As Starting Over kicked off, this reviewer expected good things. “Getaway” opens with a good, solid beat coupled with driving guitars. The vocals had a bit of that over-enunciated 2000s quality, but that was forgivable. The chorus was strong, too; plenty of melody, incorporating the best of what was called “new rock” in the 90s.
“Jean-Paul,” the opening track on The Truth Will Catch You, Just Wait… would have fit nicely on the Children of Nuggets compilation, alongside such artists as The Hoodoo Gurus and The Fleshtones. The minor-key ringing chords and eerie organ strike the right balance between nostalgia-once-removed and plain old rocking out. But five and a half
Beware, dear reader, any review that contains phrases such as “the best [fill in the blank: vocalist, guitarist etc.] since [fill in the blank: name of critically revered artist].” Too often, critics and music journalists fall victim to the hype. After all, we’re human too, despite what a subject of a critical drubbing might claim.
As a card-carrying Pastafarian, I pray every day to the Flying Spaghetti Monster that I am delivered from the random assignment of reviewing Christian hardcore CDs. I simply don’t get how these angry white boys (who in every other aspect look and sound like other barely-worth-merit-of-a-mention bands in the hardcore-without-a-“godgenda” subgenre) manage to keep cranking
On one hand, it’s necessary to give credit where it’s due: little moving picture footage of the MC5 exists, and Kick Out the Jams co-producers Leni Sinclair and Cary Loren have done a commendable job of synching clips of that footage to (often bootleg-quality) audio of the band. Vocalist Rob Tyner did them an unintentional
Boy, does this album suck. Nothing much happens musically for the first two and a half minutes of the nearly six-minute “Pontiac.” Listening to it is like wandering into a drum circle populated by robots. The aptly-titled “Problems” evokes images of an out-of-tune Human League. Its expressionless delivery is sub-Gary Numan headache-inducing clatter. The skittering
Reviewing best-ofs is a dodgy proposition; if the artist in question is good, then by definition the disc is good…generally. It’s simple enough to point out a shoddy compilation, taking issue with any number of issues (song selection, poor remastering, lack of bonus/rarities, clumsy sequencing, lousy packaging, etc.). With all that in mind, then, how
The opening of The Lemonheads — ambience and a solemn piano — portends a listening experience akin to The Who’s Quadrophenia. But it’s a red herring. Squealing, crashing power chords kick in, sending the album a different place entirely. Evan Dando has opted for less-direct melodies than on some of has past work, in the
Guest review by Annelise Kopp Despite its title, this album defies no stereotype. Landon is the equivalent to a combination of Pink, Amy Lee from Evanescence, and Jo Jo. Landon has a strong voice and can hit high notes, but this does not negate the unoriginality of this album. Remember when Britney Spears did “Stronger”
On the leadoff track of her album 18-eighteen, J-Rocker Nana Kitade sounds like some wonderful combination of Pizzicato Five, the Go! Team and the grooviest Target commercial one can imagine. With its infectious grooves, insistent beat and sticky melody, “KISS or KISS” casts a spell so wonderful it matters not a bit that the listener