New Vibrations
ARTIST: Queen
ALBUM: The Cosmos Rocks
LABEL: Hollywood Records
RELEASED: Oct. 28, 2008
Queen was an awesome band. Queen plus Paul Rodgers are an okay band. In the days when Queen included bassist John Deacon and singer Freddie Mercury, the band turned out catchy tunes like "Another One Bites the Dust" and "Bohemian Rhapsody." What made the band so unique was their over-the-top style and inherent sense of fun. After the tragic loss of Freddie Mercury to AIDS and the retirement of John Deacon, it seemed as if no band would ever again reach their level.
Enter Paul Rodgers, former singer of Bad Company, a '70s hard rock band. After playing a few gigs with Queen's guitarist Brian May, the two hit it off and, together with drummer Roger Taylor, launched a world tour; the fruits of said tour were made available as a live album entitled Return of the Champions. Now, in 2008, they have released the first album of newly written material to come from Queen since 1995.
The new album, The Cosmos Rocks, is decent but not nearly as much fun as classic Queen was. The album is passable, but unfortunately, Paul Rodgers is no Freddie Mercury, and the new songs are not as memorable as Queen's older songs are.
Paul Rodgers, to be fair, has a smooth, strong voice and can sing on key and with emotion. But, again, he isn't Freddie Mercury. The discrepancy isn't as obvious here as it was on the live tour, during which Rodgers sang Mercury's own songs. Frequently, though, restrained melodies accentuate the differences between new and older, better Queen. Perhaps it's the influence of Paul Rodgers or a lack of faith on the part of the band members. In any case, the melodies all sound very pretty, but lack teeth; without Mercury's unique voice, the tunes have trouble sticking in the mind.
These are certainly not bad songs, just a step down from Queen's past work. For example, "Cosmos Rockin'" is a fun throwback to '50s rock 'n' roll. "Some Things that Glitter" and "We Believe" are lovely ballads, and "C-Lebrity" is a respectable rock song featuring some exceptional axe-work by Brian May. The album is worth a look and possibly a purchase to long-time Queen fans, given the fact that expectations are accordingly lowered. Others may ultimately be better off browsing the band's older fare.
-Alex Neville
ARTIST: Lovedrug
ALBUM: The Sucker Punch Show
LABEL: Militia
RELEASED: Oct. 28, 2008
Though they have tried to launch themselves onto the mainstream, Lovedrug had been playing under the radar for nearly seven years.
Before their third album, The Sucker Punch Show, was released, there was talk that this would be the disc to help them achieve more widespread fame. After all, they recorded this album with the acclaimed Michael Beinhorn, who has worked with such legends as the Chili Peppers.
However, though their third album is respectable and by no means bad, there is little chance that this will be Lovedrug's "big break."
The first song "Let It All Out" encompasses what lead singer Michael Shepard says is the goal of this album: an absence of filtering the brain's emotions. The repetitiveness of the song at first seems a bit tedious. Shepard made it clear that the lyrics were not filtered. Were they also not edited?
However, after bridges that consist of only one phrase, the song actually develops into a decent rock song. If only Lovedrug had voted against the inclusion of screaming amidst the atmospheric background vocals, this song could have had a bit more potential.
"Only One" is the song most reminiscent of Lovedrug's older albums. Shepard's ability to drag out the vocals in a haunting way is characteristic of the band. "Panicked Witness" also showcases this ability with an equally haunting melody backing the vocals.
By no means are either of these tracks musically groundbreaking. But for those interested in a song indicative of Lovedrug's music, "Only One" is the track to listen to.
The inclusion of androgynous vocals is also found in many of the songs on The Sucker Punch Show. Unlike The Darkness' Justin Hawkin's (in)famous falsetto, Shepard has an unusual vocal ability to sound more like a woman singing alto than a male singing tenor. There is nothing strained about his singing. "Blood Like" is the first appearance of Shepard's androgynous talents, which continue to the final track, "Dying Days."
A handful of Lovedrug's songs, such as "Everyone Needs a Halo," resemble those of Ludo, another band on the fringe of musical success. Fans of Ludo will enjoy this album. That said, the number of Ludo fans that exist is probably minimal as well. Ludo does exceed Lovedrug's fame, though, as their single "Love Me Dead" could be heard on radio stations this summer. The clever lyrics of these two bands are worth at least a partial listen, but at times the Lovedrug's Shepard just sounds annoying.
Lovedrug has admitted that there is nothing musical about their hometown of Canton, Ohio. Of course, they were excluding themselves in that general truth.
However, if the band doesn't work on developing, Canton will continue to have no claims to fame.
This does not mean that Lovedrug needs to acquire a huge following. Lesser known musicians such as Jaymay have much more talent than crowd-pleasers like The All-American Rejects. But as of now, Lovedrug doesn't possess anything remarkable to help them garner musical respect. They're not too far away, and with a little more time on the music scene, Lovedrug could potentially get some recognition.
-Christina Warner
ARTIST: Emery
ALBUM: While Broken Hearts Prevail (EP)
LABEL: Tooth & Nail Records
RELEASED: Oct. 28, 2008
Emery's new EP, While Broken Hearts Prevail, is a step backwards: a small collection of songs that remind the listener of an old style. Such a decision is fantastic for this Seattle-based Christian Screamo band. Their last full-length CD - I'm Only a Man - was an experiment for the group, a chance to take their music in a new direction. Undoubtedly containing some brilliant elements, this effort proved to be too experimental. The new EP is a mixture of new styles and reliable methods, and the result is as powerful as any album they've released.
This EP is told from the perspective of a man recently disenchanted by his lover, and as the title suggests, it's about the heartbroken gathering strength and moving on. The opening song, "The Smile, The Face," lets the audience know "And though my heart is breaking open/Know that I will not be broken." There is plenty of brooding imagery to be found; the world is "black and cold" and the narrator's heart described as ripped out. To all that's dark and evil, though, the band has an answer. In "Thoughtlife," the speaker declares, "So I'll open my eyes/To the day that's before me/And leave here to find/That next something new." So, while depressing at times, the overall message is uplifting: There will be a tomorrow, and sorrow is far from permanent.
Just as the lyrics add to the meaning and tone of the EP, so too does the construction of the songs. The album opens with "The Smile, The Face" and "Edge of the World," both of which feature pounding drum beats and heavy guitars. This style evokes a feeling of anger, not sadness. This man may be crying, but he's definitely pissed.
Similarly, "Say the Things (You Want)" is purposefully in-your-face. The band wants its audience to hear the anger.
Emery creates a mixture of new and old elements in this EP, and while this is true of all songs, it's especially evident in "Ten Talents." The track starts out slowly, with the singer barely raising his voice. Suddenly the scene explodes and, through throat-scraping screaming and harsh beats, the refrain emerges. "Is it too late? Am I too gone?" the narrator bellows, and all at once the listener is fully engaged in the piece. The track continues to switch between slow and fast tempos, all the while featuring catchy guitar riffs and a continuity that holds it all together. The best song of the album.
A nice surprise for fans of the band will be a rerecorded version of "Always Depends," a track from their very first EP. Superior quality and a greater fluidity makes this an even greater song than the one released six years ago. On the whole, Emery's new EP points the group toward tomorrow while retaining the sound that brought them to where they are today.
Â-Greg Sgammato
ALBUM: The Cosmos Rocks
LABEL: Hollywood Records
RELEASED: Oct. 28, 2008
Queen was an awesome band. Queen plus Paul Rodgers are an okay band. In the days when Queen included bassist John Deacon and singer Freddie Mercury, the band turned out catchy tunes like "Another One Bites the Dust" and "Bohemian Rhapsody." What made the band so unique was their over-the-top style and inherent sense of fun. After the tragic loss of Freddie Mercury to AIDS and the retirement of John Deacon, it seemed as if no band would ever again reach their level.
Enter Paul Rodgers, former singer of Bad Company, a '70s hard rock band. After playing a few gigs with Queen's guitarist Brian May, the two hit it off and, together with drummer Roger Taylor, launched a world tour; the fruits of said tour were made available as a live album entitled Return of the Champions. Now, in 2008, they have released the first album of newly written material to come from Queen since 1995.
The new album, The Cosmos Rocks, is decent but not nearly as much fun as classic Queen was. The album is passable, but unfortunately, Paul Rodgers is no Freddie Mercury, and the new songs are not as memorable as Queen's older songs are.
Paul Rodgers, to be fair, has a smooth, strong voice and can sing on key and with emotion. But, again, he isn't Freddie Mercury. The discrepancy isn't as obvious here as it was on the live tour, during which Rodgers sang Mercury's own songs. Frequently, though, restrained melodies accentuate the differences between new and older, better Queen. Perhaps it's the influence of Paul Rodgers or a lack of faith on the part of the band members. In any case, the melodies all sound very pretty, but lack teeth; without Mercury's unique voice, the tunes have trouble sticking in the mind.
These are certainly not bad songs, just a step down from Queen's past work. For example, "Cosmos Rockin'" is a fun throwback to '50s rock 'n' roll. "Some Things that Glitter" and "We Believe" are lovely ballads, and "C-Lebrity" is a respectable rock song featuring some exceptional axe-work by Brian May. The album is worth a look and possibly a purchase to long-time Queen fans, given the fact that expectations are accordingly lowered. Others may ultimately be better off browsing the band's older fare.
-Alex Neville
ARTIST: Lovedrug
ALBUM: The Sucker Punch Show
LABEL: Militia
RELEASED: Oct. 28, 2008
Though they have tried to launch themselves onto the mainstream, Lovedrug had been playing under the radar for nearly seven years.
Before their third album, The Sucker Punch Show, was released, there was talk that this would be the disc to help them achieve more widespread fame. After all, they recorded this album with the acclaimed Michael Beinhorn, who has worked with such legends as the Chili Peppers.
However, though their third album is respectable and by no means bad, there is little chance that this will be Lovedrug's "big break."
The first song "Let It All Out" encompasses what lead singer Michael Shepard says is the goal of this album: an absence of filtering the brain's emotions. The repetitiveness of the song at first seems a bit tedious. Shepard made it clear that the lyrics were not filtered. Were they also not edited?
However, after bridges that consist of only one phrase, the song actually develops into a decent rock song. If only Lovedrug had voted against the inclusion of screaming amidst the atmospheric background vocals, this song could have had a bit more potential.
"Only One" is the song most reminiscent of Lovedrug's older albums. Shepard's ability to drag out the vocals in a haunting way is characteristic of the band. "Panicked Witness" also showcases this ability with an equally haunting melody backing the vocals.
By no means are either of these tracks musically groundbreaking. But for those interested in a song indicative of Lovedrug's music, "Only One" is the track to listen to.
The inclusion of androgynous vocals is also found in many of the songs on The Sucker Punch Show. Unlike The Darkness' Justin Hawkin's (in)famous falsetto, Shepard has an unusual vocal ability to sound more like a woman singing alto than a male singing tenor. There is nothing strained about his singing. "Blood Like" is the first appearance of Shepard's androgynous talents, which continue to the final track, "Dying Days."
A handful of Lovedrug's songs, such as "Everyone Needs a Halo," resemble those of Ludo, another band on the fringe of musical success. Fans of Ludo will enjoy this album. That said, the number of Ludo fans that exist is probably minimal as well. Ludo does exceed Lovedrug's fame, though, as their single "Love Me Dead" could be heard on radio stations this summer. The clever lyrics of these two bands are worth at least a partial listen, but at times the Lovedrug's Shepard just sounds annoying.
Lovedrug has admitted that there is nothing musical about their hometown of Canton, Ohio. Of course, they were excluding themselves in that general truth.
However, if the band doesn't work on developing, Canton will continue to have no claims to fame.
This does not mean that Lovedrug needs to acquire a huge following. Lesser known musicians such as Jaymay have much more talent than crowd-pleasers like The All-American Rejects. But as of now, Lovedrug doesn't possess anything remarkable to help them garner musical respect. They're not too far away, and with a little more time on the music scene, Lovedrug could potentially get some recognition.
-Christina Warner
ARTIST: Emery
ALBUM: While Broken Hearts Prevail (EP)
LABEL: Tooth & Nail Records
RELEASED: Oct. 28, 2008
Emery's new EP, While Broken Hearts Prevail, is a step backwards: a small collection of songs that remind the listener of an old style. Such a decision is fantastic for this Seattle-based Christian Screamo band. Their last full-length CD - I'm Only a Man - was an experiment for the group, a chance to take their music in a new direction. Undoubtedly containing some brilliant elements, this effort proved to be too experimental. The new EP is a mixture of new styles and reliable methods, and the result is as powerful as any album they've released.
This EP is told from the perspective of a man recently disenchanted by his lover, and as the title suggests, it's about the heartbroken gathering strength and moving on. The opening song, "The Smile, The Face," lets the audience know "And though my heart is breaking open/Know that I will not be broken." There is plenty of brooding imagery to be found; the world is "black and cold" and the narrator's heart described as ripped out. To all that's dark and evil, though, the band has an answer. In "Thoughtlife," the speaker declares, "So I'll open my eyes/To the day that's before me/And leave here to find/That next something new." So, while depressing at times, the overall message is uplifting: There will be a tomorrow, and sorrow is far from permanent.
Just as the lyrics add to the meaning and tone of the EP, so too does the construction of the songs. The album opens with "The Smile, The Face" and "Edge of the World," both of which feature pounding drum beats and heavy guitars. This style evokes a feeling of anger, not sadness. This man may be crying, but he's definitely pissed.
Similarly, "Say the Things (You Want)" is purposefully in-your-face. The band wants its audience to hear the anger.
Emery creates a mixture of new and old elements in this EP, and while this is true of all songs, it's especially evident in "Ten Talents." The track starts out slowly, with the singer barely raising his voice. Suddenly the scene explodes and, through throat-scraping screaming and harsh beats, the refrain emerges. "Is it too late? Am I too gone?" the narrator bellows, and all at once the listener is fully engaged in the piece. The track continues to switch between slow and fast tempos, all the while featuring catchy guitar riffs and a continuity that holds it all together. The best song of the album.
A nice surprise for fans of the band will be a rerecorded version of "Always Depends," a track from their very first EP. Superior quality and a greater fluidity makes this an even greater song than the one released six years ago. On the whole, Emery's new EP points the group toward tomorrow while retaining the sound that brought them to where they are today.
Â-Greg Sgammato
Be the first to comment on this story