Friday, September 27, 2013

My First Review By Request! Crossbreed - Synthetic Division

Here it is! My very first review TOTALLY by request! Excited? I am. Kinda.

This one comes to us from my friend, Wes.

With that adorable hat, I'm expecting some Cookie Monster growls. 

He's a solid guy, but I'm not sure about his musical tastes, we've never really delved in depth on music other than our friends' band, Vaudeville. And I have certainly never heard of Crossbreed. Don't tell me if this is a travesty or not, I will decide for myself.

I'm guessing this is metal, which is typically hit or miss for me, but seeing as how I am already two drinks in (Dr. Pepper and Ancient Age again, burns SO good!), I'm guessing I will be okay with whatever.

So, before I get too drunk, ON WITH THE REVIEW!

Album:

Alcohol:

Creepy voicing opens "Severed" along with some cool electronic beats. Cutting out and opening into hard hitting guitar and screaming. This then, drop outs to a driving albeit low key verse that I can dig thus far. The chorus comes back in, and it's nothing special. The guitars are a low point, but the drop out into an electronic interlude is really cool. I like the verses musch more--oh, it just opened up into a bridge-esque part, that while not vocally stunning is cool. Back into that chorus. Dropping out again with a drum build and some synth voicing in the background. Whispering growning. Waiting for the drop out... Called it! Haha. Sorry, predictable, but a good build. Driving into another chorus to end it.

Guitar line into drop out begins "Seasons" and I actually LOVE the whole opening sequence. This is much more fast paced. Lyrically, nothing is blowing me away, but the screaming is better than others I've heard. The singing leaves a lot to be desired, but the up and down dynamics are nice. I'm waiting to hear more than just up and downs. Build into the third chorus is nice. Electronics usage is really cool, but be careful of repetition. That siren at the end got annoying.

"Underlined" comes out strong with a drum fill intro and a definite rock crossover song. Best singing yet. But he pushes too much in the chorus. But I love the low key driving in the verses. It may be a taste thing, but give me something more than pwer chords when you open up. THe chorus cadence is cool. And this bridge has some metal groove to it. Most of my complaints are stylistic at this point (other than the vocals), but the movement and pacing of this album is nice so far, and they do a LOT of cool things with electronics. Something most industrial sounding hard rock/metal band miss the mark with too much. Drums are cool. I'm finding myself zeroing in on them a lot. Typicall metal ending, but good.

Electronics open up "Breathe". Really cool tension-y feel being created here. I can dig it. Waiting fo the drop out--oh, they go into the full drive instead of droping out. Kudos. Vocals are either getting better, or I"m getting drunker. Maybe both. Simple guitars accent the chorus, but I can dig it. It works with what they were doing here. Dropping back to the electronics that opened the song for the second verse, and into the chorus. More annoying rthe second time, but the out of the second chorus is cool. Into a trem-picked bridge/chorus that they should have used for the second chorus, but I can appreciate it here. Into a bridge build and a final chorus that is straight driving. and back to the original rendition of the chorus. Eh, I like it after two variations. dropping down to another build. And into the driving chorus again. Excellent song stucture here. I didn't think I'd like this tune, but they turned it around for me. Stong track.

"Pure Energy" opens with samples that I'm too drunk to listen to carefully, but the repeating "you must find strength" builds us into a really cool riff that drops into another lowkey but driving verse. They are doing some cool things, but a definite pattern is starting to emerge. If it weren't for the cool this electronicsally, I may have dismissed this band already. But they are keeping me interested. Dropping down into samples again. I like the creepy and tense atmospheere they create into the build, and it opens up with a the cool riff, but I'd like something more along with that. Driving end that was actually pretty cool.

Electronic beat moves us on to "Release Me". And synth builds us into a stop? Yes. Into another pretty cool metal riff. Dropping (AGAIN) into a lowkey, driving verse. And hard hitting chorus. The pacing has started to hit a wall. Still, these electronic interludes are really cool. Neat wah effect on the pretty-ish interlude. but that's really the most standout-ish part of this song. Drop out building with low, intese vocals electronics drop, and nice explosion, and really cool guitar tone, but I'm starting to be bogged down aby the sheer repettiveness of the vocals. Abrupt ending. Decent.

Static in to a farty guitar (mabye fuzz bass) line on "Machines". I like the riff, but the verses are rather abrasive. I appreciate what you are going for , but meh. THe chorus coming out of the secong verse isn't bad, but mostly, this LowLOW Hiiiiigh. Guitarline thing is getting old. Really old. DUN-DUN MEMEME. DUN-DUN MEMEME. Yeah, there have been more riffs that are just that than I can count thus far and we are 7 songs in?

"Painted Red" is the next track. It sopens with a building electronic beat. Drop out, and kick in. Keard this one already. Although, musically, I like whats going on. The growls accompanying the singin arent' doing you any favors. You know who was popular for doing that? Hawthorne Heights. Yeah, abnd now that bassist/growler is dead. See? It's badd for your health. But yeah, this song isn't bad. So much as I've heard everthing they are doing here already on the album, and they seem to just now be getting how to do it right. Burnt me out too fast guys. Also I'm drunk. Cool slow down ending. So you know...

"Stem" opens with cool industirall electronics. Starts driving and kicks in with a fast paced riff--AAAAND drop out to a lowkey, driving verse. Kicks into a chorus. I like what theyre doing with the vocals in the verses, but meh, I think I may have lost interest. Sorry, Wes, if you're reading. This just isn't my cup of tea. Oh, neat, a chug and stop bridge. Building with vocals, drop out, kick back into the chorus. THere are cool things happening, but the metal cliches are too quickly pililing up.

"Concentrate" is becoming hared to do,a nd it's the tenth song on this album. It sounds like, at least 4 of the previous tracks. Re read a few of those while I smoke...

"Regretful TImes" opens with another DUN-DUN MEMEME guitar line and in and out of one chorus, I don't thing they've played a different sort of guitar line yet. Still going. Like really. Its pretty crazy that something I made fun of earlier turned into a whole song here.

"Lost Souls" picks up where the previous track left off with ANOTHER DUN-DUN MEMEME riff. Verses give a Cobain-esque vocal performance which, I can commend, but yeah.. That chorus recycles the opening riff. Ugh. Might be drunk, but I think there is a slight out of sync vocal track in the chorus. Like a chorus effect, but I don't know if it was done on purpose. DUN-DUN MEMEME DUN DUN MEMEME DUN DUN MEMEME DUN DUN MEMEME DUN DUN MEME DUN DUN MEME DUN DUN MEMEME DUN DUN MEMEME DUN DUN MEMEM DUN DUN MEMEM DUN DUN MEME DUN DUN MEMEME DUN DUN MEMEME DUN DUN MEMEME... And so on...

Oh... That was it.

Final Thoughts:
DUN-DUN MEMEME! THere you've heard the album.

-Badhorse

Wednesday, September 25, 2013

Cher-ing Some Drunken Nostalgia - Cher - Closer To The Truth

Let me take you back. Back ALL the way to the mid-2000s. Hard to imagine that's a whole decade and a half, eh?

There was a metal head teen who would take the weekends to drunkenly bond with his mother over, you guessed it, CHER!

Yes, embarrassingly, I was a metal head in high school.

But more importantly, I am a Cher fan, and while most of it is nostalgic, I still really do love her stuff. She has a brilliant voice, and I will perpetually have a soft spot and hard on for the aging diva. I have more love in me for Cher than there is plastic in her face.

Seriously, no one ages this gracefully at 67.

This one is for me mum; however, since her beer of choice was the lowlight of my last blog, I am drinking a beer that I deem worthy of the sexy cougar diva that is Cher. So, without further gushing about Cher (Not to do with the album), on to the review!

Album:

Alcohol:

"Woman's World" opens with a very current feeling dance beat, and I'm alarmed to hear both auto-tune and stutter editing in the vocals, but the chorus opens up, and Cher belts nicely. Dropping out to the second verse, and there is actually a nice build that opens up into a bigger second chorus. Respectable. Dropping out with a "call to arms" of sorts bridge with a techno-esque build into a pause, and final chorus. Very nice dance tune, which, you know, makes it mediocre at best.

Vocals and electronics open "Take It Like A Man", and I'm annoyed again by blatant auto-tune. I know there was a presence of auto-tune on Believe, but I didn't slap you in the face like this. It almost ALWAYS disagree with sylistic auto-tune. I'm not really getting much out of this song other than that. A very bland feel, and it lacks any significant UMPH that I love Cher for. It barely has a hook. If you are continuing on the dance-pop feel, you gotta do better, Cher. Fade out ending. Ew.

"My Love" comes in very tenderly with keys and voice. Building with a dance beat. The song opens an give a nice feel, but still no pop hook, that I felt in "Woman's World". There was a really cool electronic transition into the next chorus, but nothing special enough to redeem what is yet another really bland pop tune. Dance break. Nothing special. Into a drop out with again, keys and voice to end the song in the same manner it opened.

"Dressed To Kill" actually opens with a really cool tremolo effect and has a cool beat, but ugh, auto-tune. However, redemption comes in to chorus, and the line, "Dancing in the dark with my hands around your heart" is nice. Breaking down into a cool synthy line. Drop out, and chorus comes in. This is the best of a bad bunch. And nothing special about the ending.

Into "Red", which is another very modern feeling dance tune, but the album is definitely picking up here and it may be the beer, but I'm feeling this tune a lot. The drop out to beat and accents in the verse is cool, and the choruses display that Cher can TOTALLY still belt. Dance break into another chorus with a more flowing feel than the previous. Favorite thus far, this is moving in a good dir-OH! fade out ending! Boo!

Out of "Red", comes "Lovers Forever". THis is the first tune to not feature blatant auto-tune, which is good, but the song is rather unremarkable other than the drop out and belt just before the chorus. The echo thing just isn't doing it for me in the verses, and synth voice accompaniment? Really Cher? You're better than that. They are missing the mark on a lot of the electronic samples as well. This song is really, just... Messy... Not going to lie, I had somewhat high hopes for this after finally seeing Burlesque, and hearing some of those tunes, but this is really just a desperate attempt at everything being done in pop music today. This song ends with an ending.

"I Walk Alone" opens with promise with a cool snare beat and a neat synth line. And Cher is very commanding in the verse. The chorus is meh, but these verses. OH! Cher, you sing it girl! And blegh, the chorus again, but the bridge!  Farty bass line and dropping back to the snare with an acoustic guitar solo? Yes, Cher. I dig this. You do "Still got time". Nice hard hitting ending.

Opens to keys on "Sirens". Thank you for seeming to get the crappy pop tunes out of the way early. This song is tender and the first presence of an actual drum kit. It's refreshing at this point. Well, done here. The verses subtly grow through out along with Cher's beautiful vocals. Big growth out of the second chorus into a nice little guitar solo. Simple, but nice. Drop out to the pre-chorus with only keys. builds into a set of  "Ahh's" that lead back into a guitar solo. This. This is the Cher I remember most fondly. Tender ending. Very nice.

"Favorite Scars" opens with with a nice feel. There is a driving beat and instruments keep adding on through the verse, and into a slow dance beat for the chorus. And you sing it, Cher. I actually really like this song lyrically. Dropping back down for the second verse. Half as long as the first verse and into the second chorus this time with harmonies. I dig this tune. Nothing blowing me away, but the lyrics shine nicely. Although she may be known for over-the-top campiness, Cher can have some great lyrical moments.

A simple ending settles us into the ballad, "I Hope You Find It". Nothing blowing me away, but a very nice tune. It's almost painfully obvious that they front loaded this album with the "current" sounding songs, but honestly, if you love Cher, the back half is where "You'll find it". And yes, Cher, I have found what I'm looking for. The string aceents are a nice touch. Thank you.Pretty ending.

"Lie To Me" opens with pretty acoustic guitar. And god, does Cher shine outside of over polished electro-pop. Most solidly written chord progression thus far, and oh, the electronics come in, but subtly, and it's actually a nice touch here.This is the final track on the standard album, and I'm good with it the far, and OH kick in--Wait.. Only kinda. Nice, but I could have done with more of a punch on that. The ending is kind of, like, what?

Into the bonus tracks. We start with "I Don't Have To Sleep To Dream". And it's a return to the dance feel, but it's considerably better then anything on the first half of this album. An almost 90s feel with the electronic element. God, was anything shitty in the 90s? Even the dance-pop was cool (Ace of Base anyone?). This song is solid. Alone not worth getting the deluxe version, but there are still two bonus tracks left. The bridge is actually pretty sweet as well. Dance break. By FAR the best on the album. Cool ending as well.

Bonus track two: "Pride". Another dancey tune. Again, better than the first half of the album. Seriously, is there a way to get this disc sans the first six tracks? This song isn't as solid it's predecessor, but still carrying with the 90s euro-dance-pop feel, and FUCK! I love it. Like, 90s pop may be the biggest guilt pleasure I have. Dig it. To drunk to analize.

"You Haven't Seen The Last Of Me" closes out the bonus tracks. Ballad feel here. And I dig it. The line "Don't count me out so fast" applies very nicely to this album as it takes a while to get to the music that's actually listenable--OH! Cher! You belt it! Yes. Get back on your feet, girl! Pretty ending.

Final Thoughts:
Okay, Cher, stop trying to be hip and new. Seriously, we love you for the you you've always been. Just because most of your face is probably plastic doesn't mean the it has to be reflected in your music. That being said, you sold me on the last half of this album and the bonus tracks. Maybe the drunkness brought out my nostagia, or maybe I just have that much distaste for current pop trends, but I was using this as a barometer for whether or not I was going to try to go to your Minneapolis tour date, and you ALMOST lost me, but thankfully, my blog forced me to keep listening. because although this album has a SHITTY SHITY start. It gets better. IF your a Cher fan, I recommend this album on the second half alone. If you aren't, get drunk. Listen to Half Breed, Believe, and watch Burlesque, and then listen to the second half of this album. I love you, Cher. Always will. But girl, act your age. Current dance-pop sucks. You know it, I know it. Just do what you've always done. <3

-Badhorse

Wednesday, September 18, 2013

Loud Like I Need Better Beer... Placebo - Loud Like Love

There are many ways to make this blogger happy. This is not one of them:

This is what sadness looks like.

Last week, I drank leftover Long Island Iced Tea from my mother's stay. That was acceptable, and did the job well. This left over, however, is neither good nor is it an affective drink. It's been staring me down from my refrigerator for the past two weeks, and since I have no booze fund until payday on Friday, it will accompany my review tonight. I'm sorry, Placebo, you deserve better. (Also, sorry to put down your beer of choice, Mum, but seriously, you need some IPA in your consumption. <3)

With a cover this bright I should have done Albums & Psychedelics.


So, my alcohol issues aside, I am very excited about this particular review. I have been familiar with Placebo for a few years now, and adore almost all that I have heard. I'm expecting this won't be different, but as with The Used review, I'm hoping I'm not unpleasantly surprised.

So (*Drink followed by cringe*) on with the review!

Album:

Alcohol:
Ugh... Miller Lite

The title track opens calmly before bursting into a nice fast-paced pseudo-punk feel. It calms into the first verse keeping the calm opening riff going through out. There are some cool electronics happening, and the breakdown-ish thing coming out of the verse is cool. The vocals are great, and although the song is simple, it is enjoyable. They brought back the breakdown-ish part and are growing out of it with a cool feel, and bring it back into another chorus, cool, but a little bland. However, the "We are loud like love" refrain gives this song a definite climax as it drops back to just vocals and the opening riff.

Picking up off of the drop off comes "The Scene of the Crime". It has subtle music to intro under Brian's excellent vocals. Seriously, his voice is harsh in all the best ways. This song is low key, but definitely has a cool groove, and I like the drop out build up after the first chorus. Bring in keys which is nice. The use of electronics thus far is so cool to me. They are done VERY tastefully, and add a whole depth, as this song end with a fading chord and back and forth electronic pingy sounds.

And the piano opens up to "Too Many Friends". This is the only song I've heard off of this albums, and has an astounding video. Seriously, watch it! The guitars are so cool. They have a somewhat accent only presence in the verse that keeps rolling into the chorus but with a more flowing feel. And the transition out of the chorus is so badass. The chugging feel of the second verse is just enough of a change to keep this on moving in a really awesome linear way. I can definitely tell why this was the single, as the beautiful guitar tone is left to ring out and end the song.

Coming in with a light guitar line is "Hold On To Me". Which sounds to be a song about aging, and although, I'm only in my twenties, the song still rings poignant. Brian is wonderful with lyrics, and this song definitely lets them shine. Post the second chorus, there is a guitar line that, while nothing spectacular, definitely serve to drive the song, and now, drop out to synth organ/strings. That was odd and abrupt, but I've known Placebo to do transitions like this, and it grows back into the guitar line with the organ strings accompanying. Spoken word is happening which is both eery and pretty. Music drops to ringing strings and synth as the song ends.

"Rob the Bank" starts out of silence with those words exactly. And this is the exact sort of feel that made me fall in love with Placebo. Half silly lyrics with a driving and almost messy grunge feel. "Rob the Bank/Then, take me home/And make love". I love the feel, and the grinding high pitched guitar lines. The bridge tosses back and forth from rhythmatic to fluid before dropping out to a voice and beat verse that grows. Stops. And brings in a definite finale chorus with a punch you in the balls ending. Favorite thus far.

Coming out of that ending is the very pretty sounding "A Million Little Pieces". The piano opens with a nice line that drops for a stripped down verse and comes back in as it builds. The second verse brings in a slight bit of grunge, and then the piano comes back eventually giving us a really nice build into a drop off. The drop off builds again slowly into a tiny, pretty explosion of a chorus. Coming into a nice refrain to end the song driving. I can't state enough how each of these songs have a beautiful story-esque structure, and I feel poised to head toward a climax of the disc.

Carrying off of the low key feel, "Exit Wounds" opens with voice over a cool electronic beat. Key hint at growth, and a synth swell opens into that sweet, sweet guitar tone from "Too Many Friends" before dropping out to a stripped down beat and really letting Brian's voice do its thing, and I want his voice "So bad I can taste it". God, They have such a cool feel. Electronics come in with a neat line over driving guitars leading us into a bridge of sorts. That opens into another chorus. While the chorus is not far from the rest, this song has all kinds of sex appeal that makes up for it as it ends with the low key refrain "Put me in the ground":.

Aned here comes some badass. An electronic riff opens up the faster paced "Purify". And OH the electronics. Seriously, this is one of the only bands that can get me hot over their electronics usage. I think it's because they make it a thing with out it being a thing, you know? No? Well, listen to this song. You'll get it. Ohh, drop to bass and beat. And kicks back in to a sexy chorus. And the dissonacne being used in the chorus? Boner! Driving. Driving. Driving... Bam! Helluva ending.

"Begin The End" picks up with a subtle entry with keys and another electronic beat. Bass give this a sense of impending doom, and I can't wait. Growing. An almost military beat pushes everything along. The build staves off a bit but the military-esque beat continues, and the build comes back. The lyrics pushingeverything along as well. Chords changing... Build... And back off. Ohmygod! The tension is so high... Building again. I NEED a payoff at this point. I have an erection the size of a house and it needs to--hear it comes... Guitars building in... Almost there! Oh... Cock tease drop off to naked voice to end.

Blue balls are left as the piano brings us into "Bosco". "I love you more than any man/But something's getting in the way" Yeah, Brian. My swollen balls. =P That being said, I like the drop off into a slow opening to the finale of the album, but let's wait and see where this goes. Thus far the song speaks of being dysfunctional in a relationship due to alcohol. Something I am completely familiar with. Even as I write this, my wonderful girlfriend is waiting for me to come to bed. So thank you, Brian, for reminding me that I am an ass. However, I think that's the point you're making, so you know, kudos. This song is very beautiful, and now kicks in with a more up tempo after the second chorus. Still a rather depressing feel vocally, but I'm feeling better with the uplifting-ish beat. Third chorus pushes through and builds out with strings. So pretty, I can't even complain about my blue balls, after all, it ends with the refrain "How I suck you dry". Thank you, Placebo. =)

Final Thoughts:
This is definitely Placebo (believe me I did my research!). And done amazingly. While, admittedly, I was less than stoked about the opening/title track, the theme set up carries through the album amazingly. This may be the best flowing album I've reviewed yet, and the writing style is near flawless.  I was hoping for a touch more badassery, but Placebo delivered with cool and pretty in a way that make badassery not even necessary. Sigh, I may have to make a little room in my booze fund just to buy this album. You should too, but only if you still have some money for booze. I'm living proof that cheap beer will do. =P Only buzzing by the way. Fucking Miller.

-Badhorse

Wednesday, September 11, 2013

New Digs and Same Cigs: Arctic Monkeys - AM

It's been a long couple of weeks, my friends. I moved. It was hot. And upon my arrival, I discovered Xfinity was unable to transfer my interweb service. Hence there was a hiatus from both my blog and most interweb activity in general. This was a trying time in my life, ladies and gents.

Of course, not all was lost. I was able to take the time to nest in to my lovely new apartment:


Pictured: New Digs

Now, I find myself with half a bottle of Captain Morgan Long Island Iced Tea from my lovely mother, and internet access again, and thus, I will blog. As this apartment is new to me, I will likewise be reviewing a band new to me: Arctic Monkeys.

I have been told to check these guys out for a long time, and with the release of their new album coinciding with my move, I figured now is the time. 

This is what the sound of a bra unhooking looks like in wave form.

I am a good couple of drinks in and feeling loose. Hope you missed me! On to the review!

Album:

Alcohol:

AM opens on "Do I Wanna Know?" It has a nice slow beat and sexy guitar line. Vocals sound nice. A very groovy sound. It builds in with a call and answer vocal line with nice falsetto. This grows into the vocals taking a chorus with straight voice and falsetto in unison. Post chorus it drops back into the verse, but in a nice touch, the falsetto carries over with accents. Musically, the song is staying pretty static, but the vocals give some cool feeling throughout. I'm thus far not blown away, but I can accept this as an opening track, and a nice semi-abrupt ending.

And a nice guitar vibratto opens up on "R U Mine?" I don't much care for the letters-as-words thing, but the groove stays put and I like that. The flow is still there. And the drop out to solely fuzz bass in the second verse is nice. Again, though the music is rather static, but the vocals do some cool and catchy things, and the falsetto accents continuing are cool. The bridge is sweet. A really cool blend of stops opening up to a naked voice. Good, but I'd like more of an umph ending.

Continuing on with the established groove and falsetto, "One for the Road" opens with vocals and has a sexy bassline. I'm getting a nice subtle build through the whole song. Things are moving from verse to chorus, and kicking in with a tambourine sounds nice. Dropping out with the title being repeated in falsetto and builds back into a guitar solo that doesn't impress, but fits. And another semi-abrupt ending to a semi-good tune. "R U Mine?" is still holding my vote as top song.

"Arabella" comes in with bass and grooves before kicking in the door with a stop and go guitar line, and this is the most aggressive the Arctic Monkeys have been thus far, and I like the dynamics as the second verse drops to bass again, but manages to continue building with subtle accents, and the second chorus comes in, and I'm slightly disappointed. There is generally no change. I got good build in the second verse, but the chorus undoes it, however, the bridge creates some cool things and a beautiful tone on that guitar solo. First solidly abrupt ending. 

"I Want It All" opens with a driving-ish gutar line, and until the second "I want it all" refrain, I'm bored. The drop out is cool, and I love the return. There is what I believe is a guitar playing, and the almost moog-esque tone is really cool. But I don't know that I could say the same on the song. And I'm set on not liking the song with that fade-out ending. Blegh.

A 60's sound opens "No. 1 Party Anthem", and I like the juxtaposition of the title with a ballad feel. The lyrics make me chuckle as they follow with the title, but the 60's ballad format. I love it. This is exactly the sort of thing I'd put on at a party to be an ass. And while, it isn't a super tune, I definitely appreciate the direction here. It ends on an organ ring, and I like it. Not wonderful, but a better song of an underwhelming bunch thus far.

Born out of that ending, comes a pretty guitar line on "Mad Sounds". It has a really cool 60's groove which totally justifies it's placement. It reminds of a song whose title escapes me at the moment. "Hey, listen, What's that sound? Everyone look what's going down." I like the feel. "Ooo-Lalala's" are a nice touch. I can dig this tune. Another organ ring ending.

And a quick beat beginning opens up to the fast grooving "Fireside". There is a really cool feel, but not a whole lot to go on. The builds into the choruses are cool with the falsetto "shu-waps", but over all I'm bored. Like, I've been more or less bored since "R U Mine?", but this is the first time, I really have been at a loss for something to write about.

Abrupt ending opens up to a song I feel like I've heard before. Like, on this album. "Why'd You Only Call Me When You're High?" has the fortunate distinction of being the most interesting question being asked on this album. And thus far, all I can think to ask is why are there so many question song titles, and when is this album going to climax? Oh, it's over, and I didn't even get drawn in.

"Snap Out of It" comes in with a solid beat, and appropriately, I feel like this song is my last chance to be snapped out of boredom. There is a cool, feel, but nothing is being set apart form anything else on this album. It's like they took three song ideas and drug them out until they had an album. The bridge has a cool feel, but how many times have I said that on this album? There are cool feelings, but the executing of the song writing leaves me yawning, and wanting more booze.

Oh, that one ended. Guitar brings us into "Knee Socks". Which, I'm pretty sure is just a rehashing of One For the Road with different lyrics. Like... Seriously, variance doesn't have to be wide on an album. In fact, you hope an albums fits together, but you don't expect half of it to be essentially the SAME GODDAMN SONG. I am starting to understand the artwork. The album is the same sound repeated. Is it bad when the albums your reviewing becomes background music?

Oh yeah, that song ended... With an ending. And the lyrics "I want to be your vacuum cleaner" open "I Wanna Be Yours" and you've gott your wish, because you suck (Ha! Pun!). But seriously, this is your closer? I missed the climax. And now, you want to be mine without giving me anything significant? No, Arctic Monkeys. I don't have super high self worth, but I know I'm too good for you and your mediocre album. Yes, this song ends. No, I don't care enough to tell you how.

Final Thoughts:
Buy "R U Mine?" on iTunes. Rename it "Are You Mine?", and accept that the rest of this disc was meant to lull you to sleep. Each song begins with it's own sort of promise, but settles into a feeling that you haven't advanced the track. In my last entry, I complained about how The Used released an EP with only, like, three songs written. Well, the Arctic Monkeys release a FULL GODDAMNED ALBUM with about the same amount of legitimate material. So no, do not buy this one, and from here on out, anyone suggesting for me to listen to Arctic Monkeys had better give me a significant chunk of music that sounds like nothing on this disc or I will assume that this band has been riding the same damn songs to fame for years. Ugh.

The end,
-Badhorse