Review: Brijitte West And The Desperate Hopefuls

Hi. Sorry about the break, but at least I've remembered as opposed to accidentally having a very long hiatus. Anyway, fulfilling my duty as a teenager who is one step away from being a hipster, here I am with a bright and shiny CD that came through my letterbox only today from a new group: Brijitte West And The Desperate Hopefuls. I'll not even pretend to have any familiarity with the frontwoman herself beyond awareness of her as a known-in-certain-circles character. However the band involves members of Kitty Hudson, who are a band I like quite a lot and whose music I will probably get around to wringing through my clumsy review style some point in the future.
Anyway, quick history of the band: I was reading Über Röck's writeup and liked what they said, so I checked their Myspace. (Yes, I still own a Myspace. I mostly use it to keep tabs on various bands and to run a small and typically angsty teenage blog whose sole reader is either myself when I post, or my friend, or possibly both on a particularly good day.) The tracks hit me almost immediately as some music does, so nothing ventured nothing gained, I figured out how much money I had kicking around after the recent gig ticket onslaught and ordered a copy of the CD. This is my first listen to it as well so it'll either be very honest or a bit clueless. Onwards into the relatively unknown.

The Review

Okay, so here's the deal so far from the Myspace tracks. Here we have some straightforwards punkish rock fronted by a rather gritty-voiced woman. If I was very familiar with Joan Jett, there would probably be comparisons bandied around. But I am unfortunately musically lazy at times and so am not familiar. My main concern is that with Brijitte using members of an established band as her own, it might just feel like one of their albums entirely with a guest vocalist.

Track 1 is 'Hard To Believe', which starts with a spoken part: "I'm so glad I know you because if I saw you and didn't know you, I'd have to know you." Confusing, yes. And from there we take a leap into a fast-paced riff and Brijitte's drawling rocker voice backed by Richie's own equally drawling growl. I have to say I'm loving the bass and guitar riffs here. This is also a pretty great song in that lyrically it reverses the usual man/woman dynamic in a lot of slightly sleazy punk. Brijitte's voice is sweeter in tone than a lot of female punk rock vocalists but the song here isn't the typical "boys-don't-you-want-me" deal, or the spurned love song. This is a simple statement of "I want you". And for a female-fronted band, or at least the ones you typically find, that's pretty unusual and I'm happy to hear it for a change.

'Mess Of Myself'. This is the song that hit me enough to make the purchase when I heard it as the lyrics hit me on a personal level. Anyway, the buildup of this song like a spring being compressed in the tense guitars and stomping yet restrained drums works really well here. Once the main refrain hits, there is a sense of disappointment as it could have been more explosive, however the song picks up a good momentum that carries it through, and it has to be said, this is very catchy. The oh-oh-na-na bridge is slightly confusing, however that could just be my own musical preference here as it fits well with the song, Brijitte's more sugary tones pulling it off nicely. The chorus springs back to a sudden end.

'It's Not My Fault' abandons the build approach of the previous two for an instant kickstart, the fast-paced hopping drums and jaunty guitars reminiscent of Kitty Hudson, however the more obvious control and sense of style is very much a Brijitte West influence, turning the pissed-up boys' ROCK AND FUCKIN' ROLL brigade (I love them but that is what their music is about) into something more streamlined and clean. However she hardly waters it down. The gang vocal style feels a bit superfluous in places however Brijitte holds her own very well, the grit in her voice lending her plenty of power. The whole thing is very tight, being a fast track with hurtling cymbals and another guitar/bass riff attack that goes at a speed you'd probably get knobbled for on a motorway. Very, very fun. Also the stop-start trick is used to good effect here.

'Walk Out' brings the buildup back with some very nice riffwork and the obligatory bass sliding zoom that must happen once in every rock album for it to be cool. Lyrically, this album seems to have a certain thread of someone who is dyed-in-the-wool child of the rock 'n' roll lifestyle, even if they try otherwise and deep down, they know this.

'Bleeding Heart' starts with the instruments dropping in one by one, the clicky drums and newly-distorted guitar and chugging bass. This has pop much more at the forefront, and here is the missing-you love song of the album. However there's still a sense of the driving force left over from earlier to carry this through, and Brijitte adds a sense of playful fun to this slightly melancholy and sentimental song, her grit-and-sugar singing style even giving way to a whoop. The structure of the song is fresh enough to be fun as well.

The start of 'Bitter And Twisted' is a slow, melodic guitar playing alone, a hangover from the previous song, if you will. Brijitte's voice here loses the grit and she sounds like a woman who has dropped her guard to speak her heart. The album seems to have lost some of its momentum and attitude in the land of power ballads, however this feels like a natural mood to turn to, unlike many of its ilk. The whole lyrical content feels like the confessional of someone and this switch to soulful hands-in-air style isn't half as awkward as it can be. Also, this doesn't drag. Well done Desperate Hopefuls, you've done good here. Thanks for a good slow song.

'Hey Papito'. A momentary runup from the heavy bass and off we go again after the two-song breather into rocking out to chugging guitars and stamping cymbal-filled funtimes punk rock. Once again Brijitte isn't afraid to assert herself in her songs, if she wants someone she wants them. The song itself can get a bit grating but the punky riff underneath carries it through the dubious pop tones. Also, nice and fast. Most songs here barely cross three minutes, none hitting four, meaning there isn't much room for superfluous happenings.

'Long Island Lolita' starts with a stomping build that seems to be part of the general tone of this album. This is a tongue-in-cheek, attitude-filled song of a ruthless teenage girl who doesn't let things get in her way. The stop-start comes into play and there's a very nice instrumental part here that showcases the talents of the band backing up Brijitte's voice.

'All Roads Lead To You' has the typical intro, yet Brijitte's take on things gives a nice perspective here. The chorus bounces along at a fair clip too, leading to brief battering of the drums and the next verse. Fun solo here.

'How To Be Good' has a good bassline happening here, and a laid-back feel to the music, and Brijitte's voice sounds as she's come to terms with some of the shadows written earlier on. This song is a duet with her and Jesse Malin, and their voices compliment each other very well here, with a similar sound. There's a very American tone to the music that comes into its own here and works nicely as opposed to feeling slightly suppressed in earlier songs. The handclaps are questionable, but overall a pretty damn good way to finish off an album, signing off with a kiss, a grin and an up-yours.

So overall, patchy in places but pretty damn good to be honest - an album that remembers that music is entertainment. It is very much a musical entity of its own with a voice and sound that is worth a listen. And it has to be said that if I owned a hairbrush, these are the songs I'd sing into it.

Review: Funhouse - Iggy and the Stooges

Yes, this is anything but a current release. However, I belong to a school of thought that states that most problems can be soothed, if not solved, by quality rock 'n' roll and a good cup of coffee, and this album is one of the staples of this belief.
The backstory here is that over Christmas I was doing Maths revision and my brain suddenly said "Iggy Pop" and that thought lurked there until I went out and bought this album. Up until this point the only song I'd heard by him was 'China Girl', which I like, but I hadn't heard much of his earlier stuff until this point, so I didn't really know what to expect.

The Review

Iggy Pop. Prior to this I knew him for those rather embarrassing insurance adverts, and for being another inspirational artist that I hadn't really listened to. So knowing next to nothing, I ploughed into this album and found something... well, I can't describe it. Something you don't find much of these days. Raw, dirty, angry, yet with a sense of genuine intelligence and artistry behind the fog of absolute chaos.

Things kick off with 'Down On The Street' and its straightforwards rock 'n' roll riff. What starts off as tinny punk explodes briefly before settling back into its groove, and Iggy's drawling snarled vocals continue before once again everything kicks into overdrive, yelping and snarling and giving your eardrums a good kicking in the process before leaving them in the corner dazed to listen to the solo, which gives another surprise in that it is actually very good. Most early punk seemed to be angry people with instruments. This is angry people who are good at playing instruments.

Next up is 'Loose'. Things pick up with a faster and unhinged riff and the warning to watch out. Well hello. It has to be said that Iggy's vocals are still not entirely there, occasionally seeming a little too relaxed but every so often they surprise you with sudden yelps and snarls that lift the song. This track is where the true nature of this album begins to shine. Yes, it is the roots of punk rock and as such has an aggressive and mostly very basic and functional approach to music. But behind this lurks what is, in essence, a malignant and truly phenomenal jam session. The rhythm section keeps chugging along as the guitar unleashes some great sounds and the vocals enter a whole new dimension. And they are not afraid to change the tone, tempo and feel of the song when they want to.

And now: 'TV Eye', which even I had heard of prior to listening, if only because The 69 Eyes covered it at some point. As much as I adore that band to the point of getting as many EPs, live covers and B-sides as I can, they could not prepare me for the addictive insanity that is this song. Here, everything that was previously brewing in the music just blows up. A shout, a whoop, and glouriously chaotic and unhinged riff and fantastically simple yet tight drumming and off we go. This song has a crazy momentum driving it forwards that defies words, yet retains the languidly cool air of raw dirt that the previous tracks held. Once again, great instrumentals and possibly one of the most addictive basslines I've played. Things just keep getting more and more intense as things go on until it falls into an ominously chugging riff accompanied by all kinds of strange noises, building in a madly frantic manner with an aggressive riff until it grinds to a halt and starts at the beginning with that great riff before ending with another quick noodle on guitar.

'Dirt' starts with a chance for the drums to show their stuff before loping into a bluesy slow-jam. This is the band's statement to the world: "Dirt, and I don't care." This epitomises the attitude of this album. Yes, it is alien and filthy and will probably be questioned and attacked, and it just doesn't care. It is here to do what it does and do it well regardless of what anyone might say. The slow tempo works great here, showing the versatility of the band, Iggy's harsh staccato vocals blending wonderfully with the guitar, which retains its rough tones but develops a new facet where it almost shimmers and blends with itself. The bass keeps everything under a steady guidance, allowing the drums the occasional flourish. As the song progresses, things relax again to their state of defiant cool, and Iggy's voice softens slightly before things pick up for a moment, showing that the band might have slowed down but the chaos shown in previous tracks is still just below the surface, and the song tails off to its natural end with a satisfying feeling.

'1970' once again unleashes whooping and a stomping drumbeat to artistic chainsaw guitars and a beautifully simple and driving bassline. This is a real punk rock predecessor: fast and streamlined and angry, but in a controlled manner that makes it feel perhaps more threatening than much of the snotty shouting that punk came to mean. Never have the words "I feel alright" sounded so ominous than when they accompany another great moment of musicianship. This starts out as a more recognisable and typical rock 'n' roll than some of this album, but it is a good example of this. And the sudden saxophone makes an interesting addition, then the song descends into another demented and ominous jam session.

'Fun House' picks up where this left off, the saxophone blending with the other instruments to create a solid wall of musicianship. This is almost punk-jazz, and the vocals drawl and yelp and snarl over this, only adding to this volatile mix of attitude and talent. Whereas a lot of music is used to draw attention to the lyrics and singing, here the vocals serve more as an accompaniment to the musicianship, which once again lurches between simple yet powerful riffs and some fantastic solos and melodies. Everything gets its chance to be heard, and at times it can feel like the instruments are jostling to be heard in a crowded space. Imagine a small sweatbox venue somewhere, the ones where the support band have to stand on one another, and this is where this song seems to have grown out of, and sprawled out of the constraints of that venue into something else. Possibly a jazz club, and assimilated what it heard in there and worked into into this snarling monstrosity.

Finally, 'LA Blues', staring off with yelping and hammering drums and wailing guitar and saxophone and madly spiralling bass that build like an elastic band being stretched to breaking point and further before seeming to fly off in slow motion in a fog of distorted guitar and clattering drums and every aspect of the music being pushed as far as it will go before it seems to implode into a black hole of its own making. This is how the track continues, with everything sounding like it is being dragged into this black hole of feedback and sound, occasionally reaching out and being pulled back in before it is eventually swallowed up and fades into something like otherworldly tinnitus.

So yeah, not sure if what just happened is punk in the strictest sense, but it has the beginnings of the movement in there and is well worth a listen if you have the attention span of eight minutes and an appreciation of rock as music. Or jazz. Or music in general I suppose.

Apologies and a new review

Well, it has to be said that this blog was a pretty spectacular flop on my behalf. Sorry about that. I'm going to try and re-start this now. Bear with me and one day I may hopefully get this right.
And I will offer my apologies for any mistakes and/or unnecessary ramblings. This was written at midnight on a Sunday and so probably isn't the most coherent thing I've ever written.

Anyway, the subject of tonight's review/ramble is Acey Slade's latest venture: 'The Dark Party'. It arrived in the post last Saturday and has been, well, noticed.
First, a quick word about the artist. It has to be said that being part of Acey Slade's fanbase is a little bit like accidentally signing up to be the straightman in a sitcom. You find yourself in this situation where a part of your life keeps doing these incredibly odd things. In Acey's case, this is primarily done by seeming to have a kind of musical ADHD, although this is by no means a bad thing. From what I heard, Vampire Love Dolls were pretty good, I can't confess much knowledge of Dope, and Trashlight Vision were fantastic. As for the Murderdolls, well they were kind of another Wednesday 13 vehicle, which means that I'm on board pretty much on principle.

The Review

As for this newest project, the sound has gone back to the sort of twisted glam rock influenced stuff that happened on Vampire Love Dolls, although with a much more electric sound overall. This is what took me by surprise at first. I'll confess that on the whole my music tastes tend to shy away from anything particularly pop or overtly electro, with certain exceptions. And of course, there is the tracklisting. Song names such as 'Sugarcum' and 'Plastic Lego Queen' don't necessarily help my easily-swayed teenage mind. However, I have quite a bit of love for Acey and the EPs I'd already listened to had some promising songs on it.
The first time I listened, I had no idea what to think. There was a whole lot of odd electro noises happening, and more pop melodies than I am used to hearing on a CD. In fact, there are still aspects I'm trying to work out. I can sense the shadow of Bowie, and Bauhaus, and there's a definite hint of Hanoi Rocks lurking in the corners as well as a few other possible similarities to NIN. The man himself names Gwen Stefani and Slayer as influences. But there's no real way of pinning down any particular sound that people can recognise. The only real way is to just get a listen for yourself.

The thing starts out with 'Darklexia', which is a spoken-word track that is somewhere between an almost '1984'-esque political broadcast and an infomercial. This definitely sets the mood for a lot of the album, as it is both dark and yet has a twisted sense of humour as it tells the listener to question everything, especially members of The Dark Party.

The album then kicks into full swing with 'Here Today'. Well, at first it has this incredibly confusing tinkly synth melody that starts out like one of those irritating processed pop songs, but within the first loop become sinister, then the song kicks in and yes, beneath this alien new sound the music is definitely Acey's, complete with his sense of glam rock style, punk rock attitude and sarcastic and occasionally vicious lyrics. The most surreal thing in this track and the album as a whole is that he still has the same vocal style, which I once described as a demonic Jack White, and this jars somewhat with the incredibly slick sound of the instruments. However, by the end of the track you do grow used to this and are able to appreciate the song somewhat. So please don't run away when you hear the intro. I know that tinkly sounds tend to intimidate rockers, but if you leave now, you're going to miss out.

Now... 'Sugarcum'... not the most attractively-titled song ever but it is part of the humourous side to the album, yet it is far from empty. The vocals and music gel much better here, creating something that doesn't scare any new listeners so much. It also has to be noted that it is obscenely catchy, with a fantastic bassline and a singalong chorus, complete with backing vocals. Lovely. The rock guitars reappear make friends with the new synth in this song to create something that is much more enjoyable than it really should be. It was by this point that I'd decided that this album might actually be pretty damn good.

'Nothing's Gonna Change' was on one of the EPs and therefore I knew what was coming. And of course being as religiously dedicated to Nine Inch Nails as I am, I was sold from the second I heard sludgily distorted guitars. The lyrics here are some of the most bluntly angry, and this song is probably the strongest link between this project and Trashlight Vision, so if you're looking for a link to ease this rather sudden progression in styles, this might be it. It's also one of the songs that best accommodates Acey's snarling yelp of a vocal style. (I love the man's voice but I've never heard anything quite like it.) There is a heavy reappearance of electro at the end which works fantastically well, and serves to fully mix the two styles.

Next is 'She Brings Down The Moon', another EP track that has a great atmosphere and is once again catchy to the point of being ridiculous. It's deceptively simple, music-wise and has a very... interesting... drum sound I can't fully describe. A bit like someone hired a pnuematically powered robot to drum for this song. Can't say I was a huge fan of the backing vocals here, and to an extent I still find them a little cheesy. However the lyrics and music are sharp and smart and if I did the whole singing-into-my-hairbrush thing, this is what I would do it to.

Next is a cover of 'She Sells Sanctuary' by The Cult. It has to be said that it is an incredibly straightforward cover, with very few tweaks beyond introducing a heavy synth. Still, why mess too much with what already works? Yes, some people might call it unnecessary or unoriginal. But it is still a pretty enjoyable way to pass a track. (Plus it introduced me to The Cult, which I'm going to say is a good thing for the moment.)

Things slow down a bit for the next track: 'Baby The Stars Shine Brightly'. Hell, it even has a sound that might have originally been based on an acoustic guitar in there somewhere. This is Acey's "it's going to be alright" moment to the people who are feeling down. The electronic element creates a pretty atmosphere and Acey's vocals are very unprocessed here, which adds to the mood of the track. There's a slightly unexpected picking-up of the pace towards the end but it's mostly a moment to relax and feel comforted.

Just in case you thought the sense of humour got lost, up comes this aural sandpaper riff of the next track leading to a stripclub-esque drum/bass groove of yes, 'Plastic Lego Queen', which is officially the oddest-titled song on my iPod. Lyrically it is sleazy and displays its sense of humour like a flag. It eventually descends into a chant (hello punk rock roots) still backed by a bassline and rhythm that sound like Soho made into music. As for why he chose to include the phrase "plastic lego queen" I'll never know.

'Coming Down' sounds like every element of the album so far suddenly went into overdrive and fell apart, which fits the subject very well. It must be said that some of the lyrics are a bit clumsy in this song, but musically this is rather good. Have to say it isn't my favourite track though.

Next comes up the slow, ethereal sound of 'Spiders In A Snowglobe'. Once again, I wasn't entirely able to get into this song but I do still enjoy it and its unusual charms. I feel that this will be one of those songs where over time I'll grow to like it.

'Reptile House'. Ah, yes. This was on the first EP and I fell in love with its ominous piano and distortion charm instantly. Lyrically great, musically amazing. Well worth the wait. It has a different character to a lot of the album, being much more overtly dark than the rest of the album in both sound and subject. It still displays a heavy glam (and to an extent, pop) influence, however here creeps in the heavier, more rock and metal side once again. Everything here is tight and works, every effect and note and word fitting together. The breaks in melody to emphasise the drums work very well and the whole thing is drenched in an oppressively ominous tone, with the vocals sounding like they're being called from the bottom of a well. Overall, a great way to end a very good album.

Basically, approach this album with an open mind. Fortunately I do quite like it, but I can see quite a few ways in which I might have equally disliked it. So do give it a shot, as it is definitely a very unique sound from a talented person who seems unable to do the same thing twice.

Monday Music - One Last Time

Well hey, it's another music writeup. This time it's an E.P. called 'One Last Time' by a band called The Raven, which is the band that has the little widget in the first post. They're described as Euro-American metal/dance metal, which isn't as questionable as it sounds. They've got a bite to their music, but it is rather good to dance to, in that way that Sisters Of Mercy songs are. They're a fairly new band, having been kicking around since 2007, and this E.P. does have some weaker points to it, however it is still incredibly fun, being dark and atmospheric without getting too self-important, and the way the whole thing is put together shows that this is a band with a lot of potential.

Track 1: Fireflies - starts off with a nice guitar riff for seven seconds as an introduction before descending quickly into a snarling pit of music. Despite the initial scream, one of the nicest things on the track is Davey Strehler's voice, which is melodic and very nice, if a little mismatched compared to the rest of the song, however, the guitar adds crunching chords to the mix, and the drums pound in the background in a way that gives the song momentum and overall it is a strong opening to what is a thoroughly enjoyable E.P.
Track 2: Self Denial - here, Davey picks up the pace a bit as the track opens. The chorus itself is a snarling, jagged thing that manages to achieve that rare thing: screams that are decipherable as words without the help of a lyric booklet. Once again, the guitar and drums are what carries the song forwards, whole thing rushing along at a pace that really does bring to mind falling, which matches the lyrics well. The solo soars with ominous energy before launching into the final chorus.
Track 3: One Last Time - unlike the previous two songs, the title track is a calm breather, opening with a piano before the vocals and guitar enter the mix, followed by violins in what is a startlingly beautiful tune. But don't think this is the token slow song that is often weak on a CD. This too has the same drive and power behind the instruments that builds as the song goes on, with what are almost eerie returns to the piano riff playing on its own that send tingles up the spine.
Track 4: Eleanor Rigby - a brief silence leads into this next piece which starts with a melodic explosion of strings and guitars and thudding drums before a return to something similar to Fireflies in the way the guitar has returned to the same crunching style, however this keeps the melody and string section of the previous track, and also brings back the snarls of Self Denial, this time keeping them on the outskirts of the music as if lurking at the side of some dark road. The song then spirals into a strange yet hypnotic hybrid of metal solo and string section
Track 5: Devil's Path - and this is where the notion of 'dance metal' really takes centre stage. This song hurtles right back into the heavier territory of the first two tracks, with a thudding, addictive riff and a dark, heavy sound that has a beat you really could dance to. Here is also where Davey Strehler's vocals really come into their own. He keeps his deep, languid tones backed by snarls, but here is the track where he truly sounds like he is enjoying himself, which adds a whole new layer of playful seduction to the E.P. which makes it all the more enjoyable as this final song, with its catchy chorus and inviting melody, truly does entice you onto the dark devil's path of The Raven's music.

So there you go. In the space of five tracks, all kinds of influences can be heard that mesh together into an E.P. . I suppose this band could be hailed as 'the new HIM', except in my opinion they could actually be better if not comercially, then musically at least. So keep an eye on them, I think they could be big.

So go and take a listen. It's dark, sexy and atmospheric.

Monday Music - Billy Talent

Well, in order to soften the blow of the holidays ending (over here, at least) I thought I might distract everyone with one of my favourite albums: Billy Talent's self-titled debut. In case you haven't heard of them, Billy Talent are a Canadian rock band, and if you ask me, one of the greatest modern rock bands. So today I've decided to spread the music, or my opinion of it at least in an amateur writeup. But in all seriousness, the only way to get an idea of exactly what I'm talking about in this is to listen to the songs themselves.
If the song title has a link, it means that there is a music video to it.

Track 1: This Is How It Goes - Starting off, this has possibly one of the best openings I have come across. The first riff sounds tense and ready to snap at any moment, and then it explodes into the main song, before returning to the first riff in time for the verse. The lyrics themselves are powerful and angry and everything punk rock should be. The bridge calms down a little compared to the vicious attacks of the chorus without becoming weak. Overall, great way to start an album.
Lyric sample: "So I hold my breath 'til my heart explodes, 'cause this is how it is and this is how it goes!"
Track 2: Living In The Shadows - Another great opening. Here, everything is a bit tighter compared to the slightly chaotic first track, but not any less immediate. The message of the lyrics is clearer here as well, an angry rant against hypocrites and liars. Basically, This Is How It Goes grabs the listener's attention, and this draws them in with its addictive riffs.
Lyric sample: "Distant loud chuckles, keep me awake. Awkward instances won't make you hip."
Track 3: Try Honesty - This is where Billy Talent's melodic ability really begins to shine through. This whole song sounds like the shadows inside the mind of someone who's pretty much given up on life and is being driven mad. However, don't think it's veered off into moaning. The same power is channeled here as well, just in a slightly different way, with a greater use of vocal harmony and a killer chorus/bridge. Each band member's ability is shown on this track, with each instrument sounding brilliant, the final part of the song feeling like something has snapped, releasing whatever demons were lurking in the previous two tracks.
Lyric sample: "Insane assault, so sly. Your well of lies ran dry."
Track 4: Line And Sinker - Starting off with a shout that sums up the whole song. Here, the vocals are defiant and the riffs quick and deadly. This is where the tension from the previous songs gets released to really get a good kick into the eardrums. It ends just as abruptly as it starts, leaving the listener to sit back and recover slightly.
Lyric sample: "What you see is what you get!"
Track 5: Lies - A much more melodic and slightly slower song that shows that Ben can carry a song without screaming. Aaron's drumming is as solid as ever, and the combination of Ian's guitar and Jonathan's bass creates a wall of music that supports the song perfectly. Once again, the song builds up towards the end, showing there is only more to come.
Lyric sample: "The rug has not been pulled over our eyes you fool, we can see right through!"
Track 6: The Ex - Another vicious attack, except this time it is much more personal. Everyone has been here, wondering why the hell someone who we loved has decided we're just not good enough. Once again, the aggression that is the driving force behind many songs is here in full force, but it never becomes too overbearing, and keeps on track the whole time.
Lyric sample: "She can go to hell I'll never be the same"
Track 7: River Below - This shows a subtle difference from the other tracks here, being almost like a demented march in the call-and-response verses (with lyrics that are incredibly playful compared to the subject matter) and strict rhythm, telling the story of yet another person sick of the lot they're given, yet this time something pushes them to take action against the world.
Lyric sample: "New monster... to burn your family tree down."
Track 8: Standing In The Rain - Things calm down a bit once again as we enter the world of a woman walking the street every night for twenty years, addicted to drugs, rained on, used up and slowly dying away. The whole song sounds almost like a death march, especially the bass line. This song isn't so much an attack like the others as the portrait of someone saying that they just want it all to end as the song goes around in circles, dragging itself down its own spiral.
Lyric sample: "Milk carton mugshot baby, mother I have lost my way."
Track 9: Cut The Curtains - Here, the music sounds deeper and darker, with a renewed energy as the persona becomes someone ready to drop everything to run off and follow their dreams with the one they love. Every note here sparks with life and passion and an exhuberence that makes this track different to all the others before it, as well as a very rewarding use of quiet-loud dynamic changes and a very fun guitar solo.
Lyric sample: "So don't be, a grey cloud when there's none in the sky."
Track 10: Prisoners Of Today - Almost a companion to the previous song, this one sounds almost sad right from the start, telling the story of people just as idealistic as those in the other song, yet these are trapped in their lives already. The riffs here, particularly in the guitar, are almost schizophenic, seeming to switch between the sad and downtrodden and powerful and energetic with no warning.
Lyric sample: "So tell me why should we stay, prisoners of today?"
Track 11: Nothing To Lose - This is the saddest song in the album, an almost painful account of a teenager driven to suicide. Once again the bass assumes a trudging death-march, and the drumming is incredibly subdued throughout the verses, and the guitar plays a melody that seems like it is trapped within this broken persona in the lyrics. The whole song builds up throughout, leading to the inevitable conclusion that still gives a shock to the system when it is finally revealed.
Lyric sample: "Need more friends with wings, all the angels I know put concrete in my veins."
Track 12: Voices Of Violence - This track makes the album go out with a bang as every member of the band rallies for one final assault on everything wrong in society, showing that despite the misery in the world, they're not going to lie down and die, but instead put up a fight. This song is fast and loud, with throat-ripping screams tangling with singing that is almost like a warcry. It also has a brilliant instrumental/solo section that is possibly the best out of an album of great ones, ending with a kick.
Lyric sample: "Don't wait for, a knight in shining armour. Your saviour's reflected in the mirror."

So the whole album is one huge wake-up call that refuses to be kept down, not to mention great for blasting away those beginning-of-the-week cobwebs.

Sorry if my writing style is a little clumsy. This is my first attempt, and I hope to get better over time.
And as a little piece of trivia, this is the album that got me listening to music. Before, I pretty much point blank refused to listen to music, but my friend showed me 'Nothing To Lose' and 'Lies', and something clicked. Since then, music has become a very big part of my life. I hope you enjoy them as much as I do.