it could be new or old cds cds u lik or hate anything u want

The new bright eyes CD-
Im wide awake its morning: This CD definitly sounds more like the indie folkyish stuff your used to by Bright eyes, but has a nice alt. country sound to it. But Conor isnt vocally alone on this new LP, in many of the songs (3) he is accomponied by Emmylou Harris, then on the first track (formally known as We must sing, a protest song gone track) he is accomponied by Jim James. In most magazines this CD has been givin 4 out of 4 stars.

... its about mando diao s paralyzed EP, you asked for it

wha??

its german

No shit?

noone ever said it had to be in english.

A review in Klingon would probably be better than Maryjane_33's attempt.

http://buttoneddowndisco.blogspot.com/2005...w-music-is.html

http://buttoneddowndisco.blogspot.com/2005...motorcycle.html

http://buttoneddowndisco.blogspot.com/2004...is-this-it.html

http://buttoneddowndisco.blogspot.com/2004...nand-franz.html

http://buttoneddowndisco.blogspot.com/2004...nning-days.html

id love to hear that

The Zutons
Who Killed the Zutons
2 stars
The Zutons start their debut album impressively but lose steam somewhere in the middle. While a saxophonist adds some interesting touches to the Liverpool band's mix of folk rock and British blues boogie, there are too few flourishes to support the band's paper-thin stack of songs.
The good songs on the album stay upbeat. The most energetic sections seem to come when the saxophone rises into the mix.
"Zuton Fever"has a galloping bass line and a fun sax solo, and the vocals on"Pressure Point," which can be heard in a recent commercial for Levi's 505 jeans, are the best on the album. The backing vocals harmonize nicely, as DaveMcCabe's lead screeches a bit when it heads toward a frantic end.
"Confusion," the only good mid-tempo ballad offered up by the Zutons, recalls Gram Parsons.
By the middle of the album the Zutons become mired in a series of sludgy folk that fails to engage the listener. After the fifth song, "Havana Gang Brawl," one may best be served by putting in something else.
At its core, the Zutons' music feels a bit hollow and not all that inspired. Too many of the songs feel slick and reserved. The playing is too clean and free of rough edges.
On the weaker material, the saxophone comes off as a crutch.
The Zutons never seem to get too excited about the music they are making. They are content to trade well-rehearsed for any semblance of raw power.
The good parts of the "Who Killed the Zutons" - an occasional nice chord progression and some jazzy saxophone - don't add up to a captivating whole. The band's intriguing mix of instruments often comes together blandly, rarely raising to enthusiastic yowl.

Here's some older ones.

Finn Brothers
"Everyone Is Here"
4 1/2 stars
Strong songwriting is only natural for Neil and Tim Finn, two of New Zealand's most famous musical exports. Even 30 years after being core members of the art-pop band Split Enz and nearly 20 years after Neil Finn started Crowded House, the two still can nail down great pop songs.
On "Everybody Is Here," the brothers' second Finn Brothers album, the melodies soar, overlap and blend together beautifully.
Leading off with "Won't Give In," an acoustical guitar-led pop song, the Finn Brothers share bits of brotherly unity, memories of childhood and just a slight bit of apprehension as they grow older.
"The moment that we dread comes all too soon, but the voices in your head still carry on the tune," the duo sings on "Nothing Wrong With You."
While being in the same bands several times during the past 30 years, the two have written together only on three occasions.
After the second Neil Finn-led Crowded House album, the duo planned to do the first Finn Brothers album.
Around the same time, Neil Finn turned in demos for a third Crowded House album. When Capitol Records turned down the demos, the two albums merged to form Crowded House's 1991 album "Woodface."
More than three years later, the brothers hurriedly recorded the lo-fi Finn album.
The brothers decided they wanted to do the collaboration right the third time.
They wrote all the songs together and spent more than a year working on them, first with producer Tony Visconti, then with longtime collaborator Mitchell Froom.
Froom produced the final project with Visconti adding some string arrangements. At times, Froom's production is a bit over the top, but the songs never get buried in it.
Most of the midtempo songs chime nicely with acoustic guitars. Organ, mandolin, accordion and banjo add flourishes and textures to the songs, requiring repeated listening to capture all the nuances.
The thing that sets this batch of Finn songs apart is the overwhelming sense of brotherly love songs, such as "Disembodied Voices"and A Life Between Us."

Clinic
"Winchester Cathedral"
3 1/2 stars
On its third album, Clinic makes it clear that the only real reference point for its sound is themselves.
While indebted to Velvet Underground and old garage records, the beat-up, melodica-powered psychedelia is Clinic's very own.
"Winchester Cathedral" finds Clinic traversing similar claustrophobic passages that helped the group make a mark with 2001's "Internal Wrangler."
"Winchester Cathedral" is not as mesmerizing as "Internal Wrangler," but it's still a solid listen.
Singer Ade Blackburn mumbles his way through indecipherable poetry. Lines such as "Fishing in the mist for high cards, fishing in the mist for us" seem to be chosen more for sound than meaning.
The album does have a few different textures. It seems much louder and rawer than anything Clinic has done before.
A definite Arabic bent can be heard on the instrumentation of songs such as "Circle of Fifths," "Vertical Take Off in Egypt" and "W.D.Y.Y.B."
Meanwhile, "Falstaff" slips in a vaguely lounge vibe. "Country Mile"opens the album with an electronic heartbeat that picks up pace until it crashes into the song's mix of guitar and melodica.
By the end of the disc, it is more apparent that Clinic is happy in its own nether world of wheezing, haunted house melodies.
Surf guitars still propel faster songs along, and the melodica is featured all over the disc.
Clinic may never record a masterpiece, but "Winchester Cathedral" is still a beguiling trip to music's stranger side.

The thread's requesting people's own reviews...

Yes, dem are mines. I have a Trail of Dead review and a Lost Sounds one that should run soon.

I'll be writing up something on Clem Snide and Ed Harcourt in the next few weeks.

Err...well this isn't my own review obviously, well its not even a review...but I just read it in Harp and it has to do with music criticism, so maybe it will help Okay well I really just thought it was funny so SHUSH!

Rock Criticism Made Easy (at last!)
How to intelligently and effectively rip John Mayer to shreds

How Do you communicate in words something that transcends them? Herein lies the central problem facing anyone that attempts to write about music for a living. (That and, "What do I do with all these free Chumbawamba CDs?") Having an opinion isn't even half the battle. You have to come up with flowery prose to surround the opinion. Simply stating the obvious, such as "This rules" or "This, like, totally rules" won't land you those plum $50 paychecks from the big rock mags. So, how do you verbalize what is essentially an inarticulate gut-reaction based on personal, idiosyncratic taste?

When rock writing was born in the late 1960s, the answer was simple: Read a lot of beat poetry, drink a lot of cough syrup and scribble tortured prose kind of sort of related to music. Back then, it was perfectly acceptable to begin a review of the latest Joe Cocker album with a dissertion on your eighth-grade summer camp experience. (Me, Julio and the Panda Man could have never made it through that summer of adolescent discontent without a little help from our friends. Speaking of which...")

Nowadays, the corporations that control major music publications demand that editors actually read the copy thier writers give them before it goes to the press. Like that, the glory days of Lester Bangs and Richard Meltzer were over. Now you have to keep reviews to 200 words, assign a letter grade to the record and write in a clear, coherent fashion. Apparently, when somebody reads a review of the latest Wilco album, they want to know whether the record is any good, not how the sound of Jeff Tweedy's voice is reminiscent of the Geo Metro the writer lost his virginity in while listening to Pere Ubu. It sucks, but blame MTV and Gen Y's short attention span.

Modern day music writers bridge the gap by using adjectives approved by the Pan-American Rock Institute for Critical Knowledge (PRICK) , a non-profit organization based in New York City. In accordance with PRICK standards, rock vocab consists entirely of words no music fan would use to describe a CD. Good music is "exciting," "adventurous" and most of all "important." The riffs are "crunchy," the melodies "luminous" or "haunting" and the lyrical content "incendiary." PRICK standards also call for using the latest slang to make reviews more relevant. For example, instead of calling a song funky, PRICK suggests "crunky."

Bad music always is "predictable" or "derivative." It is never good for a CD to be "safe," because that makes the music "polished" or "toothless." However, if the music is a little too unsafe, it becomes "bloated" or "self-indulgent," and that's not good either. When ripping on an artist, it often is a good idea to make an unflattering allusion to another artist. John Mayer, for instance, is "warmed-over Dave Matthews." Maroon 5 is "Sugar Ray with a lobotomy." PRICK calls this "a double slay."

Writing about music isn't easy. Reading about music is even harder. But thanks to PRICK, reviews are more understandable and readable than ever. Now, if only there was some place to put these Chumbawamba CDs.

-Steven Hyden

Don't hate me

let me see wat was the last cd i bought ill reveiw that....
oh yeah
IN LOVE AND DEATH-THE USED
i didnt really lik this band when i got it but im seein em liv wit killswitch engage and my chemical romance so what the hell

Take it away 8.5/10-great opener for the album. extremally catchy chorus with a cool beginning that sounds lik somthing out of the twilight zone. my only complaint is he trys to pull of this screaming thing towards the end that sounds bad. great voice during the chorus though.

I caught fire in your eyes 4/10- i cant stand this song. the guitar is so annoying and sounds lik somthing ashlee simpson would sing. they try to do a really catchy kind of poppy thing during the chorus that they usually do well with. it sounded really bad and i always skip this song when i listen to the album

let it bleed 6/10- another song i dont lik. sounds alot lik the 1 before and it really just isnt good. in the middle brett is trying to do a metal thing while the guitarist were doing a poppy riff. the only cool thing about this song is the bass line

All that ive got 10/10- i luv this song. it starts off with a cool intro that starts off soft and gets harder. the verse is really catchy and i luv the acoustic guitar. then when it gets to the chorus it gets a little harder but keeps the melodic thing going. the vid is amazing for this song to. check it out

Cut up angels 9.5/10- another brilliant song.lik all that i got, the verse is very melodic but gets pretty heavy later on and brett winds up screaming. i luv bretts voice on this song. it can somtimes be so beutiful . and the lyrics arent shabby either. it tells a story about how this dude was killed and got framed out of going to heaven and had to go to hell.

listening 8/10- a really good songs that starts of really cool with a screaming voice in the backround. my fav part is the pre chorus. it jus t sounds so cool. the chorus sounds odd and the insturments dont sound lik they came from the used. i still lik it though. the part i hate is the part right after the chorus with him screaming. so annoying kinda ruins the song.

Yesterdays feelings 9.5/10- the real pop song on the album and bretts voice is magical. theirs sonthing about it that sweeps me away. the chorus is extremally catchy. this song is almost perfect but theres 1 part i dont lik when they start to build up and get harder. just dosent fit the song.

Light with a sharpened edge 7/10- i dont know y i hate it i just do

Sound effects and over dramatic 5/10- they try to be metal at the begging and bretts voice is so annoying onthis song. its weird how his voice can somtimes be so beutiful than so crappy. a complete mess.

Hard to say 5.5/10- they try to be poppish on this song again but i sya 1 is enough. the insturmentals are quite bad and the chorus is annoying.

Lunacy fringe 9/10- this song trys to peice the album back up to being good again. i luv this song and its so catchy. i find myself singing this song all the time and i luv the little violin thing. great song

Im a fake 10/10-the poetry in the begging is marvelous its worth 10/10 just for the beggining. best part of the whole album. the rest of the song isnt as good. but he actually finally pulls off that screaming thing and the chorus is really good

I DID IT YEAH

...And You Will Know Us By the Trail of Dead
"Worlds Apart"
1 1/2 stars
If... And You Will Know Us By the Trail of Dead's new album is any indication, pretentious cultural commentary must be the next big thing.
The Austin, Texas, band, previously known for its heavy yet intricately melodic rock, has turned a jaundiced eye toward society's ills - namely popular culture.
The biggest problem through most of the album is the clash between the band's poorly crafted complaints, the seriousness of the vocals and the overtly commercial sound of the songs.
Either Trail of Dead has become so full of itself that it thinks this record is the greatest ironic hipster punch line of the 21st century, or it is simply content to cash in on faked discontent.
After Green Day's excursion into politically laden rock opera, the Vote for Change concert tour that featured Bruce Springsteen and Omaha's Bright Eyes and the continued cultural and political criticism offered up by Steve Earle, Trail of Dead's attempt feels like vain whining.
"Worlds Apart" is eerily similar to the pop punk of emo bands on commercial radio. But Trail of Dead loads its songs with profanities as it whines about the horrors of MTV, soccer moms and sound-alike bands. Take note, kids: It's easy to blur the line between hypocritical and ironic.
"The Summer of '91," though having a pretty piano line, gets a bit plodding toward the end. "Let It Drive" is about as dull, only this time with strings. "The Best" is better, although Conrad Keely's creaky, screeching voice ruins the composition's strengths.
"Classic Arts Showcase" is a typical bash on television, bolstered only by some fancier words. "Voice-overs rise like minarets, then fall diatonically," Keely sings. Unfortunately, I'm not awarding extra points because he picked up a thesaurus. The song also includes some lame slams on Rolling Stone magazine and another obvious target, the British music tabloid New Music Express.
All the more disheartening is the small portion of what's good about this album: "Will You Smile Again?" opens sounding like Trail of Dead of old. But then pounding drums drop away to mournful horns. No guitar hysterics, just Keely's voice, which starts softly before building to more direct, forceful declarations. "Remember all the bad dreams are not far from reality," he sings.
Maybe he was just alluding to the nearly 40 minutes of trash following the song.
Still, "Will You Smile Again?" and a few other songs show a nice growth in the band's sound.
"Caterwaul" is thick with guitar noise and features some of the best singing on the album. "The Rest Will Follow," Trail of Dead's single, is distinguished by great drumming but hurt by a forgettable chorus.
The instrumental "To Russia My Homeland" is a pretty, string-drenched piece that would sound more at home if played by an orchestra than a rock band.
Beyond these meager highlights, "Worlds Apart" is a disaster that barely shows the brilliance the band displayed on 2001's "Source Tags and Codes."
They fall for all the worst pitfalls of following up a critically praised record by trading the best parts of their sound for Smashing Pumpkins-styled seriousness.

god, beware of comradestripe

No, it's fair enough, actually. The new album doesn't sound as good as the previous ones; it's beautiful, and Will You Smile Again? is great, but I'm not sure about the rest of it yet. Well, I don't know; a couple of the songs have struck me as pretty good while listening to them, but not sufficiently for me to've remembered which. I quite liked Caterwaul, I remember, but thassit.

It’s the EELS’ debut album, which was released on Aug 13, 1996 by DreamWorks. Also was one of the 90s greatest albums. In my place, the genre EELS play is not popular, so Im considered a stranged girl to listen to the “garbage” music – according to the stupid people around me. Ignoring all their comments, EELS came to me as the music really change myself. And Beautiful Freak is the first their album coming to me.

Beginning the album, Novacaine For The Soul starts with the percussion which made me think of Beatles, the great band has influenced EELS much. But the harmony throughout this song is the treble keyboard along with the awesome super-bass. That’s also the remarkable particular trait of EELS. And Everett’s voice with warmth and softness sounds mildly. The beautiful melody of the song mixed among musical sounds really made me sad and often gave me complicated emotions. Novacaine For The Soul is one of EELS’ hits.

The second track, Susan’s House is a good Adult song. Before listening to it, I had thought Electronic Instruments were not artistic, not profound. But Everett with his ability in multi-instruments changed my opinion. In fact, EELS mix them too beautifully. No matter how the Keyboard sound, like acoustic Piano or clearly electronic, EELS’ music is very excellent.

Rags to Rags, the third, is harder than most of EELS’ songs, but it still has EELS’ traits clearly. There is a beatiful harmony repetitive during the song; that’s why listeners can’t mistake EELS for any other bands. Anyway Rags to Rags is also one of the worth songs.

The next, Beautiful Freak is the greatest hit of this album. Its musical melody made me cry. No, not cry, but weep. Cuz when I listened to it, my tears dropped down without any reason. I didn’t cry, I knew, but they kept dropping without my expectance.

The song ends with which it starts. And that’s why I feel life’s nothing. I feel Man was born from dusts and would die to ashes. Ending the song, I bursted out crying. The song is too sad.

Track no.5, Not Ready Yet is the worst song according to many people. I myself thought so. But now I like it much. The sultry e-guitar sound in it scares me, but also makes me love it. Everytime my heart compels me to play, I listen to it and imagine the most horrible things following the sound. I want both to play it and switch it off. That happens again with the next song, My Beloved Monster although it lasts just 2:13. They both make me feel scared until the seventh…

Flower warms me up by its beautiful melody. Music and Everett’s voice mixed together as if they were indispensable to each other. And the last part... If you used to fall in love with Craig’s “Oh-oh…” in Autumn Shade 2 or his “ahhh” in Country Yard, I guess you’ll love Everett’s “uhm uhm…” in this song… as I love .

If Beautiful Freak made me weep, then the eighth song – Guest List made me cry, actually. The lyric is too sad:

Just because someone is not beautiful, he’s never on someone beautiful’s guest list. And his clothes are not right, that’s why everyone despises him… The prelude played passionately by a harmonica made me think of hawkers and it itself impress me deeply. And here’s the chorus:

The last sentence Im never on your list has been going on repetitively and it makes me cry and cry. Its really a both beautiful and tearful song. And though I cried of it, I still love it forever.

The ninth, Mental, as the title, it’s the hardest in this album. I like the powerful last part. It makes me think of the whirlwind… I often imagine this part portrays a storm and the next, Spunky symbolizes the sad silence of weather after a storm. You can understand the mildness and sweetness of Spunky, a musical ballad.

The penult song, Your Lucky Day In Hell is the creepiest. And also tearful. I mean both the dark bass and the lyric of the song. It starts with

It was an obsession to me during my childhood. In fact I havent listened to it for a long time, but when I write this, all I impressed of it pour in my mind, yeah, I mean the whole song. The whole song is impressive to me. And it’s one of hits of this album.

Manchild is a perfect ending. It’s mild and slow, very slow. And I love the last part much. Try it, and you’ll understand why I nominate EELS for the best bass. There is a super super bass at the end, and it’s reduced very slowly. That makes it impossible for me to recognize where is the end exactly. I just recognized I love the album very much after I listened to it the first time.

12 songs with the same particular trait of a band, 12 songs with 12 different melodies constitute an album which changed all my opinion of this genre. Yup I mean EELS is the first Rock Alternative band coming to me and Beautiful Freak is the first album I have. EELS is the first band I loved and the band I love forever.

Lost Sounds
"Lost Sounds"
4 stars
Lost Sounds doesn't want to see humanity pleading for repentance when the world ends.
Instead, this New Wave-inflected rock 'n' roll band from Memphis wants you to dance to the very end.
Lost Sounds calls its art-damaged trip back to the 1980s "black wave" - a mix of black metal and New Wave.
It's more like New Wave pop cornered Stooges-style protopunk in an dark alley and gave it the knifing of a lifetime.
Lost Sounds stands tall with other bands, such as Portland's Epoxies, who are taking off where Devo left its herky-jerky predictions of a robotically doomed tomorrow.
The album quickly snaps into top form as keyboard bleeps introduce "There's Nothing." Jay Rensley howls his words, singing: "Some say I'm a cannibal. They think I'll eat them alive, but I've got no teeth to chew, so you know that is a lie."
The song shows elastic synth lines are the perfect compliment to buzzsawing punk guitars.
Rensley, who started a band called the Reatards in his teenage years, trades off vocals with Alicja Trout on this synth-laden energy booster of an album. Each has perfected a mix of disaffection and energetic rebellion. Rensley's youthful scream plays nicely off Trout's volatile, shifting purr and growl.
Over the course of the record, they cover everything a synth-bashing, technophobic rock band should cover:clones, robots, dancing, destructo comets and far-off planets.
But the band is more than New Wave novelty. The album unleashes deep, thundering hooks all over.
"I Get Nervous"builds to greater heights after every Rensley scream, "Clones Don't Love" works magic with its guitar solo, and "And You Dance?" incites the sort of uninhibited movements that should get any end-of-the-world party hopping.
Lost Sounds are pure excitement. For those with a taste for manic melodies, this is the perfect prescription for electrifying the rest of the winter.

I got 4 1/4 pages about 'You are the quarry' in german. ^^

Go on then.

Haha. It sucks though. (It truelly does)

It's written for this community called 'ciao' so it s written after some... rules. Eh, you know what I mean.... maybe.



Morrissey - You are the quarry


Wahrscheinlich werden nicht alle unter euch Morrissey kennen, aber wenn ich sage, dass er der Sänger der legendären britischen Smiths war fällt vielleicht bei einigen – besonders bei denen, die etwas älter als ich sind – der Groschen. Für die Jüngeren und auch allen anderen die immer noch nicht wissen über wen ich rede, sei die Hexen-soap „Charmed“ empfohlen. Ihr müsst sie euch ja nicht anschauen, auf die Musik im Vorspann achten reicht schon, so wird dort nämlich immer ‚How soon is now’ von den Smiths gespielt. „‚How soon is now’? Heh, kenn ich das nicht?“ fragt sich jetzt vielleicht so einer und ja, es ist dasselbe Lied wie das von dem nicht mehr existierenden russischen Pseudo-Lesben-Duo T.a.T.u., wobei jene auch nur eine Coverversion des Ganzen veranstaltet haben. Ich jedenfalls fand das Lied schon immer toll bis ich jedoch begriffen habe, dass da der Selbe singt, der auch immer so toll von seinem irischen Blut und seinem englischen Herzen gesungen hat – das hat gedauert. Um ehrlich zu sein: bis es meinem Vater aufgefallen ist.

Vom britischen Musikmagazin NME wurde der 1959 in Manchester geborene Steven Patrick Morrissey erst kürzlich zum "Greatest Artist Of All Time" gekürt.
1982 trifft er Johnny Marr und gründet mit ihm ‚The Smiths’ die bis 1987 hielten, wo sich eine der bekanntesten Indie-Pop-Bands der Achtziger im Streit trennte. Zu meiner Schande muss ich gestehen, dass ich kein Album der Band besitze und diese CD die ich gerade bespreche und ein paar Smiths-Lieder auf meinem Computer meine einzige wirkliche ‚Verbindung’ zu diesem tollen Künstler sind.

Nun wurde in allen Möglichen Zeitschrift Morrisseys Album „You are the quarry“ so stark gelobt, dass man das Gefühl haben könnte es sei das erste Soloalbum von ihm. Ist es zwar nicht, aber die früheren Veröffentlichungen habe ich einfach nicht mitbekommen was höchstwahrscheinlich an meinem Alter liegt.
Die erste Singelauskopplung ‚Irish blood, English heart’ habe ich relativ häufig auf Radio 1 gehört und war sehr angetan. So sehr, dass ich schon länger mit dem Gedanken spielte, mir das Album zu kaufen. Dass das Lied ein Ohrwurm ist, habe ich nicht nur an mir sondern auch an meiner Mutter, meinem Bruder und einem Mädchen aus meiner Klasse gemerkt, die ich alle nicht nur einmal beim vor sich hin singen des Liedes ‚erwischt’ habe
.
Beim letzten Ciaotreffen in Berlin wurde festgelegt, dass jeder drei kleine ‚Geschenke’ mitbringen sollte, passend zur Weihnachtszeit. Durch ein Würfelspiel hatte schlussendlich jeder mindest ein Geschenk bekommen, darunter waren so grandiose Sachen wie Kelly Family CDs oder auch ein Klopapierhalter, aber ich hatte das große Glück, eben diese CD hier zu ergattern und war, wie ihr euch denken könnt, sehr froh darüber. Irgendjemandem auf dem Treffen kam dann Idee, dass wir alle einen Bericht über eine unser Bereicherungen zu schreiben. ----- hat dies toll demonstriert mit seinen fünf Sternen für das Zlatkoalbum (bitte lesen, ist wirklich sehr amüsant). Ich folge hier also mit meinem Bericht über Morrisseys „You are the quarry“ – was so viel heißt wie ‚Du bist die Fundgrube/Quelle’ oder auch ‚Du bist der Steinbruch’, wobei ersteres wahrscheinlich die passendere Übersetzung ist.

Beim ersten Durchhören war ich eher enttäuscht und musste an meine Internet-Freundin aus Hawaii denken (siehe auch den Interpol-EP-Bericht ^^), die zwar Fan ist, aber bei meiner Erklärung was ‚Schlager’ sei, meinte Morrissey würde auch manchmal so klingen. Ich hatte zwar gehofft, meine Erklärung dieses Musikstils war einfach zu schlecht gewesen aber nach dem Hören von Liedern wie ‚First of the gang to die’ wurde mir klar, dass sie schon irgendwie Recht hatte. Natürlich ist dieses Album KEIN Schlager – ich bitte euch, würde ich es sonst anhören? – aber Elemente gibt es da sicher. Wo ich grad dabei bin: gibt es überhaupt englisch-sprachigen Schlager?
Nun genug Ablenkung, noch einmal die CD durchgehört gefiel sie mir schon etwas besser und man konnte sich ja schon beim ersten Lied gleich auf das zweite freuen .

So beginnt dieses Album mit AMERICA IS NOT THE WORLD, einem Lied das textlich auf jeden Fall schon mal sehr gelungen ist. So ist es zwar in letzter Zeit gerade sehr beliebt US-Amerika, seine Bewohner und besonders die Regierung fertig zu machen, aber Morrissey macht das auf höchstem Niveau und gleichzeitig ohne zu vergessen, dass dieses Land auch seine guten Seiten hat-...irgendwie jedenfalls „America your head's too big, Because America, Your belly's too big. And I love you, I just wish you'd stay where you is” (Amerika dein Kopf ist zu groß, weil, Amerika dein Bauch ist zu groß. Und ich liebe dich, ich wünschte nur du würdest bleiben wo du bist). Morrissey wird aber noch zynischer mit seiner Wut auf das Land der ‚unbegrenzten Möglichkeiten’ und singt „In America, It brought you the hamburger, Well America you know where, You can shove your hamburger. And don't you wonder, Why in Estonia they say, Hey you, Big fat pig”, in deutsch also “In Amerika, es brachte dir/euch den Hamburger. Na ja, Amerika du weißt wo du dir deinen Hamburger hinschieben kannst. Und wunder dich nicht warum sie in Estland sagen ‚Hey du, großes fettes Schwein!’.“
Musikalisch geht es hier gar nicht so Welt verbesserisch zu, sondern sehr gefällig. Ein paar elektronische Klänge am Anfang, die Gitarre und gleich Morrisseys prägnante Stimme die man entweder lieben kann oder sich auch wunderbar drüber lustig machen kann, wie er so unglaublich ernst ‚Oh-ohu-ohua’ singt (ich mach einfach beides).
Ein sehr netter Popsong, dessen größter Reiz auf jeden Fall in seinem politischen und amüsanten Text liegt. Sehr einprägsam sind besonders so Zeilen wie „…where the president is never black, female or gay and until that day you’ve got nothing to say to me”. So lange die USA sich selbst nicht geregelt haben, sollen sie den Rest der Welt nicht zu recht weisen. Daumen hoch für Morrissey, und trotzdem liebt er die USA wie er so unglaublich glaubwürdig (*g*) besonders am Ende des Liedes erklärt.

Gleich als zweiten Song gibt es seine erste – und brilliante – Singleauskopplung dieses Albums. IRISH BLOOD, ENGLISH HEART weiß mich immer wieder zu begeistern und ich freu mich schon immer, wenn es beginnt. Auch wieder ein politischer Text der leicht falsch zu verstehen ist, wobei ich mir selbst nicht sicher bin ob der Text hundertprozentig ernst gemeint ist, oder nicht. Morrissey wurde früher schon einmal bei einem Smiths-Lied fälschlicherweise vorgeworfen ein Rassist zu sein, bei diesem Titel könnte man es auch annehmen. Auch die Zeilen lassen es erst einmal vermuten, so singt er „Irish Blood, Englisch heart, this I’`m made of, there is noone on earth I’m afraid of.“(Irisches Blut, englisches Herz, daraus bin ich gemacht. Es gibt niemanden auf der Erde vor dem ich Angst habe). Wenn man den Text jedoch nur einmal genauer anschaut merkt man, „I've been dreaming of a time when to be English is not to be baneful, to be standing by the flag, not feeling shameful, racist or racial” (Ich habe von der Zeit geträumt, in der Englisch sein nicht zu verbannen ist, neben der Flagge zu stehen und sich nicht zu schämen, sich nicht rassistisch zu fühlen). Zeilen die eigentlich recht klar und sehr intelligent sind. Geht es eigentlich ja auch darum irisch und englisch zu gleich zu sein und sich für beides nicht schuldig fühlen zu müssen und zu wollen.
„No regime will buy or sell me.”
Ein tolles Lied, eine der besten Singles des letzten Jahres und vom Text her zwar leicht miss zu verstehen ist aber ebenfalls mutig, bewusst provozierend und intelligent ist. Hauptsächlich rockt es aber einfach nur! Tolle Gitarre, nur so nebenbei

Eines der vielen Lieder dieses Albums die ich die ersten Male total unterbewertet habe, obwohl auch hier der Titel heraus sticht: I HAVE FORGIVEN JESUS. Eine schöne Melodie, ein netter Refrain, ein toller Text. Im Endeffekt könnte man es also ein typisches Morrissey-Lied sehen, aber eins von seinen besseren. Das Keyboard im Hintergrund finde ich besonders eingängig, während die Gitarre und das Schlagzeug seine Stimme toll unterstützten. Besonders gegen Ende, wo es noch einmal recht energisch wird, geht mir dieser Track zu Herzen. „ Jesus – do you hate me? Do you hate me?“ Wie könnte er nur.
Wie bei den Liedern davor merkt man, dass Morrissey sich nicht so viel darum kümmert was man sagen darf und was nicht, oder würde man sich sonst erlauben ein Lied ‚Ich habe Jesus vergeben“ zu nennen’? Trotzdem kommt mir dieses Lied kein bisschen eingebildet vor. Stattdessen finde ich manche Stellen einfach nur schön gesagt und sehr nachvollziehbar, mir ist schon klar warum die Smith die ‚Musikpoeten ihrer Zeit’ genannt wurden.
„Why did you give me so much desire? When there is nowhere I can go to offload this desire. Why did you give me so much love in a loveless world when there is noone I can turn to to unlock all this love. Why did you stick me in self-depecating bones and skin. Jesus – do you hate me?” (Warum hast du mir so viel Verlangen gegeben? Wenn es doch keinen Ort gibt, wo ich dieses Verlagen abladen kann. Warum hast du mir so viel Liebe in einer lieblosen Welt gegeben, wo es doch niemanden gibt an den ich mich wenden kann um diese Liebe heraus zu lassen. Warum hast du mich in selbst-ablehnende Knochen und Haut gesteckt. Jesus – hasst du mich?)


Schon beim Beginn von COME BACK TO CAMDEN wusste ich, dass es ganz sicher nicht mein Lieblingssong des Albums wird. Und ich habe Recht behalten, so kann ich zwar nicht sagen, dass es ein schlechtes Lied wäre aber skippen tue ich es trotzdem ab und zu.
Irgendwie kitschig ist es ja von Anfang an, wie Morrissey da zum Klavier jault, nur löst es diesmal nicht wie bei den anderen Liedern in einem tollen Refrain auf. Hinzu kommen jetzt noch Geigen im Hintergrund und ab der zweiten Strophe, weiß genau wie man dies mit Schlager vergleichen kann wenn er singt „here you’ll find my heart and I – calling to you with what’s left of my heart“. Um meiner letzten Aussage ein wenig den Wind aus den Segeln zu nehmen muss ich noch sagen: es ist trotzdem schön. Es ist schön, wenn er so ungewöhnlich hoch „and here I am every last inch of me `s yours for evermore“ (‚und hier bin ich, jeder letzte Milimeter von mir ist deiner, für immer und ewig’) schmachtet. Ich glaube ja, ohne Streicher wäre das Lied schon mal um einiges besser. Ein schmachtendes, schönes Liebeslied, das ich oft nicht ertragen kann. Textlich nicht ganz so gelungen wie bei den meisten Songs des Albums. Trotzdem ist auch sein Versuch seine Geliebte zurück nach Camden zu überreden so, dass ich aus auch ohne Musik als ein relativ gutes Gedicht mit Vergnügen lesen würde.
„There’s something I wanted to tell you; so funny you’ll kill yourself laughing; but then I look around; and I remember that I am alone / alone / forevermore“ (‚Es gibt da etwas dass ich dir sagen wollte; so lustig, dass du vor Lachen umkommen wist; aber dann sehe ich mich um; und ich erinnere mich, dass ich alleine bin / alleine / für immer und ewig’)

Es gibt wenige Lieder auf diesem Album die mich beim ersten Mal beeindruckten. Eigentlich war I’M NOT SORRY sogar das einzige. „Existence is only a game and I’m not sorry for the things I’ve done”. Ein schönes relativ langsames Lied bei dem Morrisseys Stimme sehr sanft ist und ich jedes Mal wenn der Bass im Refrain kommt, wieder merke wie toll es eigentlich ist. Eintönig vielleicht, aber dafür eine „Ballade“ die mir bis jetzt noch nie langweilig oder nervig geworden ist.

Musikalisch wieder relativ einfach gestrickt geht es weiter bei THE WORLD IS FULL OF CRASHING BORES. Dafür schafft es Morrissey hier wieder eine ganze Geschichte erzählen und fest zustellen, dass diese Welt für Langweiler gemacht ist.
„You don’t understand and yet you can take me in your arms and love me.“ (‘Du verstehst nicht und trotzdem kannst du mich in deine Arme nehmen und mich lieben.’)

Schon der Titel von HOW COULD ANYBODY POSSIBLY KNOW HOW I FEEL ist eine klare Ansage, auch wenn er eher nach verzweifeltem Jugendlichen klingt als nach einem recht intelligenten Mitt-Vierziger. Der Rest des Textes klingt aber auch schon wieder typischer.
„She told me she loves me which means she must be insane.“ (‘Sie sagte mir, dass sie mich liebt, was bedeutet, dass sie verrückt sein muss’) & „They said they respect me which means their judgement is crazy.“(‘Sie sagten, dass sie mich respektieren, was bedeutet, dass ihr Urteilsvermögen verrückt ist) Nur zwei der genialen Zeilen dieses Liedes.
Kann man mehr in einem einzigen Satz sagen und damit so toll klingen wie in „Even I as sick as I am I would never be you.“(‚Sogar ich, so krank wie ich bin, würde niemals du sein.’)? Bei diesem Lied kommt zu seinem tollen Text, dem perfekt genutzten Gesangsorgan auch ein musikalisch einwandfreies Lied. Très cool, anders kann man es nicht sagen. Besonders der Gitarrenpart, so was würde ich auch gern mal schreiben 

FIRST OF THE GANG TO DIE ist die zweite Singleauskopplung des Albums und hat lange gedauert um mich zu überzeugen. Er ist eher schneller und kam mir anfangs recht affig vor, was besonders an seiner Melodie liegt, die zum hin und her schwingen einlädt.
Das Lied erzählt die Geschichte von Hector, der immer der erste in seiner Gang war. Auch beim sterben. Nach dem ersten Mal hören wird es nichts desto trotz zum Ohrwurm. Ein Lied, dass man super mitsingen kann.
„And he stole it from the rich and the poor/ And the not-very-rich/ And the very poor”

LET ME KISS YOU ist, wie man sich schon denken kann, ein Liebeslied. So ganz ohne Humor geht das natürlich bei Morrissey nicht und so singt er „Close your eyes and think of someone you physically admire and let me kiss you.“ (‚Schließe deine Augen und denke an jemanden den du körperlich bewunderst und lass mich dich küssen’) Ich wünschte ich könnte so schön ausdrücken was ich meine. Textlich lustig und anrührend, musikalischer etwas kitschig aber immer noch schön.

ALL THE LAZY DYKES bedeutet übersetzt so viel wie ‚All die langweiligen Lesben’. Textlich keins meiner Favoriten (auch wenn es wesentlich besser ist als was man sonst so vorgesetzt bekommt) und auch musikalischer eher durchschnittlicher für dieses Album, aber trotzdem ein guter Ohrwurm.

I LIKE YOU ist eine vorsichtige Liebeserklärung.
„Why do you think I let you get away with the things you say to me? Could it be I like you? It’s so shameful of me / I like you” (

Wieder eines der Lieder welches ohne seinen schönen Text nur eines unter vielen wäre.
„You are not right in the head and nor am I / and this is why I like you” (‘Du bist nicht richtig im Kopf und ich auch nicht, und deshalb mag ich dich’)

Mit YOU KNOW I COULDN’T LAST sind wir schon beim letzten Lied angelangt. Die ersten zehn Male ist es mir gar nicht aufgefallen. Ich schloss also auf eines dieser Lieder, dass man nie richtig mitbekommt, von dem man den Namen nicht kennt und einen trotzdem nicht stört. Einer schönen Schulstunde kam dann der Ohrwurm und ich wusste es: Morrissey hat es geschafft auf diesem Album durchwegs eingängige Lieder zu machen. Wie lange diese brauchen um ins Ohr zu kommen sei jetzt mal dahingestellt.
Ich glaube in diesem Lied eine Reflektion auf Morrisseys eigenes Leben zu finden. Es geht um die Vergänglichkeit von Ruhm.
„The teenagers who love you/ they will wake up/ yawn and kill you”
(‘Die Teenager die dich lieben werden aufwachen, gähnen und dich töten.’)
Schon durch mit der CD und nicht selten kommt es vor, dass sie gleich noch einmal durchgehört wird.


Das Cover ist übrigens sehr gelungen, was darauf abgebildet ist muss ich ja dank Foto nicht mühsam erklären (*puh*). Das Booklet enthält alle Songtexte des Albums und so weit ich mit bekommen habe sogar ohne all zu große Fehler, was ja leider viel zu selten vorkommt. Und bei diesem Texten ist nachschauen ja wirklich nicht schlecht, damit man es richtig versteht weil es sich wirklich lohnt.
Sogar meiner besten Freundin haben seine Texte wohl imponiert. Eigentlich gar nicht Musik-interessiert beschwert sie sich jedoch trotzdem ab und an, dass meine Musik ja textlich fast nie Sinn ergäbe. Da ich sie selten sehe musste ich ihr natürlich, also ich sie das letzte Mal getroffen habe wenigstens ein wenig vom Gegenteil überzeugen und beweisen, dass nicht alle meine Lieblingsmusiker Müll zur Feder lassen. Nach nur einem Lied und ein bisschen im Booklet rumblättern fragte sie mich „Kannst du mir das mal ausleihen?“ DAS ist ein wirkliches Kompliment.

Insgesamt ist ‚You are the quarry’ ein lohnenswertes Album und bekommt 4 ½ Sterne. Höre von vielen Fans immer „Ja, das ist schon ganz nett aber kommt niemals an die Smiths ran.“ Wenn man jedoch ohne diese hohen Ansprüche an diese CD herantritt und sich etwas mehr mit ihr beschäftigt wird man sicher nicht enttäuscht werden.
Für diejenigen, die sich überlegen dieses Album zu kaufen, wollte ich noch anmerken, dass es auch eine Special Edition mit DVD gibt, welche auch nicht wirklich mehr kostet.

i was halfway through reading that article then i relized its german!!!!!

I was surprised by how much of that I could read. Looks good from my brief skim-read.

Thanks, I'll take that as a compliment. I normally don't write something about every song but I felt like it.

When it's an album like You Are The Quarry, it makes sense

I ve just realized I also posted the Zlatko-part here.

well the differnece between us is u could read the german but im so stupid i thought it was english

aren't we supposed to be making our own CD reviews? or am I just confused...
well I will do one later, I have to think

That is what we do.

Wrote it half a year ago.
It's about the Strokes 12:51 - 4/5

Auch vor einem Jahr war ich schon einigermaßen Musik interessiert, jedoch war ich da noch weniger wahnsinnig danach (hab viel mehr über Harry Potter nachgedacht und bin erst durch Lifehouse recht Musik besessen geworden). Außerdem waren meine Quellen hauptsächlich auf seltenes MTV/Viva schauen beschränkt. Aber auch damals kam die große Strokes-Hype-Welle , wenn auch etwas verspätet, bei mir an und so sah ich eines abends fünf junge Männer in einem grellen und sonst hauptsächlich schwarzen Video mehr oder minder engagiert performen. Was anderes passierte nicht und wirklich beeindruckt war ich nicht vom Sänger, der eher gelangweilt von seinem eigenen Song lustlos hin und her lief, und dem eher nicht so aufregendem Song. Nett fand ich ihn schon, aber nach ein paar Minuten war er ja auch schon wieder vorbei also hieß es für mich die Band irgendwo bei ‚Ganz nett, kann man sich irgendwann mal mit beschäftigen’ einzuordnen. Im Januar dieses Jahres wurde mir von irgendjemandem in Internet empfohlen, mir doch mal unbedingt ihr erstes Album anzuhören. „Wenn du Jet magst, dann magst du vielleicht auch…“ Stimmt, mochte ich, war aber irgendwie abgeschreckt vom hässlichen Coverbild (tja, so viel macht das manchmal aus). Geändert hat sich meine Meinung zur Band schlagartig als ich das Video zur zweiten Single zum ersten Mal im Fernsehen sah, „Reptilia“ (vielleicht werdet ihr dazu ja auch irgendwann einen Bericht von mir lesen können) überzeugte mich einfach so sehr, dass gleich das dazugehörige Album „Room on fire“ her musste, dass erste ‚Is this it’ natürlich auch, von dem ich jetzt sogar eine zweite Special Edition besitze. Kurz gesagt: Ich wurde Fan! Wenn nicht zu DER Lieblingsband so gehören sie auf jeden Fall zu einer meiner Lieblingskünstler überhaupt und so überlegte ich nicht lange, als ich letztens bei Ebay das Angebot beider Singleauskopplungen des zweiten Album für nur 2 Euro fand. Im Laden kosten die CDs einzeln genauso viel wie alle anderen MaxiCDs auch, um die 5 Euro obwohl ich sagen muss, dass ich die CDs bis jetzt in keinen Laden hab rum liegen sehen.



Wer bis jetzt immer noch nicht weiß, wer die Strokes sind, dem versuche ich es in Kurzform zu erläutern. 2001 erschien das Debütalbum der fünf New Yorker und sorgte für viel Wirbel. Es wird gerne gesagt, dass ohne sie die White Stripes, Vines und andere Band dieser Art in der heutigen Zeit keine Chance gehabt hätten. Ich finde diese Einschätzung zwar ein bisschen übertrieben aber es ist etwas Wahres dran. Retro klingt so böse, aber so ist es nicht gemeint. Sagen wir: Velvet Underground sind gelangweilt und ein bisschen betrunken.

Das Design ist ziemlich schlicht wie ihr auf dem Bild sehen könnt. Passt aber zur Musik, wie ich finde. Ein schönes Bild der Band (sehen einfach alle auf ihre Art und Weise toll aus) und die ellenlange Tracklist muss genügen. Sehr angenehm finde ich, dass die ganze Band inklusive jeweils dazugehörigem Instrument einzeln aufgelistet ist. Das fehlt mir bei manch anderer Cd.


„ Talk to me now I'm older
Your friend told you 'cause I told her
Friday nights have been lonely
Change your plans and then phone me.

Natürlich ist auf der Cd – wie könnte es anders sein – die Single vorhanden. Das Schlagzeug natürlich von ganz vorne mit dabei. Ebenso der Bass und die Gitarre, die gelassen alle fünf Sekunden einen Ton von sich hören lässt um dann ihre Meinung zu ändern und sich doch zum eingängig monotonen Hintergrund zu gesellen, ich verstehe nicht ganz wie dieses Band es schafft, mich mit nur so einfachen Riffs (in der Art von A-E-A-E) und einen simplen aber präzisen Schlagzeug zu begeistern. Nach 24 Sekunden beginnt Julian Casablancas dann zu singen und siehe da: die Gitarre (oder die 2.) kann doch noch was anderes und spielt passend zum Gesang eine Melodie die sich schon fast fröhlich anhört, ein bisschen wie ein Kinderlied, was der total aufgedrehte Verstärker noch… nun ja, verstärkt. Julians Stimme klingt von Grund aus nun Mal gelangweilt, bei diesem Lied verzichtet er wenigstens ein bisschen aufs Schläfrige. Toll finde ich die Stellen, an denen die Gitarre im Vordergrund steht und wirklich mal freundlich wirkt, das Klatschen im Hintergrund verleitet mich nur noch mehr dazu mit zu pfeifen. Nach 2 Minuten und 28 Sekunden ist es auch schon vorbei und man kann es ruhig noch ein paar Mal öfter hören. Freundlicher hat noch kein anderer Strokes-Song geklungen – und das meine ich positiv.
Vom Text her kommt es im Vergleich mit den anderen Liedern der Band sehr nah an eine Liebeserklärung heran. Ich kann verstehen wenn manche Leute es langweilig oder unbedeutend finden aber mir macht es gute Laune ohne dabei musikalisch etwas einzubüßen.

„Kiss me now that I'm older
I won't try to control you
Friday nights have been lonely
Take it slow but don't warn me”

Die B-Side besteht aus sage und schreibe nur einem Song. „The Way it is“ ist schon auf dem zweiten Album vorhanden und ist mir nie sonderlich aufgefallen. Obwohl dies ein Home Recording ist, merkt man fast keinen Unterschied. Ein kleines bisschen weniger professionell eben, an einer Stelle hört man Jules Stimme nicht aber sonst ist mir nichts aufgefallen. Deswegen habe ich mir extra noch einmal die Albumversion angehört. Irgendwie scheint bei dieser Demoversion die letzten Zeilen noch nicht da zu sein, aber es fällt nicht auf – jedenfalls mir nicht.
Ein guter Song ist es auf jeden Fall, auch wenn es mit 1:18 Minuten ein wenig kurz ist.

Von der Musik her würde ich 9 Punkte geben, aber gleichzeitig finde ich diese CD überflüssig. Wenn man die Band wirklich mag, hat man eh das Album und als Fan vier Euro für zwei Lieder die man eh schon auf Cd hat, auszugeben ist irgendwie nicht so das Wahre. Ich bezweifele, dass ich diese Maxi oft anhören werde, für nur 3:42 Minuten ist mir der Weg zum Cd-Player ja fast zu schade (vor allem da ich keine Repeat-Taste habe). Ich empfinde den einen Euro trotzdem nicht als herausgeschmissenes Geld – es ist ja immerhin, doch eine „andere Version“ eines mir schon bekannten Liedes mit drauf und die Musik ist astrein, einfach nur gut. Ich weiß schon, warum die Strokes eine meiner Lieblingsbands sind.

Also: Nicht kaufen - außer ihr habt den riesigen Drang, eine ein bisschen schlampigere Version von ‚The Way it is’ zu besitzen, oder ihr mögt ‚12:51’ aber sonst die Band kein bisschen – sondern gleich zu den Alben greifen, die sind mit ihren knapp 30 Minuten ja auch nicht so arg lang.

THATS IT!!!!!!!! NO MORE GERMAN!!!!!!!!!!!!!!!

Clem Snide
"End of Love"
3 1/2 stars
Clem Snide's fifth album holds strongly to the Brooklyn band's best qualities. The band's acoustic alt-country has just enough art-pop to make the album entirely engaging. It's the perfect fit for those looking for quirky without getting too eccentric or pretentious.
Cello and upright bass control the tempo, while a few guitar solos bring to mind a fuzzy Jayhawks vibe. The low-key production, by singer Eef Barzelay, fits the songs like a glove.
Meanwhile, Barzelay's voice carries a whole lot of geekiness, the sort of stuff that would make Weezer's Rivers Cuomo jealous. Buddy Holly is an obvious influence, especially on the '50s-style slow rock gem "God Answers Back."
Barzelay continues on as the master of oddly constructed couplets, as he twists lines just enough to keep them clear of cliche. In fact, most of Clem Snide's songs seems like the perfect quirky pop for the literary set.
"The first thing a killer reads is 'Catcher in the Rye,'" Barzelay notes on the title track. "Tiny European Cars"features all sort of oddball questions, and on "Jews for Jesus Blues," he muses, "Now that I'm saved, Iwish Iwas lost."
And "Fill Me With Your Light" provides a song every bit as good as "Moment in the Sun,"the highlight of 2001's "The Ghosts of Fashion."
"End Of Love" is the sound of Clem Snide becoming effortlessly tuneful, consistently matching elegant musicianship with wordplay.

bob marley "natty dread (expanded)" and "burnin' (expanded)"

these albums are simply legendary

Death From Above 1979 will be hit or miss with you because they're music is far different, and you might not like it.

Well with this album called "You're A Woman, I'm A Machine" their style and them have come a long way from this ep.



Well anyhow, they're are no guitars what so ever on this album unless you count bass. Yeah just bass,drums and just a tad of synth. They have been quoted saying "We don't need a guitar player, just someone else to split the pay check with"

Now I've given you a breif little run down on them so I'll get on to their style. THe first track on the album is "Turn it up". It starts out with some piano chords, enjoy it while you can because after this it is non-stop loud hard over driven bass. The vocals can be melodic or loud and screaching making the vocals sometimes haunting.

The best song on the album is Romantic Rights.

Style: 10/10 few bands like them
Replayability: 5/10 alot of the songs sounds like their leeding into the next, you can play it alot but maybe not over and over again.
Vocals: 8/10
Bass: 9/10
Drums: 8/10

Overall: 40/50

Kaiser Chiefs
"Employment"
4 stars

Deliriously ripping pages from books of the best energetic pop songs ever, the Kaiser Chiefs smack home several powerful keyboard-propelled gems on their debut album "Employment."
The Leeds quartet keeps this simple and razor sharp, loading up the songs with the best mix of melodic ambrosia.
Cue the keyboards, crunchy guitars and all those wonderful "na na na," "whoa-oa"and "aaaaah"vocalizations. Kaiser Chiefs bring these power-pop staples in spades.
They've cribbed their notes from the best in the British business:Kinks, Supergrass, the Buzzcocks, the Jam and Blur.
Oh, and they add in a double shot of caffeine that fills the album with rock 'n' roll swagger. All in all, it's hard to resist the album, a great soundtrack for a night out.
Ricky Wilson lays out a great punk sneer, quickly tempered with a dash of Robert Smith on the opener "Everyday ILove You Less and Less."
Keyboard kick-starts the song and sails along, rarely revealing which singalong line is actually functioning as the song's chorus.
"I Predict a Riot" serves perfectly as a single, distilling some of the best things the Kaiser Chiefs do in a nice 3:53shot.
This time the band goes full force into a chorus, chanting out the song's name several times.
"Modern Way"bops along with cowbell and keyboard bleeps as Rickey Wilson sings, "My brain is not damaged but in need of some repair."
"Na Na Na Na Naa" and "You Can Have It All" are both cut straight from the Supergrass playbook. One album in and they are almost as good as those Brit-pop veterans.
The swaying choruses and intertwining harmonies make both super catchy.
Even when "What Did I Ever Give to You" and "Caroline, Yes" slow the pace down, the hooks are still quite sharp.
Blur's rock songs are given a run for their money by "Oh My God," which flits between cascading guitars on the chorus and an up-tempo Brit-pop shuffle for the verses.
Not enough bands are writing energizing, free-wheeling pop like this. If the Kaiser Chiefs can keep writing song of this pedigree, they have a bright future.

Jeff buckley - grace

twenty out of ten stars

"genius"

(he he, the shortest review ever )

Oasis-Definitely Maybe. Rating 9.5/10

Truly a masterpiece. This is Oasis' debut album which reflects a band doing their best to "make it" rather than "I'm already famous, so I'll write shit". At first listen, the album may seem like another rock n' roll album from a band from the early nineties, but the more you play the record, the more you want to hear it. The album opens with a very catchy song (Rock n' Roll Star) which grabs it's listener with the beautiful, yet soothing voice of Liam Gallagher's voice accompanied by his brother Noel's guitar magik. What make's this album so refreshing and good(in my opinion) is the way, as I can see, the Gallagher brothers aren't afraid of experimentation with Rock n' Roll other than "Grunge" which was famous at the time. I really like this album and I'd advise anyone to go buy it if they already haven't. "Cigarettes and Alchohol" is one of those songs that is so great because of the way the lead singer sings with a different style(e.g. Is it just my imaginaaaaaaaaatiooooon). I really like this album which is at least in line to be Oasis' best album.

GO BUY IT!!!

BTW: I can't write reviews very well, but I tried.

MOST UNPROFESSIONAL REVIEW IN HISTORY:

Skeleton Jar by youth group is some pretty good shit. my favorite songs are shadowland, skeleton jar, lillian lies, baby body, drowned, and why dont the buildings cry. GO BUY IT!!! now.

MUSHROOMHEAD-13



First, let me tell you about the band. Mushroomhead was a underground metal act from Clevland, Ohio. They are known for their 9 members, their poetic lyrics, and their diverse sound. This is their sophomoric album for record label Eclipse, and this is the album that put them into the mainsteam with the hit, Sun Dosent Rise.

KILL TOMMAROW 9/10- this is the opening song to the album and opens with a pretty catchy guitar line and goes into a screaming verse. The chorus is my favorite part with wonderful singing and the lyrics r very good in this song.

SUN DOSENT RISE (10/10)- The big song from the album and one of my favorites. It starts out with very smooth singing and poetic lyrics and then goes into, a fast talking part which is pretty cool. Then the verse is very cool because their 2 singers do a duet thing where they sing together and switch off lines. The chous is probally the reason this song is popular. It is very catchy and you'll find yourself signing along to it. Then it goes into another fast talking part and screaming which is cool and might be my favorite part.

MOTHER MACHINE GUN (7-10)- This song has a very unique intro because it is a very nice, melodic instramental by I think a glocenshpeil or some other bell instraments. Than it goes into the verse which is really good and might have the best lyrics on the album. The chorus is not to good though and its not really a strong point in the song, but besides that this song rocks.

NOWHERE TO GO (10/10) This is by far my favorite song on the album. It starts off with a cool riff and then goes into the verse, which is probally my favorite spot. It ius suprisingly very quiet singing and its probally the most melodic and seriious song on the album. Then the guitar comes in, and suprisingly there is no screaming, but just some talking under it. Then it goes into a more speedish part which is amazing and has great lyrics.

BECOMING COLD (8/10) Starts off with a kinda slipknotish riff and then goes into a rappish singing and screaming. The verse of this song is probally why people compare this band with slipknot. The chorus though is very different from slipknot and is my favorite part. It is very catchy and is awsome.

ONE MORE DAY (10/10) Another kinda ballad of the album and I really like it. The beginningis very cool and has a cool piano part. The chorus, although it brings the guitar in, it is relativly quiet and has a very nice female background vocal. I really like this song and it's very good.

THE DREAM IS OVER (4/10) I dont like this song, its another song that has some slipknot resemblence which is really sad cuz they aare much better than slipknot and they need to show it. There is no singing which sucks, its all screaming, and the guitar line is unorigonal. I usually skip over this song when I listen to the cd.

THE WAR INSIDE(9/10) This song definattly makes up for The Dream Is Over by a mile with a very eerie intro with alot of whispering. This one is opposite of the previous song because its mostly singing, but there is a cool screaming part. This song is very good.

ALMOST GONE (8/10) Somthing about this song reminds me of Black Label Society, but Im not sure what it is. I think its a mixture of the moter cycle rev and the catchy guitar riff. But, this thought was whiped out when the very cool singing and great lyrics came in, two things B.L.S lacks. The screaming part is my favorite part and its very catchy and cool.

ETERNAL (6/10) Another only alright song, which has a pretty dull verse. The chourus is better, but its not enough to pick the song up.

Our Own Way (10/10) This song is another gem on this album an has a very nice intro. THe verse is amazing and has great lyrics and the singing is amazing, and so is the guitar and piano. This might be my 2nd fav on the album and is very unique and awsome.

Destroy The World Around Me (8/10) A pretty long song because of the intro, but besides that part, this song kicks ass, exspecially the chorus.

Thirteen (9/10) If you can get through the 5 min 30 second keyboard intro this song kicks ass. The verse is amazing and has a very cool bass line. If it werent for the keyboard ,this song could be the best on the cd.

Marz Volta
Frances the Mute
-1049638513465923 stars.

ugg... complete waste of $10. no wonder it was on clearence at best buy. (one of my friends told me to buy it.) the whole indie-ish/spanish thing doesn't work. it really pisses me off when they started speaking spanish. ACK! i hated it! that is the last time i buy a c.d without listening to the band first...

please don't hit me if you really love the c.d... it's just what i thought of it.

Eh...I say the best song on Daeth From Above 1979's album is Go Home, Get Down..

Thats just me though..otherwise..that album is a 4.5/10

........

I hate proper album reviews. They might be good or bad, I don't like them anyway. I'll just write something about an album the way I like it. "No rules! No rules!"

Short and direct...

A few ones... If you like it or not...

I can't do reviews at all. That's why I hate them. Sorry, I am in a bad mood.)

As a big Interpol-fan the first time I heard of Editors (they don't seem like they want to be counted to the "The-bands", though anyone should be over this hype now anyway) was quite early and before this album was released. Then and now after "The Back Room" has hit the stores and charts (at least in England) almost everyone is keen on mentioning my favourite band's name when talking about it. "Editors are the poor man's Interpol!", "Just like Interpol they get A-grades for their studies on Joy Devision" ect. Did this make me keen on buying this CD? Not really. Magazines come up with the dumbest comparisons and I was pretty sure they had not much with Interpol in common besides being both a bit gloomy maybe.
The more articles I read about them - and I read too many music magazines, really - the more I knew but I still hadn't heard any songs. I actually got a bit annoyed because how can I have a valid opinion on a band if I never even heard them . So when one of these magazines had a CD in it including "Camera" I should've been satisfied with finally knowing them. But I wasn't. I liked the song and it actually did give me a feeling not far from when I started loving Interpol's second album "Antics". I normally don't just go and buy an album because I like one song of it but this time, being in the Netherlands alone I wanted to treat myself and try it out.

After weeks of waiting I finally held my copy of "The Back Room" in my hands. The design is well done. The booklet consists only of some nice, a bit pseudo artsy photographs of each band member in black/white. This seems to be "cool" nowadays, look at other "indie-charters"' CDs like the Killers' (urgh). So in the end the booklet it's nice but useless. At least no pain in the eye. One of these things I'd put on a shelf if I had it on vinyl.

I put the CD in and from the first tune on I was disappointed. This was just general boring rock with so simple structures and horrid we-'re-trying-to-be-so-catchy-refrains. I cursed myself for buying it and already thought about going straight to ebay with it. The next day I gave it another chance and though still not really liking it I played it again and again. Sentences like "It's a bit like Paul Banks doing a U2-cover album, innit?" entered and left my brain and thus I should say I don't particularly like U2.

At some point the songs actually become songs and started to sound like more than just a big smash of some chords and different refrains in one thing. They started to work for me. For sure the songs still are no songs for eternity but they might still be good, eh?
I've been blabbing about them for too long now without telling what the actually sound like so hear I go:

Lights
It starts off with all the instruments at once and Tom singing about his problems to sleep since he always needs light, or about that. It may a bit gloomy and the deep voice singing "if fortune favours the brave I am as poor as they come" doesn't indicate a very happy song. Yet Lights is very much danceable and not much more than a rather simple pop song with a refrain that does work after lots of listens but isn't very exiting or new. It's rather fitting as a opener because it's short and starts the record off fast. "Dark disco" describes it rather well.
The lyrics are, like on most songs on this record, very repetitive. If you're not so fond of one line in their songs then listening to them will be a burden because it will be most likely repeated about ten times. Or if it's a short song maybe only six times like "I still love the light on, baby " here.

Munich
The first single that got a lot of attention from music press and music fans. They did release "All Sparks" before this but as far as I know this was before they released "The Back Room" on PIAS This said I can tell it's really difficult to find websites and information about this band even though they're so successful. Try and go look for "Editors" on google.
Anyway, Munich, despite being called after a hype city I'm not too fond of, is a good single. It's one of these songs that help you through your music year. In a few years you will hear it and think back of 2005. It's nothing spectacular but a catchy rocksong with a nice (attention: reference!) 80-ies-rock-guitar a la The Smiths and Joy Devision. There, you got me, I said it. To compare the whole song to them would be a bit inappropriate though. A nice catchy tune with a nice voice (a not very common one) and an actual audible bass wasn't what made Ian Curtis or Morrissey to the icons they now are. It needs a bit more then repeating "People are fragile things, you should know by now. Be careful what you put them through" for that but it does make a "summer indie hit". There you go.

Blood
Starts with a bouncing guitar and bass. Is catchy and a sing-along, if it wasn't for the bridge I wouldn't like the song. Integrated into the whole record it does work and will stay in your head but at some points you might find yourself thinking "Why the hell am I listening to such a predictable song that doesn't even really start off in the chorus?"

"If there's hope in your heart
It will flow to every part
If there's hope in your heart"
I mean, seriously, that's not written by what a call a great poet.


Fall
To say it in short: Fall is a decent song. Slower than all the others before on this record it drags on a bit. The drums are the basic instrument here, accompanied by guitar and bass lightly now and then. In the refrain Tom moans that he "wanted to see this fall" himself. Though I'd have thought he sings 'for' but the title suggests otherwise. A charming track, definitely one of the better ones on this album.

"These dark parts, we drink in
Somehow light up when I'm with you"


All Sparks
Another one of my favourites on this record is another faster song and probably a indie dance floor filler. If I was there it would be. Played loud it works the best. The guitar and bass playing apart from each other at the begin already makes it interesting. The song has a lot of energy but still doesn't break out from the verse/refrain/verse/refrain/bridge scheme the band has build themselves. But it doesn't have to, does it?
This song also provides the funniest line of this album. I can't keep a straight face singing "You burn like a bouncing cigarette" especially when you hear someone else chanting it in such a serious way.

Camera
The reason I bought this album is still nice. It's not as poppy as the other songs and has a great climax in the refrain, lead by beautiful drums. "I just close my eyes as you walk out"
This really is a very good song, with a lot of melancholic atmosphere and Tom's voice at it's best.

"If we run they'll look in the back room where we hide all of our secrets."

Fingers in the Factories
My favourite song of the record is at the same time the song that annoys me the most.
It has a lot of punk-ish energy and gets better and better in the refrain with a stomping rhythm: " And the fingers bleed in the factories". So you sit there waiting through the okay verses for the perfect refrain and when it comes it lasts less then 10 seconds until it falls back into the rhythm of the verse for no obvious reason as other than be "creative" and destroy the track. Thankfully at the end of the song it does get better again. What a shame they threw the potential of Fingers In The Factories away.

Bullets
Another single release of this 2005 album. I can see it played on any indie radiostation. It's a very catchy pop song with nice instruments. The guitar that plays rather the higher notes (as always when it comes to this band). One of the better songs, sounds like what the are. Makes me think "What a hipster band." Still it's a fun: "You don't need this disease, no, not right now."

Someone says
I always forget this song. It starts of rather ridiculously dumb. The guitar plays the same notes all the time and doesn't quite fit to the drums. The singer starts more saying than singing "Someone said they saw you. In the night and on your own. There's beauty in the lonely. You're the moonlight in this town." The chorus however is rather good. You can say most of the songs on this album have a Okay-Good-Okay-Good-bridge-good structure, the bridge varies in its value.


Open your Arms
This song takes the second song structure this band offers. The one that "Fall" and "Camera" take too. The refrain is rather the end of the verse and is more connected to it. It sounds more like one song then "Um, okay we have this refrain now so what are we going to put around it." It's not perfect but it works when you're driving alone in the night on your bike.

Distance
A slow song. They just shouldn't have put it on there. It is okay to listen to when you listen to the whole album but it's rather lame and not really good. It's not horribly bad either but than I could as well go and buy "How to dismantle an atomic bomb". (No, this song does not sound like U2. It doesn't have a chorus that tries so desperately like we've seen it come from Bono's gang lately/always.)




So all in all is this record worth the money?
If you have enough of it, yes.
If you secretly enjoy the Killers but like to dress in black, yes.
If you're looking for some fun, yes.
If your looking for an album with brilliant songs, innovative lyrics and mind-blowing song structures, no, go somewhere else.
Editors are trying to sound more cryptic than they are and look cooler and darker than they sound like. Their first album The Back Room shows that this band from Birmingham actually has some potential but doesn't fulfil it. They can be a lot of fun if played loud but everyone saying "Oh, the new Smiths!" should burn in hell.