The CD Review Thread

[lcjjdnh]

Since no one has posted in here in a while and over the past month I've picked up a few very different albums, I figured I'd post it here and see if we can get this thread up and running. None of these albums are really undiscovered but at least it will be something to start this back up:

SMiLE-Brian Wilson
Hailed by many for years to be the "best album never released" this album finally was finished by Wilson, who as you know has struggled with his own problems for years. While I think it's far from being the best album ever, it's still a very solid album. I would say it's probably perfect in arrangement, every note meshing perfectly along with the harmonies. But yet, there's just something missing when I listen to it, it just doesn't really hit me like the "perfect album" should and as Wilson's masterpiece Pet Sounds did. I would definitly recommend this album as it definitly one of the better arranged albums I've listened to, it's just doesn't have the same effect PS sounds did.

From allmusic.com
4.5 Stars



The white whale of '60s record-making, the Beach Boys' aborted Smile album gradually gained a legend that not only inflated its importance and its complexity, but gave credence to an odd notion — that completing it, then or ever, was impossible. In truth, Smile should have been released and forgotten, reissued and reappraised, and finally remastered for the digital era and ushered into the rock canon ever since Brian Wilson halted work on it in May 1967 (after an exhausting 85 recording sessions). Instead, it languished in the vaults and remained the perfect record — perfect, of course, because it had never been finished. Reports that the recording of "Mrs. O'Leary's Cow" had caused a nearby building to burn down and whispers of "inappropriate music" gave it the character of a monster, one that cursed all those who approached it and claimed the heart and mind of its closest participant. Wilson's love of "feels" — short passages of cyclical music that could be overdubbed and rearranged countless times — had made 1966's "Good Vibrations" the ultimate pocket symphony, but had also quickly spiralled into the instability that consumed him during its follow-up, "Heroes and Villains," projected to be the centerpiece of Smile.

Happily, a new recording of Smile by Brian Wilson reveals the record as nothing more or less than a jaunty epic of psychedelic Americana, a rambling and discursive, playful and affectionate series of song cycles. Infectious and hummable, to be sure, and a remarkably unified, irresistible piece of pop music, but no musical watershed on par with Sgt. Pepper's Lonely Hearts Club Band or Wilson's masterpiece, Pet Sounds. For the first time ever, the program for Smile was compiled, after Brian Wilson listened to the original recordings with his musical midwife, Darian Sahanaja of the Wondermints (which has long functioned as Wilson's live backing band), and worked them into a live show, then an album recording. The work that evolved divides into three sections: Smile begins with Americana, which takes the dream of continental expansion from the old Spanish town saga of "Heroes and Villains" to the landing at Plymouth Rock and the end of the frontier at Hawaii; it continues with a Cycle of Life that progresses from the virginal grace of "Wonderful" to the simultaneous peak and decline of the creative life on "Surf's Up"; and ends with an environmental cycle called The Elements, which includes "Vega-Tables," (Earth), "Wind Chimes" (Air), "Mrs. O'Leary's Cow" (Fire), and "In Blue Hawaii" (Water). Since Wilson himself was previously the most opposed to Smile appearing in any form, it's a considerable shock that this new recording justifies even half of the promise that fans had attached to it. Everything that Wilson and his band could control sounds nearly perfect. Every instrument, every note, and every intonation is nearly identical to the late-'60s tapes; one has to wonder whether vintage hand tools weren't acquired for "Workshop" and Paul McCartney wasn't flown in to add chewing noises to "Vega-Tables." (The players did, however, book time at one of Brian's old haunts, Sunset Sound, and utilized a '60s tube console to record their vocals.) No, the harmonies here aren't the Beach Boys' harmonies, and Brian's vocals aren't the vocals he was capable of 37 years ago, but they're excellent and (best of all) never distracting. Aside from the technical acumen on display, Wilson has also, amazingly, found a home — the proper home — for all of the brilliant instrumental snippets that lent the greatest part of the mystery to the unreleased Smile. Van Dyke Parks' new (or newly heard) lyrics fit into these compositions, and the work as a whole, like hand in glove. (The former instrumentals include "Barnyard"; "Holiday," which is here called "On a Holiday"; "Look," which is now "Song for Children"; and "I Love to Say Da-Da," which is now part of "In Blue Hawaii.") Most surprisingly, nearly all of this thematic unity was accomplished by merely reworking the original material already on tape, which proves that Wilson was never very far from finishing Smile in 1967. (It's very likely that the gulf was psychological; Smile had few supporters among Brian's closest friends and family.) Hopefully, Capitol is readying a Smile Sessions box set to release all of the vintage material, but it's clear that nothing they dig up from the vaults will be able to match the unity displayed by this attractive new recording of Smile. It's up to the standards of anyone who's ever scoured the bootlegs to create a Smile tape, and it beats them all, which is the highest compliment. So, if you've never been burdened with a friend's Smile tape before, count yourself lucky that Brian Wilson's is the first you'll hear. And if you have heard a few, prepare to listen to them much less religiously.

Astral Weeks-Van Morrison

I picked this up a few weeks after picking up Moondance. It has quickly become one of my favorite albums of all-time. There's just something I real love about this album, although I can't really put my finger on it. What's even more amazing is that Morrison basically played the accoustic guitar by himself in one studio and got together a group of jazz musicians and told them to play along, without giving them any instructions on what to play. It's really an amazing album and I recommend everyone check it out.

From allmusic.com
5 stars

Astral Weeks is generally considered one of the best albums in pop music history. For all that renown, Astral Weeks is anything but an archetypal rock & roll album: in fact, it isn't a rock & roll album at all. Employing a mixture of folk, blues, jazz, and classical music, Van Morrison spins out a series of extended ruminations on his Belfast upbringing, including the remarkable character "Madame George" and the climactic epiphany experienced on "Cyprus Avenue." Accompanying himself on acoustic guitar, Morrison sings in his elastic, bluesy voice, accompanied by a jazz rhythm section (Jay Berliner, guitar, Richard Davis, bass, Connie Kay, drums), plus reeds (John Payne) and vibes (Warren Smith Jr.), with a string quartet overdubbed. An emotional outpouring cast in delicate musical structures, Astral Weeks has a unique musical power. Unlike any record before or since, it nevertheless encompasses the passion and tenderness that have always mixed in the best postwar popular music, easily justifying the critics' raves.

Stanktonia-Outkast Um, the Border's clerk convinced me to get this one over Speakerboxx/Love Below and I have to say I'm pretty disappointed. I guess it's okay, it't just not one of my favorite rap albums. Not much more I really want to say about it. Oh yeah, this disdain could also be from the fact I was forced to listen to Ms. Jackson about 10 hours a day for 5 days over one winter break when it first came out because it was our spring break from school and this one kid I played basketball with it insisted on listening to it over and over. From Allmusic.com 5 Stars Stankonia was OutKast's second straight masterstroke, an album just as ambitious, just as all-over-the-map, and even hookier than its predecessor. With producers Organized Noize playing a diminished role, Stankonia reclaims the duo's futuristic bent. Keyboardist/producer Earthtone III helms most of the backing tracks, and while the live-performance approach is still present, there's more reliance on programmed percussion, otherworldly synthesizers, and surreal sound effects. Yet the results are surprisingly warm and soulful, a trippy sort of techno-psychedelic funk. Every repeat listen seems to uncover some new element in the mix, but most of the songs have such memorable hooks that it's easy to stay diverted. The immediate dividends include two of 2000's best singles: "B.O.B." is the fastest of several tracks built on jittery drum'n'bass rhythms, but Andre and Big Boi keep up with awe-inspiring effortlessness. "Ms. Jackson," meanwhile, is an anguished plea directed at the mother of the mother of an out-of-wedlock child, tinged with regret, bitterness, and affection. Its sensitivity and social awareness are echoed in varying proportions elsewhere, from the Public Enemy-style rant "Gasoline Dreams" to the heartbreaking suicide tale "Toilet Tisha." But the group also returns to its roots for some of the most testosterone-drenched material since their debut. Then again, OutKast doesn't take its posturing too seriously, which is why they can portray women holding their own, or make bizarre boasts about being "So Fresh, So Clean." Given the variety of moods, it helps that the album is broken up by brief, usually humorous interludes, which serve as a sort of reset button. It takes a few listens to pull everything together, but given the immense scope, it's striking how few weak tracks there are. It's no wonder Stankonia consolidated OutKast's status as critics' darlings, and began attracting broad new audiences: its across-the-board appeal and ambition overshadowed nearly every other pop album released in 2000. The Kinks Are the Village Green Preservation Society-The Kinks Just got this one and haven't really had much time ot listen to it. But one first listen it seems pretty solid. A nice collection of pop songs from a band that gets kind of overshadowed by many of the other British bands from the era. From allmusic

5 Stars by Stephen Thomas Erlewine Ray Davies' sentimental, nostalgic streak emerged on Something Else, but it developed into a manifesto on The Village Green Preservation Society, a concept album lamenting the passing of old-fashioned English traditions. As the opening title song says, the Kinks — meaning Ray himself, in this case — were for preserving "draft beer and virginity," and throughout the rest of the album, he creates a series of stories, sketches and characters about a picturesque England that never really was. It's a lovely, gentle album, evoking a small British country town, and drawing the listener into its lazy rhythms and sensibilities. Although there is an undercurrent of regret running throughout the album, Davies' fondness for the past is warm, making the album feel like a sweet, hazy dream. And considering the subdued performances and the detailed instrumentations, it's not surprising that the record feels more like a Ray Davies solo project than a Kinks album. The bluesy shuffle of "Last of the Steam-Powered Trains" is the closest the album comes to rock & roll, and Dave Davies' cameo on the menacing "Wicked Annabella" comes as surprise, since the album is so calm. But calm doesn't mean tame or bland — there are endless layers of musical and lyrical innovation on The Village Green Preservation Society, and its defiantly British sensibilities became the foundation of generations of British guitar-pop. [Castle's 1998 CD reissue of Village Green Preservation contained both the original 15-track mono version of the album, plus the 12-track stereo album that was initially planned for release in September 1968, but scrapped. The stereo album contains a slightly different running order and features two songs — "Days" and "Mr. Songbird" — that didn't make the final album. The CD also includes the mono single version of "Days" as a bonus track.] Tracks Magical Mystery Tour-The Beatles The Beatle's are one of my favorite groups if not my favorite and this is just another example of why. A solid collection of songs, starting with the the rocking Magical Mystery Tour and ending with simple messaged song of All You Need Is Love. The especially great part about this version is songs 6-11 which include a bunch of great songs. I highly recommend this one. From allmusic.com 5 Stars The U.S. version of the soundtrack for the Beatles' ill-fated British television special embellished the six songs that were found on the British Magical Mystery Tour double EP with five other cuts from their 1967 singles. (The CD version of the record has now been standardized worldwide as the 11 tracks found on the American version.) The psychedelic sound is very much in the vein of Sgt. Pepper, and even spacier in parts (especially the sound collages of "I Am the Walrus"). Unlike Sgt. Pepper, there's no vague overall conceptual/thematic unity to the material, which has made Magical Mystery Tour suffer slightly in comparison. Still, the music is mostly great, and "Penny Lane," "Strawberry Fields Forever," "All You Need Is Love," and "Hello Goodbye" were all huge, glorious, and innovative singles. The ballad "The Fool on the Hill," though only a part of the Magical Mystery Tour soundtrack, is also one of the most popular Beatle tunes from the era. Donavon Frankenreiter-Donavon Frankenreiter A nice collection of songs from a former surfing pro. Although Jack Johnson produced this record and the two a great friends, I think that Frankenreiter's work here is much better than anything I have heard of Johnson's. It's obviously not a groundbreaking album and all the songs basically sound the same but it's a "nice" grouping of songs. It's very laid back and just kind of a fun album to listen. From Allmusic.com 4 Stars Donavon Frankenreiter is a surfing buddy of Jack Johnson. He also makes music that surprisingly isn't too dissimilar to Johnson's. Add to that the fact that Johnson produces and plays a variety of instruments and sings on Frankenreiter's debut CD and you have a record that is tailor-made for fans of Jack Johnson. Also for fans of laid-back, good-time music, that has much in common with jam bands like Phish (without the instrumental prowess and willingness to show it off) and also soft rock sounds of the '70s. Every song is built around acoustic guitar, quiet drums, and mellow percussion, and Frankenreiter never raises the tempo much past ramble, although on "Day Dreamer" he does dial it all the way up to lope. Frankenreiter has a good-natured stoned drawl of a voice that delivers his light and breezy lyrics perfectly and with slacker soul. The pure sweetness of the album may turn off some listeners as might the similarity of the songs, but those who are into it will be very into it. Perfect for campfires late at night on the beach, early Sunday-morning afters, and lazy days in the cubicle, Frankenreiter has crafted a fine debut full of friendliness and low-key charm. Unfortunately he has to be docked half a star for the moustache. Shave it off, dude!

[Ksyrup]

Glad to see there's some interest in keeping this alive. Here's some stuff I've gotten since I last updated.....







Ken Stringfellow – Soft Commands

Wow. I was completely caught off-guard by this one. Stringfellow is formerly of the Posies, the critically-acclaimed power pop band from Washington that got far less attention than those “other” Seattle bands. This one isn’t power pop, more adult alternative/pop, but it is quite an ambitious recording. Pretty much every song on here is strong, and while there are a few piano-heavy ballads, the rest is all over the place. I’ve been spinning this for 4 weeks straight.


Allmusic.com:


Ex-Posies frontman Ken Stringfellow returns for another round of intricate pop/rock confections with the FM-ready Soft Commands. This time around, the singer/songwriter and multi-instrumentalist broadens his horizons with forays into Burt Bacharach soft rock, soul, and even dub. Writing and recording all over the world — New York, Senegal, Stockholm, Seattle, Paris, Vancouver, and Hollywood — Stringfellow has concocted a frustratingly obtuse record that's as beautiful and bold as it is shapeless and erratic. Soft Commands plays like a compilation, taking on Jackson Browne pop ("You Drew"), experimental reggae ("You Became the Dawn"), and heavily orchestrated Phil Spector bliss ("When You Find Someone") with varying results — the latter sounds like a sequel to the Walker Brothers' 1966 classic "The Sun Ain't Gonna Shine Anymore." Stringfellow's crystal-clear vocals have always been among his stronger attributes, and they couldn't be any better on tracks like the gorgeous and epic closer "Death of a City," but when he attempts a multi-note soul croon on the bluesy "Let Me Do," the cool confidence that rings true within the confines of his pop material is rendered shaky and thin by a milieu he may be better off appreciating from afar. Soft Commands is full of the intricate arrangements and clever wordplay that power pop fans have come to expect from the artist, and nowhere is that more apparent than on the serpentine rocker "Don't Die," a heavy, complex, and blissfully Posie-esque rumination on death that requires several listens before attaching itself to your brain like a remora to a shark. It's a reminder that despite the occasional deviation, Stringfellow is still capable of balancing beauty and danger within the confines of the four-minute pop song, and for fans of melodic rock everywhere, that's a damn good thing.

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Lamb of God – Ashes of the Wake


Holy Piledriver. This is some heavy, brutal stuff. Perfect workout music for me. LoG is moving to the forefront of what is becoming known as the NWOAHM (New Wave of American Heavy Metal), a combination of 80’s metal with Y2K, and wholly apart from nu-metal. Admittedly, it has taken me nearly a decade to start accepting metal with “cookie monster” vocals, and the vocals here aren’t the worst I’ve heard, but there’s no mistaking that this is just gutteral screaming. The music, though, makes up for it, like a more demonic, furious Pantera for the new millennium. This is the kind of metal the die-hards have been wanting since grunge broke and we were left with picking and choosing from the mostly boring and decidedly less metal “nu-metal” genre.


Allmusic.com:


Come now, let us all genuflect before Lamb of God, for to them we owe our metal souls. In the fat rat-infested, decrepit tenement called Heavy Rock Manor, the Virginia-based shock unit is one of the few groups striving to keep the power on and the hallways clear of gluttonous rap-rock/post-grunge False Marias. Yes, yes, Ashes of the Wake arrives via Epic Records, but this only will inflame the ire of the ignorant. For the rest of us, Lamb's ascendance to the majors melts a little more of the crap rock golden calf. Where previous efforts were fully automatic hot LZs, they were also slightly muddled for the very same reason. They fired in all directions. With Ashes, producer Machine has sharpened the corner of every riff and tightened the turns on classicist metal gallops. Best of all, Randy Blythe's furious yawp is more focused. Rather than simply being another scary voice shouter, Blythe becomes Lamb of God's threshold of pain conduit. "Laid to Rest" begins with his measured statements — "If there was a single day I could live...I'd trade all the others away" — flanked by the at-odds guitars of Willie Adler and Mark Morton. But then Blythe unleashes his demonic throat, and the guitars leap over and across one another like basilisks on a prowl for ibex kids. "Hourglass" offers more, its interlocking rhythms and breakdowns harking to the dark lands of Scandinavia. But it doesn't go all the way there. This is American metal, after all, meaning that, in the tradition of Pantera and Poison the Well, large-form grandiosity is sacrificed in favor of a muscularity derived from hardcore and hard living. The aptly named "Omerta" begins with that code's reading. "Whoever appeals to the law against his fellow man is either a fool or a coward." It proceeds to stalk slowly into gear, the sound of a wounded man coming after his would-be murderers. "Blood of the Scribe" refits death metal's cadence for a leaner, meaner era; the less than subtle "Now You've Got Something to Die For" offers the kids a new unifying chant, not to mention some spectacularly martial instrumental breaks. Drummer Chris Adler really shines here, with Machine ensuring his snare is a steely bullet fired by viscous double bass gunpowder. Instrumental freaks will swallow the title track whole. Guest soloists Alex Skolnick (Testament) and Chris Poland (Megadeth) each get a taste, alongside Morton and Adler — their insane fretting sounds like a city exploding. That's what Lamb of God does for us, what it does for metal in the 21st century. With the genre getting clogged by PVC goofs and Alice in Chains impersonators, Lamb of God balances the equation of power, rage, tradition, and craft. It kills the filler.


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King’s X – Live All Over the Place


Finally, an official live album! I’ve been waiting for this one for years, even though I own about 75 bootlegs. The guys purposely left this one sounding raw, exposing warts and all, and took a slew of songs from different shows and recording techniques to create this 2-CD set. Included on the second disk is a set of “acoustic” tracks. The disparate recordings make for an uneven album (I have to turn it up and down because of the differing bass levels), but this album clearly captures the magic of a live KX show. Some odd choices for songs, including 4 songs from their latest album (which is nothing more than a re-recording of pre-KX songs), but since I’ve got so many boots, I can let the song selection slide.


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Pain of Salvation – Be


The long-awaited follow-up to Remedy Lane from the band that many believe will challenge Dream Theater for prog-metal superiority is, well, almost too gigantic a concept to translate to CD. The concept here is the exploration of the existence of God, and whether God is, himself, nothing more than a man who has created us and is evolving in the same way we are. The album contains a number of spoken word and instrumental passages – too many, in fact, to make the album coherent. Musically, the album is nearly completely devoid of heavy metal, relying on acoustic guitar and different styles such as celtic, Negro spiritual, pop opera…however, overall, the album moves too slowly. And with the repetition of certain musical themes throughout, it almost feels like, in the 15 tracks, there are really only a handful of actual songs here. This is what progressive music I all about, and if you can get past the fact that this metal band has moved away from metal on this recording, you’ll appreciate it much more. Still, I’ll take Remedy Lane and Perfect Element over this.



Sea of Tranquility:



If you think you know Pain Of Salvation’s music and can guess what this one sounds like, forget it. This is like nothing you’ve ever heard before.

Be is a collection of contrasts, which makes it one of the most challenging records you’ll hear this year. It is brilliant, yet some parts are pure cliché. It is philosophical, yet some parts are utterly corny. It is deep, and serious, yet some parts are pompous and melodramatic. Those contrasts are deliberate, of course, but they’ll leave your head spinning.

The contrasts continue: There is excellent progressive metal, and there are down-home biblical blues. There is classical music and there are folk tunes. There are deeply philosophical voiceovers and there’s a silly skit with a boyfriend making puerile and inappropriate requests of his girlfriend while a radio talk show is playing in the background exploring philosophical issues (the contrast, you see!). There are power ballads, symphonic instrumentals, and traditional pieces. There’s a heavy Latin percussion passage, and spoken verses that border on rap. Classical instrumentation is never far from the surface, which contributes an important texture of credibility to the music, and there is a beautiful purely classical track starting with an interesting piano solo that builds into a full orchestral piece. It goes from baroque to blues, from hard rock to symphonic prog, and from gospel to country. And most important of all, thankfully, there are even a few tracks that will recall the band’s brilliant Remedy Lane.

And considering the band’s background it is interesting to note that metal is the style that appears least often.

The record starts with snippets of spoken voices, with a man and a teenage boy separately exploring their very existence. There’s a section that sounds like you’re in the National Security Agency intercepting peoples’ heartfelt prayers to an apparently unresponsive God. (Hi God, it’s me again, from Earth. I know you haven’t returned any of my previous calls, and maybe you’re simply not there – but …) There are radio newscasts, and counts of the world’s population at various times, and there is a thunderstorm.

Even though you’ve heard these types of inserts before, the collection of disparate elements here cannot be absorbed in one sitting. There’s so much going on in this CD that – rightly or wrongly –it is this range of elements that defines this album more than the excellent music itself.
Be is almost impossible to review accurately, and it is a fascinating listen albeit a challenging one. On the one hand, it may lack cohesion – yet on the other hand, there are flashes of genius that make it a must have for any adventurous listener.

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Butch Walker – Letters


Walker is formerly of Marvelous 3, and is well-known in power pop circles. This is a terrific set from Butch, now out on his own. Walker still maintains his quirky, witty lyrical edge, but adds some depth on a couple of piano-based, Ben Folds-sounding ballads. Solid, radio-ready music that likely won’t come anywhere near the FM dial.

Allmusic.com:

Back in 2002, Butch Walker made a record for Arista that placed him somewhere between '80s solo troubadours like Rick Springfield and the distortion crackle of fin de siècle alterna-rock. Walker's a talented songwriter, so he largely pulled it off. Still, it did seem kinda forced, and the thing quickly disappeared. Walker's resurfaced in 2004 on Sony, and this time around things are much more comfy. From its handwritten liners to the obvious care with which its tracks were assembled in the studio, Letters feels like a direct communication from Butch's big Rundgren and Cheap Trick-lovin' brain. Like Pete Yorn, he draws ably on the mustache rock of his youth to make this music stand out in the present — check the clever lyrics and subtle synth processing of "Mixtape" to hear what '70s pop sounds like in a 21st century light. "#1 Summer Jam"'s cheeky power pop has a definite (and welcome) ELO quality, and "Don't Move" figures out how to cross Radiohead with creepy old 10cc. He fits in some ballads ("Best Thing You Never Had"), exuberantly cynical rockers (the anti-L.A. rant "Lights Out"), and gorgeous, vibe-toned dusk pop — is that the ghost of a young Jackson Browne floating through "So at Last"? There's no theft here. Rather, Walker sounds like a music fan given a golden opportunity to make a private gatefold masterpiece. Sure, "Mixtape" and "Summer Jam" can and should be hits. But it's likely true that Walker doesn't care if they are. Letters' ending proves this. "Promise" is a syrupy, achy, even funny little love song done up in drippy reverb and plaintive acoustic strum, while "Thank You Note" is just Butch and a piano and a strikingly personal tribute to a fallen friend. These quieter songs ground the album's more colorful moments; they help create the cycle that's so often missing from records these days. Walker's made an album for all the mornings after.

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Seth Swirsky - Instant Pleasure


Terrific singer/songwriter best known for writing songs for others, including the title track, which was recorded by Rufus Wainwright for the Big Daddy soundtrack. Swirsky is one of those songwriters who has spent his career writing for others, and finally has taken his turn behind the mike. Great album.


Pop Matter Review:

http://www.popmatters.com/music/revi...-instant.shtml

[korme]

Only one.

Senses Fail - Let it Enfold You
Probably no one but mckerney, McSweeny, and the like's cup of tea. My brother got the CD for me figuring I would like them, and I must say I do. Reminds me of Boys Night Out, but catchy stuff at the same time. Hit up http://www.purevolume.com/sensesfail to sample three songs, though my two favorites from this CD are not available (FWIW, that'd be Lady in a Blue Dress and Choke on This). I don't agree with purevolume's listing that they are "Emo / Pop / Rock", I'd just say this is Hardcore / Rock with a touch of screamo. Of the three available to listen to on PV, Rum is for drinking, Not for Burning or Buried a Lie are both better than the CD's title track Let It Enfold You in my not so humble opinion but those don't do the best tracks on the album justice.

You can go here to listen to all the tracks, but you have to deal with realplayer and it's not as smooth as purevolume's.

So after all that rambling, jumbled, masterpiece of ranting, here's a real review (towerrecords.com - not their label just so you know it isn't biased):

On LET IT ENFOLD YOU, Senses Fail delivers a potent combination of tuneful pop-punk and thrashing emo-core ... The factor that differentiates the New Jersey quintet from many of its peers, however, is the band's uncommonly intelligent lyrics. Frontman/main songwriter Buddy Nielsen foregoes the lost-love-and-broken-hearts themes typical of most emo in favor of literary references and existential questions. In fact, inspirations for the songs include Hindu religious texts, Charles Bukowski, Joseph Campbell, and Taoist philosophy. Lest listeners' fear that this is music more suited to a library than the mosh pit, the group swathes the words in an energetic bed of aggressive, distorted guitars, soaring harmony vocals, and stop-start rhythms. An unusual take on the genre, LET IT ENFOLD YOU will rock fans' ears while engaging their minds.

[DeToxRox]

Originally Posted by Shorty3281

Only one.

Senses Fail - Let it Enfold You
Probably no one but mckerney, McSweeny, and the like's cup of tea. My brother got the CD for me figuring I would like them, and I must say I do. Reminds me of Boys Night Out, but catchy stuff at the same time. Hit up http://www.purevolume.com/sensesfail to sample three songs, though my two favorites from this CD are not available (FWIW, that'd be Lady in a Blue Dress and Choke on This). I don't agree with purevolume's listing that they are "Emo / Pop / Rock", I'd just say this is Hardcore / Rock with a touch of screamo. Of the three available to listen to on PV, Rum is for drinking, Not for Burning or Buried a Lie are both better than the CD's title track Let It Enfold You in my not so humble opinion but those don't do the best tracks on the album justice.

You can go here to listen to all the tracks, but you have to deal with realplayer and it's not as smooth as purevolume's.

So after all that rambling, jumbled, masterpiece of ranting, here's a real review (towerrecords.com - not their label just so you know it isn't biased):

On LET IT ENFOLD YOU, Senses Fail delivers a potent combination of tuneful pop-punk and thrashing emo-core ... The factor that differentiates the New Jersey quintet from many of its peers, however, is the band's uncommonly intelligent lyrics. Frontman/main songwriter Buddy Nielsen foregoes the lost-love-and-broken-hearts themes typical of most emo in favor of literary references and existential questions. In fact, inspirations for the songs include Hindu religious texts, Charles Bukowski, Joseph Campbell, and Taoist philosophy. Lest listeners' fear that this is music more suited to a library than the mosh pit, the group swathes the words in an energetic bed of aggressive, distorted guitars, soaring harmony vocals, and stop-start rhythms. An unusual take on the genre, LET IT ENFOLD YOU will rock fans' ears while engaging their minds.

Good review, though I don't like Senses Fail, it was a good review.

Jersey produces too many pussy bands

The Dillinger Escape Plan is the exception.

[korme]

well i am glad you don't like them because i instantly felt like a douchebag for not including you in the names of people who would like them.

[DeToxRox]

Originally Posted by Shorty3281

well i am glad you don't like them because i instantly felt like a douchebag for not including you in the names of people who would like them.

yeah well .. you're a bengals fan.

check AND mate.

[lcjjdnh]

Two albums I just got to add to the list, not necessarily new but new to me at least. Both albums are from "The Band", a group which for some reason I avoided and boy was that a mistake. I'm a big Bob Dylan fan but for some reason, I just never put in the time to listen to these guys and I regret that now because these two albums are really just amazing.

I'll let allmusic take it from here

The Band
Music From Big Pink
5 out of 5 stars
None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music From Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically. Tenor Richard Manuel's haunting, lonely voice gave the album much of its frightening aspect, while Rick Danko and Levon Helm's rough-hewn styles reinforced the songs' rustic fervor. The dominant instrument was Garth Hudson's often icy and majestic organ, while Robbie Robertson's unusual guitar work further destabilized the sound. The result was an album that reflected the turmoil of the late '60s in a way that emphasized the tragedy inherent in the conflicts. Music From Big Pink came off as a shockingly divergent musical statement only a year after the ornate productions of Sgt. Pepper, and initially attracted attention because of the three songs Bob Dylan had either written or co-written. Soon, however, as "The Weight" became a minor singles chart entry, the album and the group made their own impact, influencing a movement toward roots styles and country elements in rock. Over time, Music From Big Pink came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre.

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music From Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically. Tenor Richard Manuel's haunting, lonely voice gave the album much of its frightening aspect, while Rick Danko and Levon Helm's rough-hewn styles reinforced the songs' rustic fervor. The dominant instrument was Garth Hudson's often icy and majestic organ, while Robbie Robertson's unusual guitar work further destabilized the sound. The result was an album that reflected the turmoil of the late '60s in a way that emphasized the tragedy inherent in the conflicts. Music From Big Pink came off as a shockingly divergent musical statement only a year after the ornate productions of Sgt. Pepper, and initially attracted attention because of the three songs Bob Dylan had either written or co-written. Soon, however, as "The Weight" became a minor singles chart entry, the album and the group made their own impact, influencing a movement toward roots styles and country elements in rock. Over time, Music From Big Pink came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre.

The Band
The Band
5 out of 5 Stars
The Band's first album, Music From Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music From Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking uptempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was the Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor. The 2000 CD reissue featured seven bonus tracks.

[Ksyrup]

I admit, I've done a horrible job keeping this thread up-to-date. Probably due to the fact that I've been really busy the past several months (which seems to have died down), but also because I've bought so many new CDs, I'm not sure where to start. And once I get behind, I might as well stop trying to catch up and just begin with the most recent stuff.

I'm not entirely convinced that this is the best format, since we were able to sustain 4 separate threads on The Mars Volta's new one that probably wouldn't have generated 6 posts in this thread. However, in the interest of keeping the clutter to a minimum, I also don't think it is wise to create a separate thread for each CD. Maybe a monthly recap thread of new purchases (not necessarily new albums) would be better...?

Anyway, I'm going to try to redeem myself by starting fresh with my most recent purchases (tMV not included, since we've beaten that one into the ground).



Michael Lord - Sway

Above-average adult alternative Britpop, very good for a debut. I'm a sucker for lush textures and arrangements. A couple of these songs have been featured on Las Vegas, Laguna Beach, and Alias. Seems like more and more bands and singer/songwriters are finding an outlet on TV shows for music that radio won't play. Strange phenomenon.

The CD can be purchased at CDbaby.com.



Ed Harcourt - Strangers

This guy is flat-out great. Another adult/alternative pop/rock artist, Strangers is Harcourt's 4th release and, I think, his best. Let Love Not Weigh Me Down is an absolutely emotionally-charged piece, with a simple piano-driven melody that builds to a haunting violin/guitar crescendo. Although I'm not a big fan of Tom Waits, his previous work has drawn those comparisons - his voice can be alternatively crackling and clear, depending on how he wants to use it.

Here's the review from allmusic.com, which, ironically, mentions by comparison the two artists whose CDs are next up for a mini-review.

Can an artist be too talented for his own good? Multi-instrumentalist, multi-headed musical hydra, singer/song-summoner Ed Harcourt begs the question on his fourth studio effort, Strangers. From the opening guitar squelch that soars and cuts into the lead-off track, "The Storm Is Coming," it's apparent that Harcourt is on a creative rage. He layers piano, guitars, and keyboards all the while crooning and wailing. Similarly, "Let Love Not Weigh Me Down" builds weeping violin and smashing guitars on top of plinky piano as Harcourt cries on about how being in love is to affirm all that is positive about being alive. He even gets around to updating the Police's "Born in the Fifties" with "Born in the Seventies," a deceptively jaunty plea for older naysayers to give his generation a chance or get out of the way. The overall effect ends up sounding something like a reworking of "Under Pressure" featuring Ted Leo and Rufus Wainwright backed by the Flaming Lips. Needless to say, Harcourt's exploding arteries of emotion can get a bit tiring as he insists on building the volcano of tension track after track. However, just when you think it's about time to call "uncle," Harcourt lets go of your arm with tracks like "The Trapdoor," a Nick Drake meets Neil Young-style harvest moon of a song that sinks into your gut. Despite being a crack melodicist with a knack for a catchy lyric and an iconoclast's taste for oddly disparate but somehow fitting musical influences that range from Chet Baker and Todd Rundgren to Sonic Youth and Screamin' Jay Hawkins, Harcourt isn't a household name. Occupying the same deeply harmonic and beatifically sanguine post-Radiohead space in the music scene as similarly inclined cult figures Andrew Bird and Eric Matthews, Harcourt seems the most obvious graduate of the post-rock class to succeed in a Badly Drawn Boy cum Prince kind of way. So, why hasn't it happened yet? Maybe it's because Strangers finds Harcourt in the uncomfortably enviable position of being something along the lines of a thinking man's Chris Martin, which is to say, Strangers is a devastatingly accomplished album.



Eric Matthews - Six Kinds of Passion Looking For An Exit

It's about freaking time - Matthews' last release was 1997. Sophisticated classical pop is probably the best description for Eric Matthews' style. This album is actaully quite a bit scaled back than his previous work, relying more on vocals and acoustic guitar than orchestra and horns. I'm not sure what to think of this one yet (it just came out today), but this guy's work is still a cut above the rest even when it's not clicking on all cylinders.



Andrew Bird & The Mysterious Production of Eggs

I just discovered this guy about a month ago, coinciding neatly with the release of his new album. This is the third one I've bought already. It's hard to describe his style, since it seems to change from album to album, but the latest is more of a straight-ahead lush adult alt-pop sound than previous efforts. The Swimming Hour, the first of his I heard (released in 2001), is like a mixture of swing, jazz, soul, and pop. This one's not quite that varied. Bird is a violin virtuoso, so violin is featured prominently throughout. I've only been through this one a few times, but I'm really digging it so far.

The allmusic.com review seems to give a good history, so I'll leave my comments to a minimum:




It seems there is always a sort of acceptance of an artist's stability when the fifth album is displayed for the public, oftentimes displaying that artist's graduation from an extended flash-in-the-pan to a full-fledged institution, but when this time came with Chicago-based violinist Andrew Bird's Mysterious Production of Eggs, it was difficult to apply these adjectives to his career. It was not because Bird hadn't staked out his territory and proved his resilience in an industry that so quickly disposes and wears out its work force, but because over five albums, Andrew Bird has frantically, and capably, tackled different genres, giving his career over five albums the illusion of three careers.

Andrew Bird established himself as an expert within the retro-swing movement in the mid- to late-'90s with both his debut album, Thrills, and its follow-up, Oh! The Grandeur but when he released Swimming Hour, it was almost to say, "Oh what a fool I've been, backing myself into this retro-swing corner." That album mixed Memphis soul and lush pop with hints of radiating progressive folk and straight-up rock & roll, and likely destroyed, or at least completely boggled, much of the fan base he had built up, but a new direction, filled with open opportunity was set. It was as if Bird gave himself a "do-over" and debuted all over again. When he dropped both his band and his label for the introspective and beautiful Weather Systems, it was hard not to think of the album as something of an experiment. Not only did he turn away from all the new possibilities to which he had hinted with Swimming Hour, but he uncovered even more new possibilities for his musical path by truly making an album that sounded like nothing else. It was yet another kind of debut, one that truly excited fans and critics, but one that made Thrills and Oh! The Grandeur feel as ancient as the time period they mimicked, and Swimming Hour feel like an abandoned island rich with forgotten fruit, waiting to fall and rot.

It was with all of this in mind that made the coming release of Mysterious Production of Eggs both exciting and terrifying. It is an album which mines similar veins as the deepest self-exploration of Weather Systems, even making references to that album. Most obvious is the fleshed-out version of "Skin," this time with vocals and retitled "Skin Is, My." It is an album which takes some of the lush-pop, full-band feel from Swimming Hour and expands on that. Even more so, as damning as this may be to write, it is on this album that Bird seems to have found his comfort zone, his first fully realized album in concept and sound and even in the remarkably well-conceived artwork by Jay Ryan. It is his first album which sounds completely like an unfettered, consistent, and unforced journey, or rather his first album that displays these amenities so well that it enables the listener to hear his previous albums with a newer, higher standard, bringing out the previously unnoticeable, though minute, flaws of those albums. As always, Bird has enlisted the help of drummer Kevin O'Donnell and vocalist Nora O'Connor (the remnants of Bird's backing band Bowl of Fire) throughout, as well as a few guests here and there, but as stated, Mysterious Production of Eggs does reinstate some of the full-band feel showcased on Swimming Hour. The majority of this comes from Bird's exploration of the guitar, an instrument until now he had yet to record himself playing. The most noticeable influence of this is the opening vocal track, "Sovay," which contains almost no violin adornment at all in exchange for a pair of finger-picked acoustic guitars, Rhodes, vibraphone, and drums. For the most part Mysterious Production of Eggs remains as a very laid-back affair, save the few explosive moments of tracks like "Fake Palindromes" and "Opposite Day," both ultra-compressed and urgent numbers alluding to something the Flaming Lips could have stumbled across at a practice session. Also exciting about Mysterious Production of Eggs is Bird's first hearty employ of vocal multi-tracking, an unsurprising update considering Bird's and O'Connor's amazing vocal abilities and instinctive interplay. The result is an utterly mesmerizing and magnetic album, almost unfair in how incredibly ambitious and impressively pulled off the whole thing is. Of course, the release of Mysterious Production of Eggs brings to mind the unfair question, "What could possibly come next?" before the album has had the chance to even completely sink into its own place in Andrew Bird's baffling catalog.

[Fritz]

Originally Posted by lcjjdnh

The Band
Music From Big Pink
5 out of 5 stars

You like this better than Dylan's Basement Tapes?

[lcjjdnh]

Originally Posted by Fritz

You like this better than Dylan's Basement Tapes?

It's pretty close in my mind. I really like both of the albums, although if you told me I could only have one of them, I'd probably take Music From Big Pink but it would really be a toss up. But, the Basement Tapes are definitly ahead of "The Band".

[Lonnie]

Kritickill - Psalms

http://www.kritickill.com

These guys are friends of mine that are on their 3rd independent release. I'd say they are most similar to Sevendust and Killswitch Engage. Due to bad management they are still unsigned, but I doubt that will last long with the new manager and CD. After reading Ksyrup's posts, I figured I'd post a bit about them as they are a good fit to his interests.

Their song "Face to Face" from Psalms is playing on their website.

If you are in the Dallas area, they'll be playing at the Curtain Club friday night. I'll be there.

Bio snagged from localbandnetwork.com, it needs updating.

Music types: Rock, Metal
Description:
Exploding out of the Central Texas area, Kritickill has quickly established a strong reputation as one of the state’s hardest driving musical forces. Their unmistakable melodic style of hard-core metal and their precision-timed stage presence continue to increase their fan base and market penetration in exponential numbers. The four members, Dave Irons (Vocalist), Todd Gardner (Drummer), Donny Morse (Guitarist), and Bryan Koestens, originally found each other in 1997. In 1999, the band decided to pursue a more unique, harder-edged genre. After months of practice, re-writing, re-rewriting, and much sweat equity, the band unleashed their newfound style and name, KRITICKILL, upon the Texas music scene…. with newfound acceptance by the masses.

The name Kritickill spread rapidly, leading to invitations for the band to open for noted national acts such as FEAR FACTORY, ANTHRAX, KITTIE, DROWNING POOL, THE UNION UNDERGROUND, NON POINT, HATEBREED, NO ONE, and AMERCICAN HEADCHARGE, and many others. In 2002, the band completed their second recording project, "TRUST" which has been hailed by club owners, producers, radio program directors and fellow musicians as one of THE MOST IMPRESSIVE recording projects by an unsigned act.....EVER! TRUST was released for retail sale in 2002., with sales exceeding 5000 copies to date. In 2003, the band launched an all out assault onto the radio airwaves and A&R reps everywhere with FOUR new tunes (not yet available for resale) : "FREEDOM", "G.S.M.", "YESTERDAY", and "DONKEYBALLZ". The single "FREEDOM" has rapidly gained full rotation radio support at 107.3FM The FOX ROCKS, KEYJ, and several radio stations across the U.S. Cuts such as "Alienation", Fallen", "Indecision", and "Captured by the Water" have gained impressive requests at stations KNAC (Manhattan Beach, CA), WSUP (Platteville,WI), KIBZ (Lincoln, NE), KNDI (Honolulu, Hawaii), WYYX (Panama City Beach, FL) and ESPECIALLY on MUSIC CHOICE (New York, NY) on Direct TV and Dish Network Television.

Currently, the band is being shopped for a major label recording deal on the U.S. East and West coasts. The band also recently tied relations with David Zychek & Dave Prader (Dream Theatre)to produce their latest AND GREATEST recording project entitled Psalms. The new album is due for public release in JUNE 2004. For more information on kritickill, visit: www.kritickill.com or contact: Clifford Dyer (Manager)P.O.Box 3785 Temple, Texas 76505 [email protected]


Band Members:
David Irons: Lead Vocalist / Strong vocal background in Gospel & Blues genres. Avid acoustic guitarist. Influences include Jim Morrison & The Doors, Hendrix, Stevie Ray Vaughn, Robert Plant & Led Zepplin, King's X, Pantera.

Todd Gardner: Drummer / Accomplished perfectionist in the percussionary arts (good drummer...good drummer!). ASE and MOPAR certified professional mechanic specializing in transmissions, into fast cars, fast bikes, and fast chicks. Influences include Iron Maiden, Pantera, SevenDust.

Deno Casino: Bassist / Bass and low end cacophony specialist (likes to create low end loud noises). Reputable afficianado of well prepared poly-unsaturated fat-emersed poultry & fowl (fried chicken). Influences include Bootsy Collins of Parliament, Testament, Incubus.

Trainwreck Morse : Guitarist / Well versed in all genres, notably in classical and extreme heavy riffs. Impeccable forte in the area of fine wines, a true connoisseur of complex Napa and Import wines and champagnes. Influences include Death, Glassjaw, Trans Siberian Orchestra.

Clifford Dyer (Manager) Far Beyond Driven to succeed!!

[tanglewood]

Originally Posted by lcjjdnh

Two albums I just got to add to the list, not necessarily new but new to me at least. Both albums are from "The Band", a group which for some reason I avoided and boy was that a mistake. I'm a big Bob Dylan fan but for some reason, I just never put in the time to listen to these guys and I regret that now because these two albums are really just amazing.

I am also a huge Dylan fan whose collaboration on The Basement Tapes led me onto The Band and now I am a huge fan of them two. "The Band" is one of my favourite albums ever, top-5 probably.

[Kodos]

Don't have time to do a review, but Joan Jones - Starlite Criminal is an excellent CD by an artist I don't think most people have heard of. Amazon has samples of the songs, most of which I think are excellent. Probably the reader reviews on the site will provide more insight than my half-assed post, but I just wanted to suggest it. I think this album deserved a lot more success and airplay than it ever got.

[sachmo71]

Originally Posted by Ksyrup

I'm a sucker for lush textures and arrangements.

Ksyrup, what does this mean? Can you give me an example of a song with lush textures?

[Ksyrup]

Essentially, taking a basic song and layering it with multiple tracks of guitar, keyboard, and orchestration to create a full, almost symphonic, wall of sound. Check out pretty much anything Brian Wilson has done (Smile, for example, or some of the Beach Boys songs you're undoubtedly familiar with), or anything associated with Van Dyke Parks (Silverchair's Diorama, the tracks Across the Night or Tuna In the Brine are great examples), Rufus Wainright, the guys mentioned above (Harcourt, Matthews, Bird), Archer Prewitt, Jeremy Enigk, Richard Ashcroft...

[Kodos]

Like Mutt Lange's habit of layering music? (See Def Leppard's Pyromania and Hysteria)

[Ksyrup]

No, not really. This type of layering produces an additional depth to the music; his produces a coating of gloss or sheen to make the music slick(er) and more marketable.

[Kodos]

Well, that is Mutt's M.O. His goal is to make an album sell as many units as possible.

[Ksyrup]

I don't dispute that. But that doesn't make it similar to what Van Dyke Parks does.

[Kodos]

Okay. I was just asking. You've probably correctly guessed that I've never heard of Van Dyke Parks, nor most of the groups you've listed -- although I am familiar with the Beach Boys. And I believe Silverchair was one of the many "sounds like Pearl Jam to me" bands of the 90s.

I will happily crawl back under my 80s music rock now.

[Ksyrup]

They're pretty much all singer/songerwriter types that write varying types of alt pop/rock. I'm at two extremes now with my musical tastes - heavy/prog stuff and orchestral pop. This is the latter.

Silverchair used to be grunge. Then Daniel Johns got into his 20's, married Natalie Imbruglia, and started writing great pop/rock songs. Aside from 2 tracks on Diorama, the rest is quite different than what you'd expect from them based on their early grunge sound. There are 4-5 songs on that album that are unbelievably well-written and arranged, by Johns himself. And he brought in Parks to help orchestrate 3 or 4 of the tracks.

He also got really, really sick in 2003 and now Silverchair is up in the air. That album, almost 3 years old by now, is still on my "highly recommended" list.

Here's the allmusic.com review:


One of the few true shocks in life is when a young band with a seemingly short shelf life manages to somehow keep it together and continually improve. Take Silverchair, whose plodding angst anthems were the subject of much ridicule during their initial splash. But they somehow kept going and kept improving, and Diorama is the sound of a band finally growing into their own skin. The songs have a sense of space and tunefulness that was always missing from their previous efforts, and the production (by David Bottrill) brings to mind everything from the charging anthems of Big Country to U2's first experiments with Brian Eno. Singer Daniel Johns steps into the forefront here, showcasing his rich voice and shockingly catchy tunes with a gusto missing from their earlier albums. His efforts recall deceased singer/songwriter Josh Clayton-Felt, utilizing a similar vocal approach and writing the same sort of psychedelic soul on tracks like "Tuna in the Brine." A song like "World Upon Your Shoulders" could have never been possible before, but in one song they take the washed-out symphonies of Soft Bulletin-era Flaming Lips and the delicate falsetto pop of Jeff Buckley and combine them into a digestible pop nugget. Although the song may not be as brilliant as the artists they reference, their simple willingness to even attempt that sort of song shows a remarkable maturity. The awesome guitar work from Johns also shows growth, as the songs often drift into Edge-like noodling that compliments his voice much more than the chugging riffs of their first few albums. "Without You"'s Goo Goo Dolls-lite is an unwelcome twist, taking their newfound sense of melody and giving it a blustery chorus that robs the track of its power. The thick "One Way Mule" is another minor disappointment, reverting back to their grunge sound for a song that has little of the intelligence and beauty of the rest of the album. But mostly this is a wonderful surprise from a band thought to have been finished in the late '90s. Being hesitant to give this a chance is perfectly understandable, but Silverchair has grown up and put together a fine mix of pop and rock on Diorama.

[Kodos]

As Ralphie Wiggins once said: "What's a diorama?"

[Ksyrup]

Ralphie listens to Def Leppard.

[Kodos]

"Miss Hoover? The Pyromania album tells me to burn things."