'Science & Faith' by The Script

Science & Faith
The Script
14th September 2010 | Sony
**
The Irish trio follow a mainstream path on second effort...

The Script are an Irish band who managed to hit the ground running when they entered the music industry in 2008 with their self-titled debut, an album which has since reached a number one chart ranking and multi-platinum selling status. This immediate success is arguably due to stand out singles such as 'We Cry', 'The Man Who Can't Be Moved' and 'Breakeven', where the pop/alternative rock crossover seemed to attract the people. It even gained them a U2 (who are one of their principle inspirations) support slot at one of the Croke Park shows on the exquisite 360 degrees tour. Despite the mainstream success, the album has recieved generally negative reviews.

In an attempt to maintain this success, The Script release 'Science & Faith' the highly-antipicated follow up to 'The Script'. It is an album revolving around the current economic and social climate in Ireland. Being a casual admirer of the first album, I was intrigued to find out whether their instant success has influenced their studio approach.

First track 'You Won't Feel A Thing' is a strong opener with flashes of their fellow Irishmen U2. It is a decent indicator that The Script have straight away continued with the same style as their first effort. Lead single 'For The First Time' is about a couple struggling through the recession and it begins with acoustics before moving into some interesting vocal harmonics as the song builds up. 'Nothing' is a emotional and progressive song reminiscent of 'We Cry'. 'Science & Faith' is subdued but light-hearted song with a U2-esque guitar work. RnB vocals are layered over soft guitar on 'If You Ever Come Back'. 'Long Gone And Moved On' features effective piano chords in the background. 'Dead Man Walking' incorporates more RnB vocals with deeper meaning. I appreciate 'This Is Love' for its slightly different sound which involves interesting snare drum patterns in the intro. 'Walk Away' brings back the RnB feel, which I consider a disruption to the flow of the album. 'Exit Wounds' is an acoustic song which acts as an angsty and satisfying closer.

The Script, with this second album, have risen to arena status, with their upcoming tour (March 2011) including two consecutive nights at Belfast's 14,000-capacity Odyssey Arena and dates at Manchester's 19,000-capacity MEN Arena and London's 20,000-capacity O2 Arena. Material from 'Science & Faith' will blend in well with older songs as the Script have evidently realised the success they have achieved with their debut and instinctively remained with the same formula. The trio's decision against altering their style will further consolidate their fanbase while isolating any newcomers. So, business as usual as the Irish trio keep the faith with the mainstream.

Track Listing

1. You Won't Feel A Thing
2. For The First Time
3. Nothing
4. Science & Faith
5. If You Ever Come Back
6. Long Gone And Moved On
7. Dead Man Walking
8. This Is Love
9. Walk Away
10. Exit Wounds

'A Thousand Suns' by Linkin Park

A Thousand Suns
Linkin Park
8th September 2010 | Warner Bros
*
Californian six-piece attempt to relight their fire on fourth effort...

I never truly liked Linkin Park. There is a certain element in their sound, and that of other bands operating in the same field. But this alternative nu-metal genre they have been categorised as seems to appeal to the wider audience. The sales figures speak for themselves, with the Americans shipping over 50 million albums worldwide, with all three of their albums going multi-platinum instantly.

The six-piece's third effort 'Minutes To Midnight' represented a drastic change in musical direction and began a deviation for their signature nu-metal sound of the previous records. This was perhaps an attempt to become more radio-friendly and to increase their mainstream relevance. I am curious on their follow-up to this, to whether they will continue in the same direction of experimentation or revert back to the original sound which instigated their rise to fame in the first place.

This album, entitled 'A Thousand Suns', is a concept work with themes of war being the principle subject matter. Recording commenced shortly after the release of the highly successful, despite divisive 'Minutes To Midnight'. The album was produced by Rick Rubin (who also contributed to 'Minutes To Midnight'), a hard rock/heavy metal specialist. Mike Shinoda (vocals, rhythm guitar and keyboards) claimed the album to have a bigger thread of consistency, to be more experimental and to be more cutting-edge than its predecessor. He desired for this album to enter different territory and for it to define itself as an individual record separate from anything else that's out there. I was intrigued to listen to the results of two years in the studio.

Album opener 'The Requiem' is a slow-burning, electronic based, eerie introduction featuring feminine vocals. 'The Radiance' features interesting drums behind a spoken 'intercom-style' voice. 'Burning In The Skies' brings out the softer side of Linkin Park, introduced on 'Minutes To Midnight'. However, placing it so early in the album was a ineffective decision. 'Empty Spaces' signals the album's course shifting to the rap/hip-hop side of Linkin Park. It is a repetitive filling song ruining the momentum of the album. Shinoda raps on the next cross-over track between rap and metal 'When They Come For Me'. It is an electronic driven song with plenty of screaming which would probably work more effectively on a solo album than in the middle of a Linkin Park album. 'Robot Boy' is another rap-orientated song, but this time much more subdued and with pleasant piano and string lines layered into the mix. 'Jornado Del Muerto' is another worthless filler song with heavy distortion which caps off a rather uninventive, rap-orientated first half. In my opinion, the album has not actually begun. 'Waiting For The End' is an interesting song with a funky Caribbean flavour, but is still far from any rock music. 'Blackout' features faint vocals from 'The Catalyst' (which features later in the album), and is another distant and surreal song, almost as if someone is blacking out from the world. 'Wretches And Kings' is another diabolical rap track delivered from Shinoda, disrupting the gradual upward curve of the second half. 'Wisdom, Justice And Love' is another speech-driven song, which fails to contribute anything because it does not seem to have any reasonable purpose. 'Iridescent' is another soft, piano-led track which is the closest entity to a ballad on the album. 'Fallout' is yet another useless filler track. Then comes, at fourteenth position 'The Catalyst' the poorly-placed lead single. It is a radio-friendly song with a political theme but is geared too heavily on electronics. Closing track 'The Messenger', displays Linkin Park desperately attempting to incorporate guitar work into the album. I feel it is just Bennington screaming (trying to sound powerful, but failing) over some simple piano and acoustic guitar. It encapsulates a shambolic and appalling album.

From my perspective, 'A Thousand Suns' is far removed from 'Minutes To Midnight' and in a definitively negative direction. It sounds incredibly forced and manufactured, almost written purely for the mainstream's sake. The number of intensely weak and unnecessary songs is overwhelming and listeners will be shocked by the sheer lack of creativity. It is poorly ordered and virtually inaccessible. It is the sound of a critically-acclaimed rock band desperate trying to reinvent themselves, and failing miserably to the point where they have lost their identity. 'A Thousand Suns' will confuse and alienate any new admirers while isolating a vast chunk of their 'metal' fanbase. This is certainly something to forget.

Track Listing

1. The Requiem
2. The Radiance
3. Burning In The Skies
4. Empty Spaces
5. When They Come For Me
6. Robot Boy
7. Jornada Del Muerto
8. Waiting For The End
9. Blackout
10. Wretches And Kings
11. Wisdom, Justice And Love
12. Iridescent
13. Fallout
14. The Catalyst
15. The Messenger

Muse Live At Wembley Stadium 2010

Muse
Wembley Stadium
11th September 2010 | The Resistance Tour
*****
Muse rock Wembley Stadium to its foundations for the fourth time...

Muse are my favourite band of all time and having strongly admired them for so long, it was long overdue to experience one of their concerts. The trio are renowned for their extravagant and energetic live performance and have earned eleven awards in the live category.

In 2007, eight years and four albums into their career, after gradually, release by release, ascending the gig ladder, Muse booked the biggest headline shows of their entire life, at the newly-constructed Wembley Stadium, which is without doubt, the pinnacle of UK venues. Muse, in that year, were at that level where they could organise their own massive summer headline concerts, and they decided on the 90,000 capacity Wembley Stadium above venues such as Milton Keynes Bowl and Hyde Park, as they relished the prospect of shifting to stadium status and that Wembley were insistent on having a British band to host the first concert at the new venue. And no better suited to this is the most-celebrated live act of the 21st century, Muse.

Muse, despite having the confidence to arrange the ambitious concert, were deeply concerned (sleepless nights) that it would fail to sell out. However, all this anxiety was banished when the 90,000 tickets for the 16th June show sold out in 45 minutes and fans with tickets seemed to be the fortunate minority rather than majority as demand outstreched the single date drastically. In response another show was added on the following night without the band's knowledge, which also sold out. Muse were astonished.

These monumental gigs were the greatest Muse had ever performed, rising to the auspicious occasion successfully with an elaborate stage set, stunning production and a well-crafted setlist. The second show was documented on a DVD entitled 'HAARP', and having watched it countless times, I was growing progressively more fervent to attend a Muse concert, and I prayed that they would revisit Wembley Stadium on their next tour.

And my prayers were answered. Muse had decided, after touring most Europe's and America's biggest arenas on the 'Resistance Tour' , on embarking on a summer European stadium/festival tour. This included headlining slots at renowned festivals such as Rock In Rio, Rock Am Ring/Rock Im Park, Glastonbury and T In The Park/Oxygen, amongst many others and included playing massive football stadiums such as Stade De France and San Siro, amongst many others. But by far the most significant date of the summer tour was Muse's decision to return to Wembley Stadium. At this point, I was ecstatic and I was definitely applying for tickets because the prospect of missing out on this concert was unbearable. However, I was truly aware of how difficult it would be to obtain tickets, as demand would be overwhelming as usual with any Muse show. But in November 2009, having attempted to purchase Muse tickets twice before (The Den and The O2 Arena), I was rewarded with the best of them all, three Wembley Stadium tickets for 11th September 2010. My dream had just turned into reality. I then witnessed the 11th September show sell out and not surprisingly a second date was added on the 10th September. With the tickets bought, I began the ten month wait until the concert.

The highly-anticipated day had arrived. We travelled by rail and arrived at the stadium in good time. We ascended the stadium's plush esculators to the third tier and entered through block 528. The sight that welcomed me was totally mesmerizing. This was my third visit to the stadium but my first with it in concert mode. The football pitch was replaced with a white sheet which represented the floor beneath a slowly-expanding standing crowd. The stands were slowly filling with early revellers. But, by far the most eye-catching concept was the outstanding stage set, and as they always do, Muse had blown it again on production. This massive building was situated at the west end of the stadium. It is a type of triangular prism which could have been taken straight out of Tokyo and designed by some deranged archictect. It is supposedly based on George Orwell's '1984', as was the arena stage set (three imposing, ultilatarian towers), and this is confirmed by the eye positioned at the top. Behind this remarkable stage (which I believe gives U2's 360 degree 'Claw' a run for its money), there are several illuminated spheres distributed across the vacant west stand, providing a correlation with Muse's magnificent Wembley Stadium shows in 2007. There was a beautiful sunset descending on the stadium and the ambience was incredible as we made our way to our seats. Excitement levels were soaring.

At precisely 17:55, first support act I Am Arrows emerged from inside the stage. I Am Arrows are an indie-pop band from England, formed by ex-Razorlight drummer Andy Burrows in 2009. I had only heard one of their songs prior to the concert so I was not expectant of anything. They played a mere four songs in a rather light-hearted set. Unfortunately the early punters were not stimulated by the performance. Next on at 18:40, were second support act White Lies. They are an alternative/indie rock band from England, formed in 2007 and have already achieved a degree of success. They have won three awards, featured on the NME Awards Tour 2009 and had a headline performance at Radio 1's Big Weekend. I engaged in their performance without having heard any of their material and I admired their dark yet uplifting style. They played only 6 songs in their early evening set which was better received by a growing crowd. At 19:30, when the sky had darkened, third support act and the one I most eagerly anticipated Biffy Clyro entered the stage. I had wanted to watch this band play live ever since the release of the platinum-selling 'Only Revolutions' in 2009 and was exultant when I discovered Biffy Clyro would be reuniting with Muse at Wembley Stadium, as they did in 2007. Biffy Clyro are an alternative/hard rock band from Scotland, formed in 1995 and acheived mainstream success with their breakthrough fourth album 'Puzzle'. They played an almost identical setlist to that performed at Reading and Leeds Festival 2010 at third slot on the main stage, which was dominated by 'Only Revolutions' material. Opening with an explosive 'That Golden Rule' where violent mosh pits immediately erupted and continued through to 'Living Is A Problem Because Everything Dies'. Other highlights included the stadium-filling anthems that are 'Bubbles', 'Mountains' and 'The Captain', and powerful songs such as 'God & Satan' and 'Many Of Horror'. The eleven songs played formed an impressive set from Scotland's finest, and the perfect warm-up of what was to follow.

At 20:45 with the sky pitch black, and after a half an hour break allowing people to recover, headline act and the reason why 80,000 had gathered at Wembley Stadium, Muse made their grand entrance. Just before, there was a marching procession of 'protesters' holding flags walking around the stage in the typical 'uprising' theme, and then the second night of Muse's colossal two-night residency at Wembley Stadium commenced with the stomping power of 'Uprising', the first single from 'The Resistance'. An expected choice for the opener and from the first note I knew Muse were going to play their souls out on their final European date of 'The Resistance Tour'. Matt Bellamy (by far the greatest guitarist of this generation) used a double-necked guitar for this perfect opener which instantly turned the crowd into one pulsating mass. This was followed by the electro-tinged 'Supermassive Black Hole'. This popular hit provoked a dancing sensation across the crowd. 'MK Ultra' ensued, a worthy inclusion and a pleasant surprise in the setlist. Another mosh pit anthem with its pummelling guitar riffs, which continued through to the 'Township Rebellion' riff Bellamy tagged along the end. Afterwards, Dom Howard warmly welcomed us. The progressive 'Map Of The Problematique' was next, a crowd favourite not played on the previous night which progressed into the 'Who Knows Who' riff. Muse delved deep into their back catalogue with the next hit 'Bliss'. The crowd reaction was beyond words. Nobody was expecting it and everybody relished it. Bellamy surprised us all at the end by pulling of such a high-pitched falsetto at the end. 'Guiding Light' followed providing us all with a break from the intensity, but was magical in the stadium setting. The crew deployed confetti over the standing crowd during the guitar and bass riff. Then they played 'Interlude' off Absolution in build up one of the greatest basslines in history as Chris Wolstenholme launched into 'Hysteria'. The entire stadium was singing the chorus so loud it would have been heard across a sleeping West London. A 'Back In Black' riff maintained the momentum into the song I wanted to hear most that night. 'Citizen Erased'. The crowd definitely appreciated this magnificent masterpiece (it was voted highest in the 'Choose The Setlist' polls on the Muse official website).  Bellamy vacated the stage momentarily after playing the closing riff, leaving Howard and Wolstenholme to begin 'Nishe'. Bellamy returned and the soft piano of 'United States Of Eurasia' began, allowing the crowd to hold their mobile phones aloft to create a beautiful effect, before the pulverizing force of the song kicked in with 'Eurasiaaaa'. An authentic surprise inclusion in the setlist emerged afterwards, with 'Ruled By Secrecy'. The volume levels in the stadium dropped as everyone cherished the tranquil and emotional moment. Then arrived Muse's famous cover version of 'Feeling Good' (which I consider superior to the original and it was voted by NME as the best cover of all time). Bellamy then departed once again as Howard and Wolstenholme headed for the rising platform to play the 'MK Jam' (a drum and bass piece). When Bellamy reappeared, he played a few riffs on his hybrid 'keytar' instrument before joining the others on the platform to progress into the dance-style 'Undisclosed Desires'. This raised platform (which was equipped with red and blue flashing lights making it resemble a spaceship) advanced away from the stage, deep into the standing crowd in the middle of the stadium. Before the song has concluded, Muse returned to the stage and shifted into the 'Adagio In G Minor' in preparation for 'Resistance', another well-performed song in the stadium setting. Afterwards, Bellamy controversially, but very considerately branded us the 'real fans', which was a welcome compliment putting in perspective we were the 80,000 who had rushed to apply for tickets for the single date advertised before it sold out, and Muse were obliged to add a second date. Besides, in my opinion, Muse had realised this and treated us with a superior setlist in comparison to the previous night's. They then began a definite fan favourite, 'Starlight', which, as expected, caused rhythmic clapping and passionate singing to echoe across the entire stadium. Muse then picked out a riff from 'House Of The Rising Sun' before entering another fan favourite, 'Time Is Running Out' which, once again, induced more fervent singing. Following the song, Bellamy indicated his true guitar hero by playing two Jimi Hendrix riffs. Then emerged the main set closer, the six-minute 'Unnatural Selection', which is without doubt the heaviest material off 'The Resistance', sparking some violent mosh pits. Adrenaline levels were at their highest as Muse escaped from the stage momentarily. When they returned for the first encore, they propelled us all into outer space as a huge UFO hovered over the standing crowd during 'Exogenesis: Symphony Part I (Overture)', and I was staggered to witness this epic orchestral masterpiece being performed live. Once the UFO had reached the centre of the stadium, a female acrobat suspended from it began somersaulting. Then everything went out of control as Muse thundered through the crushingly heavy 'Stockholm Syndrome'. Fierce mosh-pits erupted everywhere and everyone on the terraces were jumping with vigour, it was almost as if the stadium was about to collapse under the force. And they were not finished yet, as they exited the stage for another well-earned break. When they re-entered for the second encore, Muse played the electro-heavy 'Take A Bow' as Howard shifted to his synthesizer and Bellamy entered the limelight as he was elevated to the centre of the stadium. Following this, the huge white balloons were unleashed as Muse played another fan favourite, 'Plug In Baby' (which contains one of the greatest guitar riffs of all time). Then, the time had come for the grand finale to this magnificent show. 'Knights Of Cydonia'. And as the eerie and atmospheric intro 'Man With A Harmonica' echoed around the stadium, there was a moment of sadness as everyone acknowledged this was the final show in the UK for a long time. But all was banished as the energy and power of the song brought sheer chaos to the crowd, as Muse signed off a truly breathtaking night.

It was a mind-blowing concert and undoubtedly one of the greatest nights of my life. Muse's performance was staggeringly close to total perfection. And as I made my way towards the station, I hoped it could all occur again sometime. Unforgettable...

Setlist

1. Uprising (extended)

2. Supermassive Black Hole

3. MK Ultra

4. Map Of The Problematique

5. Bliss (long)

6. Guiding Light

7. Hysteria

8. Citizen Erased

9. Nishe

10. United States Of Eurasia

11. Ruled By Secrecy

12. Feeling Good (cover)

13. MK Jam

14. Undisclosed Desires

15. Resistance

16. Starlight

17. Time Is Running Out

18. Unnatural Selection

19. Exogenesis: Symphony Part I (Overture)

20. Stockholm Syndrome

21. Take A Bow

22. Plug In Baby

23. Knights Of Cydonia

Mercury Prize 2010

Mercury Prize 2010

Grosvenor House Hotel, London

7th September 2010 | Barclaycard

Mercury levels rise this year as The XX claim victory...

The Mercury Music Prize is an annual music prize awarded for the best album from the United Kingdom and Ireland. It was established in 1992 by the British Phonographic Industry and British Association of Record Dealers in 1992. It has had many different sponsorships over the years, and the current one is Barclaycard.

Nominations are selected by a certain panel of musicians, music executives, journalists and other figures in the music industry in the United Kingdom and Ireland. The award presentation usually takes place in September with the list of nomination being announced two months before, in July. Not surprisingly, bands who are either nominated or who win the prize usually experience a drastic increase in album sales. Despite this award being regarded as highly prestigious in the music industry, it is renowned for either making or breaking an artist.

The Mercury Prize has a distinct reputation for being awarded to outsiders or less known nominees, instead of the favourites. Previous winners are: Primal Scream, Suede, M People, Portishead, Pulp, Roni Size/Reprazent, Gomez, Talvin Singh, Badly Drawn Boy, PJ Harvey, Ms. Dynamite, Dizzee Rascal, Franz Ferdinand, Antony And The Johnsons, Arctic Monkeys, Klaxons, Elbow and Speech Debelle.

This years list of nominees was published after months of deliberation and in my opinion is one of the strongest dozen in recent years. The list is an ecletic mix of different genres and styles and each album displaying musical flair. The level of diversity in the 2010 shortlist demonstrates just how open-minded people are about British music now. The nominees are: 'Only Revolutions' by Biffy Clyro, 'The Sea' by Corinne Bailey Rae, 'Total Life Forever' by Foals, 'Sigh No More' by Mumford & Sons, 'Sky At Night' by I Am Kloot, 'I Speak Because I Can' by Laura Marling, 'Wake Up The Nation' by Paul Weller, 'XX' by The XX, 'Tongue N' Cheek' by Dizzee Rascal, 'Two Dancers' by Wild Beasts, 'Golden' by Kit Downes Trio and 'Becoming A Jackal' by Villagers.

The eagerly-anticipated result of one of the most coveted awards in music arrived in two words after that nervous pause in proceedings with 'The XX'. The XX had won the Barclaycard Mercury Prize 2010 for their critically-acclaimed debut 'XX' which was released in August 2009. The XX were always one of the clear-cut favourites since the nominations were unveiled and it is no surprise that they have succeeded here. I was always impressed with The XX's minimalistic, ethereal indie style music and I am pleased for a new and upcoming band to win. It seems the hushed, smoky soundscapes of this sleek and obfuscating debut swayed the judges to opt with 'XX' after over 4.5 hours of deliberation. Simon Firth (the chairman of the Mercury Prize judging panel) commented 'It's one of those records that picked up the mood of the moment. Also it's an incredibly coherent album that uses space in a special way'. Personally, I would not have minded if Biffy Clyro or Mumford & Sons had won it because they have each created excellent albums, but in the end, The XX deserved the award.

Out of the dozen nominees, The XX are arguably the least equipped to deal with fame and tabloid scrutiny. Before the ceremony, they said the album was made 'with the utmost intention that no-one would ever hear it'. One of their first words in reaction was 'disbelief' and that they 'still haven't had a chance to take it in yet'. Romy claims 'I was so convinced that we weren't going to win'. From this, The XX appear to lack any degree of self-confidence. Their humble and appreciative speech reflects their overwhelming modesty, regardless of the rapturous applause they received when they were announced as the winners. This Mercury Award may emerge as a shock to them, but it is certainly not to us and they are definitely worthy of this praise. I strongly hope this award will serve as a boost to their bright career which lies ahead. However, despite the band having already made the decision to spend the lucrative £20,000 prize money on their own studio, Oliver Sim has said 'there's only a plan to be creative again. No plan or big intentions for a second album, though'. For now, as we wait patiently for The XX to capitalise on their Mercury Award success, we can truly cherish the genre-defining album 'XX' which propelled them to the ceremony in the first place...

Nominees

'Only Revolutions' by Biffy Clyro
'The Sea' by Corinne Bailey Rae
'Total Life Forever' by Foals
'Sigh No More' by Mumford & Sons
'Sky At Night' by I Am Kloot
'I Speak Because I Can' by Laura Marling
'Wake Up The Nation' by Paul Weller
'XX' by The XX
'Tongue N' Cheek' by Dizzee Rascal
'Two Dancers' by Wild Beasts
'Golden' by Kit Downes Trio
'Becoming A Jackal' by Villagers

Winner

'XX' by The XX 

'Interpol' by Interpol

Interpol

Interpol

7th September 2010 | Matador
**
American indie trio turn on the bright lights on their fourth album...

Interpol were relatively unknown to me before I wrote this review, but having delved into their back catalogue I have realised they are not that underachieving, declining indie band some people seem to think. In fact, I have drawn vocal comparisons with The Killers and Editors, both of which appeared several years later.

Interpol are one of the bands associated with the New York City indie music scene and were one of the groups which emerged out of the post-punk revival of the last decade. Their typical sound is a mix of bass throb and rhythmic harmonized guitar patterns. They formed in 1997 and have endured a rather twisted career. Debut album 'Turn On The Bright Lights' was critically acclaimed, lighting up a solid career path for them. From that point onwards, musically, they delivered standard material but behind the scenes, Interpol were gradually weakening. Their most recognisable member, Carlos Dengler (bassist/keyboard player), has made a depature (after finishing the fourth album), the supermodel girlfriends have vanished and they have been dropped by their major label back on their orginal indie label 'Matador' because they had failed to reach the promised 'bigtime'. This fourth self-titled album arrives as Interpol are in a state of creative recovery and redefining their identity.

The album begins with the ironically titled 'Success'. This song is highly remisicent of material from their debut, and boasts a subtle arrangement. This is an early indication that the band have come full circle. 'Memory Serves' is a downhearted and reserved song before 'Summer Well' which lightens the mood slightly with some interesting intro percussion and piano. The album's staggering centrepiece 'Lights' enters at fourth and features chugging guitar and strong emotion. 'Barricade' is a catchy and energetic, forcing a break from the bleak misery of the earlier numbers, and is by far, in my opinion, the highlight of the album. An obvious choice for the lead single and ironically, it is a natural barricade between the sorrow of 'Lights' and the desperate deafeatism of 'Always Malaise (The Man I Am)', which is another slower song featuring swirling vocals and an effective crescendo. 'Safe Without' features attractive percussion while 'Try It On' has flashes of Elbow. 'All The Ways' and 'The Undoing' continue the slow-burning but well-crafted spirit of the latter section of the album.

Interpol, on this fourth effort, have made the instinctive decision to revert to the sound of their debut as they desperately try to salvage themselves. It is a dark, brooding and emotionally rich record but I feel it will fail to gain universal appeal as Interpol's great comeback. Despite it having complex arrangements and polished production, Interpol have shifted too far in one distinct direction. The dejected and downcast mood dominates the album from start to finish, with barely any exceptions, making it almost inaccessible and providing the listener little ability to relax and enjoy themselves. It may be admired by some but personally, its one to stay away from the bright lights.

Track Listing

1. Success
2. Memory Serves
3. Summer Well
4. Lights
5. Barricade
6. Always Malaise (The Man I Am)
7. Safe Without
8. Try It On
9. All Of The Ways
10. The Undoing

'Audio Secrecy' by Stone Sour

Audio Secrecy

Stone Sour

7th September 2010 | Roadrunner

****

Slipknot frontman shows his softer side as five-piece avoid their stone cold past...

The unfortunate news of Slipknot bassist Paul Gray's untimely death in May this year was a truly shocking moment for the metal scene. One of the original 'nine' of one of the biggest American metal bands of the 21st century had perished and two questions instinctively sprung to mind. One was: would my favourite metal band of all time continue after the death of one of their integral founding members? The other was: would Stone Sour, an intended side-project, become more prominent in Corey Taylor's future visions. As for the first thought, I have no knowledge of the answer, but as for the second, while Slipknot is shifted out of focus temporarily, I feel Stone Sour is now much more than just a side-project.

Stone Sour was initially formed in 1992 but entered hiatus in 1997 when Slipknot was prioritised. They re-formed in 2002 as a side-project to the lead singer's main band, a year after the release of second album 'Iowa'. So far, Stone Sour have earned three Grammy Award nominations all in the 'Best Metal Performance Category' and 'Audio Secrecy' is their third album. Despite Stone Sour being a metal band, Corey Taylor explores the lighter side of the genre, particularly in this album than in previous Stone Sour releases, distinguishing it from the aggressive and powerful sound of Slipknot.

'Audio Secrecy', like Disturbed's 'Asylum' released last month, commences with a gloomy instrumental, which bears the same name. The quiet piano of the intro builds into 'Mission Statement', a heavy-hitting track reminiscent, particularly in the vocals of Slipknot's 'Sulfur'. It features a high-octane guitar solo from Slipknot guitarist Jim Root. 'Digital (Did You Tell)' fits perfectly afterwards and incorporates an attractive distorted guitar riff. The opening single is placed at fourth in the track listing, 'Say You'll Haunt Me', despite involving more prominent drums, has a less energetic opening compared to the previous two tracks but certainly reminds listeners of Corey Taylor's broad musical spectrum ranging from death metal to piano ballad which he has demonstrated effectively on Slipknot's last two albums. The song builds up progressively into a catchy chorus section. The acoustic guitar is deployed for the first time on the album in the intro of 'Dying' before it is drowned out by the powerchords of an electric guitar. The pacy guitar work and passionate vocals on 'Let's Be Honest' make it a stand-out track. 'Unfinished' is a gritty but well-executed song with heavy, down-tuned guitar patterns. 'Hesistate' is a light, subdued song with the same emotional power as Slipknot's more subtle songs such as 'Snuff' and 'Circle'. This is ensued by arguably the heaviest song on the album, 'Nylon 6/6' is an compelling attack. In 'Miracles', Stone Sour venture into ballad territory, a place already exploited by Corey Taylor in some of Slipknot's recent material. Acoustic guitar and marching drums feature in 'Pieces' as Corey Taylor reaches his vocal climax on the album. By contrast, 'The Bitter End' follows, a violently heavy song, where clear-cut parallels with Slipknot can be drawn. To terminate the album, there are a duo of slower-burning works. 'Imperfect' is the second acoustic ballad on the album which has a stop-start style while 'Threadbare' is an impressive and expansive piece forming a perfect ending to an excellent album.

Stone Sour combine forces with fellow American hard-rockers Avenged Sevenfold on a co-headline tour of the UK's mid-sized venues. However, with this third album under Stone Sour's belt, I feel they should be headlining and Avenged Sevenfold supporting. 'Audio Secrecy' is a true roller-coaster of an album, full of unexpected twists and turns, which will certainly catapult Stone Sour to success as they acheive further recognition as more than just a pointless Slipknot side-project. The only significant drawback is that it is not that far removed from Slipknot. But, from an overall perspective, 'Audio Secrecy' is a well-crafted, eclectic and vivacious album which is one of the first 'miracles' in metal this decade.

Track Listing

1. Audio Secrecy
2. Mission Statement
3. Digital (Did You Tell)
4. Say You'll Haunt Me
5. Dying
6. Let's Be Honest
7. Unfinished
8. Hesitate
9. Nylon 6/6
10. Miracles
11. Pieces
12. The Bitter End
13. Imperfect
14. Threadbare

'Flamingo' by Brandon Flowers

Flamingo
Brandon Flowers
6th September 2010 | Vertigo
*
There is a killer on the loose...

The prospect of hearing Brandon Flowers voice any more across radio stations worldwide irritates me. This is not to be misunderstood, I admired the Killers six-times platinum debut 'Hot Fuss' and a selection of songs from their follow-up efforts but I feel, with time, material from the Killers is progressively deteriorating and that Flowers's high-pitched voice is gradually becoming more annoying.

Perhaps realising this, Brandon Flowers, in late 2009 with the 'Day And Age World Tour' approaching termination, decided to embark on a solo career which was intended to operate as a side project. This year, he is the second high-profile artist to follow the solo route, the first being Kele (Bloc Party frontman) with the release of 'The Boxer' in July. I was impressed with that effort because an open-minded Kele had made the self-assured decision to change his musical direction by shifting to the alternative-dance genre. Despite flashes of Kele's inner dance genuis on Bloc Party's 2008 album 'Intimacy', 'The Boxer' has a definitively dance-orientated sound. I was intrigued, when discovering Flowers was to begin a solo project, to what new sound he could explore to expand his musical spectrum, and desperately hoping it would not sound like a substandard Killers album.

This much-anticipated album opens with an aptly-titled 'Welcome To Fabulous Las Vegas'. This begins with plaintive piano before rushing into guitar power chords, galloping drums and those trademark truimphant Flowers vocals. Flowers admiration for Bono is made obvious on 'Only The Young' with its world music-esque chant and sombre keyboards. 'Hard Enough' is a mid-tempo, acoustic, piano-driven ballad with vocal qualities such as a chrous duet and charming 'ohhhs' and 'ahhs'. Subdued guitar arpeggios open 'Jilted Lovers & Broken Hearts' before it gathers steam as both acoustic and electric guitars feature. Distorted guitar chords and crashing cymbals bring the song to a close. 'Playing With Fire' is a slow-burning song which begins in a gentle and placid manner. Its chorus features Flowers reaching his tenor with: 'Playing with fire/You know you're gonna hurt somebody tonight/And you're out on a wire/You know we're playing with fire'. 'Was It Something I Said' is an upbeat song, contrasting with the previous number, textured by a bouncy bassline and charming keyboards. 'Magdalena' is a Latino-flavoured song starting with light keyboards and choir vocals before incorporating guitar and synth-strings. Placed in the closing stages of the album, in eight position, is Brandon Flower's debut solo single, 'Crossfire'. This begins in a subtle manner before making way to a three-chord piano progression, a steady drum beat and high-pitched vocals. Quickly strummed acoustic guitar in the bridge section is an effective touch. The penultimate track 'On The Floor' is a gospel ballad about sin, degradation and moral cleansing, which is backed by the Las Vegas Mass Choir. 'Swallow It' is a bizarre song to digest where Flowers sings in a near monotone and is characterised by a nylon-string guitar figure, an undeviating drum pattern and a 4/4 time signature throughout.

In my opinion, this album is a complete failure. For most people, a solo album delivered by a musician already with plenty of music industry experience with his/her repsective band, should target experimentation and indulge in music outside of the band's comfort zone. But, I am honestly disappointed with this Brandon Flowers effort because it sounds exactly like The Killers. It is painstakingly obvious from the opening minutes Brandon Flowers has essentially banished his bandmates from the studio and created the fourth Killers album on his own under the name 'Brandon Flowers'. Some of the songs on this album are decent but would be much better placed on the imminent follow-up to 2008's 'Day And Age'. Q magazine commented: 'what we have here is a Killers record made without The Killers that sounds like The Killers and is almost as good as The Killers, but not quite'. That quote manages to succinctly encapsulate 'Flamingo' in one sentence. And while Killers fans worldwide will not be discontented with this material, everyone else will probably leave this bland and shockingly mediocre album 'on the floor'.

Track Listing

1. Welcome To Fabulous Las Vegas
2. Only The Young
3. Hard Enough
4. Jilted Lovers & Broken Hearts
5. Playing With Fire
6. Was It Something I Said?
7. Magdalena
8. Crossfire
9. On The Floor
10. Swallow It