Album Review: NOEL GALLAGHER'S HIGH FLYING BIRDS - Noel Gallagher's High Flying Birds

I know, I know…here he goes again, pedaling more post life, 'Oasis' stuff with, ‘Noel Gallagher’s High Flying Birds’. My deep rooted love for, ‘Oasis’ and keen interest on both siblings' progress in life after the band has already been shared on this blog. It was indeed something of a surprise to me that the loveable rogue that is, Liam jumped ahead of, Noel in releasing new music. In doing so, he made some shrewd acquisitions with the recruitment of former band mates,  Gem Archer and, Andy Bell who are not only valuable for their instrumental talents, but just as much for their song writing capabilities. The, Liam venture of, ‘Beady Eye’ and their debut album, ‘Different Gear, Still Speeding’, released earlier this year suitably impressed me scoring a solid 7/10 in my initial review (http://scoaustin.blogspot.com/2011/03/album-review-beady-eye-different-gear.html) and probably now worthy of at least a 7.5.

Noel took a little longer to bring what he has to the table and has partaken in fairly heavy publicity and social media posting as part of the promotion. Not something I’m overly fond of…surely he doesn’t need to make this album release a circus. Released in the UK on 17^th October and attaining fairly positive reviews on the whole, the album is set to hit the US on the 8^th November, just before Noel embarks on the US leg of his tour. He too has leaned on a few musical friends including former 'Oasis' keyboardist, Mike Rowe, but at the end of the day, this is a solo effort. The peculiar name apparently draws inspiration from the ‘Jefferson Airplane’ song. Ultimately, it’s great to have, Noel back in the game. The penultimate years of 'Oasis' were pretty dark and in all truth, a bit of a drudge. The music, though decent, didn’t get close to the qualities of, ‘Definitely Maybe’ or ‘What’s The Story, Morning Glory?’ This album marks the calm after the storm in which, Noel brings his mournfully upbeat voice and solid lyrical ability. In essence, this album is the sound of a man who is no longer bound by what other band members think and, Noel already has some credibility on the solo front. By their second album, the guitarist was already taking lead vocals and lest we forget the notorious MTV Unplugged episode proved he could do just fine without his brother.

The album begins with a snarling, Noel on, ‘Everybody's on the Run’ – “Hang in there love…you gotta hold on…everybody's on the run”. The drumbeat, backing keyboards and strings on this track are fantastic. It's a very strong start to the album in which the closing strings and piano sounds like the end of a 'Rocky' movie.  ‘Dream On’ that follows is home to a drum beat and tambourine jingle that is oh so familiar to 'Oasis' fans. Noel emphasises his lyrical ability once more with some cleverly constructed lines. It’s in the, ‘She’s Electric’ and ‘Importance of Being Idle’ genre. A  thumping sing-along track that’s chorus of "shout it out for me" might be better applied by the gritty vocals of his younger brother, but it is rather catchy. 

‘If I Had a Gun’ is more in the ballad format of a, Noel love tune. Not up there with the epic, 'Masterplan', but a similar kind of effort and I like it. Apparently this track was previously called, ‘Wonderwall’. I can’t say too much more than that this is typical Noel Gallagher tunage. ‘The Death of You and Me’ carries a bit of a circus feel and though it is also 'catchy', but this is not a favourite of mine. A trombone solo takes the place of guitar and quirky noises appear throughout this, ‘Kinks’ homage. ‘(I Wanna Live in a Dream in My) Record Machine’ begins with the sound of school kids in the playground.  It’s another captivating song with great use of strings combined with guitar. The appearance of a ‘Don’t Look Back In Anger’ type guitar solo here also takes us back to the best of 'Oasis'.

‘AKA... What a Life!’ starts with a blurred warble of sound, then a steady rhythm kicks in before Noel joins in with “Someday, you might find your hero…some say, you might lose your mind”. This is not too dissimilar to some of the things Noel has done with 'The Chemical Brothers' and others. I love this sound and wish there was far more of it. This is the furthest on offer here from “the usual Noel stuff” with more of a house beat and feel. It has a turbulent piano loop (not unlike Beady Eye’s, ‘Bring The Light’) and Noel's melancholic feelings on twenty years in the limelight. ‘Soldier Boys and Jesus Freaks’ has a jazzy feel to it, strings and horns again appearing. It’s toe tapping and decent, but no more than that for me. ‘AKA... Broken Arrow’ is another hark back to, 'Oasis' with well coordinated rhythm and finely attributed lyrics, but for me, we’ve lost the gusto of track 6, ‘AKA... What a Life!’  

I like the build of, ‘(Stranded On) The Wrong Beach’. The slow, but temptuous guitar riff builds with, Noel’s well placed vocals and concluding with some flippant and nonchalant lyrics from the talented songwriter. We come to the end of the ten track solo album with, ‘Stop the Clocks’ which is openly an, 'Oasis' leftover…it’s been knocking around in bootleg form for quite some while. It’s a simple muse about what happens when you die, yet somehow succeeds in being more uplifting than depressing.

We can pretty much put these songs in two three buckets: Oasis throwbacks - ‘If I Had a Gun’, ‘AKA… Broken Arrow’ and ‘(Stranded On) The Wrong Beach’, rock anthems – ‘Everybody’s on the Run’, ‘(I Wanna Live in a Dream in My) Record Machine’ and ‘Stop the Clocks’, and jazzy toe tappers - ‘Dream On’, ‘The Death of You and Me’ and ‘Soldier Boys and Jesus Freaks’. The exception to these is my distant favourite, ‘AKA… What a Life’ on which, Noel is well of out of his traditional comfort zone. It suits him well, and he knows it. I hope to hear more of this untraditional, Noel in his forthcoming solo effort with, 'Amorphous Androgynous' which will drop in 2012.

Aside from the jazz styled interludes there’s nothing all that new on this album, and as aforementioned, the second of his solo projects may be a little more ‘out there’. 'Noel Gallagher's High Flying Birds' follows a safe flight path staying close to the, Noel Gallagher of, 'Oasis' lifespan. He’s provided us with a collection of tracks of which the best can stand proudly alongside ‘The Importance Of Being Idle ’. This review may alter upon seeing him deliver these songs live in the impressive arena of the Beacon Theatre in New York on November 14^th. Rating 7/10

The album in it’s entirety can be streamed here - http://soundcloud.com/piasbelgium/sets/noel-gallaghers-high-flying/s-bEO8h

PORTUGAL. THE MAN - Terminal 5, NY, 20th October

Having been introduced to, ‘Portugal. The Man’ in March of this year and listened to their music fairly heavily since then, their music can best be described as psychedelic pop rock. That said, there are some diversions that has one second guessing. It’s fair to say that, Portugal. The Man are not that easy to tie down to a genre.

Recent album, ‘In The Mountain In The Cloud’ (reviewed here in July - http://scoaustin.blogspot.com/2011/07/album-review-portugal-man-in-mountain.html) heralds the bands half dozen mark in terms of albums. Notably, this is the band first on, Atlantic Records. Rolling on from the momentum sparked by their rise in 2006, and significant radio play of, ‘People Say’ from, ‘The Satanic Satanist’ in ‘09, ‘In The Mountain In The Cloud’ continues the intense release cycle of one album per year. This feat is made all the more remarkable when you account for the band’s hectic road schedule. They have played over 800 shows ranging from freight elevators and small record stores to huge festivals like, Bonnaroo. ‘In The Mountain In The Cloud’ is arguably the first recording by the band that captures their onstage energy fully. That onstage energy will be further discussed in this review.

Smoke galore and ping pong ball type lights strewn across the Terminal 5 stage, ‘Portugal. The Man’ took the stage barely visible in the cloud of smoke. The band opened with the first track from their latest album, ‘So American’. I really like this tune which begins with soft, high pitch keys before developing in to a sweet little guitar riff in which lead man, Gourley howls, “so who broke the rules? Who broke the rules? Who broke the rules” to begin the chorus. Before continuing with further new material, the band ripped through four tracks of previous releases.  ‘Work All Day’ from ‘09 release, ‘The Satanic Satanist’ emphasizing that the band were going to mix it up and ultimately run the gamut of their spectrum of albums. This one has the rhythm of a steam train in motion. ‘The Devil’ (which I had never heard before as I haven’t given their debut album a listen yet) kicked off with drummer, Jason Sechrist leading the crowd applause to assist with the tribal beat before leading beautifully in to a surprise rendition of, ‘The Beatles’, ‘Helter Skelter’. The cut over was impressive and the version was okay if not sublime.

With the crowd already in fervent mood, ‘AKA M80 The Wolf’ was next up. Just when you think you’ve nailed the band to a genre, this song comes along and destroys that feeling. This tune is more in the, PJ Harvey, Flaming Lips, Bjork style. It works though. ‘The Woods’ swiftly follows and I love the filthy guitar riff in the middle of this tune. It’s like, Hendrix meets Zeppelin. The song itself is fairly aggressive and although I’m not sure about the lyrics, it sounds like a political rant. The mood is softened a little by another of the offerings from the recent release in, ‘Head Is a Flame’. I suspect this is as high pitched as, Gourley can go. Another surprise cover again mixed in beautifully came in the form of the ‘Mott the Hoople’s’, ‘All The Young Dudes’. Good stuff and perhaps some further insight to the band’s influences. 

Another track from debut album (which I’m going to have to give more of a listen), ‘Waiter: “You Vultures!” in the shape of ‘Elephants’. A crashing beat in which an animated, Gourley jammed out intensely throughout. There was a lot of jamming during this set and why not? Another massive shift to the more recent stuff in, ‘Floating’ which is a very well composed and constructed piece by a perhaps more experienced and talented, Portugal. The Man. ‘All Your Light’ kicks in with a dark and moody organ that belongs in a horror movie and the track itself with backing vocals from, Ryan Neighbors sounds like something from, David Bowie or, Talking Heads. It’s one of my favourite tracks on the current album and the live version extended that status.

‘1989’ was the first track played from, ‘Censored Colors’. There is a plethora of sounds on this one from keyboards, synth, guitars and strings. This is a band who doesn’t mind getting complex. ‘Do You’ and ‘Everyone is Golden’ that follow are another of my all time favourite songs from the band. They are a little more simplistic, but if any sound ever does epitomize this band, these could well be it. Perhaps this is driven by the fact that these hail from the album I’ve heard most since my first experience of the band at SXSW. They’re happy go lucky songs that provide a feel good factor when listening.

   

‘Got It All’ from the current release is simply amazing live. If the previous songs provided ‘feel good’, this takes it to ecstatic proportions. For me, a certain highlight of the set, “we’ll shake shake shake the night away”. I am sure I felt my normally rigid hips swaying to this one (Jerry and KLowe may be able to confirm). ‘Mornings’ shares the tribal type beat of, ‘The Devil’ previously and it’s another wonderful vocal display by, Gourley who has some wonderful lyrics in his repertoire and insatiable vocal chords. The cosmic sounding, ‘The Sun’ led us towards the sets end. More smoke churned from the smoke machines before ‘Senseless’ with it’s, “what is a man to do?” chorus and ‘Sleep Forever’ with its gentle and aptly sleepy tune concluded the show momentarily.

The crowed bayed for more and weren’t disappointed when the band reappeared for a five track encore which again featured some old, some new and yet another surprise cover. ‘Created’ was first up with, Gourley taking the mic in his soft and sultry manner on this harmonizing track from, ‘Censored Colors’.  This was followed by the phenomenal, ‘People Say’ which actually starts out with a riff that reminds me of a Rod Stewart song (don’t know which one. It’s just familiar as I grew up on his stuff thanks to my Mum who adores Rod). This is epic, ‘Portugal. The Man’. One of the songs that really grabbed me when I saw them for the first time at SXSW. This morphed in to a track that was, for me, the biggest surprise of the evening. A rendition of, ‘Don’t Look Back in Anger’ from my all time favourite band, Oasis. Not the best track from the Manchester band in my opinion, but a well worked version from, ‘Portugal. The Man’ that had the Terminal 5 crowd signing along in delight.

 

‘Guns and Dogs’ was next up before ‘Chicago’ closed proceedings. This, another song that I had never heard before was like two songs within a song. It was frantic, loud and fast from the outset. Something like a ‘Rage Against The Machine’ tune with crashing drum beats and aggressive lyrics before submerging in to a calming melody and then jamming out again to conclude a superb show. The crowd needed some persuasion to leave, but eventually left with smiles on their faces.

With no specific roots, this band offers an huge capacity to alter audibly…perhaps something that some of their peers can offer. Gourley, who oftentimes pens the songs from isolated locations such as his parents’ home in Alaska recently noted that “Even if I’m writing a song by myself, it’s constantly written around what the band does and around the things that they like.” 

Following a brilliant hour and a half plus set including a five song encore that incorporated a clever mix of their hit, ‘People Say’ into a cover of Oasis’, ‘Don’t Look Back In Anger’ there’s no doubt that this band have found the recipe of success. Perhaps the recent move to, Atlantic Records is a factor in this. Thousands of bands play the big apple each week (particularly when CMJ is on), but only few capture a crowd like, ‘Portugal. The Man does’. In this, their biggest headlining show to date, the were extremely humbled and honoured…those who attended probably feel the same. Rating 8/10

Set List:

So American 

Work All Day 

The Devil

Helter Skelter

AKA M80 The Wolf

The Woods 

Head Is a Flame (Cool With It) 

All The Young Dudes

Elephants 

Floating (Time Isn't Working My Side) 

All Your Light

1989/Our Way 

Do You 

Everyone Is Golden 

Got It All

Mornings 

The Sun 

Senseless 

Sleep Forever 

Encore:

Created 

People Say 

Don't Look Back In Anger

Guns and Dogs 

Chicago

Album Review: THE STREETS - Computers and Blues

 

British rap/garage, ‘The Streets’ are led by the talented, Mike Skinner with, Johnny Drum Machine the only other constant in the bands line up. After five albums recording as, ‘The Streets’, Birmingham, UK exile, Mike Skinner has spat his last rap. He should be proud…there hasn’t been another consistently exciting and commercially successful urban UK voice to touch him across the last decade. His rhymes are witty, selfless, self-questioning and oftentimes deep. ‘Computers and Blues’ is arguably a match for the best of, The Streets albums (the first two). This album is loosely about the way technology is a huge element of modern everyday life in which, Skinner displays his ability to deliver songs that touch the heart alongside lyrics that are ultimately hilarious.

In the band’s debut album, ‘Original Pirate Material’, Skinner strived to take UK garage in a new direction with material reflecting the club goers’ lifestyle in the UK. The track, ‘Let's Push Things Forward’ is the best reflection of the albums philosophy. The album was very well received and nominated for the Mercury Prize as well as best album, best urban act, best breakthrough artist and best British male artist. ‘A Grand Don't Come for Free’ followed in 2004 in which, single ‘Fit But You Know It’ was the most renowned, although the second and third singles, ‘Dry Your Eyes’ and ‘Blinded By the Lights’ also enjoyed a good degree of success and among my personal favourites from, ‘The Streets’.

‘The Hardest Way to Make an Easy Living’ was released in 2006 and heralded a change in direction from the first two albums with the lyrical theme moving away from the stories about working class Britain and instead focusing on the ups and downs of the fame that Skinner encountered after the huge success of his previous albums. In September 2008, Skinner released his fourth studio album, ‘Everything Is Borrowed’. This was something of a failure, with Skinner losing public affection in abandoning his usual cheeky observations from street culture.

The final ‘The Streets’ album, ‘Computers and Blues’ was released in February 2011. ‘Outside Inside’ starts with an ear piercing noise before the beat absolutely blasts in. The deranged shuffle is accompanied by analogue bleeps and a riff that’s almost half of the theme music from kids TV show, ‘Rainbow’. It also hosts some amazing submerged bass. It’s busy and complex and reminds me of a, ‘Roots Manuva’ type of sound. ‘Going Through Hell’ is a brazen ‘curtain call’ tune. With, Robert Harvey (formerly of, ‘The Music’ who I loved) leering like a drunken spirit that sounds a little, Robert Plant. This layered on top of a high voltage guitar makes for a well designed tune that manages to somehow mix the best of, Skinner with something a little different. ‘Roof of Your Car’ is a quirky little tune which seems to recollect the story of a car full of stoners attempting to work out their satellite navigation system. It’s a fun little track that displays, Skinners clever lyrical arsenal.

‘Puzzled By People’ is certainly one for, ‘The Streets’ aficionados - “You can’t Google the solution to people’s feelings.” I like the mix that’s used on this one…this is more in the line with the dance variety that the band exuded in their initial albums. A smart drum and bass beat. ‘Without Thinking’ is fast, fun and poppy. Not my cup of tea and certainly not my favourite from this release. On the other side of the spectrum, ‘Blip on a Screen’ is one I can currently relate to right now with Mrs. ScoAustin currently seven months pregnant. This track starts with a cute piano riff that leads to, Skinner seeing his unborn daughter for the first time on an ultrasound scan - “A blip on the screen, you don’t know me. I think about you, what you’ll grow to be”. Strings and keys combine well here to cut a sensitive mood with the front man expressing excitement and apprehension.

‘Those That Don't Know’ is another in the quirky nature of tracks. Some good tunage, but not all that clever. Some smart rhymes and a funk like sound, but I’ll put this one next to, ‘Without Thinking’ in the skip songs. Thankfully, we are back on the right path quickly with, ‘Soldiers’ which, for me, is a stand out track on the album. Starting off with a jazzy, sax intro, I love the lyrical delivery of, Skinner here – “hesitate, hesitate, hesitate…wait. Any day, any day…too late”. Again I really enjoy the cameo from, Harvey. The vocal combination really does hit the spot and again, the beat isn’t half bad.

‘We Can Never Be Friends’ again featuring, Robert Harvey is a very poignant and heartfelt song seemingly referring to an old relationship that never worked out. It’s simple, but effective and along similar lines to, ‘Dry Your Eyes’ from the second album. ‘ABC’ begins in dark mood before a bass heavy house beat kicks in. ‘OMG’ is a saying or acronym that I am sick to the back teeth of hearing hundreds of times daily as I work and live in New York. That said, this tune is great. It has a narrative lightheartedness that describes a young lad who is traumatized by his intended one’s Facebook status. The track features some beautifully sung lyrics by, Laura Vane (of Laura Vane and The Vipertones).

‘Trying to Kill M.E.’ again features, Vane in a song where have a pre-comedown, Skinner full of hope. It tells the true story of his hospitalization during this album’s creation when he suffered from a bout of chronic fatigue - “The thing that I love most, is trying to kill me.” ‘Trust Me’ starts with a weird concoction which blends from like a movie’s opening title, to a computerized blurb and settles in to a funk sound not too dissimilar to the, Jackson Five. It’s a brief but brilliant French house-inspired (think Daft Punk and Phoenix’) disco beauty.

‘Lock the Locks’ is a wonderful piece of industrial soul which includes a smoky vocal by, Clare Maguire in a candid look back over his nine-year tenure – "Read the funny card signed by all, that was purchased by the person I will always recall". It’s a very fitting tune to end this talented young lyricist’s career…a parting gift to grip, upset and thrill his audience…Mike Skinner will be sorely missed.

‘Computers And Blues’ provides a lively swagger to The Streets’ finale. The number of sounds featured on the album is frightening. The album has a few lows points, but there are certainly more highs. The albums theme is thought provoking and in many cases of the witty nature that we expect from this cheeky chap from Brimingham.  I hope to hear more in the way of collaborations or other from, Skinner. Rating 7.5/10

Cage The Elephant - Aberdeen (music video)

'Cage The Elephant' are, in my humble opinion, the most invigorating band around right now. Clearly some of the best bands in the business agree given that they recently toured with, The Black Keys and are now supporting a band at the peak of their powers, Foo Fighters. 

Two albums in, (both of which I reviewed and gave high praise to a few months ago - http://scoaustin.blogspot.com/2011/07/album-reviews-cage-elephant-cage.html), I am thirsty for more from these Kentucky rockers. Their sound is diverse with riffs and rhythms ranging from, Arctic Monkeys all the way to, Rage Against the Machine. Their energy is enlightening and I am desperate to see them perform live in the near future. 

In addition to all of the above, they have produced something that is often overlooked in the modern music business, a music video. With MTV seemingly more interested in Jersey Shore and other such tripe, the music video is becoming extinct. I love this song and the video is a more than worthy accompaniment. More music videos and more, 'Cage The Elephant' please.

RADIOHEAD - Roseland Ballroom, NY, 29th September 2011

Prior to the gig I felt totally privileged to have scored the hottest ticket in town for this intimate, ‘Radiohead’ show at, ‘Roseland Ballroom', NYC - the bands first appearance in the city for a few years. Following the concert, I felt completely honoured to have been in attendance for what I can only describe as a sensational gig. Normally when I attend shows, I tap away some notes on my iPhone every couple of songs in order to capture the set list and serve as a reminder (my memory not being a strongpoint), but on this occasion, I was completely gripped by the music. From set opener, ‘Bloom’ to curtain call, ‘Nude’, I was transfixed.

The show sold out in minutes upon release with a fervent fan base willing to do anything as far as offering $3,000 for a ticket for the show (Jack Black even looked a little perplexed when we passed him on entry...hope he got in). The standalone shows were announced just a week before the spectacle. I don’t consider myself a massive, 'Radiohead' fan, or rather, I didn’t consider myself a massive, 'Radiohead' fan. I have listened to their music and liked a fair smattering of songs from earlier albums, but in truth, it’s only in the past several years I have really gotten in to them (perhaps a maturity thing and maybe an appreciation of different sounds).

The first song from recent album, 'The King of Limbs' got things started with its frantic, almost samba like drumbeat amidst other chilling sounds. Both regular drummer, Selway and second drummer, Clive Deamer (on a bank of electronic pads key on this one) really stimulate the sensations on this opener, 'Bloom'. Not to mention the wonderful vocals of front man, Thom Yorke which had me a little surprised from the outset (in a positive way). 'Little By Little' almost starts with a sound of an old country and western movie, before transcending in to a twisting journey of sound. This also saw front man, Yorke find his own unique groove. Despite managing to play his guitar, he is almost the vision of a stray dog scratching flees. Hard to imagine that the following, 'Staircase' is a cast off from the new album...it's a fantastic track which works even better in this live setting. It sees, Yorke take his place behind the keyboard and delivers a drum and bass like beat that has me nodding my head in high approval. Again, the bass was heavy and very effective. This track swirls with space like sounds through guitar plucking and harmonising vocal chords from the talented, Yorke.

'The National Anthem' from, 'Kid A' was next up as the band flitted between old and new. The strobe lights flashed and the driving sound that is, 'The National Anthem' rained down on the captivated audience. Yorke then flipped his floppy middle parted fringe behind his ears and got started on, 'Feral'. Then he got a little more animated, bouncing around and dancing uncontrollably. Despite this track having little in the way of lyrics, the beat combined with the hoots and hums of, Yorke make this one of my favourites from, 'The King of Limbs'

The lead man then got comfortable behind the piano for, 'Subterranean Homesick Alien' from 1997's, 'OK Computer'. With his back facing the crowd, he sways from left to right and takes thing down a tad, hollering, "Uptight! Uptight!" in the process. Dedicating, 'Like Spinning Plates' to the bands lighting engineer, Yorke again got busy on the keys whilst enveloped in sultry red light. It was like watching a matador owning his ring. The haunting sounds of keyboard got a sublime delivery of 'All I Need' with the front man bobbing like a boxer defending himself. This, 'In Rainbows' love letter seemed slightly slower than the album version, but was magnificent nonetheless.

'True Love Waits' was a subtle intro to 'Everything In Its Right Place' which also hosted a mix of 'R.E.M.'s', 'The One I Love'. Just three songs in one then? This song is one with a fast beat and powerful rhythm and it's no wonder that, Yorke's slight figure was in motion throughout in a movement that suggests he in encapsulated by his music. The educated audience responded with cheers of approval when they crept in to a gentle tribute to the recently disbanded, 'R.E.M.' - "This one goes out to the one I left behind," Yorke shrilled eerily. We were then treated to the phenomenal, '15 Steps' from, In Rainbows' with its fast paced drumbeat, before ebbing choruses performed expertly "you reel me out and then you cut the strii-ii-iing". More, 'In Rainbows' to come with, Yorke strapping on his guitar to play along with, 'Weird Fishes'. This one had the invested crowd singing along with every word and wriggling along not too dissimilarly to the animated lead.

‘Lotus Flower’ which is probably my favourite from the current album and was almost certainly my favourite in this performance. It had the crowd in raptures. The bass was deeper than ever (this a consistent theme throughout the set) and the guitar riff was like something from movies, ‘Exorcist’ or 'Shining'. If the crowd hadn't realised to this point, the quality of this band was clear to see and hear and were being treated to a musical masterpiece. With, Yorke again back on keys, the down and moving, ‘Codex’ was absolutely fantastic. The famous music hall was in silence as this track with a suicidal connotations was delivered with a beauty and nonchalance that could only be admired.

'The Daily Mail' (another song that didn’t make the album’s final cut) started as a wry piano ballad before blowing up in to a wall of noise - “The lunatics have taken over the asylum.” It's a powerful track which although written much longer ago, still has a serious message today. Perhaps that explains the aggression and passion in which the track was played.

'Morning Mr. Magpie' also from the current album displayed a stream of  guitar arpeggios and drumming. 'Reckoner' which proved to be the final song before the encore was also up there in this performance. The drums, symbols and tambourines a constant alongside the guitar plucking and by this point, indescribable by words, vocals by, Yorke. 

‘Give Up The Ghost’ began the encore with just Thom and Johnny taking the stage initially. Yorke on acoustic guitar, sampling his own voice to produce a shimmering curtain of vocals - “Don’t haunt me”. By this point in proceedings, the crowd are pretty much in dreamland. Yorke hurried to get more songs out before the midnight curfew kicked in (apparently they got in a bit of trouble for breaching this in the prior evenings show). The next one came in the form of 2003's, 'Myxomatosis' which is probably one of the darker of the bands repertoire on this particular evening "I don't know why..." No one wanted to leave, and with a loud and marauding, 'Bodysnatchers', this did not change. Yorke is at the peak of his powers and really draws the audience in..."Has the light gone out for you? 'Cause the light's gone out for me" was absolutely brilliant.

Yorke went on to tease someone over their shrilling and shrieking saying, "you can stop now, we know you're there". 'Supercollider' followed and this was only the second time it had been played by the band (the first being the previous night). Despite it bit being as familiar, it was certainly well accepted. 'Nude' finished things off beautifully. The bass again heavy and the lead singers vocals perfect. This was a chill out tune that sent an ecstatic New York crowd with smiles emblazoned across their faces. 

Radiohead made it clear from the outset that its intention was to debut, 'The King of Limbs' in these concerts, however, a more than adequate amount of other tracks appeared in the 21 song set. Despite being somewhat gutted that, 'Jigsaw Falling In To Place' wasn't performed, I was thrilled with the evening of entertainment and musical prowess by a band that I had never imagined it possible. They differ from the many 'average' bands that tour the globe and release albums, 'Radiohead' are simply a 'must see'. I am sold. 
Rating: 9.5/10 (Sensational)

Set List:
Bloom
Little By Little
Staircase
The National Anthem
Feral
Subterranean Homesick Alien
Like Spinning Plates
All I Need
True Love Waits/Everything In Its Right Place
15 Step
Weird Fishes/Arpeggi
Lotus Flower
Codex
The Daily Mail
Morning Mr. Magpie
Reckoner

Encore:

Give Up The Ghost
Myxomatosis
Bodysnatchers

Supercollider

Nude

FOO FIGHTERS – IZOD Center, NJ – 26th September 2011

As mentioned in my review of, Foo Fighters latest album, ‘Wasting Light’ back in April (http://scoaustin.blogspot.com/2011/04/album-review-foo-fighters-wasting-light.html), I would not consider myself to be a massive, Foo Fighters fan, but I’m slowly and surely being turned in to one. Don’t get me wrong, I have long appreciated the abilities of this talented bunch, not to mention their longevity in the game, but this was my first experience of the Foos live and the certainly extended my appreciation. This was the first leg of their, ‘Wasting Light’ tour and the impressive, IZOD Center in New Jersey was a more than capable setting for the rock show it was to host on this particular evening. My gig friend and I pre gamed a little too long to see support bands, ‘Mariachi El Bronx’ and, ‘Chicago's Rise Against’, but the baying crowd were suitably warmed up when we got to our seats in almost in tandem with when the Foos took to the stage.

With the excitement at fever pitch, the opening razor sharp chords of ‘Bridge Burning’ were struck in complete darkness before drummer, Hawkins, and guitarists, Shiflett, Smear, Mendel and lead man, Grohl converged to play this fiery introduction.  Grohl headbanged feverishly as a curtain of several screens rose and the strobe lights shimmered before, Grohl shrilled, "These are my famous last WO-O-O-RDS!". The, Foo Fighters had arrived and the touch paper was lit. The first song from, ‘Wasting Light’ was swiftly followed by the second in, ‘Rope’ and the crowd were gripped.

We went back to 2007’s, ‘Echoes, Silence, Patience & Grace’ for ‘The Pretender’ which was fantastically delivered by, Grohl and it was clear that he was enjoying this show (when does he never). ‘My Hero’ from, ‘Skin And Bones’ followed with an audience solo on the chorus in which the majority participated – “There goes my hero, watch him as he goes…there goes my hero, he’s ordinary!” Grohl completely controls the crowd in a manner in which a conductor controls his orchestra. He closes out this ballad with an intense jam with drummer and best friend, Taylor Hawkins before a delightful rendition of, ‘Learn to Fly’ and the raucous, ‘White Limo’ from the present day. One of my favourites from the current album, ‘Arlandria’ seemed to soften the mood nicely before the song explodes in to life almost unannounced. ‘Breakdown’ was up next, and from our vantage point, just behind the stage, we had an amazing view of the talents of drummer, Hawkins. He’s as skinny as a garden rake with his spine and rib cage visible through his skin, but he has the energy and immense talents to work through what must be a grueling set for a drummer.

At this point, the classy, Grohl took some time out to give his vocal chords and band members a well earned break. His connection with the audience was both effortless and charming. On a good few occasions, he asked for the house lights to be switched on so he could “see the people”. At one point upon seeing a few of the younger ones in the audience glued to their seats, he mimicked them - "No, no. I understand. It's too tiring to stand up and listen to rock music. Relax! Just relax. Sit down!" and quipped, “lazy ass mo%^3r fcu$3%$ can't stand up for rock concert”. Grohl then went on to introduce the band and share in something of a Taylor-Dave appreciation society before the drummer went on to sing, ‘Cold Day in The Sun’ also from ‘Skin And Bones’.

‘Stacked Actors’ was effectively a 12 minute long jam out comprising a guitar solo fight between, Shiflett and, Grohl that was gripping to say the least (Dave’s stage coming up midway through the battle). Meanwhile, bass player, Mendel was chilling out and puffing on a cigarette alongside the sound technicians. The sensational, ‘Walk’, another of my favourites from the current album, sounded so good live. This band is laden with class and each member looks so comfortable in their role. Quite simply, they know how good they are, they embrace it and they express it in an array of quality songs.

‘Monkeywrench’ from, ‘The Colour and the Shape’ again had the crowd in raptures with Grohl’s delivery and animated fist pumping in the epic category. ‘Let It Die’ kicked in with a dancey, trippy vibe, but it wasn’t long before the rock took over and Grohl was moshing away once more. Prior to going into the soft, sweet and somewhat reflecting, ‘These Days’, Grohl brought out his old, ‘Nirvana’ friend and bassist, Krist Novoselic to play accordion. Needless to say, the fans showed their appreciation at having three former, ‘Nirvana’ band members on stage. I’m a tad surprised that Krist didn’t get an extended welcome to play bass on the following track, ‘I Should Have Known’ as he did on the album. Perhaps he wasn’t comfortable in doing so…he did appear a little timid and overawed by the whole occasion.

Grohl, then introduced the first song from the first, Foo Fighters record, ‘This Is A Call’ which later morphed in to, ‘Pink Floyds’, ‘In The Flesh’. This became something of a rock opera of a tune. Now it was time for the evenings biggest crowd rock moment with the fantastic, ‘All My Life’. That opening guitar riff sending shivers down my spine, it’s no wonder the headbanging commenced and the fists were flying in the air in an energetic mosh pit. “Done, done and on to the next one…” This was certainly a highlight and I simply don’t know how Grohl can pull this energy and vocals off night after night on tour...I think the rafters at IZOD are still vibrating. The band walked of stage, but they were by no mean done with a seven song encore to follow. There was a pretty cool gimmick with, Grohl and, Hawkins appearing in night vision on the big screens apparently bidding for how many songs they would play on the encore. They agreed on six, but played seven. This band love what they are doing and seemed willing to play all night. They certainly have enough songs in their repertoire to achieve that.

‘Long Road To Ruin’, ‘Best of You’ and, ‘Times Like These’ were played solo by, Grohl on an acoustic guitar at the rear stage for the nosebleed seats where, Grohl joked, “you thought you had $h!^*y seats…now you're front row. ‘Best of You’ was sensational and displayed the lead man’s ability to hit the notes on softer songs having just played a fierce set prior. ‘Times Like These’ was preceded by a cute little story by, Grohl - "For the first time in my life I ever pulled up to a Foo Fighters show and people were tailgating. It was the first time I'd ever seen that at a Foo Fighters show. And I was psyched, because it made me feel like 'Oh my God, I've arrived. There's people tailgating at MY rock concert!"  

‘Dear Rosemary’ which I am sure is a tribute to my Auntie, Rosie is another great track from the current album as, Grohl and Co work to take things down a little. We are then treated to an absorbing version of, Tom Petty’s, ‘Breakdown’ before something of a surprise in, ‘Skin & Bones’ from the like titled album and then the standard closer in, ‘Everlong’. Despite it being late on a Monday night, a very small amount of the sellout crowd made their way for the exits and that’s a testament to this phenomenal live act. From the outset, they slated the hour/hour and a half set long performers and promised the audience they would play long. They delivered with a two and a half/three hour set that was a joy to see and hear with the majority of, ‘Wasting Light’ well accompanied by a subtle mix of older tracks from years gone by. Sixteen years of playing live shows to avid fans around the globe does not come easily. This is a band that work hard, consistently deliver sublime results and are reaping the rewards. The music is at the heavier end of my scale, but cast that aside, you must see the, ‘Foo Fighters’ live…it’s that simple. Rating 8.5/10

Set List:
Bridge burning
Rope
The Pretender
My Hero

Learn to Fly

White Limo
Arlandria

Breakout
Cold Day in The Sun

Stacked Actors

Walk
Monkeywrench
Let It Die
These Days
I Should Have Known
This Is A Call (Pink Floyds, ‘In The Flesh’)
All My Life

Encore:
 

Long Road To Ruin
Best of You
Times Like These
Dear Rosemary
Breakdown (Tom Petty)
Skin & Bones
Everlong

Album Review: KASABIAN - Velociraptor!

‘Kasabian’ are a band I have been in to for quite some time. Ever since their debut, self titled album in 2004 in fact. The English indie/rock band formed in Leicestershire in 1999 have been around for some time, but with three solid albums as it stands in ‘Kasabian’ (2004), ‘Empire’ (2006) and ‘West Ryder Pauper Lunatic Asylum’ (2009), I was excited to listen to number four, ‘Velociraptor!’ and review it here.  

The influence of a band I’ve been listening to a lot recently, ‘The Stone Roses’ can be heard in their first album in particular. The third single, ‘Club Foot’ from their debut release, ‘Kasabian’ elevated the band in terms of success in the UK. From then, they have continued to a cause a buzz in the UK music scene and have an avid following. Indeed, third album, ‘West Ryder Pauper Lunatic Asylum’ was shortlisted for the Mercury Prize in 2009 and named 'Best Album' at the Q Awards the same year. The subsequent year, Kasabian won the ‘Best Group’ gong at the Brit Awards as well as the ‘Best Act in the World Today’ title at the Q Awards.

Kasabian started work on their fourth album, Velociraptor!, in November 2010 with Dan the Automator as producer. Written and produced by ,Sergio Pizzorno, the 11 track album is strewn the anthemic indie rock for which the band have become renowned. It’s clear to define the influences on this one. Think, ‘Chemical Brothers’ and ‘Primal Scream’ of the modern era and ‘Led Zeppelin’ and ‘The Beatles’ of days gone by.

‘Let's Roll Just Like We Used To’ starts with a garbled noise that sounds similar to the intro to MJ’s, ‘Smooth Criminal’ before a trumpet solo kicks in and a movie soundtrack like theme commences. It’s a Middle Eastern mantra that transforms in to a dizzying dance beat takes the fore. It’s a vintage ’60s sound which immediately casts up, Alex Turner and his, ‘Last Shadow Puppets’…it’s a 007 theme tune on ecstasy. ‘Days Are Forgotten’ continues with a drum and bass beat synonymous with some of the previous three albums from the band. The chorus is catchy as hell and combined with a dirty blues riff throughout, my toes are tapping the floor and my head is nodding approval. One of my favourite tracks on the album for sure…this is the Kasabian sound that I love.  For sheer catchiness, it’s only competing with the albums’ title track.

‘Goodbye Kiss’ is one of the more ballads sound of the, ‘Kasabian’ arsenal of tunes and I think it works well for them. It’s a romantic serenade and a solid track in which lead vocalist, Tom Meighan woos us with his wistful lyrics. Perhaps this is one for the more mature, ‘Kasabian’ fans (like myself). ‘La Fée Verte’ is very, ‘Beatles’ in sound and even references, ‘Lucy in the Sky of Diamonds’. This fits in somewhere between, ‘Sergeant Pepper’ and ‘Octopus’s Garden’ - “How does it feel, to live your life when nothing is real, so just send me down the river".

Title track, ‘Velociraptor!’ is most definitely a continuation of where previous album, ‘West Ryder Pauper Lunatic Asylum’ left off. It’s abundance of energy, crashing drum beat and rapid guitar riffs make for a fast and furious track with decent, but not amazing lyrics layered on top. It’s somewhat psychedelic, but at the same time, very rock ‘n’ roll. In essence, it sounds like a musical of a really good night out. Following the mayhem that proceeded, we are offered, ‘Acid Turkish Bath’ which is certainly one of the slower songs on the album. More Eastern influences on this one. The heavy guitar on the chorus sounds like ‘Led Zeppelin’ and there are elements of this track where lead man, Meighan morphs in to, Plant. I want to like this song, but it’s not one of the stronger offerings.

‘Hear Voices’ begins with a buzzing synth before a more composed, ‘Kraftwerk’ like keyboard fills in the rest of the track. Again, this is a decent track, but by no means outstanding. Following my slight disappointment of the prior tune, ‘Re-wired’ is a song that definitely reintroduces us to the the, ‘Kasabian’ of yesteryear. It’s big, it’s grungy, it’s rocking and the lyrical delivery is superb. The chorus is the kick up the arse one needs and could well make my Monday morning playlist – “Hit me harder, I’m gettin’ re-wired”.

‘Man of Simple Pleasures’ starts with something of western strings and has me picturing, Clint Eastwood with his Stetson in hand against a red sand, desert setting. This is again ballad in nature. A smooth, wellc comprised, easy listening track. ‘Switchblade Smiles ‘ is proper, ‘Kasabian’. This track is a journey and a half with outstanding bass, heavy guitar riff, tribal vocals and electro-phased beats merging in to a sound of controlled frenzy – “you feel it coming”. The closer, ‘Neon Noon’ kills the chaos and frantic noise of, ‘Switchblade Smiles’ with more of a slow burner to close out. This is very trippy and again, in the, ‘John Lennon’ and ‘Beatles’ mould. It’s something of a divergence from the rest of the album, but bands do that in closers from time to time. I would have preferred them to finish with the raucous sound for which I enjoy them, but as I said before, this band has the ability and desire to change up their sound.

Guitarist, Pizzorno claimed - "It’s been 15 or 16 years since the last truly classic album, but I think we’ve done it." This is the kind of bold and brash attitude that goes along with the band and makes focusing on their music and not their persona the only way to like them. ‘Rolling Stone’ praised the creativity and versatility of the album, calling it Kasabian's greatest album and stating there is a big future ahead of the English band. For me, it’s a solid sounding album, but by no means a “classic”. In fact, following just a couple of listens of the oddly named, ‘Velociraptor!’ I can safely say I prefer most of their previous albums (this may well change with further listens…Kasabain’s music has all the attributes of a ‘grower’). It will be intriguing to watch how far this talented group go with their abundance of talent and sounds. Rating: 7/10