Archive for February, 2010

Coming Attractions

Posted in Uncategorized with tags , , , , , , , , on February 26, 2010 by jnagle4

Coming next week

Alkaline Trio: This Addiction

Posted in Music, Reviews with tags , , , , , , , , , , , on February 25, 2010 by jnagle4

After a brief stopover in Major Label Land, Alkaline Trio has returned to the indies.  This Addiction is their first album for Epitaph, and it retains the polish of their last album.  Alkaline Trio haven’t been a straight-up punk outfit for a long time, but this is the closest they have come to straight up pop/rock.  This Addiction is supposed to be Alkaline Trio’s comeback, but it never quite gets off the ground.

Punks have no need to fear.  Matt Skiba has not gotten a trendy Johnny Rezeznik haircut or written a song for a Meg Ryan picture.  The Trio’s sound is intact.  The melodies are fast and catchy.  The rhythm section bops along behind them.  However, the instruments are pushed to the bottom of the mix.  The guitars are barely audible over Matt Skiba’s vocals, so it’s hard to pick out any melodies.  The dull production makes the arrangements run together.  You have punk rave-ups that never quite hit full steam, and dull mid-tempo numbers.

Listening to This Addiction, you get the feeling that Matt Skiba feels hindered by the genre.  His vocals are passable.  Punk rock is all about passion.  It’s all about the veins popping out of your neck because you have to get rid of the anger you feel inside.  Skiba’s voice rises at precisely the right moment, but the bite isn’t there.  The bad production is partially to blame, but it seems like Skiba is having trouble dredging up his past demons.  He wants give the people the Alkaline Trio they loved, but he’s moved on.

Some tracks have a lot of potential.  “Draculina” has a decent hook, but the vampire references are forced. The vampire metaphor is fine, but “she sank her teeth quite deep in me” is trite.  Skiba’s monotone vocals don’t help much either.  This girl reeled him in, has a bunch of demons, yadda yadda yadda.  Why can’t he emote?  Where is the supposed forbidden passion that vampires are supposed to provide?

Similarly, “Dine, Dine My Darling” alludes to a Misfits song, but contains no fury.  The Misfits and Alkaline Trio are two totally different bands with completely different aesthetics, but still.  When you reference one of the most hardcore songs ever recorded to tape, you would think there would be something.  Instead, there’s just some mid-level crooning.

This Addiction is proof of what a lifeless production can do to a record.  An electric guitar should never be pushed to the back of a mix.  If you are listening to a pop punk record and have trouble deciphering the hook, there is a serious problem.  There were high hopes for This Addiction, but it proves that moving back to the indies was only a partial fix.  Matt Skiba needs to go back to the lab, because nothing really worked.  He’s a talented songwriter, but how much more traction does his pain have?

Butch Walker: I Liked It Better When You Had No Heart

Posted in Butch Walker, Music, Reviews with tags , , , , , , , , , , , on February 24, 2010 by jnagle4

Change is a recurring motif of Butch Walker’s career.  He began his career as a southern fried headbanger, morphed into a power pop prodigy, a stark singer/songwriter and a decadent glitter rock god. His last solo album, 2008’s Sycamore Meadows, was a mixture of the singer songwriter of Letters and Tom Petty inspired rock n’ roll.  I Liked You Better When You Had No Heart is similar, but has a much lighter tone.

The first single, “Trash Day,” is the blueprint for Walker’s new tone.  The music moves at a lively pace, with jangly acoustic and electric guitars.  Walker’s voice is light and friendly, and doesn’t have the bite of the earlier records.  As he’s gotten older, Walker has mellowed.  Los Angeles and Atlanta have always been recurring characters in his music.  LA has received much of the bile, while Atlanta is home.  This time, Walker just points out the stereotypes of LA and admits he no longer has anything to say about Atlanta, except that he can “hear the sanitary trucks from miles away.  The highlight of the song is the bridge, which has a lovely acoustic part in the middle.

Walker’s core sound hasn’t changed much since Sycamore Meadows, but the arrangements are much busier.  He has flirted with strings and horns before, but they are very prominent on I Liked You Better.  He shows off the new sound on “Pretty Melody,” which boasts a Wall of Sound production, complete with “Be My Baby” drumbeats.  The hook is huge, but the extraneous instruments get in the way of the most important instrument of all, Butch Walker.  He can’t let his vocals stretch out when he is competing with a string quartet.  “Stripped Down Version” features a violin and a horn section.  The mournful violin works, so the horn is unnecessary.  He should have gone with one or the other.

Although the arrangements have a lot going on, they don’t hinder his songwriting.  Butch has never sounded so relaxed.  It’s the sound of a man that is writing for his own personal satisfaction. The music never sounds forced.  The album was recorded quickly, but the songs weren’t rushed.  Although the choruses are still catchy, they no longer bludgeon you with hooks.  They sneak up on you, like the harmonies on “Stripped Down Version,” or the strong Brill Building influence of “They Don’t Know What We Know.”

Every Butch Walker album since Letters has had its share of controversy.  Old school fans complain that his new records don’t sound like the Marvelous 3.  They are right, but ReadySexGo came out a decade ago.  Butch Walker is much older and he has more life experience.  I Liked You Better When You Had No Heart doesn’t have the instant gratification of those early records, but give it a shot.  Butch Walker’s pop instincts are as strong as ever, but the choruses are just less bombastic.

Today in Awesome Hybrids

Posted in Music with tags , , , , , , , , , , on February 23, 2010 by jnagle4

Rob Zombie and Alice Cooper are doing a limited number of dates in North America. It’s going to be one spooktacular tour of terror.  Hopefully they will add more dates, because it sounds like a blast.


The Gruesome Twosome Tour Dates

APRIL
26 Winnipeg, MB MTS Centre
27 Saskatoon, SK Credit Union
28 Edmonton, AB Rexall Place
29 Calgary, AB Corral

MAY
1 Vancouver, BC Pacific Coliseum
2 Kennewick, WA Toyota Center
4 Casper, WY Casper Events Center

Credit: 411Mania.com

The Flaming Lips: Dark Side of the Moon

Posted in Music, Reviews with tags , , , , , , , , , , , , , , on February 22, 2010 by jnagle4

For the first time in his illustrious career, Wayne Coyne has made a miscalculation.  Perhaps that’s too polite.  The Flaming Lips have royally screwed up.  To be fair, there was no possible way they could win.  How the bloody hell can you improve Pink Floyd’s Dark Side of the Moon? The answer is now crystal clear.  You can’t.

Dark Side of the Moon is in the DNA of every rock fan born after 1972.  It is a monolithic ritual of suburbia.  A young man turns fourteen.  His dad, older brother or stoner uncle takes him aside and says, “My boy, take this record to your room.  It contains the meaning of your white suburban teenage existence.  Go forth and light some incense.”

The Lips version of Dark Side alternates between a faithful reproduction and an experimental reboot.  Some of the experiments work well.  Casting Henry Rollins as the lunatic is one of them.  Rollins puts a human face on the character.  It’s easy to picture him sitting in a windowless room with his fists balled up, ranting about nothing in particular.  Peaches’ take on “The Great Gig in the Sky” updates the song while remaining true to the original.  Her muffled vocals capture the sanity buried within the lunatic’s torment.

Rollins and Peaches work because they make slight changes to the source material.  When the Lips make radical changes, it falls apart.  “Time” is one of the focal points of Dark Side of the Moon, highlighted by David Gilmore’s soaring guitar solo.  The Lips’ version of “Time” omits the guitar solo entirely.  The “Breathe” reprise starts immediately after the verses.  There is a huge gaping hole left behind.  Even worse, the laid back arrangement of “Breathe” has been replaced by a high pitched squeal.   “Breathe” is supposed to wash over the listener, not annoy them.  If these techniques were used on an ordinary Flaming Lips album, it would be fine, but this isn’t their music.   I don’t want to hear walls of electronic noise on “Time.”  I don’t want to hear Wayne Coyne singing in a higher pitch than Roger Waters.  Call me old fashioned, but if I want to hear Pink Floyd, I’ll listen to Pink Floyd.

When the Lips announced that they were covering this album, a wave of excitement went through the critical community.  The Flaming Lips were going to make us reevaluate our love for Dark Side of the Moon.  To their credit, they did.  They made me realize just how much I love the original.  Dark Side of the Moon has touched a wide cross section of listeners, from casual fans to hardcore audiophiles.  Like all great popular art, it now belongs to the people.  Once something becomes part of our cultural fabric, it should be left alone.