The Rising was among the music released, and it served as a new turning point in Bruce Springsteen’s career. The man was deeply affected by the tragedy of 9/11, and recorded this 2002 album with the intent of capturing the emotions that he and others like him had felt after the grisly event. The album goes through numerous emotions, from fury (The quiet, but intense “Nothing Man”) to hope for the future, (The uplifting “Waitin’ On A Sunny Day”) to an overwhelming sense of loss. (The somber “Into The Fire”, which has gone on to be one of the most enduring songs of the aftermath.)

What set The Rising apart from many other albums influenced by the events of 9/11, is despite the tone, it remains unconfrontational. Springsteen thinks nothing of revenge, (I’m looking at you, Toby Keith.) instead encouraging to rise above the animosity felt after the events, and come together. No song best encapsulates this message better than 7th track, “Worlds Apart”, which features Islamic Qawwali music as backing. A symbolic gesture, backed up by Springsteen’s powerful rock sound.

More than being a powerful post-9/11 album, is marked several milestones in Springsteen’s career. Before releasing The Rising, he hadn’t released an album of new material since 1995s The Ghost of Tom Joad, and it had been even longer since his last collaboration with his famous backing group, the E Street Band. (The last album of original material they’d made together was 1992s Human Touch.) The Rising not only brought Springsteen and the E Street Band back together writing material, but it became a widespread success for them, becoming their bestselling album since 1987s Tunnel of Love.

It revitalized Springsteen’s career, and to this day the tracks of The Rising stand as some of Springsteen’s most powerful, and most poignant of all his works.

The Highlights:

The opening track “Lonesome Day”, which serves as a powerful, hard-rocking, yet elegant introduction of things to come. Guitars, violins, and saxophones blare in unison as the Boss declares: “It’ll be okay…if I can just get through this Lonesome Day.”

The album’s mighty closer “My City Of Ruins”, a song originally written about Asbury Park, but now resonates more deeply with New York, largely because of Springsteen’s powerful performance of it which opened the America: A Tribute To Heroes telethon. An extremely sad song, made glorious by Springsteen’s call to rise from the ashes like a phoenix.

The beginning of the entire Visitor album starts out with an almost cliché feedback intro, but it doesn’t feel tacky in the context of the song. The feedback sound reappears throughout the rest it in appropriate parts as it builds up emotionally. I wouldn’t have picked a different song to start out with, though; it’s a great example of what you’ll be hearing in the rest of the album. “Bitte Ein Kuss” picks things up a bit, and introduces the drum machine, known as Are Too for aesthetic reasons. “But It Was Close” has similar instrumentation to the opening track, but with a piano coming in near the end to help build up the ending.

“Smile” almost stands out too much on this album. It’s a great song, but it’s the only blatantly “happy” song on the album. It’s the only thing that notably breaks up the flow of the entire album, but if you have to do that on an album, this is how it’s done. Are Too comes back for drum machine duty on “Perfect Pair” as well, and is accompanied by an interesting lo-fi acoustic guitar track. “Candle Song” is another acoustic track like “But It Was Close” or “Why Are We Fighting”; one of the less notable songs on the album, but not a track to skip.

“Yr Letter” appears to be a fan favorite, and possibly the emotionally strongest song on the album. It’s also one of the few songs on this album that sounds better live (There’s quite a powerful rendition on Jonah’s CD/DVD There’s A Lot In Here), but the studio version isn’t lacking much. “Visitor” is the only track I don’t like much on the album; it’s short, and there are noises in the background that aren’t particularly musical, though they aren’t too distracting. The lyrics are interesting, but short enough to make you wonder if it was added for the sake of a longer track list.

Next comes my personal favorite song from the album, “Softbelly”, which has the most appealing chilled-out guitar playing on the album. The final track, “Sixes”, isn’t too far behind in that category, either. The outtro to this song would have made a great ending to just about any album, but it finishes this album particularly well, like you have reached the end of a journey, and if you listened to Visitor from start to finish, you have.

Before the single’s release, she was already working on her own original music. “Never Be”, “Control”, “I Blame Coco”, and “No Smile” are a few of the demos that can be found across the web. They have a ska-without-brass/reggae sound to them, but it seems that this sound got old quick for her, or she just thought she couldn’t do enough with the genre.

The single: “Caesar”. Robyn (Sweden’s take on Lady Gaga with less gimmicks) provides vocal support on this vague song that references a few famous authority-related themes (Lord of the Flies, the Milgram Experiment). Miike Snow and Diplo both remixed this song at the time of the single’s release.

Later, Sub Focus became a collaborator, but this time it’s Coco providing the supporting vocals to the song. Together they made the song “Splash”, which has also seen some success and a remix by Rusko. The original instrumental track can be found on Sub Focus’s self-titled debut album, and the version with Coco Sumner’s vocals is on the “Splash” single.

Fyfe Dangerfield also worked with Sumner a bit; they ended up recording a cover of Neil Young’s “Only Love Can Break Your Heart”. This hasn’t seen an official release yet.

On the MySpace account of I Blame Coco at the moment of this post, you can hear a number of the songs I mentioned, including a 2 minute sample of a completely revamped “No Smile”. You will also find “Self Machine”, which sounds like it is going to be the next single. The fact that it has been remixed by La Roux seems to back up this theory.

An album should be out soon. If not in a month or two, sometime this year at most. The improvement you can hear from the demos to the new samples show great promise for this artist, and not just for this upcoming release. The ability to work with such a wide variety of musicians (all of different genres so far) suggests great talent, so it’s up to you to pick a genre you like and give Coco a chance!

Most of the songs will sound the same when you first hear them. Unless this is the sort of music you listen to all the time, you probably won’t be able to name each song when you hear it, but a few songs do stand out enough to keep most people interested. The songs vary in length more than they do instrumentally; “Turn On Your Weakness” comes in at just under two minutes, while “Without Your Love” passes the five minute mark.

Two songs from this album, “Your Enemy’s Asleep” and “5/4“, have some brass sections in them which are the most soothing use of that type of instrument I have heard produced in modern music. While Young And Sexy is a much more popular group, they are musically very much like Cold Sides, the main difference being the mood and vocals.

Some people will absolutely love this music; It didn’t happen for me, but the talent is surely there. Give Young And Sexy‘s third album a full listen and you might find yourself putting the whole thing on repeat next time you feel like doing nothing at all.

The album is basically 45 minutes of the classic Grinspoon sound (even Phil Jamieson, known in the USA for writing two Unwritten Law songs that received radio play, implements his raspy scream a bit on this album) along with stuff that was discovered in the later period post-New Detention. For example, in “Dogs”, Phil combines both the old sound with the new vocals while retaining the still-nonsensical-yet-worthy-of-Faulkner lyrics. That song, due to an early leak, made me think that it was going to be another “Black Tattoo” (lead single from Alibis and Other Lies); another good song found within the rubbish of forgettable pastiche. However, tracks following it, including the single “Comeback” and the deep cut “Tonight”, retain that sound; the mix between the old and the new. The album, with that mixture in place, makes it seem as if a war is happening in my headphones: a war between pop vocals and metal hooks without the shady transitions of Maximum The Hormone. It is definitely a far cry from “Minute by Minute”.

As many fans have stated, this album is basically that same sound for twelve tracks, which makes it a bit bland. However, that sound reminds me a bit of Easy, where every song had distortion and drop-D tuning. The fans were probably comparing the album to the “variety” found on Alibis And Other Lies, which was mediocre at best, and seeing that there wasn’t much of it to be found here. Well, fans who want to hear another “Minute by Minute”: you’re not going to discover it. You will discover another “Find Your Own Way” (“Give You More”, a very impressive alt-blues song reminiscent of Thrills’ “Enemy”) and another “Chemical Heart” (“Summer”, but without the depressing drug abuse undertones), but no catchy pop songs with memorable hooks. Instead, Pat Davern has concocted alt-metal songs with catchy hooks (“Premonitions”, “Dogs”, “Run”, “Tonight”) – he’s probably tired of all the pop music as I am. As for the lyrics, some songs are a little more blunt in nature (“Comeback” is basically about the pressures of fame and “Premonitions” is about what fame can do to one’s stress) while some are still on that line between silly and genius due to Phil’s writing style (“Dogs”, “Tonight”, “Summer”). They have not really changed a bit since 1997′s Guide to Better Living (and, to me, Phil’s best song lyrically was “Railrider” from that same album, itself a scathing view of religious hypocrisy in the modern era).

If I were to choose songs that I would want you to check out before downloading or purchasing the album, I would say that you would check out “Dogs”, “Comeback”, and “Summer”. Those songs, with Pat’s quality control and Phil’s pop-worthy vocals, are probably the catchiest Grinspoon songs I have heard since the New Detention era. There’s no doubt that I approve of this album. Even when I compare this to a benchmark album (i.e. Trout Mask Replica or The Chicago Transit Authority), it still makes high scores. Grinspoon not only have outdone themselves on their comeback; they did twice that and even kept traces of their experimental albums for those pop fans.

No More Stories starts off with a very strange, interesting, and confusing piece of production fun. A song which sounds as if it were composed backwards. Turns out this song has another hidden song called “Nervous”, layered over it in reverse. This effect gives this track an interesting (albeit difficult to listen to) effect, but the fact that there is a hidden track layered over it fascinates me. Some amazing band work and production went into making this/these track(s), so it’s a shame that this track is such a difficult listen in it’s entirety. A bad idea for an opener if you ask me, but clever enough to make it on the album. I believe it should have been one of those hidden tracks that you have to rewind from track one to hear, but it is still an amazing piece of engineering that deserves to make the record, there was apparently just no real comfortable place to put it.

The second track “Introducing Place Players” is the first “real” song on the album, and it is indeed amazing, with off beat guitar and drums channeling the memories Fugazi, or Shudder To Think. When the vocals kick in the song pushes you into the deepest depths of beauty, begging you to drown (and you’ll want to, it’s lovely). This song left me with much excitement, “Mew DID do something different for this record…” I thought, “…and it’s great!”. However, as the album played on, I felt most of the songs were just filler. Though they are all lovely in their own right, most of the tracks are easily ignorable until you come to the final actual song on the album, “Sometimes Life Isn’t Easy” which is a great closer, and wonderful song in it’s own right, calling back the feel of their third album Frengers. It really stands out on it’s own, with an interesting clap track in the background that is so unpredictable, I couldn’t possibly see a crowd clapping along to it properly during a concert. Since most of the songs on the record don’t have poppy hooks, and lots of the tracks tend to sound the same, this is one of the few songs on the album that I could see becoming a single.

Anyone who has been following these guys for sometime know that their first three records were very poppy and brilliant, and their fourth And The Glass Handed Kites was an epic masterpiece. This album takes the epic style they found with And The Glass Handed Kites but dismantles it and rebuilds it into something a little uglier. The songs don’t bleed together like the last album and while this one seems to try and have a concept to it, (there are two interludes on the record, a closing instrumental reprise, and the song “Hawaii” has an intro track called “Hawaii Dream”, the lyrics of which gave birth to the album’s title) the concept seems to fall short by lack of any real story telling, or musical theme. There is still plenty of experimentation with interesting time signatures, something Mew has always done, but they all seem to muddle themselves together on this record, with most tracks lacking in power and effectiveness, and focusing more on ambiance and beauty.

It is really hard to say everything about this record that needs to be said. I am probably making this album out to sound worse than it really is. IT IS NOT A BAD RECORD, IT IS A GOOD RECORD! I guess I had convinced myself it would be something even more powerful and amazing than their last album, and in all honesty that is an impossible attempt. A good example of this would be when Smashing Pumpkins followed Mellon Collie with Adore. Many fans were confused and disappointed, but that didn’t mean Adore was a bad record, it’s just not possible to top a masterpiece.

All in all it is still a wonderful record, with really good songs vaguely hidden between beautiful filler, and even though it is an enjoyable listen, as a Mew fan I found it to be a bit disappointing. Other fans of the band are sure to enjoy it, but not to many will consider it there favorite, and it will probably take quite a few listens to appreciate if you are new to their style. If you are a fan of dreamy bands like Jeniferever, Ride, or Mazzy Star, then give it a spin. I don’t see why anyone couldn’t enjoy this record, but it is still not Mew’s best. If you have never heard this guys before, I’d recommend listening to the Frengers album or And The Glass Handed Kites before this one.

Some of their songs were more effect laden, like “Francophile“, which suffered from quality-hindering voice effects and the occasional digital “Wah, wah” voice. I can see this song either being a favorite or least favorite, depending on if this type of music is what you can enjoy frequently. Other songs weren’t composed with a bad synth track, but in songs like “Stately Homes”, the synthesizer in the mix was overpowering.

It wasn’t that they didn’t know how to use electronic sounds in music, though. They mixed “Carly (Goddess of Death)” and “First Base” very well, keeping the synthesizer notable when needed and not dropping the guitar off the mix radar.

Another notable characteristic most of the songs has was a very tinny guitar sound, similar to that of many Franz Ferdinand songs. They did use a variety of guitar tones, but the sound only made the song more catchy and hard to listen to; catchy in the way they played it, annoying in the note progression.

The most notable and pleasing song on the album was the final track, “Sun Roof“, where they didn’t try too hard to be catchy, overwork the synth, or use any fast-paced lyrics which barely caught my attention. It was soothing, slow, and a great way to finish an album. I only wish they had tried that with more of their songs.

The guitar playing was decent, and the vocals didn’t stand out in any way. The Capes aren’t bad musicians, it just didn’t work out on this record.

The songs, starting with “Slow Night, So Long”, were all in that same vibe of Dixie pop-punk, but within the album, there were two acoustic ditties: “Milk” and “Day Old Blues”. A different sound for the band, I was not used to something resembling “MTV Unplugged Featuring Four Brothers from Nashville”, so I breezed through them, trying to find a hook in them but failing to do so. Despite that flaw, Aha Shake Heartbreak makes itself up with a sound that seems more like Lynyrd Skynyrd crashing into a blink-182 concert, complete with Prince’s lyrics about sex. The highlights of the album are “King of the Rodeo”, which serves as a guitar duel between Jared and Caleb Followill, and the swagger-heavy “Taper Jean Girl”, which became the first Kings of Leon song nationally recognized through the 2007 film Disturbia.

The only thing, other than the acoustic ditties, I have to complain about are the repetition of the lyrics. At first, it seems like random mumbling from Caleb, but when taking a look at the lyrics, his mumbling turns into something a little less innocent. Most of the lyrics range from suicide (“The Bucket”) to sex (“Taper Jean Girl”, “Pistol of Fire”, “Velvet Snow”, etc.). Because Caleb Followill is not much of the lyricist type, most of his songs are either amateurish or about what rock music is mostly about. Such familiarity with a topic can make music seem like it is bland lyrically; most songs are about Caleb’s penis (his “PISSTAWL OF FYE-UH”) or having sex with a chick. It can only be compared to the shock that one gets when entering the 18+ fanart section at the Furthia High website. Is constant lyrical human intercourse always a good thing?

I know people are going to get pissed at me because I’m not promoting the Kings of Leon album with “Sex on Fire”, but to be fair, I have not listened to Only by the Night yet. I have listened to the Kings’ first two, yet I don’t know if I want to venture into commercial territory. From my observations I can hear the Kings get progressively more bland every album they do, a result of commercializing and assimilating their sound into the alternative rock mainstream. However, they aren’t the Dixie Coldplay. They’re a throwback to the good old days of Heartland rock and bar bands playing covers horribly. They’re the result of a painful family schism and assimilation into mainstream society. They’re the result of torturing their cousin. The result is quite artistic and original.

I give this album my full approval, as it is a good mixture of songs despite the below-paw acoustic ditties and the constant yiffing of Caleb Followill. This album serves as a blueprint for later albums to come and ultimately led the Kings to gain a minor chart position with “The Bucket”. How “Taper Jean Girl” failed to get on astounds me, but enough of that. The Kings of Leon thank this album for mainstreaming them into the alternative rock scene and I do too. I should have bought this album when I first heard it because it would stay with me due to the hooks. I wouldn’t think too heavily of the sexual entendres, though; I wasn’t too aware of colloquial terms for “penis” back then.

Uprising

Mac: I don’t know if we could say anything about it that hasn’t been already said. Probably most discussed track. It’s cool and poppy. A lot of people can chant it and feel good. It has nice synth-bass goin’ on.
Steve: It’s a good choice for a single. There are some backing vocals during the guitar wail sometimes that sounds like “so come on” that I didn’t really like.
Mac: I was surprised that he could sing it the way it was on the album. When I watched it on the VMAs it was exactly the same. Pretty simple song.
Austin: I believe that the entire intro was very catchy. Dr. Who synths, thumping bass, good ryththm. It sounds like it’ll be a good song for live performances. I think every song on here would be. Muse just does them so well

Resistance

Austin: The only thing that bothered me about the song was the pre-chorus. I eventually came to like it, though.
Mac: “Resistance” kinda feels like the real beginning of the album, with “Uprising” only fitting lyrically, as you put it. Resistance feels like the beginning of a Muse album. I really liked the piano riff.
Steve: I really liked the drumming at the beginning. The catchy element of the drums leaves for most of the song, though.
Austin: If they kept the song at the same tempo as the verses. This would be my absolute favorite. The pre-chorus is just a bit too much of a leap
Mac: How’s that go? “It could be wrong, could be wrong”?
Austin: yea
Mac: Oh, I always hate when bands do stuff like that. I would have been much more satisfied if that was completely removed and there was just more emptiness. Also, there’s a backing vocal atmospheric track during that pre-chorus I don’t like so much either.

Undisclosed Desires

Steve: I’m finding myself liking this more and more with every listen. The lyrics feel a bit corny at times, though.
Austin: It’s the anti-muse song. Chris playing slap, Dom using a drum machine, and Matt NOT playing an instrument. The song is a bit too “R’n'B” for my tastes but it’s a good change of pace.
Mac: When it started, I was thinking “holy shit, it’s R’n'B”.
Steve: I wonder if they change this song up a lot when they play it live, or if they even intend to play it live at all.
Austin: I think Matt plays a keytar for this live.

United States of Eurasia (+Collateral Damage)

Austin: Queen, Highlander, Lawrence of Arabia.
Mac: I love the intro. The piano on this track is my favorite on the album
Steve: I’m stuck between this one and “Guiding Light” as my favorite from this album.
Austin: The “sia”s took a bit of getting used to.
Mac: I really liked the Arabic influence on the piano and drums in the lead up to the midsection, and then again. Whatever that’s called… Interchorus?
Steve: Oh, yeah, those high notes were a bit goofy at first. It was one of those things done for musical purproses, rather than bringing out a certain part in the vocals.
Austin: Yeah… They just sounded a bit alien at first. All of the background noise in the piano solo was a nice touch.
Mac: Yes, expertly done.
Steve: Yeah, the flyover was a nice way to end it.
Austin: And a nice transition.

Guiding Light

Austin: I think Dom’s drumming on “Guiding Light” was very good.
Mac: The guitar solo in “Guiding Light” was probably the best on the album. Sounded like it was out of an 80s arena rock song.
Austin: But it was one of like, what, 3? The solo sounded very reminiscent of a Queen solo.
Mac: Ah, quite so.
Steve: There were a lot of elements in this album that seemed Queen-inspired.
Austin: I think I saw somewhere where someone had called this song the “Invincible” of The Resistance, and alot of things were 1984 inspired, too.
Mac: I enjoy this song because it gives me some kind of color. This song is very gold.
Austin: it’s one of those songs where you feel good after hearing it.

Unnatural Selection

Austin: Best live performance potential.
Steve: I think it had the weakest lyrics on the album. Musically fantastic song, but the lyrics weren’t as complicated or descriptive as the other songs.
Austin: I think that this song will end up being a massive fan favorite.
Mac: “Unnatural Selection” is going to be great if they put out a second HAARP. All these songs are.

MK Ultra

Steve: Another great Muse song intro. The guitar tone is great.
Austin: The lyrics are almost like calling out an oppressive leader.
Steve: The “They’re breaking through” section of the song seemed to be dragged out too far. It would have worked had they written more than just “They’re breaking through” for that part.
Austin: The fast part after that seemed a bit thrown in, too. This song seems more like an “Assassin” sequel than anything.
Mac: What? “MK Ultra”? I don’t get that at all.
Austin: I mean in terms of riffs and stuff like that.
Mac: “Assassin” was really hard and in your face. I don’t get that at all from “MK Ultra”. Even the parts that are supposed to be like that.
Steve: Yeah, I don’t see how it sounds like “Assassin”, either…
Austin: Maybe it’s just me then.

I Belong To You (+Mon Cœur S’ouvre à ta Voix)

Mac: “I Belong to You” DOES sound like a past song though, and it’s probably on there for the same reason. Well, maybe it doesn’t so much, but “Feeling Good” was put on the album for his girlfriend. Special version, yo, and dedicated.
Austin: “I Belong To You” was the weakest in my opinion
Mac: I thought it was about equal. It’s just a different style.
Austin: His French wasn’t bad though. I actually wish they’d put in “Glorious” instead of this. It would fit in a lot more.
Steve: It was an interesting addition, but it made it feel even more like a collection of songs, rather than an album.
Mac: Yep, yet another one. First we go from a pop synth-based and a song with an awesome audience chant to “Resistance”, and then we got the R’n'B thing going on. Then romantic piano, and some Queen thing. And there’s “I Belong to You”, then the awesome symphony.

Exogenesis (as a whole)

Austin: fantastic. not nearly the same effect when you listen to them out of order though
Steve: Yeah, and they could have been made one track to avoid that. It’s odd how they put two sets of songs together and then split up this one.
Mac: I thought it was pretty good, but only the first song blows my mind continually.
Austin: Matt’s vocals are almost a callback to “Microcuts” on that part.
Mac: Yeah, I love “Microcuts”. I’d quite enjoy the song if much more of the lyrics were not really words, but I listen to Sigur Rós all day.
Austin: At least this track leads to a similar end to the album. It’s epic.
Steve: I can see them playing these live with songs in between the parts as a medley. I’d love to hear that.
Mac: I’d like to see a lot of improvising too.
Austin: This whole track will be mind-blowing at stadiums.
Steve: Bellamy is a great improviser, I doubt he’d pass up the opportunity.

Final thoughts on the album as a whole:

Mac:  Technically, it’s quite good, but I don’t really “feel” any of it… Except that one song, like I said.
Austin: Just a very strange order to the tracks.
Steve: How do think this album as a whole stacks up to their previous releases?
Mac: Horrible, but you know I already said that.
Austin: It sounds good. It has elements from all the other albums and combines them.
Mac: Only thing worse were all the Muse demos that never got on any albums. I wanted more of “Space Dementia” and “Hoodoo”.
Steve: I think Black Holes blows this album away any day, but it’s a decent release.
Mac: Definitely.
Austin: You have to remember, this was their first venture into self-producing.
Mac: I don’t think that has anything to do with at all.
Austin: Of course it’ll have it’s hiccups.
Mac: Do you think the production itself had faults? It was probably the best I’ve seen from them.
Austin: It’s just that they didn’t have a professional producer. It lets them put exactly what they want without someone mucking it up. But no, I don’t think the production was bad at all. It was good for being self-produced.
Steve: When there’s a professional producer in the studio, there’s always someone around to give a second opinion, I assume. A producer may have suggested more piano on a track, or a longer intro/outtro. The band only has so many critics before the album is finalized and released.
Austin: I’m just sad there won’t be any B-sides for this album. Those tend to be some their better tracks.
Steve: B-sides would have been nice, yes.
Austin: Matt straight up said something along the lines of “We only recorded what’s on the album. nothing else.”
Steve: Hopefully they’ll have a small recording session for an EP in the near future.
Austin: I doubt that. they usually wait about a year and a half to get back in the studio.
Mac: This album may have sold moderately well on the Muse name, but it was a flop.