Glasvegas Release New Album: Later...When The TV Turns To Static

Scottish band Glasvegas have released their third album. It's a 10 song set titled Later...When the TV Turns to Static. I've been listening to it now for a week or so, and below is a review. You can see my previous reviews of their Glasvegas and Euphoric Heartbreak albums.

Lets start with the album name as Glasvegas main man James Allan puts a lot of thought into song and album titles. The name references a time gone by and hour of the night that used to be very solitary for anyone up all night and alone. That's right, at one time people, there were only a handful of channels on TV and at about midnight most or all of them went off the air. Yep. No programing overnight. Just static. But more than referencing the past, with the title I think Allan is trying to use nostalgia or remembrance of a now-gone nightly event to make a point  about human emotion. Specifically, that moment when the TV goes off (or did) and you were left alone, in the dark with your thoughts with only the blank canvas of the TV static to stare at and project our feelings. That's my take on it. I remember those times.

Album cover of Later...When the TV Turns to Static

Taken as a whole, this album is a serious affair with themes and music that for the most part make you think rather than tap your toe. Allan is one of the more gifted lyricists going these days in my opinion, and on this new album he is plumbing the depths of his ideas. This ends up meaning that Later... is the type of album you'd listen to loudly on your home stereo by yourself after dark with your drink of choice in hand instead of bopping along to in your convertible on a sunny road trip.

Don't get me wrong, each song has something musically interesting about it, but as an entire body of work I think it's honest to say that this is an alternative music album and not at pop rock album. Don't expect Fallout Boy, Muse or My Chemical Romance here. And this is great to me. In fact, this is one thing I like best about Glasvegas. The world is full of standard issue pop rock bands, but this group works its guts out to give you something more to ponder...and yes, it turns out there are a couple toe tappers anyway.

Here are the songs on the disc with some comments from me...

Later...When the TV Turns to Static. "Only I can turn things the other way." The album opener is a return to unusual or alternative themes for songs that Glasvegas explored on their debut a few years ago. Instead of a song about love, a girl (or boy) or what have you, this one is best I can tell about a guy in prison reflecting on what it is like to be locked up and what his hopes are behind those "prison fences and defenses" as he thinks about what must be going on back on his home street and house. Or is he actually now out of prison and back up on the edge of his bed "up in the attic?" Either way, the point is made. The loneliness of isolation and the hope of overcoming a tragedy or major life mistake are well communicated - whether behind prison walls or freshly released but equally sequestered in a dark attic. And yeah, the image of that late night time when the TV goes to static does evoke the feeling well.

As for the music, this is an atmospheric mid-paced song that has a solid wall of guitar from Rab Allan raging below the surface and punctuated with occasional feedback and noise as James Allan's voice soars over the top. Binding it together are the steady bass and drum work by Paul Donoghue and Jonna Lofgren respectiviely. This is a solid start to the album and a "grower" song that you will like more and more as you listen to it.

Youngblood. "Off the edge of the cliff goes the vehicle carrying something happy." Starting with some electronic noises and guitar squeal, this one is a spikier tune right off the bat as a thudding bass and sharp drums join quickly. Over the course of the song, the music builds and builds so that by the end this one is in full loud rocking mode before tapering back to the electric noises that began the tune. The subject of the song seems to be about a young love just finished and the hurt that goes with the separation - realizing that while the hurt is real, it's also "part of growing up." The "youngblood" reference seems to be the other person in the now-defunct relationship, recognizing that this person will probably love and leave again.

Glasvegas Publicity Picture

Choices. "I don't want to be told, but independence is hard to hold." OK, this song is a downer. To me. Well done, but a downer. Why? Well, this song is about how someone is at the end of their rope in virtually all aspects of their life and the fact that they still have "choices" - implied possibly as either killing themselves or perhaps some other (hopefully more positive) changes. No matter which way you go on that, it's a pretty depressing lyric. Combine that with the slow, sparse music and vocal delivery and, well, lets just say this ain't "Fun, Fun, Fun" by the Beach Boys. Probably not one I'll listen to very often.

All I Want Is My Baby. "It's all about the money, money, money." Normally you would think a song about "wanting my baby" would be about someone desiring their lover. But this is Glasvegas, so it is about wanting custody of a daughter from an abusive and bad-behaving former lover. Yep, "all I want is my baby." Literally. In the song, the voice exoriates a former partner for her hypocrisy, for the embarrassment she's putting him through and asks if she has ever heard of karma. It also seems that paying off the woman is maybe something she has suggested as a way of seeing the daughter again.

Meantime, this is back to the mid-paced tempo of the first couple songs after the downturn with "Choices."

Secret Truth. If "Choices" was depressing, then "Secret Truth" is haunting. Musically, this one's more up tempo and follows "All I Want Is My Baby" well. This is a lament about a relationship lost, and it seems to be saying that even though the singer instigated the breakup, he wishes they had not. That's the secret truth. Or I suppose you could take it the other way and the secret truth is that while the breakup was painful it was perhaps all for the best. Either way, it makes you think about the decisions you make in life and what the real truths are behind those decisions. We may display our motivations publicly, but we also may have - and often do have - "secret" truths around what we do.

I'd Rather Be Dead (Than Be With You). "You showed me what this world can do." The title of this song is right up there with Glasvegas' early Christmas album song called "F*^%k You, It's Over" as brutally honest and clear song title.

A piano driven song without much other instrumentation, the title of this one says it all. Someone has been done horribly wrong by a lover and is not happy about it. Someday - maybe not today, maybe not tomorrow, but soon - the guilt and the consequences of other person's actions are going to be real. Does this mean the protagonist is going to attack the other person, harm themselves or simply that a heap load of negative karma is going to catch up to the other person? Who knows. But, remember, he'd rather be dead than be with her.

Magazine. "How could I not see that what I was looking for was inside of me already." This is an

Glasvegas on stage

interesting one, and pretty straight forward. The first half of the song is a bout someone who is empty, does not like themselves and searching for answers of all different kinds...and finds what appears to be those answers in the form of a famous person on the cover of a magazine. An image, an attitude to emulate. Trying to be like that hero in the magazine appears to be the way to fill up his spirit and provide an identity. But then, halfway into the tune, the protagonist suddenly realizes how shallow that really is...that the only way to really be happy is to be ones self, love ones self and realize what he's looking for is already inside him - not in a magazine, not in religion or in the approval of others. He puts the magazine on the shelf and gets on with life.

The music matches this more upbeat message and "Magazine" is indeed one of the more accessible tunes on the album. Thumbs up.

If. "If our love was ever to part ways, the world as I know it would never ever spin again." Musically and lyrically, this is full on Glasvegas in all their glory and the star of this album. Get it. It's also clearly the most poppy, commercial song on the album. Hear the song and see the video HERE (short ad in front of the video).

The binary premise of the song is that without one extreme, how would we even know the opposite extreme existed. If not for this, we wouldn't have that. It takes one side of things to truly know the other - making both real. For example, in one line James Allan sings, "If not for dark, how could I recognize the spark. If not for evil, the kind man would walk by invisible."

Much of the rest of the song uses the same juxtaposition of things (sun/rain, Mary/the devil, etc.) to make the point, culminating several times with the crescendo chorus that if "our love would ever part ways" the world would surely end - simultaneously implying that a love shared and active keeps the world turning. For anyone who is or ever has been in love - either short term lust and longing or lifelong love - this is the ultimate and personal payoff on the "if" theme of the song and for that it packs a powerful emotion punch.

Mid-way through, the song re-trenches with what I'd call a tip o' the hat to the Talking Heads using a wordplay on that group's song "Road to Nowhere" - flipping it on its head to be on the more positive "road to somewhere." It then seamlessly picks back up into the main riff and finishes.

Musically, I'd call this a mid-paced rock song featuring Rab Allan's shimmery guitar and "oooh, ahhh" backing vocals, a galloping drum beat from Joanna Lofgren to move things along and solid bass work from Paul Donoghue. I'd compare it to earlier Glasvegas songs such as "Geraldine" or "The World Is Yours" - both excellent tunes.

Neon Bedroom. "Between your four walls, I picture myself there soon." This song is about a young student who has an anonymous infatuation with an older person. The student goes so far as regularly walking past the older person's house after dark and seeing the TV flicking - casting a shadow of the person and making them wonder what it's like inside that house and how they'd like to be there with this older person. Teenage fascination and desire.

And, up and until about 3/4 the way through the song you think this must be a young teenage guy lusting and longing for a slightly older woman. This is easy to understand certainly because of Allan's male voice. But then he sings out, "I'll be a woman soon." So...the character is a girl, not a boy. Is the focus of her attention and older guy? A woman? We don't know. And that's probably by design. What's left is clear though...this young person is aching for her adult future and, in this moment, hoping it's with this person on her street.

This is not the only time Allan has used his straight, male voice to tell the story of others not like him. Two songs on their previous album, Euphoric Heartbreak, communicate feelings from the perspective of a closeted gay man. And on their debut album, Allan voices "I am Geraldine, I'm your social worker." I like this. It's bold. It opens up many stories to tell and feelings to express for Glasvegas that would not be possible by creating songs strictly from the straight, white, male perspective. 

Finished Sympathy. "Sick to death of the means to an end." I think this one is about the final, crushing realization that something - a relationship or perhaps innocence - is over. Done and dusted. There is no longer even sympathy from those involved, just...the finished finality of things. Over. And it hurts at least one party as expressed by the singing voice of James Allan with backing voice provided by Rab Allan.

Previously released as a sparse demo on the band's If EP earlier this year, the song appears here with more fireworks. I like the change. It takes the song from being primarily a piano ballad to a song drenched in guitar sounds and a number of musical and vocal crescendos that punctuate the theme of the song and keeps it moving along nicely.

WHAT TO GET

• Download now - If, Magazine, Later...When the TV Turns to Static, Youngblood, Finished Sypathy
• Want more? Try these - All I Want is My Baby, Neon Bedroom

ALSO

Glasvegas has three albums out now, along with a Christmas EP. Below is a 15 song set of what I would consider the best songs from those releases. If inclined, you could put these together for a great "album" of music. All are available on iTunes:

1. Geraldine
2. Go Square Go
3. It's My Own Cheating Heart That Makes Me Cry
4. Daddy's Gone
5. Flowers and Football Tops
6. Euphoric Heartbreak
7. Lots Sometimes
8. Dream Dream Dreaming
9. The World Is Yours
10. Whatever Hurts You Through the Night
11. Cruel Moon
12. A Snowflake Fell (And It Felt Like a Kiss)
13. If
14. Magazine
15. Finished Sympathy

Mona Releases Second Album - Torches & Pitchforks

Nashville based band Mona is a group I've been keeping my eyes and ears on over the last year or two. Why? Well, they are new outfit that seems to capture what I think is great about rock and roll - rebellion, style, energy, commitment and above all...great tunes. Turns out, you CAN still get great music from a bass, drum kit, two guitars and a lot of conviction.

I've seen Mona twice in Seattle and once in New York City, and each time these guys don't disappoint. And, they are approachable off stage as I was fortunate enough to meet each member of the band at some point at one of the shows I attended. Good guys.

Torches & Pitchforks Album Cover

In any case, they just released their second album titled Torches & Pitchforks. That's right, as in the villagers out en mass at night to find and kill the village monster - holding aloft sharp pitchforks and flaming torches as they march forward on their mission. So which is Mona, the enraged villagers or the monster?  Maybe a bit of both. Or, perhaps when you listen to this album about standing your ground, reaching for the stars, the sadness of depleted or lost love (or lost opportunity), the excitement of lust and seeking truth in life....they are neither, but rather the energy, spirit or mania that fuels both righteous mob or cornered monster.

You can decide for yourself by listening to their album. If it helps, below are my thoughts on the songs - which Mona have arranged in three parts with interesting interlude sections in between.

REVIEW

Intro. "From the depths of the Earth." This is first of three "interlude" pieces that divide Torches & Pitchforks into three parts. And, it's actually not a song sung by Mona. Rather, it's an excerpt from an old-timey gospel piece, complete with scratchy record sound, called "Born to Serve the Lord" and performed by The Chapel Keys. I like it. Mona definitely plumbs nostalgia in its lyrics and style and has toyed with the salvation and hypocrisies of religion. So, it's a fitting intro to set the stage for what is to come.

Wasted. "Do you believe in God? No, but I still pray." The title and subject of this song plays with a double meanings of "wasted." On one hand, the lyrics suggest a drug addict and his girl trying to come to grips with their situation, seek salvation and then resigning themselves to the fact that, well, it's too late already...full speed ahead! But on the other hand, it suggests two people "wasting" their lives in dead end situations...seeking something bigger and more exciting and ultimately not being afraid to take a big leap to get out, to avoid ultimately wasting away. Or at least that's my interpretation.

Musically, this one kicks off the album proper with a good, fitting rock song Mona style. Nick Brown's powerful, soulful voice sings out and howls over a driving and rumbling accompaniment though the intro, crescendo, breakdown and back to a powerful ending. While this song is perhaps a bit "Mona by the numbers," the song kicks off the album with a burst of energy. It does the trick for me.


2013 Publicity Photo of Mona, main man Nick Brown in middle

Truth. "Oh the nine to five, got you weary souled." A baseline from Zach Lindsey starts this one off with a piano joining next, then a guitar, a deliberately paced drum, lead guitar and ultimately the singing voice to build into a song that's shows some diversity of style for the band. Best I can tell, this one talks about someone who is fed up with the fake and superficial trappings of life, but who is also partnered with someone who is either unaware of the shallowness of those things or indulges in them out of fear. The singer is seeking "truth," but is weighed down by someone who is not or cannot. And what does that ultimately mean? Seems like by the end of the song, the main character has decided to go it alone, with "nothing now" - which is liberating, but also raises the question of "who am I?"

Darlin'. "Don't leave me darlin'." That pretty much summarizes the theme of this song - don't leave me baby! Is it just for the night or forever? Could be either. In any case, this is a stand-out track to me. A jaunty guitar line starts this one out with drums and a second guitar kicking it up a notch as the song moves quickly into almost throw back rockabilly vibe...all of which morphs into more of a rock presentation a la The Strokes and finally ends on a much slower and isolated lament...closing with, "I came here to see you, but you walked out the door." This is a bit of a change up for Mona and for that I like it. The tune sticks in your head and, well, the message is universal. We've all been there at one point or another.

Goons. "Baby I need it all." This is the rebellious first single from the album and has been out for a while now. The title is a take on something Frank Sinatra said when he was asked about the initial wave of rock and roll back in the 1950s. He said in part, "It's sung, played and written, for the most part, by cretinous goons." Mona seem to be taunting The Chairman of the Board by saying, "Hell yeah...you're right. We ARE those goons...and we want it all!"

Freeway. "I don't want to be the one that leaves." Lyrically, this one is nothing particularly new - perhaps a deeper version of the previous song, Darlin'. Basically, its a guy saying he and his girl have been through a lot and perhaps the end is near, but none the less he does not want to be the one to end things. Musically though, the song is compelling and pulls a the heart strings with a soulful delivery by Brown and thoughtful, moving music to go with it.

Interlude (Don't Cry). "Everyone's on the dash, trying to get it and pile up all the cash, baby it won't last...that's not the way it seems to be with me." This second short buffer segment is Mona this time and introduces what I think is the best third of this album. On this short segment, Nick Brown sings to a ukulele accompaniment and nice breezy backing vocals from the rest of the guys on this pleasantly subdued little track. What's he singing about? A guy who is rejecting the normal pursuits in life and telling his girl not to cry too much about it. I think.

Torches & Pitchforks. "Say what you need to say, you gotta get it right." OK, now we're really talking. This one is the best on the album in my book. Up to now we've had some good songs that are fun to listen to or make you think a little with Darlin' being the highlight to me. But with T&P the band steps up their game and shifts up a gear or two - full Mona style. Baby we got it all: heartfelt delivery by Nick Brown, epic and catchy music, soulful background singers and a theme about facing your fears instead of running - saying what you need to say, doing what you need to do in the face of whatever "torches and pitchforks" are coming your way. A+ work.

Mona on stage in Seattle. Photo taken by Marc Osborn.

Like You Do. "Everybody talks and nobody listens." This is strong musically - catchy and even has a few flashes of synth on it - but lyrically we're back to holding on to precarious love and what may need to change - a theme now done a couple times already on the album. However, I like this one quite well and taking it together with the other songs in this section of the album, it fits nicely.

Cross the Line. "I hoped it wouldn't come to this, but as you're talking I feel my hand turning into a fist." More good stuff! Mona jump into scrappy, greasy, "don't mess with me" territory on this song. Guitar riffing with a piano and driving drum beat kick this song off on a promising note and it turns out...yep, kick ass song. "Back the F*#%K off. What's mine is mine and you are not going to take it, man." That's the message on this noisy, straining song. Dead serious lyrical delivery exploding into a ripping chorus by Brown leaves you convinced he ain't fooling around.

Me Under. "I'm going everything but nice and slow." At times I hear a bit of U2 in Mona, and this song is like that to me. And it's good. It's an expansive tune that starts off with a racing spare guitar and builds quickly into a song that is, best I can tell, about coming of age and a guy who wants to...needs too...feel unconstrained, unencumbered to lash out at (or embrace) all that the world has to offer. And he does not want anyone dragging him under. He wants to go down to the river to wash himself clean of his burdens and go forward from there - at full speed. I rate this song as right up there as best on the album. Strong work from the band.

Interlude (Waiter). "Tell me, waiter...did you get that girl's name?" This is the third interlude bit on the album. It's pretty short and too the point: Hey, I just met (or saw) a girl that amazed me, but I didn't get her name. Anyone know who she is?

Late Night. "It's gonna be a late night she said." This is a song about a girl who is, unfortunately, driven to sell her body for money and the tragedy that this is...the girl knowing she should be somewhere else, doing something (anything) else than her sad realization of what she has to do to pay her bills. In only one line in the song, there is the implication that there is someone outside of this Hell that she wants to "stay near," but that is the only lifeline of hope...the rest is the solid truth that she is stuck in her situation with no seeming way out.

Sounds bleak. And yeah, that's bleak stuff. But, Mona deliver this message in a touching song that messages sympathy for the girl.

L.L.L. This song picks up the anti-conformity sentiment of "Torches & Pitchforks," "Truth" and "Cross the Line" from earlier in the album. It also is another song that has some U2ish elements. With the up-tempo music and rapid and righteous delivery from Brown about "living like lovers" and fighting the good fight, I like this one. But, it isn't quite up to par with those other "I fought the law" songs on this album already. Good, not great.

Love Divine. "Even when it's fair, life's not fair." At almost seven minutes, this is easily the longest song on the album. It's an ambitious affair with piano, synths and a few change ups in pace from slow and quite to loud and rage-y - all centered around mid-tempo backbone. The theme of the song seems to be about pushing past life's pains and traumas to find something real...but honestly the lyrics are all over the place, ending with Brown exalting that "you will find me down on my knees" as the sound of the album fades out over the same crackley record sound it began on.

WHAT TO GET
I'm usually in the camp of getting an entire album by an artist, and I'd recommend that for Torches & Pitchforks too. But, in case you just want to sample a few songs to see if you like Mona, below are some recommendations.

Download Now:

• Torches & Pitchforks
• Me Under
• Cross the Line
• Darlin'

Want more? Get These:

• Like You Do
• Freeway
• Late Night

Album Review: Wolf's Law by The Joy Formidable

 The Joy Formidable is a band out of the UK, Whales to be precise. Formed a few years ago, they've developed a tight, compelling sound that rocks with roaring heavy riffs while incorporating quiet moments and songs for affect. But the world is full of bands like that. No, the master stroke of this band in my opinion is front woman Ritzy Bryan. Her guitar work, intensity and more importantly her vocal delivery set this band apart in my mind.


The Joy Formidable

I've been listening to TJF for a couple years now and really enjoyed their first full length album called The Big Roar. You like rock and roll? Check that out. But now, they've just released their second album and are out on tour.

The title of the new set is Wolf's Law, which is a play on words of Wolff's Law - a medical theory from the 1800s that healthy bones will adapt and strengthen to meet whatever pressure or strain they are constantly under. So in that respect, the title could be an affirmative statement about persevering through hard times to emerge stronger. But then there's also the overt idea of "wolf's law" (as in, the animal itself) evidenced by the picture of the wolf (is he dead or resting?) on the cover. And that could just be an allusion to the need to be a predator or aggressive in this world in order to survive. Anyway, a couple thoughts there on the title.

I've been listening to Wolf's Law now for a week or two. To be sure, the lyrics are challenging as Bryan sings lines that can be interpreted in many different ways. That's kinda a cool thing though about this band. The lyrics can lend themselves to multiple interpretations. I like that. In any case, I can detect some themes. Things such as repairing relationships, the power of redemption, taking leaps of faith and the middle ground gray area that many of us occupy when it comes to important relationships in our lives. Throw that together with the musical prowess of Bryan and team, and - well - you have one of the best new albums of the young year.

Here is my song-by-song review of the album, followed by some recommendations of what to get.

This Ladder Is Ours. "Lets take this walk, it's long overdue." Now this is the way to kick off an album. Get right into it with the best song and latest single right at the top. And what a slab of rock and roll this is. Don't be fooled by the first 40 seconds of quiet synth sound at the beginning. This thing kicks into high gear quickly.

Touching on reinventing oneself or repairing a challenged relationship, this song uses the idea of a ladder as a portal or passageway to a new, desired future...to break away from the stale present. And that's all fine and good. I like it. It's compelling. But, it's the music and the vocal delivery that's the most impressive to me. Loud power chord guitars, a catchy up-and-down-the-scale melody, a fast past pace, synths at just the right place and the great voice of Ritzy Bryant are the full package - power, pop, melody, rock and roll. List and enjoy. This is the stuff. You can see the official video for the song HERE and live on Jimmy Fallon HERE (30 second commercial at the beginning courtesy of NBC.)

Cholla. "Where are we going? What are we doing?" Another monster song, the band put this one out as a single in 2012. Blasting out of the gates, the song draws you in immediately as the band deliver big guitar hooks and an interesting "wha-wha-wha" sound effect (or is it voice?) to get things rolling. Lyrically, this song is a bit of a puzzle. "Cholla" can refer to a cactus, a type of horse, a bad ass Latina gangster type...or other things like a province in South Korea or even a particular type of bread associated with the Jewish faith. Seriously. Look it up. None of these things seem to fit with the "story" of the song, however.

Setting aside the meaning of the word, in this song, TJF seem to be saying that there is a way forward to break out of a negative situation or environment by "rushing to the future to paint it." Sure, it might be hard to do, but "when nothing comes easy, only the finest are left." But the song also carries a warning that escape might be difficult to do because when "nothing is growing" then "hands turn to daggers again." Anyway, kinda obscure. But, by all means, a very nice second song from the album. Video HERE.

Tendons. "Aimless on a fated road, this life keeps us hunting 'cause I'm not home." Overall this one is a mid-paced song that initially follows a low, guttural buzzy guitar riff as its backbone and builds up from there into a more substantial tune that hits several crescendos and ultimately to to blustery ending.
Lyrically, it's a bit of a puzzler. Tendons are the things that hold all of our muscles to bone and bones to bones. Perhaps the metaphor here is that we are all like tendons. Tender but strong. Binding together. Stretching - sometimes too far until we break. And within that framework, perhaps the other lyrics about relationships and trying to fix things makes sense. I'll go with that.

Little Blimp. "Wind yourself tightly to me." Speed is back to start here with a bass line and voice leading into guitar noise that pretty much sustains throughout...in a good way. Bombastic. That's the sound of this song. That, overlaid with some nifty guitar work. And what is this song about? Not sure. The words about winding together, holding on tight, never looking back down and being able to "ride this easily" may suggest jumping on an acceding blimp as metaphor for taking a leap in a relationship. In any case, in my book this fourth song makes Wolf's Law at this point four-for-four to this point.

Bats. "I had a reason, but reason went away." Starting with a aggressive choppy talk/sing intro, TJF are quickly rocking hard in this one with some heavy riffs. Think Nirvana meets Jesus and Mary Chain...or something like that. Lyrically, this thing is all over the place. The theme seems to be depleted momentum in life and what do you do with that? "The idea is the fuel for a spirited life" starts the song, but the it's "the grey coals on a dying pit" and "I had a reason, but the reason went away." Stacked up against the aggressive music, this seems to be a rant against the dying of that youthful spirit that can (and should) power us all along for as much of our lives as we can keep the fire burning.

Silent Treatment. "I'll take the easy cynicism, less talking more reason." This is the first legitimate slow, toned down song of the album. And wow, what a song. Second to "This Ladder Is Ours," this is the the star of the Wolf's Law for me. Contemplative and featuring an aching and emotive vocal from Bryan as well as some intricate acoustic guitar work...this song perhaps is about a tension filled stasis between people in a relationship. The silent treatment is the common denominator in the situation. "I over you, that's all you'll get from me" turns into "I over you, that's all you left for me." To me, this is actually a beautifully sad song - one that can hit close to home if you contemplate your own relationships (friends, family, etc.).

Maw Maw Song. "Let me show you the wilderness." Starting with, and splicing in throughout with an almost Asian melody, this song is both parts slow chunky riff and hyped rave up. You'll recognize the "maw maw" refrain in the first few seconds and in a few sections throughout when it's revisited. To tell you the truth, I have no idea what this song is about. Some stuff about "I want it all" and "this slant pulling and empty jar" just leave me confused. And, compared to some other gems on the album, this one kinda does not do it for me. But hey, give it a listen at least once for yourself.

Forest Serenade. "Don't be the hand that takes." OK now we are quickly back to "A" material. This thing brings together all that TJF is great at - big power riffs, emotionally great vocal delivery, change of pace, building pace, explosive pay offs. And sure, the lyrics are again a bit confusing, but like the best of this band's songs, it can mean what you want. Meantime, feel the music on this one and let it take you away.

The Leopard and the Lung. "Hate is going to overrun this town." A bit of stark piano and thumping bass to start this one...then layering in drum and finally a wall of guitar. Bryan then chimes in with her high voice and sings an almost lullaby first stanza before breaking into the more aggressive chorus about how "hate is going to overrun this town." The song features a few "dropout" sections in the middle that then build back up again to the now familiar riff and added guitar sound. In terms of the words on the song, the singer character appears to be addressing someone who is equal parts "destroyer" as they are a "fort" to protect from the ills and perils of the world. The singer also apparently has or had a relationship with the protagonist and a lament about that seems evident - perhaps reinforcing the destroyer part of the character's persona. Or something like that.

The Hurdle. "Do you hear that sound? The hurdle crashing down." The intro here seems to be the sound of someone walking on gravel...then the song starts. This one is structured with a catchy tune against a classic soft-loud-soft pattern punctuated with noisy choruses replete with roaring guitar riffs. Based on the intro and the lyrics, this song seems to be about remembering a remote and beautiful place that used to be refuge and someplace important to the singer and her family...but apparently is no longer. Is this a real place out in the wilderness as indicated by the words? Or, is it a more metaphorical "place?" Is it about a relationship? Not sure.

The Turnaround. "There's love here." A soft, slowish and touching tune to end the album. Featuring strings and acoustic guitar, the song is perhaps as straight forward lyrically as any on the album. It seems to be about the desire to salvage a relationship before it is too late...before the two people involved miss "the turnaround." Building slowly to a crescendo, this is a nice ending to the album proper.

Wolf's Law. "I want to go along and pretend its dawn." This is a hidden track that starts after a silence at the end of the previous song. Building from a minimal voice-only beginning, percussion and piano layer in before strings and guitar join...creating anticipation that is paid off with a controlled explosion about halfway through the song. This song invokes and slightly modifies the idea of Wolff's Law to say that people under pressure can adapt to the pressures they are put under.

_______________________________________________________________________

MUST HAVE SONGS:
These are my picks for the best songs on Wolf's Law because they showcase what The Joy Formidable are about and best at.

• This Ladder Is Ours
• Forest Serenade
• Tendons
• Silent Treatment

GOOD
While perhaps not at the sublime level as the "must have" songs above, these are solid tunes that you can easily love.

• Cholla
• Little Blimp
• Bats
• Wolf's Law

NOT MANDATORY

With eight of 12 songs either "must have" or "good," there's little filler here. The below songs are all quite good, but if you don't want the entire album, then you could avoid these and still get the "best of" the album.

• Maw Maw Song
• The Turnaround
• The Hurdle
• The Leopard and the Lung

New PiL Album Out

One of my favorite bands, Public Image Limited (PiL) has, for the first time in 20 years, put out a brand new album. Called This Is PiL, the new disc is out now.

For those of you not versed in PiL, I'll give you the short version of the story:

Lydon as Johnny Rotten - 1976/7

• 1978 - Singer John Lydon (aka Johnny Rotten, see picture at right) from the Sex Pistols forms new group called Public Image Limited.
• Late 70s/early 80s - PiL put out three extremely good and extremely influential albums - First Issue, Metal Box (also issued as Second Edition later) and Flowers of Romance.
• The band's sound was different, groundbreaking and not structured like traditional rock and roll or even punk. 
• Mid-80s - original lineup leaves except Lydon, band continues to tour and put out records, the best of which is called Album.
• Early 90s - last PiL record (or so we thought) called That What Is Not put out.
• All of the above music is an interesting, avaunt guard mixture of grindey, dancey, screechy, rockish music with Lydon's warbley vocal...very different than mainstream rock and with intelligent (for the most part) lyrics. 
• And then it stopped. According to recent interviews, Lydon says that his record label simply stifled him and would not let him create the type of music he wanted to. So, he waited them out. Once the contract expired a few years ago, he drummed up some cash by - ironically for a punk legend - staring in TV advertisements for Country Life Butter. But, this gave the man funds to get a version of PiL back together and tour in 2010 and 2011.

Classic PiL Logo

My buddy Paul and I went to see the band when they performed in Seattle in 2010. You can read my review if the gig HERE.

The touring and practice set up PiL recording a new album that just came out. It's also important to note that Lydon and PiL did this 100% on their own - recording, producing, fabricating and setting up distribution their new record on their own - no record company. Very punk.

And speaking of punk or post-punk, I fully recognize that the PiL sound ain't for everyone. Grindey music, Lydon's diction and screechy delivery are not what many are up for. It's an acquired taste for sure. But also, not everything has to be sugary and nice. It's the difference between a pop fiction vs. serious literature. And like literature, Lydon and the PiL team deliver a set infested with imagery, metaphor, motif (the sea, relationships, rooms, dreams all make multiple appearances) and story. Anyway, my goal below is not to convince you to like this record or PiL, but rather just to pass on my thoughts on what I've heard.

With that as the set up, below is my review take on This Is PiL. You can check out Lydon's own run-down of his new album HERE. And, he explains the cover art for the new album in a video HERE.

Cover of This Is PiL

This Is PiL. "This is PiL." Well, that's pretty much the lyrical content of this song. As if the album title is not enough, Lydon wants to remind you at the outset that you are listening to and are about to hear a whole album of music from, you guessed it, PiL. In fact, you are entering the PiL zone he says. OK. We get it. From my read of his comments, the song and album title are equal parts a statement about how this current incarnation of the band is Lydon's favorite AND a shot across the bow to former PiL members who have been playing PiL songs live without Lydon or permission. Either way, to me, this song is a clear "miss" and should have been left off the album. It's unfortunate it leads off because even fans like me wonder, "what the Hell did I just buy." Fear not though, the rest of the album delivers.

One Drop. "The laws of nature, they are lawless and free." This is song about the agelessness of true rebellion and a liberating power of a rebellious soul. Lydon typically espouses the viewpoint that age is irrelevant and his line in this song - sung by the 50 something man - that says, "we are teenagers" makes the point. Musically, this is a mid-paced song dominated by Lydon's voice with typical angular PiL guitar as background and in a short solo. The takeaway for me on this one is to embrace your youth no matter how old you are. It's the wild side of life that we need you know.

Deeper Water. "Head for deeper water." Featuring a wicked good descending, angular guitar riff, this song delivers the PiL goods in full. The sea as metaphor for the dangers in life. Yes, been done. But, Lydon uses it effectively as after he describes the various things that can happen to someone in "turbulent seas" and "crashing waves" that buffet and threaten to "dash you on the rocks" he wails that the answer is not to try and save yourself toward land...but no, head for deeper water. No fear, not drowning. Embrace the deeper water and the unknown rather than the familiar but deadly route to land reached by going through crashing waves on a rocky shore.

Terra-Gate. "Mad as you are, you are probably fake." Blazing out of the gate, this is a Lydon rant and bellow about the relationships, ego, ridiculous arguments, fake people and the BS we all (should not) put with. I like it! This is the most "radio friendly" and rocking song on the new album and I can see hitting play on this one over time. It just encapsulates PiL...odd but imbued with Lydon's intelligence and revved up a bit for effect.

Human. "If these are your leaders...they are not good enough for you." Lots of stuff going on in this song...some recollections of what Lydon likes and does not like, nostalgia for England (he has lived in L.A. for some time), how each of us slips up sometimes and advice on being careful who you select for leaders and heroes.

I Must Be Dreaming. "And you know, you're to blame." A slow/middle-paced song in which we learn that Lydon has indeed "just been dreaming." What is he dreaming about? Well, killing seasons, weakness, awaking in a damaging hate, mistaken meanings...among other things we are told. Put it all together and, well, it's not all too clear what this is about. But that is a good thing. That is a hallmark of PiL songs...you don't always know exactly what it's about and this leaves the song open to interpretation. Lydon has said this one is about the enduring lameness of consecutive UK governments - the nightmares of that and the potential to dream for better. But hey, the lyrics could mean a lot of things. Check it out for yourself.

John Lydon today

It Said That. "Go gossip that." OK, so after five really great tunes, all with their own character and sound...we now turn back toward something like the opening track. This is kinda a repeated spoken mantra focusing on how people (or the good old Internet) actually say things that are - gasp - not true. Basically, an anti-gossip song. So, this one might not be my favorite on the album, but ponder the fact that PiL has done a song against gossip and tabloid mentality. Not something you hear too often.

The Room I Am In. "Through this window no large orbs ever come into view." This one is reminiscent of "Religion" off of PiL's first album, First Issue, as Lydon mainly talks this "song" through...more like a poem with subtle, aching backing sounds. While not nearly as hostile and cutting as "Religion," in this one Lydon alludes to the narrow folly and trouble of drug addition through the metaphor of being trapped in a room or cell. That we know of, Lydon is no drug addict and if he ever was it is decades in the rear view mirror. But, he has certainly known his fair share and seen the damage done - primarily to his friend and fellow Sex Pistol Sid Vicious and former PiL band member Keith Levine. Perhaps part commentary on that experience, along with observations generally. This is definitely a change up track in the middle of the album that slows things down to a contemplative level. 

Lollipop Opera."What's that? A complaint? The hotel smells?Well it can't have be me...I weren't there." This one features a catchy drum driven beat with some funky electronic sounds to punctuate. Over the top of that, Lydon sings about brooms, rooms, mushrooms and cleaning said room. Huh? And then several times during the tune his voice comes through as if through a tunnel...a stream of fast paced words along the lines of "ticky tock at the lollipop opera." While first listen is a bit odd, this is classic PiL for the modern era - strange, catchy, strange twists and effects. It will grow on you. Not sure what it all means though. Lydon has hinted that it's about the sense of community that working class neighborhoods share. OK. As good an explanation as any.

Fool. "You made a fool out of me." This is a slowdown "bitterness of relationship" type song calling out how one can get burned by someone once loved. And, if you listen carefully, some advice on how to move on..."see you later, baby."

Reggie Song. "No matter where you come from, you can always be a better person." Musically, this song it reminds me of some of PiLs work of the late-80s with the guitar sounds and effects and how Lydon's voice sounds. Lyrically, Lydon talks about "shining like a beacon" to be the best you can be, while offering forgiveness to those that perhaps wronged you in the past. Oh, and Lydon reminds us that he's from London. Solid tune.

Out of the Woods. "As we march, the forest parts, the wildlife darts." Kicking off with a subtle and bass driven beat, this nearly nine minute song starts with a string of rhymes...almost for the sake of rhyming. But as you listen the rhyming becomes less forced and the song becomes stronger and stronger. Eventually you realize that this is a song about a battle with soldiers marching through and charging out of the woods and the things they see and experience. You get the sense that it's an old battle Lydon is referencing as he talks about horses and there is even a very brief banjo interlude. Seriously. Anyway, this is a curve ball ending for sure. I mean, after an entire album about dreams, hardship, forgiveness, honesty and relationships...a song about war. But, for that I like it as it makes you think about

Summary:
This is a very good return for Lydon and PiL. Clearly, the man has something to say and continues to find unconventional ways to do it. Props to doing the way he wants and bucking convention. At times, such as in "This is PiL" and perhaps "It Said That," it may not come off as well as I'd like, but those are minor speed bumps compared to the success of the record overall. The world is full of expected music and the offspring of X-Factor and American Idol. This is not that. This is authentically "alternative" music worth checking out.

Best Song:
Lots to contenders on this album. By my count there are no fewer than five top notch songs here. But, I'm going to say that...at least for my tastes..."Deeper Water" is the best. It's the best combination of music, lyrics and overall message.

Song to Skip:
"This Is PiL" - literally, the title says it all. Don't bother.

What to Get:
Look, I'd recommend getting the entire This Is PiL album, but if you want to just see what's up without committing the massive $10 to explore new music via digital download of the whole thing, I'd say check out "Deeper Water," "Terra-Gate," "One Drop," "Human" and "Reggie Song."

Meanwhile, you would be doing yourself a favor by getting the entirety of the First Issue and Metal Box (aka Second Edition) albums.

Glasvegas Posts New Song (Demo)

Glasvegas has posted a news song called If?

You can hear the song by going HERE. They are billing it as a "demo" of a song that will appear on their next album. Sounds pretty polished to me already.













The sentiment of this song is essentially IF it weren't for painful or negative things in life, how would we ever know and enjoy the good. The run of the song lists out all kinds of these comparisons, and does so in typically compelling Glasvegas fashion with the crescendo of emotion crashing in with the line..."If our love was ever to part ways, then the world as I know it would never ever spin again."

If - get it? - if this is an indication of what their next album will be like, count me in.

Give it a listen.

Mona Debut Out Now

The self titled debut album by Mona is out now on iTunes.

As I understand it, it'll also be out on CD and vinyl next Tuesday.

Great band, really good album. Check it out!

Album Review: Glasvegas - Euphoric Heartbreak

One of my favorite bands of recent years, Glasvegas, has dropped their second album called Euphoric Heartbreak. It's out on U.S. iTunes now and as I understand it, it will be in stores and Amazon on May 17.


The new set represents change and forward movement for the band, and for me it's quickly becoming a favorite. If their debut was equal parts Roy Orbison + Phil Spector girl group + wall of sound + outlaw rock then their new one is bombastic U2 + mellow Coldplay + a dash of something like the Libertines and...perhaps a sign of maturity by Allan and the band. And for that, I think like most successful records, this one has it's own sound. (Above: Album cover for Euphoric Heartbreak.)

On the upside, this progression is a great sign. After all, who wants to hear the same thing over and over again. All the songs on this new album really do express either heartbreak, euphoria or - more often - both. As I understand it, the theme is inspired by main man James Allan's recovery and positive outlook now after experiencing the heights, challenges and exhaustion of fame as Glasvegas hit it big a couple years ago. All this, combines with some artful tune-smithing really deliver a quality modern rock album that is both different than most of what's out there as well as accessible for anyone. It's a high quality effort by this group. Good stuff.

On the downside, moving away from topics like social workers, missing parents, the death of a child and whatever the Hell Stabbed was about on their debut in favor of songs about love, loss and regret seems like perhaps a regression. After all, as Joe Strummer said about why the Clash didn't do love songs, "the subject's been covered." But, on the other hand - and to their credit - Glasvegas turn the "love song" on its head at least once in this album. Also in my opinion as a detriment is the album opener and closer. Good effort to do something different there and I get it. Not the worst thing I've heard, but put it this way...the middle nine tracks truly outshine the opener and closer. (Below: The band. James Allan in white.)

But hey, all this is relative. Euphoric Heartbreak is good album full of catchy songs that make you think. Can't do much better than that, and while music is subjective to the individual taste I submit that this one is worth checking out. I give it a big thumbs up.

I've had the full set plus some b-sides at my disposal now for about a week, and below is my review song-by-song. Some recommendations for what to get are after the review.

ALBUM
Pain Pain Never Again. "I'm overcoming the obstacles of the ubiquitous demon named shame." This is the first of the bookend dirges that open and close this album. Featuring a woman speaking in French, James Allan's voice eventually comes in as he speaks the English lines of the track, submerging the woman's voice under his and an increasing lawyer of synth and echo. Just about when you've had enough...the next track on the album begins.

Anyway, best I can tell, this is an ode to moving past ones problems and addictions an on to a better place - leaving behind the heartbreak of that. If you think of it more as a prelude or intro to the whole set of songs, perhaps it finds its place. I'm not a fan of this "song" and will likely just skip over it when listening to the album.

The World Is Yours. "You don't need me as much as I need you." Excellent song. As disappointing as the opening track is, this song is the real deal and quite the contrast. Things are looking great! This is what Glasvegas is about. Moving, compelling, building, epic, this one delivers euphoria and heartbreak with both barrels and a massive tune and a lyric that centers on the notion that the singer has a love who he wants to win or win back - or perhaps just is aching to earn approval from. Professing to give over completely to his love, there is questioning and dreaming as much as clarity of purpose such as, "since my eyes met yours, if I'm your world the world is yours." Yates, Keats, Hemmingway? No. But clear. A key element in this song is a "dropout" section in the middle where the music fades to low and Allan is virtually speaking his lyrics professing that he wants the "stars to align" so that he can ensure his love knows how he feels. And then, it builds back up again steadily to the precipice of "that undeniable truth" and the payoff explosion of "you don't need me as much as I need you!" This is the heartbreaking element present and clear...you...don't need me...as much...as I....(desperately)...need you. And that's what this song is about. Finishing in a rocking clatter, this is the star of the entire album if you ask me.

You. "A life long debt I don't mind owing." OK, to me this song has the right spirit and the tune is good, but the lyrics are weak. Bordering on nonsense I am not sure what to make of this one. To me this seems to be an ode to the profound feelings felt for that one special person you love - "you" from the perspective of the singer. But, stuff like "my glow in the dark sea horse never not glowing" makes me wonder. Enjoy this one for the overall feel rather than anything that it might be trying to say. On the strength of the music and tone of vocal delivery this is possible, especially as bridge to the next song.

Shine Like Stars. "Spare a thought for the one that matters." Starting with some electronic sounds and a vocal lead in that forwards the notion that while the past might not be so great, the present and future is looking pretty good. In fact, you might say it's time to "shine like stars." The song settles into a driving beat and guitar groove that makes it the most traditional rock and roll song on the album. This is the first appearance on the album of an all "euphoric" perspective. No heartbreak in sight. Indeed, the future is so bright that while shining like stars James Allan and anyone listening just has to wear shades (and if they happen to be Ray Ban Wayfarers or a pair of vintage Jean Paul Gaultier 56-8171 metal frames that Allan prefers, all the better). Nothing but goodness on this tune. Rock out.

Whatever Hurts You Through The Night. "If there was a way with me, would you run away?" Following the ramp up of the preceding three songs, this one brings the listener back down to Earth with a contemplative song about longing love from a distance - perhaps by one stranger to another, perhaps by people who know each other. Imagined and longed for escape from pain...together...away...to someplace else...someplace better. That's the sentiment. Musically, one song that came to my mind when listing was by Life In a Norther Town by Icicle Works. (Remember that from the 80s?) That song is a bit different, but that icy, cold, longing sound and feeling is apparent in this song by my ear. Somewhere I read that this one would be right at home in the movie Pretty In Pink. Might be. Meantime, Allan's vocal delivery and ability to emote the passages in different phrases that rise and fall in pitch perfectly to support the notion of the lyrics and, at least for me, leave you with appropriate melancholy.

Stronger Than Dirt. "Thoughts of me and you forever, the rest can go to hell." This song is one of two on Euphoric Heartbreak that speaks from the perspective of homosexuality. To be precise, the idea here is that society as a whole frowns on homosexual love, but that this love is as valid as any other male/female love...and what often times people in homosexual relationships have to hide or skirt around given those societal feelings. I give Glasvegas a lot of credit for this track because it would have been VERY easy to make it about heterosexual love and how "they just don't get it, and we'll be together no matter what they say." But they didn't. No, James Allan has said in the media that he thinks that prejudice against gays is wrong and this song backs it up with his lyric about how the two protagonists who are up against such prejudice are, in fact, bound and determined to be "stronger than dirt" to make their love work.

For those of you who may not be too comfortable embracing this notion, try. It's thought provoking. And hey, at minimum, I think most people can relate to the fact that any love situation - gay or straight - requires those in it to be strong.

Dream Dream Dreaming. "I know you're out there somewhere." Music is subjective. I have read that this song is about a deceased relative of singer James Allen, but in reality it could be about missing a love who has died or who is perhaps imagined...someone who can only be seen when dreaming. Ether way, this song pulls at the heartstrings - something Glasvegas are good at. I like this song as it makes you think about that special someone in your life and how unbearably sad and it would be if they were gone or - if you go with the other interpretation - it makes you think about what might be possible knowing that the one, that one, is indeed out there somewhere. These sentiments are wrapped in a clever tune that complements the subject well. The song builds from almost a drum-aided lullaby into a bombastic ending - also a Glasvegas specialty - that pays off the emotion of love in a really compelling way in my book. Good song.

I Feel Wrong. "Once a day, I think about killing myself." This is the other song on the album that addresses the issue of homosexuality. It is direct, blunt and makes you think. To summarize, the song is about how guilty the protagonist feels about being gay, but he cannot help it. The shame he feels, the knowing disapproval from his family, the fact that society does not condone his sexuality...all achingly present. A mid-paced ballad backed with shimmering guitars, synths and a steady drum beat, this song shines a spotlight on something that all too many people are walking around feeling about themselves. Again, bravo to Glasvegas for taking this on. While neither this song nor Stronger Than Dirt will be mega hits, they matter.

Euphoria, Take My Hand. "Heartbreak, I'm not holding your hand any more." This is another all-euphoria song and it feels good! Whether it's about the actual achievement of overcoming heartbreak with a new love or the desire to do so, the sentiment here is unmitigated, unleashed love directed in a positive direction. All things are possible and the future is brilliant. Allan belts his delivery and you believe. As the first single off this album, the song has seen chart success in the UK and I see why. This is a first rate song and you should give it a listen. (Right: James Allan on stage live.)

Lot's Sometimes. "The birds sing for you and me in the morning, lots sometimes."  This song is a list of things the singer thinks about someone (could be a lover, could be a parent, could be someone else), cleverly delivered using the device of "lots sometimes." My interpretation is that the list is being recited by someone who has a love who he wants around, but who is not. Again, the balance between euphoria and heartbreak. Ranging from unrestricted love and longing, animosity, nostalgia, the future and more, the list grows in length and diversity as the tempo picks up steadily as the the song progresses. By the end Allan is singing fast and furious against a brisk drumbeat and feedback as he desperately articulates the many ways he feels about his love. This approach is different. It's effective. It works for me. I like how it makes you think about the many different ways you relate to your partner, your family and friends. Quite a corker from Glasvegas and an unexpected favorite. Oddly, after the song is over, the last 30-40 seconds of the track sounds like a muffled recording of a birthday party - starting with some fireworks and conversation then the birthday song. OK whatever.

Change. "Before you change for me, change for you."  This is the second of the bookend dirges to close the album. Again, it's slow, plodding and features Allan and his mother reading the lyric. In the first part, Allan is saying that he knows he is on a stray path but afraid to change. In the second part, his mother saying, essentially, it's never too late to change and you can do it, son. OK, so, nice sentiment. And, from what I've read about Allan and the way he dealt with quick success and non-stop touring, this lyric is an all-to-real dialog. In any case, he seems to have got past it as evidenced by the existence of the Euphoric Heartbeak album. All well and good...and hey, thumbs up for artistry and trying something different...but this song is not a favorite for me and closes the album on the same down note as it opened. Given all the good stuff - bitter and sweet - in between, it's too bad.

B-SIDES
Single Euphoria Take My Hand came with two b-sides. Both are slowish atmospheric numbers...

Georgia Walk With Me. "Have I asked you, could us two be one?" Backed with syths, Allan is singing a ballad of a sort in which he is asking his song love interest - Georgia I strongly suspect - to walk with him. Simple as that - I love you, would you be mine and "walk with me?" I like it.

7 AM Eternally. "I don't mind if I have to stay forever and a day at 7 a.m. eternally."  The first minute of this song is a sample of a NASA launch countdown audio with a cheeky, plucky guitar over the top and then when the rocket lifts off in the sample the song itself starts. As mentioned, it's an atmospheric number with Allan's voice backed by what sound like either syths or possibly some strings - or maybe both. The main point here seems to be that Allan saying there's no place he'd rather be than where all things are fresh, new, dawinging and possible....he'd like to be at 7 AM, eternally.

WHAT TO GET
So there you go. Overall, I would say this is a very solid "sophomore" effort from this band. Lots to like here - and more than just sometimes if you know what I mean. Seriously, check this stuff out. I don't hear anything like this out there.

If you are someone who is thinking about buying the entire album - do it. I'll guess it ends up being one you listen too quite a bit.

If you are someone who typically only downloads individual songs, here are my recommendations...

• Must have: The World Is Yours, Euphoria Take My Hand, Dream Dream Dreaming, Shine Like Stars, Lots Sometimes
• Good, but not essential: Whatever Hurts You Through The Night, Stronger Than Dirt, I Feel Wrong, You, Georgia Walk With Me, You (but ignore the lyrics)
• Skip: Pain Pain Never Again, Change, 7 AM Eternally

Album Review - Postcards From A Young Man by Manic Street Preachers

The new album by one of my favorite bands, Manic Street Preachers, is out now. It's called Postcards From A Young Man.

While it may be overly simplistic to say so, the Manics have essentially put out two types of music over the past 20 years. One is overtly pop-rock and meant to engage mass tastes, and the other is darker, more enraged and meant - I think - to challenge mass tastes. Both types are intelligent, articulate, passionate and a cut above what passes for rock music these days. Seeing them live in Seattle last year was truly a great experience.

Postcards is more in the pop vein after the magnificent Journal for Plague Lovers. In fact, lead singer and guitarist James Dean Bradfield describes the new record as "one last chance at mass communication."After giving it a listen, I would agree that the music is more major chord, soaring, pop hook, string embellished and tunefully written in a way designed to appeal to the common ear. But, make no mistake, the lyrics - mostly written by bassist Nicky Wire - are as always thought provoking and challenging with themes of society's downfall, the ills of self indulgence, moving forward despite doubts and nostalgia for the more sure minded days of youth.

I tend to like the darker, noisier and aggressive Manic's efforts (The Holy Bible, Journal for Plague Lovers, Know Your Enemy, Generation Terrorist), but the new one is a strong outing from the guys from Wales.

Look, you like U2? Queen? The Clash? Echo and the Bunnymen? How about The Replacements or Rush? If you do, I think you should check out Postcards.

If that's not enough, below is a recent picture of the band, and my rundown of the songs on the new record for your consideration. Best listened to with the volume up high of course...

• It's Not War, Just The End of Love - "You pay your dues, and I'll pay mine." A great album opener. This is a rockin' tune the likes of which the Manics specialize replete with challenging lyrics, soaring choruses and strings. Opening with a deliberate guitar lead-in and those strings, James Dean Bradfield fires off the first shot of the record with the line, "To feel forgiveness, you gotta forgive..." you know you're in for a corker. From there the song explodes into pop rock goodness with the chorus (title of the song) that includes the line "...its never enough, it's never enough." For my humble tastes, this is about as good as it gets for modern pop-oriented rock. (*****)

• Postcards From A Young Man - "This world will not impose it's will." This song deals with looking back from the perspective of a wiser, older and a bit more cynical person on the idealism, naivete and passion felt in younger times - those days seeming like "postcards from a young man" and perhaps never to be "posted again." Toward the end, Bradfield sings out for both the young and old versions of the protagonist - and certainly for you, the listener - of the song, "This world will not impose its will, I will never give up and I will never give in." Compelling stuff when paired with a mid-tempo beat that builds to a crescendo toward the end and that highlights both the epic backing sound the band have arranged for this album, along with Bradfields expert guitar work. Simply one of the best tracks on this album. (****)
• Some Kind of Nothingness - "Remember you, stretched out in the sun." Featuring a guest vocal by Echo and the Bunnymen main man Ian McCullough, this starts as a slowdown song compared to the first two numbers. Touching on nostalgia, the simplicity and safety of not meeting expectations, the tune slowly builds as the singers contemplate foregone conclusions and that perhaps, in the end, "death is our only friend." Eventually, roiling and ecstasy-inducing backing vocals from an unseen choir kick in and build...upping the ante to a song-ending celebration about eventually getting what you want when your "final search for truth as stopped." (***)
• The Descent (Pages 1 & 2) - "Do I have the courage of the books I've read?" This quirky tune jauntily seems to be addressing doubts that people may have even after they've taken precautions in their lives and eliminated issues such as phobias and paranoia. Asking questions such as, "will my kingdom fade away?" and "have my expectations gone too far again?" the singer also acknowledges obvious things in odd ways like "my baby teeth are gone into a better place I have yet to go" and for sure that there is a challenge to contend with the "the winner takes it all" mentality in society - all things that pose doubts to someone trying to move ahead in life. Ultimately, we're learning here that these doubts and these questions are "the last descent" that the singer is going to experience and contemplate before a better (or is it worse?) fate unfolds. (***)
• Hazelton Avenue - "Yes I worship a the alter, I am a happy consumer." Back on the pop rock tip, this one is a winner in my book. To me, it's about a few good or interesting things associated with "Hazelton Avenue," (a street in Toronto, Canada) such as the numbness but simple joy of consumerism on this avenue, as well as the comfort of a bed and bold thoughts of writing a best seller in a loft overlooking the street. Again, strings play a significant role in this song along with Bradfield's guitar to create a comfortable texture for the song's words. (***)
• Auto Intoxication "A new economy embraces the ruins." This is a musically exciting song with challenging lyrics. It seems to be addressing the fact that as much as we all talk about wanting to succeed and do well, we ourselves and the society we live in keep distracting us or pulling the rug out from underneath us - or as the Manics put it, a sort of "auto-intoxication." With lines like, "Drained of delusion and buried in debt, how the hell do we find each other suffering auto intoxication," you get the drift. Musically, the song starts at a mid-temp chug with the versus delivered diligently across strumming guitars and well placed fills. Then, right in the middle, like a grenade suddenly going off in a field of daisies on a sunny afternoon, the Manics pull the pins and hurl their bombs as they rip into the chorus where we get the information that as bad as things are, at least you've survived, "but disaster isn't coming, it's already arrived. I am so lucky, I think that I survived." All distorted guitars and Bradfield yelling at the top of his lungs.  Boom! We're at war, the combat happening all around! Juxtaposed with the rest of the song and, indeed, the rest of the album, this one's a stand out to me. (****)
• Golden Platitudes "Why colonize the moon when every different kind of desperation exists?" This song is quite straight forward. Where did our assured, youthful and all-knowing view of the world go? What happened to those "golden platitudes?" This is the one song on the album that starts and maintains a slower, mellower pace all the way through, accompanied by those strings and choir backing vocals. (**)
• I Think I Found It "I think I found it, and I think I love it." Here again we are challenged by the lyrics. Certainly a song with this title and main chorus line would be about love, right? Well...probably that is the case here. Following an intro section featuring the sounds of tightly strummed mandola that might be more at home in an ad for an Italian restaurant, we transition into more traditional mode to hear about a person who has found what he was looking for (buried and hiding in the dirt) and once liberated from that place walks freely to the sea, enjoys some "days of wine and roses," and - despite some blunt words and letters - is happy to the ask someone else to "live with me through the threads of our lives." Delivered in a jubilant and upbeat tune featuring hammering guitar breaks in the chorus, this one gets you back on track and in an upbeat mood after the previous song on the album. (***)
• A Billion Balconies Facing the Sun - "A billion lies becoming the truth." With a head of steam now built back up with the previous song, A Billion Balconies kicks it into high gear. This very squarely is a song about the ills of modern society - the denial of humanity in a world obsessed with instant gratification. Under a bed of ominous guitar, it starts out with anger over how people are now so enamored with themselves, technology, celebrity, pop-culture and other self-indulgent crap. The other main verse expresses how people nowadays have "found expression for our hate without any kind of consequence," and points out that, well, "who needs patients when all our pleasures are virtual." The chorus uses the imagery of "a billion balconies facing the sun," as a beautiful setting, but then informs the listener that inside those dwellings with all those balconies featuring a spectacular view are people with their faces "turned to the screen" - uninterested in reality and all to susceptible too prettily packaged lies. Musically, this one's a rocker with brooding versus and bright, blazing choruses that hammer the points home. Together with It's Not War and Auto-Intoxication make up the three stonking rock songs on this album. (*****)
• All We Make Is Entertainment "Pointless jobs lead to pointless lives." Under a buildup of thumping drums, we get "1-2-3" and then launch into the song where we first learn that "I'm no longer preaching to the converted, that congregation as long ago deserted" - a line implying that the Manics' audience of 1992 or 1994 is no longer satisfied with the band's more pop inclinations. Which is a perfect start for this song as most of it is a long-arrived at admission that, guess what, all we do here in the Manic Street Preachers - at the end of the day - is make entertainment. This is a good thing, but simply "part of the grand delusion." This last little bit does then give the band license at the end to reverse field a bit on the theme for indeed...the all-encompassing grand delusion of entertainment is a major societal ill. Strip that away and you get the fact that millions are trapped in "pointless jobs" that lead to "pointless lives." Musically, this song is big, bombastic with clever guitar (especially right at the end) and dynamic vocal delivery by Bradfield. (*****)
• The Future Has Been Here 4 Ever "Like Godfather Three, I never can escape." Bassist Nicky Wire takes lead vocal on this song, which also incorporates a backing choir, trumpet from drummer Sean More and - how about some cowbell? The lyric is about not fearing the future, addressing it head on as you get older - even if you have doubts or concerns about doing so.  (***)
• Don't Be Evil "Fool the world with all your own importance." A chiming, driving guitar riff opens this rocking tune up. Built on a basic power chord progression, the music here is both simple, but classic and motors through the entire song - peaking with the chorus lines. Not so much with the lyrics. Stuff to ponder here. Over the top of the tune, we get Bradfield telling us that in a world where "the lines have been blurred," and "sickos and bullies praise your name," that today one doesn't have to be overtly "evil," but merely "corporate" to get dirty deeds done...and of course implying that "being corporate" is just another, more palatable form of being "evil." But the Manics also seem to be commenting not on the classic cliche of "corporate" when calling this out, but more the young, seemingly hip, seemingly anti-corporate corporate types of the Facebook generation. In attempts to blow their cover, Nicky Wire's lyric chastises this type with "as corporate as the suits you won't wear, as stupid as the jeans you tear" among other things. Finally, along with avoiding the baggage of being seen as evil by acting neo-corporate, this song suggests that such a maneuver also opens the door for a person indulge their own narcissism - "your own movie star." In the end, despite the complexities, the name of the song and clear chorus says it all. In whatever form you can think of, very simply - don't be evil. (***)

Postcards From A Young Man is not yet out in the U.S., but I assume it will be at some point. For now, you can get it by ordering directly from the store on band's web site HERE. A suggestion for those interested in hearing some of the record before considering whether or not to buy would be to switch to the UK iTunes site and find the record there and sample it. Sure, you can't buy it from the U.S., but you can hear parts.

Review written by Marc Osborn. Not for re-publication without written permission.

Dispatch from The Western Front - Jan. 31

The Western Front has been busy in January fighting off a flanking maneuver by corporate America that appears determined to draw all my energies and time away from fun things like this blog and into a quagmire of work.

So, apologies for the few number of posts recently. In about a week, I'll be back with some pre-Oscar movie reviews and an investigation of the album St. Jude by the band The Courteeners.

In the meantime, check out the Tiger picture I took when we were in India that I recently re-discovered under Photo of the Week over to the right, as well as an updated set of music I'm listening to.

And finally, here is a quote from my all-time hero Joe Strummer...

"If you want the floor, you need to get up on the table."

Ponder that.

Five Albums You Should Get

OK, so there aren't "albums" anymore, but that's what we called them back in the day. When cassette tapes came on the scene, we still called them albums. Same with CDs and now full sets of MP3 files from - among other places - iTunes.

Anyway, there's something about a complete set of music vs. individual songs on a playlist. Much more enjoyable and you get a full expression of ideas...something to think about.

With that in mind, here are five "albums" you may not have heard of, but deliver great rock and roll and hang together as a full set of music. All but the second one are available on U.S. iTunes. (All artwork is by the artists, not me.)

Howl by Black Rebel Motorcycle Club

San Francisco band BRMC started their career with a sound that's a cross between My Bloody Valentine, PiL and The Jesus & Mary Chain. And that was pretty dang good. Howl, however, is nothing like that. Rather, it's a big change up for the group that produced in my opinion their best work to date. Consisting of 15 tracks of mostly acoustic music that evoke Bob Dylan more than anything else, the still dark tunes deliver a major dose of soul, intelligent lyrics and musical talent on display. Every song is a winner, but standouts include the pumping Ain't No Easy Way, the drawing and haunting Howl, harmonica driven anti-war song Complicated Situation and the moving Sympathetic Noose. If you like what you hear on Howl, get Howl Sessions for some great songs that did not make the main album - in particular Mercy.

Neurotic Outsiders by Neurotic Outsiders

Remember the Sex Pistols? Guns 'n Roses? How about Duran Duran? What if some guys from those bands got together in a new band in the mid 1990s and put out a kick ass rock album? Would that be of interest? Well, that did happen. Comprised of Steve Jones (Sex Pistols) on guitar and vocal, Duff McKagan (GnR) on guitar and vocals, Matt Sorum (GnR) on drums and John Taylor (Duran Duran) on bass, the band was called Neurotic Outsiders. And their one self-titled album rocks. The main thing here is the music... slashing guitar from Jones, bombastic drumming and clever tunes that really move as they shift and propels to the next set of adrenaline inducing lick. Things only slow down for the self-contemplative Better Way, Union and Story of My Life.

Tackling weighty topics such as how much of a "'ho" one of the guys girlfriends is, the heavy weight of having been a Sex Pistol, the negative opinions of the band on too much plastic surgery on women, and other similar topics, the lyrics take a back seat. But they are at least delivered well. Standout tracks include Angelina, Revolution, Better Way and a wicked cover of Janie Jones by The Clash. I recommend this one for anyone for that perfect accompaniment to an aggressive workout at the gym or a hard run. But if you just want to rock out, it's pretty good for that too.

The Good, the Bad & the Queen by The Good, the Bad & the Queen

OK, so I'm not a big fan of "supergroups," but having said that...here's the second one I'm going to recommend in this group of five complete albums you should have. Comprised of Damon Albarn (Blur) on vocals, Paul Simonon (The Clash) on bass, Simon Tong (The Verve) on guitar and afro-beat legend Tony Allen on drums, The Good, the Bad & the Queen is both the name of the band and the album. With this lineup, you'd think maybe you'd be in for gaggle of rocked up songs, but that's not the case. It's much more interesting than that. Rather, with this one you get a number of well crafted, clever and mid-paced to slow atmospheric songs that address a wide range of subjects. The songs also act as a mixing pot of the talents of the members - dub bass and on-the-money backing vocals from Simonon, subtle guitar from Tong, soulful drumming from Allen and piano and lyrical sill from Albarn. Again, a set you can listen to from begininng to end. To me, the standout tracks are History Song, Kingdom of Doom, 80s Life, and A Soldier's Tale. Give this one a try.

The La's by The La's

Ah, The La's. One famous quote from Noel Gallagher of Oasis was that all his band was doing was continuing on what The La's started. Well, The La's only ever put out one album, their self titled debut in the late 1980s. The record is chock full of infectious songs, great melodies and the unique timbre of lead singer Lee Mavers...who, as the story goes, delayed the release through obsessive compulsive editing and tinkering. This worked out great for the eventual album, but the group broke up. You may have heard one song from this called There She Goes. But, the goodness goes far beyond that on this one. Strumming acoustic guitars (sometimes electric), perfectly phrased and timed verses about personal feelings and love, along with a subtle drum and bass deliver sing-along tunes that you'll be listening to over and over.

Standout tracks include: Son of a Gun, Way Out, There She Goes, Liberty Ship and Feelin'. Recently, this record has been re-issued, so you should be able to find it...and you should.

Narcissus Road by The Hours

Lastly but not least, Narcissus Road by The Hours. This is a band formed by a couple guys who used to play with Joe Strummer in Joe Strummer and the Mescaleros before Joe tragically died at age 50 of an undiagnosed heart malady. However, while this album does have hints of "how Joe would have done it," the sound is really not like what he produced. 

The 11 song album is comprised of a mix of upbeat mid-tempo rock tunes, several slow contemplative numbers and a couple sweeping epic songs that pull at the heartstrings, the album delivers on all fronts. Lyrically, the band take on on themes of redemption, getting off the mat when you've been been knocked down, love lost, dark motivations and living life for now. Perhaps the most unique song is Love You More in which the singer calls out all the things that he loves his signifiant other more than..proclaiming to love her more than his hooded sweatshirt, more than Tony Soprano, more than his football team, more than his Adidas shoes, more than The Clash and more.

Standout tracks are Ali in the Jungle, Back When You Were Good, Narcissus Road, Icarus and Love You More.

So, there you have it. Five albums that are listenable from beginning to end, and that you may not have ever heard of. Good luck. Let me know what you think.

And, as a bonus sixth to this list, see my review of Glasvegas by Glasvegas here.