sign that EA was pushing them develop this game quickly. Thankfully, since the environments look good this time around, it’s not a game killer and as long as EA doesn’t mess with BioWares flagship franchise Mass Effect, it’s forgivable.
Your party members this time around are far more memorable. None of them seem to whine and complain about having to be a king (Alistair was such a pansy!) or hate everything you do like Morrigan. Their back stories are not nearly as rich or long but it makes for a better experience that way. Hawkes the guy, everyone else is just following him.
As for Hawke, it’s been thrown around that he’s a better character than Shepard from Mass Effect. Time will tell on that front but the nod still has to go to Shepard for now. Hawke provides humor that Shepard lacks, but Shepards motivations and determination still make him a better character in this reviewers opinion.
In conclusion, Dragon Age II is a great game. It’s a 30+ hour adventure that could be infinitely longer depending on the type of gamer you are. It’s worth your money, your time, and your fanhood. For all you PC players out there, quit your bitchin. There’s already tons of dungeon crawler-based games in the fantasy genre, there are virtually no solid action based games.
Monday, March 21, 2011
Saturday, March 19, 2011
The Strokes - Angles 80/100
During their first ten years of existence The Strokes experienced enough to rival the entire careers of most other bands. Every major and independent label initially rejected their first demo, only to later compete in a bidding war after a few endorsements in the British media sparked the hype machine. Their debut, Is This It, ranks as a distant second to The Velvet Underground & Nico for the title of "Album With More Positive Reviews Than Copies Sold." In the aftermath of their tenure as Hottest Band On Earth, The Strokes released their first critical failure, First Impressions of Earth, took a five year hiatus and ventured into separate and mostly uneven solo efforts. When they announced the deets regarding Angles, it became apparent the album marked a critical point for the band. Will they flame out as another act anointed too soon or solidify their status among rock's elite? Angles indicates the latter, but not in a completely convincing fashion.
Julian Casablancas emphasized to the press that he purposely avoided physical collaboration with the band to allow them proper space to explore their increased roles as creative contributors. Many times that approach works to their advantage. "Two Kinds Of Happiness" sounds like what The Cars might have been with a little more aggression. Albert Hammond Jr. adds a guitar harmony to the outro of "Games" similar to those used so effectively by Metallica in the 80's. Drummer Fabrizio Moretti capitalizes on his opportunity in the shuffling "Taken For A Fool," which recalls Is This It with paranoia replacing that album's insouciant vibe. Hammond and guitarist Nick Valensi trade complementing licks in "Life Is Simple In The Moonlight" while Julian recedes to the shadows during the verses.
Don't get the wrong impression though; Casablancas still knows exactly when to enter the spotlight to maximize the potential of these songs to the best of his ability. He enhances the Depeche Mode-influenced "Games" by sustaining and altering notes during the chorus that blend wonderfully with the layering of snyths. A less ambitious band (Interpol) would rather employ the aforementioned group's use of monotone chants for a predictable outcome. Even though he steps back at times in "Life Is Simple In The Moonlight," Julian completes the freak out breakdowns by providing the necessary energy to keep up with his bandmates. "Gratisfaction" bounces with the effervescence found in better performances by Rivers Cuomo. The smaller role Julian accepts on Angles actually makes his times to shine even brighter than on past records.
As with First Impressions Of Earth, Angles comes with a few miscues, although here they feel minimal. The electric staccato of "Call Me Back" interrupts the nearly flawless flow they build through the first six tracks. Julian provides a decent vocal that keeps the album from meandering into complete oblivion. Although some of the risks they take pay off greatly, "You're So Right" flounders along with a repetitive drone that comes off like a dog unsuccessfully chasing its tail. The Strokes should ignore their impulse for songs like this and continue to develop their growing sense of rhythm found on the morphing opener "Machu Picchu" and first single "Under The Cover Of Darkness."
Unfortunately The Strokes will deal with overreation, counter-reaction, revisionist history and the overrated/underrated argument for as long as Western Civilization exists. Every move they make will come with detractors criticizing them for what they didn't do and naysayers for what they did. Angles brings a spirit sorely lacking from their last album and possibly their most complex work yet in "Life Is Simple In The Moonlight." They deserve a tip of the cap for pursuing new sounds and styles amongst all of the speculation. Angles proves the sum remains much greater than the separate parts, although that sum might have slightly decreased after the first decade.
Julian Casablancas emphasized to the press that he purposely avoided physical collaboration with the band to allow them proper space to explore their increased roles as creative contributors. Many times that approach works to their advantage. "Two Kinds Of Happiness" sounds like what The Cars might have been with a little more aggression. Albert Hammond Jr. adds a guitar harmony to the outro of "Games" similar to those used so effectively by Metallica in the 80's. Drummer Fabrizio Moretti capitalizes on his opportunity in the shuffling "Taken For A Fool," which recalls Is This It with paranoia replacing that album's insouciant vibe. Hammond and guitarist Nick Valensi trade complementing licks in "Life Is Simple In The Moonlight" while Julian recedes to the shadows during the verses.
Don't get the wrong impression though; Casablancas still knows exactly when to enter the spotlight to maximize the potential of these songs to the best of his ability. He enhances the Depeche Mode-influenced "Games" by sustaining and altering notes during the chorus that blend wonderfully with the layering of snyths. A less ambitious band (Interpol) would rather employ the aforementioned group's use of monotone chants for a predictable outcome. Even though he steps back at times in "Life Is Simple In The Moonlight," Julian completes the freak out breakdowns by providing the necessary energy to keep up with his bandmates. "Gratisfaction" bounces with the effervescence found in better performances by Rivers Cuomo. The smaller role Julian accepts on Angles actually makes his times to shine even brighter than on past records.
As with First Impressions Of Earth, Angles comes with a few miscues, although here they feel minimal. The electric staccato of "Call Me Back" interrupts the nearly flawless flow they build through the first six tracks. Julian provides a decent vocal that keeps the album from meandering into complete oblivion. Although some of the risks they take pay off greatly, "You're So Right" flounders along with a repetitive drone that comes off like a dog unsuccessfully chasing its tail. The Strokes should ignore their impulse for songs like this and continue to develop their growing sense of rhythm found on the morphing opener "Machu Picchu" and first single "Under The Cover Of Darkness."
Unfortunately The Strokes will deal with overreation, counter-reaction, revisionist history and the overrated/underrated argument for as long as Western Civilization exists. Every move they make will come with detractors criticizing them for what they didn't do and naysayers for what they did. Angles brings a spirit sorely lacking from their last album and possibly their most complex work yet in "Life Is Simple In The Moonlight." They deserve a tip of the cap for pursuing new sounds and styles amongst all of the speculation. Angles proves the sum remains much greater than the separate parts, although that sum might have slightly decreased after the first decade.
Friday, March 18, 2011
Thursday, March 17, 2011
Mastodon - Live at the Aragon
As the new release by Mastodon contains a CD and DVD, I will review them separately.
The Concert:
Both the CD and the DVD document the same show from the Aragon Theater in Chicago, so it only makes sense to start here.
Mastodon have long been the metal band that non-metalhead critics heaped praise on in annual Top Albums of the Year features. They're definitely strictly a metal band, but they've been too loud, catchy, and flat-out good to ignore since 2004's Leviathan released. 2009's Crack the Skye took Mastodon's trademark heaviness-meets-technicality formula and married it to better songwriting, melody, and structure than they've ever exhibited (though they've certainly hinted at both). The album is an undisputed classic, a crossover success, and (for my money) the best metal album since ...And Justice For All.
The subsequent tour found the Atlanta, Georgian band playing the album in its entirety. Not really having a concert film under their belt yet, they decided to record this show in the Fall of 2010. What's immediately striking about Live at the Aragon is how close to the studio album the band plays, which is both good and bad. In the good sense, it's incredibly impressive how much pure sound and fury this band produces with just the four of them and a keyboardist. Incredible also is how, instrumentally, they rarely miss their mark, even as 3 of the members sing, harmonize, and shout their fucking lungs out. This comes at the cost of the spontaneity typically associated with a live album. The solos are almost completely the same as the studio album. There are no surprise structure changes. This is the same album you heard in 2009, followed by 4 older songs and a Melvins cover.
The previous paragraph shouldn't discourage you from checking out Live at the Aragon, though. The album is as great as it was when it came out, and the performance is superb. The vocals may shock you a bit at first, as Mastodon is much better with their instruments than their voices, but they quickly become more interesting than irritating. None of these guys can really sing well, but the effort they put in is endearing in a very rock and roll way. Good Heavy Metal is almost always about the overall sound anyway, as opposed to virtuoso performance (Yngwie fans be damned). And, oh, the sound this band makes. Crack the Skye has always been a "headphones" album, and its live counterpart proves this is due to composition and not studio layering. I'm continually amazed at how deep this band sounds with just 2 guitars, a rhythm section, and a keyboard. They thunder through the set, maintaining the intricate delicacies of the source material without ever losing the thump.
After the Crack the Sky performance, the band plays a quick set of favorites. The 4 songs are a somewhat curious choice, but they rip through them very well. I would have liked to see them play a few more of their hits ("Blood and Thunder" and "Colony of Birchmen" would have been awesome), but they're a metal band, not Bon fucking Jovi. What is here are songs that tend to breathe more than their studio counterparts do. Somehow, they take a song each off of Leviathan and Blood Mountain, plus two off of Remission and make them even more savage. The end the set with the Melvins "The Bit", which seems to be an odd choice at first, but quickly sounds right at home.
The CD: 69/100
It sounds like a live album. The sound won't blow you away, but it's impressive that the dynamics of the band weren't lost live. As stated before, I would have altered the set list a bit (especially as this is their first live release), but this was a great show. Live at the Aragon probably won't win you over if you're not already a fan. If you're not, I urge you to give Crack the Skye a go. Live at the Aragon is a good companion piece to that landmark album, but it's not essential to anyone but big fans.
The DVD: 82/100
Even though they're not a showy, jump-around-in-the-crowd band, watching these guys work is a treat. They play their asses off, and it really translates well on DVD. They have a cool light show, but the real star is the movie that plays behind them. They had a movie filmed based off of the (crazy) concept of the album (time travel, Czarist Russia, etc.), and it's pretty cool to watch. Even better, though, the film is included on the DVD, accompanied by the studio version of the album playing. It's not Oscar-worthy by any means, but it should appeal to anyone interested in independent or slightly avant-garde film.
I would have prefered to see Live at the Aragon marketed as a DVD with an accompanying CD, and not the other way around. That way, they could include some other features and extras and really have brought the DVD to the forefront. The DVD is a good deal more impressive than the CD is. Both are worth owning if you're a fan. If you're not, go check out the last three albums first, and we'll see you here later.
Wednesday, March 16, 2011
Beady Eye - Different Gear, Still Speeding 39/100
Everybody has owned a pair of shoes at some point in their life that appeared dressy, but upon further review look like absolute shit. No doubt that large amounts of polish, clothing from Gap or Banana Republic and a nice belt can counteract their awful presence. Eventually your mother or girlfriend gathers the gusto to criticize them at Thanksgiving dinner. At some point in time you just admit their repugnance and toss them away with all the other refuse. Why waste your time with cheap knock-offs trying so desperately to be the real thing?
Many influences have been tossed around leading up to the release of Different Gear, Still Speeding but the band failed to mention their most important one: Dr. Seuss. Typical missed swings such as "I'm hiding out in the sun/I'm getting everyone done/Just me hating no one/Here I come, here I come, here I come" from "The Roller" seem more fitting for a junior high Facebook status update or Gavin DeGraw album. "Wigwam" follows the same blueprint with its empty take on romance: "You're taking off in the night/You're coming in when it's light/You make it up to the wife/You say you're wrong when you're right." Perhaps they saved Sesame Street for the introspective sophomore release.
This album suffers immensely from the absence of former Oasis bandleader Noel Gallagher. Every song drifts into a forgettable mash of boring without his keen sense of melody, ability to produce a guitar riff and knack for slight, but effective tempo changes. The surviving members attempt to slug through 60's pop rock and arena balladry for uninteresting results. Only the distinct sneer of singer Liam Gallagher saves "Kill For A Dream" from being mistaken with the gutless, overproduced movie-rock of 3 Doors Down. The aptly titled "Standing On The Edge Of Noise" pulsates relentlessly and the lo-fi vocal effects serve as a detriment to an otherwise sturdy frontman.
The biggest offender of the lot is the dreadful "Beatles & Stones." Only a band with a complete lack of dignity would pass this tune off while simultaneously claiming "I'm gonna stand the test of time like Beatles & Stones." Irony often gets overused in modern rock, but a dose of some would have made this boastful clunker land with less of a thud. The previously mentioned "Wigwam" parallels its dreadful lyrics with music similar to any Bread AM rock radio hit from the mid-70's. Yet somehow Beady Eye outdo themselves on "The Beat Goes On," shamelessly pillaging The Beatles' "All You Need Is Love" for a melody and leaving all substance behind with the carnage.
Undoubtedly this album will find its niche among pub dwellers more interested in punching each other during halftimes of rugby matches than the legacy of rock music. Maybe certain tracks will even temporarily find their way onto college frathouse playlists alongside "Wonderwall" and "Live Forever." So be it. But for those desiring a little more out of their music than guys dressed in designer leather jackets and sunglasses on the back cover of an album, spend your time elsewhere and avoid Beady Eye. Match those duds with a great pair of shoes instead.
Many influences have been tossed around leading up to the release of Different Gear, Still Speeding but the band failed to mention their most important one: Dr. Seuss. Typical missed swings such as "I'm hiding out in the sun/I'm getting everyone done/Just me hating no one/Here I come, here I come, here I come" from "The Roller" seem more fitting for a junior high Facebook status update or Gavin DeGraw album. "Wigwam" follows the same blueprint with its empty take on romance: "You're taking off in the night/You're coming in when it's light/You make it up to the wife/You say you're wrong when you're right." Perhaps they saved Sesame Street for the introspective sophomore release.
This album suffers immensely from the absence of former Oasis bandleader Noel Gallagher. Every song drifts into a forgettable mash of boring without his keen sense of melody, ability to produce a guitar riff and knack for slight, but effective tempo changes. The surviving members attempt to slug through 60's pop rock and arena balladry for uninteresting results. Only the distinct sneer of singer Liam Gallagher saves "Kill For A Dream" from being mistaken with the gutless, overproduced movie-rock of 3 Doors Down. The aptly titled "Standing On The Edge Of Noise" pulsates relentlessly and the lo-fi vocal effects serve as a detriment to an otherwise sturdy frontman.
The biggest offender of the lot is the dreadful "Beatles & Stones." Only a band with a complete lack of dignity would pass this tune off while simultaneously claiming "I'm gonna stand the test of time like Beatles & Stones." Irony often gets overused in modern rock, but a dose of some would have made this boastful clunker land with less of a thud. The previously mentioned "Wigwam" parallels its dreadful lyrics with music similar to any Bread AM rock radio hit from the mid-70's. Yet somehow Beady Eye outdo themselves on "The Beat Goes On," shamelessly pillaging The Beatles' "All You Need Is Love" for a melody and leaving all substance behind with the carnage.
Undoubtedly this album will find its niche among pub dwellers more interested in punching each other during halftimes of rugby matches than the legacy of rock music. Maybe certain tracks will even temporarily find their way onto college frathouse playlists alongside "Wonderwall" and "Live Forever." So be it. But for those desiring a little more out of their music than guys dressed in designer leather jackets and sunglasses on the back cover of an album, spend your time elsewhere and avoid Beady Eye. Match those duds with a great pair of shoes instead.
Tuesday, March 15, 2011
Cap's Corner - The One About the Podcast
Hello World,
We've just published our 7th podcast, and so far, everything is going very well. The show is gaining fluidity, people are listening by the half-dozens, and the crew is legitimately excited to keep on keeping on with it all. After a crappy week with very, very limited power (and no internet to boot), I'm coming back with a vengeance! We just did our first successful two-parter, I finally finished up the Lost Podcast (as in, we lost it, not the show...yet), and we have some great ideas moving forward. The gang is ever so enthusiastic about the direction of the podcast, and we're only getting better with each episode. Sure, the sound quality needs renovation, but we realize this and are working towards it.
The most fulfilling aspect of the podcast continues to be re-listening to it after we record it. At first, it's nerve-racking, but you quickly realize how much better it comes off than you originally feared. We've had 5 guests on the podcast now (I'm not counting House or myself), and I tell each of them the same thing. It always takes 30 seconds to warm up a bit once we go live, but each of them come away glowing after we hang up. I typically call each of them for feedback and thoughts, and everyone is always smiling.
I like to think we have really good chemistry on the podcast. That comes with being friends for so long. Whether or not it's magic isn't really for me to decide. All I know about it is that I'm going to continue to do it, Houser is always in, and my friends are always game to join up. And even if it's only ever a few of us that listen to it, it's worth it. It brings us closer as friends, gives us some fun things to talk about later, and provides us with something to look forward to. If you're new to listening, thank you so much. We do this because we love it. And if you've already been on the podcast, thank you for doing so. It's been a ton of fun, and it's only just begun. Rhyming not intended, but appreciated.
Monday, March 14, 2011
Update to Skip's 50 Favorite Albums
Albums 40 - 31 are up, but they will not appear on the front page. So that it doesn't get buried forever, here's the link:
Albums 40 - 31
Albums 40 - 31
Saturday, March 12, 2011
Friday, March 11, 2011
Bulletstorm (77/100)
 |
| Epic doesn't put their name on bad-looking games. |
Here we are a year later and it seems that Bulletstorm has lived up to most of what it promised. The gameplay really makes it unique over others because the object of the game is not to simply kill everything you see, but to kill everything you see in the most ridiculous way possible. The player is awarded points based on their kills which the game calls ‘skillshots.’ For example, a headshot is worth 150 points, kicking a bad guy into a spiked wall is 200 points, or a well timed grenade throw can lead to multiple kills and multiple skillshots. The points work as an experience system that you can spend on new guns or upgrades that will then allow you to achieve even more unique skillshots.
Throughout the game you play as Grayson, a grizzled and experienced soldier who has spent the last several months in a drunken rage fueled by the betrayal of his former employer, General Serrano. The game gets going pretty quickly with a very explosive opening act that sets the pace for the rest of the way. Grayson, while intoxicated, makes a very poor choice and he and his crew are forced to deal with the consequences. The rest of the game is spent trying to undo the damage he caused.
The humor of the game is toilet humor at best, but it goes so far out of its way to do it that one cannot help but laugh. In one instance an act of revenge was referred to as “stroking a murder-boner for you” and in another case an Asian man was repeatedly referred to as “sushi-dick.” In other words, the game is offensive. It’s trying to be, in some cases almost too hard. But there is no doubt that the ridiculous one liners will eventually break down the mature adult in you and make you laugh as if it’s the first time you’ve ever heard these words used in a sentence.
Behind the humor though lies a surprisingly intense game. The characters may be shallow but their motivations are surprisingly strong. Every character has a reason for being in the fight and that makes the overall experience a good one.
The variety in the game was also an unexpected plus. Bulletstorm was obviously built around the idea of killing creatively, but the style of the game changes up from time to time to make the game a thrilling action experience. Early on there is a train sequence where the player must shoot down a barrage of helicopters on the chase. In another scene there was a gigantic robot in which you obtain the remote and use it against the oncoming enemies. (You have to see it to believe it) The only drawback to the campaign is its awful ending. Or lack there of. Bulletstorm ends more like a TV show than a video game. For instance, when a TV show ends in a weak cliff hanger, the audience doesn’t mind knowing the conclusion will air in next week’s episode. But Bulletstorm does exactly this, only the conclusion won’t be seen for another year or more.
Where Bulletstorm ultimately fails is after the campaign has been completed. The campaign takes about 8-10 hours, depending on difficulty, but after you have finished there’s not a whole lot of reasons to go back. And, unfortunately, the multiplayer was a complete waste of time to develop. The game supports no co-op campaign whatsoever. Being that this is an Epic published game and seeing how much success Gears of War has seen from co-op play, it’s baffling that it’s not in this game. The Anarchy mode (Bulletstorm’s Horde Mode) is fun for a few rounds but loses its appeal quickly.
Bulletstorm is worthy of your time, but maybe not your money. It’s a definite rental or borrow, but since Epic has recently announced that pre-orders of Gears of War 3 come with access to the Gears of War 3 beta, the value of Bulletstorm has dropped significantly. The good news? There’s clearly a Bulletstorm 2 coming, so People May Fly will have a good chance at knocking that one out of the park.
Site Update (or explanation for the lack thereof)
Apologies for the lack of content and podcasts lately. I've been having issues with the power in my house, and the fat bastards at PECO have not deemed it necessary to check it out for nearly 5 days now. Just a couple of notes:
- House, Boy and I recorded a podcast (Episode 5) earlier in the week, but I haven't had a chance to edit it on my computer (no power). We will also be recording episode 5.5 soon to finish it up.
- I'm continuing to piece my Favorite 50 Albums list together, slowly, through my cell phone. For now, it's on hiatus though.
- We've had some contributors sign on to the site. Bobby Wood has signed on to man up the Video Game review section. We've also had Joe Wood, Rick Butler, and Jason A. Babaz sign on, though no new content yet.
- We will still be recording our 2 part podcast tomorrow for the Wizards/Clippers game. I'll be posting it unedited as soon as it's done. It's time for the world to hear the sweet stylings of Rick and Joe.
I promise, we'll get this ball rolling faster than it is now. In the meantime, enjoy the great work the House has contributed this week, reviewing the new Radiohead and R.E.M. releases.
See you soon.
Thursday, March 10, 2011
R.E.M. - Collapse Into Now 71/100
An album review written in 2011 mentioning the effect of a 1997 departure of a band's drummer should be met with necessary skeptism; the guy left nearly 15 years ago. Regardless, the retirement of Bill Barry from R.E.M. sparked an alt-rock controversy unsettled to this day by fans and critics alike: how much did it effect them and their subsequent output? Fortunately, the emergence of Collapse Into Now somewhat stimies the debate by introducing a solid and at times good addition to the band's canon.
Collapse Into Now begins as almost every R.E.M. record does with an uptempo mash of searing guitars and a shouted chorus from vocalist Michael Stipe. This time they named it "Discoverer" and it's one of the better songs from the set. "Uberlin" borrows heavily from "Drive" off Automatic for the People for chant-like verses over a fingerpicked acoustic guitar, but instead employs a traditional bridge and chorus in favor of the circular pattern used in the latter. The first two minutes of "It Happened Today" features a folk stomp replete with mandolin that harkens back to Out of Time.
In contrast to 2008's Accelerate, this album relies less on pace and more on space for dynamics. The piano line in quasi-gospel ballad "Walk It Back" sounds exactly like its title and fits perfectly between bangers "Mine Smell Like Honey" and "Alligator_Aviator_Autopilot_Antimatter." Guitarist Peter Buck lays down a gentle strum in "Me, Marlon Brando, Marlon Brando and I" that allows Stipe to execute his pattened high-pitched wails for great results. The guys even allow themselves to enter jammy sing-a-long territory for the outro of "It Happened Today," ending in a cacaphony of their trademarked "OHHH-ohhhh-OHHHHs" with Eddie Vedder of Pearl Jam.
Although the band deserves admiration for their continued emphasis on politics and world events, it sometimes leads to dismal offerings. Nothing exemplifies this better than the underthought "Oh My Heart," an update on the Hurricane Katrina victim from "Houston" on Accelerate. In direct response to the worst ever R.E.M. lyric contained in that song: "if the storm doesn't kill me the government will," Stipe delivers another gaffe with "the storm didn't kill me/the government changed." This type of assembly line political sloganeering runs counter to the mysterious ambiguity that makes the band great, especially when dealing with such sensitive subject matter.
Simpy stated, Collapse Into Now fits nicely in the middle of the R.E.M. discography. It pales in comparison to career achievements such as Murmur and New Adventures in Hi-Fi but separates itself from the trio of forgettable post-Barry releases that started with Up, continued to Reveal and culminated in their creative nadir, the embarrassing Around the Sun. Whereas those albums felt more like Michael Stipe solo projects, this record develops the band-focused concept explored on Accelerate. How much should this be attributed to an artistic power struggle in the absence of Barry? Or did the guys just need time to discover their places with one less contributer at the table? Whichever the answer, Collapse Into Now comes from a reenergized band moving away from mediocrity and closer to form.
Collapse Into Now begins as almost every R.E.M. record does with an uptempo mash of searing guitars and a shouted chorus from vocalist Michael Stipe. This time they named it "Discoverer" and it's one of the better songs from the set. "Uberlin" borrows heavily from "Drive" off Automatic for the People for chant-like verses over a fingerpicked acoustic guitar, but instead employs a traditional bridge and chorus in favor of the circular pattern used in the latter. The first two minutes of "It Happened Today" features a folk stomp replete with mandolin that harkens back to Out of Time.
In contrast to 2008's Accelerate, this album relies less on pace and more on space for dynamics. The piano line in quasi-gospel ballad "Walk It Back" sounds exactly like its title and fits perfectly between bangers "Mine Smell Like Honey" and "Alligator_Aviator_Autopilot_Antimatter." Guitarist Peter Buck lays down a gentle strum in "Me, Marlon Brando, Marlon Brando and I" that allows Stipe to execute his pattened high-pitched wails for great results. The guys even allow themselves to enter jammy sing-a-long territory for the outro of "It Happened Today," ending in a cacaphony of their trademarked "OHHH-ohhhh-OHHHHs" with Eddie Vedder of Pearl Jam.
Although the band deserves admiration for their continued emphasis on politics and world events, it sometimes leads to dismal offerings. Nothing exemplifies this better than the underthought "Oh My Heart," an update on the Hurricane Katrina victim from "Houston" on Accelerate. In direct response to the worst ever R.E.M. lyric contained in that song: "if the storm doesn't kill me the government will," Stipe delivers another gaffe with "the storm didn't kill me/the government changed." This type of assembly line political sloganeering runs counter to the mysterious ambiguity that makes the band great, especially when dealing with such sensitive subject matter.
Simpy stated, Collapse Into Now fits nicely in the middle of the R.E.M. discography. It pales in comparison to career achievements such as Murmur and New Adventures in Hi-Fi but separates itself from the trio of forgettable post-Barry releases that started with Up, continued to Reveal and culminated in their creative nadir, the embarrassing Around the Sun. Whereas those albums felt more like Michael Stipe solo projects, this record develops the band-focused concept explored on Accelerate. How much should this be attributed to an artistic power struggle in the absence of Barry? Or did the guys just need time to discover their places with one less contributer at the table? Whichever the answer, Collapse Into Now comes from a reenergized band moving away from mediocrity and closer to form.
Monday, March 07, 2011
Skip's 50 Favorite Albums, 2010 Edition, 40 - 31
40.Murder by Death, Who Will Survive, and What Will Be Left?
One might think that 2010, the year where weirdos like Mumford and Sons, Ray LaMontagne, and Iron and Wine got tons of visual press dressing like barbers from the 1880's, there might be a larger audience for Murder by Death. Their brand of Western Gothic Americana Rock isn't too far away from the Pastoral Indie movement we've seen in recent years, but it rocks harder and is a hell of a lot more interesting. Who wouldn't want to listen to a record about the Devil rising in Mexico and going toe-to-toe with the armed locals? I'm inclined to just shrug and say "that's the way the ball bounces" when a band doesn't reach the same popularity as some of their lesser-talented peers (I know the artists above aren't necessarily peers, but you get where I'm going with this), but MBD kicks so much more ass than those pussies with handlebar mustaches out there ever will.
(Revisionist Higher/Lower/About the Same: Slightly Lower)
39. Radiohead, OK Computer
I think of OK Computer a lot like I think of the Beatles' Revolver: I tend to think it's slightly overrated, until I listen to it again, and I remember why it's so great and wonder why I forgot about it completely (Revisionist Note: I'm going through a lot of this lately). OK is one of the few albums I can think of that is simultaneously brilliant, catchy, powerful, beautiful, and meaningful (except Fitter. Happier. I still think that it's their dumbest decision ever, and while I realize it was 1997 and it probably didn't sound as corny back then, I took note of it the first time I heard it, and now I just completely skip it. Every time). Radiohead ventured down every stylistic avenue they could think of since its release, but they've never topped OK Computer.
(Revisionist Higher/Lower/About the Same: Much Higher)
38. Beck, Sea Change
My favorite breakup album. I typically accuse Beck of putting style over substance, but while he may have been making a stylistic statement with this album as a whole, Sea Change is deeper and has more meaning than anything else he's done (For me, anyway). My biggest issue with Beck's discography deals with the same reason he's been such an iconic figure in rock history of the last 20 years: his chameleonic sound. Beck has been the Bowie of his day, shifting sounds and style, recreating himself each time, but that's where my bone to pick lies. I've always felt that the ever-changing sound has diminished the quality of the product (I'm probably solely alone in this camp). Not so on Sea Change, though. Without the jarring effect of unexpected sounds (maybe a country album was jarring enough), the album is free to build upon itself and create an overarching mood. By building a foundation upon shared principles throughout the album (country stylings, heartbreak), Beck concentrates on the songwriting more than he usually does, and it leads to the strongest and most consistent set of his career.
(Revisionist Higher/Lower/About the Same: About the Same)
37. Drive-By Truckers, Dirty South
This era of file-sharing, instant streaming, and the blogosphere has given birth to the distinctly post-modern joy of unparalleled media discovery. Sure, it's a joy that has always been around, lurking deep in the bottom of the used record bin, hanging on the tip of the tongue of a friend, buried on side two of the 25th mix tape someone made for you. But these time-honored traditions deeply rooted in the second half of the 20th century can't match the immediate, far-reaching joy of taking a band that you've heard of (or have been recommended), reading a review on each item in their resume, and having it all at your fingertips to listen to near instantly. Traditionalists cry foul at such acts, blaming such immediacy for both our collective musical ADD and lack of loyalty to artists (and, in essence, the downfall of the entire music industry). They are idiots.
The House recommended the DBT's to me about year ago. A few days after he did, I had already listened to three of their albums, knew all the words to a few of my favorite songs of theirs, could compete in a DBT song fantasy draft (though that didn't actually happen until much more recently), and was already searching for concert dates. Tradition can suck it.
(Revisionist Higher/Lower/About the Same: Higher)
36. Queens of the Stone Age, Era Vulgaris
What does it say when the second worst album of a band's is still in my top 50? Era Vulgaris is the soundtrack to the return of Josh Homme's mojo, after in-house shakeups clearly led to QOTSA's weakest (though still underrated) album, Lullabies to Paralyze. Even though I looked forward to Era's release, hearing it for the first time was a reassurance that not only were QOTSA "back", but Rated R and Songs for the Deaf also stopped feeling like a kick-ass party you went to years ago, but had faded into a happy memory. Homme mastered the technique of having tons of guests on his album, yet it always feels like his (he had tinkered with this on the other QOTSA albums, but this was the first successful album where he was seemingly the only constant).
(Revisionist Higher/Lower/About the Same: Lower)
35. System of a Down, Toxicity
System of a Down remains the only redeemable band from the nu-metal movement. Heavy yet playful, and always anthemic, Toxicity could make you scratch your head at it's weirdness on nearly every track, yet, you'd still find yourself humming some strange-ass rhythm from it later. The band clearly seems like it's done, and while Hypnotize and Mesmerize were both very good albums, Toxicity will undoubtedly remain the highest achievement from the greatest Armenian-American metal band of all time. "Chop Suey" will always have a home in my car's CD player.
(Revisionist Higher/Lower/About the Same: Lower)
34. White Stripes, Icky Thump
The Stripes always has a weirdness about them, but their last album is definitely the weirdest. Icky Thump has more eccentricity and eclecticism from a two-piece band than most albums have from a fully fleshed-out lineup. "Rag and Bone" may be the most White Stripes-ian song they've ever recorded: all in a few minutes, they giggle at you, punch you in the stomach, get maniacal, and blow out your subwoofer. It (and really, the White Stripes in general) sounds like a couple of young kids playing in the backyard of a house in the Midwestern suburbs, melting dolls and army men in the sun with a magnifying glass, narrating a movie only they can see as it happens. On drugs.
(Revisionist Higher/Lower/About the Same: Lower)
33. Weezer, Pinkerton
Has there ever been a pop/rock album that took longer to sink in? I was late to the Pinkerton party (sorry, that sounds pervy), so I missed out on the journey from maligned sophomore failure to unappreciated masterstroke of genius. I had my own similar mini-journey with it, though. I loved the Blue Album as a kid (when it came out), kind of fell away from Weezer when I got real into shitty nu-metal as a young teen, but came back after the release of the Green Album. Weezer was my first concert, and I bought a signed copy of Pinkerton from the merch stand at the arena, because it was the one I didn't have. The set list consisted of 8 songs from Blue, a large portion from Green, a couple from Pinkerton and 2 off of the unreleased Maladroit. When I got home and listened to Pinkerton for the first time, I thought I realized why. I liked "The Good Life" and "El Scorcho", but nothing else. It stayed that way for a while. Using those two as a center, back-to-back, I slowly ventured outward in each direction, listening a track or two in advance and after what I considered the only two good songs on the damned thing. Within a couple of months, however, I knew the whole thing inside and out. Maybe it just takes a while for everyone?
(Revisionist Higher/Lower/About the Same: About the Same)
32. Led Zeppelin, Led Zeppelin 2
There isn't a ton to be said about Zep 2 that hasn't already been beat to death. It's one of the best pure rock and roll albums ever. "Whole Lotta Love" was a revolutionary song. "Living Loving Maid" and "Heartbreaker" probably go together more closely than any other two song lineup in rock and roll history (can you really hear one without thinking of the other?). "Ramble On" is probably my favorite song, and a top 5 Zeppelin song to boot. The Brown Bomber (like the rest of Zep's first six albums) stands the test of time, and for our generation (those who were never alive when the band existed), these songs sound like they've been there forever and will never disappear.
(Revisionist Higher/Lower/About the Same: About the Same)
31. The Black Keys, Rubber Factory
Speaking of songs that sound like they've always existed, Rubber Factory's songs have always felt like they were written forever ago and merely covered by the Keys (much of their music does, which is a sign of greatness). Never afraid to be too heavy, or ugly, or traditional, the Black Keys may not have invented the wheel for garage band blues, but they do it better than anyone has outside of the 70's. Always serving the song, doing what is best for it, both members of the Keys sacrifice their own personal glory here. Dan Auerbach could bring his voice up to the front of the songs, or take more solos, but he doesn't. Pat Carney could definitely be flashier behind the kit, but he isn't. He just thuds away, dominating the groove. The Keys never disappoint with albums, but they haven't been able to top this one (This is a revisionist remark. I have one other album ranked higher, but I definitely overrated it).
(Revisionist Higher/Lower/About the Same: About the Same)
One might think that 2010, the year where weirdos like Mumford and Sons, Ray LaMontagne, and Iron and Wine got tons of visual press dressing like barbers from the 1880's, there might be a larger audience for Murder by Death. Their brand of Western Gothic Americana Rock isn't too far away from the Pastoral Indie movement we've seen in recent years, but it rocks harder and is a hell of a lot more interesting. Who wouldn't want to listen to a record about the Devil rising in Mexico and going toe-to-toe with the armed locals? I'm inclined to just shrug and say "that's the way the ball bounces" when a band doesn't reach the same popularity as some of their lesser-talented peers (I know the artists above aren't necessarily peers, but you get where I'm going with this), but MBD kicks so much more ass than those pussies with handlebar mustaches out there ever will.
(Revisionist Higher/Lower/About the Same: Slightly Lower)
39. Radiohead, OK Computer
I think of OK Computer a lot like I think of the Beatles' Revolver: I tend to think it's slightly overrated, until I listen to it again, and I remember why it's so great and wonder why I forgot about it completely (Revisionist Note: I'm going through a lot of this lately). OK is one of the few albums I can think of that is simultaneously brilliant, catchy, powerful, beautiful, and meaningful (except Fitter. Happier. I still think that it's their dumbest decision ever, and while I realize it was 1997 and it probably didn't sound as corny back then, I took note of it the first time I heard it, and now I just completely skip it. Every time). Radiohead ventured down every stylistic avenue they could think of since its release, but they've never topped OK Computer.
(Revisionist Higher/Lower/About the Same: Much Higher)
38. Beck, Sea Change
My favorite breakup album. I typically accuse Beck of putting style over substance, but while he may have been making a stylistic statement with this album as a whole, Sea Change is deeper and has more meaning than anything else he's done (For me, anyway). My biggest issue with Beck's discography deals with the same reason he's been such an iconic figure in rock history of the last 20 years: his chameleonic sound. Beck has been the Bowie of his day, shifting sounds and style, recreating himself each time, but that's where my bone to pick lies. I've always felt that the ever-changing sound has diminished the quality of the product (I'm probably solely alone in this camp). Not so on Sea Change, though. Without the jarring effect of unexpected sounds (maybe a country album was jarring enough), the album is free to build upon itself and create an overarching mood. By building a foundation upon shared principles throughout the album (country stylings, heartbreak), Beck concentrates on the songwriting more than he usually does, and it leads to the strongest and most consistent set of his career.
(Revisionist Higher/Lower/About the Same: About the Same)
37. Drive-By Truckers, Dirty South
This era of file-sharing, instant streaming, and the blogosphere has given birth to the distinctly post-modern joy of unparalleled media discovery. Sure, it's a joy that has always been around, lurking deep in the bottom of the used record bin, hanging on the tip of the tongue of a friend, buried on side two of the 25th mix tape someone made for you. But these time-honored traditions deeply rooted in the second half of the 20th century can't match the immediate, far-reaching joy of taking a band that you've heard of (or have been recommended), reading a review on each item in their resume, and having it all at your fingertips to listen to near instantly. Traditionalists cry foul at such acts, blaming such immediacy for both our collective musical ADD and lack of loyalty to artists (and, in essence, the downfall of the entire music industry). They are idiots.
The House recommended the DBT's to me about year ago. A few days after he did, I had already listened to three of their albums, knew all the words to a few of my favorite songs of theirs, could compete in a DBT song fantasy draft (though that didn't actually happen until much more recently), and was already searching for concert dates. Tradition can suck it.
(Revisionist Higher/Lower/About the Same: Higher)
36. Queens of the Stone Age, Era Vulgaris
What does it say when the second worst album of a band's is still in my top 50? Era Vulgaris is the soundtrack to the return of Josh Homme's mojo, after in-house shakeups clearly led to QOTSA's weakest (though still underrated) album, Lullabies to Paralyze. Even though I looked forward to Era's release, hearing it for the first time was a reassurance that not only were QOTSA "back", but Rated R and Songs for the Deaf also stopped feeling like a kick-ass party you went to years ago, but had faded into a happy memory. Homme mastered the technique of having tons of guests on his album, yet it always feels like his (he had tinkered with this on the other QOTSA albums, but this was the first successful album where he was seemingly the only constant).
(Revisionist Higher/Lower/About the Same: Lower)
35. System of a Down, Toxicity
System of a Down remains the only redeemable band from the nu-metal movement. Heavy yet playful, and always anthemic, Toxicity could make you scratch your head at it's weirdness on nearly every track, yet, you'd still find yourself humming some strange-ass rhythm from it later. The band clearly seems like it's done, and while Hypnotize and Mesmerize were both very good albums, Toxicity will undoubtedly remain the highest achievement from the greatest Armenian-American metal band of all time. "Chop Suey" will always have a home in my car's CD player.
(Revisionist Higher/Lower/About the Same: Lower)
34. White Stripes, Icky Thump
The Stripes always has a weirdness about them, but their last album is definitely the weirdest. Icky Thump has more eccentricity and eclecticism from a two-piece band than most albums have from a fully fleshed-out lineup. "Rag and Bone" may be the most White Stripes-ian song they've ever recorded: all in a few minutes, they giggle at you, punch you in the stomach, get maniacal, and blow out your subwoofer. It (and really, the White Stripes in general) sounds like a couple of young kids playing in the backyard of a house in the Midwestern suburbs, melting dolls and army men in the sun with a magnifying glass, narrating a movie only they can see as it happens. On drugs.
(Revisionist Higher/Lower/About the Same: Lower)
33. Weezer, Pinkerton
Has there ever been a pop/rock album that took longer to sink in? I was late to the Pinkerton party (sorry, that sounds pervy), so I missed out on the journey from maligned sophomore failure to unappreciated masterstroke of genius. I had my own similar mini-journey with it, though. I loved the Blue Album as a kid (when it came out), kind of fell away from Weezer when I got real into shitty nu-metal as a young teen, but came back after the release of the Green Album. Weezer was my first concert, and I bought a signed copy of Pinkerton from the merch stand at the arena, because it was the one I didn't have. The set list consisted of 8 songs from Blue, a large portion from Green, a couple from Pinkerton and 2 off of the unreleased Maladroit. When I got home and listened to Pinkerton for the first time, I thought I realized why. I liked "The Good Life" and "El Scorcho", but nothing else. It stayed that way for a while. Using those two as a center, back-to-back, I slowly ventured outward in each direction, listening a track or two in advance and after what I considered the only two good songs on the damned thing. Within a couple of months, however, I knew the whole thing inside and out. Maybe it just takes a while for everyone?
(Revisionist Higher/Lower/About the Same: About the Same)
32. Led Zeppelin, Led Zeppelin 2
There isn't a ton to be said about Zep 2 that hasn't already been beat to death. It's one of the best pure rock and roll albums ever. "Whole Lotta Love" was a revolutionary song. "Living Loving Maid" and "Heartbreaker" probably go together more closely than any other two song lineup in rock and roll history (can you really hear one without thinking of the other?). "Ramble On" is probably my favorite song, and a top 5 Zeppelin song to boot. The Brown Bomber (like the rest of Zep's first six albums) stands the test of time, and for our generation (those who were never alive when the band existed), these songs sound like they've been there forever and will never disappear.
(Revisionist Higher/Lower/About the Same: About the Same)
31. The Black Keys, Rubber Factory
Speaking of songs that sound like they've always existed, Rubber Factory's songs have always felt like they were written forever ago and merely covered by the Keys (much of their music does, which is a sign of greatness). Never afraid to be too heavy, or ugly, or traditional, the Black Keys may not have invented the wheel for garage band blues, but they do it better than anyone has outside of the 70's. Always serving the song, doing what is best for it, both members of the Keys sacrifice their own personal glory here. Dan Auerbach could bring his voice up to the front of the songs, or take more solos, but he doesn't. Pat Carney could definitely be flashier behind the kit, but he isn't. He just thuds away, dominating the groove. The Keys never disappoint with albums, but they haven't been able to top this one (This is a revisionist remark. I have one other album ranked higher, but I definitely overrated it).
(Revisionist Higher/Lower/About the Same: About the Same)
Radiohead - The King of Limbs 83/100
Beginning with the release of their landmark album Kid A in 2000, it has become increasingly difficult to separate the circumstances surrounding a new Radiohead record with the actual music. From the unexepected Kid A twin of Amnesiac to the "name your price" business model introduced with In Rainbows, Thom Yorke and company create larger themes forever attached to their output. Remaining in that vain, the band announced The King of Limbs via their website on Valentine's day as the world's first "newspaper album," available for download now with 650 pieces of artwork similar to the advertisements stuffed in a Sunday edition of The London Times arriving with the physical copy in May.
Unlike those past albums however, the new batch of tunes does not parallel the innovation related to its release. The King of Limbs mostly resembles the glitchy laptop pop found on Yorke's solo outing The Eraser coupled with the swirling atmospherics used on Amnesiac. Although Radiohead goes to familiar places for perhaps the first time in their career, they still deliver the goods.
Nearly every song reveals the importance of rhythm, most specifically drummer Phil Selway. The skittering "Morning Mr. Magpie" showcases his ability to provide a necessary backbone for Yorke to hold notes without sounding isolated from the music. The short fills that form most of the variations in "Bloom" rank among Selway's best performances at carrying along a song while simultaneously allowing Yorke the necessary space for his unique vocal patterns. His place in Radiohead seems comparable to a navigator on an airliner, completely content to chart the schematics for flight while someone else pilots. If every dalliance into becoming a singer/songwriter results in performances like these, Phil needs to release a solo album every year.
Continuing a recent trend, Yorke mutters and croons lyrics centered almost entirely on the self and the personal experience in lieu of third person storytelling associated with songs like "Fake Plastic Trees" and "Karma Police." More than ever he repeats phrases such as "don't hurt me" and "into your heart" from "Giving Up the Ghost" and "Lotus Flower," respectively. The past few additions to the Yorke songbook focused on his views and observations of individual relationships as opposed to societal complexity and stigmas. Perhaps this indicates a self-aware sea change, but more likely it comes from an artistic maturation. When viewed with the topically similar In Rainbows and The Eraser, it feels as though Thom has finally arrived at a place where he accepts life as is and not as he desires. Songs like the aforementioned comment more on processing events rather than shaping them into something else. "I'm a fish now/Out of water" from "Separator" typifies his thought process; he finally seems reconciled to discover he will always view life detached from its happenings.
Perhaps the most surprising aspect (musically) of The King of Limbs comes from the diminished presence of guitarists Johnny Greenwood and Ed O'Brien. Although each contribute a few highlights, most notable the sprinkling figures in "Separator" and the rolling "Little by Little," their absence leads to a reliance on electronics that feels slightly hollow at times. Most bands blessed with such firepower overuse it, but these guys purposely avoid it. "Feral" could have benefited from more Greenwood, though the basslines provided by brother Colin save the song from total disaster. O'Brien's distinct rhythm playing takes a backseat to the cascading piano and blips in "Bloom" which leaves it feeling incomplete after five minutes.
Radiohead created such a monolith of expectations over the last decade that the fact that they still have not released even an average album speaks to their resilience. Releasing seven albums before revisiting them for ideas would leave 99% of all artists with a catalog plagued with duds. Those who expect a once in a lifetime masterpiece like Ok Computer will no doubt feel disappointed. However, an objective listen to The King of Limbs shows a band fully capable of synthesizing their sound without sacrificing quality.
Unlike those past albums however, the new batch of tunes does not parallel the innovation related to its release. The King of Limbs mostly resembles the glitchy laptop pop found on Yorke's solo outing The Eraser coupled with the swirling atmospherics used on Amnesiac. Although Radiohead goes to familiar places for perhaps the first time in their career, they still deliver the goods.
Nearly every song reveals the importance of rhythm, most specifically drummer Phil Selway. The skittering "Morning Mr. Magpie" showcases his ability to provide a necessary backbone for Yorke to hold notes without sounding isolated from the music. The short fills that form most of the variations in "Bloom" rank among Selway's best performances at carrying along a song while simultaneously allowing Yorke the necessary space for his unique vocal patterns. His place in Radiohead seems comparable to a navigator on an airliner, completely content to chart the schematics for flight while someone else pilots. If every dalliance into becoming a singer/songwriter results in performances like these, Phil needs to release a solo album every year.
Continuing a recent trend, Yorke mutters and croons lyrics centered almost entirely on the self and the personal experience in lieu of third person storytelling associated with songs like "Fake Plastic Trees" and "Karma Police." More than ever he repeats phrases such as "don't hurt me" and "into your heart" from "Giving Up the Ghost" and "Lotus Flower," respectively. The past few additions to the Yorke songbook focused on his views and observations of individual relationships as opposed to societal complexity and stigmas. Perhaps this indicates a self-aware sea change, but more likely it comes from an artistic maturation. When viewed with the topically similar In Rainbows and The Eraser, it feels as though Thom has finally arrived at a place where he accepts life as is and not as he desires. Songs like the aforementioned comment more on processing events rather than shaping them into something else. "I'm a fish now/Out of water" from "Separator" typifies his thought process; he finally seems reconciled to discover he will always view life detached from its happenings.
Perhaps the most surprising aspect (musically) of The King of Limbs comes from the diminished presence of guitarists Johnny Greenwood and Ed O'Brien. Although each contribute a few highlights, most notable the sprinkling figures in "Separator" and the rolling "Little by Little," their absence leads to a reliance on electronics that feels slightly hollow at times. Most bands blessed with such firepower overuse it, but these guys purposely avoid it. "Feral" could have benefited from more Greenwood, though the basslines provided by brother Colin save the song from total disaster. O'Brien's distinct rhythm playing takes a backseat to the cascading piano and blips in "Bloom" which leaves it feeling incomplete after five minutes.
Radiohead created such a monolith of expectations over the last decade that the fact that they still have not released even an average album speaks to their resilience. Releasing seven albums before revisiting them for ideas would leave 99% of all artists with a catalog plagued with duds. Those who expect a once in a lifetime masterpiece like Ok Computer will no doubt feel disappointed. However, an objective listen to The King of Limbs shows a band fully capable of synthesizing their sound without sacrificing quality.
Sunday, March 06, 2011
Skip's 50 Favorite Albums, 2010 Edition
Every year, around December, the Internet starts buzzing with Top X Lists. Listing things has become one of the most favorite pastimes of post-modern America. Who doesn't love a Top 10 Dunks list, or Top 200 Bloopers of the Year 2004? I'll read or watch pretty much anything as long as you stick a list format into it. By far my favorite, though, are Top Albums of the Year lists. Every December, The House and I gather our opinions on the Top Album List from Spin, Rolling Stone, Pitchfork, Allmusic, etc., and rip into, well, all of them.
I know it's March, and I should have been more timely with this, but this past December I began a new tradition: force ranking my Favorite 50 Albums Ever. You might have noticed I said "Favorite" instead of "Top". This is intentional. "Blonde on Blonde" is more important and historically a better album than "...And Justice for All", but I don't like it as much. I don't really like Dylan, even though I respect him and his importance to post-WWII popular music. "...And Justice" just kicks way more ass. I also went "Ever" because I usually have trouble filling out even 20 new albums I liked this year.
Revisionist Note: Keep in mind this list is 3 months old now. Like the ever-changing winds, my taste fluctuates, which is why I plan on re-organizing this every year (maybe even half-year, as putting this together was a shit-ton of fun). For instance, (as mentioned in a podcast) I recently remembered that I like Radiohead. Next go-round, you'll see a few more of their albums in here (unless I forget they exist again). I've also placed a Revisionist Note under each entry, indicating whether I think the album is higher, lower, or about the same in my top 50 now.
Albums 50 - 41
Albums 40 - 31
Albums 30 - 21
Albums 20 - 11
Albums 10 - 1
I know it's March, and I should have been more timely with this, but this past December I began a new tradition: force ranking my Favorite 50 Albums Ever. You might have noticed I said "Favorite" instead of "Top". This is intentional. "Blonde on Blonde" is more important and historically a better album than "...And Justice for All", but I don't like it as much. I don't really like Dylan, even though I respect him and his importance to post-WWII popular music. "...And Justice" just kicks way more ass. I also went "Ever" because I usually have trouble filling out even 20 new albums I liked this year.
Revisionist Note: Keep in mind this list is 3 months old now. Like the ever-changing winds, my taste fluctuates, which is why I plan on re-organizing this every year (maybe even half-year, as putting this together was a shit-ton of fun). For instance, (as mentioned in a podcast) I recently remembered that I like Radiohead. Next go-round, you'll see a few more of their albums in here (unless I forget they exist again). I've also placed a Revisionist Note under each entry, indicating whether I think the album is higher, lower, or about the same in my top 50 now.
Albums 50 - 41
Albums 40 - 31
Albums 30 - 21
Albums 20 - 11
Albums 10 - 1
Skip's 50 Favorite Albums, 2010 Edition, 50-41
50. Nirvana, In Utero
It's really hard to separate In Utero from both Kurt Cobain's suicide and All Apologies. Historically speaking, it's a very misunderstood album, both underrated and overrated at the same time. Self-consciously ugly, In Utero will always be known critically as the album Nirvana made to push away the fair-weather fans, but the nervy, bare sound of the album actually gives the album character. Much like All Apologies, the other singles off of In Utero couldn't have existed on any other album (Rape Me would have no spot on Nevermind stylistically). If you can forget Cobain's suicide, and forget how All Apologies looms over the entire album as its best and last song (I have trouble doing this, knowing that we're inching closer and closer to the end), In Utero is a really enjoyable listen. It's unfair to think of this as Cobain's goodbye, but ultimately, that's forever what it will be.
(Revisionist Higher/Lower/About the Same: Off the List)
49. Black Sabbath, Master of Reality
As we'll see through the next few selections, I think it's unfair that Paranoid has always been considered the pinnacle of Black Sabbath's discography. If you know the Paranoid hits, and you know Sweet Leaf, it's easy to think of Master of Reality as Paranoid's not-quite-as-good younger sibling. Reality is better from beginning to end, though. Halfway through the album, you could be forgiven for thinking Sabbath fell back into the front-loaded pattern of Paranoid. Unlike Paranoid, though, the second half of the album holds up, too (that's probably just my opinion, but Paranoid gets a little too jammy for me on the second side). The two instrumentals fit very nicely on this album, Children of the Grave is one of Sabbath's most Sabbathy songs, and Into the Voidends the album better than any other Sabbath closer.
(Revisionist Higher/Lower/About the Same: About the Same)
48. Mastodon, Blood Mountain
I'll always consider Blood Mountain Mastodon's punk album. Sure, there aren't any punk trappings musically, but it's all in the attitude. Leviathan and Crack the Skye are filled with brilliant pathing and construction, but Blood Mountain feels off the cuff. I will sound contradictory when saying it's also their proggiest album, as that should stand in direct conflict of a declaration of punk sensibility, but this album just sizzles everywhere. It sounds like the wild dream of a madman, completely spur-or-the-moment, yet incredibly intricate by nature. These are songs that would take a mere mortal weeks to craft, yet Mastodon makes them feel improvised. It doesn't have too many of their best songs (Colony of Birchmen not withstanding), but taken as a whole, Blood Mountain rocks.
(Revisionist Higher/Lower/About the Same: About the Same)
47. Incubus, Make Yourself
Incubus is a band whose songwriting skills peaked way before their musical voice did. Most of their best and most popular songs are from Make Yourself and Morning View, yet the band has had a much better control of their sound ever since A Crow Left of the Murder. For a band that everyone seems to forget is good until they put a new album (I'm very guilty of this), Incubus has had a lot of really good singles. None stand higher than Pardon Me. As their singular best song, Pardon Me (and most of Make Yourself) straddles the line between youthful exuberance and the masterful pop craftsmanship typically found outside a band's early twenties (I'm not going to bother fact-checking their age at the time of recording). While S.C.I.E.N.C.E stopped kicking ass on your 21st birthday, and Incubus now seems to have entered a mature state of releasing good-but-not-great pop albums every 3-4 years, Make Yourself retrospectively seems like the album that had that best of both worlds.
(Revisionist Higher/Lower/About the Same: About the Same)
46. Death from Above 1979, You're a Woman, I'm a Machine
I went to see a QOTSA/NIN concert one time, and a friend of mine got lost on the way. DFA 1979 were the openers, and I had never heard of them. As I waited outside the arena for my friend to return from New Jersey, I heard this overwhelming racket that shook it's way outside of the building and into the sidewalk next to the Spectrum. We completely missed their set, not entering the Spectrum until just a few minutes before QOTSA's set. I've seen so many shitty opening bands that I didn't think anything of it, until I checked out their album a few months later. I'll never let my friend live it down. It rocks real hard, is catchy as hell, and flies by before it overstays its welcome (a big point for me).
(Revisionist Higher/Lower/About the Same: Slightly Higher)
45. Beastie Boys, Check Your Head
Check Your Head is the Beastie Boy's grooviest album. License to Ill has the kitsch, Paul's Boutique is the masterpiece, Ill Communication and beyond have more hits, but Check Your Head plays better from beginning to end than all of them. Also more than on any of their other albums, the Beasties feel less like a rap group and more like a band whom also happens to rap here. The groove is constant the entire album, the songs are more like jams than pop songs, and your head keeps bobbing the entire time.
(Revisionist Higher/Lower/About the Same: Off the List)
44. Black Sabbath, Black Sabbath
43. Black Sabbath, Sabbath Bloody Sabbath
As with the other non-Paranoid Sabbath albums, these great albums are sorely overlooked in retrospect. These are the two albums I think of when Black Sabbath is described as the first Heavy Metal band. The debut album has a few of their absolute best songs (Black Sabbath, NIB), and the song Sabbath Bloody Sabbath seems like the beginning of both 80's heavy metal and Ozzy's solo career.
(Revisionist Higher/Lower/About the Same: About the Same (Black Sabbath), Lower (SBS))
42. Baroness, Red Album
Equal parts brutal and artful, Baroness sounds like a band headed for great things (Blue Record, the follow-up, kicks a ton of ass as well, but it ultimately didn't quite make my list). You can still hear the band working things out, as their songwriting isn't quite as strong as their instrumentation and creative breadth, but what's here balances beauty, destructive chaos, meandering observation, classic rock guitar solos and thundering rhythms. Only a few songs stick out from the pack, but that's mostly because the pack fits together as a complete piece. Like most of the metal you'll find on my list, this one is meant to be taken as a whole, rather than cherry-picked on an iPod.
(Revisionist Higher/Lower/About the Same: Lower)
41. Mastodon, Leviathan
Often seen as Mastodon's best album, Leviathan is (as the title suggests) titanic. As just mentioned in my Baroness entry, not only is Leviathan impossible to take as anything but a whole, it fits together so well that sometimes it's hard to even differentiate songs (that's a good thing here). The concept of Moby Dick really works well with the music, portraying the harsh reality of the original book instead of the romanticized version of Ahab and his whale. The whole thing really feels like a fight to the death, twisting around underwater until it's all over. This is a dense album (again, in a good way) that takes a while to really understand and love, but it's definitely worth the effort.
(Revisionist Higher/Lower/About the Same: About the Same)
Friday, March 04, 2011
Podcast Impressions
Hello World,
Just wanted to weigh in on some impressions with the podcast so far:
Just wanted to weigh in on some impressions with the podcast so far:
- Only a few people listen to it, obviously, but so far the feedback has been positive.
- From what I've heard, the overall feeling is that each of the three podcasts have gotten successively better.
- The sound was off on episode 3, due to the weird conference call line we have to use until we figure out something better.
- We want to move the production to Skype for quality reasons, but I don't think we'll be doing that for a few more weeks at the least. We need to commit to each buying headsets for such an endeavor, and as of now, I'm more concerned with participation, feeling the process out, nailing down a routine and executing quality podcasts than I am audio fidelity. Not that it doesn't matter, but it's lower on the pecking order right now.
- A few folks really dug the Weezer discussion. I think we have a nice niche with discussing things in depth like that, even if it isn't necessarily topical.
- Streaming right from the site seems to be the preferred method of listening. We've had a few downloads, too. As I've mentioned, we expect to be listed on iTunes soon. I've heard that it can take up to two weeks to make it into their directory, though. Rest assured that we've submitted it for review.
Heading forward,
- We have a lot of good ideas for themed podcasts in the future. Be on the lookout for podcasts centering on our awful March Madness picks, the NFL Draft, the NBA and NFL lockouts, discussions on new albums, a before and after podcast next Saturday based on Air Hearn's trip to the Blake Show in DC, and a rematch of Boy and Dubbz in an Around the Horn-type game.
- I look to start writing some non-fiction features in the near future. I imagine we'll see some from other contributors, especially the House.
- We've been keeping a daily schedule with podcasting, but I get the feeling we're going to find ourselves slowing down into a 2 or 3 per week schedule. We're really excited right now, but once the freshness wears down and we're in more of a routine, look for a couple of podcasts per week. My commitment is 2, but that's a minimum.
- I'm always looking for new guests to have on the podcast. In the next week, look to hear guest spots from Rick, Wood, and perhaps Kuntz. My girlfriend Lex also wants in on a Jersey Shore podcast. If you're interested, let me know.
If you have any question, comments, or suggestions, please sound off in the comments section, shoot us a tweet @airhearn, or email airhearn@gmail.com. This has been a ton of fun so far, and I want to keep it going.
Keep it Hearn, Homeslice.
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