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NEW MUSIC REVIEWS |
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CD SPINS by Staff
EVANESCENCEFallen (Wind
Up Records)
Here’s the recipe: Heavy
Metal/Industrial backdrop, hip-hop rapper, perfect vocals on top,
anger-filled lyrics. Evanescence
fits the bill to a “T.” What saves this CD is the classic and gothic tinges, making it
stand out from the blueprint. “Fallen”
has diversity in its collection of tunes.
“Going Under” leads off the CD with industrial crank and power
as Amy Lee’s vocal starts off low and emotional, giving way to her
forceful timbre that makes you take notice.
Yes, the angst is the same, but you have got to have something to
grab your market bracket.
Acoustic guitar and strings start off “Everybody’s Fool” creating a perfect dynamic for the abrupt
change to the song. “My Immortal,” an
emotionally filled tale of devotion and love, reveal Lee’s vocal
talents rival those of Tori Amos.
The best cut on this CD is “Haunted,”
which returns us to the Goth side of their sound with a creepy canvas
splashed with Technicolor paint. Great
harmonies and punchy rhythm make this real stand out.
“Tourniquet”
is reminiscent of Faith No More and again, Lee’s voice shines through.
There are some slight Christian undertones in this song, but
nothing overt or preachy. “Whisper”
ends the CD with a great rock riff that rides on top of a techno-rhythm
and strings. The
introduction of the gothic choir adds the perfect touch. Evanescence, given the proper exposure, could bubble to the surface
with its new approach to a tired format. Certainly their talent exhibits the skills to develop with
times. This is a spirited
debut effort from a highly hybrid band.
More
Info: www.evanescence.com –
Jon
Rice
IKARA COLTS
Chat And Business (Epitaph
Records) Name one of the
hottest bands coming from London and you would have to credit Ikara
Colts. They showcase electric rhythms, and a percussion section
personified through Dominic Young who has claims influences
ranging from from jazz great Art Blakey to the steady rock of
Dave Grohl. The work could
be enough to send other drummers who have run from those artists like
Superman from kryptonite, back to the drawing board.
Ikara Colts pull no punches and stand on the music instead of
gimmicks. Straight forward
and experimental they have created an impressive and successful mix of
sounds and grooves. The
sound is bit like Blur blended with White Stripes with some Sonic Youth
added for good measure.
Lead singer Paul Resende’s lyrics may
only make sense to those who know the story behind them and they are not
talking. It doesn’t really matter though, because one will more then
likely get lost in the addictive rhythms created by guitarist Claire
Ingram and bassist Jon Ball. If you want unabashed rock that is derived from artists who have
studied the craft, digested and interpreted it in their own way, pick up
a copy of “Chat
and Business.”
Ikara Colts are currently on tour with Rocket from the Crypt and
the Yeah, Yeah, Yeah’s. – Phylana BlackmonSAXON
It’s Alive (Angel
Hair Records) The battle of the
Saxons rages on with two bands using the name and each making decent to
great music with a bin full of live albums popping up between the two
camps. Here we have the Oliver/Dawson version of
the band getting dangerously close to crossing the line between
releasing relevant material and cashing in at the detriment of their
hardest core fans. I would
love to slag this disc simply because it is the second live disc in a
row by the unit, but the performances are stellar so best to just come
up with a few nice words and hope a real studio album is near in coming. There is more than a fare amount of crossover between the last live
release –– “Re:Landed”
–– and “It’s
Alive.” In fact,
only two tracks are NOT repeated, yet this current collection is a great
addition to the Saxon cannon as the performances are absolutely
blistering.
New guy singer John Ward carries the songs well enough to not have
the ear revolt at the absence of Biff Byford and the rest of the band
lays it down just as the old band did at their height.
If there were to be a major complaint for this disc it would be the
choice to completely kill any chance of continuity from song to song by
dropping the audience noise between tracks ala Deep Purple’s “Made
in Japan.”
Again, the material is as redundant as could be possible, but if
you are a die hard fan of the old Saxon sound then you can’t help but
get a little excited by these exceptional takes on “Wheels of Steel,” “Motorcycle
Man,” “Dallas 1:PM” and “747
(strangers in the night)”.
So with the niceness out of my system I will say, come up with a
studio record fellas, or else! – David Lee Wilson
SOUNDTRACK/VARIOUS
Last
Of The Mississippi Jukes (Sanctuary
Records)
I’m pleased to report that this soundtrack CD that captures the
Delta blues live just like they play in Morgan Freeman’s Ground Zero
juke joint in Clarksdale, Mississippi.
The Last of the Mississippi Jukes is a
documentary that showcases the blues live in Mississippi -- from Ground
Zero to the Subway Lounge -- a Jackson, Mississippi venue that’s seen
better days with the likes of Duke Ellington, Cab Calloway, Lionel
Hampton, and other great musicians. The Subway has rekindled a new blues audience, but the historic
Summers Hotel, Jackson’s first black-owned hotel, is rapidly
deteriorating. Here’s
hoping that Chicago-born Robert Mugge’s film and this Sanctuary CD
will attract a flock of venture capital angels with not only cash but
also passion for the blues.
Alvin Youngblood Hart cooks on “Joe
Friday.” That and
Bobby Rush’s “Garbage Man”
are two of my personal favorites here, from a
CD that deserves to be in every blues fans’ collection.
This disc is a no-frills snapshot of local bands that are trying to
make it in Mississippi. Last
year, I had the good fortune to spend some time down in the Delta, and
it’s good to see that talented folks like Sam Carr, Chris Thomas King,
and Patrice Moncell & The House Rockers are finally getting their
due and getting noticed.
Don’t tell anybody, but Patrice’s sultry “Strokin’” is a joyful adults-only romp. –
Eric Steiner LINKIN PARK
Meteora (Warner
Bros. Records)
This CD is still steeped in heavy production and meticulous detail
to keeping the mix digitally clean and bereft of any human (accidental
or planned) errors even more than their debut.
What is remarkable from this group is lead vocalist Chester
Bennington’s ability to croon like a member of a boy band one minute
and the next minute scream his vocal cords to a bloody pulp! It’s all here -- the rap-rock that made Limp Bizkit, P.O.D.,
Korn, etc. so popular.
The hit, “Somewhere I
Belong,” starts off very similarly to an old Stabbing Westward
tune, leading into a tried and true song structure.
A song rife with teen angst and devoid of subtlety -- “Don’t
tell ME what to do!” --
is the adolescent message here.
“Hit
the Floor” is
the bluntest track on the CD and features the rapping talents of Mike
Shinoda, backed up by Bennington’s gut-wrenching yells.
Again, anger transference to someone other than the subject of
the song. “Easier
to Run” takes
us into what I believe is Linkin Park’s true voice – power ballads.
Bennington’s voice is transformed into a soft and lilting
quality that is somewhat appealing in a hip-hop vein.
The chorus tries to keep the male audience interested by power
chords and a yelling vocal,
but if you take that away, what is left is a really polished pop song!
“Figure 09”
introduces the CD’s first real rock riff. This song tricks the listener into thinking it is something
different and ultimately disappoints by delivering more of the same. The CD is as predictable as a cold sore
and shows Linkin Park to be purveyors of “hip-pop” -- that is “boy
band sensibilities” awash on occasional bursts of angst. It
offers more of the same old formula and lest we forget, formula is often
the death of a band. Repeating
oneself is not the most marketable ploy in this world of instant
gratification and “what have you done for me that's new?” attitude. I predict that Meteora
will certainly suffer the “sophomore slump.”
More info: www.linkinpark.com –
Jon Rice SWITCHFOOT
The Beautiful Letdown (Red
Ink Records) Well, I was reading an article where I learned that the Christian
Music Industry was the top-selling genre – hands down – which I
found pretty fascinating.
The label “Christian Music” certainly would turn off those
looking for controversy and music that is intent on raging against the
establishment. Quite
frankly, there are fantastic bands that don’t hit you over the head
with their message simply because it’s “not cool” to like this
genre.
That is certainly an unfair situation, and this band is living
proof of that prejudice. Switchfoot
can put Creed, The Verve Pipe, STP and the Goo Goo Dolls to shame with
their fresh approach to music.
“The Beautiful Letdown” was certainly a welcome find for me, and as a responsible
music scribe, I see it as my duty to give some ink to this highly
enjoyable and talented group in the hopes this album will become a
welcome find for others as well. “This
is Your Life,”
the second track of the CD asks a great question –– “Are
you who you want to be?”
Not the least bit preachy, but it sure makes one think, as
any good music should. The music found here fuses electronica, pop, and alternative
together in a great package.
“More
than Fine”
starts off with acoustic guitar and builds to a climactic and powerful
apex. The best song on the
CD in my opinion. Once
again, a positive message without pontificating.
Good songwriting with interesting modulations. A beautiful tune called “Dare
You to Move” moves the listener from high to low with great
dynamics, riffs and of course, an intelligent message to boot.
A very Third Eye Blind sounding cut titled, “Gone,” has a very catchy syncopated rhythm and fun chorus.
“On
Fire” has to
be the most emotional song I have heard in long time.
Pertinent lyrics, simple piano and arrangement, while singer Jon
Foreman, sounds like XTC’s Andy Partridge. Forget the “Christian Rock” label --
as I have often said about another great band with the same label --
Jars of Clay. Switchfoot
are simply great songwriters that have a remarkable level of energy and
tightness to their playing. Unpretentious and fun to boot, Switchfoot really deliver the goods.
I urge you to disregard the label and check them out.
Listen with open ears and an open mind and discover some of the
best music being made today. Find them online at: www.switchfoot.com –
Jon
Rice CRADLE OF FILTH
Damnation And A Day (Sony) The $25,000 question
for black metal fans was “will Cradle Of Filth sell out and create a
commercially accessible recording after signing with a major label like
Sony?” And to be honest, it’s a very fair question to ask. Cradle
Of Filth has long stretched the boundaries of Black Metal and sold
unreal numbers of CDs for small record labels like Cacophonous Records
and the now defunct Mayhem Records. Further, they have been the mold
from which bands such as Emperor and Borknagar have developed.
Given the fact that they are the most revered, most seen, most
heard Black Metal in history, you would hope that the major label
wouldn’t come in with aspirations of changing the band in any way, but
would do their best to spread the music to a much larger audience
without changing the proven formula.
And surprisingly, they have done just that. “Damnation And A Day”
does nothing to tarnish the history of Cradle Of Filth.
While it’s not the very best release the band has ever done,
it’s definitely not softened up in any way as many expected. This is a
brutal dose of the Cradle’s filth and anger, just as you would have
hoped to hear. Broken down into four parts –– Fantasia
Down / Paradise Lost / Sewer Side Up / The Scented Garden ––
each section or movement brings forth a blistering sense of evil as only
Cradle of Filth can do. Shrieking vocalist Dani Filth is as maniacal as
ever throughout this collection, from start to finish.
Songs like “Babalon AD (So
Glad For The Madness)” or
“Thank God For The Suffering,” bring forth the patented hatred
that Filth has been known to spew.
Musically, “Damnation
And A Day” is the most adventurous release Cradle Of Filth has
put forth today, yet that isn’t necessarily a good thing.
Incorporating a 40-piece orchestra and a 32-member choir on various
pieces, COF has stretched the sound without selling their blackened
souls to do so. “The Promise Of
Fever” is one of the best songs that the band has ever done.
However, they have traded some of the more unique aspects of their music here, such as impromptu tempo changes, for more deliberate, straightforward numbers. This is the main negative to this release. It’s solid as COF goes, but at the same time it brings the band back to the pack with the rest of the Black Metal community. This is not as good as the latest from Old Man’s Child, but it is by far the heaviest thing ever to come out on a major label. In conclusion, this is a good release, not great. Kudos to Cradle Of Filth for not changing what they do simply because a major label signed them. It’s well picking up. –
Chris
Akin / Pitriff.com HOOTIE & THE BLOWFISH
Hootie & The Blowfish (Atlantic
Records) After the dismal “Musical
Chairs,” they needed some time to reflect/regroup/hide until
the “Hootie” fever subsided. Darius
released his solo album to no avail -- so here they are in a
“comeback” so to speak (four years later).
This eponymous CD still employs the same blues/folk rock for which
they became famous. What’s
different here, is there really isn’t any of that “frat rock”
appeal which shot the debut album to the stratosphere.
Which, truth be told, is rather refreshing.
This CD will not break any records but it does not stink like Musical Chairs – that is for sure!
“Deeper
Side” leads
off and may tend to remind the listener in some ways to The Motels’ “Only
The Lonely.” It’s a song of going beyond one’s facade to
reveal the true self. A mid-tempo rocker with the soulful vocals of Rucker belting
through, “Little Brother,”
is a funky little groove thang that moves along with a sort of Neville
Brothers/Doobie Brothers flavor.
A slow smoldering ballad is realized in “Tears Fall Down,” featuring great acoustic guitar backing with
simple embellishments from the rest of the band. What I like most about this song is the mixture of good
production and their leaving in the human errors (string buzz, off beat
swells, etc.).
Hootie covers The Continental Drifters’ “The Rain Song,” with the original members helping out on
backing vocals to an accomplished outcome.
“Little Darlin” is
a country ditty with a catchy shuffle beat and some tasty country
guitar riffs.
The CD ends with “Go and
Tell Him (Soup Song),” a funky rocker that really gets the band
cooking. Great Hammond organ and a wonderful rhythm section make this a
stand out. It will be interesting to see if either the record-buying public or
the radio programmers will remember Hootie well enough to embrace them
again.
This is not an album that will set the world on fire, but it is
certainly something worth checking out.
The band seem a little more intelligent, matured and seasoned
with this one. Time will tell. –
Jon Rice KENNY BROWNStingray (Fat
Possum) Kenny Brown’s debut Fat Possum disc, Stingray, starts out with
a down and dirty “If Down Was
Up,” a scorcher that’s filled with chord-churning guitars that
set up a strong rocking blues groove right from the start.
Brown gives “Miss
Maybelle” some awesome slide treatment, and for me, many cuts on
this disc remind me of the high-energy blues work of the North
Mississippi All Stars. “Shake ‘Em On Down” may not resemble some of that song’s
earlier versions, but I enjoy Brown’s interpretation all the more.
His musical
apprenticeship reads like a “Who’s Who” of more traditional
Mississippi bluesmen: he’s
worked for 20 years alongside R. L. Burnside, who’s enjoyed some
well-earned and renewed acclaim. He
has also bent notes with Mojo Bufford, Joe Callicott, Mississippi Fred
McDowell, Junior Kimbrough, and many others.
Brown’s
acoustic chops are in fine form on
“Lonesome Katy Blues” and “You
Don’t Know My Mind,” but I prefer the higher-octane rip snortin’
blues of “Brought You to the
City” and “Going Down
South.” Check out Stingray for some traditional
blues renewed with the fire that inspired some of Mississippi blues’
best. I’d add Kenny
Brown’s disc to energize my blues “house party” any night of the
week. –
Eric
Steiner
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As I
mentioned in these pages last month, it’s time to celebrate the
“Year of the Blues.”
Where
the heck did I find this one?