Band:

Reviewing albums can be a tiresome, wearying experience (see No Doubt review), however every once in a while you get a nice surprise and Billie Joe and the boys have delivered one in spades.

The last decade has probably been the most successful period for the band, what with the musical and the multi-platinum American Idiot album and all, which is ironic considering the music they were making was not particularly Green Day-sy, for lack of a better adjective. I always respected Armstrong’s decision to stretch himself out musically and politically, but it just never hit me on a gut level.

Thusly, I was reticent to hear what their latest offering sounded like, and I can say unequivocally that UNO! (the first of a TRIPLE album set to be released separately) is a true return to their Dookie form. From beginning to end they never let up with some of the purest, hard driving power pop that I’ve heard since.. well Dookie.

First and foremost, this is the best sounding album Green Day has released. Instead of going for any bells and whistles production-wise, they smartly spared it way down, leaving only the elements that made them great in the first place. Instrumentally, the band is on fire; the guitar cuts through like a straight razor, with Armstrong finally allowing himself to play a more than competent lead guitar throughout. Tré Cool, and Mike Dirnt have also stepped it up a notch putting in the best performance of their career. The rhythm section is everything that I ever wanted to hear from them but felt they never quite pulled off… Cool’s snare punches through every song with an energy that seems impossible for someone approaching 40, and Dirnt’s bass tone sounds renewed; looping and pulsing in perfect syncoptation with the kick.

Songwise, the album is packed front to back with tuneful, concise numbers with nary a dead spot… There are no fast forward songs here, from the blistering opener, ‘Nuclear Family’, that sports a killer solo and melodic middle eight to the uplifting ‘Carpe Diem’ to the romantic, Knacks-y “Sweet 16″ to the positively anthemic closer (and first single) “Oh Love”, which I didn’t even like when I first heard it, but in the context of the other songs it’s absolutely perfect.

All this makes Billie Joe Armstrong’s recent personal struggles even more sad and upsetting, and the humiliation they suffered by having their performance cut off and his subsequent breakdown over it all the more infuriating.

Here’s hoping he gets better soon, cause this is an album I’d love to see them take to the road.

A modern classic.

Band:

After listening to “Push and Shove”, No Doubt’s first album in nearly 14 years,  I really just want to say “Shit Sandwich” and be done with it… but that would be too easy.

Never a big fan,  even in their heyday, I did like them well enough to understand what great a pop band they were at the time.  It wasn’t hard to get the bubbly charisma of their glamorous, yet whimsical front person and they played well constructed, unique songs with vigor and precision.

The key word there is SONGS.  No Doubt had a string of iconic and different melodies during their 90s run, that are now woven into that era’s tapestry along with Nirvana, Pearl Jam and uh, I dunno, Boyz II Men.

If you think about it, they’re really the only massively successful band of their kind; a bubble gum pop group that made you dance with heavy guitar riffing, thumping bass and a rocking beat.

Although their major label debut “Tragic Kingdom” was the apex of their career with out and out classics like “Don’t Speak” and “I’m Just a Girl”, the two subsequent albums were interesting in their own way as well, with stand out tunes like the funkalicious “Hella Good” off “Rock Steady” and the yearning “Simple Kind of Life” off of “Return of Saturn”… I only bring this up to mention that listening to these old recordings now in comparison, glaringly highlights this latest release’s flaws even more depressingly.

And what are these flaws?

Well, basically it comes down to the fact that they haven’t produced anything 14 years, and when you’re gone for that long, most of the time you should stay gone.

For what we have here is the pop equivalent of “Chinese Democracy”; a derivative, overwrought, tuneless mess.

It just sounds like it’s been fiddled with to death, the classic effect of overproduction and that’s always a recipe for disaster.

You can tell they were on top of every note, feeling the weight of the world to come up with something great after all these years, desperately piling effect after effect on each track, thinking they were creating genius, but instead, ending up with a joyless morass.  It’s this lack of joy, which was such a key element to their success, that sinks “Push and Shove” and buries it at the bottom of the ocean.

For some reason, instead of returning to their upbeat energetic sound, they decided to go with a more “mature” tone, and sing about being in committed relationships and the struggles within, in other words, “I’m Just a Girl” grew up to star in a Lifetime Movie and who the hell wants to here that.  Most egregious in all this is Gwen Stefani is totally MIA in spirit and personality; sounding like she needs a long nap for most of the album.

Songwise, there are none, No ‘No Doubt’ songs anyway. The Middle-East tinged opening number “Settle Down” sounds like something off the Sex and City 2 soundtrack, and that’s the BEST track on the album. The rest of the collection ranges from bad Madonna outtakes to tired dance floor crapola, sung by a dispassionate Stefani.

I didn’t want to not like this. I had hopes… after all they’re my generation and they represent a part of my youth in some small way.  But I can’t prop this up and justify its myriad weaknesses. Moreover, I have neither the inclination nor the energy to knock it any further, it’s just that bad.

Band:

Ben Folds Five haven’t seemed to have lost a step in the THIRTEEN years since their last release, “The Unauthorized Biography of Reinhold Messner”.

Their latest offering (since reuniting in 2011) is a rich mix of lounge rock, 70s piano man pop, late 60s Beach Boys shlock (that’s a good thing) and more than a pinch of 90s cynicism bolstered by dense harmonies and uniformly masterful playing throughout. In other words, it’s Ben Folds Five, and for their long suffering fans hungering over a decade for a new album, it’s a gift.

My main observation is that Ben Folds’ songs have finally caught up to his age.  At last the heavy lyrics and mature musical themes sound like their coming from the right guy.  This gives the material a far weightier and believable feel.  In other words, their vintage has hit its peak… so to speak.

On first few listens, there are no obvious singles in the vein of their 90s alt hit, “Brick”.  That doesn’t mean its devoid of solid tracks.  On the contrary, this collection of tunes as a whole is far more cohesive than their entire catalog, which always struck me as more than little inconsistent.

Highlights include: the melancholic turned blistering opener “Erase Me”, that sees the band zig zag from smoky jazz to Brechtian bombast; the lovely ballad, “Sky High” that sounds like something off a unreleased Jackson Browne album recorded in 1979;  and especially the wistful, “On Being Frank”, which is sung from the perspective of a former roadie for Frank Sinatra.  This one in particular packs a punch with a gorgeous string arrangement and nifty little piano solo.

Definitely a must listen.

Artist:

Well it seems as if The Killers haven’t given up on their Springsteen by way of Mike and the Mechanics phase, but that’s not exactly a bad thing, if you’re a fan of the triumphant rockin’ of the late 80s.

Lyrically, they cover the same ground as they have in their last few outings;   paeans to better days, old romances, etc… Occasionally they’ll hit upon a clever line like “Don’t want your picture on my cell phone I want you here with me” in the power ballad ‘Here With Me’.

Musically, the tunes are slight; bolstered by their trademark overbearing synths.  The overall effect is a not unpleasant collection of songs that make for decent background noise.

They’re a band who’s stuck in reverse, pedal to the metal, spinning their wheels stylistically speaking, but at least they own it.

…and that album cover is well… Killer.

Artist:

Brooklyn’s own Grizzly Bear could’ve easily buckled under the pressure of having to follow-up the popular and critically lauded 2009 hit “Veckatimest”.

I wouldn’t have held it against them, so many other bands have, so why not them? Refreshingly, however, they have risen to the occasion and delivered an album that builds on their successful formula and in most ways betters it.

Daniel Rossen still sounds like the New York version of Thom Yorke, and the music still lives in the same atmosphere of graceful sonics that has propelled them to acclaim, but the tunes are now more cohesive.  It’s a tighter sound, helped by more muscular and focused drumming this outing.

From the explosive Zeppelin-esque opener, “Sleeping Ute”, with its icy synth jabs punching their way through raucous garage band grandiosity, to the epic “Sun in Your Eyes”; a masterpiece of jazzy piano and 80s cool, this is the sound of a band at the top of its game, and you don’t want to miss it.

All great groups have one of these in their catalog, so I guess the Grizzlies have graduated to greatness.

With the release of his first full-length solo record, Noel Gallagher’s High Flying Birds, former Oasis guitarist Noel Gallagher breaks a two-year silence and, in doing so, finally joins his brother Liam in the post-Oasis sweepstakes. Liam, of course, lobbed the first grenade with his band Beady Eye and, while that album was not without its charm, many (myself included) felt the band and the album wore their influences a tad too obviously.

Of course, Noel is no stranger to penning tunes that owe an obvious debt to “the classics” – the Beatles, for starters – so perhaps its a bit much to expect Noel to shun all imitation now.

Album opener “Everyone’s On The Run” sounds like the sort of Oasis b-side that a sold-out Wembley Stadium crowd knows all the words to, its grandeur tastefully heightened by a sweeping string section. Heck, I can see the video in my mind’s eye, Noel at the mic, singing to the back row as a fan unfurls a large banner that reads “Liam Who?!”

“Dream On” follows, sounding very much like the song Chris Martin has been trying to write all his life. Noel’s love for Coldplay’s “Yellow” notwithstanding, this track proves quite succinctly that Noel’s talents far out-kick Martin & Co. when so inclined.

Let’s face it, unless he’s been quietly blowing through his cash since splitting Oasis, Noel’s got enough money to never need to make another album. He’s sold millions, played to millions, seen his name in lights, and those of us who’ve never experienced such things respectfully wonder what’s really left to prove? Of course, that hasn’t stopped many a rock legend from making a crap album anyway.

“If I Had A Gun” defies its own title in exploring Noel’s wistful, sentimental side. It’s the sort of song the hooligans would’ve hated, but the girls would have loved and, at the end of the day, it’s the girls who really matter. After all, hooligans don’t buy records, they steal ‘em.

Thus far, stylistically speaking, the album hasn’t strayed too far from the Oasis formula, which is just fine by me. One surmises that if Noel had gone out trying to sound like anything but Oasis, most of his fan base would have chucked the album out the window by now. Therein lies the rub for a guy like Noel. Maybe he really wants to make a country album. Or maybe his heart lies in the burgeoning Icelandic folk metal scene. Sadly, because he’s known the world over as the guitarist/songwriter/sometimes-singer in Oasis, he’s forever tethered to that soulful mid-tempo rock sound for which Oasis is known. Of course, nobody said he couldn’t throw the occasional wrench into the spokes. “The Death Of You And Me” is that wrench – for this album at least – wherein Noel seems perfectly content to not be himself today. The result is a jaunty, folk-tinged ditty that soars on gossamer wings, highlighted by finger-picked guitars, horns, and tasty falsetto flourishes from Noel himself.

What’s most admirable about Noel circa 2011 is that he knows damn well the world has changed, that only the remnants of a once-thriving music industry remain, and that now is without a doubt the worst time ever to be “starting from scratch”. You couldn’t blame the guy for choosing to now look back in anger, but, on “(I Wanna Live In A Dream In My) Record Machine” , he chooses to relive those heady days when the turntable was a universe unto itself.

“What A Life” begins with a propulsive drum/piano groove upon which Gallagher builds a slyly hypnotic vocal melody that you’ll find yourself singing later, trust me. This is the sort of song lesser artists have built an entire career upon, whereas dear Noel’s tossing off winners left and right. It wasn’t until I heard this song that I realized that Noel’s about halfway through the most ambitious record of his life.

While tracks like “Soldier Boys And Jesus Freaks” and “(Stranded On) The Wrong Beach” rock convincingly, it’s when Noel indulges his knack for elegiac mid-tempo ballads like “Stop The Clocks” that he’s impossible to ignore.

“A Simple Game Of Genius” rocks a little harder, but is a grand gem nonetheless, even if Noel can’t help himself by slipping “kaleidoscope eyes” into the chorus.

The album closes with “The Good Rebel”, a rousing rocker recorded loosely and with an obvious devil-may-care swagger. Close your eyes and you can see the credits roll on a mind movie you can’t wait to watch again. Just hit “REPEAT” and away you go.

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Darren Robbins is a fellow graduate of the “Almost Famous” University, a gifted songwriter, raconteur and lovable curmudgeon.  When you’re not reading him here, check out his outstanding blog… FUDGEKNUCKLE…check out his new STORE as well.

Artist: R.E.M.
Album: Collapse Into Now
Rating: 8.5/10

While the esteemed Athens, GA band’s new album, Collapse Into Now, doesn’t hit streets until March 8, NPR is currently streaming the album in its entirety.

While longtime fans greet each new R.E.M. album with warm anticipation, the sad truth is that each new lap around the track, so to speak, sees this legendary band’s once-rabid fan base noticeably dwindle. Is it a case of life (marriage, kids, jobs, mortgages, etc.) simply overtaking the more carefree pursuits of youth (keeping up with our favorite band’s every move), or is it, in fact, a case of a great band simply overstaying its welcome?

Granted, there are older – and lesser – bands still making a darn good living on the nostalgia circuit, but R.E.M. is a band still bent on creating a new musical landscape, not simply reliving old ones, no matter how much money might be in it.

This, of course, is because the members of R.E.M. are, themselves, quite comfortable as far as bank accounts and retirement funds go. They have absolutely no need, or desire, to partake in 80′s/90′s nostalgia. They are artists and, like any good artist, they live to create!

We, on the other hand, are a world-famous blog extraordinaire whose ears have been trained to spot bullshit and/or beauty wherever it may lurk and to immediately alert our readers so that they may avoid stepping in anything stinky. Let’s face it, the world can always use another great rock & roll album. However, it doesn’t need yet another crap piece of plastic.

“Discoverer” kicks off the new R.E.M. platter in elegiac fashion, as if Peter Buck might have been listening to U2′s War for three straight days, save for trips to the restroom where he made sure to blast a little Grand Funk, before tracking this tune. Stipe soon enters the musical equation with all the subtlety of a man shouting into a megaphone and, while such a move is meant to convey the intended urgency, by the time the track subsides, we listeners are left wondering why.

“All The Best” quickly follows, adding a little gasoline to the fire. In it, Stipe wholeheartedly addresses the idea of “sticking around too long” and “showing the kids how to do it” – as if to beat rock critics to the punch. Stipe is singing with the same urgency as on the previous cut, but, on this one, it feels like he means it. A nerve has been touched. You can question his choice of fashion accessories, but if you choose to question his ability to rock as a man on the verge of turning 50, you will quickly discover that this kitten has claws. “It’s just like me to overstay my welcome,” he declares with equal parts pride and venom.

What makes “All The Best” such a revelation is that it’s the first true all-out rock cut R.E.M. has done where it didn’t seem like their hand was being forced to do so.

“Überlin” follows, slowing the pace considerably and heading into “introspective” territory. The song itself is melodically similar to “Drive” (from 1992′s Automatic For The People), but I’m not gonna lose any sleep over a band stealing from themselves. The song still manages to stand on its own, highlighted by yet another heartfelt Stipe vocal performance augmented by Mike Mills’ perfectly understated backing vocals. Whatever songs may first catch your ear on first listen, this is a song that you will find yourself coming back to, mark my words.

“Oh My Heart” continues the introspection, with Stipe singing in a lower register, creating a mood that is full of both sadness and celebration. This is a song created by a band well aware of its own mortality, seeing those who came before them, fall, as all things eventually do, whether they be trees or empires.

“It Happened Today”, while ambitious, shows the band revisiting “Out Of Time”-era themes and instrumentation (Hey Pete, do you still have that mandolin?) and, while it may initially seem like a throwaway cut after a couple stone-cold stunners, this song will sneak up on you when you least expect it. My guess is right around the third listen or so, you’ll glance at your iPod with amazement. “Where was that song the last time I listened to this album?!”

“Every Day Is Yours To Win” would surely make for a great title to the next Tony Robbins self-help book, but, in R.E.M.’s hands, it becomes a rallying cry for the jaded, performed with tongue planted firmly in cheek. Not a joke song, mind you, but one that proves you just can’t take your eye off this band.

By now, it should be dawning on you that, while every new album by such a revered band is automatically heralded as “their best album since insert-name-of-last-platinum-record-here”, in the case of R.E.M., this really is their best album in quite some time. While others heralded 2008′s Accelerate as a rocking return to form, I never bought into that belief, hearing only a band forced to right a sinking ship by making a rock album they weren’t truly ready to make.

Hearing this new album, though, I can see the purpose that Accelerate served its purpose by waking this giant from its slumber and bringing them back in touch with each weapon within their immense musical arsenal.

Now, if you’re anything like me, when you lay your hands on a new album by a beloved band, the first thing you so is scan the song titles. You don’t know why you do it, you just do. Thus, your curiosity is instantly raised by a title like “Mine Smell Like Honey”. Maybe not enough to make it the first song you listen to, but one that makes you listen to the song with a little more attention wondering what of Mr. Stipe’s might smell of honey. I’ve spun the song numerous times and I still have no idea what he’s going on about.

That, of course, is an awesome thing when you think about it. Remember when we had no idea what Stipe was singing about? Hell, we could barely make out the words and, when we could, we were still just as lost, if not more. Those were the days, my friend, knowing you could always count on Berry, Buck, Mills and Stipe to leave you joyously confused, but never more sure of yourself and your band.

Those were the damn days!

“Walk It Back” is a wistful missive of a song, heartbreaking in its piano-laced simplicity, hauntingly ethereal production, and its brevity. It sweeps in softly, steals your breath, then exits before you can get it back.

“Alligator_Aviator_Autopilot_Antimatter” is a total throwaway of a tune – a B-side from a band who used to specialize in such things, if ever there was one – but damn if it won’t have you treating your steering wheel like a set of Keith Moon’s drums. Be careful not to use your gas and brake pedals as double-bass drum pedals.

“That Someone Is You” follows, indicating that, for this final stretch of the album, R.E.M. seem to have shifted into a new gear. When’s the last time R.E.M. sounded this damn fun?! I honestly can’t remember, myself.

“Me, Marlon Brando, Marlon Brando and I” sees Mr. Stipe shift his focus from Andy Kaufman to yet another flawed hero for the sake of exploring a magical world that exists only in the mind’s eye, where anything and everything is possible. It just wouldn’t be a latter-day R.E.M. album without such a detour.

Of course, none of this prepares the listener for the album closer, “Blue”, which features a great vocal performance by Patti Smith before reprising the album’s opening track.

As a longtime R.E.M. fan who grew disenchanted by the band’s concessions to the big time right around the time Monster was released, I can tell you that Collapse Into Now is the musical equivalent of reconnecting with an old friend, one you were once so close to, have seen around over the years, but are finally able to spend some quality time catching up, and enjoying every beautiful second of it.

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Darren Robbins is a fellow graduate of the “Almost Famous” University, a gifted songwriter, raconteur and lovable curmudgeon.  When you’re not reading him here, check out his outstanding blog… BITCH-ASS MOTHERFUCKER…check out his new STORE as well.

Artist: Beady Eye
Album: Different Gear, Still Speeding
Rating: 9.9/10

For years, Liam Gallagher has attempted to dispel the myth that his big brother was the sole reason for the massive success of Oasis, with Beady Eye, his new group, (comprised of the original members of said band) he does just that… in spades.

Finally out from under Noel’s overbearing creative shadow, Liam shines as bright as a morning sun, and has produced a killer of an album that is simultaneously stripped down and lush.

Opening with the mission statement (and pointed barb at his elder sibling), “I don’t know what it is I’m feeling — a four letter word really gets my meaning… nothing ever lasts forever” underpinned with some decidedly Stones-y (by way of Main Street) horns, the swaggering Gallagher kicks off a set of tracks that are so full of familiar idioms that it transcends cliche through sheer force and sincerity.

It’s so over the top with lyrical and musical homage, from the song title ‘Beatles and Stones’ to lines like Man of Misery’s “the kids alright he’s got a ticket to ride” to the Instant Karma-sy thumping of “The Roller” to the Who-sian drum intro of “Sons of the Stage” that it in the end it feels like a celebration of all that is lost but remains imprinted in the hearts and memories of everyone who grew up listening to classic rock.  

Basically, he wears his influences on his sleeve so unabashedly and with such obvious love and passion for them that it just makes you smile.

This, however, is not to say that the melodies, production, chord progressions are trite re-writes of past masters… They aren’t and THAT is the irony of the collection.  For for all the tribute they pay to the 60s era, the songs retain their own uniqueness. Never falling into boring pitfalls, Liam always seems to manage to throw in an interesting chord or two, a left turn when you expect a right that keeps it fresh and exciting.

Remarkably, practically every song is a stunner in some way… the instant standouts upon first listens being the lead off single rave-up “Bring the Light”, the aforementioned “The Roller”, the lovely mid-tempo, “For Anyone” with its wall of acoustic guitars and pure melody, the epic 6 minute “Wigwam” that recalls late 60s Kinks then breaks into ‘Who’s Next’ territory near the end, the visceral sonic blast that is “Standing on the Edge of the Noise”, the touching ballad “The Morning Son” that builds to an incredible climax of different tempos and the two most Oasis-y numbers of the bunch; the gorgeous “The Beat Goes On” with its indelible sing-a-long chorus  and the Champagne Supernova-esque “Kill for a Dream”.

Musically, the band is incredible throughout, the drums stomp, carouse and lay down a memorable array of backbeats, the bass loops and whorls and Liam’s voice has never sounded so invigorated… his harmonies twinkle and his sneering snarl is at its Lennon best.  However, it’s the guitars that steal the show, delivering track after track of blistering leads, greasy grimy electric rhythms and shimmering acoustics.

The only negative I can say about it is there’s maybe too MUCH of it… A couple of tunes could easily have been cut and kept as b-sides making it as close to a perfect rock album as I’ve heard in years.  But in the end, that would’ve defeated the excessively joyous spirit of it all…

The new Strokes album ‘Angles’ is due out in 20 days, however, iTunes has put up 30 second previews of all their new tunes. I don’t really get the whole ‘preview’ deal, to me it’s a total ‘ear tease’. Still, at the risk inflicting myself with a bad case of ‘blue ears’, I’m going to play the role of an old school A&R man and attempt to divine whether or not I smell ‘gold’! After all, 30 seconds is generally all you need to decide if a song has got the stuff to hold your interest…no?

The first thing that jumps out at me upon listening to these snippets is the solid production. It seems the boys have finally heated up their musical porridge to a temperature that’s jussssst right. Their last effort , , was a glassy assault which retained none of the scruffy lo-fi sensibility of their initial release. ‘Angles’ it seems, has struck the perfect balance between shabby and chic. They’ve gone decidedly 80s in feel, but not in an overly pastiche-y way. The synth strings soar on ‘Machu Pichu’, ‘Games’, ‘Metabolism’ and ‘Life Is Simple In The Moonlight’, underpinning the melodies with an easy sophistication, while the Moog adds an unnerving air of menace to ‘You’re So Right’.

Aside from the welcome improvement to their over all sound, it’s quite evident that the shaggy haired LES icons have upped their game instrumentally as well – particularly the rhythm section. I don’t what oatmeal Fabrizio Moretti’s been shnarfling, but man oh man his playing is sublime. The bottom end of his snare has thinned out from the last record to the point where all you hear is the attack. The beats crackle and pop like Rice Krispies on steroids and  Nikolai Fraiture actively fills in the gaps with an acrobatic grace. Simply put, they’ve never played better.

The rest of the lads sound splendid as well. The guitars have got that ‘Stroke-sy’ effervescent twinkle that is instantly recognizable, yet the lines are far more more inventive than anything they’ve laid down before. Vocally, Julian hits a home run. He sounds much more emotionally connected to the material and he’s finally got the perfect amount of that ubiquitous ‘fuzz’ effect draped over his croon.

Song-wise, well that’s harder to tell. I can say this though…I want to hear MORE. At the very least, I can safely say that ‘Angles’ blows ‘First Impressions Of Earth’ out of the water. It’s taut, intelligent and engaging. Even during these brief snap-shots, I can see what they tried to achieve on a musical and thematic level and I must say – they succeeded.

As far as hits are concerned…I don’t know. Ultimately that hardly matters as these songs are more than compelling. Compared to that pretentious, snoozerific mess Radiohead just released, this is a MASTERWORK.

In short, my interest is decidedly piqued and I’m looking forward to hearing this thing in its entirety!

LISTEN TO THE 30 SECOND SNIPPETS HERE

Artist: Yuck
Album: Yuck
Rating: 8.5/10

My comfort zone is actually quite small. In reality, I hate most music. I appreciate almost all music, for all its merits and all that, but the music I actually willingly listen to in my free time is safe. It’s music with guitars, almost exclusively of an indie rock/alternative rock variety. It’s what I enjoy, so I shan’t deny my musical proclivities despite the guilt I feel for never listening to hip hop or dance music or electronica. There’s music critic world and there’s the world I live in, which is soundtracked by distortion and sweet guitar riffs and fuzzy vocals.

This is why I love Yuck’s eponymous debut. It’s a cluttered mess of hooks and chord progressions and vocal lines and guitar tones borrowed from my favorite bands – so what’s not to like? Yo La Tengo is pretty prevalent, notably in the perfectly timed female vocal harmonies. Eric’s Trip is present in the construction of this record, which mimics “Love Tara’s FAST DISTORTION PUNKY HOOKY JAM followed by PENSIVE SLOW BURN GORGEOUS SAD TRACK repeat for 12 songs aesthetic. Guided by Voices shows up in a coupled of guitar lines and hooks, Sebadoh is everpresent in the recording style, and the Breeders, the Lemonheads, Dinosaur Jr, Sonic Youth (on every song, naturally), and on and on and on. And then I think of newer bands that Yuck are influenced by. They kind of sound like what I wish Broken Social Scene sounded like. Yuck has a vitality that I can’t quite explain. I waffle between feeling like they shouldn’t sound relevant because their sound is mostly a cobbling together of a bunch of other bands’ sounds, but I think the whole package works because it’s bringing to the forefront a sound that has been largely forgotten and dismissed.

 The slow burners are the  meat of the matter though. “Shook Down” is a minor masterpiece, with a riff that reminds me of a certain pensive GBV track I can’t remember, but the chorus with its gorgeous harmonies and it’s familiar hook lures me in, and then that perfectly placed distorted breakdown takes it over the top.

And yet, it’s still uneven, but in the best way. I feel like Yuck are in the same game as Girls, where they’re crafting these songs that sound so familiar but they’re also carving out their own sound within that. The outro on “Shook Down” could easily come from Christopher Owens & co, but at the same time, it’s a little too dirty.. .less pop majesty…a little bit too…Sebadoh. 

One of the great aspects of this album is the immediacy of it. At some point, later on in the album, someone actually DROPS the goddamned tambourine midsong, touches like that make for a truly spontaneous feel that’s very refereshing. 

This promising first release has got a spirit to it that feels naked and RAW RAW RAW, god there needs to be another word for raw. From the heart? I don’t know. I’ve been spending a lot of time detoxing from being a music critic and just appreciating the things I like because of the way they make me feel, and this album makes me feel equal parts awesome and miserable, and that’s an awesome thing. It feels like a journey, a quest, a trip. It’s good stuff, and though they don’t have an immediately recognizable spark of originality, I think Yuck prove that the sum of your influences most often sounds totally awesome.

P.S. While looking for cover art for this album, I found out that Yuck are from FUCKING ENGLAND. And they do America Alternative Rock so perfectly, I’m kind of ashamed of my compatriots for not appreciating their rich history!

P.S.S. “Sunday” sounds Kiwi-esque in the best possible way, how do you do it Yuck? It’s not the Clean, it’s not the Chills, but you’re like the new wave of Flying Nun that’s not even from New Zealand goddamnit I just love your hooks you bastards.

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Ian Hrabe is a student from Kansas City. More importantly he may be the world’s greatest music fan. His colossal blog  Why are there so many records in my life? – A project of alphabetical listening runs through his entire collection, one record a day, posting a picture of himself and the album, including biographical details (where he bought the record, why he bought it, etc.) as well as the price, because as he says,  ”I am curious to see how much I have spent over the past six or seven years since I started collecting/ how much money I have wasted that I could have spent on, I don’t know, rent or food“.

You’ve got to check it out!!