Category — CD Review

Neon Trees are sure on a roll. The Utah indie-rock quartet are back with more oomph with their sophomore album, Picture Show, although showing a few signs of repetition in their melodic compositions, which is a big taboo in today’s industry.

Starting the album with a synth-heavy intro to Moving In The Dark, the opening melody immediately reminded me of Lady Gaga’s Born This Way, albeit at a slightly slower tempo, and with a bit more kick. But if you can look past that comparison, the chorus has a very melodramatic feel and is a combination of what we first heard in Habits, with an alternative twist that I’m finding refreshing.

“The truth is hard to swallow when it’s choking you”, growls frontman Tyler Glenn in the rebellious Teenage Sounds. Notwithstanding the fact that they aren’t exactly teenagers anymore, you cannot help but feel a sense of curious animosity in this song towards the world in general. Also, it captures teenage angst quite aptly in the ripping electric guitars and fast tempo drum beats and the cocky tone. Definitely an anthem that the young uns’ can play as they plot yet another revolution.

Single Everybody Talks is radio-friendly enough to garner attention, but I don’t think it got as much favorable response as Animal did when it first came out. Oddly enough, the verses sound pretty similar to 1983… or is it just me?

The album title hints at the tracks’ nostalgic theme, with an 80s’ feel, caught between the disappearing bubblegum disco pop flavor and the emerging trends of alternative rock and roll groove. Mad Love is pretty much a stoner tune reminiscent of that era, sort of like the song to set the tone for when you are on a date and cruising with the top down. Similarly, Weekend oozes more of that laid-back, New Wave vibe.

The album also seems to rely more on infectious synth melodies than it did on Habits, which I think is a good direction to head towards, in terms of the development of their distinctive sound. Songs like Lessons in Love (All Day, All Night), I Am The D.J. all allude to the nostalgic theme and synth-driven tunes.

The punk spirit is overflowing on Picture Show, infused with synth riffs and a charismatic and gutsy frontman (unlike Adam Levine, both shine in their own right), and I wouldn’t mind spinning this disc whilst having a retro-themed party. It would be well groovy!

Track Cuts: Weekend, Mad Love, Everybody Talks, Teenage Sounds, I Am The D.J.

In case you were wondering, yes, MTV still does Unplugged. It’s been about two decades, and they’ve roped it artistes from a spectrum of genres (from Adam Lambert to Paramore, and Korn to Katy Perry). But of course, I’m sure music fans would agree when I say none has even come close to beating Nirvana’s Unplugged gig in 1993.

No, not even Florence + The Machine. Sure, Florence Welch, frontwoman of the indie/pop band is gifted with soulful, powerhouse vocals. But you see, with F+TM, it has always been about their showy-ness on stage, which is why watching a toned down version of them was rather strange. It was almost like they had chains restraining them, really. Then again, that’s the whole point of MTV Unplugged, isn’t it? Stripped down to just the acoustics and vocals.

They opened the set with Only If For A Night, which I found to be rather shaky, in the literal sense. Welch always had a permanent vibrato, but somehow her voice quavered when reaching the high notes this time. Nevertheless, the absence of the whole electro-ish beat gave Welch a chance to really showcase the emotional connection she had with the song.

One track that deserves mention is Drumming Song. The original version is good, but the unplugged one is surprisingly just as wondrous. There were no “drumming noise in my head”, since the beats were replaced with a piano arrangement, just like No Light No Light was. The reinvention of the two songs was a little peculiar at first, but I guess a couple of listens after the first, it’ll kinda grow on you. That said, this version of Drumming Song isn’t exactly gonna reel in any new fans of their music.

The biggest surprise came in the form of Welch’s take on the 1930s classic Try A Little Tenderness. While I applaud her courage to attempt to cover this song, I kinda wish she kept the bluesy feel to it, instead of spinning it into an agonizing piece. Wear a black veil; she’s ready to be a funeral performer.

All in all, I’d say this MTV Unplugged album has a few tunes worth space in your iPod. Florence Welch really got a little space to show off her talent, you can’t deny that, but Florence + The Machine didn’t engineer their songs for this setting. It’s a record you’d sit down and listen to on a chilled-out Sunday over tea, but it’s definitely not going to be a classic.

While they have become household names back home in the UK, The Wanted‘s Tom, Nathan, Siva, Jay and Max have bigger plans in mind. With a single climbing to the Top 5 of the charts, getting their song redone on Glee, appearing on The Voice and American Idol, the huge exposure across the pond has done nothing but boost their earnings for the release of their US debut, The Wanted (EP).

The 10-track Special Edition self-titled EP mainly contains the classic tunes from their first two albums that were released earlier in the UK. Leading off with Glad You Came is pretty much a no-brainer, as it was the song that led to their breaking into the dominant market. Brilliantly written, the lyrics sum up the vibe that The Wanted seems to exude – breezy, cheeky and party-rockin!

Now I was not much of a fan of their current single, Chasing the Sun. Having first heard it, I found it to have less potential of being picked up so quickly as GYC did (surprisingly so, may I add). But the music video that came along after somehow gave the song more depth and a different perspective that had me rethinking my opinions on this song. In essence, it is the kind of song which has deeper affective intentions only if you are willing to delve deep, rather than what you’d get if you are just in it for the beats.

Staples from their first couple of albums include their debut single All Time Low (obviously), along with Lose My Mind, Heart Vacancy and Gold Forever. Satellite is slightly more recent but sadly is run-of-the-mill and offers little deviation from the songs we have heard before from them.

What I would have liked to see on the EP was Say It On The Radio or Personal Soldier. Most of the tracks on the EP are upbeat, club-worthy tracks that will get the crowd’s adrenaline pumping, save for Warzone, which was an apt addition that slowed the mood down and was able to bring out a darker aspect of the boys’ personalities (not to mention Max’s sick vocals). It would have been nice to see a variety of styles these boys can definitely achieve though.

While fans who have been there from the start may not be as happy with the lack of new offerings, the selection of songs on this EP is a well-conceived introduction to the quintet and showcases some of their best tunes, especially to the US crowd who are less familiar with them than we are. However, judging by the attention they are receiving over in the States, I can’t say we have them to ourselves anymore.

Track Cuts: Warzone, Glad You Came, Gold Forever, Chasing the Sun, Lightning

The eagerly anticipated action blockbuster, Marvel’s The Avengers made an explosive debut, smashing box office records worldwide and with such a great movie, comes a great soundtrack. Comprising of 14 tracks, Avengers Assemble: Music from and Inspired by the Motion Picture packs a punch with pretty solid songs from a wide range of bands, most notably the return of veteran grunge rockers Soundgarden, with their very first song since their reunion in 2010. Other bands to look out for in the soundtrack would be Shinedown, Rise Against, Black Veil Brides and the up-and-coming all-female band, The Runaways-inspired Cherri Bomb.

One would expect from previous Marvel films, particularly from the successful Iron Man franchise, that the soundtrack would be of the hard rock genre and this is what Avengers Assemble delivers. However, instead of AC/DC’s Back In Black or Black Sabbath’s Iron Man to convey Tony Stark’s badassery, the songs in this one are more of the let’s-work-together-to-stop-the-alien-invasion theme (go watch the movie).

Live To Rise, in a way, was  most apt for the opening track and main theme song considering it’s Soundgarden’s first ever song after 13 years, reinforcing the whole ‘revival’ theme surrounding Soundgarden and the formation of the Avengers. Energy levels then rocket sky-high in Shinedown’s I’m Alive with insistent drumming and piercing guitar riffs, it is indeed, ‘a slap to the face’. Papa Roach’s Even If I Could is what really caught my attention next, opening with funky electronic synths and blending in with heavy bass lines and in-your-face lyrics. This song, I imagine, would be pretty epic if performed live. The Photek remix of Evanescence’s A New Way to Bleed sounds as if it were tailor-made for the soundtrack, with the haunting vocals of Amy Lee sending chills down my spine.

The only setback of the soundtrack would be Kasabian’s Pistols At Down which happens to be the final track and just like that, the soundtrack fizzles out. There is such a stark difference in the sound that it just feels out of place.

But movie soundtracks aren’t meant to make a life-lasting impact of some sort and this is the case for Avengers Assemble. Sure, the collection of grunge, post-grunge songs with their heavy rock riffs and beats gets stuck in my head after a few rounds but in general, it’s a soundtrack that’s not too memorable; worth the listen, but not exactly worth the penny for the casual listener. If you’re a fan hard rock like me and you’ve watched The Avengers, then you should definitely check out this soundtrack.

Track cuts: Live to Rise, Even If I Could, Shake The Ground, I’m Alive, Unbroken, A New Way to Bleed

With Hawaii native singer-songwriter Jack Johnson, everything mellow goes. Even in his latest live album, Jack Johnson and Friends – Best of Kokua Festival, you are guaranteed an evening of great, non-fussed music that speaks to the soul.

The 13-track album was recorded live throughout six years of Kokua Festivals (2004-2008 and 2010), and features a bevy of artistes-friends, who on behalf of Johnson, have made appearances to belt it out on stage. They include roots singer-songwriter Dave Matthews, Jamaican musician Ziggy Marley, folk rock artiste Jackson Browne and Pearl Jam’s Eddie Vedder, to name a few.

The Honolulu island vibe is very much apparent throughout the album, with a few kickstarters that get the crowd cheering, whilst others are more laid-back numbers that will strike a chord in the hearts of those who like lazing around on a rainy afternoon.

As always, Johnson’s vocals are smooth and mellifluous. His dulcet tones may be overpowered by his famous counterparts at times, but it comes across as a deliberate measure. Johnson’s idea here is to somehow use music and voices alone to create this passionate atmosphere, getting everyone to become one with the music. The album also favors a clean, crisp tone, with the acoustics of the guitars and beats sounding bright and wholesome, as can be heard on Constellations and Island Style.

Mudfootball is a reggae-infused beat-heavy track with an excellent ebb and flow of the harmonica and saxophone. Blues and folk and island-style (Johnson’s specialty) all seem to meld together to form a tune that puts a smile on one’s face, regardless of what they are singing about.

Breakdown is yet another track that is dainty in its ukelele introduction, a mid-tempo drum loop and Johnson’s good-natured voice soothing us into a lull. Best heard on a Sunday afternoon while the rain is pouring down, with a cup of tea in hand. For more of a folk rock, bluesy sound, Further on Down the Road by Taj Mahal (featuring Johnson) is what you should be spinning. Unfortunately Johnson’s voice on this gravelly track is underwhelming after hearing Mahal’s first verse. A pity, seeing as how great the song is.

As someone who finds his studio albums constricted by a rigidity in production, it seems that his live albums open the arena for Johnson to expand on his vocals and melodic expertise. The stifling sensation I find in his studio albums is pretty much absent here, and it feels as though Johnson can command a stage and feels comfortable up there singing about peace, love, the environment and pirates.

Track Cuts: I Shall Be Released, A Pirate At Forty, Constellations, Further On Down The Road

Brighton duo Jordan Stephens and Harley Alexander-Sule, aka Rizzle Kicks, have had a pretty good start into the British music scene thus far, having one of their own singles hitting the UK top 10 in June last year, whilst their guest appearance on fellow homie Olly Murs’ Heart Skips a Beat saw them snagging the number one spot on the charts. With all the hype surrounding their potential, you can see why Stereo Typical, their debut album, needs to be more than perfect to satisfy the critics.

In a sense, Stereo Typical is a fun album, one that brings out the personalities of both boys. Young (barely 20!) and cheeky, these ex-students of the posh Brit School should not deter you from the fact that they do have talent. Perhaps a bit on the raw side, but with time, they should be able to hone their skills to produce tighter tracks.

The 14-track album is reminiscent of 90s’ ska/ hip-hop/ pop, definitely channeling an old school vibe, probably influenced by their producer Fatboy Slim. Still, what they have to offer is a sound that very much resonates with the British suburban teenagers, with its appealing soul pop / hip-hop.

Traveller’s Chant, their latest single thus far, is the epitome of their attitudes – nonchalant, mellow and carefree. Somewhat autobiographical as well, summing up the feelings of gap-year students who decide to follow their dreams. The guitar riff that plays throughout the track is infectious as the beat, whilst Jordan spits out lyrics over Harley’s smooth vocals.

Trouble is another track I can sip a nice glass of iced tea, kicking back on my lounger and nod my head to while Miss Cigarette makes a metaphorical comparison between a luscious girl and a pack of smokes. A total cliché, but will definitely appeal to the curious teen fanbase Rizzle Kicks obviously has garnered.

Their first couple of singles Prophet (Better Watch It) and Down With The Trumpets have received some good reviews, and the music videos aren’t half bad either. Trumpet-laden DWTT is a feel-good track with lyrics that don’t really matter, but that’s how skirt-chasers Rizzle Kicks want it to be, running round like we’re brainless, now I’ve got grass stains on my brand new white trainer. Ah, the teenage years…

Though the album could use a more aggresive cut in terms of tracks, I suppose a debut album is a chance to make a great first impression, so I’m not exactly complaining. Mama do the Hump does a little run-off from the overall feel of the album, perhaps a little too upbeat and not chilled back like the rest. The starting riffs sounds like something off a Cher Lloyd disc, but does little damage to the rest of the album.

Overall, an excellent debut that really will trumpet Rizzle Kicks as a bright young duo to look out for.

Track Cuts: Down With The Trumpets, Traveller’s Chant, When I Was a Youngster, Trouble, Dreamers

Jarring electric guitars, grinding emotional vocals and throw in a catchy chorus or two, and you get The Used. Back with a fifth album, Vulnerable, on a new label, Hopeless Records, they have thankfully looked past their previous mistake that was Artwork, and have regained the momentum from 2007′s Lies For The Liars, although without the spring in their step one was hoping for.

The album is not without its gems. Single I Come Alive and This Fire are strong openers, with the creepy lyrics and distressed screams, accompanied with some sick drumming and buzzsaw guitar riffs. However, much of the album fails to take off from the potential of these two songs.

Lyrically, the seemingly triumphant-sounding Shine can be found in a dime and a dozen uplifters these days, but the melody takes the track to a whole new level in my opinion. Not your usual way of portraying an uplifting mood as much as Price Tag by Jessie J, The Used takes the route of the determined, locked-down and focussed. The unconventional beats make way for a rousing guitar-driven chorus of  “It’s my time to burn, my time to shine, time to make it for myself“. This is one song where the passion shines through, pun intended.

Give Me Love is where the album plateaus, remaining stagnant for the rest of the album. The song offers neither anything groundbreaking or unique enough to catch my attention. The same can be said for Moving On, Hurt No One and Together Burning Bright. The pulverizing, sinister undertones that made The Bird and The Worm and Liar Liar (Burning in Hell) brilliant was sorely lacking in the latter half of Vulnerable.

Getting Over You displays a softer, more melodic side of The Used, and while not much of a stunner, is a good turn directionally, sort of a cleansing song from the rest of the headbangers.

While not containing much surprises, Vulnerable is a good comeback from their previous offering. Anyway, this punk/hardcore band is nothing short on successful and their efforts at evolution is laudable, as they tackle a softer, more vulnerable and personal take on songwriting.

Track Cuts: Getting Over You, Shine,  This Fire, I Come Alive

After the release of When The World Comes Down in 2008, the All American Rejects have been keeping things on the down low. Four years on, they’re back with a more mature sound on their fourth studio album, Kids On The Street.

From the opening of the tracklist, Someday’s Gone, it’s pretty clear the band is set to make their mark on the rock scene once again.

Now, I know, we’ve all grown accustomed to the playful essence in their previous records, but I guess it’s time to let go of that teenage imagery we have of them. Why? Because this album is the result of four solid years of injecting their personal experiences, producing a more refined material. After all, Kids On The Street has been branded by critics as “All American Rejects’ Most personal album to date”.

The lead single, Beekeeper’s Daughter, for example, illustrates the time frontman Tyson Ritter had living in L.A., which wasn’t exactly the sweetest experience ever. Ritter explained that it was “a harsh reality to learn that not everybody is here to be your friend.” Lucky for us he channeled that bitterness into a track worthy of a spot in the top 30 of Billboard’s Bubbling Under Hot 100 chart.

Just when you’re getting pumped with the fast beats from the first three tracks (track #3, Fast & Slow being the peak of the rollercoaster), the record slows you down for a little while, with a song aptly titled Heartbeat Slowing Down. This is also probably the only track with traces of whatever’s left of their teenage angst. The soft, slow beats worked some magic for Affection, though. I wouldn’t be surprised if it lands on the soundtrack of some romance movie.

The consequent tracks, like Walk Out The Door, attempts at bringing back the energy, but doesn’t quite seem to reach the same heights.

Despite tweaking their music style and image, I’m glad the band still managed to keep their signature feel-good charisma. Kids On The Street is a brilliant mash of new and old, bitter and sweet. In time to come, it’s definitely going on the Classic Rock shelves in music stores.

The two elements Nicki Minaj amalgamated together so well in Super Bass to make it the big hit of 2011 that it was: The sensational rapper Nicki, most apparent on her debut mixtape Beam Me Up Scotty and off an album highlight of a guest verse on Kanye West’s Monster, and the pop diva Nicki, lacing her debut Pink Friday to the delight of some and disgust of others. On Pink Friday Roman Reloaded, we see the 29-year-old Minaj splitting apart these two highly contrasting styles in a bid to – what? I don’t know. Satisfy everyone? Show how versatile she is? Shit on everyone because she’s plain crazy-ass weird?

Chances are it’s all three. If her sudden “dick in yo’ face” squeals midway through second track Come on a Cone isn’t enough a hint to show how willing she is to alienate everyone, have a close listen as she requires only the two-track transition of Right by My Side and Sex in the Lounge to plunge from straight-up hip-hop to made-for-the-dancefloor pop that recalls the likes of Lady GaGa and LMFAO. Felt it was only seconds ago you’d heard the dark, bleak Beez in the Trap when the jumpstyle-inducing dance anthem Starships comes on. Obviously, this half-time switch would more than estrange a group of her fans, and very much pleasantly surprise the other.

I belong to the former, so the thirty-one minutes beginning from Starships to Fire Burns (not Stupid Hoe, which is a diss rap that stands out among those of Biggie or 2Pac based purely on personality and energy alone) came across as an initial hard-climb for me. But hold on I did, and through the relentless swashes of auto-filter synth, highs-and-lows enhancements and chippy sing-alongs headed by party hostess Minaj, I eventually found enjoyment unpacking the songs.

Same could be said if you didn’t like the first six tracks off this blast of an album. But it’s a guarantee on the third spin you’ll notice the underlying hooks and you’d be head-banging and rapping along “Bitches ain’t shit and they ain’t say’n’ nothin’” – Otherwise, just skip ‘em. It’s your loss; What are MP3 Players for, anyway?

Track cuts: I Am Your Leader (feat. Cam’Ron), Beez in the Trap (feat. 2 Chainz), Starships

Kids like to dream, don’t they? I mean, when we were all about 10 or 11, we probably used to grab a hairbrush and jump up and down on the bed screaming out lyrics to the latest Britney or Backstreet Boys track. In today’s environment, that kind of craving for stardom has taken a whole new level.

That’s why we have shows like Victorious, to cater to our longings for being discovered one day. The Nickelodeon show is a musical-based teen comedy that features a girl (Tori Vega aka Victoria Justice) with hopes of being a singer one day. The musical-comedy concept pretty much follows shows like J.O.N.A.S, High School Musical or Camp Rock, but teens lap it up because it sells an idealized image of success.

The Victorious: Music From The Hit TV Show soundtrack in this case contains beat-driven tracks that were featured on the show, or have lyrics that link back to the plotline of certain episodes. For example, titles like Best Friend’s Brother (about going out with a best friend’s brother… literally) or Freak the Freak Out (complaining about an uncommunicative boyfriend), all seem to allude to the show.

While one cannot expect much from a soundtrack by a teen comedy, there are a couple of potentials hidden amongst the mediocre offerings. You’re The Reason is the sort of song that can replace a thank-you note to a friend for the support he or she’s given. Or maybe sung to a love interest, Song 2 You is a lovely duet for a ballad. Either way, both works. I am a little concerned about the heavy beats on this whole album though…club-heavy synth beats shouldn’t be overdone – it just breaks the whole song because all I can hear are the *DUNCEDUNCEDUNCE* embedded in the whole 3 minute long track. That said, I understand that their target market is probably amongst the 10 to 16 range, so maybe they need these beats to overcome those short-attention spans.

Give it Up vibes very much like Xtina’s “Lady Marmalade”, which I find is a total rip-off, even though the voices in that track are surprisingly good. Ariana Grande, in particular, can pull off that pop diva tunes I find. Victoria Justice isn’t a bad singer, she just needs a better avenue to perform. Finally Falling is one song where she is able to show off her chops in the introduction before being overwhelmed by the electric guitars and drums.

All in all, a very tween-friendly album which will probably appeal more to the fans of the show than anything else.

Track Cuts: You’re The Reason, Song 2 You, All I Want Is Everything