Siren MUSIC the
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College Tribune | October 14th 2008
Documenting the rising Rise Against come from a long line of Chicago punk bands who came to fruition in the late nineties. Like most bands who came up through Chicagos’s legendary fireside bowl, the band developed a set of blue-collar work ethics, which is clearly evident in the regularity of their harsh touring schedules. So it comes as no surprise that Appeal To Reason has been completed within mere months of finishing touring with their 2006 release The Sufferer & The Witness, and now the band are returning to the road to promote their latest installment. Aside from a line-up alteration, with Zach Blair taking over lead guitar duties, not much else has changed for this album. The band’s signature harsh, heavy guitar sound is still present, as are Tim McIlrath’s lyrics of un-
rest, dissatisfaction with society and the apathy of the population. Once again, McIlrath gives his own sociopolitical commentary from first verse to final chord of the record. It was always going to be a challenge to produce a follow up to their impressive 2006 effort. For the most part Rise Against have succeeded, although in places the songs lack some of the urgency and passion that characterised their past releases. Lyrically Appeal To Reason is consistent with previous releases from the band. Recently describing the band’s material on this album McIlrath said; “This is music that appeals to reason – the reasonable parts of the human psyche”. On being described as radical and controversial, he stated; “I don’t see anything real radical about what it is
we do. Only in a world this screwed up could concepts like being fair to people, being fair to each other, and growing up in a world that gives everybody a chance, only in today’s world could that concept be radical or be considered radical.” Undoubtedly, these concepts are recurring themes throughout the album. On the opening track from the album, Collapse (Post-Amerika), McIlrath voices his disgust with the human neglect of the planet; “A world too proud to admit our mistakes, we’re crashing into the ground”. One of the highlights of the record is the first single to be released, Re-Education (Through Labor). Perfectly layered guitars provide a sonically flawless backdrop for McIlrath’s anthem of defiance against the powers that be.
RISE AGAINST APPEAL TO REASON
★★★★★ Equally hostile, Hero Of War explores the world of military conflict and the modern soldier from a very different, and thought-provoking, viewpoint.Along with the aggression and turmoil, there are more mellow moments present, that deal with issues ranging from the loss of childhood in Audience Of One to matters of the heart in Savior, and McIlrath once again displays his diverse songwriting abilities. While the band has produced a
SEASICK STEVE
IGLU & HARTLY
BEN FOLDS
I STARTED OUT WITH NOTHING AND I STILL GOT MOST OF IT LEFT
& THEN BOOM
WAY TO NORMAL
For those of you who would be expecting something different from the proclaimed hobo of blues guitar, you won’t actually get it, but that is not to say that his new album is without merit. I Started Out With Nothin...’ is a thoroughly interesting and completely engrossing release. It is presented in such a personable way, as those who are familiar with Steve’s preceding records would be glad to know. He introduces several of the tracks in his deep drawling voice, giving the listener that bit more of a connection with the songs. Possibly the most interesting part of this record is the few collaborations that appear. The most exciting one of these is the input of Nick Cave with his Grinderman project on Just Like A King.
Predictably, it stomps and thuds, yet still has the rough edges that are characteristic of a Seasick Steve record. Another surprise is the contribution of KT Tunstall. This works far better than one would expect, and her voice perfectly underscores Steve’s on Happy Man. This is probably Seasick Steve’s most cohesive and solid release to date, but it keeps the same old rustic charm that has propelled him to this place of renown he currently occupies. Listen up and be converted. EOIN BOYLE
★★★★★
Even in the electro-saturated market, & Then Boom - that’s right, this Californian quintet positively love using ampersands - holds it’s own against the likes of MGMT and Gym Class Heroes. This is an impressive feat, especially given the fact that the insistent obnoxiousness of this lot almost predisposes a reviewer towards negativity before so much as a single track has played. Kudos Iglu. Kudos Hartly. As an album, it’s an interesting mix of alternative, rap and electro. In This City, a Phantom favourite, is by far the strongest track on the album and demonstrates the band’s affinity for their synthesizer. The only real qualm one could have about this album is that the boys are obviously fans of the ‘nothing like a line repeated constantly to get you hooked eh?’ school of thought, and to be fair it does work on some tracks.
However, it does begin to grate when you listen to the full album, most notably on Whatever We Like where, ‘FYI’, they can do whatever they like, whatever they like... whatever they like. It may not be eclectic or daring but & Then Boom is a fun and easy album, guaranteed to make you break out your old Casio keyboard, press demo and dream of being the next electro kings. What, just me? CLARE GILLETT
★★★★★
very good record, it does tend to run over the same ground both lyrically and musically as their previous releases, while also being slightly tamer than fans may expect. Granted, this album may not be Rise Against’s finest effort, but there are enough great tracks on Appeal To Reason to ensure that it does not diminish the bands standing as one of modern punk’s most respected acts.
Way To Normal, Folds’ third solo album release, is far from flawless, but what Ben Folds album isn’t? Similar to previous Folds’ albums, Way To Normal sets out to document the trials and tribulations of a relationship meltdown. From You Don’t Know Me, featuring Regina Spektor, to Bitch Went Nuts, Folds establishes the feelings and thoughts of a couple almost to a confessional level. As usual, his lyrics are questionable and it would be true to say he crosses the line from time to time, but it is Folds’ charisma and humour that insists we listen and observe. Rather than Folds becoming more mature with his years, he seems to be regressing. Although the melodies are as catchy as ever, the tracks lack consistency. Free Coffee is a good example: Rather than building up to
JIM SCULLY
something, it quite steadily crescendos, but never quite reaches the finale, leaving the listener unsatisfied. Ben Folds is a mischievous songwriter, but his latest release displays more of a childlike quality, as opposed to an adult poking fun. It is in parts an uncomfortable album to listen to, most particularly Brainwascht and Effington, sounding amateur and unpolished to say the very least. Way To Normal is a disappointing album, leaving the listener expecting more from each track, but never being indulged. Maybe it’s a grower… RACHEL BOYLE
★★★★★