The Arctic Monkeys - Whatever People Say I Am

Whatever People Say I Am, That's What I'm Not is one of those debut albums that gets the music nerds really, really excited. Before "I Bet You Look Good on the Dancefloor" made it big as a single, a friend sent me a version of "Red Light Indicates Doors are Secured" and I was a little bit hooked.

When the album came out in 2006, it was came during a point in North America when UK bands were on an upswing again and as a result is was something of a hit.

Much like my love of The Strokes' Is This It, I almost feel guilty for liking the Arctic Monkeys simply because they represent a phase of sheer popularity of a genre for no good reason. And it's not their fault, because they deserve their success. Whatever People Say I Am is a solid, upbeat, pop-rock album with Cockney attitude thrown in for flavour. It would be great to hear in a small club atmosphere, and certain songs would be equally welcome on a dancefloor.

Standout tracks: "I Bet You Look Good on the Dancefloor," "Red Light Indicates Doors are Secured" and "Perhaps Vampires is a bit Strong, but. . ." (they also followed the trend of ridiculous and unnecessarily long song titles that was abundant in that era).

***.5 out of *****
3.5 out of 5

Jens Lekman - "When I Said I Wanted to Be Your Dog"

In a chat conversation while listening to Jens Lekman for the first time, I made the following comments:

""you are the light" is like a smiths song covered by a lounge singer"

"if richard cheese had a better voice and played for indie kids, and covered the smiths, that would be jens lekman."

And while, as the album progresses, it becomes apparent that Lekman has more in common with the Smiths themselves than a Richard Cheese (especially on tracks like the haunting "Silvia" and the moody melancholy of "The Cold Swedish Winter"). Lekman sort of sneaks up on you. The second track on the album almost sweeps by before you realize he's singing "Happy Birthday," and then "You Are the Light" is a surprisingly upbeat tune about getting arrested.

It's entirely refreshing to hear an artist who is more than just what they seem like on the surface.

**** out of *****
4 out of 5

Matt Mays - Matt Mays

If I'm going to be honest, there are two very specific reasons why I like Matt Mays (and additionally Matt Mays & El Torpedo):

1.) Matt Mays reminds me of Ryan Adams (and, additionally, Ryan Adams & the Cardinals)
2.) Matt Mays is the kind of music you would listen to on a night highway when you are in a car driving away from something important towards something new.

Neither of these two reasons should take away from the fact that Matt Mays is a talented and very impressive artist. The guitar riffs are solid, the lyrics are decent cowboy-poetry. It is Marlboro Man indie rock. It's music sung by the disheveled looking guy in a plaid shirt drinking herbal tea at Starbucks but scoffing the "Establishment." He will drink straight whiskey in concert, but take home a girl who shops at American Apparel.

Standout tracks, "Your Heart" which might as well be a Ryan Adams b-side from the recording of Jacksonville City Nights, and "Where Am I Going?"

Matt Mays' self-titled album lacks the rock quality of an album like Terminal Romance, but it certainly has its own quality to offer. It's a quality indie-rock album that turns into a quality alt-country album by the end. It's a little ADD, but a lot of good music.

***.5 out of *****
3.5 out of 5

Amy Winehouse - Frank

Today, while playing Amy Winehouse's Frank in my store, an older gentleman inquired as to who was singing. He'd never heard of Amy Winehouse, knew nothing about her rocky marriage or her consuming addictions to drugs and alcohol. All he knew was that she was "fabulous."

And listening to Frank, you realize that he's absolutely correct. Before all the bullshit, and the media frenzy, and the world watching to see just when Winehouse would go too far, there was a young women with the voice of a 60 year old jazz singer.

There are no songs on this album to recall the catchy pop of "Rehab" or "You Know That I'm No Good" from her sophomore release Back to Black. Frank is just an old school jazz voice over electronic beats. It's such a simple concept, and it's wildly effective. Frank is an exceedingly listenable album because it DOESN'T get stuck in your head. It swims through and leaves you nodding unintentionally, and longing to listen again, but it doesn't stick.

It's not to say that Frank lacks for single material. Songs like "You Sent Me Flying," "Fuck Me Pumps," and "What is it About Men" are all excellent stand-outs. But this is not an album about songs, it is an album that is most effective as a whole, and is certainly worth listening to as such.

***.5 out of *****
3.5 out of 5

Freaxxx

There really are no words. So I don't know if it's a review or not. . .

But if you don't get to the 2 minute mark, where they start choking a bored looking dancer while they scream "liar" at her over and over, then you've only cheated yourself.




let's get freaky now, let's get freaky now. . . (I don't waste my time with lesbians)


* out of ***** for sheer necessity to keep watching it.
1 out of 5

Taylor Swift - Fearless

Today at work, I was accused of having bad taste in music. The primary argument being that I like Matthew Good, which I hardly think is an argument at all. In my defense, I did point out that one of my accusers didn't even KNOW what kind of music he liked. I, at least, am able to acknowledge and admit what I enjoy.

And, yes, I like Taylor Swift.

My cousin Kim warned me that Swift's live show will typically engender mostly disdain, and proves that she likely employs the kind of melody enhancing, pitch perfecting post-production that transforms artists like Fall Out Boy from pure shit live, to something listenable recorded (and believe me, it only takes one track off the FOB live album to know they suck live).

I like Taylor Swift primarily because there is something sweet, and wholesome, and genuine about her. She's an 18 year old girl who sings about life and love and high school, and things that are within the realm of knowledge of an 18 year old girl.

Fearless was the much anticipated sophomore effort, following her hugely successful self-titled debut. While there are no tracks on Fearless that stand out in the same way that previous singles like "Tim McGraw", "Teardrops on My Guitar" or "Picture to Burn" did, it's still a very solid country-pop album.

Excellent tracks worth a listen are: "Fearless", "Fifteen" and "Love Story".

Swift may be young, but it is remarkable to see a girl her age writing her own music and being successful at it. Swift certainly has a bright future ahead of her. . . even if it is just because of sweet lyrics and excellent production value.

***.5 out of *****
3.5 out of 5

James Blunt with Luke Doucet (Live in Concert)

November 24, 7:30pm, MTS Centre.

Ohhh, I really wanted to be super cool and say "yea, whatevs dudes, James Blunt is super lame." And to be honest, if we were just talking about his music, I'd call it schmaltzy but catchy love-pop. But a friend of mine scored 4th row tickets to see Blunt live, with one of my favorite local acts opening for him, so who was I to refuse?

I am really glad I went.

I would never have expected to use words like "dynamic" or "high energy" or "spectacle" to describe a James Blunt concert. I honestly anticipated he would sit at a piano for 90 minutes and wail his standards like "You're Beautiful" while flashing his crazy eyes at the audience. And while that DID happen, it happened amid a 100 foot wall of video screens, Blunty running wild into the audience to do a session in the round, and a genuinely very charismatic performer (he embodies my favorite portmanteau: charmisma). He ended the encore with his major hit 1973, and rode a piano like a surf board under a giant disco ball before the ceiling exploded with confetti. It was CHEESY, but damn it was a good time.

Luke Doucet, who was a surprising opener, was incredible live, and did an honest-to-god autograph signing, where I met him and his incredibly talented wife Melissa McClelland, who deserves better than being his lead guitar. She opened for Matt Good's solo tour for Pete's sake.

All in all, it was an incredible, and surprising show.

***.5 out of *****
3.5 out of 5

Guns n' Roses - Chinese Democracy

So. . . it's finally out!

And everyone in America is entitled to free Dr. Pepper!

And it arrived before ACTUAL Chinese Democracy.





oh. . . the music?



meh.

*** out of *****
3 out of 5

Sunday Picks

Reading: Dead Souls by Nikolai Gogol

Hearing: Weezer's Blue Album

Watching: Nothing, currently.

Is This It?

"Is this the Killers?"
- Some guy in my store

I am perfectly aware that this is not a new album. I never promised you reviews of new and exciting music, I simply promised you reviews. And honestly, as I have now been listening to this album on a loop for roughly 6 hours (there's simply nothing better to listen to without searching around), I felt it would be the ideal time to throw out another music review.

Is This It? is not a great album, and I honestly think that's what works for it. I know that sounds strange, but realistically, I think albums that don't grab your attention are just as important as the ones you can't help but be distracted by. I was able to listen to the CD about 12 times today, and I'm still not sick of it. Really, how many albums can you say that about. Sure, their first major album doesn't include "Reptilia" which all you Guitar Hero/Rock Band gods drool for (reasonably, it's a fun song), but it's sort of a hidden gem of an album.

I get that it was HUGE when it first came out, during that initial garage rock movement of 2000/2001. I know everyone loved "Last Nite" (which is certainly a stand out track), but I think this album has a lot more to offer than that. It's just poppy enough to remain listenable time after time, and just rock enough not to drive you absolutely fucking mental. The vocals are unique (and no, I do not get the Killers connection at all).

The best songs of the album would likely be: "Is This It?", "Last Nite", "Soma", and "Barely Legal". Though, in all seriousness, there are no bad tracks on the disc.

Honestly, if you're looking for a good rock album that surpasses the genre in which is was created, and just want a really strong album that you can listen to again and again, I stand by Is This It? as a fantastic stand-by album, when you get bored of listening to what's new and exciting. And if that makes me uncool, then I don't care.

***.5 of *****
3.5 out of 5

Songs About Girls

Songs About Girls by Will.i.am

Yeah baby we'll be
High on love darling
We don't need to take drugs
Put away the alcohol
Kissing got us feeling buzzed
When you're next to me
It's like I'm on ecstacy
We be at it automatic sex like triple x movies
You a naughty lady
And sophisticated
I'll be honored baby
If you have my baby

- She's a Star

You know how you'll hear a new Black Eyed Peas song and about a day later you not only know all the lyrics, but you also can't get the damned thing out of your head? It's a pretty basic musical science that makes that possible:

- simple lyrics
- catchy tune
- incessant hook

Whether it's Fergie gurgling "no no no no. . . don't phunk with my heart" or "no no no no baby don't lie." (there's usually the presence of a "no no no no" line in later BEP songs. . . not to mention the dropping of the band's own name) the formula remains the same. And while Fergie took that formula and applied it with masterful success to the relatively crap-tastic, but incredibly listenable The Dutchess, her solo album, band mate Will.i.am has not had the same luck.

Will.i.am seems to have gotten a little perplexed by the formula, combining the "simple lyrics" and "incessant hook" parts of the formula into one. And when I say that I mean. . . the songs largely consist of nothing BUT a hook. Most hip hop and pop songs currently on the radio (and I have a lot of trouble separating the two of late), have a formula similar to the BEP standard: sing, pop-happy rap breakdown, hook, repeat.

What hurts Will.i.am's solo is that he forgets to SING. I'm not sure if he ever could, given that the Black Eyed Peas, prior to Fergie, were a rap group. And if he had opted to stay true to those roots, he probably could have made a great solo album. Instead, he seems hell bent on transitioning the existing BEP fan base to get behind him, and most of those fans have become acclimatized to the formula.

So, for the most part, you listen to the record, and in each song you suffer from overwhelming deja vu. There's a very specific hook in each song ("baby, where'd you get your body from. . . I got it from my momma (x300)"), and on either side are the overwrought rap lyrics. I'd say they were mysoginistic, but they don't even quite get there. Do they make women into objects. . .? Sure. But in this case, women are just being used as a weak thread to connect the songs together. There are heartbreak songs (about Casanova Will, breaking the hoochie hearts), and there are songs about pawing off the dozens of eager ladies always present. And then the hook shows up. . . and repeats. . . and repeats. . . and repeats.

The album does have some decent tracks, not ones that so much break free from the pattern, but rather make it work for them (and for this success I credit the producers of the album, rather than the artist). "I Got it From My Momma" the massive first single, and "The Donque Song" (which for the life of me sounds like it's saying "she's got a donkey. . . she's got a donkey") are surefire workout/dancefloor hits. But that's about all this album is good for.

** of *****
2 out of 5

Thursday Picks

Currently. . .

Reading: Garden Spells by Sarah Addison Allen

Watching: Grey's Anatomy - Season Two

Hearing: Song About Girls by Will.i.am