PHOTOS
PHOTOS
Mike Evans
THE 1990’S — Kicks
THE GOOD: Scottish indie poppers 1990’s dodge the sophomore slump, and give us a great big batch of Kicks.
THE BAD: Not “bad” but average — Kicks is more about instant gratification and less about leaving a lasting impression.
THE NITTY GRITTY: The trio cranks out a healthy dose of glam-flavored power pop that’s part vintage Bowie, part modern Franz Ferdinand (both bands sharing some common roots) and part Britpop. It’s all good, but don’t expect the incredible.
Better moments include the instantly infectious “Tell Me When You’re Ready,” the slightly elegant “Balthazar,” and “Sparks” — a closing cut that leaves you craving a bit more. Tightly woven beats and riffs draw you in — dazzling melodies finish the job.
The record’s biggest drawback is its inconsistency. In between all of the aforementioned gems, one finds a handful of tracks that simply melt into the background — cookie-cutter tunes that are utterly forgettable. Oh well — they can’t all be masterpieces.
BUY IT?: Maybe. I like this album. I don’t love it. And unless you can afford to buy absolutely everything (and you can’t), there are other records far more worthy of your time.
THE SOUNDTRACK OF OUR LIVES — Communion
THE GOOD: Sweden’s T.S.O.O.L. unleashes something on a grand scale.
THE BAD: Nope.
THE NITTY GRITTY: The boys actually have the balls to do something that most wouldn’t even dare think about in the age of the download — release a DOUBLE album. And Communion stays strong for an impressive 94 minutes. The record definitely has its shifts in mood — rolling from the sweeping (and very Radiohead-esque) “Second Life Replay” to the foot-stomping “Thrill Me” to the straight-up rocker “Distorted Child” with the greatest of ease.
While many double albums either lose steam or grow self-indulgent on the second disc, Communion keeps up its momentum, easing us into its second half with the melancholy “Everything Beautiful Must Die” and the lilting “The Fan Who Wasn’t There.” T.S.O.O.L. creates another healthy dose of intelligent pop and passionate rock that was definitely worth the wait. The record’s artwork is even exquisite — a series of pictures bursting the status quo’s conservative bubble. The pictures seem to scream “Everything is just dandy … here in hell.”
BUY IT?: Yes! Communion reminds us what a fantastic album is — a collection of songs that go great together. We really shouldn’t lose that.
WHITE RABBITS — It’s Frightening
THE GOOD: Brooklyn indie rockers White Rabbits obliterate the sophomore slump on the captivating It’s Frightening.
THE BAD: No gripes.
THE NITTY GRITTY: For the uninitiated out there — imagine some early melodic Radiohead with less guitars and more driving ringing piano, with the rhythmic thump of Spoon underneath. That pretty much sums up the spirit of It’s Frightening.
Frontman Stephen Patterson even resembles a cross between Thom Yorke of Radiohead and Britt Daniel of Spoon. And guess who produced the album? Britt Daniel of Spoon! Wow — sometimes synergy is an amazing thing.
The record is an intense listening experience. The one-two opening punch of “Percussion Gun” and “Rudie Fails” rides some powerful rhythmic shuffles. Even more subdued moments like “Company I Keep” and “Leave It At The Door” retain the drama of more forceful tracks such as the rolling and tumbling “Right Where They Left.” Somehow the record feels seamless and jagged all at once — its varying energy levels working with each other.
BUY IT?: Definitely. It’s Frightening plays like a spontaneous set caught on tape — a session where a hollow bang-and-clatter complements well-crafted songs. Everything falls randomly into place, and witnessing the phenomenon is a treat.
NEW RELEASES — CD
MOBY — Wait For Me
ROB THOMAS — Cradlesong
WILCO — Wilco
NEW RELEASES — DVD
12 ROUNDS with John Cena
TWO LOVERS with Joaquin Phoenix and Gwyneth Paltrow