CD Review: Stereophonics, "Language. Sex. Violence. Other?"

Stereophonics have been on a years-long quest to attract a substantial U.S. audience. With their sixth and strongest album, the Welsh trio could be on their way to attaining that goal.

While gathering a small, loyal, American fan base, Stereophonics have received little-to-no stateside radio airplay, partly due to a sound deemed by critics as "too British" on their first three releases, and then "too American" on their following two.

Fortunately, "Language. Sex. Violence. Other?" mines ambitious new territory while still retaining the raspy-voiced storytelling of singer/guitarist Kelly Jones. This new era entails a signature, big-stadium sound that contains some amazing moments. Highlights here include the piano-to-guitar transition in "Devil," the Kraftwerk-esque guitar styles in "Dakota" and the guitar/drum buildup in "Rewind."

While "Language. Sex. Violence. Other?" is a first-class new direction for Stereophonics, longtime fans can easily embrace moments reminiscent of their past singles. But those fans should brace for a new batch of converts.

Taken from http://www.livedaily.com/news/7951.html

CD Review: The Bravery, "The Bravery"

After months of press anticipation, New York five-piece The Bravery arrives with some tunes reminiscent of when New Wave was king.

However, thanks to a slew of reunion tours and new bands with similar influences, the '80s are already back. In fact, The Bravery's sound is almost too derivative to for comfort. Singer Sam Endicott comes across like Strokes frontman/NYC-hipster Julian Casablancas, and the rhythms evoke Duran Duran.

Songs like "An Honest Mistake," "Public Service Announcement" and "Unconditional" are definitely danceable and perfect for clubs, but lack the punch of similar bands like Kasabian and The Killers.

Add some nonsensical lyrics ("You put the broke in broken hearted/You put the art in retarded," from "Public Service Announcement") and you get a mediocre release that's backed by too much hype.

Taken From: http://www.livedaily.com/news/7945.html

CD Review: The Wonder Stuff, "Escape from Rubbish Island"

Eleven years after breaking up, The Wonder Stuff have returned to introduce their brash, old-school punk songwriting and indie, folk-rock passion to a new generation of listeners.

Singer/songwriter/guitarist Miles Hunt retains the vitriol the band was known for in its heyday. His targets on the new album include British culture ("Escape from Rubbish Island"), celebrity life ("Was I Meant to be Sorry?") and tough love ("Another Comic Tragedy").

The renowned attitude and energy that made this UK band a standout amongst college radio DJs in the early '90 hasn't sputtered one bit, despite an overhauled lineup; only Hunt and original lead guitarist Malcolm Treece are still on board. The band's blend of happy, uplifting rock songs with captivatingly cruel lyrics remain the same, and are sure to please old fans and new ones alike.

Taken from: http://www.livedaily.com/news/7920.html

CD Review: Bloc Party "Silent Alarm" (Atlantic/Vice)

When Bloc Party's debut opens with singer/guitarist Kele Okereke singing, "It's so cold in this house," his voice immediately tells you that he wants to do something about it. And, with help from the rest of the band, the heat is turned up.

Spanning several genres made famous by their English heroes--like The Cure, Gang of Four and The Pixies--the London quartet delivers one of the best debut records so far this year. It's a collection of songs that energize the listener from start to finish with fast, percussive, art-punk fused with moments of atmospheric intensity.

Whether it's songs with dark lyrics like opening track "Like Eating Glass," the expressive guitar hooks in "Banquet" or the added glockenspiel in "Blue Light," what uniquely makes Bloc Party stand apart from contemporaries like Franz Ferdinand and The Futureheads is the excellent layering of expressive pop hooks, wall-of sound guitars and sharp, fast drumming.

Taken from http://www.livedaily.com/news/7900.html

CD REview: Kaiser Chiefs "Employment"

Leeds quintet Kaiser Chiefs are making a splashy debut in the U.S. with their appropriately titled album "Employment," a collection of songs reflecting everyday life from a working-class--and a bit pretentious--perspective.

Opening with the catchy tune "Everyday I Love You Less and Less," singer Ricky Wilson perfectly blends his bile-driven chant with fun, pop guitars and new-wave keyboards. Bratty hooks abound with songs like the anthemic "I Predict a Riot" and "Na Na Na Naa."

"Employment" is filled with ostentatious lyrics, and pop hooks reminiscent of The Kinks and Blur with a dash of Adam Ant.

This confident collection is rounded out by some fine production by Stephen Street (Blur, Suede, The Smiths).

Taken from http://www.livedaily.com/news/7868.html

CD Review: Kasabian, "Kasabian"

Kasabian's debut banks on a theme of confident rebellion that is evident from the first look and listen.

Whether it's the band's name (Linda Kasabian was the star prosecution witness of the Charles Manson trial), the bandana-covered terrorist's face on the album's cover, or the rigid bassline of opening track "Club Foot," Kasabian arrives with an explosive swagger--and the beats to back it up.

Taking the sonic-assault styles made popular by Primal Scream and Death in Vegas, and blending it with a drugged-out, Happy Mondays strut, the Leicester quartet has been making significant waves in the U.K., and are ready to make their mark stateside. The music isn't original by any means, but its confidence and spirit make it thoroughly engaging.

The precise dance-rock of "Reason is Treason" or the sexy atmospherics of "I.D." make the songs rock mantras that display this band's significant chops. Add some hard-edged lyrics, and you have some of this year's best club anthems.

Taken from http://www.livedaily.com/news/7796.html

CD Review: Manic Street Preachers, "The Holy Bible (10th Anniversary Edition)"

In 1994, Wales' Manic Street Preachers released "The Holy Bible," a collection of intense, rebellious and visceral songs that has been measured up alongside The Clash's "London Calling" as one of the greatest British rock albums ever made.

It would never reach American shores. The U.S. was already into its own form of angry music--grunge--and Nirvana was the king holding court.

Now, 10 years later, the U.S. finally sees an official release of "The Holy Bible," in the form of this three-disc anniversary re-release. The set includes the re-mastered U.K. mix, the previously unreleased U.S. mix along with some demos and live tracks, and a DVD containing live performances, interviews and music videos.

As each song's lyrics spill with dark vernacular ("I am an architect, they call me a butcher/I am a pioneer, they call me primitive/I am purity, they call me perverted" from "Faster"), they read like songs from an angry metal band, but come out with gorgeous, gripping rock fashion.

What makes the album's bleak themes even more absorbing is the band's unfortunate history with their main songwriter, Richey Edwards. Soon after the album's U.K. release in December 1994--with U.S. Label Sony contemplating a stateside release in early 1995--Edwards went missing. Some say it was suicide, others believe he's still alive. Perhaps this makes "The Holy Bible" a final rant from a tortured soul, but it's interesting that Kurt Cobain would suffer the same fate a few months later.

Taken from: http://www.livedaily.com/news/7790.html

liveDaily Interview: Miles Hunt of The Wonder Stuff

The Wonder Stuff was one of England's musical darlings in the early '90s, and also picked up a solid fan base in the U.S. thanks to college and underground radio support of their albums "The Eight Legged Groove Machine," "Hup" and "Never Loved Elvis."

Unfortunately, their run of good fortune came to an abrupt end as grunge took over the airwaves, and their following release, "Construction for the Modern Idiot," suffocated from lack of U.S. radio airplay.

The band remained cover-story fodder in the U.K., thanks to their outspoken singer, Miles Hunt, and eventually ended on a high note with a triumphant 1994 show at the U.K.'s now defunct Phoenix Festival.

Though the band parted ways, Hunt continued as a musician and wordsmith. He briefly hosted for MTV, released a few solo records and played some well-received solo-acoustic tours of the U.S. with former bandmate Malcolm Treece.

Now, after a few years of successful reunion shows across the pond, Miles and Malc have officially reformed The Wonder Stuff with two new members, bassist Mark McCarthy and drummer Luke Johnson. The U.S. release of the group's fifth album, "Escape from Rubbish Island," is set for March 22. A six-week North American tour--the band's first in more than 10 years--is also planned.

liveDaily recently spoke with Hunt by telephone from his home in the English countryside.

liveDaily: So are you ready for the new U.S. audiences, who see U.K. bands as either having a sensitive singer who may marry an A-list actress, or a quartet who plays artsy pop-punk?

Miles Hunt: [laughs] No, I think I'm going to give them a bit of re-education from the artsy frontman thing. God, what an appalling period of music it is right now. I try to not get myself wound up and angry about stuff that I don't like these days, but Jesus Christ, what an uninspiring period this is for popular music--and just how willing people are to swallowing up more and more and more of it.

Was the songwriting a little different this time around for the new album?

The songs were conceptual for a long time, even through the recording. The title track, "Escape from Rubbish Island," had eight or nine verses, and I had to narrow it down to four or it would have been ten minutes long. Then there were other songs where I literally had two lines for a chorus, and I'd be in the songwriting process right up to mixing. Once I got the choice songs into basic arrangements, that's when I'd start to get stuck and I'd get on the phone to Malc and say "Malc, I've gotten lost. I can't see the wood through the trees right now." I didn't want the album to be a concept album, but one thing I noticed as I was proofreading the lyrics before they went to print for the sleeve was that every song has an element of departure or arrival. I guess I got all the lyrics completed in a 2-to-3 week period. I don't think I really ran into a pattern writing-wise, but at the moment I'm really enjoying what I'm doing.

We're well into the process of writing the next record now. Mark and Malc are coming up next weekend to the countryside and giving ideas for a bass line or guitar part, and they leave them with me, and I try to make them into songs. That's going really well. I suppose whenever I sit down with Malc, or any number of friends who are songwriters, I'll always tell myself I'm no originator, but I'm always trying to take myself into areas where I haven't been before.

At the moment, we've done quite a bit of shows over here, and we're quite excited to go to the states for six weeks. Because we're playing quite a lot at the moment, me and Malc have decided to write to type, so I think the next Wonder Stuff album may be the definitive, classic Wonder Stuff album, at long last, after writing together for over 20 years. Malc and I sit there and say "we have sound; we have strength, let's play to them," as opposed to "where are we going next with this."

Is there a track on the new album that stands out as your favorite?

I think I appreciate "Was I Meant to be Sorry." I was at the 101 Diner in Hollywood, and I remember singing the line over and over. When I walked back to my mate's house, I had to use his computer to demo the whole track. In fact, the guitar solo in the middle is not Malc; it's the guitar solo I did on the demo. Malc tried to replace it and felt it was all wrong, but I decided that yeah, it's discordant, but it's the one. I love playing it live. Its funny, I did an interview this morning for the BBC Digital Radio station, and as I was waiting to go live on the air our new single, "Bile Chant," was being played and I thought, "This is an exciting track, I love this! I'm glad this is my new single."

What is one thing you look forward to as you bring the band back on tour to the states?

It's been a while since I did my last acoustic tour of the states. It's the club-level gigs out there. I don't want to upset anybody over here--compared to the ones here where you meet the local sound guy and the promoter and it's a generally confrontational experience that's made me wonder why I've stayed playing out here for 20-some years--but thankfully with The Wonder Stuff over here we've been well enough to go just a bit above that with having our own PA guys. It's the complete opposite in the states. I remember when Malc and I did our first acoustic tour in 1998 through 1999. We couldn't believe how welcoming, helpful and friendly the people were at the venues. Also, after years of past experience touring the U.S. in my earlier days, I've come to learn that it's not about the destination, but the journey.

Taken from http://www.livedaily.com/news/7779.html

CD Review: Doves, "Some Cities" (Capitol)

On their third album, Manchester trio Doves have created another collection of ambitious songs that combine sophisticated pop atmospherics with dashes of intimate moments.

However, this time around, the songs cross into somewhat new territory, with a more personal and stripped-down approach that's a break from their typical menu of soaring melodies. The results are nothing short of brilliant.

The personal atmosphere is set with the title track's opening line, "Think I might have met you before/I think it's time we settled a score/Buildings there they stretch so tall/it's steel and brick no more."

For the avid Doves fan, songs like "Snowden," with its angelic chorale background, and the marching piano-and-drums of "Black and White Town," will sound like nothing's changed. It's the quieter songs like the acoustic "Someday Soon" and the subtle symphonic arrangements in "The Storm" that will surely raise enlightened eyebrows.

Taken from http://www.livedaily.com/news/7774.html