Category Archives: alternative

WEEZER – Hurley

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With its well constructed songs, great hooks and dorky themes, Weezer’s self-titled debut (released in 1994) is a power pop classic. Fact is, back then, Rivers Cuomo and Matt Sharp knew how to write songs. And those songs combined with great production from Ric Ocasek (best known for being one of the key members of 70s/80s new wave band The Cars) have undoubted gone a long way to paying the bills for Weezer ever since. After all, nearly everyone of a certain age has seen that Spike Jonze video for ‘Buddy Holly’ set in the Happy Days diner…right?

‘The Blue Album’ (as it is often called) featured not only that monster hit, but some other songs which have rightly become cult classics, becoming a triple platinum seller in the US and double platinum in Canada. How do you follow such success? If you’re Weezer, you don’t even try. ‘The Blue Album’s successor, 1996’s ‘Pinkerton’, features little of the perfection Weezer had displayed on their debut. Ric Ocasek had been ousted from the producer’s chair and in place of the debut’s easily accessible power pop songs, ‘Pinkerton’ was a slab of discordant darkness, questioning songs and the sound of troubled souls. Naturally, it wasn’t what most people were expecting.

Weezer then took an extended hiatus, eventually returning after five years (minus Matt Sharp) with their third disc – a second self-titled album (again produced by Ric Ocasek). ‘The Green Album’ sounded very much like ‘The Blue Album’, but not as strong. The fact that it contained a lot of the spark that made me like Weezer in the first place was a step in the right direction, but still, it wasn’t a patch on the debut. It’s really then – circa 2002 – that Weezer began their downward spiral of releases containing substandard material, culminating in the release of 2009’s ‘Raditude’ – an album loaded with autotuned ugliness and almost entirely bereft of songs.

It was important, therefore, to put their 2010 release ‘Hurley’ into some sort of context. With their last four releases made up of songs ranging from forgettable to flat out awful, Weezer have seemingly let down fans time and again, with only the re-release of ‘The Blue Album’ (released as a two disc deluxe version in 2004) alleviating the ever escalating disappointment. Weezer don’t have a great track record, it’s true, but there’s no way that ‘Hurley’ is as bad as ‘Raditude’…is there?

‘Hurley’ (housed in a wordless sleeve featuring a photo of Jorge Garcia) is Weezer’s eighth album and the opening moments of ‘Memories’ (the album’s lead single) might lull you into thinking things could be okay, but before too long, a distorted noise kicks in and makes a half-arsed chorus almost unlistenable. The bridge section after the second chorus features a spark of what used to make Weezer great, but this in turn is also spoiled. Here, Rivers Cuomo shouts out the last line of his vocal in a manner which is unrestrained and nasty. ‘Ruling Me’, on the other hand, is power pop brilliance: a great chorus (and pre-chorus too) and simple harmony vocals give the track all the elements of classic Weezer, a feeling reinforced by the use of the kind of chord patterns which swamped their ‘Blue’ and ‘Green’ discs. The fact that they can still do this just makes those years they wasted by not doing it all the more unbearable… Similarly, ‘Hang On’ employs a huge chorus and some fantastic harmony vocals and a really solid arrangement. Cuomo’s lead vocal could do with being tightened up and toned down a little, but there are so many great power pop hallmarks here, it should appeal to all but the most curmudgeonly of Weezer sceptics.

‘Where’s My Sex?’ falls somewhere in the middle. Chugging downstrokes recall early Weezer, but while its big chorus demonstrates that the band can still cut it when they want to, silly lyrical content lets it down. Here, “sex” is actually “socks” – and Cuomo can’t go out without any. It’s a brave attempt at bringing back the geekiness that made so much of ‘The Blue Album’ fun (and a change of pace near the song’s end is surprising) but after so long, its sounds like too much like a contrived attempt at re-creating the band’s early signature sound. A tongue-in-cheek tale of being a rock star, ‘Trainwrecks’ is very commercial, but not commercial in the geeky power pop way Weezer’s best work has been previously. There’s a shininess and an 80s AOR edge to be found beneath the chugging chords; the sound of something bigger than Weezer. It’s a co-write with Desmond Child (co-writer of some of Bon Jovi’s big 80s hits), so that should give you a clue as to where that “something bigger” comes from. Opening with the sound of a choir, the song then opts for a riff that sounds like John Waite’s 80s radio classic ‘Missing You’, although played with a trademark Weezer chug. Rather more mature than you’d associate with Weezer, certainly; better than you’ve come to hope for from Weezer by this point? Definitely.

‘Run Away’ begins with a lo-fi intro, before the whole band come crashing in on a tune which shows promise. The chorus isn’t as strong as it could have been, and Cuomo’s slightly shouty delivery grates a little and the riffs aren’t quite as good as those from ‘Trainwrecks’, ‘Where’s My Sex?’ and especially ‘Ruling Me’. But despite all of these negative qualities, the song manages to hit the spot somehow – partly due to the simple ‘oohs’ on the backing vocal. Certainly not the best song ‘Hurley’ offers, but so, so much better than most of Weezer’s post-2001 recordings. The thin, wobbly vocal and drum machine during the verses of ‘Smart Girls’ are horrible, but the chorus has enough oomph to win you over. The production here is great; there’s a mini wall of sound to rival Ric Ocasek’s style on those earlier Weezer discs and, as with the album’s other great choruses, there are enough backing vocals and harmonies to balance out any misgivings you may have. To begin with, ‘Unspoken’ provides some respite from the huge blocks of sound. The intimate setting of Rivers Cuomo, his acoustic guitar and harmony vocal make up the bulk of the song. There’s a happy and confident vibe here – the heartache and emptiness of ‘Pinkerton’s closing number ‘Butterfly’ a distant memory.

‘Brave New World’ (a co-write with Linda Perry) features the classic early-Weezer-by-numbers sound present on at least half of this album (though, in their hearts, that’s surely what most fans want). It’s not quite so simple, though, this is heavier than any of its ‘Blue’ or ‘Green’ album counterparts, though for all of its density, it carries none of ‘Pinkerton’s darkness. ‘Time Flies’, on the other hand, is a little bit more interesting. Driven by distorted acoustics and a bass drum marking time, it closes the album with an upbeat stomp which manages to sound halfway decent, regardless of an iffy vocal and the feeling of a Cuomo demo experiment. It’s one of those tracks which is infectious in a good way at first and then after a few spins becomes slightly annoying…

Despite being disappointed by Weezer so often, every time they release something, there’s always a deep rooted feeling that wants to believe there are going to be some decent songs. It would be stupid to believe that anything they release could be a complete return to form, but there’s always the hope for something halfway enjoyable.  After ‘Raditude’,  it didn’t seem like too much to hope for – and ‘Hurley’ is okay, it breezes along merrily and could appeal to the undemanding.  It’s better than ‘Raditude’ for sure, but then for it to be worse would have been impossible – if not career suicide.

For the sparks of greatness we should be partly thankful, but aside from a few shining stars, ‘Hurley’ still represents Weezer’s journey through the average.  There are so many other bands that do this kind of thing better…it shouldn’t take you too long to find one.  In the meantime, go to the link below and download ‘Ruling Me’, ‘Hang On’ and ‘Trainwrecks’. They’re better than anything on ‘Raditude’ and possibly better than anything Weezer has released since 2001.

September 2010

THE LASHES – Get It

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The Lashes’ debut EP, ‘The Stupid Stupid’, was issued on the almost legendary Lookout! Records label, once home to many top-notch punk bands. By The time of their full length release ‘Get It’, two years later, the band had been snapped up by Sony, obviously spotting potential in the Seattle sextet’s fusion of power pop, hard rock and emo.

Opening this album, the intro keyboard wash of ‘New Best Friend’ reinforces the power pop elements of The Lashes’ sound. Nearly all of the band’s traits are here in this opening track: punchy guitars, solid rhythms and keyboard filler (and do I hear handclaps?); and from that perspective ‘Get It’ is an album with very few surprises. ‘A Pretty Girl Is Like A Melody’ takes The Lashes’ love of classic new wave-ish rock/pop further, without compromising any of the guitar punch…and in just over three minutes – and via a big debt to Weezer – they have you reeled in. If you’re a sucker for guitar driven melodies coupled with decent hook, then you’ll probably love this.

The spiky ‘Safe To Say’ carries elements which call to mind the 00’s garage revival of bands like The Strokes, but more tuneful. While one of the weaker numbers from ‘Get It’, it showcases the bands slightly more aggressive side and also highlights how it doesn’t always work when they try something outside their comfort zone. This is counterbalanced some way by ‘Dear Hollywood’, a rumpty-tumpty piece of rock/pop with a greater focus on the piano than most of The Lashes’ other material. Again, this only strengthens any claim that power pop is at the heart of The Lashes’ craft, as opposed to anything punkier…

‘Daddy’s Little Girl’ has the makings of a classic. Via its great hooks and decent tune, I’m reminded a great deal of the criminally ignored mid-90s glam-pop band Beat Angels, thanks to slight Cheap Trick-isms and handclaps. In terms of stuck-in-your-head-goodness, ‘The World Needs More Love Letters’ is an equal match with its pop-driven chorus and Greg Hawkes inspired keyboards. ‘Dear Hollywood’, the album’s lightest offering, is piano-driven pop with hints of Ben Folds and Jason Falkner at their most bouncy. Also worthy of a mention is ‘Sometimes The Sun’, which is poppier than a lot of the material here, slightly jaunty, but not too obviously quirky. It’s another track which shows The Lashes playing to their strengths. Musically, it hangs off a simple guitar twang which doesn’t really carry a tune in itself; the melodies are crafted via a particularly overstretched vocal approach, which eventually arrives at a simple but pleasing hook.

Given The Lashes’ influences and knack for a decent chorus, on the surface ‘Get It’ should be an enjoyable ride, due to its disposable qualities. Sadly, there’s a weak link throughout – and that weak link is Ben Clark’s vocal. It sounds like a strong voice, but he’s chosen to sing with an irritating emo like affectation. It’s trashy enough to suit most of the songs on offer; however, when pushed to the levels a lot of these songs require, it can become an annoyance. …And for me, that’s enough to stop ‘Get It’ ever obtaining that cult classic status it could’ve been capable of achieving.

January 2010/July 2010

SAVING ABEL – Miss America

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Formed in 2004, Saving Abel is a hard rock band which combines crunchy riffs with a slight Southern drawl. Supposedly their self-titled debut album was a big hit in the US, but we didn’t even get a sniff of it here in ol’ Blighty. ‘Miss America’ – their 2010 sophomore release – is one of those albums which sounded like it may be enjoyable to begin with, since it’s opening number is delivered with enough gusto to grab the attention and is co-produced by Marti Fredriksen (who may be familiar to some of you as being the man who provided Jason Lee’s vocals in the classic Cameron Crowe movie ‘Almost Famous’, among other things), but as it turns out, the presence of Fredriksen just gave me false hope.

That opening number – ‘Tap Out’ – combines slightly fuzzy hard rock guitars with a decent punch delivered by Blake Dixon’s drum kit. Vocalist Jared Weeks has a voice which has a presence in a 90s style (I’d hoped that with Fredriksen on board that there may be more of a classic rock feel, but you can’t have it all); as far as openers go, Saving Abel push all the right buttons here. However, by a couple of minutes into the album’s second track – ‘Stupid Girl (Only In Hollywood)’ – I’m feeling rather let down, as any promise the track may have had gets watered down into something which sounds like latter-day Nickelback. Released as a single, this plods a down well-worn path that holds no great interest. ‘Contagious’ sounds like it could push the album in a heavier direction, but after about thirty seconds of hard riffing, the band opts for a Nickleback-esque approach again and delivers something so predictable. There’s a half decent guitar lead break, but nothing else of any worth.

The acoustic touches and Southern twang permeating the verses of both the title cut and the second single ‘The Sex Is Good’ offer a welcome lighter musical standpoint – there’s often enjoyment to be had from multiple acoustic guitars – but bad song writing means I won’t be spending too much time listening… (I mean, ‘The Sex Is Good’? Oh dear lads…did you get song writing lessons from that Kroeger when you supported Nickelback in 2009?). The semi-acoustic ‘Angel Without Wings’ with its very 90s rock edge and hard drum sound provides some enjoyment, but you’ll find similar stuff done better elsewhere, particularly if you’re a Creed or Alter Bridge fan. Likewise, ‘Hell of a Ride’ shows glimspses of something half listenable with decent use of slide guitars, but a heavy handed leaning towards 90s rock masks the decent bluest elements, which is a great shame.

This second album features a slightly heavier approach in places than the band’s self-titled debut, but generally, there are no surprises. The safe brand of alt-rock displayed throughout Saving Abel’s second disc will make them a few doubloons – but for me, the album sounds like a three song CD single, stuck on repeat until it reaches album length. In all truth, Saving Abel aren’t that interesting a band. In addition to their limited musical palette wearing thin very quickly, their obvious Chad Kroeger influences are extremely off-putting. Is there any point in Nickleback Mk 2? Still, I suppose they make Josey Scott’s band Saliva sound like a ground-breaking phenomenon.

See the video for ‘Stupid Girl (Only In Hollywood)’ here.

August 2010

TOM ALLALONE & THE 78s – Major Sins pt 1

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In February 2010, one of the finest bands of the previous couple of years broke up rather suddenly. Driven by an equal love of Brian Setzer, Elvis Costello and old Phil Spector discs, the 78s were set to bring rock ‘n’ roll music back to the people. The timing was right – after all, other bands like Baddies and the over-rated Vincent Vincent and the Villains were starting to make waves with sometimes similar types of retro cool. The band had even secured a deal with major label Nettwerk, who’d taken a gamble by making Tom Allalone & The 78’s their first UK signings. Sadly, the record company then showed less than no interest and give ‘Major Sins Pt 1’ no promotion whatsoever at its time of release.

Released in May 2009, their album showed a great deal of potential. Taking those aforementioned influences and trademark check shirts, the band deliver the album’s thirteen songs (many thinly veiled with references to their hometown and surrounding areas) with gusto – sure, there are slow numbers, but even those are brimming with self-confidence.

The album’s lead single ‘Hell Hath No Fury’ is a full throttle rock ‘n’ roll belter. A tale of being wronged by women, this track is largely driven by Richard Clarke’s twangy guitar riff and a shouty chorus. Similarly, ‘Gravesend Boys’ is chock-full of r ‘n’ r bluster and is another moment where the no-nonsense Stray Cats influence is at its most obvious. Combined with sexually charged lyrics regarding an unnamed local lass, it’s probably the track on the album I’m most likely to skip; it doesn’t make it bad – it was always an excellent live number – it’s more a case of ‘Hell Hath No Fury’ doing this kind of thing better. For simple, high energy rock ‘n’ roll, ‘The Jitterbug’ – an ode to sex on the dancefloor – is the album’s winner. Si Fawcett’s bass work is confident, Matt Evans’s drumming is suitably aggressive and the guitar riff is cutting. If you want to cut loose and listen to something that’ll make you want to jump up and down, look no further.

Despite the rock ‘n’ roll influences at the heart of the band’s core sound, it’s on a few of the album’s more complex tracks where the 78s really shine. ‘Casillero Del Diablo’ brings a Latin quality (not to mention a really memorable guitar part) and an excellent use of horns. Lyrically, it features some of Tom’s best work as he describes that nighclub where everyone seems to go, but nobody really should, since “the dance floor is a black hole” and the DJ swigs “petrol from an old hip flask”. Opting for a slightly more indie-rock feel and probably the track that’s most accessible to the widest audience (though always retaining their retro cool), ‘I’m Just The DJ’ explores the lonely world of the lonely man who spins the tunes while everyone around him has a good time. He provides the entertainment (in Tom’s world, this is provided while listening to ‘Gloomy Sunday’ on the earphones), but ultimately goes home alone. The album’s second single ‘Crashland’ is a fantastic soul inspired number with energetic use of brass. Trading in fifties rock for a sixties soul vibe is inspired and the band sounds equally comfortable here. The arrangement is faultless (this sounds like hype, but I honestly think it’s that good) and it features one of Tom’s greatest vocals. In short, it should have been a hit.

‘Wounded’ is another story of loneliness; this time it’s loneliness caused by a painful break-up. Musically, it’s one of the album’s simpler numbers, showing a big Chris Isaak style influence. Once again, it’s Tom’s knack with lyrics which makes it stand up. Lyrically, ‘Dogshit Street’ is Tom’s greatest achievement. Set to a gentle musical arrangement which makes great use of piano and slide guitar, this tells the heartbreaking tale of a girl subjected to a terrible upbringing, who in turn gives her kids a similar life (“Roach butts and roaches lie at your kids feet/You won’t change/ “You race home from Dover with goods you hand over to kids/A small girl that is sober is hard to win over”). When I first heard it, there was something in its frankness and downbeat nature which reminded me of Eels; musically, too, there’s a smidgeon of Mark Oliver Everett in there, though that’s most likely due to the piano and bells.

‘Sign On You Lazy Diamond’ provides another musical and lyrical high point. Its chorus is one of the album’s most memorable, while the story within regards a pushy mother and her insistence our protagonist should sign on and look for real work instead of looking at music for a career. But, as he says, “someday I’m gonna be somebody and prove that woman wrong”. The track is structured around a superb walking bassline from Si Fawcett and sharp rhythm guitar parts. It’s as good as anything you’ll ever hear in this style. ‘This Teenage Crush’ is an epic number with a strong Phil Spector vibe which evokes the sound of those classic girl bands and fifties doo wop. The rhythm section is used sparingly; the dramatic build up is provided by well arranged strings and an increased volume from the vocals and guitars until eventually the strings all but take over in this wall of sound.

Since the album lacked promotion, it seemed to be only the band’s die-hard followers and those who saw Tom and co supporting The Stereophonics or Imelda May (a tour the band got kicked off of for being too good) who took notice to any great level. Their future should have been so much brighter – and listening to the demos for the unfinished second album, the 78s sounded more confident in their approach than ever.

There’s something altogether familiar about the sole Tom Allalone & The 78s LP, ’the music has a timeless quality, largely due to their classic influences, but more than that, Tom’s lyrical ability and the band’s tendency to throw different influences into the mix makes great listening. Track down a copy of this album – you won’t regret it. Since it wasn’t a great hit at the time, it may eventually become a cult classic.

See the video for ‘Crashland’ here.
See an acoustic version of ‘Who’s Gonna Kiss Me at Midnight’ here.

June 2010

IDEALIPSTICKS – Radio Days

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From the opening moments of this Spanish garage rock duo’s album, it would be more than fair to say that the crashy rock ‘n’ roll spirit contained within the eleven songs on ‘Radio Days’ seem instantly familiar. However, both Eva J Ryjien and Jave Ryjien share vocals and the contrast in voices provides Idealipstics with a notable difference to the other garage fuelled bands with which they could be easily compared (the similarities to some are more than obvious; though it’s damn hard to push this trashy simplicity into new territory). Most lead vocals are taken by Eva, but Jave has a strong presence on a few tracks. His vocal harmonies give ‘The King Has Died’ depth; both his and Eva’s voices work well together, as the musical arrangement – in this case, a garage rock jangle – gives the track a sleazy vibe. The dual vocal is also really effective on ‘Legs’, in a great call-and-response arrangement on the chorus.

‘Frozen Head’ is very strong. The energy behind the rhythm guitar work really comes across and a decent chorus (slightly more complex than some here) makes things fairly memorable. Eva’s vocal is slightly slurred and a quirky pronunciation in places adds to the all-round trashiness. ‘Love Destroy All’ highlights a slightly more sultry edge and showcases a very strong Yeah Yeah Yeahs influence. It’s a trick which would fit easily onto their ‘Fever To Tell’ full-length. ‘U Talk’ has a pre-chorus built solely out of repetition which promises a great deal for a chorus, yet when the similarly repetitive chorus appears, it stretches simplicity just a little too far and eventually falls flat. It’s a brief misfire though, since ‘Don’t You Love Me Anymore?’ follows quickly and quickly taps into an arrangement which evokes a sloppy Kinks-esque riff and once again drives home a simple and repetitive chorus, highlighting Idealipsticks’ best traits.

‘Bitch & Whore’ shows Eva and Jave in a rather more spiteful mood. Here, the lead vocal is taken by Jave, but Eva joins for a strong co-lead on the chorus. This track stands out, not just for the vocal, but for its slightly softer arrangement. The main bulk of the song features an almost new-wave approach to its rhythm guitar work. If this is a little too restrained for you, ‘How Does It Feel?’ hammers full-throttle from the speakers. Imagine Karen O tackling something with the intensity of The White Stripes’ ‘Let’s Build a Home’ and you may have some idea of what Idealipstics do very well. Alongside ‘Legs’, it’s the album’s best track.

One review claims Idealipsticks have a completely unique sound, the challenge is on to not instantly think of Karen O and her band, Yeah Yeah Yeahs after hearing this. Idealipsticks should be taken for a spin if you really like the noisier bits of the Ravonettes, Detroit Cobras and early Yeah Yeah Yeahs, since in that vein, this album features some fantastic tracks. However…it’s hard imagine a time when Idealipsticks’ ‘Radio Days’ will replace ‘Fever To Tell’ in your affections, no matter how decent it is.

See the promo video for ‘The King Is Dead’ here.
See the promo video for ‘Legs’ here.
Watch a full 8 song live in the studio gig from Spanish TV here.

June 2010