“A Man walks into a bar. Ouch”. Two factors must be understood in order to appreciate the humour that this (hilarious) joke engenders: The daring simplicity of it, and the reference and reflexive connection it makes with both its audience and its respective genre. The same approach seems to work for Fall Out Boy’s music: embracing the relative straightforward nature of their songs and taking note of their connection and reaction to both audience and genre makes for a much better listening experience.
Upon first listen, the most obvious change from previous albums is that FOB seem much more comfortable with themselves and their songwriting. Completing a three-album transition from pop-laden punk to punkish pop to full-blown, unashamed pop, Folie a Deux captures the band in full flight. Having previously copped plenty of criticism for abandoning their underground roots, earlier albums (especially Infinity On High) suffered from being caught in the in-between, displaying the band’s uncertainty about where their sound fit in. Considering their greatest talent has always been for huge, incredibly catchy hooks and melodies, their assured acceptance and embrace of the pop genre is a welcome one.
Songwise, the album hits the ground running. Opener ‘Disloyal order of Water Buffaloes’ immediately distinguishes the albums difference from its predecessor, replacing Jay-Z’s big name endorsement and subsequent hip-hop influence with a soft organ and Stump’s equally gentle warbling. The album starts incredibly well, hitting the listener with well-crafted song after well-crafted song, effortlessly switching between varying tempos and styles. A much improved rhythm section, which now leads songs in the right direction rather than limply propping them up (see She’s My Winona, America’s Suitehearts, Headfirst Slide...) is a definite highlight on the album, as is the comparatively reserved production, which allows the subtle background touches and deft guitarwork to be deservedly heard.
Messrs Wentz and Stump again prove to be a winning lyrical/melody arrangement combination, producing some of their best collaborations to give the album its giddy and seemingly endless highs. Wentz’s ability to create layered and undeniably clever lyrics laced with references that speak to multiple audiences is perhaps at its peak here, displaying an increasing maturity, even if it sometimes strays into a little too much repetitiveness. Stump cements his position as the one of the leading vocalists in popular music, completely unafraid to go after every possible note in his impressive range, elevating him above other, less bold singers. Hearing him play around is just plain fun, and he completely steals the show on the album’s opus ‘What A Catch, Donnie’, anchoring an impressive melody and outclassing his better regarded collaborators.
Most importantly, Folie a Deux feels like an album. Displaying great cohesiveness and impressive consistency, Fall Out Boy’s latest effort has few missteps. Although it falters slightly towards the end, these four boys from Illinois have risen through the often unfair criticism hurled at them to create a surprisingly subtle album of songs that sit comfortably amongst each other unlike ever before. One of 2008 pop’s best, and certainly their finest, Folie a Deux sees Fall Out Boy at the height of their highly addictive powers.
Friday, December 12, 2008
Thursday, October 2, 2008
Kings of Leon - Only by the Night
Never quite understanding why everyone went on about their 2004 breakthrough album, Aha Shake Heartbreak, I was first drawn to Kings of Leon via their third LP Because of the Times. Even though the ridiculous overplaying of lead single ‘On Call’ could’ve been enough to put anyone off listening to the whole album, ‘Charmer’ and ‘Fans’ intrigued me enough and I discovered a marked improvement on previous work, although a disjointed one. Their fourth offering, Only by the Night, goes one better, capturing the King’s new direction while creating a definitive album atmosphere that binds it together strongly from start to finish.
On first listen, Only by the Night sounds dangerously top heavy. Opening song ‘Closer’ immediately captures interest because it sounds so damn different from what you’d expect. Beginning with soft, lingering guitar notes before a sharp beat brings it back into focus, Closer builds strongly into a crashing conclusion that signals the Followill’s heavier intentions for the album. This theme builds with second track ‘Crawl’, a pulsing track ripe with distorted bass, rock steady drums and genuinely great solo that channels the best of Jack White, mixing bluesy wails with just the right amount of shredding. Followed by the soulful howling of single ‘Sex on Fire’ and obvious follow up ‘Use Somebody’, the album couldn’t have started better.
Then comes the slightly-too-soft centre. Failing to build on the albums growing energy, the middle triage of ‘Manhattan’, ‘Revelry’ and ‘17’ fall between styles and sound confused. As a result, they rely too much on Caleb’s much improved voice to carry them and sound flat. Luckily, all is not lost. The overlapping guitars and light piano touches of ‘Notion’ and thumping rhythm of ‘Be Somebody’ bring the album back on track and help it regain its cohesiveness.
One of the most immediate positives found upon encountering Only by the Night is the vast improvement of vocalist Caleb’s voice. While previously sounding like it was deciding which wild animal to impersonate, here all the charm and uniqueness remain but have added clarity and melody. Guitarist Matthew also sounds more accomplished and bold, willing to utilise a wide range of effects, with the bass and drum section solid as ever. While losing its footing temporarily in the middle, a brilliant start and resounding ending do enough for Only by the Night to continue their evolution of ability and style, propelling Kings of Leon further along their upward musical journey.
On first listen, Only by the Night sounds dangerously top heavy. Opening song ‘Closer’ immediately captures interest because it sounds so damn different from what you’d expect. Beginning with soft, lingering guitar notes before a sharp beat brings it back into focus, Closer builds strongly into a crashing conclusion that signals the Followill’s heavier intentions for the album. This theme builds with second track ‘Crawl’, a pulsing track ripe with distorted bass, rock steady drums and genuinely great solo that channels the best of Jack White, mixing bluesy wails with just the right amount of shredding. Followed by the soulful howling of single ‘Sex on Fire’ and obvious follow up ‘Use Somebody’, the album couldn’t have started better.
Then comes the slightly-too-soft centre. Failing to build on the albums growing energy, the middle triage of ‘Manhattan’, ‘Revelry’ and ‘17’ fall between styles and sound confused. As a result, they rely too much on Caleb’s much improved voice to carry them and sound flat. Luckily, all is not lost. The overlapping guitars and light piano touches of ‘Notion’ and thumping rhythm of ‘Be Somebody’ bring the album back on track and help it regain its cohesiveness.
One of the most immediate positives found upon encountering Only by the Night is the vast improvement of vocalist Caleb’s voice. While previously sounding like it was deciding which wild animal to impersonate, here all the charm and uniqueness remain but have added clarity and melody. Guitarist Matthew also sounds more accomplished and bold, willing to utilise a wide range of effects, with the bass and drum section solid as ever. While losing its footing temporarily in the middle, a brilliant start and resounding ending do enough for Only by the Night to continue their evolution of ability and style, propelling Kings of Leon further along their upward musical journey.
Thursday, August 7, 2008
Ratatat - LP3
Ratatat’s music has always stood out as the prime example of when the genres of rock and electronica have collided and actually worked. A collaboration between guitarist Mike Stroud and keyboardist/beatmaster/producer Evan Mast, Ratatat’s previous two records skilfully blended great sampling, innovative guitarwork and rock solid beats that made Mast’s drum machine come alive as a real instrument. On their third effort, the plainly titled LP3, Ratatat pick up many of the percussion and string instruments previously only sampled, as well as placing a greater emphasis on the keyboards that formerly only played a minor role.
While perhaps not as cohesive as their previous albums, due mainly to the fact that Ratatat seem to be trying out several new instruments per song, LP3 shines as a melting pot of tempos, instruments and genres. Opening with Shiller, a song that drenches the listener in synth organ before lulling back into some lullaby-like plucking, LP3 immediately seeks to differentiate itself from its predecessors. That is, until a trademark Ratatat riff bursts out halfway through the song, as if to remind us who we’re listening to. This method is a definite trend within the album, and definitely works to its advantage. Just when the percussive experimentation or interesting use of a harpsichord seems to be getting a little tiring, Stroud’s riffs come to the rescue, evening the balance between electronic and acoustic instruments. While not as central to the songs as before, some of Stroud’s best guitar work is on here, most notably on Falcon Jab, Mirando and especially Mumtaz Khan, a song that bounces all over the place with dozens of drums, triangles, whistles, shakers and tambourines before his rip-roaring solo drives the song home. Also worth noting are Mast’s vastly improved keyboard skills, which deservedly hold a stronger place on this album, anchoring songs such as Mirando and Shempi with chaotic arpeggios that cause the songs to convulse with pure energy.
Adventurous, ambitious and deeply layered , Ratatat’s LP3 is an album that definitely requires several listens to fully appreciate. While the wall of new sounds can be initially overwhelming, their coupling with ‘traditional’ Ratatat sounds help ease the listener into the pair’s new musical direction, and in time, discover the intricacies that LP3 has to offer. Ratatat have created the perfect mix of experimentation and evolution, and a contender for 2008’s best album.
While perhaps not as cohesive as their previous albums, due mainly to the fact that Ratatat seem to be trying out several new instruments per song, LP3 shines as a melting pot of tempos, instruments and genres. Opening with Shiller, a song that drenches the listener in synth organ before lulling back into some lullaby-like plucking, LP3 immediately seeks to differentiate itself from its predecessors. That is, until a trademark Ratatat riff bursts out halfway through the song, as if to remind us who we’re listening to. This method is a definite trend within the album, and definitely works to its advantage. Just when the percussive experimentation or interesting use of a harpsichord seems to be getting a little tiring, Stroud’s riffs come to the rescue, evening the balance between electronic and acoustic instruments. While not as central to the songs as before, some of Stroud’s best guitar work is on here, most notably on Falcon Jab, Mirando and especially Mumtaz Khan, a song that bounces all over the place with dozens of drums, triangles, whistles, shakers and tambourines before his rip-roaring solo drives the song home. Also worth noting are Mast’s vastly improved keyboard skills, which deservedly hold a stronger place on this album, anchoring songs such as Mirando and Shempi with chaotic arpeggios that cause the songs to convulse with pure energy.
Adventurous, ambitious and deeply layered , Ratatat’s LP3 is an album that definitely requires several listens to fully appreciate. While the wall of new sounds can be initially overwhelming, their coupling with ‘traditional’ Ratatat sounds help ease the listener into the pair’s new musical direction, and in time, discover the intricacies that LP3 has to offer. Ratatat have created the perfect mix of experimentation and evolution, and a contender for 2008’s best album.
Friday, July 18, 2008
Coldplay - Viva La Vida Review
Coldplay – Viva La Vida Review
After three enormously successful albums (at least commercially), Coldplay were in the familiar position occupied by many pop supergroups of having shifted millions of albums but lacking the full bodied respect and appreciation of critics and music fans alike. The New York Times description of them as the “most insufferable band of the decade” seemed to ring true; while showing a clear mastery of pop mechanics, writing catchy songs with soaring melodies and memorable hooks, the music suffered from a lack of differentiation, with almost whole albums seeming to blur into a long succession of carefully orchestrated lulls and crescendos.
Viva La Vida, however, is different. Coldplay utilise the help of ‘Sonic Landscaper’ Brian Eno, a man known to some as the father of modern ambient music. More importantly, as a producer he is renowned for reinvigorating the careers of heavyweights such as U2 through his production and collaboration on their landmark albums The Joshua Tree and Achtung Baby, among others. In interviews, Chris Martin has said that Eno totally broke down their sound and helped them rebuild it, and this influence is immediately evident. Veering off from previous album structures as groupings of standalone songs, the album opens with a totally instrumental intro, which serves as a good indication of the tone of the rest of the album. Slowly building up from the opening electro synth notes, Life in Technicolor mixes Latin guitars, a driven drum beat and touches of piano, and shows Coldplay for the first time in full flight as a band. No longer sounding like a Chris Martin solo project with backing instruments, Viva La Vida sees Martin’s voice (and piano) take a step back and allows other members to flourish, which works to the albums credit. Drummer Will Champion experiments with a wide range of percussion, most notably on Lost!, the albums standout track, which most clearly shows its Latin influences. On Cemeteries of London, Jonny Buckland comes out of his shell a little, playing more freely and taking hold of the lead instrument role, with his solo driving the bridge. Coldplay’s experimentation with different instruments such as organ and violin also help to highlight the differences between Viva La Vida and earlier albums, with Martin’s organwork giving the songs a strong base and continuity that his piano riffs previously seemed to clash with.
While Coldplay’s experimentation doesn’t always work, and they sometimes fall back on the same old songwriting tricks, Viva La Vida shows a band that are at least trying something new. Coldplay’s fourth effort is their most instrumentally cohesive and diverse album to date, and hopefully acts as a stepping stone to further musical development, rather than representing their sonic limits.
After three enormously successful albums (at least commercially), Coldplay were in the familiar position occupied by many pop supergroups of having shifted millions of albums but lacking the full bodied respect and appreciation of critics and music fans alike. The New York Times description of them as the “most insufferable band of the decade” seemed to ring true; while showing a clear mastery of pop mechanics, writing catchy songs with soaring melodies and memorable hooks, the music suffered from a lack of differentiation, with almost whole albums seeming to blur into a long succession of carefully orchestrated lulls and crescendos.
Viva La Vida, however, is different. Coldplay utilise the help of ‘Sonic Landscaper’ Brian Eno, a man known to some as the father of modern ambient music. More importantly, as a producer he is renowned for reinvigorating the careers of heavyweights such as U2 through his production and collaboration on their landmark albums The Joshua Tree and Achtung Baby, among others. In interviews, Chris Martin has said that Eno totally broke down their sound and helped them rebuild it, and this influence is immediately evident. Veering off from previous album structures as groupings of standalone songs, the album opens with a totally instrumental intro, which serves as a good indication of the tone of the rest of the album. Slowly building up from the opening electro synth notes, Life in Technicolor mixes Latin guitars, a driven drum beat and touches of piano, and shows Coldplay for the first time in full flight as a band. No longer sounding like a Chris Martin solo project with backing instruments, Viva La Vida sees Martin’s voice (and piano) take a step back and allows other members to flourish, which works to the albums credit. Drummer Will Champion experiments with a wide range of percussion, most notably on Lost!, the albums standout track, which most clearly shows its Latin influences. On Cemeteries of London, Jonny Buckland comes out of his shell a little, playing more freely and taking hold of the lead instrument role, with his solo driving the bridge. Coldplay’s experimentation with different instruments such as organ and violin also help to highlight the differences between Viva La Vida and earlier albums, with Martin’s organwork giving the songs a strong base and continuity that his piano riffs previously seemed to clash with.
While Coldplay’s experimentation doesn’t always work, and they sometimes fall back on the same old songwriting tricks, Viva La Vida shows a band that are at least trying something new. Coldplay’s fourth effort is their most instrumentally cohesive and diverse album to date, and hopefully acts as a stepping stone to further musical development, rather than representing their sonic limits.
Wednesday, June 4, 2008
Grayson Gilmour @ SFBH
Grayson Gilmour live @ San Fransisco Bath House, 30/5/2008
Being a huge fan of So So Modern and enjoying what I'd heard on 'You Sleep, We Creep' and because it was the first gig I'd been to in a month since Ratatat and because it was only 10 bucks I was looking forward to my first experience of seeing Grayson Gilmour by himself live (although I've seen him heaps as part of SSM). He opened by apologising profusely that the reason for his first gig in Welly in over a year (the release of his new 'Chapters' E.P.) had caught a minor snag. There were no E.Ps to celebrate the release of, apparently because "Aucklanders can't do their jobs" and hadn't managed to press and ship them down in time. Thankfully the live music more than made up for the absence of the recorded format. Playing a diverse mix from his earlier albums right up to new songs from the E.P., Grayson played with intensity and a genuine enjoyment of his performance that is always refreshing. Switching effortlessly from Electric Piano to Guitar to synth to his freaking awesome mini toy piano, Grayson justified the packed crowd's appreciation of his melodic tunes that changed tone as often as he changed instruments. While the songs accompanied by his backing band sounded more intricate and cohesive his stripped down versions of songs with just his voice and a rumbling piano line had a character of their own that perfectly balanced out the set. Overall a great relaxed gig that showed why Grayson is one of the biggest musicians in the Wellington scene.
Check him out atwww.myspace.com/graysongilmour
Being a huge fan of So So Modern and enjoying what I'd heard on 'You Sleep, We Creep' and because it was the first gig I'd been to in a month since Ratatat and because it was only 10 bucks I was looking forward to my first experience of seeing Grayson Gilmour by himself live (although I've seen him heaps as part of SSM). He opened by apologising profusely that the reason for his first gig in Welly in over a year (the release of his new 'Chapters' E.P.) had caught a minor snag. There were no E.Ps to celebrate the release of, apparently because "Aucklanders can't do their jobs" and hadn't managed to press and ship them down in time. Thankfully the live music more than made up for the absence of the recorded format. Playing a diverse mix from his earlier albums right up to new songs from the E.P., Grayson played with intensity and a genuine enjoyment of his performance that is always refreshing. Switching effortlessly from Electric Piano to Guitar to synth to his freaking awesome mini toy piano, Grayson justified the packed crowd's appreciation of his melodic tunes that changed tone as often as he changed instruments. While the songs accompanied by his backing band sounded more intricate and cohesive his stripped down versions of songs with just his voice and a rumbling piano line had a character of their own that perfectly balanced out the set. Overall a great relaxed gig that showed why Grayson is one of the biggest musicians in the Wellington scene.
Check him out at
Monday, June 2, 2008
Hello!
Hi! Nice to meet you!
I'm using this space to share my thoughts on music and anything else I fancy ranting about.
It's probably going to be predominantly gig and album reviews, but I'm sure I'll find other stuff to throw in.
Hope you enjoy reading,
Noob blogger. (Ryan)
I'm using this space to share my thoughts on music and anything else I fancy ranting about.
It's probably going to be predominantly gig and album reviews, but I'm sure I'll find other stuff to throw in.
Hope you enjoy reading,
Noob blogger. (Ryan)
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