Spring Break
New Vibrations
Issue date: 9/25/08
ARTIST: Cold War Kids
ALBUM: Loyalty to Loyalty
LABEL: Downtown
RELEASED: Sept. 23, 2008
After a debut album that maneuvered them onto the wavelengths of scruffy indie kids and new music aficionados, the Cold War Kids are releasing their sophomore album Loyalty to Loyalty. Their first album, Robbers & Cowards, was full of depressing and jaded lyrics that appealed to just as many people as it irritated. However, these 20-something California boys held a sort of charm in their songs that was promising for their musical futures. Loyalty to Loyalty, however, was just as disappointing as the characters they write about in their songs.
The album begins with "Against Privacy," a whiny song with a slow rock beat and monotonous drum background that almost begs to be sped up. Nathan Willett's bluesy voice is barely utilized as he talk-sings the majority of the song. The only redeeming aspect of the song was the slightly foot-tap inspiring guitar solo.
"Mexican Dogs" provides much more of an upbeat tempo coupled with their characteristic depressing lyrics and is a much-needed break from Willet's talk-singing that seems to dominate this album. The structure and beat of this song seem to be something straight out of Jack White's mind and will appeal to fans of The Raconteurs.
Back to their roots, the Cold War Kids finally get it right with the catchy song, "Something Is Not Right With Me." As with their single "Hang Me Up to Dry" from their first album, this song will linger in listener's minds long after they hear it. Luckily, the lyrics are only mildly self-deprecating so when you subconsciously sing it under your breath you will get fewer stares than when you belt out their tunes about alcoholism.
"Welcome to the Occupation" is full of interesting percussion and Willet's blues-influenced voice that sometimes makes it hard to distinguish exactly what he's saying. But with lines like, "I give up raising the kids, America/ you treat them like an application," it's obvious that Kids are giving their form of a scathing social commentary. Now, if only we could understand what they are saying.
The next two tracks, heavy on piano and emotion, take the listener out of the garage and into a dimly lit jazz bar. "Gold Gate Jumpers," about a suicidal girl teetering on the edge of a bridge, is crooned by Willet in perhaps the first time he uses his vocal chords for actual singing on this album.
However, if this song were used to draw people into a jazz bar, the next one, "Avalanche in B," would be played to entice them to leave at the end of the night. It's interesting to hear the Cold War Kids try for a new sound, but Willet's voice is too untrained and listening to it is entirely unnecessary.
"Every Man I Fall For" might confuse new listeners who will balk at the line "he kisses me softly to wake me up" and wonder who in the band is harboring same sex tendencies. However, those familiar with the Kids will recognize that they are just doing what they do best, story-telling. This song is characteristic of their first album as Willet speaks for an abused woman in his haunting voice.
With the last song worth listening to being the falsetto-sung "Relief," the Cold War Kids end their album with "Cryptomnesia." The only particularly noteworthy thing about the song is the definition of the title which relates to things that appear to be original but aren't. Are they referring to their song, "Welcome to the Occupation," that has the same title as an R.E.M.?
Or is it a reference to the other less original aspects of this album? It's unclear, but it appears that the Cold War Kids are having an identity crisis.
After an impressive debut album, the Kids seem to have forgotten their roots and lost their originality. Loyalty to Loyalty is a collection of songs that may quite possibly have the same fate as this band, forgotten before anyone has the chance to press "play."
-Christina Warner
ARTIST: Amanda Palmer
ALBUM: Who Killed Amanda Palmer?
LABEL: Roadrunner
RELEASED: Sept. 16, 2008
After having stored (almost) all costumes away from her cabaret act with Brian Viglione, The Dresden Dolls' lead vocalist and occasional ukulele player Amanda Palmer has released her debut solo album. Palmer put her and Viglione's two-person "Brechtian punk cabaret" group on hold in January 2007 to work on Who Killed Amanda Palmer? Despite the lack of Viglione's presence on the percussion, Who Killed Amanda Palmer? retains the whisper-to-a-scream vocals and pounding piano that is characteristic of The Dresden Dolls.
With the first track, "Astronaut (A Short History of Nearly Nothing)," sounding like a misplaced track from one of The Dresden Dolls' albums, it is clear that either Palmer draws much of her influence from the Dolls, or she was the major contributor to the band's sound.
"Astronaut" features Zoe Keating of Rasputina on the strings, making this track one of the handful of the interesting collaborations on this album. Another of these is the song "Leeds United," featuring brass accompaniment that only Palmer herself could find, with the Born Again Horny Men of Edinburgh. Finally, East Bay Ray from The Dead Kennedys makes an appearance in "Guitar Hero" that blurs the lines between video games and reality.
The Dolls' influence resounds through the rest of the album in tracks such as "Runs In the Family," a fast-sung list of illnesses and ailments that range from "rickets and allergies" to the narrator's compulsion to "open [her] legs to anyone who'll have [her]." At a breakneck pace and to the beat of a snare drum, this song provokes hypochondria in the listener - the symptoms being a rapid heart rate and labored breathing that will be sure to manifest themselves by the end of this song.
"Ampersand" strays from Palmer's traditional fictional story-telling lyrics and is a more personal, vulnerable song. The slow, sultry voice and prolonged words shouldn't fool you, though. She may sing slowly, but her words are sharp and full of wit: After being cat-called, she "wonder[s] if this method of courtship has ever been effective/ has any girl in history said, 'Sure, you seem nice, let's get it on'?"
Palmer performs a twisted sort of love song in her ode "Have to Drive" to a dead deer marooned on the side of the road. Towards the end, the swelling strings and piano give a funeral essence to the song. No one would have the audacity but Palmer to then follow that track with a cover of Rodger and Hammerstein's "What's the Use of Wond'rin," complete with the tinkling of a child's music box in the background.
One of the most noteworthy tracks on the album is "Oasis," an upbeat pop-punk tune where Palmer sings about date rape, abortion and the British band the song was named for. With power chords and a sing-a-long quality, Palmer crafts a serious matter into an anecdote that will be sure to make you feel guilty for laughing.
Who Killed Amanda Palmer? maintains the harsh bite of The Dresden Dolls that is sure to please those who have already become addicted to Palmer's punk cabaret stylings. However, for newcomers, it is best to step gingerly into the red-lipstick and corset world of Amanda Palmer. With words that slice through delicate situations with no remorse, Palmer remains one of the most talented and fascinating modern lyricists. Her style is bold and unapologetic, abrasive for many and great music for the rest. And Palmer could care less if you like it or not.
-Christina Warner
ARTIST: Kings of Leon
ALBUM: Only By the Night
LABEL: RCA
RELEASED: Sept. 23, 2008
Only by the Night, Kings of Leon's fourth studio album and second released in less than two years, proves that sometimes there is such a thing as too much international success. The band, which consists of brothers Caleb, Jared and Nathan Followill and their cousin Matthew Followill, shot to indie stardom after the release of their sophomore album, Aha Shake Heartbreak, in 2003.
Since then, they have enjoyed top billboard spots in both the U.S. and the U.K. with their third effort, Behind the Times. Night, which drops Sept. 23 on RCA, tries to capitalize on Times' dark, brooding theme, but does so with little triumph. While there are a few great singles that may be marked in history as some of the band's best, they seem to stand out in a sea of filler and depressing undertone that manages to drag the rest of the album down.
Night opens with a punch: "Closer," the first track, maintains a slow, electric synth line that immediately draws the listener in and establishes a consistent beat that carries through the first few songs.
"Sex on Fire," Night's third track and first single, is easily the best thing about the album as it demonstrates some decent songwriting and utilizes a fast-paced rhythm and melody that was a staple of previous Kings of Leon opuses such as Times and 2004's Aha Shake Heartbreak. The album's seventh track, "17," uses beautiful, heavily metaphoric lyrics to enhance its sweetly rolling sound.
However, Night's main problem is that while tracks like "Closer," "Sex On Fire" and "17" manage to show off the band's ability to fuse dark melodies with brilliant songwriting, most of the album is repetitive, especially in its second half. In fact, the last few tracks are almost indistinguishable from one another; Each song seems like an unnecessary extension of its predecessor. Additionally, while previous Kings of Leon albums featured intricate, complicated lyrics that were at the same time powerful and profound, songs on Night such as "Use Somebody" and "Notion" are obvious and perhaps even hedge on cliché.
It is clear that this album is the band's attempt to embrace a slightly newer sound. Before its release, the band stressed that they wanted Night to show a return to their Southern roots - all four members grew up in the heart of Tennessee - and in some respects, it does manage to do that. Many of the tracks, including "Manhattan" and "Notion," highlight lead singer Caleb's Nashville twang. Lead-guitarist Matthew and bassist Jared keep the melodies smooth and soft, while drummer Nathan establishes an unhurried rhythm that is reminiscent of older rockabilly and folk bands.
But Night relies too heavily on dramatic ballads and overdone hook-lines, which diminishes the quality of the music, and the weighty Southern alt-rock sound grows wearier with each track.
Unlike Aha Shake Heartbreak and Kings of Leon's 2003 debut album Youth and Young Manhood, which were peppered with catchy, metaphor-laden singles like "The Bucket" and "Molly's Chambers," Night does not have a single even moderately upbeat track to break its slow-toned monotony.
Even Times, which was considerably gloomier in theme than its predecessors, had lighter singles like "Fans" and "Charmer" to alleviate its dark sound. That is not to say that an album must be filled with cheerful lyrics and ecstatic, pop-like melodies in order to be a success, but most of Night seems to wallow through its own mire, leaving the listener bored and somewhat exhausted by its conclusion; A few slightly different-sounding tracks and some more interesting songwriting would improve its tedium.
Â-Rebecca Fishbein
ALBUM: Loyalty to Loyalty
LABEL: Downtown
RELEASED: Sept. 23, 2008
After a debut album that maneuvered them onto the wavelengths of scruffy indie kids and new music aficionados, the Cold War Kids are releasing their sophomore album Loyalty to Loyalty. Their first album, Robbers & Cowards, was full of depressing and jaded lyrics that appealed to just as many people as it irritated. However, these 20-something California boys held a sort of charm in their songs that was promising for their musical futures. Loyalty to Loyalty, however, was just as disappointing as the characters they write about in their songs.
The album begins with "Against Privacy," a whiny song with a slow rock beat and monotonous drum background that almost begs to be sped up. Nathan Willett's bluesy voice is barely utilized as he talk-sings the majority of the song. The only redeeming aspect of the song was the slightly foot-tap inspiring guitar solo.
"Mexican Dogs" provides much more of an upbeat tempo coupled with their characteristic depressing lyrics and is a much-needed break from Willet's talk-singing that seems to dominate this album. The structure and beat of this song seem to be something straight out of Jack White's mind and will appeal to fans of The Raconteurs.
Back to their roots, the Cold War Kids finally get it right with the catchy song, "Something Is Not Right With Me." As with their single "Hang Me Up to Dry" from their first album, this song will linger in listener's minds long after they hear it. Luckily, the lyrics are only mildly self-deprecating so when you subconsciously sing it under your breath you will get fewer stares than when you belt out their tunes about alcoholism.
"Welcome to the Occupation" is full of interesting percussion and Willet's blues-influenced voice that sometimes makes it hard to distinguish exactly what he's saying. But with lines like, "I give up raising the kids, America/ you treat them like an application," it's obvious that Kids are giving their form of a scathing social commentary. Now, if only we could understand what they are saying.
The next two tracks, heavy on piano and emotion, take the listener out of the garage and into a dimly lit jazz bar. "Gold Gate Jumpers," about a suicidal girl teetering on the edge of a bridge, is crooned by Willet in perhaps the first time he uses his vocal chords for actual singing on this album.
However, if this song were used to draw people into a jazz bar, the next one, "Avalanche in B," would be played to entice them to leave at the end of the night. It's interesting to hear the Cold War Kids try for a new sound, but Willet's voice is too untrained and listening to it is entirely unnecessary.
"Every Man I Fall For" might confuse new listeners who will balk at the line "he kisses me softly to wake me up" and wonder who in the band is harboring same sex tendencies. However, those familiar with the Kids will recognize that they are just doing what they do best, story-telling. This song is characteristic of their first album as Willet speaks for an abused woman in his haunting voice.
With the last song worth listening to being the falsetto-sung "Relief," the Cold War Kids end their album with "Cryptomnesia." The only particularly noteworthy thing about the song is the definition of the title which relates to things that appear to be original but aren't. Are they referring to their song, "Welcome to the Occupation," that has the same title as an R.E.M.?
Or is it a reference to the other less original aspects of this album? It's unclear, but it appears that the Cold War Kids are having an identity crisis.
After an impressive debut album, the Kids seem to have forgotten their roots and lost their originality. Loyalty to Loyalty is a collection of songs that may quite possibly have the same fate as this band, forgotten before anyone has the chance to press "play."
-Christina Warner
ARTIST: Amanda Palmer
ALBUM: Who Killed Amanda Palmer?
LABEL: Roadrunner
RELEASED: Sept. 16, 2008
After having stored (almost) all costumes away from her cabaret act with Brian Viglione, The Dresden Dolls' lead vocalist and occasional ukulele player Amanda Palmer has released her debut solo album. Palmer put her and Viglione's two-person "Brechtian punk cabaret" group on hold in January 2007 to work on Who Killed Amanda Palmer? Despite the lack of Viglione's presence on the percussion, Who Killed Amanda Palmer? retains the whisper-to-a-scream vocals and pounding piano that is characteristic of The Dresden Dolls.
With the first track, "Astronaut (A Short History of Nearly Nothing)," sounding like a misplaced track from one of The Dresden Dolls' albums, it is clear that either Palmer draws much of her influence from the Dolls, or she was the major contributor to the band's sound.
"Astronaut" features Zoe Keating of Rasputina on the strings, making this track one of the handful of the interesting collaborations on this album. Another of these is the song "Leeds United," featuring brass accompaniment that only Palmer herself could find, with the Born Again Horny Men of Edinburgh. Finally, East Bay Ray from The Dead Kennedys makes an appearance in "Guitar Hero" that blurs the lines between video games and reality.
The Dolls' influence resounds through the rest of the album in tracks such as "Runs In the Family," a fast-sung list of illnesses and ailments that range from "rickets and allergies" to the narrator's compulsion to "open [her] legs to anyone who'll have [her]." At a breakneck pace and to the beat of a snare drum, this song provokes hypochondria in the listener - the symptoms being a rapid heart rate and labored breathing that will be sure to manifest themselves by the end of this song.
"Ampersand" strays from Palmer's traditional fictional story-telling lyrics and is a more personal, vulnerable song. The slow, sultry voice and prolonged words shouldn't fool you, though. She may sing slowly, but her words are sharp and full of wit: After being cat-called, she "wonder[s] if this method of courtship has ever been effective/ has any girl in history said, 'Sure, you seem nice, let's get it on'?"
Palmer performs a twisted sort of love song in her ode "Have to Drive" to a dead deer marooned on the side of the road. Towards the end, the swelling strings and piano give a funeral essence to the song. No one would have the audacity but Palmer to then follow that track with a cover of Rodger and Hammerstein's "What's the Use of Wond'rin," complete with the tinkling of a child's music box in the background.
One of the most noteworthy tracks on the album is "Oasis," an upbeat pop-punk tune where Palmer sings about date rape, abortion and the British band the song was named for. With power chords and a sing-a-long quality, Palmer crafts a serious matter into an anecdote that will be sure to make you feel guilty for laughing.
Who Killed Amanda Palmer? maintains the harsh bite of The Dresden Dolls that is sure to please those who have already become addicted to Palmer's punk cabaret stylings. However, for newcomers, it is best to step gingerly into the red-lipstick and corset world of Amanda Palmer. With words that slice through delicate situations with no remorse, Palmer remains one of the most talented and fascinating modern lyricists. Her style is bold and unapologetic, abrasive for many and great music for the rest. And Palmer could care less if you like it or not.
-Christina Warner
ARTIST: Kings of Leon
ALBUM: Only By the Night
LABEL: RCA
RELEASED: Sept. 23, 2008
Only by the Night, Kings of Leon's fourth studio album and second released in less than two years, proves that sometimes there is such a thing as too much international success. The band, which consists of brothers Caleb, Jared and Nathan Followill and their cousin Matthew Followill, shot to indie stardom after the release of their sophomore album, Aha Shake Heartbreak, in 2003.
Since then, they have enjoyed top billboard spots in both the U.S. and the U.K. with their third effort, Behind the Times. Night, which drops Sept. 23 on RCA, tries to capitalize on Times' dark, brooding theme, but does so with little triumph. While there are a few great singles that may be marked in history as some of the band's best, they seem to stand out in a sea of filler and depressing undertone that manages to drag the rest of the album down.
Night opens with a punch: "Closer," the first track, maintains a slow, electric synth line that immediately draws the listener in and establishes a consistent beat that carries through the first few songs.
"Sex on Fire," Night's third track and first single, is easily the best thing about the album as it demonstrates some decent songwriting and utilizes a fast-paced rhythm and melody that was a staple of previous Kings of Leon opuses such as Times and 2004's Aha Shake Heartbreak. The album's seventh track, "17," uses beautiful, heavily metaphoric lyrics to enhance its sweetly rolling sound.
However, Night's main problem is that while tracks like "Closer," "Sex On Fire" and "17" manage to show off the band's ability to fuse dark melodies with brilliant songwriting, most of the album is repetitive, especially in its second half. In fact, the last few tracks are almost indistinguishable from one another; Each song seems like an unnecessary extension of its predecessor. Additionally, while previous Kings of Leon albums featured intricate, complicated lyrics that were at the same time powerful and profound, songs on Night such as "Use Somebody" and "Notion" are obvious and perhaps even hedge on cliché.
It is clear that this album is the band's attempt to embrace a slightly newer sound. Before its release, the band stressed that they wanted Night to show a return to their Southern roots - all four members grew up in the heart of Tennessee - and in some respects, it does manage to do that. Many of the tracks, including "Manhattan" and "Notion," highlight lead singer Caleb's Nashville twang. Lead-guitarist Matthew and bassist Jared keep the melodies smooth and soft, while drummer Nathan establishes an unhurried rhythm that is reminiscent of older rockabilly and folk bands.
But Night relies too heavily on dramatic ballads and overdone hook-lines, which diminishes the quality of the music, and the weighty Southern alt-rock sound grows wearier with each track.
Unlike Aha Shake Heartbreak and Kings of Leon's 2003 debut album Youth and Young Manhood, which were peppered with catchy, metaphor-laden singles like "The Bucket" and "Molly's Chambers," Night does not have a single even moderately upbeat track to break its slow-toned monotony.
Even Times, which was considerably gloomier in theme than its predecessors, had lighter singles like "Fans" and "Charmer" to alleviate its dark sound. That is not to say that an album must be filled with cheerful lyrics and ecstatic, pop-like melodies in order to be a success, but most of Night seems to wallow through its own mire, leaving the listener bored and somewhat exhausted by its conclusion; A few slightly different-sounding tracks and some more interesting songwriting would improve its tedium.
Â-Rebecca Fishbein
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