Tag Archives: rock

REVIEW: TV On The Radio – Nine Types Of Light (9/10)

It’s almost to easy to over-analyse a band these days. Fret over the reverbs, contours, effects pedals and whether it’s good to riff too much on an open string. Sometimes it’s good to just collapse after a long day at work or from propping up the bar (it can happen) and simply kick back and let the music wash over you and take it for what it is.

Sure TV On The Radio have shown stretched their musical palette from their EP, debut to their last record to their side projects – Maximum Balloon and Rain Machine – as well as twiddling the knobs behind the scenes for the Yeah Yeah Yeahs; they have proven they don’t exactly rest on their laurels but push boundaries and stretch themselves creatively but these guys are fun, if you just listen for enjoyment (just the once Madame/Mr. Hipster – go on I dare you), the groove is definitely there.
‘Nine Types Of Light’ has to be their most fun party themed album to date “Second Song” is reminiscent of Prince, themes of weather and dancing are all undercurrents but its the slow burning 80s synths that really showcase this particular influence, but then the familiar TV groove is unveiled and they immediately come into their own. “Repetition” is a fine example of brilliant wordplay and clever lyricwriting “What’s the matter with your next door enighbour?/I heard he ha sex, drugs and danger?”, they’ve lost none of their charm or early twenties nostalgia. “Caffeinated Consciousness” is when the album really reveals it’s charm and the funk kicks in.
This is an album that will make the shoegazers listen and lose control in typical ‘happy feet’ fashion.

For those who are looking for a a satirical James Murphy fix now that he has has called time on LCD Soundsystem then you can look no further than this, but even then that would be too much over-analysing; a slow burner which evolves into a marvellous summer party romp.

Advertisements

REVIEW: Foo Fighters – Wasting Light (8.5/10)

By now most of you will have heard “White Limo” and “Rope”. Both songs being very different from other; “Rope” is you standard beer-chugging, hands in the air, fist-pummelling each other stadium-rock anthem whilst “White Limo” is probably the heaviest I have ever heard of the Foos.

It’s also worth clearing the reunions on this album. All merely coincidence and in danger of completely overshadowing release of this album; Pat Smear is now fully at the helm, Butch Vig who produced Nirvana’s ‘Nevermind’ is at the reigns this time, Krist Novoselic plays accordion and bass on “I Should Have Known”, and it has been twenty years since the release of ‘Nevermind’. But “I Should Have Known” is not about addressing the pink elephant in the room; it is not about Kurt’s suicide.
The geek in me was excited when I heard that the Foos would be returning back to basics for their new record. Recording straight to tape, working from analogue and recording in their garage. They’ve ticked every single box in their fifteen year career including a double album that was stretched pretty thin in places to be honest, so their last album left me wondering where could they possibly go from there; do they record and ‘Echoes…pt. 2’ or do they pursue in covering new (ish) territory and take their formula and turn it on its head.

The answer, I’m pleased to say, is the latter. Hanging out with Joshua Homme has clearly given Grohl a new lease of energy and creativity; I’ve always been a fan of the heavier Foos tracks (like Low and Have It All) and it seems they explore these avenues on this album, “Bridge Burning” has to be the album opener of the year with its gutsy riffs and drum rolls that will no doubt get all the kids jumping like loons at Milton Keynes bowl later on this year. Another notable example is “Dear Rosemary” where Nirvana and Foo Fighters influences are fully addressed by duetting with Husker-Du/Sugar icon Bob Mould; heavy in emotion and conveys a rawness never felt on previous work but carries enough restraint to truly showcase its warmth and beauty without feeling repetitive or cheesey.
“Arlandria” kicks in with a familiar groove and subtlety with its rhythm and throbbing bassline that wouldn’t feel too out of place on a Queens Of The Stone Age album, definite favourite here for obvious reasons.

This album benefits from painstaking production. A lot of time and care has gone into making this album sound good. It really is a disservice to listen to it on shitty laptop speakers, it has to be listened cranked to 11 on the your stereo speakers, you can hear the fretboard buzz, fingertips brushing strings, before the guitars cascade over you, without ever having the essence of a wall of sound scape like Muse. It feels like a friendship that was at a crossroads, what you fell in love with is still there but what has successfully worked has been turned into something fresh to engage old hardcore fans and to attract new listeners. The formula for good old fashioned rock anthems is still there and less cookie-cutter-y but this time with an omnipresent harder and faster delivery and this benefits all the more from it.