CD Rewiew: Billy Corgan "TheFutureEmbrace" (Warner Bros.)

Whatever the name he's recording under, Billy Corgan takes risks, and doesn't particularly care what others think of his efforts. On his debut solo album, "TheFutureEmbrace," the king of poetic inner fury doesn't change that successful formula.

Don't think Corgan is all about the rock rage that dominated the best-known Smashing Pumpkins tracks. The former Pumpkins leader knows that emotion can be expressed with more than just hard guitars and primal screams. As he did on the Pumpkins' "Adore," Corgan--who supplies the majority of instruments and vocals on "TheFutureEmbrace"--moves away from the hard riffs and toward moody electronics, simple guitars with echo pedals and layered vocals, thanks to some great production by former Nitzer Ebb associate Bon Harris.

The tracks come from all musical directions. "Mina Loy (M.O.H.)" evokes an early-Depeche Mode atmosphere, "Pretty, Pretty STAR" is a paean to the early Gary Numan band Tubeway Army and "DIA" sounds like a song that could have been released during the Pumpkins era, but would have been ahead of its time. All the songs spotlight Corgan's naked voice, which, as usual, displays his heart on his sleeve.

taken from liveDaily

Album Review: Embrace, "Out of Nothing" (Lava / Atlantic)

Due to the recent success of other mid-tempo U.K. bands like Coldplay, Travis and Starsailor, Embrace might be dismissed as a yet another copycat act. That's a shame, because Embrace drew up the blueprints for this musical style.

"Out of Nothing" is Embrace's fourth album, but only the second released by a U.S. label. And it's filled with dazzling, dramatic melodies that can stand on their own.

Starting with the opening track, "Ashes," singer Danny McNamara pleads, "Now watch me rise up and leave / all the ashes you made out of me," among building guitar parts and a choir of vocal support all, with a rock edge. The second track, "Gravity," shows a definite Coldplay influence with its opening piano and longing lyrics, but that's a given: the track was co-written and donated to Embrace by Coldplay frontman Chris Martin, who deems the band a significant influence.

Elements like the string sections in "Looking as You Are," the stunning background chorus amid the wall-of-sound guitars in "Someday" and the spiritual space-jam element to "New Life" show that Embrace is still a step ahead of the followers.

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CD Review: The Go-Betweens “Oceans Apart” (Yep Roc Records)

In the 80’s, when alternative rock was dominating mostly college radio and the occasional breakthrough station, Australia dominated the scene thanks to the singer/songwriter duo of Grant McLennan and Robert Forster with ther band The Go-Betweens and their jangly, rootsy guitar pop. Though the band split up at the end of the 80’s, they reformed in 2000 and have been re-making the music again with their third “reunion” album, “Oceans Apart.”

McLennan and Forster are a blueprint in terms of writing romantically ironic pop songs that contain many musical dimensions. The use of acoustic guitars, brass, keyboards and electric guitars combined with Forster’s dreamy vocals make mellow songs like “Finding You” and “Lavender” sit well alongside more rigid songs like “This Night’s For You” and “Statue” and folk-twinged bits like “Born of a Family.” Like their native (and slightly more popular) neighbors, The Church, McLennan and Forster embrace some of the same passionate styles but with a lighter, more wistful tone.

The Go-Betweens are a model of diverse creativity having a welcome rebirth among newer acts like Wilco, Belle and Sebastian and Hefner who embrace the same literate songwriting and classic composition.

CD Review: New Order – “Waiting for the Sirens’ Call” (Warner Brothers)

Thanks to the influence of New Order, we’d never know what would have become of today’s bands like Interpol, Bloc Party and The Killers. Twenty-five years since their first release after the disbanding of their original Joy Division, the influences remain intact and shine a light on how post-punk music should be done.

Opening with the track “Who’s Joe,” the band bring out a clear return that sends them back to their basics with Peter Hook’s unique bass technique, Bernard Sumner’s boyish voice and guitar hooks, and Stephen Morris’ electronic-yet-live drumming.

“Waiting for the Sirens’ Call” is a good showcase for the still-unconvinced fan that wavers between their electronic classics like “Blue Monday” or their pop gems like “Love Vigilantes.” The original “Manchester Band” still moves on strong with their original dance-rock on songs like “Krafty”, “Dracula’s Castle” and “Jetstream” (featuring Ana Matronic from The Scissor Sisters). Almost every song is a lesson in blending electronics, alternative pop and rock star attitude.

New Order has released some great, inspiring albums in their long career. Fortunately, their latest public offering shows them back in their best form they could possibly craft.

Live Review: Kasabian in Los Angeles, CA

Kasabian --which has been working hard this year to break through to U.S. audiences as an opening act and with a well-received appearance Southern California's Coachella festival--brought down the house Tuesday (6/8) during the group's first Los Angeles headlining appearance.

Wrapping a U.S. tour in support of its self-titled debut, the quartet played its signature blend of dance rock to the Henry Fonda Theater crowd with that swagger that only a Brit can pull off. Singer Tom Meighan knows how to command the crowd like a young Mick Jagger, utilizing some good, snake-like moves and exercising authority over the audience for some sing-along moments. Songs like the opener, "I.D.," as well as "Lost Souls Forever" and "Processed Beats," sound just as rock-and-rave as they do on Kasabian's debut album.

Other songs performed during the 75-minute set--including "Reason is Treason," "Cutt Off," and "Test Transmission"--spanned genres ranging from punk to trip-hop, and even jam-rock. All were delivered with enough passion and verve to occupy a full stadium's attention. Guitarist/singer Sergio Pizzorno would take over vocal duties on some songs, and even exchange lead spots mid-song with Meighan.

Kasabian's sound is difficult to pin down, as it spans so many genres. But it's not about genre. The members of Kasabian clearly see themselves as rock rebels who want to shock the system.

While their album may demonstrate that Kasabian is influenced by the dance rock of Primal Scream and the trippy swagger of Happy Mondays, their live set adds a space-rock, instrumental-jam element that's reminiscent of early Pink Floyd.

As the set came to a close with the album's opening track, "Club Foot," Meighan gained complete control of the crowd, which was jumping in unison at his command and singing to the tune's signature wailing chorus. Soon after, the sweaty masses departed, fully appreciating the power of sound plus delivery.

Taken from: liveDaily

CD Review: The Tears "Here Come The Tears"

Before Oasis and Blur brought about the Britpop revolution of the ’90s, Suede ruled the UK airwaves. The group’s self-titled debut gave us glam guitar hooks from Bernard Butler and the sultry voice of Brett Anderson. After two successful albums and accolades from every UK music press outlet, however, it became clear not all was pretty for Suede, as Anderson and Butler were newly dubbed the “Morrissey and Marr of the ’90s.”

Anderson and Butler’s relationship grew sour during the recording of Suede’s sophomore effort, Dog Man Star, and Butler soon left to embark on a solo career. Instead of breaking up the band, Anderson kept the Suede name, brought on guitarist Richard Oakes and kept issuing more Suede releases with its remaining members, bassist Mat Osman and drummer Simon Gilbert. However, those subsequent Suede albums didn’t quite hit the mark. The same could be said for Butler’s solo career, which spanned two mildly lauded albums.

After the release of Suede’s fifth and last album, A New Morning, the band broke up. Then rumors surfaced that Anderson and Butler had buried the hatchet and were talking about recording together again. Fans rejoiced at some recent UK shows, and now the fruits of this duo’s labor have arrived in the form of The Tears—and their arrival is more than welcome.

But was the return of Brett and Bernard worth the wait? It depends on how you look at it. Since they are the only remaining Suede members on this release, some might view it as a Suede album, despite the Tears namesake. Judgment of Here Come the Tears will certainly differ for the hardcore fan versus the casual listener.

Opening song “Refugees” features the signature Brett/Bernard sound with its glam slide guitars, string sections and Anderson singing, “You are the dust and I am the rain/Let’s go out in the rust and let’s gather the change,” with as much theatrical adoration as on Suede’s debut.

Other songs have similar melodrama, such as the opening symphonic chords in “Imperfection,” the sadness conveyed in Brett’s voice during “The Ghost in You” and Bernard’s dark guitar handiwork in “Brave New Century.”

The album continues with more of the same lush style fans have come to expect from this dynamic duo, and the songs are beautiful in their own right, but the punch has lost some of its power. Here Come the Tears is a good release with some beautiful moments, yet marred by some flaws. The reunion might have come too quickly, but hopefully, it holds strong and their musical palette remains colorful. If the next release has a little more effort, the real gifts can be bestowed upon the masses.

Rating: 4.5 out of 6 stars

Taken From: http://www.ambitious-outsiders.com/reviews/thetears.html