Saturday, April 20, 2024

Music

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Custom manages to fail Fast

After a first listen, it’s easy to dismiss Custom as another Everlast or Staind rip-off. Better yet, just a one-hit wonder with the popular “Hey Mister,” the controversial song about pedophilia. After a second listen, those feelings intensify. In “Mess,” Custom rambles on about how his parents made a huge mistake with him, while “Streets” is the worst song released by an artist, any artist, since everything in Limp Bizkit’s catalogue (except “Break Stuff,” it’s possible to hate Fred Durst but like that tune, right?). “Morning Spank” is a Sugar Ray song that carries the message that “there is no piece of ass worth a friendship.” But there are some tasty nuggets in this otherwise undercooked pile of unwanted chicken parts.

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Disc features rare, live tracks

It’s about time this record be released. Perhaps the most influential forerunner of the early punk rock movement, Richard Hell co-founded, penned, sang and played bass in numerous New York-based punk rock bands beginning in the early ’70s. The double album is full of studio material, mostly unreleased, while the second disc features ragged live recordings from his numerous projects, including the Voidoids and the Heartbreakers, among others. The first few tunes on the first disc sound like they were recorded in a barren garage with one mic hanging from the rafters, but they encompass the overall feeling of D.I.Y (do it yourself) in the best way. I’m sure during the years those tracks might have been scuffed a bit, but the imperfect sound quality of each song makes the album that much better. Tracks like “I’m Your Man” come across nicely, even featuring an almost doo-wop harmonization from backup vocalists - parts of it are even reminiscent of a Pixies track - while “Crack of Dawn” is high-pitched guitar oozing to the max. The title track is one of the album’s best, while “I Can Only Give You Everything” staggers along with a guitar riff that current artist Beck borrowed on his single “Devil’s Haircut.” Other tracks, which feature horns, could be played at Marty McFly’s “Enchantment Under the Sea Dance” in the movie “Back to the Future.” The sound quality of the live disc is less than favorable, but it’s a nice addition to the package, and the liner notes feature a book’s worth of photos and stories about the band. This release is an effective and concise portrait of one of the greatest pioneers of punk rock that should have been released years ago.

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N.E.R.D. molds numerous styles

The best type of music is the kind that incorporates a large variety of influences and delivery styles. Too often an artist will lay down a blueprint of what direction he or she wants to go, and stick to it without even considering an alternative route.

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Soundtrack has familiar concept

Putting together an album which features only collaborations of artists is an interesting concept - one that’s been done many times before. Sometimes it’s a clever concept, but most of the time it isn’t, especially for soundtracks.

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Brandy veers away from R&B roots

If you’re a fan of Brandy, you might be disappointed with her new album, “Full Moon.” The strong independent beats that reflect her merge into adulthood drown out the R&B ballads that made her so popular. In Brandy’s case, too much of those club beats can be annoying. R&B should have a nice rhythm with lyrics about topics that you can either sulk into or just be happy about, and this album lacks that quality. Overall, the album is good, but it’s awkward to dance to a song about a man breaking her heart.

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No Trik can save this record

Occasionally a record’s uniqueness blazes through the music industry like a locomotive. Unfortunately, Trik Turner lost its ticket. This band can rock, that’s without question.

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Disc masters the simple things

Step aside Marvin Gaye and Al Green, Zero 7 just might have the new best album to accompany lovers’ next “gettin’ busy” session. Each song progresses with powerful stride, but sticks to a formula of quiet and steady groove. The use of loops and the dissidence of instruments in each song are perfectly orchestrated.

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Remix album a solid compliment

Sometimes the full length record isn’t enough - occasionally the ultimate fan needs more. But this isn’t always a plus, as bands may jump the gun with another product simply to make an extra buck.

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Album satisfies craving for solid musicianship

As with any trend in music, there are going to be leaders and followers. For emo (short for emotional) rock, the leaders are bands such as Sunny Day Real Estate and the somewhat late-comers, the Get Up Kids. Many bands try to follow the lead of these greats, but come up short. But local group Ettison Clio clearly leads as the best example of this genre to come out of East Lansing in quite a while. The band consists of interdisciplinary humanities junior Stephanie Gunther (vocals), telecommunication junior J.P.

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Barricades honest, cliché-free

There are some musicians who are easier to connect with than others - artists who actually have something to say instead of blurting out lame clichés. Kasey Chambers manages to sing directly to her listeners.

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Sophomore effort worth the wait

Natalie Imbruglia knows the concept of transforming from a no-name artist to a national icon overnight all too well. Her 1998 debut, “Left Of The Middle,” stormed up the music charts and was propelled by the single “Torn.” She finally answered the yearning of her fans with her latest, which was worth the wait. From the acoustic guitar work to the calm background formulas, this record showcases Imbruglia at her best. Each song has its own mood and explores a theme of living in the moment, including “Do You Love?,” which features some captivating vocals and a dreary overtone. “Goodbye” resonates a wrenching form of desperation, as indicated with this verse: “And I don’t understand the things I do/But I’ll probably be fine/As long as I keep moving/I’ll try to write it down ... till the words won’t play/’cause there’s no easy way to say ‘Goodbye, goodbye.’” “Hurricane” is a deeply emotional tune, sung with a deceptively calm voice.

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Pub Domain more than just folk

It wades in folk waters, but this album delivers more than just the typical folk sounds. With hints of both Celtic and bluegrass influence, it is a well-rounded piece of work. The band recruited new artists with strong local reputations including Jason Portier (Dumpster Cowboys, The Lash) on bass, Bob Bryan (Steppin’ In It, James in Flames) and Emily Peterson on concertina and whistles. “Out of Here” is an up-tempo song similar to something Jewel or Ani Difranco would do, with Peterson innocently creating a flowing flute pattern in the background.