Berlin/Junk Room (Singles) - Dead Sons

Rating 8/10

For the past few months I have been following a very promising new band out of Sheffield which features former Milburn guitarist, Tom Rowley, on guitar and lead vocals. Dead Sons, as the name suggests, are dark in nature, combing elements of psychedelic rock with heavy riffs and driving rhythms. Their newest release is a double A side digital single which can be downloaded for free on their website http://www.deadsons.tv/ .

            “Berlin” reveals Dead Sons’ softer side while still maintaining a spooky kind of aura. Acoustic guitars and a chorus that features a violin, a tambourine, and a particular kind of vocal delivery that seems to suggest a reach for an old English folk kind of sound. There are several times in this song where Rowley seems to be pushing his vocal abilities to the limit, with risk of shattering on words like “calling” and “morning”, but the vocals do not break, and instead provide an aesthetic appeal to the chorus. While “Berlin” is mostly quiet and subdued, it seems as though the band could not sit still for long and so, when they are all done being soft and delicate, they burst into a instrumental disarray that last nearly a third of the overall song length.

“Junk Room” starts with organ inflected carny music which gives quite an eerie impression, until it explodes into a relentless sound that carries the rest of the song. Chugging bass, shrilling organs, and forceful spoken word shape the verses, which ease into a more calmed chorus that builds and builds until forcing you back into the chaos once again. With “Junk Room” Dead Sons are showcasing the opposite side of “Berlin” and proving that heavy music doesn’t have to be about guttural screams or how fast you can play in drop C.

            While this release only features two tracks, it is a clear indication that Dead Sons have a clear idea of what they wish to sound like, and have a knack for producing that sound with great success. Hopefully a full length release is not too far away.

Yours Truly - Sublime with Rome

Rating  7/10

For the last two years Sublime with Rome has been nothing more than a glorified cover band, and now they are finally releasing some original material that seeks to prove new front man Rome Ramirez’s capabilities as a songwriter. Of course bands have replaced lead singers before, but let’s be honest here and admit that Bradley Nowell was Sublime. This isn’t to demean Eric Wilson or Bud Gaugh, or to say that they didn’t have a contributing role in Sublime, but the truth is Sublime died with Nowell and Yours Truly proves it.

Yours Truly begins with the closest thing you will find to classic Sublime on this album, and just so happens to be the lead single “Panic”. The mimicry of this track is actually quite impressive with the classic ska punk horns blaring atop of fast paced guitar upstrokes. Here, and on track “My World”, the rushed style ramblings in the vain of songs like “Same in the End” is where you can really hear the Nowell influence and a haunting resemblance from Ramirez. While Rome struggles to maintain similar vocal stylings with classic Sublime, he is completely on par with capturing the musical vibes throughout by incorporating the expected reggae rock feel while also constructing songs like “Paper Cuts” that builds off a 90’s punk theme that you could swear you heard on Tony Hawk Pro Skater over 12 years ago.

Almost exactly at the halfway point is where the quality of the songs begins to decline. This is where we start to see a departure from the imitation of Nowell and begin to see what Rome Ramirez has to offer in his own voice. Unfortunately, it’s this moment where this album ceases to sound like a Sublime record and much more like Pepper or Slightly Stoopid. Taking on a much more pop oriented feel, tracks “Same Old Situation”, “Take it or Leave it”, and “You Better Listen” might as well be the same song and feature Ramirez crooning lyrically, over troubles with his lady and love in a very standard kind of way. These songs ultimately lack the authentic streetwise insight and relatable storytelling that made Nowell so captivating.

Of course what young musician wouldn’t want to front one of their most influential bands? If these songs were to stand alone as a completely new artist they would be a collection of upbeat fun summer beach songs. Unfortunately, when you build your career on the back of another man’s work everything is comparative. So, do I think these songs will hold the same weight 15 years down the road like “Santeria” or “What I Got”? Absolutely not.

Album Highlights: Panic, Mudera, My World, Paper Cuts

Album Low Points: Take it or Leave it, Spun

Skying - The Horrors

Rating 8/10

Sometimes it’s beneficial for a band to reinvent themselves, and sometimes it’s best to just perfect a developed style; luckily with Skying, The Horrors have done both. These gothed out English hipsters have all but abandoned the gritty punk guitar riffs of their debut, Strange House, and have honed in on the spaced out shoegazing aspects of their previous release, Primary Colors. Skying finds The Horrors combining the elements of retro post punk and gothic rock with contemporary indie stylings, as if The Cure made sweet sweet love to Arcade Fire.

The theme for Skying seems to be layers upon layers of effects. Everything in it is dripping with the thickest effects from reverb, delay, tremolo, phaser, 80’s style synth, and even a point in which a shaker, yes a shaker, is effected. These thick layers often make it seem as though the vocals are dipping and diving in and out of the darkest digital sea. But Faris Badwan’s voice isn’t flailing about, but rather provides steady, soothing strokes in which to navigate the noise. While Skying plants its roots in mellowed out shoegazing, it also hits you with pleasant little pockets of energy as you make your way through. After an extended instrumental intro, fourth track in “Endless Blue” suddenly bursts into a barrage of horn arrangements that make you question whether or not you’ve fallen into a ska album.

            Another appealing facet of Skying is its successful use of dichotomies. In almost every track there is always this sense of tension between different instruments, tones, and arrangements that showcases a harsh but engaging blend of influences. This can be heard most obviously in track “Monica Gems”, where thin crunchy indie guitars are blended with the reverb heavy retro vocal stylings to form the comparison of The Cure and Arcade Fire which I mentioned previously.

Coming in at just under an hour, this ten track album does have a tendency to drag its ass. Part of this can be attributed to the fact that the first three tracks seem to blend endlessly into one another in kind of lazy approach that takes its time in immersing you into the full potential of the album. Also, the longest track on the album, “Moving Further Away”, relies heavily of a similar slow-moving progression that finds itself in needless repetition. However, the pacing is more often than not trumped by the overall quality of the songs themselves; both individually and collectively.  

            Skying is certainly the album that solidifies the attention that The Horrors have received over the years, and certainly proves their worth in this generation of musicians. Not only is Skying an accumulation of The Horrors past works but also an evolution into new territories that shows great growth and maturity from these promising young musicians.

Album Highlights: Endless Blue, Still Life, Oceans Burning

Album Low Points: I Can See Through You

Black Up - Shabazz Palaces

Rating 9/10

Shabazz Palaces is an entity that drapes itself in mystery in order to avoid things like back stories and preconceived notions. However, details like this have a tendency to add to the musical experience so since the information is available, I will present it in the briefest of forms. Ishmael Butler aka Butterfly of Digable Planets is Shabazz Palaces out of the unexpected Seattle. He has inconspicuously released two previous EPs under this name and now a debut LP, Black Up.

The first thing you will notice is this is not your typical hip hop album. Instead, Black Up is unique and experimental hip hop that imitates a nightmarishly dream like state with beats made of the moans of haunted children, moody jazz based in smoky cafes, and sci-fi vocoder vocals and manipulations. One of the wonderful things about this album is that it’s consistently inconsistent while still maintaining a unified whole. Opening track “Press and Curl” shows just how inconsistent these tracks can be by altering beats, tempos, and vocal styles several times throughout the track. After that, the following nine songs follow suit but in their own unique and individual ways. The overall vocal and lyrical approach tends to avoid arrogance and aggression and focuses on a much more relaxed atmosphere and touches on ideas of self awareness, sexuality, and conventional truths.

Black Up is a rare occasion in which I feel as though the album as a whole, is much greater then the individual tracks that make it up. This is because the stream of conscience approach to writing doesn’t follow the typical verse-chorus-verse-chorus and so individually, tracks can come off choppy and jagged, but as a whole they make much more sense.

The biggest beef I have with this album is the production, but I’m conflicted, because I know it plays a significant role in the overall feel as well, which I like. The problem is I can never effectively listen to it in my car without having to adjust the bass every couple of tracks in order for it not to be a completely muddy mess. However, this isn’t an issue at all when listening through headphones, so maybe it was simply designed to be a more personal one-on-one experience.

            An abstract album of this nature is often difficult to conceive, let alone execute so successfully. Undoubtedly, it is unique and a welcome breath of fresh air in this time of recycled lines and cookie cutter beats that find their way atop the charts and blasting through our radio waves.

Album Highlights: Free Press and Curl, Are You Can You Were You (Felt), Endeavors for Never

Album Low Points:

I Love You, Dude - Digitalism

Rating 4/10

Europeans love to dance. Thus we have bands like Daft Punk, Justice, Air, and of course Digitalism. Digitalism is a German electro house duo that has never really stood apart from the genre, but has made somewhat of a name for themselves with a decent debut, a generous amount of rhythmic remixes, and now a new sophomore album.

I Love You, Dude is short, totaling ten tracks alternating between instrumentals and tracks with vocals; both featuring their own sets of strengths and weaknesses. Most of the vocal tracks give the impression that they could have been the pop hits they were intended to be if they hadn’t been delivered by the dull restrained voice of lead vocalist Jens Moelle. Such is the case with the track “Forest Gump” which was co-written by Strokes front man Julian Casablancas; but despite Casablancas’ insight, the vocal delivery sabotages the entire track with their complete lack of any kind of captivation.  The exception to this rule is the track “2 Hearts” which just so happens to be the album’s lead single and the only vocal track to hit its mark as far as a passable hook.

            The instrumental tracks seem to play more to the band’s strengths but with more of a pop sensibility and less of the aggression that we saw in the debut Idealism. Tracks like “Blitz” and “Miami Showdown” deliver the entrancing danceability that will at least give this album some play time in the discotheques.  The overall issue with the instrumentals is their overall repetitive nature and lack of development. Opening track “Stratosphere”, while only clocking in at an even three minutes, seems to go on forever in a static kind of flow without any kind of pull or climax.

Ultimately, this album is just too monotonous, which is surprising considering Digitalism took an extensive four years between albums. With that in mind, I Love You, Dude gives off the impression of an album that was simply over thought during the writing process; struggling to incorporate more variance while still holding onto the core genre.

Album Highlights: 2 Hearts, Blitz, Miami Showdown

Album Low Points: Stratosphere, Circles, Forrest Gump

Every Teardrop is a Waterfall EP – Coldplay

Rating 8/10

Okay, so this is labeled as an EP but its nothing more than a glorified single, featuring only three songs, so I think its best to do this on a track by track basis:

“Every Teardrop is a Waterfall” features thick fuzz like keys that are wrapped in a piercing fast paced lead guitar and finely juxtaposed to an acoustic rhythm. Chris Martin’s vocals provide a steady yet driving motion throughout the song with the expected emotionally engaging lyrics. As the first single off an upcoming album this track makes a great first impression into the direction of the next LP. The worst part about this song is its title.   8

“Major Minus” is more rhythmically based with the hook lying in an acoustic rhythm guitar with the vocals following its progression. The percussion incorporates what sounds like rim hits that give the track a nice texture. While the track is infectious it gives the impression of a b-side and seems like the results of lingering ideas and experimentations from the bands previous album Viva la Vida.                     7

“Moving to Mars” finds Coldplay in a classic territory as slow, delicately moving keys remind you of the Parachute days. This track weighs heavy on the heart strings if for nothing more than the seemingly nostalgic impression that it gives. Sweetly sung vocals in a dream like state make for a wonderful end to this little EP.           9

If Not Now, When? – Incubus

Rating 6/10

Over the past few years I’ve gotten the sense that Incubus has become one of those bands that still makes new music only to have it compared to their climactically good old days. After all, at the turn of the century Incubus had created a trifecta of albums that even today seem unparalleled and inspired. Now with a new album entitled If Not Now, When?, Incubus has completed a new trilogy that has been severely underwhelming in comparison.

Listening to this new album is like grabbing at wet sand; just when you think you’ve got a hold on a groove or a melody it slips wistfully away. While it is immediately apparent that If Not Now, When? is a slower paced album, I do not feel as though it is the source of its shortcomings.  After all, many of Incubus’s most successful moments have been slower laid back songs like “Stellar”, “Wish You Were Here”, “Here in My Room”, and “Oil and Water”. In fact, the songwriting approach is actually the most appealing aspect of this album and it is in the vocals where I lose interest. Front man Brandon Boyd comes off, not as a poor singer, but as an uninspired songwriter.

Three of the best tracks on this album are given upfront; a slow building climactic opener that features unique instrumentation such as timpani, a pop oriented radio single, and a slow moving ballad that will give “Wish You Were Here” a run for its money with the ladies. It’s on the fourth track “Theives” were the album begins to take a dive. Surprisingly, the track starts off with an engaging oriental inspired lick only to be butchered by Boyd’s cringe worthy lyrics “When will I get mine or must I be a God fearing white American”. Such is the case with a majority of the album. While the rest of the tracks don’t suffer as much as “Thieves” they often come off as intangible and static; moving slowly without any captivating moments.

It is doubtful that this new album will bring Incubus any new attention that they didn’t already have. Luckily, I recognized a while ago that Incubus is a band that has already paid their dues and will most likely never write albums the same way again. With this I find myself content in a few phenomenal tracks and simply dismiss the rest.

Album Highlights: If Not Now, When? , Promises, Promises, Friends and Lovers, Adolescents

Album Low Points: Thieves, Switchblade

Gold Cobra - Limp Bizkit

Rating 7/10

As a Jacksonville native, and a teenager at the turn of the century, my early musical tastes were greatly influenced by Limp Bizkit. With that in mind I completely recognize that Limp Bizkit is a polarizing force; you either love them or you hate them. So, if you think Fred Durst is an arrogant prick and everything Limp Bizkit has ever done is garbage then this album is not for you. However, if you’ve been waiting for the past ten years to have something that could blow your face off the way Starfish, Significant Other, and Three Dollar Bill did, then I am pleased to inform you that Limp Bizkit is back.

Following a string of unsuccessful albums and an extended hiatus it finally seems as though Limp Bizkit has realized what side their bread is buttered on. Front man Fred Durst has abandoned the spoken word political candor, which ruined a musically phenomenal EP, and has returned to the classic hip hop rapping with occasional brutal screams. Also, with lyrics like “Waking up aggravated, stupid shit, man I hate it, bitches lying bitches crying”  and “ Everybody jumps from the sound of a shotgun. In my neighborhood everybody got one” it is safe to say that this album isn’t trying to say anything profound.  In fact Durst has completely retracted back to his threatening and careless attitude mixed with teen angst vocal styling’s; which is perfectly acceptable because it’s fun and completely self-aware.

            In a classic Limp Bizkit tradition, Gold Cobra starts with a short pointless intro track. Following that the album really takes off with “Bring it Back”, a track that takes guitar influences from Slayer and features Durst mimicking a Lil Jon type of “What” at the beginning. From there the album really keeps up the momentum with a majority of tracks that showcase guitarist Wes Borland’s chunky metal riffs. There are times where the band slows it down in reverb and delay soaked tracks that seem quite reminiscent of earlier work such as “Boiler”. Musically, most of the hip hop influence is gone as you will not find any tracks resembling “Getcha Groove On” or “N 2 Gether Now”, which seems to be a wise decision for now but one which shouldn’t be completely enforced in future endeavors. After all there is a DJ in the band, which doesn’t get much say in this album, and hip hop was a solid foundation for Limp Bizkit in the past and very well could be again in the future.

While this album isn’t perfect, it is certainly a step back in the right direction. After ten years it is nice to finally have an album the feels like a proper predecessor to Chocolate Starfish.

Album High Points: Bring it Back, Gold Cobra, Shotgun, Walking Away

Album Low Points: Douche Bag, 90.2.10, Killer in You

Bon Iver - Bon Iver

Rating 9/10

A sophomore album for a band that has a successful debut album is often a huge obstacle and a career defying moment. If the album is too similar to the debut album then the artist can be seen as a one trick type of band and fans can become disinterested. If the album departs too much from the original sound a band can be deemed too experimental and drive away fans that were attracted to the original sound. Such was the predicament for the Wisconsin band Bon Iver following their critically acclaimed debut album For Emma, Forever Ago in 2008. Now three years later Bon Iver has released a magnificent self titled album that further solidifies front man Justin Vernon’s ability to write consistently great songs.

Opening track “Perth” has been very appropriately described as a “Civil War-sounding heavy metal song” not necessarily because it is heavy but because it incorporates heavy elements such as rolling snares and double bass over hauntingly repetitive guitars. While the tracks differ amongst one another it is clear less than halfway through that Bon Iver has developed a shadowy type of album; featuring music that has a cold ethereal feel and the signature ghostly falsetto vocals of Justin Vernon, much like For Emma, Forever Ago. However, Bon Iver is certainly not a simple recreation of the first album. Instead the musical styling seems to have greatly matured and built itself off of the solid foundation that was laid in the debut. The songs have a much thicker feel to them, abandoning the raw stripped down sound of the previous album. Instead, Vernon incorporates various instrumentations such as horns, synth, and rhythmic bass and drums, and production elements such as auto tune. The new songs also seem to take inspirations from other artists with resemblances to a darker Dave Matthews on track “Minnesota WI” and even a retro influence that could be compared to artists like Phil Collins on “Beth/Rest”.

One of the appealing aesthetic choices that Vernon included on this album is the songs titles, which mostly feature names of places such as Minnesota WI, Hinnom TX, and Lisbon OH. This makes Bon Iver much more enjoyable for the fact that Vernon also includes visual images in his lyrics, like in the song Holocene “Strayed above the highway aisle jagged vacance, thick with ice, but I could see for miles, miles, miles”. This allows the listener to not only feel the location through the chilling music, but to see it through the lyrics, and to identify it through the title as well. Because Vernon keeps this theme consistent throughout Bon Iver, the album seems to borderline on a concept album which documents Vernon’s travels.

The only let down of this album is the length totaling ten tracks; including one instrumental. However, Vernon makes up for this with the fact that not a second of this album is wasted because there is absolutely no filler. Each track carries its own influences and creates its own atmosphere while still keeping the core Bon Iver sound with each track flowing effortlessly into the next; making this album wonderfully constructed.

            If you are a fan of the debut album then it only takes one listen to reveal that Bon Iver has given us an absolutely beautiful sophomore album. If you are new to this band I can assure you Bon Iver is a must have album for this year that is so easy to fall in love with.

Album High Points: Perth, Minnesota WI, Hinnom TX, Beth/Rest

Album Low Points:

Leisure Seizure – Tom Vek

Rating: 6/10

Taking six years in between albums is a risky move in the music world, especially if it’s only your second record. For a while it seemed as though Tom Vek had pulled a Gregg Alexander; dropping a unique album and then simply disappearing into the great unknown. Luckily, Vek is back with a sophomore album, Leisure Seizure that picks up right where he left off six years ago. If you are familiar with Vek’s We Have Sound you will notice that Leisure Seizure offers a production that comes off much more polished, but the lull off key vocals of Vek are still pretty much intact. If you are unfamiliar with Vek you may just assume you are listening to the newest venture by Beck.

The album opener “Hold Your Hand” starts with a choppy mid tempo electro beat that has a feel reminiscent of Animal Collective and Kenna. The track is slow to build and excessively repetitive leaving an underwhelming first impression. Luckily the second track “Aroused” brings the album into full swing with a much more groove oriented beat and holds that momentum over the next few tracks. It becomes clear about halfway through that Leisure Seizure fluctuates in quality; diving into droning apathy only to pick itself back up into infectious hooks. The biggest factor seems to lie in how tactful Vek is in his lazily delivered vocals. For the amount of songs that work with Vek’s monotone approach there is an equal amount that fall flat. Regardless of the vocals though, most of these songs will have you at least shaking your hips.

The lyrics off this album come off loose and dethatched occasionally saying something engaging such as “What you perceive of life is no more than a chore” off the lead single “A Chore” . But Leisure Seizure doesn’t strike me as an album that trying to say anything profound but merely uses words for their sounds and affects more than their actual meanings.

So are the best songs off this album enough to carry it along? The bottom line is there are phenomenal songs on this album that deserve their rightful dues; it’s just a matter of sifting through the clutter.

Album High Points: Aroused, A Chore, A.P.O.L.O.G.Y., Someone Loves You

Album Low Points: Hold Your Hand, World of Doubt

England Keep My Bones – Frank Turner

Rating 8/10

In 2005 Frank Turner traded in his hardcore band, Million Dead, for an acoustic guitar and a solo career and has been better for it ever since. Now he has released his fourth studio album in four years and England Keep My Bones stands to prove that Frank Turner has matured significantly as a singer songwriter since his debut release.

Upon diving into the album one thing becomes immediately clear; Frank Turner is still a man who sings with conviction. Lyrically, Turner covers a variety of subjects on this album touching on heritage, religion, identity, music, and love. With the opening track “Eulogy” we find Turner in very familiar territory, merely justifying his own existence, as he belts out “Well I haven't always been a perfect person and I haven't done what mom and dad had dreamed but on the day I die I'll say, at least I fucking tried, that's the only eulogy I need”. Even the seemingly awkward lyrics of the album closer “Glory Hallelujah” “There is no God so clap your hands together” are made addictive by Turner’s sing along song approach that will leave these words and melodies etched into your mind for days.

            England Keep My Bones treads on familiar territories musically, sticking with the core acoustic folk punk sound heard in previous albums. However, there are some songs on this album that seem to pull influence from other places. One song that particularly sticks out is lead single “Peggy Sang the Blues” which could easily be mistaken for a top forties pop song from the late nineties. Another pleasant surprise comes from “English Curse” which features an A cappella Turner singing traditional English folklore “If you steal the land of an Englishman then you will know this curse. Your first born son's warm blood will run upon the English earth”.

            Dynamically, England Keep My Bones stays comfortably in the middle without much variance. There are a couple exceptions such as “One Foot Before the Other”, a track that showcases a heavier side to Turner’s song writing ability, and the enchanting “Nights Become Days” a slower ballad of sorts. However, the lack of musical rollercoaster doesn’t seem to hurt the album but provides it with a more consistent and encompassing sound.

By taking a bit more time to write and record, it seems as though Turner has been able to really flourish in his own element, constructing an album where each track holds its own. The release of England Keep My Bones finds Turner moving on from just a cult following to a much more influential role in British music.

Album Highlights: Peggy Sang the Blues, English Curse, One Foot Before the Other, Nights Become Days

Album Low Points:

With Shivering Hearts We Wait – Blindside

Rating 4/10

Blindside began building nationwide popularity with their single “Pitiful” in 2002. This is of course the same year that singles were released by bands such as The Strokes, The Vines, The White Stripes, and Queens of the Stone Age. With this in mind I believe it’s fair to say the Blindside had the times on their side regarding their popularity as mainstream rock music began to pull away from the Nu Metal genre and branch into different sounds. Furthermore, Blindside had Christ on their side, in a sense, as the sub culture of Christian rock music gave new attention to bands such P.O.D. who would ultimately take Blindside under their wing. Now, nearly ten years later, Blindside has released a new album entitled With Shivering Hearts We Wait to a music scene that is quite different then the one they left behind.

After a four year hiatus, Blindside once again teamed up with producer Howard Benson with whom they had worked with on two previous albums; their most commercially successful ones to date. This decision reflects heavily on the sound of the album as the production influences a significant amount of appeal at the core of the songs themselves. This is evident in the opening track “There Must Be Something in the Water”, as the song closes with dramatically orchestrated strings that will only leave a live version of this track sounding empty and lacking. While these tactics are used often and plentiful throughout the album, they tend to just come off as gimmicky like in the closing track “There Must Be Something in the Wind” as the rock song simply fades into a random techno beat and then once again into orchestrated strings to end the album.

Musically the album always seems to be grasping at something more than just the typical post-hardcore licks that Blindside has been known for. This is evident on the track “My Heart Escapes” with bouncy verses that feature guitars that sound heavily influenced by a post-punk sound. However, the potential of something more musically developed always fades as the songs progress. Vocally and lyrically is where the album seems to be lacking the most. For the most part the vocals are simply static, producing a style that seems expected, but there are a few tracks in which the lyrics are just too corny. “Monster on the Radio” seems to be the bands attempt to actually create another radio single with an ironic line “I’ll give everything I have and more to be a monster on the radio” and then there’s the track “Bloodstained Hollywood Ending” which features a cliché chorus of “I crossed my heart and hoped to die”.

There is a point on the album where everything seems to fall into place showcasing Blindside’s ability to write great songs “Our Love Saves Us” is where the potential really manifests itself and you can see what Blindside was trying to accomplish with this album by utilizing synth effects to create an airier atmosphere and emotionally engaging vocals that move the listener.

The overall impression of With Shivering Hearts We Wait is a post-hardcore album that has simply been repackaged with a less appealing turn around. Ultimately, Blindside has created an album that isn’t terrible but is easily forgettable.

Album Highlights: Our Love Saves Us, There Must Be Something in the Wind

Album Low Points: Monster on the Radio, Bloodstained Hollywood Ending

Suck It and See – Arctic Monkeys

Rating 8/10

It is nearly impossible to go into a new Arctic Monkeys album without expectations, but at the same time it is difficult to know what to expect. Fortunately, it doesn’t seem as though the Monkeys are interested in making the same album twice. This is not to say that any of the previous albums were lacking, but the Monkeys had begun to build a reputation for moving into seemingly darker territories with each new release. This left fans wondering if the band would dive into murkier waters after the release of their third album Humbug. In fact, Suck It and See provides a wonderful juxtaposition to the dark psychedelic sound of Humbug with songs that are refreshing, breezy, and light-hearted.

The album begins with opening track “She’s Thunderstorms”; a dreamy mellow pop song that sets the tone for the majority of the album. As the album progresses it becomes clear that the album not only carries a much more mellow tone than previous albums, but a distinct vintage tone as well. This is illustrated in the third track “Brick by Brick”, who’s foundation is built on crunchy California rock guitars that sound as if they’re straight from the 60’s. This change in style seems to be at least partially influenced by the fact that the Arctic Monkeys recorded the album entirely in Los Angeles.

Of course one of the most signature attributes of any Monkey’s album is the exceedingly clever and poetic lyrics by front man Alex Turner. Turner fails to disappoint on Suck It and See with some romanticized storytelling and great one liners such as, “I took the batteries out my mysticism and put them in my thinking cap”, “I’ve tried to ask you this in some daydreams that I’ve had but you’re always busy being make believe”, and “that’s not a skirt girl that’s a sawn off shotgun and I can only hope you’ve got it aimed at me”.

The most difficult thing to swallow about Suck It and See is the pacing, which is due largely to the arrangement of the songs. It’s not as though the album lacks punch, with songs like “All My Own Stunts” and “Library Pictures” adding in the fast paced gritty rock sounds the band developed during their ventures in Humbug and Favourite Worst Nightmare. Rather the issue lies in the fact that the last half of the album tends to blur into a single love crooning ballad. Unfortunately, each one of these songs, on their own, stand out as some of the albums strongest and more memorable songs. Even the seemingly recycled “Piledriver Waltz”, a song that was released on Turner’s solo EP just three months ago, meshes will with overall vintage sound of the album. However, the album’s closer, “That’s Where Your Wrong”, is certainly worth the wait as wispy guitars and alluring vocals build into a signature climactically closing track that wraps up the album nicely.

Despite this minor setback of a seemingly unbalanced album, Suck It and See is certainly one of the year’s biggest highlights in music and is most certainly a wonderful addition to the Arctic Monkey’s already impressive portfolio. With an appropriate summer release, Suck It and See will be the perfect soundtrack to a tall glass of lemonade, a convertible cruise amidst a setting sun, and a starry-eyed summer romance.

Album Highlights: Black Treacle, The Hellcat Spangled Shalalala, All My Own Stunts, That’s Where Your Wrong

Album Low Points: Piledriver Waltz