The Mysterious Brandon Flowers

Sampling the critics' reviews from The Killer's sophomore album, Sam's Town, you would think Brandon Flowers was a mysterious lyrical illusionist. And that The Killers best work had already been done in Hot Fuss. In my opinion, both claims would be false, but that is not our subject today. On a rare Monday release, The Killers gave us Day and Age, a  new and ridiculous musical collection that gets better every time I listen. 

Not only does this album field a couple songs waiting to be hit singles, it also can hold its weight all the way through. While one song in the middle drags a hair, other songs such as Spaceman and Neon Tiger clearly make up for the brief drop in pace. Overall, The Killers return to Hot Fuss stylistically, but take their music to new heights. Since their style is usually so over the top anyways, this seems surprising, but with the addition of a few saxophone solos and some world music elements, The Killers make this the most grandiose record of their day.

The lyrics, as always, seem to confuse me a little bit, with Flowers having the same lyrical style as always. While some songs seem to question mankind's existence with a bit of existentialism, others lose me quicker than they begin. 

Nonetheless, The Killers are back to their old tricks, adding new ones to their bag. As I sit here watching them play live on Fuse, my faith in their song writing abilities, production, and a knack for the 80's reel me in just as all of their material has and probably will continue to.

Key Tracks

Spaceman

Neon Tiger

This is Your Life

Stars

4 out of 5

Holiday Cheer

As Thanksgiving quickly approaches, I have many things to be thankful for. This semester, while unimaginably busy, has been quite an exhilarating time for me. My relationships have grown bountifully. My financial situation is better than ever and my studies are going better than expected. About the only aspect of my life that has been going poorly is my sleeping time. There is always a price to pay for your gains in life.

Today, I ventured into a Nashville mall. This is certainly a rarity for me as I don't shop much, don't like large masses of people, and am usually to busy to waste my time at such a destination. I came out of the mall feeling slightly annoyed by the Holiday Spirit that was everywhere. I love the Holidays, they mean a lot to me. They also seem to mean a lot to everyone else, but perhaps for a different reason. Preface this trip with the fact that I am already upset by all types of Christmas decorations and music going on BEFORE Thanksgiving (even some before Halloween wrapped up), and I left the mall one unhappy camper. The mall is heaven for the consumer. And a deathtrap for me. So many people throwing their money at the latest trend. So many people diluting the Charlie Brown sponsored message of Christmas. So many people being selfish and over indulgent for the obtainment of material possessions. I don't enjoy ranting on a topic or bringing people down for their personal characteristics, but I could not escape the greed and self desire that almost suffocated me today. Certainly, I have so many things I could do without, and I recognize my fortune, but I just wish some others would try to show a little restraint in their lifestyles.

Look forward to a review of either the Kanye or The Killers CD's that hit shelves tomorrow.

Links

Don Miller Blog

Unforgivable # Who Knows

Waiting for Septembeard!

In September we have a delictable selection of releases all of which I will be discussing here. 

Look for:

Metallica the 12th. 

Ben Folds the 16th.

and of the course the long awaited Jack's Mannequin the 30th.

Until then.

"Like a rolling thunder tent revival revue, the Avetts are a force of nature...get down and shout glory hallelujah"

With one last release before they join the major label game, the Avett Brothers lay upon us a simple, six song EP. While having little of the production or flair of 2007's Emotionalism, the Second Gleam offers a taste of what the Avett Brothers really are: two guys from the same family who have a knack for writing poignant yet simple songs that stick with you for longer than you'd expect.

The song writing efforts on this EP are extremely well done. Only employing guitars, a banjo, and sometimes a piano, this is Avett stripped to the bare bone. Bassist Bob Crawford does not even appear on the release and most songs find a slow rolling groove, similar to a calm river. With the songwriting focused on telling stories, whether it be a lover, a car, or family dynamics, the Avett Brothers shed light mainly on their thoughts; nothing more and nothing less. 

The sonic quality is naturally less of what I would like it to be. It's easy to tell this was not their goal in recording this EP. The vocals are a little mushy, even naturally and beautifully out of tune (a rare find in the days of Autotune). Often, I find that the guitars sound more polished than the vocals and it would be very interesting to know more about the studio techniques that led them to this overall sound.

Overall, Avett strikes again, in a way much differently than anticipated, but nevertheless again. With a major record deal and Rick Rubin by their side, big things will be expected from Avett on their next full length release, which they are currently working on. For now though, we have this simple and relaxing reminder of Avett's potential with so little. With Emotionalism being an example of what Avett is capable of doing with full production and more ornamentation, the Second Gleam offers us a taste and a reminder that at the core, Avett's songs are written soundly, melodically, and simply. And I can't think of a better way for them to be written.

Key Tracks

Tear Down the House

If I Get Murdered in the City

Rating 4 out of 5 stars

Links

Jack's Mannequin

Everybody Get DANGERous!

From getting a job (Half Price Books) to going to Bonnaroo, I have had little time to even begin listening or thinking about reviewing the new Weezer disc. On top of that, I feel that a band as important as Weezer deserves more than just the typical quick review that are given to other albums in order to get them out as soon as possible. Weezer, love, hate, or indifferent, can and should be argued as one of the most important post grunge 90's rock band for two reasons: The Blue Album and Pinkerton. The Blue Album, a commercial and critical success, while Pinkerton a more underground DIY legend, single handily (or double) put Weezer into rock legend status. Influential for all the whiny emo kids (Dashboard) and the DIY folks (Jack White), these two albums are highly important for the 1990's rock scene and beyond. After these two, Weezer seemed to drop off, arguably never to be the same. While I thoroughly enjoy Maladroit, it is no Blue or Pinkerton for sure. Some Weezer purists will never touch any record besides the first two. Make Believe and The Green Album were not bad per-say, just a disappointing effort for the Cuomo camp. Even with this said, I feel there is always hope in every Weezer's fans heart that there next album will return to undeniable greatness. 

This being said I needed to let the album thoroughly marinate in the my mind, read other reviews (Rolling Stone, Paste, and AllMusic.com), debate with friends and take into full account the opinions of the Weezer purists I know personally. Along with a trip to Bonnaroo, this has been why it has taken me a while to fully come out with a decision and it's still mixed feelings a little. Luckily, I have come to a more definite conclusion than what I began with.

The aptly titled Red Album is pretty standard post-Pinkerton Weezer material. With a knack for writing poppy hooks, the band fills it in with crunchy guitars and simple drumming techniques. While many songs catch your attention, the album still seems lacking. It's certainly hard to put my finger on it, and maybe I am simply setting Weezer up with too high of standards. The songs are certainly pop laden, but maybe too much so, following more in the footsteps of Make Believe rather than the Blue Album. It just does not have the same artistic quality of the Blue Album, yet strives for a more overall catchy sound.

The one thing that bothers me most is the ever simplified production of Rick Rubin. While a musical genius in his early years, his music has reached a sort of predictable dullness. Either he is getting too lazy or just too busy with multiple projects to truly care about each record individually. Coming from Pinkerton which is one of the most raw, well produced, and dynamic record of our age, I feel cheated hearing such a bland Weezer album. The guitar tones are crisp and distorted, the overall tone full of too much high end. It seems almost positively that this was solely recorded digitally because it lacks the air and mid range punch of any analog techniques. It simply makes me frustrated to know their potential, yet not hearing it. 

Lyrically, Weezer has seemed to fall into a mid life cheesiness that looks for jokes, references, and tongue in cheek style to prevail. While this may work for some, I fail to connect as well to this style as many others. Melodically, Rivers cannot be faulted as this is just slightly less catchy than Make Believe. Many songs have potential for single status and in a geeky way (true to Weezer) many of the songs are lighthearted and fun felt. In one way, Weezer has returned to its pop roots very well, it just forgot the other half of Weezer somewhere in the 90's.

Overall, the record is mediocre, especially compared to where they could be. Maybe it's just me with high standards and a preset view of where Weezer needs to be. Nonetheless, I cannot see myself enjoying much more than a few tracks occasionally on this record. While lacking the overall body of work that I enjoy and sounding just like every other recently produced Rubin album, I am sad to say Weezer has left me disappointed again. I hope this changes in the latter stages of my listening.

Key Tracks

Everybody Get Dangerous

Dreamin'

Rating

2.5 out of 5 Stars

Links

A different viewpoint

Walter E. Williams

Lucky to have been where I have been.

With Jason Mraz's new CD, We Dance. We Sing. We Steal Things, many questions were posed (and answered) about where he was heading musically and lyrically. Known for his acoustic guitar laden pop songs, he produces yet another quality album that certainly expands on his previous releases. His light hearted lyrical persuasions and mellow guitars are filled in by entire horn sections, keys/organs and some strings on many tracks as well as an unexpected rhythm and bass pad in the "The Dynamo of Volition". While trying to expand from the typical one guy with an acoustical guitar singing about a girl label, Mraz takes his tracks well into a new area with a more full production while keeping more of the same mellow and lighthearted songs.

Mraz's song structures remain simple, his guitar parts light. But as he had stated before the release, Mraz adds horns and an assortment of keys to give a couple of the tracks a dancey, disco feel. With the addition of children's chorus in the lead single "I'm Yours" (a track he has played for some time live, but until now has not been added it to an album) Mraz's  work comes out as a more full band effort with very few tracks focusing on his guitar work alone. By adding a duet with Colbie Caillat and James Morrison, Mraz, or Atlantic, makes great choices with other hot artists on the popular and underground level in order to possibly make Jason Mraz return to his fame of Waiting for My Rocket to Come. "Lucky" featuring Caillat, is one of the standout tracks for the whole album and has to be a great choice for the second single. Overall, the musical aspects of this record still give Mraz a nice full sound without returning to the more pop, synthesized sound of Mr. A to Z. While this album sounds more mature, I can't say either sound is better,  but both albums are a departure from the simplicity of Mraz with only his guitar.

Lyrically, Mraz has his own style of simplicity and ways to talk about some serious topics with very smooth undertones. He touches on the topics of God, his parents divorce, the flaws of the human race, finding yourself, the broken hearted, and luckily, relationships that are seemingly working just great. All of this said, his tone and atmosphere are very light and he finds ways to never make his songs sound too terribly serious, no matter the topic. He still has a few songs that are seemingly about nothing, just a good time with good music. "The Dynamo of Volition" is a great case because it is simply a feel good song, with Mraz with his quick tongue rambling from topic to topic.  Melody is not as strong or as catchy as his previous releases, but could be associated as a trade for a more mature sound, and it works well. With enough songs that are easily accessible to all fans, the other songs are left to allow for a deeper meaning to the entire album.

On a production front, I applaud Mraz for being versatile enough to add so many different instruments to his sound and make this more than just another Jack Johnson mellow acoustical guitar album. Otherwise, I find the overall sonic quality bland and not very adventurous, but for a pop album I guess it will be a hit with the audience, the record producer, and label alike. While not as bass heavy and produced as his last album, nor as acoustic as his first album, his third release finds a nice happy medium between both sounds.

Overall the album is pretty good. It's what would be expected from Mraz. A proven songwriter, he has the ability to pen some great single type songs, as well as others that are enjoyable on other levels. His expansion to a multitude of different sounds show that he is definitely growing as an artist and this album is very enjoyable to listen to. I look for "Lucky" to have a huge hit potential for Mraz but I hope that the public has not already written him off as a one hit wonder. 

Key Tracks

I'm Yours

Lucky

Live High

The Dynamo of Volition

Star Rating 3.5 out of 5

The (Overused and Overworked) Black Swan.

After a dismal showing of their sophomore album, Story of the Year left their major record label Maverick, in favor of the more independent feel of Epitaph Records. After five years of being with Maverick, and one major success with Page Avenue, the parted ways was a result not really being able to follow up with another commercially successful album. While I enjoyed many of the songs featured on In the Wake of Determination (in sort of junior high, anthem, me-against-them way), Story of the Year was not able to rally the support of media outlets such as popular rock radio or MTV and therefore felt a huge drop in sales. What worked about their first two albums for me was the band's ability to write catchy, fist pumping anthems. Certainly not the most musically viable songs, or the most meaningful and deep, but a pleasure to me nonetheless. That being said, I had minimal expectations for the new record released on April 22nd. So in a way SOTY did not really fail me. I had low expectations and they delivered (not a good thing).

The music on this record is much harder, heavier, and obviously not as commercially acceptable. This is all fine. The music works well for what it is, something to hype you up and get you ready for action. It is not the smartest album, but the guitar solos are technically good. Musically, I question whether they are trying to do too much i.e. play as fast as possible. The album is not terribly layered with many different sounds. It is a typical rock album: guitars, bass, drums and vocals. It leaves room for experimentation of new sounds but I'm not sure they are that type of band. Unfortunately, I feel the even the sonic quality of the guitars are pretty unadventurous and similar on every track. Overall, the music of this album is mediocre, and definitely nothing I haven't already heard, on their previous albums or any of the other various nu-rock bands that have sprung up in the past decade. 

The lyrics on this record are.... predictable. The war, the environment, President Bush, the end of the world, oppression. Where have i heard this before? Practically every media, music, and film outlet in the past three years. The message of the album is great, but come on, let's be a little more original. I've heard all the criticisms of the government and the world I can take and it is getting old, especially since this is the entire content of the album. The lyrics don't contain anything you can't see at first glance; it all seems pretty shallow to me. Overused metaphors like "the medicine and the disease" in the song The Antidote just seem cheesy these days. Combined with fast, loud guitars, I am sure this album would do something for many people who are looking to be inspired, but not me. Don't get me wrong, it's a great message and I am all for many of the messages they are preaching, but their delivery is very trite. 

The melodies and phrasing of this album are not great either. I can't say they are bad, but mediocrity is the key term here. I can't envision me ever sitting down and listening to this stuff. SOTY lost it's ability to write catchy hooks and even seem to make some really awkward phrasing choices. I'm not sure if they forgot what made them a good band, which was a heavy rhythm section, tasteful and complicated guitar licks, and hooky anthem  melodies, but it sure seems like it.

Overall this album, as said before, is mediocre. The lyrics are predictable, melodies decent, and musical ability shown is little of their capabilities. The album will definitely work for someone who is not looking for something too deep and maybe has not watched the news in the past 5 years and never heard of the Iraq War or other controversial issues of our time, but I try to stay informed. I could never find myself just craving to listen to this CD, but I am sure many people could. So, in my opinion it just does not really build anywhere from their last album and mainly loses qualities I used to enjoy about the band. As they call for the people of America to put more thought into the political, environmental, and social aspects of their lives; I call for Story of the Year to put more thought and originality into their next release.

Key Tracks

Wake Up

The Antidote

2 out of 5 stars

Links

The best band you've never heard of

Pork and Beans?! I sure hope so......