I first saw Scatterheart well over a year ago at The Distrikt when they opened for Bif Naked. Right from the start, this was a band that commanded your attention. Even before the opening notes, the band just looked like they had IT. The band dressed sharp and their charismatic singer, Jesse Enright, was wearing his now trademark football shoulder pads adorned with feathers. Right away it was obvious that this wasn't going to be shoe-gazing music. That night they definitely won over the Bif crowd, who no doubt recognized guitarist Doug Fury from his decade-long tenure with Ms. Naked.
Since then, I've had the pleasure of seeing them two or three more times while they've toured the hell out of their debut album, The Masterplan. These guys are definitely road warriors! Since they are an independent band, they are building their audience one show at a time. And what a show they put on... feathers, yoga headstands, bubble machines, dance contests and covers of Rush, Queen and U2 thrown in for good measure. Simply put, Scatterheart are just tons of fun. They combine the dumb fun of hair metal, the energy of punk rock and the artsiness of 7o's glam rock. With his stage get-up and piercing voice, Jesse Enright reminds me of what would happen if Perry Farrell, Dee Snider and David Bowie had an orgy. These guys are the most fun Canadian rock band since Robin Black decided to focus on MMA.
As good as their live show is, it would all mean nothing if their songs were shite. Luckily, The Masterplan is a stellar batch of tunes. Aside from one or two forgettable songs, their debut is loaded with instantly memorable melodies, crunching guitars and a tight rhythm section. These are unabashed pop songs brimming with positive energy. It's so easy to be cynical and negative in today's world. In particular, it's easier to write songs filled with angst and negative energy. So it's refreshing every now and then for a rock band to have the balls to promote potentially hokey and cheesy themes as love and positivity. Thankfully, they pull it off just fine. Standout songs include "Beautiful," "More Man Than A Man," "The Free" and "We Are Stars."
Make sure to check them out when they spread their "love rock revolution" at The Exchange September 9! You can check out a great live clip of their performance of "The Free" at the Busan International Rock Festival. (I don't think The Exchange can fit this many people...)
To say that ‘Fight the Frequency’ is a lot different from American Hi-Fi’s previous efforts would be a lie. However after taking a break to be Miley Cyrus’ back up band (yeah I know… *scoff*) and label issues the band is able to put their latest effort’ Fight the Frequency’ was supposed to be out in ’07 to follow up ‘05’s ‘Hearts On Parade’.
The record is strong and to me has a ‘Lit’ meets ‘Something Corporate’ feel. They don’t follow regular mainstream formula's where ballads are ballads and rock songs are rock songs. Instead they kind of meld the two ideas’ on most. That being said they still generally lean on way or another. There are some balls out rock tunes on the record such as ‘Fight the Frequency, ‘Frat Clump’ and ‘Bullet. The only ballady one is “Where Love is a Lie” but even that is a stretch and ‘Tiny Spark’ has elements of a ballad, however I would hardly consider it a ballad. The other eight are a meld of the two, straight up great song pop’n’roll songs like ‘Acetate’ and ‘Lost’.
I believe they have taken some tips from their friend Butch Walker in making sure this record was polished and produced well. Lead singer Stacy Jones is no slouch as a producer as well. Where this record beats the previous ones is that I would have taken some tracks of previous records. This one I wouldn’t. A couple tracks may get played less but they stay. The sound quality is here. If you like well written pop songs and their previous efforts, give it a spin. I love it but always have liked this band. I would say it’s their best record to date, just edging out ‘03’s ‘Art of Losing’…just barely. American Hi-Fi is definitely a consistent band.
As much as I love their first single ‘Lost’, I probably would have picked something with a little more punch. It’s a great record with a lot of swagger and riffing energy. ‘Fight the Frequency’ is great… not superb or excellent and far from classic… just great. I am looking forward to the bands next record that will be a lot similar to this one and the one before and the one before.
My favourite on the record is ‘Keep It Like a Secret’
“I don't know how you love With that smile on your face It's all take and no give You're an amazing disgrace
Hide the lies between the bloodshot eyes Keep it close to me I'll never let it show
You got your army but they're my spies Keep it like a secret man I just cant let it go Let it go”
With The Five Ghosts, Stars return with their fifth full length album of sublime dream pop. After going for a more mellow chamber pop sound on the classic Set Yourself On Fire and In Our Bedroom After The War, the band has gone for a more electronic sound this time around. As the title suggests, the majority of the songs here deal with ghosts. Appropriately, the electronic soundscapes that dominate this album are perfect for this subject. Sonically and thematically, the songs have a light, airy, ethereal feel.
This is by far the most concise album Stars have released to date, clocking in at approximately 37 minutes and consisting of just 11 songs. The emphasis here is uptempo songs in the vein of "The Night Starts Here," "Ageless Beauty," and "Elevator Love Letter." Fans of slower earlier songs like "Personal" and "Your Ex-Lover Is Dead" may be slightly disappointed, but The Five Ghosts has lots for a Stars fan to love.
The trademark male-female vocal interplay between Torquil Campbell and Amy Millan is still evident, particularly in the stunning album opener "Dead Hearts." However, Millan simply DOMINATES this album. "Wasted Daylight" and first single "Fixed" are hands down two of my favourite songs of the year. That being said, Campbell doesn't exactly punch it in for this record. He shines on the atmospheric, pulsating album focal point "He Dreams He's Awake."
Despite dealing with grave subject matter like death and ghosts, Stars manage to make the songs light and fun. This album is not as strong as their masterpiece Set Yourself On Fire (what albums are?), but it's definitely worthy of a spot in their stellar catalogue. This is definitely one of my favourite albums of the year so far.
After two records of figuring themselves out I think the Jersey boys of The Gaslight Anthem have really come into their own. Where the first two records are very aimed at educating on their influences (primarily Springsteen), this is the first Gaslight Anthem record in many ways.
The Gaslight Anthem deserve commercial stardom and I am amazed this band hasn’t reached that level. They should be everyone’s new favorite band. This record is a healthy blend of old school tradition done in their own way mixed with pop sensibilities of the 21st century. Brian Fallon and band seem to be done being the flag runners for the bands that have inspired them and have come to the conclusion that many bands have, which is “Fuck it! We are gonna do this our way.”
The musicianship of this record is a lot tighter than the first. There is something going on ALL the time. Killer riffs and more intricate guitar parts than that last record are peppered throughout the record that work perfectly. Open chords and campfire songs seem to be leaving the band. Sure there are Against Me comparisons, however, I will say this: The Gaslight Anthem writes way better songs than Against Me! This record is more rock and less sing-along which is the Gaslight Anthem’s strong suit. I am sure I will get crucified for this but “Sink or Swim was in my eyes a better, raw, “knock your dick in the dirt” kind of record, where as “The ‘59 Sound” was all like “come sing with us”. Now that being said I feel their two best songs are on “The ‘59 Sound” but “Sink or Swim” was a better record. This is because it was their first record. Most bands do this. Throw it all against the wall and see what sticks. The thing about “American Slang” is that they took all the best attributes of the first two records and expanded and made it more beautiful.
These four young cats approached this record aggressively and made a gorgeous record. The Gaslight Anthem seem focused on great records. They are paying dues and doing it the meat and potatoes way. I am scared to think how phenomenal the fourth record could be. Brian Fallon can write a fricken song. Can Justin Beiber?
Highlights? For me it’s definitely the most pop friendly song on the record “Stay Lucky” and “Boxer” which the cadence of Brian’s voice mixed with the fact that it’s a superbly well written song really hit home runs with me. All around stunning record. HMV is selling it at a price of $9.99 so be sure to pick it up.
Cheers Rockers!!
... and now for JJ Ramone's thoughts
After showing potential on their debut, The Gaslight Anthem struck gold with 2008's The '59 Sound. Hailing from New Jersey, Brian Fallon and company wore their influences (namely Jersey's golden boy Bruce Springsteen) proudly on their sleeve. Not shying away from his idol, Fallon even referenced several Springsteen lyrics on their last album ("Bobby Jean," "No Surrender" etc). However, if you are going to emulate your heroes you can do far worse than Mr. Springsteen!
With American Slang, the Springsteen influence is still readily apparent. Fallon still writes arena friendly songs with lyrics that hearken back to nostalgic 1950's cinema and Jack Kerouac... classic cars, girls and rebels without causes. The danger with writing songs with these grand, sweeping themes is that the lyrics can often wind up sounding trite, cliched and hokey (see Bon Jovi, Bryan Adams and most mainstream country music.) When done well, the results can be exhilarating (see Tom Petty, The Killers circa Sam's Town and The Arcade Fire.) Luckily, Fallon hits the mark most of the time.
This time around, the band also brings another influence to the forefront, The Clash. This is particularly evident in the reggae tinged "The Queen of Lower Chelsea." As well, Fallon specifically references The Clash's "Tommy Gun" later in the album. (In a related note, Fallon appears in Springsteen's new concert DVD... entitled London Calling, where Springsteen indeed covers The Clash.)
The Gaslight Anthem are definitely not the most original band out there, but they do what they do extremely well. American Slang is an energetic album of punked up Springsteen anthems with a couple slower tunes thrown in to showcase Fallon's soulful rasp. Album closer (without counting the iTunes bonus track "She Loves You") "We Did It When We Were Young" is the perfect way to end the album. The song gradually gains momentum with stripped down, echoing guitars and Fallon's double-tracked vocals that sound like they were sung underwater.
If you didn't like The '59 Sound, this album probably won't convert you. However, if you did like their last album, this definitely won't disappoint. It's definitely worth $10. Highlights include "American Slang," "Boxer," "Stay Lucky" and "Bring It On."
For their fifth album, indie supergroup The New Pornographers find a happy medium between the pure power pop of their first three albums and the lush, restrained sounds of their last album Challengers. Carl (A.C.) Newman and his troupe of indie rock darlings have yet again put together a stellar batch of well executed pop tunes that will linger in your head long after the album is over.
Once again, the incomparable Neko Case is their self-described "secret weapon." Her powerful, sultry vocals are perfect for Newman-penned tunes like the insanely catchy "Crash Years" and the crunching "Your Hands (Together)." "Crash Years" also features a wacky hook consisting of whistles... human whistles. I was really impressed when they actually pulled this feat off live on David Letterman a few weeks ago.
One of the many highlights of this album is "Sweet Talk, Sweet Talk," which features Kathyrn Calder (of Immaculate Machine) on lead vocals for the first time on record. Initially, Calder was brought into the band to fill in for Neko Case while on tour but is now a full-time member. Her voice is a little more thin than Case's, and not as distinct (but whose voice is?), but it is pleasant nonetheless. She definitely holds her own on this tune, which sounds like it could be an outtake from The Beatles' Revolver or Rubber Soul.
As always, Dan Bejar (of Destroyer) contributes some songs. I haven't been the biggest fan of his songs on earlier New Pornographers albums but he really steps up to the plate for this go around. In particular, "Silver Jenny Dollar" really fits in with the feel of the rest of the album. Normally, his tunes sound like quirky diversions from Newman's pop masterpieces.
The New Pornographers can really do no wrong. They are one of the most consistent bands out there right now. You can check out their video for "Crash Years" (whistles included) below.
Butch Walker is a pop genius that has once again truly outdone himself with "I Liked It Better When You Had No Heart". The follow-up to 2008’s heartache born nostalgic autobiographical "Sycamore Meadows" is loaded with crafty pop hooks and his smashing songwriting ability is as always very apparent.
The record starts strong with “Trash Day” which is much like the stylings of legend Tom Petty and ends just as well with his classic smile and wink wit in “Days/Month/Years”. That being said the going gets great at about the middle of the record.
It’s hard to believe that this artist that is doing very much something similar to the California country thing of the 70’s that was made famous by the Eagles and Jackson Browne was once in a hair band from Georgia “South Gang”. “I was in one, so it's a little too close to home." Walker explains in “She Likes Hair Bands”. This track is a witty gem about a smutty girl. It has probably my favourite lyrics from the record such as the following:
“She likes Mary Jane
But she says she doesn't like the smell
And She's got a baby
And by the way she walks I can't tell
She's got a birthmark
On the inside of her thigh
Ask me how I know (Ha)
About the inside of her thigh
She knows the Japanese alphabet
But She don't know me-e-e-e-e-e-e-e-e-e
Yeah”
Going the piano-ballad route is that classic Walker Ballad in “Canadian Ten” that doesn’t disappoint. Also a nice bonus if the record was purchased in store is a download card comes included for a superb cover or Taylor Swift‘s “You Belong With Me”. You can't help but smile at the thought of this.
This record has everything that makes a record great. Great la-la-la-la-la’s, great hand claps and great influences such as the glorious pop track that reeks of Phil Spector “Pretty Melody”. It’s the song that’s going to make me a Beatles fan…
In a time where contemporary music is loaded with bands making folk/indie records that fall short, Butch is making great records from start to finish. Most artists can’t make a record this fresh, modern and relevant and still make every song count...but then again most artists aren't Butch Walker.
"I Liked It Better When You Had No Heart" is power pop soaked and folk/indie infused. I don’t think this is going to be the record that defines his career or catapults him to stardom but it’s going to keep his extremely loyal fan base extremely happy… at least till the next record.
