BULK MEGA MINI-REVIEW CATCHUP

Bulk Mega Mini-Review Catchup

In light of the fact that the next two months are going to be extremely busy (thanks to the World Cup, largely) I've made the decision that, where I'm stretched for time, my reviews are going to be much, much shorter.

Now that may come as a disappointment to...well, maybe three of you, but this way I can a) still listen to an album a day, b) not feel pressure to churn out a massive review every day when I'm gonna be busy sleeping/drinking coffee/watching football/watching cycling, and c) stay relatively up to date.

To test out this new 'mini-review' idea I'm going to, today, do a Bulk Mega Mini-Review Catchup of the last four albums I've listened to.

I won't do this for every album, but where I fall behind, it's going to be the way I catch up; and if I'm pressed for time, it's going to be how I get a review out in a timely fashion.

With all those disclaimers out of the way, let's get cracking!

Album #154: Dream Theater - Images and Words

The second album by prog metallers Dream Theater, and the first to feature vocalist James LaBrie. Keyboard whiz Jordan Rudess isn't here yet but that doesn't really matter, not while guitarist John Petrucci and drummer Mike Portnoy are around to blow your mind. In fact, one of the remarkable things about Dream Theater is that technically, all the musicians are fucking superstars.

From the sprawling keyboard chords and monster choruses of Pull Me Under to the insane progressive polyrhythmic masterpiece of Metropolis Part I, it's a kickarse display of progressive rock/metal, and seems like the natural progression of bands like Yes, Rush and King Crimson. It's really rather good and what's more, it's apparently not even their best album

My rating: 8.2/10

Album #155: The Beastie Boys - Paul's Boutique

When Paul's Boutique was released, it was a chart disappointment. Label execs stopped promoting the album because it didn't sell as well as Licenced to Ill. It's proof that people are stupid because Paul's Boutique stomps much ass. Backed by producers The Dust Brothers, who cram every single possible sample possible into a single album, there's some insanely powerful beats, thrilling hooks and that oh so Beastie tongue-in-cheek gift for humourous hyperbole.

I dare you not to listen to this album and jump up every thirty seconds as you recognise yet another sample (the ingenious chopping up of The Beatles' The End on The Sounds of Science and the use of Hendrix's Are You Experienced on B-Boy Bouillabaisse are my personal favourites, along with all the use of John Bonham thunderous drumbeat mastery throughout the album).

My rating: 7.9/10

Album #156: My Bloody Valentine - Loveless

This album was requested by two friends with the promise that it took guitar overdubs to a level that not even the bloated Be Here Now could touch. It came with a further assurance that, unlike Be Here Now, it didn't disappear up its own arse.

That's certainly true, because Loveless ends up being something akin to an orchestral piece, except all the classical instruments have been replaced by endless samples of guitars and drums, and even the vocals themselves are less a standout, more just another instrument. The result is something that drones (a lot) but it's a good drone, if that makes sense - there's textures and layers all over the place, and the album ends up being more than the sum of its parts. Credit must go to Kevin Shields for labouring over this album for so long, because the proof is in the pudding.

The stunning Come In Alone, the rather indie-rocking I Only Said and the Stone Roses-dance-rock of Soon are the biggest standouts on a bloody good record.

My rating: 8.6/10

Album #157: East 17 - Walthamstow

People forget that East 17 were legitimate contenders for Number 1 Boy Band of the early 90s. They sold more records and were generally seen as much cooler than Take That because of their hip, streetwise image. That streetwise image is on this debut album in spades, thanks to the rave-meets-R&B-meets-pop-meets-hip hop flavour of its aesthetic. 

As you'd expect from a boy band album though, it's singles and sweet fuck all else; even if some of those singles are stompingly ace. I mean, come on, if you don't think House Of Love is a fucking anthem and if you're not jumping around like a motherfucker when it's on, you're probably fucking dead, and even if It's Alright has some frankly dreadful lyrics at times ("Alright/alright/everything's gonna be alright/alright/alright/everything's gonna be alright/alright/alright/everything's gonna be alright/alright/alright/it's really alright"), it makes up for it through sheer dancepop power and some hilarious lyrics ("We are the seed of the new breed/We will succeed").

The rest of the album can get stuffed.

My rating: 5.5/10