Sometimes I wish I could blink and be 5 years from now. I'd like to see myself at 24. Hopefully I'd be thinner, smarter, happier, in a relationship, I don't know...something. Unfortunately, I can't do that so I settle for daydreams and talking to myself (not aloud though, that'd be crazy).
In reality, I'm dependent on my iPod and Tazo's Earl Grey Black Tea to get through my day. I've also been really in to Astrology, which is weird since I talk SO MUCH SMACK about people who get zodiac sign tattoos. I still think they're stupid, but Astrology is cool. Is that too trendy? Oh well.
I'm also in love with my 69 year-old Shakespeare professor. Is it a father-figure thing? No. I don't have particular daddy issues so there's no void to be filled. I just think he's hot. He's not bald, he doesn't have a hunchback, he wears coke-bottle glasses, has 2 hearing aids, and has a snake tattoo on his forearm -perfect much? I regret every time I ditched that class, all 4 times.
Side Note: The end of Willy Wonka (the original one) ALWAYS MAKES ME CRY! Gene Wilder is AMAZING in that role. He's the perfect mix of disturbed and innocent.
Anyway, I'm chewing gum Violet Beauregard style but it's ok. My uncle called me Veruca when I was younger -that bastard.
WHY DO I BOTHER TO BLOG!? RAMBLING.
Regardless, I'm stressed (what college student isn't?), I'm failing Calculus (well I have a D- ), and if my English professor insults me one more time I will THROW. DOWN.
...I've missed Blogger. Maybe I think it's more private because no one reads this but I just like the fact that I can type and type and not feel like a super dork because no one has "reblogged"
3/30/11
3/16/11
Angles - The Strokes
This is MY review of Angles -dig it :)
In 2003, Rolling Stone spent all night with the Strokes, as the magazine titled them the “New Kings of Rock & Roll.” The fab-5, with their New York cool and nonchalant demeanor not only stole the hearts of teen girls (and some boys) everywhere, but also brought a breath of fresh air to radio waves that were cluttered with the sounds of over-produced alt-acts such as Creed and Hoobastank. Their second release, Room on Fire, was a straight-forward continuation of what the band were becoming known for and what they excelled at. In 2006, they released First Impressions of Earth, an album that, at the time, was too ambitious even for the boys with so much promise. Now, 5 years later, the Strokes have returned with Angles; an album that is largely being called their “best work since 2001’s debut, Is This It?” With each member now in their 30s, it would make sense for the Strokes to go for a more mature, refined sound, right? Well, not exactly. Angles is approximately 36 minutes of the Strokes at their tightest with their most collaborative songs yet.
The album unfolds with “Machu Picchu” –an electro-guitar gem that has Casablancas admitting that he’s “putting your patience to the test” (the understatement of the year). The song rolls on with a neo-reggae groove that you can’t help but sway to…until the chorus. It hits hard with Hammond and Valensi going toe-to-toe and Moretti hitting the snare with absolute conviction. Coming to the bridge, the guitars sounds like an all-too familiar ‘80s classic, “Got to be Startin’ Something” by Michael Jackson. The overlay vocals only add to the new Strokes’ sound, but it’s a welcomed change. The third and final verse has Casablancas in a higher register, an aspect that trickles down to the rest of the album’s best tracks.
The album’s lead single “Under Cover of Darkness” is next. In a way, it’s a return to form but listening to it doesn’t get old. As Julian asks, “Will you wait for me now?” You can’t help but answer “yes” as the chorus kicks in. Lyrically, it’s the similar relationship complaints that were on the previous Strokes’ albums, “I’m tired of all your friends, listening at your door…” brings up memories of “I can’t get along with all you friends” from “Vision of Division.” It’s a toe-tapping good time that will fit in perfectly at summer festivals. This is the track that reminds us of the Strokes that we fell in love with a decade ago.
UCoD is followed by “Two Kinds of Happiness.” An almost, dare I say…anthem? Casablancas hurls in to the chorus with “Don’t waste your heart” while Valensi and Hammond play in unison. It’s the kind of song that conjures images of the end of a John Hugh’s film. This song definitely puts the spotlight on the new, poppier Strokes that long-time fans may be resistant to –at first listen. The words “Don’t you give in” aren’t really a Casablancas staple, but maybe he himself needed a little beacon of inspiration. What this track brings is a more accessible side to a band that has always seemed “too cool.”
“You’re So Right” gave bassist Nikolai Fraiture a chance to flex his writing skill. It’s fast and rippling, leaving the listener with the choice of either listening again to decipher Julian’s muffled croon or skipping it on the next listen. With that said, the track’s pinnacle is Nick Valensi’s solo - 30 seconds of rapid fire that reminds me a bit of “Juicebox.” Looking at the album as a whole, it’s definitely one track that seems out of place and would feel more at home on Julian’s Phrazes for the Young; which, not only foreshadows the possible direction the Strokes may continue in, but also shows that for a frontman who was never in the same room as the rest of the band, his influence was still felt.
Guitarist Nick Valensi’s second song (his writing debut came in the form of ‘Machu Picchu’), is “Taken for a Fool.” The vocal sounds straight off of Room on Fire, but is that really a bad thing? Clearly, Valensi is longing for the Strokes that were –raw, fast, simple. Moretti’s beat keeps the song alive as the last 40-seconds repeat the chorus’ hook. Personally, I prefer each verse to the chorus, but it has a radio-friendly quality which may make a good, future single.
A dance track is something I would have never expected from the Strokes, but “Games” is a pillowy number in which the best part of the song is Fab Moretti’s drumming. The song seems to be the most-worked song on the album, epitomizing the worst ‘80s new wave and echoing whispers of The Cars. Again, Julian’s solo efforts are felt heavily with the song feeling like the sibling of “11th Dimension.” The song is repetitious, tedious, and doesn’t evoke the same passion as the other tracks. From this point on, “Games” will be referred to as “Album-filler.”
Angles’ lullaby comes next with Julian’s soft croon in “Call Me Back.” The smooth bossa nova vibes remind me of Moretti’s band, Little Joy or something that Devendra Banhart would play. It’s just vocals and guitar with slightly staccato breaks that wake the listener from Julian’s seductive droning. The overlays of incomprehensible whispers add to the dream-like quality of the song. It’s a nice break from the synths and heavy drums.
A wake-up call is brought in the form of “Gratisfaction” –a Thin Lizzy-influenced song that is one of the album’s most memorable tracks. On first listen, it brought back those fuzzy, muffled feelings I got the first time I listened to “Someday.” The background vocals, provided by Hammond and Valensi, actually add to the song’s easy-going vibe. It’s familiar but fits amongst the new electro wave the rest of the album rides.
“Metabolism” sounds like it should fall between “Heart in a Cage” and “Vision of Division” on First Impressions of Earth. The Muse-style structure is as dark as Angles gets. Casablancas almost growls at the end of each phrase, re-entering his lower register and drifting off like the personification of midnight. Lyrically, “Metabolism” takes us back to Julian’s progression of emotions a la “On the Other Side.” Live, the song should definitely strike a chord, as it’s probably the track that drives hardest on the album.
Angles’ farewell is the only track that survived the scrapped Joe Chicarelli sessions. “Life is Simple in the Moonlight” is just that, simple. Valensi’s solo is probably the slowest piece he’s ever done, perfectly complimented by Moretti’s controlled drumming while Hammond’s rhythm sections gives the song a cascading quality. Lyrically, it’s probably the deepest with phrases like “So we talk about ourselves in hell, to forget the love we’ve never felt.” It’s a narrative but maybe one of the Strokes’ most relatable songs. The fades quietly with Julian singing “Don’t try to stop us, get out of our way.” At this point, I don’t think anyone would think of getting in their way.
Angles is really two albums in one. It’s an album that reminds us of that band that so nonchalantly changed the face of what was considered “rock & roll” and it’s an album that strips Casablancas and co. of their sunglasses and leather and shows them attempting to find something new. If Strokes IV is in the works, I hope it comes soon. Angles is a solid return, but it’s not their best. They have an album in them that’s better than Is This It?, they just have to trust each other first. **8.9/10
In 2003, Rolling Stone spent all night with the Strokes, as the magazine titled them the “New Kings of Rock & Roll.” The fab-5, with their New York cool and nonchalant demeanor not only stole the hearts of teen girls (and some boys) everywhere, but also brought a breath of fresh air to radio waves that were cluttered with the sounds of over-produced alt-acts such as Creed and Hoobastank. Their second release, Room on Fire, was a straight-forward continuation of what the band were becoming known for and what they excelled at. In 2006, they released First Impressions of Earth, an album that, at the time, was too ambitious even for the boys with so much promise. Now, 5 years later, the Strokes have returned with Angles; an album that is largely being called their “best work since 2001’s debut, Is This It?” With each member now in their 30s, it would make sense for the Strokes to go for a more mature, refined sound, right? Well, not exactly. Angles is approximately 36 minutes of the Strokes at their tightest with their most collaborative songs yet.The album unfolds with “Machu Picchu” –an electro-guitar gem that has Casablancas admitting that he’s “putting your patience to the test” (the understatement of the year). The song rolls on with a neo-reggae groove that you can’t help but sway to…until the chorus. It hits hard with Hammond and Valensi going toe-to-toe and Moretti hitting the snare with absolute conviction. Coming to the bridge, the guitars sounds like an all-too familiar ‘80s classic, “Got to be Startin’ Something” by Michael Jackson. The overlay vocals only add to the new Strokes’ sound, but it’s a welcomed change. The third and final verse has Casablancas in a higher register, an aspect that trickles down to the rest of the album’s best tracks.
The album’s lead single “Under Cover of Darkness” is next. In a way, it’s a return to form but listening to it doesn’t get old. As Julian asks, “Will you wait for me now?” You can’t help but answer “yes” as the chorus kicks in. Lyrically, it’s the similar relationship complaints that were on the previous Strokes’ albums, “I’m tired of all your friends, listening at your door…” brings up memories of “I can’t get along with all you friends” from “Vision of Division.” It’s a toe-tapping good time that will fit in perfectly at summer festivals. This is the track that reminds us of the Strokes that we fell in love with a decade ago.
UCoD is followed by “Two Kinds of Happiness.” An almost, dare I say…anthem? Casablancas hurls in to the chorus with “Don’t waste your heart” while Valensi and Hammond play in unison. It’s the kind of song that conjures images of the end of a John Hugh’s film. This song definitely puts the spotlight on the new, poppier Strokes that long-time fans may be resistant to –at first listen. The words “Don’t you give in” aren’t really a Casablancas staple, but maybe he himself needed a little beacon of inspiration. What this track brings is a more accessible side to a band that has always seemed “too cool.”
“You’re So Right” gave bassist Nikolai Fraiture a chance to flex his writing skill. It’s fast and rippling, leaving the listener with the choice of either listening again to decipher Julian’s muffled croon or skipping it on the next listen. With that said, the track’s pinnacle is Nick Valensi’s solo - 30 seconds of rapid fire that reminds me a bit of “Juicebox.” Looking at the album as a whole, it’s definitely one track that seems out of place and would feel more at home on Julian’s Phrazes for the Young; which, not only foreshadows the possible direction the Strokes may continue in, but also shows that for a frontman who was never in the same room as the rest of the band, his influence was still felt.
Guitarist Nick Valensi’s second song (his writing debut came in the form of ‘Machu Picchu’), is “Taken for a Fool.” The vocal sounds straight off of Room on Fire, but is that really a bad thing? Clearly, Valensi is longing for the Strokes that were –raw, fast, simple. Moretti’s beat keeps the song alive as the last 40-seconds repeat the chorus’ hook. Personally, I prefer each verse to the chorus, but it has a radio-friendly quality which may make a good, future single.
A dance track is something I would have never expected from the Strokes, but “Games” is a pillowy number in which the best part of the song is Fab Moretti’s drumming. The song seems to be the most-worked song on the album, epitomizing the worst ‘80s new wave and echoing whispers of The Cars. Again, Julian’s solo efforts are felt heavily with the song feeling like the sibling of “11th Dimension.” The song is repetitious, tedious, and doesn’t evoke the same passion as the other tracks. From this point on, “Games” will be referred to as “Album-filler.”
Angles’ lullaby comes next with Julian’s soft croon in “Call Me Back.” The smooth bossa nova vibes remind me of Moretti’s band, Little Joy or something that Devendra Banhart would play. It’s just vocals and guitar with slightly staccato breaks that wake the listener from Julian’s seductive droning. The overlays of incomprehensible whispers add to the dream-like quality of the song. It’s a nice break from the synths and heavy drums.
A wake-up call is brought in the form of “Gratisfaction” –a Thin Lizzy-influenced song that is one of the album’s most memorable tracks. On first listen, it brought back those fuzzy, muffled feelings I got the first time I listened to “Someday.” The background vocals, provided by Hammond and Valensi, actually add to the song’s easy-going vibe. It’s familiar but fits amongst the new electro wave the rest of the album rides.
“Metabolism” sounds like it should fall between “Heart in a Cage” and “Vision of Division” on First Impressions of Earth. The Muse-style structure is as dark as Angles gets. Casablancas almost growls at the end of each phrase, re-entering his lower register and drifting off like the personification of midnight. Lyrically, “Metabolism” takes us back to Julian’s progression of emotions a la “On the Other Side.” Live, the song should definitely strike a chord, as it’s probably the track that drives hardest on the album.
Angles’ farewell is the only track that survived the scrapped Joe Chicarelli sessions. “Life is Simple in the Moonlight” is just that, simple. Valensi’s solo is probably the slowest piece he’s ever done, perfectly complimented by Moretti’s controlled drumming while Hammond’s rhythm sections gives the song a cascading quality. Lyrically, it’s probably the deepest with phrases like “So we talk about ourselves in hell, to forget the love we’ve never felt.” It’s a narrative but maybe one of the Strokes’ most relatable songs. The fades quietly with Julian singing “Don’t try to stop us, get out of our way.” At this point, I don’t think anyone would think of getting in their way.
Angles is really two albums in one. It’s an album that reminds us of that band that so nonchalantly changed the face of what was considered “rock & roll” and it’s an album that strips Casablancas and co. of their sunglasses and leather and shows them attempting to find something new. If Strokes IV is in the works, I hope it comes soon. Angles is a solid return, but it’s not their best. They have an album in them that’s better than Is This It?, they just have to trust each other first. **8.9/10
3/7/11
Up on a hill, is where we begin
I've been having a full-on affair with Tumblr lately. Why? -people actually follow me/like what I have to say. I still love Blogger though, it's more blog-esque. Tumblr just allows people who obsess over the same thing to reblog and drool together instead of alone, pathetically.
ANYWAYS, a lot has happened since I've posted last. I've gotten another tattoo, I've lost 5 pounds, I've been craving a cigarette, I only cuff my jeans, Radiohead released The King of Limbs (it's obviously fantastic), and I treat my leather jacket as if it's my child.
In other news, the Strokes played SNL and Miley Cyrus is still a talentless child. Back to The Strokes -I'm nervous. Angles is...almost here. I'm EXCITED but apprehensive. Pitchfork posted this CRAZY-ASS ARTICLE that encompasses all 10 years of the Strokes, yet it left me feeling less than optimistic about my favorite's future. I could tell from the NME article that Julian only kinda likes Angles and that Nick was pissed off that Jules wasn't really around. Then, Pitchfork reporter Jonathon Garrett is describing how Julian is answering each question, including the "long pauses" and "hesitations" followed by a cornucopia of ellipses. Should there even be a 5th Strokes album or should we all just revel in what used to be? I'm torn. AND FOR THE RECORD- the happy-go-lucky videos the Strokes' website has been posting about the "Making of Angles" are SERIOUSLY MISGUIDING!
Anyways, I also have a new adoration for Adele. 21 > 19, in my opinion. She's a BAMF. Can we please that acronym back? It was so much fun.
later, BAMFs
ANYWAYS, a lot has happened since I've posted last. I've gotten another tattoo, I've lost 5 pounds, I've been craving a cigarette, I only cuff my jeans, Radiohead released The King of Limbs (it's obviously fantastic), and I treat my leather jacket as if it's my child.
In other news, the Strokes played SNL and Miley Cyrus is still a talentless child. Back to The Strokes -I'm nervous. Angles is...almost here. I'm EXCITED but apprehensive. Pitchfork posted this CRAZY-ASS ARTICLE that encompasses all 10 years of the Strokes, yet it left me feeling less than optimistic about my favorite's future. I could tell from the NME article that Julian only kinda likes Angles and that Nick was pissed off that Jules wasn't really around. Then, Pitchfork reporter Jonathon Garrett is describing how Julian is answering each question, including the "long pauses" and "hesitations" followed by a cornucopia of ellipses. Should there even be a 5th Strokes album or should we all just revel in what used to be? I'm torn. AND FOR THE RECORD- the happy-go-lucky videos the Strokes' website has been posting about the "Making of Angles" are SERIOUSLY MISGUIDING!
Anyways, I also have a new adoration for Adele. 21 > 19, in my opinion. She's a BAMF. Can we please that acronym back? It was so much fun.
later, BAMFs
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