Review: Tron: Legacy Soundtrack
I’ll be the first to admit I was never a fan of the original Tron. However, one look at that new trailer with shiny blue colors and whirling special effects and my interest was peaked. Add to the mixture a soundtrack written and performed entirely by my favorite electronic duo, Daft Punk, and I was smitten before I even listened to a single note. After my greedy little hands, or rather ears, got a hold of this delight, I was in music bliss.
From start to finish, this album is an intense musical collection of epic proportions. The journey begins with “Overture” and in my mind I picture myself standing triumphantly over a pile of digital dead corpses. This feeling of pure amazingness continues throughout the entire soundtrack. As a writer, I should have a plethora of words at my disposal, but the only word that comes to mind each time I listen to this soundtrack is “epic.” I’m not too familiar with the movie, but I can still see it in my head –people on blue motorcycles whizzing by and discs being tossed at someone’s head. Yes, this album is purely epic.
Fans of Daft Punk shouldn’t get too excited though. If you think this soundtrack will be full of twisted dance beats and pop-happy synth, you will be sadly mistaken. However, if you can appreciate the artistic direction that is a movie score, you will absolutely love it. “Derezzed” and “Tron Legacy” were definitely thrown in there, though, to satisfy the Daft Punk fans. You can expect their classic bright tones laced over irresistible beats.
While the album is mostly synthesizers and drum machines, there is heavy use of classical instruments –an 85-piece orchestra to be exact. The orchestra adds tension to “The Game Has Changed” and a sad beauty to “Adagio for TRON” and “Nocturne.” A film score just doesn’t seem complete without one.
The Tron: Legacy Soundtrack is nothing short of brilliant. I don’t even have to see the movie to appreciate this wonderful score of music. I can easily say it’s one of my favorite albums of 2010, and film scores don’t often make it on that list.
Review: Selebrities – We’ve Been Foolish
At first listen, I had to double-check that I was listening to a current band because I could have sworn I did a time warp back into the 80’s. Heavy synth beats mixed with pop just scream classic New Wave. Lead singer Maria Usbeck’s vocals are reminiscent of Debbie Harry on “Heart of Glass,” soft and subtle, and locked into a very small vocal range.
“We’ve Been Foolish” is a dance happy tune that takes me back to a time when I was a wee tot, which is wonderful if you’re in a nostalgic mood. I don’t doubt the rest of the album will be just as enjoyable and fun to listen to and I would absolutely love to hear it, but I’m forced to question Selebrities’ creativity. There is nothing new about this song that distinguishes it from every other 80’s song. It exemplifies New Wave to a T and lacks any unique characteristics. I think this trio is lost in a time period that is long gone.
Review: Semi Precious Weapons – You Love You
Any band that describes themselves as filthy, glamorous rock ‘n’ roll is always worth a listen. I had the pleasure of witnessing Semi Precious Weapons open for Lady Gaga back in January at Radio City. I only had to hear the first line of their opening song, “I can’t pay my rent, but I’m f*cking gorgeous,” to realize I was in smitten. Any band that can be that self-indulgent, yet still humble to their fans, is a band you can’t ignore. It was a long wait from January to the end of June when their album You Love You was finally released and I could breathe a sigh of relief. Having to settle for distant memories and YouTube videos was not enough to appease me.
Their style is pure glam rock, a reminder of early David Bowie —those Ziggy Stardust years especially. The songs are full of sex, sticky champagne, and more than a hint of vanity. The band has played every filthy, cheap bar in New York City and it shows in their music. Once upon a time, Lady Gaga was opening for them. It seems only fair she subjects her little monsters to their saucy rock music every night. If you enjoy the album, multiply their quality and energy by about a hundred and you can get a taste of what their live shows are like. The only disappointment I have with You Love You is that it sounds slightly polished, which is expected of any studio album. Live, Semi Precious Weapons sound completely raw, energetic, and stunning. A song like “Sticky With Champagne” just doesn’t sound the same. Nor do you get to experience the pleasure of lead singer Justin Tranter pouring champagne down your throat.
Don’t fret though. The album is still more energetic and engaging than most of the tame music currently being thrown at us. After you’re left breathless by songs like “Semi Precious Weapons” and “Magnetic Baby,” enjoy the magnitude of “Statues of Ourselves.” A steady bass line and drum beat slowly build to a culminating musical orgasm, which was probably what the band was intending. The album ends with plenty of glamor, but no filth. Instead, we can enjoy the ballads “Leave Your Pretty to Me” and “Look At Me.” You can measure the talent of a band by how well written their ballads are. If they’re cheesy and predictable, hit the skip button. If they force a tear to slowly stream down your face, you’ve hit rock ‘n’ roll gold. Semi Precious is of course, the latter. The band says it best, “Rock ‘n’ roll never looked so beautiful.”
Review: The Whitsundays – Saul
After listening to the new album Saul by The Whitsundays, I was left dumbfounded. I wasn’t quite sure what I had just experienced. My feelings were so jumbled I wasn’t sure if I despised the album or enjoyed it. After some more listens I realized that I had more negative feelings than positive ones. The retro ‘60s pop/rock ‘n’ roll style of The Whitsundays are certainly not for everyone, myself included. However, I managed to find elements in the album that I enjoyed.
The first track “There’s a Monkey on My Back” made me instantly realize I disdained leader singer Paul Arnusch’s voice, or at least how he sung that particular song. While the slow, haunting melodies draw you, Arnusch’s voice will make you cringe. I think he was trying to mimic the slow drawl of the music but instead his deadpan voice is like nails on a chalkboard. I’m listening to the song again as I write but I just can’t make it through the entire song. So let’s move onto something a little more lively.
I wish the entire album was more like “I Can’t Get Off Of My Cloud.” It’s fun and energetic with a pop rock vibe. Arnusch makes a smart decision to sound a bit more lively on this song. The guitar is simply electrifying and gives me that same high I get when I listen to classic rock —back when the music was equally as important as the lyrics. The guitar solo spirals out into a frenzied whirlwind of sound and before I know it, I’m pulled back into the main rhythm of the song. I knew it was too good to last.
Unfortunately, most of the album fits into the mellow indie category and The Whitsundays don’t do mellow well. The songs and vocals drag. I know there is talent hidden somewhere because I heard bits and pieces of great music. These boys need to dig deeper and showcase their talent. Saul falls flat and is unable to hold my attention.