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July 28
May
Satellite Party Super Payloaded
Released: 29-May-2007
Put together by ex-Jane’s Addiction frontman Perry Farrel to bring awareness to eco-politics through music, Satellite Party is exactly that. Farrel joined by his wife and friends (including Flea and Peter Hook) creating party music with a message. This isn’t going to change the world or probably not even make people take ecological issues any more seriously than they already do but it gives Farrel a new platform to promote the organizations he supports. Musically we get what we’d expect from a project like this; and that’s fun! Lead single ‘Wish Upon A Dog Star’ shows promise on a post-Jane’s landscape with it’s more serious tone but after this is when the party really starts (second track ‘Celebrate’ sounding like a Happy Monday’s outtake) and while not something to even worth mentioning in the same breath as Jane’s it’s surely not a bad thing. 5
Stand-out Tracks: ‘Wish Upon A Dog Star’, ‘Hard Life Easy’, ‘Kinky’
June
Queens of the Stone Age Era Vulgaris
Released: 12-Jun-2007
After Queens broke into the mainstream with 2002’s ‘Songs For The Deaf’ Josh Homme countered that by sacking his bass-playing buddy and releasing ‘Lullabies To Paralyze’, not quite the commercial follow-up expected. This trend continues even further on new album ‘Era Vulgaris’, Homme himself labelling this a “dance record”. First single ‘Sick, Sick, Sick’ plays out with a techno-metal groove while ‘Misfit Love’ displays Homme’s trademark falsetto. Opener ‘Turnin’ On The Screw’ is classic Queens displaying a typical Josh Homme riff. Meanwhile “Make It Wit Chu’ taken from Homme’s Desert Sessions side project (originally a duo with PJ Harvey) is reshaped into a desert-drenched Queens classic. ‘Era Vulgaris’ doesn’t quite reach the heights of ‘Lullabies…’ but does show that like always Homme can take his band in a different direction and still deliver the goods. 7
Stand-out Tracks: ‘Turnin’ On The Screw’, ‘I’m Designer’, ‘Misfit Love’
White Stripes Icky Thump
Released: 19-Jun-2007
With Jack White’s forming of The Raconteurs with fellow Detroit-ite Brendan Benson naturally the media threw the ‘Stripes future into disrepute. Then the admission that the Raconteurs - on the heels of their world tour – would be going straight into the studio to record a second album things didn’t look good for everyone’s favourite brother-sister combo. Then back in March we learned that the ‘Stripes had been back in the studio and cut a new LP in 3 weeks, the longest they’ve ever spent on a single album. Taken from a English Lancashire colloquialism “ecky thump” (deliberately misspelled for the benefit of an American audience) to show surprise, which is used by White’s wife who herself is from Lancashire. The best way to describe ‘Icky Thump’ is a cross between the blues-rock of ‘Elephant’ and the experimentalism of ‘Get Behind Me Satan’. In fact tracks ‘You Don’t Know What Love Is…’ and ‘300 M.P.H. Torrential Outpour Blues’ wouldn’t sound out of place on ‘White Blood Cells’ while 'Prickly Thorn, But Sweetly Worn' even features bagpipes and let's be honest, if anyone can put bagpipes on a song and make it sound good it's Jack White. ‘Icky Thump’ proves once again that The White Stripes and Jack White in particular has the ability to deliver a brilliant album with ease, even so soon after the creative output and touring of the side project. 8
Stand-out Tracks: ‘300 M.P.H. Torrential Outpour Blues’, ‘Prickly Thorn, But Sweetly Worn’, ‘I’m Slowly Turning Into You’
Ryan Adams Easy Tiger
Released: 26-Jun-2007
Releasing 9 albums in the last 7 years Ryan Adams has been both praised and panned for being a prolific songwriter. His last 3 albums, ‘Cold Roses’, ‘Jacksonville City Nights’ and ‘29’; all released in 2005 were all consistently good but here Adams opts for a more placid approach, reeling out pleasant enough country jams without reaching the heights of his past. Adams is always at his best when playing on his influences; here though he seems to be finding a more consistent voice, which proves all the critics baiting wrong as the result is a much less satisfactory album than any of Adams previous releases. Where certain tracks do tug on the heartstrings (first single ‘Two’ for example) I still find myself reaching for that copy of ‘Rock N Roll’ or ‘Love Is Hell’. This stuff wouldn’t sound out of place in Starbucks but Adams does inject enough of his unique charm to make this a worthwhile addiction to your collection. 6
Stand-out Tracks: ‘Two’, ‘Halloweenhead’, ‘Oh My God, Whatever, Etc.’ July 18
Smashing Pumpkins Zeitgeist
Released: 10 Jul 2007
The prospect of a reunion of any band years after a split is risky enough, let alone a band with a back catalogue as impressive as that of the Smashing Pumpkins. Back at the height of grunge, aswell as for a few years afterward, the Smashing Pumpkins managed to be one of the biggest bands on the planet (without actually fitting into said sub-genre), Billy Corgan was the most prolific songwriter of the nineties, bar Kurt Cobain; and the band received huge commercial and critical praise. But after a period of 7 years, a commercially unsuccessful Billy Corgan solo album (‘The Future Embrace’) and two full-page ads in the Chicago Sun-Times and the Chicago Tribune announcing he wanted his old band back, everyone’s favourite whinging egotistical slaphead is back! Oh, and so is the drummer.
Quite where the Pumpkins fit into today’s music scene is anyone’s guess, the band collapsing under the weight of egos and relationship breakdowns (guitarist James Iha and bassist D’Arcy Wretzky broke-up prior to the bands split) back in 2000; ex-Hole’s Melissa Auf Der Maur replacing Wretzky on bass for the farewell tour. Musically, Smashing Pumpkins Mk. II does lack the magic that Iha and Wretzky would have brought to proceedings but given the fact that Corgan himself played everything except drums on ‘Zeitgeist’ does make this more of a Pumpkins album than if he’d employed session musicians for the project. I must admit I was both excited and hopeful but not optimistic at the prospect of material from one of my favourite ever bands but after hearing first single ‘Tarantula’ I was even more hopeful that the subsequent album would worthy of the Pumpkins name.
Things kick off with ‘Doomsday Clock’ - which sounds like a better produced ‘Machina II’ outtake - Corgan turning his attention away from the personal to the current U.S. political climate: “Is everyone afraid?/Is everyone ashamed?” and what seemingly appears to be the war in Iraq (“a message to our friends to get out”). The song sounds just as good as it did sound tracking giant robots knocking the shit out of each other on the big screen, just over a week ago and is as heavy as the Pumpkins we know and love. ‘7 Shades Of Black’ is even heavier, Corgan singing about love, a reoccurring lyrical theme on ‘Zeitgeist’. On ‘Tarantula’ Corgan sings how he wants “to be there when you’re happy” and “love you when you’re sad” which might sound laughable if sung by anyone else but let’s not forget this is the man who once convincingly sang about “fashion victims from the jungle tooms”. Musically though, ‘Tarantula’ instantly sounds like classic Pumpkins and wouldn’t sound out of place on ‘Rotten Apples’.
The current foreign and domestic political issues facing the U.S. brought up on ‘Doomsday Clock’ are revisited several times through-out the album. ‘Starz’ likens Americans to the “stars” of the American flag (“The stars that shine, stars the bleed”), Corgan exclaiming “I want so much/To follow as I lead” which acts as a kind of pre-cursor to ‘United States’, a 9 minute 50 second (not so) epic, overlong jam with Corgan repeating the refrain of “revoluuuushon” in his trademark whine before the song threatens to veer out of control but unfortunately never does. Shame. Whereas ‘For God And Country’ is an ode to the founding principals that the American constitution was originally built upon (“I want to live for God and country/I want to give God a country”), Corgan taking on the role of messiah, asking the U.S. military forces to “Lay down your arms for me/Lay down your arms for God and country”.
Elsewhere the album takes on a more melodic feel on later tracks but where most bands would have opted for half assed mellow filler it’s good to hear the Pumpkins still rocking out whereas ‘That’s The Way (My Love Is)’ sounds like a natural progression from ‘The Future Embrace’ with its swirling synths and final track ‘Pomp And Circumstance’ comes off as exactly that, sounding like a ‘Mellon Collie…’ outtake, it comes across like ‘Thirty-Three’ although it lacks the abstract dreaminess of that classic. Like most of the album held up against any of the Pumpkins previous albums ‘Zeitgeist’ doesn’t measure up but taken as an album in its own right is actually a welcome return of one of the great bands of the last 15 years and although it may be missing half the original line up, Corgan’s unmistakable whine and unique guitar sound (his guitar sounds like it’s been strangled on the solo to ‘Tarantula’) are both present and correct. And along with Corgan’s huge personality this album is almost the triumph it could have been with the return of all the former members. 7
Stand-out tracks: 'Doomsday Clock', '7 Shades Of Black', 'That's The Way (My Love Is)', 'Tarantula', 'For God And Country' May 16
March
Arcade Fire Neon Bible
Released: 5-Mar-2007 UK / 6-Mar-2007 US & Canada
Arcade Fire’s debut album ‘Funeral’ brought with it an uplifting feeling of the euphoric despite its subject matter being stooped heavily in that of death and loss. This time around however the Canadian group have turned their attentions away from their own personal struggles to take on the outside world. Every controversial topic is covered: the war in Iraq, the military, the church, the Government and even our obsession with celebrity. Black Mirror sets the mood, Win Butler holding a black mirror up to the world and not liking the reflection he sees staring back at him. First single ‘Keep The Car Running’ sounds like a long lost demo by The Cure while the title track itself seemingly deals with the churches brainwashing of young minds. The emotional delivery to the songs is still as spot on as ever and manages to lift the heavy hearted opinions in the lyrics above mere hypocritical preaching. The rallying cry to troops in the Iraq conflict: “working for the church while your family dies” of 'Intervention' really makes you think about the troops themselves and their families back home worrying over loved ones. This is made all the more poignant by the building crescendo of organ. “There’s a great black wave in the middle of the sea,” sings Win Butler on ‘Black Wave/Bad Vibrations’ and that’s exactly what this album is, a great black wave of disappointment and frustration to the problems faced by the human race and their lack of a reaction to them. 9
Stand-out Tracks: ‘Black Mirror’, ‘Keep The Car Running’, ‘Intervention’
The Horrors Strange House
Released: 5-Mar-2007 UK / 15-May-2007 US & Canada
Much has been written about The Horrors in the last year. A controversial video to first single ‘Sheena Is A Parasite’, depicting actress Samantha Morton spewing her guts towards the camera was banned by MTV in the UK - rather laughably - for its strobe lighting effects as opposed to the gore content. This however saw the band gain much notoriety and even an NME cover before they’d even released their debut. Many thought the bands shtick would wear thin on a full length LP but this couldn’t have been further from the truth. ‘Strange House’ is both quirky and sonically interesting. From the punk-charged fury of the afore-mentioned ‘Sheena Is A parasite’ to the indie dance floor levelling ‘Count In Fives’ through the psychotic ramblings of ‘Gloves’ The Horrors have fashioned an accomplished sound to go with their gothic, skinny jeaned, public school boy chic which sounds much more accessible on record compared to their intense and unpredictable live shows. Things lose momentum slightly towards the end of the album, which would stand better from being a track or two shorter but other than that this is an impressive debut. 8
Stand-out Tracks: ‘Jack The Ripper’, ‘Count In Fives’, ‘Gloves’
April
Kings Of Leon Because Of The Times
Released: 2-Apr-2007 UK / 3-Apr-2007 US & Canada
Going unnoticed in their native America (the band hails from Nashville, Tennessee) the Kings have always had a strong fan base in the UK. Ever since The Strokes led the NME endorsed ‘New Rock Revolution’ of the early 00s. It’s been 4 years though, since the release of ‘Youth And Young Manhood’ and after 4 years of sex, drugs and rock ‘n’ roll the Kings have finally come of age. A process started, musically at least, on second album ‘The A-ha Shake Heartbreak’. The band have really done something special here, the progression from their dirty tight jeaned rock ‘n’ roll is clearly noticeable – not to say they’ve gone soft – second track ‘Charmer’ scorches with all the fire of their past. Lead single ‘On Call’ is a radio-hit in the waiting with its opening synths and repetitive verse-chorus of “I’m on call/So be there” along with that awesome bass line. That’s another noticeable thing about this album, each Followill brother (and cousin) plays his respective instrument exceptionally. All creating an intense and even sometimes claustrophobic listen on the first half while a more free and open sound takes over for the later tracks. It’s easy to imagine the vast expanses of the American south whilst listening to the likes of ‘Ragoo’ and ‘Trunk’ while ‘Camaro’ sounds like the soundtrack to a classic Americana rodeo. Outstanding. 8
Stand-out Tracks: ‘Charmer’, ‘My Party’, ‘Ragoo’
Maximo Park Our Earthly Pleasures
Released: 2-Apr-2007 UK / 8-May-2007 US & Canada
Appearing in the shadow of The Futureheads, Newcastle’s Maximo Park never quite lived up to the adulation that was heaped on them, what with the Arctic Monkeys exploding onto the scene and flattening all the competition around them for a thousand miles. Being that the ‘Monkeys played on the same NME Awards tour that Maximo Park actually headlined didn’t help either. The thing about the Park’s excellent debut was that the melodies were subtle and hidden. They slowly crept under your skin over time until you developed a near obsession with the songs. A promise of a much heavier sound for their follow up, from singer Paul Smith didn’t exactly leave me with much confidence until I heard lead single ‘Our Velocity’. A song, which didn’t so much as woo you with its underlying charm as hit you over the head with a sledgehammer. It’s disappointing then that ‘Our Earthly Pleasures’ is more of a grower than ‘A Certain Trigger’ just without such a heavy feeling of reward, for sticking with it, afterward. ‘Girls Who Play Guitars’ starts off well with its big Gil Norton (Pixies, Foo Fighters) produced chorus and stop start guitar on the verses. ‘Books From Boxes’ is also a stand out aswell, it’s after this though that things start to fall flat. Paul Smith describes the album as, “rock without the clichés” and well maybe this is an accurate analysis but it’s also rock without the excitement. Either way, like Smith says whether you like it or not you know that he “means it”. 6
Stand-out Tracks: ‘Girls Who Play Guitars’, ‘Our Velocity’, ‘Books From Boxes’
Nine Inch Nails Year Zero
Released: 16-Apr-2007 UK / 17-Apr-2007 US & Canada
A concept album devised by Trent Reznor during the ‘With Teeth’ tour, starting as an idea on a laptop before building into a full blown utopian epic. The background for said concept was slowly leaked over the months leading up to the albums release by clues left for fans to decipher leading to websites with various information. Sonically this album is much more electronic albeit industrial than any other NIN release to date. It’s been compared to ‘The Downward Spiral’ and heralded as a return to form for die-hard NIN obsessives although the guitars are hidden behind layers of feedback. Lead single ‘Survivalism’ tackles our depleting of the earth’s nature resources while ‘The Good Soldier’ introduces us to the character of ‘The Good Sniper’ (he has his own website) who after seeing the horrors of war turns against the military police governing the world to join the resistance. All in all ‘Year Zero’ doesn’t live up to it’s concept - it is however, interesting and diverse musically - the electronically bleak backdrop perfectly suiting the vast lyrical depth of Reznor’s future-world concoction. 7
Stand-out Tracks: ‘The Beginning Of The End’, ‘The Good Soldier’, ‘Capital G’
Arctic Monkeys Favourite Worst Nightmare
Released: 23-Apr-2007 UK / 24-Apr-2007 US & Canada
How do you follow up the fastest selling British debut album of all time? Oasis solved the problem by coming back even more accessible than before. Sheffield’s Arctic Monkeys however have decided to push things forward with new album ‘Favourite Worst Nightmare’ and not please the masses. When comeback single ‘Brianstorm’ landed on music channels in the UK back in March I have to admit that I wasn’t all that impressed but it turned out to be a huge grower. Its break-neck post-punk opening giving way to a funky bass led verse with singer Alex Turner complementing Brian on his “t-shirt and ties combination” dress sense. The song reportedly being about a Japanese fan who somehow blagged his way past backstage security with his effortless cool and entertained the band with his stories before disappearing leaving the band wondering if they’d experienced a collective dream. Elsewhere on the album Turner has expanded his lyrical content to include hypothetical characters dealing with issues that everybody, not just Brits, can relate to. ‘Fluorescent Adolescent’ deals with a middle-aged woman’s sex life since entering into a relationship (“You used to get it in your fishnets/Now you only get it in your nightdress”) while ‘Teddy Picker’ takes a swipe at celebrity, comparing the publics attention span to fame to the arcade machines at the sea side with which you try to grab a cuddly toy with a mechanical arm – not being able to grasp it for long enough to obtain said toy. Musically the band are a lot heavier (guitarist Cooky puts this down to listening to Queen Of The Stoneage and thinking how they needed to raise their game), with ‘If You Were There, Beware’ boasting a QOTSA desert riff and drummer Matt Helders seems to playing as if he’s Doctor Octopus from Spiderman. A fantastic return! The ‘Monkeys are back to show up the competition once again. 9
Stand-out Tracks: ‘Teddy Picker’, ‘Balaclava’, ‘This House Is A Circus’
Black Rebel Motorcycle Club Baby 81
Released: 30-Apr-2007 UK / 1-May-2007 US & Canada
After the troubles with their record label (the band split from Virgin soon after the release of ‘Take Them On, On Your Own’) and inter band tensions resulting in drummer Nick Jago walking out before the recording of 3rd album ‘Howl’ it wasn’t clear which direction BRMC would take. ‘Howl’ was a folksy country album stripped down to not much more than an acoustic guitar and the odd touch of mellatron and organ. With that out their system BRMC are back to what they do best: balls out rock ‘n’ roll. Jago is back behind the drum kit (he returned for the subsequent ‘Howl’ world tour) and the band has returned to their roots. First single ‘Weapon Of Choice’ kicks off with a distorted drum sound before launching into layers of riff heavy guitar, singer Robert Levon Been (formerly ‘Turner’) declaring that: “I won’t waste my love on a nation”. Business as usual then! But this time around the band take the best elements from each previous outing: the tunes of debut ‘BRMC’, the big sounding production of ‘Take Them On…’ but keeping with the more experimental sound (in terms of instrumentation) of ‘Howl’. The piano led ballad ‘Windows’ has more in common with Oasis’ ‘Born On A Different Cloud’s quirkiness than The Jesus And Mary Chain’s drone rock. While album stand out ‘Cold Wind’ keeps the country quota in check before building into a huge guitar fuelled monster of a song. BRMC, it’s good to have you back. 7
Stand-out Tracks: ‘Berlin’, ‘Windows’, ‘Cold Wind’ May 08
Nine Inch Nails Year Zero
Released: 16 Apr 2007 UK/17 Apr 2007 US & Canada
A mere 2 years after the last NIN release Trent Reznor and co are back with ‘Year Zero’. You may remember seeing the commercials on TV the week leading up to it’s release, depicting what looked like something out of Steven Spielberg’s 2003 ‘War of the Worlds’ remake walking across a desert landscape, seen through the window of a moving vehicle followed by the words: ‘nine inch nails: year zero/04.17.07/www.nin.com’. No music, no music video, just 26 seconds of fuzzy footage. Which to any knowing NIN fan means the world and to anyone else would have probably resulted in the scratching of heads. I fall somewhere in between, I wouldn’t call myself a die-hard obsessive but I would call myself a fan. A big fan. What does all this mean though? Does the album itself answer this question? Well, kind of. It just might take a few listens and a lot of searching on the interweb to find out exactly how.
You see, Mr. Reznor has moved away from the ‘me, me, me’ self-loathing of, well pretty much every other NIN release to date (not that that’s a bad thing of course – no one does self loathing better than our Trent) in favour of a much more political approach. It seems the ‘The Hand That Feeds’ from last album ‘With Teeth’ was only the beginning of Trent’s foray into politics. ‘Year Zero’ is actually a concept album in which the world comes to an end, is reborn and starts again. The year in question is 2022. The thing from the aforementioned commercial and the albums cover art is called “The Presence”. The war on terror has escalated to World War III and so the US Government has poisoned the water supply with a chemical to control the minds of its people under the guise of counter bio-terrorism, books have been banned and the world is policed by the ‘Soldiers of God Under The US Flag’.
This is only touching the surface of the amount of detail Trent Reznor has put into this concept though. There are multiple websites scattered over the Internet going back months before the albums release. Clues were hidden on tour T-shirts and even on the Blu-Ray edition of live release ‘Beside You In Time’ where a ‘.com’ added to the end of a string of seemingly unrelated words equaled a website URL. Clever folk these NIN fans aren’t they. These websites led to other websites, which explain varying parts of the whole ‘Year Zero’ puzzle and builds what is ultimately a complex and intriguing master marketing scheme for the album. It’s through these websites that we are introduced to the reoccurring character of ‘The Angry Sniper’ a member of an Airborne Crusaders unit who is more than likely the main protagonist through which Reznor tells this complex story during the album.
Things kick off with ‘Hyperpower!’ and its pounding military-esque drums with distorted electronics and guitars building into its finale of underlying screams. The sound of an industrial war zone, which leads us perfectly into second track ‘The Beginning Of The End’ with Reznor warning: “Watch what you think/They can read your mind”. This sets up the concept for the album brilliantly and the track title itself is self-explanatory. From here we get lead single ‘Survivalism’ which plays out like a war propaganda audio message. Here Reznor comments on how we’ve raped the earth (Mother Nature) of its natural resources but continue to take more. This is also when the Government tighten their grip on society taking to the streets (“The cocking of the rifles/The marching of the feet”), a theme which continues on into ‘The Good Soldier’ starting with hip hop beats a la ‘Closer’ Reznor documenting “Gunfire in the street/Where we used to meet/Echoes out of beat/And the bass goes…/Bomb, right over my head” with a catchy as hell bass line dropping in right on the “Bomb” part. The albums highlight without a doubt.
It’s quite obvious that the protagonist in the title of this track is ‘The Angry Sniper’ who we’re told is “trying to see” and “trying to believe” despite his realisation that this “is not where I should be”. This is more than likely the point in which ‘The Angry Sniper’ first has thoughts of swapping sides and standing against the Government that has brainwashed him into serving them under the guise of serving God. The Governments hold and control over the populace is an ongoing topic through the albums lyrical content. There are various tracks, which deal with the idea of repressed persons standing up against the military machine that is holding them down. Over the course of the album ‘The Angry Sniper’ and other protagonists (Reznor reportedly tells the stories from the point of view of different characters) realise that the Government that has fed them lies to assert it’s military muscle over not just America but the world and it’s time to fight back.
Despite being a work of fiction ‘Year Zero’ obviously houses many similarities to the state of the world today and in particular, Americas foreign policies. ‘Capital G’ is a prime example of this. In fiction, the soldiers fighting for ‘Year Zero’s future US Government in the name of God become so brainwashed with military propaganda that their God is replaced by he who “signs his name with a capital G”; in reality: a scathing attack on George Bush (“I pushed the button and elected him to office/He pushed the button and he dropped the bomb”). The same can be said for the aforementioned swipe at global warming on ‘Survivalism’ and if we’re honest, any innocent Iraqi would fit the protagonist of ‘The Good Soldier’ (“Gunfire in the street/Where we used to meet”). Of course it’s not just lyrical content that makes up an album and here Reznor’s concocted world of conspiracies and totalitarian police states fits in perfectly with the bleak, electronically heavy musical backdrop.
This is about as industrial as Reznor has ever gotten and condsidering how most of the album was written during the rather lengthy ‘With Teeth’ tour on nothing more than a laptop, this isn’t surprising. This album returns to the more raw sound of ‘The Downward Spiral’ with walls of industrial grinding and layers of distorted guitars. This is for the most part a feedback heavy techno album. Flitting from the quiet atmospherics and hushed whispering vocals of ‘Me, I’m Not’ to the distorted techno groove of ‘The Warning’. This is a million miles away from the pop leanings of ‘With Teeth’. But having said that there is such a rich sense of melody on the underlying guitars or stark pianos which litter some of the later tracks the album seems much more “accessible” than it really ought to.
If die-hard NIN obsessives are anything to go by this is the most “accessible” NIN album since ‘The Downward Spiral’ (itself about the protagonists – or more to the point, Reznor’s – descent into a hellish abyss of drug abuse, paranoia and fear) but I guess a NIN fans idea of what’s accessible is slightly different from the rest of us. To say the album can be a difficult listen is kind of an understatement – this won’t be for everyone but either way ‘Year Zero’ is a powerful and accomplished body of work, both musically and lyrically. And what’s more part 2, which will allegedly contain the ‘rock’ tunes, is out next year. Although Reznor has being reported as saying that he would like the second part to be in movie form to better realise his vision. Which isn’t all that surprising considering how Reznor himself described ‘Year Zero’ as the soundtrack to a movie that doesn’t exist. Only time will tell but while Reznor deliberates which media his next release will appear under, this will tide us over nicely. 7
Stand-out Tracks: ‘The Beginning Of The End’, ‘Survivalism’, ‘The Good Soldier’, ‘Me, I’m Not’, ‘Capital G’ March 14
The Horrors Strange House
Released: 05 Mar 2007
Every once in a while, a band that is so musically different from anything else that’s going on at that time, comes along and so, inevitably, it becomes cool to like said band. The Horrors are one such band. Hailing from Southend in Essex, people were talking them up back when they had just four songs to their name, their big hair generating column inches alone. Imagine Russell Brand cloned five times by Alestair Crowley in some ancient gore splattered ritual but with a sense of humour steeped heavily in the gothic and the macabre as opposed to all the sexual hi-jinks. The band may be well known among NME readers and MTV2 viewers but in terms of the mainstream they’re pretty much unheard of so you’ll get the classic “what the fuck is this shit you’re listening to?” comment from your friends. Which I suppose, would be a fair assessment given the total disregard for any attempts at commercialism in the band’s approach to making music. Not to say the album is totally un-listenable because it actually really isn’t.
‘Strange House’ may be a difficult listen on the first few spins but once you get through the haze of feedback and singer Faris Rotter’s schizophrenic vocals the album reveals an underlining sense of hidden melody and sonically interesting structures in the songs. Cramps-esque bass lines and pounding drums supply tight rhythms for the guitar and organ to attempt to lay some kind of melody over the top. One of the things that give The Horrors their unique edge is Joshua Von Grimm’s guitar sound which he achieves by actually building his own effects pedals. Coupled with Spider Web’s (that’s another thing you’ve got to love about this band – their ‘band’ names – the drummer is called Coffin Joe) often erratic organ grinding the album really is an assault on the senses. From first track ‘Jack The Ripper’, which starts with the trademark feedback before leading into the kind of bass line that slowly stalks the back alleys of your mind until half way through when it suddenly erupts into screams of “Jack The Ripper” and Von Grimm’s randomly crazed (almost) guitar solos right through to last (bonus) track ‘Death At The Chapel’ with it’s surprisingly catchy opening guitar riff and off-kilter organ.
Elsewhere on the album we get the dance floor levelling garage-rock blitzkrieg of ‘Count In Fives’ and the slick new single ‘Gloves’, which actually sounds quite – dare I say it – commercial compared to the rest of the tracks on offer here, Rotter documenting an obsession with the collecting of gloves. I wonder if he counts them in fives. ‘Sheena Is A Parasite’ is the punk-charged musical equivalent to its blood and guts soaked (Chris Cunningham directed) video while ‘Draw Japan’ and ‘She Is The New thing’ boast the kind of backing vocals that sound like they were lifted straight from the Dawn of the Dead Musical Opera (if such a thing existed), an army of undead ghouls doing their best Hollywood ghost impression – the only thing missing is the clanking of chains. The band further cement their obsession with Victorian-era London in ‘Excellent Choice’ with its spoken word verses about a man named Morgan taking a rather negative look at his rut heavy life, finding himself stepping onto a train line, to wait for the train to end his misery, by the songs last line with Rotter’s accompanying sarcastic screams of “excellent choice sir, excellent choice” throughout the ‘chorus’.
It’s after ‘Thunderclaps’ though that the momentum is kind of lost with ‘Gil Sleeping’ and its five minutes of instrumental tinker-y – Spider Web demonstrating the strange sounds he can squeeze out of his organ. It would have been much wiser to have added this as the bonus track or to have just left it off completely, along with the unnecessary three minutes of silence at the end of ‘A Train Roars’ (does this mean Morgan got his wish?). This, however is a small grievance and doesn’t stop ‘Strange House’ from being what is ultimately a very strong debut from a band who most people wrote off as style over substance. I mean, alright, yes The Horrors gained more hype than any band in recent memory for their image. But the potential risk of the band’s so-called gimmicky appeal being stretched too thin on a full album has proved all the nay- sayers wrong, Rotter commenting prior to the album’s release that they do actually have some good tunes and the proof is right here. If you look on the back cover of the album inlay you will find printed the words: "Pyshcotic Sounds For Freaks & Weirdos" and that is exactly what you'll find here. 8 March 08
Understanding: You two will probably know that you were meant to be from the moment you meet each other. They understand you and will be kind out of heart without wishing anything in return. They love to see you happy. You are probably a lot like them too! Even though they may not be the hottest of the bunch, they are openminded and love everything about you and that's what matters! Count on this person to always be there for you and trully love you for the person you are. Try not to get too carried away in your own world though. You two are all about the meaning in everything. This person is drawn to you by your acceptance, kindness, and emotional will towards all people. This person will want to spend the rest of thier lives with you and live thier life to the fullest with you by thier side.
(And I got the exact same type as my girlfriend...what are the chances?) March 07 JANUARY
The View Hats Off To The Buskers
Released: 22-Jan-2007
Taking their name from the Bayview pub in a small district of Dundee where the band originally based themselves, The View have risen from local band to having a number one album in 2 short years. Much like the Arctic Monkeys, the band has collected a faithful fan-base where ever they’ve played whilst doing the groundwork for stardom due to healthy stints of touring. It’s a shame then that ‘Hat’s Off…’ doesn’t follow in the footsteps of ‘Definitely Maybe’, ‘Whatever People Say I Am…’ and ‘Never Mind The Bollocks’ as classic British debuts. Despite opener ‘Comin’ Down’ and first two singles ‘Wasted Little DJs’ and ‘Superstar Tradesman’ being punk rock scorchers and third single ‘Same Jeans’ being a number three hit the momentum is lost slightly on ‘Skag Trendy’ with singer Kyle Falconer spitting out lyrics faster than a speeded up Alex turner which just doesn’t seem to work. Then there’s the slower more Kooks-esque acoustic numbers which don’t really help to pick things up, despite being decent enough tracks showing a more mature side to the boys but at 14 tracks the album is 3 tracks too long. 7
Stand-out Tracks: ‘Same Jeans’, ‘Don’t Tell Me…’, ‘Wasted Little DJs’
Klaxons Myths Of The Near Future
Released: 29-Jan-2007
Starting and spearheading the New Rave movement early last year before losing out to other bands following in their wake (Shitdisco, Spank Rock, CSS) while they took time out to record their album. Klaxons have undoubtedly recorded one of the albums of the year and are most definitely back to reclaim their place at the top. Writing glow stick anthems which mix the height of dance culture with the energy and delivery of punk, these songs also take in indie for a more accessible sound. Lyrically as well, the gritty realism of recent British bands (Arctic Monkeys, The View) is dropped in favour of magic, time travel, occultists and ancient civilisations for a much heavier slice of escapism for listeners. From first single ‘Atlantis To Interzone’s acid-house mash up with that siren to the indie cool of ‘Golden Skans’ with its 80s style backing vocals through the ode to Aleister Crowley: ‘Magick’, Klaxons will be flying the flag of New Wave high through this year as well as last year. That’s only mentioning the singles as well. It’s only closer ‘Four Horsemen Of 2012’ which kind of falls flat for me, not really doing justice to what has come before. Maybe you need to hear it live for the full effect. 8
Stand-out Tracks: ‘Atlantis To Interzone’, ‘Golden Skans’, 'Totem On The Timeline'
FEBRUARY
Bloc Party A Weekend In The City
Released: 05-Feb-2007
“I am trying to be heroic/In an age of modernity”. With this first line from opener ‘Song For Clay (Disappear Here)’ Kele Okereke sets out his mission statement for pretty much the whole of Bloc Party’s second album. Dealing with the same subject matter as Arctic Monkey’s debut, just without either the wit or humour, the album centres on the effects of – as the title suggests - a weekend in the city. From the feeling of being unstoppable on a drug and alcohol fuelled night out (‘The Prayer’) to the terror attacks of both 9/11 and 7/7 and the resulting witch hunts that ensued (‘Hunting For Witches’). Then there’s Okereke’s dissatisfaction at living in post 9/11, Blair-ruled Britain, which litters pretty much the whole album, touching on racism (‘Where Is Home?’), the long standing aftermath of Thatcher era Britain (‘Song For Clay…’) and conformity (‘Uniform’) among other subjects. Things take a more personal turn, most notably on ‘I Still Remember’ where Kele remembers a missed chance at love from his school days, touching on his sexuality for the first time (he refuses to talk about it in interviews so not to become a spokesperson on the subject), commenting how “we left our trousers by the canal” and “I should have kissed you by the water” as two boys play truant from school. All in all this isn’t quite the modern classic the debut was but it is an excellent album with Kele stepping up to the spotlight with the issues he thinks are important right now and is, quite frankly, disgusted that no other bands are tackling. To go back to that first line, in my opinion Kele is the hero he’s aspired to be. 8
Stand-out Tracks: ‘Song For Clay (Disappear Here)’, ‘Uniform’, ‘I Still Remember’
Kaiser Chiefs Yours Truly, Angry Mob
Released: 26-Feb-2007
It was unclear on the direction new Kaiser’s material would take. The band seemingly wanting to distance themselves from the ‘cheeky chappy’ image they gained with first outing ‘Employment’. Should they take the safe option and deliver more of the same and risk people getting weary of all those woooaaaah’s and naaaa’s or go all serious on us and lose what it was they made them fun in the first place. Well the good news is that they’ve kind of gone half and half. The woah’s and naa’s and pretty much gone (with the exception of ‘Ruby’ and ‘Highroyds’) in favour of a more mature sound but still in keeping with those great pop hooks that attracted us to the band in the first place. Also, singer Ricky Wilson has been taking a look around and decided to comment on his social observations (much like Kele Okereke and Alex Turner before them on Bloc Party’s recent second album and Artic Monkeys debut, respectively) and has noticed that society is a mess and fame can be a drag. Things kick off with first single ‘Ruby’ with its highly contagious chorus and “na na, na naa” backing vocals from drummer Nick Hodgson but things soon take a more serious turn for album highlight ‘The Angry Mob’ with Ricky observing that guys go out on a Saturday and then have a fight. Not exactly a shrewd observation but an accurate one non-the-less, the song culminating in a “We are the angry mob/We read the papers everyday/We like who we like/We hate who we hate/But we’re oh so easily swayed” refrain, Wilson branding the people of England well, an angry mob (The album title itself has a 'thrown to the wolves' feel to it) basically . Ow! This, sometimes cynical, sometimes humouress wordplay continues throughout the album (‘Heat Dies Down’, ‘Thank You Very Much’, ‘Everything Is Average Nowadays’) with a few more personal ballads (‘Love’s Not A Competition (But I’m Winning)’, ‘Try Your Best’) thrown in along the way. Wilson might not have the wit of Turner or the convincingly cynical disgust of Okereke and might overdo the social commentary sometimes but all in all ‘Yours Truly, Angry Mob’ is a much more coherent album than its predecessor, where you won’t be skipping the album tracks to get to the more riotous tracks. 7
Stand-out Tracks: ‘The Angry Mob’, ‘Thank You Very Much’, ‘Everything Is Average Nowadays’ February 05
TOP TEN MOVIES
- United 93
- Casino Royale
- The Departed
- Children of Men
- Borat
- Right At Your Door
- Syriana
- Hard Candy
- Silent Hill
- An Inconvenient Truth
1. United 93. We all know what this movie is about. We all know what happened that fateful day. We all remember where we were and what we were doing when the news broke. We don’t need to go into detail; we all know how it started and how it ended. What we don’t know specifically is what exactly the crew and passengers of United Airlines flight 93 went through during that morning. Writer/director Paul ‘Bourne’ Greengrass re-enacts those tragic last hours, using information from loved ones who were called by both crew and passengers to say their final goodbyes, to give us a pretty accurate portrayal of what probably did happen. Powerful and thought-provoking, as movies should be; the reality behind the subject matter is a story that deserves to be told and was done so with the utmost of respect on Greengrass’ side. Controversial and moving this is Hollywood at its best. 10
2. Casino Royale. A much needed revamp and a new James Bond in the form of one Daniel Craig which of course brought about a lot of reservations from die-hard fans. I must admit I had reservations myself. Then I saw that trailer with a beefed up Daniel Craig portraying a much more hard-hitting, ruthless Bond. Let’s not forget though that this goes back to Bond gaining his license to kill, this movie taking place before any of the others which came before it, which goes some way towards explaining Bond’s attitude towards well, women for one. Whatever your opinion of the changes to character and tone this movie along with Craig’s performance has re-invigorated the entire franchise. Bond is most definitely back! 8
3. The Departed. A remake of the little known cat and mouse thriller Infernal Affairs by Hong Kong director Siu Fai Mak. This new version of the film however was a re-working of the original script as opposed to the actual film. This time the action is swapped to Boston from its original location of Hong Kong and we see Matt Damon and Leonardo DiCaprio stepping into the roles of undercover cop/police mole. Both turning in admirable performances; DiCaprio really getting to sink his teeth into the emotional side of his character while we see a much darker and ruthless side to Damon. Comic relief comes in the form of Mark Walherg’s Sgt. Dignam with his relentless insulting of pretty much everyone around him. Then of course there’s Jack Nicholson as Mob Boss Jack Costello overacting his ‘Mad Jack’ routine up to perfect. This is a return to form for director Scorsese seeing him almost return to his glory days of Gangs of New York and Casino. 8
4. Children of Men. An uncompromising vision of the future from French director Alfonso Cuaron in which women have become infertile and all children have perished as a result of a mysterious epidemic. The youngest person on the planet being 18 year old ‘Baby Diego’, a celebrity in his own right for nothing more than this simple fact. The world is in chaos and Britain no longer allows any immigrants from any other country. The story follows officer worker Theo Faron played by Clive Owen who inadvertently becomes mixed up with a terrorist organisation trying to bring an end to the totalitarian rule of the Government with a little help from pot smoking hippie Michael Caine along the way. 8
5. Borat. This is without a doubt the funniest thing I’ve ever seen in my entire life. I’ve never laughed so much in a Cinema before. The situations Borat both puts himself into and finds himself in are hilarious and of course almost every word that comes out of his mouth is funny in some way or another. But there’s an underlying intelligence in what Sacha Baron Cohen has done here. This isn’t just straight forward slapstick or gross out comedy. This is tackling issues that are very real in our world today, so of course America was the perfect place to film this movie. Cohen’s bashing of the Jews (he himself is a British born Jew) and piss taking of everything from gays to high society to Celebrity shows up the prejudices of the American people and their extreme views on such diverse topics. Which if you think about it these are the things that not only movies but comedy should be tackling. Brilliant! 9
6. Right at Your Door. Another movie based on the current climate of terror in the west. This follows Rory Cochrane’s struggling musician Brad as LA suffers multiple terrorist attacks during morning rush hour traffic. After being stopped by Police from going downtown to find his wife Lexi (Mary McCormack) he returns home and to barricade up his house when the attacks turn into a chemical threat. From here on in the movie becomes a pot boiler with the tension slowly increasing as Brad deals with everything from people trying to break into his house for a safe haven to the mounting frustration of not knowing his wife’s fate. Anything more I say will just spoil the story but rest assured that this is, despite being fictitious; a very poignant and terrifying account of what could very easily become a reality. 8
7. Syriana. From a script by Traffic writer Stephen Caghan this sees George Clooney in his Oscar winning best supporting actor role and yet another harder edged performance from Matt Damon. Starting out with corruption in the oil industry this takes in everything from the CIA and America’s well hidden covert foreign policies to the inevitable misguided terrorist conclusion. Clooney’s performance as CIA agent Bob Barnes is faultless but it’s the storytelling that really puts this film heads above other thrillers. Expertly weaving backwards and forwards from one character dilemma or location to another, this is a thriller that is both thrilling and though-provoking at the same time. 8
8. Hard Candy. Another film with a controversial subject matter. A young 14 year old girl named Hayley who is far more mature than her years meets Jeff, a 32 year old photographer on the internet and agrees to meet up with him and later goes back to his house. It soon becomes clear though that Hayley knows more about Jeff than she is letting on and the film quickly progresses into an intense but psychological thriller in which the lines of identity are blurred right up until its riveting climax. A film that isn’t always easy to watch but keeps you gripped whilst making you think with excellent performances from both leads. This film must be seen. 8
9. Silent Hill. Expectations were high for Chrisophe Gan’s adaptation of the popular playstation games series and on the evidence of the trailer things were looking promising. What we were actually given was a deeply flawed film that on paper was an excellent horror thriller but in practise leaves the viewer somewhat short changed. The movie was obviously (under the control of Gan’s meticulous eye) stylistically gorgeous to the extreme. The production design was by the far the best of any film this year; Silent Hill itself, being faithfully constructed with all locations from the game in there. There was little change to back story and Rahda Mitchell was more than adequate as a distraught mother searching for her daughter in Silent Hill, it’s just that watching the movie was a little bit like watching somebody else play the game. 6
10. An Inconvenient Truth. Not a true movie in the traditional sense but non-the-less entertaining for it. Al Gore’s lecture on Global Warming actually turned out to be a lot less boring than it sounds. More of an informative talk than a lecture the film is interesting and insightful with Gore presenting ample evidence on what is a very real and serious problem of catastrophic proportions. If the Governments of the world don’t start doing something soon it’ll be too late. This is a real issue, the greatest we’ve faced since 9/11 and it’s good that people are making movies about both. 9
Most years have a theme at the movies: 1996 was alien invasion; 1998: asteroids. This year, like last, seemed like the theme was going to be the sequel again (X-men 3, M:I-III) but then we were unexpectedly hit by no less than five movies about the subject of terrorism, three of them being about 9/11 itself. The controversy didn’t end there though, with both Borat and Hard Candy giving us topics such as offensive comedy and paedophilia, respectively. This has actually been one of the best years for movies that I can remember in recent memory.
Like I said there wasn’t all that much to look forward to at the beginning of the year or even at the end of last year. All the big movies were disappointing; you’ll notice this from the absence of the aforementioned sequels in this year’s list. It was the controversial topic of 9/11 that saw some of the better movies this year and of course the movie of the year: United 93. Even the topic of global warming which has been one of much debate in the US Government got an airing. These are the things filmmakers should be making movies about. These are the real dilemmas our world is facing and let’s face it filmmaking is an art and films should be artistic and should be tackling the issues that are very relevant in both society on a local level and globally. Let’s hope this continues into the New Year.
Unseen movies that could have possibly featured in the Top Ten:
1. Pan’s Labyrinth. The story of a young girl in post WWII rural Spain who creates her own fantasy world to live in. Damn distributors wouldn’t release this to our local multiplex as it only has a total of 7 screens and not the required 8. You could have expected to see this in the number 2 spot of the Top Ten had we seen it.
2. A Scanner Darkly. Set in the near future ‘Scanner’ follows the story of a cop who becomes mixed up with a new drug and struggles with his own identity as a consequence. This was the first Major film to gain a limited theatrical release, using a method known as rotoscoping. This is when live action is filmed and then animation is layered over the top using a form of advanced cell shading.
3. The Host (Gwoemul). A huge mutant creature climbs out of the Han River in Seoul and heads down into the sewers after kidnapping a young girl. Her family then follow the trail of the creature in an effort to get her back. This movie never gained a cinema release here in the UK but is due for release on DVD in March.
Movies that missed out on the Top ten:
1. Superman Returns. Superman returns to earth after an absence of several years looking for any survivors from Krypton and has to deal with the fact that Lois Lane along with the rest of the world have learnt to live without Superman and no longer need him. Until arch-enemy Lex Luthor hatches a plan to destroy the Man of Steel once and for all. 7
2. World Trade Center. Nicholas Cage stars in this true story of two Port Authority police officers who are sent to help evacuate workers from a World Trade Center towers on 9/11 but become trapped in the building when it collapses on them. Directed by Oliver Stone, this is a heart warming tale of courage and human survival. 8
3. Inside Man. Spike Lee’s mainstream bank heist movie. Clive Owen plays Dalton Russell who has planned and executed the perfect bank robbery but things aren’t all that they seem and the robbery develops into a hostage situation. Cue hostage negotiator Keith Fraizer (Denzel Washington) to talk Owen down. 8
Other Movies enjoyed here at the Brotherhood:
1. 16 Blocks. Bruce Willis plays an alcoholic anti-hero cop who protects witness Eddie Bunker (Mos Def) from corrupt cops who he’s set to give evidence against in court. 6
2. Firewall. Harrison Ford stars as a firewall security expert Jack Stanfield who must rob the bank he’s working for or villain Bill Cox (Paul Bettany) will kill his family. 4
3. Déjà vu. Another Denzil Washington movie in which he plays ATF agent Doug Carlin who must travel back in time to stop a woman from being murdered as the result of the terrorist bombing of a ferry. 7
4. Black Dahlia. Brain DePalma’s stylish but untimately muddled adaptation of James Ellroy’s novel about the most infamous unsolved murder in Californian history. 6
The Top Three Worst Movies of the year:
1. Saw III. The most disappointing thing about Saw II was that when it ended it was so evident that Saw III wouldn’t be far behind that it couldn’t have been any more obvious if the Jigsaw killer himself had ripped his way through the movie screen, fallen out of his wheelchair and mockingly exclaimed that: ‘it’s not over yet’. So imagine my frustration when once again at the end of Saw III the story is set up for a fourth instalment of an original movie which has now turned into a ‘please don’t make anymore of these God-awful movies’ franchise. I just want to cry. 2
2. Stay Alive. Film about a group of teens who play an online videogame based on the true story of the Blood Countess from the 17th century. When the teens start dying exactly how their characters did in the game they decide to fight back. 2
3. Underworld Evolution. Sequel to 2003’s vampire vs. werewolf movie which left out all of the style, darkness and mythology of the first to deliver a by-the-numbers Hollywood action horror which actually made me want to walk out of the cinema on more than one occasion. 3
It’s disappointing to have to include three horror films in the Worst ThreeMovies of the year as it’s a genre that I love. Unfortunately though there has been an absence of decent horror films since Hollywood went Asian horror remake crazy - I strongly recommend that any true horror fans stick to the originals. And as for western horror stick to the unknown low budget films. They may not have the budget of the Hollywood money making machine but they’ll certainly have ideas and artistic directors interested in creating original scares.
Well that’s it for the Brotherhood 2006 Movie Review. Hope you’ve enjoyed watching and reading, until next year…. January 27 TOP TEN SINGLES
- Starlight - Muse
- Count In Fives – The Horrors
- Monster Hospital - Metric
- When The Sun Goes Down – Arctic Monkeys
- Atlantis To Interzone - Klaxons
- Once And Never Again – The Long Blondes
- Adventure – Be Your Own Pet
- Heart In A Cage – The Strokes
- Gold Lion – Yeah Yeah Yeahs
- Miss Murder - AFI
1. Starlight. Not a huge fan of ‘Absolution’, excitement for Muse’s fourth LP wasn’t exactly high here at Brotherhood Towers but by the time ‘Supermassive Black Hole’ landed we were convinced. This track however, was the one that clinched the deal and sold Muse one more album. Not content with taking Radiohead’s fans with their progressive space-rock Muse set their sights on Coldplay’s fans with this gorgeous slice of commercial pop perfection.
2. Count In Fives. The Horrors, armed with only four tunes to their name (back at the time) created a bigger buzz than any other band this year. Their haircuts generated column inches alone and all this was before they even started a feud with NME Rock ‘n’ Roll Riot Tour mates The Fratelli’s and got attacked in New York on Halloween. This blitzkrieg of goth garage rock mayhem proved one thing; The Horrors should never give up their day jobs to become Maths teachers.
3. Monster Hospital. An unexpected belter of a track from the electronic-rockers fronted by Emily Haines. And as if that wasn’t enough it had a strong anti-war message to boot with it’s chorus of ‘I fought the war but the war won, stop for the love of God’ over a driving riff and bassline. Best of all this political protest came from Canada. Brilliant.
4. When The Sun Goes Down. Based on something said to Alex Turner as regard to the prostitution in the area where the band used to rehearse, this is just one of many classic tracks from the Brotherhood album of the year. From its classic lyric of ‘what a scummy man…’ in the low-key intro to it’s unexpected dancefloor levelling second verse this track ensured that the 'Monkeys would find their way into Top Ten Single lists this year aswell as last year.
5. Atlantis To Interzone. I didn’t know what to make of this when I first heard it. It was like some crazy ass indie-dancefloor, psychedelic rave-up, invasion of the Daleks space-jazz shit. But it was the siren. I couldn’t get enough of that siren. It just got stuck in my head and I actually went from watching the video of this track with a bewildered, bemused look on my face to actually being blown away by the DIY work ethic of it all. Now I’m counting down the (2 more to go) days until the albums release. Expect to see it feature pretty high in this year’s Top Ten albums poll.
6. Once And Never Again. The other band to hail from Sheffield this year, were as far away from the Arctic Monkeys as you could get. Armed with Dorian’s classic Pulp inspired lyrics and a cool-as-fuck post-Britpop melody this injected some much needed class and glamour into 2006. Singer Kate Jackson was the perfect choice to sing and pose her way through Dorian’s less than masculine, ‘older sister’ wordplay.
7. Adventure. Quite calm by their standards, this was the stand-out track from these Nashville teens punk belter of an album. A catchy-as-hell melody laid over the top of an energetic punk rock delivery, this saw singer Jemina deliver a more measured vocal performance without losing any of the punk rock authenticity she stamps all over everything she puts her voice to.
8. Heart In A Cage. The stand-out from the Strokes third album, which was released as early in the year as possible. This track boasted a lazy-dry vocal from Julian over a cool riff while he mumbled something about wanting to be in a field. The busy NYC hipster scene becoming a little bit too much for the recently married singer? Oh and there was that video aswell!
9. Gold Lion. This was the first song that was officially going to be in this Top Ten. Released way back in January, this was the first new material from the Yeah’s since 2002 and boasted a cool acoustic verse which grew into a great Nirvana-esque monster for the chorus. It also got us drooling in anticipation for what was to be the Brotherhood no. 6 album of the year.
10. Miss Murder. As soon as I heard that bass intro I knew this was going to be a belter and it was. AFI’s biggest hit to date in fact. With it’s swing-like feel and poppy chorus it was looking good for the accompanying album which while not a complete disappointment was no ‘Sing The Sorrow’ either. This however didn’t stop it’s lead single just sneaking into the Brotherhood Top Ten of the year.
Other Tracks enjoyed here at The Brotherhood:
- Here Comes The Rumour Mill - The Young Knives
- Raoul - The Automatic
- Woman - Wolf Mother
- Gross Out - The Vines
- A Town Called Hypocracy - Lost Prophets
There it is. The Brotherhood Top Ten Singles. Now, obviously we haven’t listened to the estimated 1 million tracks that were recorded, produced and performed this year but from what us (i.e. Moi) at The Brotherhood have heard this is what we consider to be the best. Well, these are the tracks that made us sit glued to MTV2 for hours at a time waiting for that weird racket made by 5 posho goths (The Horrors) or that crazy video with the guys who looked like their mum dressed them and sounded like they bought them toy instruments for Christmas (Klaxons). These are the 10 tracks that, more than any others, made us rush onto myspace to listen to that new single from AFI over and over again or to get our Mum to go round to Tesco while we we’re at work to get the debut album from that band of Pulp obsessives from Sheffield (The Long Blondes). Happy listening for 2007. January 18
TOP TEN ALBUMS OF 2006
- Whatever People Say I Am, That’s What I’m Not – Arctic Monkeys
- Someone To Drive You Home – The Long Blondes
- The Black Parade – My Chemical Romance
- Black Holes And Revelations - Muse
- Empire – Kasabian
- Show Your Bones – Yeah Yeah Yeahs
- Not Accepted Anywhere – The Automatic
- Liberation Transmission – Lostprophets
- I Trust You To Kill Me – Rocco Deluca And The Burden
- Be Your Own Pet – Be Your own Pet
1. Whatever People Say I am, That’s What I’m Not. Forget the fact the ‘Monkeys were the first band to gain wide-spread attention through the internet alone and the fact that this is best British debut since Definitely maybe, ‘Whatever People Say I Am…' is simply put the album of the year, the decade even. No band has captured the feeling of an entire country of people both lyrically and musically, since Oasis, more than this lot. We all know the songs, the concept behind the album and the chart-topping, award winning success this band has had. And on top of it all, Alex Turner is the best lyricist since Morrissey despite what anyone else might tell you. If you don’t already own this album you probably live in a cave. 10
Stand-out Track: ‘Still Take You Home’
2. Someone To Drive You Home. Where the Arctic Monkeys hit us with the gritty realism of life in Britain and how shit it can be Sheffield’s The Long Blondes gave us the opposite: witty, intellectual tales of how good life could be. Never mind grubby kebabs and taxi rides home, classic glamour was the order of the day on the ‘Blondes debut. Formed over a love of Pulp, two couples and singer Kate Jackson have given us a much needed slice of a by-gone era. Think a classic 50’s movie star fronting a slicker, sexier retro Pulp and if you do find someone to drive you home, you’ve got the soundtrack right here. 9
Stand-out Track: ‘Lust In The Movies’
3. The Black Parade. We were first introduced to MCR with second album ‘Three Cheers For Sweet Revenge’ back in 2004, with it’s punky goth tales of star-crossed lovers and vampires and all things black. So how do you follow it up? With a rock opera about death of course. Starting at the end, as ‘The Patient’ lies dying on the cancer ward, to the realisation that he’s dead before being confronted with his most vivid memory from his life – going with his Dad to the city to see a marching band. Therein: The Black Parade. It’s not all doom and gloom though as the final track ‘Famous Last Words’ sees The Patient given the choice between life and death. This is without doubt the most ambitious album of 2006. A work of art in which MCR shed their emo roots giving us a masterpiece that has more in common with Queen (check out Ray Torro’s guitar solos) than Fall Out Disco and Panic! At The Boy or whatever they're called. Pure genius. 9
Stand-out Track: ‘Mama’
4. Black Holes And Revelations. With the apocalyptic tales of the end of the world in Muse’s third album ‘Absolution’ it was unclear which direction their new material would take and then ‘Supermassive Black Hole’ was released with it’s danceable groove and it was clear that Muse’s time in New York had had it’s influences. The album that followed was the sound of Muse dancing their way through the end of the world. 8
Stand-out Track: ‘Starlight’
5. Empire. Imagine you’re sat on the beach. There’s the Kooks larking about in their straw hats to the right, the Arctic Monkeys skulking in the shade under the pier, to the left, where Johnny Borrel preaches peace on earth out to sea, as Muse’s UFO flies in from Cydonia releasing giant glittery beach balls onto bemused onlookers. Suddenly out of no-where a tidal wave rises up from the tranquil ocean and flattens everything and everyone in sight. That’s the sound of Kasabian’s new album. Well the first two tracks anyway, it all goes a bit psychedelic after that. It’s still mega though. 8
Stand-out Track: ‘Shoot The Runner’
6. Show Your Bones. While every other New York band were releasing 2nd-rate second albums the Yeah Yeah Yeahs were busy touring, almost falling apart and taking their time recording one of the albums of the year. Leaving behind the sex drenched sound of their debut the Yeahs have delivered an album of mature, wounded, love-lorn anthems. 8
Stand-out Track: ‘Cheated Hearts’
7. Not Accepted Anywhere. As well as giving us the festival hit of the summer in ‘Monster’, The Automatic crafted an album of precision emo-pop-rock about well, not being accepted or fitting in. Accented perfectly by Pennie’s madcap yelps and Sci-Fi B-Movie sound effects – these songs were straight out of Lostprophets county alienation. 8
Stand-out Track: ‘By My Side’
8. Liberation Transmission. I remember reading an interview in Kerrang, back in 2004, just before the release of second album ‘Start Something’ with singer Ian Watkins declaring said album to be so good that no-one could touch them. I obviously smirked and put the magazine back on the shelf. After hearing first single ‘Burn Burn’ the smirk became a smile and by the time I heard ‘Start Something’ in full the smile became a jaw-agape ‘wow’. Anyway, the point is that after surviving every scene since nu-metal the band have preened their sound to pop perfection. Things may go abit emo on the second half but Bob Rock’s production keeps things sounding huge throughout. 7
Stand-out Track: ‘Can’t Catch Tomorrow…’
9. I Trust You To Kill Me. Signed to Kiefer Sutherland’s Ironworks label, we were first introduced to Rocco Deluca and his band who, if this debut LP is anything to go by are far from a burden, way back in the beginning of the year with the Sky One documentary (of the same name) following the band’s European tour with Sutherland as their tour manager. Amusing as it was to see Kiefer losing his cell-phone, going out for pizza when he should be managing the band and throwing himself into Christmas trees in swanky London hotels, what we discovered was that Deluca is a songwriter to be reckoned with, in a Jeff Buckley/Ryan Adams vain but with a much more classic-rock approach musically. 8
Stand-out Track: ‘Gravitate’
10. Be Your Own Pet. We were slow to be taken up with these punky Tennessee teens here at The Brotherhood but after hearing ‘Adventure’ it all started to make sense. Jemina Pearl (I know, you couldn’t have made up a cooler name) screams and yells her way through 15 tracks of 2 minute (on average) perfect punk-rock belters. Sonically the whole band is tight, displaying a musical maturity way above their teenage years. 8
Stand-out Track: ‘Adventure’
Other Albums enjoyed at The Brotherhood:
- Wolfmother - Wolfmother
- Waterloo To Anywhere - Dirty Pretty Things
- Ringleader Of The Tormentors - Morrissey
- Costello Music - The Fratellis
- First Impressions Of Earth - The Strokes
Another good year for albums and music in general. It seems music is as exciting this year as it was last year. There's alot of great British bands releasing great albums and next year will see the return of heavy weights like the Kaiser Chiefs and Bloc Party. It's looking like Bloc Party might have recorded one of the albums of the year aswell. There's alot of new up and coming talent aswell. The Maccabees, Cold War Kids, The View and Klaxons to name but a few. Yes, it seems that 2007 will be another excellent year for music. Happy listening readers. September 04
 (click for info)
The Wicker Man (2006) 12A
Dir: Neil LaBute; Starring: Nicolas Cage, Kate Beahan, Erika-Shaye Gair, Ellen Burstyn, Molly Parker; Duration: 101 minutes
'The Wicker Man' is wank. Plain and simple. I mean what have we learnt, if anything, from the recent spate of horror film remakes? That they're always, always shit - with the exception, of course, of 'The Ring' in 2002. Now, this remake didn't equal the Japanese original but what it did was a damn good job of translating what was essentially a story designed for Asian culture and Asian audiences, into a western horror movie suitable for western audiences. Then of course this remake frenzy turned from Asian Horror to western classics.
We've seen 'The Fog' and 'The Hills Have Eyes' remade recently and so it was inevitable that the hand would fall on 'The Wicker Man'. A classic to end all classics. When I first heard of this remake and that it starred Nicholas Cage in the Edward Woodward role I was dubious, to say the least. In fact, I think I actually laughed. Now don't get me wrong, Cage is a decent actor - even in less action-orientated roles (see Leaving Las Vegas) but in a 'Wicker Man' remake in the Edward Woodward role? Come on!
I didn't expect alot from this remake, which is probably just as well because I didn't get alot, or a little even...you see when you have a movie like 'The Wickerman Man' that relies on an impending feeling of doom, attributed to the eeriness of what is so obviously to come in the movie's conclusion, its difficult to do that again 30 years later. We've seen it. And even if you haven't you know, you know what happens, everyone knows 'The Wicker Man' is that film where Edward Woodward... now I'm going to stop there for those who might have no clue as to what I'm going to say...
This time around the action of Summersisle is moved from Scotland to Washington State with, as I've said Nic Cage playing the Woodward role of a policeman (Edward Malkus) who visits the island to find a missing girl. When he arrives there though, he finds less than helpful quiet folk who have no interest in helping his investigation, much to their own amusement, I might add. So this is what you'd expect, Malkus slowly uncovering a little more about the Island and it's secrets as the film progresses. There are some differences, like the addage of bees for example and the replacement of Christopher Lee's bonkers Lord Summersisle character with a female Sister Summersisle played by Ellen Burstyn. Also, this time around the woman who's daughter Malkus is trying to find is the child of his ex-partner who left him to return to Summersisle. Her name, Willow Woodward. You see what they've done there? Edward Malkus and Willow Woodward. Edward Woodward. How twattish!
Now, I watched this film with my friend Wayne. That's a bad idea for two reasons: one, he doesn't like horror movies and two, finds amusement in something approximately every 17.2 seconds. Then passes comment on source of said amusement. (This is a guy who when one of the characters in this year's 'The Hills Have Eyes' remake was trapped in a freezer and was trying to hit his way out shouted: "Do a Beavis kickl!" Now, you may be thinking there wasn't a Beavis character in that film and you'd be right. He was however a charcter in another movie, with a guy called Butthead). This however ended up being a good thing during this poor remake, of very little merit.
The hollywood make-over left the movie devoid of everything from atmosphere to bonkers Lords (although Cage's hair seemed like it was trying to imitate Lee's the closer the film came to it's conclusion, but the length just wasn't there to pull it off). The best scene (Cage being stung half to death by bees) was cut from the final movie to ensure a 12A rating. So, we had to seek amusement in Nic Cage's middle-aged male catalogue fashion chic and his rising agitation at the situations he kept finding himself in (one scene where Cage is searching each house on the island trying to find the missing girl, his response to the home owner's question of 'Do you have permission?" is "No! I don't have fucking permission" but barges into the bedroom anyway). Then there was his "transport". It must be said though that Cage's "stunt patches" on the elbows of his suit jacket came in handy when it came to rolling down a hill trying to escape a bee attack.
Then there was Sister Summerisle's Braveheart make-up, followed by a Goldilocks and the 3 bears chase through the woods during the 'Festival of Death and Rebirth' - no prizes for guessing what that's all about. Oh and I almost forgot bee man laying in one of the bed's in Sister Summerisle's bedrooms during Malkus's desperate search for the missing child. Very amusing. The thing is horror films are not meant to be amusing, they're supposed to be horrific. No horror here though. In fact, there's not much of anything. Avoid. 2
June 02
AFI decemberunderground (2006)
Second major label outing for the So-Cal goth punks, their first since 2003's 'Sing The Sorrow'. Which of course, took AFI's goth punk to the masses. So it's unfortunate that 'decemberunderground' is initially a disappointment. Since we were graced with the likes of 'Girls Not Grey' three years ago we've seen the rise of HIM's love metal, MCR making goth fashionable again & the emo explosion.
Therein lies the first criticism of 'december...' - alot of tracks veer into run-of-the-mill emo meanderings. Their are of course some class AFI moments on display here: from introduction 'Prelude 1221' with it's rousing "oh ohh's" to first single 'Miss Murder' with it's swing-like feel. The latter being the most commercial thing AFI have ever submitted to tape with a chorus that's so pop without slipping into cheesy territory. Then there's 'Kill Caustic' which is pure punky/shouty AFI, although Havok's high pitched screams do become increasing annoying as the song & the record itself goes on. Track after track suffer from sudden misplaced bursts of Havok's crazed yelps before returning back to almost a whisper (which makes for a disjointed listen). A cheap trick. A band of AFI's caliber should know better.
This feeling of disjointment however, runs through the whole album. With different ideas which don't always gel as a complete piece of work. You have the three aforementioned opening tracks which wouldn't sound out of place on previous offerings, the emo mopery which clogs down the middle of the album with stabs of development thrown in for good (or bad) measure. But at least the band are trying to do something different. Progressing from the synth dabblings, on tracks like 'Death Of Seasons', of 'Sing The Sorrow'. So we get (pretty decent) attempts at synth pop ('The Interview', '37mm') & even 80's power pop ('Missing Frame'). It's actually the quieter moments ('The Killing Lights', '37mm') that are among the most effective.
For all it's cheese & pomposity 'Sing The Sorrow' is AFIs most coherent & consistent record to date & on the evidence of 'december...' it looks like it might stay that way. There is of course always the danger that any band's follow-up to their first commercially successful album suffers from the weight of expectation so they opt for the easy way out. Releasing something commerically 'safe' as opposed to pushing their already established sound further. AFI here, have failed, not majorly but enough to set them back. Lostprophets & MCR still have everything to prove however.
It's quite telling though when some of the most viable (commerically, at least) tracks on the album are the two bonus tracks obviously added for consumer value. First we have 'Rabbits Are Roadkill On Rt. 37' which has been knocking around on the bands website/myspace for at least the last 6 months (to my knowledge). This is a more guitar-driven straight forward rock track, without the oh ooh's & studio gloss of the rest of this album. Then there's the cover of NIN's 'Head Like A Hole' which, given the lyrical content Havok can't quite deliver lines like "God money's not looking for the cure/God money's not concerned with the sick amongst the pure" with the conviction & sentiment, not to mention venom of Reznor but this version does rock that little bit harder. In fact both these bonus tracks have a much harder edge than anything else on the album which is probably due to Butch Vig being at the helm over the pop friendly production values of Jerry Finn who produces the rest of the album.
Though not a patch on it's awesome predecessor 'decemeber...' is however, a grower. It's messiness showing hidden depths on repeated listens. (6) April 14 Girls Girls Girls. Not the Motley Crue song but girls. The most divine & heavenly of creatures in one breathe & walking/talking bouts of frustration in the next. Why is it that girls have an incessant need to completely flip out on you when you've told them a million & one times that you're not mad & you didn't mean anything by what you said...you just said it. Why get so majorly pissed off at you half an hour before they know they're going out & not calm down or attempt to reason with you then just fuck off & leave half way through an argument that it wasn't even neccessary to have? I mean if you've done/said something wrong why can't they just TELL you via the art of TALKING that they're upset with you? Why YELL? It makes no sense...why pick at things that weren't even there when you TELL them that there's nothing there & you're fine & nothiing is wrong....avid readers (equallling about three) will probably notice that I have never entered a blog on above topic before & probably never will again. Ironic thing is the girls complain (& even get midly mad about it) when you don't feel the need to write blogs about you're disagreements with them, like they so often do...but what are the chances of her not being best pleased when she reads this? My first blog about one of our disagreements...I don't think the Nuclear fallout will be pretty anyway...still, I do feel mildly better for getting this off my chest. Here's to a quick & easy resolution to said disagreement when my darling significant other returns...& again...what are the chances of that?
So we go from this... ...to this...lol
Well obviously there's no physical violence but you get the idea!
Brother Simon...signing off... April 06
The Vines Vision Valley (2006)
Quite that The Vines, more to the point, Craig Nicholls even managed to write & record a 3rd album is something of a minor miracle. 2004 saw an end to the two years of constant & exhaustive touring The Vines had been through with Nicholls' mental problems coming to the fore, resulting in erratic live shows & tensions within the band. Particularly between Nicholls & bassist Matthews. In October 2004 Nicholls was diagnosed with Asperger's Syndrome, which is a rare & mild form of autism. Going someway towards explaining his erratic & strange behaviour.
After a period of rest however, Nicholls & co (minus Matthews) are back with new album 'Vision Valley'. Things kick off with rocker 'Anysound', Nicholls screaming "I am a vine/All twisted and frayed". Seemingly referring to his mental state of past. It's clear from this first track though that this is a much more focused Vines than on 2004's 'Winning Days'. This album is however, The Vines-by-numbers we've come to expect (not that it's a bad thing). You've got the stompers 'Gross Out', 'Fuk Yeh'; the dreamy psychedelic pop songs 'Vision Valley', 'Going Gone' & the melodic pop-rock tunes 'Candy Daze', 'Take Me back'.
Lead off single 'Don't Listen To The Radio' is a grungey opus to the evil's of technology over a gorgeous melody & chorus that see's Nicholls' song writing almost returning to the quality of 'Get Free'. Second single 'Gross Out' is pure rock stomp power pop, again returning to the quality of 'Highly Evolved'-era tunes. 'Futuretarded' is probably the worst title of any Vines song but still has a gorgeous melody with Nicholls deeming that "We might aswell all be retarded". Then there's 'Dope Train' with it's blustering doom-laden synth opening. Perhaps Rivers Cuomo & Marilyn Manson could hitch a ride with their 'Dope Nose' & 'Dope Hat', respectively.
Meanwhile, 'Going Gone' is vaguely reminiscent of 'Autumn Shade II', it's strings adding a new dimension to the dreaminess of proceedings. All in all, this isn't the classic ,The Vines debut was but who expected it would be? It's definitely an improvement on second album 'Winning Days' though. It's shiny sunshine pop-rock perfect for the summer months to come. (7)
Stand-out Tracks: 'Nothin's Comin'', 'Vision Valley', 'Don't Listen To The Radio', 'Gross Out', 'Fuk Yeh'
Previous Albums:
Winning Days (2004)
Fronted by lead off single 'Ride' which was the perfect evolution from 'Get Free' , it seemed like The Vines had done it again but on the release of 'Winning Days' it became clear that the cracks had began to show for the band & Nicholls in particular. It wasn't that the songs were bad, it's just they'd been around for over a year, with touring commitments stopping Nicholls from getting the songs out of his head & onto record in the studio. It did however have some class tunes in the afore-mentioned 'Ride', title track 'Winning Days' & closer 'Fuck The World'. (5)
Highly Evovled (2002)
The Quintessential Vines album & one of the classic debut albums from this side of the Millenium. The title track & debut single was a 90 second assault on the ears. 'Get Free' was of course one of the songs of the year, along with 3rd single 'Outtathaway' close behind it. 2002 was The Vines' year. Every track was of such a high quality that even the dreamy acoustic pop tunes which are sounding a little tired on later albums glide by effortlessly as if Craig Nicholls lived & breathed classic pop songs. (9) March 08
Guys fill this section out
Turned on/off when a lady...
dresses like a slut: off
dresses like a grandma: off
dresses like a prep: off
doesn't care what she wears: on
plays musical instrument: don’t mind
is shorter than you: on
is same height as you: on
is taller than you: off
has straight teeth: on
wears braces: don’t mind
has chapped lips: don’t mind
has green eyes: don’t mind
has blue eyes: on
has brown eyes: on
has long hair: on
has short hair: off
drinks alcohol: on
smokes cigarettes: off
smokes weed: off
wears glasses: don’t mind
has blonde hair: don’t mind
has brown hair: on
has black hair: on
has red hair: don’t mind
works out: don’t mind
smiles more than not: on
calls you just to say HI!: on
compliments you: on
shaves her legs: on
wears jewelry: don’t mind but no bling
has bigger feet than you: off
has smaller feet than you: on
smiles when you walk into the room: on
wants to be a mom: don’t mind eventually
Belly piercing: on
Virgin: on but don’t mind
Laid back: on
Doesn't party a lot: don’t mind
gauged ears: what?
Tattoos: maybe one
Jokes around and wrestles with you: on
If alternatively you're not in fact a guy & are a girl click here for the female version of above questions which will take you to another MSN space where you can retrieve said questions....I couldn't be arsed to copy them & delete Sister Jennifer's answers so you'll have to do it yourself...
Brother Simon, over and out... January 31 THE BROTHERHOOD TOP 10 SONGS OF 2005
- I Bet You Look Good On The Dancefloor – Arctic Monkeys
- Rebellion (Lies) – Arcade Fire
- Apply Some Pressure – Maximo Park
- The Importance Of Being Idle – Oasis
- Munich – Editors
- The Hand That Feeds – Nine Inch Nails
- Ain’t No Easy Way – Black Rebel Motorcycle Club
- Little Sister – Queens Of The Stoneage
- Juicebox – The Strokes
- Your Time Has Come – Audioslave
- I Bet You Look Good On The Dancefloor. This first single from the band went straight in at number one. As did the second single. As did the album. Says it all really.
- Rebellion (Lies). Stand-out track from The Brotherhood’s number 2 album of the year. Building slowly with rousing bass and drums before the piano kicks in. It may not be the sound of rebellion and the lies may not present themselves openly but it still sounds absolutely fucking awesome!
- Apply Some Pressure. Re-released as a single because people didn’t sit up and take notice the first time around, this is one of the highlights of the Geordie art-rockers debut. It’s halfway through when things really kick off that you realise you need to buy the album this song belongs to.
- The Importance Of Being Idle. Probably Noel’s best song since ‘Gas Panic’. A well deserved number one single for the band with Noel showcasing the diversity in his songwriting development. Check out the guitar solo after only the first verse. Classic Oasis.
- Munich. A theme-song for Spielberg’s new movie of the same name right here. The video’s even complete with Olympic athletes, could there be a message there?
- The Hand That Feeds. Trent Reznor’s first foray into the world of political rock anthems. With it’s punchy pop hooks and Bush-baiting lyrics this track made sure Nine Inch Nails first new material in 5 years made people stand up and notice.
- Ain’t No Easy Way. I must admit that when I first heard this tune I was a little thrown off but it's relentless, stomping Americana vibe soon won me over. BRMC at their driving best.
- Little Sister. First single from the post-Nick Oliveri Queens had a lazy, cool feel despite its hard-hitting punch. Any fears that without his old songwriting buddy Homme’s eye for a good tune might dry up were quickly distilled after this comeback.
- Juicebox. Stonking first single from The Strokes recent third album. Released just in time to make it into 2005 Top Ten lists. Opening with an awesome bassline this track showed The Strokes at their loudest and most heaviest.
- Your Time Has Come. Here at The Brotherhood we thought the list wouldn't be complete without one big 'rock' number on it. Starting with some trademark Tom Morello guitar before breaking into a thunderous monster of a rock anthem, this second single from Audioslave's second album has a chorus to die for.
Other songs that have been caressing The Brotherhood's eardrums in 2005:
DOA – Foo Fighters
Talk – Coldplay
The Great Escape - We Are Scientists
Helicopter - Bloc Party
Angels/Losing/Sleep - Our Lady Peace
Oh Yeah - The Subways
Fuck Forever - Babyshambles
Aswell as being a great year for albums, 2005 was also a great year for tracks. As documented above. There's been some diverse singles, I mean just look at 'Rebellion (Lies)' by Arcade Fire. Not your usual hit single and to be honest I don't even know if it got into the top 40 but I do know that it pissed all over most of the other shit that flooded the charts this year. But from Bloc Party's awkward stance to Nine Inch Nails pop makeover this year has shown that music is moving forward, with new artists and old alike. There's a new found intelligence being delivered with the songs of todays bands, it's not just attitude and good music now. Bands are standing up and saying something about the times we're living in today. Let's hope that continues in 2006. January 13 THE BROTHERHOOD TOP 10 ALBUMS OF 2005
- Get Behind Me Satan – The White Stripes
- Funeral – Arcade Fire
- X&Y – Coldplay
- A Certain Trigger – Maximo Park
- Silent Alarm - Bloc Party
- Don’t Believe The Truth – Oasis
- With Love And Squalor - We Are Scientists
- Howl – Black Rebel Motorcycle Club
- With Teeth – Nine Inch Nails
- The Future Embrace - Billy Corgan
- Get Behind Me Satan. The album where The White Stripes stepped out of their confined dynamic of guitar, piano and drums to build a more experimental piano led sound that was different, yet still undeniably The White Stripes. Out with the guitar (for the most part) and in comes the piano, marimba, triangle & bells. (9)
Stand-out Track: ‘As Ugly As I Seem’
- Funeral. Diverse and uplifting album from Canada’s new greatest exports. The album, as the title suggests, tackles the issues of life & death & there effects on neighbourhoods aswell as relationships between families & friends. Has to be heard to be believed. (9)
Stand-out Track: ‘Rebellion (Lies)’
- X&Y. There are 3 types of bands in this world: the band’s who’s debut album is their best, never to regain that initial greatness (Oasis, Our Lady Peace); the bands who’s best album could always be their next (Foo Fighters) and finally the band’s who get better with every album they release. Coldplay fall under the latter. Their latest collection of songs are both grand & epic in every way. (9)
Stand-out Track: ‘Talk’
- A Certain Trigger. The Brotherhood was slow to pick up on these Geordie art-rockers but since we succumbed to the power of their catchy pop hooks & Paul Smith’s heartfelt lyrics this has probably been the most listened to album at The Brotherhood this year. One of those albums that grows on you, then grows on you some more before finally getting under your skin. It connects to the listener, both musically & lyrically, on a huge level. (8)
Stand-out Track: ‘The Coast Is Always Changing’
- Silent Alarm. An early contender for album of the year when it was first released way back in February. Bloc Party’s danceable rock anthems were and are the perfect snapshots of these increasingly political times under Blair-era Britain right through to personal relationships. Both, big in terms of scope & ambition Block Party will be a band to watch out for. (8)
Stand-out Track: ‘She’s Hearing Voices’
- Don’t Believe The Truth. Sixth studio album from The Brotherhood’s favourite band of all time. Almost a return to form for the legendary band. This is their best album since ‘(What’s The Story) Morning Glory?’ and hopefully the start of a trek back up to greatness. Songs like ‘The Importance Of Being Idle’ showed there was still classic tunes left in Noel while the diversity of some of the tracks show the talent still brimming in a band made up of 4 singers, song writers and musicians. (8)
Stand-out Track: ‘Mucky Fingers’
- With Love And Squalor. One of the most underrated bands of the year; We Are Scientists write funky dance-pop songs delivered with a punky bite. Tales of not getting the girl and having to go home alone are the order of the day but the lyrics are delivered with such an edgy, genuine intelligence that everyone can relate to. These are agitated, romantic lovelorn anthems so intense you’ll feel every word aswell as every bassline & drumloop. (8)
Stand-out Track: ‘Cash Cow’
- Howl. A complete change in musical direction for the men in black this time around. BRMC threw out the abrasive rock ‘n’ roll and psychedelic rock in favour of stripped down Americana with touches of country, folk & gospel. A more mellow, melodic & mature sound is the result with the rawness showing the talent that’s always been underneath the scuzzy guitars & pounding drums. (8)
Stand-out Track: ‘Fault Line’
- With Teeth. First album for 5 years from Trent Reznor, the sole driving force behind Nine Inch Nails. Both, a beautiful yet violent piece of work. 'With Teeth' is the Nine Inch Nails' venture into the commercial world of (whisper it), pop. Well as poppy as an artist like Reznor is able to get given the dark subject matter and bleak musical backdrop. His trademark stark industrial soundscapes & metal guitars were given a mainstream make-over to outstanding effect. An accomplishment for both industrial metal as a genre and Reznor's song writing development. (8)
Stand-out Track: 'Everyday Is Exactly The Same'
- The Future Embrace. First solo album from the ex-Smashing Pumpkins frontman. Musically it's a cross between the spacey dream-like sound of 'Machina' & the electronica of 'Adore' which works out alot better than it probably sounds. Corgan has always been able to turn his hand to anything musically, listen to the diversity in sound of Pumpkins albums, and now he's vowing to re-form that very band. Until then, though, this will tide us over nicely. (7)
Stand-out Track: 'Mina Loy (M.O.H.)'
Other albums The Brotherhood have been likin' or lovin' in 2005:
Employment – Kaiser Chiefs
Down In Albion – Babyshambles
Young For Eternity - The Subways
Healthy In Paranoid Times – Our Lady Peace
Dark Light – HIM
Never Take Friendship Personal - Anberlin
2005 has been a good year for music, and albums. From the delayed return of Pete Doherty with Babyshambles to the extraordinary year had by the Kaiser's, from the return of relatively (in these parts) unknown band's: Anberlin and Our Lady Peace to HIM's assault on the America's with their (almost) breakthrough album Dark Light. There's been a whole host of new British bands: Maximo Park, Bloc Party among others set to make it big in 2006 and of course the return of Franz Ferdinand and the legends that are Oasis with their best album in 10 years. Liam declaring war on any band in sight, despite the quality of albums out this year, Oasis were most definietly 'back' on form both musically and with their Gallagher-isms! And of course, how could we forget the Monkey's (the Arctic one's that is) - set to be the biggest band since the mighty Oasis. Look out for 'The Brotherhood Top Ten Tracks Of 2005' coming very soon. December 17
Image: Copyright Playstation World Magazine 2001
IN THE MANNER OF A SYPHILLIS-RIDDEN TRAMP'S PART I'M ENRAGED. Once more this month I’ve popped PSW into my soft, boyish mouth and allowed my bile to dampen the pages, letting me suckle sour drips of word and picture down my passage. And barely can my fury be confined to this page. Were I able, and not merely a crude, bug-eyed etching, I would tear myself from this very parchment and scream into your eyes. Scream, bellow and heckle you for reading this flotsam. I ask you. Devil May Cry? Another little man twaddling about hitting stuff with a sword? What is possessing you to be interested in this drudgery? What? WHAT? I can spend evenings, nights, weeks, lost in the flowery prose of Milton, resplendent in my ermine robe, the rear of which is hoisted aloft by a pulley system operated by a set of home-delivery gypsy-dwarves allowing an eight foot Nigerian pipe-fitter to arse-savage me with coiled wire. That could be you. But no, onwards you read. Crazy Taxi this, Army Men that. What is it about sitting in a room, squatting upon a cushion, staring blankly at a screen as it vomits up garish, hyper-real imagery and twiddling with a plastic, button ridden foetus that pleasures you? Is it the lack of real human contact? Is it the feeling that you can side-step life? The idea that while actuality continues inches from your door, you can hide away, placated by cartoonish frippery, safe from the realities of social interaction. Do you feel a failure? Do you feel as if what you have to offer from your game-glitchy-cheaty-review-scorey brain is uninteresting to the population at large and that were you to venture forth into the real world you would be laughed at by girls that are averagely attractive, but still far beyond anything you could ever hope attain? You are probably right. Leave the blonde, hi-gloss, mini-skirted, Soho cleavage to me, my bottle of absinthe, my copious wallet, my sophisticated discourse and my studded leather thongs. You are welcome to discuss the relative merits of Star Wars Starfighter cheats to your heart’s content. Assuming you can find someone to talk to. Happy gaming.
Source: Playstation World Magazine 2001
December 15 Well it's been exactly 2 months & a day since my last blog kids but do not despair, The Brotherhood is BACK! Not alot to report unfortunately but The Brotherhood is still actively involved in the fight against the Countdown To Judgement Day. Stayed tuned over the next few weeks for The Brotherhood music & movie top ten's of 2005. Over & out... October 13
| Your Love Life by lpfloatsmyboat |
| Name/username/nickname: |
Simon |
| Favorite color: |
Blue |
| Best physical quaility: |
Lips |
| Best personality trait: |
You can solve any social problem |
| Will you marry your bf/gf that you have now? |
It depends |
| When will you get married? |
January 25, 2017 |
| Your kiss is: |
Fiery |
| People date you because: |
You're cute |
|
| Quiz created with MemeGen! |
| love life by whiplash101 |
| Username |
Simon |
| What date will you leave the love of your life |
Never |
| What will your total house hold income be |
$672,490 |
| On a scale of 1-10 how in love r u |
11 |
| Favorite car |
Viper |
| What date will u be married |
May 27, 2009 |
| How many time will u, on ur honeymoon |
748 |
| Sexuality |
Hetrosexual |
|
| Quiz created with MemeGen! |
September 30
HIM Dark Light
HIM have mostly been overlooked as image over substance in this country. Despite a loyal fan base of HIM-ites. Younger & more female in terms of gender per say but Ville Valo's looks & the bands goth image haven't hampered the band's success in Europe (including the U.K.) & now America. This is the album which will hopefully catapult them into global superstardom.
The UK was slow to pick up on HIM since their 1997 debut (& by far their best album), even 1999's follow-up 'Razorblade Romance' with it's slick production & great pop hooks didn't manage to make an impact. Of course this can be put down to record company marketing as much as anything. It took 2003's excellent 'Love Metal' album for the UK to take notice (Kerrang in particular) with it's hit singles 'Buried Alive By Love' & 'The Sacrament' & with 2004's 'And Love Said No' greatest hits compilation they were touring America before finally locating to L.A. to record the follow up to 'Love Metal'.
On the first listen 'Dark Light' is a frustrating prospect. Gone are the trademark HIM rockers: 'Your Sweet Six Six Six', 'Razorblade Kiss', 'Beyond Redemption' & instead we're left with slower paced anthems despite the musical heaviness remaining. It's all rocking intros, slow verses building up into medium paced choruses. However on repeated listens 'Dark Light' reveals itself to be a much more interesting collection of songs as it slowly gets under your skin & into your head with it's catchy choruses & slick riffs.
First single 'Rip Out The Wings Of A Buttefly' is the song that stands out at first but before long the other track's charms come to the fore. 'Vampire Heart' is built on a classic HIM riff, while 'Killing Loneliness' & 'Under The Rose' both have a chorus to die for. 'Behind The Crimson Door' gives us some much needed rock while other tracks ('Play Dead', 'In The Nightside Of Eden') seem like leftover album tracks or b-sides.
This time round the lyrics concern Valo's relationship to his finace as opposed to tales of lost love. Valo's twists still remain though with promises of how far he'd go for his love if it's recipitated & how she'll "never escape the wrath" of his "heart". Classic Valo then which will have the girls swooning over his brooding lyrics all over again.
Overall this is a soncially accomplished album for HIM. There is a sense of the theatrical & the epic on 'Dark Light' with it's sweeping soundscapes, courtesy of Burton Emmerson (keyboards). The six stronger tracks are let down by four weaker ones but this still can be forgiven when the strong tracks are this strong. But at the end of the day it doesn't really matter whether this album is any good or not - it'll still fly off the shelves regardless. 4/10
Stand-out Tracks: 'Vampire Heart', 'Rip Out The Wings Of A Butterfly', 'Killing Loneliness', 'Behind The Crimson Door', 'Drunk On Shadows'. September 27 
Anberlin Never Take Friendship Personal
One of the recent Emo bands of the last couple of years, Anberlin's debut release, 'Blueprints For The Blackmarket' (on Seattle's tooth and nail indie label) mixed catchy melodies with heartfelt lyrics of teenage abandon. Hailing from Orlando, Florida Anberlin formed from the remnants of other bands including the Christian punk band SaGoh (Servants After Gods Own Heart).
As a rule I don't generally like Christian rock bands because: 1) They're usually shit; and 2) always have some fucking contrived message to deliver. Anberlin though rise above all that & their Emo stylings so instead we get tales of lost love & complicated friendships over the top of gorgeous melodies. There is an honesty in the lyrics similar to Ville Valo's tales of twisted love, although obvioulsy without the added darkness & element of the gothically theatrical. Sonically Anberlin are tight aswell.
The formula is the same both musically & lyrically but this time around there's a new found maturity in the songwriting. There's nothing to rival 'Ready Fuels' or 'The Undeveloped Story' in the rock stakes but there are some rockers on offer here in the form of opener & title track 'Never Take Friendship Personal' & ''Audrey, Start the Revolution'. First single 'Paperthin Hymn' is in by no means so in terms of musical quality. It's reminiscent of 'Change The World (The Lost Ones)' from the debut. 'The Feel Good Drag' also sounds like it was left off the debut, the title itself has been online since the release of the debut but on further inspection turns out to be 'The Undeveloped Story' under a different name.
Some of the song titles could easily mistake you into thinking Anberlin to be an art-rock band, if you didnt know any better. Titles like '(the symphony of) blase', 'Audrey, Start the Revolution' & 'dance, dance Christa Paffgen' wouldn't sound out of place on a Franz Ferdinand tracklisting but the similarity ends there. Then there's the rather twattily titled 'A Heavy Hearted Work of Staggering Genius'. A minute long instrumental. Now, Anberlin may have put there hearts into this piece of music, hell! they might even have put their souls into it too but a "Work of Staggering Genius" this is not. What it is however, is a pretty decent interval before the last track.
Anberlin fit firmly into the American College Rock radio category. Their material wouldn't sound out of place on an episode of Buffy or The O.C. This is their sophomore album. Filled with tales of teenage angst but told in such a genuine & honest way that it makes the songs irresitable - even to a listener like myself, who can hear pretension from a mile away. Not as exilerating as it's predeccesor but more accomplished in terms of songwriting & maturity Anberlin are again a band to watch out for. 7/10
September 22
| Your Blogging Type is Pensive and Philosophical |
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You blog like no one else is reading...
You tend to use your blog to explore ideas - often in long winded prose.
Easy going and flexible, you tend to befriend other bloggers easily.
But if they disagree with you once too much, you'll pull them from your blogroll! |
September 21 As I sit here watchin ITV1s coverage of The Carling Festival from I believe, 2003 (if I had to guess) it amazes me how after all the things I've read about American nu-metallers Linkin Park, all music journalists have failed to notice that singer Chester Bennington has so obvioulsy stolen his stage manner from the late-great Layne Staley of unwitting "grunge" participants Alice In Chains. His skinny frame slowly stalking the stage with mic in one hand held to mouth & the other down by his side occassionaly putting one foot up on an amp & leaning over it into the mic as he thrashes out a grunge-lite vocal performance common of the post-grunge (& some nu-metal) bands of the last 5 years.
A whiny complaint I know but never-the-less one I've carried around in my head over the last 2 years whilst seeing various 'Park live performances on TV. Liam Gallagher was criticised for taking Ian Brown's stage manner but in all honesty he did more than make it his own within a very short space of time. Bennington however has not.
Another thing I noticed was the amount of crappy Puddle of Mudd-esque grunge-lite dull-rock on the Yahoo launchcast radio. My very own station no less. The reason given (oh yes there is a 'reason played' at the bottom along with other info) that these songs match my 'genre specifics' - maybe they do, doesn't mean I want to hear them though...after the seemingly complete disappearance of the afore-mentioned type of bands I had all but forgotten about them until I get a band called Candlebox coming up on my (yes that's MY) radio station - where's the control of the owner there? The album too is called Candlebox aswell (released 2005) so I assume this is their debut album - oh dear - poor America...although probably not, since our US brothers seem to lap up pretentious copycat grunge imitators. It doesn't do anything for me...I find myself still going back to Nirvana, Alice In Chains & Pearl Jam. All sound fresh even today, more than 10 years after grunge was brought to an overdue end at the hands of one Kurt Cobain, reluctant King-of-grunge nay grunge poster boy.
The death of grunge of course brought about a change in mood - kids just wanted to have fun but still rock out. Perfect timing then for Mancunian brothers Gallagher. Oasis filled that slot nicely, no more misery or rage or suicidal lyrics (not that that was particulary a bad thing - just way overdone by the time of Cobains death - God rest his soul), instead we had songs about leaving the city it seems impossible to escape from & being, sorry, feeling like (insists Noel Gallagher) a rock 'n' roll star. Perfect! Since then there hasn't been one great band. Oasis are the last. Marilyn Manson has caused alot of rock 'n' roll controversary since 1997 but musically weren't a great band in a classic sense. Don't get me wrong his tunes are well-liked around my cd player it's just he's of a different breed.
For me there was The Beatles, The Rolling Stones, The Who, The Smiths, Nirvana & Oasis...that's where the line has stopped. You can argue it but to no avail. A great band is more than just the tunes. There has to be something else...something to draw you in...whether it be attitude & arrogance (Oasis) or misery stooped in sarcasm & intelligence (The Smiths) or rage & mystery (Nirvana) there HAS to be something more than what you hear in the songs...sometimes you can even hear 'it' on the records. From the 5 minutes of 1990 trapped in a bubble on 'Smells Like Teen Spirit' to the feeling of a united Britain that was all over '(What's the Story) Morning Glory?' it's there somewhere...I don't even own a single Rolling Stones or Who record but that doesn't change the fact that one cannot deny their impact & effect on musical history. They were the real deal.
I don't even know the point of this blog entry, I just started typing & still haven't stopped. I guess then, the 'point' is, if there is one that I don't like imitators. OK actually scratch that, I don't like poor imitators. Ryan Adams for example IS an imitator of various influences but to a credible & convincing conclusion. In fact I've been listening to Ryan Adams for the last few weeks...since I completed my album collection whilst my girlfriend was staying with me over my birthday. I don't know what started me off...well I do - it was the 'Rock N Roll' album. I don't know exactly when or why it started off but I was drawn back to that album about 2 weeks ago & have listened to it constantly since, whilst mixing in other Adams albums for good measure. 'Demolition' a current favourite.
Ryan Adams is an interesting artist. In simple terms aswell, I love him, my girlfriend hates him. Well I say him but of course I mean his music. Maybe it's her dislike of country & western - a dislike I actually share..the place where I work insist on playing a radio station that has a county & western night every monday between 7 & 9pm. Being on the 3-11pm shift I get to hear this. However, being up in an office (after a small promotion) with the door closed I can't hear it anymore, specially since the introduction of speakers to my computer. My (or should I say Adams) alt.country drowns out the radio's country & western. Anyway the point was I don't like country & western either, it's cheesy, all sounds the same & reportedly has the highest suicide rate among fans than fans of any other genre of music. Go figure.
Anyway whatever, it doesn't really matter - it's not like anyone will read this anyway...I'll probably get a comment from some 15 year old school kid telling me I should be writing for a music magazine if Joe doesn't beat them to it (watch no one leave a comment, not even joe) first - I doubt my girlfriend will even leave a comment on the grounds of it being too long...no one cares what wankery I have to ramble on about anyway...I'm off to fall asleep to some Ryan Adams (music that is)...
September 04
Switchblade Romance (2003)
Dir: Alexandre Aja; Starring: Cecile De France, Maiwenn, Phillippe Nahon, Andrei Finti, Oana Pellea; Duration: 88 Minutes; Language: French; Subtitles: English
From French director Alexandre Aja comes 2003's 'Haute Tension', renamed to 'Switchblade Romance' for the UK. A fresh & terrifying revisiting of the tired slasher movie genre.
The film starts with female friends Marie & Alex driving through the countryside on their way to stay with Alex's parents on their farm. Within 20 minutes a man dressed in overals with a cap covering his eyes parks his truck in front of the house (with headlights on the front door) & begins ringing the doorbell until someone answers. This mysterious man then proceeds to massacre the family & kidnap Alex taking her in his truck, with friend Marie hot on their trail.
'Switchblade Romance' breathes new life into the slasher flick, using known horror cliches but adding a little intelligence to the mix so what we're left with is a rather stylishly unique & welcome horror film.
The performances aswell are excellent. Cecile De France as Marie puts in an excpetional performance really bringing the audience into the film to experience everything she goes through with her. Philippe Nahon has an eerily powerful presence as the killer, whilst Maiwenn is convincing as the terrified victim.
I never seem to get scared by horror films. I guess I just watch them because I find the stories to be fascinating & cool as fuck. It's only really ghost movies that get anywhere near scaring me. Simply because I believe in ghosts but can't explain or fully understand them, unlike say a pyschotic human serial killer. There's nothing to understand, just turn & run.
This film however, although not actually scaring me, did offer up two unexpected scenes of sheer tension. The first in the famrhouse, as Marie hides whilst the killer checks her bedroom. A classic, cliched horror scene but never-the-less effectively done thanks to the added intelligence given to the character of Marie.
Unlike the 'Scream' era of bimbos who should be running out of the door instead of up the stairs. Marie has the foresight to pack and hide her bag, make the bed - to appear as if it hasn't been slept in - & dry the sink out. Never before have I seen such intelligence used by any horror film of this type before. Usually the potential victim would panic & jump under the bed or into the wardrobe. Realistically though, you (well I know I would) would think about how to escape before you're discovered or hide whilst covering any trace of you having been in the room.
This scene had my heart beating faster as the killer examined the bedroom & then the bathroom, then back to the bedroom. All the time, the only noise coming from his heavy breathing & his squeeky boots as he eerily moves around the room.
The second scene to get my heart racing was when the killer stops his truck to fill up with gas so Marie, who had hidden in the back of the truck with Alex, decided to make a run for the cashier in the shop as the killer is on the other side of the truck. She slowly creeps across the fore court as we hear the clicking of the old fashioned gas pump. Very chilling indeed.
The killer himself is a mystery. We don't know why he has chosen this particular family. Was it random? Was it planned? Does he travel around France choosing random families to pick off in the night as they sleep? Where did he come from? This queston, of course, remains unanswered right up until the films bloody & brutal conclusion. Even then we're still left with unexplained questions. This though just adds to the allure of the film.
'Switchblade Romance' is a very credible slasher movie that freshens up expected cliches whilst adding a realism & depth to the main heroine. As I said before Marie makes intelligent decisions through-out the film so we don't lose interest in the story & stay with her all the way through her ordeal to the shock-twist ending. 8/10
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