Published in Soundcheck Magazine (11/22/08)
For the past five years or so, it has been silly to expect anything from Eagles of Death Metal aside from the semi-novelty that came with the band’s silly name, the members’ farcical fake nicknames, and especially the crotch-rocket testosterock that has driven the Jesse Hughes and Josh Homme project since the band’s inception. In some ways, they sound like an inhibition-less version of Homme’s other band, Queens of the Stone Age – they are to the Rolling Stones or Aerosmith what Spinal Tap was to W.A.S.P. or Ratt.
Considering that there aren’t very many inhibitions that contained QotSA in the first place, that’s saying a lot. It’s also saying a lot to discover that the band’s latest album, Heart On, is not just better than the Eagles’ other work, it’s genuinely enchanting as a serious cut of songs – in other words, you can now play their music not just for your Tenacious D-loving friends, but also for your Stones-loving friends, too.
That’s not to say Homme has lost his rock-jester charm, because this album is just as fun and silly (and, of course, as comically cocksure of itself) as the band’s previous two entries. But this time, the swagger is convincing, the power is tenfold, and the riffs are the stuff of the major leagues. “High Voltage”, for example, opens with an industrial-style beat before kicking the doors down with an aggressive one-note repeated riff while a venomous guitar solo dances around it all. That song isn’t as much a surprise as “Now I’m a Fool”, which completely lifts the verse melodies of Steely Dan’s “Only a Fool Would Say That”, setting it to the soaring, echoing guitar timbre of Heroes-era David Bowie. The heavy crutch on those two influences is forgivable if only for the reason that it is so unexpected.
There are various other surprises on Heart On, but they are a little more reserved. They emerge in fleeting glimpses, like the war chant effects on first single “Wannabe in LA” or the funk rhythm section of “(I Used to Couldn’t Dance) Tight Pants”. “Solo Flights” recalls another verse melody, this time of MC5’s “High School”, and the album closer, not-so-subtly-phallic “I’m Your Torpedo” is like a high-intensity Depeche Mode romp recorded in a steel mill.
There are some who will never give Eagles of Death Metal the light of day. There’s just too much goofing off for those people to really consider the band a serious listen. But for those who appreciate the tongue-in-cheek glee with which these comic book rockers paint their swagger-presence, this album is another hit of juiced-up “rawk.” That much shouldn’t be a surprise. But the clear and sudden musical relevance – now that is something new for the band.
– Andy Pareti
Saturday, November 22, 2008
Review - Annuals: Such Fun
Published in Soundcheck Magazine (11/22/08)
Annuals’ newest release, Such Fun, is not a sophomore slump in the traditional sense. In theory, it does all the right things to expand and reaffirm the boundless creativity that leader Adam Baker demonstrated on the band’s fantastic 2006 debut, Be He Me. But unlike that album, Such Fun doesn’t exactly have the element of surprise on its side. That’s part of the reason this follow-up has garnered some unfairly tepid feedback. It’s true, the album doesn’t have that adrenaline rush of excitement its predecessor had, but perhaps the reason for this is that we’ve come to know what to expect from Annuals, which is sheer and utter radiance.
In the hands of a more finicky producer, Such Fun could have been sliced and diced down to about six or so songs and become one of the greatest EPs all year. Instead, it’s simply a very good long player – which isn’t such a terrible thing to settle for when it comes down to it. Baker is like the little girl who gets into her mom’s dresser and tries on all her clothes. The band snatches at a musical style, toys with it, and tosses it aside for another. This is more or less what drives Such Fun, which is sort of an ADD-inflicted instrumentalist’s wet dream.
But, as the saying goes, when you throw a bunch of ideas against the wall, some of them stick and some don’t. “Hot Night Hounds” is a stale, contained version of what has been one of the major highlights of Annuals’ live show for the past few years. On stage, it is usually part of the encore, and with good reason – it’s the band’s freest, wildest, and generally most liberating performance of the set. But on the album, it’s shortened, filed down to size, and turned into a toothless shadow of its live counterpart.
The band still manages to find ways to sneak up on its listener, though. “Hair Don’t Grow”, the album’s definite highlight, starts with a bobbing, acoustic riff that is then joined by Thin Lizzy-style electric guitars before exploding into a shower of strings, settling on a fake ending before the main theme reemerges once more from the haze of some electronic interference. Even the best moments on Be He Me don’t prepare one for the sheer theatricality of this song.
The good thing about Such Fun is that, in spite of itself, every reason you had to believe that Annuals could be something great after Be He Me is still here. Baker’s imagination is still a shaggy-haired lightning rod, the music is still erratic and joyful, and the band is still having fun. The album is extremely enjoyable, just not in the same knock-you-off-your-feet way as the debut. If this is Annuals settling into their sound, so be it. It’s a sound we can all get used to.
– Andy Pareti
Annuals’ newest release, Such Fun, is not a sophomore slump in the traditional sense. In theory, it does all the right things to expand and reaffirm the boundless creativity that leader Adam Baker demonstrated on the band’s fantastic 2006 debut, Be He Me. But unlike that album, Such Fun doesn’t exactly have the element of surprise on its side. That’s part of the reason this follow-up has garnered some unfairly tepid feedback. It’s true, the album doesn’t have that adrenaline rush of excitement its predecessor had, but perhaps the reason for this is that we’ve come to know what to expect from Annuals, which is sheer and utter radiance.
In the hands of a more finicky producer, Such Fun could have been sliced and diced down to about six or so songs and become one of the greatest EPs all year. Instead, it’s simply a very good long player – which isn’t such a terrible thing to settle for when it comes down to it. Baker is like the little girl who gets into her mom’s dresser and tries on all her clothes. The band snatches at a musical style, toys with it, and tosses it aside for another. This is more or less what drives Such Fun, which is sort of an ADD-inflicted instrumentalist’s wet dream.
But, as the saying goes, when you throw a bunch of ideas against the wall, some of them stick and some don’t. “Hot Night Hounds” is a stale, contained version of what has been one of the major highlights of Annuals’ live show for the past few years. On stage, it is usually part of the encore, and with good reason – it’s the band’s freest, wildest, and generally most liberating performance of the set. But on the album, it’s shortened, filed down to size, and turned into a toothless shadow of its live counterpart.
The band still manages to find ways to sneak up on its listener, though. “Hair Don’t Grow”, the album’s definite highlight, starts with a bobbing, acoustic riff that is then joined by Thin Lizzy-style electric guitars before exploding into a shower of strings, settling on a fake ending before the main theme reemerges once more from the haze of some electronic interference. Even the best moments on Be He Me don’t prepare one for the sheer theatricality of this song.
The good thing about Such Fun is that, in spite of itself, every reason you had to believe that Annuals could be something great after Be He Me is still here. Baker’s imagination is still a shaggy-haired lightning rod, the music is still erratic and joyful, and the band is still having fun. The album is extremely enjoyable, just not in the same knock-you-off-your-feet way as the debut. If this is Annuals settling into their sound, so be it. It’s a sound we can all get used to.
– Andy Pareti
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