Album Review: Futurology

Last year, one of my favorite bands, Manic Street Preachers, recorded a large number of songs  - more than would be needed for a "normal" album. In the wake of this, one plan I read they had was to release it as a massive single album with a title like 70 Songs of Hate and Failure...or something like that.

I am glad they didn't. Not because the music is bad. To the contrary, those songs turned out great.

No, singer/guitarist James Dean Bradfield, bassist/lyricist Nicky Wire and drummer Sean Moore smartly realized they had two distinct albums on their hands - musically and thematically. One is a muted, toned down reflection on becoming older put to mostly acoustic arrangements. The other is more like adventurous rock themed around the future and feelings the band experienced in many of their European travels.

Futurology-era MSP left to right: Moore, Wire, Bradfield

The former came out as Rewind the Film in late 2013. The later just came out as Futurology.

I wrote a review of Rewind the Film that you can read HERE. I loved it, for the music itself, but also for the Manics for trying something new and succeeding wonderfully.

As for Futurology, a lot has been written about it already - almost universally good. Instead of me repeating what other have said so well in analyzing the album, I'll point you to an enlightening review by the site The Quietus. They run down the album song-by-song with some excellent observations.

I will, however, give a quick thought on each tune and a rating:

The Cover of Futurology

• Futurology ****A big, bright tune that'll have you tapping your toe and rocking along.
• Walk Me to the Bridge *****An intense rocker about change with a big riff and lyrics.
• Lets Go To War ****A minor key song against the damage done by the upper class with a chanty vocal and PiL-like bass line.
• The Next Jet To Leave Moscow****Back to up tempo, melody and a propulsive beat, this one reflects on how the band's left-leaning approach has been co-opted and their own hypocrisy.
• Europa Geht Durch Mich ***It means Europe Passes Through Me. An odd one for the Manics, but I like it! Guest vocal by a German actress.
• Divine Youth.*** This one could have been on Rewind the Film. Slower, guest female co-vocal, more basic instrumentation in a song about youth losing its way in the modern world.
• Sex, Power, Love and Money****A little reminiscent of the band's song Repeat from their very first album, this one chants and rocks out a message about "four small words that won't be denied."
• Dreaming A City**An instrumental. Sounds like it could be a theme song for a cop show or something. OK, but probably not one I'll listen to much.
• Black Square****Disembodied German voice repeats key lines from Europa Geht Durch Mich at the start, then the tune begins. The title refers to an opera and work of futurist art from the early 20th Century symbolizing the end of objects and time. The mid-paced song references the eternal "newness" of any art. 
• Between the Clock and the Bed***The title references a piece by Edvard Munch. Guest vocal by former Scritti Politti lead singer. The song seems to be about self doubt. 
• Misguided Missile**A meditation of the perils of self-obsession and the distractions that causes. 
• The View From Stow Hill***A slower tune, this one appears to be talking about the relatively unknown, un-talked about violent history of a Welsh city...Newport. 
• Mayakovsky**Another instrumental. A bit more upbeat and rocking that the other one on Futurology. Echoey, quiet voice at the very end speaks in English the key phrases of Europa Geht Durch Mich.

Must Have
These are the best songs on the album to me and show off the interesting, diverse sounds on the record:

• Walk Me To The Bridge
• Europa Geht Durch Mich
• Lets Go To War
• Black Square
• Sex, Power, Love and Money

If You Want More

• Futurology
• The Next Jet To Leave Moscow
• Divine Youth
• Between The Clock And The Bed

Could Skip

• A View From Stow Hill 
• Misguided Missile 
• Dreaming A City
• Mayakovsky

Manic Street Preachers Go Acoustic with New Album Rewind the Film

A few years ago, Manic Street Preachers put out a fiery album called Journal for Plague Lovers that, in my mind, truly brought that band back to life as a vital, important force in rock and roll. You can read my review of that album HERE.

Cover of Rewind the Film

Well, flash forward to last month. They did it again. Vocalist/guitarist James Dean Bradfield, bassist/vocalist Nicky Wire and drummer Sean Moore have delivered the goods anew. But this time it isn't aggressive, electric rock and roll with lacerating lyrics on all types of political and social issues. Nope. The new album, called Rewind the Film, is a distinctly subdued, personal and introspective affair that touches on feelings and ideas around getting older, nostalgia, missing friends and staying vital despite the inevitable changes life doles out. And, its mostly acoustic with warm guitars, horns, strings and subtle percussion creating the sound. And it's good.

Actually, "genius" in my book. No, seriously. This is a great album and proof positive that smart, adult music is still out there and comes in many forms. Throw in a couple guest lead vocals and a song sung by Wire and you've got something diverse and special. And good for the Manics for pulling back from their usual sound of the last few years to try something different.

Here is my song-by-song review of the album. At the end, I've made some recommendations on what you may want to get from Rewind the Film.

This Sullen Welsh Heart. "The hating half of me has won the battle easily." This is an appropriate song to start the album, not only because it points the way forward to the tone, texture and sound present on the rest of the songs but also because of its subject. Pointedly, this song is about growing older, recognizing some of the traps you might have fallen into and understanding that as great as days gone by may have been, you are not the same as you were back then. People change and you've changed. Introspection for the 40-something crowd if  you will.

Hopefully those changes are in the whole for the better, and also hopefully - despite your mellowing and evolution - there is some little element or spark left that fuels your now more mature self in an older and wiser way. Or at least that's what I get out of the song.

Vocally, the song features a duet with guest singer Lucy Rose who delivers a very touching female voice to James Dean Bradfield's male lead - making the point that the subject of the song is equally applicable to women as it is to men.

A contemplative acoustic guitar and distant synth or strings are the only music to accompany those voices, ensuring you are definitively going to hear the words and ponder their meaning. Put it all together and however subdued the song is, it's a highlight of the album right off the bat.

Show Me the Wonder. "There is no threat just an invitation, a sense of belonging, a sense of inspiration." By far, this is the most upbeat, pop-y and toe tapping song on Rewind the Film and compared to the prior song it is an explosion of sound. Bright and catchy horns, upbeat acoustic guitar strum and belted out vocals all combine to make this one a joy to listen to. Great stuff!

Thematically, the song seems to be commenting on just how unpredictable the world can be - in a good way. Isn't it a "wonder" the way certain things work or don't? And isn't it fun to embrace that uncertainty? Some things are just not understandable on a rational level.

Another thing about this song is that the video is really good. For all their musical talent, the Manic Street Preachers have a long history of putting out videos that just come across as lame to me. Not this time. Check out "Show Me the Wonder" by clicking HERE. It's a fun romp that pulls on nostalgia and revels in budding love. I think you'll like it.

Promo Shot of the Manic Street Preachers - 2013. L to R: Sean Moore, Nicky Wire, James Dean Bradfield

Rewind the Film. "Rewind the film again. I'd love to see my joy, my friends." No matter how old you are, most of us think from time to time how it might be nice to go back and re-live some of the best moments of our lives - to embrace youth once again, feel things again for the first time or just "listen to your old records." And this is the topic of this song. Sung by guest vocalist Richard Hawley, this is a narrative as told by an old man wishing he could go back and experience life again. Normal singer Bradfield belts out the chorus lines to punctuate the point even further.

Musically, this is one of the more complex songs on the album. Articulate acoustic guitar, synth, strings, drums and subdued bass all combine to create a rich backing for Hawley's "old man" voice. Also, the video for "Rewind the Film" is touching - so, the Manics are two-for-two on videos! You can see it HERE.

Builder of Routines. "How I hate middle age, in between acceptance and rage." Featuring verses with a sparse James Dean Bradfield vocal backed by muted music box chime and strummy choruses and middle-eight sections, this song is a pretty straight forward comment by the band about getting older, their struggle to continue on as a vital musical force and not relying on their storied, glorious and tragic past.

To that end and to the point, there appear to be a couple of clear references to former band member, lyricist and stylist Richey Edwards in the choruses. Edwards of course famously went missing in 1995 never to be seen again and is presumed dead. Bradfield sings "only in you do we see ourselves," which I take as a comment on how profound Edwards was to the band and how the band views its ideal but now unattainable selves as vital, youthful and fueled by rage.

The other reference is the line, "so sick and tiered of being 4 real, only the fiction has appeal," which is the other side of the story. Guess what? The other three in the band have gotten older and had to try and live up to the fury of the Edwards years. The line references the "4 Real" that Edwards carved into his arm with a razor in front of a journalist when the writer questioned his and the band's sincerity. The fact is that the surviving band members have had to live up to that all these years - so much so that now that is not possible...with only the "fiction" of those times is the only appealing part of it any more.

The Manics Perform Acoustically on BBC2

4 Lonely Roads. "And if we can, we must hold our heads up." This song is sung by guest vocalist Cate Le Bon. I assume the Manics chose her to sing this one because a) she's from Wales like they are, and b) her haunting voice is a match for the feeling of this song.

Lyrically, this one appears to deal with the need to rise above difficult times with love. There are many lonely roads that we all follow at times (four of them? could be for all I know) and sometimes you just have to walk those roads so to speak to get to a better place...a place where, as the song says, "darker Hell stood up on high, then disappeared." And at the end of one of those lonely roads, what does a traveler learn? That "if we can, we must hold our heads up...a little love."

Musically, Le Bon's lilty voice is an asset against the subdued but enjoyable little mid-paced melody. I'd also add that this is the third song out of the four to start the album where the music definitely takes a back seat to the vocal and lyrical content. Don't get me wrong, nice music here and very complimentary for the vocal. But, for a band that has built so much reputation on bombast and big, thematic hooks and fireworks, this song and others on Rewind the Film really show a change...and in my book a great new direction.

(I Miss the) Tokyo Skyline. "Feeling like an alien is so much fun." From comments I've read by the band about this song, it's really an homage to the wonderful time they had on their first visit to Tokyo back in the early 1990s when they filmed their video for Motorcycle Emptiness.

According to the lyrics, the feeling of being totally alien in a foreign land and the almost universal inability to communicate with the people is appealing to James, Nicky and Sean. Placed in the middle of such technical wonder and a massive city filled with people...but yet not able to communicate. Beautiful isolation in the midst of millions. So very Manics.

I love how the Japanese sounding violin complements soothing electronic waves that begin this song - a nice contrast between people's perception of traditional Japan and modern Japan. After that, the music serves once again as a nice, clever but subdued background for the vocal delivery - this time back to Bradfield.

Anthem for a Lost Cause. "So it seems that every song is now just one last chance." Acoustic guitar opens this one up with strings and horns joining, then Bradfield's voice. The music takes a step up in the mix and importance in this song compared to earlier numbers on this album. More pronounced are the horns and guitar, the pace picks up a little and we hear a few crescendos as the voice hits its emotional peak in the choruses.

The theme of the song seems to be a lament over something lost - a love, a career, a battle of some sort. Something that was once "a glittering prize" is now just ashes. Is this the Manics commenting in a morose way about their past career and inability (or desire) to "kick out the jams" with the fury of days gone by? Or, is it more a more universal idea about how loss hurts and at some point becomes a lost cause. I think it may be some of both.

As Holy as the Soil. "Would it be that hard, just for once, we could save the world." Here we have song that's rare on two counts. First, it's sung by bassist Nicky Wire and not normal singer Bradfield. Second, unlike most other songs sung by Wire, this one sounds really good. His monotone talk-sing style has evolved since he first took on a clear lead vocal years ago on "Wattsville Blues" off their album Know Your Enemy.

Piano and acoustic guitar introduce Nicky's now more tuneful, but still unconventional, voice. Horns soon join in as flourishes, and Bradfield chips in singing on the chorus as drums and guitar kick in together in a deliberate beat. Later in the song, the horns are back as more substantial backing. A nice touch to build the song.

Now, as for the meaning of the song, well, Wire's lyrics describe a number of things - people, places, feelings, things...even the Roman Empire...as "as holy as" and then transitions into a statement of "I love you so will you please come home." He is saying as holy as those things are, so too is love for the person he is singing to.

It could be about brotherly love for missing band member Edwards and the sad truth that it would be great for him to be there with them now, but knowing he never will. Or, the song could be more general about the longing for the return of a love currently gone or somewhere else. Either way, a surprise tune on the album.

3 Ways to See Despair. "There are three ways to see despair, and I've seen them all I'm scared to say." This is a minor chord, downbeat drudge that's really unlike the other songs on Rewind the Film. From comments I've read by Nicky Wire, it's about how things once great and promising sometimes turn into something tragic. This is a similar theme to "Anthem for a Lost Cause," but that song delivers the goods in a more appealing and interesting way. I might not be listening to "3 Ways..." very often.

Running Out of Fantasy. "My obsession with change has bled me dry." From the sludgy, slowness of the last song, "Running Out of Fantasy" re-establishes tunefulness and melody to the album. Whew. Very simply, the song is about losing one's sense of wonder and innocence as one gets older and experiences the often all-too-cruel world. Musically, we're back to acoustic guitar, strings, a little piano and Bradfied's voice - and this is great. A very nice delivery and quite listenable.

Manobier. This is an instrumental with the only vocals appearing as background toward the end. It's an atmospheric tune that opens with a distinct acoustic guitar riff and builds up into a "chorus" of spooky synth sounds. And what you may ask is a Manobier? I didn't know, so I looked it up. It's a coastal village in Wales. OK, so that's not surprising given where the Manics are from.

30 Year War. "Its the longest running joke in history, kill the working class in the name of liberty." If the start of Rewind the Film was a soft, melancholy personal introspection about getting older, then the last song is a spikey salvo of social commentary.

The Manics have always been a political band, commenting in songs on things they dislike in modern political landscape or referencing things they do like - or find ironic - from history. "The 30 Year War" is just such a song and by far the most political track on the album...perhaps pointing the way their next album, out in early 2014 and to be called Futurology, will head.

The "war" referred to here is the three decade long slide into conservative politics and corporatism in the UK in particular, but I think the message works for the U.S. too. The notion that convincing the working class that it is their best interest to vote for politicians who will enrich the already rich while simultaneously destroying the very institutions that keep the working class educated and employed is clearly a point of scorn. All the "Eton scum" graduating into "front bench" MPs in the British Parliament to ensure that "the old boy network has won the war again."

Also, there's some commentary in the song about cultural elitism through the part of the song that talks about putting away "Lowery's paintings" because he (a British artists in the mid-20th Century) refused a Knighthood from the Queen.

Against this landscape of right wing and upper class domination, the lyric then moves in an ominous direction with the line repeated "I ask you what is to be done?" This clearly references Lenin and the potential of revolution.

Yes indeed, a whiff of revolution to leave you thinking - about the point of the song, about the state of our world and about what might be coming next from the surprising Manic Street Preachers.

What To Get
Show Me the Wonder, This Sullen Welsh Heart, Builder of Routines, 30 Years War

Want To Try More?
Rewind the Film, Tokyo Skyline, Anthem for a Lost Cause, 4 Lonely Roads, Running Out of Fantasy

Might Not Be Your Cup of Tea
Manobeir, 3 Ways to See Dispair, As Holy As the Soil

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

Glasvegas Back With New Single and EP

Cover of the "If" EP by Glasvegas

One of my favorite bands from recent years, Glasvegas, is back in the music-release business with a new single and EP called "If " to proceed the anticipated release of their third album in September titled "Later...When the TV Turns to Static."

You can sample the four songs on the "If" EP on the band's Web site and clicking on the "Legacy" link at the top. And you can see the video version of the song featuring a cameo by William Shatner - yes, Captain Kirk - by clicking on the "GVTV" link at the top of the band's page.

Here are my thoughts on the songs just released:

1. 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. 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 essentially end - simultaneously implying that the 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.

To summarize, this song delivers what Glasvegas is great at - heartfelt lyrics cleverly delivered along with compelling, moving music. Check it out.


2013 Promo Shot of Glasvegas

2. Press Play. "If we'd met in another story, things could have worked out differently." This song is, as far as I can tell, a lament over what the singer would have done differently in a relationship if another chance was available. Starting quiet and slow with voice and piano only, the pace slowly builds over the course of the tune. This is a similar technique used by Glasvegas in their song "Lots Sometimes" from their last album. However, in this case it's a slower build with not quite as frantic an ending as that earlier song, but with some clever use of xylophone tones. After singing about  how things could have worked out and what he would have done, Allan then summarizes toward the end (now faster and now more musically dense background that adds synths and a touch of bass) that if he could go back in time, he'd "press play" - implying he would be more active, engaged and present.

3. The Words That Maketh Murder. "I have seen and done things I want to forget." This one is a cover of the PJ Harvey song by the same name. I read somewhere recently that Glasvegas main man James Allan said while they had done covers in the past, they were usually of older songs and they wanted to do one that was more recent. He didn't say why they chose this - what I think is a - anti-war song, however. With a more aggressive sound and lyrical delivery that the previous two songs on the EP, this urgent song talks about someone who has seen the horrors of war and equates the words that start or fuel wars with words that "maketh" murder.

4. Finished Sympathy (Demo). "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. Being a demo, this one might sound different on the upcoming album, but if it does not, this version very capably delivers the emotion.


OK, so what do we have here? We have an "up" tune expressing the wonder and reality of how it takes opposites to confirm each other's existence...up to and including love and the end of love, a couple lament songs beautifully delivered and a more aggressive and dark cover version of an anti-war song. Good stuff to me and a nice taster of what is coming in the album. I am looking forward to seeing what the team from Glasgow has cooked up in full.

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.

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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

The Gaslight Anthem - Handwritten Review

Great American rock and roll bands are few and far between in 2012, but New Jersey's The Gaslight Anthem is one of them. And guess what? They just put out a new album.

Called Handwritten, it's a set of authentic and straight ahead rock and ballads that delve into two clear themes, at least to me: 1) celebrating rebellion and the freedom it can bring and 2) a heavy dose of love lost...or love desired, in jeopardy or bordering on impossible to have.

In this day and age of pre-produced boy bands, hip-hop gangsters, techno sample driven dance and sugary sweet country, The Gaslight deliver a much needed dose of real, believable, moving rock and roll from the USA.

You can see a few pictures I took of The Gaslight Anthem HERE. They are at the end of a set of rock concert photos I took at gigs.

Meanwhile, here's my review of the songs...

45. "I can't move on and I can't stay the same." A rocking kick off to the album and the band's first single off this record. Essentially, this is a celebration of rock music and the exhilaration of that first powerful jolt you get when dropping the needle down on a rockin' 45. Mixed into this is also some reference to how one needs to make change...equating that with "seeing you on the flipside" of a record.

Handwritten. "There's nothing like another soul that's been cut up the same." Musically bearing some resemblance to the band's big hit "The '59 Sound," this song is a meditation on nostalgia and the desperate attempts to mend or endure a damaged but still firing love. The "handwritten" reference to me signifies that the relationship being sung about was forged in the most authentic and meaningful way and could still be - if both parties want it.  Classic Gaslight Anthem that will have you singing along and reminiscing and relating to the heartfelt theme.

Here Comes My Man. "Maybe your pride will be your companion." A song about a guy jilted by his girl. Has she left him for another guy? A job? To find herself? Well, it's not clear. Could be one of these things, some or all...but the point is made. Anyway you slice it, this person is in pain and desperately wants what could have been.

Mulholland Drive. "Oh and I would just die if you took your love away." Featuring a choppier delivery and a guitar solo in the middle, this one is a about what the singer would feel if his love went away. This is now the third song in a row on this album about the loss of love - or the fear of it. And by the end you realize that both parties in the relationship are saying the same thing...so not all is lost.

Keepsake. "I just want to love someone who has the same blood."OK, here things slow down with a chugger of a tune with a wailing guitar overlay and lyrics about a person seeking out family...his own blood...something that apparently has been lacking in his life.

Too Much Blood. "Now I'm no devil, but I've got things on my mind." The slower pace continues here with a charged, but paced tune about possibly saying too much...by putting "too much blood" on the page - in other words, going too far and it's consequences.

Howl. "Does anything still move you since you're educated now?" Boom. A rocker following a few slowdown tunes. This song revs up and challenges the contented listener if she still has the rebellious spirit of younger days - the desire to escape, the drive to move, to embrace the wild side of life for all the freedom it did - and could still - deliver.

Biloxi Parish. "I've found that nothing truly matters that you cannot find for free." Throttling back again, this is a mid-paced song that - best I can tell - centers on the singers desire to be with a difficult girl...one who he recognizes is not good for him, but that he loves none less. He's willing to suffer and he's willing to put up with the "blood and curses" the girl can, and no doubt will, dole out. The music on this one is pretty good with great guitar work crescendoing with a solo breaking out of the rhythm, falling away and building back up.

Desire. "What makes a man do the things that a man does." Pace picking up here - "ohh-whooo-ah-ooooh" kicking things off. This song title actually encapsulates many of the love songs on Handwritten as it talks about the desire - from afar, against wisdom, in light of difficult circumstances - the desire for love and what might be...but is so God damn difficult to attain.

Mae. "With your Bette Davis eyes and your mama's party dress."A call for a lifelong partner...is it someone real (Mae?) or is it an idealized and desired lover? Not sure. The singer goes into what he'd like to do, he is (and was) and how he'd like to have this girl along for a ride that could last.

National Anthem. "Take it easy baby, it ain't over yet."An acoustic closer to the album laments what was - both in American society and in the singer's relationship. Both his "American love."

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What to get
45, Handwritten, Howl, Here Comes My Man, National Anthem, Mae

What to skip
Too Much Blood - OK idea for a song, but just not that compelling
Biloxi Parish - same comment

Best song
This is a close call to me between National Anthem and Howl - tie breaker goes to Howl, 'cause it's more upbeat and rockin'

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.