Review: Moneen The World I Want To Leave Behind
Fans will still recognize Moneen on the band’s new album, The World I Want To Leave Behind, although it’s quite different than the band’s three previous efforts. With anticipation building since 2007’s Saying Something You Have Already Said, fans should be pleased yet surprised at first listen. The album has the melodies and personal lyrics that the band is known for, but it is calmer and more somber than anything the band has released to date, with a lack of fist-pumping tracks that listeners might have been expecting.
Though the band pushed themselves to experiment with new instrumentation and a new style (with new drummer Steve Nunnaro), Lead singer Kenny Bridges said on the band’s MySpace that they weren’t trying to reinvent themselves, but they wanted to try out some things that they were scared to do before.
On previous albums, Bridges’ vocals were much more forceful, and that aggression is sparsely heard on The World. The album is led by the guitars and drums, which are true to Moneen’s style, though they are more refined and mature. “The Way” and “Waterfalls” are perfect examples of the subdued side of Moneen. Strings can be heard throughout both songs. Each time the strings launch into “Waterfalls,” the acoustic song becomes a little more powerful, but the vocals stay soft and submissive. Luckily, after both of the aforementioned songs, the tracks liven up. Halfway through the album the songs pick up speed, but still aren’t exactly what is expected of Moneen. “The Long Count” rocks hard with driving guitars at the intro, but when Bridges enters, his vocals are more restrained than the music would suggest.
Closing track “The Glasshouse” is more of what listeners would expect from Moneen. Driving guitars start the song off and then the dynamic vocal lines enter that have been absent on most of the other 11 tracks. Dual vocals intertwining the melody and screaming give the song that extra oomph that makes it the best six minutes on The World. The sing-a-long of “I told you to get out, while you still can/ You told me to get out cause I don’t care” breaks out in the end to add to the catchiness.
The album toys with what is expected of Moneen, but never quite fulfills that desire. There is an equal flow between the new, more grown-up Moneen and the songs that hint at the band’s past, which saves the album from being a letdown. Even though the ‘classic’ Moneen shines through the most during “The Glasshouse,” it’s better late than never to give an audience what it’s been craving, and at least The World I Want To Leave Behind concludes with a bang.
Originally posted on StereoSubversion.
Review: Beastie Boys Ill Communication Remastered Edition
I’ve been obsessed with the Beastie Boys for as long as I can remember. Hello Nasty was my first album review ever published around 11 years ago. This year I came this close to interviewing the guys at their Presidential inauguration show at the 9:30 Club in Washington, DC, but that didn’t happen and I was crushed. Now that MCA (Adam Yauch) has been diagnosed with cancer, the Beasties have postponed their tour and the release of their upcoming album, Hot Sauce, and have possibly eliminated any chance I might have to interview the guys together (I know, I’m exaggerating a little). So where does this leave me? Loving the remastered version of Ill Communication and the additional disc full of B-sides and a few unreleased tracks.
Ill Communication was a chart topper back in 1994, debuting at No. 1 on the Billboard charts, and the album gave fans favorites like “Sabotage,” “Root Down” and “Sure Shot.” Revisiting this album reminds me why I love the Beasties in the first place — the mixture of samples and live instrumentation and the combination of hip hop and hardcore punk. I also find myself focusing on the rough and raw vocals of MCA in fear that his voice will be affected by his surgery and radiation, even though his vocals on To the 5 Boroughs were more coarse than usual.
The remastered version doesn’t sound overdone and is a pretty good replication of the original tracks. It includes remixes of tracks (“Root Down” and “Sure Shot”). While I’m quite attached to the originals, it’s always refreshing to hear a new spin of an old fave. The live bits (“Atwater Basketball Association File No. 172-C”) doesn’t add much to the bonus tracks, and “Heart Attack Man (Unplugged)” is entertaining at first with the guys breaking into laughter throughout (which is an extension of the original version’s intro). But the track probably should have ended when Mike D says, “I think I got my ya-ya’s out now,” yet it continues on for a bit longer.
However, anything from the Beastie’s will find its way on my iPod and a place in my heart, even if it is moderately disappointing.
Originally posted on StereoSubversion.
Jimmy Buffett 2009
This year, my official Jimmy Buffett gang (including my mom, aunts Rosie and Ann and our family friend Vicki) broke in another newbie, my friend Caitlin. After trekking from DC to Pennsylvania late the night before to concert and getting the car all packed to head to the party bus the day of, I realized I left my tickets thumb tacked to my bulletin board.
These tickets had been hanging beside my computer since I purchased them in February. Never before had I left tickets to any concert behind. After screaming some expletives in front of my family, which I’d never done before, I cried. We decided to head to the show anyway and said we would figure it out once we got there. I wasn’t upset so much because I might not be able to go to the concert because I’ve seen Jimmy a gazillion times, but I left Caitlin’s ticket at home as well. We were planning on buying some off of a scalper, or at worst, having my mom and aunt sit out while Caitlin and I went in… neither were options that I wanted to make realities.
The ride was miserable because of my blunder. I spent the entire time phoning ticketmaster and trying to track down my confirmation e-mail. After a few hours of no success, I finally spoke to someone who knew what to do. I just happened to have the credit I used to purchase the tickets (the only lucky thing of the day… I decided to keep ONE credit card with me just in case), Angela (the ONLY helpful ticketmaster employee I’ve encountered), said she would fax a copy of the tickets to Will Call. Yay!
The second we arrived at the venue, Caitlin and I ran to Will Call, but they weren’t open yet. We checked back several times before we actually snagged our tickets right before the doors opened. I was anxious all day, but it worked out and Jimmy performed one of his best shows of all time. Additionally, Caitlin and I kicked some major butt playing flip cup and she decided she wants to be a part of the official crew.
I can’t wait for next year.
Review: Hoots and Hellmouth The Holy Open Secret
Hoots and Hellmouth blend several genres to create an Americana sound that is a little misplaced in this day and age, but much appreciated because it doesn’t conform to what is currently labeled as popular. Rob Berliner, Andrew Gray and Sean Hoots are the main trio behind the band’s sophomore release, The Holy Open Secret. The guys combine three-part harmonies, acoustic guitars, mandolin, banjo and upright bass to form an Indie take on hillbilly rock. Notice the lack of drums? H&H stomp on wooden boxes to create most of the drum and auxiliary sounds—but this is only obvious when seeing the band perform live.
The bands MySpace states that “the culture of modern living has convinced us to cut ourselves off from human contact – that such interaction is unnecessary in the day-to-day transactions of life” but Hoots and Hellmouth hope to build a community and environment with its music. The band is getting back to the roots of music, which used to be about bringing people together more so than just making money.
The album begins with “Root of the Industry,” which is about just that. In addition to the message of the music, the album inspires listeners to have fun. The energy of a Hoots and Hellmouth live performance is captured well on The Holy Open Secret. “You and All of Us” is a hoe-down-inspired track that reinforces the theme of unity and community, which leads to the rowdy “Watch Your Mouth.” The songs slow down to mellow ballads toward the end to make the album well rounded.
So pop in the disc and let out that inner old soul (since the band describes themselves as new music for old souls). Whether your musical likings range from folk to country, gospel or soul, or just plain rock, this album has something for everyone.
Originally posted on StereoSubversion.