Casiokids, Topp stemning på lokal bar (2010): Album Review

Sweden has really taken the Europop genre by storm. ABBA, Roxette, Ace of Base—all Swedish pop groups that have achieved immense success throughout the globe. Norway is looking to change that, though, with their electro-pop quintet Casiokids. Formed in 2005, Casiokids were the first band to release a Norwegian pop single in the UK—both of which can be found on their new album, Topp stemning på lokal bar (loosely translated to “Great vibe at local bar.”)

The record blasts off with their first single, “Grønt lys i alle led.” It is a very cheery song with light and airy keyboards, and an especially impressive guitar hook. The language barrier is surely detrimental to my enjoyment of the song, but the joyful falsetto is enjoyable to listen to regardless. “Fot I hose” has a much more club-ready vibe than the first song with a heavy emphasis on the bass, and prominent use of the cymbals for a steady beat. There are no vocals whatsoever which allows for the instrumentals to show off front and center. “Verdens største land” is simply a plethora of sound and I love it. They skillfully use their keyboard here to reproduce sounds of bongo drums, a metronome, xylophone, among others—all mixed together with harmonic vocals to create a pleasant yet exotic tune. The next song “Finn bikkjen!” is a bit falsetto-heavy for my taste, but the beat is so funky and infectious I can’t help but be in a good mood listening to it. “Min siste dag” is a bit slower than its predecessors, but all the vocals complement each other quite nicely during the chorus no matter how much they appear to be straining their voices at times. “En Vill Hest” brings an African flair to the record with native chants and beats serving as the basis for the song, with lots of bells and whistles mixed throughout for a very unconventional sound. The next song “Gomurmamma” is another purely instrumental piece that is kaleidoscopic in proportions: thumping bass, cymbal repetition, and electronic noises that are reminiscent of R2D2 in my beloved Star Wars. Pretty crazy stuff. The record ends with “Togens hule,” which is the 2^nd half of Casiokids’ UK single. All I can really say that it sounds so incredibly like anything else I’ve ever heard, it’s like an acid trip in music form. Couldn’t have ended the album in any better fashion.

On a whole, this was a pretty awesome album. Yes, I couldn’t understand what they were saying, but their music is so diverse and so distinctive that you kind of look past that. Casiokids and their album Topp stemning på lokal bar was truly a breath of fresh air to listen to, and I wish them all the best both overseas and (fingers crossed) in the United States sometime very soon.

Home Video, The Automatic Process (2010): Album Review

On Home Video’s Wikipedia page, there is a prominent picture of the duo—one staring at the ceiling submerged in a bathtub; the other, lying against the wall staring emotionless at the ceiling. After listening to their new album, The Automatic Process, I would not be surprised in the slightest if that is how this Brooklyn-based duo looked the entire time they were recording: withdrawn, blasé, and all-together bored as hell. Or were those just my feelings?

“Accomplished But Dead” starts off the album on a very mellow note that sounds pretty interesting at first, but grows a bit tedious after the first minute or so when the vocals and instrumentals all become muddled together. They don’t fare much better with the next track entitled “The Smoke” which actually has a pretty exotic beat to it, but the vocals sound so monotone that it’s impossible to stay interested for the upward of 5 minutes. “Business Transaction” is the first song I actually liked—they’re able to create a haunting melody here that actually features some powerful lyrics. I think “An Accident” could potentially be nice, but they way over-due it with a variety of synthesizers that make the tune more fit for elevator music than actual iPod tunes. “I Can Make You Feel It” makes me feel pretty frustrated, quite frankly—this band just can’t seem to get it right. The song has a fairly upbeat vibe compared to the rest of the record, but never fully takes off. I would just love for an instant for Collin Ruffino to actually show some excitement in his voice and act like he cares about what he’s singing. The tune “Beatrice” is actually a bit of a step-up for them—same hazy vocals, but infused with balanced instrumentals that actually compliment and don’t overshadow Ruffino‘s voice. “The Automatic Process” sounds like some trashy European club beat with some barely audible words added in. And not some cool words either—the same one-note whispers I’ve come to expect from Home Video. So what else is new? “Every Love That Ever Was” has a mystical beat featuring progressive drums and airy synths that remind me of something you might hear in a bad 80’s workout video. And that is meant in the fondest way possible. But the vocals are sleep inducing, and don’t exude any joy that comes from the feelings of love. And what is “Description of a Struggle” supposed to be? It was like a crossbreed between Enya that Celtic singer and music you’d hear getting some cheap massage on a cruise ship. Like geez, I don’t know what would ever inspire someone to play that by choice. “No Relief” lives up to its title as no relief from the poor quality of this album. Yes, enough witty commentary about that one. Finally (yes, finally) the record concludes with “You Will Know What to Do” which isn’t actually half-bad. As a friend sitting next to me commented, it sounds very much in the style of Radiohead. The same stirring, drum-heavy instrumentals with far-off vocals that create the perfect tune to completely simmer down with.

Overall, there’s a few songs that were halfway decent—yes, I might even say I liked them. But honestly, I will probably never listen to this record again (by choice, that is). It was uninspired, humdrum and dreary. There was a complete lack of energy all around—no one song showed an ounce of passion or musical finesse. Home Video will most likely go the way of their namesake, the VHS—out of style, stacked on a shelf, forgotten in a cardboard box somewhere. And yes, I know that’s awfully harsh, but The Automatic Process was an all-around painful record to listen to, and I do not recommend subjecting oneself to this level of lethargy.

Of Montreal, False Priest (2010): Album Review

I think Of Montreal is a really cool band, plain and simple. Formed in 1996, singer/songwriter Kevin Barnes named the group after a former flame that was from Montreal, Canada. Talk about boss band name back-stories, huh? They’re also from Athens, Georgia, which earns them some major points with me—considering I have a ton of friends that go to UGA, and I’m from South Carolina myself. Their first album in 1999 was entitled Cherry Peel, and the band has since recorded 9 more—the latest being False Priest.

“I Feel Ya’ Strutter” kicks off the album with a catchy doo-wop feel that is reminiscent of “Grace Kelly” crooner Mika—yes, there’s even some falsetto involved. Janelle Monae makes an appearance on the next tune, “Our Riotous Defects,” which is an amusing speak-singing narrative following a hipster romance with a crazy chick. Monae’s presence, sorry to say, certainly brings down the momentum of the song, and seems hastily tacked on with no real value. And while there are some witty lyrics, “Coque Coquette” drags on a bit unnecessarily, and has a rock vibe that doesn’t suit the group so well. “Godly Intersex” had me a bit worried at the beginning with its sluggish pace, but picked up with some pleasant excitement in the last minute or so. The next Janelle Monae duet fares much better than the first—“Enemy Gate” has some dark energy flowing throughout, but is still quite catchy with some fine work by the drummer here. “Hydra Fancies” simply screams of MGMT with its funky electronic beats, guaranteeing a captivating, psychedelic listen. Vote for some of the strangest lyrics I’ve ever heard goes to “Like A Tourist”—“Unicorns eating baby meat/There’s a dragon rape if you want one/ One’s the loneliest number.” Don’t know what was in their pipe, but I’d sure like to try some. Although rather odd, reading the lyrics to this song definitely increased my respect for the group. The next tune “Sex Karma” features Solange Knowles (yes, the other half of that random chick you hear on the radio, Beyonce). I would say it’s my favorite of the 3 major duets on the record if not for the sole reason that Knowles’ voice blends perfectly with that of Barnes. It has a tarty-sweet beat to it, which segues right into “Girl Named Hello” flawlessly. While less intriguing than its predecessor, the tune still drips with energy that is impossible to enjoy. The band slows the pace down some for “Famine Affair” which isn’t a bad song by any means, but is simply not all that interesting. Uninspired beats, cliché lyrics, and vocals that are slightly grating to the ears. It at least has some more stamina than “Casualty of You,” which feels like the group was losing steam and decided on a melancholy tune ending in chaotic noise that was supposed to sound “desperate” or “woeful.” Woeful for the 3 wasted minutes of my life, yes. They luckily redeem themselves with the futuristic “Around the Way,” and finish off in style on the musical roller coaster of “You Do Mutilate?” Exploring multitudes of beats and genres within the near 7 minutes of music, Of Montreal reminded me of why I liked them in the first place.

Why is that, you might ask? Well…besides the fact they’re from Georgia and have a legit name. It’s because they have unique music that transcends the usual hipster mold of music and creates an all-around satisfying listening experience. Yes, there are a few weak links, but False Priest shows that even after 10 years, Of Montreal still has the contagious originality of a newcomer. And for that, I applaud them with my skinny jeans and Vans in tow.

Arron Dean, Mpls (2010): Album Review

Here’s something I haven’t gotten a chance to review before: folk music. This may be mistaken with the country genre, but as I’ve learned about singer/songwriter Arron Dean’s past, the more I realize how foolish an error this is. Born on a farm outside of Johannesburg, South Africa, Dean soon moved to the United States—where he’s lived in cities like Boston, New York City, and now the inspiration for this particular album, Minneapolis. Arron has spent the last 2 years recording songs and working with various musicians to record these songs about the wonders of travel and home, and compiled them together on his album Mpls.

He begins with a quiet ode about finding a long, lost love in the small city of “Buffalo, SD.” Dean’s voice is filled with pain yet is joyful in getting the chance “to see you one more time.” He moves south a bit for “St. Paul On Mississippi”—also moving away from the banjo-like dobro with accentuation on the piano melody. Both the distant chords of the piano and his hazy voice give the song a very haunting feel that is slightly ruined towards the end with a multitude of screeching backup vocals. The title track “Minneapolis” is quite pleasant and upbeat despite its woeful lyrics of a lover leaving and the good times they shared together in the city. He picks up the tempo even more for the drinking song “Unannounced” which contains some remarkable lyrical choices—“There’s nothing wrong in picking scabs to open wounds/it’s the only way we know what we lose.” This tune in particular tells a story which is quite entertaining to listen to. “I Think I’ll Be Alright” is very slow (and frankly, quite boring) until midway through when the rest of the band is introduced and injects a little flavor. The next ballad “Happy Hour” is a plea for a woman to be his wife, and has an almost epic feel with the assortment of cymbals, organ, and violin playing throughout. While not the best lyrically on the album, Dean croons it out to the best of his abilities—making it one of the record’s better tunes. After the brief ditty “Nothing Owed,” Dean brings on the grassroots vibe in “Sleep Without Me.” Although a little too long for its own good, its entertaining to try and determine the lyrics’ meaning—is he talking about some common tramp, a lover of his, or both? Arron strains his voice a bit on the next song, “Empire,” but the lyrics are so sorrowful it almost works. “I won’t be this last disaster/ I could be the only one.” They don’t make complete sense written down, but when being sung they are truly disheartening. He picks it right back up in “First Aid For The Choking,” which isn’t the most emotionally intriguing, but features a vivacious melody that reminds me of the quintessential traveling song. He uses 1950’s model “Betty Page” as the basis for his next tune that begs the question, “Are you my pretty Betty Page?” While a splendid metaphor, the yawn-inducing tempo does the lyrics no favors. Dean ends the album on a chipper note with “Thorn In Your Side”—a lively song about everlasting love that merrily plucks away on the banjo and skids across the fiddle, leaving the listener in high spirits.

All in all, Mpls could be described as a pleasant listen. While not my preferred genre of music, it still has that mellow vibe I so enjoy from the likes of Mumford & Sons and Darius Rucker. There are no true standout songs, but Arron Dean produces a solid effort that would serve as an ideal soundtrack for those lazy, kickback days when one can just chill and let the fiddles whisk you away.

My My My, Leather Silk (2010): Album Review

You can find a lot of things on Craigslist—unwanted furniture, broken-down cars, and even one-night stands. What songwriter Russel Baylin found, though, was his band. Through the aid of both the Internet and friends of friends of friends, Baylin was able to form the band My My My during the winter of 2007 in Chicago, Illinois. This indie group has been playing throughout the Midwest ever since—blissfully expressing the throes of love, sex, and death. They’ve finally released their new album, Leather Silk, and I honestly have no words for what a brilliant record it is.

They begin with “A Shiny Brick,” which starts out quite lively although it becomes a bit repetitive midway through with the constant “oh-oh-oh’s.” The voices of Russel and fellow singer Sarah Snow mesh together wonderfully though, and are complimented by some gospel-esque backup that could come across sounding cliché, but actually aids the song tremendously. “White Lions” begins with the same kick that the first tune does, and is reminiscent of the style so associated with Florence and the Machine—wailing female vocals by Ms. Snow, with rousing but difficult-to-distinguish lyrics. “Be My Bianca” has an easy-going vibe on a whole but features foot-stomping shouts of teenage angst mixed throughout. It gets especially joyful towards the end when the entire group begins chanting together—and damn, Sarah has a voice that can raise rafters. It’d truly be awesome to hear her perform live. The title song “Leather Silk” has a really funky sound to it—beginning with choppy, upbeat piano chords, and merging into more classic rock terrain. I don’t even know what to say, except that I was completely entranced the entire 4 minutes and 26 seconds of the tune—certainly the best song of the album, which is saying a whole lot. This exhilaration is carried into “Swoon,” which sounds like ABBA got stuck in some haunted house with a drum kit and guitars. The song evokes some really eerie beats, but is also quite cheerful at the same time. “Jackie’s Rebellion In Furs” is fine but wasn’t my favorite song for no particular reason…it just doesn’t have the whimsical qualities of the many tunes preceding it. The group more than redeems themselves with “C’mon Let’s Make X’s With Our Feet.” With all the cool electronics and stirring chorus vocals aside, it really made me happy to hear Baylin get to show off his extraordinary vocal finesse. He is frankly better than all those other “wailers” out there, and I rather hear him howl out a tune any day over the likes of Daughtry or Nickelback. And how fitting it is to get to hear Russel and Sarah belting their hearts out on the duet, “The Loudest Summer.” I know I keep saying this over and over, but their voices together are perfect—I can’t think of a more ideal duo. They bring in the entire group for “Thespian,” which is another pulsating melody dripping with defiance and unruliness that can’t stop from bringing a smile to my face. Sadly, the album has to come to an end with “1987, ”which is both exciting and bittersweet. It’s not really a sad song by any means, but something about all the tune’s elements flawlessly crescendoing together tugged at my emotions—there is no better possible way they could’ve ended the record.

All I can really say is “wow.” I was completely not expecting to love My My My this much. I highly recommend this album to anyone and everyone. I definitely can see myself listening to this on a regular basis—and not just a few of the songs, the entire album on a whole is magnificent. I would be thrilled to see them in concert someday, and cannot emphasize enough the thrill I attained by listening to Leather Silk. Do your ears a favor and follow suit.

Platform One Entertainment: Compilation Review

Platform One Entertainment out of Chicago, Illinois, has put together a compilation of 23 songs. With the exception of Kid Cudi, I’d never heard of any of the artists before. Cudder begins the set with his new single “Erase Me” featuring Kanye West. Being a diehard Man on the Moon fan, I love this song and the departure from his usual rap here. He goes for a more old-school rock feel here, with a really catchy chorus to boot. The song is the 5^th most played song on my iTunes, so if that doesn’t sum up how much I enjoy it, then I’m not sure what does. Paradise Fears’ “Hear Me Out” is a really energetic tune that is a step above most alternative music these days, but lead singer Sam Miller’s voice leaves much to be desired. The word is “out” not “oot,” please go to speech therapy when you get a chance. On the other hand, he sounds great in the next song “Now or Never,” which reminds me of the soft-spoken, pleasant tunes of fellow alternative rockers The Academy Is… But the problem here is primarily the lyrics. “And you were like the ocean/perfect is your motion.” Really? Oh well, the crazed preteen fan girls must eat it up, so I guess mission accomplished. Next up we have Sapient with “Glorious Days” and “Universal Diorama.” I think he’s a really cool artist—kind of like a young Asher Roth, but with the funky beats so often associated with the likes of K’Naan or Mike Posner. I think the better of the two is “Universal Diorama,” for the simple reason that it’s unlike anything I’ve heard, but both have peaked my interest in Sapient as an artist. “Roll Up” by T-Razor is a fine song—the raps and rhymes aren’t half-bad, but the chorus is a bit on the boring, R&B-esque side. The compilation branches off here into more rock territory with “Burn It Down” by Awolnation. Although it’s slightly catchy, it gets pretty repetitive a minute in, and his rough, screamo-wannabe vocals become grating on the ears. And “Miracles” was a mere blip on my radar—nothing special about this acoustic, angsty tune. You’re an alternative artist—chill out on all the screaming, dude. “Be My Guest” is fairly decent in its rap verses, but is a little too Abercrombie & Fitch bad club music otherwise. FameCity Boiz’ next song, though, is quite awesome—has a bit of a gospel, jukebox flair with a modern, R&B twist. The song is upbeat, and I’m sure could become stuck in my head quite easily. “On My Way” by Izabo has a psychedelic Western sound, but the unique vocals don’t really pique my interest. And I couldn’t even get past the stupid “whoa-oh-oh’s” of the first 30 seconds of Kadawatha’s “Agape” before I switched the song. So obnoxious, and alternative music at its most mundane. “Airstrike” by Nick Dragisic is my favorite song of the compilation thusfar. Slow and simple, but with powerful lyrics about growing up and perfect vocals to boot. Train Company’s “Change,” is pretty cool—very bluesy and verging on reggae. The kind of music that’s relaxing to listen to while eating in a restaurant or local pub. Their next song, “Otherside,” is pretty dull. The vocals are very distant and difficult to decipher—maybe it was recorded live or something? Regardless, the instrumentals drown out lead vocalist John Zozarro‘s voice, although to their credit, the band itself really shines here. “Guilty Filthy Soul” by Awolnation is also another favorite of mine—too bad he did so terribly on “Burn It Down,” I never would’ve even known they were the same artist if I hadn’t checked my computer. “Soul” has the classic 70’s rock vibe with an infectious and foot-stomping chorus, and I can’t help feeling happy listening to it. The Primary slows the compilation down some with their song “Until Then,” and I love every minute of it. Blaring guitar, woeful lyrics, and soaring vocals—the perfect mellow, rainy day song. Put Coldplay in a time machine to the days of classic rock and this would be them. And while “Smile” is a catchy song, the whiny and unbalanced vocals make the tune rather obnoxious. What’s with alternative songs and saying “whoa-oh-oh?” Geez. Same could be said with Kadawatha’s “Gonna Stay”—perfectly catchy song ruined by unnecessary shouting and ghastly falsetto. Just calm down and sing the song for what it is. ‘Tearing Me Down” is a really cool tune—it sounds like it’d be a chill, mellow song, but with the twang of a guitar becomes a trippy journey into the throes of love. FeelAbouT concludes the compilation with 2 songs. The first, “Stop,” has a really unique, electronic beat that is quite a toe-tapper. And although the vocals leave a little to be desired, it’s a fun song regardless so the screeching voices can pass by. “Break Even,” on the other hand, is a loud, rash rock tune that where the vocals frankly bug me quite a bit. She seems completely out of her range here, and is struggling with way over-kill on the vibrato in her voice. It’s quite the headache to listen to. She slurs all of her words, and the instrumentals don’t mesh—making the song just a big mess. Overall, the compilation is pretty hit and miss, and is at its strongest when not relying on the alternative set. I found some great discoveries through listening to it, and appreciate Platform One’s efforts in putting it together.

No Age, Everything In Between (2010): Album Review

No Age is a two-person rock band that hails from Los Angeles. Consisting of guitarist Randy Randall and drummer Dean Allen Spunt, the duo was originally part of a hardcore punk band called Wives but soon branched off to form their own band. They’ve recorded three studio albums since, the most recent being Everything In Between. I picked it out of the music bin because I thought it looked really cool—sadly, the music doesn’t live up to the hip style of the cover, and is a huge disappointment.

The album gets off to a fairly exciting start. “Life Prowler” begins with the repetition of a single drumbeat, and then builds as the song commences—introducing the guitar, and finally the vocals. The lyrics are quite interesting, actually—discussing the wonders of self-discovery—but judging by the excitement of their voices, you would never think this was some great event. “Glitter” is also a very energized tune with the heavy blaring of the guitar, but towards the end becomes a mess—making it very difficult to distinguish between the different elements of the song. They turn things around though with “Fever Dreaming” which is reminiscent of an OK GO-style song…but what is with the random earth-shattering screams throughout? When the next song “Depletion” began, I was pretty excited for a slower, hopefully more audible tune. But then they kicked in the instrumentals and I couldn’t understand a word of what they were saying. “Common Heat” depressed me even moreso. This is a slow song, and finally I could hear their voices perfectly clearly. But honestly…they can’t sing. Like, I understand speak-singing, but they are honestly tone-deaf, I almost feel bad for them. The introduction to “Skinned” sounds pretty trippy—as if the listener is in some psychedelic rainforest—and then, as every song thus far, it goes downhill from there. It actually wouldn’t be too bad, but the drums sound beyond terrible. Are they supposed to sound like gun shrapnel or raining pouring down on a gutter pipe? Because that’s all I could make of it. And I was about to write how I think “Valley Hump Crash” is the best song on the album—the guitars and drums are especially infectious—but the tone-deaf vocals particularly in the beginning are really difficult to ignore. They do serviceable vocal work in the next tune “Sorts,” but the instrumentals are all over the place. Some bits sound like a chain-gang marching song, while others sound like the electrical-light parade at Disneyland. Not to sound like an old geezer, but this song was a headache to listen to. “Positive Amputation” finally highlights some much-needed piano into their repertoire—too bad it’s way overshadowed with blaring guitars and heavy over-production. I don’t know how the guy that produced this CD wasn’t seeing major red on his soundboard. “Shed and Transcend” sounds like something you’d hear on Rock Band—not the actual songs, but what your wasted friend is desperately trying to play with their little plastic guitar. This tune is pure empty noise with some inaudible vocals heard in the last minute or so that just make the song messier than it already was. Finally, the last song “Chem Trails” introduces some new vocalist—is it a girl or a guy? —but it keeps up with the band’s usual awfulness. Sounds like some kind of love song—not like I would know though since they haven’t gone to their speech therapy sessions yet this week. I will give them some lively action on the drums, though.

Overall, I came in with decent expectations for the album—it looked like a nice, hip album from the cover and design aspects. Most of the music I’ve reviewed thusfar has been at least quality, even if the genre isn’t to my taste. I’m not sure how this band ever garnered an audience—let alone produce three studio albums. I don’t even have any suggestions on how they could improve. Their voices are awful, and their instrumental work is mediocre at best. There is not one song on this album I’d ever choose to listen to again, and is a mere waste of space in my iTunes library.

Sundried Truth, Underdog (2010): Album Review

I don’t know much about the band Sundried Truth except for 2 things: they hail from Madison, Wisconsin, and I am not their biggest fan. Their debut album, Underdog, feels so full of promise during the first title track. It’s both energetic and catchy, wails with raspy rock vocals, and the guitar work is especially impressive. But then…the second song begins. Entitled “My America,” it sounds like your loud, quintessential rock song. But then Pete Gargano starts singing, and the lyrics are truly forgettable and quite frankly, lousy. “Topless bars with those f***ing fast cars/that’s my America”—believe me, nothing wrong with either of those things, but how long did it take to write those lyrics? All of 5 minutes? Doesn’t fare much better with the next tune, “Walk Away,” either, where I started counting how many times they said “oh yeah” but simply lost count out of boredom. The worst offender? “House arrest just might be the best” on their tune entitled “House Arrest.” Shocking, right? The sad thing is, their music is really upbeat and enjoyable to listen to on a whole. It’s quite a thunderous, solid effort on the guitar and drums, with that underground rock vibe you could just chill and listen to while enjoying a beer with some friends. I might even be inspired to buy their music, if they either A) hired a new lyricist or B) had no vocals whatsoever. I don’t mean to be a complete DJ Downer, though, and the album isn’t entirely bad. “She’s Not Right” is a very catchy song, reminiscent of “You Make My Dreams” by Hall & Oates infused with some heavy guitars and drums. And although it falters midway through when it becomes a little too loud for its own good, “Tonight” is a slower tune where --- seems to channel Jon Rhys Meyers in the film August Rush. I know this is only their first album, so Sundried Truth certainly has a long and promising career ahead of them. Their rock n roll formula is pitch-perfect, but they would be very wise to direct some focus at the lyrics if they wish to grow as artists.

Painkiller Hotel, Afterglow (2010): Album Review

Painkiller Hotel is a pretty little known band—I mean, they don’t even have a Wikipedia page for crying out loud. They’re a bit more prominent than one might think, though. Their songs have been featured on such television shows as MTV’s The Hills and Real World. They’ve been compared to such bands as Live and Tonic, and played over 200 shows while touring the Midwest last year. Starting out in the underground music scene of Chicago, this rocking quartet broke out with their album Black Roses last October. Less than a year later, they’ve released their sophomore effort Afterglow. Although a bit uneven, Painkiller Hotel delivers an enjoyable, if not generic, listening experience.

“I Understand” gives the record a very energetic beginning. The first thing I could think of when I heard them was the band Cavo or Lifehouse. While not a very unique voice these days with the whole Daughtry-style music that’s being cranked out these days, Prez is obviously a very powerful vocalist with a bit of a country vibe. Although he starts well, his voice loses its luster midway through—as if he’s just ready to get the song over with. “Afterglow” sounds very much like a Rob Thomas-esque backwoods tune. Although I don’t particularly enjoy country, this one is quite nice. It’s a slow-tempo yet very pleasant ditty with creative lyrics, the main one being “You were like the sunset/and I’m the afterglow.” Some may call that cliché, but I found it quite nice. And while not quite as eerie or depressing, “Take My Hand” has that same distant quality that I love so much about “Black Hole Sun” by Soundgarden. Except, you know, with some funky country mixed in. “Can’t Have It All” has a haunting melody, but the lyrics are a bit on the typical love song territory. “You’re terrified/from all these lies/I’m feeding you/to hide the truth.” Yeah, not my favorite song on the album, but still not terrible. The band departs from the usual country for a more alternative sound—with light, skippy guitar and fast-paced drums. “Crave” is a raunchy yet slow-paced tune where he lets his vocals really shine, working the scales like a master. “If I Only Knew” reminds me of American Idol alum Kris Allen, maybe just because of the whole happy, upbeat song talking about death (Allen’s way over-played “Like Like You’re Dying”). Although his voice sounds good, I just don’t find the lyrics appropriate with the heavy metal and funky rock qualities of the song. By this point, I’ve come to realize that Painkiller Hotel has abandoned their old country tunes from the beginning of the album, and are moving into Daughtry territory where all the songs sound the same. “Already Dead” is the perfect example of this—Skillet, Nickelback, Shinedown, so many artists could have sang this song and I’d never know the difference. Not to mention his vocals sound weaker than usual here. Just as I was losing hope, “Life’s Gonna Bring You Down” came on—and while still rock-heavy, the lyrics exude misery, and the song has a nice balance of rock and simple lyric-driven guitar melodies. The final song “Wait For Me” is a bit of a letdown—it channels Daughtry’s “September,” minus the commanding vocals which allow the song to soar. It is simply one-note, and while nice, does not transport the listener whatsoever.

As surprised I am to say this, I think the band is strongest when they dig into their country roots. I’m not a big fan of the genre on a whole, but Painkiller Hotel delivers in that medium. When they go into the ballads dripping with sappy inspiration is when they are at their weakest, and don’t reach their full potential. I’ve gained a lot of respect for Painkiller Hotel by listening to Afterglow, and hope they don’t sink into the generic pit of pop singles like so many before them have.

The Vampire Diaries: Original Television Soundtrack (2010): Album Review

The Vampire Diaries. That’s the title of the latest in the slew of vampire-related media flooding our society today. While I’ve never seen the show (and quite honestly, never intend on watching it either) I’ve still reveled in my own share of the latest craze. Yes, I have seen the Twilight movies (with large groups of friends, if that helps redeem myself). And yes, I am an avid fan of True Blood on Showtime (despite the less-than-stellar third season). The most exposure I’ve had to Vampire Diaries, though, is the album lying on my desk at this precise moment, which frankly isn’t half bad.

It starts out with a haunting tune entitled “Stephan’s Theme”—written by Michael Suby—which is the typical broody music you’d expect from a teen vampire flick. The next song, by British alternative band Placebo, is a quite slow but enjoyable listen. It has some interesting electronics and piano chords throughout, and lead singer Brian Malko has a unique voice, which suits the song well. Silversun Pickups suits their name well by speeding it up ever so slightly with “Currency of Love,” featuring intense guitars contrasted well by the mellow vocals. “Hammock” is a bit of a funky tune that echoes of “Eye of the Tiger” in some parts, and of Southern gospel in others. Smashing Pumpkins make an appearance on the CD with “The Fellowship,” that has the anarchistic cries of Green Day with the mixed electronica of Ratatat. And while Bat for Lashes has a distinctive voice, her shrieking out the chorus of “Sleep Alone” made me switch the song before it even finished. The remix of “Bloodstream” by Stateless is a beautiful song. It features some very depressing lyrics about love and loneliness, with bits like “And the silence surrounds you/and hunts you/I think I might’ve inhaled you.” As weird as it sounds, it is definitely at the top of my list for songs to listen to next time I’m in a bad mood. “We Radiate” by Goldfrapp reminds me of a version of Lady Gaga’s “Poker Face” sung by Little Boots. It radiates that same 70’s discothèque vibe but with a more alternative sound. “Obsession” sounds the most radio-ready song on the entire album, as if it was written with Katy Perry in mind. It’s not a terrible song, but definitely throws off the mellow, alternative vibe the whole record has going on. Digital Daggers put us back in the mood with the gloomy “Head Over Heels,” which could be a bit boring had it not been for Andrea Wasse’s bubble-gum vocals. “Down” is an awesome song, although I feel like it was ripped off the A Walk To Remember album. It has a really catchy chorus despite the slow nature of the song, and Jason Walker’s voice meshes perfectly with the airy lightness of the female singer (that Google didn’t help me find the name of). Mads Langer sings my favorite song of the album, “Beauty of the Dark.” Again, another broody melody, but with an almost uplifting chorus that I think perfectly captures the essence of the CD as a whole. “Cut” was kind of a stupid song, but Plumb’s voice is out of the ballpark on this one. The lyrics leave quite a bit to be desired, and I was ready to switch the song, but then Plumb’s voice soared and my jaw dropped. Definitely worth a listen just to hear her, she has one set of pipes. “All You Wanted” is a good song, but brings to mind the Academy Award-winning song “Falling Slowly” except way too amped up with guitars. It would’ve served the vocalists and lyrics much better if the band didn’t drown out their pleasant voices with drums and hokey back-up vocals. Finally, Gorillaz concludes the CD with the fairly catchy but all together forgettable “On Melancholy Hill—starts out well, but gets pretty tiring for the ears after about the first 2 minutes.

Overall, I thought this was a solid album. Kind of like the previous Twilight albums, it has a few standout songs (“Supermassive Black Hole” on the first one, or “Chop and Change” on the third one). On the most part, though, the songs generally sound the same, which I think serves such a record just fine. It’s all kind of moody alternative rock for the frustrated, hipster teen-set, but at least it’s quality. Although this won’t be the next Lazerbeak album where I play it over and over, it’s a great album to mellow out with and chill.