Massive Music Attack

After a month or so, I'd say I've compiled enough info to warrant a music post.  Judgement is still reserved for the masses, but I'm rather satisfied.

Kicking off with a couple of the more hotly anticipated studio releases from two of the more popular rock acts of the modern era.  On one end of the in-your-face spectrum, we have the former gods of independent funk, AFI.  I say former, because what was once a raw show of punk fury and emotion has been replaced by something heavier, darker, and much more pop.  How do dark, heavy, and pop all come together?  Just take one listen to the record, Decemberunderground, and you'll understand.  Along with the increased musicality of their instrumentation, you are presented with the same solid melodies of their previous effort, which included the monster hit, "Girl's Not Grey."  Davey Havok's range, from the pitchy wail to the buzzsaw scream, goes a long, long way to making these melodies work.  While the rawness of their early sound is what made them compelling, it's their devotion to expanding this sound for an emerging audience that makes them engrossing.  The standout single, "Miss Murder" is a prime example of how much they've developed.  Not bad for a second effort into the realm of mainstream rock.

The other side of the coin comes from the previously posted god of Emo himself, Chris Carrabba and Dashboard Confessional.  Some might say Dashboard produces some of the saddest albums to be recorded, but Dusk and Summer takes things into a new direction.  Previous releases have been marked by devotion to an intimate, acoustic setting reliant on scarred emotion, but this entry launches an intriguing new direction.  The sound, the feeling, everything becomes bigger.  Lest anyone throw out the word "important," the central theme is anything but.  Subjects of found love, hope, and memory run rampant.  Although some of it disappoints, it's a good addition to the discography and shows how much Dashboard has grown from a small one-man outfit, into a band ready for the arena.  

We move on from mainstream rock now (ahem) and into some more eclectic sounds.  All of you familiar with the awesome might of Radiohead should know who Thom Yorke is.  What may surprise some is that he recently recorded and released an album titled " The Eraser."  Quite similar in scope to the much-lauded Kid A, his first solo album consists of tunes composed entirely by Mr. Yorke at his own home and mixed through his own methods (most likely on his laptop).  It's moody, it's entrenched in melancholy, and it's fascinating.  It does sound a lot like anything else Radiohead has produced, but it contains a lot of what Thom Yorke brings to the table in the group, the biting sardonics of his lyrics and a cold paranoid sheen.  In particular, "Atoms for Peace" marks the halfway point in which Mr. Yorke feels most comfortable singing behind an Arkanoid bass line.  Now, all we have to wait for is the next Radiohead disc and all will be right with the world.

The running gag is that I have a propensity for British groups and artists like Radiohead.  Maybe because I've grown accustomed to the new wave sound having grown up to the dulcet tones of Duran Duran and New Order or maybe because I happen to be a follower like that.  I like to think that it's not my fault they happen to be great artists.  Does it follow that if certain groups can achieve monster success in their own country while American music is quite popular that they should be just as popular here?  There must be some bearing, somewhat, although I'm still surprised that the latest barn-ripping disc from the Futureheads hasn't garnered as much attention, seeing that it's ten times better than their first record and maybe one of the best I've heard all year.  How shall I count the ways.  From the first anthemic strains of "Yes/No" to the closing yarns in "Face" they've built on the harmonic and guitar-driven duplicity of their debut and delivered with their sophomore CD, News and Tributes.  One could argue that their vocals are a novelty against a punk rhythm, but it's inherent in their carefully crafted melodies that this is something unique, startling, and satisfying.  

Seeing as I've reviewed the Raconteurs show already, it seems redundant to give a brief look at Broken Boy Soldiers.  Everyone's ears have no doubt been bludgeoned by modern rock radio's insistent plugging of "Steady as She Goes" by now, with good reason.  The song stands not so awkwardly as a good demonstration of Jack White and Brendan Benson's synesthesia of classic rock and classic blues.  The guitar solos shred and the interplay of both artists blends flawlessly in their performances.  The single is just the tip of the iceberg and  when one is finally assaulted with "Intimate Secretary" and "Level" there is no doubt that the White Stripes are a parlor trick compared to the eruptive creativity of the Raconteurs.  My misfortune is in being turned off perhaps by the requisite blues tunes on the record, in that I favor their more rock-infested songs.  This doesn't mean that it stands as a disappointment, but rather as a work in progress.  Given more touring and more recording, I'm confident there will be a classic in the making.

A good haul over the last month, what this means is that I need to back it off for a bit.  Luckily, nothing too striking is coming out soon.  

Still on deck, not quite sure, but I'm going to look into Stateless and DJ Shadow to see what they've got coming up.