Ludacris - Theater of the Mind

Okay, as pretentious as Theater of the Mind may sound, don't judge a book, well, album by its cover. One of the South's favourite sons, Ludacris is back on it and has managed to mash up the elements of his older works with a good dose of the intelligence and wit found on Release Therapy.

Being a theater concept album, plenty of non-music celebs make cameos on these tracks. It doesn't harm the album because they seriously do not try to rap! Left to Luda, you can see the advantages on cuts like Undisputed, which "co-stars" former boxing champ Floyd Mayweather in a cut drowned (but far from dead) with similes and punchlines.

Some would be looking at Wish You Would, the collaboration with former rival T.I. and creaming in their pants, but though they deliver mediocre at worst lyrically, the beat supplied by Toomp and 8TRIX is a headache. Even trashier is the Chris Brown and Sean Garrett collab What Them Girls Like - yes it is obviously a club/radio song so you can bounce to it, but don't jump into it seeking quality, though Ludacris does drop some decent lines, except "I love women so much I am one!"...umm...moving on...

Despite them, there is so much to say about the three final tracks of the album so I'll spare you that and tell you this - MVP ('scored' by DJ Premier; yeah who thought it wouldn't happen, but it did), I Do It For Hip Hop ('co-starring' Nas & Jay-Z), and Do The Right Thang ('co-starring' Common and, how proper, Spike Lee and 'scored' by 9th Wonder) - yes, the quality of the tracks matches the names involved in this triple threat...I mean treat. Believe that.

You gotta love concept albums, as long as they're pulled off well enough. Aside from the actor cameos (also from Chris Rock and Ving Rhames) and the 'co-starring' and 'scored by' credits, Ludacris' Theater of the Mind is not one which really stays on point as far as being a concept album, but regardless it still packs a lot of punch and you'll get quite a few kicks out of it too. Definitely a must-hear.

Available through DTP/Def Jam Records

J. Cole - Born Sinner

The youthful tour-de-force that is J. Cole made a bold move when announcing that he would be releasing his sophomore album Born Sinner on the same day as seasoned heavyweight Kanye West with Yeezus. Well that day is upon us, and it is a day which has made me wonder yet again if the whole "darker = better" aesthetic is merely becoming the hegemonic formula for the arts, as it's been working similar wonders for Hip Hop as it did for Christopher Nolan's 'Batman' reboot. Born Sinner is no exception.

The first thing to note is that unlike his 2011 debut Cole World, Born Sinner is almost exclusively J. Cole. Any guests (such as Kendrick Lamar and Miguel) are restricted to choruses, leaving Cole alone with his verses, of which almost none are left void of worthy lyricism laced together with a refurbished, fine-tuned flow maintaining the same visceral hunger of Cole's debut. That's not to say the listener is not treated to a more relaxed flow every now and then from the rapper (as he strikes a perfect balance between these tones on joints like Power Trip), but the hunger complements the darker direction taken this time around, facilitating his matured sentimentality rather than merely exhibiting his musical seriousness from Cole World.

Once again, Cole is also almost solely responsible for the album's production, with only Elite co-producing the TLC-collaboration Crooked Smile, and No I.D. co-producing the jazz-tinged Let Nas Down. Cole's musicianship is fixated on the album's darkness, complete with pounding drums, synthesizers, organs, strings and jazzy brass coming together to grant the album a sonic diversity, from thumping double bass groove of Forbidden Fruit (pronounced further by the soft clicks, toned-down drums and the very familiar sample of Ronnie Foster's Mystic Brew) to the soulful chiming of Chaining Day to the Zen-garden-like atmosphere of Rich Niggaz.

Cole flexes his versatility even further by branching out into different styles of Hip Hop beats, so while at one point you will have the (sadly underwhelming) upbeat rhythm of She Knows, at another you will be delightfully dragged through the proverbial mud with the heave of Power Trip (thanks in major part to its buzzing bass synths and the heavily slowed sample of Hubert Laws' No More).

The synths on Runaway in particular are juxtaposed by the drums in such a way that how you receive the track is based on your outlook at the time of listening to it - if you imagine a warm and sunny day, it will oblige that image, whereas if you envision something darker, that's exactly what you'll be treated to; the latter is arguably the easier one to side with, given the lyrics and the overall darkness of the album, but I implore you to try this exercise out regardless simply to enrich your experience. The bittersweet content is hardly a stranger in more emotional Hip Hop, but rarely do you experience something like this.

Contrary to what the title would imply, Born Sinner is not drowned in Christian overtones. Of course, in the process it does deal with your textbook human issues that are explored in emotionally-driven Hip Hop (save for the ego-stroking intro Villuminati), such as lovesickness (Power Trip) and gold diggers (Trouble). Others take on multiple issues simultaneously, such as idolatry and the need for validation (Let Nas Down), or for seemingly myriad matters on Runaway: masculinity and infidelity vs. femininity and the love of a good woman ("When you're no longer Superman, at least you know you got your Lois Lane"), self-esteem, paedophilia, aging, and racism. Yet in the midst of all the subject matter, Cole stays dark but not necessarily depressing, almost always entertaining and engaging.

While it does feel like a waste to merely have the talents of Kendrick Lamar almost squandered and restricted to repetition on the hook of Forbidden Fruit, it's understandable when you consider that the result of J. Cole helming his own album in all aspects is a heavily intimate experience with him as a person. Despite the few occasions of alienation when braggadocio rears its ugly head, the connection that is built is one that stays with you for the hour's duration of the album.

Arguably the most prominent and important quality that J. Cole is exhibiting on Born Sinner is growth - growth as an artist, a musician, a poet, and a human being. He has carved out a new cradle of self-comfort, and that very comfort adds to how personal this album feels to himself as the creator, and to you as the listener; hearing him in a finely balanced position where he is so passionate yet surprisingly unperturbed is what makes Born Sinner not just a significant improvement on Cole World in every way possible but a new foundation for even more improvement. The fact that it gets better with each listen effortlessly makes it one of the best Hip Hop records of 2013.

9/10

http://www.stasheverything.com/lifestyle/

Beastie Boys - Hot Sauce Committee Part Two

New York City. 1986. Three Jewish boys make their switch from punk rock to Hip Hop official, their illing licences granted to them. Was it a total shift in styles? No, it was more like a merger of the two, leaning more towards Hip Hop. Did they prove that the same do-it-yourself aesthetic transpired between the genres? Yes. Is it scary how successful they have been across more than just rock and Hip Hop? Oh yes. Did they even change their names? No. And God help you if you ask who these fellas are, your face shall substitute for a kick drum.

Consistency, consistency, consistency...Beastie Boys have CONSISTENTLY put out quality music. Once upon a time Hip Hop was about having fun, and then they came along and made it about getting damn crazy. Yezzir, these boys are the true originators of crunk without having to resort to it. They may not release music annually, but damn if they don't blast your ear drums every time they do. And that still applies for Hot Sauce Committee Part Two.

In no way has time and age slowed down Mike D, MCA and Ad-Rock. They still sound as youthful and energetic as they did when they first earthquaked the scene; though you will notice that due to MCA's recent health complications, his voice is much rougher...but dammit does it work well. Each of their flows remain precise and employing their trademark - though in ways dated - lyrical silliness to accompany the beats. Ah, the beats. Those gargantuan beats.

Entirely produced by the Beastie Boys themselves, the album is a great mixture of live drumming, heavily distorted guitar riffs, heavily distorted bass, and heavily distorted, warped and/or buzzing synthesizers. And of course Mix Master Mike has been brought back working his usual magic on the turntables.

Though the instruments don't vary greatly, the utilization of them keeps the album sounding fresh almost completely from start to finish. This is owed to venturing outside of its otherwise dominating boom-bap territory and into, say, reggae for the Santigold collab Don't Play No Game That I Can't Win, or back to the Beastie's punk roots on Lee Majors Come Again. Overall, the sounds are not a huge departure from what they were a decade ago, but the quality of it has been maintained so that each track still gives you the urge to Hulk your way through a brick wall [Make Some Noise], get all up in mofo's face [Here's A Little Something For Ya], or simply just set fire to, then break some shit [Too Many Rappers featuring Nas].

If you don't end up with flames emanating from your sound system by the end of Hot Sauce Committee Part Two, don't blame the Beastie Boys - only blame yourself, for you were not listening to it loud enough, you wuss. But if it made you go ahead and do some crazy shit like in their star-studded short film Fight For Your Right (Revisited) featuring Seth Rogen, Danny McBride and Elijah Wood as the Beastie Boys themselves, well then that there really is the point of great music. So how do you respond and react to the works of these pioneers? Does it make you want to chew through concrete? Smother your boss with a block of cheese? Headbutt a senator? Let us know, and have a grand time listening to Hot Sauce Committee Part Two as you do so.

Adele - 21

Adele has an incredible voice for TODAY's mainstream music. She sings passionately, and you can tell she speaks from personal experience. And in today's impersonal, chant-driven, melody lacking, beat obsessed top forty play list, she is a nice break. But she's not a god. she's not the next Aretha Franklin. She doesn't do anything new, she takes us back in time and does an old trick, pretty well. I have to say that sometimes, the way she phrases words makes me cringe because it sounds so affected. There are my criticisms about her.

Now, this album. It is an improvement from the first one in the sense that there are several OUTSTANDING songs. 19 just had a nice overall feel to it. However, this album has several really incredible songs and the rest, while nice, are not really that great. in fact i dont even listen to most of this album. i do however love: Rolling in the deep, Rumour Has it, Turning Tables, Someone Like you and her cover of lovesong which is really pretty/dreamlike and not "unnecessary" as i recall the rollingstone review labeling it. And set fire to the rain is a runner up, for the "tracks i listen to off this album occasionally" category. But really that's all i took away from this album. She's lacking as a truly skillful songwriter and could stand to improve. She's a talent that needs better material. But yes, there are several instant classics here, its just not a classic overall.

I know you're going to hate on me and tell me i dont understand blah blah blah. Zip your lip like a pad lock, i dont care. Adele has great potential , but i'll wager that unless someone breaks her heart even more, she won't have any new tricks on a third go around, if she ever gets around to it.

• Rolling in the Deep
• Rumour Has It
• Turning Tables
• Don't You Remember
• Set Fire to the Rain
• He Won't Go
• Take It All
• I'll Be Waiting
• One And Only
• Lovesong
• Someone Like You

by Kayuga

Lemuria - Pebble

The cover of this album is a simple black & white photo of the two main members of Lemuria who have withstood the many comings and goings of their bass players. Who will be the next third member of the group, and will they have staying power? The simplicity of the cover reflects who they are as a group, but does not begin to touch on who they are when performing live.

This was a much anticipated release for me personally after I listened to "Get Better " from one of our local libraries and just couldn't wait to get it rolling out my speakers. As the track "Gravity" began, there were moments of disappointment while waiting for the kick where this band would take their music to the next level and it happened 2:32 seconds later, when "Wise People" came on and made me a believer.

Bridge 9 Records seems to have been a good fit for Lemuria after all. They have allowed the band to continue with the style that they have built without pushing them to combine into a more dramatic, hard-edge style. This is exactly what Lemuria needed in order to advance their career and get their message out. "Ribcage" relies on the bass line to drive the song while the guitar gives off a swirling and spinning feeling.
"Ribcage" should have been the opening track because it is definitely a great continuation from "Get Better ." "Different Girls" is lyrically another writer contemplation, which is what makes Lemuria work. Internal investigation into the word play has always allowed the listeners to enter into a song, allowing it to become part of their own lives. Lemuria does this better than most bands coming out of Buffalo these days. Each song after "Ribcage" should have appeared in this order, but earlier on the album.

Musically, they have stayed within the realms of what has worked for them so far. There are moments that the listener would really enjoy if they just broke out a bit and assimilated something new. They stayed just a little too safe in this sense and did not attempt to show the listener that they had more to present. I have always been on the encouraging side toward giving the listener a bit more than what they bargained for when they purchase a new CD.

When their songs play within the rotation of my music player, they are uniquely distinctive and the production is that of which only what Lemuria and Doug White could produce. The sound is solid, but we can only hope that if they come out with a third disc, they will take a bit of a chance on expanding.

Susan Boyle - Someone To Watch Over Me

I must admit, Susan Boyle is indeed a sensation of our times. When she burst into the scene with her exceptional performance of "I Dreamed a Dream" by Les Misérables on Britain's Got Talent in 2009 I must say I was blown away. Her powerful voice was disarming to say the least. It drowned her plain ordinary look and turned her into an overnight superstar.

Though I enjoyed her first two albums; "I Dreamed a Dream" and "The Gift", her latest album "Someone to Watch Over Me" is the best of them all. The album is simply a class act. It is one of the few albums that I can just sit back and listen to without skipping a single song. The producer, Steve Mac managed to bring out the power of Boyle's voice without being drowned by accompaniments as in the previous albums. The youthful timbre of her voice is impressive.

The album is has ten wonderful tracks which include classics such as "You have to be there" by Benny Andersson and Bjorn Ulvaeus, "Unchained Melody" by Hy Zaret and Alex North, "Enjoy the silence" by Martin Gore and several others. The rendition of "You have to be there" brings a bit of bombast to the album and I really enjoy the track.

In the album Boyle's voice goes from soft to a soaring high in the same breath. She brings out a fresh interpretation to the songs that are indeed breath taking. The songs transcend age and can be enjoyed by almost anyone. She describes situations in her own life in some of the songs to which each one of us can relate to.

The album is generally about life, love and prevailing over obstacles. The loved the song, "Autumn Leaves". It brings out the sadness one experiences when they lose a loved one and gives the reassurance that they those that you love never really leave you.

Boyle's versatility and musical prowess is evident on every song in the album. She has succeeded engaging her audience emotionally in every song. This powerful connection will enable each and every one to find a little bit of themselves in her songs.

The album is one of those you listen to when you want to relax and reflect on life. It is indeed a must have for those who enjoy bluesy, soft music backed by powerful vocals. The song "This Will be the Year", clearly captures the life story of Susan as she proclaims that she is a woman who will always prevail over adversity as she did on that fine night on Britain's Got talent.

I would be the first to admit that "Someone To Watch Over Me" should have been a bit longer. It actually left me yearning for more though I was a bit skeptical about it at first. Boyle has grown in leaps and bounds since 2009 and is surely going places. She has definitely come of age in the industry. "Someone To Watch Over Me" has set her up for further success and I surely hope that we get to see more of her in the coming years.

Aaron Lewis - Town Line

The feel of this solo release by the lead singer of STAIND, Aaron Lewis, is something that has been swirling internally and needed an avenue for escape. The lyrics are personal and introspective of his life at home and on the road. The place he lives and the places he needs to go support where he needs to be. It is the circle of life for musicians who need to spread the word of latest releases and the bug that once on the road takes hold pushing them from town to town.

The line "If I Could Paint a Picture" found within track 2 is exactly what Lewis does throughout this release. "Vicious Circles" holds the line but the picture is drawn on each track giving the release its foundation. This allowed Lewis to bleed his personal thoughts onto paper while the pages become red the weight of having to leave his family for his love of performing fills the music.

"Country Boy" is Aaron's story of what happens to bands when they get to L.A. and find that the suits want to change what artists have built, starting with how you look and talk as well as your physicality. This track features GEORGE JONES, CHARLIE DANIELS and CHRIS YOUNG, where the first two have been around the block with the record companies for so many years and stayed true to who they are while Chris Young has been in the spotlight only 5 years which has been long enough to see what the spotlight can ask of an artist.

Alexa Carter brings hauntingly extraordinary vocals to the background of "Tangled Up in You", a song that is Lewis speaking directly to his wife. The beauty of the song is the simplicity of the music, allowing the lyrics to bring the message. LEON RUSSELL's syntax can be heard as each line begins and occasionally at the end. My only question is can this song also be the handcuffs the music has on drawing him from the love of his life and his children. He seems to be singing as much to his wife as to the music he writes and the road that draws him out to perform them.

"Massachusetts" is clearly the home he treasures where his family and friends greet him not as the famous artist but the guy they have known since his early years. The screaming fans have little place in his life here, the focus is his children as they grow and change during his leave on tour.

Lewis did what few artists in a band can do on a solo record. He stayed true to one sound, giving the recording a complete feel. Letting the lyrics come from a more personal place makes the listener wish he could have delivered more than the 5 tracks. It is clear after finishing the CD that he is the driver behind STAIND. This is in no way negating the band as a whole, just stating who puts the pedal to the metal.

Andrew Bird - Break It Yourself

Chicago native Andrew Bird's latest offering "Break it Yourself" stays true to the clever wit and one-of-a-kind whimsy that fans have come to expect from his music.

As a master of blending virtuoso violin playing and a signature whistling style that's seemless in its own right (among other delightful flourishes), Bird manages to always effortlessly maintain a pop sensibility that warrants repeat playing without becoming too dull. It's no different this time around.

On "Desperation Breeds", the album's opener, Bird delicately ruminates on the world's bee shortage before slowly breaking into a high pitched violin squeal that dips into a mad frenzy of his trademark fingering skills. It almost literally seems to channel the frustration and confusion of the bees themselves.

"Eyeoneye", a track that manages to correlate heartbreak and the complications of a tumor called a teratoma is as catchy as anything he's done in the past, if not more so. The driving force of the melody makes vulnerability seem like a fun experience that no one should miss out on. This is especially clear towards the end when he sings/chants "Go ahead and defibrillate yourself" before the pounding drums build to a crescendo... and then fizzle with, of course, a light whistle; as if we just ran a hardcore marathon like it was nothing. Exhaustion doesn't exist here, but exultation.

The hearbreak theme continues in "Near Death Experience Experience", where the happiness of surviving a plane crash is dancing "... like cancer survivors... grateful simply to be alive". But don't let the dark subject matter fool you. The carefree mood of the song is so happy it's like skipping down a sidewalk under a row of apple trees. Only when the apples hit your head do you realize the power conveyed in the lyrics of triumph over pain.

Who knew the subject of conquering fear and doubt could be so purely gorgeous? Take "Fatal Shore", where a mellow Mr. Bird meditates on the subject as quietly subdued as ever, but no less emotionally powerful as some of his best tracks. The drums gently tap along with the guitar and bass like a gentle stroke on an aching back as Bird and vocalist Nora O'Connor harmonize beautifully while repeating such lyrics as "You never know any doubt like we who breathe in and out".

A welcome comeback since 2009's "Noble Beast", we get a record not quite as immediately accessible or endlessly playful, but one that still stands as strong as most of his best work does. The details become more apparent with each listen, and that's when the realization sets in: "Break it Yourself" isn't just an album about a break-up. It's actually a complete, beating entity, not too unlike a heart with its own love to give.

I personally wouldn't want to break this kind of heart by myself. That's where you, the listener, comes in... to feel the joy of heartbreak. An oxymoron that only makes sense in Andrew Bird's world.

Email contact: factorking@yahoo.com

Bruce Springsteen - The Wild The Innocent and The E Street Shuffle

Bruce Springsteen's latest release hits the needle with its opening number being an amplitude of ear candy. Unlike his debut release, this is a musical genre-clashing experience. There are jazz guitar flavored elixirs layered over rock beats. The bass lines are animated junctures of which the mission is to connect the dots. Jazz, Rock, Blues and folk blend well as used by Springsteen.

The Wild The Innocent & The E Street Shuffle is not in disguise but rolls out the red carpet for some of the old time blues. On "Wild Billy's Circus Story", he uses the tuba less like a circus instrument; it is more introspective of New Orleans jazz when it was spelled 'Jass.' The music of the 20's and Bix Beiderbecke's coronet would filter over subtle beats and tuba pumped swing. The energy that blew through some of those old recordings are whisked into the sounds of Springsteen's music today.

On The Wild The Innocent & The E Street Shuffle Springsteen wants to take all the music that has ever influenced him and montage it in each track except "Rosalita." This song is a rock anthem of which the theme has been used by songwriters for years. Who would not want to get the rich contract & the girl? Every guitar-toting songwriter. They are not the ones gonna get the girl when Springsteen comes to town. The guitar rhythm has a lot in common with THE DOOBIE BROTHERS "China Grove" from their latest release The Captain and Me, but it is one of the few times this year that Springsteen seems influenced by any music being recorded.

The storyteller that lurks inside explodes in the lyrics of "4th of July Asbury Park" as his ability to transpose visuals with this composition can make the listener feel as if they can reach out and touch the characters he is singing about. You can feel the carnival of fireworks displayed before your eyes while the beach smell consumes your senses. Then "Kitty's Back" at times could be a Broadway musical extravaganza with characters running to and from every crevice of the stage with elements of "West Side Story." Could this have been the combo that made him pen this song?

The best thing about his vocal styling is that each word is accented for understanding and not camouflaged in fear of being ridiculed with misunderstanding. His lines are at time almost full sentences, still allowing each listener to interpret the song to their own personal life. The "Incident on 57th Street" songwriting is spread with Lou Reed-like approaches to the architecture of a song.

The lengthy "New York City Serenade" brings the record to a close with some incredible piano artwork that is so New York it screams "play me." Although it is conclusively about a man and woman hooking up to meet each other's needs with potential to do destructive things along the way, it gives strong vibes to the days of Cab Calloway. Also known as The Reaper man which was a song about those who favor marijuana, Calloway was not afraid to tell his tale and was loved New York. The Cotton Club was the foremost jazz venue in Harlem and when he secured a nightly spot on stage when Duke Ellington was touring, there was no other place to be. Springsteen is able to emulate all the feelings of New York from the 20's right up to present day.

As with his first release, Springsteen stays with one preferred name to inject into each and every song. Greetings from Asbury Park N.J. had Sandy, now it is Jane. Who his muse will be next time, only time will tell. These last two releases came in quick succession so strong, touring while spreading the word should keep him far from the studio for some time.
http://www.rustyscage.com/music

Pentatonix - That's Christmas To Me

Pentatonix is one of my mom's favorite bands, so I've been exposed to their music quite a bit, especially over the Christmas season. Not that I'm complaining -- acapella music is a vastly overlooked genre, albeit one growing more in popularity since the "Pitch Perfect" movies and "The Sing-Off." And while not all of Pentatonix's songs are acapella, they've helped breathe new life into the genre, updating it for modern audiences and giving their music a sense of pep and playfulness that I enjoy. I ended up purchasing their Christmas album for my mom as a birthday present, but was also able to nab a copy for myself. What can I say, they're addicting.

While not every song on this album can strictly classify as a Christmas song, it's a beautiful album that hits the right balance between upbeat and soulful, and is destined to be a holiday classic.

It's hard to pick a favorite song on this album, as each song has something fun to offer. Their version of "Hark! The Herald Angels Sing" gives a classic Christmas carol a funky gospel flavor, while "Sleigh Ride" makes for a bubbly and playful twist on the song. Their mash-up of "Winter Wonderland" and "Don't Worry, Be Happy" doesn't seem like it should work at first glance, but they make the two songs mesh almost perfectly. "That's Christmas To Me" is far more laid-back, but still lovely and warm, and their version of "Mary, Did You Know?" is beautiful and haunting. "Dance of the Sugar Plum Fairy" turns a classic "Nutcracker" orchestral number into something funky and unique, and I love their takes on "It's the Most Wonderful Time of the Year," "Santa Claus is Coming To Town," and "Silent Night."

Two songs on this album aren't exactly Christmas songs, but seem to be included simply because they discuss wintery topics -- "White Winter Hymnal," a Fleet Foxes song, and "Let It Go" from Disney's "Frozen." While I wouldn't classify either of these as Christmas songs, they wouldn't be the first songs that don't talk about Christmas but have been appropriated as Christmas songs simply because they're about winter (just listen to songs like "Jingle Bells," "Winter Wonderland," "Let It Snow, Let It Snow, Let It Snow," and "Baby, It's Cold Outside" -- none of them mention Christmas but are considered Christmas classics). And while I love the original versions of both songs, Pentatonix still does a good job of adapting these songs and putting their own signature on them.

And the extra tracks included in the deluxe edition are a delicious bonus -- "Joy to the World," "The First Noel," "Have Yourself a Merry Little Christmas," another version of "Mary, Did You Know?", and "Just For Now" (best recognizable as a track on "The Holiday"). These, as well as the poster included with the physical CD version of the album, make the deluxe edition of the album worth it, even if you already own the original version.

A beautiful, upbeat, and just plain fun Christmas album, this earns a place among my favorite Christmas albums. Keep up the good work, Pentatonix.

Kenya Starflight

Ensiferum - One Man Army

Finnish metal band Ensiferum can now be called true veterans of the genre. Ensiferum was founded in 1995 and they are still leaving headbangers with sore necks in 2015, probably even more than ever. The Fins who describes their brand of metal as melodic folk metal has recorded their strongest album so far. The new album 'One Man Army' shows the band increasing their craft on every level.

Ensiferum's sound is still marked by combining death metal influences and harsh vocals with melodies and folk inspirations. On 'One Man Army' they have perfected this blend even further. The album starts with the 90-second intro 'March Of War' before it breaks into 'Axe Of Judgement', a classic opener with neck-breaking speed, lots of double-bass action and fast riffs. In true Ensiferum style they include references to Russian folk music, a choir and a break in the middle of the song that does not only groove but also includes Accept-like choir sequences. Most metal fans will rejoice.

'Heathen Horde' follows and brings more traditional metal parts, some guitar melodies even sound like Maiden. Arching over all this is the extensive use of the choir-like gang vocals, a recurring theme for the remainder of the album. The break in the middle ventures into medieval folk music before the band picks up speed again. Ensiferum then get into fifth gear with the title track 'One Man Army'. Ultra-fast riffs, sharp melodies and again the choir are the trademarks of this song. The 2-minute ballad 'Burden Of The Fallen' provides a welcomed break.

The remaining six songs of the album stay on the same high-quality level. Ensiferum range from epic song structures (the 11-minute 'Descendant, Defiance, Domination') to fast up-beat tracks ('Two Of Spades') to late Maiden-like prog adventures ('Warrior Without A War'). It is hard to pick a highlight of the album. All songs have their own little treasures to discover. The special edition of 'One Man Army' comes with three bonus songs including a cover of the classic 'Rawhide' which really suits the band's sound.

Ensiferum has not changed their style compared to previous album. Neither have they rewritten the story of heavy metal. But what they have done is to create a unique brand of metal that is recognisable and different from most mainstream metal bands these days. It is not the search for harder, faster and more extreme metal that you find on this album. Instead you find well-crafted songs that will make for a neck-breaking live performance.

Bottom line is that Ensiferum have released a very strong album which will be on many top 10 lists at the end of the year. The metal veterans from Finland have perfected their sound even further. Their six full-length album releases have grown stronger from record to record. 'One Man Army' is the logical continuation in this row of strong releases. It seems the band has a lot more to give in the coming years. Watch them live if they play close to you.

http://www.heavymetalbands.info

Nickelback - Here and Now

Grabbing from the past and showing growth is eminent as each track spins, working the listener further down the road. The arrangement of songs is designed for less hand holding than Dark Horse, allowing freedom to absorb at an individual pace. This album is mature with edge and sexual provocative lyrics that are less suggested, as with Dave Matthews, and more direct.

Very seldom does Nickelback bring their influences to the table when writing and recording. This lets the music stand on its own merit so comparisons are limited, and it will keep their longevity strong for more releases to come. A hard hitting first track and a tease at the end keeps the audience licking their lips for more.

The new release is unlike The Long Road and All the right Reasons, which are over moments after they get started because each song has such an impact that time flies so fast. Here and Now 's tracks are consistently 3ish minutes long where previous releases had most tracks at 4ish minutes. So why does it seem that this CD takes a bit longer to listen to? Possibly all the experienced writing learned from "Mutt" Lange still lingers and the band is just trying too hard.

"When we stand Together" is a very socially conscience piece of work for this more "Party Rock" style band. They have not really stepped into this lyrical content since "Never Again", and it's great to see the band understanding the impact that they have on the conscience of the youth. Throughout the 80's, every rock/hard rock/metal band would have at least one slow song that either was their "love" song or a social statement. Nickelback uses some of this concept by including several slower tracks, but should stay with the power rock with just a couple slower tunes. The best tracks are the fast, busy songs with stacked guitars and growling vocals.

"This means War", "Bottoms Up", "Midnight Queen" and "When we Stand Together" are the best this release has to offer, but do not quit on the remaining seven tracks, as a few will have their place with different listeners. You will either feel the music and accept the lyrics or love the lyrics and let the music stand. Not the band's highlight but it will have its place in most listener's collections.

The Gastown Steam Clock appearing on the cover is a great way for the band to tip their hat to their hometown in Vancouver, British Columbia. Since it has become such a tourist attraction, the picture with the smackle of lights should only encourage fans to visit this beautiful city. Vancouver is a hot bed of television production for American and Canadian pilots. The growth of the city is a great encouragement to the hometown boys of Nickelback that their future is secure.
By Rachael M Kohrn

Bruce Springsteen - Born To Run

The albums released up until now have been filled with artists on the decline and up-and-comers who have a ways to go before they secure the spotlight. Bruce Springsteen, however, has paid his dues for a couple years, releasing two albums in 1973 and heavily touring to promote both of them. There will not be another release this month, or even this whole year, that will be able to touch what Springsteen has composed for Born to Run .

The opening harmonic, piano driven "Thunder Road" builds from the first second until the band surrenders to hearty guitars that lay subtlety over the rhythm section. The addition of Max Weinberg on drums exhibits his fortitude as he positions himself to be the backbone of Springsteen's writing. In the opening drum trac,k it is Weinberg who sets the stage for the shortest song that appears on Born to Run , motivating the feel as Springsteen hurls vocals into the microphone.

This is the first reference to Clarence Clemons being 'the big man' in the lyrics of "Tenth Avenue Freeze-Out." Clemons's haunting fills on "Meeting Across the River" meet the song's need, giving quiet reflection to the lyrical content. He is invaluable to Springsteen's writing as he has the ability to touch those same places the composer envisions.

The piano needed some life, and Roy Brittan is the perfect extension of the sound Bruce Springsteen writes toward. Brittan keeps the pace as Springsteen delivers declarations in "Backstreets" where he tells the story of two friends who meet and tear up the town with misspent youth. The final verse leaves the story open to the listener's own interpretation. "Laying here in the dark, you're like an angel on my chest", could this mean that Terry (the friend) is lays dead over Springsteen while he drifts in thought of the things they have done? Up to now the record has forged a storyline, with each track advancing the adventure between two friends.

This record, as with those that went before, is a dedication to one name and although this release scatters different names in each song, it is clear that 'Mary' is the female counterpart to the Springsteen character. Every character's name that appears rhymes with Mary such as Wendy, Terry and Eddie. It is "Born to Run" that switches gears as Terry is now possibly gone, and Bruce looks to find the girl that is as ravaged from life as he and begins to court her with thoughts of getting out. This is another theme that most storytellers only wish they could pen as well as Springsteen, touching on emotions of those whose life may never get past the factory line. ANTHEM ANTHEM ANTHEM!

Now finishing up the first half, of the second side "She's the One" is a young boy's visual beauty of a girl that he can not turn away from. She's the girl that is between tomboy and princess who is out of reach but continues to dwell in the subconsciousness of the writer. He dives deep to compose this passionate love song that the male character insights his female counterpart to take the bull by the horns "to leave it all behind, And to break on through, Oh she can take you, But if she wants to break you, She's gonna find out that ain't easy to do" he knows that no matter if she chooses him or not, it will always be her. She will hold his heart until he takes his last breath. Whether it be today or 50 years from now, her face will be his last thought.

The nine minute, thirty-four second finale "Jungleland" is like the final chapter in a book or the or last scene in a movie. It is a storyteller's dream ending with some good guys surviving and some bad guys getting what they deserve. When the piano diminishes to where the listener is barely able to hear it, Springsteen verbally visualizes the slow motion each character takes.

Nowhere in 1975 will there be a better release than Brice Springsteen's storytelling genius on Born to Run .

http://www.rustyscage.com/music

3 Doors Down

I'm a huge fan. I love these guys, and I've been hooked since the day I bought The Better Life years ago. 3DD, in my opinion is the most talented band out there. I have always related to their music - they're just average guys who are passionate about the music.

But having said that, I'm disappointed in the new album. It's hard to explain what I don't like about it, other than it's too clinical. It just sounds like the band went from music as their lives to music as a job. The talent is there, but I'm not feeling the power or the flow that they've spoiled me with the first 3 albums. My wife said that the album sounds rushed. I'm not so sure what it's missing, other than it's missing something. I put on a song like Father's Son from their last album and I just FEEL it.

I heard a live version of "It's not my time", and this new studio version doesn't compare. They made it more "poppish" and it lost something in the translation. It's a great song but it could've been so much better. Everyone else seems to love this version though, so I know I'm in the minority on this one.

"She don't want the world" is my favorite on the new album. It reflects their evolution but still keeps to their roots. "When it's over" almost channels their first album, and it's growing on me.

The rest of the album sounds like they showed up to work one day and cut a bunch of tracks. The songs *almost* do it for me, but they just fall short. They're still my favorite band, but this album could've been better than it is.

Hopefully the new album will grow on me over time, but for now I'll be getting my fix from the previous albums.

By Some Guy

OneRepublic - Dreaming Out Loud

The good outweighs the bad on 'Dreaming', March 28, 2008
It's not very often that a band from my home state of Colorado hits it big, but that's precisely what OneRepublic has done. With the help of Timbaland, the band scored one of the biggest hits of this decade to date with the remix of "Apologize", which spent 25 weeks in the top ten of the Hot 100, is one of only three songs to date to surpass three million in U.S. digital downloads, and spent 14 weeks at #1 on the United World Chart to name a few of its accomplishments. Needless to say I had to check out the band's debut album, especially considering how addicted I was to "Apologize." The album is one of those "singles" albums in my opinion, where about 5 of the songs are great and sound like big hits, but a lot of the album is filler.

Unsurprisingly to me, I did not find another song I liked as much as the Apologize remix, which is a bonus track on the album. Although I dislike that the remix is credited to Timbaland featuring OneRepublic (it should be vice versa), I have to admit there's something about the remix that sends the song into that upper echelon of mega hit that only happens rarely, and the original version of the song just can't compete. The song is much more than just a hit though, as everything about the remix is the total package of lyrics, beat, hooks, and vocal performance that seamlessly meshes to make it one of those universally likable songs. Enough about that song though, the rest of the album has some other tracks that are worth talking about, starting with second single "Stop and Stare." The song seems to be about evaluating your life and questioning why it is the way it is. The song has a big chorus and is one of the most re-playable tracks on the album. "Mercy" is a more rock tinged affair that first gained the band notice when they put it on their MySpace. It is somewhat reminiscent of a song U2 would do, and is well written and produced. My favorite track besides "Apologize" would have to be "Say (All I Need)" a song that crescendos from a gorgeous soft rock ballad into a soaring melodically layered piece of music. Most definitely a hit, but more importantly a superb song, and I have to also note that lead singer Ryan Tedder gives an exceptional vocal as well on it. The album isn't all good news though, as about exactly half of the tracks are filler that go in one ear and right out the other. Songs such as "Prodigal", "Tyrant", and "Won't Stop" to name a few just leave no real impression on me.

What saves "Dreaming Out Loud" from being disappointing is that the good half of the album overshadows the unmemorable portion. It's been a while since I've heard tracks as overall well put together such as "Apologize", "Stop and Stare", and "Say (All I Need)." Other highlights are "All We Are" and Coldplay esque ballad "Come Home." The band also seems to be talented lyrically as well, and Ryan Tedder might be quite the up and coming producer/songwriter already having huge production/writing hits for other artist such as Natasha Beddingfield's "Love Like This" and the mega worldwide smash "Bleeding Love" by Leona Lewis. "Dreaming Out Loud" is a promising debut that is satisfying but leaves plenty of room for future growth. 4/5 Stars

My Top 5:
1. Apologize (Remix)
2. Say (All I Need)
3. Mercy
4. Stop and Stare
5. All We Are

Cat Power - The Greatest

As January was winding down and I was wandering around the internet, wading through the eMusic archives and this month's Pitchfork reviews, I felt that January didn't bring much music worth talking about. I gave up and found an interesting artist on an eMusic "dozens" list named Cat Power, a.k.a. Chan Marshall. I downloaded her 2003 album You are Free and became an immediate fan. Her sultry, affecting voice delivers somewhat cryptic lyrics that nonetheless bury themselves under your skin. She plays both the piano and guitar with a moody charm that is, though sometimes simplistic, refreshingly original.

Marshall has just released a new album on Matador Records, entitled The Greatest. Though it doesn't quite live up to it's title, The Greatest does randomly arrive at greatness.

Marshall has previously played it safe within the boundaries of indie rock. The Greatest is her seventh effort and is her most accessible to date, owing to the fact that she is joined not by indie musicians but by legendary Memphis session musicians. These guys are strictly professional and have supposedly played for the likes of Al Green, Neil Young, and Aretha Franklin. This professional accessibility - which evokes the label "Starbucks music" to one Blogcritics reviewer - might mean that the indie rock world snubs Marshall. If, however, Marshall does manage to break into the Starbucks scene, mainstream fans are likely to give The Greatest a warm reception.

The Greatest opens with a triumvirate of the album's best three songs (except for "Love and Communication", which I'll get into later). "The Greatest", about somebody's failed aspirations as a boxer, nails it's intended mood with grace and perfection. A melancholy beat drags down the bittersweet, but endearingly elegant strings as Marshall croons "Once I wanted to be the greatest / Two fists of solid rock." The ballad crushes you under it's sincere depiction, both in lyrics and music, of honest remorse and failure. "Living Proof" wipes away the mournful vibe of "The Greatest", picking up the beat and adding a constant whining organ. "Lived in Bars" begins slowly and carefully, but picks up in mid-song, bursting into a celebratory ditty with repetitive horns and "sho-bops". These first three tracks establish the overall emotional mood of the album; a mood of bittersweet regret, disappointment, and nagging - but comfortable - sadness. These three also showcase the Memphis band at it's best.

The band's overindulgences come up in tracks 4 through 10. Only one of these is honestly bad - the baffling "Where is My Love" - but there isn't much to talk about. The exception is "Willie", a cover of Marshall's own 18 minute song "Willie Deadwilder" about the love between Willie Deadwilder and Rebecca. The lyrics are penned in a Dylan-esque storytelling manner and the band maintains a subdued groove enabling Marshall to show off her sultry vocal talents. Other than this the middle of The Greatest is above average (barely) filler. The band strays a bit too deeply into country-tinges and incessant horns while Marshall seemingly runs out of ideas.

Despite the aforementioned mediocrity, I can recommend The Greatest for three very good reasons. Number one and two are, of course, the opening triumvirate and "Willie". Number three is the closing song, "Love and Communication." Dropping the album's mood, which by this point becomes overbearing, it assaults you with heavy guitar (without the wearing country-tinge), a driving beat, and staccato strings. Marshall's voice floats atop the noise sounding more comfortable and natural than at any other moment on the album. I predict "Love and Communication" ending up on a few "best of 2006" lists. If you are looking for a more complete Cat Power album (minus the filler), I would recommend checking out You are Free. Canada phone cards India phone cards France phone cards Russia phone cards UK phone cards USA phone cards Bizon phone card Jupiter calling card Mozart calling card Continental calling card

Upcoming Reviews and Guided by Voices

I visited the Boise Weekly offices today. Along with a copy of a 1975 film entitled The Passenger that I'm assigned to review, I picked up four very varied CDs that ought to each prove interesting, at the very least. Two are from Rock, Paper, and Scissors Inc. Thandiswa arises from the rich cultural post-apartheid music scene of South Africa. Julia Sarr, a Senegalese-Gambian-French singer, collaborates with Patrice Larose, a French flamenco guitarist, on Set Luna. Both of these releases already have me salivating at their exotic setting. These aren't your typical American white male indie releases. The other two, however, are closer to orthodoxy. Collin Herring was called "the torchbearer for alt-country" by the Dallas Observer. Along with that quote in the press release were many others that built Collin up to almost unparalleled proportions. He's got a lot to live up to. The fourth release is packaged very DIY, and is called Salt Lake City by a band called Purr Bats. Their press release opens with "howdy" and doesn't give a clue as to what kind of music awaits me. I have a sneaking suspicion, however, that this is some punk rock. We'll see. I bought a fifth CD today that will only be mentioned here (no review): Guided by Voices - Human Amusements at Hourly Rates: The Best of Guided by Voices. This is my introduction to a seemingly legendary band that I've somehow managed to avoid. I'm hearing it right now, and it already sounds like something that might well receive stereo rotation ten years from now. Look for all the aforementioned reviews within the next two weeks.

Oxcart - Sasquatch?

(originally written for the Boise Weekly)

Sasquatch, the freshman effort from Portland's Oxcart, begins with the engaging smooth groove of Esta Illegal, but as soon as the vocals kicked in I had to resist a strong urge to turn it off. The singing on this disc is nearly laughable. Jason Baker's vocal styling is absurd, for lack of a better word. He tries too hard at originality and succeeds only in sounding irrelevant, like an oddity best kept in a basement somewhere or at least buried deep within a local music scene. I don't feel that I should encounter this music anywhere outside of Portland. Even in Portland, I'd rather not cross paths with Oxcart.

The musicians behind Baker's voice scramble to redeem his failures, but only half-succeed. The band's press release describes the music best, as a "psychedelic mixture of explosive rock, funk, and deeply atmospheric melodies." At the top of their game, Oxcart produces noises that expand throughout your mind, pushing out thought to reverberate through a peaceful emptiness. When the band runs out of fresh ideas, however, they default on a bag of generic tricks: funky bass licks that have been played verbatim countless times throughout music history, electric guitar relying on the wah-wah effect to cover up missing skill, and obnoxious synthesizer wails.

Sasquatch is a bizarre, unsettling, and confusing experience. Embarrassingly, I found myself tapping my foot to the music, albeit just at its sharpest moments. Other moments of this disc appalled my better musical instincts. Not once did Oxcart manage to sound relevant or fresh. This is a monumental musical misstep that has sat festering in some musicians' minds for far too long, where it should have stayed.

The Exit - Home for an Island

(originally written for the Boise Weekly)Home for an Island begins with "Don't Push". Its the sound a confident band produces despite not boasting any measurable talent. The Exit are smug and comfortable singing juvenile poetry over a muddy mixture of mainstream radio rock and post-punk rock. Cryptic, meaningless verses lead into the severe let-down of "don't push your love away" over and over again for the chorus. "Don't Push" is not worth the four minutes and twelve seconds it will steal from your life.

The remaining twelve tracks on Home for an Island follow suite. By track 3, "Back to the Rebels", I was grimacing at the screech of lead-singer Ben Brewer's voice. Other than his squealing, the music isn't awful, just dull. Its run of the mill, mildly distorted guitar reminiscent of nineties radio rock with a rhythm section to match.

The Exit fall apart with the words. They've yanked random words written on slips of paper from brown paper bags and carelessly tossed them in between the chords. The only line that rang true: "I feel like a criminal for writing this down." He should be locked up- if not for the rest of the album then certainly for "Soldier". Here The Exit hijack the classic guitar/harmonica equipped singer-songwriter archetype to deliver grossly incompetent lyrics. Telling us that you hate what you see on the television is not profound reflection of these turbulent times.

The Exit have imagined an image of themselves as intelligent rockers that they've attempted to realize on Home for an Island. Its clear that in their minds, they've achieved this goal. But what counts is the state of their audience's minds. This audience strongly feels that, in their drive to live up to this image, The Exit has carelessly forgotten to write even one decent song.

Against Me! - Searching For a Former Clarity

(originally written for the Boise Weekly)

The press release states that the only constant with Against Me is redefinition. Fans become bored when their beloved groups descend into a Jack Johnson fashion of mediocrity by remaking the same album over and over. Though Searching for a Former Clarity certainly sounds fresh, it wouldn’t be too difficult to imagine songs from 2003’s As the Eternal Cowboy fitting into the album, or vice versa. Against Me doesn’t quite redefine. Regardless, Searching is a top-notch punk record.

On As the Eternal Cowboy Against Me stirred a delicious mix of ingredients - a gritty punk rock sensibility, a folksy anchor, and fist pumping, sing along choruses - to create one of my favorite punk albums. Perhaps wisely, the band chose not to reinvent themselves with new ingredients, but rather cooked the old ingredients longer and with more heat for Searching. The result is 14 tracks encompassing all we love about the band, even as they surprise us.

There are a few tracks, such as the Bush-bashing “From Her Lips to God’s Ears”, that burst with an urgency and energy that replaces a playfulness on similar songs from the past. The band screeches “Condoleezza!” as lead singer Tom Gabel accusingly asks “What are we gonna do now?” When the band mellows out on “Searching for a Former Clarity” Gabel grabs hold of the opportunity to achieve an intimacy seldom heard in punk rock, showing off his rough, but rich voice.

Other tunes, like “Violence” and “Justin”, are similarly strong. While listening to Searching, however, I was wishing that it was shorter. None of the songs are awful, but most begin to play like filler in the midst of 14 others. Short and sweet would have been better, and though this album manages to escape the ‘mediocre’ label, it wanders dangerously close.