CHVRCHES Kickstarts Dead Air

Let's get one thing out in the open right now. The brass behind the upcoming Hunger Games movie isn't paying me to talk about the cuts on their soundtrack. I merely find it both timely and noteworthy. There, air cleared I can proceed like someone who resembles a functioning adult male. Scottish electronic trio CHVRCHES allows its presence to be known with "Dead Air". For a track with "dead" in the title there sure is a lot of bounce brought to the table. Amazing what keyboards can do to make it appear a genuine pulse is beating. Lauren Mayberry's voice keeps commendable time with the rhythms which echo the Hunger Games ethos of running for one's life because you never can tell when the shark in the water's going to discover blood, and you would hate for it to be yours. Average audio this isn't. At its greatest synthesizers are your express paid pass to a rewarding landscape. Stuck in neutral. The surround sound effects can and probably should be given considerable credit for lifting you out of those doldrums. Snap to life quoth the synthesizers. Keep running while energy courses through your veins. CHVRCHES locates the hope inside a film dynasty that really doesn't lend itself to anything other than mano a mano combat on the world stage folks can't take their eyes off of. Peeking expediently at the words behind the so the drama Lauren decries that enduring equals strength. Holding on to an idea for all it's worth. That qualifies as important in the scheme of things. Holding on to the idea that makes healing not a mere pipe dream. There's your global money shot right there. You can sense firm legs to stand on are omnipresent in the choral layout. Leap to a higher chord then eclipse that with an even higher combo. In your mind's mind a hero and heroine make the leap together. Both Iain Cook and Martin Doherty's talents chase the ennui out of the picture. They spread layers of intricacy into the synthesizers that make it damned near impossible for adrenaline rushes not to flow. Lauren's the bona fide heroine persona to this tale. Wherever the innocence ran off to you imagine the mere presence of her plucky voice would be useful in reclaiming it. In a recent post I stressed the raw star wattage involved through bringing Lorde on board the whole Hunger Games phenomenon. CHVRCHES are going to be helped career-wise in the short run by adding their names to the roster. Any idea needs a spark, an undeniable glimmer to lift it off the ground and transform it to a concrete, tangible reality. "Dead Air" lives and breathes among us. We are plenty richer for that being the case. The bounciness reaches nimble proportions. The trio runs for its collective life. We hop on board the synthesizers and hightail it after them. CHVRCHES dead reckoning is living proof synths aren't soulless leeches. They can banish darkness with the tiniest light.

Bush Knows The Electrifying Way Out

Right from the get-go, British rockers Bush demonstrate they know their way around an amp. Their new "The Only Way Out" interlocks ingratiating chord melodies that refuse to let you rest on your music laurels. The shifts are spread out steadily. Each member displays a full mastery of his art. Vocalist Gavin Rossdale commands attention succinctly. In the lyrics he's placed a hefty weight on his shoulders, namely that he wants to be the savior for some lucky lady. That's a large God complex if ever I heard one (thank you...I'm not at any known comedy club all week). Corey Britz stands out on bass largely due to the underlying warmth shimmering within the constant uncertainty of modern times. Drummer Robin Goodridge taps out the angst with authority. His band may be headed towards unknown terrain, but the travels are where much of the reward stems from. As choruses go, Gavin assures what he's selling is packed with appropriate potency. As we collective humans come to realize the only way out of hardship is to plow through. The unidentified lady of this outing presents a reassuring distraction, one that keeps any of us from slamming down hard on the crazy button and screaming as if someone jabbed a switchblade through our hearts. Gavin doesn't lack for articulate story structure, a gift that gives this little passion play rooting value. You want the guy to get the girl. You want to think the orbit is populated with familiar good guys in white, bad guys in black cast out. On the arrangement front you don't have a cacophonous din to contend with. Crisp harmonies are the right tonic to keep attention spans transfixed. Chris Traynor dials back the theatrics on lead guitar. The shining star really does center on Gavin's intelligent way with a sentiment. He gives us food for thought by reminding us that we pray to the gods of our own demise all the time. In issuing this statement one gets the feeling that he, as is the case for a lot of us, sees the mad carnival as the epitome of absurdity in action. Put him in close quarters with the woman of his choosing and he can ice out the existentialism for a spell. "Trip wires in your head" shines a powerful light on the universal fascination with what makes a person tick. What are his/her motivations? Do we ever stand a chance of figuring that poser out? The latest bead on the necklace that comprises their two decades deep body of work has been christened "Man on the Run". "The Only Way Out" leaves no doubt it's compelling enough to encourage you to stay in one place. This particular way out contains tangible cerebral rewards aplenty.

Truth Be Told, Gwen Stefani's Borrowing From Her Past Glory

Gwen Stefani's the fashion plate who loves to party. I have fond memories of "Hey Baby" the cocktail sipping star attraction from No Doubt's "Rock Steady" LP. She's had another baby, this one called "Baby Don't Lie". She manages to incorporate elements of "Hey Baby" with the sassy panache of "Hollaback Girl". The "am I getting warm" build up is proof enough. Gwen definitely adopts a different persona solo than she does with No Doubt. I'm of a mind to think Gwen's inner devil comes out to play whenever she goes solo. "Hollaback Girl" was her way of getting even with Courtney Love for insinuating her music is cheerleader-based in nature. Turns out that was sweet revenge. Went straight to #1 and served as catalyst for an Asian posse themed video. Gwen goes for unapologetic production values in her videos as "Baby Don't Lie demonstrates. The special effects should be praised no end. The minus side? "Baby Don't Lie" doesn't dress to impress harmony wise. I'm not sold on the way she barks out syllables either. Such a technique doesn't make me covet her bod. Far too much artificiality to convince me she's playing the femme fatale as it was meant to be played. "Hollaback Girl" skewed higher on the slap you in the mouth scale. "Baby Don't Lie's" background accompaniment makes itself at home in processed studio magic trick land. Her previous efforts ("Wind It Up", "The Sweet Escape", etc..) had a bite which took you away to a universe that you wouldn't mind making repeat visits to. Gwen's on a quest to unearth the truth behind those masculine eyes. The chorus gets on my nerves. Again, too trumped up. Gwen doesn't need to put on act like the contestants she passed judgment on during her stint on "The Voice". Oh Gwen, we hardly knew ya'! We recognize your imprints on the new track but, it unfortunately is an example of an artist treading water rather than bravely swimming forward to untamed conquest. I get a kick out of Gwen's vibrancy. "Baby Don't Lie" isn't difficult to listen to. Shame of shames it's also not difficult to go on about your business like nothing substantial happened. That's because, as I alluded to before, Gwen's guilty of pulling off a mash up of previous phases of her career. The chorus is "Hey Baby's" half-sister. The studio witchcraft calls out to "Hollaback Girl" era Stefani in the early to mid 2000s back when she was just starting to gain traction as a solo proposition. None of these reveals pose a problem if you are homesick for what Gwen laid out on the table at that point. Growth isn't in the cards. We knew Gwen was skilled at mugging for the camera which she does fashion mogul style at the open and close of the video. That's encouraging. Why the music didn't mirror the bold color designs puzzles me. I doubt a suitable answer's forthcoming. In truth "Baby Don't Lie" wins the charm school award but it's not likely to be a classic in any appropriate genre you can name.

OK Go Doesn't Let Anyone Down In The Charisma Department

I swear I'm having 1970s disco flashbacks. Who's the culprit? Place the finger on OK Go. "I Won't Let You Down" swings like nobody's business. Tim Norwind brings funk with a twist thanks to a bass performance that's snazzy in the right places. Drummer Dan Konopka's freewheeling approach gets the memorable night into fifth gear because you know his entire band broke from its perch on the front porch and there's not going to be any letup in the levity anytime soon. Adeptly nestled between guitar and drums is Andy Ross, the gent lightly flavoring "I Won't Let You Down" with keyboards meant to be whatever icebreaker you choose. OK Go's latest release "Hungry Ghosts" birthed this energetic bundle. As for the video, they're having the level of fun they want you to take part in too. What else would you expect from a bunch that easily elevated treadmills from their outdated status as torture chamber workout equipment. The first time I heard "I Won't Let You Down" I was less than psyched up about the title practically being drilled into my head. You can throw as much rainbow adorable color at me as you want. The smoke and mirrors does nothing to conceal how overplayed that hand became. Second time does prove to be the charm though and that's because the 70s flashback joie de vivre is so liberally spread I don't get migraines digesting the chorus. To put my notion in perspective I'd like to share with you another example of how a simple agility in chord movement or an addicting pattern of funk behavior can make a passable song worth cheering about when it gets played on air or loaded into iPod. In 1982 The Gap Band scored a top 40 hit with "You Dropped a Bomb On Me". At its heart there isn't a whole lot that would appear to make it a rare experience. Listen after listen I keep getting lured in by that captivating synth melody coupled with don't mess with me drums and outer space special effects. To some the repetition would be dental drill uncomfortable but to me I look at the synth like I would a Chinese takeout meal. I never tire of sampling. When I mean disco age I'm serious. Right down to the string sections that dotted every disco classic from the ubiquitous "I Will Survive" to "Heaven Knows" to "Funkytown" "I Won't Let You Down" demands playful appreciation. Vocalist Damian Kulash plays up how important trust is to any relationship worth its salt. I'd bet that's why the chorus is persistent to the degree you want to scream, "OK, OK GO I BELIEVE YOU! STOP NAGGING!!" Key to the pizzazz of the song is knowing when to shift chords and even then doing so judiciously. It's poison to play too many sonic tricks with your listeners. Depending on the kind of day they've had they may not be receptive to them. I want to follow their fanciful sojourn wherever that leads. Nice umbrella visuals in the video. I'm sure their fans shrug it off like they're as used to seeing OK Go go all out for the camera as they are seeing the sun rise. Even so style points count in the music biz. OK Go doesn't even come close to either letting down or slowing down. You likely remember kids in school who didn't want to be there. OK Go's extra effort demonstrates that not only do they want to be on stage but manly tears all around when the show stops.

Boyz II Men Put Their Better Half Forward

The romance you know and respect from 1990s a-capella hitmakers Boyz II Men has returned in the form of new album "Collide". Taken from said collection we get "Better Half" which finds the now trio (Michael McCarty you are missed) primed to be full fledged lady killers again. Prepare for the sheets to get an excellent workout. As a quartet the guys knew their way around harmonies custom built to get the ladies swooning. In the early 1990s they owned the #1 slot on the Billboard Chart with the monster smashes "End Of The Road" and "I'll Make Love To You". I took a shining to "Water Runs Dry". "Better Half" allows Nathan Morris and brother Wanya along with Shawn Stockman to spread their wings beautifully. To start the mood look no further than the sweat promoting percussion. Add to that a chorus that stares squarely at the now or never time frame. One of the strong points Boyz II Men has always had in its repertoire is the ability to make any tone on the vocal register sound like an invitation to go panties off. With "Better Half" baritone goes on holiday but alto is given the respect it is due. Another plus can be attributed to how the song would sound right at home in contemporary R & B programming formats but not at the expense of the slick stylings Boyz II Men brings to the table. The chorus message tosses out a caveat at waiting too long to jump into love with both hands expecting some ideal that might not be out there. The secret lies in the leap of faith taken for the chance to meet love on its terms and also reap the immeasurable rewards. We can come up with many reasons to be hesitant. In many cases there's justification in not running in blindly. However stay on the sidelines too long and you may miss the big prize that was worth waiting for. "Better Half" is the jazzy yin to "Water Runs Dry's" sedate yang. In the latter number you breathe in the inner peace placed in the spirit of offering. "Better Half" isn't urgent so much as primed to select act over react since that's the usual way business matters get attended to. The trio have matured in the right places. That doesn't mean there isn't some forbidden fruit tucked away at the core of their exalted ponderings. Would they release something as sultry as "Uhh Ahh" today? Perhaps somewhat dated for millennials and the company they keep. "Better Half" hits the musical palate in a friendship strengthening way, like brothers dropping back by the neighborhood to see, hear, and taste what's new. Paired with an exquisite zinfandel you have what promises to be an airy night soaking in the world and your expanding places in it.

Billy Idol's Back and Breakin' Down All Over

Billy Idol, the sneer that launched a thousand ships and pioneered MTV in the much longed for time when videos were the rule instead of the exception. He's successfully joined the rest of us in the twenty first century which you can hear in the amply polished tune "Can't Break Me Down" lifted straight from the man's new album "Kings and Queens of the Underground". Only he could get away with foisting a bouncy trifle on the public that Neon Trees wishes it had thought of. You aren't going to discover any of the grit which was a hallmark of his classic hits "White Wedding", "Dancing With Myself", and "Flesh For Fantasy". That shouldn't leave you hopping mad. There's loads of the dangerous flirt about town hidden beneath the neatly creased gent pictured in the video. Billy's smart to have updated his sound a notch so he doesn't come across like he's not done romancing his early '80s halcyon period. The drumming doesn't fail to propel the accompanying leave 'em gasping in the hotel penthouse brash demeanor Mr. Idol's wearing like a familiar pair of racing gloves. If this is Billy updating his image to project maturity we can tell it's "Rebel Yell" guy no matter what apparel he's draped in. As you'd expect from a Billy Idol project guitars figure prominently. You can take your pick. Either the electrified heart stopper or the saucy strings set to match Billy's never met a cocktail he couldn't imbibe ethos. Personally I'll gladly lap up any Billy Idol you throw at me. "Rebel Yell" to this day is one of my all time favorite outings. It offered me a glimpse into how pulse accelerating Steve Stevens could be. With Billy and Steve on the prowl you'd have to assume no London neighborhood was safe. Billy's donned the family dad tights off stage but his edge thrusts eternal. Maybe the video isn't one of those coffin riddled "White Wedding" nightmare fodder pieces. Nonetheless the vicious growl stays in place. Check out the first lyrical passage to restore your faith in Billy's ability to reach those uncomfortable places in your psyche. That whole knife in the apple image must have emanated from a particularly bitter spoonful of creative juice. Mention "devil" at the outset and you know the Generation X leader hasn't completely tossed his fangs into the wastebasket. The commitment shy ought to get reasonable mileage out of seeing chapels and Beelzebub referenced together. The woman he's parted ways with put his gut level survival tale into question. I'm not sure love and glory were the real subjects Billy sang about. Undiluted sexuality maybe but I've never gotten the impression glory was front and center in his mind. Wouldn't we like to know what exactly "cruelest inventions" is supposed to hint at. Kinky toys wouldn't be an off base guess. Billy Idol entertains whenever he's on the record release slate. "Can't Break Me Down" shreds phony hearts Cuisinart style and leaves the pretenders blurred by the anguish of their own tear drenched eye sockets. Broken down into plain English this idol deserves to be worshiped even if his rapscallion days of youth have long since disappeared into the rear view mirror.

Daughtry Fires Off Some Fan Friendly Fare

Goes to show you what kind of career not winning American Idol can land you. Daughtry has been going skyward ever since that bout of rejection. The latest in the band's catalog is "Battleship". It certainly sounds loose and ready to go kick some ass. The pacing satisfies without hitting the sissy low water mark. Must admit the chorus is too dopey to be believed but you can't deny (it would appear) the sparks that go off when the band clicks as a unit. Namesake Chris Daughtry's mug never fails to be camera ready as the accompanying vid shows. He certainly has the playfulness card working for him in spades. Although "Battleship" lacks the intense heat of an "It's Not Over" this single encourages audiences to unwind to the fullest extent possible. Chris and guitar co-conspirators Josh Steely and Brian Craddock bounce of each other as if this sonic marriage had gone down the line for multiple decades. Elvio Fernandes jolts us to attention early on with keyboards that'll have you wondering whose grooves we're privy to exactly. Josh Paul serves in fine standing as support player on bass. The relationship joust once again takes the front and center spotlight. Chris leaves no doubt he comes to this war, romantic resolve fully loaded. "Bullets coming off our lips" is a new one on me, not to mention a fairly disturbing visual that nobody with a weak stomach should be subjected to. Two points anyway for having the stones to put that down on paper and dare to approach a recording studio bigwig with it. Love's course doesn't as they say run smooth. Not that he intended to by any means, but Chris accidentally channels his inner Katy Perry with lyrics like "We're high then we're low, first it's yes then it's now. Comparisons to "Hot 'N' Cold" would be forgivable if not flat out encouraged. I wouldn't be surprised if the sound design was meant to sound all stout hearted man as if we weren't dealing with hunks peddling another chapter in the winds of love and war. You'll have to fill in the sounds of seaworthy vessels sloshing about at the mercy of high tides. Chris gets my vote for being humorously candid about how Daughtry came into being as a band name. Alas Rainbow Butt Monkeys, Chris confesses, was already taken. Gonna have to file that away permanently under "lost opportunity". Any rock show worth its salt feeds off of copious doses of energy. "Battleship" gives the crowds what they paid to see. That chorus could put you off if you're new to Daughtry's corner of the rock universe. However, devoted fan boys and girls likely aren't going to flee screaming in horror. Chris commands a mike, pure and simple. He knows this is the magical power he wields and he displays it to great effect here. From stem to stern "Battleship" promises to have you and your buds raising a glass to love and how very much it's worth fighting for.