Get Your Fix: Album Reviews by the CoolJunkie Staff

August 20, 2008 5:41 PM
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The Verve - Forth
by: Marcos Colón

In 1997 all appreciators of good music were given a gift in the form of Urban Hymns, The Verve’s third and quite possibly best album. After reaching the pinnacle of success, the Wigan quartet dropped off the map after differences amongst the band led to their second and longest break-up. After a decade of silence from the band and rumors by the media of a reunion, prayers from fans were answered as The Verve reunited and recorded their appropriately titled new album, Forth, proving to everyone that after ten years of being apart there’s been no affect on the image, presence and sound of the band.

On this fourth effort, The Verve takes listeners through an epic journey of ups and down as the theme of the songs on the album shift from expressive single Love is Noise, to the beautifully melodic Judas. Richard Ashcroft, the reigning vocal champ of rock, hypnotizes the ears with his signature raspy whine. Lyrically, this time around he continues to be the seeker of truths he’s always been, only asking the questions in a more sharp and urgent way. Once again carrying the musing melody is Nick McCabe. On Noise Epic he pumps out jeering riffs while Ashcroft ends the track with a screaming swagger, [I don’t just use my first, yea, I use my feet].

Although Ashcroft and McCabe are known for the tension between one another in the past, let’s all hope that they’ve grown out of this and continue to supply us with the classic expansive tunes they always have churned out. Forth may very well be the most anticipated album of the year thus far. Older fans of The Verve will rejoice, while new listeners will be quick to jump on the bandwagon. Even if there’s another abrupt break-up, it’s good to know they haven’t lost the touch.

Ra Ra Riot - The Rhumb Line
by: Marcos Colón

The typical classification for an indie rock band consists of three members or more, at least one instrument that sticks out from the rest, dancy melodies and of course, you gotta be from New York. Ra Ra Riot seems to go above and beyond in this description (not only having a violin in the band, but also a cellist). After a successful self-titled EP release in 2007, then band seemed destined to release an anticipated debut. However, shortly after the release of their EP, drummer John Ryan Pike drowned in the ocean after a show in Massachusetts. Instead of letting this affect the future of their flourishing musical careers, the band had the strength to carry on and produce a beautifully constructed debut album that hints at the tragic loss, yet conjures a sense of immense accomplishment.

On The Rhumb Line, the Syracuse quintet provide the perfect balance between pop rock and an elegantly presented orchestral feel. Singer/songwriter Wes Miles’ pipes bear a striking resemblance to Vampire Weekend’s Ezra Koenig, but instead of opting for Paul Simon’s high notes, he floats along the way with a smooth and attention grabbing tone. Tracks like Dying is Fine and Ghost Under the Rocks highlight the importance of the strings in the sound. The Rhumb Line is the kind of all encompassing album that listeners can enjoy in any scenario, whether it’s a long car drive or even if you’re making grilled cheese.

Ra Ra Riot seems like they’ll only be respected by the snobster indie crowd, but will eventually garner the respect of the masses if they continue to produce a sound that evokes the charm of Shout Out Louds and the orchestral influence of Arcade Fire.

The Academy Is - Fast Times at Barrington High
by: chipi

If there's one thing that being in an emo band can afford you, it's the luxury of never having to mature emotionally past the age of 17…20 if you'd like to push it. The Academy Is... frontman William Beckett has decided that one more album of sulk driven, teenage pining with a string of sure shot radio hits attached to it is a sure shot equation to furthering his career and the reputation of his band. Yes
and no, Billy.

While Fast Times at Barrington High is sure to be a solid sell for your Fueled by Ramen record label (mates include Fall Out Boy, Gym Class Heroes, The Cab, Paramore, Panic at the Disco and other Top 40 players), but it's yet another disappointment to early fans who would perhaps expect you to mature in tastes and direction as they have. Other groups of the emo-post-pop-punk lot such as Long Island boys Brand New and Taking Back Sunday have taken significant strides musically since their earliest releases, growing and changing with their audience, retaining a loyal following and picking up new fans along the way. The Academy Is... on the other hand remain in the same musically subset they began in, with songs like "About a Girl" and "Paper Chase" standing as shining examples of what seems like de-evolution. Their first release Almost Here sounds like pushing the envelope compared to the safe sound and feel of Fast Times.

In fact, the only tracks that are actually exciting are "Every Burden Has a Version" and "Sodium", a bonus downloads available through iTunes. That being said, the album isn't terrible, per se. Beckett's voice shines as per usual, but certainly isn't used to the theatrical extent it has been on past releases. The Academy Is... has the potential to produce some intriguing and mature music or perhaps they'll be resigned to a seemingly endless cycle of High School themed albums a la blink-182 until a final self-titled release that ends it all on a high note... I suppose there are worse things.

Guy J - Esperanza
by: Michael Maryanoff

There are many cities that have earned a reputation for being musical centers. Berlin is recognized for its unique brand of techno and Ibiza for, well, being Ibiza, but Israel is another place whose profile is slowly growing on the map. Producers like Gel Abril, Shlomi Aber and Guy J have been increasing its recognition, and this album showcases the talent responsible for their ascension into the top ranks of DJs.

Guy J’s singles are good, but Esperanza showcases the full spectrum of his talents and influences. The first track, Indigo Fields, slides you into the eerie atmosphere of the album, while the next track Nebula serves to remind you that Guy J is a dance producer at heart. Once the minimal melodies of Nebula subside, Guy J delves into somewhat unfamiliar territory for the rest of the album.

To be sure, there are going to be some club hits that come out of this album, but this album is more 5AM spliff than 3AM cocktail. The album is very techy, but also has a progressive feel at times, on tracks such as Mikro. He runs through many different genres of dance music, but he doesn’t tackle anything he isn’t prepared for. I See You Next Time has a heavy bassline and hints of progressive house, while the next track, Druma, sounds like a trance song superimposed on top of a IDM track, and 7 Steps sounds as though it was taken straight from a Boards of Canada album.

If you are a fan of Guy J’s singles (and even if you’re not) this album is definitely worth listening to; it really showcases his production talent across the board. It might be a bit too quirky and experimental for fans of big-room house and techno, but is still an enjoyable offering.