MUSIC BOX |
MUSIC BOX
Martin Stein |
Incubus (2.5 stars)
A Crow Left of the Murder
You wouldn't know it by the radio hits, but Incubus was once a funky, jazzy, experimental rock band, incorporating elements of hip-hop into its music before it was fashionable to do so. Over time, though, the band has moved further toward the mainstream, becoming more of a straight-ahead rock band, ironically as its very brand of experimentalism became more and more acceptable.
Their fifth album, A Crow Left of the Murder, is a perfectly decent rock record, but it comes off as a little boring compared to what they've done in the past.
You'd probably have to take a look at the liner notes to even realize that there's a DJ in the band, and Murder is much more of a guitar-focused album than their previous efforts. Guitarist Mike Einziger has plenty of fine moments, and producer Brendan O'Brien knows how to bring out the inner guitar rockers in the band. At times, they sound remarkably like another band that O'Brien's worked closely with—Pearl Jam.
Not all of this is necessarily bad, but it is a little disappointing, given that Incubus' success means they could probably take their music in any direction they liked. Although they've still got a more nuanced and complex sound than most hard-rockers on the radio today, that's not saying a whole lot.
Josh Bell
The Walkmen (3 stars)
Bows and Arrows
The Walkmen (with three members of former Dreamworks' flame-out Jonathan Fire*Eater) like to take epic moments and spiral them into even more epic moments. Their new record, Bows and Arrow, is atmospheric, almost orchestral art rock made by prep-school grads who wear sweater vests. But these are prep-school grads who are closer to 28 than 18, and who seem willing to take off those sweater vests and clock you in the mouth if you stare at them cross-eyed.
Every song on Bows and Arrows is defiant, with swelling guitars, bombastic drumming, and Walter Martin's enchanting organ playing, but the most kick-ass moments come from Peter Bauer's emphatic bass lines and singer Hamilton Leithauser.
Leithauser is a dude on edge. His voice has been compared to Bono's, but his M.O. is totally different. Leithauser's not mad about the world. He may just be really pissed off about some girl. But that's enough to play in his part in this tornado of a band. He wails and cries and screams in anger, and dares you to scream back, to push him even a little, because he's just ready to go off. But it may all be a front.
Standout track "The Rat" begins with Leithauser sing-shouting "You've got a nerve to be asking a favor! You've got a nerve to be calling my number!" But by the middle of the song, he's more mournful than enraged. "When I used to go out, I'd know everyone I saw," he laments. "Now I go out alone if I go out at all." As his voice fades out, his band picks up speed, but the sadness does not pass.
Andy Wang
The Proclaimers (3 stars)
Born Innocent
Known to most people as the duo behind "I'm Gonna Be (500 Miles)" from the Benny and Joon soundtrack, Scottish twins Charlie and Craig Reid are back with their sixth release, Born Innocent.
The vocal qualities at times sound strained, but that's not to say the harmonies aren't as strong as every. The brothers Reid have put together a disc that is much more rock than folk. The solid beats in both studio and live versions of the title track propel the duo to an enjoyable, if unremarkable, finish.
And just to make the rock 'n' roll point clear, the Reids recreate a classic '50s rhythm and structure with "You Meant It Then." Even better is their rendition of The Vogue's 1965 hit, "Five O'Clock World." Mixed in are the softer songs, like "There's No Doubt," the beautiful "Unguarded Moments" and the sappy, saccharine "He's Just Like Me."
While there's nothing here that jumps out as an obvious radio hit, Born Innocent will doubtless please fans. Just don't look for any new converts.
Martin Stein