2009 Jul 18 Music Reviews – International: July 2009
21st Century Breakdown
Green Day
Ever since Dookie, Green Day has garnished their three-chord punk records with the odd polka, raga, rockabilly, acoustic or vaudeville experiment. Each one was a good track, though jarring in the context of their albums. Now those genre-bending investigations finally pay off. 21st Century Breakdown is a flood of influences that swashes and purls through hoarse guitars, sweet ballads and hollered punk anthems. Whereas American Idiot gorged on indulgent ten-minute symphonies, 21st Century presents taut overtures fastened by lyrical and musical buckles. Take it as a treasure chest and not a scattering of doubloons – a triumphant addition to Green Day’s already sparkling catalogue. MJ
Dark Night of the Soul
Danger Mouse and Sparklehorse, with David Lynch
Three of pop culture’s most acclaimed weirdos (genre-bending producer Danger Mouse, multi-instrumentalist Sparklehorse and director David Lynch) collaborate on this multimedia music/marketing extravaganza that’s got music critics creaming their skinny black pants. Yet beneath the hipster hype and fancy photo book is an uneven collection of 13 tracks ranging from sublime – “Revenge” (featuring Flaming Lips frontman Wayne Coyne) and “Just War” (with Gruff Rhys of Super Furry Animals) – to slightly annoying (an over-the-hill Iggy Pop moans his way through “Pain,” while Vic Chesnutt ruins an otherwise atmospheric title track). Sparklehorse and Danger Mouse are indeed a potent duo, but this album is saved by the instrumentals. JC
Wall Of Arms
The Maccabees
To suggest The Maccabees’ second outing differs from their debut would be akin to proclaiming 2007’s Colour It In to be “a bit happy.” A repeat of the painfully likable cartoon pop-rock of their maiden foray would have been ample for the many fans of the Brighton quintet. Rather, what Wall Of Arms serves is a triumphant pastiche of the finest elements of today’s British indie scene, brimming with the chilly maturity of Arcade Fire producer Markus Dravs’ input. The only recognizable remnants of the past are vocalist Orlando Weeks’ perfect tonal artistry and the insanely enjoyable bounding choruses. PR
Wolfgang Amadeus Phoenix
Phoenix
Wolfgang Amadeus Phoenix is a pretentious mouthful of an album title, but if anyone can get away with it, it’s Phoenix. The French indie-electropop quartet is finally getting the attention they deserve. Each track on their fourth album achieves the golden standard of sleek, effortless indie guitar pop paired with electronics and poignant lyrics. The result is the perfect summer soundtrack, one that is both danceable and melancholic. New listeners will enjoy dips into opener “Liztomania” and the single “1901.” It’s rare when a band gets it right every time, but when it happens, nothing gets lost in translation. JP
Abnormally Attracted to Sin
Tori Amos
For fans of early Tori Amos, Abnormally Attracted to Sin is a pleasant departure from the conceptualism of The Beekeeper and American Doll Posse, and a return to the simple edginess of Under The Pink and even Little Earthquakes. Amos still cares about power in “Give,” gives the finger to conservatives in “Mary Jane,” and brings a glimmer of innocent love in “500 Miles,” all while dabbling in Portishead-esque trip-hop and Alanis-like shrillness. Nonetheless, she maintains that “piano and me” approach, and despite the slightly somber slant, tracks such as “Welcome To England” and “Maybe California” do bring splashes of warmth into the ocean of sorrow and mystery. WG
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Midori Goto Steals Everyone’s Breath
From the opening chord of Jean Sibelius' symphonic poem, “Finlandia” – a bold, brassy, suscitating growl – to the end of intermission, when the musicians retook their seats, the audience inside the Beijing Concert Hall on Friday waited 75 minutes before Midori Goto, the woman they had come to see, appeared onstage wearing a gray dress and familiar smile.Turandot Turn-off
Staging Giacomo Puccini’s operatic classic Turandot at the National Stadium seemed like a good idea on paper, especially with Zhang Yimou directing and renowned tenor Dai Yuqiang in a lead role. Tickets ran up to RMB 8,800 for the best seats, which, as you’d expect, offered a pretty great view. For those sitting above field level, however – which is to say, the vast majority of those in attendance on Tuesday and Wednesday – paying any price was probably too much.Eternal (Sonic) Youth & Skepta Stays Grimy - more music reviews
The Eternal
by Sonic Youth
It’s easy to criticize bands like Sonic Youth when they start doing things like teaming up with Starbucks and making radio-friendly music. But now, the coolest rock band since The Velvet Underground are back in the zone with this indie release off Matador Records.
Apart from a few lukewarm tracks like “Antenna” and “Walkin Blue,” that trademark guitar and tribal drumbeats will call back fans of Confusion Is Sex and Daydream Nation for a new revolution. The disaffected adolescent spirit nearly lost since Murray Street is once again reincarnated on The Eternal – otherwise, why else would Thurston Moore and Kim Gordon be howling “anti-war is anti-orgasm”? WG
