ALBUM REVIEW: OMD - English Electric

OMD - English Electric (BMG)

For their second album since reuniting the classic line-up, OMD deliver a very likable collection of songs recalls some of their best work of the 80's.

In 2010 OMD released History of Modern, which was the first album reuniting the classic OMD lineup since 1986's Pacific Age. The album hinted at what the band could achieve, but perfomances lacked spark and the songs weren't very memorable. It was the shell of the OMD sound, but lacked focus and sounded a bit too generic. Outside of Andy McCluskey's instantly recognizable vocals and a few trademark OMD synth tones, it sounded more like a band influenced by OMD than actually being OMD.

English Electric is their second album since returning, and it's a huge leap forward. This is OMD in "give the fans what they want" mode, featuring songs that highlight the strengths of their glory days while still sounding fresh. This time they embrace the distinctly OMD feel of their 80's albums, incorporating various elements of their first five or six albums. There's a nice balance of deceptively simple electropop, moodier downbeat melancholia, and big mainstream pop numbers with instantly catchy melodies. It's a very familiar sounding album with at least a few songs that could seamlessly fit onto that first Best of OMD singles collection. Or on the soundtrack to an imaginary John Hughes movie.

They've always owed a debt to Kraftwerk, and at several points on the album that influence is more apparent than on anything else they've done before. OMD don't retread their past, but they don't stray very far what they've done before either. This isn't the album for big innovations or an advancement in their sound. But it's also not a step back. The songs are well crafted and it's obvious that a lot of passion and attention went into making the record.

English Electric is instantly likable and consistently solid from start to finish. Despite the pristine and occasional almost-too-slick production (even by OMD's meticulous standards) there's a warmth to the whole thing that's very welcoming. It's not going to change the world, but there's great comfort in hearing OMD playing to all of their strengths.

CLICK HERE FOR MORE OF MY ALBUM REVIEWS

some of my ALL TIME FAVORITE ALBUM COVERS - PART 3

Here's part three of my all time favorite albums covers. These aren't necessarily the greatest album covers of all time, just the ones that for one reason or another totally work me.

[ PART ONE here ] [ PART TWO here ]

ABOVE:  the Dream Syndicate - Medicine Show (1984) An album I bought when it came out strictly because of the cover art, band name, and song titles. It ended up being one of my all time favorite (and most played) albums. I was quite bummed when my tourshirt featuring this image went through the washer one too many times and had to be retired.

BELOW LEFT: Elvis Costello and The Attractions - This year's Model (1978) One of many fabulous covers from endlessly talented Barney Bubbles

BELOW RIGHT: Gamma - Gamma 2 (1980) I don't like the actual album, but this cover was a big fave of mine when it came out. The album cover is designed by Mick Haggerty and the cover photo is by Jeffrey Scales (who was getting pictures published in the Black Panther Paper when he was only 13!) 

 

ABOVE LEFT: the B-52's - the B-52's (1979) Cover photo by then relatively unknown Interview Magazine photographer George DuBose. He originally made the image for flyers, but when they were signed the band chose it for the cover image. Island Records creative director Tony Wright hand colored the photo and changed a Mylar balloon Kate was holding to thrift store handbag. He didn't like the band, so he used the alias Sue Absurd for the designer credit. The full story and original b&w photo are at George's site.

ABOVE RIGHT: RAMONES - Road to Ruin (1978) Wonderful illustration from Punk Magazine's John Holmstrom.

BELOW:  Stan Freberg Presents the United States of America Vol 1 The Early Years (1961) This is one of the albums I inherited from my parents and it's a cover I stared at quite a bit. Great use of text and white space. I like the fact that the cover image I found was a bit dirty since I don't think I've ever seen a clean copy of the actual vinyl.

ABOVE LEFT: the Jim Carroll Band - Catholic Boy (1980) Cover photograph of Jim and his parents taken by Annie Leibovitz

ABOVE RIGHT: the Clash - London Calling (1979) One of the all-time great album covers. That iconic Pennie Smith photo of Paul Simonon might be my favorite rock picture ever. It's an image that periodically pops into my head the same way a great song does. Ray Lowery framed that picture beautifully with the layout appropriated from Elvis' debut, which really puts the whole thing together.

BELOW: the (English) Beat - I Just Can't Stop It (1980) - The cover is designed by one of my favorite cartoonists, Hunt Emerson, who also designed the iconic Beat Girl logo.

ALBUM REVIEW: the OBLIVIANS - Desperation

the OBLIVIANS - Desperation (In the Red) 

After 17 years the Memphis trash garage ne'er-do-wells pick up right where they left off.

For my money the Oblivians were the definitive Crypt Records band. They ripped through supersharged lofi garage punk that was light on finesse but heavy on attitude. They were relentless in their assault, creating of a muddled hybrid of garage, punk, blues, and rock & roll. They put out 3 albums in the second half of the 90's and then called it quits. Over the years the three members stayed busy with various projects (fronting the Reigning Sound; producing, writing, and/or playing with artists like the Detroit Cobras, Mary Weiss, Panther Burns, Jay Reatard; and running Goner Records label), making it seem unlikely that they'd return.

But 17 years after their last full length, ...Play 9 Songs with Mr Quintron, the Memphis trash garage ne'er-do-wells are back, picking up right where they left off. The production is a little better (nowhere close to being overproduced - it's still lo-fi) and they're more experienced musicians now, but they still tear it up with the same reckless abandon of the Oblivians of twenty years earlier. As with most great garage albums, there are some fine covers. The blistering cover of Paul Butterfield's "Lovin Cup" is fabulous, but the genius cover is taking a simple zydeco  party number, Stephanie McDee's "Call the Police", and turning it into a massive, pounding garage anthem.

Desperation is noisy, dumb-fun garage rock. Exactly what I want from the Oblivians.

CLICK HERE FOR MORE OF MY ALBUM REVIEWS

ALBUM REVIEW: EDWYN COLLINS - Understated

EDWYN COLLINS - Understated (AED)

A wonderfully strong British pop record filled with Northern Soul goodness from the former Orange Juice frontman’s eighth solo album.

Edwyn's eighth solo album is a joyous occasion, filled with bright melodies and toe-tapping rhythms. It's also a joyous album lyrically, filled with the life-affirming declarations of the man that suffered two brain hemorrhages less than a decade ago. Edwyn's sweet spot has always been the intersection of post-punk indie pop and Northern Soul, and that's exactly where Understated hits. And it hits hard, showcasing a mastery of pop songwriting that seems effortless (but when you know the backstory it's anything but). The spirit and vintage sounds of Motown and Stax are deep in the grooves, but he never actually copies any specific reference point. The feel of those soul records is so ingrained into his psyche that it comes out naturally in his songwriting. It never sounds calculated, as it does in the hands of so many of his contemporaries. The record sounds fresh and natural, maybe the most consistent album in his thirty plus year career.

CLICK HERE FOR MORE OF MY ALBUM REVIEWS

ALBUM REVIEW: the LOST PATROL - Driven

the LOST PATROL - Driven (Lost Patrol)

Lost Patrol makes shimmering dream pop with a muscular edge that incorporates a wide palette of stylistic influences into one cohesive and gorgeous album.

New York trio the Lost Patrol are not an easy band to pigeonhole or even accurately describe in brief synopsis. They play ethereal pop with roots in goth and shoegazer, but their sound is too wide reaching to comfortably fit within the rigid parameters often associated with those genres. They build on their songs by integrating elements of other genres in innovative ways without ever sounding forced or gimmicky. Rich surf guitar tones flow into lush dreamy soundscapes with bits of Ennio Morricone added to the mix. They comfortably shift between moody electronica and sunnier jangle pop and then throw in a wonderful twist on girl group dramatics. The thing that amazes me most about Driven is how well the album flows considering all of the change-ups they incorporate.

Mollie Israel's vocals are absolutely gorgeous while still packing a powerful punch. At times her voice reminds me of Shirley Manson, Slowdive's Rachel Goswell, or Blonde Readhead's Kazu Makino. Driven is lush album with some epic moments, but it manages to maintain an intimacy and warmth that could have easily been lost in lesser hands. The only song that doesn't work entirely for me is "Just Go", which is a convincing WWII era sounding vocal pop number with an equally convincing period delivery (piano, stand up bass, and drum brushwork), but it's the only moment on the record where the band's diversity is distracting. But that's a small complaint, especially since they pull it off so well.

I'm new to Lost Patrol, so I not only get the joy of this fabulous album, but I'm also looking forward to digging into their catalog.

ALBUM REVIEW: NOAH & the WHALE - Heart Of Nowhere

NOAH & the WHALE - Heart Of Nowhere (Mercury UK May 7, 2013)

The Twickenham band continues in the same light-pop-meets-arena-sing-alongs of 2011's wonderful Last Night On Earth, choosing not to vary the sound much.

On their fourth album, Noah & the Whale songs push and pull between intimate folky pop and big, swing-for-the-fences arena-ready sing-alongs. Often that struggle happens in the same song. It doesn't always work, but when it does, the results are exceptionally wonderful. At their best, Noah & the Whale is one of the strongest British acts currently making records. At their worst, the songs are still enjoyable, but a bit generic and samey. Tying it all together are the lyrics, which are interesting character studies and stories of people looking for hope, love, and inspiration.

I'm a big fan of 2011's Last Night on Earth. It was my #5 album of the year and hardly a month has passed since that I haven't played it. But even then I called it really good "empty calorie feelgood pop". Noah & the Whale started out as part of England's new folk indie pop scene of the mid part of the last decade, but quickly evolved into a more anthematic band with bigger production and songs with a wider reaching scope. The songs are catchy and instantly likable; uplifting despite the underlying melancholia that Charlie Fink's vocals veer toward. The songs are given extra depth thanks to a balance of organic performances and electronic drums and synth flourishes and smatterings of bouncy strings.

Part of me wishes that Noah & the Whale would vary their sound a little more. On their own every song is solid, but back-to-back they tend to blend together. Especially on the slower songs that don't have driving rhythms and larger-than-life choruses. That being said, Heart of Nowhere is an album deserving of many plays and Noah & the Whale are band ready for a larger audience.

CLICK HERE FOR MORE OF MY ALBUM REVIEWS

ALBUM REVIEW: WAVVES - Afraid of Heights

WAVVES - Afraid of Heights (Warner Bros)

The San Diego band's fourth album is an adrenaline rush of angsty guitar charged beach pop fun with hyper melodies.

Wavves' supercharged slacker punk pop sounds like a more reckless version of Weezer. They have no shortage of oversized hooks or bratty exuberance, filling every song with sing-along choruses with pogo inducing energy. They create the illusion that it could all fall apart at any second, but rather than sounding dangerous they come off as good natured trouble makers.

Much has been made of this being the band's first album for a major label and their working with a name producer in John Hill (Pink, Santigold. MIA, Devo, Christina Aguilera). The band's sound is tighter and cleaner, but it still has most of the lofi edge of their earlier work. I'm not sure if it's possible to make a big production values lo-fi record, but if it is, this is it. Much of what makes the label transition work so well is  frontman/songwriter Nathan Williams' sharper focus and coming in with a great batch of songs.

Individually every single song is solid and worth hearing. The only problem I have with the record is that it gets a bit samey. There's not much variety in the arrangements or production, so everything sort of blends together into one grungy sugar rush. That being said, it's one of my most played albums of the year hits the spot when I'm up for some angsty fun.

CLICK HERE FOR MORE OF MY ALBUM REVIEWS