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TV On The Radio - Return To Cookie Mountain - 08-Aug-06 01:46 AM
So far, the album of 2006 in my unasked opinion. Although they don't sound like Massive Attack, this release reminds me of Blue Lines to an extent. "Hours," the second track, has a similar disjointed hip-hop flair stylized with short but effective brass injections in the vein of "One Love." Similarly, the pre-requiste reggae excursion "Five Man Army" of the latter is complimented by the quasi-anthemic "A Method" here. However, what they both share and ties them together the most is the unique atmosphere each presents to listners. Massive Attack has a sultry, dark, trippy vibe whereas this opts for a more "shoegaze" aesthetic characterized by trance-inducing haze. The harmonics may be much for some but they are effective and memorable. Unfortunately, I don't feel the last two tracks to be quite up to par with the rest of the album but this may change and doesn't negate the overall effect of Return to Cookie Mountain. What this release does do though is establishing TV on the Radio into potential major players for the casual music listener.

...And You Will Know Us By The Trail Of Dead - Source Tags & Codes - 21-Apr-06 04:37 PM
A superb mesh of indie rock grandeur, song-long climaxes, straight-ahead hardcore and choice texture. Far and away the best album they have released and destined to be one of the 100 best of the decade.

Various - Happy Hardcore Foundation - 19-Apr-06 09:02 PM
Back before the proliferation of online review sites and downloadable music, the only way to navigate underground music, besides friends and possibly niche magazines, is to take a risk and buy albums. This album is part of the glut of albums I purchased without knowing what I was actually buying in the mid-to-late 90s. Despite all the crap that I got, the gems that I found then I would never have found out about otherwise (i.e. DJ Hype's superb Drum and Bass Selection 4) such as Brisk.

To this day I am unsure if I like this because it actually is good or its a nostalgiac artifact. The sequencing between acidic, aggressive UK Hard House and uplifting Happy Hardcore (perhaps two of the most reviled genres to exist amongst the electronic chinstroking community, myself included) works very well. BPM levels are typically fast and bouncy. Brisk is an excellent mixer, transitions are smooth and the track selection features melodic, though cheesy, 'choons' that complement one another. Here's to guilty pleasures!

Kinks, The - 16-Apr-06 10:33 AM
For me, hype has a strange dichotomy of letting one know of the existence of certain things but also at the same time, exalting them. This is especially true in music where some artists have both a strong reputation critically and publicly. Some bands are called the best in rock and roll (i.e. The Beatles, U2 ) whereas others call themselves the best (i.e. The Rolling Stones, Oasis ). The Kinks, however, fall into another category where they are suboridnated in importance and have less exposure as a result. So while some achieve a level of hype that they cannot live up to, including the Beatles, Radiohead and Bjork, the Kinks lie on a stunning oeuvre that deserves all the praise it gets and loads more.

True, a handful of singles have been staples of "classic rock" radio and appeared in commericials: "All Day and All of the Night," "You Really Got Me," "Lola," "Come Dancing" and surprsingly enough "Picture Book" and "Waterloo Sunset" to a certain extent. What shocked me was the extent of their song writing abilities, considering that one man, Ray Davies, was behind an overwhelming amount of it. In a time when change seemed to accelerate in all aspects of life, the Kinks seemed to both resist and accept it. The quick cliche of the teenager running away from home to pursue a bohemian life was negated by "Rosie Won't You Please Come Home." Likewise, "The Village Green Preservation Society" celebrates country and tradition. I don't know much about how British society was affected by the revolutions of the 60s but even now here in the States, it seems all the kids still possess a level of cynicism and distaste for everything which makes a Kinksian attitude refreshing and admirable. This is not to say that everything was cheerful, "Dead End Street" and "Princess Marina's Hat" express a sympathetic voice for the common worker while decrying the corruptive forces of vanity and celebrity worship.

For anyone who feels overwhelmed by a large discography, here are my reccomendations of what to check out: The Kink Kronikles, a two-disc sampler of material covering 1966-70 is an adequate introduction to classic Kinks. On the other hand, getting the albums will save you the trouble of spending extra money. 1965s The Kink Kontroversy is the starting point where their full-lengths become consistently strong. The next album, Face to Face, an eclectic and stunning collection of songs ranging from soft stompers ("Little Miss Queen of Darkness") and rockers ("Party Line") to the slightly exotic ("Holiday in Waikiki") and country-esque ("You're Looking Fine"). Its follow-up, Something Else by the Kinks, employs more pianos and horns. In 1968, the lush Village Green Preservation Society emerged and has many votes for the best Kinks album although I am equally inclined towards all the ones I mention here. Arthur, Lola vs the Power Man & the Merry-Go-Round, Muswell Hillbillies, The Great Lost Kinks Album (try to get the 30 song version) and the Kinks Greatest Hits Vol. 1 (covering the early 1963-65ish era) are also excellent additions. While I am yet unable to recommend Misfits and the Come Dancing compilation covering the late 70s/early 80s output as I have been unable to listen to them extensively, they sound good but might offer a bit of shock to some expecting to hear more of the same.

In the slim chance that any of the Kinks happen to read this, thank you for the music and the inspiration it has given me.

Nomeansno - Wrong - 14-Mar-06 11:32 AM
Everyone has had an album or song that changed their attitudes towards music. For me, Wrong is this moment. Prior to it, I was relatively limited to my tastes in, well, everything and failed to see the common elements between different genres. Years later, NomeansNo is still one of the strongest and least recognized punk rock bands, particularly during their late 80s and early 90s heyday, this being the climax of all their output.

What makes Wrong so unique is their emphasis on bass and complex forms that would become heavily influential on later, heavier hardcore bands. Whether breakneck in speed ("Tired of Waiting"), poppy ("Oh No! Bruno!"), experimental ("I am Wrong"), epic ("The End of All Things") or strangely medeival ("The Tower"), they are able to pull off different ideas and have them work well together. This isn't the sort of album that will convert people who already aren't into punk rock but it certainly deserves the status of a classic.

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