18 replies to this topic

[REMfan17]

testing, one two, is this thing on...

[REMfan17]

http://www.murmurs.c...0&stc=1&thumb=1
i doubt this will work...

[REMfan17]

hmm... that kinda worked...

[REMfan17]

lets try this...
http://www.murmurs.c...achmentid=45810

[REMfan17]

heeeyyyyyyyyyyy!!!!!!!!alright!

[REMfan17]

more

[REMfan17]

some pics

[REMfan17]

more

[REMfan17]

another

[REMfan17]

another

[REMfan17]

skiing, wed 12/29/04

[REMfan17]

testing where i don't think anyone will see:
Perhaps the musical protest-statement of the year, Green Day’s “American Idiot” kicks off with the lyrics, “Don't want to be an American idiot. Don't want a nation under the new media. And can you hear the sound of hysteria? The subliminal mindfuck America.”  Twenty-eight seconds in you know the focus of the album, and he searing attack on the United States government continues for the next 57 minutes. Sometimes it’s subtle, sometimes it’s not, but at all times is it enjoyable. Lyrically, Billie Joe Armstrong creates a tense landscape of critique and abuse of the current Administration, but musically it’s anything but. Loose, rockin’ rhythms permeate this album showing a depth of creativity and songwriting skill not seen before. A smooth, thumping bass line chugs under the cries of “Pulverize the Eiffel Towers who criticize your government”, and classic Green Day guitar-crunch gives punch to “Maybe I’m a faggot American, but I’m not a part of a redneck agenda”.

While the political side is the most obvious at first listen, that is far for the whole story. They maintain their rocking outlook, but there is a subtlety to most of the tracks that makes each successive listen increasingly rewarding. Repeated listens make evident two more themes throughout the album: the religion of consumerism and the listlessness nature of today’s youth. Both are intelligently personified through two recurring characters, “The Jesus of Suburbia” and “St. Jimmy”. Jesus proffers “the holy scriptures of the shopping mall”, and St. Jimmy is “a figment of your father’s raise and your mother’s love”. Both characters have their own songs titled with their names, and both are highlights of the album. Every song present is excellent, from the howling yet touching “Are We The Waiting?,” to the toe-tapping album closer “Whatsername” to the acoustic “Wake Me Up When September Ends” which succeeds where the previous acoustic attempts fell flat.  I’d almost given up Green Day for dead after the debacle of the horrid single, “Time Of Your Life”, and 2000’s mediocre album “Warning”, but they’re back and making great music again.

[REMfan17]

There is something different about this album and it’s hard to put your finger on. It just sounds different. It sounds old. Pete Doherty (the head Libertine) reached deep and channeled something old. Yet it’s new. Tapping the crunch of late sixties rhythm guitar and old-skool punk’s overdriven minimalism and adding a twist of 2004, The Libertines came up with something interesting. This self-titled album, their second studio album, is a winding journey through different several genres. All of the fourteen songs on this album have a solid rock base, but it’s the little touches that give it the variety, flavor, and appeal that it exudes at times, as such an eclectic collection of songwriting is going to have it’s misses to go with its hits . The first two tracks have twangy intros that would make the B-52’s proud before moving into their chunky riffs and bass lines. Unfortunately the next several songs don’t keep up the good vibe of the start. “Don’t Be Shy” has a halting rhythm that never quite seems to get wherever it’s trying to go. “The Man Who Would Be King” is an unfocused collection of song bits rather jammed together under one set of lyrics. “The Ha Ha Wall” is a good attempt, but like “Don’t Be Shy” sounds a bit half-baked.

Following the strangely intriguing thrash-pop interlude “Arbeit Macht Frei”, however, the album makes an abrupt about-turn. Breaking from the mediocrity that had plagued the past several songs, “Campaign of Hate” injects vitality back into the album. The albums far and away highlight, “What Katie Did”, is a festival of ringing chords and delightfully simple lyrics (“shoop-shoop, shoop-ka-lang-a-lang, watcha gonna do Katie?”). It’s just pure toe-tapping fun. The final few songs follow in fine rock form. “Tomblands” is jangle-shake awesomeness with a killer verse-riff, “The Saga” is more enjoyable indie-thrash, and the “Road to Ruin” shows the ‘Tines multi-guitar interplay at its best. I hate to say that these guys are bursting with potential (they are), because such forward thinking detracts from the quality album have created now, but if they are ever able to produce a full album with the focus and creativity seen in many of the tracks here, that would definitely be a sight to behold.

[REMfan17]

smaller

[REMfan17]

stealing memory space...

[REMfan17]

more kilobyte theiving

[REMfan17]

i hate ticketmaster

[REMfan17]

cabo trip

[REMfan17]

drop forward