Number 10. – One Day As A Lion –
One Day As A Lion
It’s a shamed that Audioslave could never hold the candle or the edge that Rage Against The Machine, however One Day As A Lion has that appeal we miss in the 1990s. It’s not just Zack’s hardcore vocals, it’s the familiar songwriting that has level of balls that never changed since Battle for Los Angeles. This self titled EP is very reminiscent of Rage Against the Machine. Essentially the key instruments used to make this EP possible are the drums and the keyboard. Although there are no longer any actual instruments played besides the drums and keyboard, this project still brings the feeling of a live recorded band. The lyrics and vocals of Zach De La Rocha have not changed a bit over the time between the Rage Against the Machine era and now. He still speaks on the various issues that plague our society, government, and economy. In their direct words they describe their music as “a defiant affirmation of the possibilities that exist in the space between kick and snare. It’s a sonic reflection of the visceral tension between a picturesque, fabricated, cultural landscape and the brutal socioeconomic realities it attempts to mask.” The single off the EP, “Wild International”, suggests the horrors of war, specifically the war on terrorism. Those who are hardcore Rage Against the Machine fans should definitely pick this one up as soon as possible. One can only hope for the same satisfaction from their full length album, although I highly doubt that they will disappoint. Ultimately, I envision One Day as a Lion becoming one of the futures greatest artists to ever hit the charts.
Continue reading Top 10 Albums of 2008
Number 10. – Fever To Tell –
Yeah Yeah Yeahs
Yeah Yeah Yeahs are one hell of a noisy band, and they don’t hold anything back on their debut full-length Fever to Tell. Whether it’s their feedback-laden guitars courtesy of quiet genius Nick Zinner, the crashing cymbals and pounding drums of Brian Chase, or Karen O’s punk-y, sexy vocals, this album is sure to melt your face off. Hailing from New York City and inspired by the punk rock scene that originated there in the 1970s thanks to bands like Television and The Ramones, the three members of the Yeah Yeah Yeahs manage to fuse elements of art punk and garage rock to create one whopper of a record. Distinctively, there is no bass on this album and it is easy to suspect that maybe they might be overcompensating for their lack of it. This is not true however, and they still manage to fill in as much space as they can with as much noise as they can muster in just around 35 minutes without sounding desperate. One thing that stands out about this album is Karen O’s vocals; playfully wicked, with enough orgasmic screeching to make them truly unlike any vocals I’ve heard. While they may be enough to turn listeners off (and during my first listen to this album a few years ago, it left me perplexed and uncomfortable), it does grow on you as you realize it’s entirely fitting for the lyrical content of the album. Endlessly hyped upon its release ten years ago, Fever to Tell sounds like walking down the coolest ghetto in New York City. With drums, guitars, and vocals all somehow exuding the same negative energy as they screech and scream their way from one ear to the other, it’s certainly not an album you’ll be forgetting sometime. While it may be only about 35 minutes, that time span is certainly long enough to make your ears bleed and your face melt, and that’s exactly what the Yeah Yeah Yeahs have set out to do.
Continue reading Top 10 Albums of 2003