Truth about ‘From Hell To Texas’ by Nashville Pussy

It’s not often these days that you run into a hard, heavy and raging rock & roll record. After Nasville Pussy’s debut album ‘Let Them Eat Pussy’, four rather mellow albums has been produced from the Atlanta rock husband/wife vocal duo and their band Nashville Pussy. Their new album ‘From Hell to Texas’ has a lot more to be thrilled about, it has a bad ass attitude that totally appeals to me. A missing link in a lot of new rock & roll that’s produced today.

‘From Hell To Texas’ reminds a lot of what ‘Slash’s Snakepit’ tried to do, but without the extended sound of Slash. In the opening track of ‘From Hell..’ the band rage on from the start with heavy drums, cow bells and clean rock & roll guitars in a classic rock & roll tempo. Singer and guitarist Blain Cartwrigth sometimes reminds of a punk singer but the clear middle parties of solo’s define the rock influences.

The songs ‘Lazy Jesus’ and ‘I’m So High’ are pure rock songs that sound like a composition in the early eighties before the glamour era came upon and ruined the charm (an exception from Guns N’ Roses). What Nashville Pussy possesses is the straight from hell attitude that makes hard influential rock & roll alive again. The album falls a little short in the middle but has a great end act with the songs ‘Late Great USA’, ‘Pray For The Devil’ and ‘Stone Cold Down’ and one can sense the influences from Guns N’ Roses, Slash in particular and Alice Cooper as the album has a straight on approach to be a raging journey on horses in a wild texas terrain. It’s almost lovable in a sense that it has a relaxed rockish tension over it but as mentioned falls a little bit short on the lack of originality and musical brilliance, yet though a blast worth giving more than just a chance.

Truth about ‘Last Night The Moon Came Dropping It’s Clothes Down the Street’ by Jon Hassel

Jazz has always been a unknown medium for me as a genre. The organized chaos as I have nick named the genre to has never had much appeal to me. So when taking on the album ‘Last Night The Moon Came Dropping It’s Clothes Down the Street’ by musician Jon Hassel I choose to go simply on instinct. Hassel’s new album is not the Jazz you imagine, it has a mellow depth to it, from start with ‘Aurora’ it has a mystique. The blowing trumpet reveals nothing but mysterious thoughts that some how leads out to an organized chaos in some way.

The following ‘Time and Place’ and ‘Abu Gil’ is against my principles but completely fantastic. It’s not until ‘Last Night The Moon Came’ that I realize how influential this kind of music has always been to me. The sore, calm and beautiful song reminds me of a mixture between Thomas Newman’s fantastic ‘Ghosts’ from ‘Road To Perdition’ and Miles Davis ‘Little Church’. It’s a fantastic mix in the true sense that it’s jazz that I am listening to and the personal relations to this calm and beautiful composition may be the edge of the album.
‘Courtrais’ follow the same example but also lifts in the mystique into the music that makes inspiration flow. The sense of a dark and lonely street in a big city at nighttime is the first that comes to mind and the instrumental touches of belonging strikes perfectly well all the way through the end part of the album. The end part is on the other hand a little bit more of that jazz I never tend to fully understand.

The sweet, somewhat misery ending with ‘Light on Water’ for fills the album that overall is more than a pleasant monday afternoon listening. It has a sense of depth, mystique that brings out creativity and inspiration out from the everyday. It’s a pinch of brilliance involved in this mellow, beautiful album of Jazz, that I don’t fully understand came to me a pleasant surprise.

Truth about 'No Line on The Horizon' by U2 (Rewritten)

Maybe all art requires a moment of processing. ‘No Line On The Horizon’ was in my previous review a disappointment. 24 hours later, I am not so sure anymore. Sure it’s not what the greatest of U2 is and maybe that’s the point, maybe this is something entirely different. Maybe it required a night of listening instead of a first impression. Maybe I was caught up in what should be and what shouldn’t.

Due to the previous review I ask for an apologue. I’ll keep the first part of the review where I write what a magnificent opening the album has because it opens as strong as it could possibly do and I don’t know on which planet I spend my last afternoon, because the middle is influencial, it’s beautiful and ‘No Line Horizon’ becomes a ‘Viva La Vida’ phenomenon. As I listen to it my fourth time I realize that I had the same problem with Coldplay’s ‘Viva La Vida’. I regret my mistake to try the quickness instead of relying on the art of music.

What ‘No Line On The Horizon’ really is, is a better version of a ‘How To Dismantle an Atomic Bomb’ and ‘All That You Can’t Leave Behind’ and the grey pieces of ‘All You Can’t...’ are composed together with the colorful energy of ‘How To Dismantle...’ which creates a new atmosphere. That ‘exclusive’ thing of ‘No Line on The Horizon’ that I closed my last review with is not especially strong. It’s weak and it’s changeable, because the thought of this as a jam session instead of a blueprint totally works and in a time frame of 24 hours ‘Moment of Surrender’, ‘Unknown Caller’ and ‘Cedar’s Of Lebanon’ joins the terrific opening of the album with ‘No Line..’ and ‘Magnificent’, and resembles into a still mellow but somewhat ‘brilliant/but not really yet’, journey in a not at all negative blurry line on the horizon, but a deep, beautiful blurry line on that horizon.

I beg a pardon for my ignorance to the art that I love.

Truth about 'No Line on The Horizon' by U2

I expect for a lot when I press play on 'No Line on The Horizon' and after song one I am thrilled about the next one. The opening intro and 'No Line on The Horizon' kicks off the beginning of a promising after noon. I love how U2 has done this thing of opening up their albums with terrific songs, just look at 'How To Dismantle an Atomic Bomb' and the song 'Vertigo'. 'All That You Can't Leave Behind' had 'Beautiful' and not to even mention the 1987, 'Joshua Tree' opening with 'Where The Streets Have No Name'. Classic songs of U2, modern as old has come through this sequence of opening up the albums.

'No Line on The Horizon' feels like a little coming back to the technical instrument aspects rather than the raw musical instruments like in 'How To Dismantle an Atomic Bomb'. Which is fine and 'Magnificent' holds on to much beauty. The in between just makes me tired. After 'Magnificent' I am facing 6 experimental tracks with onky one thumb up and that is; 'I'll Go Crazy If I Don't Go Crazy Tonight' but even though the rather mellow before and after tracks I find myself not quite paying attention to the album at all anymore. The album of March is gone, the album of the year? What are expectasions, when the result takes you down.

Still 'No Line On The Horizon' has a brave closure to it. But that doesn't mean that it isn't quick. 'White as Snow' is a beautiful technical, little experiment that I dig. 'Breath' aims it up at bit and I, that thought that I had a rock & roll album in front me. The outro signifies the rather weak album that hoped so much out of and maybe 'No Line on The Horizon' is a more litterary title that I would think it would be. The album is blurrly little line that never really comes together, it's cool for two songs and then it loses me still even though my dissapointment didn't get me sold I do agree that it was an okay album, okay but not much more. The conclusion is that even if this was a no-blueprint planned album and more of a jam session I still would like to say, stick to the blueprints. In the end I presume that this album will be either recalled as greatness or blunder, when and what that will be I am not sure of, therefore I lay myself in the middle only for it to get better as I am sure it will be as time goes by.

Truth about 'Astral Weeks: Live at Hollywood Bowl' by Van Morrison

It doesn't come as s suprise, that if Van Morrison where about to choose one album to perform live, it would be 'Astral Weeks'. The 1968 'Astral Weeks' is a timeless classic but there's always this worrying criticism that he could ruin the mythic around the album with a live performance. I have heard the Hollywood Bowl is suppose to be a terrific spot and this is where this live concerts take place. I found it a shame to myself that I haven't actually been there and watched a singe concert since I moved here but I'll just have to do like everybody else. Listen to it on my iPod and say what I think.

In this case, a catastrophy is far away from what the result becomes. The opening with 'Astral Weeks/I Believe That I Have Trancended' aholds up somewhat a terrific touch of settle, which is needed for a version of a classic rock album. After a not so strong 'Beside You', Van Morrison creates a timeless version of Slim Slow Slider. There's a calmness and softness that relies on the original version I can image Van Morrison sitting on a stool as the crowd falls into the fantastic rythm of the song. It surprises me that this strong of a song comes this early and this only brings me hope to the rest.

The concert goes along great and it really keeps this terrific, magical atmosphere and it's not untill the peak when you'll get surpised by the magic eloded into the bowl. 'Cyprus Avenue' comes out terrifcly well, it's timeless and probably the edge of the concert so far. It keeps me settled in my bed. I can't think clearly, if I'm just glad or if the bittersweet and tender music controls my mood. Followed by 'Ballerina', 'Madame George' and a side kick from 'Astral Weeks' with 'Listen to The Lion/The Lion Speaks, originally from 'Listen to The Lion' that appeared on Morrison's fantastic 'St Dominic's Preview' from 1972.

Van Morrison finishes off, perfect. You can sense the jazz influences from the great rock poet and the music, the atmosphere and deapths of this concert becomes timeless in a large sense. The fresh mix, the hard jazz sounds and the amazing violin played by Tony Fitzgibbon captures the beautiful pieces that makes you wish you where there that night.

Truth about 'Mr. Lucky' by Chris Isaak

Chris Isaak is one of those artists that reminds you of somewhat country. But it has mixes with it and that ‘Mr. Lucky’ in fact is Isaak’s best album since 1995 when he released his ‘Forever Blue’. In this somewhat ‘comeback’ Isaak has captured the modern college rock that we could find in no one else but Ryan Adams latest albums ‘Easy Tiger’, ‘Cardinology’. First track ‘Cheater’s Town’ is a brilliant kick off for ‘Mr. Lucky’ and the atmospheres of the songs around reminds of something between U2 and the post modern phenomenon ‘Rouge Way’.

There’s somewhat an epic atmosphere over Isaak’s album and I like it from track one. When it comes to reach of the middle section on ‘Mr. Lucky’ we reach two fantastic duet’s. The duet with Trisha Yearwood, ‘Breaking Apart’ is a mellow, calm and easy adult rock experience with an easy going mode to it. Yearwood’s beautiful voice reflects an epic story in a sense and it reminds of so much bond between the artists.
The same go with Michelle Branch’s duett with Isaak in ‘I Lose My Heart’. It’s a terrific song that recalls to a country somewhat rock-a-delic folk tale. The record is a nice, easy listening journey until the great finale where I tense the soul influences on Big Wonderful world which signifies a perfect end to a fair enough journey. The record also welcomes Isaak back and determines that the music is as well, as good and as perfectly suited for today’s audience.

Truth on ‘Already Free’ by The Derek Trucks Band

Vocalist and frontman of The Derek Trucks Band, Derek Trucks is fairly new to me, an in a positive way. In the companions new album ‘Already Free’ I am perfectly introduced to Derek Trucks and it’s somewhat mind blowing. ‘Already Free’ is a mix, just as claimed, Derek Trucks is as well. A mix of ‘feel good’ Rock/Rhythm & Blues with great influences from Bob Dylan, Buddy Guy and Eric Clapton. ‘Already Free’ is the bands 7th album released in a course of 12 years. According to critic’s the 2006 album ‘Songlines’ is the highlight of DTB’s discography, but I no nothing of that so I stick to ‘Already Free’, that’s what I know.

DTB is an original concept, easily mixed with great of greats and as one of few jam sessions bands in the field, the mixes between blues and rock with a touch of funk creates an original piece of music that is spiritual in a ‘feel good’ sense. The album is opened with an exceptional brilliant cover of Bob Dylan’s ‘Down in The Flood’, an open interpretation with a funky guitar and strong vocals that only reminds me of a Buddy Guy. It’s an eternal sound so spiritual that it reaches up and above what ‘Mustang Sally’ made to me in ‘The Commitments’. It’s a pure stylish concept and as the album moves forward into the transitions of track 3, ‘Maybe This Time’ and ‘Sweet Inspiration’ comes to me I sense the rhythm and blues in somewhat a ‘soulish’ way that takes me to the brilliant of Stevie Wonder.
What I realize as I listen on for the second, third and fourth time is how The Derek Trucks Band reaches somewhat an emotional explosion into all their influences, mixing it into a pure true, funky blues version of greatness. Mellow essences of rock, blues, jazz and soul are all stirred together into a original touch that makes this one of the most unique albums I’ve ever sensed to come close to me. And at it’s middle peak it’s not even close to what I am about to say. The tension of some what sweet love melody ‘Our Love’ reaches me at a perfection, it’s exploding in a softness sense into my ears and totally blows my mind.

The emotional aspects of the album is something that I take onto me as somewhat personal and with ‘Down’ Don’t Bother Me’ and ‘Days Is Almost Gone’ is brilliant companions, the music is still breathtaking and as the albums closes with album title named song ‘Already Free’ I don’t really, fully understand what this mix of greatness in music has done to me. Forget greatness on all those guys I’ve been so terribly optimistic about, The Derek Trucks Band’s ‘Already Free’ is in it’s ace of brilliance. This is not great but rather magnificent and magical in the sense that I am captured into an album that changes my night, day and hopefully tomorrow. Gloriously!

Truth about 'Dear John' by Loney Dear

I have to admit that I was surprised when I found out that Loney Dear was from Sweden. There's so much that's only one or two hours away from the town you were raised in that you have never heard of, this artist is one of those. Origianally from Jonkoping in Sweden, artist Emil Svanängen has received great recognition lately as he recently released a new album, 'Dear John'. 

Loney Dear is something between what I would call the new Swedish invasion. Between Timo Räisanen and Jens Lekman we find Loney Dear. Dear John is a typical Swedish Indie/Pop/Rock story that comes out quite good. In fact, third time becomes the charm. Even though the mourning, downy atmosphere to the album it holds up so much joy and charm. With the beautiful 'I Was Only Going' out I get captured in a visually told story. I recognize the growing up in my coastal Swedish hometown Oskarshamn and the summer nights of my teenage years where a song like this would define me and give the inspiration for greater things. It's hard to describe in words what 'Dear John' sounds like because even though it reminds of this and that it has an original label to it and that's why I fully agree with the attention around it.

What's seem to be the problem here is simply the positioning of the tracks, from a powerful start with 'Airport Surroundings' and 'Harsh Words' I tense the feeling of the album going downward in a melodic speed. He loses me and kind of slumbers of as the album reaches towards the end. When you take a look at the harmful songs composed as individual pieces the the production is beautiful, clean and very well accepted in my musical opinion. He closes the album rather mellow, rather soft and even though 'Violet' helps us to feel the tensions I remember how the opening totally struck me and that's where I'm lost. The album is though a promising album, that defines a new era of Swedish powerful musicians. Dear John is a great album and Loney Dear remains on my list. A truly amazing thing-piece that I choose to like very, very much.

Truth about 'Hold Time' by M. Ward

M. Ward is one of those indie singer/songwriters that’s not totally acoustic and plain, filled with emotions that make you which you never turned on the album. The happy, but yet mellow M. Ward has finally after three years released a new album. After his previous hit ‘Post-War’ which I must admit is a fantastic album, M. Ward brings his game on to his new ‘Hold Time’. The album is a nice and sunshine album that starts of with the bittersweet yet happy and earthy tone. He is one of few artists that has found what I once saw in The Shins but at a slower speed and a more sentimental path.

In ‘For Beginners’ M. Ward brings on the quick acoustic play with a happy surface that give you time for reflection and just like The Shins second track ‘Mine’s Not High Horse’ on ‘Chutes To Narrow’ he gives the album a perfect start. In this album he’s done a terrific collaboration with actress Zooey Deschanel (Almost Famous, The Hitchhiker’s Guide to The Galaxy) for an original soundtrack song ‘Rave On’ for the upcoming film ‘The Go-Getter’. The duet is absolutely one of the highlights of this ‘feel good’ album that never really reaches up to what ‘Post-War’ did.

I hate to compare stuff and this is a creative and beautiful record that sets tone for the upcoming spring. I’m not very well familiar with M. Ward so I can’t really compare and change opinions on his earlier work (except ‘Post-War’) and I could give you full biographical background but this is about ‘Hold Time’ as a record and I guess I fall in love with the music. It’s one of those albums that has continuous linear speed, it’s a great ‘mood’ setter for a sunny day and it’s surely a very good album. A Sunshine ‘Mood’-setter that has a little charm with it and I like it. It secures his future in my library.

Highlights; 'For Beginners', 'To Save Me', 'Jailbird' and 'Rave On'.

Truth about 'Tonight: Franz Ferdinand' by Franz Ferdinand

When I start listening to Franz Ferdinandz's new album 'Tonight: Franz Ferdinand' I just get something in my head, a comparison. I want to compare the album compilation to Morrissey's 'Bona Drag' from 1990 but I take a listen to 'Bona Drag' and decide on changing that. 'Bona Drag' is way much better, in fact that one is brilliant and 'Tonight: Franz Ferdinand' is not. On the other hand I do like what I here. Franz Ferdinand is something of that New Wave/Alternative Pop Melodic with a rock clash to it that makes them one of those bands that is up there in front room or rather the underground front room. Rather than Morrissey I love to compare them to Max. Parks or Interpol and maybe some sides of Arctic Monkeys. This time the Scottish quartet has released another good album.

'Tonight: Franz Ferdinand' starts rater Joy Divisionish, pretty slow and maybe not what I expect. I hope for something like a top 20 of 2009 but what I get is the impression of slowing down the speedo rocket that finally going upwards. Of course track number three, 'No For Girls' is awesome, but that I already know so what I found when the album finally turns better is 'Twilight Omens' and 'Live Alone' and it was from these songs I got the Morrissey similarities, but this is mostly a melodic indie rock album that doesn't really come forth and that's why I become dissapointed. I can't say that it is bad it's just not 'Franz Ferdinand' (Their first Album released in 2004). It is a good album and Franz Ferdinand that finally has become a rather well-reputated band pulls of a good thing but I seriously believe that their better suited for a festival summer than in my iPod or in people's living rooms. It's well produced no talk about it.

When we reach the end of the album I get familiar with my favorite type of almost all genres, the little slower, calmer and beautiful songs 'Lucid Dreams' and 'Katharine Kiss Me'. Its good, to sum up this rather weird review I would like to say that this album is worth your attention, not just a recognition of brilliance. It feel like we have heard it before and sure its good, but first time melodic indie rock is always the best.

Truth about 'The Crying Light' by Anthony & The Johnson's

Truth spoken, 'The Crying Light' by the New York group Anthony & The Johnsons is a melodic tension settler. As I would like to call it, after two mellow, low density albums third time becomes a charm. 'The Crying Night' contain a tension of melodic calm and soft melodies mixed with thoughts and carefulness. It brings out a tension in ways of how you reflect over your personal thinking process and as the second week of February comes to its end I find this golden egg hidden by all what's bad.

Anthony & The Johnsons have yet again proved that they gain something to the musical industry in an independent universe that has outgrown itself. Lead singer Anthony delivers his emotional downward voice and uses his bands in this fantastic way of reading what I would call 'extreminism' poetry of high standards that deals with tensions of peoples regular lives. It gives the proportions of greateness and with this album more than ever, a terrific chamber pop experience as I would like to describe it.

In comparision to personal legends and musical geniuses like Rufus Wainwright and Jeff Buckley, Anthony creates an undertone and with songs like 'Epilepsy is Dancing' and 'Dust and Water' a great melodic tension is created that upholds the greatness of an album. Opening the album as soft as possible with a story sadness I think that Anthony & The Johnson's has created one of the year 2009's best albums, if not in the end definetly so far.

Other albums worth its attention, processesed over night: 'The Empyrian' by John Fruciante, 'Hold Time' by M.Ward and 'Merriweather Post Pavillon' by Animal Collective