HARDWIRED…TO SELF-DESTRUCT by Metallica

What’s that old saying, better late than never? I feel like at this point just about everyone and their mother has put forth their opinion of the new Metallica album, so why should I even bother writing a review? The delay in this review is mostly due to the Thanksgiving holiday and my own somewhat busy schedule. But, if I’m being honest, it’s also due in part to my mixed feelings towards HARDWIRED…TO SELF-DESTRUCT.

Let me begin by stating that I am far from the world’s biggest Metallica fan. And let me follow that confession up with another: I’m a pretty casual metal fan. I like the so-called classic metal bands like Sabbath and Iron Maiden. I enjoy some newer, hipster-ish metal bands like Mastodon and Ghost (ha! that just shows you what sort of metal fan I am, I consider Ghost metal). There are some small-ish indie metal bands that I also really like, such as Red Fang and Kvelertak. But I’ve only been to one metal concert (Motorhead, RIP Lemmy) and I only own a few Greatest Hits type collections of a few metal bands. I only really knew Metallica from their massive hits, like “Enter Sandman.”

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Look, we can all agree that this is a terrible album cover, right?

Prior to 2005, I had probably seen more Metallica t-shirts than I had heard Metallica songs. But then, around the release of ST. ANGER I started paying attention to Metallica, but for all the wrong reasons: I wanted to hear the shitty album that everyone said sounded so shitty. I was surprised to find that I didn’t think it sounded that bad! Emboldened, I checked out the band’s earlier albums and discovered a solid thrash metal band that seemed to evolve into the cartoonish stereotype I was familiar with over the course of their career (and tremendous success). So once I was steeped in the band’s classic output I understood why people were so down on the newer stuff, but because I’d been exposed to ST. ANGER first I still found qualities about it I liked. I also wasn’t terribly let down by ST. ANGER, because I had only just started to explore the band’s music. I guess I should just jump in with the review, rather than waste a bunch of (digital) ink on a rambling preamble.

HARDWIRED… is way better than ST. ANGER and DEATH MAGNETIC (the album the band put out after ST. ANGER). That right there makes HARDWIRED… a success, a win for a band sorely in need of a win. And leading up to the album’s release, every song the band put out seemed to indicate that that album was going to be fantastic. And when the album was released and I pushed play I thought “holy shit, these guys totally did it!” But then the album continued to play. And play. And play. And play. HARDWIRED…TO SELF-DESTRUCT starts strong, and I don’t just mean the first track “Hardwired.” The first 6 tracks are absolutely fantastic. The lead single/title track is a great return to thrash and works well for many reasons but mainly because it clocks in under 4 minutes. The dark and moody, Sabbath-like “Dream No More” is great (love metal songs about Cthulu). The Maiden-esque “Moth Into Flame” with its chugging riff is totally rad, I loved it. The aggressive, fist-pumping “Now That We’re Dead” has a great lyrical hook and makes me want to see this band perform live. The quieter, ballad-like “Halo On Fire” is also a solid track.

All of these tracks, it should be mentioned, have fantastic guitar solos. Kirk Hammett famously lost his iPhone in a taxi cab and with it all the songs he was writing for this album. Despite not having any song credits, Hammett is all over this album, his guitar playing  elevating the somewhat pedestrian lyrics, spinning the songs like straw into gold. None of these guitar solos sound alike and are all thrilling. James Hetfield’s voice, it should also be noted, sounds fantastic. Usually they old metal guys sound, frankly, like shit. Their voices get raw with smoking and overuse, but somehow Hetfield still sounds good. His familiar growl just as vital as it was when the band began.

So if I have no issue with the first 6 or so tracks, the vocal performance, and the guitar work…what’s the problem? The problem with HARDWIRED… is that other than the first track, all of the songs are over 5 minutes in length. “Halo On Fire” is over eight minutes long. As the album trudges along, the songs begin to sound samey and overstay their welcome by droning on and on. Honestly, had the band decided to put out 10 or 12 songs rather than a 16 track double-album, HARDWIRED….TO SELF-DESTRUCT might have dethroned THE LIFE OF PABLO for my #1 album of 2016. The beginning is really that good, really it is. The only track from the second half of the album that is worth mentioning is “Murder One” and that’s only because it’s a tribute to deceased Motorhead frontman Lemmy Kilmister. The song isn’t particularly great and kinda embarrassingly name-checks a bunch of Motorhead songs…but it was clearly included because Metallica has great love for Lemmy. This bit of humanity really touched me and reinforced that despite their status as metal gods, Metallica, in the end, are just flesh and blood people.

HARDWIRED…TO SELF-DESTRUCT isn’t quite the home run I was hoping it would be, but it certainly isn’t a terrible album. I can put it on and go running and enjoy myself. The album whirls into a blur during the second half, but that first part is glorious and makes me want to catch the band’s tour. Better than average, but less than legendary. Faint praise, but praise nonetheless. At this point in their careers, after more than one disappointing release, Metallica fans can’t complain. Now if only they hadn’t gone with such dreadfully awful cover art…

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Denied by Kanye: Mr. West Uncharacteristically Spazzes out and Cancels Remaining LIFE OF PABLO Tour Dates

File this under Shitty News That Actually Doesn’t Surprise Me: Kanye West has canceled the remaining dates of his LIFE OF PABLO tour. This comes on the heels of Yeezus losing his mind over the weekend in California while “performing.” I put that in quotes because Mr. West, after making the crowd wait over an hour for the show to begin, only performed three songs before storming off stage. He apparently went on a long jag attacking Jay Z and Beyonce while at the same time praising president-elect Donald Trump. People were, understandably, confused and little pissed. For their part, Ticketmaster decided to do the right thing and refund people the money they spent on tickets to the concert.

Then this morning I awoke to find that many friends and family on social media were directing me to news articles stating that Kanye had canceled the rest of the tour. I checked my email but as of writing this post, I’ve received no correspondence from the ticket company who sold me my upcoming (next Monday!!!) concert ticket. For the briefest of moments, I thought that maybe this was a hoax or had been blown out of proportion. I went on Kanye’s website and everything seemed normal. However, when I clicked through to see if tickets could be purchased for upcoming concert dates I was greeted with this bit of cold reality:

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So that’s it then. What a whirlwind. You’ll recall that my journey to Yeezus-ticketdom has been fraught with much pain and sorrow. There was my failed attempt to raise money online in order to see Mr. West perform in Vegas. Then, just as my soul had accepted that I wouldn’t be seeing him perform, he surprisingly announced another leg of THE LIFE OF PABLO TOUR that would come to my town! I eagerly waited for tickets to go on sale and plunked down $69 (giggity) to see my idol (and the person who will probably feature at top of my Best Albums of 2016 list) perform live. I must say, it’s not easy being a Kanye West fan. The media circus the man cultivates detracts so much from his music that when I tell people I love his music they almost always look at me as though I’ve lost my mind. The disgust that they exhibit is no doubt for Kanye the Media Personality, who is both irritating and at this point controversial for the sake of being controversial.

At this point, I still love Kanye, but as he said on LIFE OF PABLO: “I miss the old Kanye.” If I could offer Mr. West some advice it would be this: give up the hype train and the constant need to be in the news. Downsize your life and follow the example of The Beatles–give up touring and appearing in public and retreat to the studio. Focus on making your complex, amazing music and stop messing around with politics, shoes, fashion shows, and the Kardashian soap opera. There is still time to salvage your career and your reputation as a serious artists, but only if you get back to doing what got you famous in the first place.

UPDATE: Just as I was about to post this I got an email about my refund:

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Controversial Opinion: “St. Anger” is better than “Fuel”

With a new Metallica album nearly upon us, I’ve been spending the past few days revisiting the metal giant’s previous works. I write about metal every now and then, mostly because I’m a pretty casual metal fan. A real n00b if you will. I tend to like the classic metal acts like Iron Maiden, Black Sabbath, Motorhead, and Metallica. But that said, I really only played through Guitar Hero Metallica once and that was strictly for the achievements. My favorite Metallica album is their 1983 debut record KILL ‘EM ALL which is an economical, no-thrills thrash metal classic that stands as one the best examples of the genre. Love or hate Metallica today, there is no denying that in 1983 the band was simply amazing.

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Complex, insightful lyrics.

Anyway, as we all know, times change and bands develop. Metal fans are some of the worse when it comes to accepting the passage of time. And I don’t really blame them, after all when you begin your career with KILL ‘EM ALL why change things? Prior to 2003’s ST. ANGER, I think the band’s worst album is RELOAD from 1996. RELOAD is pretty pompous and finds the band doing sequel songs which I can’t believe is even a thing (“The Unforgiven II”). The album is also much longer than KILL ‘EM ALL…longer by a staggering 20 minutes. That’s a lot of fluff and filler to sit through. The worst song on the album, in my opinion, is the ridiculous first track/single “Fuel.” I remember when this song came out and I wasn’t even listening to metal at the time. The song was everywhere and from what I remember people liked it at the time. But boy does “Fuel” sound stupid today. Basically a Nike or Gatorade jingle, “Fuel” is a dunder-headed faux-tough guy anthem. It’s weightlifter music, which isn’t necessarily a bad thing in and of itself, but the idea of “Fuel” and the reality are two separate things. On paper, the masculine word salad appears hyper-masculine and aggressive. Listening to the song just makes me giggle. And I’m not giggling with Metallic I’m giggling at Metallica.

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Remember that time Spider-Man punched Metallica? That was so cool.

Compare that to ST. ANGER’s title track “St. Anger.” The song deals with similar tough-guy themes and has a schizophrenic fast/slow thing going on but I don’t crack a smile listening to it. I pick “St. Anger” because I feel like it best encapsulates the album, which prior to 2011’s LULU, was considered to be the band’s weakest album.  I don’t even know what to think about that mess of an album and frankly can only fall asleep most nights by pretending that it never happened. ST. ANGER is all about well…anger and mental issues and stuff. I know this because the band had a documentary come out (Some Kind of Monster) that explained all this to me. I think the frantic yoyoing of “St. Anger” fits with that theme and even though it was recorded in the crappiest way possible (modern metal production usually sucks) I think “St. Anger” actually accomplishes what it sets out to do. I’m also not embarrassed to get caught listening to “St. Anger.” When “Fuel” is on and somebody enters the room, I turn that shit down and hang my head.

I still feel like many people hate ST. ANGER so much they’d do or say anything rather than admit that parts of it aren’t all that bad. I know that I will lose what little metal credibility I have by writing this but: I don’t actually mind ST. ANGER that much. It’s far from the heights of KILL ‘EM ALL, but then again I think most of the band’s output falls into that category. Regardless, neither “Fuel” nor “St. Anger” are the worst Metallica songs…that would be “I Disappear” from the Mission Impossible II soundtrack. Holy crap is that a bad song.

So how clickbait-y is my click-bait title? Have you any opinions about either song? Let me know down in the comments. And stay tuned for my shitty, uninformed review of the new Metallica album later this week!

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Countdown to YEEZUS: Ticket Secured, MY BEAUTIFUL DARK TWISTED FANTASY Re-visited, and Thoughts on a Live Kanye Performace

As promised, I’m going to write a few posts about my impending Kanye West concert. When I last wrote about this concert, I explained that a Denver show had been announced and that I was dusting off my credit card  so I could attend. Luckily for me, I didn’t really need to use the Defending Axl Rose Master Card! I was able to get a pretty good seat for $69. Since that time, I’ve kept an eye on the tickets and for the most part, the prices have remained stable and as of this posting tickets are still available.

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As long as there’s Kanye, there is hope.

During the fantastic World Series, which I watch every year, I muted my TV and revisited MY BEAUTIFUL DARK TWISTED FANTASY. Mr. West’s 2010 album has been severely underplayed in my household, which made me decide to revisit it. I was pleasantly surprised to find that the album holds up 6 years later. The singles “Power” and “Runaway” remain solid classics, but I was really blown away by the John Legend track “Blame Game.” I’m not sure why this poignant song failed to connect with me in previous listening sessions, but man is this an almost perfect song (the closing outro with comedian Chris Rock is probably the most cringe-inducing K. West album skit). The star-studded “Monster” also still holds up really well, though I must say the star-making performance from Niki Minaj bums me out when I hear now. Who could have guessed that her fierce performance on “Monster” would be an almost one-off thing and she’d become one of the most disappointing new rap artists of the 2010’s?

Listening to “Monster” got me thinking about what a Kanye West concert would be like. Despite being well-known as an egomaniac, Kanye’s albums are so brilliant because he doesn’t hog the spotlight on his releases. In fact, Kanye the album maker is generous with the limelight and often appears as second banana on the best tracks. How do I know that Kanye isn’t his troubling, problematic public persona? I listen to his albums and hear him give the best moments away to other, usually up-and-coming artists. The first time I heard Chance the Rapper was this summer when he stole the show on the opening track of THE LIFE OF PABLO. With so many of his best songs featuring A-list and AAA-list artists, how does a live Kanye performance work? Obviously a track like “Monster” doesn’t work unless Jay-Z, Rick Ross, Niki Manaj, and Bon Iver are in attendance and thus doesn’t get performed. But because so many of Kanye’s songs feature really great artists that I’m not sure Kanye can avoid doing a solo-only concert. I’m guessing that the verses done by guest rappers are just omitted, but as someone that’s never been to a rap concert before, I’m interested to see how it’s handled.

 

Look for a few more Kanye-centric posts to appear before my November 28th concert. I’m still trying to decide the best way to document the concert itself, so if you have any thoughts on the best way to do that chime-in below in the comments section.

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“Crash” by Against Me!

I’d pretty much written off fun pop-punk as something that only existed in the late 1990’s and early 2000’s. Punk is one of those genres that really belongs to young people, and when a new crop of artists didn’t spring up to replace the old guard…well we ended up with old punks. Nothing is more depressing to me than old punks. I’m not going to hijack this post, which is about a great new Against Me! song, by bashing Green Day. But boy is it difficult for me to not bash Green Day.

 

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Young and old punks appreciate clean boots. 

 

Anyway, I was vaguely aware of Against Me! but hadn’t really heard them until a few months ago when a podcast I listen to turned me onto their latest single “Crash.”I was blown away not just because the song is catchy as hell, but because it seemed to reinvigorate my interest in the pop-punk genre. Leaning more pop than punk, this track has a nice buoyant quality to it. The lyrics, while pretty straightforward, do a good job of reflecting on getting older without getting bogged down in the typical old-punk lameness. This song impressed me so much, that I wound up listening to all of SHAPE SHIFT WITH ME, the band’s new album. It’s a great record, one that will definitely end up on Best of 2016 end of year list. I thought about reviewing it now but decided to focus on this song because it’s so damn good.

It’s been a tough week, take a moment to check out “Crash” and forget about your troubles for a while. The band released an awesome KISS-inspired music video for the song, check it out:

 

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NEW SKIN by CRX

Led by Nick Valensi, the lead guitarist of The Strokes, CRX’s debut album NEW SKIN is an interesting mix of Strokes-ish indie rock and a blend of influences ranging from throwback classic rock, shimmering pop, desert rock (!) and even metal. I didn’t have CRX on my radar until the official Strokes Facebook page mentioned that Nick’s album was releasing at the end of October. I knew that this was going to be an album for me when I saw that the first comment on the post bemoaned the fact that NEW SKIN had such a strong pop sound.

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At this point in time, The Strokes are a bit like the UN: a good idea in theory that doesn’t ever seem to pan out in the real world. Maybe that’s a bit harsh, but the last record produced by the band was really forgettable. It’s a shame, too, because they’re a talented bunch of lads. This has been proved time and again as the various band members have put out great solo records. Guitarist and keyboard player Albert Hammond Jr. has put a couple of jaw-droppingly good records over the years (seriously, go check them out) and lead singer Julian Casablancas put out an electronic-infused album a  few years ago that had a couple of great tracks I still listen to today. Valensi’s band CRX now joins the esteemed pantheon of Strokes-solo projects that  make me miss the glory days of the band.

When NEW SKIN opens, it sounds like The Strokes doing The Cars with a dash of Cheap Trick. Because I’m such a fan of power-pop I got really excited by the album’s first few tracks. In particular, the album’s opening track “Ways to Fake It” which, if I’m being honest, sounds like a lost cut off The Strokes FIRST IMPRESSIONS OF EARTH. Rather than mumble and moan like Casablancas, Valensi’s voice is refreshingly presented crystal clear and I think this is what saves the song from being a straight-up Strokes track. “Ways to Fake It” is the best track on the album and the perfect choice for a single to entice Strokes fans to listen to the rest of the album. The second track “Broken Bones”is a moody slow-burn with some great guitar work. I also really liked the loopy New Wave “Anything” and “Unnatural” which reminded me of early Queens of the Stone Age (of all things).

The second track “Broken Bones”is a moody slow-burn with some great guitar work. I also really liked the loopy New Wave “Anything” which reminded me of Albert Hammond Jr.’s first solo record YOURS TO KEEP. The out-of-left-field”Unnatural” also tickled my fancy, mostly because it reminded me of early Queens of the Stone Age (of all things). I wasn’t expecting the album to pivot as much as it did near the middle and end, but pivot it does. The last few tracks on the album lean heavily on hard rock and metal side of things. Particularly “On Edge” which definitely has a Motörhead vibe and the final track “Monkey Machine.” Despite these variations, CRX never really enters the metal genre proper the veneer of pop polish coats all of these songs. And this is my biggest criticism of NEW SKIN is that it plays things a little too safe, Valensi gets right up to the edge of doing stuff his fellow bandmates aren’t doing (either in The Strokes or solo) but doesn’t commit and cross that line. Valensi, who I think has a good voice, just isn’t up to the challenge of coloring outside the lines of the typical indie-rock vocal performance.

I think that NEW SKIN is a solid debut that I hope is the first of many records. I’d like to see the band explore more of their roots and influences a bit more and challenge themselves with a bit of experimentation. Hopefully by doing this CRX will be able to justify their existence as more than just a placeholder until Valensi’s other band gets back to work.

 

 

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Campaign to Send Me to See Kanye West Official Over

You might recall a few months ago when I started a Go Fund Me campaign in order to send me to Las Vegas to see Kanye West perform live. Don’t remember that? Well, it happened. Fueled by the  desperation to see the man perform LIFE OF PABLO live in person and a lack of funds in order to travel outside of Denver, I emulated my musical hero and took to the Internet in order to (essentially) beg for money. So how did I do? Well, I made $6 more than Kanye made when he infamously sought money from Internet Zillionaire/Facebook Mogul Mark Zuckerberg…of course, that means I only raised $6. Well short of the $900 I was asking for. Now, let me admit now that that figure was pretty high, but consider the fact that I need airfare, a hotel, and a ticket to Yeezus’s show. I only guestimated, so $900 might have been on the low side…who knows?

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The campaign is over, I’m no longer accepting donations, mostly because it’s too late for me to raise money to attend the Vegas show. But don’t shed any tears for this middle-aged rock blogger, for every time Yeezus closes one door he immediately opens another (and then tweets about it). This week it was announced the second leg of Kanye’s tour would come to my beloved Denver, Colorado! Huzzah! So this Friday at 10:00am I’m dusting off my credit card and paying whatever number fate demands I pay in order to see Mr. West. I wish the show wasn’t on the Monday after Thanksgiving, but we do what we can with what we are given, right?

I’m going to document the shit out of this concert, so stay tuned for updates!

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LIVE AT THE HOLLYWOOD BOWL by The Beatles

I can’t think of a band I associate less with live performance than The Beatles. That’s partly because the group was long disbanded by the time I was born in the early 1980’s (thus no chance of me ever seeing them live). But for the most part, it’s because The Beatles so famously turned their back on touring and became the quintessential studio band. Over the years I’ve heard a handful of live Beatle recordings, mostly from the LIVE AT THE BBC double-album. I remember getting my hands on that set way back in my early Beatle-years and promptly tossing it aside. It’s not that the band was bad in concert, it’s just that live recordings from the era in which the Beatles performed live are spotty at best. So when it was announced that LIVE AT THE HOLLYWOOD BOWL would be coming out in conjunction with Ron Howard’s Beatle documentary THE BEATLES: EIGHT DAYS A WEEK, I bookmarked the release date but didn’t hurry to get around to listening to it until recently.

LIVE AT THE HOLLYWOOD BOWL documents several concerts from August of 1965, near the very end of the groups touring life. Released originally in 1977, LIVE AT THE HOLLYWOOD BOWL has been remastered and remixed. I was pleasantly surprised at how good these recordings sound. I would say that this album is 100% absolutely the best live recordings of The Beatles I’ve ever heard. That said, the performances are solid but ultimately pale comparisons of their studio counterparts. It’s been argued that George Martin is the so-called fifth Beatle, these recordings help make that argument in my opinion. It’s not that the band is terrible live, it’s just that the songs are so damn good on the studio recordings.

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I may be a bit biased, as live albums really aren’t my thing. The only way a live recording can move beyond the good and into the essential is when they capture the intensity of their performance and bring something new to the table. Many songs recorded live differ from their studio versions, either because of technical limitations (no string section? no problem!) or because playing the same song over and over  gets boring for bands and they do something a little different. These live embellishments separate the hacks from the great artists. A decent song can become sublime when stretched out into an intense extended jam. Guitar heroics/wankery can also take a live recording to the next level.  Sadly, LIVE AT THE HOLLYWOOD BOWL was recorded before the 1970’s, arguably the heyday of the live album. Thus, The Beatles are just performing their songs as best as they can like they appear on the albums.

What LIVE AT THE HOLLYWOOD BOWL is missing is between-the-songs banter. The few times Lennon announces the next song with a goofy voice is a real treat. It’s a shame that there isn’t more of this sort of stuff on the album because it’s something the studio albums don’t have. What there is plenty of, however, is screaming girls. Famously one of the reasons the band quit touring, the girls are screaming on LIVE AT THE HOLLYWOOD BOWL. And. They. Don’t. Stop. It almost feels like a parody there’s so much crowd noise on the recording. Though it never goes away, the audience never really gets in the way, either. I chalk this up to an expert remastering. Ironically, those who’ve listened to LIVE AT THE HOLLYWOOD BOWL have probably heard the concert better than those who attended the show. One of the Beatles (I think it’s Lennon if I recall correctly) even asks the crowd at one point, “Can you hear us?”

Overall, LIVE AT THE HOLLYWOOD BOWL is a fantastic musical artifact. The album is a bubble of amber perfectly preserving a fly (or Beatle) for all time. I’ve listened to it all the way through three times and frankly can’t imagine putting it on again. I’d much rather listen to the albums. LIVE AT THE HOLLYWOOD BOWL is really just for completist and band scholars (such as myself) and not an essential recording. The album has made me want to see Howard’s documentary, which apparently a Hulu-exclusive (which bums me out because now I have to wrangle a Hulu account in order to see it).

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End of September 2016 New Song Round-Up

Well, it’s officially autumn! As summer fades into the distance, a middle-aged rock nerd’s thoughts turn to assembling a Best of The Year list. I haven’t done one since 2012, mostly because I wasn’t focused enough on music throughout the year. I’ve slacked off a bit this month, hence a New Song Round-Up post for September. I wish I could say I was busy doing something awesome, but the sad truth is I just couldn’t get myself focused enough to sit down and write anything up. Some big albums dropped in the last two weeks and I’m determined to get at least two album reviews out before October. We’ll see if that pans out (don’t hold your breath).

Anyway, without further ado, here are some new songs that hit the airwaves (???) and my radar this month. I’m sure I missed something, let me know what I should have paid attention to down in the comments.

The Defending Axl Rose End of September 2016 New Song Round-Up

“I Love the USA” by Weezer: You know that Best of 2016 list I mentioned above? Weezer’s latest THE WHITE ALBUM is 100% a lock for a top 5 spot. I can’t believe how much I disliked it upon first listen and how much it’s grown on me. Seriously, if you haven’t checked it out do yourself a favor and pick it up. It’s great. What’s not so great is this B-side, “I Love the USA.” I really don’t know what to make of this track, to be honest. Apparently, this song was written to commemorate a successful NASA mission to Jupiter. You really wouldn’t get that from the lyrics (at least, I didn’t), but luckily Rivers Cuomo was nice enough to tweet an explanation. The song starts off as a soft piano ballad before building into a super-jingoistic guitar jam. With lyrics like “fuck yeah, this place is great/God save the King/God save the King” it’s easy to see how I missed the whole NASA commemoration point. This track probably would have worked better if it was ironic (maybe a scathing indictment of how messed up the country is?). The whole thing ends with a line about a missing boy who “didn’t make it.” What does this have to do with the Juno probe to Jupiter? I have no idea, and frankly, I don’t care. Sadly, “I Love the USA” isn’t the outlier in the modern Weezer canon, but instead that new album is the odd duck out (because it’s good).

Am I being too hard on Weezer? Let me know, I honestly can’t tell anymore.

 

“Hyper Dark” by Sleigh Bells: I really, really, really, really loved that first Sleigh Bells album. I had high hopes for the band but three albums in, I’m starting to lose faith. Modern bands that explode onto the scene seem to have a dismal track record for sticking around. It’s not that these bands aren’t talented, I think the issue is that labels don’t let bands percolate long enough. Then again, The Beatles cranked out hit after hit at a breakneck pace. Maybe the problem is that most of these bands are really only  capable of one good album? That’s exactly one great album more than I have inside of me, so forgive me if that seems judgmental.

Anyway, this new track from Sleigh Bells, “Hyper Dark” is ushering in a fourth album JESSICA RABBIT (which comes out in November). The song starts off a bit boring but rebounds into something almost interesting. It’s missing the brash brutality of TREATS, instead favoring an 80’s-ish dream pop quality. I wish the guitars were a tad louder, like on the band’s other new track “It’s Just Us Now.” That track had the bombast that made Sleigh Bells famous and got me excited about this new album. If JESSICA RABBIT strikes an equal balance between loud/fun Sleigh Bells and the quieter, more experimental stuff (like “Hyper Dark”) then this might be the follow-up album I’ve been waiting for.

 

“Waste A Moment” by Kings of Leon: If you’d gone back in time and told me how lame Kings of Leon were going to become when I first heard “Red Morning Light” back in 2003, I would have laughed in your face. YOUTH AND YOUNG MANHOOD is a stone-cold classic, a truly fantastic southern fried garage rock album. “Waste A Moment” is bland vanilla pudding. I’m not sure what about this song’s production is sapping it of all of its visceral energy, but this song could possibly put me to sleep. There’s no passion, no urgency to this song. I think the last Kings of Leon album I gave a fuck about was 2007’s BECAUSE OF THE TIMES. What happened to this band? They lost their balls and got dump trucks full of money. I don’t begrudge them from making a living, and hell yes I’m super jealous they have millions of 50-year-old women swooning at their shows now, but where is the band that wrote a song about Molly’s…ahem…chamber? The band has a new album, WALLS, coming out soon but just like the last two records, I’ll be sitting WALLS out. The only reason I even wrote about this track is because I wanted to mention how fucking great YOUTH AND YOUNG MANHOOD is. It’s great. Go listen to that, skip this song.

 

“Perfect Illusion” by Lady Gaga: I bet you think I’m going to trash this song, but I actually really dig it. When I saw that Lady Gaga had a new single out I decided to give it a listen mainly out of curiosity. Okay, I’ll admit…I wanted to see just how bad it was. I really like THE FAME and thought that Gaga was going to be my generation’s Madonna or whatever…instead she kinda became a disappointment/one trick pony whose only real talent was shocking little old ladies with meat dresses. To my surprise, Lady Gaga decided to channel Bruce Springsteen (and 90’s R&B)! While it’s a typical our-love-was-a-lie song, there’s passion in the vocals. I honestly wouldn’t have known this was a Lady Gaga song had I not known it was her. I guess I’ll have to give the new album a listen (barring any sort of freaky ass album art).

 

“Revolution Radio” by Green Day: You know, I think I was too harsh on Green Day last month when they released their song “Bang Bang.” I don’t think that “Revolution Radio” is the best Green Day song of the last 10 years, but it certainly isn’t terrible. And compared to “Bang Bang” it’s a 10/10 masterpiece. Sure, the cherry bombs and snarling is a bit cliche (and silly coming from dudes this old), this track sounds like Green Day. Not my little sister’s Green Day, but the version of the band that I remember listening to in the late 1990’s. The opening reminds me of the theme song for the old Colbert Show, but that’s my problem (not the song’s fault). “Revolution Radio” sticks with the protest themes we’ve come to expect from latter-day Green Day (“legalize the truth,” seriously guys?), but I can’t help but wonder what a snarling party anthem from old-ass Green Day would sound like. I wouldn’t mind if the band stopped being so serious and got a little fun. A little fun never hurt anyone guys.

So that’s it for the new songs of September! There was a new Beach Slang single released, but the album came out today and I decided to just do a write-up of that rather than feature the track here. Like I said above, I’m sure I missed something so please tell me below!

 

 

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