Music Review: September 2007

Most music reviews concentrate on what's new or popular, and while I might get into a little of each, my main purpose here is to review the albums I purchased the previous month. That's right, the previous month. (I need time for them to sink in, don't I?) So, in the September edition, published at the beginning of November, I will review - in alphabetical order by artist - the albums I bought in September, be they ten years or ten months old.

Before I begin, I should also say something about my rating system:

• * - I hate it.
• ** - I don't like it.
• *** - It's ok.
• **** - I like it.
• ***** - I love it.
• *F*L*I*P* - As in, "Flipping-flip-flip, this is one of the best albums of all time." (Yes, I realize this designation is annoying, but I doubt I'll be using it much.)

Also, while I usually have a good grip of an album after a month, it's possible my opinions could change over time. Be sure to check the comments if it's been a while since I posted the review and you feel an inkling to rip into me. Oh, and I'll probably throw some fractions in there (e.g., ***.5).

Lastly, my music taste is solidly in the rock genre - be it alternative, metal, punk, indie, grunge, hardcore, emo, etc. If you're looking for rap, country, easy listenings, or the like, I might be able to give you some suggestions of albums that border those ... uh ... lesser genres, but you should look elsewhere for full review coverage.

Now, on with the show:

Clutch - From Beale Street to Oblivion

Band site: Pro-Rock.com
Date of release: 2007
Genre: Heavy Metal, Alternative Metal
Outstanding tracks: N/A
Rating: ***

I had high hopes for this band, as it came recommended by LordDilly and had provoked reviews elsewhere drawing comparisons to Soundgarden - but I was disappointed. (Sorry, Dilly.) Chalk it up to chosing the wrong album to use as an introduction to the band, or perhaps to the nuances of my personal taste, if you like, but the album seemed too much in the prog-rock camp for my tastes. The album does have it's good points, reminding me of Corrosion of Conformity or Faith No More at times, and successfully pulling off their own thing at others. But, for some reason, Cluth is unable to stretch these into a complete album.

It's difficult to put my finger on the problem. I just fint many of the songs ... well, boring. (And in some cases, even annoying. The "Vaminos, vaminos" part of Electric Worry really irks me for some reason.) I had a similar experience with my foray into Ben Harper albums. Like Cluth, Harper's "sound" was appealling, but it felt as if it was stretched thin over an entire album.

In the end, the handful of promising tracks (e.g., You Can't Stop Progress, The Devil and Me, White's Ferry, and One Eye Dollar) aren't enough to pull Clutch into the 4-star range. I really want to give high scores to songs with names like When Vegans Attack and catchy chorus-beginnings like Mr. Shiny Cadillacness, but I can't fake it. I'm an Eagle Scout.

Crime In Stereo - The Troubled Stateside

Band site: CrimeInStereo.com
Date of release: 2006
Genre: Punk Revival, Hardcore Punk
Outstanding tracks: 1 - Everything Changes / Nothing Is Ever Truly Lost, 7 - Gravity/Grace
Rating: ****

I think a search on AMG for recent, high-rated punk albums turned me on to Crime In Stereo, and I'm really glad it did. This is a great hardcore punk / emo album - like Fugazi with just enough of the Get Up Kids to bring out the best of both genres. Recommended - and their 2007 release Is Dead is on my short list.

Dropkick Murphys - The Meanest of Times

Band site: DropkickMurphys.com
Date of release: 2007
Genre: Punk Revival, Celtic Rock
Outstanding tracks: 3 - The State of Massachussetts, 4- Tomorrow's Industry, 7- Surrender, 8 - Flannigans Ball, 14 - Johnny, I Hardly Knew Ya
Rating: *****

I've enjoyed Dropkick Murphys for a few years now, but thought they might have peaked out with Blackout. The 2003 release marked a significant improvement from previous efforts, but the momentum didn't continue on 2005's The Warrior's Code. Fortunately, The Meanest of Times picks up where Blackout left off. Scratch that, I think it's better than Blackout. (You heard me.) Both are solid from front to back, but Meanest feels as if Dropkick Murphys have found their essential sound. After four good but slightly unrefined (and not in the good way) albums, and one excellent attempt to stretch their limits (but still making an obvious effort to brandish their Celtic roots), DM has arrived confident, talented, mature, engergetic, and yes - very much Celtic.

Be careful with this one. You just might not be able to put it down.

Gamits, The - Antidote

Band site: Gamits.com
Date of release: 2004
Genre: Punk Revival, Punk-Pop, Emo
Outstanding tracks: 1 - Dotted Lines, 3 - Curious Vanessa Black, 7 - Born and Raised Afraid, 9 - Not Yet Rated
Rating: ****.5

Antidote was my first exposure to The Gamits, but there was something familiar to it at times. It wasn't until listening to the final track, Bridges, that it hit me: They sound just like Jets to Brazil! Not all the time, of course, but the similarity is there - and it's not a bad thing to emulate anything emo all-star Blake Schwarzenbach does. Ironically, though, after hearing Antidote, if Jets and The Gamits scheduled a throw down, I'd put my money on the latter.

While I'm making band comparisons, there's a little Weezer in there, too. I'm not willing to put The Gamits in the same category with that superpower, but they could be well on their way with a few more efforts like Antidote.

Kevin Devine - Make the Clocks Move

Band site: KevinDevine.net
Date of release: 2003
Genre: Singer/Songwriter, Indie Rock, Emo
Outstanding tracks: N/A
Rating: ***.5

This singer/songwriter drew my attention by being labeled as "Bright Eyes crossed with Dashboard Confessional by way of Elliott Smith." Sadly, while I can see elements of all three artists in Make the Clocks Move, it doesn't have the ElliottSmith + BrightEyes + Dashboard awesomeness for which I hoped. (Rather, it's more like ElliotSmith/3 + BrightEyes/3 + Dashboard/5.) The slower songs resemble Smith at times, albeit without the rampant minor keys. The faster songs do have a Bright Eyes element, and it's on these (e.g., People Are So Fickle) that Devine sounds his best. As for Dashboard, the only similarity I can find (at least with some Dashboard stuff) is a prominent acoustic guitar.

That being said, Clocks still a decent album. It doesn't have the distinctive style of the indie rock essentials, or the utter catchiness of the pop sensation, but the quality songs and the originality of Devine's voice might be enough for me to eventually pick up the 2006 release Put Your Ghost to Rest.

Motion City Soundtrack - Even If It Kills Me

Band site: MotionCitySoundtrack.com
Date of release: 2007
Genre: Punk-Pop, Punk Revival
Outstanding tracks: N/A
Rating: ***.5

I sought out Motion City Soundtrack last year looking for another Fall Out Boy or Plain White T's (i.e., outstanding punk-pop). Sadly, their 2005 release Commit This to Memory was, well, less than memorable. Yes, there were some hooks, but they wore on me - as did Justin Pierre's persistently meandering vocals.

After reading some optimistic reviews of Even If It Kills Me, I decided to give MCS another go. The result was a rollercoaster ride between promising and sub-par - sometimes within the same song. (Reference the troublesome verses and rousing choruses on It Had to Be You.) The result is a decent record, but once again not the all-around stellar punk-pop for which I'd hoped. Maybe each MCS next album will take a step in the same direction and by 2011 we'll have something truly great.

Pinback - Autumn of the Seraphs

Band site: Pinback.com
Date of release: 2007
Genre: Indie Rock, Indie Pop
Outstanding tracks: 1 - From Nothing to Nowhere
Rating: ****

Pinback caught my eye a few months ago by drawing comparisons to bands such as Death Cab, Built to Spill, Modest Mouse, and Beulah. I immediately downloaded Summer in Abaddon and thoroughly enjoyed it. I didn't notice many similarities to the aforementioned bands (I guess if any indie rock band uses programmed drums they are going to be compared to Death Cab now, huh?), but the album moved me. Pinback has another solid release in Autumn of the Seraphs, but with a steadier, less emotional tone. The songs are of similar quality, but the style is more calculated.

If you're new to the band, I suggest picking up Summer first. If you're already a fan, don't hesitate to add Autumn to your collection, but expect something a little different. Different how? Well, as this seems to be the review of band comparisons, how about ... more Mogwai (which doesn't necessarily mean less vocals), less Promise Ring.

Silverchair - Young Modern

Band site: ChairPage.com
Date of release: 2007
Genre: Alternative Pop/Rock, Aussie Rock, Post-Grunge
Outstanding tracks: 8 - Mind Reader
Rating: ****

Each Silverchair album seems to take the band in a different direction - subtly on Freak Show and Neon Ballroom, but poignantly on Diorama. Their latest record marks yet another sharp change in direction - and suprisingly, some long-time Silverchair fans (including one particular O-Nerd) who have welcomed the previous style shifts now seem ready to abandon the band.

It feels odd saying it (especially when I remember blasting Israel's Son over and over my junior year of high school), but the biggest impression I get of YM is of the Ryan Adams kind. There isn't the same country influence, of course, but Silverchair has been around the block - two or three times, in fact - and they've shaken off of all boundaries and conventions. They've already established their permanent stardom (well, at least in Australia), yet they're hanging around for the best reason: They enjoy making music.

Personally, I think this could be Silverchair's deepest album yet. Even after a good number of listens - each raising the album's stock in my book - I feel as if there is a lot left for me to get out of Young Modern. And, in the end, that's almost as good a criteria of a quality album as any.