Song of the Day:
The Voidz – “Coul as a Ghoul” (RSD 2018 QYURRYUS 7″ B-Side)
What could be more pleasing for fans than an international tour? A brand new album.
The new album was co-produced by longtime collaborator James Ford and frontman, Alex Turner, and recorded in three cities: Los Angeles, Paris, and London. This album marks the debut of Turner co-producing an Arctic Monkeys full-length.
In an Instagram post, dating back to last January, the group alluded to the font and the design of a tan coffin shape, which plays a role in the cover art of the upcoming album. Due to the atmospheric synthesized strings, the album feels like it could range from space-age rock to blues.
Last March, Turner promised there would be a new single coming, however, there has been no single released for Tranquility Base Hotel & Casino, thus far.
You can view the album trailer, tracklist, and cover art below. You can also pre-order the new album on an exclusive silver LP with a gatefold sleeve and 16 page expanded booklet or on CD here.
On the group’s last album in 2013, AM, they flirted with funk, hard rock, and rockabilly, hence Turner’s and the band’s swagger at live appearances. Now, they look like old wise blokes or Turner looks like how Paul McCartney did in the late sixties.
Last January, the group announced an international tour and recently announced extended dates of the tour, including stops in North America. They also reissued their debut album, Whatever People Say I Am, That’s What I’m Not (2006), on a multi-colored “smoke” vinyl, including a 16 page full-color lyric and photo booklet via Vinyl Me Please, where it was record of the month.
Tranquility Base Hotel & Casino Tracklisting:
- Star Treatment
- One Point Perspective
- American Sports
- Tranquility Base Hotel & Casino
- Golden Trunks
- Four Out of Five
- The World’s First Ever Monster Truck Front Flip
- Science Fiction
- She Looks Like Fun
- The Ultracheese
Dire Straits will Show up at the Rock and Roll Hall of Fame Induction Ceremony Without the Knopflers
Legendary British rockers, Dire Straits, were inducted into the Rock & Roll Hall of Fame last December, along with many greats, including the Cars and the Moody Blues. However, Dire Straits keyboardist, Alan Clark, posted on his website, indicating how it will just be himself and fellow Dire Straits members, John Illsley and Guy Fletcher, showing up to the awards ceremony and not any of the Knopfler brothers or any other members, including original drummer, Pick Withers. Dire Straits without David Knopfler? That isn’t bad. Dire Straits without Mark Knopfler? Now there’s a problem.
Clark also went onto to explain the state of performing at the ceremony. “There’s a lot of conjecture on forums about whether the band is performing at the Hall of Fame,” said Clark. Clark later said, “…we’ll be be performing an unplugged version of ‘Telegraph Road‘ with me on harmonium, Guy on ukulele, John on banjo, and the vocal performed by the three of us as a three part harmony.”
There is no indicator showing why Mark Knopfler isn’t showing up to the ceremony, however, his brother claims the Rock and Roll HOF revoked any travel costs.
In response to a Facebook question, David Knopfler said, “In their wisdom after promising to pay my expenses they reneged on their promise … I can well understand that with only $5 mil a year in sponsorships and 100k a table and no fees for the artist that paying my taxi to the airport must have given them heart murmurs like Squeers hearing Oliver Twist asking for more and frightened them into refusal otherwise one might get the wrong idea entirely about what they’re all about.”
When further questioned in the comment section by fans and other reporters, David Knopfler simply ended it by saying, ” It’s a great honour to be nominated all the rest is just the usual Faustian BS.”
There have been issues and controversy over the years concerning the Rock and Roll HOF. We all know about the famous snubs (here’s to you Iron Maiden), the Monkees controversy, and Steve Miller’s infamous speech, concerning the induction process. With more artists calling out and rebelling against the foundation, the more people will not care about it and not tune in to watch the ceremony.
Regardless of your opinion of the Rock and Roll HOF and the who eventually shows up for Dire Straits, the group will be inducted into on April 14, 2018 in Cleveland.
Dire Straits formed in London in 1977, by brothers Mark and David Knopfler, John Illsley, and Pick Withers. They released their debut album in 1978, which included the radio hit, “Sultans of Swing.” However, it wasn’t until their 1980 album, Making Movies, the band grew artistically and was taken serious as a staple in music. With David Knopfler and Withers departing when the band was really taking off, Dire Straits reformed and added new members. Having released Love over Gold in 1982, an EP in 1983, and a live album 1984, the group released the biggest album of their career and one of the best selling albums of all time, Brothers in Arms. It landed on the charts at #1 worldwide and won two Grammy Awards. It included many of the band’s hits such as the assertive Knopfler guitar driven “Money for Nothing” and the bluesy and upbeat “Walk of Life.” The group broke up shortly after this success, but united for one more release in 1991 entitled, On Every Street, before the band broke up for good in 1995. Dire Straits have been truly influential to many artists and their sound draws a combination of musical influences, ranging from blues to jazz and to straight pub and roots rock, which conflicted with the new wave and punk rock sound of the late seventies and early eighties. Nonetheless, the influence of punk on “Industrial Disease” is very much there.
Naked Giants – SLUFF
Naked Giants, a psychedelic garage and indie rock outfit, from the Seattle music scene, are one of the most eccentric, highly exciting, and alluring bands making music today. Their band logo may look a bit like throwback Nickelodeon show or Binky, but they are the epitome of shredding guitars. They have defined their sound from playing countless shows over the years, from touring with Ron Gallo to Car Seat Headrest. Currently, they are coined by some as one of the best live bands to see for under $20.
Formed in 2014, Naked Giants consists of guitarist/vocalist Grant Mullen, bassist/vocalist Gianni Aiello, and drummer Henry LaVallee. Since the trio is fairly young, in their very-early twenties, they just want to hang loose and enjoy their time as a band.
They released their EP back in 2016, entitled RIP, which included some of their best material such as “Twist” and “Pyramids.” After its release, the band appeared on KEXP, a public radio station based in Seattle, and discussed how they were looking for a record label to release a full-length album.
They found a home at New West Records (Drive-By Truckers, Ron Gallo, and Caroline Rose), where they finally released their first album, simply entitled SLUFF – a very sounding punk title fitting the band’s look. On the album, the band tried capturing the amusing and chaotic live atmosphere, their reputation is built around, which you can definitely hear on the opening track, “Dead/Alien” and “Slow Dance II.” You can also hear many of their influences, ranging from The Stooges to Weezer. They have the typical Seattle grunge sound, which isn’t surprising since their new album was produced by veteran Seattle producer, Steve Fisk (Nirvana, Soundgarden, Mudhoney). SLUFF incorporates the style of music, they and their contemporaries have been recognized for, with a slight tone of blues and white-boy-soul, basically of 60’s garage rock, underlying their fuzzy guitar riffs and effects. It keeps you conscious and moving until the very end.
SLUFF opens with “Dead/Alien,” which incorporates a hyperactive melody and the group’s signature psychedelic guitar effects. With the lo-fi riffs and chorus, it sounds like if Weezer tried imitating Pavement’s “Texas Never Whispers.”
“We’re Alone,” the best track on the album, is bouncy, as it deals with the typical frustration to have sex, which you can hear in Mullen’s vocals. The upbeat “Everybody Thinks They Know” and woozy “TV” were released as early singles and both have a seventies punk styled approach. However, “TV” breaks into a Zappa freak-out jam, which also shares the energy of the Who’s “Naked Eye” and a whirl of fuzz and distorted guitars. At the end of this, the song returns back to its normal stage, where Mullen’s vocal approach sounds like the sketchbook from Don’t Hug me I’m Scared. “Slow Dance II” is a bluesy breakup song, in which Mullen’s vocals go awfully, but fittingly high. The vocals later become aggressive – leading into an assertive and distressing guitar solo.
One of the most disappointing moments on the album however, comes from the track, “Slide.” There was a ton of anticipation with this track, since it was one of the best songs the group performed live. Along with the choppy guitars and intense vocals, the slide on the bass and guitar is not emphasized the way they should be and the production here, seems to be slowed down. When the countdown vocals begin, the song becomes a mess, even with the pleasing Devo-esque guitar solo.
The title track can serve as the band’s anthem, even though its repetitive. It features a grimy vocal harmony from the group, along with some 90’s Weezer “woo-hoos.” “Goldfish I” features a hazy melody – like any standard 1960’s psychedelic garage rock song. However, the instrumentals start to twist on “Goldfish II.” During its bridge, you’re hit with a gloomy bass line, which descends into an energetic jam, featuring a highly-spirited cowbell. “Dat Boi” is as modern-Nirvana, the band will get. It seems like the instrumentals are pushing to one end to the other, but always returns to that main crunching riff. “Easy Eating,” an early single released in 2016 and on the band’s EP, shows the reverb and punk attitude, the band is all about. It also resembles a similar surf-rock riff the B-52’s used on “Devil in My Car.” Since this is a newly improved version, it sounds very much likes it’s live.
After all the chaos and energy that came before, things start to calm down on the closing track, “Shredded Again” – a nice elegant and slacker soothing song, which shares a similar melody in the chorus when compared to the Kinks’ “Starstruck.”
One song that was hyped for the new album but left off, was the extremely messy jammy “Green Fuzz,” which hopefully is released officially in the future.
Even though, Naked Giants are still considered an underground band and don’t really take themselves that serious, there is no doubt they shouldn’t be considered as worthy or popular as indie acts like Car Seat Headrest or Ty Segall. On SLUFF, they proved to be one of the hottest indie rock bands playing music today, channeling all of their influences and that heavy sounding Northwest music sound.
Favorite tracks: : “Dead/Alien,” “We’re Alone,” “Everybody Thinks They Know (But No One Really Knows),” “Slow Dance II,” “Goldfish II,” “Shredded Again”
Least favorite tracks: “Slide,” “SLUFF”
You can listen to Naked Giants’ SLUFF here.
Jack White – Boarding House Reach
Let’s just get it out of the way. Jack White’s highly anticipated third solo studio album, Boarding House Reach, is bizarre. This is far from what was expected. He shedded his skin of traditional blues rock and developed a whole new layer of music that is mystifying. This isn’t implying it’s bad. In fact, it’s White’s best release thus far, as a solo artist
White juggles a lot here. He goes from retro funk to electronic music to hip-hop to complex rock n’ roll with some Ginger Baker’s Air Force and Jeff Beck jazz fusion in the mix and then back to his roots – pure blues and garage rock. There are many sonic experiments on Boarding House Reach, including tracks like “Why Walk a Dog?” and “Get in the Mind Shaft.” In a lot of ways, this is White screwing with his image of what he is supposed to release as an artist. Like many artists do, they experiment and change their sound as they progress, sometimes it goes well, other times, it fails miserably. Since White has established a sound of his own, from his blues influences – of course, he’s going to receive the negative reviews for his new album, if it isn’t consistent like his previous releases. It’s like what other multi-instrumentalists like Beck did on Midnite Vultures (1999) and Todd Rundgren recorded on A Wizard, a True Star (1973). When interviewed during an appearance on KROQ’s The Kevin and Bean Show, White was asked about the decline of rock acts appearing on festival bills. White responded and said, “Rock ‘n’ roll needs an injection of some new young blood to really just knock everybody dead right now.”Let’s just get it out of the way. Jack White’s highly anticipated third solo studio album, Boarding House Reach, is bizarre. This is far from what was expected. He shedded his skin of traditional blues rock and developed a whole new layer of music that is mystifying. This isn’t implying it’s bad. In fact, it’s White’s best release thus far, as a solo artist.
Almost a year after White successfully launched and played a vinyl record in space for the first time, In March of 2017, White alluded to an upcoming album in an interview with The New Yorker. He had set up in a little room, in Nashville Tennessee, writing and recording new songs with a reel-to-reel tape recorder, he bought from mowing lawns, when he was fourteen. He released a track last April entitled, “Battle Cry,” which alludes to the energy on the new album.
Last December, White released the first two singles off the new album, “Connected By Love” and “Respect Commander” along with a mix of sounds called “Servings and Portions from My Boarding House Reach,” previewing the wild album.
Boarding House Reach opens with the lead single, “Connected By Love.” Lyrically, it’s a typical White track, which could’ve been from White’s previous album, Lazaretto in 2014. Nonetheless, White’s soulful vocal approach, along with the gospel choir and the warm synth line under his vocals, sets the mood for the album. “Why Walk a Dog” is a nice calm, but gloomy track, before the sonic storm.
The album peaks in an experimental sonic terrain with “Corporation” – a heavy groovy disoriented track. There’s almost everything featured on the album here: several bridges, White’s signature choppy, samples, and fuzzy guitar leads, multiple layers of piano riffs, dramatic shouts, congas, and drum machines. Towards the end, it even sounds like White is imitating some Rage Against the Machine vocals, especially when singing “Yeah, I’m thinking about doing one giant drop” – previewing how far he can go. There are a couple poems set to music used as segues, including the gracious “Abulia and Akrasia” where blues singer, C.W. Stoneking, makes an appearance on vocals, who just wants another cup of tea before White goes on another instrumental rampage. “Hypermisophoniac” is the perfect song to annoy a common White listener and cleverly, that’s the point. Misophonia is when people react in extreme ways, after hearing a sound they strongly dislike, for example, a fork scratching a plate. This is definitely not a track, you’ll search to listen to, unless you like Beck. With layers of synths and electronics – it’s practically an orgy of strange sounds. There are a couple tracks here, that were supposed to be carried out in past projects. “Ice Station Zebra” originally was from a planned project White started with rapper, Jay-Z. This is the point of the album, where White truly changes his stripes. Named after a 1963 Cold War spy novel, White raps the best lyrics from the album – “If Joe Blow says ‘Yo, you think like Avagio,’ You’ll respond ‘No, that’s an insult, yo’ I live in a vacuum, I ain’t got but no one.” This track resembles how movie director, Edgar Wright, used music in action sequences in his recent film, Baby Driver (2017) – it creates an imagery of robbers committing a heist. “Over and Over and Over” is an abandoned White Stripes track, dating back 13 years ago. It’s the heaviest and most standard track, both in vocals and instrumentals on the album. Artistically, it goes completely backwards. Due to the title of the track, it’s repetitive, but till the end, the intense backing vocals and skittering drums try changing directions, which is a perfect transition to the next track, “Everything You’ve Ever Learned.” This unfortunate too short of a song sounds like it could’ve been a public announcement from the concept of the new Arcade Fire album, with White acting all PBS sinister. Later, the Radiohead’s “bleep blorp bop beep boop” alters into some African drums with a chilly synth line. White’s vocals switch from sponsorship announcer to 2018 Gatorade commercial narrator. One of the best moments on the album is when White screams “Do you wanna start a fire? Well, you can watch it burn!” like he’s Jim Morrison, while the music jumps into a fire pit of chaos, where you can hear a softness of the White Stripes’ “Black Math” between layers of riffs. As White screams “Shut up and learn!” – he’s trying to burn his past image and embrace his new one. On “Respect Commander,” White breaks into a hard rock psychedelic jam, which during the breakbeats, sounds like you’re at the main menu of a video game by PlayStation, but later sounds like White shredding some Led Zeppelin. White speaks low and high in harmony on “Ezmerelda Steals the Show,” which points out why White doesn’t want his audience on their cell phones at concerts with the lyrics – “Their faces to their gadgets fall south / Ignoring the beauty of a fog on a hill.” “Get in the Mind Shaft” opens with some spoken words from White, then develops into a funky electronica, echoing Daft Punk and the Flaming Lips. “What’s Done is Done” repeats the warm synth line the album opens with, while White and country and folk singer, Esther Rose, sing an aching suicide ballad. Everything calms down on the soothing final track, “Humoresque.” It was written by the legendary gangster, Al Capone and is set to classical music from Czech composer, Antonín Dvorák (1841-1904). White purchased a musical manuscript by Capone, written while he was in Alcatraz. In a cover story with Rolling Stone, White said he was moved by Capone’s affection for “a gentle, beautiful song.” You see White messing with a lot of genres on the new album, but throughout it, you wouldn’t think he’d take on classical music.
The experimentation on Boarding House Reach among fans is divisive, but it’s about time White released an album like this. While, Jack White dives deep into numerous genres and styles of music – his public image as an eccentric rock star however, will always remain.
You can see White generating sonic explosion, his simple head bang, and sporting his traditional long and frizzy hair on April 19th, as he kick starts his spring tour. But remember, no cell phone use and do not attend if you dislike the color blue. For a preview of his upcoming tour, watch his recent show at the Warsaw venue in Brooklyn, NY.
Favorite tracks: : “Connected By Love,” “Corporation,” “Hypermisophoniac,” “Ice Station Zebra,” “Over and Over and Over,” “Everything You’ve Ever Learned,” “Respect Commander,” “Get In the Mind Shaft”
Least favorite tracks: “Abulia and Akrasia,” “Humoresque”
You can listen to Jack White’s Boarding House Reach here.
Bruno Mars, Jack White, the Weekend, and Arctic Monkeys will Headline Lollapalooza 2018
Bruno Mars, Jack White, the Weekend, and the Arctic Monkeys, look to headline this year’s Lollapalooza, in Grant Park, Chicago, August 2nd to August 5th.
Like last year’s Lollapalooza line up, which included Chance the Rapper, Arcade Fire, Run the Jewlz, and Lorde, this year’s line up is stacked with artists from all genres of music.
The National, Vampire Weekend, Portugal. The Man, Greta Van Fleet, and Franz Ferdinand are among this year’s rock acts set to perform the long-running festival, which gave light to alternative rock in the nineties. Hip hop acts will include: Lil Uzi Vert, Tyler the Creator, Logic, Lil Pump, Post Malone, and many more. The festival will also feature artists from St. Vincent to Camila Cabello, and over 200 more artists.
This year’s festival will also feature festival founder and Jane’s Addiction lead singer, Perry Farrell. He will perform with an all-star line up of guest musicians for Farrell’s upcoming solo album.
Just about almost every artist has something going on in 2018. Bruno Mars is coming off hot, after winning both Album of the Year for 24K Magic (2016) and Record of the Year for the titled track at the 60th Annual Grammy Awards. Jack White’s upcoming album, Boarding House Reach, comes out this Friday, Mar. 23, while the Arctic Monkeys just announced their 2018 come back tour, their first since 2014. Arctic Monkeys are expected to announce the release of new music for their sixth studio album in the coming weeks. And another post-punk revival group, Franz Ferdinand recently released their 5th studio album, Always Ascending and embarked on a massive world tour.
Tickets for Lollapalooza are on sale now; Check out the festival’s website for more information.
View the full line-up below.
Favorite Tracks: “Come Together,” “Maxwell’s Silver Hammer,” “Octopus’s Garden,” “I Want You (She’s So Heavy),” “Because,” “Mean Mr Mustard,” “Polythene Pam”
Least Favorite Tracks: “Sun King,” “The End”
Franz Ferdinand – Always Ascending
The most recent from the Scottish-rockers, Franz Ferdinand, proves that the band has not yet lost their edge in music and are one of the greatest bands to come out of 2000’s – who are still balanced and relevant to this day. We last heard from them in 2016, when they took aim at then-Republican nominee, Donald Trump, with “Demagogue” in their involvement with the 30 Days, 30 Songs resistance project during the 2016 Presidential Election.
Always Ascending is a fresh start for the group, after founding member, Nick McCarthy, left the band in 2016. McCarthy was replaced by Dino Bardot (1990s) who had no involvement with the new album and Julian Corrie (Miaoux Miaoux), who contributes greatly to the modern sound. Even though the band is polishing their music and lost their lead guitarist, they have not yet lost their signature jagged guitar riff style and the approach of evolving. They have always been making dance music, but here, it’s fresh and surprising.The opening titled track shows Franz at their most genius. The intro of “Always Ascending” shows a soft piano with layered background vocals as the synths show word painting of the music sonically rising and ascending slowly before it all suddenly drops, with tight instrumentals. It showcases the auditory illusion of the Shepard tone, which makes the pitch of the music sound like its ascending or descending, when really its staying the same. “Lazy Boy” is a classic Franz track, but its so damn lazy lyrically. The vocals are however catchy, especially when you’re contemplating about skipping an 8:00 a.m class and frontman, Alex Kapranos’s voice pops up in your head singing “Am I gonna get up? Am I gonna get up, get up?” The groovy guitar after the first verse is especially reminiscent to the early days with McCarthy as guitarist and its funk riff makes you want to kick and stomp like you’re Alex Weir from Stop Making Sense. “Paper Cages” continues this trend, but blends that punchy riff with some bouncy and shadowy synths – reminiscent to certain new wave bands such as Talking Heads and Duran Duran. “Finally” is similar to “Always Ascending” with its firm instrumentals. Its buzzy and dancy synths and keys spiral like they were initiated from a launch pad. On the epic “The Academy Award” there are powerful elevating synths, similar to “The Murder” screeching string section from Psycho (1960). It could also be a sister track to “The Universe Expanded,” from Franz’s past album, Right Thoughts, Right Words, Right Action (2013). In a tremendous segue, “The Academy Award” transitions into the electropop “Lois Lane,” which deals with a “pretty strong woman” journalist who wants to change the world, but cannot. It’s nostalgic to the style on Tonight (2009), but it’s the first time the band used a fictional character they wrote about it in their songwriting. “Huck and Jim” is one of the more energetic and heavier synth tracks, where in the pre-chorus, Kapranos sounds like how he did during the bridge of “Auf Achse” off Franz’s debut album. And he sounds like he’s Blondie rapping or imitating Mark Mothersbaugh on the Devo’s “Time Out for Fun” – which all points to styles never done before by the group. The song deals with Huckleberry Finn and Jim and the NHS (National Health Service) in England. “Glimpse of Love” sounds like it could’ve been a huge disco hit in the late seventies, which includes some immensely clean and choppy Nile Rodgers guitar chords. “Feel the Love Go” sends you on a synth-wave disco whirl – one which lasts forever on the dance-floor – with a sax solo from Terry Edwards (The Higsons and Gallon Drunk); so far being one of the best tracks of 2018. The closer, “Slow Don’t Kill Me Slow,” is a great departure from the rest of the songs. In spite of the minimal droning and effects over the drums, the song sounds like a combination of the Carpenters and Franz’s own “Fade Together,” mostly when Kapranos rises in his vocals singing “Slow, don’t kill me slow / don’t kill me slow / no, never never no, don’t kill me slow.”As the group captures you with a sensual vocal approach from Kapranos and has you dance until there is no more groove box – this is the most inconsistent arrangement from the group. There are awkward transitions, slow tracks that are out of touch with the main sound, and repetitive lyrics. Despite those elements, this album is elegantly strong, well produced, which you can tell where the band focused the most on.
After five studio albums, Franz proved how consistent and ordinary they are. They’re natural contrarians, who always standout. With a change in dynamics, this is a new band.
Favorite tracks: : “Always Ascending,” “Finally,” “Lois Lane,” “Huck and Jim,” “Feel the Love Go”
Least favorite tracks: “Paper Cages,” “The Academy Award,” “Glimpse of Love”
You can listen to Franz Ferdinand’s Always Ascending here.
Every Franz Ferdinand Album Ranked from Worst to Greatest
In 2004, a then-Scottish quartet named Franz Ferdinand broke into the mainstream with their signature number, “Take Me Out.” It was blasted through airwaves, sports events, and commercials – deeming the band as a “one-hit wonder.” However, they were only seen as that to people who are too lazy and simpleminded to listen to one of their full-length albums. The group upstaged U2 when opening for them back in 2005, where rebel frontman, Alex Kapranos walked onto Bono’s ego-ramp – a catwalk extending into the audience – during their own performance. Also, in Scotland, they’re practically adored like the Beatles. And not one of their albums are bad or even mediocre – they’re all tremendous. After five studio albums, Franz proved how consistent and natural they are. In honor of Franz’s latest release on Feb. 9, Always Ascending, we ranked all five studio albums from worst to greatest.
5.) Always Ascending (2018)
The most recent from the Scottish-rockers proves that Franz Ferdinand has not yet lost their edge in music and are one of the greatest bands to come out of 2000’s – who are still balanced and relevant to this day. Always Ascending is a fresh start for the group, after founding member, Nick McCarthy, left the band in 2016. McCarthy was replaced by Dino Bardot and Julian Corrie (aka Miaoux Miaoux), who contribute greatly to the modern sound, especially on the titled track of the new album. Even though the band is polishing their music and lost their lead guitarist, they have not yet lost their signature jagged guitar riff style (“Lazy Boy,” “Huck and Jim”). The experimental and electropop approach from Tonight (2009) is eminent and tremendously emphasized (“Always Ascending,” “Lois Lane”). “Feel the Love Go” sends you on a disco whirl – one which lasts forever on the dance-floor – with a synthy sax riff and solo from Terry Edwards; so far being one of the best tracks of 2018. However, as the group captures you with a sensual vocal approach from frontman, Alex Kapranos and has you dance until there is no more groove box – this is the most inconsistent arrangement from the group. There are awkward transitions, slow tracks that are out of touch and misplaced (“Academy Award,” “Slow Don’t Kill Me Slow”), and overly booming synths and keys louder than the vocals. And “Lazy Boy” is just so damn lazy lyrically. However, instrumentally, its jarring.
(Stay tune for a full review)
4.) Right Thoughts, Right Words, Right Action (2013)
Similar to Tonight, RTRWRA, focused highly on a dance-oriented style, but its a back to the basics kind of album; dance rock emphasized by one heavy riff. From the beginning of the record, you can hear the band craving another “Take Me Out” – every song ranging from “Right Action” to “Bullet” sounds like a worthy single, waiting to crack the Billboard charts. It’s a celebratory album with a lot of swagger. “Evil Eye” creates an edgy vibe and has grooves nostalgic to the Clash’s London Calling (1979). “Love Illumination” has a classic guitar riff, which could’ve been a huge glam rock hit in the seventies. “Stand on the Horizon” includes a choppy Talking Heads-esque guitar riff, with an uplifting groovy bassline. “Bullet” is a classic post-punk Franz track, which could’ve fit really well on the first two albums. The later tracks are completely different in style. They switch out the heavy guitar riffs with some keyboards and synths. The noticeable blend of this arrangement is on the standout “Treason! Animals,” which sounds like if Queens of the Stone Age flirted with disco. Kaprano’s vocals are sinister, as he sings “I’m in love with a narcissist, I’m in love with my nemesis.” On the final track, “Goodbye Lovers and Friends” you’re hit with a gloomy fast-paced rhythm section, similar to Fleetwood Mac’s “Tusk.” It includes Kapranos declaring in the final seconds, “But this really is the end” – a perfect closer to an astounding comeback record. RTRWRA proved rock music was still prominent in 2013.
3.) Tonight: Franz Ferdinand (2009)
Tonight is the comeback record, put out by Franz in 2009, four years after their last release. It’s the first time Franz flirts with experimentation, with electronics at the front. This meant McCarthy had to go from working on his jagged guitar work to keyboards. And it’s the first conceptual record released by the group, where the album focuses on elements of going out at night, while carousing and encountering the effects. “Ulysses” is the opening track, as it contains a lot of bass and keyboards. Named after the Greek hero from Homer’s Odyssey, this track leads to the anticipation about how something big’s about to happen and there is so much excitement, you’re carefree about the future, as the song contains the lyrics, “you’re never going home.” Even though the band is experimenting, their classic sound has not been abandoned. You hear this on two key tracks, the tempting “No You Girls” and the bitter “Bite Hard.” Also, the band still makes your hips move on the dance floor single, “Can’t Stop Feeling.” But tracks like “Twilight Omens,” “Live Alone” and the electronic monster, “Lucid Dreams” are ahead of their time, even in the age of electronic dance music. This album hits you on first listen, which is surprising for an exploratory concept record – which sometimes takes time to resonate.
2.) Franz Ferdinand (2004)
During the climax of the garage rock/post-punk revival in the 2000s, a Glasgow band reached the Billboard Hot 100 and Modern Rock Tracks chart, with their anthem, “Take Me Out.” From the first track to the last, on their debut album, Franz is loaded with a ton of energy and riffs that defines what they are all about – seductive punk with a lot of cockiness. The opener, “Jacqueline,” starts out soft, but when McCarthy’s fast-paced guitar creeps in; all hell breaks lose. The album gets out of control as it descends to the quirky and catchy “Tell Her Tonight.” The signature tracks just keep coming too, from the foot-tapping “The Dark of the Matinée” to the homoerotic full of eyeliner “Michael.” Deeper cuts such as “Cheating on You” and “40′” shows Franz’s cleverness and are two of the best produced tracks on the album. There are so many songs here including “This Fire” and “Darts of Pleasure” that should have been as big as “Take Me Out.” Every cut here is “Super-Fantastic.”
1.) You Could Have It So Much Better (2005)
Franz’s sophomore effort is the group at their best. It’s lyrically intelligent, rough, and versatile. The stomping opener, “The Fallen,” showcases how aggressive and heavier the band is from their debut. The “Take Me Out” here is “Do You Want To,” – a giddy keyboard dance hit, which got ruined by a certain anime. After the loopy “This Boy,” Franz records their most beautiful and soothing tracks, “Walk Away” and “Elanor Put Your Boots On.” “Well That Was Easy” feels like a classic Paul McCartney song, which isn’t surprising. The group pays respect to their influences on this album. They dig deeper into relationships with a lot of guitar wrenching and soul on “You’re the Reason I’m Leaving” and especially the album’s titled track – where Kaprano’s roaring and pushy vocals steal the spotlight. The aesthetic “Fade Together” is dream-like – reminiscent to what the Kinks released in the late sixties. Franz didn’t slouch on their sophomore release, they peaked.
The Beach Boys’ “Pet Sounds” Just Got Quite the Release
The featured image above displays how record collectors and Beach Boys fans greeted record stores Feb. 9, when Capitol Records release a limited split translucent yellow and green 130-gram LP of Pet Sounds, via Capitol Records/UMe. You can also purchase the limited edition LP on The Sound of Vinyl.
When Pet Sounds was first released by Captiol in 1966, Captiol put out the first Beach Boys compilation record, due to how poorly Pet Sounds performed on the charts compared to previous albums. In 1995, Pet Sounds topped MOJO’s special list of “The Greatest Albums of All Time” and in 2003, Rolling Stone ranked it at No. 2 of the magazine’s list of the “500 Greatest Albums of All Time.” Little do people know, the Beach Boys are just as prominent and influential as the Beatles.
Stephen Malkmus and the Jicks Release New Single and Tour Dates
Ty Segall, the one-man-garage rocker and nineties Beck 2.0, released a brand new album, Freedom’s Goblin. It’s his most progressive and definitive album after releasing nine studio albums: numerous collaborations and projects with other groups such as Slaughterhouse and Fuzz.
His latest album, produced by the legendary Steve Albini, offers 19 tracks – all wide ranging and unreserved; there’s a reason why “Freedom” is featured in the title. This is a bold move, especially in music today. You don’t hear artists releasing double LP albums that blends various genres similar to the Beatles White Album (1968) or the Clash’s London Calling (1979). On Freedom’s Goblin, you hear elements of music that is reminiscent to classic rock (The Beatles, T-Rex, and Todd Rundgren) and Segall’s contemporaries (Ohh Sees, Black Lips, and Jack White). The variety and intensity keeps you listening. It’s a great album for newcomers. Its like experiencing the Kinks for the first time through their Kink Kronikles (1972) compilation – so much at once. It’s not as much psychedelic nightmares recorded from the underground, with scary album covers like his previous albums. It’s rock n’ roll with all its sub-genres: with some tight pop music in the mix, distorted guitars with a lot of humor and attitude – Segall is free and all over the place and lost at the supermarket.
Freedom’s Goblin opens with Segall going full Ryan Adams. The instrumentals in “Fanny Dog,” resemble certain classic rock elements, along with the slithering 3D’s/Pavement guitar riff. “Rain” by its title alone, is a Beatles tribute song. Segall lets out his inner John Lennon, reflecting Lennon’s vocals from “Strawberry Fields Forever.” This is the song that gets your mother listening by the door, asking “What Beatles song is that?” Next, Segall covers the seventies disco classic, “Every 1’s a Winner,” originally by Hot Chocolate. Here, Segall flirts with a more glam rock style, with an overly aggressive heavy Beck riff, which is of most importance. On “Despoiler of Cadaver,” Segall dives into a synth void and even becomes a bit Right Said Fred too sexy, especially when singing – “I want to whisper in your ear and give you everything.” This could’ve been a whirling disco dance floor hit in the seventies or played in a late nineties nightclub – a great followup funk number and one of the best off the new LP. “When Mommy Kills You,” is a classic Segall track, with again, a feeling of the Beatles, mostly from the background vocals. Even Yoko sounds like she could’ve been the overdubbing high pitched voices at the end. You can tell Segall is a big fan of Chris Bell and Big Star, on “My Lady’s on Fire.” Segall gets tender (“Alta,” “Cry Cry Cry,” “I’m Free”) and you can feel how profound his singing is. “Alta” is an environmental song, set in California – reminiscent of something the Beach Boys would have released from their 1970-1973 period. “Meaning,” could’ve been a new Jack White single for Boarding House Reach, but after the opening, it turns into this sprawling punk tune, with Segall’s wife singing lead vocals. “Shoot You Up,” is just as rebellious and heavy as The Clash’s “Guns of Brixton,” but Segall’s tone isn’t as pushy and intimidating as the instrumentals. The highlight, “You Say All The Nice Things,” is a lost T-Rex Slider (1972) take. “The Last Waltz” certainly sounds like its title with its word painting around the instrumentals, which also shows influence of “Being for the Benefit of Mr. Kite!” by the Beatles. Typical blurred guitars from Segall, make their return on “She,” with Segall going heavy metal on vocals. The Wowee Zowee sections consists of “Prison,” – a goofy wild comedic instrumental transitional piece to the squalling saxophone and guitar boogie of “Talkin 3,” – where Segall screams the entire time and “The Main Pretender.” “5 Ft. Tall” is the catchiest number off the album and it includes a riff which could have been from one of the Nuggets compilations. The closing track, “And, Goodnight” is an 11 minute experimental trip, where it sounds as live as Neil Young’s Live Rust (1979). The solo seems never ending and when it finally ends, you want more. It’s like when waking up from a dream when reaching the climax. Luckily, Segall is pretty fast with releasing new music, so lets hope for some more dreams.
Segall, along with other artists such as Ron Gallo, are going backward in music and trying to give light on a genre that has been declared “dead” and irrelevant to today’s music standards. On an independent label such as Drag City, artists have the freedom to bring back or experiment with the music, in which they desire. On Freedom’s Goblin, Segall has established himself as a free musician, in celebration to the second garage rock revival, in which he conquered through his excellent taste of fuzzy guitars and melodic sensibility.
Favorite tracks: “Rain,” “Every 1’s a Winner,” “Despoiler of Cadaver,” “My Lady’s on Fire” “You Say All The Nice Things,” “Talkin 3,” “And, Goodnight”
Least favorite tracks: “Cry Cry Cry,” “Shoot You Up,” “She”
You can listen to Ty Segall’s Freedom’s Goblin here.
Shine a Light on Your Police’s Synchronicty Vinyl Copy
Three years ago, I was visiting a local comic book store that also sells vinyls. I was casually searching through the low-priced section, which mostly consisted of old and worn out copies of Moody Blues albums and if you got lucky, there would be some interesting new wave or power pop albums. After searching through several bins of records, the owner of the store came towards me and in a hasty manner, searched through the bin next to me. He pulled out a copy of the Police’s fifth and final studio album, Synchronicty (1983). He took record itself out and shined it to the light above us and uttered in gratification. He then told me that some original pressings of Synchronicty were pressed on a nontransparent colored record, such as bluish-purple, which you can only see when holding it up to a light. I was intrigued and looked up everything I could about it. I came across this forum discussion, posted by David Loyd. Loyd stated in his post, how supposedly there are some very rare red, gold and baby-blue copies out there as well. Check your copy to see if it matches the copy I recently purchased for only $6.00 below.
Tyga, released on his Instagram page, the cover artwork for his upcoming album, Kyoto. It confused many and lets just say, it didn’t sit well with some. The album art features an illustration of a reclining human-like tiger woman in the nude, with her underwear down. The cover was designed by Japanese graphic artist, Hajime Sorayama, best known for his sexual depictions of metallic female robots (i.e. Bio Mechanoid Marilyn Monroe). In the comment section of the post, you can see fans greeting it as “beautiful” and “dope,” while others see it as: “sexist,” “terrible,” and some have even recgonized it as a pioneer of “furry porn.” Tyga defended the artwork, in an interview with TMZ, stating “I think it’s lit. It’s art man.” Tyga later posted a picture of Sorayama, holding the artwork, thanking him for capturing “the essence with a beautiful & truthful piece.”
In 1966, the Beatles released the butcher cover art for their album, Yesterday and Today, which essentially kicked off the start of controversial album artwork. This was followed by many artists including: Blind Faith, Jimi Hendrix, Scorpions, Guns N’ Roses, Kanye West, and even the fictional band, Spinal Tap. Now, Tyga joins the club of bizarre and “offensive” album artwork.
Was this all a publicity act for fans and critics to anticipate the upcoming album? We’ll see if the music can match the album art Feb. 16.
View Kyoto‘s cover art below.
My new Album KYOTO drops FEB 16❤️ I been wanting to make this album for a while now but didn’t have the confidence and the story to express my true emotions.I thank all the love and support you have given me over the years. Thru my ups and downs,At My highest and my lowest points.Thru my brightest and darkest hours.This album is me opening my heart to you and I hope you enjoy it and love it as much as I do❤️ THANK YOU GOD ALWAYS . Thank You Hajime Sorayama for allowing me to share this experience with the world thru your creative art & my vision. #HajimeSorayama #KYOTO FEB 16 Pre order link in bio now.🙏🏾
Mark E. Smith, Lead Singer of The Fall, Dies at 60
Mark E. Smith, the prominent frontman and founder of the British post punk band, The Fall, dies at age 60, at his home. Pam Vander, manager of The Fall, posted on the band’s Facebook page stating “It is with deep regret that we announce the passing of Mark E. Smith. He passed this morning at home. A more detailed statement will follow in the next few days. In the meantime, Pam & Mark’s family request privacy at this sad time.” Throughout 2017, Smith has been battling health issues, resulting in a cancellation of a U.S. tour. He even performed in a wheelchair last October. This was the second time the singer had to perform in this manner.
As a quick tempered and prolific person, Smith kept the Fall going for four decades, issuing more than 30 albums – each with a different sound. He has been the only permanent member from the Fall to remain on every single album and hired and fired many musicians featured on those records along the way. Smith founded the Fall, after attending a Sex Pistols show in 1976. His band never broke commercially like many of their contemporaries, but have developed a cult following and influenced many musicians such as Pulp, Franz Ferdinand, Arctic Monkeys, Sonic Youth, and Pavement. Smith once said Pavement was just the Fall in 1985.
Simon Wolstencroft, speaking with the BBC about Smith, stated “His influences travel a long, long way to bands like Pulp, and new bands now like Cabbage, and many other bands have been influenced by him,” He also added “It’s a sad day,” and certainly it is the world of music. In tribute to Smith, you can listen to The Fall’s “Hit the North, Part 1” below.
Sorry, No Pictures: Jack White Bans Cell Phone Use at 2018 Concerts
It makes sense when musicians publicly dislike the usage of cell phones at their live shows. What can be more annoying than performing, while people are viewing you through a technological device, rather than their own eyes.
At an Alicia Keys concert during the summer of 2016, audiences were forced to place their phone in a rubbery pouch that gets locked, called a Yondr Pouch. If you need your phone unlocked, you have to come outside and have one of the organizers unlock it for you. Keys’ and many others including – the Lumineers, Guns N’ Roses, Chris Rock, and Dave Chapelle’s shows have become “phone-free,” – trying to regain the full attention and have their fans encounter the true live experience of their music and acts.
Jack White is the latest person to request fans to keep their phones locked in pouches during his concerts. For years, White has been encouraging fans not to use their cell phone at his live shows. According to NME, a statement released today by White’s team stated “concertgoers will be banned from taking photos, audio, or video during the tour. We think you’ll enjoy looking up from your gadgets for a little while and experience music and our shared love of it IN PERSON.” However, White doesn’t want to take away from his fans, pictures from the show. White also stated “For those looking to do some social media postings, let us help you with that. Our official tour photographer will be posting photos and videos after the show at and the new Jack White Live Instagram account @officialjackwhitelive. Repost our photos & videos as much as you want and enjoy a phone-free, 100% human experience.” The tour, for White’s upcoming album, Boarding House Reach (Out March 23), starts in Detroit on April 19th. Listen to the brand new single, “Connected by Love,” below.
Watch The War on Drugs Bring A Deeper Understanding to the Tonight Show
2018 Grammy Nominees, the War on Drugs, enjoyed another bit of recognition and publicity, performing the heartfelt and guitar wrenching “Pain,” which recently was #1 on the Billboard Adult Alternative Airplay (AAA) chart. The War on Drugs released their fourth studio album, A Deeper Understanding, a sonically dreamy heartland rock album, that has been nominated for Best Rock Album at the 60th Annual Grammy Awards. They could’ve performed the soulful classic “Holding On,” in which, they performed previous on past late night shows, but instead they gave spotlight on a much deeper track. Towards the end of frontman, Adam Granduciel’s final guitar solo, he reveals on the back of his jacket, “Fly Eagles Fly,” in support of the Philadelphia Eagles’ recent NFC Championship win and their path to Superbowl LII. Watch their performance below.
The War on Drugs 2018 Tour
1/27 – Singapore, SG @ Laneway Festival
1/29 – Aukland, NZ @ Laneway Festival
2/2 – Adelaide Sa, AU @ Laneway Festival
2/3 – Melbourne, AU @ Laneway Festival
2/4 – Sydney, AU @ Laneway Festival
2/6 – Newton, AU @ Enmore Theatre
2/07 – Newton, AU @ Enmore Theatre
2/10 – Brisbane, AU @ Laneway Festival
2/13 – Melbourne, AU @ Forum
2/14 – Melbourne, AU @ Forum
2/11 – Fremantle, AU @ Laneway Festival
4/13 – Indio, CA @ Coachella Music and Arts Festival
4/20 – Indio, CA @ Coachella Music and Arts Festival
5/4 – Atlanta, GA @ Shaky Knees Festival
6/2 – London, UK @ All Points East Festival
6/4 – Dublin, IE @ Forbidden Fruit Festival
6/15 – Hunter, NY @ Mountain Jam
7/11 – Halifax, NS @ Halifax Jazz Festival
7/13 – Louisville, KY @ Forecastle Festival
7/14 – Birmingham, AL @ Sloss Music & Arts Festival
7/28 – Camden, NJ @ XPoNential Music Festival
Queens of the Stone Age – Villains
“The shingles that peppered Queens of the Stone Age’s DNA have been all but sanded down leaving a melodic, squeaky-clean reinvention of the band we thought we knew.”
– Will Butler, Under the Radar
I couldn’t help but detest some past reviews like the one above for the new Queens of the Stone Age album, Villains. It’s the group’s seventh studio album, released on Matador Records, this past August. Like Butler sort of stated in his review, Villains is a more polished reinvention for the group, which in anyway, wasn’t surprising. Homme was featured on the most recent Arctic Monkeys record, AM (2013), which also served as a change in sound for Arctic Monkeys – giving clear emphasis on the guitar and the revival of boogie and dance rock. Homme also produced and appeared on Iggy Pop’s latest album, Post Pop Depression (2016). Also appearing on that album was Queen’s member, Dean Fertita and Arctic Monkey’s drummer, Matt Helders. There’s an odd relationship occurring here, where Homme basically took elements from his last few projects and incorporated it all on the new Queens album. However what’s odd here, is how Villains features no guest musician appearances, unlike their past albums and obviously the increase of Homme’s colloborations. That means, there is no David Grohl, Iggy Pop, Alex Turner, or Lady Gaga. It’s only Mark Ronson (“Uptown Funk”) as producer and Homme and crew greased and leathered up for one of the most surprising highlights in music of 2017.
If you were a huge fan of the last Queens album, …Like Clockwork (2013), then you were possibly fooled on the first song. On the opening track, “Feet Don’t Fail Me,” you hear right from the start, the very dark medieval strings and synths featured on the last album. The word painting of the strings at the beginning shows the anticipation and heart rate of the die-hard Queens fan, as they are approaching the gates of Hell. Homme’s vocals become especially sinister on the following track and lead single, “The Way You Used to Do.” It’s the most jumpy dancey rockabilly Queens song to date – Homme turns Alex Turner AM sexy. The music starts to fade away, and you can only hear these effects echo a later track featured on the album. “Domesticated Animals” is too lyrically similar to the concept of Planet of the Apes. Here, Homme sounds like the lead ape revolutionist, Caesar, but oddly in an alluring dark fashion. As the song is ending, you hear this scream that is reminiscent of past Queens member, Nick Oliveri’s singing style featured on the classic Songs for the Deaf (2002). After another small transitional effect that sounds like Green Day’s “Hitchin’ a Ride,” the album quiets down and Homme’s vocals become specially beautiful and the songwriting stands out rather than the instrumentals. On the remarkable “Head Like a Haunted House,” I can’t decide whether the group sounds more like the B-52’s with the wicked screaming backing vocals, the Cramps in relation to Homme’s tone of voice, or the lead guitar sounding like a mash of Devo’s “Wiggly World” and the Dead Kennedy’s “Holiday in Cambodia.” The transition to “Un-Reborn Again” features a whole ton of biting and cruel synths, along with Homme adapting his inner Bowie. “Hideaway” is the weakest track on Villains, however, it fits the sound and quality of the album. It sets an eighties post-punk/goth mood along with a Duran Duran ballad. The next track, “The Evil Has Landed” is a drastic change. It opens with a Led Zeppelin-eqsue guitar riff, as Homme’s high singing reflects his guitar style. You get lost during the solo, sort of like how Homme did when he kicked a female photographer in the face at the KROQ Almost Acoustic Christmas show. I mean the tour is in support of an album called Villains, however, this all might be too soon. In the last half of the song, you realize that the group doesn’t want to end, so they form an entirely new riff, while the effects start to overdub the previous one, leading into a jam – one of the best moments on the album. The final track, “Villains of Circumstance,” ends in the same way the album started. It’s very dreamy and shadowy, as you hear Homme singing about how far he is from the one he loves.
As the album fades away in this closing track, you may find yourself replaying it over and over again. It’s a pure solid rock n’ roll album, obviously with Homme and other members paying their respect to a number of their influences. It is their most consistent record, with every track balancing well due to the clever mixing of the album. The band finally started to change their sound, but went in the direction of a music genre, that was last relevant a decade ago in the style of rock n’ roll. However, the menacing instrumentals are disguised over Ronson’s upbeat production. Villains may not be as classic on the same levels as Rated R (2000) or Songs for the Deaf in any means, but it’s one hell of a journey.
Favorite tracks: “Feet Don’t Fail Me,” “The Way You Used to Do,” “Fortress,” “Head Like a Haunted House,” “The Evil Has Landed”
Least favorite tracks: “Hideaway,” “Villains of Circumstance”
You can listen to Queens of the Stone Age Villains here.
The B-52’s – Whammy!
In 1983, the B-52’s followed up their EP, Mesopotamia, with their third studio album, Whammy!, which is basically a continuation of what they did on Mesopotamia. However instead of working with David Byrne, this time the band worked with Jamaican audio engineer and producer, Steven Stanley, best known for working with Talking Heads and the Tom Tom Club. The B-52’s were relentless with changing and updating their sound, thus Whammy! is another take on the band’s journey of experimentation.
During a visit at Compass Point Studios in the Nassau, Bahamas, best known for where AC/DC recorded Back in Black (1980) and also where Emerson, Lake, and Palmer, recorded their cringe-worthy seventh studio album, Love Beach (1977). First at the studio, the B-52’s re-recorded the tracks that were left off of Mesopotamia (“Queen of Las Vegas, “Big Bird,” and “Butterbean”) and later in December of 1982, recorded six new songs. At this time, guitarist, Ricky Wilson and drummer, Keith Strickland became multi-instrumentalists, by contributing all of the instrumentals, except additional instruments such as the trumpet and saxophone for Whammy!. Even though this album vastly differs from their first two releases, it still shows the B-52’s in their typical quirky and zany style.
Whammy! opens with “Legal Tender,” which features a steady drum machine and a genuine keyboard, underlaid with warm vocals from frontwomen, Kate Pierson and Cindy Wilson, singing about making fake money in a basement, ready to be spent. The synthesizers also play a huge role in the opening track, drawing a resemblance to the new trend of new wave artists throughout the eighties, giving value to the instrument. “Whammy Kiss” features frontman, Fred Schneider at his most extreme, ending the song in reverberation by screaming “Give it to me!” With that line, you could probably guess how crazy this song is. This track differs from the rest due to how over the top it is, but that was what the band was known for. Next to “Mesopotamia,” the next track, “Song for a Future Generation” is the best experimental track from the B-52’s. It shows all five members singing, along with the key and synth lines creating a pleasant and cheerful landscape. Without a doubt, this is the best song off the album. If you thought “Whammy Kiss” was outrageous, the next track, “Butterbean” is just as bad. It almost sounds like the band is mocking their classic surf/punk style with modern instruments disorganized and outrageous draggy backing vocals from the females. The chorus changes several times in the song, but it is still a fun song to dance to. “Trism” is another alluring track from the start of it, but it becomes too repetitive and drags on. “Queen of Las Vegas,” shows some similar keyboard riff like shown on the classic Cindy Wilson lead vocal track off their debut, “Dance this Mess Around.” The lyrics are the deepest on the record, showing how perfect the vocals are without any male interference. The next track is a cover of Yoko Ono’s “Don’t Worry Kyoko” however on this version, your ears won’t bleed at the very beginning (come on, I love Yoko, but fuck that opening scream) and there is no Kyoko. The B-52’s transform Yoko’s version into a jumpy, obnoxious, Devo-like synth anthem. It gets even weirder on “Big Bird.” There’s a surprising horn and African drum section over a low keyboard line – something that could have been featured on nineties Nickelodeon, later ending in jazzy style. The congas are extensively emphasized, showing a wild taste and Stanley’s influence. The final track, “Work That Skirt” is a jam featuring all sorts instruments, with the electronics sounding like something which could have easily influenced the Flaming Lips’ Yoshimi Battles the Pink Robots (2003). It’s a fantastic instrumental piece, but it’s a weak way to end the album. As a listener, you demand more. It would have been better as a transitional track; sort of a break from all the loopy singing by Schneider, Wilson, and Pierson.
This whole experimental project was a great idea by the band – it didn’t fail at all like some artists do when changing their sound. It’s a very eccentric and genius album, but holds too much emphasis on the consistent use of keyboards and synths, which was clearly its point. It creates a futuristic atmosphere, which still holds today. It might not be as classic as their first two albums, but it shows a more stable organization in their order of songs. It’s very undeviating – keeping the party going. The point of the B-52’s music is to make you get up and dance and that is exactly what was accomplished Whammy!.
Favorite tracks: “Legal Tender,” Whammy Kiss,” “Song for a Future Generation,” “Butterbean,” “Big Bird”
Least favorite tracks: “Trism,” Don’t Worry”
You can listen to The B-52’s Whammy! here.
Listen to the Latest Track by David Byrne, For His Upcoming Album
David Byrne released the latest track for his upcoming 2018 studio album, American Utopia. The song is entitled “Everybody’s Coming To My House” which right at the beginning, establishes an atmosphere of LCD Soundsystem, Talking Heads, and you can also hear some Daft Punk, especially in the solo and instrumentals. American Utopia comes out Mar. 9. Listen below.
Franz Ferdinand Releases New Song for Upcoming Album
Scottish rockers and garage rock revivalists, Franz Ferdinand, released a new single entitled “Feel The Love Go” for their upcoming album, Always Ascending, due for February 9, 2018. It is far more progressive than the previous titled track single, but continues the sexy dance rock fashion Franz is known for. The change up in style isn’t surprising, especially after co-founding member and guitarist, Nick McCarthy, departed. This isn’t like anything Franz has released before, however, it does draw a similarity in the more solid and electronic pop album, Tonight: Franz Ferdinand, from 2009. “Feel The Love Go” sounds like its predecessor, especially in the beginning before the drop to the chorus, but the end of it takes you on a disco whirl that seems never-ending.
Many garage rock revivalists from the early 2000’s have switched from guitars to synths and keyboards. Bands including Franz, the Strokes, and the Killers, started this approach in the early 2010’s, but emphasized it more with their recent work. Artists once hailed as the “saviors of rock” are now evolving into a different genre. Similarly, when the Rolling Stones and Rod Stewart went disco; history repeats itself.
Listen to Franz Ferdinand’s “Feel The Love Go” below.