Manic Street Preachers – Gold Against the Soul

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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

Ed Sheeran – Divide

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Reviewing an Ed Sheeran album only takes two sentences. Any song where isn’t trying to lure a girl to sex disguised as a romance is excellent. Any song where he pretends to feel deep, serious emotions is obviously bad. Of course, two sentences isn’t a review and there’s more going on here. Ed Sheeran is a star and his love songs are especially popular, so we need to figure out how exactly this crap works and why cheesyy love songs are still pumping out when he should be putting a backwards baseball cap and collaborate with Eminem.

I said this a thousand times before and it dawned me. It’s hypocritical to claim Ed Sheeran comes off like an asshole, even a dangerous one when Lostprophets is one of my favorite. These guys are a classic case of music as acting, when the front is completely different than the real person. Solution to this conflict is easy. Fist off, acting is all that’s important when judging music. Ed Sheeran can be a fantastic person for all I know, but I review his character here. Second, Watkins never broke character. Sheeran does.

“Shape of You” is the most interesting song here since it merges Sheeran’s two sides, and reveals all I said about him. He courts a lady with soft, sensual singing and sounds romantic. Yet listen to the chorus. It’s all about the girl’s body. Imagine if the song was sung by a heroin junkie homeless in the street or an overly obese dude with glasses and anime dakimakuras. The song is quite creepy in how it goes on and on about how Sheeran desires a body and not the person.

There have been countless songs about sex, but the key is that they sound authentic. When 50 Cent made “Candy Shop”, it was all about having fun sex. He never tried to sound romantic – only more into sex as having fun instead of status symbol. “Shape of You” has a fantastic melody, but it’s equivalent of a hot guy going on a date with a girl and only telling her how beautiful she is. Something about its bluntness and how Sheeran still sings romantically makes him sound like a person trying to lure girls desperate for romance to easy sex.

Everything else here is easy to digest. There are the ballads, and they’re all quite bad. Sheeran can’t seemt to find a bit of vulnerability in him. Every ballad is sung with confidence. A slightly low voice doesn’t equal vulnerability, especially when “Dive” and “Perfect” explodes into choruses. The latter actually has a decent melody that would be good in the hands of a different singer. He can’t even fake sincerity like Coldplay.

It’s too clean. When he sings that hearts don’t break around here, it’s more believable – only it must be Sheeran’s heart since women come back to him anyway (See “New Man”). It’s hard to pinpoint exactly what is it about him that makes his ballads sucks so much. Wisely, he doesn’t do any vocal acrobatics like Adele and his voice is quite beautiful. In style, he’s closer to the Weeknd, who is the model when you want to be both a sex icon and a mess. I guess it’s because Weeknd always lets darkness in, even when he brags. “Perfect” never touches on the possibility of heartbreak. It’s music for the end credits of a bad romantic comedy, as if once a romance starts it never ends and the story’s over.

Previously, he could sound more sincere (if unimaginative) when talking about things other than love and how awesome he is. “Happier” should be his moment to show heartbreak. The guitar strums in a defeated way, not trying to produce a melody and it aims for the warmth of an early Dashboard Confessional. Everything is hushed, the singing is lower and the piano is pushed back. Yet it doesn’t work. You can still see the stage behind him. Where is the bitterness of heartbreak he is so good at showing at “New Man”? The falsetto at the end is a joke, a gorilla beating on its chest, sounding more macho and confident than a Groove Metal band who are hell-bent on beating Pantera.

Then again, even with better acting these songs will most likely suck. They don’t contain a melody, but all lead to an explosion, like Coldplay that’s more readily available to stadiums. It’s not the source of the bad acting since it was present in his earlier songs. When he gets personal, the only reaction to it is ‘why the fuck should I care?’. Many artists wrote songs like “Eraser” (quite good) and “Castle on the Hill” (awful), but none of them sounded so self-centered as he is. Why should anyone of us care about Sheeran’s life, considering he made so much money singing pretty ballads?

‘Privilege’ is a word I didn’t want to use. After all, a lot of my favorite rappers are white dudes whose albums are psychotherapies with the listener. Grieves and Atmosphere come off as humble, sharing their stories with the listener with hopes of relating. “Eraser” has a toughness in it, Sheeran trying to convince us he’s tough because he survives the pain of being famous. Considering on later songs he brags about fucking – and sounds happy about it – I’d say it’s another attempt to impress us. The song is good, though. As for “Castle on the Hill”, it has the same idea as Adema’s “All These Years” without the darkness. Nostalgia is a painful thing. I know that since I spent 3 years in a military home and seeing a distance growing between me and my old self, me and my friends and all I’ve known is quite hard. “Castle on the Hill” paints it like it’s all happy and nice, taking a trip down memory lane. Don’t say ‘privilege’, don’t say ‘privilege’.

So it’s all crap so long as Ed serious. Smack in the middle of the album you get “New Man” and “Galway Girl”, two brilliant songs that will easily rank as among the best of the year. Switching up his demeanor, now he’s a playboy who fucks women and women call him up – despite having boyfriends – to fuck. It’s believable for once, actually has spirits and Sheeran is into it. The latter is about picking up a girl at the club but there’s none of the creepiness of the lead single. Instead, it’s just about how she fell in love and they had sex. The former is a bitter break-up song about how the ex-lover’s new man isn’t that good. The confidence, the venom in that song is fantastic. It’s not a rant or a plea for the lover to return. Condescension is the dominant emotion, with Sheeran sneering all the way to next  one night stand. It’s not a song to sing to convince yourself you’re over the break up, but to celebrate how you moved on. No coincidence that both of these are Hip-Hop driven.

Nothing here is too different than previous albums by him. His sound is expanding a bit and there is more than acoustic balladry now, but overall the man remains the same. He cannot break free of being a performer, he cannot get into the act. The difference between him and the horrible Watkins is that Watkins remained in character. Having “New Man” and “Happier” in the same album is jarring, since they’re opposites but there’s nothing to connect them. Eventually, one side takes over and the most convincing one is the braggadio and macho bullshit. It’s funny how that song take shots an ultramacho new boyfriend, because that’s exactly how Sheeran sounds like. I have no problem with that, since “New Man” is actually brillaint. I only wish he would let go already. “Galway Girl” has more spirit than any song here.

2 new men out of 5

The Nu Metal Revival

It’s sad how the most dynamic genres don’t last for long. Nu Metal’s fate was like Big Beat, and it shared a lot with it. It relied on a synthesis of styles, accessibility, aggression and fun. This is the sort of genre that should’ve kept going, surviving by its ability to always change.

Of course, critics were angry. How dare these bands not spit pseudo-poetry over thrashing guitars about how Jesus is evil? We all agree that Slayer (Ripping apart/Severing flesh/Gouging eyes/Tearing limb from limb) is a lot of fun while Limp Bizkit’s lyrics about rollin’ are just stupid. The critics had their way and Nu Metal was replaced for a while by uber-serious Metalcore that had no sense of melody (Hello there, Killswitch Engage).

Thankfully, times are changing. That Metalcore has now been replaced by a more hedonistic, Pop-influenced version that sometimes borrows ideas from Electronica. While this new version of Metal is still making waves, Nu Metal has also been making a comeback. It’s not a well-publicized one, but it’s a great new addition to the genre. These are some bands that are parts of this revival. I do not include Nu Metal bands that are still active in their genre or re-united. Korn, Slipknot and Coal Chamber are still going on if anyone’s interested.

1. Islander


Of all the bands in this list, Islander sound the most disconnected from the trends. They’re not a Metalcore band who discovered you can do more than breakdowns and screaming. They’re not a band who are Nu Metal by chance – borrowing ideas from distant genres. Islander is a good old-fashioned throwback. They sound like all they know is Nu Metal. There are no Hardcore or Metalcore shades in their music. The ‘rapping’ is more informed by P.O.D.. There are sludgy downtuned riffs. The vocalist jerks from clean singing, to screaming to half-rapped vocals in the wild Patton-esque way. The screaming is also very Nu-Metal-ish, not sticking to one tone but alternating.

What makes Islander different is something that a lot of revival bands share. There’s an emotional depth that the original Nu’ers didn’t have. Slipknot couldn’t make “The Sadness of Graves” or something as beautiful as “Kingdom”. They also stray from the hedonism. Nu Metal was music for an angry youth, but it cherished the youth and hated the idea of growing up. No one would write about how being young is shit. Being young is fun, wild and all that stuff. Even “Counteract” sounds more mature than other anthems about how to defeat the world.

Recommended tracks: Cocount Dracula, Counteract, The Sadness of Graves, Side Effects of Youth, Kingdom

2. Of Mice & Men


Everything this band made before their transition towards Nu Metal is crap. You might find in total 4 good songs on their first two albums. If any band makes Metalcore sounds like it ran out of steam it’s these guys. The screaming was horrible, high-pitched and unpleasant. The guitars just made a lot of noise. There was some good melodies but it was mostly acrobatics. All that noise amounted to nothing.

It’s amazing how good their transition is. Maybe it shouldn’t be, because they had a knack for ballads. Like Islander, Of Mice & Men have an emotional vulnerability to them that makes them sound different than the original style. You can tell from the titles like “Another You”, “Would You Still Be There” and “Glass Hearts”. It works. The main problem with Nu Metal is that it tried to be macho while still talking about sorrows. These songs have a humility and warmth to them. For all the screaming and chugging that “Bones Exposed” has, it’s very tender.

Of Mice & Men’s version of Nu Metal is more limited. They have some atmospherics which may remind you of Deftones, but they borrowed the harsh-clean vocals dynamic and that’s it. They did way with Metalcore structures and made the screaming coherent, which is great. Still, even if they’re not one of the more creative bands they add some of the best melodies the genre has.

Recommended tracks: Would You Still Be There,  Another You, Bones Exposed, Feels Like Forever, Something to Hide

3. Bring Me the Horizon


How come nobody talks about this? Sempiternal isn’t just Nu Metal, it’s one of the best Nu Metal records there is. Sure, there’s pretty much no Hip-Hop or Funk, but Electronics and atmospherics were a big deal too. The album sounds like Mudvayne’s early output the most. It’s artistic rock that’s full of teen angst.

That’s a good thing, of course. It gives every experiment a purpose. The main element of that album is that it does the melodic-aggressive thing. There’s no more alternating between clean and harsh vocals. The best bands always blurred the lines and Horizon does it here. Is the chorus of “Go to Hell” clean or harsh? “Antivist” was a deliberate attempt to make a Nu Metal song, and you can’t get more Nu Metal than asking people to put their middle fingers up.

That’s the Spirit goes in an even more melodic direction, but it has plenty shades of Nu. “Happy Song” has a Hip-Hop beats and the atmospherics and electronica sounds a lot like Linkin Park. Even the blunt lyrics are Nu Metal-ish. The genre’s lyrics were always frank and made things as obvious as they can be. There was never much room for big words or pretense that this is poetry.

Recommended tracks: Happy Song, Go to Hell for Heaven’s Sake, Antivist, Throne, Can You Feel My Heart?

4. King 810


This is the oddest one on the list. King 810 are full of angst like any band, but this time is serious. The band hails from Flint, Michigan which is supposed to be a crime-infested city. The band doesn’t just talk about this life of crime but express the hardship of it. It’s a contrast to the Gangsta Rap, where a life of crime is something to be proud of. For all the songs about how the streets have no mercy, the rappers express more strength than sorrow.

King 810 are tortured over it. The whole thing is the musical version of PTSD from constant robbing and shooting. The band stops like a tank but the screaming is hurt, not powerful. When he screamins he’s going to “Killem All”, he doesn’t sound very happy or excited about it. He sounds hurt because he knows that’s all he can do. It’s a band that’s more suited for listening in darker times. It’s often uncomfortable, but fascinating. If any band on this list deserves to become viral it’s these guys.

The music borrows heavily from Korn and Slipknot. The vocals have those emotional crackles and while there’s a lot of screaming, it’s always coherent and never buries the lyrics. Although Slipknot influence should be obvious, it’s quickly overshadowed by the band’s life. The harsh life of crime informs the sound more than anything.

Recommended tracks: Eyes, Killem All, Fat Around the Heart, Write About Us, Best Nite of My Life

5. My Ticket Home


My favorite on this list. This is the most stereotypical Nu Metal will ever get. The harsh vocals that are pretty comprehensible. The aggressive, groovey riffs that aren’t Groove Metal. The rhythms make it sound like a guest rapper will appear any minute. The vocals are melodic, tender and are a complete opposite to the harsh ones.

You can trace so many elements to other bands. Linkin Park, Korn, Slipknot, RATM, Dry Kill Logic, Deftones – the band borrowed from them all. It didn’t make them sound unoriginal, but made them sound like they understand the genre better than everyone else. They sound like they didn’t just listened to the well-known bands but to every obscure ones, too. Their transition was only informed by Nu Metal but it was informed by a lot of bands.

There are also F-bombs dropped everywhere, which makes it even more fun. “Kick Rocks” is the best fuck-you song the genre ever produced. The guitarist mistakes his guitar for a turntable occasionally. Best of all, it’s both fun and angry. Their album works perfectly whether you need to vent because things are going wrong, or whether you want to throw a metal party. The lyrics are as silly as they are on-point. I first thought this was just a fun Nu Metal throwback, but it’s one of the genre’s defining albums.

Recommended tracks: Keep Alone, Kick Rocks, You All Know Better Than Me, Painfully Bored, Hot Soap

Coldplay – Viva La Vida or Death and All His Friends

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Coldplay never sounded big. Every time they made something that sounded big and ambitious, it was a failure. When they stuck to simplicity, they were pretty good. They’re the biggest rock band currently, but they’re the antithesis of that. That difference is how “The Scientist” is brilliant and “Fix You” is atrocious, despite being both ballads.

What’s shocking about Viva La Vida is not that it’s experimental. There have been wilder mainstream albums. What’s shocking is how it works while being the opposite of what made Coldplay good. This isn’t a band that’s working on their strengths, but improving on their weaknesses.

You wouldn’t know it by the first title track. It’s awful. Using strings instead of guitars doesn’t hide an annoying melody. It feels like they couldn’t care less about whether the melody is nice to the ear. Everything about it tries to be big and friendly for sport stadiums. If it had guitars and drums it’d replace “We Are Champions”. A Cazy Frog remix is probably in the works.

This is why “Clocks” was awful, and any other big Coldplay song. They were only about size and never did anything else. Here, Coldplay are doing something other than sounding important. Even “42”, whose beginning is one of Coldplay’s worse moments (Trite lyrics and musical backing that sounds like a demo from X&Y), has a constantly-changing structure. The song is still a failure, but it’s an interesting one that adds more to the album than it takes from.

Other experiments are far more succesful. “Yes” is a sex song which further proves that Marin can be a great vocalist and when he puts the falsetto away. The falsetto was often what made the difference between good and bad Coldplay songs. Here, it’s thrown away most of the time.

Since there is a clearer emotional core to these songs, Martin chooses the correct singing more often than not. A sexually-charged, but still gloomy song about sex fits perfectly with the lower register. When Martin delivers pieces of wisdom we all know on “Lost!”, he remains calm. We all know that losing doesn’t mean you’re lost, and it’s good that Martin doesn’t pretend otherwise. The calm singing style gives an air of friendliness to the song. It makes it sound intimate like “Shiver” despite the the drums banging along.

The album’s apex is in the last three songs. They all justify Coldplay’s popularity. “Strawberry Swing”‘s flirting with psychedelia are forgettable compared to the pure bliss of it. The second title track is everything “Viva La Vida” wanted to be. It’s huge, hopeful but beautiful. It’s not just the progressive structure that helps, but that then knows how to handle every part. When the song goes loud Martin doesn’t sound like he’s singing in a huge stadium. He sounds like he’s re-discovering hope after the gloom of “Violet Hill”. As for that one, it’s Coldplay’s most aggressive song so far. Oddly, it works and it sounds heavy.

Some have pointed out how the album isn’t very experimental if you listen to something other than the Top 40 radio. It’s true. There are even mainstream artists who made weirder albums, like Linkin Park. Nothing here sounds like a new vision, nothing like “Sail” or “Radioactive”.

That’s okay, because the focus isn’t on pushing the sound further. Coldplay are dominated by their melodies. Everything they do exists to serve the melodies and drive them, never the opposite. The ideas here are only new for Coldplay, but they make better work of the melodies than if the band chose their ordinary set-up. The contrast between the soothing singing and drums of “Lost!” makes it work. The psychedelic vibe in “Strawberry Swing” are better to express its bliss rather than some pianos and guitars. This focus helps even the songs whose melodies are weak. “Lovers in Japan” would’ve been a B-Side if it wasn’t for its energetic instrumental.

It’s no wonder Coldplay took a more electronic route after this. It’s a great album, but the band sounds like they exhausted this style of Artsy Stadium Rock here. Then again, I thought the same when I listened to X&Y. Even if you don’t take into account that Coldplay never sounded capable of making this album, it’s still great. It’s full of great songs with great melodies and structures that go somewhere, rather than just repeat what came before. The skeptics have a few points, but here they’re wrong.

3.5 violet hills out of 5

Slipknot – Slipknot

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I don’t think people understood how weird it is that this album sold so much.

When was the last time such an experimental and almost avant-garde album sold so many records? Yes, I just described Slipknot as ‘avant-garde’. Metalheads describe a lot of Nu Metal as ‘generic’, but being a metalhead means being ignorant of other genres. For an untrained ear, Slipknot is meaningless chaothic noise. If you heard some weird music (Which isn’t limited to Velvet Underground) then this comes off as very experimental.

It’s considered ‘metal’ because it’s aggressive, but in many ways it’s played like an Industrial record. Guitar riffs are not at the front. The songs don’t ride these riffs. They’re just another texture. Among other noises the band adds are creepy samples, Test Dept.-esque metallic clangs and frantic drumming. Then, there’s Corey’s vocals.

Corey sings like an angrier Mike Patton. He does it all – singing, screaming, spoken word, rapping, whispering. His delivery is inspired mainly by Hardcore Punk screaming, as seen on “(sic)” and “Eyeless”. It’s freeform ranting that Patton loves so much. It’s a far cry from death growls, which tend to have a clear rhythm.

All this makes for a wild, experimental record with little single material. “Wait and Bleed” is the only thing that can be played on the radio (and that required an alternative mix). Its reason for popularity is how intense this record is. Slipknot’s weird musical ideas stem not from a desire for creativity, but to vent. When Corey goes “fuck it all” ranting on “Surfacing”, it’s convincing even if it’s a trite expression. That’s why the frantic drumming and all this noise is effective. The drumming is just an extension of Corey’s lyrics and vocals.

Its this blunt anger is also the album’s downfall. Since the band only wants to slam their instruments and rant, there are no deviatons. “Scissors” comes close, but it’s a token, long album closer. None of the above elements are expanded and worked upon. The band drops differnet amounts in different songs, but since the songs all serve the same purpose they all end up as “variation on a theme”.

There are a few songs that expand on the rapping – “No Life”, “Only One” and “Spit It Out”, and they ended up standing out more. Light-heartedness and hedonistic vulgarity are one of Nu Metal’s best assets. It’s the bands that forget this that tend to be the weakest. There’s also “Tattered and Torn”, a song that has more in common with Skinny Puppy than anything else. These slight deviations help lift the album a bit, but it runs out of steam by the time you get to “Diluted” and “Liberate”. You can’t fault the band for this. Songs like “(sic)” are great, but this style gets too tiring. Slipknot knew that, but too bad they later introduced melody in expanse of the weirdness.

For the first five tracks it sounds like Nu Metal’s classic. It should be. It gets why the genre works so well. It’s just as experimental as its vulgar and catchy. Slipknot didn’t have the wealth of ideas that would later make a record like Signifcant Other or (hed) pe. All the same, It’s still a record worth checking out, regardless of how you feel about metal. The metalheads were right. This isn’t really ‘metal’. There’s too much going on here.

3.5 only ones out of 5

Muse – Drones

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This is a joke, right?

So the previous Muse album was funky and had dubstep. Now they’re going ‘back to basics’ with a straightforward rock sound, keeping the progressive structures and with a concept to boot. The concept is important. It’s about a man who gives in to the mind-controlling government, becomes a ‘drone’, a killing machine only to revolt thanks to the power of love.

I didn’t know 16-year-old angry guys with eggs for brains were a great audience. This whole thing tries so hard to impress them, to give them a soundtrack to reading God Delusion and hating America. There will be no experimentation, no creativity and definitely no dubstep or any of that dancing crap. Dancing is for drones. You’re a teenage angry atheist who isn’t a big fan of government and now knows what life is about.

This is escapism. You do not bring new ideas to your audience and challenge the ones they hold. You flatter them. You tell them what they already think and assure them they’re right. It’s best that you do this without asking why they think what they think. Antichrist Superstar targeted those kids who are nothing, want to be something and can’t decide if they hate themselves more than the world. I’m that target audience, but Manson explored this state of mind from various viewpoints.

Antichrist Superstar (and if we’re going there, Downward Spiral) were inner journies. The reason they come off as vague and analysis of them tends to be slippy is because their stories don’t chronicle solid events. They chronicle how a person’s views and emotions changes, where a certain worldview can lead you. Drones is a blockbuster.

Drones details no personal journey. It’s about a guy who eventually revolts and defeats the government (with the power of love). So, it’s your typical action blockbuster with no personality. You can’t even compare it to good action films. There is music here, but it tends to be bombastic noise. The most interesting idea is the choir thing at the end, which is a worse idea than recording your own farts. The most fun thing here is “Dead Inside”. It also happens to bang in the whip.

When I was young I used to admire musicians for talking about ‘current events’ and ‘problems of the world’. Then I grew up a little, got interested in other forms of art (and became a drone of the whole ‘medium is the message’ thingie) and turned around. It also had something to do with all these musicians hating women, but all these political lyrics ended up meaningless. (hed) pe cared more about fucking. Chuck D’s main message is that he’s a great rapper. Rage Against the Machine were against the government because they’re not buying their records.

There is the occasional Heroes of Hiphoprisy, but music is a pretty awful way to deliver intellectual content. It’s a medium of the hearing sense. It deals with emotions, with what things feel like. Downward Spiral isn’t an intellectual exploration of ‘becoming a machine’ but an emotional one. That’s why Reznor has all these machines banging in the background.

Muse doesn’t even offer an ideas of what it feels like to be a ‘drone’. They’re not considered with sharing emotions but by telling a story. That’s why the album is so blunt. You get both a Full Metal Jacket drill sergeant and lyrics that tell you “I could use someone like you/someone who’ll kill on my command”. What’s hilarious is that Muse felt the need to include both, as if the drill sergeant interlude wasn’t enough. There is no subtley, no humor, nothing. Muse doens’t show but explains, over and over. There’s none of the humor that made the first half of Full Metal Jacket so powerful. The song itself is mishmash between Antichrist Superstar and Pale Emperor. How can you sound like Marilyn Manson and be boring?

Saying over and over that the government is bad and that the military is terrible does nothing. All you do is create an ‘unknown enemy’ with no motivation but pure destruction and death. This is what people hate about America, that the American government is supposedly creating an enemy with no motivation but killing and getting money. It takes one to know one.

The true punchline is how love is going to save us all on “Aftermath”. You have to remember the words of Mike Skinner to understand it. Muse sell out stadiums. They’re rich and they play guitar. They probably have threesomes everyday. If I were in their place, of course I’d believe that love is going to save us all. Sadly, I’m not that attractive and I see a lot of people fighting over love. Maybe it’s better to be a psychopathic killer than crazy for a person, but that’s a disucssion for a different day.

There is music here in the narrative, but it’s not very interesting. The awful concept is far more fun to talk about. The music is very loud but very pleasant to the ear. It’s great if you want to feel rebellious at school, but also intellectual. We all know that when Manson screams it’s pure stupidity, but the falsetto of “Mercy” is intellectual. There’s a dubstep rhythm to “The Handler” and I already talked about how “Dead Inside” bangs, but that’s it. “The Globalist” borrows ideas from Morricone and stretches to 10 minutes while doing nothing. No one really expected an album with titles like “Dead Inside”, “Psycho” and “Revolt” to be good, right?

2 drones out of 5

Coldplay – A Rush of Blood to the Head

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“The Scientist” towers above everything else here. It’s the one song that doesn’t try to fit a stadium. It’s the one song that sounds like it could be on Parachutes. This is not a co-incidence. It’s also one of the few songs that Chris Martin improves, instead of dragging down.

Coldplay became a pretty big band after the release of Parachutes. Here, they decide to live up to the their popularity by sounding big. It’s a miracle they’re still around. Nothing here works in the same way “Yellow” or “Shiver” did. Nothing here, aside from “The Scientist”, tries to achieve what these songs did. Songs like “Don’t Panic” don’t really translate well to a live performance, but is this a good reason enough to wreck the beautiful melody of “In My Place”?

That’s the problem with Rush of Blood. It tries to take the basic sound of Parachutes and make it fit for a stadium. That’s a misunderstanding of both what made Parachutes great and what makes stadium music great. Music for stadium needs to be loud, catchy and also energetic. The best stadium rock has an aggressive edge. You don’t go to a Nickelback or Def Leppard show to contemplate the meaning of life. Even stadium ballads don’t work in the same way Coldplay think they do.

As for Parachutes, it was a minimalist and intimate album. These two qualities are what stadium bands try to avoid. Since Coldplay are not talented or versatile enough, they can’t merge these qualities. Instead, we have a compromise that sucks the life out of everything.

“In My Place” and “Clocks” best illustrate this. The former has a beautiful guitar melody, but the production tries to make it an anthem. Chris Martin sings like that, too, as if the song is so profound it will be played in a climatic scene. It doesn’t mesh well. “Clocks” is just bad. It’s admirable to have a pop song with an instrumental chorus, but it’s hard to get over how hard it tries to big.

Who thought that putting a lot of guitar noise behind Chris Martin is a good idea? It was the scarcity of sounds that made “Sparks” beautiful. “In My Place”, “Warning Sign” and “A Whisper” all have that guitar noise that Oasis love so much. The production team forgot that Oasis is muscular and tough, and even when they wrote ballads where they toned down the noise. “A Whisper” is especially bad. What exactly they were trying to achieve is unclear. Perhaps all that noise was a borrowed idea from Ride, but the execution is too incompetent. You don’t produce such a mess of noise when you have an example to follow.

There are some other sonic experiments, and most of them fail too. They offer more than just size, though, so they’re far more interesting and may worth a couple of listens, “Daylight” has a nice orchestral backing, but Chris Martin sings a non-existant melody and the song remains awful until the end. “God Put a Smile Upon Your Face” is a more aggressive track that should’ve been played by Oasis. You can feel how uncomfortable they are in it. “Politik” is another Space Rock-influenced track, but unlike “Yellow” it also wants to be big. It’s still interesting to see Coldplay attempt these things though. These songs at least have ideas behind them, and most of them fail because Martin’s melodies are bad. If “Politik” was instrumental, it would be pretty good.

Only the title-track, “The Scientist” and “Amsterdam” are worth listening to. That’s not an exaggeration. There only three worthwhile tracks here, and two of them could fit on Parachutes. The title-track is a little different. It’s the first time they actually sound like Radiohead, not just sonically but the emotions are the same. It sees Coldplay truly departing from Parachutes, because the what they are trying to achieve is different. It doesn’t have anything special that makes it good. The chorus and the lyrics are all good, and Martin doesn’t sing with a falsetto.

It’s sad that a song as brilliant as “The Scientist” and the pretty great title-track are here. The former could have slotted in Parachutes, and the latter would have made a nice closer in X&Y. It’s a wonder how Coldplay stayed relevant when everything they do here is a career-killing move. It’s easy to see X&Y as a disappointment when you consider how hard Coldplay tried here, but the regression was improvement. I wonder how Viva La Vida will fare. It’s supposed to be even bolder.

2 scientists out of 5