Does anyone remember what happened to Long-View (originally longview)? I was all about this band in 2003. The import CD of mercury had this fantastic verve like song called "This Is". Sadly, the 2004 American release of Mercury lacked this track. Does anyone know what happened to them? They were really good. Below are some tracks from Mercury. I love "When You Sleep" especially the lyrics You don't know what you do to me (only when you sleep/ You don't know what you do to me (only when you sleep)/ Couldn't stop if I made you see....
Sunday, January 27, 2008
Friday, January 25, 2008
Mining MySpace - El Padre
I guess I'm in a Glasgow kick lately thanks to Sons and Daughters. Anyway, I ran across El Padre, a trio of "nu raved-up teenagers playing clever indie from two guitars and a laptop."
They could use a little studio time to refine their sound - some of the laptop blips seem out of joint with the guitar and vocals - but I think they are worth a listen.
Think Tokyo Police Club with a electronic brough.
MySpace Songs
1. Thinking of Your Health
2. Lucky Streak
3. Monsters In Blue
[Shout out to Kirsty 
whose Last.fm and MySpace pointed me to El Padre.]
Tuesday, January 22, 2008
The Libertine's Top 18 Albums of 2007
Its that time of the year again. Time for my year end top albums list. 2007 was such a great year for music that this is a supersized edition. I couldn't just pick 10 albums, so this list will be my favorite 18 albums of 2007.
A couple of groundrules. Firstly, these are my favorite 18 albums of 2007, not the best 18 albums of 2007. Although there is some overlap, the lists are not the same. For instance, Battles "Mirrored" album is one of the best 18 albums of 2007, but it is not one of my favorite 18 albums. Converesely, Travis' album "The Boy With No Name" is not one of the best 18 albums of 2007, but it is one of my favorite 18 albums of 2007. Secondly, there may or may not be albums on this last that actually came out in 2006. They will be included in my 2007 list if I did not hear about them until 2007. This is my +1 year rule. Consequently, albums released prior to 2006 will not qualify for the +1 year rule.
18. Kings of Leon: Because of the Times
An incredible live band. I was worried that the singer wouldn't sound like the album, but he was able to hit all the straining notes. Because of the Times is a vast improvement over their previous albums, pulling together all of their Jack Daniels southern rock tinged music into an indie rock gem. Fans is an anthem that I wish I had in my high school years. Other standout tracks include Ragoo, Charmer, and the dark heart of Because of the Times, Knocked Up.
17. Youth Group: Casino Twilight Dogs
Alot of critics slept on this band's latest album and preferred 2005's Skeleton Jar. I'm not really sure why, Casino Twilight Dogs shows the bands matured sound and wider platitudes of arrangements. The album is a kaleidoscope of brit pop and 90s era alternative. See Start Today Tomorrow which sounds like a cross between Radiohead's between High and Dry and David Gray's Babylon. The best track off the album was their lead single, Sorry, which carries the sarcastic refrain "I'm so sorry, I'm so sorry, I'm so terribly, terribly sorry" to an ex-girlfriend who still hasn't found happiness with her new lover.
16. Travis: The Boy With No Name
A return to form after their previous disappointing 12 Memories where Travis tried to do be something they're not--a rock band with a bluesy overtone. Can we all just pretend that album never happened? This is pure brit-pop heaven reminiscent of the heights they reached with their debut album with songs like Turn and Why Does it Always Rain on Me? If there's one problem with this band is that the songs tend to carry on too long. The album would be much benefited if each song ended 30 seconds earlier. Can we make a rule that Travis can't make a song longer than 3 minutes? What would be the downside to this?
15. Menomena: Friend and Foe
Not quite as good as their first album, I AM THE FUN BLAME MONSTER (an anagram for the "The First Menomena Album), Friend and Foe is alternatingly epic and frustrating. Frustrating in that some of the songs never seem to get off the ground (see Running) and epic in the sense that some songs are so fucking original that you can't even compare them to any other band (see Wet and Rusting and Weird). An unbelievable live band. I couldn't believe the band only had 3 members, each rotating instruments and vocals. People characterize the Shins as alternative music or true indie music. These people are idiots. Menomena are probably the most original band operating in the indie rock spectrum right now.
14. Forget Cassettes: Salt
An album full of contrast. On the one hand you have a female lead singer with a delicate voice reminiscent of Portishead, and on the other hand you have a thrashing, violent instrumentation in the vein of In Utero Nirvana. This is a surprising inclusion into my top 18 list because I'm not really a big fan of heavy stuff, but the album is just too beautiful in juxtaposing its beauty with its brawn. I couldn't deny this album its rightful place in my top 18.
13. Stars: In Our Bedroom After the War
Every indie rock kid I knew hyped up 2005's Set Yourself on Fire as if it were 2001's Is This It. I hate to break it to these scenesters, but Set Yourself on Fire wasn't very good. The only redeeming song was Ageless Beauty. In Our Bedroom After the War finds the band in much better regard as they experiment with trip hop-lite sounds on some songs (Personal) and 80s era loud/soft dynamic (Take Me to the Riot). Its a great album that takes you all over the place on its 13 tracks. This is what Set Yourself on Fire was supposed to be.
12. Burial: Untrue
I don't listen to many electronica artists anymore. There are very few that I follow with regularity. Burial is one of them. Part of the UK dub-step movement, Burial presents the soundtrack to coming home from a grimy club at 5 AM alone and wondering about your future. Its the ultimate comedown album as songs do little but repeat their simple loops over and over with slight twists. This is an album that brings me back to my college days when I actually would go clubbing. (FYI the other electronica artists I follow are Telefon TelAviv--FUCKING AWESOME, Four Tet, Amon Tobin, and DJ Shadow).
11. Once Soundtrack
A great love story of a movie featuring the lead singer of the Frames (their song Fake, got me through one of my worst breakups ever, so, big ups to them for that). Most of these songs are simple acoustic melodies with a bit of piano. Only a handful actually feature any sort of full instrumentation with a bass or drums. This makes the album a more intimate experience and it pays off in a big way. The highlights include, When Your Mind's Made Up, Falling Slowly, and Once. People need to see this movie and buy this soundtrack. Its unbelievable. This should probably be in my top 10, but I just can't find room in there for some reason.
10. Arcade Fire: Neon Bible
An early contender for album of the year when it first came out. On repeated listens, the album grows deficient on its own production values--its too fucking bloated. Every song aims for some sort of emotional apex that becomes so draining over 11 consecutive tracks. Funeral was such a beautiful understated album that ranks somewhere in my top 10 of all time. Consequently, I had such high hopes for Neon Bible. No Cars Go is the perfect example of its bloatedness. No Cars Go was an early demo of Arcade Fire with a brooding instrumentation that brought out the haunting vocals. On Neon Bible its an overbloated pile of shit. The album notwithstanding, there are some kick ass tracks--Antichrist Television Blues, Keep the Car Running, and Intervention. Half of the album is phenomenal. The other half is draining.
COMING SOON 1-9....
A couple of groundrules. Firstly, these are my favorite 18 albums of 2007, not the best 18 albums of 2007. Although there is some overlap, the lists are not the same. For instance, Battles "Mirrored" album is one of the best 18 albums of 2007, but it is not one of my favorite 18 albums. Converesely, Travis' album "The Boy With No Name" is not one of the best 18 albums of 2007, but it is one of my favorite 18 albums of 2007. Secondly, there may or may not be albums on this last that actually came out in 2006. They will be included in my 2007 list if I did not hear about them until 2007. This is my +1 year rule. Consequently, albums released prior to 2006 will not qualify for the +1 year rule.
18. Kings of Leon: Because of the Times
An incredible live band. I was worried that the singer wouldn't sound like the album, but he was able to hit all the straining notes. Because of the Times is a vast improvement over their previous albums, pulling together all of their Jack Daniels southern rock tinged music into an indie rock gem. Fans is an anthem that I wish I had in my high school years. Other standout tracks include Ragoo, Charmer, and the dark heart of Because of the Times, Knocked Up.
17. Youth Group: Casino Twilight Dogs
Alot of critics slept on this band's latest album and preferred 2005's Skeleton Jar. I'm not really sure why, Casino Twilight Dogs shows the bands matured sound and wider platitudes of arrangements. The album is a kaleidoscope of brit pop and 90s era alternative. See Start Today Tomorrow which sounds like a cross between Radiohead's between High and Dry and David Gray's Babylon. The best track off the album was their lead single, Sorry, which carries the sarcastic refrain "I'm so sorry, I'm so sorry, I'm so terribly, terribly sorry" to an ex-girlfriend who still hasn't found happiness with her new lover.
16. Travis: The Boy With No Name
A return to form after their previous disappointing 12 Memories where Travis tried to do be something they're not--a rock band with a bluesy overtone. Can we all just pretend that album never happened? This is pure brit-pop heaven reminiscent of the heights they reached with their debut album with songs like Turn and Why Does it Always Rain on Me? If there's one problem with this band is that the songs tend to carry on too long. The album would be much benefited if each song ended 30 seconds earlier. Can we make a rule that Travis can't make a song longer than 3 minutes? What would be the downside to this?
15. Menomena: Friend and Foe
Not quite as good as their first album, I AM THE FUN BLAME MONSTER (an anagram for the "The First Menomena Album), Friend and Foe is alternatingly epic and frustrating. Frustrating in that some of the songs never seem to get off the ground (see Running) and epic in the sense that some songs are so fucking original that you can't even compare them to any other band (see Wet and Rusting and Weird). An unbelievable live band. I couldn't believe the band only had 3 members, each rotating instruments and vocals. People characterize the Shins as alternative music or true indie music. These people are idiots. Menomena are probably the most original band operating in the indie rock spectrum right now.
14. Forget Cassettes: Salt
An album full of contrast. On the one hand you have a female lead singer with a delicate voice reminiscent of Portishead, and on the other hand you have a thrashing, violent instrumentation in the vein of In Utero Nirvana. This is a surprising inclusion into my top 18 list because I'm not really a big fan of heavy stuff, but the album is just too beautiful in juxtaposing its beauty with its brawn. I couldn't deny this album its rightful place in my top 18.
13. Stars: In Our Bedroom After the War
Every indie rock kid I knew hyped up 2005's Set Yourself on Fire as if it were 2001's Is This It. I hate to break it to these scenesters, but Set Yourself on Fire wasn't very good. The only redeeming song was Ageless Beauty. In Our Bedroom After the War finds the band in much better regard as they experiment with trip hop-lite sounds on some songs (Personal) and 80s era loud/soft dynamic (Take Me to the Riot). Its a great album that takes you all over the place on its 13 tracks. This is what Set Yourself on Fire was supposed to be.
12. Burial: Untrue
I don't listen to many electronica artists anymore. There are very few that I follow with regularity. Burial is one of them. Part of the UK dub-step movement, Burial presents the soundtrack to coming home from a grimy club at 5 AM alone and wondering about your future. Its the ultimate comedown album as songs do little but repeat their simple loops over and over with slight twists. This is an album that brings me back to my college days when I actually would go clubbing. (FYI the other electronica artists I follow are Telefon TelAviv--FUCKING AWESOME, Four Tet, Amon Tobin, and DJ Shadow).
11. Once Soundtrack
A great love story of a movie featuring the lead singer of the Frames (their song Fake, got me through one of my worst breakups ever, so, big ups to them for that). Most of these songs are simple acoustic melodies with a bit of piano. Only a handful actually feature any sort of full instrumentation with a bass or drums. This makes the album a more intimate experience and it pays off in a big way. The highlights include, When Your Mind's Made Up, Falling Slowly, and Once. People need to see this movie and buy this soundtrack. Its unbelievable. This should probably be in my top 10, but I just can't find room in there for some reason.
10. Arcade Fire: Neon Bible
An early contender for album of the year when it first came out. On repeated listens, the album grows deficient on its own production values--its too fucking bloated. Every song aims for some sort of emotional apex that becomes so draining over 11 consecutive tracks. Funeral was such a beautiful understated album that ranks somewhere in my top 10 of all time. Consequently, I had such high hopes for Neon Bible. No Cars Go is the perfect example of its bloatedness. No Cars Go was an early demo of Arcade Fire with a brooding instrumentation that brought out the haunting vocals. On Neon Bible its an overbloated pile of shit. The album notwithstanding, there are some kick ass tracks--Antichrist Television Blues, Keep the Car Running, and Intervention. Half of the album is phenomenal. The other half is draining.
COMING SOON 1-9....
Monday, January 21, 2008
Album Review: Sons and Daughters "This Gift"
Sons and Daughters' third studio album, This Gift comes out on 28/01/08, a full three years after we all gracefully received The Repulsion Box. Luckily, I was able to get an advance copy of the album (muchas gracias señor) and can report that time has not dulled the edge on Sons and Daughters.
By far the two best tracks are This Gift and Iodine. To paraphrase F.Scott Fitzgerald, "This Gift is a tour de force, but Iodine is a confession of faith." In the title track, the lyrics spring out of Adele Bethel's mouth like spit wrapped in lead - a beautiful verbal impact you can feel. Iodine delivers with sensual intensity never matched by any other track on the album. A leather clad valentine it's a gift and a dangerous thing of beauty.
After I listened through the album a number of times I felt like a masochist left wanting more.
Overall, This Gift is a solid release. But it's what it isn't that defines it for me: neither revolutionary or evolutionary. It sounds cloned - the bad bits were taken, the good bits left behind, but the unique bits somehow got lost in the shuffle. It's everything in the genre albeit with Bethel. Gow, Lennon, and Paterson are there too - don't pile on me - and their adroit playing on This Gift really shines in the title track, Iodine (especially), Rebel With the Ghost, and Gilt Complex. It's just that I don't hear the "fist through the wall" excitement and freshness of old.
For example, track three The Nest really reminds me of Infadels, Hard-Fi, and Kaiser Chiefs. I think that's weird. And most everyone will hear the homage to Iggy Pop's Lust for Life in Darling - the underlying drum and guitar work paired with dueling vocals sell this song for me though.
All negative energy aside, Gilt Complex, an up tempo foot stomping track with a compelling guitar hook is a cracker of a tune. I think it would make a great opening for a teen horror movie - you know, fast cars, the inevitable crash, and the even more inevitable blood.
In Rebel With the Ghost, I can hear a little of the old pissy-ness. In fact you can hear (finally) a little bit of Glasgow. I personally like hearing where a band comes from. It makes the song for me when she sings "I tre-eye to fight but my hands and feet are feyd-in."
This could be one of those albums that grows on you. It's definitely got a couple great tracks that I know I'm going to listen to repeatedly. In This Gift though Sons And Daughters sound like an Audi R8 on cruise control - lots of potential for white knuckle action that's squandered in favor of fuel efficiency.
If you want a pretty much completely different opinion, I suggest you go to Consequence of Sound and read Alex Young's review of This Gift. He pays it considerable high praise.
Let me know what you think.
Overall: 3.525 out of 5
By far the two best tracks are This Gift and Iodine. To paraphrase F.Scott Fitzgerald, "This Gift is a tour de force, but Iodine is a confession of faith." In the title track, the lyrics spring out of Adele Bethel's mouth like spit wrapped in lead - a beautiful verbal impact you can feel. Iodine delivers with sensual intensity never matched by any other track on the album. A leather clad valentine it's a gift and a dangerous thing of beauty.
After I listened through the album a number of times I felt like a masochist left wanting more.
Overall, This Gift is a solid release. But it's what it isn't that defines it for me: neither revolutionary or evolutionary. It sounds cloned - the bad bits were taken, the good bits left behind, but the unique bits somehow got lost in the shuffle. It's everything in the genre albeit with Bethel. Gow, Lennon, and Paterson are there too - don't pile on me - and their adroit playing on This Gift really shines in the title track, Iodine (especially), Rebel With the Ghost, and Gilt Complex. It's just that I don't hear the "fist through the wall" excitement and freshness of old.
For example, track three The Nest really reminds me of Infadels, Hard-Fi, and Kaiser Chiefs. I think that's weird. And most everyone will hear the homage to Iggy Pop's Lust for Life in Darling - the underlying drum and guitar work paired with dueling vocals sell this song for me though.
All negative energy aside, Gilt Complex, an up tempo foot stomping track with a compelling guitar hook is a cracker of a tune. I think it would make a great opening for a teen horror movie - you know, fast cars, the inevitable crash, and the even more inevitable blood.
In Rebel With the Ghost, I can hear a little of the old pissy-ness. In fact you can hear (finally) a little bit of Glasgow. I personally like hearing where a band comes from. It makes the song for me when she sings "I tre-eye to fight but my hands and feet are feyd-in."
This could be one of those albums that grows on you. It's definitely got a couple great tracks that I know I'm going to listen to repeatedly. In This Gift though Sons And Daughters sound like an Audi R8 on cruise control - lots of potential for white knuckle action that's squandered in favor of fuel efficiency.
If you want a pretty much completely different opinion, I suggest you go to Consequence of Sound and read Alex Young's review of This Gift. He pays it considerable high praise.
Let me know what you think.
Overall: 3.525 out of 5
MySpaceUPDATE:
I've found a few more reviews since I posted:
MusicOMH.com by Jenni Cole: 4 out of 5 stars
entertainmentie.com by Lauren Murphy: 3.5 out of 5 stars
skiddle.com by Richard Dyer: Preview with some background notes and quotes from Adele Bethel.Note: The Libertine and I employ different rating schemata. I rate individual songs on an album on a scale of 0-5 and then take the average. Here is how I arrived at my rating:
1. Gilt Complex: 4.2
2. Split Lips: 3.6
3. The Nest: 3.0
4. Rebel With The Ghost: 4.0
5. Chains: 3.0
6. This Gift: 4.5
7. Darling: 3.0
8. Flags: 3.0
9. Iodine: 4.5
10. The Bell: 3.5
11. House In My Head: 3.0
12. Goodbye Service: 3.0
Total: 42.3/12 = 3.525
I believe in the artist's right to album integrity (exemplified by Radiohead’s refusal to release their catalogue for purchase on a track by track basis).However, not every band is created equal. Same goes for songs. As we all know, some albums have only 1 or 2 good songs. I want to be able to show my readers which tracks are the “stand outs” in case they don’t want to, or can’t afford to, purchase an entire album.
Every rating system is inherently subjective and a number, no matter how it is derived, can't definitively capture whether an album is good, bad, or in the middle. If you don’t agree with my review, I welcome your comments or email and am open to reconsider my initial views.
Thursday, January 17, 2008
The Calico Brothers - Future Phenoms
The Calico Brothers don't have a website or a label and it's next to impossible to find a place to purchase their music. Those three things need to be rectified because these "three brothers, one cousin, one friend...all good (mostly) [who] sing, play instruments, record songs, sometimes play live, sometimes drink wine, watch TV, go to bed early, [and] swim at the beach in the morning," are seriously "choice."
You can find their song God Left Town on Westside Rules: The Outrageous Fortune Soundtrack (along with a bunch of other good tunes). Dunedin Music has a couple tracks on their site, including Poor Little Girl. And of course (thankfully) they have their MySpace page (below).
I really like what I have been able to hear. I can only hope that the Calico Brothers release some more recordings. I think they have the potential to get a wider audience, well beyond New Zealand. I wish them the best.
If you want to help these lads I did find an online venue where you can purchase some of their songs. I'm not sure if you have to be in New Zealand to make a purchase. I'll give it a shot later. If someone beats me to it let me know.
Purchase some Calico Brothers Tracks Here!
MySpaceWednesday, January 16, 2008
Album Review: The Audreys "Between last night and us"
The Audreys Are:
Tristan Goodall - reso-phonic, acoustic & electric guitars, banjo
Toby Lang - drums, harmonies
Taasha Coates - voice, melodica, harmonica, ukelele, piano
Mikey G - violin, lap steel guitar, harmonies
Lyndon Gray - upright bass & electric bass, harmonies
Toby Lang - drums, harmonies
Taasha Coates - voice, melodica, harmonica, ukelele, piano
Mikey G - violin, lap steel guitar, harmonies
Lyndon Gray - upright bass & electric bass, harmonies
I have no reservations saying that The Audreys are the best band I have heard in ages. They sound kind of country/bluegrass but being from Australia I will invent a new genre. Call it "bushgrass" - a dry, aromatic, and lovely sound. If you get a copy of this album thank your lucky stars. If you can't, try harder.
How did I find out about The Audreys? Well, I was watching a great mini-series called Rain Shadow (a good way to spend 6 hours in front of the television as well) and I couldn't get over just how good the music was so when the credits rolled I had to see who was responsible for such a great soundtrack. The responsible party: The Audreys. I thank the producer or whomever I have to thank for having such great choice in music. Thank you.
Back to the review.
At this point I typically announce what my favorite tracks are on an album. No so with "Between last night and us." This album is so good that the mood you are in will determine the "favorite" track. Currently "Long Ride" is my favorite. It has a yearning fragile tone with beautiful vocals with hauntingly spare instrumentals that work perfectly with the lyrical sentiment. I don't want to be unseemly and gush too much but even the the way they enunciate, pause, and breathe is just right. I challenge anyone to listen to this song and not be transported somewhere else for four minutes and thirty-four seconds.
The next song I want to bring to your attention is "Banjo & Violin" which is a lounge-y confessional.
For those, like me, who don't listen to music like this (except for standard faire Cowboy Junkies) "Banjo & Violin" lets you know that it's all good (I've gone a bit country since I met you baby/I used to be so rock 'n' roll). In fact, if you have a copy of "Between last night and us" handy why would you listen to anything else? Especially when you can listen to "Susanne," another track that I can't listen to enough. It's a bitter ballad with haunting vocals by Coates and mesmerizing instrumental accompaniment.
I could say more but I won't. I won't talk about their singles or their awards or anything like that. (I'll let wikipedia do that.) What I will say is that The Audreys are in and of themselves a great reason to visit Australia. If I had the money I would find the time. I can't begin to even imagine how great they must sound live. If anyone out there has seen them please let me know if are as good live as I think they are. I am positive that I won't be disappointed and I am positive that everyone else should pick up this album, put on the headphones, lay back and be transported to a musical landscape you won't soon leave.
Between last night and us receives: a numerical rating of 4.225 but a personal rating of 5.0
MySpaceNote: The Libertine and I employ different rating schemata. I rate individual songs on an album on a scale of 0-5 and then take the average. Here is how I arrived at my rating:
1. You & Steve McQueen - 4.5
2. A Little More - 3.8
3. Oh Honey - 4.0
4. Pale Dress - 3.7
5. Banjo & Violin - 4.5
6. Long Ride - 5.0
7. Nothing wrong with me - 4.2
8. Where are you now? - 4.2
9. Susanne - 4.5
10. Come on In - 4.3
11. Monster - 3.7
12. Don't Change - 4.3
2. A Little More - 3.8
3. Oh Honey - 4.0
4. Pale Dress - 3.7
5. Banjo & Violin - 4.5
6. Long Ride - 5.0
7. Nothing wrong with me - 4.2
8. Where are you now? - 4.2
9. Susanne - 4.5
10. Come on In - 4.3
11. Monster - 3.7
12. Don't Change - 4.3
Total: 50.7/12 = 4.225
I believe in the artist's right to album integrity (exemplified by Radiohead’s refusal to release their catalogue for purchase on a track by track basis).However, not every band is created equal. Same goes for songs. As we all know, some albums have only 1 or 2 good songs. I want to be able to show my readers which tracks are the "stand outs" in case they don’t want to, or can’t afford to, purchase an entire album. Every rating system is inherently subjective and a number, no matter how it is derived, can't definitively capture whether an album is good, bad, or in the middle. If you don’t agree with my review, I welcome your comments or email and am open to reconsider my initial views.
Thursday, January 10, 2008
Elle s’appelle
Elle s'appelle calls itself powerpop/new wave. Its an interesting label from a new and interesting band that sounds like they would be great fun to experience live. The above video was created using the program iStopMotion by Boinx Software. The website is in fact how I first came across Elle s'appelle. I then went to their MySpace and listened to some of their other tunes.
I gave a nice listen to all the MySpace songs. I enjoyed them all too. Along with "Little Flame" they have some nice sounds. I hope it doesn't turn anyone off, but if you like Queen, or at least the vocal stylings of Freddie Mercury, you will probably like listening to "Mariappa" - which somehow sounds like a mashup of Frere Jacques and Bicycle Race - and "Everybody Needs Good Neighbours" - which also (somehow) has some vocal echoes from the very poppy "I'm Gonna Be (500 Miles).
If you are in the UK and get to see them in person I would love to hear from you. Even better, it would be "brill" if someone could score me some tickets and a place to stay.
Anyway, I think I am going to keep my eye on these kids. They sound fun and silly powerpop/new wave or whatever you want to call Elle s'appelle is just what the doctor ordered . . . sometimes.
Friday, January 4, 2008
Record Review: The Sunday Drivers - Tiny Telephone
The Sunday Drivers sound like John Lennon, the Beatles, R.E.M., the Wallflowers (I don't care what anyone says, I really, really like the Wallflowers and think they are underrated), sometimes like the Eels, some Stereophonics, and the Barney Miller theme song.
The Libertine's musical palate is more refined than my own. I am positive that if he listened to this album he would easily be able to describe the sounds better than I. I'll tell you what though, I like The Sunday Drivers and I think they deserve some fame.
Their eminently catchy single "Do It" should seal the deal and be on radio rotation daily. Why isn't it? Cause these guys are from Toledo . . . Spain. But here's the kicker, they sing in English!
Rant: I don't get the music industry, especially now. In the age of records, tapes, and compact discs I could wrap my mind around the concept that it took some time for an album to get across the big blue ocean. Physical media needs to be physically moved. OK.
I have no idea why albums aren't released simultaneously worldwide. Why the hell does iTunes/Apple continue the archaic practice of limiting an album to a country? This practice is a spandrel and no longer necessary. If I worked at a major label I would totally forgo the tedious country by country release. It's completely asinine and I don't care if you tell me it's because of "rights issues" I tell you it's because of bullshit and if the record companies actually embraced the digital age they would actually be selling more records and pleasing more fans than they ever have.
But I digress. Back to the review.
My favorite song on the album is "Life Is." In it they channel every flower power 60's-esqe Beatles cliché - vocal reverb, reverse drumming, the naïveté - and I find myself lapping it up. I mean c'mon:
Life could be a steal
If we make the deal
Watching our own illusions fly
And we live for the love we receive
It doesn't get more 40 odd years ago than that.
Next on my list is "Sing When You're Happy" which, from the title alone, needs no discourse by me. The music video could easily be a great, "I'm high off my ass floating in the clouds" treatment (See: Drugachusetts or Sarah Silverman on cough syrup). If you want a song to make you feel cuddly, this is it. (Think Sgt. Pepper - esp. “A Day In the Life.”)
There's something about this album that I like, despite the lackluster ratings I give the rest of the songs. The songs are good but on their own I can’t give them high numbers. However, I think the album on a whole is very listenable (though deceptively short).
And special.
Therefore, I am going to add 1 point to the over all album score. I think The Sunday Drivers have a really nice album in Tiny Telephone, one that is more than the sum of its parts.
I say, pick it up and smile while you listen.
Tiny Telephone Receives: 3.75
MySpaceNote: The Libertine and I employ different rating schemata. I rate individual songs on an album on a scale of 0-5 and then take the average. Here is how I arrived at my rating:
1. Rainbows of Colours: 3
2. She: 2
3. Do It: 3.5
4. Paranoid: 3
5. Life Is: 4
6. Little Chat: 2
7. Sing When You're Happy: 4
8. Day In Day Out: 2
9. Better If I: 2
10. Goodbye: 2
Total: 27.5/10 = 2.75
“Special-ness” factor: 1
Album Score: 3.75
I believe in the artist's right to album integrity (exemplified by Radiohead’s refusal to release their catalogue for purchase on a track by track basis).However, not every band is created equal. Same goes for songs. As we all know, some albums have only 1 or 2 good songs. I want to be able to show my readers which tracks are the “stand outs” in case they don’t want to, or can’t afford to, purchase an entire album.Every rating system is inherently subjective and a number, no matter how it is derived, can't definitively capture whether an album is good, bad, or in the middle. If you don’t agree with my review, I welcome your comments or email and am open to reconsider my initial views.
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