Mike
Bennett
Capsule
Reviews:
May, 2007
Scroll
down for the latest releases by Mary Weiss, You Am I, Sneakers,
Nelson Bragg, Idlewild, Parasites, Crowded House, My Canadian
Girlfriend, Variant Cause, Vanilla, Zapruder Point, Linus
of Hollywood, The Tor Guides, The Trolleyvox, Ray Mason Band,
The Awkward Stage, Bloc Party, The Fratellis and The Youth
Group
Mary Weiss -- Dangerous
Game (Norton): The lead singer
of The Shangri-Las allegedly got so into some of the classic
girl group songs she recorded in the ‘60s, that she would
actually be crying as she sang. Whether this is true or not,
fans of the girl group sound hold Mary Weiss in high regard,
as the sides she sang with the guidance of producer Shadow
Morton are some of the best of the genre. This ‘60s heroine
is now in her 60s, and she finally has come out with a solo
album. Her voice has weathered with age and she might not
be able to hit all of the notes she did before, but she still
can sing, and her phrasing and tone are distinct and evocative.
Weiss lucked into a great collaborator -- The Reigning Sound,
led by Greg Cartwright, who has already written girl group
style songs for the Detroit Cobras. Of course, some might
question a woman with an AARP card doing songs that are in
the mold of the girl group sound. Well, it works fantastically
well. And the key is that these great songs are grounded in
such strong emotions, and Weiss is all about singing with
strong emotion. I suppose that these same songs would have
totally different feel if sung by the 20-something Weiss as
opposed to the 60-something Weiss, but they'd be good songs
either way. And this 60-something perspective is interesting
to me - now when Weiss sings about heartache, she sounds all
too familiar with the concept. On many of the songs, the spare
Reigning Sound attack doesn't replicate the full girl group
sound, but plays well enough that everything comes through.
There are some nice change ups too -- "Don't Come Back"
is played with much more rocking verve than they would have
done it back in the ‘60s, and Weiss thrives in that setting.
The title cut is more of a torch song with jazzy elan -- a
style that Weiss should explore more, as she's a natural.
What is great is that she still has an attitude. "Stop
and Think It Over" has Weiss pleading with a guy to take
her back, but she's not just being a gooey eyed girl -- she
is confident, telling him that she's better for him than any
other girl (and does, admittedly, "need [him] more").
She even takes on the old Shangri-Las chestnut "Heaven
Only Knows", a Jeff Barry-Ellie Greenwich composition.
With a church piano and (yep) heavenly backing vocals, Weiss,
as always, captures the essence of the song, the spirit of
total devotion. This album is an utterly winning effort and
shows that Weiss has plenty of great music left in her. nortonrecords.com
You Am I -- Convicts
(Yep Roc): I had been led to believe that You Am I were no
more, but this new release shows that the Aussie quartet is
alive and kicking. Indeed, this band has no intention of aging
gracefully, as Tim Rogers has crafted more power poppy guitar
riffs (think The Replacements by way of Cheap Trick) and ‘60s
inspired melodies. One of Rogers's main inspirations has been
The Kinks, and one song here is a particularly inspired by
Ray Davies, and it's a clear highlight. "Explaining Cricket"
is cut from the mold of "Sunny Afternoon", with
the pithy refrain: "It's like trying to explain cricket
to Americans." I wish I knew what he was trying to explain,
but I'm American. This ditty is a brief break from the copious
amount of rocking tracks like "Friends Like You"
and the explosive "Thank God I've Hit the Bottom",
with Rogers shouting out the vocals on this slice of heaviness.
While none of this is any major deviation or progression from
past You Am I efforts, the time off has helped, as the boys
attack this material. It sounds fresh. Moreover, the years
of experience can take a well-written track like "Gunslingers"
and throw on a killer arrangement that sports an expert use
of dynamics, well-placed backing vocals, and a Hammond organ
part in the chorus that adds texture. This ranks right up
there with You Am I's best. yeproc.com
Sneakers -- Non-Sequitur
Of Silence (Collector's Choice):
This North Carolina band, led by Chris Stamey and Mitch Easter,
was the precursor for the great pop music they later unleashed
with The dB's and Let's Active, respectively. This is the
second reissue of material from the band's two EPs, and includes
some other bonuses, making it definitive. While Sneakers doesn't
quite rise to the level of the later work of Stamey and Easter,
it isn't too far away, and the music here stands on its own
as a fine example of ‘70s Southern power pop. At this
point in time, Stamey and Easter had very similar sensibilities,
and there are a few songs that if you couldn't identify the
vocalist, you'd have a hard time deciding who penned the tune.
Easter ultimately refined this approach, whereas Stamey, for
the most part, added even more second album Big Star quirkiness.
That being said, hearing Stamey's "Some Kinda Fool",
I was struck by how easily this could have made one of his
recent solo albums. Early on, that special wistful sadness
that characterized Stamey's slower songs was already in existence
and just as powerful. Then there's "What I Dig",
which creates a tension from the peppy music (with Stamey
almost sounding like Easter vocally), yet cutting it with
a typical drawling Stamey countermelody that stands in stark
relief to the head bopping silliness of the rest of the tune.
Easter wasn't quite yet as prolific as Stamey, but he made
his songs count. "Decline and Fall" is quintessential
Carolina power pop, with a bevy of melodic ideas and a rhythmic
guitar pattern. On "Stuck on You", there's a tinny
keyboard sound and Easter's young boy vocals enthusiastically
negotiate the subtle twists and turns that aren't apparent
from a casual listen. The big hooks of Let's Active aren't
quite there yet, but he wasn't far away. Not everything foreshadows
the future - "Quelle Folie" is a lark -- a bit of
"Goldfinger"-style spy movie drama. This exemplifies
the fun these guys were having while developing their considerable
talents. collectorschoicemusic.com
Nelson Bragg -- Day Into
Night (SideB): Bragg is best known
for playing drums with the Brian Wilson Band, though he manned
the kit for a host of terrific pop artists (like The Now People,
Carolyn Edwards, and The Quarter After). While Bragg plays
a ton of stuff on this splendid debut, one can only imagine
that L.A. musicians lined up around the block to lend a hand,
and you can see Wondermints and Cloud Elevens and Masticators
and others amongst the credits. Bragg nails a sun kissed ‘70s
California pop sound -- while his slant is a bit different
than the Cosmic Rough Riders, this comes from a similar place,
and the quality level is just as high (or, you could say that
The Thrills would just die to do the Cali sound half as well).
Bragg betrays (or pays tribute to?) his Beach Boys connections
with the lovely "Death of Caroline". The song isn't
pure Wilson, as the verses are solid ‘70s pop fare, but
the chorus is bathed by the multi-tracked vocals of Bragg
in blissful harmony. And what a wonderful building chorus
it is. Bragg shines again on "Tell Me I'm Wrong",
which sounds like The Jayhawks with a classic AM radio jones.
I mentioned the Cosmic Rough Riders above, and that comparison
is best served on "Lived This Life Too Long". Again,
those harmony vocals. Not too mention Bragg's fine lead vocals
-- his voice isn't powerful, but it's rangy and goes wherever
he needs it to. A great debut album. sidebmusic.com
Idlewild -- Make Another
World (Sanctuary): Is this the
sound of a band retrenching? After mellowing out a bit on
their last release, Idlewild turns up the amps on this new
disc, from time to time. And I'm not sure how I feel about
it. This album certain sounds familiar. Familiar, but not
exciting enough. I wouldn't go so far as to call it perfunctory
-- Idlewild will never lack for passion. But there is no sense
that they are pushing themselves, whether it's with new ideas
or having something new to say, or at least something to say
with total commitment. Yep, this is a professional effort.
So it sounds good. Pondering takes place on "Future Works",
where light ringing guitars and a sensitive Roddy Womble vocals
lay over a pulsing mid-tempo beat and appropriate horn accompaniment.
This sounds like a band trying to get a little U2 out of its
system. Meanwhile, "Everything (As It Moves)" is
a quintessential Idlewild track, a burning rocker that combines
the fury of Nirvana with rhythmic precision and an anthemic
chorus. If this isn't a single, someone's missing the boat.
The title cut is one of the most sophisticated pieces on the
album, with the band simmering and letting Womble's strong
vocals take center stage. Again, U2 comes to mind as well
as early-‘90s Midnight Oil. I can't be too hard on this
album, but this sounds like a band settling for just being
good, when they are capable of greatness. sanctuaryrecords.com
Parasites -- Retro-Pop
Remasters (Go-Kart): The
Parasites are back on the road, bringing their punk-pop to
far flung locations. This compilation is a great introduction
to a band that manages to be both more rocking and more pop
than most bands working this genre. The best Parasites tunes,
many of which wound up on this disc, combine the speedy rock
of bands like Ramones and Descendents with a yearning power
pop aspect. Other good points of reference are The Undertones
and Redd Kross, though neither of those bands fits so neatly
in the standard pop-punk template. One constant throughout
the record is the fantastic lead guitar work of Dave Parasite.
Between the sweet melodies and the ringing guitar lines, hooks
abound on every track. So you can Cretin Hop with impunity
to happy ditties like "Ronnie Is a Psycho" and the
speedy "Top Secret". I suppose that one could quibble
with the lack of variety amongst these tracks, but when consistency
means consistently first rate, then the quibbling seems wasted.
Instead, enjoy "Young and Stupid", a pretty smart
take on having no direction after high school, or the not-as-smart
but well-executed "Crazy", with its sophisticated
slowed down bridge that is shade of Cheap Trick or Buzzcocks.
gokartrecords.com.
Crowded House -- Farewell
To The World (Capitol): In 1996,
after Neil Finn, Nick Seymour and (the late) Paul Hester had
decided to retire Crowded House, they decided to go out in
style. So they played a final concert on the steps of the
legendary Sydney Opera House, with somewhere between 100,000
to 200,000 in attendance (and, in classic Crowded House style,
it rained the day of the show, so they quickly found an indoor
venue so they could play for those who traveled from far away,
but would have to leave before the rescheduled gig). Those
in attendance heard (and maybe even saw) a great band finish
with a stand out performance. This two CD set commemorates
the 10 year anniversary of the gig, which is less bittersweet
now that Finn and Seymour have reformed Crowded House. Listening
to this will remind you just how great Crowded House was.
Four albums, almost all killer with barely any filler, full
of sumptuous melodies, resonant hooks and lyrics that were
poetic and affecting. Next to XTC, Crowded House was arguably
the best of the post-Beatles pop bands. And this set is chock
full of highlights from the forceful "Locked Out"
to the spooky "Into Temptation" to the achingly
romantic "Better Be Home Soon" to the affecting
"Four Seasons In One Day" to the eerie "Hole
In the River", and much more. Tim Finn stops by to join
the band for a few songs from his *Woodface* tenure, including
the perfection that is "Weather With You" (there
are very few lines in pop music better than "Julius Caesar/and
the Roman Empire/couldn't conquer the blue sky"). The
finale is the song that put the band on the map, "Don't
Dream It's Over", and the emotion with which the band
plays is palpable, even on the CD (though you should also
get the DVD). The fact that Crowded House is back doesn't
detract from what this represents, as this is an essential
live release. capitolrecords.com
My Canadian Girlfriend --
It Might Even Could (self released):
I'm already predisposed to like this Chicago band, because
I have fond memories of my Canadian girlfriend (she was brilliant
and beautiful, let me tell you). Their music provides me even
more reason to like them, as the band plays skillful college
guitar rock (reference points: first album Menthol, New Radiant
Storm King) that is subtly catchy. Though not entirely subtle.
"SFS" starts off with Jamie Filmore singing quietly
over his spare guitar playing. The song then builds as the
drums kick in, Filmore still sounding weary...when his energy
level picks up. Throughout, drummer Mark McCutcheon, the MVP
here keeps thinks moving to a higher level. Filmore finally
lets it out, with a combo of anger and resignation, singing
"space fucking sucks/space fucking sucks." This
has to go down really well in concert. Many of the songs are
crisp mid-tempo pieces, with strummed guitars and shifting
rhythms carrying the day. "Catch a Cat" is the best
of this bunch. The band gets an assist from Anita Filmore,
who takes the lead on "Stay". The band is playful
and buzzing, and Filmore is strong enough to compete. More
Anita next time around, please. Like many bands, the songwriting
could be more consistent. That being said, the band's ensemble
playing is so good, that every track is, at a minimum, interesting.
http://www.myspace.com/mycanadiangirlfriend
Variant Cause -- Excavating
Volume 1 (self released): This
band was part of the late-‘80s Pacific Northwest music
scene, rubbing shoulders with many flannel clad faves of that
era. As is often the case when a scene explodes, some worthy
bands get lost in the shuffle, and Variant Cause can make
a pretty compelling case that they belong with their better
known brethren. Although this compilation showcases a driving
post-punk style that shares a similarity to The Wipers, the
band tried a few different things. For example, the blues
harmonica breakdown in the middle of "Push Out Your Borders"
wasn't exactly trendy back in the day (or now, for that matter).
I also admire the Jon Lord-esque (as in the Deep Purple guy)
organ on the desperate driving rocker "She's a Moving
Violation". That song has a bit of Wipers-style urgency
too, as do quite a few other numbers, including the cracking
good "Kamikaze Cabaret", which has blistering lead
guitar work and a gigantic hook. While rocking with an edge
was the band's speciality, they had a playful side, evidenced
on the melodic "Are You Domesticated". This apparently
is just the beginning, as the Cause has a lot of songs in
storage. I look forward to hearing more. variantcause.com
Vanilla -- Vanilla
(Charlatan): This band is full of ideas and, at times, full
of themselves. Mixing some pure pop with a penchant for mischief
that's alternatively entertaining and irritating, at their
best, Vanilla is sublime. This is certainly true of the uplifting
yet sarcastic soft pop gem "Black Saturday", where
the band blends Association-smooth harmony vocals with bitter
lyrics, culminating in a great psych-pop guitar-and-horns
coda. Another highlight, though a tad misanthropic, is the
opener "Bangalore", where an office dullard is deep-sixed
and his job sent to India. You may sing along, though you
may feel a tad guilty. There is no guilt attached to the shimmering
power pop perfection of "Cabarnet" -- this reminds
me a bit of XTC (think "Peter Pumpkinhead" mixed
with...something else?). There are some particularly duff
tracks here, when the band tries to be too cute, like the
stupid country twang of "Teach Your Parakeet to Talk"
and the smarmy "(So Long) Johnny Walker". Thankfully,
most of the material here emphasizes their strengths -- winning
melodies and strong backing vocals. vanillaband.com
Zapruder Point -- It's
Always The Quiet Ones (Collectable
Escalators): This band's acoustic folkie indie rock is a great
vehicle for Dan Phillips's distinctive vocals. His voice is
a bit denasal, plaintive, smooth, and expressive. It is suffused
in sincerity that is perfectly blended with the gentle acoustic
guitars and the invaluable contributions from Casey Riordan
Millard on violin. Well, it's not all gentle -- "The
Idea of Children" features some rougher guitar and slightly
faster tempo, a wise refrain ("talking won't help/why
start now?") and an audio clip from a talk show. This
is a contrast to some of the more standard issue folk-rock
fare, like "Johnny Without June". The song uses
the passing of June Carter Cash as a metaphor for how things
lose meaning when a loved one is lost. It's both a tribute
and a nice observation, performed with warmth and dignity.
Meanwhile, "The Condensation" is moody and contemplative,
as it paints a picture of a guy tying one on, while his lady
stays faithful at home. This song is as much about what you
have to read between the lines as the lines Phillips sings.
As the last line spells out, we often try to hide from those
who are the most true to us. Zapruder Point is about right
up there with R.D. Roth amongst Chicago folk-rockers, and
this is a very solid collection. collectibleescalators.com
Linus Of Hollywood -- Triangle
(Franklin Castle): The talented soft-popster ain't exactly
prolific. It's been five years since his last album and now
he drops 33 minutes worth of tuneage. Still, better this than
nothing at all. The opening track, "Farewell to the King",
is one of Linus's most substantial efforts yet, a dramatic
opus that evokes Elton John and late period Beatles, with
strings and striking guitars adding muscle to the melancholy
song. This is a career highlight. However, there aren't any
other songs that are quite as captivating, despite the fact
that Linus shows that his arranging abilities are better than
ever, and songs like "The Sun Feels Good On My Face"
use strings perfectly. Sometimes a couple killer cuts are
the difference between a good album and a great album, and
such is the case here. That being said, Linus consistently
delivers songs that balance stellar craftsmanship with a strong
emotional component. If he could up the ante just a bit at
a lyricist, he might have found a way to make serious music
that happens to sound perfect for ‘70s AM Top 40 radio.
The powerful "A Perfect Mess" is an indication of
where he could go. This might disappoint fans of Linus's perky
odes to perkiness, like the bouncy "Let's Just Stay in
Bed All Day". While I personally would like to see Linus
move further to the dark side, "Bed" and similar
tracks make a good case for staying happy. I guess what I'm
trying to say is that Linus could make a really amazing record
if he's willing to think just a little bit more outside the
box. Until then, enjoy this. franklincastle.net
The Tor Guides -- Honeybees
and Tangerines (Jam): This disc
is further evidence that there is some innate pop gene in
most Swedes. While the band's name was a bit of a getaway,
the first time I threw it in the player, this album pushed
all the right Swedish pop buttons. Wistful melodies and cheery
soundscapes dominate, although some songs have a hint of sadness
underneath the hooks. I wonder if the fact that it's so dark
for so long during the winter that the Swedish people have
a highly developed sense of yearning (for sun, for love, and
so on). The Tor Guides also sport the requisite chipper chirpy
vocals and a firm sense of great music from the past (and
the Guides know their Beatles, among others), making the enjoyable
results inevitable. Highlights include the twee take on organ
driven garage rock on "Lazy Day", the striking "Hey
Now, Come On", which fuses sparkly jangling guitars with
a bluesy electric piano part, providing pep, while one of
those wistful melodies I mentioned comes to the fore; the
swell ballad "Honeybee", and a sweet acoustic charmer
"Don't Turn Around". Don't let the punny name dissuade
you. jamrecordings.com
The Trolleyvox -- The
Karaoke Meltdowns (Transit Of Venus):
If you liked the last Trolleyvox record then there is no reason
that you won't like the new one, as it has the three hallmarks
of their sound: Andrew Chalfen's ringing and jangling guitars,
his sturdy songs with imagery filled lyrics that show more
ambition than your average indie popster, and Beth Filla's
strong folk rock vocals, which can stand up to the few bursts
of power on the record, but are even better when the volume
is turned down a few notches. These elements come together
on "Onion Is Missing" which features a memorably
large Chalfen guitar figure, a spectacular melodic chorus
(or is it more of a middle eight?), and manages to be evocative
even though the lyrics are a tad impenetrable. That's not
the problem for the furious "Just You Wait", a stinging
declamation of corporate profiteering and war. I don't think
you can be strident when your outrage is so erudite. Filla
proves more than up to the task of matching the venom spewing
from Chalfen's guitars. The band wisely follow that with the
calming "I Am Annabelle", where Filla's precise
phrasing and soaring voice ride over a deceptively complex
mid-tempo guitar pop arrangement. Filla effortlessly makes
lines like "bodyguards for bottle dopplegangers"
ring and shine. Chalfen takes the lead on "Joyride",
which is not a Roxette cover, but a gentle yet pointed strum
and sing along. This is a band that has really carved out
a distinctive identity. transitofvenus.com
Ray Mason Band -- Don't
Mess With Our Routine (Hi-n-Dry):
I can't explain how happy I was to see a new Ray Mason Band
CD had arrived. Not that it should be unexpected, he's so
darned prolific. Anyway, listening to Mason's music is like
spending the day with a good friend who has lots of fun stories.
Ray just happens to set his stories and observations to upbeat
roots rock. Ray sounds like the type of guy, who any time
he came over to your house, would always bring some beer --
and good stuff, too. I can't say that this album is immediately
different than some of his other recent ones, but I can say
it's at least as good as those efforts, which means that it's
a good time. Which doesn't mean that Mason can't get serious
- check out the commentary on "Piety Seeks Power"
which asks the smart question "Why does belief include
control?" This song is part of the best sequence on the
disc, which includes the jangly "Don't Mess with My Routine",
the contemplative "They Don't Make Records Like That
Anymore", and the mid-tempo rock tune "Monkey in
a Convent" which showcases Mason's skewed and silly side
(which still has a gentle bite). I also dig "Hurt By
Love", where superb lead guitar work augments and sometimes
drives the song, which has verses that may be catchier than
the chorus. The horn accompaniment is also spot on. This is
another fine showcase for Mason's solid songwriting and ingratiating
personality. hi-n-dry.com
The Awkward Stage --*Heaven
Is For Easy Girls (Mint): This
clever Canadian band specializes in dense pop songs that fit
well with label mates like The New Pornographers (whose Kurt
Dahle plays drums here) and Novillero and likeminded acts
like Ben Folds and Hawksley Workman. As the album title shows,
they like funny titles (see also "T-Rexia Nervosa"),
but they have more going for them than wiseacre tendencies.
"The Circus Ends in Tears (Pachrymosa)" might be
the best single example of their strengths. The song has a
pretty Burt Bacharach compositional style. This is contrasted
by the darkly humorous lyrics which tell the story of a circus
where the animals attack. The final verse of the song moves
the song into a more rocking direction before heading back
to its main piano motif. If anything, the band should have
cut down on the mid-tempo pop numbers and gone for more of
the slow stuff, as another clear highlight is the mournful
"Sad Girl Radio". On "1000 Teenage Hearts"
has the feel of an epic, something that could be pumped up
in the vein of U2 or The Doves. This features a strong vocal
performance by frontman Shane Nelken. Nelken also has a knack
for snappy phrases, such as "You're so stupid, so smart,
you're studying the physics of breaking my heart." On
"So Stupid So Smart", Nelken's lyrics are meshed
perfectly with the rhythm of the song, which is a nice piece
of baroque pop. The biggest thing this band needs is for Nelken
to just make the hooks a bit bigger. Everything else here
sounds swell. mintrecs.com
Bloc Party -- A Weekend
In The City (Vice): The second
Bloc Party album has a degree of ambition, as the band attempts
to musically essay living in London. Yep, this is a concept
album. However, the result is a disc that often plays against
the bands strengths. While the band should be lauded for not
just cranking the amps to 11 and playing some more in your
face anthems, they simply don't have the songwriting chops
for the plethora of mid-tempo and slow tracks that make up
a substantial part of this album. Moreover, a lot of the rockers
sound like lesser versions of better songs from the band's
debut. That being said, I like how the band sounds on some
tracks. But the songs, for the most part, go nowhere. Things
do start with some promise, as "Song for Clay (Disappear
Here)" and "Hunting for Witches" have some
of the spark of earlier work, though both seem content to
simmer rather than boil over. The next track, "Waiting
for the 7.18", is pretty good, as the band builds the
music up effectively, with splendid guitar work (a la great
bands from the past like The Sound and Kitchen Of Distinction).
Unfortunately, other songs fail to build or head anywhere,
or come off as a bit strident, as lead vocalist Kele Okereke,
whether quiet or loud, does not have much emotional range
-- everything is suffused with an importance that it doesn't
necessarily deserve. The band does recapture the magic on
"I Still Remember", a pretty mid-tempo tune that
is simply much better written then anything else on this effort.
Overall, a disappointing second release. atlanticrecords.com
The Fratellis -- Costello
Music (Cherry Tree/Interscope):
This is high energy British rock and roll with plenty of hooks
and a wry smile. The Fratellis are in the tradition of bands
like The Wonder Stuff, Slaughterhouse Five, The Swingers (yep,
the New Zealand band led by Phil Judd), Lonely Boys, Horizontal
Brian, and many others. Oddly enough, the band's best known
song, "Flathead", which was featured in a television
commercial, isn't the top track on this album. However, it
is a good starting point. Fading in on swampy blues chords,
the song fluctuates between the blues vibe (a la Sons and
Daughters) and completely silly yobbish punk-pop, with a great
harmony vocal interlude. It's just good rock and roll. The
band also throws some country into the mix on "Vince
the Loveable", an affectionate look at a stone slacker
("I haven't seen a pupil in his eyes for 16 days").
The C & W verses inevitably give way to some rock chords
in the verses, and The Fratellis make it work. The best songs
are near the middle of the disc. "Chelsea Dagger"
has a glam rock beat and spirited backing vocals that remind
me a little bit of The Swingers' classic "Counting the
Beat". And "The Gutterati?" is nimble and rocking
at the same time, with sharp guitars and rock solid drumming.
This is pub rock on steroids. It's great to hear sharp smart
devil may care rock like this. interscope.com
Youth Group -- Casino
Twilight Dogs (Anti): The Aussies
are back with more dreamy acoustic love anthems. It's weird
to hear music so swoony coming from an offshoot of the punk
label Epitaph. This album simply refines the sound of the
first one. So the songs still are romantic and large, with
soothing yet intent vocals from Toby Martin, swelling strings
to go with swelling acoustic guitars, either leading to melancholy
refrains or majestic choruses, depending on the song. Two
songs are as good as any the band has done so far. "Sorry"
makes great use of strings, making it kind of a pulsing variation
on ork-pop. The dogged tempo is offset by lovely lead guitar
filagrees. The chorus is an invocation -- they really sound
sorry, but it's a pumped up ultra-sorry. Youth Group is direct
and dramatic. Even better is "Forever Young". It
starts off quietly and slowly picks up, Martin singing more
loudly, the drums hitting just a bit louder all setting up
the celebratory chorus. This is song it typical of most Youth
Group material. It just so happens that it spotlights all
their best qualities. It lifts off in a manner similar to
The Doves, even though The Doves have more of that dance/R
& B thing going on. Beyond these two tracks, the album
is quite consistent, and might not have quite as many highlights
as the band's debut. However, it's such a pleasant listen
that my mind may change about that. epitaph.com
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