Guest Reviewers

Return Home

This page is dedicated to outside reviewers who wish to submit their work to the site. If you wish to send your original material to the site then please e-mail me. The reviews can be anything from metal, rock and electronic.

* Elizabeth Jacobsen has written several critiques for your reading pleasure:

Andrew Roudny - 'Zero Words or Less'

Let's face it: Critics are not the audience for rock instrumental albums such as this. Ironically, most of us are not musically taught; if we were, we probably would've taken up instruments instead of pens. Technically speaking, I am oblivious to the guitar mastery that Andrew Roudny has on display here. I'm sure that the enlightened will be analyzing each riff. From my viewpoint, Roudny has done something that is difficult to pull off: a record without lyrics that not only can sustain the interest of your everyday listener but engage him or her as well. The difference is in Roudny's commitment to crafting steel-solid hooks. What are words for?

Visit http://www.andrewroudny.com/ for artist details

Adam Barta - 'Dirty Girls'

With a title like Dirty Girls, Adam Barta is asking for it. It's made for the wrath of critics and a few conservatives as well. Actually, it's not as raunchy as you might've imagined; Prince was far more risqué two decades ago. It's hard to give a write-up on a song as bouncy and shallow as this, and I use neither of those descriptions in a negative fashion. There's always room for escapism, and "Dirty Girls" is an entertaining male fantasy. The tongue-in-cheek album cover suggests this is a parody of R&B booty anthems although high school boys will most likely be dancing up and down to it. It's a goofball dance track that is well-produced. There's even a high-NRG remix for maximum butt shaking.

Visit http://www.adambarta.com/ for artist details

Johnny Martin - 'Sugar Pill'

There's a brilliant moment on Sugar Pill that elevates Johnny Martin to a higher artistic level. On "When Your Lover Has Gone," he samples the sound of the computer dialing up to the Internet. There is something darkly funny and poignant about it, capturing the loneliness of a man who has just lost his better half. One can imagine him in his room, way beyond the witching hour, and logging on to the Internet to pass the time.

Much more downbeat than his preceding live record Nothing Personal, it's a collection of love songs, tunes that ache with yearning and the promise of romance. The jazz flavors are more prominent here, utilizing plenty of horns to illustrate the scenes of seasons passing and heartbroken days. While none of it is depressing, this is relaxing, mood-weaving music that is best heard in the evening. Martin's bittersweet version of "A Very Good Year" will have you in tears. His voice pushed to the front of the mix, he gives a powerhouse delivery that shatters others who tried singing it before. Bravo.

Visit http://www.johnnymartin.com/ for artist details

Johnny Martin - 'Nothing Personal'

The swing revival of the late '90s evoked more raised eyebrows from my mates than any recent resurrection of a long-dormant musical genre. Much of it had to do with its unexpected arrival, and then there's the fact that it, well, sounded really old. Then again, in the early '80s many of us were magnetically attracted to the rockabilly and jumpin' jive of the Stray Cats and Roman Holliday. On Nothing Personal, Johnny Martin doesn't explode with the rollicking energy that the hip swingers before the millennium did. In fact, it actually leans closer to the blue-eyed crooning of Frank Sinatra than real swing. Nevertheless, there's little distance between swing and lounge music; both owe a debt to jazz, and Martin's backing band is about as authentic as it gets, capturing the ambiance of late nights in clubs.

Martin released Nothing Personal himself, which you can guess yourself once you tune in. There are no slick edits here. Martin enthusiastically talks to his audience between some of the tracks, and it's that intimate touch that makes the record so warmly inviting. Martin has a deep, nasally voice that makes him seem older than he probably is. On "Old Devil Moon" and "Too Young," he reaches his peak, attacking the material with the right amount of affection and soul. It's hard to see why anybody would dislike this record; it is incredibly friendly to the ear, and Martin has an entertaining personality.

Visit http://www.johnnymartin.com/ for artist details.

Steve Conway - 'It's About Time'

Steve Conway has a magician's touch in writing songs. His tunes feel alive, as if they could be grabbed; instead, they will grab you. It's About Time is that virtually extinct animal, a debut LP that shatters expectations of what an artist who has never recorded an album before is capable of. In this case, it is a work of art. No, I don't mean that in the pretentious sense of the word. Conway is not into some avant-garde wizardry. Rather, he takes you back in time to the days when tunes had more simple ambitions, at least on a creative level.

This record is made to make you cry, to make you feel good, to make you walk into the sunshine with your head aloft and your heart heavy with happiness and sadness. It is like a blog in audio form, tales of love, loss, and fishing with straightforward, effective narratives. You can call it "country music" if you will, namely because of the twang. But Conway has hit upon something else here, transcending genres. These are songs that people will be relishing decades from now, despite what styles they're into.

For more visit: http://www.steveconwaymusic.com/

The Green Children - 'The Green Children'

Having already interviewed the Green Children for this site, I should also share my feelings about this group's record. Writing about dance albums doesn't usually allow for much elaboration. There's only so much to say simply because the music isn't made for scholarly analysis. At the same time, consumers need to be aware of what is worth purchasing and what isn't.

If you are intrigued by the Green Children as much as I was, then do not hesitate in picking up this record. While the fantasy elements in their imagery aren't as prominent in their music or lyrics, they do create attractive, otherworldly sounds. The keyboards shimmer like starlight throughout the LP. Remember the early '80s club classic "Dancing in Heaven" by Q-Feel? That is probably the reaction you'll get from this album. Milla and Murell must be a joy to watch in concert because their enthusiasm and love for life is palpable. They are like children playing in the forest as the tracks have a sense of innocence about them.

Being quite familiar with the club circuit, I can safely say there really isn't anything like the Green Children out there right now. Their mix of daydreaming pop and slickly-produced R&B is quite enchanting. Milla's vocals are bewitching, and the synthesizers are as happy and colorful as elves in a forest. Put away the black clothes for a change and think about how you felt as a kid, free from domestic stress and the fears of the world.

Visit http://www.thegreenchildren.com/ for artist details | An interview with The Green Children

TrueHeart - 'TrueHeart'

Amidst the gold chains and skimpy outfits on MTV, it is truly an achievement to hear a band that is strictly no-frills. If TrueHeart has an image, it is one that is hinted by their name; this is a group that'll shake your hand, respond to every compliment with a polite "thank you," and will probably even open your door. That's how their music feels. Like the Mamas and the Papas, TrueHeart believe in the value of harmony. Siblings Ross Vick, Patrick Vick, and Karen V. Cavazos all sing together, and it's something that you do not hear anymore. Ever since rock & roll became a multi-million dollar industry and labels discovered that, if you push a product hard enough, anything could sell, talent has been taken a backseat. This band has something that no amount of cash can produce, a chemistry that is powerful enough to stop armies from warring with each other. You feel good listening to this CD. One spin of "Ain't Life Great" is all takes to put a smile on your face for the rest of the week.

Where has TrueHeart been all of these years? The group is based in Dallas, Texas, and they're actually veterans of the field for more than two decades. It's odd how the Grammy Awards have recognized them but they're still relatively unknown. Blame it on shallow media. TrueHeart do not offer anything beyond what makes for good rock & roll. They're not cynical intellectuals or masters of irony. Their lyrics are straightforward ("Take Life," for example, is exactly what it is - no need for collegiate interpretation) and the music combines the finest elements of folk, country, and classic rock.

Visit http://www.truehearttexas.com/ for artist details | An interview with TrueHeart

Eurovox - 'This Is…Eurovox'

As soon as the rushing guitars, hyper-speed drums, and clipped, heavily accented vocals of "The Story of a Boy and a Girl" came on, flashbacks of the Jam's "Eaton Rifles" filled the mind. Eurovox are not subtle in revealing their influences; this is a band with shameless yen for mod rock from the Who to the Jam. Shockingly, much of the CD is actually superior to Jam leader Paul Weller's couple of solo records. What makes Eurovox so appealing is their limitless enthusiasm for the material; these lads are having a blast of a time. Every track is made to be as catchy as possible, from the innocuous, upbeat power pop of "She Knows Everything" to the sparkling David Bowie tribute "The World Won't Wait." There's no pointless, imbecilic rage on this album unlike so many punk poseurs these days. Guitars jangle or move at breakneck speed as vocalist Mat Hammond delivers the British charm that the Beatles once did. Too many English acts lately have been following either the melancholy map of Coldplay or the futurist alienation of Radiohead. Eurovox, on the other hand, are throwing a party. "Happy Hour" could've easily fit onto Rhino's D.I.Y. series from a decade ago. The singing, the production, the playing - everything thing here is authentic British pub rock when London was truly happening in the late '70s.

Visit http://www.eurovoxuk.com/ for artist details

Scotland Barr & the Slow Drags - 'Legionnaires Disease'

If there were an album to smoke to, this would be it. Scotland Barr & the Slow Drags is a pub band with a knack for a weepy groove, as evidenced by the mournful slide guitar on the title track. These are not quick, happy tunes although "Sun Years" rushes to a British Invasion pace. Sounding world-weary and out of luck, Barr catches the downcast, drunken mood of a burned-out cowboy. However, none of it is as depressing as it may seem given that Barr throws in a funny line or two. To us in the U.K., there is a quality to Americana music that is refreshing; it is radically different than what our country often gives us. British bands will always be caught in the shadows of the Beatles or the Sex Pistols so it's an injection of cool air to hear period-piece rock & roll like this. Rock & roll? Perhaps that's not a fitting term since Barr is mostly engaged to acoustic backups, linked to folk in its spirit but more to the lonesome country of Hank Williams, Sr. in its delivery.

Visit http://www.scotlandbarr.com/ for artist details

Rachael Petit - 'Wilted Flowers'

Sensitive teen pop takes a spiritual turn on the debut album from singer/songwriter Rachael Petit. This is a Christian album with a decidedly secular musical backing, summer-soaked acoustic strumming with solid production and radio targeting smooth vocal work. Rarely will you find a record from a teenager that sounds this accomplished. Whether or not Petit used a coach is a mystery; she masterfully changes tone in her voice like a veteran. Listen to the emotional highs and lows her vocals reach on "Have Your Way." This is not an amateur, and why this young lady is unsigned truly baffling. The urgent guitar hooks of "Letters" are matched by Petit's upbeat delivery and the insistent beat of the drums. Throughout the album Petit narrates the story of her life, dropping crumbs about her heartaches and how she eventually found God. In these dark times of terrorist attacks and lethal hurricanes, this album couldn't have arrived sooner. Wilted Flowers is a record that'll lift your spirits while your tapping your toes.

Visit http://www.rachaelpetit.com/ for artist details | An interview with Rachael Petit

Junior Jackson - 'These Old Nites'

There is something in the water in Seattle again.
Over a decade after the grunge explosion an original sound, or at least a unique hybrid of already existing genres, has leapt from the Space Needle. Like a scientist Junior Jackson has pieced together various elements usually found in Americana and gave it an urban twist. The opening cut, "Charmed," wraps bluesy guitars around trip-hop drumbeats. It's an unusual combination that actually sounds perfectly natural, giving a stagnant musical style a contemporary makeover that is respectful to its roots. Mesmerizing slide guitar and Jackson's Man With No Name vocal delivery make this record a cinematic experience. He has actually fashioned his own musical creation, one that doesn't have a name yet. It's downcast and gritty, reminiscent of Tom Waits but more focused and groove-oriented.

Visit http://www.purefirerecords.com/ for artist details

Cerulean - 'No Sense In Waiting'

The Americans never understood the "shoegazer" movement. As much as major labels and the alternative-minded press tried to sell the genre to the Yanks, they refused to buy into it. Most likely they were bored as many groups in the genre were surface over substance. There are only so much guitar pedal effects one can stomach if the songwriting is half-baked. Sadly that was the case with even icons of the scene like Ride and the Pale Saints; they created some pretty sounds that increasingly felt emotionally hollow as the repetition began to grow wearisome. The Los Angeles trio Cerulean probably realized this and decided to strengthen the hooks before layering the songs with guitar glaze. Having never heard Cerulean's prior records I cannot say if No Sense In Waiting presents a creative evolution for the group. Whatever the case, this is a spellbinding album, one that dips into the subconscious with its transcendent shimmer and penetrates the heart with its romantic yearning. "Stop Running" is the initial high point as Rick Bolander's and Noel Kelly's interlocking riffs swoop up and down. It's exhilarating and hypnotic. Cerulean can certainly cast a spell on the ears, and from "Stop Running" on No Sense In Waiting basks in the sort of musical magic that jaded fans like myself thought no longer existed.

Visit http://www.ceruleanmusic.com/ for artist details

Blair Hansen - 'Smile'

Anybody who has given up on the youth of America needs to hear singer/songwriter Blair Hansen's personal, heartfelt acoustic pop album Smile. Since the late '90s there has been a heavy weight of pointless fatalism and tuneless dissonance from musicians in their teens or the artificial flavorings of boy-band bubblegum. Hansen falls in neither trap, capturing the listener's imagination with a killer voice that can cast a dreamy spell a la Sarah McLachlan or narrate stories with the bluesy passion of Melissa Etheridge. Hansen's a sharp guitar-slinger herself, and her vocals and playing reach beyond her tender years. The title of the album isn't some cryptic message; this is a record that is intended to prevent the dark days from enveloping our lives. While there are some profound meditations on dying ("Dance My Way," "Final Goodnight"), Smile is not about adolescent gloom and doom. Hansen is pointing to the rays of sunlight in a world of rain, and it's enough to make you Smile for a lifetime.

Visit http://www.blairhansen.com/ for artist details

Lorraine Devon Wilke - 'Somewhere On the Way' (Manitou Records)

Reject the idea that independent music must be some low-fidelity weirdness, played amateurishly, and peppered with high-I.Q. sarcasm. Lorraine Devon Wilke's Somewhere On the Way is none of those things. This is a straightforward, possibly autobiographical record that is haunted by the blues and drunk from the whiskey of country. According to the one-sheet Wilke was once in a New Wave band called Devon, a group that was apparently overlooked in the '80s Los Angeles music scene. Hopefully Wilke's solo career won't meet the same fate. Her '80s roots certainly don't show, as there's nothing synthetic or danceable here. This is a mature album but not in the negative sense of the word. Usually "mature" is used to describe records from aging rock stars that've been sapped of their creativity and raw emotions. That's not the case here. Take a sip from "Comfort Me" and taste the bitter pills in the water.

Visit http://www.lorrainedevonwilke.com/ for artist details

Arlene Hattori - 'Finding Myself Again'

An album that springs from nowhere and delights the palate as much as Finding Myself Again by Arlene Hattori is usually called a "buried treasure." Indeed, this minor-league beauty is a shocker of the pleasant kind, a reminder that '80s New Wave was more than just boisterous pop. Indeed, Hattori opts for a decidedly subdued, less abrasive take on Reagan-era nostalgia but is nonetheless faithful to the time period. Take the Colourfield's 1985 classic Virgins & Philistines with its '60s inspirations and the girl-group aesthetics of early Bangles and you'll get a taste of Finding Myself Again, at least for the most part. "Give It Up" sounds like a mid-'80s Top-40 hit, reminiscent of the blue-eyed club funk of Nu Shooz's "I Can't Wait." The remix of "When I Looked Into Your Eyes" is another toe-tapper, but the rest of Finding Myself Again is not for the dance floor but for a day's worth of R&R, sitting back on the lawn chair and watching the sun go down. Pure bliss.

Visit http://www.arlenehattori.com/ for artist details

Fivestar Riot - 'Unfamiliar Sky'

There is something undeniably familiar about Unfamiliar Sky, which is to be expected from such a young band. Conjuring flashbacks of Incubus' funk-rock dynamics, the progressive guitar licks of A Perfect Circle, and even the brainy atmospherics of Radiohead, Fivestar Riot are guilty as charged in being influenced by late '90s alternative-radio staples. And they certainly make their heroes proud, as Unfamiliar Sky is an entertaining debut, bristling with adolescent emotions and adult ambitions. Vocalist Charlie Cote recalls Incubus' Brandon Boyd with his mixture of romantic yearning and teen anguish, and the group plays well together, especially on "Better" and "Mischief and Mayhem." However, as far as a five-song EP goes, they should've developed the title track further before including it on the CD; it's an interesting opener that sadly fizzles out too quickly. Nevertheless, Unfamiliar Sky is hopefully a sneak preview for a full-length release.

Cas Lucas - 'Giving It Back'

The no-frills, come-as-you are album cover may not be marketable to customers unfamiliar with singer-songwriter Cas Lucas, but it wholly captures what this youthful artist is all about. This is music from the streets - no, not the thuggish racism of gangster rap but the free-flowing thoughts of a man growing up in the city. Lucas has a disarmingly pleasing voice; you almost don't notice how fatalistic "Home" is until you've listened closely to the words, which is what you should be doing for the entire album because this boy can truly write. However, it's the guitar playing that impresses the most; Lucas and fellow guitarist Steve Inglis make quite a team, jamming fluidly. Giving It Back is tender on the headphones as Lucas creates a level of intimacy that charms and warms the heart.

Sunny So Brite - 'The New American Century'

From the clever names of the songs alone - "Secrets Under Scars," "The Screen Actors Guilt" - there's no reason to believe that Sunny So Brite are yet another generic American band. Sure enough, the group does not disappoint, piecing together a strange blend of futurist rock and emo that could've been pretentious in less capable hands. Visiting their site, it seems as if the band has been around a few years, which isn't shocking considering how altogether The New American Century sounds. This is the kind of record, such as Pink Floyd's Dark Side of the Moon, the Smiths' Meat Is Murder, or Radiohead's OK Computer, that is greater than the sum of its parts. You simply have to listen to it all the way through, absorbing its subtleties and curveball directions. At the risk of influencing people to skip tracks, I'm not naming any particular favorites. Think of The New American Century as a novel - no chapter-skipping here, folks.

Barry Russo - 'These Are The Days'

Reminiscent of Toad the Wet Sprocket and the Rembrandts, singer-songwriter Barry Russo writes softly-strummed and light, lyric-driven acoustic rock for older listeners. His target demographic is given a clever theme song - the irresistibly silly "Child of the 80s" - but aside from that he strays from retro grooves. Russo writes about love - falling for it, broken by it, or simply unable to say it. Despite the Do-It-Yourself nature of the release, These Are The Days cannot be mistaken for unsigned product, which it actually is; the production has a thick coat of polish that makes it easily marketable to pop radio stations, at least the ones that don't rap. The music generally has a positive outlook, which should net Russo a large mainstream audience. However, "Child of the 80s" doesn't really fit in with the rest of the record, at least not in its place; it should've been the last song on the album because it's jarring to hear it between the laidback rhythms and mellow vibrations of "Are You Listening" and "Walk Away." The record actually gets better as it goes along; instead of losing steam, Russo picks up momentum. Highly recommended.

Jimmy Buffett saxophone player Amy Lee releases new album mixing smooth jazz and R & B

After spending more than a decade in Margaritaville, one would expect Jimmy Buffett saxophone player Amy Lee (http://www.amyleesax.com/) to create music reminiscent of the King of Trop Rock. But Lee, who has been a professional musician since the age of 16, has her own set of flavors. On her new self-released album Use Me, Lee uses the midnight-blue lushness of her sax playing to touch upon smooth jazz, R & B, and pop. Being an independent artist allowed Lee to venture into whatever territory she desired, and Use Me is a reflection of her influences including covers of classics from Stevie Wonder and Bill Withers. According to Lee, Withers enjoyed her remake of "Use Me" so much that it became the first track he downloaded on his iPod.

In addition to performing and even writing songs with Buffett, Lee has worked with renowned artists such as Charles Neville, James Taylor, and Joni Mitchell. However, Lee remains an unknown player, a gifted woman in a male-dominated field. Nevertheless, the personal vision of Use Me is about to turn heads, not only for its sexy, striking album cover, but also for the heartfelt and original sounds inside.

By Michael Sutton

* Franklin Richards submitted reviews for Country band The Famous & singer/songwriter Guy Michetti with the following message:- "hello! i really like your site. i haven't even heard of many of those artists, which is wonderful."

The Famous - 'Light, Sweet Crude' (Leading Brand Records)

The Famous' Light, Sweet Crude reminds me of what my dad's country records used to sound like. Put away your adult perspectives and think about how music felt when you were a child. As a kid, I thought Johnny Cash was scary. No, not in the Jack the Ripper definition in the word, but Cash wasn't somebody you wanted to upset. To my ears, he roared like a towering grown-up, his eyes burning with the rage you'd expect from a stern principal after misbehaving in the playground. Of course, as I got older I came to appreciate Cash as an elder statesman of outlaw country rock - nothing terrifying but admirable nonetheless and even relatable. The Famous, on the other hand, can be frightening - just listen to the gritted-teeth rage of "Get You Back" and "Son of the Snake." And, hey, country music should have its chilly scenes. However, the Famous strike various emotional chords on Light, Sweet Crude, and all of them are effective. My father would've cried to "Tear" back in the day, and "Overtime" is a charming homage to traditional country. The Famous perform a neat juggling act on this debut, swinging from country and post-punk, bottles of Jack Daniels in one fist and beef jerky in the other.

URL: http://www.thefamous.net/

Guy Michetti - 'All In My Mind'

Without even hearing a note on Guy Michetti's All In My Mind album, it was easy to guess what to expect from the cover alone. Wearing shades and carrying a guitar, Michetti is no pretentious or glamorous rock star and neither is he an indie experimentalist. The cover truly says it all: a man, a guitar, and the city around him. Being used to Lou Reed's grit-stained portrayals of the East Coast, it is an enjoyable change of pace to hear "A New York City Life," Michetti's delightfully high-spirited love letter to the Big Apple. Guitars strum and ring like hummingbirds, and it feels like the late '60s again.
The production and arrangements on All In My Mind are retro without being dated, and Michetti has a friendly, pleasant voice that is perfectly suited for his storytelling. At times sentimental, at times romantic, All In My Mind is the epitome of the 'singer/songwriter' record, one that reveals what the person is thinking and feeling. Favorite tracks abound but I am leaning towards "Dianne" and "She's My Only One," with its clever opening female spoken-word bit.

URL: http://www.guymichetti.com/

* Tess Khaleque submitted a review of Swedish band United's new album Slick- released in Stockholm on 16th February 2005

United - 'Slick'

Flipping open the cover on the pink, purple and red adorned case, anyone would think this album was a box of chocolates but tacky saccharin is not what you will get. It is true you will find a variety of flavours but they are more like gems so maybe a velvet jewellery box is the more appropriate analogy.

The first track on United‘s debut album, coolly titled ‘Slick‘, is ‘Needs’. It feels as if United just can’t wait to get started. Patrik breaks into song fairly quickly in comparison to the other songs. Here we have gentle drumming punctuated with harsh guitars, his needs confused by what has been and what is to come. Maybe this is about putting the split of his former band behind him and starting afresh with a more cohesive group? “I want my feelings out of my past/I want to change I need to last”. Who can’t identify with this desire? Their post-punk influences are evident in this track and prepares us for an introspective ride.

With the past out of the way, “Today Will Die Tomorrow” deals with the present and the future. It opens with what appears to be a synthesised orchestra and operatic vocals. An indication that this band will not be predictable and an ideal introduction to a song with a big theme . The universal plight concerning the transition of time and the all important emphasis that living for today is paramount, “What’s there to keep/ /No rest until they sleep/With the loudest voice/Today will die tomorrow”.

“Made For us” is the ideal third track; just when you might be dithering over whether or not you like this album, this song firmly makes you mind up that it is excellent and worth exploring some more. Anthemic in nature, this is surely the song that will unite a live audience? It also shows how unique and original the band are and their creativity is not only reliant on times past. The arrangement is superb. With arousing guitars, heartfelt lyrics and a well-used tambourine, it is the trademark that makes them United. Young, angelic backing vocals support Patrik’s grainy, experienced voice; William Blake’s Songs of Innocence and Experience come to mind with this paradox.

With the opening for “Walk On Water”, you will be forgiven for thinking you are being serenaded at a Roman Pizzeria, but with references to Jesus and God maybe Rome isn’t such an unlikely place to discuss these lyrics. I doubt this song is simply an exploration of religious faith but about faith in life and yourself in general,. “Reach - the heart is to wake up/So teach me how to shape up”. There is a yearning to find the allusive thing that helps make sense of life and love. We are better people and more powerful when we find it, in whatever shape it comes in.

“ Kinship” lifts us hurriedly out of the seriousness that “Walk On Water” was washing over us, and we return to the echo of the genres passed. “A combination of lust and fascination/While deprecation strikes your imagination/Yours is mind and the best is yet to come/We’re the reincarnation of a new sensation”. Words like ‘lust’, ‘deprecation’ and ‘sensation’ uttered in a true post-punk style. My only criticism of this song is, ‘how dare a Swedish band use an English word like ‘deprecation’ when I had to look up its meaning in the dictionary and I am English.’ It is embarrassing when they have a better command of your mother-tongue than you do! Oh, and don’t ignore the backing vocals, they’re amazing!

“Here To Stay” is one of those songs where all is made up in the chorus. I haven’t quite interpreted its meaning for me yet. There seems to be some criticism of society and its lies but nonetheless, a defiant message to remain strong and stay true to yourself. An all too favourite subject close to the hearts of Placebo; United’s most important fans.

I think a Cure influence can be spotted in the instrumentation on ‘All Is Lost Without You’, but the vocals clearly mark the song as unique to United. Another great and unnoticeably short song from the EP. “Breaking hearts/Making up/Life’s too cold/Life’s too much”, says it all really. How difficult and troublesome life can be but with the forceful and repetitive chorus of “All is lost without you“, there is the hope that, all that, can be set aside as long as we don’t go on this journey alone.

We arrive at “Trying To Save the World” with a good, strong backbone of songs behind us so the simplicity of this track is initially a little off-putting but that shouldn’t devalue its importance on the album. It is in the right place and sort of sums up the earlier, more reflective songs. Patrik’s voice comes across quite unstable but I suppose that is the idea when exploring your existential guilt about the state of the world and somehow it fits.

“For What I Feel” may arguably be the nearest thing to a ballad on the album but that doesn’t do it any justice. This track contains, for what I feel, the rawest of emotions. If there was any doubt in Patrik’s voice, this is the song that proves otherwise. He can manipulate it to convey all of the feelings referred to in the lyrics. “Lower your guard and make up/For dull is that heart that cracks up/Feed a thought that hunts you/Freeze for a life that binds you”, are beautiful words, sung beautifully and being difficult to sing along to proves there is skill involved. This song feels the most personal so far and will definitely remain a firm favourite from the album for some time.

The penultimate track will be an old friend to those already familiar with United through their EP. More of a ’friend known’ than “Friends Unknown”, this song safely prepares us for nearing the end of the album. It re-establishes the collectiveness possibly lost through individual pensiveness of some of the earlier songs and lifts the mood . I recall he concept of the infinite number of relationships possible in Virginia Woolf’s novel ‘To The Lighthouse’. A passage from it suggest we have a multitude of personalities waiting to be discovered with each interaction with a new person. It gives us hope that if you don’t like who you are, there are many future friendships to be had ; that may make you feel otherwise, if you only open yourself up to the possibility.

So finally the dawn is upon us with the final track and what better way to conclude than with a title containing the words ‘Bye, Bye’? “Bye Bye Love” has a Joshua Tree feel with it’s slow, progressive intro. Yet it builds and builds until finally the climax of the album arrives and it is not a disappointment. Saying goodbye to Slick is hard but I am hoping it is only the start of a long and wonderful friendship and more albums. Besides, the repeat function is always there if I want a second, third or even more innings.

Passionate vocals, soaring guitars, unconventional drumming, some enviable synthesised creations and most importantly unbound enthusiasm from five friendly guys makes this the album I have been most excited about in a few years.

Find out more about United by visiting http://www.fansunitedonline.co.uk/ | Buy the album from http://www.ripoff.se/

* Liz Moores sent in a couple of reviews to the site. Please enjoy...

The Fiery Furnaces - Gallowsbird Bark

Quirky brother and sister country an' blues US bass-less garage band. Sound familiar? Well stitch in some Dylan, Belle & Sebastian and even some Elton John coloured Stripes into that gingham shirt and you've got what is apparently one of the current most fashionable garments the blues-rock wardrobe has to offer. And rising like a still-ashy phoenix from the most tiresome copycat corners of the White Strokes scene, it becomes increasingly apparent that the Fiery Furnaces are genuinely in a slightly eccentric, far more interesting league of their own. The garage rock sound is admittedly their staple diet, but what with Sister Furnace Eleanor's Kathleen (Le Tigre) Hannah esque's vocals, and the slow paced, self-confident melodies, there is a sageness and clarity of sound that proves that a breezy bit of wind up the lyrical tail (and some admirable production) goes a long way. A knowing humour ("I found a bag/Red white stripe" on 'Inca Rag/Name Game' an especially telling lyric), combined with the melting pot of traditional blues, mild electro-pop and controlled Karen-O style feist in the vocals, elevates 'Gallowsbird Park' to a (albeit slightly skewed) platform of its own.

The Early November - The Room's Too Cold

Dashboard Confessional sure has a lot to answer to. Now that the sensitive, rucksack-wearing gentle muso kids have a new and celebrated hero in the tattooed, puppy-dog eyed DC frontman Chris Carraba, inevitably comes the pretenders to the Kleenex throne, this time in the ill-defined shape of The Early November. On occasion, a cruel and fleeting glimpse of a chorus struggles momentarily free from the weeping, pretty pretty guitars, but too often the majority of the tracks from The Room's Too Cold are limp wristed stragglers; songs similar to the (recent, and rubbish) Get Up Kids, like the wussy Dinner At The Money Table, or the unbelievably weak opener Ever So Sweet. The tedious dependence on Arthur Enders' vocals to carry each track is clearly too much of a challenge, sadly lacking as he is (except for right at the very, very end) in any desire to really exercise his skills; proving that he has Carraba's range and easy emotional delivery, but frustratingly, not the inclination to use it. When bands like Biffy Clyro exemplify how imposing and involving the quiet-loud-quiet dynamic can be in music such as this, The Room's Too Cold is sorry proof that a quiet-quiet-quiet approach can so easily just become background music. Listen to Weezer's unbeaten 1996 album closer Butterfly instead. Listen and weep.

* This site has inspired Gerben den Heijer to start writing album reviews, the first reviews submitted being the twin giants of 'Grunge', Nevermind and Ten. But first, a few words from the man himself.....

About myself

My name is Gerben den Heijer. As you might have guessed I'm not from England or the United States (yes, that also is my excuse for my bad ability in the English language). So where do I live then? I live in the Netherlands in a little city called Terneuzen. It is in the south-west of Holland near the border with Belgium.
I am born on the 26th of July in 1986, so right now I'm 16 years old.

Most of my time I spent on school. The Dutch school-system differs very much from the English, therefore you have to believe I'm in the fifth grade of what we call vwo or atheneum. I'm not sure, but I believe it is called grammar school in English or something. Well, school isn't that interesting so let's stop talking about that.
I don't do that much in my leisure time. Almost all of the time I'm right here behind my computer desk. What I do with my pc? Playing chess, reading reviews and of course... listening music.
When I'm not on the pc I'm reading books, listening to music in my own room or I'm spending some time with my friends and specially my girlfriend.

Almost forgot to tell, I have a brother and a sister too. But they go both to university and the nearest university is too far to make the voyage every day, so they are only home in the weekends. Lucky me, I don't them or something, but they like to spent most of their time with the computer too....

My favourite sites are www.allmusic.com for some random information about artists and all the sites of the web reviewing ring have their own qualities. Another site I like is www.spelpunt.nl that is the Dutch site where I play chess most.

I have just started to review music albums. It's quite fun to do and I like to give my own opinion, but it's much more difficult than you'd expect. Because we're on a music site I guess you're all interested what music I like most. Well, I listen usually to rock music from the 1960's (my oldest album is Bob Dylan's Bringing it all back home) till rock music from now. Though I think the music at this moment is less good, there's one exeptional band at the moment and that honour goes to Radiohead, for the rest it is not so all to good. My favourite artists are Bob Dylan, Joy Division and The Smiths. Actually there are just too many bands to name.

If you'd like to respond to my reviews or just like to contact me, feel free to mail me at my e-mail address gebren@hotmail.com

Nirvana - "Nevermind"
Rating: 8+

Here we are... Nevermind. I guess everything about this album that could be said is already said, so I'll just give my short opinion about this album.

If you are just a Justin Timberlake fan or something and all you're classmates talk about Nirvana and you want to integrate in the conversations, go and get this album as soon as possible!
If you're a serious fan of music I recommend you to listen to this album a couple of times and get your own opinion. I like In Utero and Unplugged more.

Being one of the most discussed albums of the 90's it is easy to say it is very good, but might be even easier to take it down.
I firstly gave it an 8, but I'm in a good mood so I'll give it an 8+ because of it's historical importance for music and even for society.

Let's get to the music now. After Bleach Kurt must have felt there was more than being in a simple post-punk/grunge band. He signed to a big label and cooperated with a famous producer (Butch Vig).
That is what I would call the main problem of this album. Some say it is produced very well, but for me, all the songs seem to sound the same after 6 songs or something. So there is the main reason I don't really like Nevermind that much.
In contrast I think In Utero with it's raw and underproduced sound certainly "kicks ass".

Let's get on to the songs now. The album starts with "Smells like teen spirit". You have to be living in a hole somewhere next to Mr Bin Laden the last ten years if you don't know this song. Actually the song isn't that more than a few chords, a solo that isn't a real solo (it's a vocal overdub) and quite good lyrics. But it has the potential to be liked very much.
The other tracks you might be familiar with are "In Bloom", "Come as you are" and "Lithium". Of these three tracks "Lithium" is my favourite one. With a nice bass line and some clever lyrics in the refrain (Yeah yeah yeah (Kurt was a genius, wasn't he?)) it is a very decent song.

I guess I just have to admit: all the songs on the album are very good actually. They all have something in their own right. It's just the whole album that doesn't work to me. And there really isn't that much emotional movement on this album. When someone screams he isný always in agony you know.

You know what, Nevermind really deserves an 8+ just because of that nice Kurt Cobain poster on my door, I can't betray my own poster, huh? And sneakily I really enjoy it everytime I listen to this album...

Pearl Jam - "Ten"
Rating: A

Ten is Pearl Jam's best known album and I guess it deserves it to be. This is also the album where you have to start if you want to get into Pearl Jam. Though it is their most famous album it isn't their best in my opinion, Vitalogy is.

What kind of music is on this album?
If you listen to this one the first thing that will spring into mind is "hey, this is rock and roll". And that is what it is. A pure and simple, but very good rock and roll album that goes back to the classic rock bands from the end of the 60's.
That is the reason that you should start here, on Vitalogy they make more a kind of artistic rock which you should really get used to.

The best tracks on this album are the singles: I guess every rock fan is familiar with "Alive" which ends with a very good solo and it also contains a really kickin' riff. "Even flow" and "Jeremy" are also quite known. The first is a song that comes very close to grunge, a genre that Pearl Jam does NOT belong to, while the latter is a bit calmer and handles a true story about a boy called... well, Jeremy, who is isolated and sinks into despair and then shoots some classmates and himself.
Then I leave the best track for the end. The best track on this album surely is "Black". A very emotional song with a beautiful guitar/piano part in the end and Eddie Vedder proves here that he indeed is one of the best singers from the 90's.

The other tracks on the album are all simply good. Not that special, but surely not bad either.

You should also note that there exists a version with 3 bonus tracks from Ten. The only thing I want to say about these 3 songs is that you don't have to search for this version if you can't find it...

As a debut it is a quite good album. If you just want to have one PJ album you should get this one, it is their most diverse and best accessible one. Four stars seems fair to me.

* Patrick Gill was kind enough to submit a bunch of reviews on Richard Ashcroft, Badly Drawn Boy, Phish, Supergrass and Zwan.

Richard Ashcroft
'Human Conditions'
"Ashcroft's Life Anything But Nasty, Brutish, and Short."
B+

The love-struck Richard Ashcroft finds himself coming down to reality after his first solo album, Alone With Everybody. Years of success with The Verve have molded Ashcroft and led him to a phase of life in which love for wife Kate and a revitalized spirituality rule the world of the "Lucky Man".
With the release of Human Conditions, Ashcroft takes a philosophical approach to the world around him and, as the first tracks points out, he "checks the meaning" of this thing we call life.
Ashcroft takes no time in setting up his argument as he sings about the brutalities that we all face as human beings, reminding us that "we're out here on our own". Rather than focusing solely on the negatives, he creates constant back and forth tension between the good things in life that brighten our days and the bad things that plague our nights. On "God In Numbers", Ashcroft searches for an answer by singing, "Don't throw away the pictures that give you a smile/Don't throw away the memories that make you cry".
Human Conditions marks an era of growth for Richard Ashcroft that is apparent in his lyrics. Rather than singing love ballads commemorating beauty, he tackles an age old question on "Science of Silence"; how is it possible that two lovers can totally understand each other without saying a word? In talking about his wife, Ashcroft uses difficult metaphors comparing her to a well not yet dug, a university, and a cosmic library, which show how much he has grown and continues to explore in the vastness of their love.
As Ashcroft concludes his musical dissertation, he brings to light his most important ideals in "Nature Is Law." The uplifting ending shines light on the idea that we are all obligated to see the beauty in the world because of the sole fact that we are human. This categorical imperative pounds with a passion that inexorably drives Ashcroft's spiritual montage on life.
In a symbolic comparison of life as endless rivers flowing into a larger body of water, Ashcroft fails to realize that the choppy "Bright Lights" does not find its place in a sea of calm ballads, and many overflowing tracks could be drained a minute or two.
Overall though, Ashcroft seems to understand his view of the world and in trying to get listeners to do the same, he leaves a beautiful album that can be dissected time and time again.

Badly Drawn Boy
'Have You Fed The Fish?'
"Badly Drawn Boy Pens Near Perfection"
B+

Looking at the scruffy, second-hand Damon Gough, a.k.a. Badly Drawn Boy, one probably would not expect to hear a near rock opera laced with strings and horns. Do not be so sure if you have yet to hear his latest album, Have You Fed The Fish?. Gough, often sporting an untrimmed beard and a toboggan hat, has a distinct image of an artist who could care less about the latest fashion. If you take away the threads and his blatant unruliness, Gough proves he is as sophisticated in his music as he is talented.
Have You Fed The Fish? is the most eclectic album released by the wannabe slacker to date, yet it ultimately becomes the most structured. The ever-changing album starts out with a flight captain announcing to passengers that, "there is a cloud outside that looks exactly like Badly Drawn Boy". While listeners may be fooled by the goofy intro, within seconds a near symphony of instruments, dominated by a xylophone, keyboard, and guitar, crash-land into the speakers. He soon collects the vast array of sounds, except for a piano, in order to make the transition into a heartfelt, pop song that flows with ease. The first few minutes of Have You Fed The Fish? lets listeners know that they are in for constant musical surprises throughout the album.
Damon Gough finds a style that is all his own in Have You Fed The Fish?. With ease, he churns out a pop rock album that makes listeners wonder whether it is a score written for a Broadway musical. The album is uniquely split into two distinct sides. The first half of the album, ending with "You Were Right", is more folk/rock oriented with an inescapable pop coating. The middle track "Centre Peace", sets the gap between the previous folk driven side and the second half, which mixes Brit-pop with dance grooves and still manages to add a psychedelic element.
Even though Damon Gough proves that he is a mere genius, this album may not appeal to some listeners. Often referred to as the British Beck, people may be disappointed that Gough seems to shrink away from his formerly unwavering folk roots. His latest blend of pop rock mixes the sporadic foolishness of Blur with a strong underlying integrity that artists have been trying to duplicate since The Beatles' Revolver. While so many musicians have shied away from pop albums in a time where J-Lo and Justin rule the charts, there's no doubt that Have You Fed The Fish? gets an A for effort and is not far from the mark in its performance.

Phish
'Round Room'
"Phans Bound For Bad Trip In Round Room."
C-

Phish, the band that bred more open-mindedness and drug use since The Grateful Dead, seem to have calmed down in the paternal stage of their lives. The band was recently on a two-year hiatus only to return to play their renowned New Year's Eve show, with a much anticipated follow-up tour. While rehearsing for the NYE show, Phish found themselves recording their latest studio album, Round Room. The band only took four days to record the album and it shows.
The album starts out with the longest and best track of the album "Pebbles and Marbles", which is the song that lead singer Trey Anastasio formerly dubbed "Nothing But An E Thing" with newly added lyrics. "Pebbles and Marbles" sounds like a missing track on the band's 1993 LP, Rift, until an extended jam that flows in and out of catchy guitar riffs. The only other track that matches the opening jam is the unique, two-part "Walls of the Cave". Split by a patented Jon Fishman drum solo with vocal accompaniment by band mates, Phish turns the mesmerizing "Walls of the Cave" into an exhibition of classic grooves, in which all of the band members come together.
Round Room has many good qualities, but overall the album lacks in areas in which Phish has prided itself for the past twenty years. While the members of Phish have always believed in separate but equal roles, most of the tracks on Round Room are based around the four-eyed front man, Trey Anastasio, leaving fans wondering what happened to the slap happy Mike Gordon (bass) and the unusual, crowd pleaser Jon Fishman (drums). Round Room shows that certain band members slacked off in a time of potential growth, but fans will be pleased to hear the dominating presence of pianist Page McConnell, who used the time off to his advantage by working on a side project with Vida Blue.
Round Room was put together in sessions that lasted less than a week, which exemplifies the band's talent but leaves listeners disappointed by the lack of perfection, and sometimes, blatant errors. Furthermore, fans will be disappointed by the mellow tracks on the album, which contain a rare element of lethargy and subsequently will never be able to compare to classics such as "Waste" and "Wading in the Velvet Sea". Thanks to "Pebbles and Marbles", "Walls of the Cave" and potential fan favorites, "Friday" and "46 Days", Phish should have no problem on the road. Even with that being so, Round Room will ultimately leave ticket-less fans disappointed by the slopped together studio album.

Supergrass
Life On Other Planets
"Life On Other Planets Is One Small Step For Supergrass"
B

Seven years ago Gaz Coombes and his band Supergrass released their first single, the screeching, power-punk "Caught By The Fuzz". Throughout the years fans have seen Supergrass move away from their punk roots to turn out more and more seemingly experimental gibberish. Their latest album, Life On Other Planets, may prove to be just another experimental stepping stone for the boys from Britain, but they do it in a style of pop success that hasn't been brought to U.S. soil in decades.
On the album, sideburn-sporting singer Gaz Coombes echoes with pub reminiscence, taking listeners to the place where he spent years perfecting his skill. He is the force that has been driving Supergrass to stardom in the U.K., even when they get little to no recognition here in the States. While Supergrass is still clinging to melodies that are more of a playful façade, the release of Life On Other Planets makes it clear that the band is searching for a concept or idea that will be more seriously thought over.
Their latest release shows that Supergrass is moving one step closer to an album that will be held in the same light as classics such as Exile On Main St. and OK Computer. Even though Gaz Coombes is most likely thought of as a 21st century David Bowie minus lipstick, he ventures into the sounds of other classic British artists from a not so distant time. "Evening of the Day" mimics The Beatles in their prime, "Rush Hour Soul" proves to be Iggy Pop fully clothed, and "Prophet 15" is the best John Lennon impression since Liam Gallagher's "Songbird".
With these biographical memoirs from Life On Other Planets, listeners learn that Supergrass can pay homage to the greats of our time, but will they take the initiative to release an album full of standouts from their own perspective? What listeners will find is that Supergrass is more than able to bring forth a new sound in this diversified musical era, which can be seen in standouts tracks "Seen The Light" and "Can't Get Up". The boys from Supergrass need to take a look inside themselves to see if they want to release one of the greatest rock records of our time, but for now they left listeners a frothy pint of British pop success.

Zwan
Mary Star of the Sea
"On Zwan's Virgin Album, Mary, Corgan Seems Content In His Maturity."
B+

After his past two regretful albums with the Smashing Pumpkins, Billy Corgan has moved away from his inflexible intellect in order to pursue a career with his new band, Zwan. On Zwan's first album, Mary Star of the Sea, Corgan teams up with fellow guitarists Dave Pajo (Slint, Tortoise) and Matt Sweeney (Chavez), bass player Paz Lenchantin (A Perfect Circle), and drummer Jimmy Chamberlain (Smashing Pumpkins). The all-star lineup has allowed the alternative-rock genius to step back from the spotlight and write an album that has all the elements of being serious, but is comprised of cheerful, catchy songs.
Mary Star of the Sea is made up of songs about falling in and out of love, but the lyrics are not quite as deep as the mosh-pits that once predominated Pumpkins Concerts. Billy Corgan has moved away from deep and sometimes confusing metaphors in order to write lyrics such as "I believe/I believe the love you talk about with me/is it true/do I care/honestly". Even with apparent degeneration in the underlying thought process behind his music, Corgan crafts an album that has an uplifting underlying tone, which cannot be broken from track to track.
Despite making a pseudo-thematic album, Corgan and band mates manage to turn out songs that are drastically different despite a similar coating. "Settle Down" and "Honestly" are catchy, glam-rock songs that will grab listeners and have them singing along before they make it to the next track. Even though much of the album is pop-oriented, "Of A Broken Heart" wallows in a dismal beauty that has not been repeated since the Pumpkins' first did it in the early 90's. "Desire" also shies away from the upbeat spiritedness of Mary Star of the Sea by adding a heartfelt song that matches the best of Corgan's integrity, but leaves behind any dark elements.
Through the help of new band mates Billy Corgan has evolved into a happy musician who is no longer trying to get people to understand what he's saying, but is making people realize the underlying beauty that has always been present in his craft. Even though he goes off on an infamous, intellectual tangent in the fourteen-minute "Jesus, I/Mary Star of the Sea", most fans will understand that he's Billy, and rock God's can't completely change over the course of one album. Even with a few glances toward the past, Mary Star of the Sea lets listeners know that "desires fade away"; Corgan's desire to be a rock God, and our desire to understand his true genius.