The Master Review
or The End of the Six Months of Aural Glory
The first artists of the year to grace us with new material was Doves, with their third studio album "Some Cities." The title track, streamed from several different sites before the actual release of the album, immediately hooks the listeners with the insistent drumming that Doves are so well-known for (at least, among friends). This is not a rehashing of "Lost Souls," which seems to have lead a lot of fans to give the album less-than-stellar reviews. This isn't even an attempt at the epic art rock that comprised the first two albums. These are short stories, learned and told as the band traveled all around the UK over the past two years. Instead of one giant panoramic work, there are either three or four, depending on where you feel the music changes mood the most (if at all). I can't stop listening to this album.
Ben Folds' long overdue return to the studio should make the fans of Ben Folds Five happy, as the profane pianist brings back multi-layered sound to his works. I don't think there's anything stunningly different or anything that marks a growth in his brilliance on "Songs for Silverman," but when you're already pretty damn good there really isn't much growing left to do.
There had to be something of a disappointment somewhere. Unfortunately it had to come out of the mouths, minds, and hands of DMB. While this isn't to say that "Stand Up" is a total loss, it's certainly no "Crash." I understand the need for branching out creatively, but if the boys pull one more album like this in a row they're going to lose a lot of fans. The hiring of a hip-hop producer to lead the sessions was the source of outrage and disgust amongst fans from very early on. I don't think many of these people gave the album a fair shake because of this, though. So what if it sounds more like "Some Devil, Part Deux"? Plus, there is enormous potential for variations during the summer jam sessions.
"Rebel, Sweetheart" (1) is The Wallflowers fifth melancholic offering to the world. Unlike it's predecessor "Red Letter Days," "Rebel, Sweetheart" maintains a certain flow and discourages you from skipping songs, making the lyrics stand out that much more. Then you realize "Crap. This music is killer, but I'm going to walk around with a dark cloud over my head if I think about what he's actually saying." Ahhh, the power of irony at work in music. "Rebel, Sweetheart" is a heady perfume of rock and roll greatness with an undercurrent of confusion and sorrow.
Simultaneous with the release of Oasis' sixth studio album came the return of Better Than Ezra. Armed with two past fan favorites that were reworked for this album, "Before the Robots" sounds like a "Best Of..." compilation. Nearly every song on here could make a great single. As always, there is the song or two full of irreverence or downright weirdness ("Juicy" sounds like it should have been playing in disco joints 30 years ago, sung completely in a falsetto tone). New material at last!
You want an objective review of Oasis' "Don't Believe the Truth"? It fucking rocks. Buy it. Now. As many copies as you can afford. Then give them away and spread the Gospel of Noel. Then go buy a copy of "Be Here Now," just because it's so underappreciated. Honestly, the boys have put together an incredible collection of songs, narrowed down from over 60 demos written in the studio. The ONLY downside to the album? Too short. I'm waiting to purchase the Japanese import to get the extra two tracks that they get on their version of the album, but even after that the album will clock in at several minutes under an hour. Side-note: "Pass Me Down The Wine," a b-side offered as a bonus track for those who purchase the album on iTunes, has been called one of the greatest Oasis b-sides ever by many of the fans on the official Oasis message boards. I'm much inclined to agree.
I didn't think Coldplay could recreate the incredible, sweeping sound of "A Rush Of Blood To The Head" with their third studio album. Turns out I was right. "X&Y" is a fine album in itself, but truly pales in comparison to the band's last outing. One reason I feel this is the case is because the Chris Martin's piano has almost completely left center stage. Instead we have the fine, but ultimately unremarkable guitar riffs of Jonny Buckland. "X&Y" is a good album, no question about that. I'm almost reminded of Radiohead in some respects, but the similarities are too vague to be verbalized. This is a great album to mellow out to, but don't expect to hear anyone covering these songs anytime soon.
(1) - "Rebel" is used as a verb in this instance, according to Jakob Dylan. Therefore the emphasis is on the second syllable.
or The End of the Six Months of Aural Glory
The first artists of the year to grace us with new material was Doves, with their third studio album "Some Cities." The title track, streamed from several different sites before the actual release of the album, immediately hooks the listeners with the insistent drumming that Doves are so well-known for (at least, among friends). This is not a rehashing of "Lost Souls," which seems to have lead a lot of fans to give the album less-than-stellar reviews. This isn't even an attempt at the epic art rock that comprised the first two albums. These are short stories, learned and told as the band traveled all around the UK over the past two years. Instead of one giant panoramic work, there are either three or four, depending on where you feel the music changes mood the most (if at all). I can't stop listening to this album.
Josh Rating: 9.6
Ben Folds' long overdue return to the studio should make the fans of Ben Folds Five happy, as the profane pianist brings back multi-layered sound to his works. I don't think there's anything stunningly different or anything that marks a growth in his brilliance on "Songs for Silverman," but when you're already pretty damn good there really isn't much growing left to do.
Josh Rating: 7.7
There had to be something of a disappointment somewhere. Unfortunately it had to come out of the mouths, minds, and hands of DMB. While this isn't to say that "Stand Up" is a total loss, it's certainly no "Crash." I understand the need for branching out creatively, but if the boys pull one more album like this in a row they're going to lose a lot of fans. The hiring of a hip-hop producer to lead the sessions was the source of outrage and disgust amongst fans from very early on. I don't think many of these people gave the album a fair shake because of this, though. So what if it sounds more like "Some Devil, Part Deux"? Plus, there is enormous potential for variations during the summer jam sessions.
Josh Rating: 7.4
"Rebel, Sweetheart" (1) is The Wallflowers fifth melancholic offering to the world. Unlike it's predecessor "Red Letter Days," "Rebel, Sweetheart" maintains a certain flow and discourages you from skipping songs, making the lyrics stand out that much more. Then you realize "Crap. This music is killer, but I'm going to walk around with a dark cloud over my head if I think about what he's actually saying." Ahhh, the power of irony at work in music. "Rebel, Sweetheart" is a heady perfume of rock and roll greatness with an undercurrent of confusion and sorrow.
Josh Rating: 9.6
Simultaneous with the release of Oasis' sixth studio album came the return of Better Than Ezra. Armed with two past fan favorites that were reworked for this album, "Before the Robots" sounds like a "Best Of..." compilation. Nearly every song on here could make a great single. As always, there is the song or two full of irreverence or downright weirdness ("Juicy" sounds like it should have been playing in disco joints 30 years ago, sung completely in a falsetto tone). New material at last!
Josh Rating: 9.2
You want an objective review of Oasis' "Don't Believe the Truth"? It fucking rocks. Buy it. Now. As many copies as you can afford. Then give them away and spread the Gospel of Noel. Then go buy a copy of "Be Here Now," just because it's so underappreciated. Honestly, the boys have put together an incredible collection of songs, narrowed down from over 60 demos written in the studio. The ONLY downside to the album? Too short. I'm waiting to purchase the Japanese import to get the extra two tracks that they get on their version of the album, but even after that the album will clock in at several minutes under an hour. Side-note: "Pass Me Down The Wine," a b-side offered as a bonus track for those who purchase the album on iTunes, has been called one of the greatest Oasis b-sides ever by many of the fans on the official Oasis message boards. I'm much inclined to agree.
Josh Rating: 9.9
I didn't think Coldplay could recreate the incredible, sweeping sound of "A Rush Of Blood To The Head" with their third studio album. Turns out I was right. "X&Y" is a fine album in itself, but truly pales in comparison to the band's last outing. One reason I feel this is the case is because the Chris Martin's piano has almost completely left center stage. Instead we have the fine, but ultimately unremarkable guitar riffs of Jonny Buckland. "X&Y" is a good album, no question about that. I'm almost reminded of Radiohead in some respects, but the similarities are too vague to be verbalized. This is a great album to mellow out to, but don't expect to hear anyone covering these songs anytime soon.
Josh Rating: 8
(1) - "Rebel" is used as a verb in this instance, according to Jakob Dylan. Therefore the emphasis is on the second syllable.
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