Duds of 2008: Part Two

Here are a handful of albums that hardly deserve a full-length review. Duds consist of albums that have received a rating of two stars or less.

Here We Stand (2008, Island) The Fratellis' second studio album. **

The crunch of an electric guitar hardly matches the light pop of 60's groups such as the Animals, so the attempt that the Fratellis make is painstaking. The girl can't help it, and I doubt she can stand it, either.

One of the Boys (2008, Capitol) Katy Perry's first studio album. *1/2

See The Problem of the Katy Perrys

Simple Plan (2008, Lava) Simple Plan's third studio album. **

The same old shit from a band in a bad genre. I give them some respect because they haven't gotten ambitious.

The Problem of the Katy Perrys

Out of nowhere a singer named Katy Perry has grabbed much attention in the music community. Most of it, thankfully, is negative, as her debut album One of the Boys has proved to be another generic teen pop entry that will soon be forgotten. The feedback has been, for the most part, pretty terrible, as most critics are in agreement to say that she has trapped herself in the corporate studio, surrounded by highbrow producers who are focused on what sounds good now, and not what is important later. However, the Katy Perrys of today aren't annoying merely because they're terrible; rather, it's because they're absolutely useless. Soulja Boy Tell Em is in the music industry to make money. That is his only goal; to sell ringtones of his ridiculously terrible "Crank That," to be featured on VH1 so people buy his album, to perform that one song for people to buy it off iTunes. Capitol Records hopes the same as well with Katy Perry, to make a great fortune off her back while she spits out awful tunes. The reason that Katy Perry is worse, though, is because of the audience that she attracts.

While Soulja Boy can easily target a mass of college and high school students to learn his stupid dance, Katy Perry is not as blessed. Sure, there will be people of that age who are so oblivious to what they listen to that they might download "I Kissed A Girl," but chances are the audience is younger - much younger - than that. Her music is so blatantly terrible that even the high school crowd - of which the subject matter is obviously disguised as - would reject it as completely idiotic. Instead, the middle school girl can relate to the lyrics. This is unfortunate, because she's not a role model like Miley Cyrus, whose lyrics consist of mindless yet harmless scenarios; "If We Were a Movie," for example, or the duet with her father, "I Learned From You." Instead, Katy Perry sings about bicurious behavior, underage drinking, mindless sex with undesireable partners, about it being necessary to fit into some kind of clique, to discourage individuality or to have relationshipswith those different than you. It is an album for the easily suckered, simple-minded members of the One Tree Hill generation.

Even when she talks about these things, it's not even done cleverly, as her lyrics are beyond awful. "One of the Boys" is about a tomboy wanting to be looked at as a girl... should we then assume from Miss Perry that the narrator wanted to change or actually has? It's simplistic high school mentality and overly stereotypical. The lines "It felt so wrong/It felt so right" appear in the chorus of "I Kissed a Girl," and it gets worse; "I kissed a girl just to try it/I hope my boyfriend don't mind it." These are unbelievably easy lines, and it is an easy single because of the annoying and catchy chorus. Keep in mind that "catchy" can mean horrific.

The lyrics even become too obvious as on "Thinking of You;" "When I'm with him, I'm thinking of you" is so literal that it's maddening. There is absolutely no imagination, no original thoughts whatsoever as to how to go about addressing a very overdone situation. And the beat goes on; "You're like an Indian summer in the middle of winter..." what the fuck does that even mean? The whole song is so ridiculously idealistic that it can only appeal to those incapable of thinking in the realms of reality, those who are so stupid that they could use this song as a sort of escapism.

It continues; the lines "You're just a toy/Could you ever be a real boy?" appears on "Mannequin," a song about a guy who - as you may have already guessed - has a cold heart, completey rejecting the love of the singer. God forbid he doesn't want to be with her, but can we really blame him? "If You Can Afford Me" offers little in the way of improvement with lines such as "Don't make the bet if you can't write the check," and "Hot N Cold" offers a long-winded chorus of magnificently overused cliches; "You're hot then you're cold/You're yes then you're no/You're in then you're out/You're up then you're down" and so on and so on and so on.

The worst moment, though, is on the first single which was released in 2007, a taste of the terrors that would arise in mid-2008, a song entitled "Ur So Gay." This song is bad because of the way that it fails to be funny, and not simply just because it isn't funny at all. It fails on so many levels because it's not nearly as radical as it wants to be, it's not nearly as shocking as it presents itself. It turns out to be a very strange and embarrassing number, with lyrics like "You're so sad you should buy a happy meal." The problem is, it's so bad that it's not even funny, it's just bad. And the reasons she thinks the male is gay are beyond idiotic, as I don't know how listening to indie rock or reading Hemingway qualifies one as "gay."

Complete with the random "tonight!" and "oh-ohs," she's always looking for something "real," yet it's clear that she determines what is real: real is without problems, where the male is completely submissive, ultra-romantic, yet not a pussy. One of the Boys is a collection of everything that seventh-grade girls dreams of, all wrapped into one fantastically terrible album now available at Wal-Mart. What's saddening is that Perry sounds as if she's sincere about what she's singing. Her voice is certainly in it, but she's twenty-three years old, and she wrote most of these songs. She is the type that fits into the plague of talentless artists who stumble into the music industry, as record labels turn to teen pop when album sales are down. It happened in the late 90's with Spears and Aguilera, with N*Sync and the Backstreet Boys, and now as Katy Perry comes up on the scene, it is a sign that perhaps again, with album sales plummeting as online sharing increases, that another wave of no-talent hacks will be signed for multi-million dollar contracts, sold-out tour dates, and albums that don't deserve to be spit on were they on fire filling up the shelves at Best Buy. She and the rest of ultra-horrible teen pop are the ideal matches for chicks who still watch their OC DVD's religiously, for those who appear on My Super Sweet Sixteen, or who generally like unnecessarily bad music.

Katy Perry - coming to a One Tree Hill episode soon.

The Virgins - The Virgins

The Virgins (2008, Atlantic) The Virgins' first studio album. ***

Drawing equally from the Police, 70's and 80's dance pop, and a little of their own creativeness, the Virgins have managed to create a decent yet slightly generic album. It's the sort of thing that anyone can enjoy as background music, but when the question is what the Virgins are contributing that others haven't, the silence falls. I don't scold them, honestly, I enjoyed it well enough, but when you draw so much from an influence that your song can almost be confused for the influence (on Rich Girls, namely), it gets you down knowing they could have done it better. Entertaining enough, but a bit too much and not enough spunk.

Coldplay - Viva la Vida or Death and All His Friends

Viva la Vida or Death and All His Friends (2008, Capitol) Coldplay's fourth studio album. ****

Unfortunately for all the haters out there (and there are a lot), Coldplay's fourth album is not as terrible as they would like to claim. Even to claim that it is bad is a lie, it's actually quite good. That's not to say that the completely mainstream and utter sell-outs have fixed all their problems; they're far from that. What they have done, though, is made some very wise decisions. The best of those was to hire producer Brian Eno, a man who was obviously tough on them, pointing out the flaws in their first three releases, but then giving them the motivation they needed. Coldplay isn't a bad band. They're not like Nickelback, a band whose popularity is as puzzling as the fascination of Paris Hilton. Regardless, Eno was able to point out the band's moments of brilliance in a shroud of overly-pretentious, overly-corporate, and overly-simplistic releases.

Viva la Vida is an excellent album, as that must be put on the table first. It is also an extremely frustrating album, as the mistakes that they make become more and more apparent with each successive listen. One of the album's best moments is "Lost!" which features Martin's soaring vocals over a beautiful church organ arrangement. The lyrics, though, are difficult to interpret, as they - along with all the others on Viva la Vida - are overly vague and even contradicting. "42" marks another bold move, as it brilliantly transitions from dark to light and allowing for their Radiohead influences to creep back in. The lyrics here are a bit clearer, obviously about a man's struggle to determine the truth of the afterlife. But halfway through, it suddenly switches into progressive rock. It sounds amazing, but it falls into the trap of the too-structured chorus.

"Lovers in Japan/Reign of Love" again is far too vague for its own good, and while both parts feature an absolutely gorgeous piano arrangement (not to mention Martin's applaud-worthy vocal performance), it is a wasted moment. The words that Coldplay decides to use are so insincere and so half-assed that one wishes they had hired Yorke or Butler to do it for them. Another wasted moment is "Yes," with its obvious prog-rock attack, but with a message only horny Christian virgins will relate to. The pinnacle of the album hinges upon the title track, which is the best song on the album. But like everything else, the message is so muddled that it can't be understood what is literal and what is metaphorical; is it about the demise of God, or truly about a king?

In hindsight, the reader will ask himself "How can you give the album four stars when you just bashed it?" I'd like to think that I didn't. My words can't express my gratitude for the beautiful music that Coldplay has created. However, they have not been successful in shedding cheesy lyrics for ones that can clearly communicate the themes that the album screams: life, death, love, religion, politics. All that said, though, the band is one step closer to being what they want to be; respectable. Will Chris Martin and company become the rock gods they aspire to be? Probably not. They're far too mainstream and subdued in their own shortcomings to breakthrough. At least now. Viva la Vida is a very important transition for them, and they now need to ask themselves if Eno is capable of pushing them farther than he has already, because he pushed them the right way. (42, Lovers in Japan/Reign of Love, Viva la Vida)

Review on YouTube: Coldplay - Viva la Vida

MGMT - Oracular Spectacular

Oracular Spectacular (2008, Red Ink) MGMT's first studio album. ****

The neo-psychedelia duo MGMT (made up of Ben Goldwasser and Andrew VanWyngarden) could have released a classic album. They could have. In fact, for a while, it seemed like they had done it; the first half of Oracular Spectacular, their debut album, it seems like MGMT have crafted something perfect.

The reality is, the Oracular Spectacular is lopsided, with all the beautiful gems showing themselves in the first half, and literally only the first half. With ten songs, "Time to Pretend" through "Kids" is a whirlwind of influences and originality, cleverly warped into one body and garnished with some very impressive and astute lyrics. "Time to Pretend" sounds like a lost anthem of a generation, a mix between the rebellion against the status quo of suburban life, yet yields the tragic consequences of the "live fast, die young" rock mentality. It's an eclectic blend of alternative pop as well as 60's pop. The true anthem, though, is "The Youth," with its beautiful and minimalist approach, the gorgeous falsetto as MGMT ask an important question; "The Youth are starting to change/Are you starting to change?" It is a testament to John Lennon's "Give Peace a Chance" or "Imagine." The Beatles landscapes of "Weekend Wars," the disco beat and BeeJees stylings of "Electric Feel," and the alternative dance of "Kids" are all outstanding pieces. And it is on "Time to Pretend" and "Kids" where MGMT sounds at their most original, regardless of how well their influences play on others.

Despite all that, the second half of the album slips, starting immediately with "4th Dimensional Transition," steeped heavily in Middle Eastern and even rolling wild west approaches. "Pieces of What" fails to establish the hook it is looking for, and while none of the remaining songs are bad, they're certainly not what was promised in the album's opening act. Still, MGMT have proved that they are masters of neo-psychedlia, and perhaps a bit of time on the road will allow them to pen a few more ridiculously good tunes. (Time to Pretend, The Youth, Electric Feel)

Death Cab For Cutie - Narrow Stairs

Narrow Stairs (2008, Atlantic) Death Cab For Cutie's sixth studio album. ****1/2

I'm not sure that it really matters if Narrow Stairs is of the same caliber as Transatlanticism. What matters is that on its own, Narrow Stairs is a fantastic album, certainly one of the best of 2008 thus far. The tone is very clear, and never does its message of loneliness and wanting, the darkness of unrequited love, get lost in even the upbeat and inspiring music.

"I Will Possess Your Heart" is easily a strong point in the album, but by no means is it the only memorable tune. It's almost too long, for the four-minute instrumental introduction is not necessary at all. But once Ben Gibbard's vocals come in, the undeniable beat of his voice is imposible to ignore. The indie rock and alternative pop/rock quirkiness is fluent throughout the next several tracks; "No Sunlight" is very upbeat, having a quicker tempo and seemingly sunny lyrics. But like everything else, it is almost drenched in lyrics of the attitude that love is not what it seems. "Cath" is a truly frightening song, about the dangers of settling when there appears to be nothing else, and its address to a named person makes it act like a Ben Folds song.

The album's shortest song "You Can Do Better Than Me" is just under two minutes, again about two lovers who stay together due to its comfort. And yet in tragic fashion, Gibbard laments how his lover is superior to himself. With the laid-back "Your New Twin Sized Bed," Death Cab is able to make a very light groove to sit the defeated tone of lines like "What's the point of holding on/To something that never gets used?"

Narrow Stairs is a tightly themed, paced, and sounding album, with no weak points and no lagging. There's no filler, just the best that Death Cab for Cutie could come up with, and they've done a fantastic job. While Narrow Stairs isn't the new Layla, it's about as close as we may come. The powerful beginning of "Bixby Canyon Bridge," with rolling riffs and commanding vocals, all the way to the pitiful ending of "The Ice is Getting Thinner," the end of a tale of two people. With the end, it begs the question of whether the time spent together - even though it was doomed from the beginning - was well worth it for the connection they had, for the fond memories, or if it was merely a waste of time in the journey for the right person. I can't answer the question, but I imagine the Death Cab crew did at some point during the making this record. Outstanding, brilliant, heartfelt. (I Will Possess Your Heart, No Sunlight, Cath, The Ice is Getting Thinner)

Review on YouTube: Death Cab For Cutie - Narrow Stairs

Does It Offend You, Yeah? - You Have No Idea What You're Getting Yourself Into

You Have No Idea What You're Getting Yourself Into (2008, Virgin) Does It Offend You, Yeah?'s first studio album. ***1/2

Despite having one of the worst band names ever, Does It Offend You, Yeah? aren't half bad. They're not masters of electronica or alternative rock. In fact, they're pretty juvenile, but at least they know. You Have No Idea What You're Getting Yourself Into is a blend of techno and hard rock, something rarely tried, but most notable on Jeff Beck's 2003 release Jeff. Who Else! and You Had It Coming also had these leanings, but Jeff cemented the experiment. Now a group of youths have picked up the torch and attempted to make something out of it. Their work isn't nearly as impressive, but beautiful moments aren't that hard to find.

The main thing that keeps You Have No Idea from being fantastic is its sloppiness; the arrangements feel as if they've only been messing with computers for a bit, like they haven't learned everything in a program such as Photoshop. As a result, there is a sweeping amount of video-game sounds that hark back to ColecoVision. That's not a bad thing, though it does make it difficult to be taken seriously when they want us to. But on "With a Heavy Heart," Does It Offend You, Yeah? hits the exact target they were looking for; heart-pounding, sexy and wailing electronica. Play it the next time you're about to fuck and tell me how it works out.

"Dawn of the Dead" is another pristine song with its early 80's pop stylings, but the rough guitar crunch underneath keeps it grounded. It's the strange times like "Attack of the 60 FT Lesbian Octopus" that makes you do a double-take, as the entire album tends to be over-arranged (typical of a debut). But You Have No Idea is a very fun album, simply made for being cool and not for artistic integrity. (With a Heavy Heart, Dawn of the Dead, Let's Make Out)

Hot Chip - Made in the Dark

Made in the Dark (2008, EMI) Hot Chip's third studio album. ****

The electro-pop quintet have crafted a master album on their third outing entitled Made in the Dark. The wide range of influences makes it very diverse, and while not all of them are magic, many are. Most notable is the lead single "Ready For the Floor," a disco-inspired dance piece. Alex Taylor's soft falsetto paired with signature 70's-style synths make it sound like something Blondie would have tried. Another key moment is the track right beforehand, the club-beating "Shake a Fist." For a while, the track is fairly minimal, with a solid drumbeat backed by occasional keyboards. It is again Taylor's vocals that give the song life, especially during the chorus of "Out and out and out/Out and out and out/Shake a fist/And let's breathe it in without," in which the beat is impeccable. The only dry moment is on the album's title track, a strange piano ballad. Although the mood that Hot Chip attempted comes through, it can't fit in an album laden with bouncing and crunching electronica. Overall, Made in the Dark is something to be cherished, a sincere moment in electro-pop. (Out at the Pictures, Shake a Fist, Ready For the Floor)

Fleet Foxes - Fleet Foxes

Fleet Foxes (2008, Sub Pop) Fleet Foxes' first studio album. ****

The last thing that the Fleet Foxes want to hear is that they sound like someone else, namely Crosby, Stills, Nash & Young, but that it's okay, because CSNY was awesome. Of course the influence - assuredly among many others - is there, but the true sound of the Fleet Foxes is one that is incredible; Pecknold, the band's sole songwriter, has managed to make several of the cuts sound like standards. Even stranger, it sounds as if some of these 'standards' are now being covered by Fleet Foxes. Strange, isn't it?

One spectacular track is "White Winter Hymnal," which is pretty self-explanitory. The church-vibed vocal delivery compliments the Americana feel that the rest of the song carries, with only one set of lyrics that is repeated twice. Despite almost every song being incredible, probably the standout among the crowd is "Tiger Mountain Peasant Song," a simple acoustic tune that would have fit in perfectly to the catalogue of any folk or folk-rock artist of the 60's and 70's. Its sound is eternal - while it is reminiscent of any age where folk and acoustic guitar were present, it is remarkably fresh, not sounding like Dylan, CSNY, or any other genius.

The overwhelming spirituality that is put into each song staggering, and ironically doesn't appear in the lyrics. The feeling is what makes this album spectacular, for without the sincerity it so desperately needs, the songs would be hollow versions of themselves; it therefore challenges any cover of these new 'standards' to be better than the rich original. (White Winter Hymnal, Tiger Mountain Peasant Song, He Doesn't Know Why)

Great Singles of 2008

It never fails to amaze me how the best songs that come out in a year rarely make it to the radio. I'm no supporter of the underground movement nor am I obsessed with 'indie' bands, whatever the term 'indie' might mean, but it is true that the Top 40 radio is, for the most part, dominated by garbage club rap. Either way, good music tends to find its audience, even if it's via YouTube. Here are some great singles from this year, some with great videos.

M.I.A. - Paper Planes

M.I.A. was the critic's darling of 2007, and she very much deserved it. Kala was an incredible album, full of absurdities and unorthodox beats. The best cut by far and the best of three singles released is "Paper Planes," which is unique in having a chorus composed nearly entirely of gunshots and cash register sounds. It's one hell of a song, not to be missed, even by those who don't like hip-hop.

Radiohead - Nude


Radiohead's In Rainbows is already considered one of the greatest albums of all time. Rob Sheffield - for once in his career - hit the mark when he said that In Rainbows contained "No wasted moments, no weak tracks; just primo Radiohead." One of those great moments was the slow and lamenting "Nude," the great Chili Peppers-esque song that they are not talented enough to write. What makes "Nude" and In Rainbows so fantastic is while there are no outstanding and obvious influences, the subtleties are there, and while it sounds nothing like Radiohead has ever attempted, it is unmistakably them.

R.E.M. - Supernatural Superserious


The return of the R.E.M. we know and love was a triumphant one, and early reports of their just-starting tour have been incredibly good. That being said, it is hard to imagine a sonic song like "Supernatural Superserious" being any better than it is, but I've yet to see R.E.M. live, so I refuse to say it's impossible.

Hot Chip - Ready For the Floor


Although Made In the Dark is not a perfect album, it still has incredible works. For a while "Shake A Fist" was my favorite from the batch, but the disco-influenced electronica song "Ready For the Floor" is such a beautiful song that I've already changed my mind.

The Raconteurs - Salute Your Salution


The Raconteurs have before them the opportunity to be the greatest rock band on the planet. With Consolers of the Lonely they took one step closer, but they're not quite to that point. They have already shown a great ability to hone their craft, and with their third release we hope that it becomes even more evident. The first single was "Salute Your Salution," a rollicking song with a simple video; scenes from the studio.

Other notables:

Feist - I Feel It All
Feist hit it big with "1234," which exposed her to everyone who has a TV thanks to an Apple iPod commercial. As good as that song is - actually, it's classic - she has several other songs that are absolutely amazing (Mushaboom, Now at Last, My Moon My Man, etc.), and one of them happens to be "I Feel It All." The video is cute, nothing mind-blowing, but at least the song is great.

Nick Cave & the Bad Seeds - Dig!!! Lazarus, Dig!!!
These guys have been around forever, and still it's almost like they're unknowns. Anyway, this is, simply put, a track that Beck would wish he had thought of first, because it'd be a smash if it was by someone Americans instantly recognized.

The Black Keys - Strange Times
The video is a bit idiotic. Funny, yes, but idiotic. The song, however, is beautifully mixed by the Keys' new producer, "Danger Mouse" Burton. It's an experiment for sure, but what a thrilling experiment it is.

Death Cab For Cutie - I Will Possess Your Heart
Nerdy is in, and that's a good thing for Death Cab, who may have already written the best song of 2008. Overdrawn at eight minutes, once Ben Gibbard's vocals come in, the song kicks into gear, making it an irresistable song to sing to in the car.

My Morning Jacket - Evil Urges

Evil Urges (2008, Red) My Morning Jacket's fifth studio album. ***

This review hurts to write, mainly because My Morning Jacket has received a vast amount of critical praise this year, the leaders of that movement being Rolling Stone. Even recently they gave the album four stars, their symbol (as well as mine) for excellence. Unfortunately, I did not find the album to be so, instead I found it to be good, because I was honetly bored through a good deal of it.

I've heard My Morning Jacket before, and I have to say they may be the biggest waste of talent around right now. They delve more and more into their experimental side as their albums progress; 2005's Z marked a turning point from the band with its soul and funk concoctions. And on Evil Urges it goes even further, with the first three songs being a whirlwind of experimental rock. The title track shows Jim James busting falsetto like no one's business, as the song shifts from electronica-funk with a killer bassline to Yes prog rock. Then there's the unorthodox "Highly Suspicious," a Prince-delivered hard-rock song similar to something Nick Cave might try. All of the beginning is wonderfully strange and fresh, with music impossible to define: is it hard pop? Progressive alternative? Rush meets Prince meets Pink Floyd? But the attraction is lost when it slides into the country/southern rock stylings that eat up the majority of the album. Simply put, those cuts are dry, uneventful, and downright boring. It's a shame that this happened, because an entire album full of songs like "Evil Urges" would blow me away. Oh, and the cover art sucks, too.

Cat Power - Jukebox

Jukebox (2008, Matador) Cat Power's eighth studio album. ****

Chan Marshall has always been an enigma in the music community. Her raspy, deep voice, her strange performance at concerts, etc. Either way, she's had her fair share of brilliant moments and miserable misses, but thankfully Jukebox is a hit.

This is not the first time Marshall has done a covers album. In fact, she was brave enough to tackle "Satisfaction" by the Rolling Stones, a song successfully covered by only one band before her (Devo, in case you're wondering). On Jukebox, Marshall again displays her eclectic taste in music, tearing each song down and giving it a new structure, a new sound, and most importantly, a new view. She opens by covering Frank Sinatra's "New York," with a slow drum easing the song off. It's a brooding affair, certainly Chan's style and a complete opposite of the uplifting version we know from Frank too well. It isn't a bad cover, rather, it's just strange, almost unrecognizeable. It begs the question of why she even bothered to cover it when she could have written her own lyrics. Only a few tracks make you ask that question, as many of these are excellently done, most notably George Jackson's "Aretha, Sing One For Me." The soft keyboards and Hammond organ accompany Marshall's voice, with a soft bouncy and soulful yet eloquent keyboard line.

The same style is applied to James Brown's "Lost Someone," a very risky choice. This cut is more mellow than "Aretha," but Marshall's strutting vocals make it a sincere moment. She also manages to work in a cleverly executed Dylan cut, "I Believe in You." The tempo is slowed and adds an echoing guitar riff. These and all the songs are fairly minimalist, and all are turned into flok, blues, or jazz-leaning renderings. It isn't a perfect way to do things, in fact, cuts like "Metal Heart" could have been left in the studio. I'd be interested to see if Marshall took any clues from Vanilla Fudge's self-titled debut, an album that consisted solely of covers, all brilliantly done. If she hasn't, she might want to brush up on them to see masters in action (Aretha, Sing One For Me, Lost Someone, I Believe in You, Song For Bobby).

Clinic - Do It!

Do It! (2008, Domino) Clinic's fifth studio album. ***1/2

Clinic have always been the darling artsy art-rock rockers whose music is honestly something that has to be experienced; not because it is so amazing that one will go into a coma after his first listen, but because they are a band with a startingly original sound. Is it acquired taste? Absolutely. But that doesn't mean they're incapable of writing songs that most people will 'get.'

Do It! is not all that different from Clinic's other albums. The strange ambient noises and distorted church bell rings are still present, but with each successive album the influences shift a tad. Here we find Clinic channeling their best emulation of Pink Floyd, as best expressed in the album's opener "Memories." The same crunchy riffs start off and Ade Blackburn's signature haunting vocal style - reminiscent of Lou Reed - are in full force. It echoes the days of Piper at the Gates of Dawn, and much of Do It! feeds off of this influence as well as Bob Dylan, as each album tends to be concerned with a style of some sort.

The Bob Dylan influence seeps through on "Tomorrow," featuring a strange twangy acoustic guitar. The album continues as the rest of Clinic's output; decent songs that are all relatively set at the same tempo and feature the same instruments, yet sound eerily different. It's a task not easy to do, and Clinic does it beatifully. Another highlight is "Free Not Free," a dreamy psychedlic song interrupted by terrifying guitar breaks. The ending is spectacular as well, as "Coda" is an instrumental (save for a few spoken lines) featuring a wonderful guitar solo by Hartley. As always, Clinic is wonderfully weird. (Tomorrow, Free Not Free, Coda)

Show Review: Radiohead @ Charlotte 5/09/08

Radiohead is a band that I'd been dying to see live. In my first semester at college I re-discovered the Radiohead catalogue. I, like so many others, went through a phase where I obsessively listened to OK Computer. I was delighted when in mid-2007 it was announced that Radiohead would be releasing In Rainbows. Almost instantly it became my favorite Radiohead album, and even today I still think it is their best work. So then in the spring of 2008 their tour dates were announced. I told my friend Matt that he was going with me to see Radiohead, and he said "Yeah, okay." Seeing Radiohead was the first real concert that I'd ever been to, and I know it'll be hard to top.

5/09/08 Verizon Wireless Ampitheatre at Charlotte, NC

First Set: All I Need, There There, Airbag, 15 Step, Nude, Sail to the Moon, Weird Fishes/Arpeggi, Myxomatosis, Idioteque, Morning Bell, Videotape, Optimistic, Where I End and You Begin, You and Whose Army?, Everything in Its Right Place, Bangers & Mash, Bodysnatchers

First Encore: Go Slowly, Talk Show Host, Exit Music, Planet Telex, House of Cards

Second Encore: Paranoid Android, Reckoner

The opener was a band called Liars, and apparently Radiohead - and Thom Yorke in particular - are big fans. They also happen to be critically acclaimed, but I can safely say that Matt and I, along with the rest of the audience, were fairly unimpressed. Their "light show" was also pretty pathetic. If Clinic had opened for them, I would have been cheering like an idiot.

When Radiohead came out, everyone went nuts. Their light show was incredible (look at some pics here). After "All I Need," Thom ran up to the mic while changing his guitar and shouted "Hi!" The crowd of 20,000 roared. Although the entire set was great, their most impressive work was with their newest material. Phil Selway in particular put on a great show, whose drumwork on In Rainbows I feel goes fairly unnoticed. The show is really something that needs to be experienced, as trying to describe it is fruitless. The highlights included "All I Need," "Airbag," "Sail to the Moon (which was dedicated to the good people of North Carolina)," "Weird Fishes," "Videotape..." Why the hell am I doing this? The entire show was awesome.

The Mars Volta - The Bedlam in Goliath

The Bedlam in Goliath (2008, Universal) The Mars Volta's fourth studio album. ****

Unlike any of its predecessors, The Bedlam in Goliath is a totally and utterly unrelenting affair. From start to finish the album is a constant flow of noise, and not only that, it's loud. Loud fucking noise for eighty minutes straight. Seems like an impossible task to make the album not only entertaining, but actually brilliant, considering most metal bands make shit no matter what they do. The Mars Volta defy all of that, turning out their second-best album, second only to De-Loused in the Comatorium because of its focus.

Bedlam not only marks a difference in approach because of TMV's abandoment (temporarily, anyway) of the quiet-loud-quiet technique, but also the further embracement of progressive rock. Frances the Mute featured very heavily in jams of Latin-tinged metal, but Bedlam rarely delves into long, almost mindless instrumental bits. When it does, it's incredibly flourished. All the tracks take more than one listen to notice all the details that are crammed into every second, this is especially true of the album's pinnacle, "Goliath." A re-worked version of the song "Rapid Fire Tollbooth" from Rodriguez-Lopez's solo album Se Dice Bisonte, No Bufalo, it is by far their most progressive song to date, featuring an insanely King Crimson-esque time signature and jazz riff. It also has some of Bixler-Zavala's greatest lyrics and one of his tightest vocal performances. Truth be told, "Goliath" is probably the best example of the Mars Volta in full-swing, with everyone stepping up to bat. "Ilyena" signals another one of TMV's greatest achievments, with the shared dual-lead of Rodriguez-Lopez and John Frusciante.

The Bedlam in Goliath is a testament to the Mars Volta's personality and direction, which shifts radically to the trained ear. To anyone else this would sound exactly the same as anything else, but the Middle Eastern and prog rock influences are stronger here than any of their previous work. (Aberinkula, Ilyena, Goliath, Cavalettas)

Adele - 19

19 (2008, XL Recordings) Adele's first studio album. ***1/2

The rumors of Adele's voice have gotten so bad that when the name is mentioned, folks who have never even heard any of her songs ask, "Oh yes, isn't that the bird that sounds like Amy Winehouse?" To a degree it's true; Adele's voice is reminiscent of Winehouse, but Adele's doesn't have the growl. Instead, her voice sounds a bit more pure, and, as a result, a bit more mainstream. Namely, it's not as good as Winehouse, but that's not who she's supposed to be.

At the album's start, Adele appears to be nothing more than an acoustic Winehouse, with only her voice and guitar providing the sounds. "Daydreamer" proves to be a great starting point and is one of the best cuts here. It isn't until "Chasing Pavements" where things really kick in, acting as an overtly obvious single, complete with Mark Ronson's signature production - somewhat similar to that of Phil Spector. The album is a real pleasure to listen to - in fact, there are many prime tunes here, such as the vintage-pop of "Cold Shoulder," the slow, sultry "Crazy for You," the pleading "Melt My Heart to Stone," or the wrenching piano ballad "Make You Feel My Love." Despite these numbers - a few of which are really incredible - there are still a handful of duds that weigh the album down, such as the oddly placed "First Love," or the entire first half of "Tired" (which, consequently, turns into a beautiful song for about thirty seconds).

Regardless, she's far better than the run-of-the-mill female singer-songwriters that plague today's music market. No doubt that she will be back with another batch, and as long as she sticks with Mark Ronson - whose production absolutely shines and even saves a few would-be B-side type songs - things can only get better. I hope. (Daydreamer, Crazy For You, Melt My Heart to Stone)

Duds of 2008: Part One

Here are a handful of albums that hardly deserve a full-length review. Duds consist of albums that have received a rating of two stars or less.

Robotique Majestique (2008, Trashy Moped) Ghostland Observatory's third studio album. **

They’re certainly not Daft Punk, in fact, they’re hardly anyone. The dry beats and empty sounds of Robotique Majestique are only worsened by the strange ambient synths. The high-pitched vocals add another layer of strangeness to the mix. Overall, the songs are hollow-sounding and boring. Pathetique.

A Twist in My Story (2008, Glass Note) Secondhand Serenade's second studio album. *

Firsthand bullshit.

Keep It Simple (2008, Lost Highway) Van Morrison's thirty-fourth studio album. **

Van Morrison deserves an immense amount of respect and reverence. His early works, most notably Astral Weeks, Moondance, and Tupelo Honey stand among some of the greatest albums ever. That being said, Van Morrison sounds like an old fellow here, and instead of still offering fresh and exciting views like Dylan still can, he has instead put out a by-the-numbers, formulaic jazz-rock/blues-rock album.

Panic at the Disco - Pretty. Odd.

Pretty. Odd. (2008, Fueled By Ramen) Panic at the Disco's second studio album. ***

As everyone knows, if you’ve an exclamation point in the name of your band and then drop it, it obviously means you’ve radically shifted the sound so that you’ve done shittiness in one genre and now moved on to the next. Why Panic was suddenly inspired by the Beatles is beyond anyone, probably even the band members, but they need to understand that that’s not who they are, and they never will be. Pretty. Odd. is not by any stretch comparable to Sgt. Pepper, and any critic who makes that mistake should be shot. Granted, this album isn’t garbage. It’s not great, either. What we have is an above-average mix of songs that are completely second-rate to their inspirations of 60’s psychedelic pop. The lyrics are beyond terrible, and it features far too many instruments that we know no one in the band is capable of playing. If there’s anything admirable about their change in approach, they at least chose the correct era of the Beatles to mimic.

Bon Iver - For Emma, Forever Ago

For Emma, Forever Ago (2008, Jagjaguwar) Bon Iver's first studio album. ***1/2

From his name, I automatically thought Van Morrison. This even before I knew he had a rootsy-folk sound. Then when I started the album there were the signature rolling acoustic guitars that also open Van Morrison's brilliant Astral Weeks. After about twenty seconds I then expected to hear the trademark wailing vocals that we know so well, but instead was treated to Sam Beam-like falsetto. I sat there for a moment, almost perplexed, and thought "Well gee, this ain't bad."

Bon Iver isn't the most original artist in the world, and the songs are very elementary in structure, but it's his voice, his lyrics that make For Emma what it is. And what it is is a great start to a what should be a very bright songwriting career. "Flume" is the album's greatest point, unfortunately for us it's in the beginning. Still, the way Bon Iver's voice sways, the play with stressed and unstressed words is haunting. And although the obvious influence is Iron & Wine, there is no need to go overboard; there are far more differences in their deliveries that it's almost not worth mentioning. Iron & Wine has the tendency to make songs more complex, either from the beginning or as the song travels on. Bon Iver, though, is very content with a simple strum of his guitar, even if it's just a few basic chords. I'm okay with it, too.

Gnarls Barkley - The Odd Couple

The Odd Couple (2008, Warner Bros.) Gnarls Barkley's second studio album. ***1/2

In 2006, Gnarls Barkley released St. Elsewhere, an album so fresh and so needed that everyone held their breath for a follow-up album, hoping that the collaboration between singer Cee-Lo and producer "Danger Mouse" Burton was not a one-off affair. Thankfully, 2008 delivered the goods. The Odd Couple is not as pleasing as St. Elsewhere, with one too many songs that don't quite live up to what is expected of these two. However, it is not without its share of masterpieces.

"Run," the obvious first single, is without a doubt the best song on either of their albums, with its vintage sounds of the 50's and 60's rock and soul. Cee-Lo belts like he never has before, again proving he is probably the most soulful singer of the twenty-first century. His voice, as powerful as Little Richard's and just as similar to the 80's singer Sylvester (Not the cartoon cat, the "Do You Wanna Funk?" guy) is integral to the feel of every song. In fact, that whole feel carries on throughout the album, showing up again in stars on the also-amazing track "Surprise," complete with "baapbaa" chorus from God knows where. And it's this difference, the production that makes it feel like Little Richard music in the digital age, that is the profound mark of change between St. Elsewhere and The Odd Couple. Beyond that, there isn't much that has changed. This, however, is not a problem in the slightest, as the sound is still so fresh that as long as the music is good, the style can go on forever. (Run, Surprise)

Phantom Planet - Raise the Dead

Raise the Dead (2008, Fueled By Ramen) Phantom Planet's fourth studio album. **1/2

Unfortunately, Raise the Dead is probably going to stand as one of the biggest let-downs of 2008. With the first and title track, the album starts out amazingly, an acoustic ballad gradually gaining speed and sound with extremely emotional vocals. Even here though, the nagging sense that something is wrong is already at hand; the song may seem good on the surface, and even though it's only four and a half minutes long, but when it begins to near the end, you want it to end, and the entire album becomes an affair of this sort, as the songwriting only goes downhill from that point. It has a distinct Muse sound to it, though the lyrics of doom and gloom are absent. Some may see this as a relief, hard to say, because it's not like any lyrics here save or help the album.

Foals - Antidotes

Antidotes (2008, Sub Pop) Foals' first studio album. ****

Foals has a unique brand of electronica rock; it's got a whole Franz Ferdinand feel to it, especially on tracks like "Cassius." It has the marching quality that FF has down to a tee, yet it's light years ahead of anything they've done. The entire album sounds a bit similar, variably switching between fast jabbing songs and slow, almost space-like sounding tunes. That's not a bad thing, though, as they don't drag the album out too long for it to get annoyingly repetitive like the Black Angels. A fun album and a great debut.

The Raconteurs - Consolers of the Lonely

Consolers of the Lonely (2008, XL Recordings) The Raconteurs' second studio album. ****

The first listen is actually a bit challenging, and for a band that you have to love, it’s honestly scary. However, once you rewind and try again, all the beautiful little parts come out and come together, forming a solid album. When you go back and listen to Broken Boy Soldiers, you think maybe that’s how their supposed to sound and that Consolers of the Lonely is a step backwards or in the wrong direction since it’s much more focused on hard rock. That isn’t the case. Jack White was born to play the blues, and while the White Stripes may be a way for him to do a practically one-man minimalist show, the Raconteurs is a band. White may be the most important factor, but when you listen you can’t imagine him playing with anyone else. Benson proves he can sing, lead or harmony, as well as shred his guitar like White. Jack Lawrence and Patrick Keeler are an outstanding rhythm section that is reminiscent of John Paul Jones and John Bonham. All four members of the band are unique, all are excellent at what they play, and the Raconteurs wouldn't be the same if one of them was missing.

Not every track is a gem, but the opening hard blues rockers “Consoler of the Lonely” and “Salute Your Solution” show that the band had finally accepted embracing their hard rock influences, having the appeal and sound of White Stripes tracks but with a much warmer and full sound. “Old Enough” is a southern rock/folk number that really swings, the album's finest moment. Lawrence creates a very Entwhistle-esque bassline, and the fiddle and organ sounds only accentuate their 70's influence. This track also proves the band have not lost their playfulness. As with Broken Boy Soldier's "Intimate Secretary," the lyrics here are equally fun, though they do have a darkness to them. "And how have you gotten by so far/Without a head and no visible scar?"

“The Switch and the Spur” bring in unexpected horns that may seem intrusive, but then cement themselves as belonging. The romping Rolling Stonesy “Hold Up” is one of the standout pieces, featuring excellent shredding by White and Benson while Lawrence and Keeler lay down a pounding head-banging beat. A Hammond organ finds its way prominently into “Rich Kid Blues,” played skillfully by the bands fifth unofficial member, Dean Fertita, who also gives a magnificent piano performance on “You Don’t Understand.” Benson and White continue to harmonize flawlessly and extend their Sam and Dave approach to singing.

This is a great album with just a bit too much filler. A shame, because this could be a true classic if some of it was cut out. Hopefully everyone is still getting along so that we can see a third album, because this is a band to be reckoned with. I dare say they are better than the White Stripes. Why? Because there are few bands who play as well together as they do. You can’t imagine anyone else pumping out the shifting bass and drum rhythm on “Old Enough” other than Lawrence and Keeler, who, with Fertita’s Hammond organ performance, sound like Radle, Gordon, and Whitlock from Derek and the Dominos. You can’t imagine any other vocalist coming in with spunky attitude after Benson’s monotone delivery on "Salute Your Solution” other than White. A band with immeasurable amounts of potential. (Consoler of the Lonely, Salute Your Solution, Old Enough, Hold Up)

Review on YouTube: The Raconteurs - Consolers of the Lonely

The Black Keys - Attack and Release

Attack and Release (2008, Nonesuch) The Black Keys' fifth studio album. ****

After the borderline dull Magic Potion, the Black Keys have returned with one half of Gnarls Barkley, producer “Danger Mouse” Burton. The results aren’t always pretty, as Burton tends to be better on the hip-hop and soul scene, but when it works, an amazing blend of blues, funk, and hip-hop emerges. “Strange Times” kicks off the album in style, showing the potential of Auerbach’s vocals and guitar work with Burton’s ambient sound. There are a number of exceptional moments, from the slow and trippy “Psychotic Girl” to the stark contrast of “Remember When” parts A and B. Although it is an interesting turn of approach, it is not infrequent for Burton to overstep his influence and push Auerbach and Carney – especially Carney – to the back seat. But if a balance can be found, they’ll certainly find the right ears. (Strange Times, Psychotic Girl, Remember When Part B)

R.E.M. - Accelerate

Accelerate (2008, Warner Bros.) R.E.M.'s fourteenth studio album. ***1/2

The fourteenth album of these veterans isn’t exactly a revival, but it is nice to listen to. R.E.M. have their cheesy moments on Accelerate, the fastest album they’ve made to date, not to mention a very short, but very wise, running time. The album starts off with a bang and doesn’t lose momentum until we enter into the second half. Once the title track rolls around, the ears of everyone except the fan becomes tired. But they still got it, as the opening track and the excellent “Supernatural Superserious” demonstrate. A very welcome update from an old friend.

The Kooks - Konk

Konk (2008, Virgin) The Kook's first studio album (second overall album). ***1/2

Konk has better attributes than its predecessor; it's set in the studio, so the sound, production, and overall feel is cleaner than Inside In/Inside Out. That being said, the material isn't as good from start to finish. Granted, Konk is blessed with some amazing tunes, the highlight of the album being "Always Where I Need to Be." In fact, at that point, the album feels like it was a lost Beatles' record. As it goes on, though, the pop hooks become less and less frequent, and the quality of the material slips further and further into generic territory. The first half, though, is extremely entertaining, and it is no doubt that the Kooks can be considered masters of their craft, effortlessly penning songs such as "Shine On" and "Love It All," true pop will-be classics. (Always Where I Need to Be, Love It All, Shine On)

The Sword - Gods of the Earth

Gods of the Earth (2008, Kemado) The Sword's second studio album. **1/2

Let's get one thing on the table; most metal is shit. Black Sabbath went as heavy as it should have gone, and anything beyond that is simply unlistenable. The Sword are fortunate to a degree, they only push the mark a tad harder than Black Sabbath, but with less result. The twin lead vocals are boring and the unrelenting heaviness and volume make it difficult to sit through in one listen. Such was more the case on their self-titled debut, but here things are a bit cleaner. Gods of the Earth is, all in all, a more formulaic attempt, and while none of their material - from either release - is painstakingly awful, none of it is new. Everything they say has been said better, everything they play has been played better, every riff they create has been done in a more captivating way. I can't say I disliked Gods of the Earth, in fact, I didn't mind it at all. As far as metal goes, they should be considered heroes. From an objective standpoint, though, the Sword have brought nothing new to the table. Nothing.

Beach House - Devotion

Devotion (2008, Carpark) Beach House's second studio album. ***1/2

Beach House's rolling organ-esque sounds are thrilling for a while. It's simply beautiful, as the opener "Wedding Bell" portrays. It's a strange, nearly psychedelic disc, complete with Legrand's signature lazy voice (which is a compliment). Probably the most compelling piece is "Heart of Chambers," a rolling song that builds its potential and acts as though it has a peak, but the trick is you only get what you see, with Legrand and Scally never going where you want them. Beach House may have overstayed their welcome on this disc by three or four songs, but by no means is it an experience to be missed. To the right ear, this is a heartbreaking affair. (Wedding Bell, Heart of Chambers)

Be Your Own Pet - Get Awkward

Get Awkward (2008, XL Recordings) Be Your Own Pet's second studio album. ****

I’d be lying if I said I was a fan of punk rock. The entire genre, apart from the classics (i.e. the Ramones), tends to turn me off. The reason is because punk rock helped give rise to the worst thing to ever happen to music: Nirvana. But I have to say that Be Your Own Pet has certainly churned out a fine album. The thunderous opener, “Supersoaked,” is probably the most appropriate title that could have been given to this track, which features a galloping guitar crunch. The tunes are smooth (in quality, not the sound) all the way to “Bitches Leave,” a song worthy of the 70’s greats. After that it’s a mixed bag of ridiculously immature songs (Food Fight) that make you wonder who the target audience is. There’s no doubt that Be Your Own Pet took lessons from their predecessors, because they don’t take themselves seriously. Not since “Beat on the Brat” have their been such mindless lyrics, and that’s what makes Get Awkward so enjoyable. Even for, say, the punk-rock hating a-hole. (Supersoaked, The Kelly Affair, Bitches Leave)

The Last Shadow Puppets - The Age of the Understatement

The Age of the Understatement (2008, Domino) The Last Shadow Puppets' first studio album. ****

Strangely enough, this exciting album is the side project of the Arctic Monkeys' Alex Turner. Rarely do "other bands" live up to or even excel past the member's main band. The Last Shadow Puppets is one of those bands. The Age of the Understatement is better than both releases by the Arctic Monkeys in every respect; the thunderous guitar riffs and drumwork, the Ennio Morricone western-feel that the album carries, the boyish yet commanding vocal performances. The tempo of the album rarely shifts, as the title track opens with galloping accolades and continues all the way through. There are occassional breaks, but the album is outstanding; it's short, sweet, and ultimately tight with only a few minor kinks.

No Age - Nouns

Nouns (2008, Sub Pop) No Age's second studio album. ***

The sound of these indie rockers is certainly a strange one, but the word that ultimately describes it is frustrating. The music itself is good, the instrumentation isn't groundbreaking and the band members aren't geniuses with what they have in their hands, but they at least make it fit. The production, however, is what makes the album dismissable. The vocals are pushed back to such an extent that it's extremely difficult to discern them from the rest of the music. Maybe that's the point. If so, I don't get it. It's not bad, and certainly none of it is unlistenable; their punk rock, indie, and electronica influences (most notably Boards of Canada) are all high-spirited. Next time, maybe?

Yael Naim - Yael Naim

Yael Naim (2008, Warner) Yael Naim's first studio album. **1/2

Several female artists have had their breakthroughs due to their single being featured on a commercial (Sara Bareilles and Feist are just a few). Yael Naim is one of them. Her song "New Soul" is a catchy and bouncy simple piano ballad that grows to full orchestration as it reaches its peak, all the way assisted by Naim's accented lyrics. The song is not bad; it's not incredibly infectious and doesn't have the staying power of songs like "Love Song" and "1234," but then again, that may not have been the point. The album itself is a definitive hit-and-miss affair, with the misses being more notable than the hits. Naim sings in Hebrew (at least I think it is) occassionally, it doesn't sound pretty and doesn't fit the album. French has proven the only other language worthy on a label release. Not a terrible start, but not a great one, either.

Introduction

THE PURPOSE OF THIS BLOG
is to escape the clutches of music critics in today's normal world. Don't get me wrong, while I have respect for those at Rolling Stone and Q (but I don't count NME), I think we all need to go out and voice our opinions on music, and since most of the critics tend to agree with each other, it's always nice to hear something positive - or negative - about music you love - or hate - from someone who is, more or less, very similar to yourself.

Keep in mind before you go on, we will not agree about everything. Hell, I'll admit right now that I'll even be incorrect in some of the things I say. You'll find things you'll like and you'll find things you'll hate. Bare in mind, I don't care at all. I don't do this for you, I do it for me.

Reviews will be posted one by one and in no particular order. I'll be reviewing albums from this year (2008) and only this year. That is, of course, until 2009 rolls around... assuming I'm still blogging. If you have any suggestions or requests of albums you'd like me to review, feel free to let me know. Mind you, it's near impossible to keep up with all the music that comes out. To find the time to listen to it (more than once to get a good feel for it), think about it, and finally write a review about it is not easy, especially considering I'm a college student with other obligations. I'll do my best.

Note that I in no way am claiming that I know anything about music. These are purely my opinions. However, I'm not an idiot.

Enjoy,

Stephen

Getting Your Music to Politician

Hello,

My name is Stephen and I run the Politician Rock Music Articles and Reviews blog. I am always seeking new music to listen to and share with friends and readers alike. Considering the vast amount of music available, it is never easy to keep track of everyone who has a new release. But new artists are always trying to get their music out there, even to little-known sites like this one. That being said, I am more than willing to review music by any artist willing to submit their work. If you wish for your music to be reviewed on Politician, it must follow these guidelines:

1) You must either mail a copy of your album to the given address OR have your music available on Ruckus.com.

2) Your album MUST be professionally pressed (CD, LP, etc.). Absolutely NO CD-Rs or iTunes exclusive downloads. A tangible copy must be available for readers to purchase.

3) To request having your music reviewed, you must send an inquiry to PoliticianRock@yahoo.com and include the following information:
A) Artist Name
B) Label Name (if any)
C) Album Name
Only after an inquiry has been sent to the e-mail address will I provide a mailing address.

Thank you, and I hope to hear from you soon!

-Stephen