...Like Clockwork [2013] - Queens Of The Stone Age

Ask any QOTSA fan and they'd tell you that the last six years have felt very long. In between recording albums for the Eagles of Death Metal, Them Crooked Vultures and dying on the surgery table, there wasn't much news from Josh Homme regarding the long awaited follow up to 2007's Era Vulgaris. However, in 2012, news broke that the Homme-led outfit was recording their 6th studio album. On paper, ...Like Clockwork boasts several famous guest stars. Dave Grohl features on drums on half the tracks for the first time since 2002's Songs For The Deaf, replacing long time stickman Joey Castillo, who was fired during the recording process. Sir Elton John, Trent Reznor (Nine Inch Nails), Alex Turner (Arctic Monkeys), Jake Shears (Scissor Sisters) and even erstwhile QOTSA bassist Nick Oliveri, make appearances on the album. But make no mistake, QOTSA is and always will be Homme's baby. The individual contributions are in no way bigger than than the sum of the parts, so if you're expecting an odd mash up of all the above mentioned artists, you'd be hard pressed to find it.

So how does ...Like Clockwork compare to the rest of the bands catalogue? Well, simply put, this is their best album since Songs For The Deaf. While that statement by no way means disrespect to the stellar efforts that were Lullabies to Paralyze and Era Vulgaris, ...Like Clockwork is a much more cohesive and focused album than its two predecessors. Album opener "Keep Your Eyes Peeled" is the perhaps the darkest song the band has written, however it soon gives to the relatively cheery crunch-laden "I Sat By The Ocean". "My God Is The Sun", the first single released off the album, would seem upon first listen to be ripped straight from Songs For The Deaf and is a fine rocker. By the halfway point in the album, the listener would have probably realised that this album is nothing like the previous two, nay, five. 

'So what's it gonna take/ To get you back in bed?' sings Homme on "Fairweather Friends" which features the great Sir Elton John on piano. His contribution is one of the few that is actually audible on the album. Keeping in tradition with QOTSA songs that one can dance to, "Smooth Sailing" is one sexy number. In my personal opinion, the penultimate song "I Appear Missing" is the best track off the album and one of the finest rock songs written in a very long. It gets better and better with multiple listens, revealing new layers of instrumentation every time. You may discover a slide guitar after the third listen and suddenly the song attains a whole new dimension. Oh, and it's got fantastic lyrics to boot like 'I've never loved anything/ Until I loved you'. The final song which happens to be the title track is a indeed a welcome surprise. Featuring Homme on piano like "The Vampyre Of Time And Memory" before it, his vocals have never sounded so naked and vulnerable. 'One thing that is clear/ It's all downhill from here' croons Homme as the song brings the album to a poignant and fitting end

In all honesty, I've put ...Like Clockwork through at least fifty spins (yes, you read that right, fifty) and it hasn't gone stale even once. It's the best rock album I've heard in a long time. It's very easy for one to be swayed by the glitter of the guest stars, but instead of the franken-album you were probably expecting, this is a sleek and modern update of the QOTSA sound we've come to know and love. 

Song Picks :

• If I Had A Tail
• My God Is The Sun
• Fairweather Friends
• Smooth Sailing
• I Appear Missing

"Calling all comas
Prisoner on the loose
Description
A spitting image of me
‘Cept for a heart shaped hole 
Where the hope runs out."

The Real Me [1973] - The Who

Many consider English rock legends The Who's sixth studio effort - Quadrophenia - as the last great Who record. And why not? The album is chock full of memorable songs from start to finish, and is the band's second rock opera after 1969's Tommy. Told from the perspective of British teenager Jimmy Cooper, the Who successfully captured teenage angst whilst commenting on the decline of Mod culture, a subculture from the 60s that the band themselves outgrew.

The Real Me is the first song to kick things off. It is an introduction to the album's protagonist who suffers from a condition known as "quadrophenia" (a play on the term schizophrenia), whereby he has  developed four distinct personalities. He visits his doctor, to no avail. He visits his mother, who tells him that craziness runs in the family. He has been alienated by those around him including the girl he once loved. In his desperation he turns to religion, only to be left answerless.

Musically, this is one of the heaviest songs in the Who's catalog. Jimmy's angst is perfectly captured by Roger Daltrey's strong vocals. Pete Townshend as always is solid on guitar, providing the driving rhythm for John Entwistle's lead bass. Yes, you read that right - lead bass. If one were to isolate the bassline, the song would be nothing but an extended bass solo and an amazing one no less. Keith Moon, is well, Keith Moon throughout the song. There is not a single moment of emptiness thanks to the relentless onslaught of drums, showcasing the Who as an extremely talented band, inspiring generations to come.

Can you see the real me?
Can ya?
Can ya?

I went back to the doctor
To get another shrink
I sit and tell him bout my weekend
But he never betrays what he thinks

Can you see the real me, Doctor?
Doctor?
Can you see the real me, Doctor?
Woah, Doctor!

I went back to my mother
I said "I'm crazy ma, help me"
She said "I know how it feels son
Cause it runs in the family"

Can you see the real me, Mama?
Mama?
Can you see the real me, Mama?
Woah, Mama!

Can you see
Can you see
Can you see the real me?
Can you see
Can you see the real me
The real me
The real me

The cracks between the paving stones
Look like rivers of flowing veins
Strange people who know me
Peeping from behind every window pane
The girl I used to love
Lives in this yellow house
Yesterday she passed me by
She doesn't want to know me now

Can you see the real me?
Can ya?
Can ya?
Can you see the real me?
Can ya?
Woah, yeah!

I ended up with a preacher
Full of lies and hate
I seemed to scare him a little
So he showed me to the golden gate

Can you see the real me, preacher?
Preacher?
Can you see the real me, preacher?
Preacher?

Can you see
Can you see
Can you see
Woah

Can you see the real me, Doctor?

Can you see the real me, Ma?

[Please Note: The above video is from 2002 and features Zak Starkey on drums. Keith Moon passed away in 1978]

Gold On The Ceiling [2012] - The Black Keys

Hot on the heels of 2010's Grammy-winning "Brothers", The Black Keys quickly released its much-anticipated follow up "El Camino"in December 2011. While essentially a duo, The Black Keys included co-producer Danger Mouse (of Gnarls Barkley fame) in the writing process of the album.

Gold on the Ceiling was the second single released after "Lonely Boy" and is a perfect indicator of the Black Keys' new sound. If you have heard the band's earlier work such as 2005's "Thickfreakness" (check out the title track) or even 2008's "Attack and Release", you will know that the Keys are essentially a revival of good-old fuzzy blues rock-n-roll. With Gold on the Ceiling, we find the Keys in top form, adding a fresh layer to their previously established sound. The fuzzy guitars are there with a bluesy solo to boot, the feel-good feeling - intact. Now add an organ and a backing trio of beautiful girls (at least I hope so) complete with handclaps, and you'll find yourself back in the 60s. The lyrics need no analysis, it simply doesn't matter, its all about the groove here and perfectly good reason to freak out. It's a breath of fresh air just when you thought rock-n-roll was going stale, the Keys have produced a genuine hit.

"They wanna get my…
They wanna get my
Gold on the ceiling
I ain’t blind
Just a matter of time
Before you steal it
It’s alright
Ain’t no guard in my house"

Roundabout [1971] - Yes

Perhaps a little more pop-oriented than progressive, Yes' "Roundabout" is a classic of the genre that became famous during the 1970's. Released in 1971 off their breakthrough album "Fragile", Roundabout is a perfect example of accomplished musicians coming together to create amazing music. Guitarist Steve Howe's gentle strumming on the opening few bars of the song soon gives way to the dynamic duo of bassist Chris Squire and drummer Bill Bruford. But what makes this song really stand out is the contribution of then-newly-hired keyboardist Rick Wakeman, whose Moog synthesizer added a new dimension to Yes' music. Look out especially for the keyboard solo around the 6-minute mark. The song perhaps wont immediately catch the listener's attention, but once the beauty is discovered, its hard not to give into its rhythm and fluidity - a real gem in Yes' legacy.

"I'll be the round about

The words will make you out 'n' out

I'll spend the day your way.

Call it morning driving thru the sound and

In and out the valley."

Lee Van Cleef [2011] - Primus

Following the release of 1999's 'Antipop', alternative (funk?) metal band Primus went on hiatus only to return in 2003 with longtime drummer Tim "Herb" Alexander in tow. The reunion however, seemed to promise little, with the band's only original release in the years subsequent being a 5-track EP titled 'Animals Should Not Try to Act Like People'. In 2011, after 8 long years, Primus finally released their long awaited seventh studio album "Green Naugahyde".

The first single off the new album is 'Lee Van Cleef', a song that can be compared to the band's earlier work on 'Frizzle Fry', their first studio album. And why not? Replacing Herb on drums (who left in 2010) is Primus' original drummer, Jay Lane, whom the band credit with greatly influencing the band's early sound and style. Singer and bassist Les Claypool is at the top of his game, playing one of his funkiest basslines in years. Guitarist Larry "Ler" LaLonde's country style soloing compliments Claypool's bass as it always has, contributing to Primus' signature sound that has been around since 1989 . As far as lyrics go, its still as zany as it was 20 years ago. This time its a tribute to the late actor Lee Van Cleef ('Angel Eyes' from 'The Good, the Bad and the Ugly'). Overall, its a welcome return for a band whose uniqueness has been sorely missed for an entire decade; here's to many more!

"We still get a kick outta watchin' Clint; we all get a kick outta Clint

Hi Hi Hi Hiii

There ain't never been one quite like Clint, there's really only one Clint

I always did like Lee Van Cleef; always did like Lee

Nobody's steely like Lee Van Cleef. Whatever happened to Lee?

Whatever happened to Lee Van Cleef? Don't forget about Lee"

In The Cage [1974] - Genesis

What makes a concept album good? Is the music, or the concept, or both? Sometimes the concept can be so overwrought yet the music can more than make for it. Sometimes the concept can be perfect yet the music just isn't there to back it up. Genesis' 1974 double album "The Lamb Lies Down on Broadway" is one such album that falls into the former category. The concept is intended to be simple : It tells the story of a half Puerto Rican by the name of Rael who goes on a surreal journey through the twisted and fantastical underbelly of 1970's New York City to search for his estranged brother John. The further one reads into the story, the crazier it gets, introducing weird and magical creatures along the way as well plenty of obscure literary references.It also very satirical in nature.

However if you're not kind of the person interested in such elaborate story-telling, fear not. There are some true gems to be found on this album, and one such song is "In the Cage". Found on the first half of the album, it is a classic example of British progressive rock. A word of caution : Don't let the term "progressive rock" fool you into thinking that it has the spacey, tripped out feel of classic Floyd. This is the kind of song that was in essence meant to fit into a Broadway musical. Starting off with a simple bass line, the keyboards and Peter Gabriel's vocals introduce themselves into the mix, building the tension slowly. Rael is trapped in a cave filled with stalactites and stalagmites which form a cage around his body. His initial confusion turns to fear as he desperately tries to escape. He sees his brother John outside the cage and cries out in desperation but alas! John ignores him and walks away. From a musical point of view, it is a good mix of progressive and pop rock. Tony Banks' keyboard solos are excellent, always twisting and turning and Phil Collins drumming is outstanding. The way the song changes to convey Rael's changing moods are a testament to Genesis' quality as musicians. It is as intense as it is powerful.

"I got sunshine in my stomach

Like I just rocked my baby to sleep.

I got sunshine in my stomach

But I can't keep me from creeping sleep,

Sleep, deep in the deep.

Rockface moves to press my skin

White liquid turn sour within

Turn fast - turn sour

Turn sweat - turn sour.

Must tell myself that I'm not here.

I'm drowning in a liquid fear.

Bottled in a strong compression,

My distortion shows obsession

In the cave.

Get me out of this cave!

If I keep my self-control,

I'll be safe in my soul.

And the childhood belief

Brings a moment's relief,

But my cynic soon returns

And the lifeboat burns.

My spirit just never learns.

Stalactites, stalagmites

Shut me in, lock me tight.

Lips are dry, throat is dry.

Feel like burning, stomach churning,

I'm dressed up in a white costume

Padding out leftover room.

Body stretching, feel the wretching

In the cage

Get me out of the cage!

In the glare of a light,

I see a strange kind of sight;

Of cages joined to form a star

Each person can't go very far;

All tied to their things

They're netted by their strings,

Free to flutter in memories of their wasted wings.

Outside the cage I see my Brother John,

He turns his head so slowly round.

I cry out Help! before he can be gone,

And he looks at me without a sound.

And I shout out 'John please help me!'

But he does not even want to try to speak.

I'm helpless in my violent rage

And a silent tear of blood dribbles down his cheek,

And I watch him turn away and leave the cage.

My little runaway.

(Raindrops keep falling on my head, they keep falling on my...)

In a trap, feel a strap

Holding still. Pinned for kill.

Chances narrow that I'll make it,

In the cushioned straight-jacket.

Just like 22nd Street,

They got me by my neck and feet.

Pressures building, can't take more.

My headaches charge, earaches roar.

In this pain

Get me out of this pain.

If I could change to liquid,

I could fill the cracks up in the rocks.

I know that I am solid

And I am my own bad luck.

Outside John disappears, my cage dissolves,

without any reason my body revolves.

Keep on turning,

Keep on turning,

Turning around,

spinning around.

(round, round, round, round...)"

In The Aeroplane Over The Sea [1998] - Neutral Milk Hotel

Simply put, Neutral Milk Hotel's second studio album "In The Aeroplane Over The Sea" is a modern day indie classic. Engaging from start to finish, it showcases one man's vision, nay, obsession and translates it into a body of magical music. Inspired loosely by the diary of Anne Frank, frontman Jeff Mangum displays his immense talent as a songwriter. As a singer, well let's just say it's not going to be everybody's cup of tea. Kicking off with 'The King of Carrot Flowers Pt. One" till "Two-Headed Boy Pt. Two", it is quite a surreal journey. The song arrangements are simple mostly consisting of Jeff Mangum and his acoustic guitar. However, some songs have added drums, fuzzed out bass and even horns.

Although I mentioned that Jeff Mangum's voice was a rather hit-or-miss affair, it is what makes this album unique. It's nasal and it goes places where it probably shouldn't venture, but it's honest. Every line delivered is honest and heartfelt. The emotions range from haunting ("Oh Comely) to excited ("Holland 1945") to melancholy espcially on "Two-Headed Boy Pt. Two" where he seems on the verge of tears, but it all fits so well together. The rapid fire lyrics are surreal and expose Jeff Mangum's poetry skills (What other album has the word semen feature so many times?).

If one were to nitpick any flaws on this album, it would have to be that it is accessible yet inaccessible at the same time. There are some genuine pop hits in this album and its mesmerizing, but only if you can get yourself look past the non-traditional vocals. An essential album for sure.

Song Picks :

• The King of Carrot Flowers Pt. One
• In the Aeroplane over the Sea
• Two-Headed Boy
• Holland, 1945
  
• Oh Comely
• Two-Headed Boy Pt. Two
  

"The only girl I've ever loved
Was born with roses in her eyes
But then they buried her alive
One evening 1945
With just her sister at her side
And only weeks before the guns
All came and rained on everyone
Now she's a little boy in Spain
Playing pianos filled with flames
On empty rings around the sun
All sing to say my dream has come."

Crusher Destroyer [2002] - Mastodon

In my humble opinion, 'Crusher Destroyer' is an brilliant song title. To have it as an album opener is even better. Thankfully the title does justice to the song. Clocking in at a mere 2 minutes, 'Crusher Destroyer' feels longer than that, in a good way of course. That's only because of the insane number of riffs Mastodon have managed to cram into it. A blend of heavy and sludge metal, it's unrelenting and uncompromising, just like all of their songs.They even manage to incorporate a Southern blues solo in the middle. Special mention must go to drummer Brann Dailor for his unique drumming style and sudden changes in time signatures, always threatening to burst out from the background. Vocals are harsh but suit the song well, its hard to think of anything else other than a guttural voice to go with it. A massive opener for a massive album

"Lesson
the honoring instinct of animal
pressure
no blame on the red bull
throw fury at him
aim gorge and win
less contenders on the way today
let them pay
nothing lost
nothing gained
listen
here lies the warning for matador
blackout
blood running the dirt floor
won't bleed by accident
burn your game plan"

Vampire Weekend [2008] - Vampire Weekend

Describing their sound as "Upper West Side Soweto", Ivy-League (Columbia University to be more specific) rockers Vampire Weekend released their self titled debut in early 2008. The album is a playful yet arty mix of indie rock, pop and African music. The songs have an undeniable charm about them, the lyrics are witty and quirky if a little cryptic. On lead vocals and guitar is Ezra Koenig, Rostam Batmanglij handles a variety of instruments while also serving as producer and Chris Baio and Chris Thompson fill in on bass and drums respectively.

The most obvious thing that one is likely to notice is just how simple the songs are. Koenig limits his guitar to only the first 3 strings, while the rhythm section is left to fill in the gaps with its tricky drumming and rhythmic bass. But it works and works well as exemplified by the first two songs 'Mansard Roof' and 'Oxford Comma', both excellent songs, dealing with offbeat topics like architecture and grammar. 'A-Punk' is one of the highlights of the album and rightly so. The song is succinct, sweet and catchy. 'Cape Cod Kwassa Kwassa' is the most African-sounding song on the entire album, with Conga drums and a guitar line that could easily have been taken from a Afro Pop hit, a sort of New York-meets-Africa experience. 'One (Blake's Got A New Face) ' has one of the most memorable lyrics and you may find yourself singing along even though you may not know what's going on! 'M79' and 'Walcott' with their speedy and infectious keyboards further strengthen the album. The album closer 'The Kids Don't Stand Chance' is absolutely brilliant.It only starts with bass and drums, both sounding as though they might belong to a reggae song, but by the end, you wont even know what genre of music you're listening to or how you even got there. The transition is that smooth and well worked out. The lyrics go well with the already preppy nature of the album, drawing inspiration from European History.

Vampire Weekend's debut is ultimately smart, preppy, innovative and above all a fresh breath of air in an already crowded indie rock scene. They prove that big riffs, heavy and heart pounding beats don't necessarily make the biggest impressions. Sometimes you've got to put your feet up, kick back , relax and let some ivy college kids blow you away with their music.

Song Picks :

• Mansard Roof
• Oxford Comma
• A-Punk
• Cape Cod Kwassa Kwassa
• Bryn
• The Kids Don't Stand A Chance
  

"You criticize the practice
By murdering their plants
Ignoring all the history
Denying them romance

The pin-striped men of morning
Are coming for to dance
Forty-million dollars
The kids don't stand a chance."

Stylo [2010] - Gorillaz

Released just a few weeks ago, 'Stylo' is considerably darker than previous Gorillaz fare. The backbone of the song is its ominous bass line which is further accentuated by Damon Albarn's (2D) melancholy vocals. Featuring Mos Def and soul legend Bobby Womack on vocals, Stylo has an old school feel to it, mixing genres such as disco and synthpop. Bobby Womack's vocals stand out in particular, delivering a powerful performance. The single oozes elan and panache and is a strong comeback for Damon Albarn in particular, especially after the hit-or-miss 'The Good, the Bad and the Queen'. I would daresay that it's a stronger song than 'Feel Good Inc.' Here's to hoping 'Plastic Beach' continues the same standards as Stylo!

"Right now here's what we got to do,
it's love of electric,
it'll be flowing on the streets,
night after night,
just to get through the week,
sometimes it's hard. "

Rating : 9/10

School [1989] - Nirvana

The first time I heard 'School' by Nirvana was when I saw its promotional video on Youtube. The band recently (not to mention finally) released a DVD of their legendary 1992 Reading Festival performance and needless to say I was hooked! 'School' is not a very complex song, the lyrics are not particularly profound but its charm lies in its pure simplicity. Starting off with a simple distorted riff, the song kicks into life when the bass and drums join in the mix. I would suggest listening to the remastered version of Bleach with the bass turned up. Trust me, the more bass, the better. Kurt Cobain restricts his vocabulary to "Wouldn't you believe it it's just my luck" , "No recess" and "You're in high school again ". Yes, that's it folks, three sentences. However, these fit well with the song and so does its noisy,discordant guitar solo. Overall, 'School' is a fun song to listen to, the kind of song that warms you up and gets your blood pumping.

Rating : 8/10

"No recess!"

Going Down [1971] - Freddie King

Released in 1971 , Blues legend Freddie King's 'Going Down' is a real monster of a song, one that would be covered by various future guitarists such as Eric Clapton, Stevie Ray Vaughn, Jeff Beck and even Joe Satriani. Featuring catchy-as-hell piano playing by none other Leon Russell himself, a groovy bass line and King's throaty vocals, the song became an instant blues classic. But the real centerpiece is King's guitar. It plays the role of a secondary vocalist, demanding the listener's attention every time it squeals through the background. It emotes as much as King, perhaps even more, channeling his passion through every note. Seen as an attempt to fuse classic blues-rock with the emerging hard rock scene of the 70s, 'Going Down' was ultimately a success that influenced a generation of guitarists and its impact can still be felt today.

"I'm going down
I'm going, down, down, down
Down, down
Yes, I'm going down, yes
I'm going down, down, down
Down, down
Yes, I've got my feet in the window
Got my head on the ground"

Rating 9/10

Never Miss A Beat [2008] - Kaiser Chiefs

After the hit-or-miss sophomore effort that was 'Yours Truly, Angry Mob' , Kaiser Chiefs bounced back to form with their third studio album 'Off with Their Heads'. Featured on this album was the lead single 'Never Miss a Beat', which included Lily Allen on backing vocals. The song fits quite nicely into the Chiefs post-punk revival sound, rivaling hits such as 'Ruby' and 'I Predict A Riot'. The drums thump along, driving the song with its catchy beat while the bass rumbles in perfect unison. There some really neat guitar work to be found on the song along with fuzzy keyboards which add a sort of sugary charm. But of note are Ricky Wilson's lyrics which feature subtle social commentary but above all are fun to sing along with. So if you are looking for a radio friendly pop-rock song, this is probably it, but be warned, it may just get stuck in your head!

"Televisions on the blink
There's nothing on it
I really want a really big coat
With words on it
What do you want for tea?
I want crisps
Why don't you join the team?
I just did"

Rating : 6.5/10

Nobody's Fault But My Own [1998] - Beck

'Nobody's Fault But My Own', was the third single off Beck's 6th studio album, Mutations. A blues song with Indian instruments? Only Beck could have come up with that! While Indian instrumentation was not uncommon in rock music, Beck gives it a unique twist in this beautiful song. The lyrics are haunting with plenty of metaphors, a prime example of his poetic talent. That coupled with his bleak delivery, the sitar and the droning tanpura in the background, really sucks the listener in, demanding more and more listens. This song received the most critical acclaim on the album, and rightly so. A classic in its own right.

"When the moon is a counterfeit, better find the one that fits
Better find the one that lights the way for you. "

Rating : 9.5/10

Nobody Loves Me And Neither Do I - Them Crooked Vultures

What can be said about supergroups that hasn't been said before? They usually comprise of highly talented musicians who come from various established bands, but never quite live up to the sum of their parts. Supergroups range from great (Cream,Crosby Stills and Nash) to average (Audioslave, Velvet Revolver) to just plain awful (Zwan anyone?). With a great set of talent often comes a whole lot of ego, leading to disastrous results. Supergroups are often treated with suspicion, and with good reason. Enter Them Crooked Vultures. Take one of the greatest drummers in modern rock (Dave Grohl of Nirvana & Foo Fighters fame) , a cult hero (Josh Homme, frontman of Queens of the Stone Age) and a rock god if there ever lived one (John Paul Jones of Led Zeppelin) and you have, potentially at least, the greatest hard rock band to come out since perhaps Led Zeppelin themselves.So how does their self-titled debut pan out? I'll be reviewing just one song so you'll have to hear the whole thing, but I think the one song will be enough to give you a good idea.

The album opener is 'Nobody Loves Me and Neither Do I', a funky mix of 70's hard rock fused with 90's modern rock sensibilities. At 5 minutes long, the song showcases the individual strengths of each of the members. Dave Grohl pounds away on the drums adding a little cowbell for good measure (a little more cowbell never hurt anyone!). Josh Homme shows his penchant for hard rock riffs while singing in his trademark falsetto. John Paul Paul remains his usual composed self, preferring to remain in the background with his slide bass. Yes, his slide bass. This adds a nice twist to a song that very well could have stayed generic. Production wise, the song sounds a little raw. While this is not really a bad thing, the trio sound so tight, I wish there was a little less echo and more of the slide bass. The song really kicks into another level at around the 3 minute mark. The band launches into this, if I may say so, sick groove that carries on for the rest of the song. It is both hypnotizing and heavy at the same time, reminiscent of the last minute of QOTSA's 'Song for the Dead'. It finally ends in a flurry of guitar of drums, leaving the listener extremely satisfied. While the song is a little uneven at times due to its mishmash of styles, it is breath of fresh air in the crowded hard rock genre. The potential displayed by TCV is an indicator that perhaps supergroups can indeed be super.

"I know how to be lost in lust
Not because you should, but because you must"

Rating : 8/10

A Looking In View - Alice in Chains

After 14 long years, Alice in Chains released their much awaited 4th studio album in October this year. The question on everybody's mind was how the band would replace its iconic lead singer, Layne Staley, who tragically passed away in 2002. But die-hard AIC fans need not worry, as replacement William Duvall does more than a capable job, sounding eerily similar to Layne while not exactly imitating him either.
The lead single off the album is the 7 minute long 'A Looking in View'. It carries on the dark,sludgy sound that was first introduced on AIC's self titled album (released in 1995). From the moment the down-tuned, heavily distorted guitars kick in, you know that this is not some re-hashed attempt at former glory, this IS Alice in Chains. William Duvall's vocals are mixed at par with Jerry Cantrell's for most of the song, although you do get to hear his voice stand on its own. However, when Duvall and Cantrell harmonize their vocals, the song is at its best. The chorus is catchy by AIC standards, but on the downside, the song is a bit too long for its own good. Some of the riffs and lyrics are repeated too often, losing its effect. Also, I couldn't help but wish for a guitar solo by Jerry Cantrell. Overall the song is a fine return for one of Grunge music's big 4. For long time fans, 'A Looking In View' will fit in perfectly with the band's classics, a haunting and eerie rocker. For non-fans, do give it a listen, this is real grunge music, not the post-grunge bullsh*t that's being spoon-fed to the masses.

"Silence burning, hold your tongue
Keep us separate so they'll know"

Rating : 7.5/10

S.O.R.R.Y

To those who actually read my blog,

A big SORRY for the lack of updates!! My internet is heavily censored in college which means even my blog is blocked! I could have easily gone to a cyber cafe and updated it but a hectic college schedule coupled with the internet censorship has seriously hampered my access to new music. However, I plan to resume blogging after I go home for my vacations (and with a vengeance). Please be patient and enjoy the loud love life!

Kabir

Jane's Addiction - Ritual De Lo Habitual (1990)

Released in 1990, Jane's Addiction's follow up to 'Nothing's Shocking' surpassed its predecessor in every possible way. That was no mean feat since 'Nothing's...' was a classic in its own right. By this point the band had refined it's own unique and original sound of blending funk,hard rock and heavy metal and the end result was 'Ritual De Lo Habitual', a masterpiece of an album. The album is clearly divided into two distinct halves. The first half begins with 'Stop!', a perfect blend of funk and thrash metal. Dave Navarro proves that he is one of rock music's most underrated guitarists as he tears into a (quite literally) face-melting guitar solo. Bassist Eric Avery keeps up the funk sentimentalities on the next few songs, driving the rhythms with his ever-so funky basslines. Also on this half is the modern classic 'Been Caught Stealing'. The song features one of the most catchiest riffs ever written, witty lyrics and a solid rhythm section. It almost forces the listener to dance along to its beat, such is its addictive nature. The next half sees the band exploring slightly darker territory. The songs are longer, moodier and more atmospheric. On the epic 'Three Days', singer Perry Farrell deals with the time he spent three days with his girlfriend and a girl named Xiola Blue in a "haze of sex and drugs". The song twists and turns, and is emotionally charged. 'Then She Did' is just as emotional, dealing with the death of a loved one, perhaps even two. Both songs combined clock in at 20 minutes and compliment each other well. The album closer is the complete opposite of the opener with its soft acoustic nature. Although Jane's Addiction would break up soon after the release of this album (the first of two break ups), they left behind a legacy that only a few bands could have accomplished in a such a short period of time and 'Ritual De Lo Habitual' provides a testimony to that.

Song Picks :

• Stop!
• Ain't No Right
• Been Caught Stealing
  
• Three Days
• Then She Did
  

Jane's Addiction - Nothing's Shocking (1988)

Most of today's alternative rock bands owe more to Jane's Addiction than they get credit for. Released in 1988, Jane's Addiction's debut studio album 'Nothing's Shocking' quite literally sent shockwaves through the music industry. Mixing various styles such as modern rock, progressive rock, and heavy metal, they became one of the first pioneers of Alt-Rock. With Dave Navarro's funky guitar style, Eric Avery's bouncing basslines, Perry Farrell's unique vocals and Stephen Perkins' tribal-like drumming, Jane's Addiction created a dynamic that few bands can replicate today.

The album has its fair share of Zeppelin-like moments such as the heavy hitting 'Mountain Song' and 'Pigs in Zen'. The band even has its own quirky moments as well, such as the horn-filled 'Idiots Rule' and the jazz instrumental 'Thank You Boys', but also displays a genuine penchant for hard rock styles in the form of the brilliant 'Had a Dad' and 'Standing In The Shower...Thinking'. Dave Navarro's guitar playing really shines through on these songs with funk-laced guitar lines and classic blues solos.Bassist Eric Avery must also be given due credit as many of the songs are driven by his haunting basslines.A prime example of this would be the beautiful psychadelic rocker 'Summertime Rolls'. Jane's Addiction shows off their softer side in 'Jane Says', an acoustic guitar driven ballad, perhaps the sweetest song on the entire album. However, the album's most epic song remains the seven-minute long 'Ted, Just Admit It.' Dealing with serial killer Ted Bundy, the song is a funky,disturbing free-form jam that shows off each of the band member's individual strengths. Despite the different styles displayed on 'Nothing's Shocking', the album is a thoroughly consistent affair, an album that would ultimately pave the path for future alternative bands who would come to define the 90's and remains as fresh as ever even today.

Song Picks :

• Ted, Just Admit It
• Mountain Song
• Summertime Rolls
• Had A Dad
• Jane Says
• Standing In The Shower...Thinking

Isis - Wavering Radiant (2009)

Isis' fifth full-length album starts off with a bang through album opener 'Hall Of The Dead'. Unlike their previous album 'In The Absence of Truth', the band wastes no time getting to the point and unleashes a chugging heavy metal riff. But Isis is not about being heavy, its about the ambiance, creating an atmosphere to lose yourself in. Their music can be loosely classified as post-metal, but upon comparison to their previous albums, 'Wavering Radiant' clearly demonstrates an evolution of their sound.All the songs present on the album are fluid, organic pieces. There is no verse-chorus-verse structures, just musical passages. Unlike previous albums, 'Wavering Radiant' has no over-arching theme, it may be there but perhaps not evident enough. Keyboards take an important role in the album as band member Clifford Meyer gives texture to the songs when they need it the most. The transition from heavy distorted riffs to clean interludes gives the songs a wavy, dream-like feel. But therein lies the beauty. Also of note is vocalist/guitarist Aaron Turner's emphasis on clean sung vocals. While he still employs his harsh death metal growl, the balance of the two styles is well maintained. As usual, his vocals are mixed a bit lower, making the lyrics undecipherable. Tool's Adam Jones makes a guest appearance on the album, contributing guitar work to the epic 'Hall Of The Dead'. Drummer Aaron Harris maintains a tight groove throughout along with bassist Jeff Caxide (hear '20 Minutes/ 40 Years' for further proof). Overall, 'Wavering Radiant' will be one those albums not too many people would have heard as the songs are long (the songs are minimum 7 minutes in length) and the band unheard of, but for non-Isis fans, this is as mainstream as it gets.

Song Picks :

• Hall Of The Dead
• Ghost Key
  
• Hand Of The Host
• Threshold of Transformation