All Tomorrow's Parties

This review has been published by Spiked, for more go to:

http://www.spiked-online.com/index.php/site/article/7514/

Here's a taster:

The concert film is often mourned as a lost art form. Truth be told, it never was an art form in the first place. While many cast a nostalgic eye over Woodstock or The Concert for Bangladesh, the concert film remains a largely commercial and tediously predictable format.

Illmatic by Nas

Certain albums feel like both a pinnacle and a culmination of the environment which bore them, Illmatic is such an album. This, Nas’ first and best work, embodies all that is great about East Coast rap. His rhymes evoke the street realism of KRS-One, whilst the album’s beats continue the jazzy lineage of the Native Tongues Posse. By reinterpreting these influences through heartfelt stories of his formative years in the projects of Queens Bridge, New York, Nas produced ten of the most emotive yet hard edged Hip-Hop tracks of the golden age.

To say Nas’ lyrics are incisive is a damnable understatement, his words are intense, dark and laced with wisdom far beyond his years (he was a mere 19 at the time of its release). From ‘N.Y. State of Mind’ with its haunting refrain “Inhale deep/ Like the words of my breath/I never sleep/For sleep is the cousin of death”, to the nostalgic ‘Memory Lane’ which mourns the absence of his slain friends, Illmatic is occasionally shocking yet always profound. If any emcee deserves the accolade ‘poet’ it is Nas.

From the slick horns of ‘Life’s A Bitch’ to the rolling keys of ‘The World is Yours’ as each song ends it seems to knowingly fade into Hip-Hop history. Although it’s been 15 years since its release, Illmatic really hasn’t dated at all, and as long as it remains relevant, so will Nas.

The Ecstatic by Mos Def

Ever since the release of Black Star’s self titled debut, the two emcees that comprise the duo, Mos Def and Talib Kweli, have had to live with the burden of a classic. The critical success of this stark and insightful album meant the two relative unknowns were hoisted upon the shoulders of socially aware Hip-Hop and whilst they soon retreated to individual projects, Mos only made matters worse for himself when his solo debut Black on Both Sides was every bit a classic as Mos Def and Talib Kweli are Black Star.

Before he was even 25, Mos Def had two undeniably excellent albums under his belt and the inevitable disappointments of his last two releases have meant we have all been waiting for his ‘return to form’. However, whilst we all expected this to come in the form of a Black on Both Sides pt 2 or a Black Star reunion, his latest release The Ecstatic, succeeds through weaving the loose ends of his last two works into a cohesive and genuinely distinctive sound.

With opener ‘Supermagic’ the album begins in a blaze of electric guitar and feverishly delivered rhymes. The effortless synthesis between beat and lyric is hugely reassuring, as if to say ‘This time things will be different’, but as soon as the sheer impact of this track wears off, one has to wonder how different this is to his previous Rock ’n’ Roll failings. In fact, the album is littered with musical avenues Mos Def has ventured into before and failed to return from. The thudding timpani of ‘Quiet Dog Bite Hard’ sounds almost copy and pasted from the rhythmic experiments of his sophomore album The New Danger, and the ironically named ‘Life in Marvellous Times’ would’ve slotted neatly alongside the synth laden beats of 2006’s True Magic. However, where lack lustre production had left previous albums feeling muddled and directionless, attention to detail and a stellar cast of producers have seamlessly integrated a range of genres into one consistent work.

The Ecstatic seems designed to recover old ground, as Mos serves up everything which made his music great. As incisive as ever, his lyricism is politically charged yet never preachy. Whilst he will always be pigeon holed as the darling of political rap, he aspires to above all be poetic, meaning he has the freedom to drift between topic and mood, without the album losing focus. Furthermore, collaborations have been noticeably absent from The New Danger and True Magic, yet here they’re back in force. Highlights include a well overdue duet with Talib Kweli on the J Dilla produced ‘History’ and the wonderful ‘Auditorium’ which combines the forces of Mos Def, producer Madlib and legendary emcee Slick Rick to craft quite simply the most inspired Hip-Hop collaboration of the year.

With Mos Def’s attention increasingly shifting to acting in the past few years, The Ecstatic didn’t just need to be good it needed to be great. Needless to say, it is! However, it succeeds on its own terms. Admittedly it makes little attempt to expand into new areas, but it remains a unique concoction of his jazz, soul and rock influences; more a reassurance than a rehash. Intelligent Hip-Hoppers rejoice, your prodigal son has returned.

Back To The Old House: Will The Smiths Ever Reform?

The combination of Morrissey’s intense, literary lyricism and guitarist Johnny Marr’s out and out virtuosity, meant 80’s indie forebears The Smiths were never short of critical acclaim, yet the fact they are not held in the same regard as The Beatles make them the most underrated band of the past 30 years. Like The Beatles they were an unprecedented sensation, they revolutionised the pop scene and their legacy was cemented by a short-lived career and an acrimonious split. Tragedy ensured The Beatles would never reform, but as all four Smiths are alive and sober, the fans’ desire for a reunion has grown increasingly passionate over the years.

The Smiths’ story began in 1982, where Marr knocked on the reclusive Stephen Morrissey’s door and demanded the two collaborate. Five years, four albums and a thousand fights later, The Smiths’ were on the verge of a major record deal, but increasing tension between Morrissey and Marr meant a rift had appeared in the band, and everyone involved was forced to choose sides. In an effort to quell tension, Marr decided to take two-week break, however misinterpreting this, the NME published an article claiming the guitarist had officially left. This proved to be the last straw, as an emotionally exhausted Johnny Marr decided to prove the NME right and leave the band.

In 1987, few felt the split would last. Morrissey, drummer Mike Joyce and bass player Andy Rourke all begged Marr to continue, and in their later, ill-fated attempts to replace him, they made it clear they wanted The Smiths to live on. Even in the midst of his increasingly successful solo career, Morrissey continued to state in interviews that he longed for his old band. However, a reunion hinged on the irreplaceable Marr, and he held no regrets in leaving it all behind.

With Rourke and Joyce continuing to work with Morrissey on his solo records in the late 80’s, fans could still be hopeful as The Smiths needed only their prodigal guitarist to be complete, but further proving their fans are as unlucky as they are loyal, a mouldering legal conflict would soon complicate matters.

In 1996, Joyce and Rourke sued Morrissey and Marr for an equal share of The Smiths’ royalties, as up to then the rhythm section had only been receiving ten percent each. Whilst Rourke settled out of court and continued to receive ten percent, the judge ruled in favour of Joyce resulting in an equal 25% share, and £1 million in back pay.

A full four member reunion was now impossible, but even though Morrissey seemed to bear no grudges towards Johnny Marr the court case seemed to leave a foul taste in the singer’s mouth, making even a Marr/Morrissey reunion unlikely. Lawyers had now picked the legacy of The Smiths apart, the magic was gone and for Morrissey this had essentially driven the final nail in the coffin. The ever-quotable front man summarised his position perfectly when he stated, “The Smiths were a beautiful thing. Johnny left it, and Mike destroyed it.”

In the thirteen years since the royalties ruling, Marr and Morrissey have grown stronger in their resolve to leave The Smiths be. Whilst it would be easy to see this as a matter of pride; neither one wishing to concede that they’ve never lived up to the precedent of The Smiths, it’s ridiculous to suggest that their egos alone are preventing a reunion. The sad truth behind many band reunions is that a string of shows or even a new album provide an instant pension for a group’s down and out members, but Mozzer and Marr are both secure and fairly prominent on the music scene and appear to feel a Smiths re-hash would be an artistically bereft endeavour. Perhaps they’re right, but where this band is concerned you truly never know, and if it ever does happen, I wouldn’t miss it for the world.

One Foot in the Grave by Beck

When alternative icon Beck signed his first major record deal in 1994, he retained the freedom to release his previous recordings on independent labels. The result was two albums released alongside his Geffen debut Mellow Gold. The first, Stereopathetic Soulmanure was a psychedelic work almost as bizarre as its title and the second, One Foot in the Grave was a folksy yet delightfully weird summation of Beck’s acoustic beginnings. Whilst the former was at best a patchy listen, One Foot in the Grave remains to this day a scintillating insight into the Beck that was and might have been.

Of course, any self respecting Beck fan will be quick to point out that he soon returned to his acoustic roots on the Nigel Godrich produced albums Mutations and Sea Change. Yet the rugged beauty of this release has never been recaptured amongst the studio gloss of subsequent acoustic albums. The charm of One Foot in the Grave is in essence its simplicity, the spacey bleakness of ‘See Water’ or the warmth of ‘Hollow Log’ is captured perfectly in the lo-fi production, as mumbled vocals and musical mistakes contribute wonderfully to the pervading sense of authenticity and earthiness which is associated with the blues and folk artists he emulates.

Lyrically it’s often bemusing, musically it’s often discordant, yet almost by accident, the confused and ambiguous nature of the songs creates a solitary, otherworldly tone unlike anything on any other Beck record. Whilst it’s largely dismissed as a mere compilation of Beck’s experiments before he found his true sound, One Foot in the Grave is in fact a fleeting glance at a Beck who could be lonely and thoughtful without sacrificing his peculiarity. A diamond in the rough.

A musical review of my progress

Whilst this may not be a review, or even vaguely music related, it is a piece i wrote which is now on a microsite on The Times' site. Thanks a lot to Nathalie Rothschild from the Young Journalists' Academy for letting me do this:

http://www.timesonline.co.uk/tol/global/article6618385.ece

Are You In? by De La Soul

Whilst one could never accuse De La Soul of yielding to commercialism, the last few years has seen the seminal Hip-Hop trio in pursuit of greater recognition and a larger audience. Their last full length release, 2004’s The Grind Date, was a straight up, twelve track, Hip-Hop record (a far cry from their revolutionary 24 track debut) and their collaboration with Gorillaz on the massively successful ‘Feel Good Inc.’, saw them in a place they hadn’t visited for decades, the top of the singles charts. Now, as a part of Nike’s ‘Original Run’ promotion, the Long Island pioneers have released Are You In?, a 45 minute continuous mix intended as a workout soundtrack for runners. Yet, whilst such a project screams “Sell-out”, the ever unpredictable De La Soul have subverted the allure of convention, and created some of their most inspired music in years.

Although it is labelled a ‘continuous mix’ the liner notes distinguish the ten songs which have been blended together. Designed to accompany the different stages of a run, the album begins with the laid back wake up tracks ‘Mornin Rise’ and ‘Good Mornin’. Here, the combination of Posdnuos and Dave’s expertly delivered rhymes and Flosstradamus and Young RJ’s Electronica enthused production, make these tracks easily two of the best De La have released in the past decade.

After its mellow beginnings the album shifts into its more intensive, fast paced stages, and whilst a certain level of monotony dogs such tracks as ‘Big Mouf’, the genre fusion which takes place is a continual and pleasant surprise. Such diversions as ‘Pick Up The Pace (Run)’ (a song which wanders between Rage Against The Machine-esque rock-rap and warm Jazz doodling) prove to be experiments which pay off. Whilst it may be on different terms, the group’s ability to move bodies remains evident.

With the final track, the soulful ‘Forever’ a sense of unity prevails. Whilst the album’s athletic premise may have seemed at first far too menial for such skilled veterans, it provides a structure which the band take full advantage of, as they communicate their messages and statements through their sporting demographic. On the penultimate song ‘Victory Laps’ De La address their place in Hip-Hop and their detractors through an extended athletic metaphor, creating an effortless synthesis between subject and style.

Are You In? undoubtedly has some beautiful moments, yet the album’s biggest merit is its ability to be both a unique take on the workout record, and a worthy addition to De La Soul’s canon. For the runner, this album provides a fittingly energetic athletic soundtrack, with an unexpected injection of soul and intelligence. Whilst for the De La fan, the album showcases some of the band’s most inspired and adventurous excursions to date. An against the odds return to form.

Gig Review: De La Soul

Now twenty years deep into their ‘Daisy Age’ odyssey, seminal Hip-Hop trio De La Soul remain one of the most criminally overlooked bands in the music business. Their innovative and playful approach changed the face of the genre, yet in 2009 they are labelled ‘out of touch’, purely because they refuse to compromise their originality for chart success. In a recent interview, DJ Vincent ‘Maseo’ Mason remarked that their ability to stay rooted and recording in an industry that disagrees with them, was due to the fact that they never forget who they are really working for, the fans. Whilst they may never recapture the commercial and critical success of 1989 debut 3 Feet High and Rising, De La’s set at the Camden Centre on the 11th June 2009 proved that now pushing 40, they still embody the vibe and sentiment of the Daisy Age.

On the night of the 11th, the odds seemed stacked against the Long Island troupe. The venue was small, the sound was sub-par and an unfortunately timed tube strike meant the Camden Centre never reached full capacity. Yet as soon as Maseo stepped up behind his decks and beckoned the crowd toward him, such matters became insignificant. Opening with the title track from 2004’s The Grind Date, emcees Kelvin ‘Posdnuos’ Mercer and Dave ‘Trugoy’ Jolicoeur emerged from the wings, and De La’s unrelenting energy and physical presence continually went beyond what could possibly be expected from three men, two mics and two turntables.

A mere two songs into the set, Dave declared “There are no rules at a De La show”, and a man of his word, he and Pos soon leapt down from the stage, rhyming and dancing as they disappeared into the crowd. Indeed, whilst the size of the venue felt hardly befitting their legend, it did provide a unique intimacy. There were no barriers and no surly security guards separating the crowd from the stage, creating an even greater sense of a communal experience.

As expected, the show was a tidy summation of De La Soul’s back catalogue. The set list ranged from upbeat roller skating anthem ‘A Roller Skating Jam Named “Saturdays”’, to the hard edged ‘Rock Co.Kane Flow’. Yet naturally the most magical moments came in the form of the spirited rap-along’s from their 1989 debut, the most notable being a triumphant rendition of ‘Me Myself and I’. As old fans and new, sang the seven ‘Ooh’s’ of the chorus, the song’s timeless glory shone through.

Two decades on from their sensational entrance into the music business, De La Soul’s perceived inability to match up to the precedent of their debut, means their worth is constantly brought under scrutiny. Whilst many will continue to look to their albums as proof of their diminishing relevance, the fact that approaching 40, a band two thirds overweight in an under equipped venue can still transfix and hold audience is telling of their worth and ever-growing legacy.

Image Courtesy of http://www.bossip.files.wordpress.com/

A Red Face Interview: Ranger3

Folk with a Classical Education

This interview has been published by Culture Wars, to read it go to:

http://www.culturewars.org.uk/index.php/site/article/folk_with_a_classical_education/

Here's a taster:

In my experience, interviewing independent bands can often be a painful and arduous process. They are often be-fringed, self-proclaimed street poets, who insist their tunes are akin to the greats and their lyrics are influenced by Jack Kerouac or William Blake. Lucky for me, and my temper, however, I found Jim Perkins and Ronan Burke, the two songsmiths behind emerging Anglo-Irish duo Ranger3, to be as interesting and as insightful as their music.

The Red Face Report: Mos Def

When talking of modern emcees, it’s hard to think of anyone more talented or prolific than Mos Def. Not only has he cultivated an innovative and unrivalled Hip-Hop style, but he’s starred in Hollywood films, acted on Broadway and hosted a hit TV show. Whilst his career has now spanned 15 years, in 2009 he remains a Hip-Hop artist in the purest sense of the word, and in the midst of mediocrity his work is a stark reminder of what the genre once was.

Born Dante Terrel Smith, Mos Def came of age in the days of A Tribe Called Quest and De La Soul. This combined with his life in the projects of Brooklyn, instilled Mos Def with the political awareness that would later appear in his rhymes, and make him one of the most powerful rappers of his generation.

Whilst Def was a prominent artist for much of the latter half of the 90’s, working with some of the great Hip-Hop acts of the day, it was his collaboration with fellow Brooklyn emcee Talib Kweli that brought him commercial and critical success.

Under the name Black Star, the duo released their powerful self-titled debut in 1998, and established themselves as two powerful voices in the fading Native Tongues movement. With hit single ‘Definition’, Def and Kweli commented on the state of Hip-Hop post Biggie and Tupac, reminding a generation that whilst their chosen two were gone, the genre was far from dead.

Whilst Black Star were a tour de force, Mos’ decision to go solo resulted in his seminal work. Black on Both Sides was released only a year after Black Star’s debut, and became an instant success, earning Def new fans and accolades.

This solo debut saw him in full political force, with tracks addressing everything from Y2K to the true origin of Rock ‘n’ Roll. However, it was also an album of tremendous range stylistically. Of course the glorious Hip-Hop tunes were present and correct, but with this release, Def set himself apart by choosing to sing exclusively on tracks like ‘Umi Says’, adding balance and beauty to the album.

Whilst it’s wealth of vibe made his solo debut a success, its extension of the East Coast form made Black on Both Sides a classic. It was Native Tongues, it was jazz enthused, yet it was Hip-Hop for the new millennium.

As Mos’ career continued, his style became more experimental and his rhymes more politically and spiritually charged. With his second solo album, The New Danger he provided a Muslim’s perspective on post 9/11 America, whilst the contribution of backing band Black Jack Johnson, continued Def’s crusade to reassert black identity on Rock ‘n’ Roll.

Indicative of his ever stronger political resolve, Mos made his entrance at the 2005 MTV Video Music Awards, on a stage mounted on the back of a flat top truck. He was then abruptly arrested, despite the fact he had a performance permit, as he began to perform ‘Katrina Clap’ a track that, as the title suggests, heavily criticises the Bush administration for its response to Hurricane Katrina.

However, whilst The New Danger was by far more successful in the charts, its inability to compare to Black on Both Sides caused decreased interest in his further output. His 2006 album, True Magic was released with very little promotion from his record label, leading to sales falling short of 100,000. As a result his contract with Geffen was not renewed.

For the past few years, Mos Def’s music career has been in a state of flux. However, this hasn’t made him any less productive. His appearances in such films as ‘Be Kind Rewind’ and ‘Cadillac Records’, have seemingly provided another outlet for the emcee’s creativity. Furthermore, though he may not have been releasing albums, Def continued to make musical and political statements.

But whilst he certainly didn’t let us forget about him, when it was announced a new Mos Def album was in the works, fans were sure to breathe a sigh of relief. To be named The Ecstatic, the fourth addition to his canon looks to be a fitting comeback, with billed collaborations with the likes of Slick Rick and Madlib.

Having stated in interviews that The Ecstatic may well be his last full length album (at least for a while), one can only feel this is a great waste. Mos Def’s adventurousness and pure lyrical skill have set him apart in a sea of commercial rappers. Whilst he may not have pioneered the styles he incorporated into his music, he did reinvent and weave them into something the younger generation could connect with. Even if this next album will be his last, his work will continue to influence those who appreciate soulful, expressive Hip-Hop.

Coming Soon: The Ecstatic by Mos Def

Set for release on the 9th June, Mos Def’s latest album The Ecstatic is sure to be a classic. Apparently it will feature the input of the late great producer J Dilla and old school legend Slick Rick! Here’s a promo to tide you over before Red Face can get a chance to review it.

Gig Review: Q-Tip

Now over 30 years old, the Hip-Hop genre is in serious danger of losing its charm. Nowadays, a Hip-Hop fan is nostalgic; looking back on the great albums of yore. A figure that will forever win such peoples’ hearts is Q-Tip. Whilst the outstanding five albums of 90’s band A Tribe Called Quest and his own solo work is enough to secure his place as a legend of the genre, he is first and foremost incessantly likable, charming and talented. Having not visited these shores for fourteen years, and with a stellar album released last November, the Abstract One had to deliver, and Saturday’s show at the Roundhouse proved to be a performance befitting our towering expectations.

From his smooth laidback vocals to his ever-calm interview demeanour, one would expect a funky and relaxed show. Yet from the opener onwards his infectious energy was a remarkable and joyous surprise. With the frenzied opener ‘Shaka’, Q-Tip relished the adoration of his love-starved crowd, and his tremendous vivacity didn’t once relinquish in his triumphant set.

For the Tribe fan, there was a wealth of favourites, from Midnight Marauders gems ‘Sucka N***a’ and ‘Electric Relaxation’ to The Low End Theory classic ‘Check the Rhime’. With the ATCQ reunion over and done with, these additions may provide little consolation for those who never had a chance to see the band live. However, as Q-Tip soldiered through his best work, rapping former co-member Phife’s verses as he did so, he at the very least reminded us of what Quest meant to rap music.

Naturally, much of the set was comprised of his most recent album The Renaissance, from the anti industry anthem ‘Dance on Glass’ to the jazzified ‘Gettin Up’, which shifted into a whirlwind of improvisation from his six man band. Tip seemed to relish every second, as his veteran status shone through. As he climbed the speaker set for a rousing rendition of ATCQ’s ‘Award Tour’, he had the adoring crowd in the palm of his hand.

Q-Tip’s musical range has always been what has set him apart from his contemporaries, and his most recent Neo-Soul experiments sparked some gorgeously intimate moments in the show. From the political yet danceable ‘We Fight/We Love’ to the sombre break up number ‘You’, Tip added another dimension to the show. With the latter, the crowd seemed almost transfixed, as Q-Tip sprawled across the stage pointing, singing and unifying his audience.

Epitomising the power and vibe of the show, the closer ‘Life is Better’, a song celebrating the rich history of Hip-Hop, saw Q-Tip dive into the crowd allowing all of the willing to sing the chorus. Whilst the fourteen year wait has provided that sense of occasion that is always synonymous with ‘classic’ shows, the fact remains that it was a master class in live Hip-Hop. Q-Tip was energetic, relentless and left the crowd aching for more; let’s just hope it won’t be another fourteen years.

Image courtesy of www.pinboardblog.com

March of the Zapotec/Holland by Beirut

When a mediocre band makes it big with a poppy debut, no one expects the hits to keep rolling. But when your success is moulded by sheer brilliance and talent, the pressure for a triumphant return is ever mounting. This is the stress that Zach Condon, the 23-year-old prodigy behind Balkans folk project Beirut, has had live with ever since the release of his critically acclaimed debut Gulag Orkestar. After the success of 2007 follow up The Flying Club Cup, this latest EP shows the Santa Fe sensation’s desire to distance himself from his past works, and change.

This double EP, represents the two developments in Condon’s style. The first half entitled ‘March of the Zapotec’, features the big brass, droning accordion melodies and charging drums that have characterised Condon’s style up to now, whilst the input of The Jimenez Band provides a fresh Mexican influence. However, other than the fierce opener ‘La Llorona’ or the beautifully brooding ‘On a Bayonet’, the first half is a rather lack lustre affair, as Condon’s affecting vocal, guides the listener through some simply dull arrangements.

With the second half, a collection of five electronic numbers under former pseudonym Real People, Condon comes into his own, crafting songs with the haunting beauty and depth that made his previous works so magical. Standout tracks include ‘My Night with the Prostitute From Marseille’ and the transcendent ‘Venice’ that combines Condon’s penchant for brass, with his new electronic aesthetic magnificently.

Whilst this new EP is an uncharacteristically patchy affair, it provides a wealth of emotion and a scintillating insight into Condon’s next musical direction.

The Fame by Lady Gaga

Dance music has always received a needlessly bad rep as a genre with nothing to say. Whilst a narcissistic approach is quick to alienate many, in a world obsessed with celebrity, beauty and sex, Dance makes as relevant a statement as any, even if it is one we don’t wish to hear. From the infectious opener ‘Just Dance’ to the subtle beauty of ‘Papparazzi’, Lady Gaga’s aptly named debut provides a revealing look into our self obsessed generation, yet it remains an album that’s more style than substance.

Not drifting too far from convention, every song has the synthesiser melodies, raunchy lyrics and programmed beats you’d expect, yet the integration of pop influences taints even the most promising tracks. Gaga cut her teeth as a songwriter for the Pussycat Dolls, and on tracks such as ‘Summerboy’ and ‘Boys Boys Boys’ she makes this far too apparent. Just as you feel the New York fashionista has crafted a powerful piece, it soon takes a nosedive into dull, sunny-eyed pop choruses.

However, whilst The Fame has by no means lived up to its hype, or the claims of its maker, it isn’t without it’s charm. The lyrics can be weak, the melodies are often uninspired, but it remains a bold and brash debut, that flaunts plenty of promise for a second instalment.

Old Simplicity by Ranger3

This review has been published by Spiked magazine. To read it go to:

http://www.spiked-online.com/index.php?/site/article/6296/

Here's a taster:

As a child of vaguely folkie parents, I was brought up on a diet of Richard Thompson and Fairport Convention, and I’ll admit I was completely nonplussed by the folk idiom. How could I have any connection to the tale of Lord Bateman, or the plight of Napoleonic-era Britons? As far as I was concerned these people were dead, and so was the music.

Years of Refusal by Morrissey

As with many a monumental artist, the prospect of a new Morrissey album poses a dilemma for the critic. Indeed all music should be evaluated as a singular piece of art, yet when the individual in question couldn’t possibly surpass (or even equal) their previous output, how can one deem any new addition as excellent. For Morrissey this is even more intense, as not only were The Smiths one of the most passionately loved bands Britain has ever seen, but his two decade solo career has also produced some undeniably brilliant albums. As I gritted my teeth and settled down to listen to Morrissey’s latest work, Years of Refusal, I was surprised, not only because it was an enjoyable Morrissey album this side of the millennium, but because the man himself achieves this by barely straying from the path he’s been walking for twenty years.

As the album begins, the signs of stagnation are ever present. The glam-rock glory of opener ‘Something is Squeezing My Skull’ is reminiscent of ‘National Front Disco’, from 1992 release Your Arsenal. Furthermore, a brief glance over the writing credits reveals that the majority of the album is written by the same two blokes – Boz Boorer and Alain Whyte, who have been contributing to the Moz canon since 1991. These are all factors which should forebode another forgettable album from the Mancunian wordsmith, yet through being completely succinct and playful, Morrissey has been able to rejuvenate his tired form.

Ever since Morrissey’s first solo album, the unsettling existence of pop filler has tarnished even his greatest successes. Thankfully, a hard edged approach applied to the new material, has made Years of Refusal an album that barely lets you take a breath. Whilst the muscular rock of the album has always been a part of Mozzer’s solo sound, here the need to create balance by the use of slow, brooding, seven minute numbers has been rightfully tossed aside.

Inevitably, a new Morrissey release is always accompanied by every published non-believer, mocking his inability to move on thematically. Indeed song titles such as ‘One Day Goodbye Will Be Farewell’ and ‘I’m OK by Myself’ do little to dispel this belief, within this lays a delightful irony. With lines like “Could this be an arm around my waist/Well surely the hand contains a knife” he reminds us of how much humour can emanate from his exploration of celibacy, heartbreak and complete despair.

It remains apparent to even the most loyal fan that Morrissey’s writing has never recovered since The Smiths’ split. Now approaching 50, little of this album’s lyrical content suggests he will ever return to his former literary glory, yet it does showcase his ever improving vocal ability. As the music of the sombre ‘It’s Not Your Birthday Anymore’, descends into full blown rock balladry, his powerful and heartfelt vocal is oddly affecting, which goes a long way to filling the gap his words have left.

From the album’s title, to Morrissey’s be-quiffed image on the cover, Years of Refusal is anything but an innovation. There is not a single song that couldn’t have slotted neatly into any of his previous three albums, yet this release succeeds as it finally makes the most of this established style. Dynamic production and the good sense to omit poor material, has saved this album from the mediocrity of its predecessors. It is indisputable that sheer loyalty and undying love for The Smiths has kept so many of us interested in Morrissey’s output for the past twenty years, yet the fact remains that even at his most mediocre, he’s still the best we’ve got.

Tonight by Franz Ferdinand

Whether you believe it is based on talent or pure good timing, as a band who slightly preceded the indie craze, Franz Ferdinand are revered as one of the better bands of recent years. Despite only being on the scene for five years, the Scottish four piece have for one reason or another, become elder statesmen of the indie scene. However, with long awaited third album Tonight, we see that sadly they aren’t the innovators many confused them for.

When Kapranos and Ko. first appeared in 2004, they were young, new and different. The mission statement that was debut single ‘Take Me Out’, gave British rock fans a band they could throw their arms around. However, whilst their first two releases were brimming with promise, they were by no means excellent. Tonight sees Franz Ferdinand content with their style, meaning the album features barely a song that deviates from their punchy riff heavy sound. To put it in a nifty rhyming couplet, they replicate where they should innovate.

With the opener ‘Ulysses’ you are lured into a false sense of security. The song’s pounding bass and subtle synth gives it all the quirkiness that we’ve come to expect, yet indicative of how disappointing this album is, few of the remaining eleven tracks even approach this frankly mediocre song.

The aptly named album seems to portray the brief moments of beauty, which emerge in a sea of sex, drugs and sleaze, yet the funky aesthetic employed to represent this is an obvious and tiresome choice. On such tracks as ‘No You Girls’ and ‘What She Came For’, the band approach the genre in a painfully clinical way, which only highlights their musical naivety.

Conscious of the innovation they are expected to produce, the band do make several attempts at genre fusion, yet once again these emerge as another of the album’s weaknesses. The techno epilogue of ‘Lucid Dreams’ or the piano intro of ‘Bite Hard’, only tease the listener with creating an insight into how good the album could have been. Appearing at the beginning or end of the track, these brief spasms of pastiche often upstage the song itself, leaving one to wonder if incorporating these into the main structure, would have provided the variety and innovation this album so desperately needs.

Alas the cynic in me doth despair, as indeed the album is not a lost cause. The likes of ‘Twilight Omens’ do in part breathe new life into the Franz form, yet even the most promising tracks never quite approach greatness. It would seem the band have exhausted their stripped down structure, as the shortcomings of Kapranos’ lyricism means that there is simply nothing to fill the gap the music leaves.

Don’t get me wrong, Franz Ferdinand aren’t nearly annoying enough to spark my dislike, but Tonight remains an album only hardcore fans will enjoy. For all the promise and for all the hype the long wait has created, all albums are essentially a sum of their parts, and when you add poor lyricism, with mediocre song composition and a staunch refusal to do anything interesting; you get Tonight by Franz Ferdinand.