GARBAGE Strange Little Birds
( Interscope)
Garbage’ s sixth studio album, Strange Little Birds is ripe with an undeniable, haunting moodiness – proof there’ s no wrong time in life to be both confessional and confrontational. Across 11 tracks, denial – whether public or private – drives Shirley Manson and Co. almost completely off the ledge in order to find the answer to what it really means to be ok in a society that places such emphasis on“ fixing” oneself in order to survive. With narratives both personal and interpersonal, the road to any confirmation on Strange Little Birds isn’ t one to necessarily tread lightly on. So comes the band’ s heaviest, most stark record since 2005’ s Bleed Like Me. The album’ s opener“ Sometimes” wraps Manson’ s whispery“ Sometimes I’ d rather take a beating” in industrial, heavily distorted echoes that permeate the record, foreshadowing the descent into the maddening world of selfdiscovery. The explosive“ Empty” and“ Blackout” crash against walls of Butch Vig’ s most punishing percussion work, almost like a sonic reiteration of the lyrical the“ tug-of-war” between self-admittance and public denial, the notion of manifesting emotional pain as physical, and the blurred lines between insecurity and jealousy. The stellar“ Night Drive Loneliness” and“ Even Though Our Love is Doomed” showcase Manson’ s own vocal vulnerability and ferocity as she grapples with her grasp on control, whether it’ s gained or lost as a sense of relief, while the lush, soft-glow of the lullaby“ Teaching Little Fingers to Play” floats over a ceaseless, almost cosmic stream of goth-tinged synth-pop as she builds a chant out of the lyrics,“ I’ m all grown-up, there’ s no one to fix me now.” The bustling guitars and grounding rumble weaving each track together are never
28 illinoisentertainer. com july 2016 too far buried beneath Garbage’ s more nuanced, programmed sound. The rush of the harder, rock feel on“ We Never Tell” and the soaring, in-your-face“ So We Can Stay Alive” give that angst a space to breathe, managing to turn the darkness into an atmosphere you want to remain part of. Is Garbage at their best when ominous and aggressive? Of course! But the band has been looking toward the future with the development of their sound since their sophomore album, 1998’ s Version 2.0. With more than 20 years of writing and recording under their belts, it’ s nice to hear the future is a little bit familiar with just as much, if not more, fire in its bones.
– Jessi Rotti
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THE KINKS Everybody ' s In Show-Biz Legacy Edition
( Legacy)
The Kinks’ 1972 double album Everybody’ s in Show-Biz served two purposes. The studio-recorded half made a further exploration of American roots music following 1971’ s exceptional Muswell Hillbillies, and the live album half documented the band’ s successful return to American audiences following a fouryear ban by the American Federation of Musicians trade union. Disc one of this Legacy Edition includes the original 21 songs. Disc two expands the total to 38, primarily by inclusion of additional material from the Kinks’ 1972 two-night stand at New York City’ s venerable Carnegie Hall. Most of the new cuts are previously unissued, and are a treat for Kinks fans. Although some songs from the two nights overlap, eight of the live bonus tracks are unique, including Muswell Hillbillies dancehall knees-up“ Have a Cuppa Tea” and the folksy“ Complicated Life.” British horn section The Mike Cotton Sound creates the mood of a New Orleans jazz funeral on live versions“ Alcohol” from Muswell Hillbillies, and studio cuts like“ Unreal Reality” and“ Look a Little on the Sunny Side.” Cotton’ s trumpet takes flight alongside Dave Davies’ stinging guitar on Arthur’ s brash gem“ Brainwashed.” The studio tracks find Ray Davies describing true tales of peril on the road.“ Here Comes Yet Another Day” may be a raucous ramble of highspirited rock and roll, but it reveals the day-by-day drudgery of a hard-touring band. The subject is revisited in“ Sitting in
My Hotel.”“ Maximum Consumption” and“ Motorway” reinforce the adage that a touring crew runs on its stomachs, and will eat anything in sight despite the gastric consequences. Dave Davies’ performance on“ You Don’ t Know My Name” channels his love for Rod Stewart and the Faces, and the song’ s flute solo recalls Canned Heat’ s 1968 single“ Going Up the Country.” Studio outtakes include“ History,” foreshadowing 1973 rock opera Preservation Act 1, as Ray’ s character seeks insight from figures in a museum. The album’ s cornerstone is the Kinks staple“ Celluloid Heroes,” a tribute to those“ who suffered and struggled for fame” but never achieved it, and memorial for those with stars on Hollywood Boulevard who suffered from getting too much of it.“ Please don ' t tread on dearest Marilyn,‘ cause she ' s not very tough,” sings Davies.“ She should have been made of iron or steel, but she was only made of flesh and blood.”
– Jeff Elbel
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KVELERTAK Nattesferd
( Roadrunner)
Defying the laws of physics, Norway’ s Kvelertak keeps getting better, improving even from the brilliance of Meir, the band’ s 2103 album that was one of the best heavy metal albums of that year. On its third album, the band crafts the tastiest hooks of any:“ 1985” is all the proof one needs. A mid-tempo, groovy riff is mined to the core, with an extended instrumental section of one repeating riff spanning minutes – without overstaying its welcome. The ferocity of lead singer Erlend Hjelvik’ s gruff vocals have been tempered a tad since Mier, to the band’ s overall benefit. A wide array of metal instrumental stylings – from the opening hardcore shredding of“ Dendrofil for Yggdrasil” to the punk rock of“ Bronsegud” to the prog metal epic“ Heksebrann” – are given ample room for the band to explore. The Norwegian lyrics may be indecipherable( they may as well be in Klingon), but the musical talent displayed is universal. Kvelertak is simply one of the best metal bands on the planet.
– Jason Scales
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CHRIS BOLGER No Promises
( Self)
Chris Bolger channels a lifetime spent poring over classic power-pop records into No Promises. On“ Easier,” he revs up a borrowed riff from the Beatles“ Lady Madonna” and puts it into service praising a lover who makes it simple for him to be his best self. A“ Bang a Gong”-styled riff, Steve Gaechter’ s barrelhouse piano, and Rich Reiter’ s snaky saxophones fuel the rowdy rock and roll twist of“ Barbara Feldon,” a song describing a pre-teen crush
for Get Smart’ s Agent 99 that Bolger never quite outgrew. A folksy mandolin winds through the title cut, coloring the story of a beautiful free spirit that can’ t be tamed or caged.“ Everything” blends the Laurel Canyon harmony and chiming Rickenbacker jangle of The Byrds with the dark folk of Ten Years After. Throughout No Promises, Bolger examines the desire for true love, its joys, perils, and sometimes, the flaming wreckage left in its aftermath. If“ What’ s It Got to Do with Me” doesn’ t make you wince, you’ ve probably never been dumped by someone who subsequently returned for emotional support while prodding still-raw nerves. Despite the scars, Bolger remains starry-eyed and hopeful on the easy-grooving“ She Might Look My Way.”“ Geraldine” recounts a tale of peril in the music business, hitching hopes and dreams to a rising star who crashes and burns. Regardless, No Promises finds Bolger in excellent company. Smithereens drummer Dennis Diken provides snap and spark throughout the album and uncorks hot fills-in songs like the rootsy rambler“ Tear That Cabin Down.” Joe Jackson bassist Graham Maby turns in note-perfect performances, and joins Diken in driving the psychedelic coda to a tribute for a fallen personal hero called“ Ships.”
– Jeff Elbel
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TEGAN AND SARA Love You To Death
( Warner Bros.)
Tegan And Sara yolk ' 80s syth-pop on Love You To Death like a f * cked-up hybrid of Roxette and Nu Shooz. Whether that ' s a good thing depends on your appreciation for glossy and sugary pop music that was put out to pasture 20 years ago with Stock, Aitken and Waterman. In the age of Taylor Swift ' s 1989, Tegan And Sara know how to write a pop tune for the masses as good as any of the song scientists churning out hits from Sweden. In a way, that gives their best songs(" Girlfriend," " Stop Desire ") more street-cred than some assembly-line CHR songwriting team from The Baltics. So that ' s something, right?
– John Vernon
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