Saturday, April 17, 2010
WHEI Communication Dept. Video!
Just finished up a video edit with Josh Hohman and Dr. Gary Dickerson about the Heidelberg Communications Media Dept. Who got that B-roll? I shot that B-Roll. Get. That. B-Roll.

Written at 12:42 PM by Grumpy Old Man.
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Sunday, April 4, 2010
Dave Willis Does WHEI
Oh yea, we asked the wonderful DAVE WILLIS from Aqua Teen Hunger Force to do some liners for us, and boy are they marvelous. Check them out below:

Written at 8:08 PM by Grumpy Old Man.
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Monday, October 5, 2009
What Scott's up to Now? Patient's Worth.



Scott Baker, probably better known as Skizz teh Wizz has been writing music at least since I've known him. A memorable moment will always include Scott and Sam Corlett of Karate Coyote covering Eli the Barrow Boy at a High School Talent Show. Ever since that moment, he's put himself on a mission to write music that no one else is writing out there. Music that is different, a mixture, everything in a pot, and just plain weird. With his latest project, Patients Worth, they cross that line, and then some, making the music maybe a little too weird for ears to wrap around. NOTE: I know very little about Greg Murphy's sound or influences, so the article may be centered around the sound that Scott has influenced moreso than Greg. However, be reminded that both are full members of the band, in performance and songwriting.

Their first go around is titled "Scrapes of an Enigmatic Nature." Quiet a properly placed title, for the entire record sounds like literal cuts and scrapes of different pieces melted into one.

1 - Federation Cremation: 2:12 is the best part of the song for me. However, I feel like i'm not clicked into this song until this point. This song perfectly spells out what the ride of the album is going to be like, with dramatic no-nonsense cuts from one portion of the song to the next, however I don't think it's the best song on the album. This one came out first, and after listening to all of the CD, other songs could have been put out first to get fans to become more excited about it. The beginning could probably use some better production:: Bring up guitars and vox. With a lot of projects Scott puts out, this seems to be the similar problem. A lot of focus is put on beats when there are great things going on behind or on top of those beats that need to be brought out more. The hi-hat sounds seem to over power through the verse, and I imagine if those were turned down i'd be able to listen to it easier.

2 - It Lives in a Morphine Drip: There are moments of beauty amongst the chaos, and this is one of them. I'm not familiar with Greg's work outside of this band, however knowing Scott, he seems to shine on this track with his beat making abilities. Scott's sound melts out though, and we hear a genuine conversion into the end of the song which is complete with a fast dripping keyboard riff, that slowly builds to a calm stream as the guitars fade in and out. The song was very well produced and was easy for me to soak all the sounds in, however the guitars at the end could be turned up a little bit.

3 - Muttering Mulligans: No other track could have followed the one prior. This is another genius band-bonding moment in which there are many different things going on, but there is still one steady base that all of these sounds can pounce off of. It's a goofy bumping sidewalk song that you listen to when walking to the inner town to hop around Antique Shops for the afternoon. Well mixed, all sounds were easily digested.

4 - Fit for a Sting: SHOULD HAVE BEEN THE MOST PROMOTED SONG.

This song perfectly fits to describe the harder part of PW. Upon listening, you find yourself intensely excited with where the track goes. You seem to trip and fall at 1:32 into a serious ragtime-metal riff that feels like your Alice in Wonderland, spiralling out of control to into...not Wonderland.....but more like.....Enjoyable Buttfuck-Ville. The song isn't long, it clocks in at about 10 seconds under 3 minutes. And after enjoying the fall, you're thrown right back into the beginning riff, where you end satisfied and almost violated. Like a track before, this song isn't as crazy as Federation Cremation, and thats a good thing. It holds a steady level of being creative and crazy without overdoing it.

5 and 6 - FtXIII and FtXIII(The Return): I feel as though the first FtXIII was unnecessary. Both clocking in at short instrumental tracks, it doesn't do much for me as far as the album as a whole. If I was going to keep one, it would be the Return. It was slightly more interesting and had more parts that could be turned up and elaborated on. It's tough to do little instrumental things like that and have the listener not feel like they've been kinda tossed out of the mix.

7 - Suturing Spectators to Ghostman - A track that includes bursting little blips of synth, piano, and an edge to a voice that could only be Scott's. No complaints, except for the vox. at the end have an octave effect AND another effect on them that I can't tell about. Personally, it adds too much noise and it shuts out whats going on behind you right there, i'd either just check the mix on it or drop one of the effects. It's a strong track either way.

8 - This Isn't Oxygen!: A track properly placed in a rock opera, I'd think. The song starts at a low volume, however, it's a metal-ish run of hits and things. I'd definitely turn that up if you want that beginning to be as convicting as it sounds. The song rolls into distorted high pitched beats that keep you interested, and then hit you with a haunting acoustic end that leads into the next track. My only issue? I felt as though the acoustic portion at the end should have expanded into an entire song. It cut off too early for me.

9 - Prombie: That's ok. Because it trips into Prombie, which is the most haunting track on the CD. The song puts me into an old horror movie that makes me feel like...well, I really need to run away from some zombies. Scott's vocal hits me hard on "Wastin away..." though on "all the fun you must be having," there's a octave down effect that the line doesn't need. It's a lot cooler with just the echoey sound of your voice holding out, and then it slowly flows right back into the song, and the doubled acoustic/electric solo. Here, we also get to here a rarity, which is Scott in falsetto in the foreground, and its super nice. The song didn't stray into craziness like some of the other tracks, however, it was affective in getting to make me look at the record from another angle.

10 - Rabid Gun: This track had some good moments, mostly being at the end. However, this track seemed to deliver a stale metal grunge to it near the second half that I've already heard many times on tracks before, and done even a little better. It begins great, with this spoken scat beat that instantly gets my attention, with interesting effects on the vocals. But as I listen, the track transforms into a durge, and I find myself preferring a continuing of the beginning riffs.

11 - Victory over Virus: I wanted the album to end right here, it's a perfect blend and revisiting of the chiller, acoustic tracks in the album that bring all the madness to a close. It makes you march out of the CD thinking, whew. Good, I survived the Zombie Apocalypse. Mixed well, however vox could be turned up a snatch.

12 - OBW: It's hard for me to understand what the speaker is saying throughout the song. But, this could be possibly a great end to the album. It's very hard on the ears at 2:49, almost like there's a buzzing, and thats keeping me from enjoying the climbing line of "Biological Weaponry."

Overall? One hell of a ride. As far as a level of "Catchyness" I'll probably revert to some of Scott's older Hex-Hop stuff. But, I have a feeling that catchy isn't what their going for. Bands who really want to do something different are hard to find, especially in the Columbus area. But if you're looking for somewhere to begin, A Patient's Worth "Scrapes of Enigmatic Nature" are a great place to start. From start to finish, they give you a focused, unorganized sound that you'll either immediately jump on board with, or leave the CD not wanting to turn out the lights for a while.
Written at 1:06 PM by Grumpy Old Man.
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Sunday, August 2, 2009
The Dead Weather: An Adventure through Sight and Sound
There are many questions one asks themselves upon listening to the Dead Weather album.

- Is Jack White mortal?

- Have we accidentally stumbled upon a better Jack and "Girl" combination than Meg White?

- Is this record......better than both Raconteurs records?

- Does Jack hold a golden key to the future of the music industry?

Many varied answers appear for all questions above. As far as Jack White being mortal, he's probably not. You go record a record, tour that, open a record store/studio, write a James Bond theme and have a slotted disc in your throat.

Let's get to the matter at hand. Horehound. Breaking it down Track by Track, i'd like to talk about both how they appear to me live, and in studio.

"60 Feet Tall"

On the record, it almost sounds as though they press record, saunter into the studio, and just sit down to start playing whatever comes out first. Ironically enough, that only happens on the last track. In creeps Dean with a bluesy riff, similar to any Jack White record....but, with an obvious difference. Dean is involved with Queens of the Stone Age, and I feel like many parts of this record hold a QOTSA moment. These are not to be mistaken as a rip off, for the moments are only realized for a mere half second. Deans clean, slightly echoed guitar on this first track rings the tiniest bell of possibly a sound i'd hear off of "Wanna Make It wit Chu" from Era Vulgaris.

After Dean has said his piece, Allison fearlessly stamps her foot down, cutting in "You're so cruel and shameless, but I can't leave you be." Jack offers a first glimpse at what the drumming sums up to be for the rest of the album. Simple, with a flare of insane. Live, this track offers the same trick, yet fools you into thinking that Jack is going to tone it down for the performance. The band strolls in and Jack overlooks the crowd for a long moment, then sits down at a drumset where all the heads are level with eachother.

This track was probably the perfect way to start the album. It's almost defined as stoner rock at its best, with Dean laying down some solos later on that keep this track heart racing. After listening to this, you feel as though you're in the same recording space Jack and Lil' Jack used for Broken Boy Soldiers, and you're ready to jump in.

"Hang You From The Heavens"

There are so many things that are weird about this track. Why in the world did they decide to put this one out first? It's not even the THIRD best song on the album. Not to cite that its a bad song, but it's certainly not the first one I flip to. The song has a dull presence on the album, and when you go see it live, you forget that it was even on there.

The good thing is, it's extremely better live. You can hop onto youtube and search "Conan Dead Weather" and you'll probably find a great performance of this track on his show. The song is a better sight than sound, seeing Allison strut back and forth through the stage, teasing you with her swaggering figure, belting that "You Say I Love you, but it ain't True." The track offers drum solo spots, that I think Jack didn't take full advantage of on the album. And maybe he did that on purpose, because he wails on toms and snare alike in performance.

"I Cute Like a Buffalo"

Why chose if its better live or recorded? Let me tell you, either way, this song has a powerful vibe that makes you wonder ... if you've....erm....sinned lately.

Jack White's signature track on the album, he makes sure to say what he wants to say, and then blend right back in with the band. And who knew, choking on a track could be so sexy? There is no definited chorus, no definited verse, no bridge, just this ramming, thumping beat with goth-blues riffs ripping between lyrics. A song like this some would say is hard to be catchy, however, you can't help but scream in your car, "Wake me up when its broke! But only if its Broken! You know I treat you like a joke, but you, can't tell when i'm Chokin'!"

And....DON'T say that you havn't also done the coughs in this track in your car. Because, admittingly so, I definitely have. More than once.

Live, this is a spectacle. It looks like this track effects Jack the most, as he bends up and down to reach the drums around him, then make it back to the mic for a line. The opening riff came on, and everyone knew what was about to happen. Really, Jack could have just mouthed the lyrics, we were all singing right along with him. A full chorus of stubborn Columbus Jack White fans.

"So Far From You Weapon"

A bold, yet calming track. It places me in a western movie, late at night, on the porch of the town bar. The imagery continues, "There's a bullet in my pocket bruning a hole." A gristly cowboy local nervously sits on the porch, merely waiting for anyone to make a quick movement, to which he'll shoot the down without missing a beat.

I enjoy this track better live, It seems to hold more of an energy, and Deans soothing climbing keyboard parts stand out more.

"Treat Me Like Your Mother"

Had I had any hand in this record's publicity, this track would have been the first single.

Yes, it was the second single. But still, this is THE strongest track on the album.

"Come on Jeff, Jack wanted to hand things down to Allison, give her a single all to her own."

......

and you picked Hang You from the Heavens?

WHAT ABOUT BONE HOUSE??

Treat me like your mother is exciting, from my very first listen, to this very day. Crammed tight with tempo changes and heavy drumming, Allison and Jack shine on, and it is here on the record where you forget for a slight second that Jack has another music lady in his life....Meg White.

Like the White Stripes, this track shines in a manner that shows just how together this band is. It's a track that displays an effort and energy that sounds like its been there for years, and not just beginning in December.

Live, this track WAS NUTS. Held in the encore, this song made everyone in the crowd go nuts, even I lost care or control for who was going to be hit around me, and started jumping and dancing to the malicious "M - A - N - I - P - U - LATE!" Just when I thought i'd never forget THAT moment, they started playing the ending sequence (The one that has jack closed high-hat, and the riff hits with the short pause.) Between the pauses, without notion from the band or any notice, the crowd jumped up for HEY's.

Booobaboobababoobabo.

HEY!

Boobaboobababoobabo.

HEY!

And there? Rock and Roll was born again.

"Rocking Horse"

PLEASE. Tell me you're putting this track into some Pulp Fiction Sequel.

..... ok, I really don't want a sequel to that, but nevertheless. The song belongs in that movie. Creeping in with a monsters-in-your-closet riff, similar to that of "The Boogie Monster" from Gnarls Barkley's St. Elsewhere. The collaboration continues, Allison and Jack trade of lyrics and shout a defiant chorus of "OOHHH, OH! OH! OOHHH!!!"

The most peculiar and fun thing about this track, is that Jack White on the final chorus yells up almost to a yelp, and it is here that I was instantly taken back to the first White Stripes album, where we heard that sound on almost every track.

My personal favorite on the track, Rocking Horse stands out as one I hope they'll always play.

"New Pony"

Ending their Columbus set with this song was the best idea ever. Ending with a cover seems to be the thing to do nowadays, but these guys do it in Style. Bob Dylans new pony doesn't sound too different from this version, however, the Dead Weather make it loud and proud both live and in studio. Allison takes over vocals, and rightfully so. Her sqeak and squandering attitude, demanding "Come Over Here Pony!" make you think twice about doubting her involvment in the band.

And of course, it'd a song not known by half of the general public. You hear the artist and go, "Oh, Bob Dylan? He did that? When, it's an awesome song!"

Jack has a talent for unearthing tracks like that.

"Bonehouse" and "No Hassle Night"

2 more allison tracks, check.

Bonehouse is the obvious strong point for Allison here. Sliding distorted keyboards reign, while Allison holds the demeanor similar of a child throwing a tantrum, angrily squealing that "She built a house for your bones." No hassle Night was the weakest point on the album for me, until I saw it live, I now hold more of an appreciation for it.

"3 Birds"

Who the hell puts instrumentals on their track anymore?

This track, first of all, became my car's theme song.

Second of all, while it's not the best thing ever, it's the most interesting track for me, on the album. I can see why they didn't put lyrics to it, its got a better feeling just stripped down. A track doused in tremelo guitars and low electric keyboards, the imagery is again set in either a Pulp Fiction fan-fic, or an old/new Generation western.

The thing that bothers me the most about this track is the fade out. I know there's more to this damn song, there's got to be. It's almost like I only got the Itunes sample version of this song, and it fades out on me before it gets killer. They didn't play this live....so I suppose the real ending is up to my imagination.

"Will There Be Enough Water?"

Joining the league of songs that end all of Jack White's records, including "Carolina Drama," "Effect and Cause," "Your Southern Can is Mine," etc. etc., the song is a perfect way to end the album. Oh, and did you know?

This song was recorded on the spot.

That's right, Allison is even cited in an interview as saying that she had a little trouble guessing what Jack was going to sing. Lil Jack takes drums, White plays guitar, and Allison doubles the vocals while Dean keys. In studio, there is a haunting air about this track, while crickets creak in the background, you feel like a sailor trying to write a letter to his girl back home, but simply can't because you can't stop thinking about a girl you met in a city down the coastline.

Live?

Jesus, this song was heavenly.

Jack struts out from behind the drums to pick up his "Another Way to Die" guitar, and the crowd becomes nuts. They know whats about to happen, and either way, solo or not, its going to be sexy. Fortunatly, we got the solos. And unlike the studio version, the track kicks into sections of high powered jamming, with a slow, crooning sound of blues and soul, sending a wave of relief and pure joy through your ears.

- - -

In conclusion?

One question stands after all of these things rifle through my head.

What the hell with the White Stripes sound like after 2 Raconteurs records and 1 Dead Weather record?

Even the best White finatics can't even to imagine.
Written at 11:49 AM by Grumpy Old Man.
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Monday, July 6, 2009
New Brendan Benson Songs: "A Whole Lot Better" and "Don't Wanna Talk About it"
Brendan Benson has got to be one of my favorite indie pop artists ever. And I think the thing I love about him is how he layers his voice on top of his own in so many harmonies and parts of his songs. It was interesting to hear him stray away from this on tracks like "Many Shades of Black" on the Raconteurs Consolers of the Lonely, but hearing these songs reminds me of the Driving-my-car-down-the-highway-with-a-milkshake feeling I get from his music that I love so much.

....

(thats a feeling?)

A Whole Lot Better ::

Ringing like the Raconteurs "The Switch and the Spur," The song begins with some assorted noise and then this weak yet defiant clip of the guitar and drums. Many upon first hearing this may have thought.....dammit. This song is not gonna be as good as "Spit it Out," the first single from his last effort, "The Alternative to Love." The guitars don't sound as full, the drums aren't freaking out, and for a moment, you think that maybe you'll just pop in Consolers so you're not dissapointed.

But alas, Brendan delivers, seconds later.

At exactly 25 seconds into the song, the track turns around and slaps you in the face, making you feel like shit for doubting the track in the first place.

Kicking into acoustic guitars and driving hits on the second half of the riff, we here the finally defiant Brendan Benson arriving back on his proper love-toting heart-broken thrown of pop music. The opening riff comes back throughout the song, but other than that, the song is simple yet edgy. Returning throughout the song, that riff carries more weight each time its played, finally reaching the repetative and crowd-pleasing line, "I fell in love with you, and out of love with you, and back in love with you all in the same day." Ending on key and letting it ring, I finally feel that, though this song is nothing topping a song on Lapalco, it still prepares me for the new album in august. Catch this song on his myspace, and while you're at it, listen to all the songs that he did with Ashley Monroe, ESCPECIALLY Consider Me. Pop/Country at its best, awkwardly enough.



Don't Wanna Talk About It ::

This track avail. as a free download, the song begins and I'm reminded for a hot second of the Fratellis. They'd totally cover this.

Brendan once again delivers a thump-walking punch song that promises power on the rest of the forthcoming album. The only weakness to me is that sometimes I feel like i'm simply waiting for the Chorus to roll around. But thats minor and picky. I'm pretty grumpy at times, so bridges in my mind can get repetitive.

There's one part in the song at 2:29 that the song quiets down ever so noticeably, and I can't help but think that contrast could have been TOTALLY quieter, ripping back into the thumping chords singing, "la la la, don't want to talk about it, la la you go on and on and on about it."

Overall? I'm psyched for the album, but will probably skip this one before it ends, so I can pine for more goodies on the album. Then, soon after dissecting the disc, I'll throw it on another driving playlist. It's got that kind of charm.


Written at 12:13 AM by Grumpy Old Man.
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Thursday, June 25, 2009
The Dead Weather - Singles (to current date)



A Quick Review this morning, of the Dead Weather singles to date. The Dead Weather, being of course Jack White's new collaboration with Allison Mosshart from the Kills, Dean Fertita from QOTSA, and Lil' Jack Lawrence from The Greenhornes and the Raconteurs.

Hang You From the Heavens ::

This track was the first song that the world heard from these 4 musicians. It was really supposed to go no further than this song. Jack and Allison sat down over christmas to record a '45 for fun, and as soon as Dean and JL jumped into the mix, it seems as though they couldn't help but keep writing music for a full record.

Hang You From the Heavens, while missing a Jack White on his usual guitar spot, still feels like home for Jack White fans out there. The swaggering goth-blues line that opens up next to the sultry sounds of Allison's voice let everyone know that this isn't just some cheap-o side project.

I've always said that Allison's effort, the Kills, has this very seductive tone about them. And this definitly applies in a rougher sense here. Like, she's singing to you in the doorway of her bedroom, seducing you to crawl inside for rock and roll sex, which you know is going to be oh-so utterly painful....yet enjoy every second of it intensly. Dean plays the guitars on this track, and not hearing much of him outside of QOTSA, I'd say his playing style is way baller. More reserved than Jack's screaming solos, but filled with twists, turns and effects. This is to be expected, seeing as though QOTSA is a very twisty-turny band in the first place.

While this song may become their most popular, I don't believe it to be the best song that's come out so far. My first impression upon listening to it was that I felt like I was waiting for a climax that never really comes around. Listening further, I began to single out the parts and relate the voice to the music, and it became more of a fun piece. It also helps to see it live, I seem to have grown more fond of it after seeing it played on Conan and From the Basement.


Are Friends Electric? (Gary Numan Cover) ::

Taking a complete turn from the dark riffs and tricks that was Hang You From the Heavens, we now go to this cover of Gary Numans "Are Friends Electric?" A perfect cover in my eyes, and to be honest listened to this track more than I did HYFTH, which worried me. Were the Dead Weather going to be a better cover band than an original band? My worries of course, were far exagerrated.

This was a perfect song to be covered by the Dead Weather. Listening to the original... ( and a ukulele version on youtube) i've decided that it sounds way better with a chick. The drumming is not as defined here, it is mostly simple, but that works for what the song asks for. The most interesting thing to note is that Jack White returns on guitar, with a signature TEEENNY TIINNY riff thats kicked the octave between verses. This song, for me, was better than it's A-side Hang You From the Heavens. Now, i'm not so sure. Listening to both of these songs though, I can definitly say that I wish they would have pushed this song to make the real tracklist of "Horehound."

Treat Me Like Your Mother ::

There was just no getting out of listening to this track alive.

Tempo changes, Jack White and a distorted microphone, it's what defines the Dead Weather as a group so far.

Coming out as a free download, I jumped onto this track so fast, already knowing that a song with that kind of title was going to be nuts. This track IS the best track i've heard so far from Horehound. We open with a climbing hit that already climaxes into Allisons voice. She belts 2 verses until Jack comes in with a chant like "Who's got it figured out? Left, Right, Left, Right got it figured out? Who's got it figured out, play safe. Try to manipulate."

Run program TempoChange.exe here.

The song kicks into this high powered jump riff, singing and spelling M A N I P U - LATE! That is probably the best part of the song for me. Verses change, in and out, there's a small guitar solo, and it ends with Jack and Allison belting "Play Safe!" If you need to know what the Dead Weather is all about, you hit that track.

You Just Can't Win (Thems cover) ::

I have little to say about this track, it's a cover of Thems, who i've never even heard, but it's really good for Jack White's voice. There's a great, soulful little keyboard solo after a chorus, but the obvious main attraction here is Jack's head driven yelling on "You know! You just can't win, when you are in." A B-side to Treat, this song makes you wish they'd just stop teasing you with covers and give you the album already, for the track doesn't hit me with a hard revelation as much as it's A-side does.

I Cut Like a Buffalo ::

I saw this song first on a video on Youtube, of them playing it live. I have to say, I was mezmorized by Jack's playing on it drum-wise, and glad to see him back on the microphone full time. But I was not amused by the song at all. For some reason, nothing stood out or hit me as another knock-out Dead Weather song. And I had pretty high expectations after Treat Me Like Your Mother.

Then I heard the recorded version.

Why would coughing and choking ever become so cool in a song?

Listen, this song almost KNOCKED down TMLYM as best Dead Weather song just for THAT. We start with a mysterious keyboard bump, the drums kick in, and it's the Jack White show from that point on. No real solos, just him and the soul. He feeds us snippy lines like, "Is that you Chokin'? Or Are you Just Jokin'?" and "You know I Look like a Woman but I, Cut Like a Buffalo." In between verses, there's this scatty sound of 'gakking' (i guess?) and you wonder what the hell is going on. And then, when you here the full out choke acting, you almost stop yourself in shame, for your first thought is "HOLY SHIT, THAT IS SO FUCKING AWESOME!" and not, "HOLY SHIT, IS JACK WHITE DYING?"

This is the close runner up to TMLYM, though everyday that I listen to it, it gets that much closer to beating it down for #1. Find these songs today, and don't miss the album's release July 14th, under the name "Horehound."
Written at 7:04 AM by Grumpy Old Man.
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Saturday, June 13, 2009
Eagles of Death Metal - Heart On

I'm reviewing this 2007 release because there are some things that need to be cleared in the air that is this band called "Eagles of Death Metal."

I have the utmost respect for QOTSA frontman Josh Homme, and think the man is one of the frontmen of bringing back the fun and darker goofiness to rock music. So to hear about his drumming and minor input to this new band EODM was exciting to hear about. However, it seems his input is not as present as I would like. Which is understandable, for i'm biased in liking QOTSA a whole bunch. Frontman Jesse Hughes is the main arm in this group, this being his first guitar stint in any group at all. And don't get me wrong, I was all on board for "Death By Sexy," the album featuring "I Want You So Hard (The Boys Bad News)." It seems though there was a charm to that album that is somewhat dulled in this effort.

Heart On starts out promising, hitting you with "Anything Cept the Truth" and "Wanna Be in LA," the most popular track it seems off of the album. The sound is the same, it's still got a dancy feeling to it, but you don't sweat to jump up as fast. Wanna Be in LA feels like it needed to be pushed 2 steps farther to be as dancy as its albums predecessor. We continue into track three with a messy, disjunked riff and Jesse beginning with "I Used to couldn't dance so good." I mean, i get it, the rock swagger, the mocking the metal bands, I guess the improper sentence structure I can jump on. This track I enjoy its drumming more than its guitar work. We do hear Josh finally back up Jesse on the verse, but once again, the track feels just 2 steps shy of a real jumper. Admittingly, at 2:13, the track finally reaches an interesting point, as it softens up in a chant like jam.

"High Voltage" is a high point for me, soundling like this sexy thumper should have been on "Death By Sexy." They're whole attitude is just this simple, fun, dancy, sexy music. I fear to say 'half serious,' because I know both are pretty serious musicians. And this track achieves the free rock attitude that I push to hear throughout the entire album. "Secret Plans" follows, and when the guitar comes in, you almost think that "Wanna Be in LA" just got a re-recorded treatment. "Now i'm a Fool" is the first cool-off point, an interesting track that holds my attention in and out. I become most intrigued by the soft guitar solo and oo's and ah's at 2:09.

The title track is a song that I at first, become bored with, but can't help think to myself that it would be totally baller to hear live. It trudges on, and here the record begins to wear me out, just a little. Cheap Thrills sounds like a song i've heard already on the album, but slown down. However, the vocals enter and we here experimentation that we havn't heard before in EODM. Echoes, layered voices, I latched on that throughout the song. "How Can a Man with So Many Friends Feel So Alone" I can't get into. It at first sounds like a song that I would favor, with the descending line, we pass through "Solo Flights" and "Prissy Prancin," and end on "I'm Your Torpedo," which funnily enough, was used in a condom commercial.

There's nothing so outrageously bad about this record. There are many moments that make you wanna dance, and there are even a few moments that I paint up to be really awesome transitions. But most of the songs, in my mind, feel like they just wanna be the single. There wasn't too much adventure coming out of this record, and maybe that was their goal. While songs from this record will stick to my playlist for months to come, I would recommend "Death By Sexy" over this effort ANY day.

....However, I will admit that the cover is THAT baller.
Written at 6:51 AM by Grumpy Old Man.
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