THE WINDUPDEADS – Army Of Invisible Men

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windupdeadsAlready having had tunes featured on popular US TV shows ‘Gossip Girl’ and ‘One Tree Hill’, Stockholm based band The Windupdeads have already been given a fair amount of exposure in media terms. They’ve also been favourably compared to Radiohead and Muse, though listening to their second full-length ‘Army of Invisible Men’ (released on OK!Good Records), this comparison would appear to be lazy journalism forced by the unnecessary need to pigeonhole the band.

Granted, Richard Olsen may have an early Thom Yorke strain to his vocal style occasionally – and thankfully, he’s not possessed by the hideous untrained wailing practiced by Muse’s Matt Bellamy – but in honesty, that’s about as far as any comparisons go. The Windupdeads lack any of the experimentalism practiced by latter-day Radiohead too (and that’s potentially a good thing) and the bulk of their music settles for a fairly safe brand of rock/pop.

The Snow Patrol/Fray-esque ‘Used Cars’ shows The Windupdeads in a good light, working a memorable chorus around a breezy drum part with lots of understated cymbal work. The verses are tuneful in a radio friendly way, all building to a mid section which features some sharp guitar work which (under layers of studio trickery) never really breaks into a full solo. ’59:1’ begins with multi-tracked vocals and new wave keyboards, and in doing so, promises a great deal. Those vocals eventually make up the bulk of a decent chorus, but the verses themselves aren’t so strong. The drums do little more than mark time and Marcus Von Boisman’s guitars are limited to rhythm work, fleshed out with swirly keyboards (interesting that keyboards would have such presence when nobody is credited for them), over which Olsen delivers a lightweight vocal. It’s a track saved by its chorus; it’s a shame they couldn’t beef up the rest of the arrangement just a little.

Undoubtedly the album’s strongest track, ‘Quiet Down’ has a great intro with multi-tracked guitars and a moody verse with Jonas Westholm’s bass upfront. Olson’s vocals are stylised at first sounding like he’s singing down a telephone, but by the time his full voice is heard, it’s easy to hear where the knee-jerk Radiohead comparisons are coming from. Olsen channels his inner Thom Yorke for a ‘Bends’-era style vocal over a subtle waltz time signature. The Windupdeads certainly sound more assured here – and it’s a style which suits them very well. ‘Blood On Her Hands’ opens with a very mechanical feel which runs through the rest of the track, with Olsen’s heavily filtered vocals taking on a very staccato quality for the verses. Things pick up for the chorus, which utilises a fairly simple hook, but overall, the end result feels somewhat empty.

‘Don’t Let Go’ features another of the album’s best choruses. The musical simplicity – effectively a stomp – gives Westholm’s bass another moment in the spotlight and although the featured guitar solo isn’t brilliant, it’s nice to actually hear one, since most of The Windupdeads’ material doesn’t really offer much in the way of instrumental breaks. The mid-paced ‘Perfection’ makes great use of keyboards in lieu of affording a full string section, before falling away to allow Olsen’s vocal to take a dominant role. By the time the chorus rolls around, he’s augmented by soft backing vocals and chiming guitars all of which have a pleasant quality.

And that’s the word which best sums up The Windupdeads: they’re pleasant. There’s nothing objectionable in what they do, but despite any comparisons to Radiohead and Muse, there’s very little that’s edgy or alternative on show. ‘Army of Invisible Men’ is the work of solid musicians delivering material that sounds like it was made for American television dramas; a band making music for an audience looking for something that gives them more of a challenge than Keane…just.

May 2011

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THE CARS – Move Like This

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the cars‘Move To This’ may be the first new material recorded by The Cars since their forgettable swansong ‘Door To Door’ back in 1987, but after a few bars of their 2011 comeback release, it’s like they never really went away. The keyboard bleeps which cut through the main riff of the opening number ‘Blue Tip’ are unmistakably the work of Greg Hawkes and frontman Ric Ocasek’s spiky vocal style is even more distinctive. More impressively, not much of an attempt has been made to change or update The Cars’ signature sound here – ‘Blue Tip’ could have opened a Cars disc in the late 80s.

The four surviving members – Ric Ocasek (vocals/rhythm guitar), Greg Hawkes (keyboards, bass, backing vocals), David Robinson (drums) and Elliot Eason (guitar/backing vocals) sound as sharp as ever and Jacknife Lee’s production job is as lavish as either Roy Thomas Baker or Mutt Lange’s previous efforts with the band. After ‘Blue Tip’ opens with a keyboard bass augmented by jagged rhythm guitars, Hawkes chimes in with the mechanical keyboard sounds, making this sound like a number which sounds like it could be a ‘Candy-O’ leftover. To balance out the shameless new-wave elements on the verses, the chorus has a fuller sound where Elliot Easton gets to deliver a simple guitar riff. The Cars always had a knack for great hooks and ‘Blue Tip’ has a decent one, but it takes a couple of plays to sink in, since initially it’s a little overshadowed by those keyboard noises and the general excitement of a new Cars record.

‘Sad Song’ utilises handclaps and a rhythm guitar in a way which recalls ‘My Best Friend’s Girl’ and its chorus section riff has echoes of ‘You’re All I’ve Got Tonight’. Both elements are given a dusting down and a new slant though, and here Hawkes’s keyboards have a fantastic full sound, brilliantly complimented by Robinson’s drumming, which has a hard edge without ever becoming aggressive.
A similar mood can be heard on ‘Hits Me’, which showcases the best elements of each of the musicians – Hawkes’s keyboards maintain their retro futurism, while Easton’s staccato guitar style dominates. The slow number ‘Soon’ – in a better, fairer world – would be a number which previously would have been a vocal spotlight for Ben Orr [Orr passed away in 2000 after a battle with pancreatic cancer]. Despite his edgier style, Ocasek manages to rein his voice in a little and deliver a sympathetic, soft vocal. Musically, its simplicity is the key; the rhythm guitars have a lovely ringing sound which carries the tune throughout and Greg Hawkes’s keys offer a few subtle bell noises. He can’t resist an old-school keyboard solo in the middle though; but even then, it sits on the good side of tasteful.

The quirky pop rock workout ‘Free’ has a slightly harder quality, which in places is reminiscent of Ocasek’s 1997 solo release ‘Troublizing’ with its more modern take on a retro sound (but certainly none the worse for that), while it’s occasional stabbing guitar riff tips the hat to ‘Bye Bye Love’ from The Cars’ debut album. The chorus is strong, with Ocasek backed up by Hawkes and Easton on a pleasing backing vocal. ‘Drag On Forever’ has a gentle chug which manages to stay buoyant thanks to a lead guitar part creeping in between the verses, with Easton delivering long, full notes. The whole track is swamped by the sound of Christmas bells, which can seem a little jarring – maybe that was Greg Hawkes’s way of lightening the mood a little… ‘Take Another Look’ is the album’s most lightweight number, harking back to the most commercial moments of ‘Heartbeat City’. David Robinson’s electronic drums underpin a smooth arrangement full of harmony vocals on a very, very Ben Orr-esque number.

It may not be as classic as The Cars self-titled 1978 debut or as over-polished as parts of their 1985 million-selling ‘Heartbeat City’, but ‘Move Like This’ is streets ahead of 1980’s difficult ‘Panorama’ or 1987’s ‘Door To Door’. Original bassist/second vocalist Ben Orr is sadly missed in a couple of places, but the four surviving original members deliver an album which celebrates the past without ever sounding self-congratulatory. Comebacks can sometimes sound forced or stale (especially if that comeback is solely money oriented), but for ‘Move Like This’, there’s no hint of that. The chemistry between Ocasek, Hawkes, Easton and Robinson sounds magical, with their formulaic, somewhat predictable sound often working as a great strength. An album with so much riding on it could have been disappointing, but for long-time fans this is a welcome return and an essential purchase.

May 2010

VARIOUS ARTISTS – Sin-Atra

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PhotobucketOver the course of the 90s and 00s, the melodic rock and metal market has been swamped with metal tribute albums, often featuring a host of well known performers. Such releases are often workmanlike affairs with the featured artists never really making the most of their talents. Occasionally, you’ll find a surprisingly good one, as was the case with ‘Dragon Attack’, a metal tribute to Queen (something which really ought to have been awful, yet somehow retained a sense of fun and a great deal of charm).

‘Sin-atra’ – a metal tribute to Frank Sinatra, masterminded by ex-Kiss/Skull man Bob Kulick and Mr Big’s Billy Sheehan – didn’t sound like a very good idea on paper, and in reality, it still isn’t. Most of the performances take things into the realms of the ridiculous and while there are a lot of gifted vocalists featured, half of them have not survived the project with any dignity.

The tribute begins with perhaps Sinatra’s best known song, the ubiquitous ‘New York, New York’, left in the hands of the superbly talented and unique Devin Townsend. Over a juggernaut riff, Townsend adopts a really over the top metal voice – the kind you’ll find on the heavier parts of his ‘Infinity’ and ‘Ziltoid’ albums. In a powerful croon, he declares he’ll be “king of the hill, top of the heap, infinite overlord of all space and time…”. As expected, Townsend takes more of a lead than some of the other performers, with parts of his performance featuring his signature sound, multi-tracked guitars and keyboard drone. Equally cool, Mr Big’s Eric Martin gives ‘Lady Is a Tramp’ a decent send off with an arrangement which wouldn’t sound too out of place on his ‘Destroy All Monsters’ album from 2003. Martin’s voice has always been one of the best in melodic rock, and here is no exception. Following a decent staccato opening riff, things settle into a great melodic rock groove where chunky guitars meld well with a horn section, over which Martin delivers a vocal which fuses his rock and soul styles to great effect. He was right to approach this with a similar style he may have given one of his own numbers – in all, a very naturalistic and classy performance.

During ‘World on a String’, Doug (aka dUg) Pinnick croons in a deep tone, one almost unrecognisable as being the same man who sang on the King’s X classics ‘Gretchen Goes To Nebraska’ and ‘Faith Hope Love’. With a voice far lower than his 80s and 90s vocal style, he treats most of the number softly and respectfully, until midway, until Kulick and co just can’t hold it in any longer. The metal riffs don’t improve the track particularly, but they work better than the parpy horn section. Ex-Warrant man Jani Lane (a stalwart of tribute albums) makes a reasonable effort with ‘That’s Life’ – augmented by Winger/Whitesnake man Reb Beach on guitar and a predictable female backing harmony. Truthfully though, David Lee Roth’s similar version of the song (featured on his 1986 album ‘Eat ’Em and Smile’) will always be its definite rock cover.

Queensryche’s Geoff Tate lends his instantly recognisable style to ‘Summerwind’, and miraculously, the house band (featuring Kulick, Sheehan, Velvet Chain’s Brett Chassen and orchestral arranger Doug Katsaros) lend the track an almost sympathetic arrangement. A couple of Kulick’s riffs hit the mark and Katsaros’s orchestration is the album’s best. Tate attacks the number like a total professional, but even so, it’s only really worth checking out if you’re a die-hard fan. Twisted Sister’s Dee Snider’s vocals on ‘It Was a Very Good Year’ are fantastic and Katsaros’s strings are suitably arranged, but the chugging riff which brings the two together isn’t that interesting. At times sounding like a poor approximation of Led Zeppelin’s ‘Kashmir’ played by ham-fisted rockers. It also would have benefitted from being slightly shorter – by the time it starts to fade out at the five minute mark, it’s already started to sound a little dull.

The rest of ‘Sin-atra’ is simply awful. The remaining numbers are very poorly realised, even nearing desperation at times. Over a chuggy riff augmented by John Barry-esque horns, Anthrax’s Joey Belladonna struggles to croon his way through ‘Strangers In The Night’, absolutely murdering it in the process. The chosen vocal style really doesn’t suit him and it results in embarrassment for all concerned. Similarly, Glenn Hughes wails and squeals his way through ‘I’ve Got You Under My Skin’ in a painful manner, not helped by an average musical arrangement. ‘Fly Me To The Moon’ suffers the same fate once it’s been strangulated by Robin Zander – hard to believe that such an ugly performance could be the work of the same voice from Cheap Trick’s ‘In Color’, one of the greatest power pop releases ever. If he’d sounded like this back in the mid 70s, he would never have got a foot through the door of the Budokan, let alone contributed to a world famous live album. His vocal style just isn’t meant for the heavy metal style the song has been given though, so it’s a little unfair to lay the blame squarely upon him.

Still, none of those bad tracks are anywhere near as nasty as ‘Love and Marriage’ – delivered at full pelt in a growly voice by Nonpoint’s Elias Soriano, over a 80s thrash metal riff augmented by a brass section. It was a terrible song anyway, and it really isn’t improved by the heavy handed treatment it gets here. Bob Kulick throws in a rudimentary solo, but chances are, by that point in the song, you’ll have had the sense to push the stop button. The man from Nonpoint gets nul points. An incredibly unsubtle take on ‘High Hopes’ featuring Scars on Broadway guitarist Franky Perez suffers a similarly embarrassing fate…

Yes, a lot of this release really is that bad. Possibly as misjudged as ‘Metal Zeppelin’ – a heavy metal “tribute” to Led Zeppelin from 2002, featuring lots of second division European metal bands…and Blaze Bayley. It was a mistake to try and make Sinatra’s tunes fit the metal mould while retaining a swing/crooning style to most of the vocal performances – it just doesn’t work. You have to wonder what everyone was thinking when they signed up for this project… At least Devin Townsend had the smarts to realise this was rather silly and played it up for all of its absurdness.

None of the tracks here represent worthy additions to the performers respective back-catalogues. Even the completists among you will possibly baulk at most of these performances. You could approach ‘Sin-atra’ as a bit of fun, but most of it is so heavy handed it makes difficult listening. Eric Martin’s contribution is worth downloading (and even Townsend’s piece of over-the-top theatrical silliness too if you’re that way inclined), but otherwise, this is an album you could definitely live without.

May 2010

THE BLACK STOUT – Voices Of Generation EP

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PhotobucketOften sounding like a cross between The Lawrence Arms and Rancid, the Paris-based punk/punk n’ roll band The Black Stout arrive in size ten boots with a message. “We will kick your backside/since nobody did before us” shouts lead vocalist Vaness’ over the chorus of the opening number ‘Voices of Generation’, in a husky, drawling voice, influenced in places by Brody Dalle. She may have a point, since although France has spawned its share of punk bands over the years, few have made a significant breakthrough outside of their home country.

Across the three minutes of that opening number, the riffs have a classic pop-punk sound and the playing is tight; to reinforce the punk ‘n’ roll aspect of the band’s sound, on lead guitar, Dam offers a twangy, old school solo, with a few ugly notes for good measure. For those who want something in the straight up punk vein, ‘Prince Charming’s an Asshole’ is spiteful, fast and angry. The riffs in places sound like a meatier variant of the Adrenalin OD inspired material from the early Screeching Weasel discs. The jagged guitars and shout along chorus pack plenty of energy into just over three minutes during a number which barely takes time to breathe. Equally as good, possibly better, ‘Tell Us’ recycles the kind of punk-pop riffs and posturing you’ve heard from various Lookout! Records and Fat Wreck Chords album releases time and again. Vaness’s Brody Dalle-isms are at their most obvious here and with the shouty gang vocals on the chorus add to its style of “early Distillers cast-off”, but a simple, memorable hook and sheer energy and conviction behind the performance gives the track a great feel.

The best number, ‘Workers Mad Game’, has a slightly slower pace. Less punk, slightly more punk ‘n’ roll with a hint of rock, musically the band are at their strongest here, especially AL1’s rattling, high in the mix bass playing which provides a rock solid sound; a sound especially effective during the intro when set against Flo’s staccato guitar work. There’s a hint of the Parasites to be heard in places too. The only time The Black Stout miss the mark is on the retro rock number ‘Celebrate’, which is just a little too slow and shiny to make the best of Vaness’s ragged vocal style. The ringing guitars are pleasant enough and, once again, the backing vocals on the chorus provide something well rounded, but even so, it’s the kind of feel-good alt-rock track you’ll have heard performed better by a lot of other bands. Is it a skipper, though? Probably not.

On this EP, the song-writing is solid, the choruses are big, the production values are sharp and the riffs are sharper. The accented vocals can be a little hard to decipher in places, but not enough to stop The Black Stout’s debut being an enjoyable listen. Sure, you may have heard it all before, but that’s no reason not to check them out. Punk rock by numbers this may be, but The Black Stout’s enthusiasm, talent and self-belief really shines through.

You can listen or download the EP from the widget below.

April 2011

MARK BACINO – Queens English

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bacinoMark Bacino’s first two albums, ‘Pop Job: The Long Player’ and ‘Million Dollar Milkshake’ are fantastic records. Simple as that. Both releases are chock-full of infectious hooks which stick in the head for days. ‘Million Dollar Milkshake’ could possibly be one of the greatest ever power pop albums ever.

Bacino’s third release, 2010’s ‘Queens English’, presents somewhat of a departure from his earlier bubblegum/power pop sound, presenting him in more of a singer-songwriter guise. It’s not as easy to get into as his first two albums and doesn’t always have such a feel-good quality, but its real life vignettes are more than endearing. ‘Queens English’ is named after the New York borough of Queens and the spirit of New York runs through each of the album’s tracks in the same way a seaside towns name runs through a stick of rock. But while Bacino’s other albums have a rock-candy sweetness, ‘Queens English’, is a mixture of sassiness and introspection. Sure, there are a few moments of his usual infectious pop, but it’s a record which definitely sees him branching out.

For fans of Bacino’s straight up power pop sound, ‘Muffin In The Oven’ and ‘Angeline & The Bensonhurst Boy’ do not disappoint. ‘Muffin’ – a song about being excited/nervous about a pregnancy – comes across as a mix of Jellyfish playing Billy Joel. Ron Zabrocki’s electric guitar leads are nicely played – in fact the whole track is impeccably arranged – but the greatest elements come from the meted horns, mellophone sounds and a simple ‘do do do’ hook – the kind Bacino knows will get in your head. ‘Angeline’ makes great use of horns once again, while the upbeat arrangement really captures a great mood, while Bacino himself delivers a confident, breezy vocal performance.

In a style never present in Bacino’s previous work, ‘Bridge and Tunnel’ has a slow sureness, with an upright bass marking time over a classy string arrangement. Bacino’s vocal is clear as he delivers his ode to the outer boroughs of New York – Brookyn, Staten Island, Bronx and Queens, where “the butt of all the jokes are the wheel and spokes of the city”. The New York quality of this song is so strong, it’s impossible to avoid. Had Randy Newman written it, it would be destined for a movie (either a montage or end credit placement, it really doesn’t matter). The same could be said for ‘Happy’, which sounds like a Randy Newman composition for children. On the surface, its shiny optimism is charming and works well thanks to great use of piano and Franch horn, but as with much Randy Newman-esque stuff, there’s a sarcastic streak below the surface. A similar rumpty-tumpty approach sits at the heart of ‘Who Are Yous?’ where Bacino delivers a similarly simple tune and hook…but then, who said great tunes had to be complex?

‘Queens English’ also features a couple of very personal moments where Bacino recounts moments with his young son. ‘Camp Elmo’, telling a tale of life-changing events a new baby brings, utilises a similar piano simplicity as heard on ‘Happy’ and could be seen as a little twee; however, ‘Ballad of M & LJ’ – a pure celebration of being a father – is far stronger, particularly in the cheekiness of its lyrics, especially the suggestion that Mark and Lee Joseph “might eat three ice cream cones and listen to The Kinks when mommy’s not home”. The work of Ray Davies, a small child + a giant sugar rush…sounds like a fun day.
To balance out the more personal, softer aspects of the album, the title track presents Bacino in a rockier mood than ever before. A tough power pop guitar riff drives the number, while the simple hook of “speakin’ the Queens, speakin’ the Queens” is one of the album’s most instant and direct. The seventies edge of the riff has an almost glam rock feel and a rock ‘n’ roll piano thrown into the mix just adds to the general frivolity. At just under two minutes, it makes its exit almost as quickly as it arrived.

While ‘Queens English’ often retains Bacino’s gift for penning two and three minute gems which never labour their point, it’s not as instantly gratifying as ‘Pop Job…The Long Player’ or ‘The Million Dollar Milkshake’. Stylistically, it shows Bacino maturing as a songwriter and it’s only after repeated spins that its semi-autobiographical nature provides a very rewarding listen. Stick with it – you won’t be disappointed.

www.markbacino.com
www.dreamcrushmusic.com

April 2011