New Vibrations
ARTIST: Coldplay
ALBUM: Prospekt's March
LABEL: Capitol
RELEASED: Nov. 25, 2008
After releasing three wildly popular albums, the world waited for Coldplay's new album, Viva la Vida. Rumors swirled around the clandestine production process until finally, in June, the British band released Viva to virtually universal acclaim. Now, Prospekt's March is released as an extension of Viva la Vida. Moving, exuberant and smart, albeit a little repetitive, Prospekt's March is a notable follow-up with some songs eclipsing the platinum-selling Viva.
The eponymous track of Prospekt's March starts off with a low hum immediately followed by a comforting guitar strum. No, this is not the Coldplay that brought you "Sparks" or "Yellow." This is an entirely new sound that blends traditional melody with unique harmony.
The album continues with "Now My Feet Won't Touch the Ground," which is a more traditional piece. The track lacks the pretension found in other Coldplay tracks; the entire song is a soft and lyrical anthem that's easy to listen to no matter what the situation is.
"Postcards from Far Away" stands alone as the only purely instrumental piece on the album. Although the track feels like something out of a Hallmark movie, it provides a refreshing contrast to the rest of the album.
The "Osaka" remix on Prospekt's is sadly no different from the original. It's two minutes shorter than the Viva version but lacks any new content or rhythm, adding to the redundancy the album has at times.
Finally, "Life in Technicolor ii" and "Rainy Day" feel generic. Despite Coldplay's promise of marching in with a fresh sound on Prospekt's, these two songs represent the epitome of the band's ability to copy themselves. Both "Technicolor" and "Rainy Day" feature falsetto vocals and quick instrumental harmony. The songs, while not "bad," lack the creative risks that the band promised to deliver after X&Y.
Prospekt's March is a good EP that would have fared better without lofty promises and a release so close to that of Viva. While the album does have some gems and the inclusion of "Postcards from Far Away" is refreshingly un-Coldplay, overall, the EP is no doubt a must-buy for die-hard fans and a try-and-buy for the casual listener.
-Paul Hsiao
ARTIST: Guns N' Roses
ALBUM: Chinese Democracy
LABEL: Geffen
RELEASED: Nov. 23, 2008
The hard-rockin' title track is the closest we get to hearing a classic Guns N' Roses song on the band's latest album, Chinese Democracy. But with the special effects and noticeable production tricks, the track is closer in spirit to the tunes from the bloated, over-produced Use Your Illusion, than it is to one of the lean-and-mean tracks from their vicious-sounding full-length debut, Appetite for Destruction. The lyrics are vaguely political, condemning Chinese authorities for laying blame at others' feet for their country's problems, hardly enough to warrant the "turning the spearpoint" accusations that they have hurled at the band. It's a good song, though-good, loud and worthy of the band's name.
The next song, "Shackler's Revenge," debuted in the game Rock Band 2 earlier this year. Why this song was chosen instead of the title track is a mystery, since the previous song's riff is so much lovelier. The chorus is decent enough, but it is matched to a jerky, stuttering, stop-start rhythm and an awful sounding riff that resembles a sound effect from a sci-fi horror flick. Not one that takes well-written characters and suspenseful plotting to deliver thrills, but one that has alien bogeymen jumping out from the corners every 10 to 15 minutes, accompanied by a painfully loud, discordant chord played on the electric guitar. "Shackler's Revenge" is just like that, with a pretty chorus slapped on. The lyrics are fairly typical for the album, focusing on a treacherous lover.
The solos on "Better" should put to rest fans' fears about having GNR without Slash. Axl Rose's five new guitarists prove themselves worthy throughout the album, though it does take five of them to fill the empty shoes left by the departure of Slash and Izzy Stradlin. "Better" also boasts a lovely melody that is only partially diminished by the song's arrangement and production.
"Street of Dreams" is a pretty song, but not one that stands out from amongst the growing pool of piano-based, Elton John-and-Queen-inspired ballads that Guns N' Roses has performed. "If the World" is an impressive showcase for Axl's voice, which still sounds like the voice of a man with nitric acid being poured down his crotch, if said fellow were a talented and expressive songwriter with something of an ego.
And then there is "There Was a Time," the best song on the album, and maybe one of the best ballads the band has done. The lyrics, like so many of the album's songs, are seemingly about a failed relationship, but they're vague enough to be projected onto many of life's difficult times. But the best part of the song has no lyrics; it is the marvelous guitar solo by either Robin Finck or Buckethead (both are given credit for the song's solos).
"There Was a Time" is the album's peak. After it, most of the songs suffer from either wandering or unmemorable melodies ("Catcher in the Rye," "Riad 'n' the Bedouins," "Prostitute"), irritating song arrangements ("Scraped"), or self-absorbed lyrics that express the pain and suffering that the rich and famous must endure and overcome ("IRS," "Sorry," "Madagascar"). To be fair, "IRS" and "Madagascar" are pretty good songs despite the lyrics, but better is "This I Love," another piano ballad by Rose and a very lovely song. As a whole, the album is a satisfying comeback for the band. Here's hoping the next one won't take another 14 years to make.
-Alex Neville
ARTIST: The Killers
ALBUM: Day and Age
LABEL: Island Records
RELEASED: Nov. 24, 2008
For most people, Day and Age will be immediately accessible; the melodramatic overtones and the poppy synthesizers make The Killers' third album wonderfully catchy and fun. Long-term fans of the Las Vegas-based rock group, though, may be a little perplexed by the subtle stylistic shift.
What has made this group so popular is still present, but it's accompanied by a few slower, more thoughtful songs. Initially, fans may react negatively, but change, in this case, is a very good thing. It symbolizes how the band is growing up, and how their sound can evolve in a very positive way.
The first song of the album, "Losing Touch," starts the album off with an upbeat, happy theme; it has the hopeful tone and catchy refrain that would be fantastic as a concert-opener. Next, are the two singles: "Human" and "Spaceman." If one wants a song reminiscent of Hot Fuss, look no further than the former. The song is deeply rooted in 1980s British pop; for all intents and purposes, Duran Duran could have written it. "Human" is an embodiment of the style and sound that made the Killers famous, propelled by trademark synth work and the theme "Are we human, or are we dancer?"
The second single, "Spaceman," is different but still very much in the vein of previous work. With a chorus even catchier than other tracks, it's the one song of the album that makes one want to get up and just dance. Overall, the first three tracks of the album are joyous and lighthearted - sublimity to the ears. This album is both a musical achievement and a cure for depression, because one cannot help but feel happy when listening to tunes such as these.
Other songs on the album are notable as well. "Joy Ride" successfully pays homage to The Clash and other early pioneers of punk rock. "Dustland Fairytale" sounds like it could have been ripped from one of the band's first two albums - which is a positive attribute. "This is Your Life" sounds like a hybrid of African tribal music and poppy Eurotrash - and it is amazing.
It is in the tracks that differ from previous norms, however, that this album defines itself. "Goodnight, Travel Well" is unique both in its length - clocking in at almost seven minutes - and its pacing: The song is quite long and slow. It allows the band to use their guitar and keyboard beats, not in trademark rapid-fire playing, but rather in a thoughtful and equally effective way. What makes the song so brilliant is the way the tone shifts: What starts out with harsh, brooding overtones gives way to hopeful, peaceful chords. If this song alone is any indication of where the band is going, they've made at least one believer. If, though, the group wants to continue with their poppy, fast beats and superb keyboards, Day and Age proves that they still dominate the genre.
Â-Greg Sgammato
ALBUM: Prospekt's March
LABEL: Capitol
RELEASED: Nov. 25, 2008
After releasing three wildly popular albums, the world waited for Coldplay's new album, Viva la Vida. Rumors swirled around the clandestine production process until finally, in June, the British band released Viva to virtually universal acclaim. Now, Prospekt's March is released as an extension of Viva la Vida. Moving, exuberant and smart, albeit a little repetitive, Prospekt's March is a notable follow-up with some songs eclipsing the platinum-selling Viva.
The eponymous track of Prospekt's March starts off with a low hum immediately followed by a comforting guitar strum. No, this is not the Coldplay that brought you "Sparks" or "Yellow." This is an entirely new sound that blends traditional melody with unique harmony.
The album continues with "Now My Feet Won't Touch the Ground," which is a more traditional piece. The track lacks the pretension found in other Coldplay tracks; the entire song is a soft and lyrical anthem that's easy to listen to no matter what the situation is.
"Postcards from Far Away" stands alone as the only purely instrumental piece on the album. Although the track feels like something out of a Hallmark movie, it provides a refreshing contrast to the rest of the album.
The "Osaka" remix on Prospekt's is sadly no different from the original. It's two minutes shorter than the Viva version but lacks any new content or rhythm, adding to the redundancy the album has at times.
Finally, "Life in Technicolor ii" and "Rainy Day" feel generic. Despite Coldplay's promise of marching in with a fresh sound on Prospekt's, these two songs represent the epitome of the band's ability to copy themselves. Both "Technicolor" and "Rainy Day" feature falsetto vocals and quick instrumental harmony. The songs, while not "bad," lack the creative risks that the band promised to deliver after X&Y.
Prospekt's March is a good EP that would have fared better without lofty promises and a release so close to that of Viva. While the album does have some gems and the inclusion of "Postcards from Far Away" is refreshingly un-Coldplay, overall, the EP is no doubt a must-buy for die-hard fans and a try-and-buy for the casual listener.
-Paul Hsiao
ARTIST: Guns N' Roses
ALBUM: Chinese Democracy
LABEL: Geffen
RELEASED: Nov. 23, 2008
The hard-rockin' title track is the closest we get to hearing a classic Guns N' Roses song on the band's latest album, Chinese Democracy. But with the special effects and noticeable production tricks, the track is closer in spirit to the tunes from the bloated, over-produced Use Your Illusion, than it is to one of the lean-and-mean tracks from their vicious-sounding full-length debut, Appetite for Destruction. The lyrics are vaguely political, condemning Chinese authorities for laying blame at others' feet for their country's problems, hardly enough to warrant the "turning the spearpoint" accusations that they have hurled at the band. It's a good song, though-good, loud and worthy of the band's name.
The next song, "Shackler's Revenge," debuted in the game Rock Band 2 earlier this year. Why this song was chosen instead of the title track is a mystery, since the previous song's riff is so much lovelier. The chorus is decent enough, but it is matched to a jerky, stuttering, stop-start rhythm and an awful sounding riff that resembles a sound effect from a sci-fi horror flick. Not one that takes well-written characters and suspenseful plotting to deliver thrills, but one that has alien bogeymen jumping out from the corners every 10 to 15 minutes, accompanied by a painfully loud, discordant chord played on the electric guitar. "Shackler's Revenge" is just like that, with a pretty chorus slapped on. The lyrics are fairly typical for the album, focusing on a treacherous lover.
The solos on "Better" should put to rest fans' fears about having GNR without Slash. Axl Rose's five new guitarists prove themselves worthy throughout the album, though it does take five of them to fill the empty shoes left by the departure of Slash and Izzy Stradlin. "Better" also boasts a lovely melody that is only partially diminished by the song's arrangement and production.
"Street of Dreams" is a pretty song, but not one that stands out from amongst the growing pool of piano-based, Elton John-and-Queen-inspired ballads that Guns N' Roses has performed. "If the World" is an impressive showcase for Axl's voice, which still sounds like the voice of a man with nitric acid being poured down his crotch, if said fellow were a talented and expressive songwriter with something of an ego.
And then there is "There Was a Time," the best song on the album, and maybe one of the best ballads the band has done. The lyrics, like so many of the album's songs, are seemingly about a failed relationship, but they're vague enough to be projected onto many of life's difficult times. But the best part of the song has no lyrics; it is the marvelous guitar solo by either Robin Finck or Buckethead (both are given credit for the song's solos).
"There Was a Time" is the album's peak. After it, most of the songs suffer from either wandering or unmemorable melodies ("Catcher in the Rye," "Riad 'n' the Bedouins," "Prostitute"), irritating song arrangements ("Scraped"), or self-absorbed lyrics that express the pain and suffering that the rich and famous must endure and overcome ("IRS," "Sorry," "Madagascar"). To be fair, "IRS" and "Madagascar" are pretty good songs despite the lyrics, but better is "This I Love," another piano ballad by Rose and a very lovely song. As a whole, the album is a satisfying comeback for the band. Here's hoping the next one won't take another 14 years to make.
-Alex Neville
ARTIST: The Killers
ALBUM: Day and Age
LABEL: Island Records
RELEASED: Nov. 24, 2008
For most people, Day and Age will be immediately accessible; the melodramatic overtones and the poppy synthesizers make The Killers' third album wonderfully catchy and fun. Long-term fans of the Las Vegas-based rock group, though, may be a little perplexed by the subtle stylistic shift.
What has made this group so popular is still present, but it's accompanied by a few slower, more thoughtful songs. Initially, fans may react negatively, but change, in this case, is a very good thing. It symbolizes how the band is growing up, and how their sound can evolve in a very positive way.
The first song of the album, "Losing Touch," starts the album off with an upbeat, happy theme; it has the hopeful tone and catchy refrain that would be fantastic as a concert-opener. Next, are the two singles: "Human" and "Spaceman." If one wants a song reminiscent of Hot Fuss, look no further than the former. The song is deeply rooted in 1980s British pop; for all intents and purposes, Duran Duran could have written it. "Human" is an embodiment of the style and sound that made the Killers famous, propelled by trademark synth work and the theme "Are we human, or are we dancer?"
The second single, "Spaceman," is different but still very much in the vein of previous work. With a chorus even catchier than other tracks, it's the one song of the album that makes one want to get up and just dance. Overall, the first three tracks of the album are joyous and lighthearted - sublimity to the ears. This album is both a musical achievement and a cure for depression, because one cannot help but feel happy when listening to tunes such as these.
Other songs on the album are notable as well. "Joy Ride" successfully pays homage to The Clash and other early pioneers of punk rock. "Dustland Fairytale" sounds like it could have been ripped from one of the band's first two albums - which is a positive attribute. "This is Your Life" sounds like a hybrid of African tribal music and poppy Eurotrash - and it is amazing.
It is in the tracks that differ from previous norms, however, that this album defines itself. "Goodnight, Travel Well" is unique both in its length - clocking in at almost seven minutes - and its pacing: The song is quite long and slow. It allows the band to use their guitar and keyboard beats, not in trademark rapid-fire playing, but rather in a thoughtful and equally effective way. What makes the song so brilliant is the way the tone shifts: What starts out with harsh, brooding overtones gives way to hopeful, peaceful chords. If this song alone is any indication of where the band is going, they've made at least one believer. If, though, the group wants to continue with their poppy, fast beats and superb keyboards, Day and Age proves that they still dominate the genre.
Â-Greg Sgammato
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Greek Island Cruises
posted 1/16/09 @ 11:33 AM EST
I am so happy to see that the technology and almost everything related to this are evolving.
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