Free Ride
Free Ride
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Written by admin on June 30th, 2009 with no comments.
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June 2009
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X & Y
X & Y
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Coldplay – X&Y
It’s hard to believe but it’s been three years since Coldplay released A Rush of Blood to the Head. Now they are back with their third record X&Y. All of Coldplay’s releases share one thing in common; they take some time getting into. When I first listened to Parachutes in the fall of 2000 I was not impressed. After a week it was the only thing I listened to for a six months. When A Rush of Blood to the Head came out it also took a few weeks for it to grow on me. The same thing applies to X&Y.
Starting off with the opening track “Square One” it is apparent that the record is a little more sonically dense than the band’s previous efforts. While X&Y is a far cry from being experimental it’s just enough of a change to make the new songs fresh. “What if” starts off as a slow piano song that finally builds up to a crescendo that exemplifies the transformation of Coldplay’s sound. “Fix You,” “White Shadows,” Low” and “Twisted Logic” are instantly fan favorites. The hidden track “Til Kingdom Comes” was written for the late great Johnny Cash who passed away before he could record the song. It is a shame Cash did not get a chance to record it, but it makes a fitting and positive end to the album.
X&Y was a long time in coming but it was worth every bit of the wait. I cannot wait to hear how these new songs translate live. As one of the most eagerly anticipated albums of the year Coldplay does not disappoint with X&Y.
A Rush of Inspiration to the Head.
Thanks to the relentless punch of the publicity machine, we all know that Coldplay now has a new album, and as it happens, “X & Y” turns out to be a good one. It’s been a wild ride for the English band. Since their 2002 “A Rush of Blood to the Head,” Coldplay have turned into international superstars, often inviting comparisons to U2 (and the comparisons are fairly accurate, as far as this reviewer is concerned) and developing a diverse mix of fans. Coldplay’s latest album treads familiar ground, with a few welcome surprises and more of the same brand of sweeping rock listeners have come to expect. A moody piano, a subtle string section, and Chris Martin’s earnest voice highlight the ballad “What If,” while “White Shadows” is a mellow rocker whose guitar recalls the Edge from U2. But the song that almost made my jaw drop is “Talk,” which steals the hook from “Computer Love” by Kraftwerk (I am not kidding). Coldplay influenced by the German synth quartet? Yes, it’s true. The rest of the album follows a similar pattern: big sweeping melodies, choruses that soar kite-high, and no real duds. While odds are “X & Y” will be just as big a multiplatinum seller as its predecessor, it should also prove that Coldplay is more than “That British Band Whose Lead Singer Married That Hollywood Actress.”
bigger, stronger
It’s hard to beat the emotional pull evoked by the elegant piano ballads ‘Amsterdam’, ‘Warning Sign’, ‘The Scientist’, and ‘Clocks’ from AROBTTH, but Coldplay just might have done it with the more guitar-oriented X&Y.
‘Square One’ is a great opener that shows that Britpop can be edgy. ‘White Shadows’ has a tremendous beat that makes you feel like busting out some dance moves. ‘What If’ and particularly ‘Fix You’ are beautifully recorded and represent their best work to date. ‘Low’ and ‘Twisted Logic’ are the most experimental tracks from Coldplay thus far.
Coldplay has never been a bigger target for criticism, but in X&Y they’ve built on past success to create a bigger, more vibrant sound that propels their music to new heights.
Written by admin on June 30th, 2009 with no comments.
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Animal [Explicit]
Animal [Explicit]
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Download a few, skip the rest.
There was a time, you may recall, when pop music and dance music were two separate things; when it didn’t pander to the lowest common denominator; when pop stars were actually artists and not just fashion models with voices. Not today, though. Today it seems as if the mainstream music, money-making machine chooses style over substance almost always. Ke$ha is no exception to this trend. Her music, while containing a few catchy songs (such as the suddenly everywhere, “TiK ToK”), doesn’t really bring anything new or exciting to the music world. As such, Animal, is definitely not an album to purchase as a whole, but one to pick apart and download; again, a trend that has only grown more prevalent over time.
Around a month ago, I’m spending time with friends when one girl starts playing “TiK ToK.” I immediately dismiss it as crap, not to mention a stylistic rip-off of Paris-based, Uffie (granted, not an Owl City-Postal Service sized rip-off, but enough for me to notice). A week later, I’m severely inebriated at The Beach, a club on Bourbon Street in New Orleans, when the song once again starts playing. Without me even knowing, the song hooked me; so much so that a few days later I’m downloading the song on iTunes and declaring it the best mainstream female pop song since Britney Spears’ “Toxic.” What “TiK ToK” has going for it is its amazing production, an infectious chorus, well-written melody, and enough edge to make it sound fresh. It is a great cog in the machine, and according to the end of ’09’s pop charts, I’m not alone in this assessment.
Unfortunately, the large majority of Animal plays things by the book. Sounding more Rihanna than Gaga, Ke$ha’s debut is full of a lot of tracks that mimic every other pop song from the last 5 years. Very few of them stand out as genuinely unique. “Blah Blah Blah” is fairly solid track, with Ke$ha singing about how she’d rather a guy just make a move than have him talk her up for half an hour. The worst part of the track has to be the inclusion of the always-annoying 3OH!3, who guests on the song’s bridge. “Hungover” is even better. Its smooth, retro-dance vibe is enhanced by it’s totally catchy chorus about the morning after. If I had to pick a second single, it’d be this one.
In reading interviews with Ke$ha, she sounds like the kind of person who tries to get a rise out of people, who tries to be edgier than she is. That’s not necessarily a bad thing; everybody has their role to fill. But Ke$ha’s “edgier” stuff doesn’t necessarily push any new boundaries. Pop’s cherry was (uhh…) popped decades ago with Madonna and Prince. If you can’t do it better, at least do it justice. She does neither. Her “edginess” is primarily relegated to the occasional dirty word or sexual innuendo; not necessarily groundbreaking. Does she get some credit for at least writing a large portion of her songs herself? Absolutely, that’s much more than the average pop star. But again, there’s nothing particularly new or exciting about a lot of this stuff.
For example, most of the album is spent mimicking the styles of other established artists. Album opener, “Your Love is My Drug” sounds like a decent Kelly Clarkson song, “Kiss N Tell” is out of the Miley Cyrus playbook, and “Animal” is like an Alanis Morissette song set to a completely worthless dance beat. Granted, all of these songs could be considered highlights on Animal, but she gets 0 points for originality. The album’s most nauseating song is “Boots & Boys,” which showcases Ke$ha’s affection for…well, I’m sure you can guess. It’s filler at its worst, with its double entendre lyrics and easy melody.
All this to say that, yes, Ke$ha’s Animal has some good songs on it. Some, like “TiK ToK” may wind up being remembered long past the album’s shelf life. However, when the pop-star roll call is taken five years from now, Ke$ha probably won’t be in class; which is to say that she’s just as disposable as any of the industry’s other forgettable pop stars. There are signs of talent and longevity in this album that are hard to deny, but Ke$ha has to find some way to set herself apart if she plans on surviving in the minds of the fickle OMG-ers of the world who will consume this album and then move on to the next big thing. In the meantime, we can all enjoy the 4 or 5 good songs that Animal has to offer and wish her the best of luck.
Key Tracks:
1. “Your Love Is My Drug”
2. “TiK ToK”
3. “Take it Off”
4. “Blah Blah Blah (f/ 3OH!3)”
5. “Hungover”
5 out of 10 Stars
Ten Dollars and 40 Minutes I’ll Never get Back
As a former club DJ, I can personally say that this album is among the worst pop/dance albums I have ever heard. And I have literally heard thousands – from all over the world. I’ve been in this game a long time. And young Kesha has much, MUCH to learn. The lyrics are chock-full of drug and alcohol references, the vocals are auto-tune heavy, and the blips and blats of electronica that litter EVERY stinking track could have been put to better use.
As a fellow reviewer mentioned earlier, the album lacks cohesion, as Kesha is unsure of herself at best. Lady Gaga, Cascada, and Kim Sozzi have better dance albums out right now WITHOUT all of the professional cooks who had their hands on this project….with Gaga it all boils down to her extreme confidence and exhuberance. She relies not on studio-enhanced vocals, name-dropping, and junior high school lyrics.
One look at the song titles and it pretty much gives away the content of the album. THe lyrics are so ridiculous and pretentious that the listener cannot enjoy the beats and the melodies, which in certain cases are not that bad. The whole point of a dance-pop record is so the listener can dance away their troubles. These lyrics are so bizarre and unnerving at times that the focus is entirely on Kesha and her dirty party-girl image. Most people who buy dance records don’t care about the vocalist. It’s all about the mood and the beats.
This album sounds like the songs were both written and performed by a 14 year old raver while she was in rehab or a mental facility. If I were forced to listen a few more times to this steaming pile of drivel, I think I would check myself into a facility. 1.5 stars.
Some Good…Some Really Bad
Let’s go straight to the track list, shall we? (Oh, by the way… I mention “vocoder” a number of times in this review, but it could also mean “auto-tune.” My ears aren’t still used to the difference between the two.)
Your Love Is My Drug – Nice, but it’s something that Katy Perry would sing.
Tik Tok – I love this one.
Take It Off – Oh, please, don’t start a song with heavy vocoder!! And there’s that unimpressive hook.
Kiss N Tell – Filler alert!!!
Stephen – Techno bubble gum. I don’t mind bubble gum, but this song would’ve been more interesting if they upped the Latin flavor a bit more, or at least used more “normal” instruments.
Blah Blah Blah – Heavy vocoder alert!!! Sounds like a filler. I don’t know why they released it as a single.
Hungover – This would make a great third single, because it’s slower than most of the other songs, and I love the hook. (It reminds me of Katy Perry’s “Lost,” but it’s still nice.)
Party at a Rich Dude’s House – It’s got an 80s thing about it, which is interesting, so it gets “second single” status for me. That is… if you don’t mind the inanity of the lyrics.
Backstabber – A bit of big band and 80s flair here… a bit. It’s otherwise mind-numbing.
Blind – Not a “party” song, but an angry “you’ll miss me” song. It’s got single potential, a good fifth in my book.
Dinosaur – Yes, the song starts with the roar of a … dinosaur! Here, she berates a senior citizen who’s hitting on her. Let’s bury this one.
Dancing With Tears In My Eyes – Again, it starts with heavy vocoder. *sigh* Nothing impressive here. A waste of song title, really.
Boots and Boys – I hope this song is not representative of her target audience. It’s plain stew-pid.
Animal – The title track. Intro (and just the intro, mind you) sounds like “Linger” by The Cranberries. The song actually sounds good, surprisingly, with decent lyrics. A fourth single, then.
V.I.P. – A funky-cool little thing, if only they did something about some of the lyrics. Could’ve been really good, but not as a single.
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Overall… I’d give “Animal” a 2.5. But since I’m a nice guy, a 3 it is. It’s not a borderline disaster. Though there are a number of really bad songs here, there are some nice ones worth repeat listening. But choose wisely.
Written by admin on June 30th, 2009 with no comments.
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No Rain [Explicit]
No Rain [Explicit]
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Written by admin on June 30th, 2009 with no comments.
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When I’m Up (I Can’t Get Down)
When I’m Up (I Can’t Get Down)
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Love it!
I’ll admit, I’m a Canadian and I’m a folkdancer, but I first heard this song in grade 9 before I ever started listening to folk music and this is what made me fall in love with Great Big Sea! The beats are catchy, the musicians are uber-talented (they play like 10 instruments each) and it’s just fun to listen to. I own three albums and Play was the first.
GBS
GBS or Great Big Sea is a fun, high energy Celtic/Folk/Rock band that everyone should try to see perform live at least once. If you do… don’t be surprised you turn into a giant fan of this amazingly talented group.
Gotta Love GBS
I have all but their latest album. Caught a live show and have been hooked ever since!
Written by admin on June 30th, 2009 with no comments.
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Comatose
Comatose
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Anything but Comatose
Ever since their self-titled debut album, Skillet has been known for great music and mind-blinding lyrics. Things like “I’m going to drown you in maddening forgiveness…” (from “Hey, You, I love your Soul” of the album with the same name) and “Soak my heart in Gasoline/Light a match and consume me…” (from “Gasoline”, self-titled debut) truly made this critic anxious to see what their seventh full-length production would bring — both lyrically and musically. After six albums, one would think that there’s not much life left.
And one would be wrong.
“Comatose” opens up with their first single: “Rebirthing,” a beautiful mix of power and emotion, which sets the pace for the rest of the album. Filled with piano, strings and the angelic voice of Korey Cooper, the emotion is not lacking throughout the length of the album. However, it is filled with enough guitar riffs and catchy beats that maintain the “Skillet” hard-rock flavor we’ve all come to know and love. The orchestral elements prove the musical genius that Skillet was capable of. Versatile, beautiful and powerful — Skillet has, once again, raised the bar for themselves and their contemporaries.
Skillet’s sound in “Comatose” is much more complete and mature. Now, it’s about much more than the crunchy music. It’s a complete experience.
If you like exceptionally-made hard-rock music with elements of piano and stings, or if you’re a “Pan-Head” (like me!) this is a must buy.
The Soundtrack to My Life
There are not enough words available to contain the genius that is Skillet. I truly think that when the dust settles from the rock movement, eventually Skillet will be one of the bands remembered for their lyricism and musical ingenuity. Many bands have attempted to put a hard spin on classical refrains, but Skillet has largely succeeded, and it will give them longevity beyond many other more well-known bands.
Skillet also manages to be relevant in a scarily intimate way–I cried the first time I heard “The Last Night,” and I don’t cry to music. They’ve tapped into a generational Zeitgeist; you can see them laid open in their music and follow them through it. They acknowledge the messy, sticky, depressing ugliness of humanity, and then offer a way out. They are brave enough to confront inner demons that we all face, and then brave enough to stand up and say, “I know it doesn’t have to be this way.” Their devastating and honest spirituality is an affirmation of Faith and a total obliteration of excuses. I pray for this band, because I don’t want to ever see them lose that total transparency that comes from a genuine relationship with Christ.
While each of their albums has some real gems, this one is nothing but one big hit. Once again, in an apropos theme, it’s entitled “Comatose,” with a trash heap of TVs in a drab field on the cover. Just staring at the artwork gives one chills, and completely sets the stage for the first song. I know that artwork is supposed to complement the album, but for it to be a part of the experience is new to me.
The journey opens with the adrenaline rush that is “Rebirthing.” The tune is catchy–maybe I shouldn’t do this, but I’ve played this album enough that my two-year-old can sing along with the chorus. However, the complexity of the song, both musically and lyrically, keeps it from becoming a pop-tune casualty. It’s accessible hard rock that makes you want to embrace your inner head-banger instead of covering your ears!
Next up is “The Last Night,” a gorgeous utilization of vocals. It’s a love song; it’s a tragic acknowledgement of depression; it’s an allegorical love song; it’s a passionate refrain. It should be blasted along with “Rebirthing,” yet it could be a lullaby. However you want to categorize it, “The Last Night” is an experience rather than a song.
In a mellowing turn, “Yours to Hold” continues the double-meaning–it could be a simple love song, but it could also be an emotional cry from a Savior. This continued double emphasis raises the idea of love to a level of dignity that much of mainstream music doesn’t understand, but it also makes Divine love accessible. Once again, part of the genius of Skillet: they’re just not afraid to go there.
“Better than Drugs” necessarily amps it back up; subject matter like this can’t be handled with a keyboard alone. I have to admit it’s not a perspective on God that I would have naturally thought of, but it does make sense. How many of us who have been Christian for longer than three months can honestly say that God *hasn’t* been our alternative to any alluring self-destruction?–and then we find that He’s so much better, because He’s the original. I love this raw honesty.
After that prep, we get to the title track, a rush all to itself. The lyrics are a delicious turn in wordplay: “Comatose/I’ll never wake up without an overdose of you.” The music is again appropriate to the subject matter, and the listener is swept away.
At this point, there’s a shift in the album. The first five songs are musically and thematically similar, but beginning with “The Older I Get,” the album goes deeper, as odd as that might seem. “The Older I Get” is a reflection on broken relationships. As much as we would all like it to be different, it’s a fact of life that some relationships don’t work out. The lilting nature of this song gives it a closing, healing quality–we acknowledge it, learn from it and move on.
The theme of “The Older I Get” finds its partner in “Those Nights,” also a song with a musical abandonment that makes the bittersweet nature of the song palatable. “Falling Inside the Black” starts slow and then turns it up, a musical rendition of desperation. Again, there are levels of meaning in this song; is it betrayal? Or is it that familiar desert of faith where the Christian has nothing to hang onto but the promises of God, when she can’t see or hear Him? Or is it that overwhelming depression that swallows us whole when it hits, and all we can do is muster the strength to, as Paul said, Stand? Maybe it’s all three. But it’s absolutely wonderful to have lyrics that go deep enough to withstand analysis. I am, after all, a literature person….
“Say Goodbye” is another bittersweet track, slightly more straightforward than other songs on the album, but endearing in its stubbornness: “Don’t say anything tonight/If you’re gonna say goodbye.” The music is more lyrical than other songs on the album, closer in theme to “The Older I Get.”
The album ends on a high note: “Whispers in the Dark” is the companion to “Falling Inside the Black,” the answer we all want to hear. I would almost wish they would have put the two tracks together, but I suppose there’s something to be said for not being too obvious. “No, you’ll never be alone/When darkness comes you know I’m never far” is the direct answer to “Don’t leave me here like this/Can’t hear me scream from the abyss.” Life has these pits of despair, but God never leaves us alone in them–and this is the companion promise that’s just edgy enough to be believable.
The album is capped with a spiritual/social conscience song, that reminds us, through all of our struggles, that life isn’t about us alone. We’re here for a greater good: “We want a reason to live.” “Looking for Angels” reminds us that the suffering are everywhere, and those of us who have been fortunate enough to receive Light in our lives need to be there to pass it on and be that Light to others. Our overcoming isn’t much use if we can’t help dig others out of their pits of Hell. “We represent a generation/That wants to turn back the nation/To let love be our light and salvation.” Amen.
In short, this album is a tour de force not to be passed up. It’s a masterpiece that will endure, because it’s not just an album. It’s a story of redeemed humanity that will resonate for years to come.
Outstanding hard rock
I’ve been a Skillet fan for years, and they just keep impressing me more with each album. “Comatose” is a great blend of driving, hard rock with quick (though constant) infusions of synth rhythms.
What’s most amazing about this album, however, is the lyrical intimacy the band achieves in the midst of such hard rock. Songs like “The Last Night” and “Yours to Hold” contain some beautiful lyrics of love, but they’re couched in the midst of the screaming guitars and driving rhythms.
“Rebirthing” and “Whispers in the Dark” show off the band’s hard rock edge, while “Say Goodbye” and “Looking for Angels” are excellent ballads. Overall, another winner from this incredible band.
Written by admin on June 30th, 2009 with no comments.
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Crazy
Crazy
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Written by admin on June 30th, 2009 with no comments.
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One Love / People Get Ready
One Love / People Get Ready
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Written by admin on June 29th, 2009 with no comments.
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Greatest Hits
Greatest Hits
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Written by admin on June 29th, 2009 with no comments.
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Wagon Wheel
Wagon Wheel
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Written by admin on June 29th, 2009 with no comments.
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