TV on the Radio - Dear Science

Rating: 9.2/10

Sound: 10
Lyrics: 9
Sound/Production Quality: 9
Impression: 10
Replay Value: 8
Tilt: 9

Release Date: September 23, 2008
Genre: Art Rock, Noise Rock, Experimental
Key Tracks: Stork & Owl, Family Tree, Love Dog, Lover's Day

As obscure bands go, there are few more obscure than TV on the Radio. Let's face it: experimental noise rock bands are far and few in the modern scene. However, this New York-based band keeps finding its way into the year's best albums. Return to Cookie Mountain, the band's 2006 release, finished in the top 10 albums of the year in many music publications worldwide and their amazingly powerful hit, Wolf Like Me, remains one of my favourite songs. Yet Return didn't do much for me: the album seemed too dispersed, venturing in every direction and never settling in one spot. The quality of the music was excellent, but it never stuck with me. This week, their latest album, Dear Science, was released to much critical acclaim again; it is currently Metacritic's #1 album of 2008. Reviews preached a more evolved style: a more engaging clenliness that regular listeners, not only critics, could enjoy. With that, I picked it up and never stopped listening. Finally a band with no real direction settled down and made something truly wonderful.

Our journey begins with Halfway Home. To me, it began like the average TVOTR track, bizarre in beat and vocals, but it evolved into something comprehensive: still heavy around the ends, but ultimately very listenable. Crying is probably the coolest song on this album. A bluesy guitar beat rings in combination with group vocals and a thumping bass. The ending leads into horns thar are always incredible. Dancing Choose seemed hip hop oriented without real necessity, but a stellar chorus and simple sax beats well make up for it.

Then, the powerful and emotionally striking Stork & Owl is revealed. The bizarre title leaves much to the imagination, but Kyp Malone developped the track much like a Dave Matthews track: singular, moving vocals are grouped with a slow drum beat and minimal action from additional instruments. Clearly, I'm a sucker for strings as an elaborate arrangement of elaborate plucking and a flowing concerto of all instruments almost creates a boat on which the listener floats to enlightenment; it's the album's best track. We continue on to Golden Age, another standard track from their former repertoire taken to the next level through an elaborate variety of unstruments: everything from saxophones to congas create a highly motivated, fantastic beat that easily captivates. Family Tree is another amazing track on this album, a close second to Stork & Owl. Another piano/string combination (surprise surprise) leads a dry verse into a stellar chorus. Tunde Adebimpe, the band's vocalist, in combination with Katrina Ford, a regular contributor to TV's works, really make this track stand tall. I was disappointed by the end of the track deceptively rising slightly and falling abruptly after; a full-out finale to the number would have been in order.

Red Dress, I'm undecided on. It sounds like something off Return to Cookie Mountain: up-tempo, horn-based and loud. However, it shows signs of the new, improved band too, with a ringing electric guitar is a constant piece as well as interesting lyrics. One thing's certain, the band could make a James Bond theme very similar to this song. Love Dog is very mellow. Musically, it isn't as expansive and fantastic as it's counterparts, but it's a nice change of pace following the complication of the previous works. The strings and sax are fantastic again. Shout Me Out, I didn't really enjoy. It showed promise early, but was all over the place, much like TV's early work. DLZ is a vast expression of anger for once. The other songs portray a series of mixed emotions, from love to happiness to desperation, but none capture anger quite like this one. It's another interesting track with enjoyable lyrics, but I don't feel it. Lover's Day is perfection. The track is another remarkably constructed soundscape: sax, clarinet and bass set the stage, expansive in the place of usually concrete bass tones, before a full orchestral backdrop takes hold and never lets go. Tunde and Katrina duet on vocals beautifully, creating one of TV's most complete works to date.

With TV on the Radio, I would usually state that this band is difficult to appreciate. Usually, the band's minimal fan base and music critics nationwide are the only ones who can really appreciate their unique sound, but in ways surprising to both them and me, they have developed a sound that is truly remarkable. Even the musically inept can listen to the passionate arrangements, the stellar vocals and the thought-provoking lyrics and be driven to sentimentality. None can really say how music makes them feel, as it differs with every person, but with this album (with great difficulty) can be summed up in one word: extraordinary.

Coldplay: Viva la Vida or Death and All His Friends

Rating: 6.8/10

Sound: 7
Lyrics: 6
Sound/Production Quality: 8
Impression: 7
Replay Value: 6
Tilt: 7

Release Date: June 12th, 2008
Genre: Alternative Rock, Soft Rock, Brit Rock
Length: 45:53
Key Tracks: Lost!, Lovers in Japan/Reign of Love, Viva la Vida

I'll be the first to admit that I have a British music fetish. This obsession with all things from the UK stems far beyond Led Zeppelin, The Who, The Beatles, Radiohead, Porcupine Tree: the classics of yesterday and the modern classics of alternative and progressive rock. The greatest enigma in British music to me is Coldplay. The word itself brings to mind sounds soft, pathetic, romantic rock and roll from Chris Martin and company, all in the name of promoting veganism and giving your kids weird names. However, even from the get-go, with Yellow and Trouble, Coldplay always found their way onto my airwaves. I'd sing every song, I'd appreciate every falsetto tone from Martin, every drum beat from Will Champion, every chord from Johnny Buckland. As bizarre and taboo as it was at the time, I liked Coldplay. Today, my musical tastes have diverted away from them, but when Viva la Vida came out and took off immediately with Violet Hill and the title track, I couldn't resist having a listen or two. To my surprise, Coldplay was different: they stopped trying to be Radiohead and got back to basics, making decent, everyday, mellow rock from the heart and for the heart. Martin vowed to use less of his falsetto (thank God) on this album and it seems to have worked for him and his bandmates. They've taken more risks, producing longer, broader soundscapes, relying less on their respective instruments and more on everything they don't know how to play, but are willing to find out. It's a refreshing new direction for a band who was just starting to dry up and I can at least appreciate them for that.

Let's start with the creation of the album itself. Viva la Vida was created at a time when the band was in a state of turmoil. X&Y was a massive success, yet Chris Martin felt it was nothing more than repetition (which, in reality, it was). He took on hip-hop projects with Kanye West and Jay-Z and even went as far as saying the new Coldplay record would be hip-hop, leaving fans and music critics alike with an overwhelming sense of WTF. While touring through Latin America, the band began recording new material, taking influence from Hispanic music in Chile, Brazil, Mexico and Spain, among others. The record, produced by Brian Eno, combines a diverse range of instruments, moving away from the Coldplay standards of organ, piano and soft guitars (although organ, piano and soft guitar always have to be present somewhere). Finishing touches in all, the band released Violet Hill and Viva la Vida as singles and a new direction was born for their UK faithful to enjoy.

Sonically, the record begins with Life in Technicolour. The first track may be an intro, but it sets a tone for the entire album (as the band return to this melody on various tracks). It is subtle, synthesized, yet strangely familiar, as we feel as though we are being introduced to the same old Coldplay one more time. Suddenly we arrive at Cemeteries of London, an unbelievably boring track with far too many words. Martin, in an attempt to be an epic storyteller, moves us through a night of fear and repulsive imagery...as it turns out, we are just repulsed, with very little musical movement.

On Lost!, we finally see some of the progress Coldplay has made, as well as the Latin American influence on their music. A beautiful organ beat plays over subtle Hispanic drums that lead into great yet subtle guitar work from Buckland. A song that tells us to always stay on your guard and respect what you have is very relaxed and leaves us with the same sensations. However, I cannot say the same about 42. From simple singing, Coldplay try to escalate us to extreme heights with their standard ensemble, however we're left all over the place: unimpressed with the lyrics and still feeling lost, but whoa, giant soundscape! Where did that come from? While with more work I could have liked it, it left me feeling somewhat cold.

And then we arrive at Lovers in Japan/Reign of Love, the two most beautiful tracks on the album. Lovers in Japan provide a lovely, "Chopsticks"-esque piano movement with subtle guitars and little drum that paint pretty pictures of cherryblossoms in bloom at the base of Mount Fuji. Moving into the chorus, and towards the bridge, the guitars pick up and really drive the song home: a turmultuous portrait of Oriental love. The Reign of Love portion of the show sounds like rain on a window pain; arpeggios along with the subtlty of Chris Martin's voice are soothing and beautiful as compared to the power the album delivers. The album then moves to Yes, another song with two separate movements. The first seems dull and contrived, using strings to thread together a standard piano/guitar duo, never really accomplishing much. The second part, however, is absolutely brilliant. Guitar finally overpowers piano in this movement and we truly see the power of Coldplay's backup crew. It's almost like a shoegazer piece, relying on guitar effects and minimalistic vocals. It's just brilliant. (Fast forward to about the 4-minute mark of Yes for this part).

But alas, we reach the mainstream. Viva la Vida surrounds us with strings: right off the bat, we notice nothing but the subtle strike of the bass drum and strings. However, as we move into the chorus, those strings become much more piercing, making us shiver with excitement, as cymbals clash, bells ring and a faint bass guitar is plucked. It sounds like the orchestral approach of Augustus Caesar or Alexander the Great as the hystorical metaphors are played in full force. Lyrically, it's pretentious and dry, but I'm never listening to the lyrics when it's playing. Then, we have Violet Hill, Coldplay trying too hard to sound like something other than Coldplay. The guitars are bluesly, but not bluesy enough. The drums and bass barely move and the vocals do nothing but annoy and drag on and on. Why this was ever chosen as a single, I'll never know.

Strawberry Swing is just too short. It's annoyingly simple and can never really be anything but a transition. It's also bizarrely happy after Violet Hill and lyrically challenged to the degree of bitterness. Needless to say, I didn't like it. Death and All His Friends is an enigmatic finish to this album. It starts out soft and final, yet becomes epic and spacious out of nowhere. The ending is somewhat confusing and leaves the same feeling of wanting left. All in all, for a 45-minute album, it seems to go by much faster than that. It almost seems like a track is missing, or if a substantial song like Clocks or Speed of Sound could have been put there instead. All in all, it is what it is: a hit and miss experience that leaves new fans intregued and old fans baffled, but for different reasons.

Welcome Back + Album of the Year 2007: Porcupine Tree - Fear of a Blank Planet

Alright, I'm finally back and writing again after so many months of inactivity. I've been in a music lull (AKA my iPod died again and the world pretty much ended musically as I knew it) but now I'm back in the groove (AKA I got an iPod touch and it's inspired me) so the reviews continue. Seeing as I haven't been here in quite some time, this might as well be an appropriate review.

Porcupine Tree - Fear of a Blank Planet
Rating: 9.8/10

Sound: 10
Lyrics: 9.5
Sound/Production Quality: 10
Impression: 10
Replay Value: 9
Tilt: 10

Release Date: April 16, 2007
Genre: Progressive Rock, Neo Prog, Progressive Metal
Length: 50:48
Key Tracks: Listen to the album as a whole, or don't listen to it at all.

Almost a year ago today, the world was changed musically in an undeniable manner: Fear of a Blank Planet, Porcupine Tree's mainstream debut on Roadrunner records, was released. While many are unfamiliar with the four-piece progressive rock band from Hertfordshire, Englad...I can't really blame them. Despite massive, powerful rock epics from the mind of Steven Wilson being produced for more than 20 years, Porcupine Tree has never really found a name for itself in many scenes around the world until recently. Their releases have been described as eclectic, psychedelic, heavy and powerful by the world's top critics, but none can compare to Fear. For Porcupine Tree, although many others have come close, this record, more than any, is their magnum opus.

Fear of a Blank Planet is a self-described concept album. Steven Wilson, the band's lead singer, guitarist and producer, has described the album's central theme as "coming to terms with information technology...and the 21st century." Touching on the subjects of teen angst, drugs, alcohol, violence, gun violence, and escapism through each of these things, Fear of a Blank Planet is a trip into the soul of a troubled teenager. The trip itself is an interesting one, but, by no means, is it a smooth transition. Porcupine Tree bounces the listener from blaring guitars, to passive keyboards, to smooth drum beats and rough bass lines, not to mention extended, 5 minute guitar odysseys, just as mood swings and depression take the place of violence and extreme energy. Capturing this wide range of emotions in an album that is only 6 songs long is a complex task, to say the least, but Wilson does it flawlessly, creating a brilliant examination into adolescence and childhood trauma.

We begin with the keyboards taps of Fear of a Blank Planet. The sounds of a computer lead us into a heavy, fast metal track, setting the tempo for a rocky trip. The song describes an average teenager's perceptions on life: hatred towards adults, praising technology as the Almighty, taking the lessons of the media to heart and the unquenchable thirst for violence. They try to take drugs and alcohol to take the pain away, but things never seem to improve. The "bipolar disorder" that is boredom is taking over and the options are growing slim; a gun seems to be the inevitable conclusion. Wilson paints this picture so readily, using quick, almost spoken, vocals to drill the horrors into the head of the audience. Yet, as much as we are informed, the confusion of it all is captivating and we are left somewhat wanting. Our wants are answered in a progressive solo, fueling the hatred the song creates in the audience, finally ending in a heavy, distorted guitar solo. Nothing is contrived in this work; the power of each note and each word is evident in its creation. As it is a perfect opener, it also serves as so much more.

The album then transitions into My Ashes, from anger to isolation, as the song radiates lost hopes and dreams. A single acoustic guitar/piano combination plays into depressing lyrics from Wilson, expressing how society has laid blame on the album's protagonist, leading them to feel nothing and reject all else. They believe their isolation was their choice and that all that is left is their ability to dream of a better life they will never achieve. The guitar/piano combination is joined by a slow 4/4 drum beat and passionate strings half-way through, creating an escalating atmosphere as the protagonist's fears are taken away by sleep for another day.

We are now moved into the album's most prolific, perfect, stunning composition: Anesthetize. This almost 18 minute song is separated into three parts, each with its own separate values. The first is the transition of the dream-like trance of My Ashes into a nightmare, leaning on a powerful drum beat and an echoing keyboard movement. Wilson then begins to sing in a dream-like state, lamenting the lack of existence the protagonist feels. "I simply am not here / No way I should feel happy / Stop whining please," defines the message of this album as a whole in one singular chorus. At the 4-minute mark of the song, we witness another fantastic progressive guitar solo from none other than Rush's Alex Lifeson, done with intrigue and undeniable mastery. The keyboard then transitions between the first part, into a heavier guitar riff. This second part develops the transition of the entire album: from disinterest, to disregard, to boredom, to a lack of empathy, to hatred, to violence. The drum work of Gavin Harrison is highly regarded especially in this part, employing various meter changes between the parts. Again, as an audience, we are able to experience the same elaborate emotional escape the protagonist does in this part (most notibly at 11:05, with a violent, heavily distorted guitar passage). Finally, we transition into the final part. This part is the softest and by far the most relieving of the song; it is as if the protagonist is once again lost in the drug-induced coma in which his life is bound and the audience is along for the ride. The meter is common, but all in all it captivates more than anything on this album. Lyrics sung in round at first, then in full projection, describing a dreamscape. The protagonist reflects on a moment of happiness in their life, yet can only recall it as a fading memory, pessimism taking control as it always has. We drift out, along with the song, and feel an eerie sense of fulfillment along with the usual despair. In my opinion, songs are meant to captivate. In some ways, this captivation can be happiness, energy, compassion and even fright. More than any other song this year, Anesthetize was the most jaw-dropping, eye-popping, stunning, frightfully beautiful piece of music I have listened to in 2007, it wasn't even close.

After coming down from the high of Anesthetize, we enter into Sentimental. This song sounded eerily familiar to me, like something that would come off In Absentia, one of Porcupine Tree's earlier works. However, upon a deeper listen, the production value as well as the brilliant piano work of Richard Barbieri were enough to make this song a stellar addition. Lyrically, the song describes the power struggle between the two opposing ends of the teen-aged spectrum: the desire to escape and the desire to remain dependent. Through dependency, one always has an outlet upon which to place blame. However, this desire only stems as far as the desire for freedom: an escape from the horrors of everyday life. Either way, "sullen and bored the kids stay/ and in this way they wish away each day." The album moves into what I believe to be its climax. Way Out of Here is the culmination of boredom, the epitome of sadness and the deepest depth of despair. From the first second of the composition, we are able to recognize every feeling behind it. The 6/8 measure springs into full effect at the song's chorus, driving drums into our skulls and proclaiming a guitar symphony. It describes the moments in life when we are void of feelings, compassion, anything. Break-ups, isolation, losses of those we love are all fair game. The guitars are simplistic, yet heavy and unbelievably appropriate. As captivated as this song is, it leaves room for an extensive range of emotional freedom. Fading out into only a bass line over the last minute, we are left strangely satisfied.

The finale of this masterwork is Sleep Together. While I feel the ending wasn't perfect, it leaves the listener with the proper sense of fulfillment required. Without a way out, nothing can possibly happen. Therefore, the protagonist sees sex as the only bridge between dependence and escapism. Instantaneous gratification is the only way out of the despair they feel, so the world falls away as the pleasure increases. Once again, the song is quite simplistic. In standard meter, Wilson drives distorted guitars into a slow drum beat with strings and a keyboard riff along for the ride. The song grows as it progresses, gaining momentum as the strings take over near the final bars of the composition. All combine for a conclusive finale to a wonderful album all around.

Very few albums of the modern era have an ability to capture the critics' hearts quite they way they used to. Today, we see simplistic indie rock overtake metal, progressive and various other genres on what is considered musically relevant. However, we cannot forget about metal all together. Porcupine Tree has developed one of the greatest works of the decade, possibly of music in general. They personify what it is to be a musician: honest, dedicated and masterful of their craft in every aspect. While very few have heard mention, let alone songs, from this English band, their future, as well as their present, is very bright. Run, don't walk, for this one, it is a modern masterpiece.

Photo References:
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