Listening Habits - Spiderman 3 Soundtrack

Oh, indie rock, you have come a long way. In fact, "indie rock" no longer means rock from an independent label - it's simply a sound and aesthetic, much like "independent film." The latest case in point - the Spiderman 3 soundtrack. Back in 2004, the first Spiderman soundtrack was littered with Nickelback and Sum 41, yet now the Yeah Yeah Yeahs, Walkmen and Jason Schwartzman's new band write the anthems. Exclusive soundtrack songs are not usually considered a band's best work - yet a few of my faves stepped up to the plate. The Walkmen's "Red River" is quite good. When asked about any connections between the song and the film, Walkmen singer Hamilton Leithauser said, "Well, it's called "Red River" and Spider-Man's red." Works for me. Incidentally, the Walkmen's label, Record Collection is putting out the soundtrack.

The Yeah Yeah Yeahs also drop a bomb with the exciting "Sealings" - pretty much up there with anything on there last record. With a title like "The Supreme Being Teaches Spider-Man To Be In Love," you knew the Flaming Lips' contribution was going to be rad. Songs from the Killers (no keyboards!) and Wolfmother are kinda disappointing, thought the inclusion of Chubby Checker's "The Twist" almost cancels them out.

LCD Soundsystem Returns With More Brilliance

Listening to Timbaland's new solo album, I begin to devise a mental list of those artists the superproducer should have worked with. Yoko Ono seems like an obvious one. Jarvis Coker, maybe. And of course, LCD Soundsystem mastermind and 1/2 of the DFA production duo, James Murphy. Murphy's first work as LCD Soundsystem included a series of singles followed by a brilliant double album. One can imagine that Murphy boasts a pretty serious record collection, or at least an extensive knowledge of music and its history. He has a knack for crafting pop hooks, but spends much of his time breaking them down, or pushing the limits of a song far past where you would imagine it heading. Somehow it all works, and on that first record, he created something that felt subversive, cool, and reasonably accessible. Such was accomplished without appearing to do too much or be trying too hard to do anything but create good music. The un-official followup, a nonstop 45 minute mix commissioned by Nike, was again catchy, while lacking Murphy's unique, half-spoken vocal delivery.

Thankfully, Sound of Silver brings Murphy back to the microphone. The lengthy monologues that characterized his early work are all but gone, while Murphy seems to be finding even greater confidence in his singing voice. At the same time, he's unafraid to distort it or slow it down for an interesting effect. Single "North American Scum" showcases just what makes LCD brilliant, as it retains the bounce of "Tribulations" (one of his first record's finest numbers) while also bringing in yelling children and sarcastic lyrics. The song works as both anthem and critique, pointing out many of the faults of North America, while also finding confidence and identity through it. Elsewhere, Murphy seems disillusioned with the party culture he was once a part of, multiple times referring to his removal from the New York scene. On closer, "New York, I Love You But You're Bringing Me Down," he notes the city remains much the like one he once loved - while at the same time it is this exact fact that means he must move on.

Young Love Wants 2 B Your Guilty Pleasure

We are living in the post-Timberlake era. That is to say, thanks to Justin (and his partner in crime, Mr. Timbaland) embracing pop music is not only acceptable, but the really, really cool thing to do. The fact that last year's FutureSex/LoveSounds managed to bridge the gap between the art house and the stadium may have been accidental, but this doesn't mean record companies haven't taken notice. Hipster R&B may very well have a place in the music world - beyond Beck's pseudo ironic jams. Enter Young Love, with a debut - Too Young to Fight It - out on Island Records. Too serious to be Beck or Har Mar Superstar, but with a slight hipster edge to suggest he does much of his shopping at Urban Outfitters. Too Young is never guilt free, kicking off with "Discotech," a dance number that borrows both from 80's jock jams and hard rock. Elsewhere, he carefully toes a line that sway both in the direction of boy bands and emo. Single "Find a New Way" has a catchy beat, while also sounding a bit like a Fall Out Boy dance remix. "Tell Me" is my personal favorite - with Babyface-like acoustic guitar beats and Backstreet Boy harmonies. Whether Too Young will seem like a gimmick or actually win over indie rock types is yet to be seen. Nonetheless Dan Keys has created a set of pop songs that are interesting, if somewhat meaningless.

"Find a New Way"

Hissing Fauna: The Kevin Barnes Experience

The most exciting albums are ones that flow seamlessly, creating a story with each passing song. An album doesn't need a concept to succeed as such - in fact that can often bog it down. Hissing Fauna, Are You the Destroyer? - the new record from Of Montreal is loose in its concept, but compelling and addictive in its flow. Opener "Suffer For Fashion" rings with a sense of urgency, while establishing the loops, tricks and humor that will define the album. Of Montreal's albums have steadily been moving away from basic indiepop to more experimental dance fair, highlighted by last year's remix album, Satanic Twins. Hissing Fauna is the vision of that movement fully realized. Songs frequently lead into one another, weighing heavily on dance-floor friendly beats and tongue-in-cheek lyrics sometimes too clever for their own good. Kevin Barnes - the brainchild behind the band - is frequently wearing his influences on his sleeve, from the Beatle-esque harmonies and Sgt. Pepper's production values to his Ziggy Stardust nasal.

On "Labrynthian Pomp," he seems to be out-scissoring the Scissor Sisters before leaping to a Dark Side of the Moon-like atmosphere. It is in the lyrics however that Barnes completes this hipster bible of the future - musing on "Heimdalsgate Like A Promethean Curse," "I guess it would be nice/ to give myself to a God/ but which one/ which one do I choose/ Oh, the church is filled with losers/ Psycho and confused." Elsewhere, on "She's a Rejector" and "Bunny Ain't No Kind of Rider," he's simply hung up on women at dance parties. I don't know how much time Barnes actually spends at dance parties, but he's certainly created a pop record that sounds just too for cool for just about everyone. Even him.

Purchase Hissing Fauna at iTunes

Review: Adventures In The Underground Journey To The Stars / South

On 2003's With the Tides, London-based trio South conjured up the dark, atmospheric rhythms of Echo and the Bunnymen, creating the perfect moody soundtrack for a rainy day. For the follow-up, Adventures In The Underground Journey To The Stars, it appears that they've been spending some time in the sunshine. Get past the awful cover art and find a record that is at points bright, dreamy, funky, sexy, and rather soothing, powered by a collection of drum loops, spacey strings and piano, driving acoustic and electric guitar rhythms, soothed over with lush harmonies and calls for positive affirmations like, "there must be more to life than this," and "don't beat yourself up." Though different genres are hopped to - sometimes mid-song - and their website describes them as "chameleons," it all feels completely natural, and free of gimmick.

To be more precise, they describe themselves as the "chameleons of pop," a rather fitting title - and Adventures... ranks as quite possibly my favorite pop record this year. Opener "Shallow" sets the brighter tone, with subway sounds crashing into drums and guitar. It's rather similar to New Order, both lyrically and rhythmically - and the same comparison could be made for much of the album. "A Place in Displacement," the record's first single, sounds a bit like last year's "Waiting For the Siren Call" (from the aforementioned influence) - not a bad song to bite. "Safety in Numbers" flips between a sexy retro beat and a dark, harmony-laced chorus, while "Up Close and Personal" jumps from slow rhythms to bouncy indie pop (complete with handclaps) broken up with an aggressive chorus.

The formula of blissful instrumentation and gorgeous harmonies reaches its peak on "Meant to Mean." Complemented by a string section, the track would have made for a better closer than "Flesh and Bone," the only one I find myself skipping.

4 (out of 5)

::1 Related Link::
1 South My Space Page

::Video::
"A Place in Displacement"

Review: G.O.O.D. Music: The Class of '06 Mixtape / J. Period and Complex

Fonzsworth Bentley is probably best known for once being P. Diddy's personal assistant - or for his trademark fashion and umbrella dance in recent OutKast videos. He's a rather interesting fellow - having been trained in classical violin, graduating from Morehouse College with a degree in biology, attending the Fashion Institute of Technology, all before claiming Diddy as his boss. Now, the next step has come - a rap career, but don't expect anything generic. If "Laid Back" is any indication, Bentley is a keen observer with a unique delivery, that seems to mesh both members of Outkast with Vincent Price. Signed to Kanye West's G.O.O.D. Music label with an expected summer release date, I imagine Bentley's debut will be far more groundbreaking than anything ever released by his former employer.

West set up G.O.O.D. Music (short for Getting Out Our Dreams) as part of his contract with Sony, following the dissolution of the Roc-a-fella label. The label's profile was quickly raised with the releases of Common's Be and John Legend's Get Lifted in 2005. The Class of '06 Mixtape celebrates many of last year's hits, mixing them alongside new songs and remixes, showcasing lesser known G.O.O.D. Music artists. With only one song from Bentley, the main focus of the mixtape is on Consequence and GLC, both of whom are familiar to Kanye fans from their appearances on his two albums (together on "Spaceship," GLC on "Drive Slow" and Cons on "Gone" - all included here). Unfortunately, neither quite rises to the occasion. While Consequence reminds me slightly of Lupe Fiasco, and GLC possessess a deep voice and cool delivery, their rhymes come off as rather generic, aided little by West's beats. Trio Sa-Ra, whom West describes as "really sexy" with an "'80's type feel" fare a bit better. Though I can't claim to have been crazy about any R&B release since the mid-'80's, "Hollywood" has enough quirky beats to stand out. "Star Warz," with its Houston-style "chopped and screwed" chorus, is less interesting.

Amidst all these new artists, the real stand-out remains Common. Though many of his hits from last year ("The Corner," "They Say," "Testify") are included, the highlight is a new one - "The Movement," boasting a robotic bass beat. It reminds me, I've been thinking that you could play a drinking game for the number of times Common uses pop culture as a metaphor. For instance, here he knocks "MC's and actors/with no Fear Factor," while noting, "Above the Rim?/I'm above the game."

Those who purchased Kanye's Second Semester mixtape will find some overlap, but there are enough new songs, not to mention the excellent mixing of J. Period, to keep us West-obsessivess happy.

3 (out of 5)

::Previous Mixtape Reviews::
1 Kanye Essentials: First Semester (The Reissue) / Mick Boogie
2 Second Semester: Kanye Essentials 2 (mixtape) / Mick Boogie & Kanye West

::1 Related Link::
1 Fonzworth Finds Worthy Collaborators For Debut LP: Kanye, Andre 3000 (MTV News)

Review: Vision Valley / The Vines

Streaming here

I took some serious heat for liking The Vines when their debut, Highly Evolved, was released in 2002. Linked by mainstream publications with three other bands, as part of a "garage rock revolution," the Vines faced a backlash much quicker than the others. Their follow-up, 2004's Winning Days was quite mediocre, and when the band canceled a tour and singer Craig Nicholls was diagnosed with Asperger's Syndrome, few expected to see the Vines ever again. Alas, today sees the release of their third album, Vision Valley, but don't expect it to win over any naysayers. In fact, it has potential to turn off even the most devoted fan.

Lead single "Don't Listen to the Radio" is a bizarre combination of Beach Boy-style verses, with a chorus reminiscent of Nirvana. It's a rather outdated rally cry, with rock stations switching formats in major markets and given the fact that their sound is more similar to acts receiving radio play (Jet, Velvet Revolver) than anyone who isn't. The comparison to Nirvana can be attached to nearly every song, and the album plays like a leftover demo from the early nineties. Unable to rekindle the energy and excitement of that first album, the heavier songs are almost unbearable. Titles include "Fuk Yeh," "Futuretarded," and "Gross Out," which bites the riff from their biggest hit "Get Free" while Nicholls screams out, "Come on/let me feel the gross out" with all the gusto of a high school sophomore.

Only on the softer songs does the trio (and sometimes quartet) sound anything like a group that once played the MTV Video Music Awards. They always had the knack for a soft, sunshine 60's-flavored tune that could win me over, and those are the only good moments on Vision Valley. The atmospheric "Spaceship" and the psychedelic folk of "Take Me Back" save the listening experience from being a total wash.

2 (out of 5)

::Previously::
1 The Vines Return: Are You Excited?

::if you liked (or were disappointed by) this record, you should really check out Ambulance LTD's New English EP (review)

Review: Ringleader of the Tormentors / Morrissey

Available Tuesday, April 4

Morrissey's 2004 album, You Are the Quarry, was often described as a comeback, but frankly, I don't think he ever left. Since leaving the Smiths, Morrissey has been recording stellar solo albums, in the vein of his former band, that have been met with cultish enthusiasm. What separated Quarry from the others, though, was that Morrissey seemed to channel his sadness into sassiness, even getting a bit political. Ringleader continues this trend but pushes it much, much further.

Given our current cultural climate, it's hard not to attach a political context to the subtle middle-eastern instrumentation of opener "I Will See You in Far Off Places," setting the tone for an album that is more aggressive than anything he has done prior. One that may not necessarily please much of his devoted fanbase. Johnny Marr, Morrissey's former songwriting partner, recently revealed that the Smiths were offered $5 million to play the Coachella Festival - and, apparently, such offers are not uncommon. If it's not the two decade-old feud between Marr and Morrissey that keeps the band apart, it will be the fact that Ringleader takes Morrissey in a musical direction so far removed from the Smiths, I don't think there's any going back.

The theme of death is present throughout the entire album, from single "You Have Killed Me" (stream) to the suicide story, "The Father Must Be Killed," where he declares, "This death will complete me." The declaration is more than just dark storytelling; dead is Morrissey as we know it. Dead is the Morrissey who was simply sad and alone, with a difficulty concealing a sick sense of humor. Alive is the Morrissey who cannot ignore his own disgust with the American and British governments or with the general public's habits of consumption. Alive is the Morrissey who seeks to rally the cult that sings his every word as if it were the gospel into a movement - one that can change the world, and how we live our lives. He calls out to them on "The Youngest Was the Most-Loved," accompanied by a children's choir, singing, "There is no such/thing in life as normal." Coming from anyone else, such a statement may seem insignificant, but with his self-assured swagger and a voice that is powerful as it has ever been, it is downright inspiring.

As the situationist title suggests, Morrissey is no longer content to sit idly, and watch life go by. Ringleader is equal parts a beginning and an end, but most importantly, it's a triumph.

4.5 (out of 5)

Review: Fox Confessor Brings the Flood / Neko Case

Though she has been a part of indie pop classics with the New Pornographers, Neko Case's solo work has proven that she is not one who cares about trends or pop stardom. The joy of listening to one of her albums is, all at once, hearing something which is fresh and exciting, while also quite familiar; Case says she strives for a sound that is timeless. Fox Confessor was influenced by gospel music, but Case points out that she is not a particularly religious person. Thus, unlike the subjects of many a country music song, her characters are not waiting on a miracle. They are free to be lonely, unhappy, even jealous, as in opener "Margaret vs. Pauline," a tale of sibling rivalry. Case sings, "Her love pours like a fountain/Her love stings like rain/Her jaw aches from wanting/and she's sick from chlorine/but she'll never be as clean/as the cool side of satin Pauline," further proof of her songwriting gifts. She's a storyteller - both as a writer and singer, well versed in the school of Patsy Cline, Loretta Lynn and Emmylou Harris, getting at the heart of where country music really lives and breathes.

She left her home in Virginia as a teenager, migrating to Canada to study design and play drums in numerous punk bands. Since that time, she's evolved into a frontwoman, but remains a road warrior. She tours relentlessly, somehow finding time in between to record brilliant albums. Her latest release finds her working alongside members of frequent collaborators Calexico, as well as the Band's Garth Hudson. The record does have a familiar sound, but she also experiments in subtle ways - the Twin Peaks and girl group harmonies on "Lion's Jaws," and the sharp strings on "Dirty Knife." Case describes "Hold On, Hold On" as the record's only autobiographical song. "The most tender place in my heart is for strangers/I know it's unkind but my own blood is much to dangerous," she sings, casting herself briefly as one of many characters who are struggling with their faith in the world. "I don't know exactly what I have faith in," she tells Interview. "It's a constant war between our instincts and tailoring ourselves to the kind of world we live in." Balancing gospel influence with lyrics of despair, Case has created a timeless record that also beautfully reflects the present moment.

4 (out of 5)

::(mp3) "Star Witness" (courtesy of Anti)

Review: Ballad of the Broken Seas / Isobel Campbell and Mark Lanegan

Available Tuesday, March 7

Isobel Campbell once played in Belle and Sebastian; she describes her voice as angelic. Mark Lanegan fronted Screaming Trees and played with Queens of the Stone Age; his voice is dark and rough, channeling Leonard Cohen and Nick Cave. Together, they make incredible music. Recording Ballad of the Broken Seas often apart from one another, the theme that strings these tracks together is distance. When Lanegan asks, "Where have you been, my darling/Where have you been, my friend," on "The False Husband," it is possible that he is singing of a lover miles away on the "broken seas." But what seems more likely is that the distance that exists here is one of a failure to communicate. The way their two voices clash, yet blend so beautifully, suggests the story of a relationship, with both parties holding out despite what they know will be the inevitable end. The story is heartbreaking and gorgeous.

The record's first half is about sadness, yet by the time a Hank Williams cover rolls around, Lanegan is completely unapologetic about his failings - "I love you baby/But you must understand/When the lord made me/He made a ramblin' man." A song later, however (on "Come Walk with Me"), both are agreeing that they can't "say they'll be true," but declare, "you're my guiding north star/and my love travels with you wherever you are." Instrumental "It's Hard to Kill a Bad Thing" (with its pretty strings and acoustic guitar) and "Honey Child What Can I Do" take an optimistic, upbeat tone, and by album's end it seems like they are going to try and make things work.

Ultimately this record tells the story of two who cannot live with one another, but cannot stand the idea of being apart. The pairing of Campbell and Lanegan is an unlikely one, but works better than one could possibly imagine. It is rare these days for records to tell stories, but this is one you can really get lost in.

4 (out of 5)

::1 Related Link::
1•Isobel Campbell's My Space Page

Review: Destroyer's Rubies / Destroyer

Those familiar with the name Dan Bejar are likely so because of the New Pornographers - the powerpop supergroup who helped found. On last year's Twin Cinema, Bejar contributed his best work to the collective ("Jackie Dressed in Cobra," "Streets of Fire") though it is likely his last. He instead is looking to focus full-time on his group Destroyer, who released their seventh and best album, Destroyer's Rubies last week. Destroyer began ten years ago with simple homemade recordings by Bejar, and while a serious lineup has formed over the past decade, the sound still bears a mark of individuality - even the name describes a person, as opposed to a movement. Their sound is often described as a glam, a label Bejar shrugs off and one that is given probably because of the natural sound of his voice.

No label seems appropriate in describing Destroyer or Rubies, but a few facts are apparent - Bejar prefers "la la las" to lyrics when it comes to the chorus,the meaning of lyrics remain a mystery (reclusive tendencies or deep romantic longing hidden behind historic tales of fallen empires?), and regardless of how long a song is (9 minutes on opening title track, it never gets tiresome. Bejar is an excellent storyteller - he can talk his way through lyrics like, "And I/was good with names/I had a way with faces," as he does on "European Oils," but a verse later can passionately cry out, "She needs release/She needs to feel at peace with her father/the fucking maniac."

Bejar has no problem switching between styles and genres, sometimes mid-song - fuzz guitar solo, flamenco guitar solo, classical piano, low-fi recording, hi-fi recording. Regardless of what hat he's wearing or label his shedding, one fact is undeniable - Rubies is a series of flawless, gorgeous and brilliant minimalist epics.

4 (out of 5)

::MP3s Courtesy of::
1•Villains Always Blink
2•Studio Mustache

Review: Zap Meemees / Satanicpornocultshop

Self-described as "Puzzling hip hop with a surrealistic touch and new technology know-how," Satanicpornocultshop craft light glitchy beats through innumerable sampled songs and sounds. The amalgam of samples, many pulled from the greatest depths of pop music, may remind some of Kid 606's The Action Packed Mentalist Brings You The Fucking Jams, but unlike that glitch pioneer, Satanicpornocultshop are not out to test your ears. Add in a little bit of DJ Spooky-esque theory and a dash of Go! Team-like fun, and you have Zap Meemees (streaming here).

Frank Stofore, of Sonore Records, writes, "Why make new music when everyday the industry discharges a discontinuous flow of spoiled idols and reanimated heroes? Re-using fragments from this huge musical garbage dump, it is possible to create new meanings and suddenly catch a glimpse of our modernity and its excesses." When the various sounds crash into one another, they give a pretty clear indication of how the outside world views American culture. The songs that are born, however, from this crashing of samples do not contribute to a greater excess. They instead create something that is pleasurable, and sometimes beautiful. Zap Meemees opens with a cover of "Blue Velvet" that David Lynch would certainly appreciate. (Here, it is called "59,054,087" - a reference to the number of Americans who voted for Bush in 2004). Singer Lisa's voice is manipulated, often being cut off and reversed, but the song never ceases to be pretty. The album returns to this song at the end before descending into its most brilliant moments - a computer voice drowning out the sound of John Lennon's "Imagine" asks "Do you hate America? Do You want to kill the president?" before colliding with the hyper-masculine sounds of Korn and Limp Bizkit, while Bush speaks about defending freedom. It's cynical, critical, hopeful, challenging, complex, deep and fun, while showing new possibilities for pop music.

3.5 (out of 5)

Review: Whatever People Say I Am, That's What I'm Not / Arctic Monkeys

And as the microphone squeaks
A young girl's telephone beeps
Yeah she's dashing for the exit
she's running to the streets outside
'Oh you've saved me,' she screams down the line
'The band weren’t very good
And I'm not having a nice time'
-"Fake Tales of San Francisco"

Sometimes it takes a little longer for a record to hit the shelves of US stores than it does in the UK. This can be rather frustrating to one who checks NME as much as I do. On the otherhand, having to wait an extra month gave me an opportunity to let all of the hype die down and approach this review from a totally objective perspective. Unlike other superhyped acts, I find Arctic Monkeys undeniably likeable. Their story - English lads in their late teens who build buzz through the internet and giving away free CDs at their shows draw the attention of major labels, building a bigger buzz and leading to a record-smashing debut. Once their record as fastest selling UK debut is surpassed (probably in the next few years), the thing about Arctic Monkeys that will matter is how good the music is. Thankfully, it happens to be very good.

Whatever People Say I Am (streaming here) is - similar to anything Jack White touches - the kind of record that renews your faith in rock and roll. Arctic Monkeys take a low-fi approach, tearing through a series of garage rock anthems that generally move at a furious pace - but not too furious that you can't dance to it. The songwriting, with its details of everyday life, recalls that of Ray Davies, while the rough accent of singer Alex accentuates the biting humor. But if it were merely a series of garage jams strung together, it would probably begin to feel repetitious. Arctic Monkeys, however, know when to slow things down, and when they do - the results are rather pretty. "Riot Van" details with nostalgia an evening of drinking and debauchery ("Have you been drinking son, you don'’t look old enough to me/I'm sorry officer is there a certain age you're supposed to be?/…Nobody told me"). It is sung so softly, one wonders if the would just prefer a simple life to one of such high a profile.

4 (out of 5)

::5 Related Links::
1•Arctic Monkeys: I'm Believing the Hype
2•Listen to the album
3•Live on KCRW
4•Download MP3s
5•Arctic Monkeys: How This Band Has Changed the Music Industry (Ben's Daily Review)

Review: 3 Leaked Guns n' Roses Songs from Chinese Democracy

Download these songs at Scenestars (after you read the review, of course)

When I was in fifth grade, Guns n' Roses were the shit: "You Could Be Mine," "Live and Let Die," "Don't Cry," "November Rain," and "Welcome to the Jungle" were basically the other thing I had to bond with the other kids over. But then grunge, Britpop and "alternative" came along, and I found artists who spoke to me in a way that Axl Rose and co. did not. I paid no mind to the covers album G n' R released in 1993, while my old tapes gathered dust as I moved on to compact discs. In the 13 years that have passed since the release of The Spaghetti Incident, a lot has happened in the world of Guns n' Roses - Axl fired all his bandmates, picking up musicians here and there (notably Buckethead, who left in 2003, and ex-Replacement Tommy Stinson); he went through a number of producers, ultimately settling on himself; the fired bandmates managed to reform under troubled singer Scott Weiland as mediocre rock group Velvet Revolver and record two albums.

In late 1997, I was watching an MTV Year in Review-type special, and they were previewing what was to come in 1998. Even then, people were beginning to wonder about new G n' R material. I recall hearing that Axl was getting really into Nine Inch Nails, and the new sound was going to reflect that. Yet, nothing came of this, and as the years passed, this album (dubbed Chinese Democracy in 1999) took on a life greater than itself. The major music magazines published investigative reports on Axl's studio habits, and the story became that of legend and myth. The band would pop up to play a festival, start a tour, even surprise a crowd at the MTV Music Video Awards, before disappearing into oblivion once again. I almost hope the album never sees the light of day, because the legend of Chinese Democracy is way more interesting than the album could ever be.

Axl popped up at a Korn party last month with news that the album would see the light of day later this year. Yesterday, three tracks supposedly on this album, hit the internet. The big question - has Axl been crafting the greatest album ever? or simply sitting on some mediocre tracks.

I'm afraid to say that it is the latter. It appears that, while in hiding, Axl paid no attention to music trends, and instead stayed in his own bubble known as Use Your Illusion. These tracks could have been done in 1998, which would explain why they sound so dated. "There Was A Time" builds up exactly like "November Rain," complete with piano, strings and layered vocals - and that's the most interesting one. It starts out with piano and drum loops - maybe that was the electronic influence he mentioned years ago. "The Blues" is pure power ballad - kinda reminded me of the Scorpions; and "I.R.S." sounds like Axl trying to channel his better days, unsuccessfully I should add. It doesn't even match up with Velvet Revolver.

1.5 STARS (out of 5)

::3 Related Links::
1:Guns n' Roses Make UK Return (NME)
2:New Guns n' Roses (Stereogum)
3:Do You Still Care?

Review: "Heard 'Em Say" (song, videos, live performance) / Kanye West

West describes his latest single "Heard 'Em Say," a collaboration with Maroon 5's Adam Levine, as "my favorite song of all time that I ever did!" To his dismay, it has failed to catch on like his megahit "Gold Digger." I admit, I was skeptical when I first found out one my favorite artists would be collaborating with one of my least favorites but, for one song, West made Levine listenable.

What is interesting about this collaboration is both parties had written their parts before ever coming together. West had written a frustrated rap about politics and society ("Before you ask me to go get a job today/Can I at least get a raise on the minimum wage/and I know the government administer aids"), while Levine had written a ballad about a relationship coming to an end ("Cuz every worthless word we get more far away/ and nothing's ever promised tomorrow today/and nothing lasts forever but be honest babe/it hurts but it may be the only way"). When the two come together, it becomes a complex song about balance and survival. He's frustrated about police brutality and his cousin's employer telling him he's being too "niggerish," but at the end of the day, he simply has to "keep believing." Maybe it hasn't caught on as a single because the message of balancing your political frustrations with your personal goals is a little too deep for the pop charts. This song has become meaningful for me as of late as I balance my anger with regards to President Bush, Democrats and the confirmation of Samuel Alito to the supreme court, with the more positive events in my personal life.


For the video, West sought out Michel Gondry - who had, incidentally, played drums on "Diamonds From Sierra Leone." In the video, West and a group of children are let in from the rain to a closed Macy's in New York City, with Levine playing the friendly security guard. West and the kids run around, while many of the products take on a magical life. While there are some great visuals and some wonderful use of color, the video lacks the darker artistic qualities that make Gondry's videos so great. The over-sentimental qualities would have fit in much better in an actual Macy's commercial.


West was disappointed with the video, too, and commissioned a second - a black-and-white clip built around animation by Bill Plympton. The animation is good, but it too fails to fully complement the complex nature of the song. "Man, I feel like I sent my gifted child to a bad school," West says of both video's shortcomings. "It's the one thing in 2005 that I feel like I really failed at."

With two mediocre videos, MTV has taken to playing a clip of West's performance of the song for his "Life and Rhymes of..." special. In the clip, West stops performing halfway through, telling the audience that he wants to go through the song slowly, explaining the story behind the process. As a West fan, I enjoy hearing about his artistic process. DJ A-Trak scratches up Levine's vocals, while West conducts his backing band, making for a strong and insightful performance. (This version is available on West's mixtape Second Semester).

Song: 4 STARS (out of 5)
Gondry Video: 2.5
Animated Video: 3
Live Performance: 3.5

::Videos Courtesy of::
1•M3
2•Flight Comics

Review: "Steady, as She Goes" b/w "Store Bought Bones" / The Raconteurs

If music is the universe, then Jack White gets his own planet. With the Raconteurs, White forms an all-star band of Detroit indie rock and roll, sharing vocals, guitar and songwriting with buddy Brendan Benson, while backed on bass and drums by Greenhornes' Jack Lawrence and Patrick Keeler, who also played on Loretta Lynn's "Van Lear Rose." Their website uses an early-1980's computer aesthetic, perfect for their sound - timeless and impossible to place. With "Steady, as She Goes" and "Store Bought Bones" (streaming at their website), White goes far beyond the garage/blues/country sound of his full-time gig, yet breezes through without hesitation.

"Steady..." builds up with drums, bass, and guitar entering separately. When White's vocals enter, it first seems like a mellowed-out version of "Blue Orchid," but he continues to defy expectations over the course of the song. I won't even try some convoluted "it's 70's meets new wave meets . . ." because that will fail to do it justice. It is simply unlike anything I have heard in a very long time.

"Store Bought Bones" is pure, dance floor psychedelia . . . . whatever the fuck that means.

The Raconteurs could be the sound of 15 years ago, but they could also be the sound of 15 years from now. With this 7" White continues his mind-blowing streak of making the past sound like the future.

4 STARS (out of 5)

::MP3s at::
1•Stereogum

Review: Second Semester: Kanye Essentials 2 (mixtape) / Mick Boogie & Kanye West

When Kanye first hooked up with Cleveland DJ Mick Boogie in 2004, it was for the Kanye Essentials mixtape, a disc of rarities to accompany the newly-rleased College Dropout. A lot has changed since then, and Second Semester is a bit of a victory lap. That being said, you won't find much that comes close to Late Registration, instead a showcase of freestyles, works in progress, rejected beats and lots of guests; it's not a record per se - it's more of a lesson in artistic process. More-than-casual fans will enjoy an intro that cuts bits from Kanye's interview with Barbara Walters over his most famous beats, which then leads to a stellar live version of "Diamonds..." In this version, Kanye drops verses from the single and the remix, establishing the bling vs. political conscience dynamic better than the two songs do on their own. Other high points include the James Brown-sampling "Brand New," "Back to Basics" with Common, and Lupe Fiasco's "Kick Push." Fiasco proves himself a gifted MC over an old-school snare, piano and strings beat that recalls A Tribe Called Quest. For those who remember the much-hyped collaboration with John Mayer that didn't make "Registration," "Bittersweet" is included here as a bonus track. While Mayer fans may rejoice, the track proves Adam Levine is a lot more likeable.

3 STARS (out of 5)