regrettablemusicreviews

[regrettablemusicreviews]

Kid A - Radiohead

Does anyone remember when Kid A was released? I mean, I know I don’t, but looking at original reviews it’s easy to see how the band that “saved rock” had completely fallen in on themselves in a pile of self-indulging and ‘too experimental’ experimental rock. Mojo can be quoted as saying “upon first listen, Kid A is just awful”, and the Melody Maker called the album “tubby, ostentatious, self-congratulatory, look-ma-I-can-suck-my-own-cock whiny old rubbish”. While many other critics saw the merit of Kid A, the album was incredibly divisive for reviewers and listeners alike. Those listeners that did like what they heard would argue that dissenters “just didn’t get it”, and that “you just have to wait for it to click”, while those on the other side could easily just call these preachers “pretentious, pompous, and looking for something that just wasn’t there”. 

When it comes to my opinion, I don’t stop short of calling this album probably one of the best of all time. From those first few notes on “Everything In Its Right Place” to the dancing and luxurious piano sending off “Motion Picture Soundtrack”, Kid A is a showcase in excellence. Radiohead, firstly pioneers in alternative rock with the excellent OK Computer, had gone from guitars and melody to layers, textures and rhythms, while still retaining the same themes and conjuring similar emotions as their past three records. The band pick up new instruments, incorporating the Ondes Martenot, pedal organ, strings, and a brass section, along with the standard guitar, bass and drums. Kid A is still called one of the most influential albums of all time, with its effect felt everywhere in music today, and this distinction is utterly and completely well-deserved. 

Yorke, after suffering burnout as a result of OK Computer, held himself up in a cottage, fundamentally in the middle of nowhere, with nothing more than a few copies of Aphex Twin and Autechre, a grand piano, and the beautiful landscapes around him. What better way to introduce the listener of this record than with the song that Yorke first wrote after pushing for this extreme change of direction. It’s the first few notes of “Everything In Its Right Place” that set the tone for where this album is, or isn’t, going. They completely fill all the space available. The lyrics are abstract and repeated. Meaning can be derived from the way Radiohead were so affected after OK Computer and subsequent touring. 

Yesterday I woke up sucking a lemon

is repeated four times, and what is implanted into the listener’s head is one of dread, as there are notions of waking up with a sour taste in your mouth. Always revert to this idea of burnout the band had suffered with. Other lyrics further expunge feelings that accompany this trepidation for every day that comes, with notions of being lost. 

What what is that you tried to say? What what was that you tried to say? Tried to say Tried to say Tried to say Tried to say

These lyrics are set against a backdrop of growing manipulated synthesisers and vocals, the latter of which are incoherent enough to be able to find it impossible to derive much meaning from. Ending the song, the noise drains out into silence. The synthesisers that once utterly filled the air are now gone, revealing a new world of Radiohead, leaving you rethinking what you thought you knew of their sound, and wondering what would come next. 

Secondly, we have the title track, “Kid A”. No sound begins the track, but from the distant comes a ticking and whirring. You can’t quite pinpoint what or where it is, but once it arrives, the calming piano keys and charmingly produced drums couch the listener in a place of comfort. The two instruments work over each other, but they keep time. Nearly incomprehensible vocals are too added to the mix, and without any indication as to what’s being said, one is not sure what to make of it. Once they are found out however, a different story emerges, and one can feel trapped in a soundscape that looks nice, but is actually terrifying. I’ll leave you to find out what Yorke is actually saying. It’s a much better experience finding out after those first few listens. Instrumentally, the drums ramp up. The lyrics are essentially nonsensical, but this lack of direction itself adds to the unease. “Kid A” starts off as an innocent fairytale, but alike to their original stories, turn into something disconcerting, making the track in my opinion, akin to a Brothers Grimm tale. The last half of “Kid A” reflects this, with an incredible use of bass and the incorporation of the snare in contrast to the calmer sounds. The soundscape begins with one of wonder. What happens next is up to the listener. For me, it becomes one of fear. 

While “Kid A” never ‘picks up’ in a way, “The National Anthem” is probably the inverse of such, starting with a bassline that goes down as one of my all-time favourites. It acts as the unrelenting groundwork from which we see build a soundscape that is akin to a jazz traffic jam. The bass opens the track, never straying, and never relenting. With just four notes on two strings, the rest of the sounds are free to do what they want. With the drums, this varies from the snare to the cymbals, again never straying from time. Surrounding the listener is a claustrophobic system of sounds from O’Brien, which he masterfully deploys. Halfway through begins the insanity. One lone trumpet follows the beat, but soon a riot of jazz follows, all playing against each other, all playing their own solos, and all having no regard for what is happening, bar that bassline. One quick lull is not enough to keep them at bay, as each time they come back stronger, and harder. Again, this bassline. It. Just. Doesn't. Stop. The listener is drawn all over the place, from bass, to drums, to all over the cacophony that is the jazz section. No one who listens to this song can stay in one place, and as the bass and drums finally stop, the jazz is left on its own, like a cartoon that’s just found it the platform it was standing on was just pushed out from under them. They give one last look at the camera, and then fall. 

“How To Disappear Completely” next, and this is probably the closest the listener is going to get to an OK Computer-esque track, but Jonny Greenwood’s weeping strings offer a new dimension to the “Exit Music (For A Film)” and “High and Dry”’s of Radiohead’s discography. Yorke’s vulnerable falsetto stands out alone among the wailing instrumentals. 

That there, that's not me I go where I please I walk through walls I float down the Liffey

I'm not here This isn't happening I'm not here I'm not here

This track is ethereal, lachrymose, and is like an out-of-body-experience for the listener. Near the end of the track, Yorke’s vocals get pulled under the tide of the instrumentation. The overbearing strings get the better of him, and he drowns in the ocean of chaos, self-loathing and depression. The instrumental “Treefingers” follows, offering a moment of reflection. O’Brien’s guitar is calming, again ethereal, as is a common trait of the record, and the listener can relax after the emotionally-draining first half. 

As the processed guitar drowns away, the punchy drums and classic electric guitars return for their first proper outing on “Optimistic”. Selway here provides a lovely opening drumbeat, akin to a stomping battle, and the guitars allow Yorke to sing a fantastic melody, with his vocals giving well to a glorious unleashing of their musical prowess near the end of the track. Yorke’s falsetto overshadowing it all, Selway massacres his cymbals and toms intermittently, as Jonny Greenwood and O’Brien’s guitar interlock. Lyrically, the song provides an upturn in emotions. Yorke has disdain for a society rife with social- and economic-Darwinism, whilst providing the listener with lines of assurances of their efforts in a world that is profoundly just unfair. 

Flies are buzzing around my head Vultures circling the dead Picking up every last crumb The big fish eat the little ones The big fish eat the little ones Not my problem give me some You can try the best you can You can try the best you can The best you can is good enough

“Optimistic” ends in a groovy instrumental that leads us into “In Limbo”, opening with less rumbling drums and a guitar that rings. This track’s instrumentation is floaty, rising us above a station we deserve to be at, in parallel with the lyrical themes. It feels directed at those blinded by their own ego, as they’re told

You're living in a fantasy world You're living in a fantasy world

The ending whirs out into silence, and the next track is probably Radiohead’s greatest departure from their previous sound yet. “Idioteque” opens with an electronic drum beat and background synths. The snare is as processed as it can get, lacking any real punch bar the electronic run-off. The four chord synth sample from Paul Lansky repeats throughout the track, and the beat created is utterly infectious and glorious. The kick bubbles way out of proportion and Yorke’s lyrics on this track could be analysed for days. One verse for example;

Ice Age coming, Ice Age coming Let me hear both sides, let me hear both sides, let me hear both Ice Age coming, Ice Age coming Throw it on the fire, throw it on the fire, throw it on the We're not scaremongering This is really happening, happening We're not scaremongering This is really happening, happening Mobiles skwerking, mobiles chirping Take the money and run, take the money and run Take the money!

There’s so much imagery and many metaphors hidden in here that it would take hours for me to comprehensively research and write about it. The messages are obviously apocalyptic, with references to an ice age, bunkers, and overbearing technology. The possibility of this being in reference to climate change seems possible, especially when coupled with the ‘scaremongerers’, a common critique from deniers, and Yorke’s outspoken stance. 

Next is “Morning Bell”, a song that takes advantage of the mundanity of life, opening with a repetitive and interesting 5/4 drum beat, Yorke’s lyrics seem almost nonsense, but their common theme is the monotonous nature of life. We’ve all heard these lines before. 

You can keep the furniture 

Where'd you park the car?

Clothes are all over the furniture

Now I might as well

There isn’t too much more that can be derived from this track, as the delicate guitars and careful bass operate under everything, this track is a theme of itself. We all want to escape the mundaneness of life, but it will always catch up with us eventually. 

Finally, we end Kid A with “Motion Picture Soundtrack”. Bittersweet and depressing, here Yorke muses over a lost lover, a lost soul mate, as the haunting organ underpins his voice. 

Red wine and sleeping pills Help me get back to your arms Cheap sex and sad films Help me get where I belong

Drugs and alcohol provides the solace after such heartbreak, and the idea of a beautiful suicide emerges in Yorke’s voice. This track is overpowering with emotion, but it is for the best. 

Stop sending letters Letters always get burned It's not like the movies They fed us on little white lies

And this is where we hit the end of the track, the end of the album, and the end of a paradox of tracks. Pitchfork said it best:

“It's cacophonous yet tranquil, experimental yet familiar, foreign yet womb-like, spacious yet visceral, textured yet vaporous, awakening yet dreamlike, infinite yet 48 minutes.”

And that’s exactly what it is. It’s everything I want from an album, and I’ll continue listening to it for the rest of my life. 

Finally, the last keys of the organ play, and Yorke’s final line is let out. 

I will see you in the next life 

I sincerely hope so Thom. I really do. 

Songs I Think You’ll Like: 1. Everything In Its Right Place 4. How To Disappear Completely 6. Optimistic

Personal Favourites: 3. The National Anthem 6. Optimistic 8. Idioteque

Score: 9.6 out of 10

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Carvel - John Frusciante

Track: Carvel Artist: John Frusciante Album: Shadows Collide With People Year: 2004

Many fans of John Frusciante consistently rank Shadows Collide With People as one of his best solo efforts. With elements of experimental and art rock, much of this album incorporates much meddling in production, leading to the most expensive album Frusciante has written and recorded, coming in at around $150,000. Personally, I would not call myself a fan. It feels too produced, and lacks the homely and private feeling that is present on Curtains and The Will To Death. The Empyrean is probably Frusciante’s best example of a highly-produced album, but certainly not Shadows. 

Regardless, I wasn’t completely turned off by all tracks on this record. When I first listened to the album in fact, I was ready to fall in love with the whole thing after hearing “Carvel”, easily the highlight and for me, only one talking point. Opening with over a minute of interesting and eerie noises (I couldn’t figure out what on earth is being played bar a bass), which lulls the listener into a sense of wonder for what was to come next, where we hear a light hit of the cymbal before Frusciante bellows out a confident cry against a fantastic guitar part, and supplementary drums. His voice hits difficult points that he has hardly been able to replicate live, but sounds rugged and brutal on the record. 

Just after the three and a half minute, Frusciante lets out an off-putting yet endearing scream, which is sure to take everyone out of the feel of the track. An interesting artistic choice to say the least. The lyrics themselves appear to centre around drug addiction and rehab.

Running me out of town Wishing the best around Would only get you off my back Heaven receives you and throws you back

Have you gone, have you gone away already? Come back, come back, come back, come back All the good times are on their way Up and down um that's how energy stays alive

Frusciante stays ambiguous, but the ever-present issue of drugs in his life does present itself as the obvious theme of the lyrics.

The track fades out, with Josh Klinghoffer’s backing vocals, into an etheral mess of produced synthesisers and god-knows what else. To conclude, it’s a great tune, just be prepared for a scream that could be welcome in any nu-metal band of the early 2000s halfway through.

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Prison Sex - Tool

Track: Prison Sex Artist: Tool Album: Undertow Year: 1994 

Of the four albums Tool have released, I can comfortably place three in the list of my favourite albums of all time. The one that misses out is Undertow, their first proper studio release, which while contains a decent number of good tracks, is really let down by scaled-down production and poorly mixed vocals. However, one track particularly stands out as a fantastic song, and that one is “Prison Sex”.

Coming in second in the tracklist, after “Intolerance”, “Prison Sex”’s lyrics tackle abuse and the psychological effects it can have on the victim. Keenan’s raging vocals cut through Jones’ guitar, of which is by far the best riff on the album. 

It took so long to remember just what happened I was so young and vestal then You know it hurt me But I'm breathing so I guess I'm still alive Even if signs seem to tell me otherwise 

Lyrics get even more grotesque and explicit as the song goes on but, rather than being a gross-out for the listener, is executed to draw disgust to the themes. The bass by D’Amour is definitely grungy and plays well against Carey’s drums. While musicianship shown on this album is still high, it’s never as exemplary as on their future albums. 

Regardless, “Prison Sex” is a classic Tool track, showcasing their earlier musicianship and penchant for difficult lyrical themes. 

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Demon Days - Gorillaz

Hearing that Damon Albarn was dipping his feet into alternative hip-hop can’t have sounded too attractive. After Blur released the experimental and art rock 13, fans must’ve been crying out for something more accessible and less, well, weird. With a new Blur album nowhere in sight, fans would have to do with the Gorillaz self-titled, released in 2001, and to their surprise, it somehow worked. Singles such as “Clint Eastwood” and “19-2000″ were massive hits and Gorillaz were firmly on the scene, more than as an Albarn side-project, but as its own beast. It is no wonder then that Gorillaz’ sophomore project was able to attract big names in the form of De La Soul, Neneh Cherry, Bootie Brown, Doom, Shaun Ryder and even actor Dennis Hopper, all appearing and/or writing. With Brian Burton (Danger Mouse) aiding in writing and producing, Albarn was ready to write one of the seminal albums of the 00s.

After a chaotic and sinister opening, the “Intro” ends as an ominous voice speaks

You are now entering the harmonic realm

A whirling goes off into the distance, leaving the listener to wonder what on earth is coming next....

“Last Living Souls” emerges from the fog, painting an apocalyptic image of the world. Opening with highly produced drums, Albarn’s voice joins in with despair as he asks, and finally answers, 

Are we the last living souls?

Halfway through the track enters into an acoustic and sparse section, followed by grand orchestral strings creating a lovely contrast between the singer asking and answering his own question. Next comes “Kids With Guns” with an infectious bass line and a warning about this generation’s failing of the next. The track leads to a climax of guitar, drums, bass and crashing cymbals, all circling the listener in frenzy. 

“O Green World” opens with a misleading acoustic line, leading instead to a very hip-hop line, then turning again into the guitar driven first verse. Albarn again sings of an apocalyptic world, but the production on this track is gorgeous, shifting between different styles and genres in a lovely fashion, almost seamlessly. “Dirty Harry” next, and man, these tracks have already been incredibly infectious, yet Albarn is able to step it up again with this one. With verse vocals delivered from a childrens choir (I know, I know), the choir vocals are delivered by Bootie Brown, with incredible rhythm and lyricism on war. As the song ends, a distant laughter is heard quickly rushing to the listener, and quite possibly the best song Gorillaz have ever written starts. “Feel Good Inc.” incorporates an incredibly simple but effective bassline, with highly-produced drums and Albarn’s slightly masked vocals which are unveiled in the hook, leading us into an outstanding contribution from De La Soul. Lyrics stay centered on dystopian society, with a few 1984 references thrown in too for good measure. 

Windmill, windmill for the land Turn forever hand in hand Take it all in on your stride It is sticking, falling down Love forever, love is free Let's turn forever, you and me Windmill, windmill for the land Is everybody in?

Changing the tone next is “El Mañana”, with upbeat but melancholic beats. “Every Planet We Reach Is Dead” follows with similar melancholic themes, but climaxing with thundering cymbals and insanity reigning on the piano. “November Has Come” slows the beat with DOOM rapping loaded lines and lamenting what he sees as the fall of hip-hop, as well as addressing gun violence and gang culture. “All Alone” again crosses sadness and an uptempo beat, with Roots Manuva taking a starring turn throughout the song. Martina Topley-Bird too features amongst an ethereal backdrop of acoustic and strings. 

“White Light” represents a strong descent into alcoholism, with a groovy bass and restrained drums. Albarn’s vocals sound rushed and, well, drunk. An angelic interlude emerges halfway through, but Albarn’s alcohol-induced repetitive singing comes right back, followed by a high guitar solo and the following track of “Dare”. Combining Shaun Ryder and Rosie Wilson is a bold decision, but its boldness is what makes it so good. The song is more disco, more funk and trippy, incorporating synths while the odd vocal pairing sing/shout. 

“Fire Coming Out Of The Monkey’s Head” begins the end of Demon Days, and the bouncy instrumentals are overshadowed by Dennis Hopper’s chilling narration of the Strangefolk and Happyfolk, and the latters eventual demise. “Don’t Get Lost In Heaven” follows with a very angelic, warm opening, acting as a prelude to the closer “Demon Days”, which emerges with strings and a distant Albarn singing that things may be bad, but its best to take advantage of the good things in the world. 

You can't even trust the air you breathe Cause mother earth wants us all to leave When lies become reality you numb yourself with drugs and TV Pick yourself up it's a brand new day so turn yourself round Don't burn yourself, turn yourself turn yourself around into the sun

And there we have it. One of the seminar albums of the 00s, very much an analogy for much of the bad things in the world, covering things from war, terrorism, gang violence, addiction, and the banality of modern life. While Gorillaz may have started as a side project for Albarn to let out his hip-hop inclinations, it became a vehicle for some of the best albums of the decade. 

Tracks I Think You’ll Like: 5. Dirty Harry 6. Feel Good Inc. 12. Dare

Personal Favourites: 3. Kids With Guns 4. O Green World 8. Every Planet We Reach Is Dead

Score: 8.5 out of 10

[regrettablemusicreviews]

Thrill Of The Arts - Vulfpeck

Vulfpeck since their founding in 2011 have bought some much-appreciated rawness and simplicity to the sound of funk, something that’s really been missing on the scene for a long time. Funk has permeated itself into many different styles and genres: psychedelic with George Clinton; rock with Jimi Hendrix and Red Hot Chili Peppers; metal with Rage Against The Machine and Primus (sorry Les); but rarely has pure and raw funk been so well deployed in recent times than by Vulfpeck. Four years and four EPs later, they release their first album, Thrill Of The Arts, and it is an absolute delight of stripped back instrumentals and outstanding grooves.

“Welcome To Vulf Records” indeed as the opening track firmly lays out exactly what the rest of this record will hold: gorgeous bass lines, tidy piano work, and tight production. Half of the album is without vocals, and here is one, just pure funk with a well-deployed saxophone solo added near the end. “Back Pocket” finds its way next, opening with Christine Hucal’s guest vocals. Probably one of the stand-out points on the album is the choice of vocalists Vulfpeck do make on those choice tracks. They perfectly mesh with the instrumental backing, and the same is evident here. 

Next is “Funky Duck”, my personal first in Vulfpeck’s repertoire, hearing this track first in the summer of 2016 and instantly adoring the vocals. Not only do the backing vocals add a lovely layer to the works, but guest Antwaun Stanley’s voice is an absolute gem on this record. The opening notes on this track are infectious to say the least, and once Stanley begins his singing most listeners will be sold just as I was. The lyrics are hilarious too:

He’s on the scene He’s the first to leave Drinking Ovaltine Since he was 14 He’s self aware He gave the first TED talk Can’t remember the names Treats you all the same

They seem boring just reading them, but Stanley’s delivery does them an obscene amount of justice. “Rango II” chill funk slides in next, again lush with lovely piano and funky bass, but that must be a given to you by now.

“Game Winner” continues the chill funk vibe, with piano’s opening the track and an undertone of bass and drums underpinning Charles Jones’ vocals, again an outstanding choice from Vulfpeck. “Walkies” follows a jumpy bass line over just on the other side of a minute, leading us into “Christmas in LA”, a funk christmas song, which while feeling slightly out of place, is a testament to Vulfpeck’s ability to convert any theme into a funk track. “Conscious Club (Instrumental)” sees Vulfpeck conjure a dance-funk hit, and “Smile Meditation” slows down the tempo for some mellow funk. The closer track “Guided Smile Meditation” is an odd one, feeling more like self-indulging filler to end the record, leaving the listener yearning for a more satisfying conclusion. A disappointing addition, but an interesting one. 

Tracks I Think You’ll Like: 2. Back Pocket 3. Funky Duck 5. Game Winner

Personal Favourites: 2. Back Pocket 3. Funky Duck 5. Game Winner

Score: 7.9 out of 10

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Only By The Night - Kings Of Leon

It’s in no doubt by this point that Kings Of Leon have completely abandoned the aesthetic that made them so popular with Youth and Young Manhood and Aha Shake Heartbreak. It’s now four albums without that southern garage we saw come onto the scene in 2003, and it wouldn’t be disingenuous to say that the Kings have suffered as a result, churning out forgettable tracks on Mechanical Bull and WALLS. However, their exploration of alternative rock hasn’t gone without some decent material, Only By The Night being one such example. 

Their forth album showcases a more arena rock sound. These tracks were clearly meant to be played live, and while that can be the root of why there has been such a change of sound, it does lend itself to some decent songs. Only one track on Only By The Night would I actually classify as bad, while most I would happily call pretty great. 

Opening the record has got to be one of Kings Of Leon’s best songs, “Closer”. A whirling guitar working against offbeat drums creates an atmospheric tension, punctuated by killer snares and Caleb’s impending-lyrics. As the song approaches its conclusion, the final outburst of tension-building is relieved in a simple but effective solo. Unfortunately this ends the best song on the album, a mere four minutes in. A part of me feels it would’ve worked better as the closing track, but literally calling it “Closer” may have been a little too on the nose.

Secondly we have “Crawl”, a further testament to why you should never listen for anything more than Caleb Followill’s melody, leaving the lyrics well alone. A shuddering and Led Zeppelin-esque guitar boots the track off and a highly distorted bass keeps it rolling. Lyrics feel overtly stereotypical (think deep south Republicans) but they’re vague: I honestly can’t tell if they’re meant to be like that or if they’re actually championing liberal nationalism or conservative jingoism. This is where I stopped caring what they had to say; the melody’s decent so that’ll do. 

“Sex On Fire” follows and this is a great track. Lyrics are nonsensical but are perfect to be singing at a mildly-decent house party, and the instrumentals are clearly designed for the release tour, but who really cares? They adequately rock, a perfect summation of the whole band really... Next is “Use Somebody” with a grand sound and great melody again. Lyrics aren’t as bad and the lonely guitar joined by the bass after the first chorus builds the track so goddamn well, paid off well with an explosive solo. 

I feel most of the listeners to this album would’ve turned off by the time “Manhattan” comes on. The singles are gone and many people have probably grown tired of the ‘friendly’ sound. The fifth track’s mild opening may have something to do with that too, but the bass on this track is restrained and gorgeous. Lyrics are again nonsense;

We're going to fuel the fire We're going to stoke it up We're going to sip this wine And pass the cup Who needs avenues Who needs reservoirs We going to show this town How to kiss these stars

A nice sentiment, but like talking politics or philosophy with your friends, if you take a step back you quickly realise everything you’ve said was pretty much bollocks. The rhythm section really carries this song for me though, so much so that it makes its way into my personal favourites on the album. Bloody lyrics again though... “Revelry” follows, opening somberly and again showing why the bass and drums are by far the best components in the Kings contingent. Caleb’s melody is again infectious, and the track never picks up too much, a refreshing sight on a record designed for the stadium

I said there was one song on this record that I would classify as bad, and ladies and gentleman, that song is “17″. Heralding its entry with the same bells you’ll in HMV at Christmas as you decide, this track just hits me in every bad spot. The melody asks way too much of Caleb’s range; the high note on seventeen makes me cringe, and the guitar between choruses remind me of dodgy sound effects on Jurassic Park III. Lyrics are vaguely creepy too, edging its way into areas probably left off a major studio album. Skip.

Back to decency and decent tracks with “Notion”, the bass again outclasses the guitars. The track’s melody is again nice, and the simple-ness of the track is what really makes it. “I Want You” enters with fantastic drums, and the bass is once again perfect. Its pretty much a given by now that the rhythm section is what stands out. However lyrics stay profoundly creepy;

Home-boy's so proud, he finally got the video proof The night vision shows she was only ducking the truth It's heavy I know, black cat with the gift down below A choke and a gag, she spit up ‘n’ came back for more

Seriously guys? Couldn’t think of anything better than filming oral sex for that verse? Still, melody’s good. 

Rumbling drums enter the fold next. “Be Somebody” showcases great drumming, with an infectious groove, and nice guitar work. The lyrics stay within the confines of decency, moreover they’ve written a song where the verse is more punchy than the chorus. “Cold Desert” enters with a distant guitar, and a somber track sees out the album. It’s nice. It’s slow. The soundscape feels vast, while Caleb feels right in front of you. Great ending. 

Imagine if Caleb could write good lyrics. He’s no Alex Turner, but the music behind him is solid. Sometimes its fantastic, but sometimes awful too. Only By The Night isn’t the best Kings album, but its not the worst. It’s got a lot of solid parts, just mixed with a lot of dodgy ones too. Listen for the melody, drums and bass, and you’ll come away enjoying the experience. Listen for anything more and you’ll feel guilty for liking it in the first place. 

Tracks I Think You’ll Like: 1. Closer 3. Sex On Fire 8. Notion

Personal Favourites: 1. Closer 5. Manhattan 9. I Want You

Score: 7.1 out of 10

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Dissolve - John Frusciante

Track: Dissolve Artist: John Frusciante Album: DC EP Year: 2004

John Frusciante has got to be one of the best guitarists of his era. By exploring melody and emotion in his playing rather than speed and technique, he has created a consistent catalogue of outstanding music. More than likely you’ll be aware of his work with Red Hot Chili Peppers (albums such as Blood Sugar Sex Magik, Californication, By The Way, and Stadium Arcadium I find to be some of the best records around) but much of his solo discography is overlooked. 

Some of it may be for good reason: Niandra LaDes/Usually Just A T-Shirt and Smile From The Streets You Hold are fascinating but nearly unlistenable, but his whole collection of albums and EPs released in the 00s are filled with exquisite guitar work. 

The DC EP was released in 2004, comprising four tracks, the opening of which “Dissolve” is the highlight and personally, the only one I’m still playing. The riff is contagious and crashes in instantly from the get-go. Frusciante’s signature amateur singing voice is as endearing as ever, and the lyrics are ambiguous, but seem to hint at how humans develop and inherent problems that are associated. 

Frusciante is a master on guitar, and this is a further testimony of such. The blasting and muddy guitar solo mid-way through the song is short and well-calculated, unleashing a wave of emotion. It has a feel of classic rock, melodic and riff-driven. It may not be his best work, but it’s great nonetheless. 

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Do You Feel It? - Chaos Chaos

Track: Do You Feel It? Artist: Chaos Chaos Album: Committed To The Crime Year: 2014

 Seen Rick and Morty? If so, you’ve probably heard this song. If not, put that on what I’m show is an ever-growing list of TV shows to watch and get round to it quick. Dan Harmon and Justin Roilland, they really do have to be congratulated for their choice of “Do You Feel It?”. It’s a fantastic track.

Chaos Chaos are an indie pop band who’ve been around for a while now, but it wasn’t until this song did I really take notice. Opening with an echoing piano, the melancholic feel is beaten against with the potent bass-drum, and Asya Saavedra’s vocals feel accustomed to a more pop-generic sound, but they’re deployed well in this track. The lyrics, tackling toxic love but the fear of being alone, are sung with heart (I apologise for sounding like a bloody X-Factor judge there). 

Drinking in the summer, I'm good at running I beat you in the race again Are you afraid, when I look your way It's easiest to stay at home But then we taste it, we got to have it We have no control Where is the love, the kind we dream of The kind that makes us young

The sound created by the two feels big and grand, despite the obvious limitation in numbers, a real achievement for the band. They utilise each instrument with restraint, and it pays off well. No extravagance and nothing over the top leads to a well meaning song, with emotion and class. 

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Redbone - Childish Gambino

Track: Redbone Artist: Childish Gambino Album: "Awaken, My Love” Year: 2016

Childish Gambino hasn’t really grabbed me with much of his material. His first album, CAMP, never really hooked me and his second album, because the inter.net did have a few decent tracks (IV. Sweatpants, V. 3005), but nothing that I would consistently come back to. Even on his new release, “Awaken, My Love”, while I do see the actual artistic merit, it’s not something I’m going to listen to as I walk to university. 

However, there is one track on this record that I’ve absolutely fallen in love with. “Redbone”, the sixth track on this album, is something I haven’t stopped listening to in weeks now. Glover’s high pitched vocals are a delight, oozing with soul. The groove on this track is established pretty much right out of the gate and hardly budges. The funky feel is so, so sexy, as the bass slaps and drums swagger. It’s a masterpiece in just getting the body to move as you listen, and Glover’s vocal melodies are contagious. 

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Update #1

Okay I feel like I should add a new feature on Regrettable. Since I’m only reviewing albums which I can enjoy pretty much all of all the way through, this leaves little room for those fantastic songs that aren’t on the greatest of records. 

This is where this new feature comes in: as well as albums, I will now also be recommending individual tracks too that I think you should give a listen. They’ll certainly be shorter, so expect just as many as these as albums, but it should help alleviate that ever-present feeling of restriction. 

Admittedly that’s all I feel I need to say. I can’t recommend albums based on just one track, but I feel like I can’t not write about it. Hopefully this can allow for a steady stream of new content, as well as a further broadening of those musical horizons.

Cheers xx

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Lateralus - Tool

Talking about Tool is difficult. When much of your material is highly structured with complex riffs, changing time signatures and lyrics so carefully chosen they are a puzzle all on their own, its easy to get lost. There is also the phenomenon of the ‘Tool fan’, those that incessantly purport ill-thought out lyrical theories, that claim that 10,000 Days represents the 11 Sephirot in the Kabbalah (seriously, you can look that up, I think they were serious), and those that literally want to fuck Maynard for being “so fucking transcendent”, whatever that means. So I’ll try my best not to stray into that territory. 

On that note, I fucking love this album. The best word I could use to describe this record would probably be episodic. Be it across two or three tracks or confined within one, the album flows exceptionally well, to the extent that on first listen it can be difficult at times to determine when one track ends and another begins. If constraining Lateralus to a genre, it would be progressive. There’s elements of thrash, art, and even math rock, but these are mere cameos than defining features, but as always these labels do little to unlock the box to the mysteries inside. 

“The Grudge” opens with aggression, whirring into life with chaos. Jones and Chancellor’s guitar and bass interlock for an incredible opening riff, with more subtlety than “Vicarious”, and Carey’s drumming is rhythmic and pounding, something which you may have realised is a recurring feature on their whole discography. Keenan’s lyrics begin as a bitter testament to negativity and hatred, but end on a note to liberate oneself and be released from your grudges. The song dips and rises, ending on a crescendo that’s intense and powerful. Keenan’s vocals are drenched in anger that surround the struggle, and a ferocious scream leads into the ending instrumental, backed by the chant to 'let go’.

Following the opener is “Eon Blue Apocalypse”, an instrumental track that segues well into “The Patient”. The segue is atmospheric, slow and creates a sensation of melancholy and openness. The rush and compact nature of the opener is contrasted against this track’s slow and wide-open feel. Undetectable, it leads into “The Patient”, continuing the slow build, with Keenan’s vocals taking a more sensitive and exposed feel. The instrumentals are every much as powerful as the opener, but with a dash of melancholy and a higher register in Keenan’s voice, while a mid-song lull leads into death-march like riffs and razor sharp guitar work. The lyrics tackle the struggle between keeping faith in the face of a difficult life;

A groan of tedium escapes me Startling the fearful Is this a test? It has to be Otherwise I can’t go on Draining patience, drain vitality This paranoid, paralyzed vampire act’s a little old 

Next is a second segue, but unlike track two, “Mantra” appears to be no more than ambiance. Research seems to show this is a screech from a cat owned by the band, which is slowed down and reversed. Listening to it, it certainly sounds odd, but somehow it just works. No doubt it will be skipped in future plays, but as a segue between songs you have to give it credit. I still wonder why they decided to record a cat in the first place, but I appreciate the results. With nine unassuming strums on bass, we lead straight into the instantly recognisable “Schism”. Weaving in and out of 5/8 and 7/8, and 6/8 and 7/8, this song is complex in its writing but a joy when listening. The bass takes the front stage (as much as any one instrument can in Tool) and relentlessly pulls the listener through the song, surrounded by emulating guitar work and drums that perfectly compliment. Keenan’s lyrics here are again ambiguous, referencing a failing relationship and issues of communication creating a schism. 

There was a time that the pieces fit, but I watched them fall away Mildewed and smoldering, strangled by our coveting I’ve done the math enough to know the dangers of our second guessing Doomed to crumble unless we grow, and strengthen our communication

Cold silence has a tendency to atrophy any sense of compassion

Between supposed lovers 

“Parabol” and “Parabola” follow, practically one long nine minute song. The opening “Parabol” is slow and sensitive; Keenan showcases much of the honey in his voice as he sings, with a lot of ambiguity, of the eternity of the soul. The bass on this track is delicate and calculated, and the whole soundscape is beautiful. This is before we crash in on ourselves with “Parabola”, opening with a thunderous riff and a gorgeously constructed rhythm section. Jones on guitar stands out with an incredible high performance, as six minutes flies by without a quiet moment.

Tool takes a more heavy turn in the next track “Ticks and Leeches”, opening with crisp drumming that’s especially persistent, and another fine bassline. The guitar screeches on this track, but not as much as Keenan’s tortured vocals in a thinly-veiled tirade against record executives. The vocal and instrumental storm subsides by the four minute mark as a basic guitar riff and some atmospheric bass work and backgrounds build tension for a final explosive end. Suddenly the instruments erupt in a blaze of anger as Keenan wishes much pain upon his targets. 

Next we have the title track on Lateralus, and here is where the intricacies and hidden meanings are most on show. Opening with a modest and simple riff, Carey’s drums rumble in the distance, slowly approaching. Exploding into life is a riff written with inspiration from the Fibonnaci sequence, where its influence extends to the syllabic nature of Keenan’s lyrics, following the 1, 1, 2, 3, 5, 8 sequence, and then falling back down slightly.

Black Then White are All I see In my infancy Red and yellow then came to be Reaching out to me Lets me see 

This is arguably Tool’s finest work, as “Lateralus” blows away the listener, so I’ll refrain from discussing much of the instrumentals. What can be said is that they create a soundscape that is unrivalled on the album in amazement. Keenan sings of themes around embracing randomness and swinging on the spiral of divinity, as the song ends with a fantastic allegory. This is truly a work of art. 

The final three tracks on this record act as one long song. As “Disposition” opens, one is brought down from the excitement of the previous track, and Chancellor’s bass calms the listener well. Carey’s choice drumming is well-chosen and Keenan’s distant vocals are dreamlike. “Reflection” follows as Carey locks us into place with gorgeous drumming and expect work from Jones and Chancellor to create a soundscape thats dreamy and distant. Keenan’s vocal work accentuates this as themes become incredibly complex. “Triad” soon follows, with a rush that was missing from the previous two. From the distant, hard hitting drums can be heard with gritty guitars and bass. As they approach, its almost a feeling of panic as they finally hit. A grating guitar builds, opening up the way for a final crescendo that slowly dissipates into the distance, ending the album. 

Lateralus may be thirteen tracks but practically there’s really only seven. “The Grudge”, “Eon Blue Apocalypse” and “The Patient”, “Mantra” and “Schism”, “Parabol” and “Parabola”, “Ticks & Leeches”, “Lateralus”, and “Disposition”, “Reflection” and “Triad” acting as a final 22 minute epic. “Faaip De Oiad” is really only an oddity. It’s cool, but nothing special, with similar themes to “Rosetta Stoned” in the latest album, 10,000 Days.

To sum up, Lateralus is a puzzle box of a record. If you really take this record as a challenge, you’ll probably come away with very different views than other people, whether it be the lyrical themes or whether you subscribe to hidden meanings. Look up forums and debates online and you’ll see just how in-depth and nonsensical these can get. Regardless, Lateralus is outstanding. The best album Tool have written, and one of the most intriguing records ever written. 

Tracks I Think You’ll Like: 2. Eon Blue Apocalypse 3. The Patient 5. Schism 9. Lateralus

Personal Favourites: 5. Schism 7. Parabola 9. Lateralus 12. Triad

Score: 9.7 out of 10

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MARLA - MARLA

I can’t imagine you guys have heard of MARLA, nor do I expect you to. They’re based in Norwich and are local to the area, and after seeing them live the summer of 2015 I was in love with their sound. With just over 300 likes on Facebook, they’re a genuine hidden gem as far as I’m concerned, especially with what they’ve captured in their debut EP, released at the beginning of 2015. Clear influences from The White Stripes and Arctic Monkeys, the six-track EP is a noise and garage rock delight.

A loud and screeching guitar opens “Stress Of The Dishes” (what even is that track title) and drowns the listener while the bass hits the listener every bar with a punch. The true delight of this EP has got to be Robertson’s voice. Imagine Michael Bublé and you’ve got an idea of what his voice is like, but put that in front of a backdrop of Royal Blood and Jack White and somehow you’ve got something special. His voice comes in and instantly contrasts with the messy soundscape behind him, but in such a good way. Next is “I Used To Be A Werewolf”, entering with a basic drum beat, a distant and dreamy guitar plays in the background. Robertson’s vocals guide the instrumentation; as he goes loud, so does the rest of the band behind him, creating a noise-rock track in a state of flux from loud to quiet.

At the half-way mark of the EP is “Hunger Of The Bears”, where an excellent line on bass from Lincoln grounds the track excellently as Burton’s wailing guitar leads the sound. Again, the vocals are mesmerising. All this is tied down with tidy work on drums from Whiley. Following is “Hyper Poetical”, which segues into “Mandy”. “Hyper Poetical” slowly builds, creating a slight sensation of melancholy;

You left me standing And I am going home All alone again

but the end of the song brings in “Mandy” with a more upbeat feel, almost Arctic Monkeys-esque. Again the bass ties together the excellent reaches of Robertson’s vocals and Burton’s guitar.

Ending the EP is “Last Yesterday”, starting slow with a groovy bassline and drums. Vocals again feel gorgeous atop this simple soundscape. With the slow introduction of the now-signature wailing guitar, vocals hit a high point and the chorus punches high. With a final taste of the incredible sound capable from MARLA, the song dies out, ending their first official recorded material, a fantastic debut.

One thing that has to be mentioned is the production, which although is noticeably lacking in professional quality, personally I feel adds to the sound. The noise is gritty and lo-fi, dirty and grating, but there would be so little personality in a more clean-cut record. Here, the bass is mixed high with the guitar, above the drums in fact, just like it would sound if it was live. It almost feels like they’re right there next to me as I type this, and that’s a fantastic experience.

Tracks I Think You’ll Like: 3. Hunger Of The Bears 4. Hyper Poetical 5. Mandy

Personal Favourites: 1. Stress Of The Dishes 3. Hunger Of The Bears 6. Last Yesterday

Score: 7.9 out of 10

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A Moon Shaped Pool - Radiohead

I will apologise now for reviewing two Radiohead albums in such close succession, but the quality of these albums just has to be highlighted on here. In Rainbows is amazing. A Moon Shaped Pool is, arguably, just as good. With more prominent orchestral components, a fantastic utilisation of bass, and a constant vulnerable feel, this record presents itself as arguably one of Radiohead's most mature record.

Opening this record is "Burn The Witch" with harsh, strong strings and lyrics critical of mainstream media. Creating a slow sense of angst and dread, the orchestra climaxes as the strings attack. The atmosphere becomes one of paranoia against the lyrics;

This is a low flying panic attack

and

Burn the witch We know where you live

"Burn The Witch"'s opening jars against the rest of the album however. Nothing else later sounds just like it. "Daydreaming" follows, signalling the more melancholic feel the rest of the record will take with "Desert Island Disk", "Glass Eyes", and especially "True Love Waits". This track is a slow piano ballad, with Yorke's incredibly vulnerable falsetto conveying emotions of loneliness, futility, yet acceptance;

Dreamers They never learn Beyond the point Of no return Then its too late The damage is done

Again the strings enter the fold, this time near the end, and further enhance the emotional tangents the track takes. 'Half of my life', reversed and slowed down, is heard playing at the end, possibly in relation to Yorke's 23-year relationship that ended in August 2015. Her death in December 2016, just two weeks ago at the time of writing, amplifies much of Yorke's lyrics. "Decks Dark" plays next, a personal favourite. Here the band create a floaty soundscape, allowing Colin Greenwood on bass plenty of room to find the groove, which he does excellent just after the 2 1/2 minute mark. "Desert Island Disk" turns more folk, further following the theme of hurt and acceptance in Yorke's lyrics. The acoustic track seems the natural successor to "Daydreamers";

Switching on a light One I didn't know Totally alive Totally released

and

Different types of love Are possible

follow Yorke's revival. He feels anew, revived, and aware that love is not forever or unique. If "Daydreamers" is sorrow, "Decks Dark" is grief, and "Desert Island Disk" is revival, then "Ful Stop" is revenge. Talking of a 'foul-tasting medicine', Yorke feels the victim of hypocrisy;

Why should I be good if you're not This is a foul-tasting medicine

is laid against a background of synth, bass and distant drums, which come emerging through with accompanying guitars, one following a high riff and the other creating a rush that goes all around the listener’s head. This is certainly a song made to be played live.

Just as we approach the half-way mark in the record, "Glass Eyes" slows things down again. A watery piano ballad, this track tackles similar themes as "Daydreamers" and "Decks Dark", as well as alienation. Again the orchestral strings are applied perfectly, never over-bearing, and never too far in the distance to lack a real punch. The song fades out, leaving with an emotional tug, ready for the more upbeat sounding "Identikit". Lyrical themes are again around those dealing with the pain of realising love may not be idealistic, but the sound created in this track is much more appealing. With a more driving guitar in the opening verses, the chorus again unveils a groove around the bass that is gorgeous. The second verse is tied well with an interlocking guitar and bass, ending in a dreamy solo.

Yorke once said that if he were to write a protest song about climate change, "it would be shit" (24th November 2015, NME). "The Numbers" proves he is very wrong. Opening with a piano that feels lost in its own solo, from the distance emerges an acoustic guitar riff to set us on a different track than where we started just 10 seconds ago. Again Colin Greenwood shows his fantastic ability to create an incredible groove.

We are of the earth To her we do return The future is inside us Its not somewhere else

encapsulates the message of this track and not long after, the orchestral strings reemerge, again amazingly deployed. "Present Tense" opens with a samba beat and acoustic guitar, and brings back themes explored earlier in the album. "Tinker Tailor" again creates fantastic descending strings, with a track reminiscent of "Glass Eyes", but utilising Yorke's voice as an echo and opening with synths and piano. The record ends with "True Love Waits", a track twenty years in the making. Having previously failed in two recording sessions to produce a version the band were happy with (Kid A/Amnesiac, Hail To The Thief), they feel they have finally mastered it in this album, and honestly, I completely agree. Yorke couldn't feel more vulnerable in his voice, with a slight crack in some of the lines expertly conveying the overpowering emotion this track has. The opening piano is perfectly pitched too. There really is nothing about this track I feel would work better any other way.

I'll drown your beliefs To have your babies I'll dress like your niece And wash your swollen feet

Just don't leave Don't leave

I'm not living I'm just killing time Your tiny hands Your crazy kitten smile

Just don't leave Don't leave

Beautiful.

Tracks I Think You'll Like: 2. Daydreaming 7. Identikit 11. True Love Waits

Personal Favourites: 3. Decks Dark 7. Identikit 8. The Numbers 11. True Love Waits

Score: 9.2 out of 10

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Floating - Imagined Herbal Flows

Stumbling on this EP from Imagined Herbal Flows was a great moment for me. Working in the library at my university can be rather draining after six hours, especially once I'd burnt through most music I was able to fit on my low-memory phone. I needed something new to invigorate my brain again, and simply by essentially clicking 'shuffle' on all music ever on a streaming site, this artist came on after a few skips.

Imagined Herbal Flows is an electronica artist, with Floating comprising of six tracks of downtempo excellence. They truly enhance your brain's ability to just calm and relax, with a slow, bassy beat you can get lost in.

"Clouds" opens the EP, with raindrop-esque effects. A mid-tempo beat emerges and a slow build-up leads into a small drum-fill and a distant voice. The beat lowers again, and reemerges in a wobbly style. It's engrossing, and this repetitive lowering and reemerging keeps the track going well. Just as the track ends as it started, with raindrops, "Breeze" begins in much the same fashion, with a beat that forces the head to bob along with it. A distorted voice as a new dimension to the repetitiveness (on an electronica EP, repetitiveness isn't necessarily a bad thing), and synthesisers are also added to the mix near the end.

"Waves" begins with a similar build up, with the snare utilised constantly to keep time. CYN's distorted vocals are overlayed throughout this track and are a welcome addition. The beat is again bouncy yet calming, continuing the feel of the whole EP. Following on is the title track "Floating", with a punchy snare and dreamy synths to keep the mind calm. This EP is coated with oriential flavours and inspirations, but it is clearly evident on this track, with images of Imperial Japan conjured.

Next we hear "Boardwalk", opening with a combination of piano and the snap of fingers, the soundscape slowly gets lower in its register, repeating throughout the track. Again the snare is punchy and artificial as relaxation is again the aim. Ending the EP is "Autumn Leaves", with distorted vocals accompanying a calm piano, sliding us into a beat that sounds like it utilises strings, ending the listing with a slightly different soundscape than we have heard in previous tracks.

Floating is a fantastic listen, thoroughly improved by its short length as an EP. Any more tracks and this can easily start to drag, but six perfectly surmises what Imagined Herbal Flows is trying to accomplish in his music; tranquility.

Tracks I Think You'll Like: 1. Clouds 3. Waves

Personal Favourites: 1. Clouds 6. Autumn Leaves

Score: 7.8 out of 10

[regrettablemusicreviews]

Brothers - The Black Keys

Admittedly the last few of my reviews may not have been in line with all your personal preferences (sorry guys, but I loved writing about them regardless) so this next one will hopefully be more attuned to your tastes. Brothers by The Black Keys is solid garage rock, infused with blues and a little indie. I think you'll like this one.

Opening the record is "Everlasting Light", a foot-stomping solid track, that on first listen will confuse the listener as Auerbach adopts a different vocal style rather than his honed southern signature, and then on "Next Girl" we hear vintage Black Keys, with a classic scruffy riff. The whistling hook on "Tighten Up" sets up a bluesy tale of Auerbach's desire for love, and the sudden tone change at the end of the song signifies his differing attitude, and the marching drums on "Howlin' For You" against Auerbach's gritty guitar expel a fantastic tune. "She's Long Gone" follows with a vintage hitting chorus of garage blues.

An excellent guitar solo and drumming background on the instrumental "Black Mud" sets up "The Only One" as slow and sorrowful, and "Too Afraid To Love You" continues the melancholic feel of this section of the album, incorporating excellent use of the harpsichord. "Ten Cent Pistol" picks up the mood and runs in the other direction, creating a tale of revenge of a woman on her cheating husband and mistress. The menacing feel is continued in "Sinister Kid" and "The Go Getter" diverts into an even more bluesy tale on someone down on their luck, but not down on their drive.

Auerbach's vocals feel ravaged on "I'm Not The One" against a lovely bassline, and "Unknown Brother" is a beautiful rendition to an unknown sibling of the singer's significant half. The falsetto returns in "Never Gonna Give You Up", a cover of Jerry Butler, and creates a gorgeous Motown melody, with the final track "These Days" rumbles into a slow tune reminiscent of My Morning Jacket, vocals and all.

This album starts strong, and tails off relatively. Some tracks slow the feel of the album. They all stand up on their own, but this album in one listen certainly drags, so be sure to mix it up.

Songs I Think You'll Like: 3. Tighten Up 4. Howlin' For You 7. The Only One

Personal Favourites: 5. She's Long Gone 6. Black Mud 7. The Only One 14. Never Gonna Give You Up

Score: 7.4 out of 10

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10,000 Days - Tool

Again I’m reviewing an album which I can comfortably call one of my all-time favourites. I hope this isn’t getting too boring for you, but I am enjoying just lauding these all of you. Next is 10,000 Days by Tool, admittedly an odd choice to start you off on if you’ve never heard any of this band, but I’m reviewing it regardless. Embracing the long-length epics that makes metal such an engaging and evolving genre, 10,000 Days is progressive, rocky, and slightly experimental, with its guaranteed layered lyrics and airtight production.

Opening up the album is “Vicarious”, lyrically a critique on media obsession with violence and its impact on society, sung with Keenan’s trademark vocal style, its the instrumentals on this album that utterly dominate the picture. The opening guitar and bass riff are incredible, and this can only be improved by Carey’s exploits on drums, possibly one of modern musics most talented behind a kit. “Jambi” again showcases Keenan’s penchant for ambiguity in his lyrics, while showcasing the honey in his voice that was lacking in the opener. With this track being by far one of the heaviest, the strong opening riff by Jones is underpinned by the bass and drums excellently.

Following this comes “Wings for Marie” and “10,000 Days”, essentially doubling up as one song, utterly showcasing Keenan’s poetry and vocal abilities. The lyrics are exceptional, detailing the loss of Keenan’s mother.

You’re the only one who can hold your head up high Shake your fists at the gates saying: “I’ve come home now! Fetch me the spirit, the son, and the father Tell them their pillar of faith has ascended”

and

Set as I am in my ways and my arrogance With the burden of proof tossed upon the believers You were my witness, my eyes, my evidence Judith Marie, unconditional one

are both shining examples of the incredible lyricism on this track. Backing this beautifully is Chancellor on bass and Carey on drums, providing a groundwork that Jones and Keenan erect quite possibly one of the most beautiful songs of the decade. The track ends peacefully and emotionally, slowly the instruments fall into a final kick: the final message being if anyone is deserving of heaven, it was Judith Marie.

Emerging from the emotional areas Tool were always capable of, it was time to reenter the areas where they just rock. This is where “The Pot” comes in, beginning with a gorgeous melody from Keenan, Chancellor joins on bass with a line that syncopates and appears to work against the vocals. Jones and Carey join soon after, creating a hard-hitting chorus on drugs and the legal system, but we again fall back into just vocals and bass, which now feel well lined up and not as jarring as when they opened the track. A slightly funky bass line keeps the track rolling as we enter a crescendo, as ends the first half of the record.

Now we enter experimental territory. “Lipan Conjuring” plays next, acting as a mood-setter and segue for the next two tracks, it can be easily dismissed as simply album fodder, but artistically, it is well implemented to slow the hearts that were racing in the previous track, and set the tone for the following two. “Lost Keys” beckons next, a repetitive three notes on Jones guitar under a tense atmosphere slowly builds the frame for “Rosetta Stoned”, a track filled with the dark humour we’ve seen before on “Hooker With A Penis” and “Ænema”. This song is heavy, with hard hitting riffs and complex time signature changes. This track is all over the place, but in such a good way. Keenan’s vocals are fast and maniacal (you’ll have to look up the lyrics to this one), but once you’ve figured out what the fuck he’s even saying, a tale of LSD, alien abductions and impending doom emerges, which is honestly hilarious to listen to. The sheer panic in his voice and the heavy experimental risks taken in this track makes it unique. It might grow on you, it might not. It’s rare that first listens lead straight to enjoyment. This track takes time.

Further experimentation is seen on “Intension”, with an incredible bass performance by Chancellor, electronic drums and a distant vocal performance make this an interesting listen. This isn’t conventional Tool, and does feel like a weak link in the album, but the interesting choices made make it worthwhile. Finally we end with “Right In Two”, a song on the futility of man, but again its in the instrumentation where this track really shines. A lovely 11/8 riff by Jones opens the track, with slight twangs on bass from Chancellor. Keenan enters and Carey’s light use of cymbals builds the song. Slowly we rise into an excellent performance on the drums, which grows into a full-crescendo that lasts a few minutes, and at not one bit does it feel stretched out. The instruments crash just after the five minute mark, Keenan’s voice becomes rushed and critical, while Jones slowly and expertly plays down then back up the fret as cymbals ring around him, all underpinned by the bass. As the guitar rises again Carey shows remarkable restraint, being patient before he is finally let loose, showing just why he is quite possibly one of the greatest drummers going.

10,000 Days is what I would call a messy album. It doesn’t flow as well as I would like. I find myself skipping between tracks 1., 2., 5., 8., and 10., while periodically listening to 3., and 4., and only rarely listening to tracks 6., 7., and 11., (“Viginti Tres” is apparently a companion piece to “Wings For Marie”) but this doesn’t diminish the record too much. Straight through, it is a quality listen, going from quintessential riff-heavy Tool, to emotional poetry, to ‘funky’ Tool, to fucking hilarity. The bass, vocals and drums are probably some of the best in the genre, possibly current music, and again we have an album rich in lyrical puzzles, complex time signatures and expert musicianship.

Songs I Think You’ll Like: 1. Vicarious 3. Wings For Marie 4. 10,000 Days

Personal Favourites: 1. Vicarious 5. The Pot 10. Right In Two

Score: 9.0 out of 10

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In Rainbows - Radiohead

Radiohead man... Just fucking Radiohead...

NO ONE who wants to discover more music should have to be told to go listen to Radiohead, lest In Rainbows. It just shouldn't happen.

But let's recommend it anyway. If I'm honest, I just want to talk about this record, because its fucking phenomenal. Quite possibly one of my favourite albums of all time (well I'm not going to recommend albums that aren't at least near the top) In Rainbows accomplishes near-perfection. Every song is essentially perfect, fitting together like a jigsaw.

"15 Steps" opens the record with a perfectly calculated electronic beat. Yorke's lyrics detail regret, and those listening at the time of its release would almost certainly have heard the opening 30 seconds and anticipated another Kid A or Amnesiac. But as the bass and guitar kick in, the feeling of the whole song instantly changes. The opening riff falls perfectly into place as the rigid electronics bounce beneath them, and the bass in this track ties it up nicely with a bow. "Bodysnatchers" follows, and here is when Radiohead sound like they're truly enjoying their craft. Probably the most rocky number on the album, it diverts into a sudden acoustic-driven with wailing guitar work in the background. "Nude" plays next, and settles quickly into dreamy bass-line with atmospherics intermittently coming to the forefront. Here is where Yorke showcases his true vocal capabilities, providing a beautiful performance above minimal instrumentation that presents itself as a highlight of the album.

Next is "Weird Fishes/Arpeggi" which leaves our head spinning with arpeggios, and "All I Need", which slowly dresses a bare bass and drum instrumental, first with choice keys on the glockenspiel, then the piano, surrounded by crashing cymbals and enclosing guitars. "Faust Arp" mixes acoustic guitar with orchestral strings to create a rushed opener to the second side, where the absolutely stunning "Reckoner" follows. Opening with frosty cymbals, samba-esque rattles, and a beautifully sauntering guitar that drifts between both, the seventh track on the album emerges as a work of pure art. Yorke's voice offers a degree of vulnerability against the backdrop, as he ambiguously sings of love and its ending.

"House of Cards" follows, and in the shadow of "Reckoner" does feel slightly lacking, but certainly stands well on its own, with its repetitive short guitar and atmospheric guitar work in the background. "Jigsaw Falling Into Place" transitions in and again provides a highlight on the record, with Yorke evolving from low to high register and the creation of a melody that could almost be danced to. "Videotape" closes the album, with Radiohead instead opting for a track that diminuencos the album, rather for a rocky ending. The piano offers a backing for Yorke and the track slowly quietens to a standstill, ending a truly great record.

In Rainbows is Radiohead at their most fun, and quite possibly their best. With a discography that includes OK Computer, Kid A and A Moon Shaped Pool, to definitively call this album their best would be disingenuous, not for its lack of quality, but because their other records are simply different animals entirely. However, In Rainbows is the album I listen to most. It has a whole tracklist of songs I can adore, and is a record the average listener can digest. It's not too artsy, not too experimental, and not too alienating. The risks it does take work so well they can hardly be called risks at all. It is exceptional. Go listen to it.

Now.

Tracks I Think You'll Like: 3. Nude 4. Weird Fishes/Arpeggi 7. Reckoner

Personal Favourites: 1. 15 Step 3. Nude 7. Reckoner 9. Jigsaw Falling Into Place

Score: 9.6 out of 10