| CD Reviews | |||||
Over the years I’ve seen hundreds of bands play live; plenty of good bands, an equal number of lousy ones and a few outstanding ones. Slipknot is one of the few outstanding live acts. Like them or not, one would be hard pressed to find a band as chaotic and intense as Slipknot in a live setting. Now, with 9.0: Live, Slipknot has captured the incredible experience that is a Slipknot concert. I honestly didn’t think that there would ever be a way for Slipknot to pull off a live album; nine guys playing intense metal should amass to a muddled mess of an audio mix. Most notably for the drums, Slipknot has three percussion members each playing entirely different parts. One can be pounding on the drums while another is beating the hell out of a keg with a baseball bat. Thankfully, they sound just like they would on a studio album. There were times that I actually forgot that I was listening to a live album. Over the course of 24 tracks, the ’knot completely whip the crowd into a frenzy. As you are listening to the record you can almost hear the blood flow out of the pit. All it takes is a listen of the first 45 seconds of the album and you know that something is going to be broken, be it the restraining barricades or someone’s jaw. The crowd goes absolutely bonkers for fan-favourites like “The Heretic Anthem” and “Surfacing” and things really get crazy as frontman Corey Taylor instigates Woodstock 99-type mayhem. If you were at the Slipknot show last January then this is a no-brainer to pick up. If you missed out on the show, then 9.0: Live is a great way to make up for what you missed. by Kent Farago
Singer-songwriters have this strange thing about them. Located somewhere deep within their DNA they have this built-in ability to deliver landmark albums in their later years. The aughts have been flooded with epic records from icons proving they have more value than just coasting in the respected has-been division, and Neil Diamond’s newie 12 Songs is no exception. You can tell Neil’s back because his music crackles with this intensity that suggests that Will Ferrell’s parody of Diamond isn’t really that far-fetched. Diamond has a righteous earnestness that separates him from the whiny diary types who don’t seem to be wounded artists but merely whiny and privileged. Coupled elegantly with Rick Rubin’s production style, Diamond also avoids the AM radio bombast that’s dogged the last 25 years of his career. The songs manage to be fiery barnstormers and tender reflections, all chartered by a living legend and his acoustic guitar. There’s a crackling excitement to seeing Diamond reclaim his glorious touch, and in fact it seems the person most charmed by this is in fact Diamond himself. It’s clear why Diamond isn’t phoning it in on the Casino circuit. The passion, the talent, and big ol’ bursting heart remain. And we couldn’t be luckier for it. by Dan MacRae
I’ve seen My American Heart’s video for “The Process” a couple times on TV. Each time it has kind of triggered me to check out this band, but I never got around to it. So when I had the chance to review this album I decided I would check it out. I am mildly satisfied with the effort made on this disc. The lyrics are mostly dealing with being upfront and real, rather than being fake, both in themselves and telling others not to be. Lyrically they are no Emily Dickinsons, but they aren’t that bad. Musically, they join a huge group of bands making this type of emo/indie/alternative/screamo/punk-influenced/ rock that it is usually hard to tell one band from another. So if every band has their own little niche, My American Heart’s would definitely be catchy guitars. The crunchy guitaring is often catchier than the singing, and even if I don’t really enjoy the song I find myself nodding my head to the simplified drumming and beat-heavy guitars. I personally would like to see them pick up the energy for future releases; the album just seems to drag at some points. So, while it isn’t the worst thing I’ve ever heard, My American Heart does have some work to do. If you like Taking Back Sunday, Anberlin, Fall Out Boy, Hawthorne Heights, and any of the other countless bands like that, chances are you will enjoy this album. I just can’t see it reaching out beyond fans of that particular grade of music. by Tyson Buhler
I think that I am falling in love with Bob Kemmis. Despite the fact that he does not have a very attractive name, or even an attractive physical appearance, he is slowly capturing my heart with his sweet, simple songs. Arena Ready is Kemmis’ third album. It is heavily infused with elements of 60s pop music. The songs combine fresh lyrics with a nostalgic sound. It is impossible to listen to these songs without being happy – it is also hard not to bob around to the catchy tunes. Through this album, Kemmis constantly proves that he is a very talented musician. The 11 songs on his album are all diverse, and they are all good. His sound ranges from bouncy-pop to elegant, bluesy-jazz. It is not, however, the musical talent, or the sound range that makes this album so great. The thing that makes this album stand out is the fact that all of the songs are fun to listen to. The lyrics in the songs are very interesting. For example, Kemmis has many witty things to say about the minds of beautiful women. “Like all beautiful women your mind is swimming in a sea of despair/ Cause you care and you wish you were unable/ You’re as unstable as a mass of cold air” is the biting comment that he croons in “Figured out.” If you are looking for a fun, yet insightful, album that will put you in a good mood, then give Arena Ready a listen. It has a fresh sound that is almost irresistible. by Michele Dawson
What do you get when you put Blondie, Josie and the Pussycats, and Bif Naked into a blender, and sift out all aspects of musical talent? You get Go Betty Go’s new album, Nothing is More. Go Betty Go is a Californian girl band. Nothing is More is definitely a fun album, full of bouncy tunes and loud lyrics. Unfortunately, it is very forgettable, and most of the songs sound the same. This album has all the maturity of a 12-year-old girl’s diary. It tries to be angry and innovative, but it comes off as annoying. Go Betty Go could have been plucked from any high school music scene, their sound is immature and unpolished – it sounds like the second rate acts that you probably saw during your grade school talent shows. You’ve got to love that the music industry has become an outlet for girls to whine about their super-tough suburban middle-class existence: “They say I’m lazy, I’m always late/ Full of excuses I’m from LA/ They say I’m careless, can’t find my way/ Crazy and precious, I’m from LA” (“I’m from LA”). Wow, I can totally tell that they have it rough right now, what with their record contract and their Californian life. Yawn, all of this whining is getting tiresome. If you feel like your life is tough, and that you want to hear some girly whining, then definitely pop in Nothing is More. It is far cheaper, however, to get you whine fix through hanging out with a group of adolescent girls. This album is better left unheard. by Michele Dawson |