Neutral Sons. Four and a half sounds about right.
This sounds exactly like it is: an internet collaboration, a slice of cyberspace music. Nothing like Ariel Piccolo. There was scarcely an organic sound on this record.
Anyway, after a very silly opening bit, the CD kicks off with Drop Out, a rocking pop song. Energetic fun, catchy chorus. Can't find anything profound to say about it.
Russian Girlfriend is one of the highlights. Great lyric, melody and music gel nicely. A bit of silliness thrown on the end, but before that it's one of those "furrowed brow" songs. Keep an ear out for the yowl of one of the family cats, included three times.
Wings is a druggy end-of-June song. Very dreamy and soft-spoken.
New York Doll is about as close to commercial as I've every heard Knutson get (not sure about Cottrell). Knutson's voice and the music are perfectly synchronised. It's entirely electronic, but I can't really find anything to complain about here. Ah well.
Morose country music coming right up with RM 101. It's kind of creepy, almost morbid. Makes me wonder what it's actually about...
CD takes a tremendous dip in quality with Picasso Truffle. It's art for art's sake, it's irritating, tuneless, even pretentious. Sorry, but it strikes out.
Everything's made right with Vanilla Bean. Great lyric, but for me it's the waltz timing. I'm such a sucker for waltzes... Sophisticated song, like a lovely dream.
Then it leapfrogs into the really bizarre with Crooked Man. Mark telling a surreal little story with a budgie squawking in the background. Noisy little bird, weird little interlude for the album.
When We Go Hunting has a relatively short lyric, but the hook it provides more than makes up for it. I never tire of hearing this one.
Something organic finally appears on If You See Her Muse. Great lyric, but I really don't care for the presentation involved. It's a real dirge with great big pauses. Hard to get through.
Don't Worry returns to high quality. Cool lyric, lots of Big Brother overtones. The child's voice echoing the title phrase is a nice chilling touch. Understated music, melodic and elegant.
The Room Above is sunny, harmless pop music. It's kind of sweet in a weird sort of way. A real breather at any rate.
Roxy Stew is more of the same. It's even stranger, a bit livelier. Good piece, which I can't imagine anyone disliking.
Orchid Show Sunrise is impossible to recall, an off-the-wall instrumental that just happens to have Mark singing some bizarre piece of nonsense. Great song title though.
And Dark Universe is a spacey, stately ending. Zone out and draw pictures in your brain. Actually, do that for the whole album; it's great for that. I could write whole books just based on the images I've picked up from listening to Neutral Sons.
In the long run, Ariel probably outdoes this one, by being more cohesive, organic and stronger in the writing department. Neutral, an excellent debut, is just a little bit light. It's got some outstanding gems, two dreadful moments, and as a whole is an inventive electro-cyberspace fantasy trip. Really neat in a lot of ways. I wish them luck on any future projects they attempt.
Now, what shall I review next?
Thursday, May 21, 2009
Saturday, May 16, 2009
Something good
The Ballad of Ariel Piccolo. Five stars.
This collaborative effort is a winner. CDs this likable are a rare blessing, to be sure.
Neutral Sons is comprised of an englishman (Mark Cottrell) and an american (Richard Knutson, visiting England at the time this was made). Their first attempt at music was respectable, I recall. Obviously I'll have to review that next. But it's Ariel Piccolo I'm talking you through now...
ESP is a tranquil, pastoral opener. It's a perfect way to let the audience know they're in good hands. There's a certain elegance to the music and the lyric borders on romantic. Very lovely.
That's all well and good, but Angels Matter is better still. I can think of no better way to describe it than groovy. I can't make heads or tails of the lyric, but my feet couldn't be still while the song played. Great fun.
King of Dreams has that killer attitude I love in rock and roll. Great backup vocals, brilliant lyric. Richard's delivery is spot on, and it's pretty short, delivering a fast punch as it were.
Ariel Piccolo is a very wistful, 1:00 minute track. An immediate look at a homeless man, done sparely and somehow poetically.
Where would a Richard Knutson project be without a weird ambiant track? Long Fong is the one included here. It's freaky, full of looped voices you can barely make out. However, for me it wore thin about halfway through. The weak point.
Things pick up with Muscle Soul. Meaning no disrespect to Knutson's voice here, but Mark Cottrell completely upstages him. It's a slow moving song, but very entertaining.
Paris Shoot is a discordant, almost paranoid song. I find it very interesting, a little disturbing, and lyrically sounding like the narrator has reached the end of the line. It's grim.
Devices sounds totally adolescent, like something a bunch of college kids enthusiastically cooked up together in a garage. It's just a good time. A very good time.
Bong Song is not another instrumental. It's an unmemorable, though sinister, tune. Good lyrics, sounds like something bad is on the way...
Ariel Piccolo Said Hello starts as an intense rocker. You don't have to take it too seriously though. Listen to those backups; sounds like a couple of hobgoblins got brought in for the job. Just when it starts to get a little monotonous, it switches to a reprise of Ariel's earlier cameo. Melancholy acoustic guitar, wistful lyric, odd extra tagline at the end.
Don't Walk features prominent recorder. Great lyric, actually makes some sense! Melody line is excellent. Another winner.
3 Steps Forward (It Didn't Happen) requires close attention. Mark and Richard share the lyric at the same time... but it's all a little askew. Then a marching tune strikes up and it all seems to be deadly serious, but again it doesn't quite match up... Some songs are so bizarre and eccentric that they just win you over with a sort of oddball charm. This is a good example.
Cutting Off Zen sounds like a dark, empty room. Sinister again, with a creaking rocking chair added for good effect. Interesting atmosphere, but I prefer Bong Song myself.
Hello My Dear is mournful, with a tape loop voice or two and a soft piano. It's quite effective, makes me feel alone. Not a cheery end to the Ballad of Ariel Piccolo. But why should it be?
There you have it. Like Richard Knutson's other recent record Travelian Pets, it's a bit long, but it makes up for the fact by being very high quality. It's mostly a cheerful piece of work, sounds like they had fun doing it. I'll be interested to see how it compares to their debut. Wait for it...
This collaborative effort is a winner. CDs this likable are a rare blessing, to be sure.
Neutral Sons is comprised of an englishman (Mark Cottrell) and an american (Richard Knutson, visiting England at the time this was made). Their first attempt at music was respectable, I recall. Obviously I'll have to review that next. But it's Ariel Piccolo I'm talking you through now...
ESP is a tranquil, pastoral opener. It's a perfect way to let the audience know they're in good hands. There's a certain elegance to the music and the lyric borders on romantic. Very lovely.
That's all well and good, but Angels Matter is better still. I can think of no better way to describe it than groovy. I can't make heads or tails of the lyric, but my feet couldn't be still while the song played. Great fun.
King of Dreams has that killer attitude I love in rock and roll. Great backup vocals, brilliant lyric. Richard's delivery is spot on, and it's pretty short, delivering a fast punch as it were.
Ariel Piccolo is a very wistful, 1:00 minute track. An immediate look at a homeless man, done sparely and somehow poetically.
Where would a Richard Knutson project be without a weird ambiant track? Long Fong is the one included here. It's freaky, full of looped voices you can barely make out. However, for me it wore thin about halfway through. The weak point.
Things pick up with Muscle Soul. Meaning no disrespect to Knutson's voice here, but Mark Cottrell completely upstages him. It's a slow moving song, but very entertaining.
Paris Shoot is a discordant, almost paranoid song. I find it very interesting, a little disturbing, and lyrically sounding like the narrator has reached the end of the line. It's grim.
Devices sounds totally adolescent, like something a bunch of college kids enthusiastically cooked up together in a garage. It's just a good time. A very good time.
Bong Song is not another instrumental. It's an unmemorable, though sinister, tune. Good lyrics, sounds like something bad is on the way...
Ariel Piccolo Said Hello starts as an intense rocker. You don't have to take it too seriously though. Listen to those backups; sounds like a couple of hobgoblins got brought in for the job. Just when it starts to get a little monotonous, it switches to a reprise of Ariel's earlier cameo. Melancholy acoustic guitar, wistful lyric, odd extra tagline at the end.
Don't Walk features prominent recorder. Great lyric, actually makes some sense! Melody line is excellent. Another winner.
3 Steps Forward (It Didn't Happen) requires close attention. Mark and Richard share the lyric at the same time... but it's all a little askew. Then a marching tune strikes up and it all seems to be deadly serious, but again it doesn't quite match up... Some songs are so bizarre and eccentric that they just win you over with a sort of oddball charm. This is a good example.
Cutting Off Zen sounds like a dark, empty room. Sinister again, with a creaking rocking chair added for good effect. Interesting atmosphere, but I prefer Bong Song myself.
Hello My Dear is mournful, with a tape loop voice or two and a soft piano. It's quite effective, makes me feel alone. Not a cheery end to the Ballad of Ariel Piccolo. But why should it be?
There you have it. Like Richard Knutson's other recent record Travelian Pets, it's a bit long, but it makes up for the fact by being very high quality. It's mostly a cheerful piece of work, sounds like they had fun doing it. I'll be interested to see how it compares to their debut. Wait for it...
Tuesday, April 21, 2009
And now for something completely different...
Well, late yesterday was my intro to The Residents. My dad enthusiastically played The Third Reich 'n' Roll for me. I somehow wound up with a splitting headache. Might just be a coincidence...
Musically it was apalling. However, it was funny at points. It was basically a messy bunch of covers, done purely from memory. It was mostly sixties pop hits, I think. Didn't recognize most of it. Therefore, a lot of the joke passed me by. I did laugh pretty hard when Hanky Panky, Yummy Yummy Yummy I've Got Love in my Tummy, and In-A-Gadda-Da-Vida came under the slate. Far as I'm concerned, they kinda deserved it. (Meaning no offense to anyone who likes those songs).
Unfortunately, there wasn't much else that was actually funny. It sounded more or less like nightmare music. Interesting, horrible, amusing and agonizing by turns. First thing I said when it was over was "I need a bath." Actually, I needed a mental rinse. Thank heavens it was not the sort of music that could ever get stuck in my head.
So why am I even wasting my time writing about it? Because it was (at times) entertaining. It's a pity that it was lumped into two long tracks, forcing you to listen to the whole thing if you ever want to hear the good moments again. I don't, but there are others who really enjoy the Residents.
Like my Dad, who was bopping, laughing, happy as a clam while this was playing. It's nice that someone gets something out of it.
As for me, it was educational. But it did not leave me a fan. I didn't think it would.
Musically it was apalling. However, it was funny at points. It was basically a messy bunch of covers, done purely from memory. It was mostly sixties pop hits, I think. Didn't recognize most of it. Therefore, a lot of the joke passed me by. I did laugh pretty hard when Hanky Panky, Yummy Yummy Yummy I've Got Love in my Tummy, and In-A-Gadda-Da-Vida came under the slate. Far as I'm concerned, they kinda deserved it. (Meaning no offense to anyone who likes those songs).
Unfortunately, there wasn't much else that was actually funny. It sounded more or less like nightmare music. Interesting, horrible, amusing and agonizing by turns. First thing I said when it was over was "I need a bath." Actually, I needed a mental rinse. Thank heavens it was not the sort of music that could ever get stuck in my head.
So why am I even wasting my time writing about it? Because it was (at times) entertaining. It's a pity that it was lumped into two long tracks, forcing you to listen to the whole thing if you ever want to hear the good moments again. I don't, but there are others who really enjoy the Residents.
Like my Dad, who was bopping, laughing, happy as a clam while this was playing. It's nice that someone gets something out of it.
As for me, it was educational. But it did not leave me a fan. I didn't think it would.
Friday, April 10, 2009
Pop music as done by The Banshees
Superstition.Three stars, more's the pity.
The Banshees sound changes completely yet again on their first nineties album. And it's sad that it makes use of the cheezy synths and slick production they'd mostly avoided before. This is quite a disappointing turn of events, but if you accept it as it is, you may get more out of it.
The opener is Kiss Them For Me, one of the best songs on Superstition. It's a pop song, but it works and has a great melody. It's very enjoyable and I always like hearing it. Unfortunately, it's so commercial it feels like a guilty pleasure.
Fear (of the Unknown) goes way over the edge. It's incredibly cheezy, and nothing can save it.
Cry is better. It's got a serious quality and the melody is easy to like. It's an aquired taste, shall we say.
Drifter is honestly one of the record's standouts. Dark, atmospheric, slow-moving and with a good lyric. This is one of the reasons to own Superstition.
Little Sister is another. It moves faster but has the same haunting and beautiful quality. My other favorite song from here.
Then there's Shadowtime. It's an innocuous (?) pop song. Though not on Kiss Them For Me's level. Demand nothing edifying from it and it's kind of enjoyable.
Silly Thing is the song most people hate, and I'll admit it doesn't sound like something Siouxsie would do. It's filler, but really no worse than Fear was, so I've no cause to dislike it.
It's Got to Get Up I can't stand. The beginning is full of promise, but it's got a feel-good lyric. I mean come on; what's it even doing on a Siouxsie record? And her voice aggravates me to no end here. Like I said, I can't stand it.
Silver Waterfalls has a nice melody. It's a bit like Shadowtime really. A nice moment in its own way.
Softly. It should be called Slowly. It's really long, the tempo never shifts, nothing happens, and Sioux sings so slowly and quietly I can hardly hear a word. I tend to tune this one out.
The Ghost in You is a nice ending. It's pretty and soft, reminiscent of the cover art. It provides a bit of interest after Softly. Provided you're still awake to hear it.
I've never had the slightest interest in anything Siouxsie and the Banshees did after this, so I neither own or have heard The Rapture. If you're a real completist, by all means keep going, but this is where I disembark. I own the first ten CDs, and the Singles Collection (which I'll review at first opportunity). That's more than enough for me.
The Banshees sound changes completely yet again on their first nineties album. And it's sad that it makes use of the cheezy synths and slick production they'd mostly avoided before. This is quite a disappointing turn of events, but if you accept it as it is, you may get more out of it.
The opener is Kiss Them For Me, one of the best songs on Superstition. It's a pop song, but it works and has a great melody. It's very enjoyable and I always like hearing it. Unfortunately, it's so commercial it feels like a guilty pleasure.
Fear (of the Unknown) goes way over the edge. It's incredibly cheezy, and nothing can save it.
Cry is better. It's got a serious quality and the melody is easy to like. It's an aquired taste, shall we say.
Drifter is honestly one of the record's standouts. Dark, atmospheric, slow-moving and with a good lyric. This is one of the reasons to own Superstition.
Little Sister is another. It moves faster but has the same haunting and beautiful quality. My other favorite song from here.
Then there's Shadowtime. It's an innocuous (?) pop song. Though not on Kiss Them For Me's level. Demand nothing edifying from it and it's kind of enjoyable.
Silly Thing is the song most people hate, and I'll admit it doesn't sound like something Siouxsie would do. It's filler, but really no worse than Fear was, so I've no cause to dislike it.
It's Got to Get Up I can't stand. The beginning is full of promise, but it's got a feel-good lyric. I mean come on; what's it even doing on a Siouxsie record? And her voice aggravates me to no end here. Like I said, I can't stand it.
Silver Waterfalls has a nice melody. It's a bit like Shadowtime really. A nice moment in its own way.
Softly. It should be called Slowly. It's really long, the tempo never shifts, nothing happens, and Sioux sings so slowly and quietly I can hardly hear a word. I tend to tune this one out.
The Ghost in You is a nice ending. It's pretty and soft, reminiscent of the cover art. It provides a bit of interest after Softly. Provided you're still awake to hear it.
I've never had the slightest interest in anything Siouxsie and the Banshees did after this, so I neither own or have heard The Rapture. If you're a real completist, by all means keep going, but this is where I disembark. I own the first ten CDs, and the Singles Collection (which I'll review at first opportunity). That's more than enough for me.
Thursday, April 9, 2009
I don't always agree with AllMusic
Peepshow. Five stars.
With Peepshow, the Banshees finally return to form with a set of songs that all have their own individual sound and aren't buried under ham-fisted production. Plus, there's ony ten of them, so filler is non-existent.
Peek-a-Boo is a truly weird song. It's mostly indescribable, and there was a time when I couldn't stand it. It's grown on me a lot since then, however I must say it gives you no clue as to the album's sound. It doesn't fit in at all, but it easily gains your attention for the rest of it.
The Killing Jar is a solid follow-up. The lyric is pretty awkward, but the melody is good. And the band is great. There's a lot of depth to the music on this record, yet another reason I enjoy it so much.
Next is Scarecrow, one of my favorites. It starts very slow and low key, with vivid imagery. Then it leaps into a propulsive chorus before slowing down again. It rises up beautifully as it progresses. A standout.
Carousel changes gears entirely. The music easily evokes an empty, haunted carnival. It's not eventful -- taking almost the entire song to start building up to the chorus -- but it makes up for it with atmosphere.
Burn-up is nearly the best song on Peepshow. It's a country-western styled song, with typical Siouxsie subject matter. It's a joyous celebration of a pyromaniac and the song structure mimics a raging fire to its best ability. It's super fast-paced and is great fun to listen to
Ornaments of Gold is lush and elegant, along with being emotionally distant. It's also very memorable. Fourth in a row of great songs.
Turn to Stone has some vocal effects I don't much care for. The song has a very romantic flavor, though the lyric makes no sense. The chorus is easy to remember and there's some nice guitar work. A lovely interlude.
Rawhead and Bloody Bones is a freaky little experiment. Use your imagination, it's worth it.
I think the worst track onboard is The Last Beat of My Heart. It's musically quite uneventful and flat, and the lyric is pretty overwrought. Still, Siouxsie's voice is nice enough to carry it off. I don't get any emotion out of it, though. As far as I'm concerned, this is just the pause for breath before the finale.
Rhapsody eclipses the whole album. Siouxsie's voice arrests you instantly, backed by cold, mechanical music. Then it begins to rise up into a powerhouse of tragic majesty. The lyric is beautiful and Siouxsie soars with it. The very first time I heard it, Rhapsody was my instant favorite in the Banshee cannon. It's one of the finest examples of a crescendo I've ever heard, and it makes for a glorious finale.
For months, this was my favorite record by Siouxsie and the Banshees. Now I'm not so sure, but it's easily in my top three and is better than any of their previous work for Geffen.
(And in explanation of the title of the post, I thought most of AllMusic's Siouxsie reviews hit the nail on the head. However, they cursorily dismissed Peepshow as "the sound of a once-great band treading water" or some such hogwash. Everyone has their opinion, but they could at least make an effort to explain things. That review wasn't even as long as this footnote!)
With Peepshow, the Banshees finally return to form with a set of songs that all have their own individual sound and aren't buried under ham-fisted production. Plus, there's ony ten of them, so filler is non-existent.
Peek-a-Boo is a truly weird song. It's mostly indescribable, and there was a time when I couldn't stand it. It's grown on me a lot since then, however I must say it gives you no clue as to the album's sound. It doesn't fit in at all, but it easily gains your attention for the rest of it.
The Killing Jar is a solid follow-up. The lyric is pretty awkward, but the melody is good. And the band is great. There's a lot of depth to the music on this record, yet another reason I enjoy it so much.
Next is Scarecrow, one of my favorites. It starts very slow and low key, with vivid imagery. Then it leaps into a propulsive chorus before slowing down again. It rises up beautifully as it progresses. A standout.
Carousel changes gears entirely. The music easily evokes an empty, haunted carnival. It's not eventful -- taking almost the entire song to start building up to the chorus -- but it makes up for it with atmosphere.
Burn-up is nearly the best song on Peepshow. It's a country-western styled song, with typical Siouxsie subject matter. It's a joyous celebration of a pyromaniac and the song structure mimics a raging fire to its best ability. It's super fast-paced and is great fun to listen to
Ornaments of Gold is lush and elegant, along with being emotionally distant. It's also very memorable. Fourth in a row of great songs.
Turn to Stone has some vocal effects I don't much care for. The song has a very romantic flavor, though the lyric makes no sense. The chorus is easy to remember and there's some nice guitar work. A lovely interlude.
Rawhead and Bloody Bones is a freaky little experiment. Use your imagination, it's worth it.
I think the worst track onboard is The Last Beat of My Heart. It's musically quite uneventful and flat, and the lyric is pretty overwrought. Still, Siouxsie's voice is nice enough to carry it off. I don't get any emotion out of it, though. As far as I'm concerned, this is just the pause for breath before the finale.
Rhapsody eclipses the whole album. Siouxsie's voice arrests you instantly, backed by cold, mechanical music. Then it begins to rise up into a powerhouse of tragic majesty. The lyric is beautiful and Siouxsie soars with it. The very first time I heard it, Rhapsody was my instant favorite in the Banshee cannon. It's one of the finest examples of a crescendo I've ever heard, and it makes for a glorious finale.
For months, this was my favorite record by Siouxsie and the Banshees. Now I'm not so sure, but it's easily in my top three and is better than any of their previous work for Geffen.
(And in explanation of the title of the post, I thought most of AllMusic's Siouxsie reviews hit the nail on the head. However, they cursorily dismissed Peepshow as "the sound of a once-great band treading water" or some such hogwash. Everyone has their opinion, but they could at least make an effort to explain things. That review wasn't even as long as this footnote!)
Tuesday, April 7, 2009
Wavering...
Through the Looking Glass. Three stars.
I had never intended to buy this particular album, but I did so anyway, because I have a completist nature. It's the Banshees doing a cover album, and though not a complete success, it makes for an interesting listen.
One thing it has going for it is individuality. None of these songs blur together as some of the last two records did. Unfortunately, a lot of them aren't good enough to hear more than once. Win some, lose some...
It's got a decent opener with This Town's Not Big Enough for the Both of Us. It's frantic, fast-paced and Siouxsie's voice falls over itself as she pours out the words. It's a good way to start.
Hall of Mirrors is also quite good. It's got the lush, gothic beauty that I love about Geffen-era Banshees. I do wish the chorus didn't show up so often, but that can't be blamed on them. For a cover, it's really good.
Trust in Me is actually from Disney's Jungle Book, believe it or not. For all that, it's darn good. It reads like a sinister lullaby anyway, and Siouxsie emphasizes that quality with her voice. It's a beautiful, sparkling inclusion, one of the best moments on here.
This Wheel's On Fire is a fast-paced, easy to like song. Good string arrangement. I can see why it was chosen as a single. I like it a lot.
Things bog down afterwards, more's the pity. Strange Fruit has the most obnoxious violins I've ever heard. The lyric is pointlessly dark. I find it a total waste of time.
You're Lost Little Girl is forgettable even as you listen to it. It's pleasant at first, but it's not all that interesting.
The Passenger is next. If I'd never heard the original, I'd certainly like it more. Interesting addition of a horn section... But let's face it; the Passenger is just one of those songs you aren't supposed to cover. Ah well, it's not like Siouxsie slaughters it, so why am I complaining?
Gun has a very interesting lyric and a footstomping beat. It's one of the best songs on side two. I don't love it, but it's certainly worth a listen now and then.
Sea Breezes starts good, but there are way too many pauses, dragging proceedings out. I don't like the original too much either. Bryan Ferry did it best solo.
Anyway, last track is Little Johnny Jewel - a hard to remember song with an eye-rolling climax. It ensures that Through the Looking Glass fades away, instead of going out with a bang. Every band have a few clunkers. (If they don't, it means they haven't made enough records) This is one of Siouxsie and the Banshees'. I don't get much out of it.
I had never intended to buy this particular album, but I did so anyway, because I have a completist nature. It's the Banshees doing a cover album, and though not a complete success, it makes for an interesting listen.
One thing it has going for it is individuality. None of these songs blur together as some of the last two records did. Unfortunately, a lot of them aren't good enough to hear more than once. Win some, lose some...
It's got a decent opener with This Town's Not Big Enough for the Both of Us. It's frantic, fast-paced and Siouxsie's voice falls over itself as she pours out the words. It's a good way to start.
Hall of Mirrors is also quite good. It's got the lush, gothic beauty that I love about Geffen-era Banshees. I do wish the chorus didn't show up so often, but that can't be blamed on them. For a cover, it's really good.
Trust in Me is actually from Disney's Jungle Book, believe it or not. For all that, it's darn good. It reads like a sinister lullaby anyway, and Siouxsie emphasizes that quality with her voice. It's a beautiful, sparkling inclusion, one of the best moments on here.
This Wheel's On Fire is a fast-paced, easy to like song. Good string arrangement. I can see why it was chosen as a single. I like it a lot.
Things bog down afterwards, more's the pity. Strange Fruit has the most obnoxious violins I've ever heard. The lyric is pointlessly dark. I find it a total waste of time.
You're Lost Little Girl is forgettable even as you listen to it. It's pleasant at first, but it's not all that interesting.
The Passenger is next. If I'd never heard the original, I'd certainly like it more. Interesting addition of a horn section... But let's face it; the Passenger is just one of those songs you aren't supposed to cover. Ah well, it's not like Siouxsie slaughters it, so why am I complaining?
Gun has a very interesting lyric and a footstomping beat. It's one of the best songs on side two. I don't love it, but it's certainly worth a listen now and then.
Sea Breezes starts good, but there are way too many pauses, dragging proceedings out. I don't like the original too much either. Bryan Ferry did it best solo.
Anyway, last track is Little Johnny Jewel - a hard to remember song with an eye-rolling climax. It ensures that Through the Looking Glass fades away, instead of going out with a bang. Every band have a few clunkers. (If they don't, it means they haven't made enough records) This is one of Siouxsie and the Banshees'. I don't get much out of it.
Falls short of potential
Tinderbox. I've never been sure of my rating for this one. I always have the feeling that it's better then I thought. However, after careful consideration, I'm content to give it a three and a half.
Hyaena was hurt mostly by over-production. Tinderbox has a different problem: a lack of dynamics (especially on headphones). Allow me to clarify...
It gets off to a fastpaced start with Candyman. The lyric is very dark and the music is quite good, though the backing vocals never fail to irritate me.
The Sweetest Chill is rather pretty. It's carried by Sioux's fine voice and the backing forms a nice compliment. But it has no staying power whatsoever.
It morphs into This Unrest. It's harder-edged, and designed for speakers. On headphones it's not very interesting and never adds up to anything important. And it's a bit overlong.
After that comes Cities in Dust, a real breath of fresh air. The melody is great and it's very enjoyable to hear. Easily one of Tinderbox's best.
Cannons drives home the album's emphasis on really bad weather. Its structure is interesting and it's a quick listen, but again it falls just short of its potential. And sounds worse on headphones...
I'm probably the only person to hear this CD that doesn't love Party's Fall. It's pretty, and I like the lyric, though the melody isn't very strong. Again.
92 (degrees) is more interesting. It finally gets some dynamics and goes through a few segments. Maybe I'm being too harsh on this record, as is does sweep you along in a way. But the background soundscape doesn't change very often and the five bonus tracks really drag it out.
Land's End is the standout. It's melodic, soothing, darkly beautiful and paints a lovely picture. This one is my personal favorite, and the end of the original record.
The Quarterdrawing of the Dog is the only complete instrumental the Banshees ever did. That gives it a certain extra interest for me, though it doesn't exactly uphold that.
An Execution starts with an ominous instrumental section before Siouxsie speaks of a gruesome execution for a thankfully short time. Then it wraps up with a surprisingly wistful and melodic ending. If the middle wasn't so absolutely horrendous, it would have been a successful moment.
Lullaby calls up shades of the other soft, gentle tracks heard here. The inclusion of a wind instrument is a good touch, as is the sudden darkness hinted at towards the end. And it's short too.
Umbrella is very similar to This Unrest, though with scarcely any vocals. It's interesting enough.
Last is a totally pointless inclusion. Cities in Dust (Extended Version). It amounts to little more than a remix and is a whole three minutes longer than the original! It's the longest track on Tinderbox and doesn't do any good.
Okay, Tinderbox is worth a listen. ON SPEAKERS. Don't forget that. The lyrics are good and it's got some gems on it. Siouxsie sounds great and it isn't swamped by the production team as badly as Hyaena was. Still, it lacks strong melodies and individuality, and it's way too long. It is unable to achieve greatness, which is a pity, as it could have.
Maybe I'm missing something. After all, the reviews on Amazon universally adore it.
Hyaena was hurt mostly by over-production. Tinderbox has a different problem: a lack of dynamics (especially on headphones). Allow me to clarify...
It gets off to a fastpaced start with Candyman. The lyric is very dark and the music is quite good, though the backing vocals never fail to irritate me.
The Sweetest Chill is rather pretty. It's carried by Sioux's fine voice and the backing forms a nice compliment. But it has no staying power whatsoever.
It morphs into This Unrest. It's harder-edged, and designed for speakers. On headphones it's not very interesting and never adds up to anything important. And it's a bit overlong.
After that comes Cities in Dust, a real breath of fresh air. The melody is great and it's very enjoyable to hear. Easily one of Tinderbox's best.
Cannons drives home the album's emphasis on really bad weather. Its structure is interesting and it's a quick listen, but again it falls just short of its potential. And sounds worse on headphones...
I'm probably the only person to hear this CD that doesn't love Party's Fall. It's pretty, and I like the lyric, though the melody isn't very strong. Again.
92 (degrees) is more interesting. It finally gets some dynamics and goes through a few segments. Maybe I'm being too harsh on this record, as is does sweep you along in a way. But the background soundscape doesn't change very often and the five bonus tracks really drag it out.
Land's End is the standout. It's melodic, soothing, darkly beautiful and paints a lovely picture. This one is my personal favorite, and the end of the original record.
The Quarterdrawing of the Dog is the only complete instrumental the Banshees ever did. That gives it a certain extra interest for me, though it doesn't exactly uphold that.
An Execution starts with an ominous instrumental section before Siouxsie speaks of a gruesome execution for a thankfully short time. Then it wraps up with a surprisingly wistful and melodic ending. If the middle wasn't so absolutely horrendous, it would have been a successful moment.
Lullaby calls up shades of the other soft, gentle tracks heard here. The inclusion of a wind instrument is a good touch, as is the sudden darkness hinted at towards the end. And it's short too.
Umbrella is very similar to This Unrest, though with scarcely any vocals. It's interesting enough.
Last is a totally pointless inclusion. Cities in Dust (Extended Version). It amounts to little more than a remix and is a whole three minutes longer than the original! It's the longest track on Tinderbox and doesn't do any good.
Okay, Tinderbox is worth a listen. ON SPEAKERS. Don't forget that. The lyrics are good and it's got some gems on it. Siouxsie sounds great and it isn't swamped by the production team as badly as Hyaena was. Still, it lacks strong melodies and individuality, and it's way too long. It is unable to achieve greatness, which is a pity, as it could have.
Maybe I'm missing something. After all, the reviews on Amazon universally adore it.
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