Album Reviews

I'm shamefully behind in reviewing albums this year. In an effort to knock a few out, here are some shorter reviews.

The Weeknd - House of Balloons (4/5)

Canadian singer Abel Tesfaye, better known as The Weeknd, caused quite a stir when he released his debut album, House of Balloons, earlier this year. Not so much for the fact that it was put out free of charge from his website, but for the fact that it made critics swoon. Anyone tired of the usual suspects in R&B should take note of the growing revolution in sound born by the likes of The XX, James Blake and now this haunting, often beautiful, sometimes nasty work. It manages a nice balance between indie experimentalism and pop sensibility, although it definitely has a dark side too. "What You Need" is a clear highlight--a smooth, late-night jam that seduces as much with its sharp beats and liquidy synths as it does with Tesfaye's (surely knowingly) dated lyrics about "knocking boots." But then there's "Wicked Games," with its sad melody and bitter lyrics making a potent, jaded song ("Bring the drugs baby, I can bring the pain"). And I'm not even going to get into "House of Balloons"/"Glass Table Girls"--let's just say these girls aren't playing pinochle on that glass-top table of theirs. Best: What You Need, High for This, Wicked Games, The Knowing.

Kanye West & Jay-Z - Watch the Throne (3.5/5)

So much starpower and ego come together on Watch the Throne, the long-awaited collaboration between rap superstars Kanye West and Jay-Z. With a combination like that, it had the potential to be a masterpiece or a disaster, so it's almost surprising that instead it falls somewhere in the middle. "No Church in the Wild" serves as a subdued if somewhat ominous opener, with auto-tuned vocals from Frank Ocean. Ocean also provides vocals on the album's other track with heavy religious references, the uplifting "Made in America," an ode to successful African-Americans (including themselves) during which they thank "sweet baby Jesus" for their success. As gracious as that song may seem, the duo doesn't escape typical boastfulness, as they have in fact adopted "The Throne" as their nickname throughout this work. Shameless as that may be, they probably deserve it. And after all, when Jay-Z uses "Beyonce" as a slang term to refer to a fine woman (as he does in "That's My Bitch"), he's talking about the Beyonce...his Beyonce. Too bad when the lady herself shows up on "Lift Off" the song stays grounded. Mr. Hudson has a nice guest turn though on "Why I Love You," the kind of grand track that could have felt at home on West's comparatively superior My Beautiful Dark Twisted Fantasy. Best: Why I Love You, Made in America, Otis.

Hard-Fi - Killer Sounds (3.5/5)

Remember when Hard-Fi were hot stuff back in 2005? Their debut, Stars of CCTV, was NME's album of the year and a Mercury Prize nominee. Then, although I greatly enjoyed their 2007 follow-up, Once Upon a Time in the West, it received a lukewarm reception. After a 4-year break, they finally return with their third album, Killer Sounds, which, despite the lapse of time, manages to sound not unlike their earlier work. And that's not a criticism necessarily. The album opens strong with upbeat "Good for Nothing," followed by the even better "Fire in the House," with its bristling, electronic arrangement. "Give It Up" pushes along with an insistent tempo and guitars to match. After that though, I find it hard to muster much enthusiasm for the rest of this. It's not bad, but it's missing a "wow" factor present on their other albums. Even the songs from one of my favorite producers, Stuart Price--the man responsible for last year's pop trifecta of brilliant albums from Take That, Scissor Sisters, and Kylie Minogue--fails to bring much originality to songs like "Bring It On," which I just find ho-hum, "Feels Good," which sounds like "Cash Machine" recycled with some Middle Eastern instruments, and "Love Song," which seems to curb from Roger Sanchez's "Another Chance" (Price does deserve credit for "Fire in the House," my favorite track, which he produced with Richard Archer). Best: Fire in the House, Give It Up, Good for Nothing.

Best of 2000s: Hard-Fi - Once Upon a Time in the West (4.5/5)

To follow their acclaimed debut, Stars of CCTV, English band Hard-Fi went for a grander, more mainstream sound on their second album. It seems every band still wants to be the next U2--a distinction only Coldplay can reliably lay claim to. That said, Once Upon a Time in the West's big melodies still largely succeed, punctuated as they are by enough quiet spaces to distinguish the louder ones. First single "Suburban Knights" bristles with energy, while second single "Can't Get Along (Without You)" swaggers like a brassy Smash Mouth track. Piano ballad "Tonight" is my favorite though, a classic build-to-the-big moment sing-along of a song.

Best: Tonight, Suburban Knights, Can't Get Along, I Shall Overcome, We Need Love, Television

Album Review: Hard-Fi - Once Upon a Time in the West (4.5 / 5)

My definition of a really good album goes something like this: At first listen a few tracks stand out as instantly likable. Upon repeat listens, the appeal of other tracks emerges, while the first favorites don't wear out their welcome. You can see yourself listening to this for years to come.

That's what we have with Hard-Fi's second album, Once Upon a Time in the West, a confident, sweeping second album from the English band who debuted 2 years ago with the impressive Stars of CCTV. In a year packed with second albums from British groups--Bloc Party, Arctic Monkeys, Kaiser Chiefs, Editors--it's the best of the bunch, surpassing the band's first disc.

"Suburban Knights" opens with its best foot forward. It's upbeat, loud, brash, fun, marked by sharp electric guitar, a strong chorus (backed by a choir of "hey hey hey, oh oh oh, ah ah ah"), electronic keyboards, and even some strings to punch up the end. It even touches on suburban apathy toward the war on terror.

"I Shall Overcome" is also bold, but different, with alternating passes from electric and acoustic guitars. The strings and choir show up here too, but are used differently to underscore the chorus, vaguely sounding like a rock version of a dark disco track. Other songs embody a dance aesthetic too, like "Television," which I could almost imagine being a Pet Shop Boys track with a different arrangement. Piano and keyboards open this, and sound like their headed toward a clubby track, but then the song takes a punky pop/rock turn into its chorus.

"Tonight" is the second obvious highlight. It's a bold rock ballad, with big chorus, piano, strings. I like though, that it retains an electronic sheen pervasive through most of the album. Even the drum line sounds more like something from an electronic album than a rock album, which sets this apart from something that say Embrace or Coldplay would do. It seems like an obvious choice for third single.

The album shows remarkable musical diversity. The dark, string-laden "Watch Me Fall Apart" reminds me of early '90s Depeche Mode. Cheeky "I Close My Eyes" is a cacophony of percussive noise interlaced with insistent electric guitar and harmonic choruses. The lyrics long for escape from life's annoyances ("the boss is on my back"..."the phone keeps ringing"), but taunt the singer too with some "nyah nyah nyah."

Depression ballad "Help Me Please" tones down the exuberance of the previous tracks, but this is short-lived. The slight reggae and disco touches of slated second single "Can't Get Along (Without You)" reminds me of Smash Mouth. Following down-trodden "Help Me Please," it oozes joyous celebratory energy. Then there's "We Need Love," which pulses with a prominent electronic bass reminiscent of Goldfrapp's last album. My hometown gets a mention, along with New York, Glasgow, Liverpool, San Salvador, and London.

"Little Angel" is much brasher than its title would imply; another good sing-along number (if you know the lyrics). Final track "The King" is yet another winner. Darker and brooding ("With you I was The King, But now my story's done"), but lovely and melodic too. A bonus acoustic version of "Tonight" demonstrates that even without its heavy production, the song still holds up.

Not a bad track in the bunch, and quite a few really good ones. Once Upon a Time in the West is a very good sign that Hard-Fi will be around for awhile. I'd give this a "5," except for the fact that I'm not quite convinced it has "classic" potential. I therefore reserve the right to amend my rating.

Best: Suburban Knights, Tonight, I Shall Overcome, Can't Get Along (Without You), The King, Television, Little Angel, I Close My Eyes, We Need Love, Watch Me Fall Apart.

Hardi-Fi "Suburban Knights"

Do you like Hard-Fi? Their first album, Stars of CCTV was one of 2005's best. This the first single from their second album; it's called "Suburban Knights"

Album Review: Hard-Fi - Stars of CCTV (4/5)

The Killers and Franz Ferdinand, meet your new opponent. Hard-Fi, formed in 2002 by lead singer/songwriter Richard Archer in Staines, England, are the latest entry in the indie/retro/fun rock movement, and a welcome one for sure. Stars of CCTV is an accomplished debut that manages to be both darker and less clever than the aforementioned bands, while still maintaining a sense of fun and musical urgency.

The opening track, "Cash Machine" struts along with fuzzy electric guitars, feedback-laden vocals, and just enough retro-electro and keyboard to remind us that '80s influences are still strong in rock. The rhythm and electric guitars get turned up a notch for "Middle Eastern Holiday," and then the electro for "Tied Up Too Tight." "Gotta Reason" keeps up the pace too, but things get really interesting with "Hard to Beat," which is this album's equivalent to "Somebody Told Me." The track swirls with electronics, electric guitars, and noise, and breaks out staccato keyboard for the chorus that sounds like it came from Madonna's "Into The Groove."

A reprieve is offered by "Move On Now," a Coldplay-ish piano ballad that Archer delivers with an emotional vocal. With its slight use of electronics, it's almost downbeat. "Better Do Better" draws on big band, resulting of course in a big sound when combined with keyboards and guitars. "Living For The Weekend" is another dark, loud, electric number. Overall, somewhat derivative, but a solid and enjoyable debut.