Garbage - Not Your Kind of People [Review]

It's a beautiful gift when amazing music comes along that makes you feel so good inside that you just want to walk down the street with your iPod and scream the lyrics out loud to no one in particular, just because you can, and Garbage's latest record, Not Your Kind of People, is such music, a memorable album that I think (or at at least hope) fans will always regard as special. The title pretty much signifies the theme of the album in five simple words - not your kind of people, as the album deals a great deal with feeling like an outcast, like you don't belong anywhere. It's a feeling with which is difficult to deal but is also a feeling for which music has a curing flair. It's the band's first record in seven years, and although I haven't been a Garbage fan that long, I can only imagine that this must have been worth the wait because this is a great album. The beautiful Shirley Manson has pipes, and she knows how to move listeners with her domineering, powerful voice, a voice that rocks harder than most female musicians of which I am aware. The album opens with "Automatic Systematic Habit" which is just killer, if that's a good description to use. As soon as the track starts with its funky electric guitar melody, you just know that this is going to be something special, and I mean the album in general, not just the song. The song is an epic industrial rock piece with a head-bobbing chorus that features Shirley's conviction that "I won't be your dirty little secret." "Big Bad World" sounds like the acoustic version of Avril Lavigne's "What the Hell" when it first begins, but it's, of course, nothing at all like that. It's a very mellow rock song about how the world always seems to shine when you're in love. I love the line: "You're a satellite around my heart."


"Blood for Poppies" was released as the first U.S. single from the album, and I adore this song. When I first heard it, I was immediately interested and said to myself, this is going to be an interesting album. "Blood for Poppies" is a fast-paced, groovy track, and Shirley's words are so cleverly mashed together during the verses that it's almost like she's rapping, and I actually had to look up the lyrics to determine what she is saying during certain parts. Much as I had suspected, Shirley said that the song is about feeling like you're living in a crazy world, a world in which you have to struggle to stay sane. I'm thinking that "Control" will probably be a future single, and it's really interesting, its sound once it gets "loud" reminding me of the Old West, for one reason or another. I can almost hear the song being on a modern Western soundtrack. I love the line: "It's always darkest right before the dawn." Even though that is an adage that is almost a cliché, it works for Garbage for some reason. "Not Your Kind of People" may be my favorite song from the album, a painfully wistful and brooding song about being different, about being outcasts, and making that declaration to "normal" people. As much as I love "Beloved Freak" being the (standard) album's closer, I almost think that this would have worked better; it's such a beautiful song that, to me, rings finality via its tone. "Felt" is very reminiscent of 90s Smashing Pumpkins; it sounds, in fact, almost exactly like something that they would have done. It's a strange track, with loud guitar that overpowers Shirley's whispery vocals. "I Hate Love" is probably the album's most "electronic" piece, with some parts almost sounding like something that Madonna would have had on her American Life album. It's a great, angry tune about having had your heart broken by someone whom you thought was never going to betray you.

"Sugar" is one of the weaker tracks. It's kind of bland in comparison to most of the remainder of the album's colorful nature, beginning with Shirley's soft vocals overlaying a very soft guitar, and while you keep expecting the song to pick up in excitement, it never really does. "Battle in Me" was released as the first single over in the U.K., and this is a great song. It's one of the "poppier" tracks of the album, kind of sounding like something that Shiny Toy Guns might do; it also registers, to me, some possible Joan Jett influence. "Man on a Wire" immediately demands our attention with its heavy guitar riffs, and it's one that you can tell was fun for the band to record. "Beloved Freak" is absolutely gorgeous. When I first heard it, I was trying to endure the most difficult era of my life, and it made me cry. It is such an utterly beautiful song that assures listeners that no matter how difficult things get, you're not alone in the world, no matter how much it may feel like it, because you're a beautiful human being. It's the kind of song that really should be used to support an anti-bullying campaign. That's where the standard edition closes, but the deluxe edition moves into "The One" which is a fun, upbeat "electronic rock" song that is about being angry and frustrated because the one whom you love seems to keep playing games with you instead of just embracing your love. "What Girls Are Made Of" is probably the strangest song on the album, a "country electronic rock" (yeah, like I said, it's strange) song that is deeply reminiscent of Blondie. "Bright Tonight" is another song in which Shirley sort of whispers the vocals, and it's a very soft, downtempo track about that one special person functioning as your night's stars; it's a really pretty song. The deluxe closes with "Show Me" which is another one that makes use of a country twang, and it also sounds like it belongs in a Western. It picks up a bit, but it's another weaker one for me; it's not a great way to say goodbye to the album, in my opinion.

I am a huge fan of Evanescence, and I know that Amy Lee has said on more than one occasion that she really likes Garbage and that they were an inspiration for her, and I follow both Amy (@AmyLeeEV) and Garbage (@garbage) on Twitter, which is how I discovered that they met in person and are friends, which really excited me. Additionally, I am a fan of the Marina and the Diamonds, and likewise, Marina has met the band, and they are now friends, too. I really hope for some future collaborations; that would be awesome. "Blood for Poppies" was recently featured (in the faint background, mind you) in a True Blood episode, which is pretty awesome, as I am a fan of that TV series. Not Your Kind of People, to me, carries of message of hope, hope to keep us alive during troubling, challenging times, and that's primarily what keeps it afloat for me, because not only is most of the music really memorable because of its sound, its melodies, thematically, it is a very strong album, as well. Although I don't feel that Garbage always does a fantastic job putting out exciting album covers (VERSION 2.0 is one of the blandest album covers that I've ever seen, and I mean no disrespect to the band when I say that; it's just an opinion), their music is definitely exciting, and I sincerely hope that it's not another seven years that they put a new album out, and I also hope that their next release will be as good as this one. Garbage is known for their catchy, deep and meaningful songs ("Bleed Like Me" and "Androgyny" both come immediately to mind), and it's so good to know that they don't seem to have any plans of disappearing any time soon. Vocally, Shirley delivers, and the band is nothing short of a memorable band that I'm sure has made a great impact on many people's lives.

Linkin Park - Living Things [Review]

Living Things is Linkin Park's recently released fifth studio album, and in my opinion, it is quite a successful effort. It is some of Linkin Park's best work to date; it is very creative, mixing elements of hard rock and metal with hip-hop and electronic music, and I think that it's closer to their original sound than its predecessor, A Thousand Suns, is. A Thousand Suns was a bit of a disappointment, and Minutes to Midnight is, overall, a good album, but I haven't been this "into" a Linkin Park album since Meteora, and that was almost ten years ago. I had a feeling as soon as I heard the "Burn It Down" single that this album was going to be good, and I was right, and I was involved as soon as the electronic hook at the beginning of "Lost in the Echo" began, which is probably my favorite song from the album, chosen, of course, as the album's second single. The chorus is melodically powerful, and the lyrics are powerful, as well, all about sacrificing something when we realize that it's no good for us. Similarly, "In My Remains" is an "electro rock" track with a catchy, powerful melody, and I adore the "like an army falling one by one by one" part; it's so haunting. "Burn It Down" was released as the album's first single, reminding me of Kevin Rudolf's "Let It Rock" but then turning into an epic rock track driven by guitar and synths. To me, it seems to be about damaging the planet's environment, but that's just my interpretation. I really want to use it on a fanmade soundtrack, and I already have one in mind, in fact.

"Lies Greed Misery" is definitely the "fist-bumper" of the album, the kind of song that is perfect to listen to when you're angry, especially when you're angry with someone in particular. Most of it is composed of Mike's rapping which is interrupted by Chester's furious shouting during the song's chorus. "I'll Be Gone" is more centered on Chester and definitely sound like a Minutes to Midnight outtake. It's really great but not a highlight on the album. "Castle of Glass" is also one of my favorites and is beautiful, a soft, slow song sung by Mike that is about feeling vulnerable. "Victimized" is a short (under two minutes) piece that is definitely the heaviest piece on the record, with fast-paced percussion, blaring guitar, and a soft melody that becomes Chester's enraged call to arms as he screams that he will never again be victimized. "Roads Untraveled" is the one of the more pacified songs on the record, sounding a lot like something that AFI would put together. "Skin to Bone" starts with a memorable electronic melody that plays in your head easily, and this song is definitely the most electronic track on the record. "Until It Breaks" is the most "hip-hop" track on the record, consisting mostly of Mike's rapping but also of Chester's voice over a smooth piano. "Tinfoil" is only a little more than a minute and ultimately only serves as an introduction to "Powerless" which is the album's closing track. It reminds me of "The Little Things Give You Away" in some ways. It's a really pretty song that is an ambient tribute to a loved one, whom makes the speaker feel, as the title says, powerless.

Living Things is different. Although, as I said before, it's closer to the old sound than Minutes to Midnight and A Thousand Suns are, the "industrial metal" sound from the first two albums is more or less gone, and this is more focused on electronics and rapping. That probably wouldn't have made me too happy six, seven, eight, nine years ago, when I was a major fan of the metal scene, and in fact, when Minutes to Midnight was released in 2007, I was initially very discouraged, but I do appreciate it a lot more now. I find Living Things to be a really strong album, and I'm really happy with it, even though it's painfully short. The album, in its entirety, falls under forty minutes, running (according to my iTunes) at 36:58, and that's primarily because there are twelve tracks, some of which ("Lies Greed Misery" and "Victimized" and "Tinfoil") are short. It could have used two or three more tracks, and I do wonder if any outtakes. assuming that there are any, which I'm sure that there are, will ever surface. Melodically and thematically, though, I think that Living Things is a great album, and as I said, I'd even go as far as to say that it's some of the band's best work to date. A Thousand Suns has its gems (such as "The Messenger"), but overall, this is definitely a stronger album and more of an "A game" effort on the part of the band, even though my younger brother, who used to be a huge fan of the band, doesn't agree; he still says that he misses the old Linkin Park, but I honestly really like this direction.

MARINA - Electra Heart [Review]

Electra Heart is Marina and the Diamonds' sophomore record, following up 2010's The Family Jewels. Based on what I understand, it is charting much better than The Family Jewels  did; I follow a few people from the U.K. (where Marina is currently much bigger; I live in the U.S.), and one told me that even there, many diamonds don't even know that The Family Jewels exists, which I find so unfortunate because there are so many really great, fun tracks on that record, and that is a fabulous record. However, Electra Heart is, as well, and as much as I adore The Family Jewels, I might go as far as to say that this is more creative than the first album, and I would definitely say that, so far, it is the best album of 2012. It is definitely more of a concept album, focusing on one central character and, for that matter, one central character. Marina, in an effort to more freely convey her personal experiences through music, created the character of Electra Heart, a sassy, snarky "villain" who embodies four different archetypes - the beauty queen, the primadonna, the homewrecker, and the teen idle. Electra seems to be a young woman whose life was turned upside down when she was heartbroken, and now, she has set out to have fun. I find it to be a powerful album, as it's all about sexuality and identity, what makes a personality, or, for that matter, facets of a personality. For us to say "I am me" may not be enough because we have to be able to define what that means, and I absolutely adore this album.

The album opens with the playful "Bubblegum Bitch" which sounds a bit like what "bubblegum pop" may have sounded like during the 80s. This is perhaps the most powerful track featured on the record, a fun, sassy tune demanding possession. You are crazy for letting me go. You're in love with me, and here's how I know. It is ridiculously catchy. Then, we move into "Primadonna" which is the first official single from the album. "Primadonna" is a lot of fun, a fast-paced electropop song about wanting to embrace the pleasures of life and still be loved. It's basically from the perspective of a spoiled brat. I am out of control, do what I want, but I want you to love me, anyway. "Lies" is the first slow number of the record and is a beautiful song about heartbreak, a relationship that still exists but under false pretenses, for the all of the wrong reasons. "Homewrecker" is great because of the spoken verses and tells a story from an unusual perspective. It's not from the perspective of a victim but instead from a victimizer, someone who destroys happiness. I consider this and the new "How to Be a Heartbreaker" to be on the same wavelength because they sort of both match a description that I read not too long ago - emotional sadism, which is an interesting term. "Starring Role" is definitely one of my favorites; it is another slow one and is probably the darkest song on the album. Beautifully written and sang, it is from the perspective of a heartbroken woman who is facing a difficult dilemma. Do I stay in his life as a friend, which would really hurt because I love him, or do I leave him completely, which would also really hurt because I love him? It's a difficult dilemma to which I can relate, and it's an utterly beautiful song.

The album's mood perks up a bit at "The State of Dreaming" which is an upbeat, "feel good" pop song about living ignorantly blissful. Marina has said that the song was written to pay tribute to Marilyn Monroe, someone whom she admires dearly (as if Electra's image doesn't give that away). "Power & Control" is the second single from the album and is so ingeniously multilayered, featuring powerful vocals, piano, synths, and so forth, and I'm so glad that the "chanty" melody at the beginning that flows throughout was modified to what it now is; on demo versions, the melody is played by a guitar, and it is so much more serious and intense the way that it is on the album. The song is about flimsy relationships that are based not necessarily on authentic love but on a lust for being in control of the relationship, and Electra seems to be in control. "Living Dead" is actually the first song that was written for the album, which is funny because with that being considered, you would think that it would be closer to the sound from The Family Jewels, especially since she apparently hadn't had the album's concept developed yet, but it is not at all like The Family Jewels and definitely belongs here on Electra Heart. The song is basically an 80s synthpop track about feeling empty, feeling like you're living day by day with nothing to live for. I think that thematically, the first record deals more with depression, but musically, this track belongs here. "Teen Idle" has been praised by so many diamonds, including pop musician Simon Curtis. Musically, it has to be one of the most creative pop songs that I've ever heard, slow and a bit brooding but not necessarily depressive, and is a song about feeling like you didn't live your teenage ways the way that you should have, that you were a bum, and I can relate to that because I never had the opportunity to be a teenager; I was sheltered, imprisoned, really.

"Valley of the Dolls" is gorgeous; I just love the magical feeling of it. This is another one that seems to be about depression, about feeling like you're in a hole in which you can't figure out who you are. "Hypocrates" kind of sounds like something Britney Spears may have done during her earlier days, and it also has remnants of Kelly Clarkson's sound. The song speaks of someone whom the speaker loves dearly but always feels at odds with because of his tendency to be hypocritical, to criticize her for doing things that he himself does. I'm not in a relationship like that, but we all know people like that. The standard edition of the album closes with "Fear and Loathing" which kind of reminds me of "I Am Not a Robot" in that it kind of urges listeners, which, funnily enough, includes the speaker, to be proud of who they are and stall tall against resistance, to not be constantly afraid and self-hating. It's almost dreamy, in a sense. This is the kind of life, the kind of confidence, that I wish that I could have. It's like "Valley of the Dolls" in that it deals with confusion of self-identity. The standard edition closes there, but the deluxe edition gives us "Radioactive" next, a really fun track that, to me, is about what it feels like to be in love with someone, to glow around them, to be something other than human. "Sex Yeah" is a really catchy tune about how difficult being a female can be and about how obsessed we are, as humans, with sex. I love "Lonely Hearts Club" which is an upbeat song heavy in synths that reminds people who are experiencing broken hearts that they're not alone, that they belong to a culture of people who feel the same way. The deluxe version closes with "Buy the Stars" which, in my opinion, is the only song that could fit on the first record, and it, in fact, sounds strikingly similar to "Numb" from the first record. It's slow and beautiful and is almost a song of defeat. I can't be what you need. I'd like to be, but I can't.

The album was just recently released here in the U.S. and features the new track "How to Be a Heartbreaker" which is just awesome. It will be released as the third single from the album, and I can't wait to see the official single cover art (there are a few really good fanmade ones). I am confident that "How to Be a Heartbreaker" is going to be a hit here in the States; it just features more "radio material" than anything that she's done so far, and I can hear it being played. Electra Heart is doing really well on U.S. iTunes, and I have very mixed feelings about her exploding here. I love Marina; I think that she is an incredibly talented, original artist, and she deserves fame and recognition, but at the same time, I don't know very many people here in the States who know she is, so she feels like an exclusive treasure of mine, and I'm afraid of mainstream people who base good music on what's on the radio thinking that she's new, singing along to "How to Be a Heartbreaker" in the car because it's catchy but not really appreciating her as an artist. I know that some people who really love The Family Jewels have expressed their dissatisfaction with the record because of how drastically different it is from The Family Jewels, and it really is drastically different. Whereas The Family Jewels is a collection of piano-based power pop, Electra Heart features very little piano and is based more on synths and beats. It's not as "indie" and is definitely electropop. However, artists grow and consequently change, and that's what we hear here, and I adore both albums. Marina is a true artist who I believe will always have something interesting and creative as long as her name is around, and I can't wait to continue embarking upon the journey as a diamond. I just wish that "Scab & Plaster" (a song that I absolutely adore with an intense passion) had made it onto the album, but at least we've heard it, and maybe it will be released as a b-side or something.

The Cranberries - Roses [Review]

I was introduced to the Cranberries two years ago by my boyfriend and instantly fell in love with them, especially Dolores O'Riordan's solo work (ARE YOU LISTENING? is absolutely flawless). I had, of course, been familiar with the band prior to that point, but I really only knew "Zombie" and hadn't even heard that in years. I certainly couldn't assign a name to the band's vocalist, nor could I attest to her unique songwriting and singing talent. She has a way of making a simple song give you chills ("The Concept") and making an intense anti-war hard rock song bring you to tears ("Zombie" and "New New York"), and that's something special. Prior to ROSES, the band's latest release had been 2001's Wake Up and Smell the Coffee, and it was unfortunately not long after the album's release that the band decided to call it quits for the time being, to embark upon a temporary hiatus, which resulted in Dolores O'Riordan's solo efforts, 2007's ARE YOU LISTENING? and 2009's NO BAGGAGE. Finally, the band releases its sixth studio effort, ROSES, and the album is nothing short of satisfactory, in my personal opinion.

Said by some to be reminiscent of the early Cranberries era sound, "Conduct" (originally titled "Conduct Yourself") opens the album, and the track is a perfect way to open the album, with a gentle but persistent guitar riff introducing us to the track and ultimately to the album. The song is expansive and beautiful and features strings, and I want so badly to slow dance to it. I absolutely love the lyrics of the song because it seems to open from the perspective of someone who has just gotten into a major fight with his/her significant other and feels worthless, feels like he/she is not contributing anything to the relationship; he/she therefore declares that the relationship should end since the two of them obviously don't work, but it's clear by the end of the song that this speaker does not mean that, that he/she said that impulsively and is very much in love with his/her significant other; it's a really adorable song with which I am in love. "Tomorrow' is arguably the "poppiest" song on the album, which is why it's no surprise that it's the album's lead single. It's basically your typical 90s alternative rock song and begs the listener to seize control of his/her life before it's too late.

"Fire & Soul" is really interesting; it's a quiet song with a gentle beat primarily underneath an acoustic guitar, and the lyrics are what is interesting. My boyfriend pointed out that the lyrics seem to speak of someone that has been unfaithful to his/her significant other in some way and now wants forgiveness because he/she just wanted a momentary loss of control, and upon closer examination, I agree with him; there is, of course, nothing saying that that is definitely Dolores and Noel's intention, but it is definitely valid. I adore "Raining in My Heart" (nearly ten years old, as it was originally intended for the sixth album that didn't happen until now) as it reminds me of Avril Lavigne and features the accordion (maybe to make up for the inexplicably common misconception that Sixpence None the Richer's "Kiss Me" is a Cranberries number), one of my absolute favorite instruments; the song is very catchy (I love the "If I could fly, you know that I'd try" line) and is about, as is typical of Dolores, hating to be away from someone that you love, something to which I relate, which is something that initially drew me to her music in the first place; it definitely sounds single-friendly and could very well potentially be a future single.

"Losing My Mind" has grown on me since the first time that I heard it, but it still is far from being my favorite; a slow song with a refrain that picks up power, it sounds like an ARE YOU LISTENING? scrap, and it's weak compared to some of the other songs on the album. A song that warns listeners not to engage in casual, promiscuous sex, "Schizophrenic Playboys" is definitely the heaviest track on the album and is also one of the weaker tracks, which I think, for me, is primarily because it didn't meet my high expectations (a live version of the song could be heard online many months prior to the release of the album), and I also have a problem with the lyrics; Dolores belts out that girls shouldn't trust schizophrenic playboys and that boys shouldn't trust schizophrenic playgirls, but not once does she match the two, so if one didn't know better (which I do, because I know that Dolores is an open-minded liberal that supports equal rights), he/she would think that the song is yet another song with lyrics that assume that everyone is straight, and I'm surprised because Dolores has voiced flattery when told that she is considered by some to be a lesbian icon; I just would have appreciated those lyrics being more inclusive.

"Waiting in Walthamstow" (Walthamstow is a district of London) is my favorite song from the album and is totally and completely different from anything that the band or Dolores has done to date. A very slow song in minor key, it is heavily dependent on strings, and if the whispery, melancholy vocals aren't enough to express the tone of the song, the melody, with a flow of notes that seems to cry, certainly does. The lyrics are nothing new for the Cranberries, as they express the sadness of being far away from someone that you deeply love, but the music certainly is. "Show Me" (originally titled "Show Me the Way") has been criticized as being too radio-friendly for its own good, but I don't agree with that, as the Cranberries have always had many radio-friendly songs ("Just My Imagination" and "Linger" come to mind), and "Show Me" is no exception; I love the intense strings that just about bring me to tears. This song is unique as it is actually the first song to have been released by the band from ROSES, even though it is not the album's lead single, and it has been played on some radio stations.

"Astral Projections" is my second favorite track from the album, for sure, as it is, if this makes any sense, dreamy. The band first performed the song nearly ten years ago when it was performing in preparation for the sixth album (which, again, obviously ended up being scrapped and becoming 2012's ROSES), but anything that could be accessed online was in very poor quality and could barely be understood, but I could hear enough to know that it was a good song, and it certainly is. When I first heard the song, I had had a rather rough day, and the lulling nature of the song's verses is enough to calm a monster; it even manages to have a slight country sound to it without, in the slightest way, being country. "So Good" is another quiet one with strings, a very simple song about being in love, and "Roses" is the closing track on the standard edition, and it has yet to do much for me; I'm still waiting for it to grow on me, which it very well could (ARE YOU LISTENING?'s "Ecstasy" is one that I initially didn't care for, and now, I can't imagine that album without that song) - it's just, at this point, very dull and sounds like a NO NEED TO ARGUE scrap.

What is incredibly frustrating is that there are multiple b-sides and bonus tracks which are scattered across different editions of the album, most of which are not available here in the United States. In the United States, only "Always" (a really fun, upbeat, catchy tune similar to "Stars") is available, and even that is only if you buy it via iTunes. Elsewhere, many other b-sides and bonus tracks are available, such as "Perfect World" (definitely one of my absolute favorites from the album as a whole), "Stop Me" (also one of my absolute favorites, an insistent, confidently independent song that is a great deal of fun), "In It Together" (also one that was performed live nearly ten years ago, this upbeat love song really reminds me of Avril Lavigne and features parts that remind me of "Zombie" and "This Is the Day" as it features a line of notes that both songs feature), "Serendipity" (slow and very pretty), and "Someday" (yet another that was intended for the album that never happened nearly ten years ago, this moderate alternative number that pays tribute to "When You're Gone" is still growing on me).

I really wish that the band would release a separate EP featuring the b-sides, especially since there is yet another titled "Eyelash" that, as far as I know, no one has heard, but I, for now, digress. ROSES is, overall, definitely a slow, quiet album, but that definitely works for what it tries to accomplish, which I would say is the kind of album that you might want to take with you during a stroll through the park on Sunday afternoon. I absolutely love it, and I might even have to go as far as to say that it's my favorite Cranberries album to date (although not my favorite Dolores album in general, as I don't think that anything will ever trump ARE YOU LISTENING? for me). I just wish that some of the weaker tracks were switched with some of the strong b-sides and bonus tracks, but again, I digress. ROSES is definitely an immensely successful effort that I highly praise, and let us cranfans sincerely hope that Dolores (and the rest of the band, although I'm personally happy as long as she herself continues recording music) keeps up this streak of such amazing, beautiful, breathtaking music, even though, as I said, ARE YOU LISTENING? will likely never be trumped.

Evanescence [Review]

After a painfully long five-year wait through which fans savagely suffered, Evanescence is finally back with its fourth album, the self-titled Evanescence, featuring "What You Want," the album's first single. A few months ago, Amy, in an interview, explained why the album is self-titled, and she said that now, more than ever, the music and the effort is about the band; she said that she has never felt more alive as a part of Evanescence than she does now. I also think, though, that it fits nicely with the overall theme of the album, which, to me, is the endurance and the aftermath of loss, and the word "evanescence" means a disappearance, in accordance with "Disappear," of course, a song on the deluxe edition of the album. The band's previous record, The Open Door, received some negative criticism for being "overproduced," and those that criticized that album for that reason certainly shouldn't be saying that about this album, because it doesn't have the crisp, clean, polished sound of The Open Door; it is much edgier, more raw-sounding, which, of course, makes sense considering what Amy said about why the album is self-titled. You can clearly hear a band on the album, if that makes sense. The album relies very little on production and sound effects and more on what Amy and the band is capable of accomplishing; it's a perfect album to self-title.

At this point, I still can't say that this is my favorite Evanescence album to date, and I don't know if I will ever be able to say that with any truth. It is not as good asThe Open Door, and I'll be the first to say that I don't agree with those negative reviews criticizing it for being "overproduced," because something that I absolutely love about The Open Door is that it embraces its title; with Ben having left the band, it does everything that it can to break away from Fallen, to break away from structure and be something different. It expands into new dimensions, and I would say that with the exception, perhaps, of just a couple of songs - like maybe "Sweet Sacrifice" and "Weight of the World" - any song from The Open Door would stick out like a sore thumb on Fallen. Although Evanescence is probably closer to the Fallen sound than The Open Door sound, it still embraces a sound of its own. The primary reason, however, that I would say that I will probably never consider this my favorite Evanescence album is because, in the past, there have always been at least two wildly epic songs on the album that feature choir - "Haunted," "Whisper," "Lacrymosa," and "Your Star," just to name a few - and this album features only one song that features choir ("Sick"), and even then, it is only faintly present in the chorus.

The album opens with "What You Want," again, the album's first single. Placing the song at the very beginning of the album is not a decision that I would have made, since there isn't much of an introduction to the song. There is, perhaps, one measure before Amy immediately begins to sing the chorus ("Do what you, what you, want..."), so it really doesn't do a great job of opening the album. I would have opened it with something like "Sick" or "New Way to Bleed," and "New Way to Bleed" is actually how I do open it on my edition. "What You Want" is fun and kind of poppy, and what I really love about it is that it doesn't try to pose as something more than it is, if that makes any sense. Like I said, the album, in comparison to previous albums (especially The Open Door), is a lot edgier and more raw-sounding, and this song is a prime example; it is heavy, but it doesn't necessarily try to be heavy. It sounds both poppy and metallic in a very natural way. In a lot of ways, it reminds me of "Call Me When You're Sober," but even "Call Me When You're Sober," arguably one of the band's poppiest songs, has a fuller sound than "What You Want" does. Although I wouldn't have opened the album with the song, I think that it's a perfect choice for the first single, considering that it was written about needing to cut the break short and get back to the studio, since Amy said that she needed time to rediscover herself, and that took her some time.

"Made of Stone" is the second song on the album, and it was originally written during an era that didn't make complete sense to Amy; she was writing music but wasn't sure what would be done with it, maybe nothing, maybe be placed on a (then talked about) solo album, maybe be placed on the next Evanescence album, which is obviously the decision that was eventually made, and unless she was working with the band even then, I'm thinking that it was probably expanded and/or altered, because the entire band is credited as having written it. "Made of Stone" kind of does stick out on the album, because whereas a majority of the album is about tragedy and its aftermath, "Made of Stone" returns to the older lyrical content, as it is a big "f-you" to a scornful lover. Melodically, it reminds me very much of We Are the Fallen. "The Change" is very full, and there are parts of it that sound very much like a song that Kelly Clarkson's more alternative sound would produce. Kelly actually tweeted not too long ago that it is now her aspiration to sing a duet with Amy, and Amy definitely saw it because she retweeted it, so maybe that's booked for the future, which would be absolutely awesome. "The Change" and "Say You Will" are both songs that would be perfect for them to perform together, assuming that they wouldn't perform a completely new song altogether, which would be just as awesome, if not more so. I'm going to keep my fingers crossed for that duet.

"My Heart Is Broken" is the fourth track on the album, and it has been selected as the album's second single, planned to be released to mainstream radio on the first of November. I absolutely love this song, and it is one of my absolute favorites on the album (alongside songs such as "Sick" and "Swimming Home" and "Secret Door"). I recently lost a gerbil that I loved very much, and in fact, I lost her the day that this album came out, so the song has really helped me deal with that grief. The piano melody is immensely beautiful, and the song, as a whole, is immensely beautiful. Parts of "The Other Side" remind me very much of Korn, and I haven't been the only Evanescence fan to have said that. It's about, as are many of the songs, losing someone that you love and wishing that you could find him/her again, and it's very heavy and very groovy. "Erase This" features a climbing and descending piano melody that rapidly crawls its way through the chugging guitars, the fast beat, and Amy's wistfully powerful lyrics; it is arguably the fastest song on the album. "Lost in Paradise" is a beautiful song that begins on the piano but moves its way into a mess (I use the word "mess" in a positive way) of heavy guitars and strings. To me, the song speaks of the denial stage of the grieving process (like "Bleed"), feeling blissful despite the demon staring you in the face. It really reminds me of "My Immortal," and in fact, when I first heard the MTV snippet over the summer, I said that it would be the new "My Immortal," and now that I have heard all of it, I would say that I was fairly accurate.

As I said, "Sick" is definitely one of my favorite songs on the album, featuring distorted guitars that remind me very much of Repo! the Genetic Opera and chilling chanted lyrics in the chorus; it is, to put it simply, killer. "End of the Dream" is very heavy and is comparable to "Going Under" in many ways. More so than ever, it is a bit "post-grunge," and this is another one that really reminds me of We Are the Fallen. Consider "Bury Me Alive," and I'm sure that it will be easy for you to agree with me, as the songs sound strikingly similar. Amy's voice soars throughout the song, begging listeners to enjoy life while it lasts, before "the end of the dream" falls upon us. "Oceans" is another one that I adore, and "big and lush" is how Amy described it. It starts with a very quiet, electronic synth that quickly builds to an amazing wavering melody and a very demanding chorus - "Cross the oceans in my mind!" - that is sure to have your head bobbing. "Never Go Back" is the heaviest song on the album, and, in fact, when I first heard it, I called it "crazy and wild," because it was simply not what I was expecting from a song written about the Japan catastrophe earlier this year, but the "crazy" guitar chugging is very chaotic, as the earthquakes and the tsunamis were. To put it simply, with lyrics such as "It's all gone;/the only world I've ever known/sleeps beneath the waves," it is epic and emotional on a tearjerking level, and my favorite part is definitely the piano and strings break near the end.

The standard edition of the album closes with "Swimming Home," a very satisfying way to close the album. It is a hauntingly beautiful "electropop" song that serves as a sequel to "Never Go Back," dealing with the hopeful aftermath of a tragedy. In fact, I really do tend to think of "Oceans," "Never Go Back," and "Swimming Home" as a "three-part arc" on the album, since they seem to, together, tell a story and are placed back-to-back on the album, but that is not meant to suggest that the songs are not valuable on their own, as they certainly are. My hope is that "Swimming Home" will be released as a single, because I think that it would probably be "Good Enough" done right; I could hear it on the radio, especially since you can hear a bit of "soul" in it. The deluxe edition moves forward with "New Way to Bleed," which is a steady metal track that sounds strikingly like Lacuna Coil, something that I said as soon as the song began the first time that I gave it a listen, and it features a very small amount of the harp. I tend to pair "Say You Will" and "Disappear" together just because they are both kind of poppy, but like "What You Want," I think that they are naturally metallic in their own rights. As I said, "Say You Will" reminds me very much of Kelly Clarkson, especially the chorus, which Amy screams out in a passionately powerful manner much like Kelly would; it's very catchy, but it's actually one of my least favorite songs on the album, since it's a bit too playful for me to absolutely adore like I do other songs.

Evanescence fans should know Amy's cover of "Sally's Song" from The Nightmare Before Christmas, and "Secret Door" reminds me very much of it, even though I have had a friend and fellow fan disagree with me. "Sally's Song" features a bit of harp, and "Secret Door" relies heavily on harp (a lot more so than "New Way to Bleed") and I am absolutely loving it, as I think that the harp produces an incredibly beautiful sound. Amy just recently learned to play the harp, and her husband bought her one as a gift, which is just awesome. The song sounds like a dark lullaby, and in fact, Amy has said that the song is about that feeling that you have when you wake up from a really pleasant dream, wishing that you could revisit it. About a year-and-a-half ago (March 2010), Amy was tweeting a lot about the new album and said that she was looking for an album title that was linked to the themes present on the album, and a particular tweet reads: "Some inspirations: unknown worlds, the ocean's abyss, life within dreams, strength, detachment, love and liars...," so it's very likely that "Secret Door" is old; however, the "ocean" theme definitely stuck, as many songs mention water, waves, and the ocean, "Erase This" ("The water's rising around us..."), "Sick" ("Oceans between us..."), "Oceans" (obvious even without a line) "Never Go Back" (as aforementioned), "Swimming Home" (also obvious), and "Secret Door" ("My heart's high as the waves above me") all serving as examples.

I think that Evanescence is a fantastic album, featuring beautiful, intricate melodies that stick with you and haunt you, as per usual in regards to the band. "My Heart Is Broken," "Sick," "Never Go Back," "Swimming Home," and "Secret Door" all serve as highlights, but the album, as a whole, is really fantastic. I don't feel that it is as expansively creative and artistic as The Open Door is, but it is so much in its own way, very easy to love as each song begs and/or roars for its listeners' affection, and it has mine. I love the album art, as well; I recall Amy saying (before it was revealed) that in comparison to The Open Door, the album art of which is very Victorian and dream-like, this album art would be more mordern, but I would argue that it is has a futuristic feel, since it looks a lot like space to me, reminding me of sci-fi such as Star Trek and Stargate Universe. If you have the physical copy (which I do and always will when Evanescence is concerned), you are probably more inclined to agree since you have seen the back cover (as pictured below), which is very "spacey," if you will. Evanescence is, by far, my favorite band (and artist, for that matter) and has been for eight years, which is actually approaching nine. As I mentioned when I wrote my sample review, Evanescence saved my life in so many ways, giving me an outlet to feel like I never had before, and that hasn't changed, and I don't care how melodramatic that may sound because it's the pure truth. I couldn't possibly be any happier that they are back, and Evanescence, already #1 on iTunes (which, in fact, it was within a couple of hours after its release), definitely makes the comeback a poweful one.

Jack's Mannequin - People and Things [Review]

Jack's Mannquin comes back from 2008's The Glass Passenger with People and Things, an album that, in my opinion, is a lot more raw than 2005's Everything in Transit and The Glass Passenger. Gone is the electronic rock feel of "Bloodshot," gone is the beachy feel of songs such as "Holiday from Real" and "Dark Blue," and gone is the classical piano sound of "Caves," definitely Jack's best song in regards to artistic creativity. While I certainly don't dismiss People as being a terrible album, not by any means, I would utlimately have to say that the band fails to capture the essence of why I fell in love with them in the first place, and that is not only because the music itself isn't quite as good but also because I don't feel that the theme is as consistent or, for that matter, as strong, so I don't feel as strong of a connection to it as I have previous albums, which is definitely a shame.

Frontman Andrew McMahon has been involved in the music industry for a considerably long time. As the previous frontman of punk band Something Corporate, his first Something Corporate album released, titled Ready... Break, was released in 2000, eleven years ago, and the first Something Corporate album released commericially, titled Leaving Through the Window, was released in 2002, nearly ten years ago, so while Jack's has only been active for six years, Andrew has been making music for even longer, and he has gone through a series of eras, as each album sounds radically different from the last, and People and Thingsis no exception. Even when some songs are cut and recycled, each album still manages to have a sound of its own, and this is precisely the case in regards to People and Things, as it is seeming to make every effort to create a new sound, and I do have to give it credit for that; it certainly isn't the same old story.

The album has multiiple editions, something that I wish weren't the case. There is the standard 11-track edition, of course, and then, there is the iTunes digital deluxe edition, which has four bonus tracks, then, there is the Best Buy edition, which has three exclusive, different bonus tracks, and then, there is an acoustic version of "My Racing Thoughts" which is exclusive to the Go! Merch editon of the album, so basically, there are a total of eight bonus tracks which are scattered amongst different editions, but there is one saving grace, which is that the exclusive iTunes bonus tracks are not Album Only, which means that you do not need to purchase the entire album in order to obtain the bonus tracks; you can buy just the bonus tracks. I am thankful for that, because if I am buying music from an artist that I love very deeply, such as Evanescence or Lady Gaga, for example, I will not buy the album digitally; I will buy the physical CD, and in this case, the Best Buy bonus tracks are only available to buy on CD.

I still wish, however, that since there are eight bonus tracks, they would have been released all together as one separate release, but for the purposes of this review, I mean to review the album as a whole, including the standard tracks and all of the bonus tracks. The album opens with "My Racing Thoughts," which is the first single from the album. When I first heard the song, I was a bit disappointed because I had felt that I had definitely heard better from Jack's Mannequin, and while that precise opinion hasn't changed, the song has grown on me, and I appreciate it a lot more than I did when I first heard it. It is a moderately catchy, poppy song that seems to be about some of the complexities of being in a relationship. The album then moves into "Release Me," which definitely has a lot more energy than the first song, featuring a fluttering piano hook that is certainly difficult to ignore. "Television" is a weaker one, seeming to demonstrate Bruce Springsteen influence but really not doing much for me.

 

"Amy, I" is one of the best songs of the album, but it is an example of what I mean when I say that the album doesn't have as strong of a theme as previous albums. Andrew has said that the song isn't really about anyone in particular; it just came to him, but it's very catchy and, I daresay, has a country feel to it. We then hear a song that I have actually known for quite a while, as it was intended for The Glass Passenger but was cut and is actually the song from which The Glass Passenger draws its title, as the first line of the song is: "Keep your eyes on the road, the glass passenger." The song to which I'm referring is "Hey Hey Hey (We're All Gonna Die)" and is definitely the closest the album comes to The Glass Passenger. The title suggests that the song would be really depressing, but it is far from it; the song is about letting go of fear of death and embracing life, because since everyone is eventually going to die, we're in this together. It certainly stands out on the album. "People, Running" seems to be the inspiration for the title of the album and features a very outgoing, demanding beat, but it has some developing to do for me before I give it the credit that it may deserve.

 

"Amelia Jean" is what I consider to be the epitome of piano rock, as it is definitely a light, fun rock song about being in love but is completely driven, in my opinion, by piano. Many of the songs, granted, are, but this one is especially. The chorus of the song, as it wistfully calls Amelia's name, is definitely the best part of the song, and it drew me in instantly. I first heard "Platform Fire" quite a long time ago, since Andrew performed it a long time ago and said that he wasn't sure whether or not it was going to make it on the album, but I'm glad that it did, since it is a fantastic song that suggests to be of a similar lyrical nature to "Bring Me to Life" by Evanescence - someone helping you find peace in the chaos. It is energetic and beautiful both at the same time, which is why it works. "Hostage" is a good one that is of a very imperative nature, as he nearly shouts - "I won't hold you hostage!" - the hook of the chorus. The song is about letting a loved one have "alone time" when he or she needs it while reminding him or her that you are there when he or she is ready to come back. There is not a doubt in my mind that "Restless Dream" is influenced by Simon & Garfunkel, since I do know that Andrew is a fan; he has even covered "Homeward Bound," and this has an incredibly similar sound.

"Casting Lines" closes the standard edition of the album, and that is one of the weaker ones. To me, it speaks of remembering your origins while searching for new adventures at the same time, embracing relationships along the way.

 

At this point, I do not like "No Man Is an Island" at all, as it may be the weakest Jack's song to date. It is very simple, and it is a song to which I cannot relate to at all because of the lyrics. Andrew sings that "no man is an island when a woman's his to hold," and while I do understand that Andrew is, himself, heteroseuxal, he doesn't seem to be speaking about himself exclusively; no, he seems to be reaching out and speaking of humanity as a whole, and not all men are going to have women to hold, as, for some, myself included, when they fall in love, it's going to be with another man. I just feel like part of making progress toward equal rights is not assuming that everyone is straight, thereby shattering the dominant culture. I wish that Andrew had used the word "lover" instead of "woman," as it would have been more inclusive, as I'm sure that I'm not the only gay Jack's Mannequin fan.

 

"Ten Days Gone" has a very steady, soulful beat, but it is one that I have yet to grow an attachment to. "Dancing with a Gun" is one of the first songs on the album that I listened to, and it is definitely one of my favorite songs on the album, as Andrew's emotions shine through the uplifting melody like no other song on the album. "Broken Bird" is another weaker one that I don't yet love, but it has a heartfelt message about helping someone through dark times; the iTunes deluxe edition closes with "Broken Bird," and the first Best Buy exclusive is "Out of It," another song intended for The Glass Passenger. This song definitely has the subdued, sleepful feel of The Glass Passenger, and I do really love it for that reason. My favorite "new" song, however, is definitely "Locked Doors," a song that my boyfriend, oddly enough, compared to INXS. This song was actually initially intended not for Passenger but for Transit, and that is something that is evident, as it sounds more like Something Corporate than it does Jack's Mannequin, and finally, the Best Buy edition closes with "Keep Rising," yet another song from the Passenger sessions, and it starts off sounding like Sixpence None the Richer but moves into the regular People sound; lyrically, it is similar to "Swim," urging listeners to stay strong, to keep rising from the darkness.

 

Overall, People and Things is not a bad album, but it's not as good as the last two albums, and I really don't think that that opinion is going to change. "Hey Hey Hey (We're All Gonna Die)," "Platform Fire," "Restless Dream," "Dancing with a Gun," and "Locked Doors" are the brightest highlights of the album, and I do love how some motifs continue to make their presence known, such as stars and planets and sleeplessness. The overall theme of this album happens to coincide with what the producers of Fringe have said is the overall theme of the current season, which is the examination of the effects that we have on one another as people, wondering how our lives would be different without the people that we know and love. I just feel like earlier themes have been more prevalent, such as the theme of starting a new chapter of your life that's present onTransit and the theme of sickness and recovery that's, perhaps, even more heavily present on Passenger.People seems to be more generalized and not quite as personal, but hey, maybe that makes it more valuable.

Avril Lavigne - Goodbye Lullaby [Review]

For me, Goodbye Lullaby, Lavigne's fourth album, has been one of the most highly anticipated albums of my lifetime, as I have ultimately been anticipating it for seven years. While The Best Damn Thing was released in Spring 2007 (which was still quite a long time ago), I was not too thrilled with that album (save a handful of songs), and Under My Skin was released in Spring 2004. Many months ago (it was, in fact, close to a year ago), I read that this album would be a closer return to Lavigne's earlier work as opposed to The Best Damn Thing, and I can agree with that.

While Goodbye Lullaby is not at all “heavy,” as some of the tracks found on 2002's Let Goand 2004's Under My Skin are (such as “Losing Grip,” “Unwanted,” “Take Me Away,” “Forgotten,” etc.), it is far from being the “cheerleader pop” (for lack of a better term) thatThe Best Damn Thing is, and Lavigne, with a majority of crisp melodies layered on top of simple acoustic accompaniment that is Goodbye Lullaby, affords her fans (such as this one of almost ten years) a very pleasant, refreshing experience. I do know quite a few people who loved The Best Damn Thing, so I apologize to them if I offend, but that certainly does not change my opinion.

In regards to The Best Damn Thing, Lavigne seemed to have retrograded, moving from a sophisticated, alternative style to adolescent high school craze with an array of songs that one might expect to hear at athletic games (such as “Girlfriend,” “The Best Damn Thing,” “I Don't Have to Try,” etc.), and for that reason, I was very disappointed with the album as a whole with few exceptions (such as “Runaway,” “When You're Gone,” “Innocence,” etc.).Goodbye Lullaby attempts to break away from that, painting a much more serene picture.

I purchased a physical copy of the album, so I have the benefit of seeing all of the graphics included in the package, and it is really beautiful; I consequently find myself quite impressed with that, as well. However, I also find myself in opposition to only one (rather trivial) feature; Lavigne, on the album cover (which, mind you, I do find very beautiful), looks rather morose, while the album's content is primarily very relaxed and gleeful, dealing with lyrical themes such as being in love and enjoying the beauties that life has to offer. I reiterate, however, that the artwork (meaning all photographs, designs and additional art) is very beautiful.

The album opens with the very short (only 1:34) “Black Star,” and most fans should remember this from her Black Star fragrance commercial, in which a small portion of the song is featured. While I am slightly disappointed with the fact that the song is so short when I had been expecting it to be full-length, “Black Star” is one of my favorite songs from the album, as it is an incredibly beautiful, simple song accompanied by a simple but catchy melody composed of very high notes on the piano. The song sounds very much like a lullaby and would serve as a good introduction if "What the Hell" didn't follow it, since it is a very rough transition.

“What the Hell” is the album's first single and is the closest that the album comes to The Best Damn Thing, and, because of that, it, with the risk of using a cliché, sticks out like a sore thumb. When I first heard the song, I didn't like it a whole lot, but when I began to find it consistently stuck in my head, it really began to grow on me, and I do really love it now, even though, again, it really doesn't belong on this album. Next, we hear “Push,” a song that sounds a lot like Alanis Morissette's style. I really like the song, especially with the male vocals, which I am assuming are Evan Taubenfeld's, since he co-wrote the song with Lavigne.

The fourth track is titled “Wish You Were Here,” another one of my favorites on the album. “Wish You Were Here” operates as Goodbye Lullaby's “When You're Gone,” since it is nearly identical thematically (while it reminds me melodically of "Innocence"), and I am sure that it will be a single. “Smile” is a fast-paced song with attitude but is still a great deal of inches away from nearing The Best Damn Thing territory; “What the Hell” is definitely closer. “Stop Standing There” and “I Love You” are both mellow songs about being in love, and “Stop Standing There” is possibly the closest the album comes to Let Go, while “I Love You” is, for lack of a better description, an adorable song about loving someone for exactly who that person is, having no desire to change him or her. It is definitely a stand-out track, sounding a bit like something that would fit on Under My Skin, and it may just be me, but I think I hear a mandolin in the song.

The eighth track on the album is titled “Everybody Hurts.” Yes, when I first learned of the album's track-listing a few months ago, I wondered if the song would be an R.E.M. cover, which it is not; it is, however, nearly identical thematically; “Everybody hurts some days,” the refrain advises. “It's okay to be afraid. Everybody hurts; everybody screams. Everybody feels this way, and it's okay.” It would seem to me like Lavigne draws inspiration from the R.E.M. song and attempts to recreate it for her generation. The song sounds a lot like something from Lavigne's days prior to Let Go having been released.

“Not Enough” is nothing special, definitely not making any attempt to stand out on the album. However, like “Everybody Hurts,” it also reminds me of Lavigne's “demo” era, reminding me especially of “Get Over It.” The tenth track, “4 Real,” has a beat and a melody that are guaranteed to stick with you, and while I definitely love the song, it sadly loses a bit of credibility due to its use of the number “4” in place of the word “for.” I am not amused when artists do that, especially not ones for whom I have a lot of respect. Pay mind to the fortunate fact that you are not Kesha (or should I say Ke$ha?), Avril.

“Goodbye” seems to lack a component without that, especially since I expect it, but the strings are beyond gorgeous.

Next on the album is “Darlin,” and I love this song because of how positive it is, seeming to be an attempt to cheer the listener up, reminding him that the world is a beautiful place in which he is loved. "Darlin" was written when Lavigne was only fourteen or fifteen years old, which is another reason that I love it. “Remember When” and “Goodbye” are slow, beautiful tracks with very similar stories; they are both memorandums in which the speaker apologizes for having to temporarily leave her lover physically but reminds him that he is very loved, while explaining why. I love “Goodbye,” because lyrically, it has sentimental value to me. I only wish that “Goodbye” had ended the same way as “Remember When,” that is, included a band at the end of the song.

The album closes with an extended version of “Alice,” including an additional verse in between the original first and second verses. Fans will remember the song being featured on the Alice in Wonderland soundtrack last year, titled Almost Alice, and if one did not know that the song has ties to the film, either the title or the line “I found myself in Wonderland” should give that away. The standard edition of the album ends at this point, but the deluxe edition (the one that I purchased) includes acoustic versions of “What the Hell,” “Push” and “Wish You Were Here,” as well as the cover of Joan Jett's “Bad Reputation” and a bonus DVD. Overall, I am very happy with the album; it was worth the wait and definitely worth the money.