We Were Promised Jetpacks - These Four Walls

Imagine Los Campesinos! becoming profound and melancholic. Or perhaps Frightened Rabbit with double power. It would probably be something similar to what the Scottish band We Were Promised Jetpacks does in "These Four Walls", their first album, in which, without any leaks, delivers 11 songs that combine frenetic attacks of rhythm guitars, evoking in someway Clap Your Hands And Say Yeah first album, with some of The Arcade Fire melodic drama doing music that by moments reach an impressive force. Through compelling harmonies and some energy that borders on punk, the quartet constructs in crescendo songs, stretching the rope slowly until blow up, going from intimacy and sweetness of plucks and softly chords, to moments of explosive catharsis in which the guitars of Adam Thompson and Michael Palmer, coupled with the intense Thompson performances that, just like music, goes from shyness to euphoria, transform songs like "It's It's Thunder and Lightning", "Short Bursts" and "Keeping Warm" into truly anthems. "These Four Walls" is an album effusive and intense. A fortunate debut for these Scots. -CORANNIEIT-

We Were Promised Jetpacks, These Four Walls
Fatcat Records, 2009

Links:
Official Web Site
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Rammstein - Liebe ist für alle da

The good thing about being a band like Rammstein is that no one expects that each album sounds different. With a sound practically patented what we expect in every Rammstein album is furious music. Hostile music. And this is precisely what these industrial metal veterans does in "Liebe Ist Für Alle Da" their sixth studio album, which, considering what they did in very regular (not to say mediocre) "Reise, Reise "(2004) and" Rosenront "(2005), is not to be overlooked. It seems that this 4 years pause has enable these Germans to recalibrate the gears of the machinery that produced records like "Sehnsucht" or "Matter" and deliver 11 songs (15 in the special edition of the album) of aggressive and tense metal, with the guitars of Richard Kruspe and Paul Landers bringing back their impetuosity with sharp and overwhelming riffs, while Christian Lorenz left electro adornments to do arrangements a little bit more complex and symphonic that together with the always threatening and theatrical performances of Till Lindemann gives the music a slightly sinister touch. Although at times the sextet drops his guard to make themes with semi-acoustic and melodic touches as "Roter Sand", quiet and dispensable, or "Frühling in Paris", a power-ballad in which Lindemann shows that sometimes even him has a "sweet-heart" by singing "softly" (for his standard) a few lines in French, "Liebe ist für alle da" is equilibrate by pieces like "Rammlied", "Ich Tu Dir Weh" or "Wiener Blut" with the classic "Rammstein sound": hard, crushing, unsuitable for delicate ears. Not the best record from Rammstein but the more decent that the band has delivered this decade. -CORANNIEIT-

Rammstein, Liebe ist für alle da
Universal Music, 2009

Links:
Official Web Site
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The Cave Singers - Welcome Joy

Among the sea of bands and singers sailing nowadays through the indie scene under the trendy flag of folk, find a band like The Cave Singers is a balsam to be thanked. Unlike many of their colleagues who use folk and americana just to sound cool enough, this trio from Seattle has no restraints to play folk & country music with no conditions frequently crossing the border with rock. With a basic and direct sound, "Welcome Joy" is a warm album, with no false claims, in which Derek Fudesco and Pete Quirk (who also plays harmonica and melodica) vivacious guitars are accompanied by the soft drums of Marty Lund. With gentle and acoustic pieces like "Summer Light" or "Leap" as well with songs a little bit more rocker and energetic such as "At The Cut" or "Shrine", "Welcome Joy" always maintains a cozy and vibrant mood despite the "simplicity" and, at times, austerity of the music. A good record for those looking for a taste of folk and americana without poses. -CORANNIEIT-

The Cave Singers, Welcome Joy
Matador Records, 2009

Links:
Official Web Site
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Street Sweeper Social Club - Idem

After a long time flirting, Tom Morello and Californian rapper and MC Boots Riley (The Coups) finally concrete their collaboration by presenting their first recording "Street Sweeper Social Club" an album with 11 "hymns for the revolution ", says Morello candidly (sorry for the mistrust, but now days i do not believe too much in revolutions, especially those that are called from 1st. world comfort), who in addition to the guitar also takes over the bass while Stanton Moore plays drums. With Riley rap and Morello's always fierce guitar, the music of Street Sweeper Social Club brings nothing new to what Morello have done before and may possibly be a throwback to his time with Rage Against The Machine. So, while Riley (maybe less singer but so much better rapper than Zach de la Rocha) raps flawlessly so "incendiary" lyrics that inevitably fall into political correctness (strike out the "mo-ther-fuck-ers" Wall St. speculators and the corrupt lords of war is now days revolutionary? really?), Morello deliver solid and sharp riffs with some occasional solos, garnishing the whole thing with catchy choruses and the slightly funky drums by Moore. Although it is unlikely "Street Sweeper Social Club" becomes the soundtrack for a revolution, it is an acceptable album, or funny at least, with austere and repetitive music, but also with moments of power and vitality that for over 40 minutes can make happy to RATM nostalgics and, of course, some globaliphobics. -CORANNIEIT-

Street Sweeper Social Club, Idem
Warner Music, 2009

Links:
Official Website
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