ALBUM REVIEW: Deftones - Koi No Yokan (2012)

Artist: Deftones

Album: Koi No Yokan

Label: Reprise

Genre: Alternative metal

Length: 51.50

The seventh album from Sacramento's finest alternative metal band has arrived and in a similar vein to 2010's expansive Diamond Eyes. Very much a sister piece to Diamond Eyes (partly down to Chi Cheng's absence, still recovering from a near fatal car accident), Koi No Yokan is a conflicted monster of an album, the quiet melodic grace and beauty is in constant battle with the grinding guitar riffs of Stephen Carpenter and blind fury of Chino Moreno's scowls. The band has found the perfect place between the contrasting sounds of metal and alternative and it is Koi No Yokan.

Deftones are definitely survivors. After six albums filled with multi-platinum highs and internal/personal lows, the band continues to mature and have come back even stronger with a progression in their artistic style and Koi No Yokan is the culmination of this artistic redefining and is an unrepentant success. From the infectious opening riff of 'Swerve City' to the slow burn finale of 'What Happened To You?', the group display an intricate skill for mixing elegantly complex lyrical verses with Carpenter's heavy alternative metal guitar riffs that are backed up by Chino's varied vocal delivery. With any other singer, a lot of the tracks on Koi No Yokan would fail miserably, but with Chino's assured delivery and outstanding vocal range (which varies from hauntingly beautiful to loudly violent and intimidating) it makes the album a resounding success. 

What stands out most on early listens to Koi No Yokan is the tender and melodic tracks like 'Romantic Dreams', 'Entombed', 'Rosemary' and the aforementioned 'What Happened To You?'. This softer sound is much more prevalent than on their previous records and presents a more intimate and personal side of the band than possibly ever seen before. An album stand-out is 'Entombed', lead guitarist Carpenter's intimate and sweeping riff mixed with Chino's ability to balance the melodies with reaching the high notes. 

The album's first single 'Leathers', much like Diamond Eyes opening single 'Rocket Skates' and very similar in style and set-up is a decent advertisement for the album's broad sound and is very much the vintage Deftones sound. Containing heavy riffs, an epic chorus and top notch production values (again from Nick Raskulinecz), it's a good, solid rocker. The second single from the album, 'Tempest', is a different beast altogether. Clocking in at over six-minutes long, it is an epic slow builder with Chino's melodic delivery met with some top grinding from Carpenter. This is one of the more progressive songs on the album and is a joy and was a great choice for the second single.

For fans of the bands more heavy side, there is plenty to find on Koi No Yokan with tracks like 'Swerve City', Poltergeist' and 'Gauze' fill the quota to varying degrees of success. 'Swerve City' is a fantastic opener to the album, with a strong and stand-out guitar work from Carpenter to match Chino's ever impressive howl. 'Poltergeist' is by far the heaviest song on the album, and is an onslaught of heavy riffing and ominous vocals from Chino. 'Gauze' is a good solid rocker, but is one of the lesser songs in context of the whole album.

So far, so good, right? It gets better. The album's 9th track and centrepiece song, the near-seven minute long 'Rosemary', will go up there with the finest efforts in the band's long career. Describing this song as epic is an understatement. It is a layered, sprawling effort, with lavish production and a heavenly sound. It becomes clear at this point, that the Deftones are a band at the peak of their creative powers, a band on a creative roll who has reinvented themselves as an important band in the rock landscape. 'Rosemary' is this albums crowning achievement. 

The album closer, 'What Happened To You?' finishes the album on a perfect note. Similar to the sound found on their 2011 album Covers, 'What Happened To You?' sounds unlike a Deftones song. That is what makes it a success. A group willing to broaden their musical range and that is what Koi No Yokan is undoubtedly about, artistic progression. What started with Diamond Eyes has reached its peak here. 

Koi No Yokan is an unprecedented success. The group's seventh album builds on everything good in their previous efforts and adds a new dimension of layered sound and expands on the melodic sounds hinted at in Diamond Eyes and their previous efforts. It is refreshing that a band that has been around for so long is not afraid to evolve and refine their style without completely losing their trademark sound, Deftones have managed this with considerable success and acclaim. This album is broad and expansive with great variety and substance to it and a contender for album of the year.

HEROES: Mark Lanegan

Mark Lanegan is a legend, pure and simple. His career from the early years with the Screaming Trees as a pioneer of what would become known as the 'grunge' sound to his recent solo and collaborative efforts have established him as one of the consistently finest creative minds performing. His trademark raspy baritone voice remains a unique presence in the modern music landscape. While Screaming Trees might not be as recognizable or as well remembered as later bands that came to symbolize the Seattle sound of the late 80s/early 90s, they like other and perhaps even less known bands (in mainstream terms anyway) like Green River, Mudhoney and Mother Love Bone. While never achieving this multi-platinum success of the big four (Nirvana, Pearl Jam, Alice in Chains and Soundgarden), their 1992 album Sweet Oblivion remains one of the finest releases of that generation with hits like Nearly Lost You and Dollar Bill featuring trademark Lanegan delivery. 

No One Knows by Screaming Trees from their album Sweet Oblivion (1992)

During the successes of the Trees, Lanegan began releasing solo material and again while never getting the sales success, maintained a healthy progression in his writing and singing abilities. His second solo album in particular, Whiskey for the Holy Ghost, exhibits a vulnerability not previously seen in his work and would become a prime theme in his works. Songs like The River Rise and Kingdoms of Rain exhibit this softer sounding but more emotionally intense work. His work with Screaming Trees was on-and-off during the mid-to-late nineties and finally came to an end in 2000 after their final release together Dust, which was released in 1996 to again positive reception. In 2011, eleven years after the bands breakup, songs from their recording sessions in 1998/99 were released in a collection called Last Words: The Final Recordings, containing some trademark Trees sounding material. All in all, of all the collection albums released by bands after their demise; this was certainly one of the better collections, containing authentic and not altogether overly edited or changed songs, but suffering from the same problems that collections have. It also shows the development in sound the band have over the final four years of the band. 

The River Rise by Mark Lanegan from his album Whiskey for the Holy Ghost (1994)

In addition to his word with Screaming Trees and his wide collection of collaborative efforts, he has released seven solo albums, with his most recent being Blues Funeral (released under the name Mark Lanegan Band). Safe to say this album rekindled my love with his music. Blues Funeral is a devastatingly effective album, combining Lanegan's trademark vocal delivery with a new production style, a shift for a straightforward/alternative rock sound to a combination of electronica and guitar elements in one of the finest albums of 2012. It would take an age to go through each album and pick out highlights. But for each listener, if they enjoy Lanegan's sound, there is something for everyone to find. All released to positive critical reception, yet while again not being outstanding commercial but consistently moderate successes, it remains testament to Lanegan's appeal that he has established a strong core fanbase to equate to the high reception his work has received. 

Harborview Hospital by Mark Lanegan Band from their album Blues Funeral (2012)

Over the years, Lanegan has collaborated with the likes of Queens of the Stone Age, Mad Season, P.J. Harvey, Isobel Campbell, Greg Dulli, Soulsavers, Unkle and a variety of others. His collaborations with Soulsavers in particular show another side of Lanegan's output. In the two albums he was featured on with the 'savers, and especially in the first album, It's Not How Far You Fall, It's The Way You Land, shows a more expressive and vocally impressive Lanegan, his range on display and being a highlight of tracks like Revival and No Expectations. Perhaps he has received most mainstream attention for his work with Queens of the Stone Age on three of their albums, including backing/lead vocals on several songs, most notably their biggest hit, No One Knows, from 2002's Songs for the Deaf. 

Revival by Soulsavers from their album It's Not How Far You Fall, It's the Way You Land (2007)

His ongoing collaboration with Greg Dulli as part of The Gutter Twins has been another source of critical acclaim for the duo. Lanegan and Dulli's co-vocal blues-rock delivery show another darker, heavier side to Lanegan's catalogue, with Dulli reaching the higher notes, but with Lanegan giving the depth and filling out most tracks. Tracks like Idle Hands displays this heavier sound, dual vocal delivery. The album contains a variety of sounds and influences, with orchestral elements being used in the track The Stations. Despite the praise the album received, no follow up has been released despite touring in 2009. The band is currently inactive. 

Idle Hands by Gutter Twins from their album Saturnalia (2008)

Since the release of Blues Funeral, there has been another reason for rejoice with the news that along with original Mad Season members Mike McCready (of Pearl Jam) and Barrett Martin (of Screaming Trees), Lanegan will be performing lead vocals on a new album from the group, their first since 1995. Although two original members, Layne Staley (whom he was close friends with) and John Baker Saunders, have died, it is fitting that Lanegan should be involed. Considering he was involved in the first album, Above, it is poignant that Lanegan will be part of the album and if anywhere near as good and beloved as the first album was, should be a treat. 

Long Gone Day (Live) by Mad Season from Live at the Moore Theatre

Mark Lanegan has had a long and varied career. He has overcome personal hardships (drug addiction in his youth) to become a highly respected figure in alternative music and has remained a relevant and creative figure through almost three decades of a changing rock scene and has become a prime and influential figure, which is emphasised by his latest release, Blues Funeral, that is receiving some of his best notices of his career. With a large and varied catalogue of work and only being 47 years old, we have still plenty more to see from Lanegan, be it in his sole or collaborative works. 

SONG REVIEW: Pure Love - Handsome Devil's Club (2012)

Artist: Pure Love
Song: Handsome Devil's Club
Genre: Alternative rock
Release Date: 22 July 2012

While not having the bang-wallop factor of 'Bury My Bones', Pure Love's second single is everything that the title of their debut album (the ever-so-aptly named Anthems) suggests an absolute rocking sing-along treat. 'Handsome Devil's Club' is such a catchy song (the chorus is immense) and grows in stature and impact on repeat listens. Lead singer Frank Carter's Morrissey-lite lyrics and raw delivery only reinforce the lovelorn and careless in love vibe of the song.

With Anthems not being released until the Autumn and a small UK tour inbetween now and then to rouse anticipation even further along with Handsome Devil's Club will satisfy fans needs until then with ease. It's hardly going to reinvent the rock world, but it is most definitely a catchy and infectious rock song that will you begging for more of these guys. Also, for anyone looking for more Pure Love material, be sure to check out Daytrotter's live sessions for terrific live performances of songs from the upcoming album. 

76

SONG OF THE DAY: 11/7/12

Jane's Addiction are a band that name was always familiar to me, but never know much of their catalogue (bar maybe 'Just Because') until one evening when I heard their latest single 'Irresistible Force (Met the Immovable Object) on Paul McLoone's radio show on Today FM. So I sought out that song on their new album, The Great Escape Artist, and along with Irresistible Force, I'll Hit You Back are the two stand-outs. I was surprised to find out that this was only Jane's fourth album since 1988 and in an age where disposable albums are released yearly in a overly-saturated and quality declining market, it's good to see bands like Jane's Addiction still going strong.

SONG REVIEW: Blur - Under the Westway (2012)

Artist: Blur
Song: Under the Westway
Genre: Alternative rock
Release Date: 2 July 2012

Blur's first single since 2010's 'Fool's Day' is a double release; the oddity 'The Puritan' comes the wonderful poignant 'Under the Westway'. While being no die hard Blur fan and more of a casual listener, this came as a wonderful surprise to me. Despite releasing a single in 2010, the band have not released an album since 2003's Think Tank and any worries about the group losing their touch can be cast aside with this sweepingly beautiful and gorgeous song.

Blur's music varies from their more playful singles like 'Country House' and 'Parklife' to the more serious and melodic offerings like 'Tender' and 'The Universal'. 'Under the Westway' is firmly in the latter bracket and is essentially a love song, but with enough Albarn dramatics and strong lyrics for it to avoid being melodramatic of over-emotional to the point of parody. Albarn's delivery is unique and is not the high note hitting masterclass like crooners, but rather a voice driven by pure emotion and therefore infinitely times more effective.

80

ALBUM REVIEW: The Smashing Pumpkins - Oceania (2012)

Artist: The Smashing Pumpkins

Album: Oceania

Label: EMI/Caroline Distribution/Martha's Music

Genre: Alternative rock

Length: 60:02

The Smashing Pumpkins heyday in the 1990's found them universal acclaim, multi-platinum album sales and a legion of dedicated followers. Rock music in general has suffered considerably in the past decade and the decline of The Smashing Pumpkins has coincided with this decline with a long chronicled tale of infighting which led to their eventual split in 2000. Now reformed with frontman Billy Corgan as the only original member in the line-up and with 2008's ugly and disappointing return Zeitgeist behind them as well as the partly finished 44-track experiment hit-and-miss fest Teargarden by Kaleidyscope put on-hold for the release of this "album-within-an-album", Oceania.

Oceania is everything that Zeitgeist isn't. Zeitgeist's overproduced and grinding guitars are largely absent from Oceania despite opening similarly heavy; the end product is a far more melodic and gentle album. Depending on your tolerance levels for Corgan's unique vocal delivery and his often pandering lyrics, this album will satisfy Pumpkin fans who adored the Adore-era output of the band and those who saw any sort of promise in the ambitious Teargarden by Kaleidyscope project. The production here is top notch and the songs are wonderfully varied with traditional Pumpkins mainstays of heavy riffs and gentle tracks to the psychedelic and use of electronic (used to fantastic effect in the great Pinwheels). Corgan's voice is in great shape and always has had a hauntingly beautiful quality to it (when he is not waling at least). Album stand-outs like Violet Rays, Pinwheels, Pale Horse and Wildflower are gorgeously textured tracks and are sweeping in scale and ambition. Violet Rays is an early hint that this group of musicians have finally clicked as a unit and are flowing seamlessly and with artistic vigour. Corgan's grandiose compositions are no surprise given his talent, but rarely (lately especially) has it all come together so well. The best song on the album is the lively and infectious Glissandra and comes at a stage in the album (track 11 of 13) where a kick in adrenaline is needed and it is pitch perfect and invokes memories of some of their biggest hits.

This album is a supreme return to form by Corgan and company. After the bad taste Zeitgeist left, Oceania is a vibrant, expressive joy of an album. The album is a wonderful reminder that while the original line-up of The Smashing Pumpkins may be gone never to reform, Corgan and his choice of replacements have recaptured a sound that has not been heard at anywhere near it's best since 1998's Adore. Unexpected as it may be, this may very well be one of the albums of the year.

83

SONG REVIEW: Pure Love - Bury My Bones (2012)

Artist: Pure Love

Song: Bury My Bones

Label: Vertigo

Genre: Rock/alternative rock/punk rock

Pure Love's debut single finally arrives and it has been well worth the long wait. For anyone who had seen the awesome YouTube videos of the Bush Hall gig in February, an appetizer of the upcoming album for the former Gallows lead singer Frank Carter and former Hope Conspiracy and Suicide File guitarist Jim Carroll. The duo have crafted an anthemic rock song that is lively, uplifting and catchy as fuck.

Short and snappy at just under 3 minutes, Carter opens with the lines "I so sick of singing about hate", and it sets the wonderfully pure rock sound that this track has going for it. It is sing-a-long stuff all the way and a drastic change; just ask anyone who knows of his previous output with Gallows. His vocals are as impressive as ever (the surprise was lost when hearing the terrific performance at Bush Hall) and are delivered with aplomb. Carroll's riff is big and I found myself air-guitaring at various points through the song in appreciation of the accessible sound that he has crafted. I can't recommend this song enough, it brings back memories of the big rock songs of the past and a time gone-by. If the rest of the album is anywhere near as accomplished and confident as this track is, we may have a monster of an album on our hands.

88

The song is also available for free download from their official website here.