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:
http://www.alternative-zine.com/images2/albums/porcupine_tree_fear_of_a_blank_planet__big.jpg
http://farm1.static.flickr.com/22/26066603_21c36d8aca.jpg

Radiohead - In Rainbows

Rating:8.8/10

Sound: 9
Lyrics: 10
Sound/Production Quality: 10
Impression: 9
Replay Value: 7
Tilt: 8




Release Date: October 10th, 2007
Genre: Alternative rock, Art Rock, Electronic Rock
Length: 42 minutes, 39 seconds
Key Tracks: Bodysnatchers, Weird Fishes/Arpeggi, All I Need, Jigsaw Falling Into Place

The surprise of the year has unleashed itself upon the world. While all hopes of a new Radiohead album seemed lost in August when the band announced the album would be pushed back to 2008, the quintet from Oxfordshire, England return with their seventh studio album, "In Rainbows", and quite possibly marks their end with EMI. After a series of cryptic messages appeared on the band's website, on October 1st, the band officially announced the release of their record. However, the band would distribute the record in an uncanny, yet original way (and a record company's nightmare): through an online source only, allowing fans to purchase the new record for any sum of money they wished, including for free. Being the avid (yet cheap) Radiohead fan I am, I fall into that free download category as well. After the band's brief hiatus through 2004, they began working on the album in 2005. Between then and late 2006, the band previewed many new songs and instrumentals at concerts worldwide. In September, the band went back into full recording mode and began releasing small messages and brief hints on their official site, Dead Air Space. Finally, in one gesture of record company shareholder defiance, the band released the album online saying, "If people truly like Radiohead, they'll pay for our music, no matter how they get it." They also plan to release a special-edition box set of the album in December, including an additional 7-track bonus disc, a 12" vinyl edition of the album and special lyric and concept art books.

In Rainbows, itself, is a passive album. Unlike the throbbing guitars on OK Computer and the electronic blends of Kid A (the group's two most acclaimed albums, by critics and fans alike), the album does not try and reinvent the sound Radiohead has made for its fans over the years. This isn't to say the album is bad, just that it's one of the most rock solid collections of Radiohead songs ever composed: a steady flow of powerful, emotional, alternative rock tracks that strike you as some that have had a lot of blood, sweat and tears flowing through them. Thom Yorke and the gang have never been slackers and this album demonstrates their commitment to quality very well. Here's the track-by-track rundown of this stellar addition to the Radiohead legacy.

The album opens with 15 Steps: a track that could have been a B-side off Kid A or Amnesiac. It starts out completely electronic, Yorke's piercing vocals resounding as usual through a drum machine beat. But then the band begins to play and we hear how the band's respective elements form a vast image to the listeners. Again, this isn't an opening even remotely comparable to something as stellar as Airbag or You, but it gets the job done and sets the tone for what we would expect from these guys. Then, we enter Bodysnatchers: the song I think should have been the opening track for this record. The guitar riff is unforgettable (basically a first for a Radiohead album) and, lyrically, the album stands out. It is a song about revolution: how the world is changing and that you can either embrace it or be swallowed by it. Again, the lyrics aren't as exquisite a piece as on OK Computer or Kid A, but the manner in which Thom delivers them really stands out. The song is phenomenal.

Radiohead then tone down the album for a song much like Exit Music (For a Film) called Nude. It's a very slow piece, in 6/4 time, with only a very limited drum beat, a minimal bass line and Yorke's electronic synthesis. It'll sound old hat to Radiohead fans, but to those picking up the album fresh for the first time, the passion with which the song is sung is undeniable. We then move into Weird Fishes/Arpeggi. This is an interesting song: it provides us an up-tempo drum beat with a combination of keyboards and guitar to give us that 20,000 Leagues Under the Sea-esque swimming underwater music: like we're hearing everything and nothing at all. Lyrically, it's one of those songs that say so much with so few words. A beautiful love song, Thom comparing himself to a fish, following wherever the beauty he has found will lead him: be it to the bottom of the ocean or the ends of the earth. Yet, throughout their lives, many fish are caught by the hooks of temptation and hypocrisy and their lover is lost. Radiohead's incredible lyricism continues to shine.

All I Need starts off as a song in the style of Let Down: starting very slow, very depressingly, but escalating into a powerful climax, driven by the piano and drums. The song is never a happy one, but it's not about being happy: it's about being satisfied with Radiohead's music. This is satisfaction. Every word is delivered so well, so flawlessly. Then, we move into the shortest song of the album: Faust Arp. The song's violin synthesis is excellent near the end, yet it never quite picks up any momentum. A real disappointment. Yet, from there, the album only goes up. Reckoner is a solid track, very familiar, yet awesome in its own right. House of Cards, again, is a more electronic-based track, like something off of Kid A. It's interesting, yet as you listen to the album as a whole, very unnoticeable. Finally, the album reaches its climax: Jigsaw Falling into Place. After a series of mellow, slow songs, it's very much a surprise to hear this song: up-tempo, very catchy, still acoustic, yet we're able to identify each sound. The song speeds, doing nothing but elevating the listener: in short, a happy Radiohead song (yes, I know, hell has frozen over). The song's about that feeling: the one you get when that connection comes together and everything in the world makes sense. It's about letting everything inside you free: every word, every sound, every feeling. It's a rare thing to find something enlightening in an album like this, but I've officially found it in this song. Absolutely fantastic, possibly song of the year. The album then brings itself to an appropriate, classic Radiohead conclusion with Videotape.

Radiohead is a lot for listeners to take in: the passionate, falsetto vocals of Thom Yorke included in the wide range of musical stylings from Johnny Greenwood and company is difficult, yet brilliant. Yet, once you've given them a listen once or twice, their music starts to make sense. While, admitted, it's not music for everyone, it's undeniable that these guys have done an incredible thing on an incredible journey. In Rainbows is a fantastic addition to their portfolio: an emotional album with fantastic soundscapes and wonderful production quality. While it pales in comparison to OK Computer and Kid A, it is Radiohead's long-awaited return to form after many years of desperation from thousands of fans. Even if you've never listened to a Radiohead album before, if you know what good music is, download this album.

The Wandering - The Flour Hour EP

Rating: 7.9/10

Sound: 9
Lyrics: 8
Sound/Production Quality: 7
Impression: 8.5
Replay Value: 7
Tilt: 8




Release Date: September 1st, 2007 (initial demos unofficial), official release date TBD
Genre: Alternative, Acidic-Funk, Grunge
Key Tracks: Underneath the Soul, Corkscrew, R.A.M., Summer Without Time, Black Vine, 33 and 6

Seattle, 1981: a band called Green River creates a new style of music. This music was raw, original and pleased crowds all over the state of Washington. This energetic noise rock, infused with layers of distortion, fuzz and feedback effects was the dawn of a new era in rock. This era would shake the 90s to their very core, with some of the greatest bands of our time. This was grunge and, as it died among the Oasis' and Blurs when Kurt Cobain ended his life, it remained in the underground. There, where it almost had a cult following, is where grunge lives and breaths today. There is where The Wandering play.

In a science class where time stood still, The Wandering began. Singer/bassist James Munn and drummer Konstantinos Zaphiropoulos got to talking about music and how they both shared a passion for it. They decided to start a band in James' basement, bringing different musical visions together to make something great. However, it wasn't until the addition of guitarist Henry Guardado that the music really began to flow. The three did a song about cells for a science project before turning to the music of Deep Purple, The James Gang, old school RHCP and Wild Thing (a song covered by so many artists, I still don't know who wrote it).

From there, the band went through some harsh times. To begin, the band realized they had the skills to make their own stuff work and didn't want to be a cover band forever. They went through a phase of trying to make themselves sound like someone else. Also, after a few gigs, James' vocal ability came into question, leading him to step down from the singing position and search for a new lead singer. The group then found Kristof Richard, a new kid in class who shared the music and tenacity the group was founded upon. But this new foundation was not meant to be as Kristof couldn't handle the pressures of the band and dropped out quickly. The band would also take weeks, sometimes months, of hiatus without practice. This, however, would lead to the band discovering who they really were. Henry, James and Konst would separate and return with new outlooks on music each time they broke. They all agreed that the importance of creating music people would enjoy was about more than an all-out assault of rock. They had to chill and when they did, their music soared. James improved his vocal output, Henry and Konst developed their sound and all three combined their efforts to win the Mother Teresa Battle of the Bands and create their first unofficial record.

Now to the music. As a product of the 90s, the Wandering made a record that was exactly that, combining the best sounds alternative music had to offer. It starts with Underneath the Soul, a song I could see Chris Cornell singing any day of the week. The opener entrances the listener with an escalating, masterfully crafted riff, rising like a phoenix into the chorus and exploding into the solo. Even a song with power like this rings through as one that took time to perfect. We then dip into If It Wasn't, the portrait of a guilty conscience. The guys tone it down for this one.

Corkscrew is where we really see the influences in the Wandering. A Chili Peppers-style, bass-driven riff blasts towards a slowed-down chorus. Awesome stuff, not to be missed. Chain Effect comes is the next track and I find it hard to place. The song itself seems kinda bland and low-key when compared to the initial 3. It's not terrible, but I found it kinda dreary after the greatness of Chain Effect. The band then move into the drum solo, R.A.M. To me, this sounds like Zeppelin meets Nirvana, a great combination of old drumming meets new drumming. Konst himself wrote the composition. We then groove on into Summer Without Time, an immortal summer track for the friends that make life worth living. Again, the track tones down, but the lyrics hold everything true.

The journey finally arrives at Black Vine. This is the best track on the album, bar none. It's the Under the Bridge of the Blood Sugar Sex Magik, a passionate rock track of personal exploration. James sings, "I cannot relate to what I said tonight, I cannot relate to my own sacrifice" and you can feel the emotions as he breaks into the chorus. It's almost like a Stone Temple Pilots song in the way it's delivered, but the drum contributes way more power to the mix than anything by STP. Again, you can feel the presence of each instrument and see the contributions they make the the power of the song. Excellent stuff, a single in the making.

Now the Flour Hour approaches its climax: 33 and 6. The song does open with Desperate Reality, an intro rising and falling, but its relevance is really shattered when compared to the second last track. The opening riff immediately reminded me of Bullet the Blue Sky by U2 and the context is relatively the same. The song discusses ignorance, hatred and racism all while unleashing a powerful guitar attack that'll really wake you up in the morning. It's passionate, it's musically brilliant, it's what rock's all about. Huge thumbs up on that one. The EP finally winds down with Sour, a song that musically fits the title. The band doesn't need to say a single word for its message to come across to its listeners. The layering of the guitars in the song's finale fit perfectly into what the Wandering's all about. The song's genuine, opened and, in many ways, much like the band members themselves: completely real.

Every great band has to start somewhere. From the classic basement, to the back shed, to the garage, music comes from the least likely places. The Wandering have taken everything: friendship, love, hate, destruction, construction, everything they possible could and turned it into the music they love. I'm not saying it's perfect, I'm not saying nothing should change and I'm definitely not saying they're the greatest band of all time. What I'm saying is this: they will be something great. James, Konst and Henry have all spent tireless hours building a musical entity that will capture audiences and introduce the ignorant to real music. One thing's for certain: The Wandering are going places.

The 10 Most Important Albums in Alternative Music in the 1990's

Alright, if you know me, you will definitely know I am a product of the 90's. From my music to my style to everything about me, the 90's are in my blood. So today, due mostly to the fact that I'd rather not review the new Kalan Porter album, I present, in my opinion, the 10 albums that shaped music more than any other in the 1990's.

10) Ten by Pearl Jam

Before the rebirth (and destruction, might I add) of punk in the 1990s, there was grunge: an alternative music force driven by a faithful fan base and the desire to push the boundaries of rock to their limits. One of the bands to emerge dominant on this scene was Pearl Jam. Lead by the raspy vocals of Eddie Vedder and the powerful guitars of Mike McCready, Pearl Jam lead the way for the Seattle grunge sound to dominate the world. Their debut album, Ten, was a monster. With powerhouse tracks like Even Flow and Once, as well as softer spins like Jeremy and Black, there was something in Ten that everyone could enjoy. This was one of the first albums to have a profound effect on me and, as a kid, Black was among my favourite songs. What Pearl Jam thought they could do to the world, musically and through actions, they did to me with Ten.

9) The Colour and the Shape by the Foo Fighters

With the passage of Kurt Cobain up into the great gig in the sky, Nirvana drummer Dave Grohl knew the past wasn't something he wanted to hold on to. He was determined as a musician to to continue spreading that message that music was a thing of beauty, no matter what form it took. So six months after Cobain's death, Grohl began recording what would be the first Foo Fighters album. He did this by himself, playing every instrument, writing and singing every word. However, the album didn't sound quite right as a solo project. In 1996, after touring a year, the newly formed band created The Colour and the Shape, an album that personifies the 90s. Influenced by the hardcore punk scene of the 80s, Black Flag in particular, the energetic record drove heavy guitars on songs like Monkeywrench and Everlong, but knew how to turn it down on songs like Walking After You. They've kept it going to this day, winning 2 Grammies in the process, and their latest record is sounding excellent.

8) (What's The Story) Morning Glory by Oasis

I've been listening to Oasis as far back as I remember. Along with U2, they were always that band that I just enjoyed listening to more than anything. Morning Glory is their magnum opus: an album where you know the words to every song and there was nothing out of place. Classic jams like Wonderwall, Champagne Supernova and Don't Look Back in Anger only began to unravel the greatness of the album. The deeper cuts like She's Electric, Hey Now! and Morning Glory made this album great. Sure Oasis is a band full of arrogant jerks who think all music before and after them is crap, but this album was and is something special to a lot of people. Just a brilliant piece of work.

7) Blood Sugar Sex Magik by the Red Hot Chili Peppers

We all know the legacy of the Chili Peppers: a California band with delusions of grandeur and funk that just wouldn't quit. After the band's line-up had been stricken with tragedy with the death of Hillel Slovak, the band's former guitarist, the band's greatest fan, John Fruciante, stepped in to save them in their time of need. The newly formed Peppers went on to create Mother's Milk and Blood Sugar Sex Magik, two brilliant albums the infused funk and alternative rock in ways never before seen in mainstream music. The more popular of the two, yet not the inferior by any means, BSSM, sculpted the 90's for me musically. After years of hearing the same old mainstream rock like Creed, Third Eye Blind and stuff like that, the Chilis come along and introduced me to everything rock could be. Songs like Suck My Kiss, Give It Away, Power of Equality and especially Under the Bridge all made music make sense more than it already did. The Chilis were and are great. End of story.

6) Loveless by My Bloody Valentine

Alright, this is my unknown portion of the countdown, where Casey Casem would make a long-distance dedication you've never heard of on the countdown. My Bloody Valentine is a shoegazer band from Dublin, Ireland. They were formed in 1984, interested in being a punk band, but progressed way, way beyond the realm of punk. For those who don't know, the shoegazing style is defined by a massive amount of guitar effects in music. The artists playing would be more concentrated on their effect pedals than the audience in front of them, so they appeared to be looking at their shoes the whole time they played. My Bloody Valentine is the highest echelon of the shoegazer scene. Loveless opened my eyes to everything music could be: how melodies don't always have to be in one or two dimensions, how music didn't have to be completely understood to capture emotions in the listener. For that reason, Loveless made the top 10: it captured the true essence of music in something known only to very few.

5) Goo by Sonic Youth

For me, Sonic Youth is the band. No band has shown me a new vision of music quite like Sonic Youth has: turning random tunings into brilliant, lasting music. They are a band that, it's said, had a great effect on the grunge scene in the 90's with works like Daydream Nation(the best album of the 80's by the way) in the late 80's. Goo, Sonic Youth's first album of the 90's, really displays the beginning of the grunge movement: hard, distorted riffs infused with the classic back and forth singing of Kim and Thurston. The immortal Kool Thing displays that best. This song has everything: great guitar work, fantastic drums, Kim singing in classic form and Chuck D of Public Enemy providing his brilliance. This may be Sonic Youth's most noteable record in terms of air time and sales, but that doesn't mean for a second that the band sold out. Sonic Youth is as in form as ever on Goo. Pick this one up.

4) Mellon Chollie and the Infinite Sadness by the Smashing Pumpkins

The Smashing Pumpkins dominated the 90's with attack after attack of alternative rock oozing with distortion. Yet it took until 1995 for the band to achieve their peak of ability with Mellon Chollie. This album was special, not only because it was a double disc and each disc was incredible, but because it was The Wall of our generation. The sound was special, unlike anything heard before: it opened into Billy Corgan playing a two-minute long piano intro, extending into Tonight, Tonight, a rock song with strings that went together like peanut butter and jelly. Then the classic Pumpkins sound reoccurred in Jellybelly, Zero, Here is No Why and Bullet with Butterfly Wings. From there it twisted and turned every which way imaginable, closing on disc 2 with the entire band singing the closer. This one's a modern classic.

3) Nevermind by Nirvana

This list would not be complete without Nevermind. Nirvana's classic grunge triumph of teenage worship and universal acclaim, home of Smells Like Teen Spirit and a host of other, brilliant songs, the 90s simply wouldn't be the 90s without it. Grunge gets no better than this. Pearl Jam, Soundgarden, the Screaming Trees, all of them were eclipsed by Nirvana. Kurt Cobain was one of the greatest song writers of our time: taking influence from the Pixies, Black Flag, the Beatles and numerous indie artists from the underground. The combination of Cobain with bassist Krist Novoselic and drummer Dave Grohl created a sound unlike any other the world had seen. I'm not trying to sound like Nirvana is the greatest band on the planet, but in the 90's, for quite a long time, that's exactly what they were. Up until Kurt's suicide in 1994, nobody made grunge like Nirvana, musically and lyrically.

2) OK Computer by Radiohead

Every once in a while, an album comes along that is perfect from start to finish. This album starts with an obtuse rock track infused with layers of guitar and a completely synthed sound completing the package. It progresses into long tracks, both hard and soft, with that same layered sound and, once it ends, you know you are truly listening to a masterpiece. That is OK Computer. Thom Yorke, a British lyricist, guitar enthusiast and electronica aficionado, recruited some of his friends from college to play a new breed of alternative rock. The band delved into shoegazer and the 80s indie scene, but always had a desire to play straight-up guitar rock with a twist. Including Yorke, three guitar players as well as a keyboardest, bass player and drummer made a massive, looming sound over their audiences. In the mid 90's, while everyone was searching for that next album to bounce them back after the Pumpkins went goth, Radiohead released OK Computer to massive acclaim and universal appreciation. A band that had been known for depressing lyrics and melodies dove headfirst into spacey art rock with more positive annotations. This album is a masterpiece of alternative rock. There has never been anything like it before and there will never be anything like it again, even 10 years later.

1) Grace by Jeff Buckley

Has there ever been an album that is so good you can not find the right words to give it the due credit? If so, this one is mine. Jeff Buckley was on track to be the next Dylan, the next Lennon, the next _____ (put your opinion of the greatest songwriter of all time in that space). The man was 28 when he released this record and he would die two years later. Yet this album has gone on to affect artists worldwide, being noted as an influence to Thom Yorke of Radiohead, Jimmy Page, Robert Plant, Neil Peart, Chris Cornell, Sir Paul McCartney and even the great Bob Dylan himself. And it wasn't just his ability to craft words either, the man could sing. He could reach octaves high above the average male voice, which allowed his music to moan with passion and cry with emotion. His guitarwork was brilliant as well. On tracks like Grace and So Real, you could hear the work put into it on the musical front. However, it was his lyrics and the intensity with which he sung them that stood out above all else. The greatest shame of all was that he would never complete a second album. Demos of this project, entitled "My Sweetheart, The Drunk" were set to be produced and released for 1997, yet Buckley drowned while swimming in a lake a year earlier. What was already created was produced and released by Chris Cornell, a long-time friend of Buckley, and we retitled "Sketches for 'My Sweetheart, The Drunk'". The album was still brilliant, yet so incomplete. One thing is for certain, however, Grace is a modern classic. Absolute perfection.

Alright, that's my list. There'll be a ton of disagreement with my views on the music, yet I feel this representation of 90's music was accurate to an extent. It wasn't a decade as musically fulfilling as the 60's or 70's, yet it wasn't nearly as horrible as the 80's so we can all be thankful for that. Either way, between 1990 and 1999, a lot of amazing things happened in the world of music. A lot of things went horribly wrong (a.k.a. the boy-band revolution, the majority of the punk revival, Brittany Spears & company, etc..) but one thing is for certain: the spirit and beauty of music will always survive as long as there is someone to listen to it.

Smashing Pumpkins - Zeitgeist

Rating: 7.2/10

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

Release Date: July 10th, 2007
Genre: Alternative Rock
Key Tracks: 7 Shades of Black, Tarantula, United States

The Smashing Pumpkins are finally back! After a 7-year hiatus, Billy Corgan and Jimmy Chamberlain have agreed to write new material as the Smashing Pumpkins once more. However, guitarist James Iha and bassists D'arcy Wretzky and Melissa Auf der Maur are not present on these new recordings, so much skepticism has arisen from this reunion. Corgan and Chamberlain recorded this record alone (Jimmy arranging the drums and searching for new band members; Billy singing, playing bass and guitar), an impressive feat for two people to accomplish. In the end, Ginger Reyes on bass and Jeff Schroeder on guitar were hired for the tour and Zeitgeist was released in July to massive sales (#2 on the Billboard Top 200, #1 in Canada, the UK and New Zealand).

The album opens to Doomsday Clock, a somewhat heavy opener, similar to The Everlasting Gaze on MACHINA. There song isn't bad, but the chorus isn't nearly catchy enough to make this one a great start to the trip. We then enter 7 Shades of Black, a classic Pumpkins-style track. This track alone proves that the passion, force and attention to detail the Pumpkins possessed in the 90s is still somewhere inside Billy and Jimmy, yet they're having a hard time bringing it out. That feeling is mutual with Bleeding the Orchid, though I did find it got old very fast. The chorus was hard to listen to, although the lyrics were great.

Now we arrive at That's The Way (My Love Is), one of those Pumpkins ballads that you could never really tell where to place. It was like the song To Forgive on their magnum opus, Mellon Cholie and the Infinite Sadness: just as you were really getting into it with songs like Jellybelly and Zero, Billy slips a really soft song in there and you're left with a "what the fuck just happened?" kinda feeling that I really didn't like. It's not a terrible song itself, but it left me with that feeling and I hate the feeling (on another note, it would have been good as a Zwan B-side or something). Either way, the song progresses into Tarantula, the song's big single. This song opens to a riff you'd expect on an early Pumpkins record: heavy, distorted and hits you like a boulder after that slow ballad. Again, the song's chorus is kind of inaudible, yet the lyrics are Pumpkins all the way: "I wanna be there when you're happy/I wanna love you when you're sad." The song escalates to that point where all you can hear is Billy screaming the guitar. That's total rock n' roll for me. Love it.

From that powerhouse, we enter Starz, one of those songs where the lyrics go in one ear and out the other except for one phrase ("We are stars...WE are...We are stars...WE aaaare") that really starts to piss you off once it's stuck in your head. However, the song finally quiets down and we enter United States, a 10-minute long track, classic to Pumpkins fans. In the first era, there was always that long track (Silverfuck, X.Y.U., Glass and the Ghost Children) that you'd just get lost in whenever it played. United States is that track on this album and it's excellent. Rich in lengthy progressions and cool drum beats, it's one not to be missed. But just as we're returning to the classics, Corgan takes the inspiration from his Zwan project to close this album, throwing a series of 3-minute, meaningless tracks (Neverlost, Bring the Light, (Come On) Let's Go) at us that leave us with a cool rock beat, but not much else. Then, to close, Corgan breaks out the keyboard on For God and Country, again forgettable, and finally ends Zeitgeist with Pomp and Circumstances, a song that would sound more at home on My Chemical Romance's The Black Parade.

In conclusion, the Smashing Pumpkins' return may have been a little premature. While it is incredible to have them back and making music once more (and while it's even more incredible that I can finally get out to a live show), on the music front, they're Swiss cheese. Sure, some of Zeitgeist's tracks are catchy and intriguing, but there are more pros than cons. However, give it some time, maybe convince James and D'arcy to come back, and then we'll see what the Pumpkins can bring out. In other words, this is the start of a work in progress.

Images:
1) Zeitgeist album cover
http://landslide.2007.org/zeitgeist.jpg
2) Ginger Reyes while filming the Tarantula video
http://www.smashingpumpkins.com/gallery/pics/DSC_0063.JPG
3) Billy Corgan and Jeff Schroeder rockin' it out in Madrid
http://www.smashingpumpkins.com/gallery/pics/P1020318.JPG