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Album Review: Agony and Irony

agony-irony

Agony & Irony is Alkaline Trio‘s 6th studio album & sees the Chicago threesome split from their previous independent label to join with Epic records. While this has resulted in the usual backlash of sellout remarks (The band recently endorsed a limited edition set of Nike Alkaline Trio shoes), this is still a solid release that will should appeal to those that like their punk rock laced with a good dose of pop.

The opener number Calling All Skeletons is an great kick start to the album & sets the scene with the appropriate lines of “It’s only just begun, it’s been fun, we were fucked up and numb”.The catchy chorus filled with woah’s and hand claps may not appeal to those that didn’t enjoy the commercial (heavily produced) sounds of Alkaline Trio’s last album Crimson but it’s still a lot of fun never the less. The same could also be said for the majority of other pop rock tracks like Hold Me, In Vein and Ruin It, which may alienate a few of their older fans.

In contrast there’s also the darker edged material that the Trio are renounced for including Lost & Rendered which features alarm bells & ticking clocks that lend it an imposing sense of menace. The melancholy imagery and lyrics of previous Alkaline material is also present on Over & Out and Live Young Die Fast but unfortunately their slow pace & dull melodies only seem to hamper the flow for the rest of the album.

For me the most interesting tracks are those that continue to push the band into the direction they were heading with on Crimson. Help Me is a tribute to the late Joy Division front man Ian Curtis (inspired by the recent biopic Control). Their first single contains plenty of poppy “la la la’s” and some subtle piano work that brings to mind the story telling work featured on Sadie.

This is followed with the incredibly addictive In Vein. This wastes no time with a buildup & instead cuts straight to the chase with clickity clack of drumsticks & thumping lead guitars. With a punchy chorus “You recognize this shape, it’s the back of your hand; you placed it on my face here again, and again” and plenty of Whoa-oh’s & No-oh’s this ones got a great catchy beat that reminds me of the Against Me song Stop. I Found Away is another memorable & solid rocker that taps into the head with a dance/disco beat from drummer Derek Grant.

Overall the heavy production values and synthesiser effects really lend this album an energetic grand sound. While these inclusions won’t please punk purists out there, they effectively push the drums & vocals into the forefront & give the songs a rousing sing along quality.

Vocal wise there’s the usual swapping of duties from Matt Skiba & Dan Andriano. While Do You Want To Know demonstrates a greater expansion of range from Skiba, in general his singing style is still an acquired taste that may put some new comers off. Personally I would have liked a few more songs to be sung by Andriano as I’ve always found his vocals to contain a bit more anger that complements the edgy sound of their earlier work.

As a side note I also found the darker lyrics to not have the same appeal that they used to. It’s found it a bit hard to relate to the lines in Lost & Rendered, “ I hope you hear my cries;My will to live is wearing thin“, when they’re coming from a band who’ve hit the big time on MTV. While the same could be said of the self describing chorus of Love Love, Kiss Kiss, (blah blah blah), the bitter cynic in me actually enjoyed the message of this song “Do you curse the happy couple? Do you cringe at wedding bells? Do you drink up all the punch while you wish ‘em all to hell?”.

Final Verdict: Agony & Irony comes highly recommended to those that enjoyed the pop’ier material on Crimson. On the flip side, this commercial sound does give this album as certain disposable quality with a few too many skipable tracks for it to be classified as a truly great release. I’m not sure if this one will leave the same lasting impression as their earlier releases (Good Mourning and From Here to Infirmary), but in the ends it’s still a worthy addition to the Alkaline Trio catalog.

80 / 100 pennies

Highlight Tracks
In Vein
Ruin It
Hold Me
I Found Away

Album Review: Have Another Ball

gimme-gimmes

Today I was originally going to try write a review for the new alkaline Trio album, but instead I got distracted after listening to the latest effort from Me First And The Gimme Gimmes titled Have Another Ball.

Unfortunately it caught my attention in a bad way as this album is actually pretty substandard. Even though every Gimme Gimme release has had its fair share of hits & misses, their 7th studio album is by far their worst to date (technically it could be classified as their 1st album since it was originally going to be released as a b-side to their 1997 release Have A Ball).

Things don’t start off too bad with Rich Girl by Hall & Oates. (If you’re going to cover an artist from the 70′s surely you could do better than chose this unknown pair). While it’s got the speed & catchy chorus that Gimme gimme covers are renounced it’s rough quality is still slightly grating to the ears. The same could be said for the majority of the remaining songs which mostly contain lackluster riffs & an annoying electric guitars drone, which had finally taken it’s toll by the 12th song and just left me feeling irritated.

The cover of Country Roads is definitely the best cover version on the album & even though this was released on a compilation (Survival Of The Fattest), 10 years ago its cheesy sing along chorus and rapid fire drumming still stands up rather well today. Only The Good Die Young & Coming To America are also passable attempts, but just don’t have enough uniqueness to make them worth repeat listens. A slightly more interesting addition is the short 30 second track, Sodomy. This is originally from Hair the musical and I assume that Fat Mike was the one who picked this cover, as it’s both short & dirty “Masturbation,can be fun, join the holy orgy, kama sutra, everyone”.

The “la la la” sing along section in The Boxer (Simon & Garfunkel) & the gang vocals on You’ve Got A Friend also bring a bit of fun to proceedings but overall the rest of the tracks all suffer from boring guitar hooks and some shocking vocals. While other Gimme Gimme material (Nothing compares to you, Isn’t She Lovely) has featured some reasonable vocal work,on this release Spike Slawson just sounds coarse & terribly out of tune. I can only assume that his vocals have always undergone a lot of work in the studio as when I saw him live this year he sounded the same (the fact that he was really drunk probably had a lot to do with it).

Final Verdict: Along with Punk Goes Crunk & Scarlett Johansson’s, Anywhere I Lay My Head (covering Tom Waits songs), Have Another Ball will probably go down as the worst cover album of the year. Why Me First & The Gimme Gimmes decided to release some B-sides (and crap ones at that) 10 years on from their first album is slightly baffling. If you’re a fan of the original versions of these songs, then you’ll only be pissed off with these butchered covers. If you’re not familiar these 60′s & 70′s tunes then I would suggest giving these repetitive lackluster renditions a wide berth (there’s a reason why they were originally left on the cutting room floor).

40 / 100 Pennies

Highlight Tracks
Country Roads
You’ve Got A Friend

I’m very MIFFed

Yes it’s that time of the year again, where Melbourne is host to it’s very own International Film Festival (MIFF). This 17 day event will be kicking off next Friday (25th July) and up run until July the 17th.

Since I’ve got a short attention span it took me a while to sort through the usual tedious arthouse listings, but the following is a list of the movies that I’ll be hoping to check out at the Festival. For a detailed list of film times & locations scroll to the bottom of the post.

First up on opening night is the Australian documentary Not Quite Hollywood, which follows the rise & fall of the Ozploitation movies that were released in America during the 70′s & 80′s. Best described by it’s director, Mark Hartley as containing “lashings of gratuitous sex, violence & fuel injected muscle car mayhem” it features interviews with Quentin Tarantino and sounds like an informative yet entertaining piece on a relatively unknown part of Australian cinema history.

If this doco whets your appetite then you’ll definitely want to head over to the ACMI which will be featuring a focus of six Ozploitation films. The 1971 horror Razorback, directed by Russel Malcahy (of Highlander fame), is a ‘nature gone wild’ film with a story that sells itself ‘a giant boar goes on a killing spree in the outback claiming an animal rights activist in the process’. Nuff said.

If this cult movies is too lowbrow for you then there’s the UK/Belgium produced In Bruges. This movie has been labeled by the Hollwood Reporter as “an audacious combination of old world grace & modern ultra violence”. Starring Colin Farrell & Ralph Fiennes this flick looks like it will deviate from the usual brooding hitman formula by combining both action and comedy (ala Shoot Em Up). Judging from the preview, this movie could be a lot of quirky fun (It features a midget punching someone in the balls. Funniest home videos eat your heart out).

There’s also the 70′s influenced The Bank Job, starring ever reliable Jason Stratham (just don’t mention the Transporter) which is described by Eye Weekly as “Chockablock with Cockney hardcases, bent coppers, kinky politicians, shadowy M15 fixers, black radicals. a Soho sleaze merchant and a bevy of topless birds”. Following in the vein of Guy Ritchie movies Snatch & Lock Stock, it’s story will probably contain more twists & turns than a set of plumbing pipes and should keep you puzzled long after the credits have rolled.

However the feature that’s got me most excited this year is the inclusion of the George A. Romero Retrospective. If you haven’t heard of this legendary horror director before (shame on you), then you should check out Dead On: The Life and cinema of George A. Romero. Featuring interviews with Stephen King, John Carpenter, Quentin Tarantino, Guillermo Del Toro & many more, this documentary should bring you up to speed with Romero’s previous body of work.

Horror fans are in for a real treat as the festival will be screening nine of his movies dating from the 1968 Black & White Night Of The Living Dead through to the 2007 film Diary Of The Dead which was fuilly filmed with HD cameras. Beneath the blood & guts storyline of the ‘Dead’ series Romero has managed to depict subversive themes capturing the American Zeitgeist. This includes the civil rights movement of the 60′s (Night Of The Living Dead), the capitalistic consumerism of the 70′s (Dawn Of The Dead), the big brother military paranoia of the 80′s (Day Of the Dead), the anti capitalism stance of the 21st century (Land Of The Dead) through to the media propaganda of today (Diary Of The Dead).

It’s therefore no wonder that this series has had such an impact on the horror genre and has also influenced a wide range of media including pop culture references in TV (Buffy, Simpsons), movies (28 days later & Shaun Of The Dead), video games (Resident Evil, Dead Rising) and even music (The Gorillaz have featured sample clips in their material).

The Crazies also looks like a lot of fun (yes I’ve got a weird sense of fun) and involves a toxic spill in the water supply which leads to an outbreak of aggression & death. To rectify this situation Washington sends in the clean up crew which results in an all out war between an infected community and the military (this apocalyptic storyline is really an allagory for the ’73 Nixon ethos).This film also seems to have influenced the latest M. Night Shyamalan flick The Happening as it includes some familiar scenes of chaos in the face of environmental disaster (like an old lady stabbing a rescuer with a knitting needle & a priest who sets himself on fire).

If you’re into cult movies you’ll definitely want to check out at least one of these classic films on the big screen during the running of the festival. Tickets can be purchased here or from the Forum theatre box office (crn Russel & Flinders Street).

If your planning on hitting the movies right after work and looking for a bite to eat, check out the 20% off Chinatown offers available here. To receive this great discount spend $30 or more at a number of restaurants in the CBD area.

Not Quite Hollywood
25th July (Fri) 7.30pm @ Hamer Hall
28th July (Mon) 9.15pm @ Hamer Hall

The Bank Job
26th July (Sat) 7.15pm @ Greater Union

Diary Of The Dead
26th July (Sat) 9.15pm @ Capitol
7th August (Thu) 9.15pm @ Greater Union

Day Of The Dead
26th July (Sat) 11.45pm @ Greater Union

Dawn Of The Dead
27th July (Sun) 9.15pm @ Greater Union
4th August (Mon) 9.15pm @ ACMI

Dead On:The Life and cinema of George A. Romero
28th July (Mon) 7.00pm @ ACMI
10th August (Sun) 5.15pm @ Capitol

The Crazies
28th July (Mon) 9.30 @ ACMI
10th August (Sun) 3.15 @ Capitol

Night Of The Living Dead
29th July (Tue) 7.00pm @ ACMI

In Bruges
29th July (Tue) 7.00pm @ The Forum
8th August (Fri) 5.00pm @ Kino

Razorback
6th August (Wed) 9.30pm @ ACMI

Album Review: The Red Album

The Red Album

Despite the general opinion that Weezer haven’t released a great album since their early days I still stuck by the band up to their last effort, Make Believe. After traded in their catchy rock riffs for cheesy synthesiser laden ballad’s this release was pretty forgettable & left me wanting more old school Weezer tunes.  When I heard the fun upbeat single Pork & Beans (more on that later) from their latest release I was actually pretty excited about the rest of the songs as it sounded like it would be a return to form for the band.

Their 6th studio album starts with the promising Troublemaker. While this tracks full of cringe worth lyrics “Who needs stupid books? They are for petty crooks”, it’s still got enough geeky charm, pop rock hooks and thumping bass to be enjoyable.

The follow up track with a title as ambitious as it sounds is The Greatest man who ever lived (Variations on a shaker hymn). Coming in at just under 6 min this ambitious song covers a lot of bases with heavy metal riffs, bitter sweat melodies, vocal hymns, spoken word segments & some channeling of Queen. Overall this ostentatious mishmash of styles is fairly enjoyable but it’s strange & disjointed nature slightly hold it back from achieving it’s epic intentions. It’s slightly baffling why this experimental song was included as the second track as it’s sits out of place with their follow up & would be better suited as an end piece to the album.

The next song Pork & Beans is best described via it’s lyrics “Everyone likes to dance to a happy song with a catchy chorus and beat so they can sing along”. This upbeat song was apparently written in response to the record label’s request to include more commercially viable ‘hits’ on the album. There’s even a snide reference to this fact with the lines” Timbaland knows the way to reach the top of the charts maybe if I work with him I can perfect the art”.

This one really takes the best parts of their earlier hits like the addictive sing along chorus of Buddy Holly and the crunching guitar hooks of Hash Pipe & puts them into one tightly knit pop rock package. If you haven’t seen the videoclip to Pork & Beans I would highly recommend looking it up as it’s almost as fun as the song itself (try and pick all the cameo’s from cult losers celebrities who scored their 2 min of fame on Youtube).Because of its popularity I can see radio killing this song with overexposure but until then it’s by far my favorite one from the album & should appeal to all old school Weezer fans.

The follow up acoustic track Heart Songs is another poorly placed song with a slow pace & depressing sound that doesn’t go down well after the happiness of the last track. Everyone get dangerous picks up the vibe with its rapping style & rock hooks. Despite a dodgy chorus “everybody get dangerous, boo yah!” & daggy lyrics ” I used to go and tip cows for fun, actually I didn’t do that, ‘Cos I didn’t want the cow to be sad”, this silly song is actually one of the better songs on the album. Dreamin’ goes back to pop basics with bouncing riffs & a carefree sound. However, after 2min the slow pace kicks in and things start to get overly sappy this song slightly overstays it’s welcome at the 5 min mark.

After the previous filler track things unfortunately go downhill for the rest of the album. This is mainly attribute to the fact that the remaining songs (Thought I knew, Cold Dark World, Automatic) see River’s Cuomo swapping singer/writing roles with the other band members for the first time. While Brian Bell (guitarist) & Patrick Wilson (drums) have both formed sidebands in the past, their contribution is still largely underwhelming. While the lyrics & vocals are fairly good these guys still lack the knack of writing a catchy fun song. (maybe it’s because they literally don’t have River’s formula book on how to write a successful pop rock song). Overall these personal songs are all too depressive & monotonous to be of any real interest & stand in stark contrast to the earlier tracks.

The album is then concluded with the incredibly dull and slow The Angel & The One, with a 6 min running time that’s a real struggle to sit through. Unfortunately things aren’t redeemed with the delux version of the album which contains four of the most awful bonus tracks that I’ve heard in a long time. If anything these songs just end up leaving the listener on an even worse note (I’m still confused how a delux version can be worse than the original one).

Final Verdict: While the Red album starts off rather promising the inclusion of too many dreary songs and a confusing track order all get in the way of enjoying what little there is to get from the album. While geeky Weezer fanatics are going to lap this one up, I would still have to rate this as their worst album to date. Unless you enjoy meandering slow songs I would just suggest steering clear of the latter half of the album & just stick to the first six songs.

50 / 100 Pennies

Album Highlights:
Pork & Beans
Troublemaker

Album Review: Coma Chameleon

coma-chameleon

I’ve been meaning to write a review for the new Donot’s album for quite a while (it was released way back in March), but since there’s no local distributer for their records in Australia I took me awhile to obtain my copy.

Despite the fact that they’ve been kicking around since 1993 and have released 5 fantastic albums these five German punk/rockers have yet to crack the the mainstream market outside of Europe. If you haven’t heard of them before then I would suggest listening to their massive 31 track Best Of / b-side / Live album The Story So Far: Ibbtown Chronicles. It was always going to be hard to top this record but the Donots have really outdone themselves with their latest effort titled Coma Chameleon.

The album starts with the deceptive spoken word intro The Tunnel At The End Of The Light, which leads onto the next track Break My Stride which showcases the pulsing guitars, throbbing baseline & staccato drumming which become a signature sounds for the rest of the album.

This energetic dynamic is mixed with some aggressive beats & screaming vocals which match the darker style of the songs (just look at the song titles). This time the Donots step back from their previous pop rock roots and instead cover themes of pessimism with Anything (“nothings ever good enough for me I’m always complaining, a set of lungs, a pair of fists, a pointed finger”) and bitterness with The Right Kind Of Wrong (“I can’t be the life of the party, spare me your smile, your kindness kills me”).

Despite this tone there’s still plenty of upbeat riffs & memorable lyrics to cut through the sarcasm and lighten things up. The great piano punches of Hope For The Dead, the warbling bass and epic chorus of The Right Kind Of Wrong and the country style sounds of Somewhere Someday are all interesting additions to the track list & help break up the intensity of the faster, heavier rock numbers (Pick Up The Pieces, This Is Not A Drill and the bonus track The City Lights). The electrical sound of the lead guitars has really been pumped up on all these fantastic tracks and gives them an infectious energy that’ll make you want to get off your arse & jump around.

The first highlight track Headphones is full of a striking bass line which reminds me of the Hives or some White Stripes material. While the lyrics initially seem obtuse anyone who travels on public transport can surely relate to the message of shutting out the world with music (“Radio is killing me and tv’s a bore, all I want today is something I can ignore”). A breakdown and a spoken word segment with a strange British accent is followed by hand claps which blend perfectly into the main riffs. This song has a real cool vibe which makes it perfect to crank up while going for a walk.

My other favorite track is the rousing Stop The Clocks. While the donots have tackled rock ballads before (Good-bye Routine or Room With A View) , this single is their most successful one yet and combines a stable back beat, and a compelling melody with plenty of sing along support vocals (“now my angels need angels, to help me get out of this hell”).

While the rest of the album is also solid the only real downside is the lack of depth from the lead vocals. If you’re not used to their punk/rock style, Ingo Knollman’s coarse voice may become slightly grating after listening to the album multiple times (like I did). The slow intro to New Hope For The Dead highlights this deficiency but thankfully for most tracks the rough vocals become less of an issue after the guitars kick in & the vocal support appears.

Final Verdict: While the Donots already have a number of great releases under their belt, they’ve really kicked things up a notch with their latest Coma Chameleon. Not since listening to the punk rap sounds of Zebrahead have I heard so many energetic songs were I wanted to impulsively start head banging and tapping my toes like a crazyman. It’s addictive quality means that this is one of those rare albums were you can just put in your headphones and be assured of a solid listen from start to finish. If you’re looking for a 37 min power pick me up, then this is the album for you.

87 / 100 Pennies

Highlight tracks (In Order Of Ranking):

Stop The Clocks
Pick Up The Pieces
Headphones
City Lights (bonus track)
This Is Not A Drill

Album Review: Rise and Fall, Rage and Grace

After Offspring released their atrocious 2003 Splinter album I had pretty much given up on the band and thought they had gone the way of the dinosaur.

I was therefore surprised (and dare I say excited) after I saw them headline this year’s Soundwave Festival where they played a number of nostalgic tracks from their Smash & Ixnay albums and a couple of new songs. After hearing them live I was even a bit hopeful (secretly withheld of course) that their upcoming release would regain the credibility they’d lost with earlier craptacular singles Pretty Fly and Original Prankster.

When I heard the promising title of Offspring’s latest album Rise & Fall, Rage & Grace, I was expecting that they’d follow in the footsteps of Greenday and would try reinvent themselves with a really epic & ambitious release. So have they succeeded at breaking everyones low expectations? Well yes (they’ve managed to regain some of their creed) & no (this isn’t American Idiot).

While the first track Half Truism, doesn’t particularly blow you away with originality it’s still a great opener that brings to mind sounds from their Conspiracy Of One release and is full of soaring guitar riffs & a pop rock chorus. After a number of listens this one has actually become one of my favorites from the album.

Trust In You is a reasonable follow up track with an old school drumstick count-in & melody that brings back fond memories of Ixnay while the use of a synthesized backdrop brings to mind something from the abysmal Splinter album. Fortunately Offspring restrains from overusing this digital aspect on the rest of the album and thankfully there’s no real stinkers to be found throughout its 44 min running time (who wants to hear Feelings?).

You’ve gonna Go Far, Kid is my favorite song off the album and has a strong pop sound with rolling drums & an addictive (if slightly empty) chorus about the hollow nature of the music industry ‘Dance, fucker dance, hit them right between the eyes’. I’m surprised that this track wasn’t chosen as their first single since it’s more catchy & upbeat than the one they finally settled for which is called Hammerhead. While this is the hardest hitting & darkest song on the album it’s repetitious rhyme makes it drag on a bit (4 minutes) & doesn’t really add anything new to the subject manner of school shootings.

A Lot Like Me is a slower and more likable number that is also likely to become a future single. While the vocals sound great, I’m slightly suspicious that they’d undergone a lot of mixing during post production as they sound too squeaky clean and have taken the edge off Dexter’s voice (a bit like James Hetfield’s vocals on St.Anger which comes as no surprise since both these album were produced by Bob Rock).

Kristy Are You Doing OK? is the first ballad track on the album & while Dexter’s tackled this style before (Gone Away), it’s hard not to draw comparisons to Greenday since the bridge sounds like it was ripped directly from Boulevard Of Broken Dreams. If you can forgive this little plagiarism, then this heartfelt track about a childhood friend who was raped may stick in your mind. Fix You also fits under the rock ballad bannar & ticks all the box’s for a commercial success (slow chorus, subtle build up, ‘woo,woo’s’. While I actually don’t mind this song I think it’s a ballsy move to include another slow paced number on the album, since it’s sugar coated sound could further alienate whatever fans they have left.

Elsewhere on the album there are a few too many weak tracks including, Takes Me Nowhere, Nothingtown, Stuff Is Messed Up and Rise & Fall which suffer from a lack of uniqueness & sound like bland leftovers from Americana or Conspiracy B-sides . While they’re not overly terrible their generic rock riffs place them in the filler category & make them pretty forgettable after a 3rd listen.

While the album finishes with the pop punks sounds of Rise & Fall (another Greenday knockoff song) a more appropriate closer would have been Let’s Hear It For Rock Bottom. With it’s ska like riff, upbeat rhythm & power pop chorus this song is the final memorable song on the album.

Final Verdict: With Rise, Fall, Rage & Grace, Dexter, Noodles & Co have slightly redeemed their previous failures and it’s actually the first album since Ixnay to not contain any dodgy tracks (finally an Offspring record I can admit that I liked without feeling dirty afterwards). While old school fans probably given up on Offspring a long time ago, I would still recommend they give their latest album a listen. While there’s a few too many generic tracks to make it a great album, quality wise it fits somewhere in between Americana & Conspiracy Of One. Also unless I’m mistaken & they pull an American Idiot of their arses I’m predicting that this will be Offspring’s last swan song, Considering I thought they were finished after Splinter they’ve at least chosen a better finale to go out on.

70 / 100 Pennies

Highlight Tracks (In order of ranking):

Your Going To Go Far Kid
Half-Truism
Let’s Hear It For Rock Bottom
A Lot Like Me
Kristy Are You Ok?
Fix You

2008: New Albums (June-July)

Since I’ve been so Thrice crazy on hundredpennies lately I thought I would tackle some other recently released albums. There’s plenty to get through including new stuff from Weezer, Less Than Jake, Alkaline Trio, The Donots, Trial Kennedy and Offspring’s latest which I’ll be covering today. Keep checking back in the coming weeks if you want the lowdown on any of these albums and if you want me to cover any particular one first leave a comment & let me know.

XBOX and DRM Transfers

If you’re one of the 16% percent of XBOX 360 owners who have had to replace their console due failure you would understand my frustration where all of the content (map packs, arcade titles) I had bought from the XBOX Live Marketplace became unplayable when not connected to the internet and signed into XBOX Live.

The reason for this is due to Microsoft’s crippling DRM (Digital Rights Management) and not taking into account that a significant amount of their users have had to replace (Microsoft call it upgrading) their console.

Now I can understand why DRM exists however the majority of companies either take DRM to ridiculous levels or don’t manage it properly, which is the case with Microsoft.

It’s taken a couple of years but now Microsoft has released an online tool to transfer the content licenses from one XBOX to another. It is a rather simple method and can be done online in a matter of minutes (make sure you are sitting next to your console) but the kicker is that you must re-download all of the content that was downloaded on the previous console. BUT you are not really downloading it again just re-downloading the license which is OK as you’re not going to use up lots of data but if you’re like myself I had to re-download 171 items one by fucking one.

That method both sucks and took up a large amount of my time. Why couldn’t the licenses be re-activated the next time I used that content? i.e. I start to play UNO and it contacts XBOX Live and sees that UNO is in fact licensed to my new console and it authorizes it and away I go.

No matter how frustrating this is it is good to see Microsoft address this issue and as you can only do this once every 12 months Microsoft appear to be rather confident that your new XBOX won’t be breaking anytime soon…

http://www.xbox.com/en-US/support/systemuse/xbox360/licensemigration/

The Alchemy Index Volume III: Air and IV: Earth

I hope you’re ready for the final part of my Alchemy Index review, since this ones going to be a big one feel free to skip to the final verdict if you’re too lazy to read. While I found Thrice’s first two volumes to be slightly lacking in depth, they’ve more than made up for the disappointing Water EP with the final two volumes of III:Air & IV: Earth.

Though concept album’s have been kicking around since the 60′s (The Who’s Tommy & Pink Floyd’s The Wall), most modern attempts at the Rock Opera seem to revolve around the principle of tying an album’s songs together through a storyline rather than a instrumental theme. (Green Day’s American Idiot, My Chemical Romance’s The Black Parade and all of Coheed & Cambria’s albums). Therefore when I first heard that Thrice’s next album would revolve around capturing the raw feel & power of the elements I was intrigued to see what their interpretation of a concept album would be.

While the initial two volumes of The Alchemy Index succeeded at capturing the fury of fire & the calm of water they seemed to be lacking the heart & passion of previous Thrice Albums. The theory of a concept album only seemed to constrict their sound and resulted in too many songs sounding the same. Thankfully their previous experimentation seems to have paid off with volume III :Air & IV: Earth. So without further ado here’s my track by track review of Air & Earth.

Volume III: Air

Broken Lungs: The opening track begins with subtle guitar strumming, gentle drumming & a chime of bells before it hits it’s stride with a soft chorus at the minute mark. While it’s name brings to mind screaming vocals, at heart it’s really a mournful ballad about the S11 attacks ‘Cause we all watched the buildings fall, watched the scales fall from our eyes’. While the pace gently changes throughout, the anger is effectively held back until the final minutes when the drumming reaches a crashing peak & the vocals break out with ‘We want answers, scream from the roofs, we want justice, we want the truth’.

The Sky Is Falling: The lines ‘Your dance & jingo cabaret, it’s coming down’ perfectly sum up the feel of this hand clapping, bell jingling track. While this is one of the most pop sounding and catchy Thrice songs I’ve heard it’s contrasted with a conflicting message about war and the condition of the world, ‘I’m gonna be strong enough, not let my fear decide my fate, surrounded by *jingoists* , I don’t want any part of this’.
(* There’s your word for the day).

A Song For Milly Michaelson: Wind chimes, simple guitar chords and some beautiful singing are the only components in this song based on the 1980′s film The Boy Who Could Fly. While it’s probably not to everyone’s tastes it’s stripped back nature and haunting melody makes this the most effective sounding wind song on the EP.

Daedalus: This 6 min long tale, tells the story of Icarus’s father with a metaphoric message that could be interpreted as giving someone more responsibility than they’re ready for. Dominant instrumental work give this song a strong backbone to work with but the coarse vocals are a bit too gravelly to fit in with the wind theme. It’s also a bit too meandering and slow for my liking.

As The Crow Flies: Another acoustic track that sounds fairly similar to A song for Milly Michaelson. Mandolin & soft vocals conjure an airy peaceful atmosphere about a child growing up & spreading his wings. While it hasn’t grow on me as much as the earlier tracks it may appeal to those that like slower paced songs.

Silver Winds: Volume III is concluded with the synthetic beats of Silver Wings. While it sounds fairly similar to songs on the Water EP this one has more life due to prominent vocals that weave a less abstract and more personal tale about love & relationships. At only 2 min long it doesn’t really have enough room to spread its wings (excuse the pun) and would have benefited with a longer length.

Final verdict: Thrice have successfully managed to capture the ethereal nature of air on their third volume of The Alchemy Index. While the first three tracks on the EP contain poignantly powerful lyrics & interesting melodies the remaining songs seem to loose a bit of steam and unfortunately start to sound fairly familiar to each other. Additional guitar overlays and more drumming work would have alleviated these problems but as it stands this EP is much better than the boring drone of the Water volume. If your in the right frame of mind and just want to kick back & relax Air is definitely worth a listen and is a perfect contrast to the Fire EP.

80 / 100 pennies

Highlight Tracks
Broken Lungs
The Sky Is Falling
A Song For Milly Michaelson

Volume IV: Earth

Moving Mountains: This raw & sincere acoustic track appropriately sums up the earthy sounds found of Volume IV. The presence of twanging guitars, subtle foot stamps & absence of drums lend this track a real blues & roots style. The honest lyrics ‘All hidden things are opened up to me, but I don’t know the first thing about love’ are at the forefront of this song and showcase how far Dustin’s singing has progressed since the early days of Thrice. This simple yet effective track has become one of my favorite tracks from The Alchemy Index.

Digging My Own Grave: Another quality track that really has a life of it’s own. The prominent and mournful piano melody sets up an atmosphere thats probably not to everyones tastes and brings to mind Brand New at their depressive best. The title pretty much speaks for itself & I can only assume this is a fiction tale about resignation & defeat ‘You know cancer can’t catch me, let’s have another drink or three, don’t be a bore’.

The Earth Isn’t Humming: Some fantastic bass chords lend this one a real tribal beat that blends perfectly with the rich arpeggio style guitar chords. This heavily instrumental track gives the song plenty of weight while the powerful vocals are used to conjure an apocalyptic menace with the repeating message ‘Fall down’.

The Lion And The Wolf: A real stripped back song with soft vocals accompanied by more sombre piano. The presence of choral support vocals lend it an almost classical sound and while this may not appeal to everything it really shows that Thrice are capable of tackling any musical subject matter. The melody & fairy tale lyrics bring to mind a haunting brother’s Grimm tale but the words could also be interpreted as an anti war analogy ‘The lion’s outside of your door, the wolf’s in your bed, the lion’s claws are sharpened for war, the wolf’s teeth are red’.

Come All You Weary: This is the only earth track to contain drumming from Riley Breckenridge (he must have felt really left out on this EP) which lends the song an extra layer of depth and provides it with the same hypnotic quality as Burn The Fleet (from the Fire EP) . The rich timbre guitar sounds blend perfectly with the husky vocals & fit in with the laid back vibe.

Child Of Dust: The finale to the Alchemy Index doesn’t really live up to the hefty standards set on the previous tracks. Like all the final songs from each volume this ambient track is really a poem about man’s relationship with the elements. Since all these songs contain the same verse structure, vocal melody & chord progression (in a different key) it comes as no surprise that this tracks just as disappointing as the other finales. Interestingly there’s a dramatic cutout of the piano at the half way point with a muffling of vocals that convey the smothering feel of being buried alive. The last minute of silence is a stark ending to the album which symbolises returning to the earth through death (Either that or it could just mean that after 24 songs of The Alchemy Index, Thrice finally ran out of ideas of how to end it).

Final Verdict: The final volume of The Alchemy Index is a perfect example of how to embrace a concept album. While Volume I was fully of intense rage & power it’s lack of uniqueness didn’t really push the band into any new areas. On the flipside the antithetic nature of Volume II resulted in too much digital experimentation that ultimately resulted in a flat and lifeless EP. Fortunately Volume III breaths some new life into The Alchemy Index & perfectly captured the soothing & incorporeal nature of air. Volume IV brought Thrice back to earth with heartfelt acoustic numbers that showcased the spirited nature of the elements. I would definitely rate Volume IV my favorite EP from The Alchemy Index and would place it just under the sublime Vheissu as my favorite Thrice release. The only downside is that they didn’t make this EP into a full album and therefore I can only wait to see where their next evolution of sound will take them.

90/100 pennies

Highlight Tracks (yep pretty much all of them)
Moving Mountains
Digging My Own Grave
The Earth Isn’t Humming
The Lion And The Wolf
Come All You Weary

El Orfanato

Since there’s been so much tech talk floated around recently I thought it would be a good idea to break it up with a short write up on a great movie I saw last night called The Orphanage.

While it was directed by a relative newcomer (Juan Antonio Bayona), it shares a visual style very similar to last years critically acclaimed horror tale Pan’s Labyrinth (no surprises since it was produced by Guillermo del Toro). If you’ve seen the above mentioned movie then you should know that the Spanish are building up a great reputation for delivering some really atmospheric scares.

It won’t try to spoil the the story too much but the basic premise revolves around a haunted house & a missing child. While this can originally be construed as being rather cliche, it didn’t take long before I was totally sucked into the tale & wondering where it was going to take me.

A sombre soundtrack, great camera work and a fantastic setting help to deliver a creepy & suspenseful vibe throughout (look out for the scene featuring paper mache masks). I usually hate movies that rely on cheap scare tactics to get their thrills (I’m looking at you Scream) & even though there’s a couple of instances of this, I’ve never seen them used this successfully before. Thankfully these moments are not overdone & will instead leave you with some memorable scenes that you’ll want to discuss long after you leave the cinema.

If you’ve been paying attention to the smaller aspects of the story the ending can also be interpreted a couple of ways. Therefore this is one of those rare movies where I wanted to go back & watch it straight away so I could try & unravel the twists a little more.

Final Verdict: If you’re a fan of REAL horror movies and none of that goregasm slasher shit they churn out now days (saw,hostel,etc), then you’ll love this movie & you should definitely check it out.

4 – 4.5 / 5 (depending on your interpretation of the ending).