Weezer - Everything Will Be Alright In The End

Weezer - Everything Will Be Alright In The End

Ah, Weezer. Certainly the sound of my youth; in fact the sound of my leaving teenage dreams and entering my twenties. 'The Blue Album' was a delight; a Pixies tribute in new clothes, bursting with equal measures of innocence and optimism. 'Pinkerton' followed and was, of course, panned for being stark and depressing. The sad realisation that rock and roll dreams do not measure up to reality. It was still a great album though, if flawed. 3rd release, 'The Green Album', was a minor return to form, if still a little cynical. What followed after that was patchy at best and horrible at worst ('Raditude'!?). Rivers Cuomo had become tired of his whimsy, and his innocence was long gone. All that was left was a collection of tired, and cliché, shadows of former glory. And, because of this, I tuned out.

I can't say what attracted me to listen intently to this new album (well, new to me; it was released in 2014); perhaps it was an effective marketing campaign. Perhaps subconsciously I was aware of the pre-release buzz; the hype of it being a 'return to form'. God, I hate that term. Anyway, it still took me some time to get around to giving it my attention. And, I'm so very glad I did. Sure, 'Back to the Shack' was in danger of being a little too self-aware for my liking, but the message is clear; Rivers realised he is at his best when singing about himself, and his experiences, with equal part humour and pathos. So too, musically, Weezer are most effective when the power chords are distilled Summer, and the solos are straight out of Ace Frehley's soul. That's not to say that Weezer are sticking to formula on this one; there are some surprises in the form of guest appearances, and a decidedly juicy heavy metal riff in 'Cleopatra' (as well as that song's chorus shift between 4/4 and 5/4). No, this is Weezer acknowledging their past by allowing it to shape their future. It's good to hear.

Anathema - distant satellites

Anathema - distant satellites

Anathema's come-back (I use the term loosely; they never really split) in 2008 has culminated in a mixed bag of recordings. Since signing to KScope they have released the great ('Hindsight' and 'We're Here Because We're Here') and the confounding ('Falling Deeper' and 'Weather Systems'). Now, don't get me wrong, even their 'confouding' releases have had some glorious moments; 'The Beginning And The End' being among the band's greatest compositions. It's just that 'Weather Systems' in particular felt like a collection of mini concepts without a unifying centre. Alarm bells rang when the track-listing for 'distant satellites' was released; really, a 3-part song? Thankfully, the band are in no danger of repeating themselves, despite the opening one-two of 'The Lost Song' feeling remarkably like 'Untouchable' from 'Weather Systems. However, my biggest fear for this album was the whispers of the use of electronics. I love electronic music, but Anathema used it to such poor effect on 'Weather Systems' (on the track 'The Storm Before The Calm'), that I was truly worried the band were about to unleash their 'Metal Machine Music'. No such worries; the electronics are subtle and beautifully orchestrated. In their own words, this is their 'Kid A' after the multi-layering and orchestration of their 'OK Computer'. It's an apt analogy.

It was tempting to review this album as soon as it hit the shelves, but I wanted to spend time with it. I'm glad I did, as the subtleties do take time and repeated listening to sink in; as all great music should. As touched upon earlier, the greatest moments are reserved for the experimentation. The title track is a wonderful melding of the emotional core of Anathema, with the electronic music so beloved by Vincent and John. In fact, it's a blessing to hear John get his mojo back after the aforementioned 'The Storm Before The Calm'. I wonder if John will ever record a solo album... I digress. If there is a negative to 'distant satellites', it's that feeling of "where to go from here?" I sincerely hope that Anathema run with the new sense of purpose they will undoubtedly have been given by the freedom to branch out without fear. If they can harness the power of electronic music, whilst retaining the emotional guitar work, I feel the next chapter of Anathema may well be their best.

2013 Top Ten Albums

Before the list proper, a little preamble. I love lists. I appreciate too that what I deem to be the best albums of 2013 will not likely resonate entirely, or at all, with your own. These are my choices, and I make them because these albums have in some way shone like beacons in a veritable ocean of releases throughout the year. Some were instantly destined for selection, while others had to persevere to make an impression. Regardless, those that made it here did so by two qualities; repeatable listening and superior song-writing/performance. What I won't do is arbitrarily put these into an order of greatness. Instead they are presented alphabetically. So, to the nitty-gritty...

1. Deafheaven - Sunbather
Taking the dream-pop vibe of Alcest and melding it with the transcendent post-black metal styling of Liturgy, Deafheaven take epic post-blackened something-or-other into sun-inflected realms that pasty-faced Kvltists can only stare at blinking. The vocals are almost moot as the music takes the listener to peaceful sandy beaches via the frosty landscape of black metal's past. What is truly astonishing is that it is both background music and a complex tapestry of audio storytelling.

  

2. Kvelertak - Meir
Pure rock and roll. Actually, scratch that. This is the essence of rock and roll squeezed through an extreme metal filter, through slightly fucked-up speakers. With that in mind, it's safe to say that if you like the thought of Hoest 'singing' his way through the Hellacopters back catalogue, then this will be right up your alley. However, to one-dimensionalise the album in this way is to do it an injustice. 'Meir' is an exercise in brilliant song-writing; melodies coarse through the circulatory system despite the abrasive nature of the vocals. But, it's the harmonised backing vocals that ensure the juxtaposition of Erlend Hjelvik's screaming doesn't seem too out of place with the music. Not that the guitars don't pack a punch of course; there's plenty of tremolo picking for the speed freaks out there.

3. Leafblade - The Kiss Of Spirit And Flesh
Okay, time to put my cards on the table with this one. I am friends with the band, and have had the pleasure of supporting them twice on stage. Hopefully, you'll put aside such close association when I say that this was one of, if not the, most played album in our house (and car) this year. Danny Cavanagh has his stamp on this album (something he was keen to point out to me when I reviewed the album proper earlier in the year). But, it is Sean Jude's song-writing, coupled with Mr Cavanagh's production that elevates. Some have labelled this as progressive rock - a fair assessment - perhaps in part due to its home on K-Scope. However, Leafblade are bards and, should such genre-labelling appeal, this is progressive-Celtic-medievel. With a hint of rock. The lyrics are poetry, and the music both lilting and powerful.

4. Nine Inch Nails - Hesitation Marks

Recorded in secret and released to much fanfare, it's fair to say that 'Hesitation Marks' was going to come under close scrutiny. Nine Inch nails will always be measured against the yardstick that was 'The Downward Spiral', and here they meld the song-writing skill of that album with the pop joy that was 'Pretty Hate Machine'. However, this is no return to roots, or nostalgia trip that is implied by such a statement. This is Trent Reznor, recuperated from a break, taking his baby into the future. The only thing that slightly suffers is the strangled mix; at least the version I heard (there is an 'audiophile' version out there). That aside, this is as complete a work as the aforementioned albums, without the baggage that seemed to kill the mood on 'The Fragile'.

5. The Polyphonic Spree - Yes, It's True

I really did lose track of The Polyphonic Spree after their sophomore album; the novelty had kinda worn off. However, I was made aware of this, their crowd-funded album, which promised the same sunshine flavour of rock, but with more focus on traditional song structures. If their early albums were Tim DeLaughter finding his feet after the collapse of Tripping Daisy, this is his St. Pepper; the peak of his creativity and confidence. I'm not usually one to fall for music with a total sunshine aesthetic, but there is a beauty to this that is infectious; a true soundtrack to summer.

6. Sigur Ros - Kveikur

I've always admired Sigur Ros, but appreciably from afar. 'Hoppipolla' aside, I've not been able to recall a single motif from any of their earlier work. Not that there's anything wrong with their music, but it always passed by in the background; lovely sonics, but no real hooks. Kveikur changed that somehow by marrying an almost industrial approach to song-writing, bolstered by an undercurrent of hope. Critics deemed this a return to roots (a lazy term for Sigur Ros) and a difficult, dark, listen. It is none of those things. It is triumphant, optimistic, and grand (if a little non-commercial). It's fair to say that this has been the album I've listened to most this year.

7. Sting - The Last Ship

Continuing the folky themes of last album-proper 'If On A Winter's Night', Sting cements his latter years in mature(ish) reminisces; this time a semi-fictional tale of the end of the Tyneside ship building era. Some may scoff at the supposed over-enunciation of his Newcastle accent, but it's appropriate for the setting, and the supporting cast of natives; including a friend of mine, Mr Mike Wilson. And while the subject matter is of obvious importance to Sting, it isn't necessary to understand the emotional part of the story. And, without being overly-sentimental, there is a raft of emotion coursing through its veins. And humour; most notably on 'What Have We Got' - the most obvious show-tune song on the standard version of the album. Brian Johnson lends a hilarious turn on 'Tartan Paint...' on the special edition. And, yes, it's all a precursor to a Broadway show. So, nothing like The Police. Which is a good thing.

8. Suede - Bloodsports

This should have not been so good. It's fair to say that Suede had a wonderful 1-2-3 run of albums through the nineties. From album number four, they just ran out of steam. And good ideas. Yet, here we are in a different musical time, and they still sound vital and full of energy. No, they're not going to re-capture those glory days, and it would be foolish to think they could. But, for a band that has reached elder-statesman status, they show a youthfulness that is both unexpected and thrilling. It's undeniably 'Suede' in sound and song-writing; those dirty glamour guitar licks can only be their work. Nostalgia is sounding lovely.

9. Thrawsunblat - Wanderer On The Continent Of Saplings

If you're wondering what the hell that title means, be aware that this is a concept album. Loosely speaking. The album deals with loss; be it of close friends/family, identity, or of the environment. If anything, it is the songs that deal with personal loss that resonate most; band-leader Joel Violette was a member of Woods Of Ypres up until David Gold's untimely demise. Musically we're predominantly in extreme metal territory. However, Thrawsunblat mix it up with nods to folk music (a common extreme metal bedfellow), progressive rock, and even ragtime piano. Vocally, Joel mixes a dual-octave growl/rasp with some lovely clean singing. If you like your metal to be intelligent, thought-provoking, and diverse, you will be served well by this excellent album.

10. Vista Chino - Peace

Kyuss by any other name (Josh Homme is probably going to sue me now). In fact, given the popularity of QOTSA and Josh Homme in general, you'd be forgiven for thinking that his absence here would be a severe detriment to the quality of the album. Far from it, and it's telling that QOTSA's latest work is missing from this list. If anything, for me, Kyuss was always about the rhythm section and John Garcia's drawl. Perhaps that is why the guitars on early albums were fed through bass amps. Regardless, Vista Chino severs the ties with past, but drags the corpse of the nineties stoner scene into the modern era. By doing absolutely nothing different. The stoner genre was already twenty years behind the times when it gained popularity, so it's never going to sound dated. If that makes sense. Anyway, 'Peace' blasts through waves of bass-heavy, solo-frenzied, psychedelic, fuzz-rock - free of agenda, save for one of chilling out - in a haze of foggy glory. Yeah, the production blows, but then that's as it should be. This is music for driving down desert roads with the top down. Or, for us less fortunate Brits, it is music to swallow the soul and drift you away on a cloud of care-free whimsy. Essential.

So, that's my brief round-up of my favourite albums of 2013. I hope you enjoyed reading it, and I hope 2014 provides us with even more quality music.

Sigur Rós - Kveikur

Sigur Rós - Kveikur

It would have been tempting for Sigur Rós to have capitalised on 'Hoppípolla' back in 2005/2006, having had it blast into the stratosphere thanks to some uninspiring usage from the likes of the BBC et al. Thankfully, Sigur Rós had the good sense to keep on moving in directions that were as confusing as they were interesting. And, while it's fair to argue that some of those pieces of music that followed have been a touch hit and miss, it's also perhaps missing the point to say that 'Kveikur' is a return-to-form. This, it would seem, is to suggest that Sigur Rós lost their way, and have returned to former glories. However, Sigur Rós have never really had a form to return to; 'Takk' is possibly their commercial highpoint, but it's a shining diamond in a bag full of creative rare stones. One can be assured that Sigur Rós have never been shy of 'creating'.

Last album, 'Valtari', was something of an enigma for a lot of folk; a welcome break from the perceived simplicity of 'Með suð í eyrum við spilum endalaust'. It was, though, something of a curious cul-de-sac; "where to go from there?" Well, as it happens, the place to be right now is in dark(ish) territory. They've not exactly shunned the brightness of their former selves (although, let's be honest, most things pre-'Takk' were sometimes a little cold), but there is a new sense of tormented wailing; a little smoke in their souls. Opener 'Brennisteinn' sets the mood for the entire album; distorted throbbing bass lines, Jonsi's soothing vocalisation, sparse drum patterns, subtle orchestration. It's classic Sigur Rós. Albeit fed through knackered speakers. Elsewhere, the mood is mostly subdued yet anthemic, akin to Radiohead's turn-of-the-century output (before they went weird for the sake of it and disappeared up their own arses). This is probably most keenly heard on 'Yfirborð', complete with lo-fi vocal effects and beats. Such down-beat sonics could become tiresome, so it's with relief that 'Stormur' ups the tempo and the feel to something closer to positivity. Sweetness abounds elsewhere in the decidedly 'Icelandic Joy Division-alike' sounds of 'Rafstraumur'.

All in all, this is an album to be embraced and enjoyed in a number of sessions; don't make your mind up prior to or on your first listen. That would serve this work an injustice. Forget what you think about Sigur Rós' past, what you believe is their high-point, and allow the ambience to take hold instead. You may find that this is your new favourite Sigur Rós album. Either way, it stands as a testament to the progressive nature of these musicians that we will always be surprised by their albums - mostly pleasantly - and in these days of predictability being the new selling-point, that can only be applauded.

Score: 9/10

Leafblade - The Kiss Of Spirit And Flesh

Leafblade - The Kiss Of Spirit And Flesh

It's been quite some time since Leafblade released their debut album (not counting the compilation 'To The Moonlight') - seven years in fact - which has built up some heavy anticipation for this, their sophomore effort. Casual fans will no doubt be alerted to the fact that Danny Cavanagh and Daniel Cardoso of Anathema fame appear on this CD. However, this is Sean Jude's baby and, along with Kevin Murphy (both ex-Valle Crusis), they are the true heart of this band. That's not to diminish the two Daniels in any way; their playing is subtle and appropriate and, along with the music itself, a thing of beauty.

I've had the pleasure of seeing Leafblade on a few occasions now (always as the duo of Sean and Kevin), and it was exciting to hear a couple of songs I'm used to hearing stripped-back live given the full band treatment. The essence of each song is the same - bolstered by Sean's poetic view to lyricism - but dynamically they are different creatures. Daniel Cavanagh's production skills really are taking shape, and he has become quite adept at allowing the music to breathe; the essential ebbs and flows. One thing that should be noted, since the release of 'Beyond, Beyond' back in 2006, is how the songs have developed from mostly, admittedly haunting, Celtic-folk to a combination of that style blended with rock bombast and dynamism. Some may see this as a return to the roots of Valle Crusis, but the tone and feel is far less foreboding, and far more uplifting than that. While billed as a progressive album, it may be tempting to mistake that for aping the classics of the seventies. And, while this does share the same love of vocal harmonies, swelling guitar melodies, and a sense that there is a greater thematic link (bordering on concept), this is progressive in the sense that it is quietly pushing modern song-writing into otherwise undiscovered waters. K-Scope too should be applauded for continuing to support forward-thinking musicians, striving to challenge listeners' perceptions; breaking down barriers between disparate musical genres. It's a truly exciting time to be a music fan, and Leafblade have joined the very best bands (Anathema, North Atlantic Oscillation, Ulver et al) in giving us music that will transcend age; becoming timeless.

Score - 9/10

Thrawsunblat - Wanderer on the Continent of Saplings

Thrawsunblat - Wanderer on the Continent of Saplings

Thrawsunblat, a self-proclaimed 'Atlantic-Canadian' band, released a very memorable debut album in 2010 called, rather helpfully, 'Canada 2010'. I won't go too much into that release here, as it will be reviewed, retrospectively, on this site soon. However, it was noticeable, songs aside, for featuring David Gold on drums. In fact Joel Violette, who's the project mastermind here, became a full-time member of Woods of Ypres. Sadly, David Gold passed away in late-2011, effectively ending Woods. Such tragic circumstances resulted in Thrawsunblat coming back to the fore with the announcement of their sophomore offering, which we have for review here; 'Wanderer on the Continent of Saplings'. Rae Amitay, another ex-Woods member, takes the drum stool; and does a fine job of weaving blasts to traditional metal beats, to folksier rhythms. And it is the blending of these styles that makes 'Wanderer...' a fascinating listen. In fact two songs in particular rely solely on shanty/folk styling; 'Goose River (Mourners' March)' and 'Maritime Shores'. While they are unlikely to get a spot at the Cambridge Folk Festival any time soon, Joel does a neat maritime-drawl, which should gain sage-like nods from bearded pipe-smokers the world over. However, I digress; this is a metal album at its core, and is cast in the die of progressive post-black metal (for you genre fans). Vocally it's satisfying to hear an even mix of growling rasps and clean singing outside of the usual metalcore setting. Lyrically, there is a loose concept embraced throughout the album concerning, to my ears, our personal identity in the world; the heartache of coping with death; and the reflections on nature and our removal from a way of life conjoined with it. Perhaps I'm way off though. Musically, the guitar playing too is nicely executed. Imaginative and layered in its rhythms, there are plenty of tasteful harmonies too snaking through each composition. The production is beautifully crisp, and a fine job has been made of the mastering (something I was worried about, having seen a screen-shot of the wav files recently). Happily, there are no clips or distortions through my headphones, which is a mean feat these days. Despite the black metal DNA running through their veins though, it's never apparent that you're listening to a black metal album. It's certainly extreme in places, and there are tremolo-picked passages that evoke a blackened feel, but the majority of the time is spent in the company of melodic brutality. Thrawsunblat should be applauded for not falling foul of the troublesome second-album syndrome.

Score: 8.5/10