Dirty Pretty Things

Waterloo To Anywhere

by Kevin Krekling

Ex-Libertine Carl Barat spent the last 5 years being overshadowed by Pete Doherty, his drug-addled writing partner/blood brother. And although Barat was responsible for writing some of The Libertines greatest songs, Doherty's human train-wreck circus show seemed to always steal the show. Well, since the breakup heard around England, the two have moved on to form their own respective groups. The results are stunningly, yet predictably, different.  While Doherty's new group, Babyshambles sounds like a gang of street urchin junk punks trying to stay in tune with needles hanging from their arms, Barat's Dirty Pretty Things sound like an actual band.

Dirty Pretty Things' debut album "Waterloo to Anywhere" is proof that Pete needs Carl a hell of a lot more than Carl needs Pete. And, the proof is in the puddin'.

The album is the pure vintage Libertines sound they brought on the scene in 2001. It's brash. It's profanity-ridden and drug referencing. It's dirty, old Clash-y punk. Yet, it's still stunningly melodic and catchy.

From the get go, you're hooked. The album opener "Bang Bang, You're Dead" is the best Libertine-related single since "Can't Stand Me Now." Not coincidentally, both songs are related to the Doherty-Barat conflict, which seems to bring out their best work. Shooting straight for Pete's heart, Barat scolds, "Bang, bang you're dead/Always so easily led/Put all the rumors to bed."

Other standouts are the thrashed-out "You Fucking Love It," the loose "Last Of The Small Town Playboys," the Strokesy "If You Love A Woman" and the thuggish "Deadwood." Actually, I could name every song because there's absolutely no filler. Clocking in at just over 37 minutes, it's raw power with no shortage.

While Pete is off captivating the tabloids by further turning himself into the British Ol' Dirty Bastard, Carl seems to be just sitting back and laughing. Well, laughing and also making brilliant music.

Along with the new releases by The Strokes and Arctic Monkeys, "Waterloo To Anywhere" is the best rock n roll album of the year. And, the way Pete's going, it's the closest thing to The Libertines you will ever hear again. Savor it.

//Related Links

Dirty Pretty Things | Official Site

Dan Sartain Vs.The Serpientes Review

by Kevin Krekling

Alabama-based newcomer, Dan Sartain doesn't mean no harm…But, he does mean business.

Raised on both Johnny Cash and the Sex Pistols, he's just a down-home country punk that wants to not only rock the socks off your mama, but make her dance too. His debut album, "Dan Sartain Vs. The Serpientes" is perfect garage trash rock that rolls sped-up blues, Libertines-y punk, and rockabilly country honk all into one loosely rolled joint. The set moves at a breakneck speed, moving from one tiny monster to another and Sartain has plenty enough in the lungs to make the monster scream.

Album opener, "Tryin To Say" sets the tone with its Pete Doherty-like riff and "I Could Have Had You" sounds straight out of a Tarantino movie. With its body-movin breakbeat, surf guitars, and cocky lyrics, it's the album's standout. "Metropolis" has beautiful traces of Richard Hell and "Autopilot" is a stunningly chilling acoustic tale of drugging and zoning out.

What is there not to like here? Well kids, the answer is: nothing. It's one of the best solo artist debuts in quite a long time, and worth tracking down (But, you gotta look further than Best Buy for this gem). In a post-White Stripes school of rock, Dan Sartain is well on his way towards moving to the head of the class.

//Related Links

Dan Sartain | Official Site

Review:

Sean Lennon: “Friendly Fire”

by Chris “Eli Cash” Krekling

Sept. 27th - John Lennon's two sons have both struggled to step out of their father's massive shadow with their own musical ventures.  After a short-lived success in the ‘80s, Julian Lennon quickly fell into the “One-Hit Wonder” category.  John's son with Yoko, Sean, also released an album of his own to lukewarm response (“Into The Sun”of 1998).  However with his new album “Friendly Fire,” Sean Lennon has proven that maybe there were some musical-mastermind genes passed on after all.

The album is much less experimental than his ‘98 debut, but that's not to imply that it is boring or un-original in any way.  “Friendly Fire” is very comparable to the DreamWorks albums of Elliott Smith, “XO” and “Figure 8.”  That, by the way, is a huge compliment.  Much of the album deals with Lennon's break-up with his long-time girlfriend, which ended when she cheated on him with his best friend.  The songs are personal and heartfelt, yet easy to identify with.  Lennon has grown to be a very talented songwriter without ripping off his father's group, seemingly crafting impeccable melodies with ease.  Acoustic guitars are the backbone of the tracks, but they are surrounded with beautiful orchestration (including strings, pianos and organs to name a few).  Lennon has plenty of bittersweet lyrics on the album, however they don't become depressing thanks to the sweet melodies throughout. 

“Friendly Fire” finds Sean Lennon becoming a respectable songwriter, in his own right.  These songs are pretty undeniable, a definite must for fans of Elliott Smith who are still mourning the loss of their favorite loner-musician.  Anyone who has ever been through a break-up will relate to the album, and everyone else will still find themselves humming along.  His Dad would be proud.

//Related Links

Sean Ono Lennon.com (Official)

An Evening with the Original Super Group

By Kieran J. Grogan
Category: Concert Review

September 9th - For the common citizen, it may be rare to witness the trueness of pure spectacle, but when the gods of rock and roll call you to stand tall, the result may turn out in your favor.  It was such a call that brought me to Marcus Amphitheater on September 6, to experience the living history, the brilliant artistry, and the living spectacle of Crosby, Stills, Nash, and Young.

The trip was made by my father and me, the former being a fan of 36 years, the latter exposed to the super group at the earliest of age.  In all honesty, my first memory that I can recall is listening to the song “Ohio” while driving in my father's car, him explaining it to me at a tender age.

To walk in several songs into the set is a tragedy, but entering a facility to the sound, and sight, of Neil Young singing was a thrill to be unparalleled.  Their 2006 “Freedom of Speech” tour consisted of two sets, each consisting of time tested “oldies,” infused with material from Neil Young's newest album Living with War , as well as assorted material from the pantheon of the careers of all members. 

“Let's Impeach the President” made the crowd roar, as it was the only song with its often humorous lyrics represented on the monitors above.  Instead of a Stills or Young solo during the bridge, the monitors above flashed montage clips of President Bush, contradicting himself over and over.  Songs like “Shock and Awe” prove that Neil Young remains relevant even today, and also that he is an artist of oddity as he transcends the generations.

Crosby's “Carry On,” Nash's “Our House,” Stills' rendition of an Otis Redding song, and Young's “Only Love Can Break Your Heart” all displayed the band's intricate diversity and abundant talent, which in itself is quite the understatement. 

Placed in front of changing backdrops that displayed everything from peace signs to Mexican, Canadian, and American flags, the political charge of much of the music is nothing new to these Vietnam-era leaders of protest.  “Find the Cost of Freedom,” along with “Ohio,” were chilling reminders of an unchecked machine that can be the United States' government.  Perhaps a highlight for many of the middle-aged crowd, as well as protest conscious youngsters, was the full band rendition of Buffalo Springfield's “For What Its Worth.”  Penned by Stills, and expanded by the wonder of Young's wondrous guitar skill, its message called of immense importance in both reflection of the past and connection to the present.  Consciousness rarely has such an exceptional treat.

The great finale echoed in their tradition of socially conscious material, as the full band tackled Neil Young's “Keep on Rockin' in the Free World.”  This anthem of the times directly preceding the fall of the Berlin Wall rang true to the crowd, who universally stood up, both literally, and metaphorically as the lighters in the crowd flared.  Fists pumped in the air, and as the people were brought together in a great feeling of unity, my father and I joined the masses in singing along to the inspirational chorus.  To be sure, I held my lighter high.

//Related links:

CSNY Official Website

Neil Young - Rockin' in the Free World lyrics

Review of The Strokes' "First Impressions Of Earth"

by Kevin Krekling

I have a few things to get off my chest and I must be blunt.  A lot of critics are being really quick to shit on the new Strokes record. Well, I refuse to be one of them. Yes, it's true that "First Impressions of Earth" is different than anything they've ever done; with songs dabbling in classical, electronic, new wave, psychedelia, and metal. And yes, in a sense, they've abandoned the whole  "fall outta bed, have a smoke, and cut a track" sound they created and perfected on their debut album, "Is This It?" But, so what? Can't a band change? Jack White can trade in his guitar for a piano and a marimba and get record of the year, so what's the difference? It's called trying something different. It's called evolution. The Beatles did it on every record and ended up as the greatest group in the history of the universe. Now, before you think I'm overreacting, you must remember that these were the same critics that shitted on them for making the same album twice (see "Room On Fire.")  Now, they're getting hounded for trying too much, for stretching themselves too thin, for being too ambitious? These guys just can't win. Well, in this critic's humble opinion, those critics are completely full of what they've been dousing The Strokes with for the past three years. One constant that hasn't changed with their new record, "First Impressions Of Earth" is that they're still the best of what America has to offer these days. Absolutely nothing has changed with this release.

Which brings me to Exhibit A…Well, it's actually my only piece of evidence, but it's all I really need: "You Only Live Once" starts the album off brilliantly and is an instant classic in the group's catalogue. Never before has Julian Casablancas' voice sounded so vibrant and upbeat as it does here, and never has the band sounded so happy. It's the perfect example of why The Strokes are what they are. Not only are they the ultimate form of NYC cool -brilliant, stylish, hard, and pained- they're also supremely catchy.

Next up is the massively-bootlegged single, "Juicebox," which is the group's heaviest and most dangerous-sounding effort to date. With Casablancas' pleading "why won't you come over here? /We've got a city to love!" over the group's frantic backdrop, The Strokes sound like they're in the midst of a killer panic attack. If the first cut is Ecstacy, "Juicebox" is the result of downing some bad speed. Who's got the Xanax?

After the album's strong start, you might expect a little bit of a lull. Not the case. In fact, "Heart In A Cage" is possibly the album's highlight. If not the catchiest, it is the best song of the bunch. It's also the best lyrics Casablancas has written, to date. Try listening to the song without getting the opening lines stuck in your head ("I don't feel better when I'm fuckin' around/ And I don't write better when I'm stuck in the ground"). C'mon, try!  Save yourself the time and effort because it's impossible. This is the first example of the Strokes new forays, though. It sounds like nothing they've done before. It's like a strange Depeche Mode- Richard Hell mashup with Jim Morrison on the mic. I don't know how, but it works… perfectly.

With "Razorblade," "Vision of Division," "Fear of Sleep," and "Electricityscape,"  the band raves on. This isn't music for the faint of heart. It's intense, it's gut-wrenching, it's sometimes psychotic and unnerving, but it's always great.  The only slowdown on the album is the strange "Ask Me Anything." With nothing but the sounds of a keyboard and Julian's crooning, it's about the closest The Strokes will come to sounding Beatle-esque. It's strange, to say the least. And, although there are a couple weaker tracks ("Ask Me Anything" counted), none of them can be considered failures. They're way too much fun.

This is the biggest and most epic the group has ever sounded. And, on many songs it's also the best they've ever sounded. Is the album as good as their previous releases? Who cares? Trying to compare a band to its previous work isn't always fair or an accurate barometer of how good a record is.  Just know this: "First Impressions" is better than pretty much everything else that has come out in recent history. And, that's what really matters. It's just different, but change is good.

Music and Cognition

" The history of music in relation to human beings predates the written word and is tied to the development and unique expression of various human cultures." - Wikipedia

By Justin Kral

Category: Music, News

September, 9th - At its most basic level, music is just sound. Sound produced by vibration. However, music also affects all of us in complex ways-- as anybody that has experienced a memory triggered by hearing a once-meaningful tune can attest to. It should be of no surprise to readers that recent studies in cognitive neuroscience have suggested that memories are encoded differently for music-based memories than they are for other semantic memories.