the bravery "the bravery" **

Like 80's music ?
Think current 80's revivalist need more keyboards (as opposed to more cowbell?
Ascribe to The Dead Milkmen's (must read if you don't know who The Dead Milkmen are, likewise go to artist page to see videos/hear music) theory that you will dance to anything with the corrolary that it was written before 1991 ?

Well, then the Bravery is the band for you. But for me, this is closer to the Futureheads than the other guys in that it's completely derivative and not really original. They do not write better songs nor have more talent as opposed to bands like the Killers , Franz Ferdinandand Louis XIV who are moving ahead (or at least trying to ) rather than aping their forefathers. These songs are too simple and repetitive. Also, they confuse tempo with energy - it's not the same. Usually, I listen to album a half dozen times before I even start writing (some things grow on you) - this one I was ready to go after two listenings.

As the album moves along, it does get a little better. The second half of the album shows some hints of original songwriting. The "stop, drop and roll" chorus of "Public Service Annoucement" is catchy. "Swollen summer" (coupled with the line "what if we're getting dumber") holds its own against 80's songs. But second single "Fearless" (Like the first single "An honest mistake") is typical - good riff, but by third verse, the repetiveness is getting to you and the weak guitar solo kills it for me. It is listenable, but there are better ways to spend your time.

i love my job

I love my job.

4th of July from Grandpa Feltus

4th of July

Gorillaz "Demon Days" ***

First of all, I've never loved Brit Pop. Sure, I love the odd Oasis or Blur single as much as anyone but I've never one to ascribe it as a great innovation in music. Gorillaz is an outgrowth of that with Blur's Damon Albarn joining forces with a cast of thousands, but primary cartoonist Jamie Hewlett and DJ Danger Mouse.

I listened to it several times but never really fell in love with it. It's natural growth over the first album. Overall, I would say it's more consistent than the first album. But while there are fewer lows, the highs aren't as high.

It's got some solid songs like "Feel Good Inc" (featuring de la soul doing its best Outkast) and "Dirty Harry" (sequel to "clint eastwood"?), but these are driven more by the DJ than by the music or production work. "Fire coming out of a monkey's head" with Dennis Hopper's spoken word has got to heard to be believed, although I would not recommend repeated listenings. Resurrecting Neneh Cherry and Shawn Ryder (happy mondays, black grape) is cool, but something is missing overall. Finally, looking through the credits, I realized almost every song has strings featured on it. This creates an atmosphere that is a bit of a downer. For superior use of strings, see the Magnetic Fields.

The funniest thing is EMI blamed the late release of this album (and Coldplay's) for missing last year's q4 earnings. This album is going to be huge on college campus and is solid quality, but it's not the next Thriller. Listening to tracks like "Dare," I cannot help but think that there is a great dance album trying to get out, but Damon is too cool and restrained for that. I suppose the remix album will be fantastic.

Likewise, if anyone has the Danger Mouse "grey album" I hear it is a must hear for the mash up crowd. I'm curious to hear Jay Z meets the Beatles. I just expected more.

The Magnetic Fields "i" ****

Like everyone else, I've fallen behind in my blog work. But before I move on, I had to post on the Magnetic Fields newest album because I think my comments will advance the Canon of Feltus music reviews.

This is a great album but not for everybody. The Magnetic Fields are best know for "69 love songs" - 69 two to three minute meditations on love. Over three CD's and a lyric book heavier than the average novel, I can report that there are actually only 50-something good songs and a dozen above average. A stunning piece of work and a daunting one to follow up. These guys squarely aim at the black turtle neck crowd - art school drop outs, people who actually care about the Knitting Factory, people who despair of radio or anything mainstream, people who know the difference between Reno Dakota Blue and Pantone 292 (vs. Toyo colors), people who spell Stephen with an "i".

The irony is that Stephin Merritt writes perfect pop songs. Great melodies - simple but emotional. He his master of the corny couplet. For example : "I would give my right arm/to keep you safe from harm/I would keep a little farm/chop would to keep you warm" from "I don't love you anymore" "My evil twin would lie and steal/He would stink of sex appeal" from "I wish I had an evil twin" The amazing thing is it actually comes off as sincere.

A big part of that is the interplay between his voice and the instrumentation, which is usually a cello although sometimes a piano, harpsichord or banjo. This allows a nuanced performance that other strings (ok, the ever popular electric guitar which does make an appearance) don;t allow unless you are Hendrix, Page or Clapton. While you would thing that every song is a slow orchestra number, styles is all over the place. Likewise, tempos vary and different songs high light different instrumentation.

Merritt's voice is a big part of why this works. Like Morrissey, his delivery is apparently flat, but actually has remarkable range.

"i" has every song starting with the letter I. But the songs range from new order-esque "I thought you were my boyfriend" (my favorite) to Jimmy Buffet style "If there is such a thing as love" (musically, not lyrically). We also do show tunes, operettas, and blue grass, finishing with the sublime love song "it's only time". But no matter what the style, they are basically (and I do not mean that pejoratively) great pop songs.

I only give it four stars because not everyone will like it. It takes a few listens to appreciate but it's worth it. Part of this is the first song is weak and not necessary (skip it). Likewise, "i" doesn't really work on random because it builds, like a concept album. I mean a concept album in the sense that each song is a musical step, not just a series of linked lyrics - more like a symphony of three minute pop songs (as opposed to the Wagner opera of 69 love songs). If only every "concept" album put as much effort into the music.

Make sure you get the one with Fred Tomaselli cover. Another talent.

Dig DVD ****

I watched the documentary Dig! last night. They followed two bands (Dandy Warhols and Brian Jonestown Masacre) for seven-eight years. Both talented, it was interesting to watch as their personalities and group dynamics led them to their futures. Almost a "sling blade" with guitars but it's real. It reinforced something I read in the globe a few weeks ago: artists create despite mental illness, not because of it. Insanity is a handicap, not a creative crutch. Ditto drug addiction. Like I said, interesting to watch.

Anyone have any Brian Jonestown Masacre they're willing to lend ?

U2/Kings of Leon

Me and Liz went last Tuesday at the Fleet Center. We were disappointed. I'll try to make this as readable as possible. Points off the top of my head :

(1) "40" was the final song. People got up and left early to beat the crowd. That sums up my disappointment in a word, or at least a sentence. They only played an hour and 45 minutes.

(2) Way too loud. (This confirmed my suspicion that NIN was too quiet). Ears rang for two days and vocals were very poor as they were lost in the mix. Light, visual and stage design were simple but spectacular. An oval run way to get near the crowd. Strings of mirrors dropped from the ceiling that reflect either light or visuals.

(2) This might be their Steel Wheels tool. They look old, played the hits and took the money to the bank.

(3) High point was the Edge. He proved himself to be one of the best of the post-guitar god era. Songs mutated from power pop anthems to alternative rock driven songs. High points were oldies like "Electric co" and "bullet the blue sky" but he was consistent and interesting. He used an interesting mix of feedback (growling not screeching) and petals. Review of previous show said that 75% of songs were pre 91 and they played 7 of 10 songs of new album, which seems about right - but this might be the problem. Despite that, he made the songs seem new. The exception was an un-listenable "zoo station but that is what happens when you give Bono a guitar.

(4) Bono has clearly entered his Elvis phase. He's a little thick in the middle. Reviews describe him as a "rock star" and that is about right. I can't say that his singing was strong (see above). He has a tendency to go on rants about politics and religion. Now, you can;t doubt his sincerity. He's been anti-war for 20+ years before it got popular (sorta of the anti-Kerry). But after lecturing us, he goes to a costume change as Hugo Chavez and caricatures the rock star as political leader. First of all, it's already been done better by Pink Floyd and Bob Geldof. Secondly, it dilutes the effectiveness of message. Third, the new album works because it goes to the personal rather than sweeping political vision - this set up both parodies that, but undermines the message of that album. Bono is like that guy in the subway - 25% of it makes perfect sense, even genius but the rest is random.

(5) Adam Clayton and Larry Mullen Jr. play Scotty and Bill to Bono/Edge's Elvis (yes it takes two people to replace him). Nothing spectacular here. Every U2 song basically has the same drum track. When they do mix it up, Larry screws it up - didn't "mysterious ways" have a middle eastern beat (although I did like the segueway into James Brown).

(6) I think there are two fundamental problems here. One is that this was a show of singles (as entertainment put it "the digital ipod greatest hits tour"). The problem with that is they never build any momentum. It goes from single to single and never reaches a climax. In the old day, they play for three hours, the emotion built and built until the end and you didn;t want it to end. The reaction was to reject the earnestness of the rattle and hum era and into the zoo TV/pop era. They are a brilliant machine but lacking the hard working soul we loved.

(7) The people we went with agreed it. Maybe it was a bad night. Maybe it was high expectations. who knows. I would compare it to playing cards with your grand-ma - you didn't mind it, but it's not quite as exciting of an evening as you would wish for. Personally, I was worried that I had lost my critical edge as I really enjoyed most concerts I;ve been to in recent years - thanks U2 for proving I haven;t gone soft or the opposite of jaded.

(8) Kings of Leon were much better live than on record. This guy's voice bothers me but it sounded much better for most songs. I would tell them never play in a place with a ceiling more than 15 feet high or that holds more than 1000 people. they would be a great band to stumble on in a bar.

(9) I withheld this review until U2 returned to Europe. I will claim that it was because I didn't want to hurt their ticket sales. Others would say it was because I didn't want 50 year old man (Bono) to kick the crap out of me. as K.O.L. said on BCN the next day, "f you paid a grand for tickets, you may as well stick around and watch the other band."