Your Vegas - A Town and Two Cities

A Town and Two Cities, the debut album from Your Vegas, is a cleanly pieced and polished collection of epic, en vogue, and radio friendly Brit pop rock. The songwriting is worldly, appealing, and personal, but the songs themselves come across as uninspired, predictable, and safe. Making one wonder if the band will stand out independently or fall into a rotation within a saturated genre?

The songs are successfully built around variations of the verse, chorus, verse format with such science it’s hard to gage any real sense of Your Vegas’ individuality. Undeniably, this talented quintet from Leeds, England has a knack for aching sing-a-long choruses and attractively packaged songs that are instantly likable. And it is enough to like the songs for being par. But there is a severe lack of dimension for the listener interested in hearing more than the latest variation on a pop rock song passed down from the last decade.

Again, there is no real fault in this. It’s simply a matter of individual taste. But there are recurring trademark symptoms of this formulaic music that is blatant and obvious. The pop rock format by rote superimposes the vocals with overt audibility to the forefront thereby diminishing the actual music to uneven accompaniment. Which benefits the war heavy “The Way the War Was won” and “Salvador.” There’s the choice of the melodic falsetto chorus; instituted on the apologetic “In My Head” which hooks the verses of the song into unmemorable fodder, weakening the song considerably. Then the mixing is distributed among the instrumentation so evenly one can’t help but feeling the dull edge of digital editing. Dullness in the vein that it robs the listener from feeling any punch that these attentively crafted songs could deliver. Instead the music comes off soulless, with just enough bells and whistles to make the songs shinny and attractive to market. Take “Troubled Times,” it begins with muted Buggles-like intro verse that flows into a preview chorus that feeds into the full band second verse…to the grandiose finale. The irony isn’t lost on the song’s theme of lamenting opportunities lost.

Listening to the album as a whole makes one wonder if the yearning and passion of earnest pop rock has become such a predictably pedestrian form that it will negate even its own immediate appeal. The question then changes from: “Is Your Vegas built to last or are they only for right now?” to “Is Your Vegas even for right now?”

Aaron Simms

http://www.yourvegasmusic.com/

U2 - No Line On The Horizon

No Line on the Horizon captures the essence and tone of U2’s greatest hits in all new material. It is a true culmination of their body of work. The album is amazing because it possesses familiar elements accumulated throughout their twelve-album history, as well as new elements of arrangement that augment and enhance their branded sound. No Line on the Horizon is a finite musical statement of where they have been and how it has informed them into making them who they are today.

A sonic wall opens the album with Achtung Baby like fervor on the title track. Immediately followed by appropriately titled “Magnificent,” highlighted by lead guitar chorus fills that hearken back to The Unforgettable Fire. The single “Get on Your Boots” has an infectious Escape Club-like groove that is could easily been found on their last offering How to Dismantle an Atomic Bomb. While “I’ll Go Crazy if I Don’t Go Crazy Tonight” is stuck in a moment of a contemplative action similarly found on All You Can’t Leave Behind.

However there are definite signs of where the band is heading toward in the future. “Fez- Being Born,” a meditation on the transformative state of traveling, is infused with an expansive combination of styles; opening with a fluid trance vibe that diminishes only to emerge with an “In God’s Country” rhythm attack “Stand Up Comedy” features Adam Clayton and Larry Mullin Jr. locked down in a funkadelic sass groove, giving freedom to Bono to scat on empowerment. While “Moment of Surrender” and “Unknown Caller” have subtle foundations of electronic percussive programming that amicably support The Edge’s superb chorus and reverb licks, delivering a timeless, yet progressive sound.

Thematically the album preaches the messages hope and the choice to love. With the recurring images of hills, mountains, land, sea they affirm our capacity to scale and overcome them anew (“…and again I’m reborn/ Every day I have to find the courage with arms out” (“Breathe”). Serving as a reminder that we all possess the will to surpass boundaries.

It is truly amazing that U2 is able to cover the spectrum of their progressive life as a band and maintain a definitive sound that is identifiably their own.

Aaron Simms

http://www.u2.com/

Robert Pollard - The Crawling Distance

Anything less that twenty tracks on an album by Robert Pollard is expectedly referred to as an EP. Given the prolific history of his hundred (not joking) previous incarnations derived from and including his former band Guided By Voices, one might scream foul play in seeing a mere ten tracks on his most recent LP release The Crawling Distance. Despite the quantity, it is an odd relief to feel reasonably fulfilled by mix of the liberties taken on his twenty second solo album (still not joking) and first of 2009.

The songs are all finely rooted in a mad scientist style of basement tape rock that has been Pollard’s way of recording ever since he was a teacher in Dayton, Ohio. Even so, going solo has allow Pollard a kind of reverse experimentalism (for him) with cleaner production and well-made song structures in using journeys instead of non linear jabs; initially flirted with on GBV’s Do The Collapse. Part of those structures may be due to the peculiar set up of production of his solo style. Pollard is credited for writing all the songs, yet in the process of fleshing them out the album could clearly have been labeled a collaboration with multi-instrumentalist Todd Tobias, who plays bass, drums, guitar, keyboard, and produced the album.

The title of The Crawling Distance may be in reference to the fact that all but two songs clock in, around, or above three minutes; minor opuses given the standard history of Pollard’s knack for brevity and freedom of form. However on this solo work, Pollard neither strays far from normal time signatures, nor deviates far from traditional song framing. Most notably on the presence of a fair share of simple and breezy ballads (It’s Easy, No Island, Red Cross Vegas Night) whose arrangements effectually underscore and lift the songs to a level of a kind of sonic poetry; containing lyrics that encapsulate an air of cock-eyed wisdom from an outspoken uncle who speaks in mixed King Crimson-like mystic metaphors but does it in the attitude of The Who.

Happily, to offset the meter, there are shares of quirky delights that find resonance and fascinate the curiosity. “By Silence Be Destroyed” reeks of garage rock with an off the shoulder, blasé resignation. While the masculine anthem of “Cave Zone” is a tonally barbarous yelp for sanctuary both bold and fragile that's thematically worthy of Victor Hugo novel. Yet, it is the warm, empowering, and rather normal “The Butler Stands For All Of Us” that most effectively represents Pollard’s signature style, representative of the mood of GBV’s Under the Bushes, Under the Stars. The song includes the phrase: “It pays to know who you are/Cuz that’s who you are.” Not only knowing who he is, but being able to mine a career from writing, recording, and performing on his own terms, there isn’t a description more emblematically defining Robert Pollard than his own lyric.

Aaron Simms

http://www.robertpollard.net/

Mastodon - Crack the Skye

Crack the Skye is a wet dream for any classic rock station looking to bridge the gap in the hope of marrying their weathered, tried, and tired head banging faithful with the desperately hungry young offspring that scoffed at the guise of nu-metal while holding out for a second coming of the good old days. Long no more, Mastodon delivers a metal album that expands generations. The rhythm section trudges with a 70’s Sabbath-like weight, the lead guitar work is reminiscent of the best that the 90’s Seattle grunge had to offer in musicianship (Cantrell, Thayil), while the vocals have the multiplicity of the new century’s front men in using the committee approach (Brann Dailor (Drums), Bret Hinds (Lead Guitar), and Troy Sanders (Bass); sometimes in tandem even on the same track.

What is unique about Crack the Skye is that Mastodon succeeds in fusing physical sensation of the music with attempting to tell an arching mythological story without being perceived like dungeon masters that hate reality. The music comes across nothing short of brutal and fist pumping, while the lyrics are conceptual. They foretell of an outer worldly journey and even time travel, which is immediately evident from the Icarian opening track “Oblivion,” a remorseful tale of anticipation and dread of the possible opportunity of absolution after failure. The epic four part “The Czar” blends A Perfect Circle-like delicacy with ripping emotional leads a la Black Label Society that save the song from becoming dour. However the true journey piece of “The Last Baron” concludes the album in a thirteen minute hyper-aware ode to salvation.

This is the fourth offering from the Atlanta grown quartet (Bill Kelliher on guitar) and their first produced by Brendan O’Brien (Stone Temple Pilots, Bruce Springsteen, Pearl Jam) who keeps the flow of the collected songs tight and allows the band to do what they do best: rock.

Aaron Simms

www.mastodonrocks.com

The Airborne Toxic Event - The Airborne Toxic Event

The self titled full length debut from Los Angeles quintet The Airborne Toxic Event is a colorful, tight, and energetic indie pop jaunt that is unapologetically infectious. It is their major label debut (Majordomo) yet The Airborne Toxic Event retain the charm of a ma and pa start-up record which grants it a universal appeal while standing out from the clumping of British and American independent rock acts.

The band’s name originates from White Noise, a novel by Don DeLillo that explores the effect of a poisonous cloud’s social and personal implications on the individual. The description of the cloud served as the bands name and as a mirror to the myriad of life changes that influenced singer guitarist Mikel Jollett’s choice to change his vocation from novelist to song writer.

Undeniably the strength of The Airborne Toxic Event is being musically articulate. The songs are well made and smart with out being apparent and obvious. The production work by Pete Min is air tight. Daren Taylor’s popcorn drum work and Noah Harmon’s bass lines are classic with out being cliché. Anna Bulbrook’s viola and keyboards are never out of place, being used incidentally on “This is Nowhere” and also providing depth on the heart felt single “Sometime Around Midnight.” Stephen Chen’s lead guitar playing is subtle and bright, which contrast well with Jollett’s jangly rhythm work. Arguably, the raspy vocal range of Jollett may come off as limited but has an honest storyteller’s point of view that is authentic and committed.

The album moves at such a raucous pace it feels like it ends shortly after it begins. The Violent Femme-like “Papillion” is a snappy and messy ditty of self-loathing. While the nostalgic “Gasoline” and “Missy” recall the most melodic jauntiness of Mike Ness’ solo work.

If they can out live the inaccurate labeling from the media; like “the American answer to The Killers or Snow Patrol,” and stay on target in producing appealing, cross-over pop rock The Airborne Toxic Event have the tools to grow into an institution.

Aaron Simms

http://www.theairbornetoxicevent.com

Chris Cornell - Scream

From the initial flare of the fan fare that opens Scream, the third solo offering from Chris Cornell; it immediately makes one wonder if somehow they are listening to the newest artist produced by Timbaland. They are. The producer responsible for works by Aaliyah, Brandy, and Jay-Z has been entrusted with shaping the latest offering from one of the marquee vocalists in rock. The result of the collaboration is an eclectic mix of smart electronic beats and brooding, smokey rock n’ soul which seems more primed for the clubs than the mosh pits. What makes Scream a shock however isn’t necessary this new directional choice of form for the former Soundgarden singer, but the departure in genre on making a contemporary pop album.

Cornell has a long history and diversity as a collaborator. From the grunge era Temple of the Dog and Screaming Trees to his post Soundgarden super group Audioslave, which featured the musical core of the politically minded Rage Against the Machine. On his two previous solo outings, Euphoria Mourning and Carry On, Cornell has flirted with styles outside his hard rocking roots that have included folk ballads and rhythm and blues. Therefore the prospect of what magic could come from merging the historical big guitar sounds and trademark yowling of Cornell with the superlative programmed arrangements of Timbaland is a tantalizing concept to fathom. Even could be viewed and considered a progression for both.

However the partnership is less than equal as the guitars are diminished and the programmed percussion reign and overwhelm; form fitting the jagged and crude into a more pristine and synthetic mold. While Cornell’s connection to the material grabs attention, the polished barrage of chorus’ and attentively careful structures of each verse come off with a fine packaging cleanliness that seem to emotionally curtail the ache and visceral weight of this proven soul rocker’s potential. Having said that, the methodology of programming is sharp, dynamic and crisp with a vast array of beautiful, melodic, and aggressive songs that, given they find their audience, will be dutifully received.

The album leads with the aptly titled “Part of Me.” A break-beat blues lament on denying temptation that features Cornell’s signature croon. As his choice of illustrative form may be new, the themes visited are familiar: regret (the complex “Time”), loss (the breezy Top 40 R&B ballad ‘Long Gone” and the heavily lamented “Other Side of Town”) and empowerment (the bass pumping “Get Up”). Just because the guitars are stowed doesn’t mean there are an absence of, er, rockers (the self destructive “Enemy,” the infectious “Take Me Alive,” and the excellent “Never Far Away”). The most telling track however is “Climbing Up The Walls.” It is the albums closest thing to a traditional rock song and ironically comes across the most pop.

As a piece, the album moves cohesively, peppered with interesting outtros and intermittent bridge work that sonically perk the listener only to change gears dramatically after. Like in life, transitions should just happen. Arguably the album could be trimmed back by a few ideas.

The metaphoric cover art is a never truer assertion of fair warning and a statement of Cornell’s boldness for this departure. On principle, the rock n’ roll faithful could easily dismiss this effort as heresy (a la 1980’s Peter Cetera from 1970’s Chicago). Has he joined the rhythm nation? Or could this be his Kid A? From the swell of the organ and harmonica on the traditional blues laden hidden track, it could be evident of yet another endeavor.

Regardless, when an artist tries to say something in a new way, the medium shouldn’t over shadow the message. This is exactly what this inventive pop album is up against. The challenge of this collaboration will be if Timbaland and Cornell can find a cross section of their audiences that will embrace the album. For all its daring complexity, Scream is simply a demonstrative success of Cornell in exceeding boundaries.

Aaron Simms

http://www.chriscornell.com

The Von Bondies – Love Hate and Then There’s You

The third album from this indie power pop from Detroit, Michigan is full of buzzing garage band guitars that are kept crisp in glossy production that restrains The Von Bondies’ Love Hate and Then There’s You from being too gritty yet it successfully captures the energetic punch of their live shows.

At times the album carries a desperate urgency and struts its voracity. Immediately evident in the opening track “This is Our Perfect Crime” and “The Chancer,” which are tailor made for shout-a-longs. Then there is the more heart (and tear) on sleeve songs with layers of “ooohs” and swooning chorus’ that soften and reveal an appealing vulnerability; such as the indifferent first single “Pale Bride.”

A possible citation for the diversity could be due to singer and guitarist Jason Stollensteimer sharing writing duties for the first time with drummer Don Blum, on four of the twelve tracks, and producer Butch Walker (Hot, Hot, Heat, The Donnas), on two tracks. Also involved is Rich Parker (Black Rebel Motorcycle Club) who produced three of the tracks.

It makes sense then that what makes Love Hate and Then There’s You fun to listen to is the spectrum of tones of indie influence on the album. Ranging from the dive bar, anti-radio call-out of “She’s Dead to Me” to the bright, pop dance vibe of “Accidents Will Happen” to the snappy, a la “Earth Angel,” retro classic “Modern Saints” (“Take my hand/close that door/take my heart away/evermore.”) Therefore we can accept the dichotomy of grit and gloss as harmonious for they simply define the sound of The Von Bondies.

Aaron Simms

http://www.vonbondies.com/