Now It's On

Album Review: Dolores O'Riordan "No Baggage"

Will the recent announcement of the reunion of The Cranberries bring more attention to Dolores O'Riordan's recently released second solo album? It would be a shame if it didn't because "No Baggage" is worthy of said attention.

Apparently, the Cranberries reunion tour will include both their hits and songs from "No Baggage" and a number of the songs here certainly would have fit on a Cranberries album. "It's You" is driving pop with the jangly guitar sound Cranberries were famous for. "Apple Of My Eye" is pure dream pop with O'Riordan providing a lush vocal take.  

Opening track "Switch Off The Moment" is typical of much of the album, a very strong melody, memorable chorus and heavy on guitar. The rockers "Skeleton" and "Fly Through" also boast instantly catchy choruses.

It's not all standard pop/rock fare though. The dreamy "Throw Your Arms Around Me" features hypnotic Indian instrumentation and sounds and album closer "Tranquilizer" is a mid-tempo ballad with shuffling drums, atmospheric keys and guitar that bursts into a powerful finale.

"Be Careful" stands out as the highlight of the album. Hushed on the verses, O'Riordan warns "be careful what you're wishing for" before belting out the sing-along chorus over hard guitar, a slinky bass line and pounding drums.

The only songs that really don't work on "No Baggage" are the ballads, especially the clunker "Lunatic". The piano and vocal track is pretty enough but suffers from repetitive lyrics and an over-dramatic performance. The other piano based ballad "Stupid" is slightly better but still rather bland.

There is still no denying O'Riordan is one of the great female vocalists in pop and her unique voice is in fine form here. Lyrically, the album suffers in spots, but vocally she's as strong as ever.It'll be a treat to see her reunited with her Cranberries mates, as well as to hear this new solo material performed live.  The majority of it will fit in fine mixed in with the Cranberries classics.  

Dolores O'Riordan's Official Website

Dolores O'Riordan on MySpace

Purchase "No Baggage" from Amazon.com

Album Review: A Fine Frenzy "Bomb In A Birdcage"

Alison Sudol returns this week with the release of her second album recorded under her stage name A Fine Frenzy, "Bomb In A Birdcage". Upon first listen, it's clear she's taking things in a bit of a poppier, more upbeat direction, although I'm not sure it completely works.

Her first album, 2007's "One Cell In The Sea", was an ethereal beaut, showcasing a bright new talent on the female singer/songwriter (and pianist) horizon. Another album in the same vein would certainly be a nice listen all the way through, but wouldn't be pushing any new limits for Sudol, so I appreciate the attempt to try some new sounds on her sophomore release.

Album opener "What I Wouldn't Do" announces this will be a different sounding album with hand claps, whistles reminiscent of Andrew Bird, and a sing along, bouncy chorus. "Electric Twist" is as close to a dance track as A Fine Frenzy has come and musically it works. Some of Sudol's squeaky, yelping vocals on this track are grating however, and detract from an otherwise fun song. First single, "Blow Away", also keeps the upbeat mode of the early part of the album going with driving guitars and drums, but there's nothing that sets it apart from numerous other, far less talented, female pop singers.

Despite her intentions to branch out here, Sudol's music still works best when it's the piano driven, mid-tempo ballad style of the majority of her first album. And after experimenting a bit in the early part of "Bomb In A Birdcage", she seems to revert to the sound that won over so many on "One Cell" on the second half of this album. That's not a bad thing either as "New Heights", "Happier", and "Elements" are among the best tracks on "Bomb", with Sudol's rich vocal abilities on full display.

Most promising, the album's highlight is also one of the more daring tracks. "Stood Up" is an all-out rock ballad, complete with driving bass, a repeated electric guitar line and a mid-song break that goes into Sudol's echoed vocals backed by just a pounding drum pattern before kicking into an all out wall of sound to close the track. This is a direction I'd be anxious to hear more of from A Fine Frenzy as opposed to going the road of dance-pop touched upon earlier on the album. "Stood Up" works to perfection.

There are some mis-steps on "Bomb In A Birdcage" but overall, they do nothing to ruin A Fine Frenzy's reputation as someone worth continuing to keep an eye on.

Purchase "Bomb In A Birdcage" from Amazon.com

A Fine Frenzy Official Website

A Fine Frenzy on MySpace

A Fine Frenzy on Twitter

Album Review: Imogen Heap "Ellipse"

Imogen Heap's "Speak For Yourself" was one of my favorite releases of 2005. Definitely one of the top ten releases of that year. So obviously there was much anticipation for her third full length album "Ellipse" to finally arrive. As frustrating as it can be to wait for a new release from an artist you greatly admire and respect, it can be equally frustrating when the album doesn't quite live up to your expectations. 

This is not to say "Ellipse" is a bad album. In fact, there is a great album buried within it's thirteen tracks. The problem is you'd have to pare the album down by 4-5 songs to make that great album. "Speak For Yourself" was filler free. "Ellipse", sadly, is not.

The album opens up strongly with the first single, "First Train Home". Containing all the elements of Immi at her best, that wonderful voice, multi-tracked backing vocals (all Heap's), an instantly memorable melody  and plenty of keyboard and electronic effects, it's an encouraging start. The next track, "Wait It Out", is a fine follow-up as well. Heap opens up a capella, before adding layers of instrumentation slowly to build into a beautiful track that winds down to a vulnerable vocal ending.

The next few tracks can't keep the momentum generated by the strong open going. "Earth" features more of Heap's impressive multi-tracking on vocals, she's literally singing amongst a chorus of herself, but "Little Bird" and "Swoon" are surprisingly generic.

Thankfully the middle section of the album is a strong rebound starting with the quick beats and orchestral sweeps of "Tidal". "2-1" is one of the album's highlights, both musically and lyrically. The dark, moody music serves as the backdrop to the lyrical warning that "things are not always how they seem".

More filler follows however, as both "Bad Body Double" and "Aha!" are, to this listener, the weakest tracks on the album. The lyrics to "Bad Body Double" are certainly admirable, touching upon a woman's issues with self-image and the pressures on women to live up to a certain standard of beauty. But the chorus seems silly at times with the references to "bad body double trouble". "Aha!" is nothing more than an odd curiosity and at barely over two minutes long, could have easily been left off and not missed. 

Once again, however, Heap rebounds and does so in a magnificent way with the two ballads that close out "Ellipse". The ethereal, atmospheric "Canvas" fits its winter themed music video, you can literally see the snow falling while listening to this track. Violin, cello and acoustic guitar add to the orchestral keyboards and piano of this gorgeous song.

The closer, "Half Life", packs an emotional wallop. Heap delivers a reserved, vulnerable vocal much different from anything else on the album. Strings and keyboards swoon in around her vocals in this tear jerking piano track about an unfulfilling relationship. Heap sings the role of someone in love with another whose busy lifestyle does not allow her to receive the love in return that she gives and it's a heartbreaking performance. "It's a half life/With you as my quarterback/A daft life" she sings on the chorus. Lyrically the track is brilliant as well. From keeping track of the last time the object of your affection returned a text message ("My self-worth measured in text back tempo/It's been two days and 8 minutes too slow"), to wondering if the unhealthy situation could ever change ("Got a schedule to stick to, got a world to keep sweet/You're so much to everyone all the time/Will you ever slow down? Will I ever come first?/The universe contracts to sigh"), "Half Life" ranks with "The Moment I Said It" from "Speak For Yourself" as her most powerful, beautiful songs.

Obviously there is enough great material on "Ellipse" to make it worth purchasing. "Speak For Yourself" was a tough act for anyone to follow. Here, Imogen Heap still delivers much of what has helped build a large following and her fans won't be disappointed in the majority of the production, lyrics and, especially, her always astounding vocal performances. There are just a few too many tracks that don't stand up with her strongest material to keep"Ellipse" from reaching the great heights of its predecessor.

Imogen Heap's Official Website

Imogen Heap on MySpace

Imogen Heap on Twitter

Album Review: a-ha "Foot of The Mountain"

If you live in the United States and follow music to any degree, there's a good chance you didn't even realize the band a-ha is still around. Considered a one-hit wonder here for their 1985 mega-hit "Take On Me", the Norwegian band only scored one other Top 40 hit here in the States and hasn't had an album released here since 1993's "Memorial Beach".

Internationally, however, a-ha has remained huge selling over 36 million albums worldwide with numerous hit singles. Their ninth album, "Foot Of The Mountain", was released in June, although once again not in the U.S. And this is a shame as the album marks a return to the synth-pop sound that brought the band fame here initially and is as strong as anything in the genre I've heard this year. There definitely is a Depeche Mode influence on a number of the tracks, especially "What There Is", but bands as big as Coldplay list a-ha as an influence and there's plenty of the band's signature sound here too.

Lead vocalist Morten Harket soars throughout the album. Truly a unique voice in pop music, Harket carries the majestic choruses prevalent here. This is where a-ha excels. Practically every song has a to die for anthemic chorus with melodies that just stick in your head and won't let go. Highlights include the melancholy album opener "The Bandstand", the pulsing "Sunny Mystery" and "Nothing Is Keeping You Here" which out-Keane's Keane, who certainly owe a lot to a-ha for their sound to begin with.

The album's true centerpiece is the stunning title track. Mixing in more live instrumentation, "Foot Of The Mountain" would be a radio smash here if radio still gave a shit about music. It's simply a perfect pop song with the best example of the anthemic choruses mentioned earlier that a-ha churn out.

If you're a fan of this type of music in the States, do yourself a favor and import "Foot Of The Mountain". You'll have a tough time finding a better synth-pop album released in 2009 and hopefully it'll help you rediscover a band that is still going strong just in time. a-ha is set to return to the U.S. in 2010 for their first proper shows since 1986 as part of their 25 year anniversary tour.  

a-ha's Official Website

a-ha on MySpace

Purchase "Foot Of The Mountain" from Amazon.com

Album Review: Bruce Springsteen "Working On A Dream"

I'll be the first to admit, I am not a huge Bruce Springsteen fan. I admire and respect him and his talent and would never deny he is a musical legend and one of the great live acts of his time. But for every song of his I love like an "I'm On Fire", "Born In The USA" (and no I'm not one of those idiots who thinks this is a patriotic 'I Love America' song),  or "Streets Of Philadelphia", there's a cheesy "Glory Days" or "Dancing In The Dark" that just puts me in the 'I'll pass' category when it comes to purchasing his music.

2009's "Working On A Dream" does very little to change that feeling for me.There are some catchy, radio friendly rockers ("My Lucky Day"), arena ready anthems with soaring choruses ("Kingdom Of Days" and the title track), and a stunning, eight minute epic that opens the album ("Outlaw Pete") that's as good as anything I've heard from The Boss in ages.

Amongst the quality, however, is too much filler and that has long been what prevented me from plunking down my hard earned money for a Springsteen album. After opening strong, the album takes a dive with tracks like "Queen Of the Supermarket" (a love song about a supermarket cashier? REALLY??!!) and the embarrassing "Surprise, Surprise" which must have taken Bruce all of ten seconds to toss off the lyrics since the majority of it has him singing "surprise, surprise, surprise, surprise" ad nauseum.

The production also leaves something to be desired as, too often, it's a murky mess and the vocal effects on Springsteen's vocals during "Good Eye" should be outlawed from recorded music from here on out. An incredibly annoying effect that adds nothing to the track but to make it unlistenable. 

Let me reiterate, this is not a bad album. But it's just another in a long line of average releases from Springsteen. As good as "Outlaw Pete" is, there's nothing else even close on the rest of the album to make this a release I'd listen to often enough to purchase. 

Music You Need To Hear: All Thieves "We Are All Thieves" (Album Review)

Back in 2000, a little album called "When We Were Young" by a group calling itself Dusted appeared on the electronic music scene. Critically acclaimed, the downtempo concept album conceived by Faithless' Rollo Armstrong and Mark Bates was never really intended for mass appeal and it's gone down as an under-appreciated gem and, in my book, an electronic music classic. The two revisited the concept in 2005, re-recording the album as "Safe From Harm" with vocal help from Rollo's sister Dido, but it seemed a pointless release and the magic clearly was contained in the original. "When We Were Young" was one of those albums that didn't need to be re-done, it was perfect as is.

Rollo of course has played a major role in a number of hugely successful acts starting with his band Faithless, one of the best selling electronic acts in the world, writing and producing for his sister Dido and remixing and producing countless other acts including Moby, Pet Shop Boys,Tricky, U2 and Sarah McLachlan to name just a few. He already is involved with one project I've been raving about to anyone who will listen, producing One eskimO's forthcoming album (read my glowing review here). Now there is a second project on the horizon poised to produce another instant electronic classic. Ladies and gentlemen, may I introduce to you All Thieves.

A few tracks from this project first showed up on Rollo's MySpace page early this year, credited to an artist called Kinch. It was obvious the male vocalist on them was Kristian Leontiou, the main man behind the One eskimO project, but there was no other information on what exactly Kinch was. At some point the name of the project was changed to All Thieves, more than likely because there is an alternative rock band from Phoenix called Kinch. Buzz started generating in April when All Thieves' "Turn And Turn Again" was heavily featured on an episode of ABC's hit series "Grey's Anatomy". A video for one of the tracks featured on Rollo's MySpace, "Dexter" comprised of nothing but scenes from the Showtime series, also made the rounds on various blogs, music sites and YouTube.

With this mysterious project starting to generate interest some light has finally been shed on All Thieves. In July, Mark Bates posted on Dusted's MySpace blog that All Thieves was essentially a new name for Dusted. But with such a different sound and vibe to the tracks, he and Rollo wanted a new name to attach to the project. They can call it whatever they'd like, after one listen to the finished, and as of right now unreleased, album "We Are All Thieves", I can call it a number of things such as brilliant, stunning and one of the best electronic releases I have heard in years. 

The album opens with the aforementioned "Turn And Turn Again", a beautiful introduction for what is to come. Bailey Tzuke handles the female vocals on the album and delivers a vulnerable performance here. It's no wonder after appearing on "Grey's Anatomy" this song generated so many posts on message boards asking 'Who sang that song and how do I get my hands on it?' There's a minimalist approach to production on the track, utilized on numerous songs on the album to perfection. A bouncing electronic drum beat, sad, lone organ lines and keyboard fills accompany Tzuke's delicate vocal, an absolutely gorgeous track.

One eskimO's Kristian Leontiou does indeed handle the male vocals for All Thieves and he makes his first appearance on the second track, the much more upbeat "Only Of You". The album's first single, this version has been updated from the more sparse original that was up on MySpace, with string runs bringing a more disco feel to the track. Leontiou's damn near Barry Gibb-like falsetto adds to the infectious, funky, yet still minimal, atmosphere. A completely different direction from the opener.

Leontiou's performance on the next track is a far cry from the falsetto of "Only Of You". "Dexter" is a  foreboding, menacing track with a dark, slightly electronically altered vocal that seems inspired by the TV show which shares its name. The light hearted mood of the previous track leaves you an unsuspecting victim of this track's tale of a stalker reciting his prey's mundane daily activites before entering her home ("and you think that I don't know/when your front door closes...") and apparantly killing her ("Before the day has begun/we will lie in silence knowing what I have done/and as I leave the house alone/the front door closes..."). Each verse is followed by a disturbed electronic voice repeating "I want to feel...what you feel" to creepy effect. It sounds insane, yet it not only works, it may be the best track on the album. Can a song be both disturbing and beautiful? The verses are wonderfully melodic and the darkness of the track provides a brilliant contrast.

Tzuke returns for the next track, "Pity The Lovers", a needed reprieve after the shocker that is "Dexter". She delivers another restrained vocal performance over a minimal backing track that at first resembles the album's opener but adds lovely strings to this examination of love and its challenges.

Tzuke sings lead on one more track on the album, the more uptempo "Barney" while Leontiou handles the main vocals on two more songs, the chilled out "We Will Be Dust" and soaring stunner "Stars" which has Tzuke on backing vocals. "Marybelle's Poem" opens as a spoken word piece boasting "A little drinkin', skinny dippin' and lotsa guns" before kicking into minimalist keyboard as the song slowly builds with electronic effects and samples. A mostly instrumental piece over eight minutes long entitled "My Philosophy" closes the album with a little bit of everything featured throughout. Sparse organ and keyboards, electronic drum beats, strings and effects rising into the mix, then dropping out. It's a fitting summary of what you've just heard. 

With All Thieves, Armstrong and Bates shatter the perception electronic music is not emotionally engaging enough or has lost its soul. This is a work of a group of artists at the top of their game. The production is astounding, I have not heard a CD this tailor made for headphone listening in a long time. The music swirls in and around your head taking you on a trip you truly will not forget. Vocally, lyrically and musically, I have not been this blown away by an electronic album in ages. All nine tracks are excellent, there is no filler to speak of and it is extremely varied. A masterpiece. 

Until "We Are All Thieves" is released, you can stream a number of the tracks on these MySpace pages:

All Thieves on MySpace

Rollo on MySpace

Bailey Tzuke on MySpace

Music You Need To Hear: The Silent Years "Let Go" (EP review)

There's always a risk involved when you hear new material from a band or musician live before you hear the studio versions of the songs. So many times I have heard a new song performed live by one of my favorite artists and yearn for it to show up on their upcoming release, only to be bitterly disappointed at a far inferior version to what was heard live. 

Having seen The Silent Years live numerous times within the last year, I've had the opportunity to hear the majority of the songs that make up their new EP "Let Go" (Sidecho Records) performed live well before this EP's release. Rest assured,this is one case where the studio material does not suffer one iota. The Detroit band has done it again, following up their flawless 2008 full length "The Globe" with this impeccable six track EP. Each release from The Silent Years advances their musical vision and leaves me in awe, yet again, that a band this great sits right in our own backyard. Their approach to indie rock and pop truly brings something unique to the table and makes for essential listening.

Fans who've heard "Taking Drugs At The Amusement Park" regularly as part of the band's live set needn't worry. The first track on the EP is every bit as infectious on record as it is live with its "Da da da da" sing along chorus taking up permanent residence in your head as soon as you hear it. Of the songs on here, there couldn't have been a more perfect pick to open "Let Go". Two other tracks that have been staples of recent live sets, "Vampires Bite The Hands Feed Them" and "Madame Shocking" appear here also, relatively similar to the live versions fans have come to know.

Although the bands leader Josh Epstein has stated this EP contains some of the band's "sunniest" material to date, and it is certainly lighter than some of the material on "The Globe", there is still plenty of introspection and even melancholy present on the disc. On the album's wonderfully melodic closer "Claw Marks", Epstein sings of "Places that I've lived alone" before presenting "I picture you at 6 years old/Shivering in the freezing cold/You always were a lonely soul". On the stunning "Forest Fire" he digs even deeper. "All my friends are black with rage/I'm just trying to act my age/find some new ways to pretend/I'm not everyone's loser friend" may not be the most upbeat, sunny lyrics but the song is no doubt among the group's best and, in a fair music world, would be all over the radio.

Far from a collection of leftover tracks tossed together for a quick release until their next full album, as can be the case with many EP's, "Let Go" is a cohesive gem. It further cements The Silent Years' reputation as one of the best bands working in independent music today, let alone in Detroit. News that the band is working on their next full length couldn't be more exciting given the top notch material on this EP.

The Silent Years Official Website

The Silent Years on MySpace

The Silent Years SideCho Records Page

Music You Need to Hear: One eskimO "All Balloons" (Album Review)

I can't exactly tell you to rush out and buy the album "All Balloons" by One eskimO because it still hasn't been released yet. It has had a number of planned release dates since last year, with the most recent being a June 22nd release off the band's official website as a download only. But shortly after putting the download release up for pre-sale, the band then announced the release was, yet again, being postponed, now until September 7th in the UK to coincide with a US release later that month as well.

I can tell you, however, to seek out a copy of one of the promos of the album that are now popping up on Ebay and some of the better UK independent online retailers because this may well be the "chillout" album of the year... if it ever gets released that is. It's also likely these promos will be quite the collector's item as the band is working on material in Los Angeles, both new tracks and reworkings of existing "All Balloons" songs, so this incarnation of the album won't be the one that eventually sees commercial release. That could be a shame because the album appears about perfect as is.

One eskimO is the creation of British singer Kristian Leontiou. He's no stranger to the music industry, having scored a Top 10 UK single with 2004's "Story of My Life", as well as a single "Shining" that reached number 13, from his gold selling debut album "Some Day Soon". Often pushed as a "male Dido", Leontiou quickly grew weary of the direction his career was headed and split from his major label deal with Polydor. How ironic that the man frustrated at being marketed as a "male Dido" would find himself working with that superstar singer's brother, producer extraordinaire Rollo Armstrong, on the project that has reinvigorated his music career.  

Now a four piece touring band, the One eskimO concept first came to public light when the band's brilliant animated video "Hometime", produced by Passion Pictures (the gang behind Gorillaz animation), took to the Internet in 2008. With each member of the band depicted as a different animal, the video took the Internet by storm and earned a Public Choice Award at the 2008 British Animation Awards. The track was also licensed in the US for use in a Toyota Prius ad campaign, giving the band more exposure. In keeping with the concept,Passion Pictures has since produced an animated video for every track on "All Balloons" for a possible film project.

Hometime - One eskimO

To call this simply a "chillout" record is not entirely accurate. At it's heart, One eskimo's music is acoustic based pop. Each song is then fleshed out by the production of Rollo Armstrong, adding his electronic touches and cinematic soundscapes to create the One eskimO sound. Given the fact Rollo has produced most of his sister Dido's work as well, it may seem Leontiou is back in that "male Dido" category he was so unhappy with. However, this time he is in complete control of his career and music and "All Balloons" has a unique sound all its own. 

The album opens with "Hometime" and the song itself is just as brilliant as its previously mentioned video. An acoustic guitar intro gives way to Leontiou's warm vocal, quickly joined by what appear to be bongos keeping the beat before the song bursts into its lush, dreamy chorus. Although it's a laid back track, the beat will have you bobbing your head the rest of the way, as will the horns that join in for a solo.

The lovely ballad "Astronauts" is next. "Whenever you need space/I guess it's OK" Leontiou sings in a tender, understated vocal performance while keyboards and electronic effects surround him. Probably the most upbeat song on the album, the next track "Kandi" was selected as the second single. The title is a differently spelled tribute of sorts to Candi Staton, whose 1971 song "He Called Me Baby"is borrowed from heavily here, both musically and with her vocals sampled on the chorus. Although the music was re-recorded by One eskimO, it still uses the main melody from Staton's song. A fine tribute to a classic soul song and ripe with remixing possibilities. 

Other highlights include the slinky "Slip" which uses a saxophone loop to fine effect as it builds from it's slow, sparse, sexy beginning to a wall of exploding sound, effects and vocals at it's climax. "Chosen One" is pure pop bliss with a melody you can't get out of your head. It's just one of many potential hits sitting on this record for a radio programmer with some balls to break new music. The downbeat "UFO" is another stunner, beautifully laid back and dark. Rollo's production influence is all over this atmospheric track with such a fitting title as it feels like you're floating through space while listening. Definitely one of those songs meant to be experienced through headphones.

There truly is not a bad track amongst the ten on here. All the more reason for concern if there is re-work to be done before the planned September release as they got it right here. I've heard early versions or original versions of albums before that suffered greatly from meddling and re-working by the time they eventually saw release. I'll hold out hope that One eskimO does not fall into that same trap as this album, in this incarnation, is definitely destined for Top Ten of the Year status.  

One eskimO's Official Site

One eskimO on MySpace 

Music You Need to Hear: Moby "Wait For Me" (album review)

Any musician who has a massively successful album is faced with a unique problem. The follow-up album to that massive hit. Some rebel against that success and go in a totally different direction, akin to what Prince did after "Purple Rain". Yes, "Around The World In A Day" had some "Purple Rain"-like moments but the paisley washed, Beatles influenced psychedelia of the majority of the album was a far cry from the mass appeal pop/rock/funk attack of its predecessor. The stark differences between the two albums killed off the interest of a lot of the casual listening general public but cemented Prince's reputation as an innovator and ground breaker who didn't care to repeat himself, endearing himself to a legion of die-hard fans willing to take every new musical journey with him. Some artists literally go crazy in their unattainable quest to match or top overwhelming success as Michael Jackson did after every post-"Thriller" release.

Although not on a par with those two albums in terms of overall sales figures, Moby's 1999 masterpiece "Play" still went on to sell over ten million copies worldwide, numbers no one ever expected out of a Moby record, especially at that stage of his career. It certainly caught the humble, self-effacing DJ/musician by surprise. The last time there had been this much buzz about Moby in the public eye was after his critically heralded 1995 major label debut "Everything Is Wrong" catapulted him into an electronic music star. His daring response was 1996's "Animal Rights", a punk rock album that alienated and confused many in the techno/electronic music community, sold poorly and turned off a lot of critics.

Moby's first post- "Play" release was a lot less radical of a departure than "Animal Rights" was from "Everything Is Wrong". 2002's "18" was seen by many as a safe repeat of the formula used on "Play", even an attempt to milk it for all it's worth. It certainly was a sample heavy continuation of many of the styles utilized on "Play" and, although it did not sell nearly as well, still moved more than four million copies worldwide. I'm personally very fond of "18" and have always viewed it as more of a companion piece to it's predecessor and the closing of that chapter of Moby's career. Don't get me wrong, "Play" is the better album but "18" is still, to me, the perfect follow-up.

In recent interviews Moby has expressed his unhappiness with his next release, 2005's "Hotel". Although he is happy with most of the songs at their core, he is not fond of the sound or the production on the album. He's mentioned it was an album he made feeling pressure to appease radio, his label and, most likely, those who criticized "18" for being "Play Part Two". Gone were all sampled vocals and many of the electronics he had become known for. Moby and friend Laura Dawn handled all vocals, and all instruments on "Hotel" were recorded live in studio. Although not a bad album, "Hotel" started to show an artist unsure of his direction after that "mega hit" album.

Things veered even further off track with last year's "Last Night". Intended as a return to his early dance music roots, and a tribute to dance music heard on a typical night out in his New York neighborhood, the album is filled with some of the most mediocre tracks Moby has ever released. It was hard to believe the man behind dance classics like "Go" and "Next Is The E" was responsible for such bland, repetitive tracks as "Everyday It's 1989" and the abysmal album opener "Ooh Yeah". Besides, he had already released a superior return to his dance music roots on the 2004 "Baby Monkey" album, albeit under his pseudonym Voodoo Child. "Last Night" was, by far, the most disappointing release of 2008 for me considering how much I look forward to a new Moby release. As a matter of fact, I was so disappointed in the album, I feared Moby had finally "lost it" and was turning into another in a long line of musicians who churn out average to mediocre work for the rest of their career after reaching their peak of worldwide success. 

Which brings us to the forthcoming "Wait For Me", due June 30th in the States. Announced under the radar on his website in April, it was clear things would be different with this release. It was recorded entirely in his home studio and is to be released on his own Little Idiot record label. Moby has made it clear in interviews the album was made free of commercial pressures and worries of how it will sell. He instead focused on recording something he would truly be happy with. In other words, the complete opposite of his experience with "Hotel". The result is his finest  work since "Play" and "18" and a true return to form.

Don't look for dance music on "Wait For Me". There isn't any. Somber and melancholy, yet often uplifting in it's beauty, it's a 16 track melodic journey Moby has asked to be listened to from beginning to end as a cohesive work. There are no obvious "singles" on it and that's really the point. He's made a personal album for himself, and by staying true to what he wants to produce, gives the listener a rewarding experience.

The lush strings of the two minute instrumental opener "Division" set the tone for the album before the second single, "Pale Horses" follows. With vocals by his friend Amelia Zirin Brown recorded as if to sound they came from an old record of the 1950's, it's a daring single choice and already better than anything on his last two studio albums. Opening with simple keyboards and a drum beat, the song beautifully builds on Brown's sensitive vocals as Moby adds bass then his trademark electronic strings. It's a sad, yet compellingly gorgeous track, and one of the best on the album. 

The first track released from the album, the instrumental "Shot In The Back Of the Head" follows with heavy electric guitar dominating the track over a bed of keyboards and live drums. It was an interesting decision to release this as the first preview of the album to come, but it served notice that commercial interests are not what this album is about.

Slower, ambient, instrumental tracks have always been a part of the Moby canon and they're interspersed throughout the rest of "Wait For Me". "Scream Pilots" also features electric guitar to carry the melody of the song, again over keys and live drums, but also incorporating piano work to accent the melody. "A Seated Night" builds around a sample of a choir with strings swelling before a quiet conclusion. The album closes on three instrumental pieces, the ambient "Ghost Return", the string heavy "Slow Light" and "Isolate" which focuses on guitar and piano work. 

The vocal tracks on the album are mostly handled by female friends of Moby's. On his website, he claims it's usually nicer working with relatively unknown friends as opposed to rock stars. I'll take this approach any day over Gwen Stefani butchering another Moby track, thank you very much. "Walk With Me" has smoky, nearly gospel vocals over an ambient soundscape. The title track is a lovely mix of piano and violin before drums and bass kick in with Kelli Scarr handling the vocals. "JLTF" is another of the album's standouts. Achingly beautiful yet painfully sad with it's chorus of "All the words we said/all the time we spent/doesn't mean nothing/doesn't mean nothing."  

Male vocals are only present on two tracks. Moby makes his only vocal appearance on "Mistake" and although he'll never be confused as a great singer, his tentative voice works to great effect here. Over strings and a lone, repeating drum beat he opens "Don't speak to me this way/don't ever let me say/don't leave me again/don't leave me again", later imploring "Don't hurt me this way/ don't touch me this way/don't hurt me again" in an incredibly vulnerable performance. Musically the track is reminiscent of some of the quieter tracks on "Animal Rights" with guitar, bass and live drums to the forefront, building as his frustration and anger grows as he pleads "please don't let me make the same mistake again" at the end.  

"Study War" is the only track with a sampled vocal. It's also very reminiscent musically to his work on "Play" and "18". In fact, it sounds like it could be a leftover from that time period, even though it isn't. It's looped male vocal gives a simple anti-war message before female vocals join in on the chorus to soothingly declare "there will be no more". Yes, it's simplistic, but Moby has never been known for the deepest lyrics and it fits in well within the context of the album.

A conversation with David Lynch, who also directed the "Shot In The Back Of The Head" video, is what inspired Moby to follow his heart instead of commercial interests when recording this record. Often, the best music is created when the artist makes something for themselves first, a work they know they'll love, without worries of record sales or radio play. It has been a decade now since "Play" was released and Moby finally seems to be at the point where he's no longer concerned with his place in the music world or pleasing anyone but himself with his music. Fortunately, music fans get to reap the benefits of "Wait For Me", a sometimes dark and sorrowful but sublimely exceptional release. 

Moby's official site

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Music You Need To Hear: Bell X1 "Blue Lights On The Runway" (Album Review)

Hugely successful in their native Ireland, Bell X1 was introduced to American audiences last year when their 2005/6 album "Flock" was released in the U.S. It was better late than never for American music lovers. Sometimes referred to as an "Irish Coldplay", this is frankly a rather lazy comparison. Although sharing some of Coldplay's sense of melodic pop/rock, Bell X1 certainly boast a more varied sound with a greater emphasis on electronics and keyboards added to the mix.

Considering "Flock" was over two years old when finally released stateside, it was exciting news that a new release was slated for early 2009. "Blue Lights On The Runway", released in March in the States, seemed like a disappointment upon first listen. There was nothing that grabbed me immediately like "Rocky Took A Lover", "Bad Skin Day" or "Lamposts" did from "Flock." But give this album a chance to sink in, about a good three listens from start to finish and it'll reveal itself as a superior album to it's predecessor.

"Blue Lights" kicks off with the synth/rock of "The Ribs Of A Broken Umbrella," a track that has single written all over it. This is just the first hint that synths will play a bigger role on this album for the band. But the electronic feel is all over the next track, the tremendous "How Your Heart Is Wired." Starting with just a sparse electronic drum beat, vocalist Paul Noonan quickly joins in with an emotion soaked vocal performance of a relationship on the verge of a breakdown. "My tongue is scaling the north face of your neck/and we're glaring like warriors/but I've a feeling you won't look at me that way in the morning" he sings as squiggly keyboard noises and guitar scratches join the mix. He then compares the complexity of figuring out ones heart to defusing a bomb. "I don't know what you're carrying/or how your heart is wired/but there's a dangerous ticking/I'll cut the red one...no, the blue one." There are a lot of great lyricists working in music today but Noonan has a wicked wit and way with his words that is once again on display throughout the entire album as it was on "Flock."One of the more brilliant lyricists working in this genre today.

The album and band's big breakout song in the States has been "The Great Defector", the best Talking Heads song they never recorded. I found this song downright silly at first. Upon repeated listens, the damn thing is so ridiculously, undeniably catchy, you can't shake it and you're hooked.  Outright rock is displayed on "Breastfed" and another album highlight "A Better Band." Exploring the space with some incredible background cowbell during the first half of the song, Noonan laments perceived personal failures ("I'm a failing restaurant, all expectant and sad/with one eye on the door, playing cards out the back/ I'm love me, love me, love me, I'm a small bit of a prick") before proclaiming he wants to be a "better band" and the whole song turns into an all out rock assault for it's second half. 

The album is also not without one of Bell X1's biggest strengths and that is their wonderfully lovely ballads. There are no less than five on this album with none better than the stunning "Light Catches Your Face." Noonan declares "As light catches your face and you're smiling/this must be what all the fuss is about" against a backdrop of acoustic guitar and piano.  This might just be the finest love song the band has composed. The dreamy, atmospheric "Amelia" is another standout. The album's longest song at nearly seven minutes, it never overstays its welcome. This applies to the entire work as there is not one song less than four minutes long with seven of the ten coming in at over five minutes long each. Don't let this scare you. Although it gives them room to experiment more and take songs in different directions as they do on "A Better Band," at every songs heart is the accessible pop/rock the band is known for. The increased exposure "Blue Lights On The Runway" has awarded Bell X1 stateside is well deserved.

Bell X1 Official Website

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