Album Review: Kiss

... like a C-?

Months after her debut single Call Me Maybe, which for some bizarre reason became one of the biggest songs of 2012, Carly Rae Jepsen has released her first album Kiss. Just as you probably expected, it is a pile of auto tuned bubblegum pop junk sprinkled with pink fairy glitter. Kiss has simple sickly sweet lyrics, too much happiness and a guest appearance from Justin Bieber, make one overall poor album.  

The first song listed is Tiny Little Bows. I’m not sure what this song is about, because the only thing I could think of which has tiny little bows is those cute dogs you enter in dog show competitions. I really hope Carly Rae Jepsen is not singing about her favourite dog. Or her shoes. Does she wear shoes with tiny little bows? Okay, on to This Kiss, track number two. This one seems to be easier to understand; Carly Rae cannot resist some guy’s kiss. You know those songs where every sentence rhymes and the songs stops making sense halfway through? It, like the rest of Kiss, is one of those songs. Kind of like the stuff Hilary Duff did ten years ago.

There are two songs on this album which boost the star score to two stars out of five. The first is Call Me Maybe. Love it or hate it, it is the one hit wonder of 2012, and a wonderful guilty pleasure. The second is the collaboration with Owl City on the song Good Time. This is the best song on the album and it’s what Carly Rae Jepsen should be doing. It’s fun and catchy, not annoying and overly sweetened.  And then Carly Rae Jepsen featured Justin Bieber in a song about the two of them being Beautiful (?) and that lost her half a star.

The real issue I have with Kiss is it doesn’t fit with who Carly Rae Jepsen is and I don’t think there is a place for her right now in music. She is a 26 year old pop singer, but she sounds like she is 16. She’s older than Lady Gaga and Demi Lovato but isn’t putting out songs with any feeling or meaning. Carly Rae Jepsen should have taken her cut from Call Me Maybe and left it at that. Kiss does nothing for me and I think she will soon be on her way out of music making, tiny little bows and all.

And it seems iTunes has already given up on Kiss. Just over a week out and it’s already down to $12.99. Get it now, it’s a bargain! 

Album Review: North

B+

Matchbox Twenty are back with their fourth studio album North. As someone who has all Matchbox Twenty albums in their iTunes library, I had high expectations for North before I heard it. It’s the first album with all new songs since 2002 for the band so I was quite excited for the album to come out, and, overall, North gets a better than average score for being what Matchbox Twenty does best.

My first reaction to North is it combines the mainstream rock sound of Matchbox Twenty, which we’ve heard for the past decade, and Rob Thomas’ softer style from his solo career. I could distinguish between the two following the release of Exile on Mainstream (Matchbox Twenty) and ...Something to Be (Rob Thomas’ solo album) in mid 2000’s. However, North brings these two sounds together, and, complete with all new songs, this mash up is what makes the album good. North sounds more mature than Matchbox Twenty’s previous work and there are moments which show Matchbox Twenty have definitely learned a thing or two after being in this business for more than 15 years.  

North starts with Parade, which is classic, radio friendly Matchbox Twenty, and I like that the album starts on such familiar ground as it eases us back into the band following their absence. Overjoyed reminds me more of Rob Thomas’ solo album, as it is slower and more soulful, concentrating on lyrics rather than beat and tempo. Then, the two different sounds are bought together in She’s So Mean, which was also the first single Matchbox Twenty released off the album. It’s that feel good song which they generally release first, you know, like How Far We’ve Come, but this time about an upbeat track about a girl who doesn’t quite return the feelings.

Matchbox Twenty do their usual thing on North where all the songs sound a bit different, mostly upbeat and easy to listen to, but they conceal darker lyrics. Put Your Hands and She’s So Mean are good examples here. It’s something we’ve seen throughout all of Matchbox Twenty’s work (think Push off Yourself or Someone Like You). This technique is, however, nicely combined with the maturity from the band, seen in songs such as Like Sugar and I Will. They show how the band has grown over the years and talk about the cynical nature of love which comes with growing older. I like that these songs have a slightly slower tempo, rather than completely being masqueraded under a pop track.

Overall, North is a good album to listen to and it has all the right elements. Matchbox Twenty have never been a band to push boundaries and they don’t here. Apart from sounding a bit more mature, North gives us the Matchbox Twenty we know and love. 

Album Review: Hot Cakes

A

The third studio album from The Darkness was released in August, and if you can listen to a high pitched male without cringing and, if you’re a guy, feeling your manhood slip away slightly, then Hot Cakes should be on your musical menu.

I delved into bit of (Wikipedia) research before writing the review, as The Darkness came out in 2003 with that song I Believe in a Thing Called Loved and then, following a few less than hit songs, faded away. Nearly ten years after that notoriously high pitched song, album three is out following a five year hiatus in the late 2000’s to overcome personal problems in the band. Hot Cakes is a ‘reunion album’ (does two albums and a break constitute a reunion?) and it brings you right smack back into the early 2000’s with tight pants wearing lead singer Justin Hawkins, and the rest of the original line up. To me, The Darkness is a delicious guilty pleasure, and I love some good Hot Cakes.

The Darkness start of Hot Cakes with Every Inch of You, the song they released off the album second. This is the comeback song for them and the one which makes me want to rush out and buy the album (or rush to turn iTunes on to download it). Guitar riffs from the starts and that high pitched voice coming in before a minute is up yelling “suck my cock” is exactly what The Darkness should be doing music wise. Thank goodness this is the first song listed on the album, because it makes you want to keep on listening to Hot Cakes, and the song which makes reminds you they ARE The Darkness and THIS [craziness] is what they do best.

Hot Cakes doesn’t disappoint in continuing to deliver the sweet sounds of The Darkness. From Everybody Have a Good Time to Keep Me Hangin’ On and the superb first single released Nothin’s Gonna Stop Us, the album is amusing and fun and, with summer just around the corner, it’s a must listen to in the sun with a beer in hand. She is just a girl, Eddie, is another must listen to track, especially if you keep in mind the lead singer wrote it about his brother’s ex girlfriend without him agreeing to it. The tone is taken down a notch with a cover of Radiohead’s Street Spirit (Fade Out) – this is the only song inclusion I questioned. The cover itself is fine, but I don’t think a cover on your reunion album is quite right; this is a chance to show what you’ve got what it takes to comeback, not rejoicing in someone else’s work.

Overall, Hot Cakes is a great comeback / reunion / third album from The Darkness. It may not out of this world amazing, but there’s nothing else quite like this fun and funky band out there and I recommend getting amongst their music – just be warned it’s accompanied by a lot of high pitched vocals from one small but outrageous male lead singer. 

Album Review: Days Go By

B

The Offspring, that pop punk sounding band from the 1990’s who played Pretty Fly (for a White Guy), have returned with their ninth studio album, Days Go By. If you’re a diehard fan of The Offspring then this album will already be in your collection; if not – approach it, but have a bit of caution. The album gives nothing new from The Offspring and you feel like you’ve heard it all before, but may still find yourself foot tapping along subconsciously because it’s such a catchy sound.

The Offspring kicked off their Days Go By campaign with an all partying, all hanging out with babes on the beach song Cruising California (Bumpin' in My Trunk). The song is pretty much summed up in the title there – it’s a fun song for The Offspring to bring out first and I don’t dislike it, but after eight albums I feel  The Offspring can do a bit better. On the flipside, the second single Days Go By becomes a bit more personal with lyrics: doesn’t matter in the end / those days go by / and we all start again. It’s still as carefree as The Offspring always are, but in a more warm fuzzy uplifting kind of way and it rescues an otherwise quite plain album.

When I listened to the rest of the songs of the album I didn’t feel like there was much variation between the songs. The best way to describe it is if you’ve got it on in the background, you might not even notice a change in song apart from that bit of silence between the tracks. I could say The Future is Now and Hurting as One are good songs – because they are – but I might as well say Spare Me The Details and Self Esteem (both released in the mid-2000’s) are good songs because it’s all the same old stuff which we already have in our iTunes library.

An interesting decision made on Days Go By was to include of a re-record of Dirty Magic, a song originally on The Offspring’s 1992 album Ignition. It’s a good song, and I like that it gives the album a different sound, but I don’t quite understand the motives. Are The Offspring trying to take a step backwards despite the rest of the album sounding modern? Are they trying to hold onto the fragments of the 1990’s when they were the most fly band around? Or do they simply love that song so much they wanted to include it?

Technically, Days Go By is all there – guitars are good, drums are good, vocals are good, songs sound fine. However, it all sounds so dated and, dare I say it, safe. The Offspring are that rebellious band who doesn’t care what society thinks, so why they didn’t put out an album which pushes the boundaries a bit more is beyond me. 

Album Review: Counting Spins

A-

Local musicians Clap Clap Riot have just released their debut album Counting Spins. The boys, originally from Christchurch, have spent the last year working hard on the album and it has paid off, with a 12 awesome songs with a sweet sounding Kiwi slant.

You’ve probably heard quite a few of the tracks from Counting Spins before, as Clap Clap Riot bought out four tracks before releasing the album. The first was Everyone’s Asleep, which came out in March 2011. It’s the one that starts with a whole lot of clapping (kind of cute irony there, huh?) before kicking into a sweet chorus. The second song to receive some air time is Yoko Ono, and this is my favourite song off their album. It’s a great rock song which kicks off hard and fast and has a nice comparison to relationships like the one between Mr and Mrs John Lennon. Whether you feel partial to Yoko Ono or not, Clap Clap Riot turn her name into a great song.

You might also recognise Moss-Haired Girl, which was released in late 2011. With a similar sound to Yoko Ono, I feel this is the direction Clap Clap Riot want their songs to take – and it is a damn fine direction to take. Finally, So You Say came out earlier this year; it’s the track you probably best recognise and starts off with some strings before, again, kicking into a heavier chorus which is fast becoming Clap Clap Riot’s signature sound.

In saying this, the rest of the album follows in a similar suit and there isn’t a lot of variation between the tracks. Everyone’s Asleep is probably the track which takes the biggest detour from common sound. However, because it is their first album and a new sound for New Zealand, Counting Spins still manages sounds fresh, you can forgive Clap Clap Riot not putting in too much variation into their tracks. I especially recommend checking out Never Go Back and, for something a tad more upbeat, Lie.

Thanks to a few good contacts in the New Zealand music industry, Clap Clap Riot had some help making the album sound so good. The most significant of these is said to be Jimmy Christmas, lead singer and brain child of The D4 and Luger Boa. Christmas knows how to make an album sound good and helped Clap Clap Riot on their EP. I wouldn't be surprised if Clap Clap Riot retained his advice, and some other local music greats, to bring Counting Spins up the level it is. 

Overall, Counting Spins is a great debut album which you can't help but like; everyone I’ve talked to has nothing but good things to say. It is fair to say Clap Clap Riot are still finding their footing in the industry, and I can’t wait to see where they’re heading next.  

Concert Review: 30 Seconds to Mars 2010

30 Seconds to Mars live at the Logan Campbell Centre August 2010

At the last minute my friend had a spare ticket to 30 Seconds to Mars. I threw him a very reasonable $65 without much thought and jumped in the car to see the Mars invasion for myself. 30 Seconds to Mars had been all over the radio with their rocking tracks and C4 was repeating their outrageously expensive music videos daily. 30 Seconds to Mars seemed like a sweet mash up of rockers and political glamour so it was without a doubt I wanted to see them live.

The night kicked off with Computer Want Me Dead ... which really did leave me feeling a tad dead. Even when the crowd started throwing glow sticks at the duo, there was no spark in their performance. Overall, it was a bit lacklustre, even though on the radio Computers Want Me Dead seemed like a kicking Kiwi duo.

My big mistake was not checking out their most recent album thoroughly before I headed along to the concert. I loved their second album and still play the hits today, but their third album sort of slipped by me. However, even though I didn’t know all the words to the opening track Escape, the rocking intent from 30 Seconds to Mars was there, and I found myself cheering along with the crowd regardless of my lack of knowing the lyrics. Lead singer, Jared Leto, was sporting a large blonde mohawk and sunglasses, and looked every bit a rock star.

For me, the concert really started when Attack was played – this is one of the songs I knew best. This was followed closely by older hits such as A Beautiful Lie and their new smash hit, This Means War a new song I did know all the words to). A nice touch to the night was when Leto disappeared off the stage during a drum solo and reappeared at the sound desk, situated at the back of the venue. This is where he bought out his acoustic guitar and played three songs, including From Yesterday solo. It was a beautiful rendition which the crowd obviously loved, judging from the vast amount of cheering and applauding.

30 Seconds to Mars rounded off their set with their smash hits Closer to the Edge and, my personal favourite, The Kill. I lost my voice somewhere in these two songs and I had to croakily ask my friend how they would encore. It was their recent hit Kings and Queens which did it, complete with around 20 school kids who had won the opportunity to go on stage with the boys.

Overall, it was one rocking night confined within the small space of the Logan Campbell Centre. The biggest disappointment was the acoustic version of From Yesterday; despite it being beautiful, it was the hit which catapulted 30 Seconds to Mars into fame and I would have loved to see the full version as the final song played on the night. Other than this, 30 Seconds to Mars gave me a fantastic night fully worth my money. 

Album Review: Living Things

A-

Linkin Park released their fifth studio album, Living Things, at the beginning of June, and if you are a long term Linkin Park fan, this album should be in your collection. The album is a mix of the sound from Minutes to Midnight with the original angst of Hybrid Theory. Combine this angst with some sweet rock rapping from Mike Shinoda and you’ve got the gold which has always been Linkin Park.

The first single you’ve probably heard on the radio is Burn It Down and it epitomises this angst. Lead singer, Chester Bennington, sounds fantastic in it. To me, it sounds like Chester has manage to nail his vocals without putting too much strain on it, something he struggled with in the previous two albums. And, as a bonus, the title track of the album had nothing to do with a Transformers movie. It seems  Linkin Park have realised they don’t need Michael Bay to sell more records.  

The track which kicks off the album is Lost in the Echo and it’s classic Linkin Park. Some guitar, Shinoda with his raps and Chester coming over the top and into the chorus – how is it this combination never gets old? The song also sets up the rest of the album nicely. There’s a flow throughout the album, continuing with the classic Linkin Park in tracks like In My Remains and I’ll Be Gone, and then a bit of a fresh twist in tracks such as Lies Greed Misery.

Linkin Park have a few standard formats of songs off all their albums and Living Things picks up on these. First, the song Until it Breaks is their one drum heavy song on the album (think Nobody’s Listening off Meteora). They drop down the tone with Castle of Glass and Roads Travelled. Critics mind view this as going soft, but I like the softer side of Chester’s voice still amongst the guitar and drums, and it is nowhere near as bad as that Valentine’s Day song. Finally, Chester gives us one last yell with Victimized; it seems he can’t resist bringing up that strong voice which originally got us into Linkin Park.

I suppose the big letdown is the lack of really new, really fresh stuff. Chester said Living Things is “embracing everything that [they] have done in the past" and taking the “best pieces”. Yet, remember when Linkin Park released Breaking the Habit?  It was so different and yet everyone raved about what a great song it was. That’s what this album needed; something completely different. On the other hand, Linkin Park ain’t broke, so I guess it wasn’t the time to fix it.  

Album Review: Strangeland

A-

Keane, the alternative band who aren’t Coldplay, are back with their fourth studio album. Keane took a detour with a 2010 EP and it did not quite fit with their sound, but Strangeland is a return to their original roots with that alternative piano rock sound the fans know and love.

The first single released off the album was Silenced by the Night, and what a single it is. It’s a classic Keane song and was the best way for them to return; it is sweet, classy and oh so British. Lead singer, Tom Chaplin, has upped his vocals to be stronger than the EP they released a few years back. Disconnected was the next single which has just been released. While it isn’t as fantastic as Silenced by the Night, it shows off their more upbeat and synthesized sound. It took me a while to like this song, but now I’m hooked by funkiness of it.

Strangeland manages to nail a 4/5 rating because the songs which are good are fantastic. They are the songs you put on repeat all the time because they are amazing. One of these is Sovereign Light Cafe, which, incidentally, will be released onto the radio in mid-July. It is my favourite off the album and the second best songs they have ever written – Somewhere Only We Know from their first album is still the best yet. Another great song is Neon River. It is a mix of the sweet Silenced by the Night sound and the more synthesized sounds of Disconnected.

Unfortunately for Keane the songs which are not fantastic are average and flat. It makes sense to have the pace of the album rise and fall, but I feel Keane have let songs such as Black River and Watch How You Go fall just a little too far. And, while I like the really fast tempo of On The Road, I can’t help but feel it does not quite sit right in the middle of the album.

Just like any fan of a music act I wanted the next Keane album they released to be the best. While Strangeland has some fantastic songs which will highlight their career, the overall album just lacks a bit of punch. I feel they are doing a bit of experimenting following and I look forward to seeing them hopefully nail their mix of sweet piano and synthesized tempos over the next year or so. Meanwhile, iTunes always has that button to put Sovereign Light Cafe on repeat.  

Movie Review: Beautiful Machine

A+

When I first heard about this documentary and watched the trailer, I knew it was going to be either fantastic or awful. I had high expectations of what the film should be, so if Beautiful Machine didn’t live up to them I would be giving it less than a one out of five and cursing the New Zealand music industry. However, and lucky for New Zealand, Beautiful Machine is the best thing to hit cinemas since the non-3D version of Titanic.

Beautiful Machine tells the story of how Shihad, New Zealand’s long standing rock band, formed and began their journey to music success. It shows childhood memories of the four band members and how music inspired their success. The four band members, their families and the music industry professionals they have interacted with throughout their journey all give insight into the band through interviews and tales, intertwined with concert footage with from the past 24 years. 

What makes the film brilliant is the brutal honesty. There was no skirting around the edges, no glossing over the bad parts to make Shihad look better. And for this, I respect the band so much more. They do not parade on about their rise to fame and the millions of records they sell. Rather, they told the stories of their battles with alcoholism, their struggles to stay apart from their friends and families and girlfriends when they made the decision to move to Melbourne and how depression nearly tore them apart.

There are three main stories which shape the documentary. The first is the formation and the beginnings of stardom; how they went from underground bars to opening for AC/DC and being the main stage at Big Day Out, until tragedy struck the band. The second part focuses on their highs during their time in Germany and Eastern Europe. The final part, and the part which hit home the hardest, was the band’s honest description of how their tour of United States miserably failed. This is where we are told how they felt about changing their name to Pacifier and how the tour almost broke the band up because the tour was not the success they had imagined.

To me, Shihad have always been that rock band who is always there. I’ve never been the biggest Shihad fan, but I’ve always liked their music and I have enjoyed seeing them live before. However, seeing Beautiful Machine has increased my respect for the band. I urge you to see this documentary and go on a journey with Shihad, because it is a brilliant cinematic masterpiece from a band New Zealand is so proud of.  

Album Review: Shelter

A

Will Frost is a new, young artist from Christchurch and Shelter, his debut album, was launched as part of New Zealand Music Month. According to Will’s website, Shelter “is a mixture of powerful ballads, folky acoustic sounds and lyrical, wistful songs, which cross effortlessly between a rich full tone and a yodeling falsetto.” Sometimes the internet fakes the truth, but in the case of Will Frost, they have hit the nail on the head. Shelter is a fantastic album.

The first song on the album has the most impact and is a wonderful way to start a music career. It’s Time is written about rebuilding Christchurch following the devastating earthquakes and it really pulls your heartstrings. With minimal backing instruments, a theme which continues across the album, It’s Time is raw and beautiful and reminds you of the struggles in Christchurch. It’s a song which comes from the heart; Will’s website explains he has spent his whole life in Christchurch and you can feel his love for the city in this song. It’s no surprise this song was a finalist in the 2012 Festival of Flowers Song Writing Competition.

This raw sound continues throughout the album. Will takes a turn with love, with the songs Eternal and Clarity. Despite only being a teenager, Will manages to nail wistful lyrics and packs a lot of emotion into his songs, as seen in my favourite song off the album, One in Five. The tempo kicks up with songs Shelter and The Hero and His Friends in the right place to keep the attention of the listener slipping. These songs mix in nicely with the slower songs without losing any impact.

What I love about this album is the simplistic nature. There are no huge instrumentals overpowering the lyrical meaning; rather the right amount of accompanying instruments to give it the added effect, with an awesome alto saxophone inclusion in Number Nine. With this minimalism it would be easy for this album to become repetitive, but effortless mixes of fast and slow, wistful and impacting keep you listening. Will has a unique, distinctive voice which ranges in pitch and pace throughout the album, and more than a few strong notes come through.

I think this album is fantastic. And, considering I spend most of my time buried in the rock music styles of Bon Jovi and Foo Fighters, this is a big statement. This is the album I want to put on after a long day, a summery afternoon, a cosy winter night, or indeed, anytime, anyplace, for anyone. It’s slick, it’s professional, it’s comforting, and it’s the sound New Zealand needs to hear more of. 

Concert Review: Owl City / Cobra Starship

Owl City and Cobra Starship live at the Auckland Town Hall March 2010

When my friend texted me and said he had a spare ticket to this concert, I hesitated for only a moment. Owl City were trending at the time and Cobra Starship were being danced to at every party, mostly thanks to the inclusion of Leighton Meester in one of their songs.

At this concert, we were seated along the side of the Town Hall. If you’ve ever been there, you’ll know it’s quite small but packs a lot of noise. I was quite glad I wasn’t in the mosh down below – the teenagers were going mad!

Owl City and supporting band came on and were a hit from the beginning. I’m quite a fan of Owl City and the slow, sweet sounds he makes. Chart topping hits from 2009 and 2010 were played, including Fireflies and Vanilla Twilight, which are songs which make you feel good when they listened to on the radio, and make you ten times happier when they are heard live.

Cobra Starship upped the anticipation with their more upbeat and dancy tracks. I was pleased to see all their music was being played live and not pre-recorded or DJ’d from one person behind the singers. They got the mosh pit going, but while I was not jumping out of my seat at the top, I was foot tapping and head nodding along to the beats. They let themselves down by leaving their two hits, Hot Fuzz and Good Girls Go Bad both for their encore. These two were the best two songs they ever released and the best songs of the night. I wish they had put Hot Fuzz on earlier during the set to create more of a buzz. Also, it was always going to happen, but Good Girls Go Bad just wasn’t right without the additional Meester vocals (her part was covered by a female band member).

Overall, I was impressed by these guys. I wasn’t blown away, but then again, their music doesn’t blow you away. It is nice, cool music and they had a live performance to match it. Good vocals, good instrumentals and a good crowd sold the night for me.

And, as a side note, Auckland Town Hall also sold me as a venue to host live shows. I haven’t made it back to a show there yet, but I aim to as soon as someone cool comes to play there! 

Album Review: Weapons

C+

Welsh rockers Lostprophets have returned with their fifth studio album, Weapons. Lostprophets are known for their alternative yet radio-friendly rock sound, but with Weapons it seems the band are attempting a grungier, heavier rock image and are trying to shed the pop rock vibe they held throughout the mid 2000’s. The tracks on Weapons are all titled to fit this harder image and you expect the songs to have that real punk, heavy, nearly metal rock sound, but sadly, the album doesn’t quite make it.

The first song on the album and the first song to be released onto the radio is Bring Em Down. It’s a song which seems to be literally about bringing people down. I always feel the first song off the album should point the direction of the overall feel for the record, but Bring Em Down only confused me. It’s like half the song is headed for the darker, grungier look, but the other half is holding on to the remains of the pop rock emo thing of the last decade. And let’s be honest, that look and sound is so 2005.

The darker tunes are given another go with A Little Reminder That I’ll Never Forget and Better off Dead, which do feature a few cool guitar rhythms but are quickly ruined by a few too many distorts and a lead singer who sounds like he is straining his voice to put in that grunge sound. It also seems Lostprophets are trying to remind everyone they are more edgy and darker with song names like We Bring an Arsenal, but you just feel they are trying too hard. 

As I said before, the pop rock isn’t quite shed, and songs such as Another Shot and Heart on Loan show this. These songs feel less forced and it is a shame Lostprophets didn’t work on getting these songs perfect. Jesus Walks (not Kanye West cover) would probably take the top spot for me; it’s the only song on the album that just feels right.

When I heard Lostprophets were coming back with a new album, I got really excited. I wanted to see what they would do and which way their music would head. But overall I’m disappointed. Lostprophets simply do not pull off the darker, grungier look, and without the emo thing going on in mainstream music anymore it seems they have lost their place. I hope this isn’t the end of Lostprophets because I feel they have something to offer the music industry, but they need to sit down and figure out exactly what that something is. 

Concert Review: Nickelback 2009

Nickelback live at Vector Arena, November 2009

For my 2009 birthday a very good friend of mine got me a ticket to Nickelback’s show, who were on the Dark Horse worldwide tour. I was super excited and had to wait four long months between when I got the ticket and when I could actually see the band live. This was it; I was going to a rock concert!

These Four Walls opened and were pretty decent from what I recall, though I didn’t have any desire to rush out and buy their album. I think the buzz of being in Vector Arena meant I didn’t actually concentrate on the band and I didn’t take in any of their music. Sick Puppies, an Australian band, came on second and were much more successful at getting the crowd warmed up, with some cool rock tunes and a well gelled band. I obtained a few of their tracks after the show and still enjoy listening to them. Overall, the two opening acts well surpassed the opening acts at Basshunter.

Nickelback burst onto the stage with Something In Your Mouth, complete with red flame shooters. Okay, so Nickelback get a lot of criticism for their songs, look, sound and overall presence in the music industry, but they sure can rock live. Something In Your Mouth wasted no time in getting the crowd going and, despite some haters on Chad Kroeger’s voice, the guy can sing live. I was stoked when Nickelback did a throwback to their old days with Because of You. This wouldn’t be the last time they did this, with Too Bad, Figured You Out, and, probably my favourite Nickelback song, How You Remind Me. Nickelback kept things Kiwi with Photograph, where they integrated pictures of the band and pictures of Kiwi icons onto the screen behind the band. The stage was T shape, which the band utilised by sitting at the top of the T to sing If Today Was Your Last Day and Rockstar, another one of my favourites. They played most of the songs from Dark Horse, a few covers which went over my youthful head and rounded off the encore with Someday and Animals. There were two letdowns of the night: firstly, I wish they hadn’t played Animals last – I feel one of their older songs or something from Dark Horse would have fit better. Secondly, because they played older songs, I would have loved to see Feeling Way Too Damn Good, and if I was really lucky, Hero, though I suppose there’s only so much you can fit into one show.

Overall, it was an awesome night, and as my first rock concert, it was quite an eye opener. The crowd were great, Chad was entertaining when he wasn’t singing, and I loved the whole atmosphere they gave. Of course, I would come to see better rockers in the future, but for me, Nickelback ticked all the boxes.

Concert Review: Basshunter 2009

Over the past few years I have attended many concerts and loved hearing all the live music, and now I want to put up some kind of review of them all. I’m kicking things off by travelling back to 2009.

Basshunter live at Telstra Clear Events Centre, September 2009

After only seeing the likes of Kingston, Elemeno P and 48 May at various camps and school concerts, I was pumped to finally heading to a ‘real concert’. Despite the above acts being wicked cool to see live, the thought of a ‘real concert’ was so exciting. A group of school mates got together to go see the Swedish sensation and were all buzzing about how awesome he would be live.

Having high expectations, I was bitterly let down by the opening two acts. To this day, my worse opening act was at my first ever real concert: Smashproof. I am a huge fan of Kiwi music, especially when they open for international acts, but Smashproof were just bad. They played pre-recorded backing tracks through their loud speakers, which resulted in the singing being both out of time and a lot quieter than the pre-recorded tracks. This is also the only time I have ever walked out of a live performance, faking a bathroom visit just to not watch the stage. I poked my head back in when I thought Gin Wigmore had made an appearance for Brother, but no, it was more overly loud, pre-recorded tracks which did not sit well with me. And so, my first real concert had got off to a rather bad start.

The second band on were 3OH!3. What a band name. To be fair, these guys are pretty decent, but with New Zealand only having heard about two songs, one which featured Katy Perry and was obviously not in New Zealand with them, they just couldn’t get the crowd going. They played on for half an hour or so, not really failing but not succeeding either.

Basshunter, or Jonas Erik Altberg as he was born, kicked off the show with Angel in the Night, one of my favourite songs. He was on stage dancing and jumping around from the beginning, with six hot tanned ladies behind him. Over the show, these women became less dressed, which pleased the males in my group. All I Ever Wanted and I Can Walk on Water were full of energy and the crowd got going without much convincing, which was great to see after the little movement with the opening acts. I was stoked when he performed Boten Anna and Dota, both of which are in broken Swedish. Basshunter could sing, dance, crack a few jokes and profess his love for New Zealand, which included sending a video message to his mum about how great a time he was having in our country. He rounded of the night with an encore of Now You’re Gone, his chart topping smash hit which young people had on repeat for months leading up to the show.

This concert was a few years ago, and I have no trouble saying the ones I’ve been to since out rate this show by a mile. But it was a nice way to kick off my concert experiences. Even though I had to put up with some silly girls pushing their way to the front (turns out this is a common thing at all concerts), I had a great night with my mates. Basshunter gave a great show and gave me concert fever. 

Album Review: Roses

B

After a ten year hiatus, Irish rock band The Cranberries are back with their sixth studio album, Roses. If you are a fan of the musical style of The Cranberries, which is a mash up of indie rock, pop rock and Irish folk music, then this album is a must have for you.

Show Me The Way is the first single released off the album and the song which brings the band back into the industry following the long break. It won’t blow you away but it is catchy and radio friendly. If you’re anything like me and a sucker for a rock song with a violin, you will find it hard to fault the song. It sets up a nice premise for the rest of the album and, as far as comeback songs go, this ticks all the boxes.

Tomorrow was the second song released from the album, and while it is as catchy as Show Me The Way, it pushes an important message of moving on through life. Lead singer of The Cranberries, Dolores O'Riordan, had this to say about the track said the track is about how we over-escalate small things in our minds, but at the end of the day these things are small and foolish, and we have to move on. It makes you wonder if The Cranberries are talking about moving on from their earlier roots or their ten year hiatus. Either way, the message combined with the tune makes a great song, and I would say it is my favourite off the album.

O’Riordan has always been praised for her haunting voice with the Irish twang, and it is evident throughout the whole album. She raises and lowers her tempo through songs such as Fire and Soul and Losing My Mind, and draws you into going on a journey with her captivating, beautiful voice for the whole album. The song Schizophrenic Playboys is definitely worth checking out, if not for the good rock track, then purely because of the name. The final track on the album is Roses, and rounds off the comeback album nicely.

If you wanted something hard hitting and powerful like the 1994 smash hit, Zombie, you’re out of luck. The Cranberries have returned with music which is radio friendly, pop rock style. I would have been happy if only a few tracks were like this, but with the whole album sounding pop rock, you feel a bit left down. Even the tunes which start off sounding more Irish folk eventually turn back to the pop rock tune by the chorus. If it wasn’t for O’Riordan’s unique voice, it would be hard to differentiate a chart topping band with some of the other fluff which is hanging around charts. While Roses should hold their place in music industry, I hope, The Cranberries will pursue something a little more powerful for their next project.  

Album Review: Reece Mastin

 B+

Reece Mastin is the winner of series three of The X Factor Australia, and the new heartthrob of teenage girls. His debut, self-titled album features his ‘winners single’ and ten covers of songs he performed throughout the show. If you’re not familiar with Reece Mastin, he is a 16 year old who lived in England for ten years before moving to Adelaide, and dreams of becoming a rock legend. The reality television factor and his young age may turn you off this album, but I urge you to give it a go, because Reece can actually rock.

The album starts with the winner’s single Good Night, a lightweight, pop rock tune about forgetting everything and enjoying your night out. It’s obviously written for the teenage audience, is filled with clichés, and is so catchy you’ll either be humming along or trying not to be sick. If you do find yourself feeling about sickly after hearing this, hit the next button, not the off button, because the album picks up with the covers. Reece’s voice is mature beyond his years, and both high energy songs such as Paradise City and softer, more emotional songs such as She Will Be Loved are done brilliantly. The best cover is definitely Aerosmith’s Dream On. Reece nails all the falsettos, and it sounds as haunting as the original version. It is also nice to see a nod to his English roots with a cover of Bee Gee’s Stayin’ Alive.

If you haven’t seen the show, then the album will offer some surprises, when Reece covers two songs originally by female artists. Alanis Morissette’s Ironic is turned into a full blown rock song. It jazzes up a classic without losing the original meaning to the song. Meanwhile, Katy Perry’s hit, I Kissed a Girl, becomes more edgy and offers the listener a hint of sex appeal, a move which caused Reece’s teenage fans to go mad with desire.

What lets the album down is the omission of his first audition song, Come Get Some. This was the song which wowed all four judges and ultimately gave him the boost into the competition and his career, so it is disappointing there is no version featured.

This album could have turned into karaoke like many other debut albums from reality television singing shows, or become as cheesy as the Disney Channel. However, Reece Mastin has managed to insert a bit of flair and charm into the songs with his cheekiness and English accent. There is no doubt he can sing and deserved to win the competition. If you can get over the reality television and ten covers fact, this album sure does rock. 

Album Review: Break the Spell

Rating: A- 

Break the Spell is the third studio album from American-based rock band Daughtry. The lead singer, Chris Daughtry, has come a long way since his days on American Idol, and it shows in the new album. Break the Spell has twelve great rock tracks, and together they make a one great rock album.

The album kicks off with Renegade, a gritty, hard hitting song, which gets the blood pumping straight away. It is a fantastic song and it’s no surprise it was the first single released off the album. Daughtry return to their most comfortable, pop rock style of music with the second single released, Crawling Back To You. The song starts off slower then ups the tempo during chorus, offers a bit of guitar then Chris Daughtry belts out the chorus one last time. These types of pop rock tracks have always worked well for the band and this is no exception. Most of the album continues in this style, and I would particularly recommend listening to Crazy and We’re Not Gonna Fall.  

My favourite song off Break the Spell would have to be Outta My Head. It’s slightly less gritty than Renegade, but delivers a great rhythm, and a nice change up from the rest of the pop rock tracks on the album. Daughtry pushes himself more vocally in the song and there are great guitar moments throughout the track.

All the songs on Break the Spell are written by Chris Daughtry, and his song writing has improved immensely since he began his career. This shows in Gone Too Soon, a slow, heartfelt song about a lost baby. Daughtry creates a powerful image in your mind in this song and it lingers in your mind for a few moments after the song has finished. It’s a brilliant track and a credit to the whole band.

The only reason I would not give Break the Spell a perfect rating is the lack of diversity from the previous albums. While die-hard Daughtry fans will find this pleasing, I personally would have liked to see it head in a slightly different direction from the usual pop rock which dominates nearly the whole album. I would have liked to either see more gritty songs such as Renegade and Outta My Head, or more meaningful and slower songs such as Gone Too Soon. Other than this, it is a great album, and a definite in your rock collection.