New Found Glory – Makes Me Sick

newfoundglory_makesmesick
New Found Glory exists currently for about 20 years. I know people who are younger than this band. This is so bizarre. Recently I sat with a friend and we reflected (or lamented, or celebrated) the fact we’re getting older. What makes this all the more bizarre is that New Found Glory works in the genre of youth. Even if you weren’t a teenager in the days of Punk Pop – I was, but was more of a Nu Metal kid – this still sounds like music for teenagers to get loud to. It was catchy, it was loud, it was angry and victorious at the same. For the 30-year-old man, a song like “My Friends Over You” means nothing. For a 16-year-old kid trying to convince himself that he’s not attached to a girl, this song means everything.

In a way, this album is an acknowledgement that these dudes are getting older. Whatever their previous albums sound like, “Party on Apocalypse” is the sound of an out-of-touch adult who remembers being young, yet realizes his youth has been replaced. In style it’s what you expect from a grown-up Punk-Pop band. The riffs are moved to mid-tempo and they discovered you can dance to something other than pounding drums, so you get a slightly funk rhythm. Musically it updates the genre for parties, and many bands went this way. Eventually we find our friends and want to chill with them.

The lyrics are different. Many heard about how the current generation is stupid. Just ask Socrates and how he hated writing. The lyrics are full of discorn, of venom towards the current generation. It doesn’t come from an adult perspective or reminisincing on better days. It’s just as suited for any 16-year-old today who’s confused about how to have fun.

The first verse immediately kicks off with how the ‘living for the weekend’ mentality is stupid. Coming from the band with that nasty tone, they sound like the ones who are actually having fun. All these people who pass out in parking lots and care so much about their image look ridiculous. The band doesn’t get angry over it, but confused and mocking. Later there’s even a slight at Social Justice. It’s the outsider perspective, how things look from the outside. All those people putting pictures on Facebook of them with beer bottles and all this identity politics thing, where people think their race or gender must be their whole meaning. Thankfully the chorus saves it from being just a song about being grumpy about waiting for all the trends to die. In the end it’s a party song about looking at the world from outside, thinkinkg it’s ridiculous and knowing you have more fun.

Two more other songs take this delusional approach – “Call Me Anti-Social” and “Your Jokes Aren’t Funny”. The latter is pretty obvious. Someone’s jokes lost their spark, like when you’re 22-years-old and memes about rape jokes just don’t do it for you and actually look offensive. “Call Me Anti-Social” continues from “Apocalypse” with being even more anti-social, but there’s something charming about it. Like the previous song it’s another response to a world where we’re surrounded by images of people being social (Which is not the same as actually being social). In this world, it’s far easier to feel isolated and alone. Unless you’re sticking your tongue out in Ibiza, you’re no fun. As an anthem of tiredness, it’s fantastic and exactly what I’d expect from a rock band who notices how different the rock landscape is now.

Everything else after that is just a retreat of Sticks & Stones. That’s okay, because New Found Glory have more charm than any band they influenced and overtake them. Anyone else would’ve ruined “Party On Apocalypse”, but it’s their everyman, ordinary people with loud guitars approach that makes it so charming. So when they talk about being used for sex (“The Cheapest Thrill”) or a weird unstoppable love (“Barbed Wire”) it’s cute.

It also lacks vigor. It lacks the authenticity of youth. I’m not saying they are pretending. I’m sure they really care about these songs and the only time a song is close to bad is because the melody is dull, like how uninspired “Blurred Vision” is with repeating a single phrase over and over. Yet what made their original material so powerful was how youthful it sounded, that it wasn’t a professional band knowing their genre but a bunch of dudes who had passion for romance and were really confused over being young. “Barbed Wire” is really cute and the lyrics are adorable, but I wonder what it would’ve been like if they played it 15 years ago. They do sound grown-up, which is excellent for some songs. When talking about broken hearts though, they’re just professionals going through the motions. It’s still good, but this isn’t the heart of Punk-Pop.

“Party On Apocalypse” is a fantastic and should be at the top of end-of-year lists talking about the best songs. It’s everything I want from New Found Glory now that they’re older. Someone should’ve expressed disillusionment and confusion over contemporary times and this nails it. Besides that, it’s just a rehash of old material without the same youthful energy. It’s fun, sure, but besides “Call Me Anti-Social” I can get everything here in better form in previous albums. Get these two tracks though.

I wish they would’ve used a better album title. What could be more generic?

2.5 apocalypses out of 5

(hed) pe – Blackout

Blackout_cover
I was no naive at the time. I wanted desperately to like this. The album cover was beautiful. The word ‘blackout’ is pretty cool. The band’s name was badass and made no sense. Best of all, there were supposed to be one of the more Hip-Hop orientated Nu Metal. My previous experience with them was with Only in Amerika, which was good if you ignore how it treated women like the Japanese treated their specimen in Unit 731.

Something about this record felt off, though. Sure, the opening song was great and bizarre with its melodic-yet-aggressive vocals. Everything else lacked the punch, that Nu Metal chutzpah that (hed) pe did better than anyone else. After following them further into their career, the position of this album became clearer. It also explained why Only in Amerika was such a hateful record towards women.

This was their normal record. Apparently, the label pushed them to make this. Making a more radio-friendly record means less profanity, less lyrics about partying and more straight-up rock about the general gloom of life. The fact the record still sounds at home in the Nu Metal speaks volumes about the band’s talent. The label couldn’t crush the party. Even while playing straight, the band is weirder than their peers.

The key to this is the band’s natural talent. On previous albums, it could be said the genre pushed them to great moments. Here, they’re dealing with a duller sound that only talent can lift up. Check that ominous riff in “Dangerous”, that jerky guitar line in “Bury Me” or the frantic bassline in “Flesh and Bone”. Whenever a Nu Metal band normalized their sound, they had no such moments. They kicked ordinary riffs. (hed) pe can still finds unique sounds even when making generic gloom rock.

Jahred’s vocals are, of course, an integral part of the charm. His vocals are just as versatile as last time. He raps a little less, but he still jumps freely from style to style. It sometimes even sounds like there are two vocalists in the band. On “Suck It Up”, his singing voice goes ridiculously low. I talk a lot about the balance between melody and aggression which Nu Metal bands are great at capturing. That song is another perfect example of how it works.

He does sound defanged. The title-track should be an anthem against conformity, about trying to fit in. Jahred doesn’t have the same bravado and conviction that made “Crazy Legs” so thrilling. He just sings. His voice is pretty, but is that what people call ‘inauthentic’? In the previous records, his personality dominated. Here, he’s just an extremely talented vocalist. The only time he sounds like the old times is in “Crazy Life”. That’s no coincidence, since it’s the one song that relies more on rapping and some hedonistic lyrics.

At least he has a beautiful singing voice. On the acoustic, Everlast-esque “Other Side” his voice is so pretty it doesn’t really matter that it must be insincere. If we learned anything from the Lostprophets fiasco is that music’s an act. Jahred’s act may not be the most convincing, but his natural charisma lifts up the already excellent melodies. No one else should perform “Revelations” or “Get Away”. Then again, who really cares about authenticity in Nu Metal? It’s a genre about partying and vague complains about life. Blackout may more serious than their previous album, but the title-track is still a banger.

There’s actually a good side to removing the band’s personality. In later records Jahred came off like a misogynistic rapist. How he didn’t get involved a sex scandal is a mystery to me. In fact, I’m sure he did his sure of sex crimes that just weren’t reported yet. Blackout is unique in the band’s discography. It has all the band’s main talents – the crushing riffs, odd sounds, genre-hopping, versatile vocals – without the obnoxious “Women are evil and I love sex” lyrics. It’s the one (hed) pe album I can listen to without squirming.

Despite defanging and normalizing the sound, the natural talent of this band lead to a strong set of songs. It may lack their unique personality, but then again their personality sometimes got in the way. Everything you need in a Nu Metal record – hooks, loudness, variety are here. Not every record can be as brilliant as (hed) pe’s self-titled, but each of these 13 songs should be on a playlist for a rock party.

3.5 crazy lives out of 5

Manic Street Preachers – Gold Against the Soul

GoldAgainsttheSoul1992_zps68db1fa0
Many find this to be the awkward one, the child that doesn’t belong anywhere. It’s slotted between two punk-spirited albums full of anger and vitriol, often eschewing melody for lyrics. The Manics sounded on their previous album like they’re more interested in starting fires than playing rock music. The Holy Bible was a philosophy professor going off-topic and refusing to let his students go. What does this collection of depressed soft rock has to do with anything?

Maybe these two albums were actually the abnormalities, not this. If you listen to them closely, you’ll find the same despair lurking there. Generation Terrorists wasn’t a victorious, rabble-rousing album but a car on fire just waiting to crash. What fueled its anger was despair, the thought that no matter how loud they’ll play nothing will change. That’s why it sounds so different compared to other political music. As for The Holy Bible, beneath the philosophy and big words it had “This is Yesterday”, “Die in the Summertime” and “4st 7lb”. The only reason the lattermost doesn’t fit here is because it’s not melodic enough.

This is the definitive Manic Street Preachers. It’s not their best album and it suffers from filler, but it’s one that captures their essence. If you have to distill the Manics, they’re a melodic rock band with as much brains as they got despair. ‘Despair’ is the key word here, because every song drips with it.

Just look at the song titles. It’s one of those albums that can convince you of having a concept – “Life Becoming a Landslide”, “From Despair to Where”, even a title like “Roses in the Hospital” hints more at despair than anything else. Even when they sing about something other than despair, it comes to that. “La Tristessa Durera” – a contender for their best song – is about a veteran who’s been abandoned by society, forced to live with his memories alone. I wasn’t in combat duty, but I did have a tough role in the military and that song is dead-on in expressing the alienation, the loneliness, how everyone treats your service like everyone goes through it. To me, this song is a godsend, showing us someone understands the loneliness of a discharged soldier.

The music is more softer, more melodic. Some expressed astonishment at this, but were the Manics ever brutal? Even The Holy Bible has its melodic, almost poppy moments. They just play at mid-tempo, which brings their melodic chops to the surface. If it was odd that their later records were so melodic, it’s only because we wanted to forget this record and believe in the Manics as explosive rock-n-rollers.

They never were that. Gold Against the Soul is the only logical continuation of their debut. All its fury and politics and anger and telling to people to fuck off were a last attempt at recovering from despair. Here, they wake up, quite indifferently, to a reality they knew they couldn’t change. How else to react to a rebellion you knew was lost in the first place?

The album’s power comes not just from despair, but a unique hopelessness. There was never a good time according to this music. Everything was always bad, but they just happen to sing about it now. “Life Becoming a Landslide”, in one sentence, points to a past that’s the same as the present. A lot of depressive music wax sentimental about a fall from grace. The fall is a common element in our thinking in dark times. Nostalgia is a place to run to, knowing that if things used to be good then maybe they have a chance of improving. The darkest albums have these, since they describe some kind of deterioration. There’s none of that here, just a monotony of despair.

The mood and sound are strong, but the songs alone don’t reach these heights. The album especially falters after “Roses in the Hospital”, and the final tracks are bursts of noise that only help to keep the overall mood, but not add to it too much. It’s also reliant on its sound more than anything. It sounds great when played from beginning to end, but if you find yourself choosing an individual song the choices narrow. “Sleepflower” is fantastic as an opener only.

When it’s good, it’s brilliant. “La Tristessa Durera” is a masterpiece. “Roses in the Hospital” is the second highlight, a funky Alternative Dance number that turns its despair into a protest. It’s the one song that captures some of the debut’s anger with the cry of “We don’t want your fucking love”, but only to fall back to despair. Other songs need the album’s mood to stick, but they’re good enough – “Life Becoming a Landslide” is strangely pretty, “From Despair to Where” is okay with brilliant lyrics and “Drug Drug Druggy” captures some Hard Rock intensity.

It’s also the album where the Manics begun their career as some of Rock’s best lyricist. The poetic titles are enough, but there are countless quotables here – “My idea of love comes from/A childhood glimpse of pornography”, “I am just a fashion accessory”, “I feel like I’m missing pieces of sleep”. If you need words to give your thesis or your book a title, there’s plenty here.

So it’s not their best album, but it is their best album, but if I have to direct a beginner I’ll direct them to this. They have more explosive albums, angrier albums, smarter albums and catchier albums. No album captured their essence like this, a poetry full of despair and intelligence that happens to go along with Pop hooks and guitar noise. Start your exploration here.

What the hell does the album title mean, by the way?

4 roses in 5 hospitals

Panic! At the Disco – Too Weird to Live, Too Rare to Die

tooweird
Did Panic even want to make this album?

Every Panic album makes some kind of statement. Even Vices & Virtues had a clear aim, which was to deliver a straightforward Hard Rock record. When Panic have a target to aim for, they’re unstoppable. “Vegas Lights” is your ordinary dance song about partying until you drop. It’s not original and Urie adds nothing of his own, but it still bangs and the chorus is great.

Everything else is confusing. What’s the purpose of this record? Is it mean to be some record inspired by Vegas? Then Vegas isn’t such a fun place. “Girl That You Love” is very serious and it’s a huge downfall from the fantastic “Vegas Lights” which comes before. “This is Gospel” is okay, but a weird opener. All the whoa-whoa in the chorus and it still feels too serious, like partying is for shallow stupid people. Urie comes off like he’s hoping to pick up girls in a dance party by looking serious.

If this is supposed to be cliched 80’s, it’s the bad stuff. It’s not the weird party music that Oingo Boing or early Underworld made. Rather, it’s Rock music with a little noise, a little dance backing and vague sexuality. It’s so toothless you wonder whether the cool kids will prefer this over the weirdos who tried to combine Industrial with Synthpop.

In fact, Urie doesn’t commit to the concept. “Casual Affair” is a Space Rock rock, and a decent one. The weird wobbles leap out, sounding like they’re inspired by Brostep without actually attempting it. The ballad “Far Too Young to Die” have no room in here. While it’s nice to see Urie trying to bend genres, he doesn’t throw himself into these ideas like he should. The boring melodies overpower the sound, instead of the sound inspiring the melodies.

Then again, perhaps it’s good that he doesn’t try too much to make party music. Aside from “Vegas Lights”, “Nicotine” and “Girls/Girls/Boys” are very uninspired. The former is a joke. Urie stretches his voice in some way to convince me or you that the party is on with serious lyrics. The horns in the chorus aren’t new, but they were better a few years later in “Crazy=Genius”. The latter is another joke, a rewrite of “Somebody Told Me” about gender confusion that’s not sexy or stupid. A rock band just wrote a song about sex that doesn’t even have macho bullshit.

What went wrong here? Panic’s strength is how traditionally ROCKSTAR! Urie is. He always sounded full of bravado, sneering at everyone while having a party. Making party rock should be the ideal for him. It should allow him to brag and boast about how cool he is.

Here, he sounds and unsure and desperate to appeal to people. So he puts a semi-dance beat behind a weak chorus with lyrics that aren’t too serious and not too light. I’m sure some people are impressed by generic sentiments like ‘show me your love’ over muted guitars and drums, but all I hear is a band who doesn’t want to make this kind of music. “Vegas Lights” and “Miss Jackson” sounds so bizarre in context. Urie actually sounds like he wanted to make those songs. They have a specific sound and as generic as “Vegas Lights” is, at least Urie sounds passionate about a simple dance song.

Panic moved on from this and made the excellent Death of a Bachelor. That one shares similarities with this one, only it’s good. Whether it’s soft or tough, Urie throws himself into his ideas fully. This album sounds like a band at its beginning that’s afraid of drawing criticism. If you’re afraid of drawing criticism, you’re not worth anyone’s attention.

2 girls out of 5 boys

Issues – Headspace

Issues_Headspace
So far, the Nu Metal revival was great but a little disappointing. We got bands that mined the genre for emotional. It sounds impossible, but there’s beauty in Islander’s “The Sadness of Graves” or Of Mice & Men’s “Another You” that no other band in the style had. Others just knew how to rock. What the revival didn’t have was a band that captured the original weirdness.

Nu Metal was, at its heart, a weird genre. The reason critics and True Metalheads whined about it was because they couldn’t keep up. Bands switched vocal styles and genres but still kept it simple. You don’t hear a song like Slipknot’s “Only One” anymore – a mish-mash of three genres that’s accessible enough to play Tekken to. Issues finally deliver what the revival needed – an album that’s as bizarre as it is catchy.

It was so easy to go the other route. It was so easy to feed the mosh kids what they want, play 100 more breakdowns with the occasional R&B break. Instead we get “The Released”, which explodes with a funky riff, rapped vocals and then towards R&B singing all backed by Djent guitars. The second single “COMA” sounds even more like Periphery remixing a Justin Bieber song. Previous Trancecore band still had some aggression in their vocals, but Carter forgets he’s in a rock band. If I were a Slayer fanboy, I’d be offended.

The problem with mixing genres is getting the balance. Some bands merely add elements – a rap verse here or a bass drop there. The most frustrating ones add so much you can’t ignore, but never enough to break out of their subgenre. In their beginning, Issues’ R&B elements were hard to ignore but were also not enough. “Stringray Affliction” may be brilliant, but it’s a Metalcore song spliced with an R&B outro.

Headspace isn’t completely genreless, but it’s diverse enough to make it only fit ‘Rock’ or ‘Nu Metal’. It’s not even that the band isolates the styles, playing a Djent song and then a Pop song. The songs don’t even switch sections. It’s the method of picking small elements, mixing them and creating a whole song. “The Realest” is the best example of this. Despite mixing Funk, R&B, Djent and Hip-Hop it still sounds like a whole song rather than hopping from one thing to another. What’s more impressive is that these outside influence aren’t filtered. The rapping in “Blue Wall” and “Someone Who Does” is convincing. The two vocalist can produce a Rap record and no one would guess they have a Rock background. It’s also no surprise Carter released a solo record, because he never sounds like a Rock singer imitating Craig David.

As exciting as the sound is, there’s also disappointment. Issues never go full weird. There’s nothing like “Kobrakai” or “Nobody’s Listening”. While the band managed to distill their influence into a coherent sound, they’re afraid of expanding on it. The songs never differ too much from another. “Blue Wall” is feels like the most radical departure here, only because it commits itself fully to brutal slamming. None of the song commits itself to anything, but the band merely plays variations on a sound.

They got hook to back it up, though. The sound isn’t the only attraction here. Issues use their sound to dress up already great hooks. In fact, the album is ridiculosly consistent. The only missteps are, perhaps, “Yung & Dum” which feels too redundant in going on and on about how fun it is to be young. It’s easy to forget there were singles when the songs remain catchy all the way through. They also borrow Periphery’s songcraft. While still relying on choruses, the verses are often different and the songs conclude (“Lost-n-Found” gang vocals are an album highlight). The band doesn’t just wants to have a gimmick or hit singles. They produce actual songs.

Anyone who’s moderately interested in music should hear this. People who like heavy music can use this as a gateway to beautiful melodies. People who love hooks and clean singing can use this as a gateway to harsh vocals. Many will still dislike it. The typical criticism of ‘they have no direction’ and ‘they’re gimmicky’ will surface, but these are just Slayer fans being stupid or Indie fans not knowing how to have fun. It’s the Blue Lines of Rock – an album that mixes genres seamlessly, creating a consistent sound and plenty of great songs.

4 wastes of headspace out of 5

Fall Out Boy – Take This to Your Grave

takethis
Anyone remember Teen Rock?

I use this as an umbrella term for the Rock that came out around the late 90’s into the mid-00’s. It was criticized for whining, for being angsty and being derivative. You don’t have to look at two bands from different genres to realize that was bullshit. Inspired by New Found Glory as they are, their demeanor is different. It seems most of the criticism came from people who either were metalheads (In general, not people to talk about music to) or people who didn’t realize hooks were a good thing.

Time does its thing. Now that these bands aren’t in everyone’s face and no one can hate them for having teen fangirls, we can actually listen to the music. There are plenty of surprises, like realizing My Chemical Romance is more of a Glam Rock act and that Linkin Park were pretty experimental. Perhaps the biggest surprise is that Fall Out Boy used to be Emo.

Fall Out Boy aren’t Emo. This isn’t an attack on either Emo or the band. The genre is fantastic and the band is responsible for ridiculously catchy songs. Their later output is too happy, too hook-heavy to be called Emo. It lacked the sensitivity, the vulnerability and the sloppy sound that Emo so earnest.

Here, though, they’re gloriously Emo. It’s easy to miss this. They don’t rely on one-liners like Texas Is the Reason or sound like American Football. Stump has yet to gain rockstar confidence, so although he’s got stadium-sized hooks he spends the records looking back at how shitty his youth his.

I’m sure that sounds whiny to most, but these people can go listen to Slayer. What the hell does ‘whiny’ mean, anyway? What band didn’t sing about their troubles? Art is one way of humans to cope with the bad stuff. Heartbreak was a constant theme from the beginning. If you approach an album filled with songs about relationships and think to yourself that it’s whiny, you suck at human psychology.

Now, this subject can lead to a lot of embarassing lyrics. Politics can also lead to embarassing lyrics, though. Just look at Rage Against the Machine. What’s important is how the band approaches these subjects. Do the lyrics explore the subject? Can they put into words feelings you’ve been unable to describe, or are they regurgitating cliches?

Maybe this is what people meant when they said ‘whiny’. Some bands’ lyrics are just a collection of random words about how bad stuff is. The key to a good, emotionally releasing song is being specific. Either that, or just have good one-liners.

Where Nu Metal failed and Emo succeeded was the lyrical department. As much as I love Nu Metal, many bands just sung about how things are bad in general. Fall Out Boy are specific. It’s the great tradition of looking at your youth, looking at all these people (or single person) you hate and finding new ways to say ‘I hate you’.

Take This to Your Grave is a very hateful album. I’m talking about Glassjaw-level of hatred here. Wentz’s lyrics don’t go off about the gender of the assailant, but the hatred overflows the record. Here are some lines:

“Stop burning bridges and drive off of them
So I can forget about you”

“Every friend we ever had in common
I will sever the tie, sever the tie with you
You can thank your lucky stars that everything I wish for will never come true”

“You want apologies
Girl, you might hold your breath
Until your breathing stops forever, forever”

“I want to hate you half as much as I hate myself”

Poetry is about finding new ways to say old feelings. Fall Out Boy never repeats the same words too much. Each line is specific to a situation. Most of the album is either about hating yourself or hating another, but there’s wit in them. The band doesn’t just repeat “I hate you”.

It’s shocking to read these lyrics. The music isn’t pure Emo and their path towards pure Pop is evident. Stump’s voice, the fast playing and the ridiculous catchiness of it makes it sound happy. “Dead on Arrival” and “Where Is Your Boy?” are so gloriously melodic you can imagine teens singing along to them at the end of a party celebrating their summer. The lyrics are so vile though. The former is one of the least hateful songs here, but Stump teasing a girl about how she’ll grow to like him has bitterness in it. The latter condescends towards both the girl and her new guy.

If it sounds like Fall Out Boy are another band who sold out and let go of their aggression, it’s not. This record did have hits and the band’s lives improved incredibly. Of course they wouldn’t be so hateful after selling so many records. Take This is hateful not because the band’s mission statement is to make hateful music – they’re not Slipknot or Korn. The album often plays like a Greatest Hits records with only “Reinventing the Wheel” letting things down. At their heart, they were always one of the best Pop bands.

The album does suffer from a repetitive sound. The band hadn’t discovered varying tempos yet and most of the songs alter slightly, but even the most deviating songs (the incredibly melodic “Saturday”) don’t do much to add new color. All these 12 songs stay firmly in Punk-Pop territory as if no other genre exists. It’s impressive they could mine this narrow genre for 11 great songs, but the effect is tiring when listened to in full.

Fall Out Boy are a brilliant band and were great since their inception. People who hated the whole ‘Teen Rock’ movement won’t enjoy a thing here. The slightly raw sound doesn’t make this any less radio-friendly. That movement contained a lot of great music, riffs and hooks and  is one of its classics.

3.5 postcards from a plane crash out of 5

Arctic Monkeys – Humbug

humbug.jpg
It’s amazing how you can both capture a sound perfectly and have no idea what to do with it. The problem with Humbug isn’t that it’s a departure. They didn’t sounded too excited about the Dance-Punk sound in the previous album anyway. The problem isn’t necessarily the lack of hooks because plenty of records can survive without hooks.

The problem is they’re playing a form of psychedelia that relies on melodies. Psychedelic music is often melodic and accessible. It uses weird sounds along with an easy melody to make something both weird and accessible. That’s why “Tomorrow Never Knows” is so popular (or at least covers of it).

This is not the Heavy Psych that blasts off to outer space. It’s closer to “Planet Caravan” and Monster Magnet’s ballads. These songs were brilliant because their sound enchanted already great melodies. “Planet Caravan” would’ve been nothing if the melody wasn’t sound so close to the lonely Bluegrass style.

“Crying Lightning” is the best song here for that reason. It’s one of the few here that actually has a chorus. The fact that it progresses and reaches a conclusion is just a bonus. It has a catchy melody that benefits from the sound. Turner drops words like ‘twisted and deranged’ which are perfect for this music.

Everything else, however, tries too hard to be ominious. The band is obsessed with beeing spooky. Turner stopped being a sex-mad smug asshole. Maybe it has something to do with erectile dysfunction. On “My Propeller”, he lets us know in the climatic bridge that he can’t get hard. Such issues affect a man, especially one who bragged about having sex with girls he doesn’t like.

That song sums up the album well. It has no chorus. The chorus has Turner whispering “have a spin of my propeller” not in a sexy manner. It’s as if he’s standing behind your back in a haunted house. It sounds pathetic because it’s such an obvious technique to make you look scary.

Or maybe it’s actually about drugs. That’s a better explanation of the rest of the songs. They sound druggy in a good way. The guitar licks and rolling drums in that sound like a calm before the storm. They can’t keep the atmosphere for long. It’s not even good enough for the song which saved by its catchy climax.

There are other tricks, many of them impressive and none of them are enough. “Pretty Visitors” has tempos shifts and thudding drums that are coming after you. The sound effects in “Secret Door” are supposed to fit the title, but too bad the melody is uninspired. Turner doesn’t even sound like he’s singing an actual melody but just mumbles things.

The sound fails mainly because it doesn’t serve the songs. The end of “My Propeller” and “Crying Lightning” would sound much worse in any other sound. Instead of sounding seductive, Turner sounds like a desperate and perhaps dangerous addict on the latter song.

On all the other songs, it just makes for a ‘huh, that’s cool’ reaction. They sound like demos, ideas that are worth attempting but are so new to the band that they’re only worthwhile for a B-Side compilation. The lack of confidence isn’t just because the band moved from the loud Dance-Punk. It’s because they have no idea what to do with the sound, even if it sounds cool.

Smack in the middle of this album you get the gorgeous “Cornerstone”. It’s a ballad that’s closer to “505”. The band has a fuzzy relationship with ballads. Turner is too arrogant to get them right but when they get it, they made brilliant ones. “Cornerstone” is one of those. It’s sad that this song got buried here. “Crying Lightning” at least makes everything around it worth attempting. “Cornerstone” should’ve been on the better next album.

It’s an interesting album and a stepping stone for the band. Their later albums proved they still got it in them and they were just confused. I’m sure this sounded worse when it came out. Albums like these are either a death sentence or a stepping stone to a new era. The Monkeys haven’t outdone their debut (and probably never will), but this sounds much better in retrospect, when you know they got over this confusion.

2.5 cornerstones out of 5