Metallica – “Hardwired…To Self Destruct”

(Photo Credit: Metal Injection)Grade: B-

Key Tracks: “Atlas, Rise!” “Moth Into Flame” “Spit Out the Bone”

Do you ever just stop and marvel at Metallica? I sure as hell do. They not only helped bring metal into the mainstream, they’re the faces of the genre. Metallica are considered one of the “big 4” thrash-metal bands of the 80’s that helped popularize metal as a whole. But, unlike Slayer, Megadeth and Anthrax, they’ve stuck. All four bands are still active, and have been since the early 80’s. But the other three, in their own distinctive styles, have stuck to their bases in order to not lose credibility. Metallica have done anything but that. They’ve always taken risks, knowing full well they could jettison their core fans. Their first four albums thrust thrash metal into the spotlight, but their 1991 self-titled album was a divisive affair of radio-friendly hard rock that proves to still be radio-friendly 25 years later. It was significantly lighter than previous work, putting focus much more on production and and the lumbering elements of the songs; it is beloved by music fans, and hated by many thrash metal fans. (This reviewer personally finds it very boring, but sees its value.) 2003’s disaster “St. Anger” ditched guitar solos for a garage-rock sound (and the crappiest production in the land), and failed on incomprehensible levels. And 2008’s “Death Magnetic” brought the group back around to their thrash roots.

Their highs and lows are higher and lower than most bands can claim, so in the rare days when Metallica actually releases new music now, there’s the see-saw teetering worry if it will actually be any good or not. Well much like their last album, “Death Magnetic,” there isn’t much reason to worry, but not much excitement either. All of the elements are present: hard-hitting riffs, James Hetfield’s sometimes-dopey-sometimes-effective lyrics, Kirk Hammett’s bulging guitar solos, Rob Trujillo’s thundering bass and Lars Ulrich’s no-frills, rapid drumming. The production is, thankfully, excellent – the first time since ’91, an issue that most big bands never face. It’s just that the music itself is lackluster. Despite the band’s claims, it’s easy to think they’re losing steam.

This album was billed as a double-album. There doesn’t seem to be any real reason why, exactly, other than to be different and maybe provide a fabricated moment of relief. It does indeed clock in at 77 minutes – but their previous album clocks in at 74. Splitting the album into two doses of 6 songs does seem to send a message though – a message that fans, and the band, might not want to be pummeled with sound anymore. These dudes are aging, whether they like it or not, and an inconsistent energy throughout shows.

The album’s first half is absolutely stronger than the back half. The album opens with what is actually their second shortest song – “Hardwired,” an absolute bruiser with the energy of anything from “Master of Puppets.” The lyrics are among some of the dopiest that James Hetfield has ever written – but spin the song a few times and you won’t really care anymore. “Atlas, Rise!” follows, with significantly better lyrics (best of the album), and the second of two already punching Kirk Hammett solos. Follow-up “Now That We’re Dead” suffers from Metallica’s biggest problem – the long intro. They made needlessly long intros work in the 80’s, but ever since then they’ve made long intros by just…playing the same thing over and over again. And that’s how this track starts. The track itself is enough of a puncher, but loses faith in taking too long to get to a point. Second single “Moth Into Flame” is probably the best work on the album, a truly ripping song that showcases everything the band does best. Hopefully, it will go down in the Metallica canon as an all-time great. Watch them rip apart Jimmy Fallon’s set to see how great the song is. The first disc closes out with “Dream No More,” a song that would seem fairly bland if not for Hetfield’s excellent vocals, and “Halo On Fire,” the album’s longest song, and a very effective pseudo-ballad that harkens back to their best tracks from the self-titled album.

The second disc falters, though, with nearly every track sounding like one that just made the cut. “Confusion” isn’t a particular winner, with dumb, overused lyrics complementing some less-than-engaging music. “ManUNkind,” bad title and all, is just boring through and through. “Here Comes Revenge” overstays its welcome, but has more of an energy to it that is lacking in the previous two songs. It’s a fun track, one of the album’s many that might sound better live. In a very similar vain is “Am I Savage?,” a bruiser that ultimately isn’t interesting enough to make the first disc, but still plenty enjoyable. Penultimate track “Murder One” is aided by being the only track on Disc 2 that’s under 6 minutes; it feels comparatively brisk, and the beat, although not inherently interesting, feels stronger because of it. Finally, though, comes the closer, “Spit Out the Bone.” Oh man. The song reinterpolates the opening track, “Hardwired,” taking a song that’s already very quick and playing it even faster. Much more than any other song on the album, “Spit Out the Bone” is pure thrash. It ultimately goes on far longer than necessary, but it’s the first time in many, many years that Metallica have proven they can cause whiplash in listeners.

Metallica don’t have anything to prove in 2016. They haven’t had anything to prove in a long, long time. They’re the only one of the “big 4” that’s been inducted into the Rock & Roll Hall of Fame, and it’ll likely stay that way. They’ve outsold the other three, combined. They’re still one of the best live bands, ever, and yeah – they can make every track on this monster sound great. So when you listen to this album, keep in mind everything Metallica has been able to accomplish, everything that has led them to be able to make an album like this so far into their careers. No, it’s not perfect, and it’s not even great. But damn, when these dudes want to, they still go hard, and they’re still great guys. This won’t win over any new fans, and it’s by no means a classic. In fact, they should have cut multiple songs and/or twenty minutes of runtime. No Metallica album needs to be as long as it is. But, by default, it’s the best Metallica album in a long, long time. It’s a mixed album, for sure, but one that will likely improve with the band’s incredible live show. And for now, best to just sit back and strap in.

-By Andrew McNally

Bon Iver – “22, A Million”

(Photo Credit: Pitchfork)Grade: B-

You might be reading articles about people in media and come across the concept of an artist making something “for themselves.” I think it’s a great idea – as a singer/director/painter/composer/what have you, someone is fed up with reviews, praise and criticism that they make a piece of art that they know they’ll enjoy. We’ve seen it in music – look at Bob Dylan’s recent output. He’s been doing it for practically his whole career, it’s just that people latched on to most of it. We saw it in film version earlier this year, when my favorite filmmakers Joel and Ethan Coen put out a movie called “Hail, Caesar” that was so into their own irrelevant personal politics that it was borderline unwatchable to anyone who didn’t share their name(s). This is what Justin Vernon’s new album sounds like. Vernon, the frontman and ship-commander of Bon Iver, has never been shy to air his grievances on tape. It’s just here, he does it in a way that alters between being heartbreakingly original and just painfully pretentious.

Vernon is a man who has always dipped his feet into many different pools. It would be easy to say that his big break came when Bon Iver picked up two huge Grammys in 2012 – Best Alternative Album, beating Radiohead and Death Cab For Cutie, and Best New Artist, beating – wait for this – The Band Perry, J. Cole, Skrillex, and Nicki Minaj. But in that same year, Justin Vernon was featured on an album, maybe you know it, Kanye West’s “My Beautiful Dark Twisted Fantasy.” Although he swept up the Grammy’s in his own indie-folk persona, he snuck in a bunch of nominations via Kanye, a fan who invited him in the studio. I would argue that “Monster,” in which Vernon is 1/5 of musicians present, is one of this century’s best hip-hop songs, and it introduced a whole different audience to his music.

I mention all of this not to be condescending or anything; I mention it because it has become clear that a possibly unintentional association to the hip-hop community has definitely changed Vernon’s music. The first two Bon Iver albums – which came out in 2008 and 2011, respectively, capitalized on the indie-folk movement that was big at the time. They’re gems, throughout. I’ll admit that I’ve never felt the connection to them that a lot of people have, but they are gems. Four years later, after a self-imposed hiatus, Vernon’s Bon Iver still reflects the music movements of today. But it doesn’t capture the current eclectic zeitgeist as well. In an age where A$ap Rocky records with Florence Welch, David Bowie writes an album inspired by Kendrick Lamar, and Bruce Springsteen praises Kanye, there is an insane amount of cross-blending going on.

At times, Bon Iver’s album hits emotional highs where his new concoction of hip-hop induced freakfolk strikes an emotional cord that somehow has not been hit yet. Opening track “22 (OVER S∞∞N)” is a brutally honest way to open an album, with Vernon seemingly pondering his own existence, singing “It might be over soon.” The song falls to a saxophone bit that plays over a particularly grating chant. One of the album’s best tracks is “33”GOD”,” which ironically works because of its clarity. The song is the clearest song on the album – the song that sounds the most like traditional Bon Iver. In a weird way, it’s refreshing.

Vernon’s lyrics throughout the album are his strongest suit. His words are emotionally distant and discontent – the words of a man who never planned on being famous and showing up on Kanye albums. The main problem is, sometimes those lyrics are simply indecipherable. Parts of this album beg the question often posed to bands like Lightning Bolt or Deafheaven – does renegading your lyrics behind a curtain of indecipherability render them pointless?

The album, when not highlighting a poignant, dissonant emotional feel, gives into its worst indulgences. Vernon has recorded with and under a number of bands and aliases, so it’s tough not to wonder why he felt the Bon Iver moniker was the right one for this album. It’s wildly different, to a point where it feels like Vernon flaunting his own split in the biggest avenue he can find, and that avenue just happens to be Bon Iver. The album has great tracks – but ones like the utterly dull “29 #Stafford APTS” or the annoyingly grating, a capella “715 – CRΣΣKS” make you wonder why this album has to exist in the first place. There’s little middle ground here – there’s either tracks that capture beauty amidst roughness, or just the roughness. On both go-arounds I made of this album, I had to restart “8 (circle)” because both times I completely forgot I was listening to music. Vernon retreats into himself on this album – and when he has an emotional center to bounce off, then he’s written some of the best songs of his career. But at other times, he’s become so self-indulgent that it doesn’t even feel like there should be another listener besides him.

The song titles don’t help his case. Don’t trust every review that praises the mystical song titles – sure, each one has a number. Do we know what it means? Not really. Does it seem to matter? Not really. I don’t know how many people were truly excited to see the torch that Devendra Banhart abandoned be picked up, but this isn’t really the way to do it. Calling a song something like “____45_____” doesn’t intrinsically add anything of value, it just makes it look different. And in this case, that different is goofy, not inspirational. Vernon treats this album like he is the grandmaster of freakfolk, but he isn’t, not by decades. Maybe he was influenced by Kanye, maybe these tracks came out of his own frutration and I’m just not accepting them correctly. But “22, A Million” just doesn’t feel like the revolutionary piece of art that the band so seems to think it is. It definitely takes multiple listens, and it is never what you expect. At times, it is nothing but sheer greatness. But it is also such a mess of pretentious experimental nonsense that it never answers the basic question of why it needs to exist in the first place. Some people will love it; some really won’t. Maybe Justin Vernon made this album for himself, or maybe he made it for those fans. Either way, “22, A Million” never rises above being a reminder of the better freak-folk acts of the past.

-By Andrew McNally

AJJ – “The Bible 2”

(Photo Credit: AJJ)Grade: B+

Key Tracks: “Cody’s Theme,” “Terrifyer”

Sometimes, punk bands grow up. There’s nothing that can stop a natural aging process. The Clash embraced reggae, the Offspring started writing about suicide, Green Day wrote a Broadway musical. What often gets mistaken as “selling out” is usually just a band’s members realizing their image is going to fade, and jumping the gun to adopt a new one. AJJ had hinted at this transition on their last album, the excellent “Christmas Island.” It opens with “Temple Grandin” and “Children of God,” two songs that are prime AJJ – fast, acoustic guitar mixed with lyrics that more-than-border on violence and gross imagery. But the album also included songs like “Linda Ronstadt,” which touches on the same loneliness that the band usually touches on, but with less violence, less disguises, and more palpable humanity. Sean Bonnette is better than anyone else in music at masking his own insecurities, faults and dark desires through characters, satire and overblown odes. But that started to chip on “Christmas Island,” and it gets stripped away on “The Bible 2.”

The band, sporting a new drummer, have awarded themselves a re-baptism: they abbreviated their name. AJJ, of course, used to stand for Andrew Jackson Jihad. But now it’s just “AJJ.” Partially because of maturity – I mean, their name was kinda racist for a bunch of Arizona white guys – partially because of an increase in actual Jihadist violence, and partially just because it’s what everyone called them anyways.  Eleven years after their first album, they’ve been re-christened, and it’s allowed them to expand, or decompress their sound and explore what they’ve previously ignored – their stance as an actual, successful band.

AJJ’s most progressive songs on “The Bible 2” aren’t necessarily the most interesting, because they’re slower and more adult than we’re used to. But this isn’t a bad thing; a lack of humanity, although AJJ’s strongest weapon, is also their biggest downfall. “American Garbage” is downright an indie song – a different cry than “American Tune” from only a few years ago. Slap a different band’s name on the song and it might pick up some airplay on college radio. Same goes for “Small Red Boy,” and “No More Shame, No More Fear, No More Dread,” which seems like a sequel to 2007’s “No More Tears,” but really isn’t. In fact, those two songs work together for a more honest, painfully aware song than any of the early guitar blasts.

All of this isn’t to say that old AJJ doesn’t pop in, too. Songs like “White Worms” and “Junkie Church” have lyrics that could’ve easily passed on any earlier album. “The waiting room was pissing in my ear / So we went and bought ourselves a can of beer / Steel Reserve,” Bonnette sings on the latter. The former: “My teeth are brown / My lips are blue / The grass is green / My tongue is too.” The horrors on this album don’t come as frequently. After years of songs like “Bad Bad Things,” “Back Pack” and “Dad Song,” there’s little that AJJ can sing in a song that’s still shocking. So, they reserve those moments. Opener “Cody’s Theme” has such lyrics, with the chorus: “I had to talk to the teacher / She had to talk to my mom / We had a real long talk / I had to talk to the teacher / She had to talk to my mom / They made the visions stop.” While this is nothing compared to the lyrics of, say, “Darling, I Love You,” they do announce that even if AJJ is growing, changing – they’re still the same at heart.

The secret weapon of “The Bible 2” is actually the songs that manage to place themselves in between ‘old’ and ‘new’ AJJ. “Cody’s Theme,” “Golden Eagle” and lead single “Goodbye, Oh Goodbye” all sound strangely reminiscent of Neutral Milk Hotel, with wickedly distorted guitar playing alongside acoustic. These songs almost act as the torchbearers, saying that yes, AJJ is transitioning, and no, they’re not changing completely. They could pass as indie songs, in a way, but it might not be a comfortable passing. “Terrifyer” might be one of the most interesting songs because its use of melody sounds pretty satisfying, while still giving in to the sound of “Sense & Sensibility,” in the best way possible.

Although I personally think the band hit a highest high with 2011’s “Knife Man,” this might be their most cohesive album. Musically, it hits more different territories than ever before. The album’s first half starts with guitar, dips gradually down into piano before revving back up for “Goodbye, Oh Goodbye.” And although the lyrics do once again embrace religion, mental illness, and deathly imagery, there’s broader topics at play. By shedding away the masks the band has previously used to hide their desires and delusions within the confinements of people worse then them, they’ve humanized themselves, fully, and even the first-person songs feel more real because of it. This isn’t a criticism of their older music – far from it, what they’ve done lyrically with the use of satire, violence, and irony is amazing – but simply an awareness that it was starting to get old. AJJ ran that line as long as they could, and, now that it’s over, they’re switching gears. While this is a transition album of sorts, there’s a lot to like, and it proves that AJJ might be able to bridge a gap that a lot of punk bands have previously failed – stay yourselves, stay interesting, yet change.

-By Andrew McNally

Weezer – “Weezer”

Grade: B

Key Tracks: “California Girls,” “Thank God For Girls”

No one really knows what goes on within Weezer. The bandmates who aren’t Rivers Cuomo might not even know what’s going on. But what went on, for many torturous years, was that Cuomo broke Weezer’s very easy-to-replicate formula. Their first four albums – “Weezer,” (Blue), “Pinkerton,” “Weezer,” (Green), and “Maladroit,” were all pretty similar works, even if the former two eclipse the latter two in terms of quality. And then, for whatever reason, the band released four mediocre-to-downright-unlistenable albums, in relatively quick succession. “Make Believe,” “Weezer” (Red), “Raditude” and “Hurley” all have individual songs that are worthwhile, but none were worth the wait. “Raditude” in particular showed the band giving in to their worst desires. 2014’s “Everything Will Be Alright in the End” was a shaky, tentative return to form that left listeners with their fingers crosses, hopeful for the future. And while their new, fourth self-titled album (White) isn’t a masterpiece or even one that really demands a second play, it is reminiscent of the Weezer past. So, it’s exactly what we’ve been asking for.

This has been billed as a concept album, with all ten tracks set during the summertime. I wouldn’t make the “concept album” distinction, however. Hits from their mediocre albums like “Memories” and “Beverly Hills” have been just as summer-y. Once Rivers Cuomo grew up, got that Harvard education and married that Japanese woman he questionably craved in “El Scorcho,” he couldn’t play the role of the nerdy underdog anymore. Whether something in Cuomo changed, or he was/is playing a character, Weezer’s lyrics switched from the very nerdy (“In the Garage”) to the very social (“We Are All on Drugs”). That change may have had an impact on the music, with the band only now relenting and reverting to their older, better style. Again, we can only speculate as to what goes on inside Weezer. But these are summer-y songs, because that’s what Weezer does now.

The average length of a radio single used to be 3:30, and I’m not sure if that still holds, but that seems to be something in the brains of the members. Seven of the album’s ten songs fall within the sex-second range of 3:24-3:30. These are songs built for the convention of pop radio, even if not the band’s focus. They’re fun, breezy, over as soon as they start. There’s not one but three songs with “Girl” in the title, as well as one with “Kids” and one “Summer Elaine and Drunk Dori.”

As we’ve learned both the easy and hard ways, Weezer operate best when they’re repurposing older material and ideas. The riff and feel of “Beverly Hills” is essentially repurposed for the great opener “California Kids.” The summer-y lyrics throughout repurpose the best parts of their worse albums, as well as any mid-range Beach Boys. Their influence is felt on this album, even amidst the guitar fuzz. And the crunchy guitar is back to stay, apparently. It’s here throughout, pleasantly buoying Cuomo’s lyrics. There’s no songs that stand out from the crowd, Weezer aimed more for a complete package.

Cuomo’s lyrics might seem bland at first listen (and especially at first glance, with the aforementioned trio of “Girl” songs), but they’re packing some punches. Early single “Thank God For Girls” comes off as a little sexist until you investigate the playfulness of the verses. There’s the not-so-subtle line about a “big, fat cannoli,” and the ode to “strong” and “sweaty” women. I don’t think Cuomo is trying to rewrite “Lola” here, instead remarking on the state of gender roles and attraction. Whether it works or not is up to you (jury’s still out on my end). Elsewhere, there’s predictably weird references to Burt Bacharach, the Galapagos and Sisyphus, among others. All very heady and unexpected for a summer album.

It’s easy to criticize the frustrating lack of originality on this album, because you do come off wishing it had some more zings to it. But when they tried to add those zings, we criticized them more harshly. So, take the album for what it is. It isn’t a great Weezer album, but it is a very good one, and it’s the one we deserve. From the hip “California Kids” to the surprisingly forlorn ballad “Endless Bummer,” Weezer have provided a solid set of songs that could end up going down as one of their better collections. Soak it in, dudes.

-By Andrew McNally

Tancred – “Out of the Garden”

Grade: B+

Key Tracks: “Bed Case” “Sell My Head”

Tancred’s last album, a self-titled album, was an excellent work of little numbers that was weirdly out-of-place. It was released through Topshelf Records, the label home to various emo and pop-punk bands like Into It. Over It., Defeater and A Great Big Pile of Leaves. But Tancred, nee Jess Abbott, really didn’t fit in that club. Even if her songs had a simplistic beauty to them, they were tough to categorize. And in the three years since that album, the scene has become overblown and overstayed. On her third album, Abbott finds herself moving even further away from any emo/pop-punk association, with a collection of fuzzed-up guitar tracks ripped out of the Breeders’ songbook.

There were guitar tunes on her previous albums, but this album’s riffy opener, “Bed Case,” is a stark contrast to “The Ring,” the beautiful, floating song that opened her last album. There is less restraint on “Out of the Garden,” and a lot more volume and energy. The energy isn’t maintained throughout, but more often than not there is enough oomph to keep listener riding down the nostalgia train. Abbott, alongside Terrence Vitali and Kevin Medina, create a world that falls somewhere in the 90’s boom between pop-punk and shoegaze, often swaying one way or the other. “Sell My Head” seems distinctly punk, while “Control Me” falls closer to shoegaze.

Abbott’s lyrics often center around relationships, as well as individualism, something she came into working in a bad section of Minneapolis. On “Sell My Head,” she sings, “I drank you up like wine / Until my teeth were black and white.” She muses on love in regards to self-expression all across the record. “This is how we learned to be happy / This is how we learned the hard way,” on “Control Me.” “Tie me up with ropes made of you,” she sings on “Poise,” and “You look like California / Take me there, take me there / You put me in a coma / But I don’t scare” on “Bed Case.”

90’s revivalists will have a lot to piece through on this album. All members come across well on the album, and while the fuzz-induced boom isn’t quite enough to sustain across the whole album, there’s enough great tracks here to certainly hold up. Tancred has always seemed fitful to place themselves in any genre, and this album is a delightful mix of everything in between.

Watch the video for their excellent single, “Bed Case” below (although not if you have epilepsy):

-By Andrew McNally

Future of the Left – “The Peace and Truce of Future of the Left” & “To Failed States and Forest Clearings”

The Peace and Truce of Future of the Left:

Grade: B

Key Tracks: “The Limits of Battleships” “No Son Will Ease Their Solitude”

With all of the line-up changes that Welsh post-punk band Future of the Left has gone through, it’s pretty remarkable that 2/3rds of their line-up is original members. That said, they are currently down to a three-piece. Andy “Falco” Falkous will run this band until it dies, and he’s currently joined by his wife, Julia Ruzicka, and third wheel drummer Jack Egglestone, who has been around since the beginning (and also played in Falco’s previous band, mclusky). Their fifth album takes a more math-rock based stance, which can be frustrating at times.

The album’s first few songs all have very complex riffs, designed not to be catchy. They’re all heavy, of course, it wouldn’t be Future of the Left without unnecessary volume. The chugging midtempo rhythm and shrieking guitar of opener “If AT&T Drank Tea What Would BP Do” shouldn’t come as a surprise, their last album opened with a similar song. But it isn’t until “Grass Parade,” the fifth track, that we get a song with a real graspable rhythm. The first four tracks all have clunky, demanding rhythms, and while they’re all good in their own right, it does not request another listen very easily.

Once the album ‘picks up,’ which I’m using loosely, it falls more into a Future of the Left groove. “The Limits of Battleships” and “Eating For None” both have great rhythms, snuck in amidst the volume and anger. “Back When I Was Brilliant” is an effective midtempo, midalbum bruiser, and “White Privilege Blues” has an excellent breakdown in it. “Reference Point Zero” has an intense climax that fits in amidst the band’s best energy songs. And closer “No Son Will Ease Their Solitude” is a tense and building finale that’s delectably unpredictable, without going too off the rails.

Falco’s lyrics are frustratingly buried in the music at times. As a singer, he has been praised and criticized for his on-the-nose subject matter, often tackling a specific target or industry. Or, sometimes, he’ll shield himself behind satire (my personal favorite Falco song is “I Am the Least Of Your Problems”). Sometimes, the lyrics come through here. One of the better tracks, “Miner’s Gruel,” is a subtlety-lacking look at teenage privilege. Album cover included, there’s a few tracks that reference the military. As always, there’s references that seem to make sense only to him, like to curry houses on “Back When I Was Brilliant,” to asking “How many farmer’s markets does it take to change a light bulb?” on “Proper Music” and bemusing, “My bank account is not a hole, it has no purpose and a hole has one” on “No Son.” Perhaps the best lyrical moment, though, is on “Eating For None,” when he proclaims, “I am most of the time perfectly happy.” With all due respect, I’ll believe it when I see it.

To Failed States and Forest Clearings:

Grade: A

Key Track: “The Cock That Walked”

The band crowdfunded “Peace and Truce,” and gave the record to paying fans early, promising another EP soon to follow. To nonpaying customers, they came at the same time. If the full-length was designed as a progression into less punk and post-punk and more complex music, then this is the refresher. The six tracks on this EP could have fit on any previous Future of the Left album, and should have. There isn’t a weak track on this release.

Opening song “The Cock That Walked” is about, apparently, creeps who get an erection on public transit. It has a pounding, fast-but-not-too-fast rhythm ripped out of their own playbook. Four of the six songs maintain this, a more standard Future of the Left sound. Keyboards mixed in with booming bass and crunching guitar lines. “Problem Thinker” is the first of the outliers, a much more slowburning song that really takes it’s time to build to a big conclusion. Also, “There’s Always Paul” is a bit lighter, centered more around light percussion and handclaps than anything else.

Overall, this EP has a kind of goofy feeling to it. Look no further than “Animals Beginning with a B,” where Falco sings “I can’t see a baboon from where I’m currently sitting but that doesn’t mean they don’t have them at the city petting zoo.” Look, I’m not sure what angle he’s taking here. But this EP is different than the album because Falco’s lyrics are both clearer and weirder. On “Fireproof (Boy vs. Bison)” he sings, “Someone at the party said to get fucked and he had not heard of that.” The lyrics throughout this EP are the kind that would truly divide Falco’s fans and critics. It acts as a companion piece to the full-length, and it should absolutely be for any longtime fans such as myself.

Read my review of Future of the Left’s “How To Stop Your Brain in an Accident.

-By Andrew McNally

Ty Segall – “Emotional Mugger”

Grade: B

Key Tracks: “Californian Hills,” “Emotional Mugger / Leopard Priestess”

With a non-stop flurry of activity, Ty Segall has done his best job at distancing himself from any one sound. But ironically, as “Emotional Mugger” proves, there is a distinct ‘Ty Segall sound’. It’s one part T. Rex, one part Count Five, one part Deep Purple, and like a half a part of Jack White. “Mugger” jumps around a bunch, but overall, it’s a trippy, fuzzy and loud trip down all of Segall’s interests.

“Mugger” is his eighth solo album in his seven year career, which is impressive in its own right. But this time period also includes, naturally, two albums with Fuzz, an album with the equally busy Mikal Cronin, an album with Ty Segall Band (one of my personal favorite albums), an album with White Fence, a T. Rex covers album, and long-gone singles with bands like Epsilons, Party Fowl, Sic Alps, the Perverts and the Traditional Fools. So the manic energy of his music makes sense – he has to be this manic to be this productive.

Segall’s last proper solo album (T. Rex cover album notwithstanding) was a surprisingly reflective, acoustic work that highlighted his more classic-rock influence. It was an inevitable album, there was only so many ways Segall could spin garage rock into something unique, and he was going to have to slow down at some point. But that point, much like the time in between his albums, wasn’t very long. “Mugger” doesn’t match the volume of the Fuzz albums, or the mania of the Ty Segall Band release, “Slaughterhouse,” but it blends fuzzy guitar, garage rock energy and smooth vocals as well as anything else he’s done.

Musically, there isn’t much to say about a Ty Segall album that’s unexpected – it’s loud and fuzzy, his guitar is center-stage, and every song is an adventure in some way. The great opening track, “Squealer,” is a very staccato song, and it transitions nicely into “Californian Hills,” a song that shows restraint but gives way to two-bar bits of mania every so often. He takes two guitar solos, on “Diversion,” and “Mandy Cream,” both effective. And his almost-signature guitar shrieking permeates the longest track, “Emotional Mugger / Leopard Priestess.”

A word being used in other reviews of this album is “addictive,” but without context, it’s a word that can be applied to his whole discography. He makes music that’s very easy to get into, even if it’s immensely heavy. It’s always almost catchy. Check “Preacher,” from Fuzz. It’s not everyone’s cup of tea, but yet everyone could get into it. Also, his music always has high replay value. The addiction on this album is an incredibly innocent one. This album is, at least sometimes, about childhood. A child’s voice shows up at the end of “Candy Sam,” one of the two songs that references candy. The other one is, uh, “Baby Big Man (I Want a Mommy).” There’s a, uh, baby on the cover, too. The album seems to have an innocence to it that Segall sometimes shies away from on other records. He’s a man that likes to have fun in the studio, and comparisons to the equally boy-ish Thurston Moore are not unjustified. Here, he embraces it, with childlike innocence and childlike innocence. It’s just that kids probably wouldn’t enjoy his shrieking guitar and destroyed pedalboards.

“Emotional Mugger” isn’t one of the best Segall albums, but it’s got some great tracks. And even when Segall isn’t at his most effective, he’s usually still entertaining. This is a more than passable set of loud jams for people who like fun, fuzzy rock tracks. It is diverse and energetic, and hits basically every mark in the Segall book. Now, to just wait and see what he does next.

If you like this, try: Peach Kelli Pop! I never got a review of her third album out but she makes an incomprehensible mix of garage-rock, hardcore punk and the poppiest, girly-girl imagery. She comes from the same garage Segall did.