Written by The Nice Asshole

Rose’s growls seem to grow to an exasperated screech throughout the album. Rose has always been a talented vocalist, and a good piece of the puzzle. In Chinese Democracy he becomes the crux, which is not his strong-suit. His vocals are VERY apparent on this album, often sounding like his head is ready to pop from the lengthy high-notes he sustains. It’s commendable, and at the same time fucking annoying.

Early on, Axl made the right decision by surrounding himself with capable musicians and producers. Most of the flavor in this album comes from the vast personnel that Rose has employed over the years. Specifically, listening to Buckethead and the newly inaugurated Bumblefoot’s guitar creations is a BIG treat. Both musicians have legacies in their own right, and could return to greatness without GNR.

Just to highlight some of my other favorite contributors to the album: Somewhere in the mix, Brain played drums on this record, and Brian May recorded a guitar track or two. Josh Freese, drummer-whore extraordinaire also put some tracks down at one point.

And what would a Gun ‘N Roses’ album be without some classic ballads? There are no “November Rain’s” on Chinese Democracy, but songs like “There Was A Time” and “Catcher In The Rye” come close enough. Both could easily have been on Use Your Illusion, and might have been better in that regard. At least someone would have made Rose lay off the shitty vocal effects. These are LITTERED throughout the album like it’s going out of style.

One good thing that could come out of this debacle: If the album flops, Rose might see the err of his ways and attempt to get the original lineup back together. And honestly, that might just be the best thing for them. Pull Steven Alder out of Celebrity Rehab before he dies, get Izzy back in the mix, and then make sure Slash + Duff are happy. A reunion would be the biggest gift to the fans.

When all is said and done, we’re not the only ones, who look at life this way, that’s what the old folks say, Rose laments in “Catcher In The Rye”, and he couldn’t be more accurate. His “old” mentality and the need to be on top of the world again must have been a motivation to finally release this album. And to his credit, Chinese Democracy is a beautiful paradox. It also feels like the last act in a boring play that we’ve seen time and time again.

Axl, it’s time to take off the wig and hang-up towel… and let Slash come back to redeem you.

Return to Part 1

Written by The Nice Asshole

I almost didn’t want this album to be released. For one, it’s a great punch line. (I once told an ex-girlfriend that we couldn’t get married until Chinese Democracy was released. It was a good cover.) But also, there is SUCH a pop-culture vortex surrounding it. In a Rolling Stone piece written in April of 2000, they were unsure way back then of the album’s existence.

On November 23rd, the 13-year wait was over….Chinese Democracy by Guns N’ Roses (MySpace) will be released exclusively through Best Buy stores. Entire genres have come and gone during the CD’s production. Remember swing, techno, garage-rock, punk?

I’ve listened to ‘Democracy, and I’ll tell you one thing: This album is not 13 years in-the-making good. Is it fun and full of talented music? Oh HELL yes. Axl Rose sings some of the highest ear-piecing and throat-scratching screams he has ever eked out. The album is graced with the talents of an encyclopedia of musicians and producers, which ad to its multi-layered feel.

The talent behind C.D. almost remains faceless though. Lets face it….this album is essentially a comeback album, solo disk, and experimental venture all in one. Rose has managed to write, record and produce around one track per-year. Does that qualify as talent, or possibly hint at a bigger problem just below the surface?

The album starts off with familiar territory — its title track and first single. This song, like many other C.D. songs, is very produced, with every note, syllable and solo placed exactly and methodically in a perfect place. Axl screams, Cause it would take a lot more hate than you, to end the fascination. Even with an iron fist, all they got to rule the nation, when all I’ve got is precious time. The guitar feels crisp and plastic-wrapped, while solos and electronics layer the song to perfection.

One noticeable aspect of the album is its aged feel. Many songs have been worked and re-worked so many times it hardly doesn’t matter when they were initially written. Take “Shackler’s Revenge”. This song feels like it was written in the late ’90′s or early ’00′s, almost like it could fit in the “nu-metal” genre. It’s a fun song, and again, is very produced.

Chalk-full of variation, seeing Rose explore the depths of his capabilities on C.D. “If The World” begins with an R&B intro and Rose’s high-pitched and feminine voice. Eventually, the “Gun’s” part of the band kicks in with heavy guitar, but for a moment is just Axl’s screams over clean R&B. I point this out, because it’s unique unto the band. It’s also annoying, but still unique to hear Axl all on his own.

This album’s biggest flaw is how out of place Rose sounds on some of the tracks. His vocal-abilities shine brightly on this album, but also sound inorganic. This is proven once again on “Revenge”. Axel’s voice doesn’t match.

Read Part 2

Written by Fense

You don’t typically hear songs named for guys. Yet the new I’m From Barcelona (MySpace) album, Who Killed Harry Houdini? does just that — and they use my name. As an opening track, “Andy” isn’t quite as hard-hitting as “Oversleeping” was to Let Me Introduce You To My Friends, but it does set the stage well for the rest of the album, which doesn’t necessarily have the power tracks of their debut.

But overall, Who Killed Harry Houdini? is more well-rounded than the debut. Powerful tracks are here, but there simply not as awe-striking as “We’re From Barcelona”, which isn’t saying much as that remains a pretty kick-ass song. And the elements that made I’m From Barcelona such a great album remain — the group is still 20 plus “friends” large, most of who join in with choir-like vocals.

As a whole, Who Killed Harry Houdini? has a better flow to it. It doesn’t succumb to the three song rule: three songs remain on repeat while the rest lay dormant. No, that was Let Me Introduce You To My Friends — the three tracks were at the beginning of the album, and while there plenty of great tunes, those were the ones that dominated the playlist. Here, however, there are simply great tracks and while none have stepped out as phenomenal (well, maybe “Music Killed Me”, the first single, and the lengthy closing tune “Rufus”), there aren’t any duds (I always had trouble listening to “Treehouse”).

Even the mellower tunes are great — case in point is A-side closer “Gunhild”. Oh yeah, “Mingus” is also a pretty decent standout. Here band leader Emanuel Lundgren utilizes his entourage choir a bit differently — the chorus has bas and las, which, when placed alongside hand claps, make the tune quite catchy (besides, it’s named after one of my all-time favorite jazz artists).

So, I guess that brings me to the conclusion. I can see Who Killed Harry Houdini? dominating my playlist just as much as Let Me Introduce You To My Friends, if not moreso. Sure, “We’re From Barcelona” and “Oversleeping” and “Collection Of Stamps” will always remain there as well, but three phenomenal songs are a damn good trade-off for ten great ones.

I’m From Barcelona: Music Killed Me [mp3]

Mute Records [12" LP, 2008]

1. Andy
2. Paper Planes
3. Headphones
4. Music Killed Me
5. Gunhild (Featuring SoKo)
6. Mingus
7. Ophelia
8. Houdini
9. Little Ghost
10. Rufus

Written by Fense

Oh yeah. This is the stuff that gets me excited. The Glasses (MySpace) are the style of indie pop that’s packed with male/female vocals and totally catchy vocal and instrumental hooks. I’m pretty sure I’ve got one of their older EPs, but the one currently in my hands is their latest LP, Story Problems. “When Moonlight Falls” kicks the album off on a massive high point.

Honestly, Story Problems just gets better from that first tune. One item that instantly sets The Glasses apart from other indie pop bands is that their guitar riffs are fit for power, yet they sound acoustic — or, at least, super clean electric. This element makes for an interesting twist that just heightens the group’s likability. Add to it synth-y keys on “Small Town World” and “Change Of Seasons” and you’ll come to the decision that this cannot get any better.

It’s no surprise that The Glasses has the sound of Sarah Records given the description noted above. It sounds somewhat twee-ish, a fact that is emphasized by the jangle in the guitar and the lovable, carefree tone in virtually every vocal part on Story Problems. Furthermore, few songs top three minutes — two to be exact, and those tail the album. So, with ten songs, the album is over in a shade under :30.

What may be surprising is that The Glasses are a vastly different band than they once were; If you were already familiar with the group prior to Story Problems you’ll likely detect that there’s something distinctly different going on here. That’s because what once was The Glasses is no more. Now it is simply the solo project of remaining member Will.

I, for one, cannot complain. I love the sound. I love the visual concepts behind Story Problems. And I love virtually every song on the album. Oh, and you’ll love that The Glasses have made the entire album available for free on their website. It’s well worth it.

The Glasses: Blew A Kiss [mp3]

The Glasses: When Moonlight Falls [mp3]

1. When Moonlight Falls
2. Confused Hair
3. Fireflies & Stars
4. Paper Airplanes
5. Psychiatrist Says
6. Strange Nature
7. Small Town World
8. Change Of Seasons
9. Shows Through My T Shirt
10. Blew A Kiss

Written by Fense

Like Sweden, Norway churns out some pretty great pop bands and one of those is Haakon Ellingsen. Ellingsen’s music is a mixture of pop and folk that is occasionally reminiscent of The Beatles, but not in an distracting or negatively impacting, overtly-influenced manner; maybe a hint of The Polyphonic Spree’s epic nature, as well.

Ellingsen is not your typical self-indulgent, self-named artist. Certainly, he surrounds himself with great musicians, but he’s not the focal force behind the songs he creates. Each song is heavily orchestrated, full with strings and horns and keys. Ellingsen may be the vocal force, but his music is much more classic than your simple pop or folk artists.

These traits all filter through virtually every moment of The Plum Album. An exception is “Charlie”, a stripped down, folksy tune whose lyrics border on country — yet the tune has a distinct pop element to it. Other tunes, like “Dear Funny” draw similarities to Jens Lekman for the quirky, low vocals and borderline humorous, story-like lyrics.

Ellingsen is an old-school pop artist. Several of his musical influences (with exception to Lekman) are seemingly pre-Beattles. Still, there’s a bit of a 60s psychedelic folk sound to several tunes on The Plum Album; others delve into chamber and baroque pop. They all flow well together, too…

The past few weeks have been filled with turmoil as I started a new job, camped out with the girlfriend’s parents so my commute wouldn’t be so horrendous, and contemplated how to make ends meet. Now on the eve of a minor move to a town whose population cannot top 300, I realize that The Plum Album is the perfect album for my current mood. It’s uplifting and fun and has all the pop elements a pop fan could want.

Haakon Ellingsen: Sunshine Girl [mp3]

Haakon Ellingsen: The Sky Police [mp3]

[CD, 2008]

1. Sunshine Girl
2. Tonight
3. The Teacher
4. Charlie
5. Love To Be With You
6. 100 Years Ago
7. Dear Funny
8. Miss Universe And Me
9. I’d Stay In This Mood All My Life If I Could
10. They Play With The Wind
11. Barefoot Sunshine Girl
12. The Sky Police

Written by Fense

Flannel (MySpace) is one of those spacey pop bands, dabbling lightly in dreamy shoe-gaze-like moments. The music paints a colorful sunset much like that found on the cover of Dear Something, Dear Someone. It’s the perfect album to listen to through headphones while staring up at the sky as the sun is setting; it’s very peaceful.

With tight percussion, reverb-filled vocals, and softly distorted guitars, songs like “Drops” and “Saving This Moment” and “Yesterday’s Crane” hint of Swedish artists like The Radio Dept circa Lesser Matters. Flannel, however, differs from such groups in that Dear Something, Dear Someone closely follows the DIY and lo-fi categorizations.

Also contrary to acts like The Radio Dept, Flannel lives up to the bedroom pop name; along with being lo-fi, the songs tend to me much slower and softer with a few minor exceptions. One exception is the upbeat, uptempo “Spring Time”, which features a double-time beat but remains soft and light in the instrumentation and vocals.

For fans of Swedish pop, Flannel fits the mold—Swedish pop tends to be a bit homogenous in that it tends to have that distinct “Swedish Pop” sound. The big surprise is that Flannel is not from Sweden. Nor are they from the US. They’re from Japan!

Flannel: Light [mp3]

Flannel: Spring Time [mp3]

Series II Records [CD, 2008]

1. Spill
2. Drops
3. You Should Take Your Time
4. Saving This Moment
5. Spring Time
6. Where Before The Water Becomes The Stream
7. Soundtrack
8. Morning, About The Mill And Mugs
9. Yesterday’s Crane
10. Light
11. Slow Watlz
12. To Begin With