Get Your Fix: Album Reviews by the CoolJunkie Staff

June 11, 2008 4:51 PM
by Marcos Colón [email]

My Morning Jacket - Evil Urges
by: Marcos Colón

When listing the top ten American rock bands in the scene right now, there’s one band that should be listed in every publications list; My Morning Jacket. Their Southern rock inspired jams come equipped with a salt and peppering of the independent vibe as well as a touch of psychedelic grooves. With their latest effort, Evil Urges, the band sets out to claim their spot as America’s true representatives of rock.

On Evil Urges, the Louisville quintet get it right from the start of the opening track to the end of the album. From the fire and brimstone heavy reverb riffs to the wordplay that flows throughout each track, frontman Jim James plays the part perfectly and executes his vocals with preciseness, and it all starts with the opening track Evil Urges, as he squeals out falsetto lyrics á la Prince.

Although their first three albums seemed to be highlighted by past sounds, automatically labeling the band as the next legacy of classic rock, they seemed to be testing new waters with tracks like Touch Me I’m Going to Scream Part 2 and Highly Suspicious that has James crooning [Home alone dotting your i’s/Peanut-butter-pudding surprise]. Although this, ‘Peanut butter surprise’ may not sound too inviting, it sure as hell sounds cool backed by the groovy rhythm section.

There’s something to be excited about with this new release. My Morning Jacket’s stock is quickly on the rise, getting headlining spots at both Coachella and Bonnaroo music festivals, as well as being chosen by Rolling Stone as the breakthrough artists of the year. One thing is for certain; the accolades that this album will garner will definitely make it one of the best that this year has to offer.

The Black Ghosts - The Black Ghosts
by: Aubrey Ford

London’s The Black Ghosts are a hit or miss band at its most extreme. Their self-titled debut stands as a clear testament to such as it essentially alternates between the quite good and embarrassingly bad throughout the first half of the record. In the end, however, they manage to bring forth an interesting, although perhaps not fully developed sound that mixes typical electro rock sounds with a Brit-pop compositional aesthetic.

The songs on The Black Ghosts fluctuate between a number of different sounds ranging from symphonic pop arrangements to electronic pop to straight ahead electro. An array of experiments are performed here, some failing and some successful. Much of the blame is not to be placed on song concept, however, rather on faulty production or bad lyrics. Its Your Touch is a perfect example where production is simply too lo-fi to effectively convey the desired jazzy, R&B vibe while the lyrics are just pathetically cliché. Some Way Through This similarly fails to realize its concept due to lackadaisical production.

There is a clear sense that frontman Simon Lord is continuing a trend, beginning with his exit from the progressively more dancefloor-destined Simian, to move his music further away from the nightclub and into the concert arena. A strong Brit-pop element emerges from its electronic base, especially in the pop hit Over and Over reminiscent Repetition Kills You, featuring Brit-pop legend Damon Albarn. The refreshingly un-electronic orchestral gem Full Moon furthers the trend as does Something New which presents a brilliantly gospel-esque new take on repetitive-riff-based Hot Chip style song composition.

The Black Ghosts provide an interesting album that, while moving in the right direction, is held back by relatively mundane flaws in production and songwriting. Although, at present, their work can’t be highly recommended, keep an eye on these guys in the years to come.

Rebel - Televisible EP
by: Michael Maryanoff

Miami native quartet Rebel has no shortage of chemistry and talent. On their Televisible EP, Javier Morales’ driving guitar riffs soar with Migue Fernandez’s vocals. A perfect blend is created giving off the sense that Fernandez knows to ease down when it’s time for Fernandez’s riveting guitar solos to end a song with force, which happens multiple times.

The dark theme throughout the Televisible EP is highlighted by Migue’s songwriting. On tracks like Attack and Cielo Gris the tone shifts from despair to pain. Devil in Me drifts into even darker situations as Migue sings [I’m just pretending to look like an angel/Trying not to break out the devil in me.] After one listen it’s clear what the theme of the album is, a feat that at times is difficult to conquer for a majority of bands who have trouble expressing themselves through songwriting.

On Bullet, a track that kicks off with a guitar riff strikingly similar to those of BRMC, the band creates musical cohesion to come together to make an end product that highlights their seem to be 90s rock influences. However, while their chemistry is undeniable, the result is lacking, starting off songs with great potential, only to slowly meander they’re way into a chorus that didn’t take advantage of the intro’s momentum.

Almost every song on the EP follows the same pattern: a strong intro, lukewarm middle, and explosive finish. While the Televisible EP is a promising introductory effort, Rebel still have some things to tweak before they can truly shine in Miami’s budding music scene.

Supergrass - Diamond Hoo Ha
by: chipi

Once upon a time, in an era of 90s alternative rock far far away, Supergrass were a band of fresh faced teenagers, hot on the rise of the Britpop wave, propositioned by Steven Spielberg to be the next Monkees. Their music was visceral, reflections on the impulses of the young, dumb and disadvantaged. Since then, these now 30-somethings are sporting around town seeming to be worth more than a few dusty album jackets. The sixth studio album of the still rocking Supergrass - Diamond Hoo Ha is uncompromised by introspection and seems to be a motion towards glam rocker status. Perhaps these chaps have taken a note from certain other notoriously indulgent rock demi-gods and learned that the bigger the sound, the better the chance for career longevity.

The album kicks off with the raucous Diamond Hoo Ha Man - a bit grimier than the image you may have built up of the band, but like their facade, the sound has gotten a little rougher around the edges. The new feel of things on the title track and cuts like Bad Blood have prompted comparisons to The Hoosiers, but don't be misled - the edge of the darling bad boys of Britpop remains.

Other selections like The Return of... and Whiskey & Green Tea seem a bit forced and are ultimately the only bad apples in the basket. There are awkward moments on the album - like listening to your borderline-old Uncle recount his partying. You're happy for him...but you feel a little weird about the fact that he still gets messy.

The album clocks in at 41 minutes of a good time- if you can get past the aging rocker nostalgia and appreciate the glammy goodness.