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8 Month Malfunction - 'Mourn'

I was searching through iTunes for a totally different song when I first came across new band 8 Month Malfunction. Their debut single Mourn had a high popularity rating, so I thought I would have a quick listen, and within the first few bars of the preview track, my foot was tapping along and my mind was made up to spend 79 pence of my hard earned money on this band. That quickly turned into £1.58 when I heard the B-side Hurting, which is an equally good song that could have also been a single in its own right.

I hadnt heard of the band before, but 8MMs Mourn jumps straight into the song, with just a couple of beats intro before the rough-edged, hard hitting vocal line comes in, being reminiscent of bands like Pearl Jam and Alter Bridge. Although the first line of the track, They say, that which does not kill us makes us stronger could be classed as cliché, the direction the lyrics take after that just highlight the fact that it is clichés like this that singer/songwriter Ian Husbands obviously has a problem with and go on to explain how he really feels when there is a problem in life. And then the chorus kicks in; Lyrically superb, with guitars rocking, the chorus brings a very radio friendly feel to the track without the song turning into a cheesy pop song.

The second verse starts with some great lyrics They say, lifes a stage and were just actors on it. If thats the case, why has no one ever let me read the script The second verse then leaps into an unexpected bridge, rocking out more and building up nicely into that sing-along, radio friendly chorus once again. The guitar solo is huge and well played, and takes me back to the days when a guitar solo was always a part of rock music, transporting me back to 1992 when the Seattle grunge scene was the music to listen to. But this isnt just an average take off of the grunge era, no sir. With fresh and slick production ideas using looped beats, effected vocals, synths and some nice pizzicato strings in places, Mourn is a more modern reflection on guitar rock, with an obvious American influence. It is great to hear a British band that arent trying to jump on the same band wagon as all the other wishy washy British rock bands in the charts at present.

All the way through listening to this track I had a feeling of familiarity towards singer Ian Husbands voice and it wasnt until I visited their website (www.8monthmalfunction.com) after buying the tracks that I realised where I knew it from. Ian used to be the lead singer in an unsigned band called fREAK-1-C whose album Swimming With The Big Fish I had bought and very much enjoyed back in 2004. It is great to hear Ian still writing and performing, and 8 Month Malfunction is definitely a step in the direction for him.

As I have said above, the b-side to Mourn is a track called Hurting, but I am not going to review that here, my suggestion is that you take a visit to iTunes and spend a mere £1.58 on this band and help support independent music. We need more bands like this in an age of watered down rock and sugary pop, so 8 Month Malfunction get my vote and I hope to see them release another single or an album soon. If you want some quality songwriting, performances and production, then this is one unsigned band you should really give a few minutes of your time to, and if youre a record company looking for a new act to release, then 8MM should be seriously considered!

For more info on the band, check out their website at www.8monthmalfunction.com and their myspace page at www.myspace.com/eightmonthmalfunction

Review written by James Farmer - www.myspace.com/therockranchuk

The Leon Triplett Project - Love America

Expecting a straightforward early '70s-styled R&B album, I was surprised at how the Leon Triplett Project's Love America actually spans a number of decades, from the '60s Motown sound to the hip-hop of today. Produced and arranged by Triplett, Lathario Lee, and William Kilgore, Love America does take an old-school approach in the sense that the songs are given the primary focus. Too many artists these days dwell too much on the intensity of their rhythm tracks instead of the quality of their songwriting and vocal performance. Triplett is a marvelous singer, his voice thick with soul and passion. And he's versatile, too - smooth-talking on the remake of "Smile"; giving a slight Bob Marley reggae turn to "Try Love"; and bringing on the "J.B." (James Brown, to the youngsters out there) in the epic club groper "So Sexy." Interestingly, Triplett's two most serious tracks, "Racism This Generation" and "Love America," have an unexpected '80s vibe even though the lyrics have the social consciousness of the '60s.

For more details, go to: http://www.triplettrecords.com

Reviewed by Karla Ash

Josephine Sincere - 'Wildflower'

Having already profiled Josephine Sincere in a feature article, it sheds light on what is easily among the year's most accomplished pieces of music, her Wildflower CD. First of all, releasing an album with 20 tracks is quite courageous; somebody must've felt completely confident about this material, and it's easy to see why. There's not a throwaway in the bunch. In fact, the LP works better as a whole although there really isn't a theme stitching the album together. Moreover, Sincere never sticks with one style - she's a little hip-hop in the beginning ("Bleed") and then ventures into jazz and soul.

I feel a tad uncomfortable picking out single tracks; the record needs to be listened to all the way, especially on headphones where it feels like Sincere is whispering in your ear.

For more details, go to: http://www.Kixx Records.com

Reviewed by Karla Ash

Tim Bertulli - 'Movin' On'

There is life after death, for both the good souls who departed and the ones they left behind. Singer/songwriter Tim Bertulli reflects upon the passing of his father in the title track of his debut album but with gained wisdom and not puddles of tears. It is symbolic of the inner strength that is projected throughout the record. Bertulli's voice alone is rock-solid; it's built like a steel wall, larger than life and refusing to break no matter how hurtful the situation.

I always thought that country music was the most macho of all musical genres. Having been exposed to tough guys like Johnny Cash and Waylon Jennings as a teenager, it molded my view of country artists being these hard-bitten cowboys. Unfortunately, there's been too much studio gloss and MTV fashion in Nashville. Bertulli brings on the grit, the subversive rock element, that has been missing from country for too long. His voice is not pretty, and it isn't supposed to be. You don't sing songs such as "Don't Wanna See You" by having the falsetto of the Bee Gees. This is drinking music with no watering down of content.

For more details, go to: http://www.timbertulli.com

Reviewed by Karla Ash

Steven Ross Jahn - 'South Texas Wind'

It's certainly not a long album - clocking in at about half an hour - but there isn't a wasted moment on Steven Ross Jahn's South Texas Wind CD, providing a sense of satisfaction that other artists aim for yet ultimately fail in delivering. Craftsmanship is the key to Jahn's success. The singing, the lyrics, and the arrangements add up to a high level of quality that makes the record worthy of repeated spins. The most addictive cuts on South Texas Wind are the despondent ones: the plaintive longing of "I Saw Your Picture in the Paper"; the quiet hurt of "Dusty Road"; and the childhood sorrow of "Santa Bring My Daddy Home." This is not "critic's music." Jahn speaks from a blue-collar perspective; there's nothing intellectual here, just tunes about everyday life. Jahn is an effective narrator, unafraid of allowing his emotions to soak the words, which carry so much weight.

http://cdbaby.com/cd/srjahn4

Reviewed by Karla Ash

Jimmy Buffett saxophone player Amy Lee releases new album mixing smooth jazz and R & B

After spending more than a decade in Margaritaville, one would expect Jimmy Buffett saxophone player Amy Lee (http://www.amyleesax.com) to create music reminiscent of the King of Trop Rock. But Lee, who has been a professional musician since the age of 16, has her own set of flavors. On her new self-released album Use Me, Lee uses the midnight-blue lushness of her sax playing to touch upon smooth jazz, R & B, and pop. Being an independent artist allowed Lee to venture into whatever territory she desired, and Use Me is a reflection of her influences including covers of classics from Stevie Wonder and Bill Withers. According to Lee, Withers enjoyed her remake of "Use Me" so much that it became the first track he downloaded on his iPod.

In addition to performing and even writing songs with Buffett, Lee has worked with renowned artists such as Charles Neville, James Taylor, and Joni Mitchell. However, Lee remains an unknown player, a gifted woman in a male-dominated field. Nevertheless, the personal vision of Use Me is about to turn heads, not only for its sexy, striking album cover, but also for the heartfelt and original sounds inside.

By Michael Sutton

* Franklin Richards submitted reviews for Country band The Famous & singer/songwriter Guy Michetti with the following message:- "hello! i really like your site. i haven't even heard of many of those artists, which is wonderful."

The Famous - 'Light, Sweet Crude' (Leading Brand Records)

The Famous' Light, Sweet Crude reminds me of what my dad's country records used to sound like. Put away your adult perspectives and think about how music felt when you were a child. As a kid, I thought Johnny Cash was scary. No, not in the Jack the Ripper definition in the word, but Cash wasn't somebody you wanted to upset. To my ears, he roared like a towering grown-up, his eyes burning with the rage you'd expect from a stern principal after misbehaving in the playground. Of course, as I got older I came to appreciate Cash as an elder statesman of outlaw country rock - nothing terrifying but admirable nonetheless and even relatable. The Famous, on the other hand, can be frightening - just listen to the gritted-teeth rage of "Get You Back" and "Son of the Snake." And, hey, country music should have its chilly scenes. However, the Famous strike various emotional chords on Light, Sweet Crude, and all of them are effective. My father would've cried to "Tear" back in the day, and "Overtime" is a charming homage to traditional country. The Famous perform a neat juggling act on this debut, swinging from country and post-punk, bottles of Jack Daniels in one fist and beef jerky in the other.

URL: http://www.thefamous.net

Guy Michetti - 'All In My Mind'

Without even hearing a note on Guy Michetti's All In My Mind album, it was easy to guess what to expect from the cover alone. Wearing shades and carrying a guitar, Michetti is no pretentious or glamorous rock star and neither is he an indie experimentalist. The cover truly says it all: a man, a guitar, and the city around him. Being used to Lou Reed's grit-stained portrayals of the East Coast, it is an enjoyable change of pace to hear "A New York City Life," Michetti's delightfully high-spirited love letter to the Big Apple. Guitars strum and ring like hummingbirds, and it feels like the late '60s again.
The production and arrangements on All In My Mind are retro without being dated, and Michetti has a friendly, pleasant voice that is perfectly suited for his storytelling. At times sentimental, at times romantic, All In My Mind is the epitome of the 'singer/songwriter' record, one that reveals what the person is thinking and feeling. Favorite tracks abound but I am leaning towards "Dianne" and "She's My Only One," with its clever opening female spoken-word bit.

URL: http://www.guymichetti.com

* Tess Khaleque submitted a review of Swedish band United's new album Slick- released in Stockholm on 16th February 2005

United - 'Slick'

Flipping open the cover on the pink, purple and red adorned case, anyone would think this album was a box of chocolates but tacky saccharin is not what you will get. It is true you will find a variety of flavours but they are more like gems so maybe a velvet jewellery box is the more appropriate analogy.

The first track on United‘s debut album, coolly titled ‘Slick‘, is ‘Needs’. It feels as if United just can’t wait to get started. Patrik breaks into song fairly quickly in comparison to the other songs. Here we have gentle drumming punctuated with harsh guitars, his needs confused by what has been and what is to come. Maybe this is about putting the split of his former band behind him and starting afresh with a more cohesive group? “I want my feelings out of my past/I want to change I need to last”. Who can’t identify with this desire? Their post-punk influences are evident in this track and prepares us for an introspective ride.

With the past out of the way, “Today Will Die Tomorrow” deals with the present and the future. It opens with what appears to be a synthesised orchestra and operatic vocals. An indication that this band will not be predictable and an ideal introduction to a song with a big theme . The universal plight concerning the transition of time and the all important emphasis that living for today is paramount, “What’s there to keep/ /No rest until they sleep/With the loudest voice/Today will die tomorrow”.

“Made For us” is the ideal third track; just when you might be dithering over whether or not you like this album, this song firmly makes you mind up that it is excellent and worth exploring some more. Anthemic in nature, this is surely the song that will unite a live audience? It also shows how unique and original the band are and their creativity is not only reliant on times past. The arrangement is superb. With arousing guitars, heartfelt lyrics and a well-used tambourine, it is the trademark that makes them United. Young, angelic backing vocals support Patrik’s grainy, experienced voice; William Blake’s Songs of Innocence and Experience come to mind with this paradox.

With the opening for “Walk On Water”, you will be forgiven for thinking you are being serenaded at a Roman Pizzeria, but with references to Jesus and God maybe Rome isn’t such an unlikely place to discuss these lyrics. I doubt this song is simply an exploration of religious faith but about faith in life and yourself in general,. “Reach - the heart is to wake up/So teach me how to shape up”. There is a yearning to find the allusive thing that helps make sense of life and love. We are better people and more powerful when we find it, in whatever shape it comes in.

“ Kinship” lifts us hurriedly out of the seriousness that “Walk On Water” was washing over us, and we return to the echo of the genres passed. “A combination of lust and fascination/While deprecation strikes your imagination/Yours is mind and the best is yet to come/We’re the reincarnation of a new sensation”. Words like ‘lust’, ‘deprecation’ and ‘sensation’ uttered in a true post-punk style. My only criticism of this song is, ‘how dare a Swedish band use an English word like ‘deprecation’ when I had to look up its meaning in the dictionary and I am English.’ It is embarrassing when they have a better command of your mother-tongue than you do! Oh, and don’t ignore the backing vocals, they’re amazing!

“Here To Stay” is one of those songs where all is made up in the chorus. I haven’t quite interpreted its meaning for me yet. There seems to be some criticism of society and its lies but nonetheless, a defiant message to remain strong and stay true to yourself. An all too favourite subject close to the hearts of Placebo; United’s most important fans.

I think a Cure influence can be spotted in the instrumentation on ‘All Is Lost Without You’, but the vocals clearly mark the song as unique to United. Another great and unnoticeably short song from the EP. “Breaking hearts/Making up/Life’s too cold/Life’s too much”, says it all really. How difficult and troublesome life can be but with the forceful and repetitive chorus of “All is lost without you“, there is the hope that, all that, can be set aside as long as we don’t go on this journey alone.

We arrive at “Trying To Save the World” with a good, strong backbone of songs behind us so the simplicity of this track is initially a little off-putting but that shouldn’t devalue its importance on the album. It is in the right place and sort of sums up the earlier, more reflective songs. Patrik’s voice comes across quite unstable but I suppose that is the idea when exploring your existential guilt about the state of the world and somehow it fits.

“For What I Feel” may arguably be the nearest thing to a ballad on the album but that doesn’t do it any justice. This track contains, for what I feel, the rawest of emotions. If there was any doubt in Patrik’s voice, this is the song that proves otherwise. He can manipulate it to convey all of the feelings referred to in the lyrics. “Lower your guard and make up/For dull is that heart that cracks up/Feed a thought that hunts you/Freeze for a life that binds you”, are beautiful words, sung beautifully and being difficult to sing along to proves there is skill involved. This song feels the most personal so far and will definitely remain a firm favourite from the album for some time.

The penultimate track will be an old friend to those already familiar with United through their EP. More of a ’friend known’ than “Friends Unknown”, this song safely prepares us for nearing the end of the album. It re-establishes the collectiveness possibly lost through individual pensiveness of some of the earlier songs and lifts the mood . I recall he concept of the infinite number of relationships possible in Virginia Woolf’s novel ‘To The Lighthouse’. A passage from it suggest we have a multitude of personalities waiting to be discovered with each interaction with a new person. It gives us hope that if you don’t like who you are, there are many future friendships to be had ; that may make you feel otherwise, if you only open yourself up to the possibility.

So finally the dawn is upon us with the final track and what better way to conclude than with a title containing the words ‘Bye, Bye’? “Bye Bye Love” has a Joshua Tree feel with it’s slow, progressive intro. Yet it builds and builds until finally the climax of the album arrives and it is not a disappointment. Saying goodbye to Slick is hard but I am hoping it is only the start of a long and wonderful friendship and more albums. Besides, the repeat function is always there if I want a second, third or even more innings.

Passionate vocals, soaring guitars, unconventional drumming, some enviable synthesised creations and most importantly unbound enthusiasm from five friendly guys makes this the album I have been most excited about in a few years.

Find out more about United by visiting http://www.fansunitedonline.co.uk | Buy the album from http://www.ripoff.se

* Liz Moores sent in a couple of reviews to the site. Please enjoy...

The Fiery Furnaces - Gallowsbird Bark

Quirky brother and sister country an' blues US bass-less garage band. Sound familiar? Well stitch in some Dylan, Belle & Sebastian and even some Elton John coloured Stripes into that gingham shirt and you've got what is apparently one of the current most fashionable garments the blues-rock wardrobe has to offer. And rising like a still-ashy phoenix from the most tiresome copycat corners of the White Strokes scene, it becomes increasingly apparent that the Fiery Furnaces are genuinely in a slightly eccentric, far more interesting league of their own. The garage rock sound is admittedly their staple diet, but what with Sister Furnace Eleanor's Kathleen (Le Tigre) Hannah esque's vocals, and the slow paced, self-confident melodies, there is a sageness and clarity of sound that proves that a breezy bit of wind up the lyrical tail (and some admirable production) goes a long way. A knowing humour ("I found a bag/Red white stripe" on 'Inca Rag/Name Game' an especially telling lyric), combined with the melting pot of traditional blues, mild electro-pop and controlled Karen-O style feist in the vocals, elevates 'Gallowsbird Park' to a (albeit slightly skewed) platform of its own.

The Early November - The Room's Too Cold

Dashboard Confessional sure has a lot to answer to. Now that the sensitive, rucksack-wearing gentle muso kids have a new and celebrated hero in the tattooed, puppy-dog eyed DC frontman Chris Carraba, inevitably comes the pretenders to the Kleenex throne, this time in the ill-defined shape of The Early November. On occasion, a cruel and fleeting glimpse of a chorus struggles momentarily free from the weeping, pretty pretty guitars, but too often the majority of the tracks from The Room's Too Cold are limp wristed stragglers; songs similar to the (recent, and rubbish) Get Up Kids, like the wussy Dinner At The Money Table, or the unbelievably weak opener Ever So Sweet. The tedious dependence on Arthur Enders' vocals to carry each track is clearly too much of a challenge, sadly lacking as he is (except for right at the very, very end) in any desire to really exercise his skills; proving that he has Carraba's range and easy emotional delivery, but frustratingly, not the inclination to use it. When bands like Biffy Clyro exemplify how imposing and involving the quiet-loud-quiet dynamic can be in music such as this, The Room's Too Cold is sorry proof that a quiet-quiet-quiet approach can so easily just become background music. Listen to Weezer's unbeaten 1996 album closer Butterfly instead. Listen and weep.

* Patrick Gill was kind enough to submit a bunch of reviews on Richard Ashcroft, Badly Drawn Boy, Phish, Supergrass and Zwan.

Richard Ashcroft
'Human Conditions'
"Ashcroft's Life Anything But Nasty, Brutish, and Short."
B+

The love-struck Richard Ashcroft finds himself coming down to reality after his first solo album, Alone With Everybody. Years of success with The Verve have molded Ashcroft and led him to a phase of life in which love for wife Kate and a revitalized spirituality rule the world of the "Lucky Man".
With the release of Human Conditions, Ashcroft takes a philosophical approach to the world around him and, as the first tracks points out, he "checks the meaning" of this thing we call life.
Ashcroft takes no time in setting up his argument as he sings about the brutalities that we all face as human beings, reminding us that "we're out here on our own". Rather than focusing solely on the negatives, he creates constant back and forth tension between the good things in life that brighten our days and the bad things that plague our nights. On "God In Numbers", Ashcroft searches for an answer by singing, "Don't throw away the pictures that give you a smile/Don't throw away the memories that make you cry".
Human Conditions marks an era of growth for Richard Ashcroft that is apparent in his lyrics. Rather than singing love ballads commemorating beauty, he tackles an age old question on "Science of Silence"; how is it possible that two lovers can totally understand each other without saying a word? In talking about his wife, Ashcroft uses difficult metaphors comparing her to a well not yet dug, a university, and a cosmic library, which show how much he has grown and continues to explore in the vastness of their love.
As Ashcroft concludes his musical dissertation, he brings to light his most important ideals in "Nature Is Law." The uplifting ending shines light on the idea that we are all obligated to see the beauty in the world because of the sole fact that we are human. This categorical imperative pounds with a passion that inexorably drives Ashcroft's spiritual montage on life.
In a symbolic comparison of life as endless rivers flowing into a larger body of water, Ashcroft fails to realize that the choppy "Bright Lights" does not find its place in a sea of calm ballads, and many overflowing tracks could be drained a minute or two.
Overall though, Ashcroft seems to understand his view of the world and in trying to get listeners to do the same, he leaves a beautiful album that can be dissected time and time again.

Badly Drawn Boy
'Have You Fed The Fish?'
"Badly Drawn Boy Pens Near Perfection"
B+

Looking at the scruffy, second-hand Damon Gough, a.k.a. Badly Drawn Boy, one probably would not expect to hear a near rock opera laced with strings and horns. Do not be so sure if you have yet to hear his latest album, Have You Fed The Fish?. Gough, often sporting an untrimmed beard and a toboggan hat, has a distinct image of an artist who could care less about the latest fashion. If you take away the threads and his blatant unruliness, Gough proves he is as sophisticated in his music as he is talented.
Have You Fed The Fish? is the most eclectic album released by the wannabe slacker to date, yet it ultimately becomes the most structured. The ever-changing album starts out with a flight captain announcing to passengers that, "there is a cloud outside that looks exactly like Badly Drawn Boy". While listeners may be fooled by the goofy intro, within seconds a near symphony of instruments, dominated by a xylophone, keyboard, and guitar, crash-land into the speakers. He soon collects the vast array of sounds, except for a piano, in order to make the transition into a heartfelt, pop song that flows with ease. The first few minutes of Have You Fed The Fish? lets listeners know that they are in for constant musical surprises throughout the album.
Damon Gough finds a style that is all his own in Have You Fed The Fish?. With ease, he churns out a pop rock album that makes listeners wonder whether it is a score written for a Broadway musical. The album is uniquely split into two distinct sides. The first half of the album, ending with "You Were Right", is more folk/rock oriented with an inescapable pop coating. The middle track "Centre Peace", sets the gap between the previous folk driven side and the second half, which mixes Brit-pop with dance grooves and still manages to add a psychedelic element.
Even though Damon Gough proves that he is a mere genius, this album may not appeal to some listeners. Often referred to as the British Beck, people may be disappointed that Gough seems to shrink away from his formerly unwavering folk roots. His latest blend of pop rock mixes the sporadic foolishness of Blur with a strong underlying integrity that artists have been trying to duplicate since The Beatles' Revolver. While so many musicians have shied away from pop albums in a time where J-Lo and Justin rule the charts, there's no doubt that Have You Fed The Fish? gets an A for effort and is not far from the mark in its performance.

Phish
'Round Room'
"Phans Bound For Bad Trip In Round Room."
C-

Phish, the band that bred more open-mindedness and drug use since The Grateful Dead, seem to have calmed down in the paternal stage of their lives. The band was recently on a two-year hiatus only to return to play their renowned New Year's Eve show, with a much anticipated follow-up tour. While rehearsing for the NYE show, Phish found themselves recording their latest studio album, Round Room. The band only took four days to record the album and it shows.
The album starts out with the longest and best track of the album "Pebbles and Marbles", which is the song that lead singer Trey Anastasio formerly dubbed "Nothing But An E Thing" with newly added lyrics. "Pebbles and Marbles" sounds like a missing track on the band's 1993 LP, Rift, until an extended jam that flows in and out of catchy guitar riffs. The only other track that matches the opening jam is the unique, two-part "Walls of the Cave". Split by a patented Jon Fishman drum solo with vocal accompaniment by band mates, Phish turns the mesmerizing "Walls of the Cave" into an exhibition of classic grooves, in which all of the band members come together.
Round Room has many good qualities, but overall the album lacks in areas in which Phish has prided itself for the past twenty years. While the members of Phish have always believed in separate but equal roles, most of the tracks on Round Room are based around the four-eyed front man, Trey Anastasio, leaving fans wondering what happened to the slap happy Mike Gordon (bass) and the unusual, crowd pleaser Jon Fishman (drums). Round Room shows that certain band members slacked off in a time of potential growth, but fans will be pleased to hear the dominating presence of pianist Page McConnell, who used the time off to his advantage by working on a side project with Vida Blue.
Round Room was put together in sessions that lasted less than a week, which exemplifies the band's talent but leaves listeners disappointed by the lack of perfection, and sometimes, blatant errors. Furthermore, fans will be disappointed by the mellow tracks on the album, which contain a rare element of lethargy and subsequently will never be able to compare to classics such as "Waste" and "Wading in the Velvet Sea". Thanks to "Pebbles and Marbles", "Walls of the Cave" and potential fan favorites, "Friday" and "46 Days", Phish should have no problem on the road. Even with that being so, Round Room will ultimately leave ticket-less fans disappointed by the slopped together studio album.

Supergrass
Life On Other Planets
"Life On Other Planets Is One Small Step For Supergrass"
B

Seven years ago Gaz Coombes and his band Supergrass released their first single, the screeching, power-punk "Caught By The Fuzz". Throughout the years fans have seen Supergrass move away from their punk roots to turn out more and more seemingly experimental gibberish. Their latest album, Life On Other Planets, may prove to be just another experimental stepping stone for the boys from Britain, but they do it in a style of pop success that hasn't been brought to U.S. soil in decades.
On the album, sideburn-sporting singer Gaz Coombes echoes with pub reminiscence, taking listeners to the place where he spent years perfecting his skill. He is the force that has been driving Supergrass to stardom in the U.K., even when they get little to no recognition here in the States. While Supergrass is still clinging to melodies that are more of a playful façade, the release of Life On Other Planets makes it clear that the band is searching for a concept or idea that will be more seriously thought over.
Their latest release shows that Supergrass is moving one step closer to an album that will be held in the same light as classics such as Exile On Main St. and OK Computer. Even though Gaz Coombes is most likely thought of as a 21st century David Bowie minus lipstick, he ventures into the sounds of other classic British artists from a not so distant time. "Evening of the Day" mimics The Beatles in their prime, "Rush Hour Soul" proves to be Iggy Pop fully clothed, and "Prophet 15" is the best John Lennon impression since Liam Gallagher's "Songbird".
With these biographical memoirs from Life On Other Planets, listeners learn that Supergrass can pay homage to the greats of our time, but will they take the initiative to release an album full of standouts from their own perspective? What listeners will find is that Supergrass is more than able to bring forth a new sound in this diversified musical era, which can be seen in standouts tracks "Seen The Light" and "Can't Get Up". The boys from Supergrass need to take a look inside themselves to see if they want to release one of the greatest rock records of our time, but for now they left listeners a frothy pint of British pop success.

Zwan
Mary Star of the Sea
"On Zwan's Virgin Album, Mary, Corgan Seems Content In His Maturity."
B+

After his past two regretful albums with the Smashing Pumpkins, Billy Corgan has moved away from his inflexible intellect in order to pursue a career with his new band, Zwan. On Zwan's first album, Mary Star of the Sea, Corgan teams up with fellow guitarists Dave Pajo (Slint, Tortoise) and Matt Sweeney (Chavez), bass player Paz Lenchantin (A Perfect Circle), and drummer Jimmy Chamberlain (Smashing Pumpkins). The all-star lineup has allowed the alternative-rock genius to step back from the spotlight and write an album that has all the elements of being serious, but is comprised of cheerful, catchy songs.
Mary Star of the Sea is made up of songs about falling in and out of love, but the lyrics are not quite as deep as the mosh-pits that once predominated Pumpkins Concerts. Billy Corgan has moved away from deep and sometimes confusing metaphors in order to write lyrics such as "I believe/I believe the love you talk about with me/is it true/do I care/honestly". Even with apparent degeneration in the underlying thought process behind his music, Corgan crafts an album that has an uplifting underlying tone, which cannot be broken from track to track.
Despite making a pseudo-thematic album, Corgan and band mates manage to turn out songs that are drastically different despite a similar coating. "Settle Down" and "Honestly" are catchy, glam-rock songs that will grab listeners and have them singing along before they make it to the next track. Even though much of the album is pop-oriented, "Of A Broken Heart" wallows in a dismal beauty that has not been repeated since the Pumpkins' first did it in the early 90's. "Desire" also shies away from the upbeat spiritedness of Mary Star of the Sea by adding a heartfelt song that matches the best of Corgan's integrity, but leaves behind any dark elements.
Through the help of new band mates Billy Corgan has evolved into a happy musician who is no longer trying to get people to understand what he's saying, but is making people realize the underlying beauty that has always been present in his craft. Even though he goes off on an infamous, intellectual tangent in the fourteen-minute "Jesus, I/Mary Star of the Sea", most fans will understand that he's Billy, and rock God's can't completely change over the course of one album. Even with a few glances toward the past, Mary Star of the Sea lets listeners know that "desires fade away"; Corgan's desire to be a rock God, and our desire to understand his true genius.