Two Gingers, Two albums, Too Drunk - Double Header RBR - Floater and Queens of the Stone Age

Hello, all, and welcome to one of the worst ideas I've ever had. No, not this blog in general (though, believe me, it's up there), but a review double header. Really, it's nights like these I'm reminded of why my liver hates me.

Any who, the first disc I will be doing is a band named Floater. This was requested by my lovely girlfriend, Brigitte.

Here we are with our "special" kitty.

The album I will be reviewing by Floater is 1995's Glyph. I've heard one song, and I'm pretty pumped about what else could be on this.

I am also wonderfully terrified of this cover.

The second disc will be the latest from Queens of the Stone Age (Henceforth known as "Queens"), ...Like Clockwork.

Yet another pleasantly haunting album cover.

This request comes from a good friend, Jonny, and incidentally, is the request I missed in November, so sorry, dude, I owe you a drink.

And if you give me that cute cigarette face, maybe two. *Wink*

Alright, kids, now that you know the important stuff, I have a lot of music to cover and too much booze to get me there, so I say, on to the review! ...s, I mean reviewsssssss. 

Album 1:

Floater - Glyph

Alcohol:

2 Gingers Irish Whiskey

"The Knowing Dirge" kicks off this ill advised drinking excursion with a creepy-esque sample. Subtle strumming thing building with a drum. Drop out. Stick clicks, and back into a driving bass with chords. Tremming vocals create a very cool and haunting feel. Hard to understand, but the atmosphere created provides more than enough understanding. A really cool mellow burst. A slow and eerie tune, but really cool feel. God, I miss the 90s. Granted, I was, you know, five when this came out. Such a cool lowkey tension. EXCELLENT drop out. The vocals coming more clear. Such a big sound yet a subtle song. Very modern Floyd-esque. I dig the very tribal drum soundGreat opener to set up a dark tone. 

"...but Rain Never Came" carries on the very tribal feel, and proves to be transitional track into...

"Cinema". Opens heavy and driving with a sample and into distorted vocals. Moving into a cool sounding low vocals. I love the push and simplistic drive. The subtle dynamics keep your attention well while the song scoots right along with a single riff. Into a more open up part. That moves into a nice riff break. I can hear the frethand movement on the strings. God, I love that sound. Breaking it down. The structuring of the songs thus far are amazing. So linear, yet all tied together. Finally a refrain of sorts. Cool ending.

Into samples to open "MIdnight Ride". Wait... This may be all samples. No. Here comes the music. With really cool guitar harmonics (I think) happening in the foreground with the bass and drums slowly building behind. Tribal beat here as well. Nice subtle build. into a haze of samples.

This leads us right into "All the Stories but One". The song opens with a beat and groooooovy guitar.  The feel of this song is sooooo cool. And here cuts in distorted guitar slowing everything down. Dragging it really. Such a cool feel created by the music. slowly returning to the groove. I like this tune. A LOT. Back into the sludge. Now growing into a fast pace. Awesome guitar line. Beautiful bass licks. This is easily one of the coolest things I've ever heard. And into heavy, fast awesome. Breaking down now. Fast again. Holy shit. And now completely breaking down. Were has this band been all my life?I think that's the only type of fade out ending I've ever been okay with...

Little slow guitar lick gives way to a scream and the heavy pushing guitars of "Dead". This tune has an excellent bouncy while staying super heavy. Breakdown to bass. And back into the heavy, bouncy guitar. I'm in love with all of the riffs on this disc. Nice pounding interlude. All of the awesomeness happening is not being done justice by my words... I'd better get a little more drunk...Sweet ending.

"Intermezzo" has some wind sounds and a guitar as it opens. This may be another transistional instrumental track. It works great to settle out the upbeat pacing created by its former tracks. What's will it lead to?

"Isolation" comes in with some samples of sorts, and a nice bass line and drums. Guitar comes in wet and slow. The flow of the albums is amzing and they are using trasistional tracks exactly as they should be. Holy shit! Fucking the growth here into an almost blues feel with the organ?! I'm in love. Dropping back. Moving back into that blues feel. Great bidge here. Guitars solo so nasty in an amazing way. Beautiful.

"Clean Plastic Baby" grows out of that with a heart beat sample. Heart montior beep. Into choral. Into heavy groove. I want the fingers of this bass player. Slow grungy jam here. The pace changing. It's beautiful in the song and is the perfect placement on the disc to keep from staying in a lull from the previous track with out abrasively changing pace. Soo much amazing. Faster and driving here. Drop. and into a more heavy bouncy again. This song is ALL over the place. I LOVE it. Dropping here and continuing to move linearly with the music. Slow groove... Driving. Building. So much build. Dear god. Still... Building. Getting heavy here.... And down again... Soo much tension right now... Heavy again.Cool slow heavy pay off. I will take it. Creepy deep distorted voice. Amazing.

Samples come out of that to open "The Face of Order", and the song opens in a bouncy heavy fashion. Setting in with the bass before bringing the guitar back in with the voice. I haven't talked much about the voice at this point, but it's, like, ugly. Good ugly. I mean, he sings well in terms of being decently on pitch, etc. But its so shouty and nasty, but in all the best ways. I love it. So fitting to the music. The transitions in and out of slow fast lowkey, and in your face are seemless. The song structuring is incredible, the riffs are amazing, the flow is beautiful. This albums is, at this point, flawless. Awesome speed up here. Into the end. Amazing.

"Pet" opens with acoustic gutar. Breaking up the pace of the heaviness of the preceding track to provide a much needed breather of intensity. Perfectly timed, but then, I would expect no less at this point. I'm on only my fifth drink at this point as I'm trying to pace myself a bit. I've never had alcohol poisoning before, and I'd like to keep that streak going. This song is super pretty. 

Samples open "PErsecutor" and into bassline. This song is bouncy, but like, bouncy happy. It's really cool, and really cool. It threw me for a loop a bit after the--oh, here's some heavy guitars. The song stays almost cheery though... In htat darkish, not-cheery sort of way. You know? No? Well, give it a listen. Cool guitar solo. Okay, the musicianship on this album is making me hate my hands and fingers for never achieving that sort of control, and my brain for not putting together amazing songs like this. But that a good thing. It's good when an album makes me hate myself. I am convinced that this band is capable of anyting at this point. 

Whoah... Acoustic guitar opens "Bottle", and the voice feels completely different... The flow into this song was seemless, but the voice has me lost... Jsut a second... Yep, different vocalist. Google, you rule.

And now the only song I've heard, "The Sad Ballad of Danny Boy". Fun and bouncy drinky tune. Into heavy jam. Love it, and it has not lead me into a bad spot, as this album is simple amazing. Bringing back the fun bounce. Great tune. Into that awesome riff in the bridge. Excellent. A little weird placement, but it amazzingly flows beautifully into...

...The final track, "Crawl Into You". Slow tune. Samples coming in and out. very pretty. The whiskey is just now making its presents known. Pacing is hard, and I'm slightly worried about making it through the next disc. Not to get ahead of myself this is a nice ballad. And there comes the heavy as the guitars come in distorted with a nice solo line. This is like Soundgarden and Pnk Floyd making swet love while Primus sits in the corner creepily stroking itself. So sexy. Incredibly sexy. Awwww! Fade out ending! Really! You gave me perfection and thats how you end it?! Fuck you! No, seriously, I love you. Please, come back to me? Yes? Yay!

Final Thoughts:

Flawless until the final ten seconds. And those are in no way enough to spoil it. Liste to Floater. NOW!

*************

Oh god... Here we go...

Album 2:

Queens of the Stone Age - ...Like Clockwork

Alcohol:

Still sucking down that bottle of 2Gingers.

"Keep Your Eyes Peeled" opens our second album with smples of crashes before moving into a really cool bass line and drums. That tone is... electronical awesomeness. The song itself is a nice slow jam plodding along. A flash of aggression. Really cool. Not far from the Floater sound actually. And I dig it. Ooo. Break into a distorted drum with pretty vocals. Theres the aggression again. Nice. Into a beautifull driving bridge. The guitar and vocal interplay is awesome. Drop into drum fill befoer moving bace to the slow jam. Drop out-ish. Bowed strings to end it.

Into "I Sat By The Ocean" which comes in much more standard rock and rool. Will a cool little guitar solo. I love the use of weird tones and affect thus far. This song is rather straight forward. But really fun. The use of the synth there is awesome. Nice building chorus dropping back into the opening lick. I dig. Shit. Sleepiness is combining ith alcohol. This means drink more, right? I will say that Queens is a group that I've always enjoyed, but never checked out. I'm, thus far, glad thatthis is the disc I'm diging in on. The first two track are cool, and that was an amazing ending.

Carrying into "The Vamp of time and memmory" yep. Song titles are getting short handd-ish right now. I'm doing well on tying for the amount of alcohol in my system and I'm not gonna mess it up (Watch me mess it up). By the way. This song is INCREDIBE. Sweet slow groove with some great sunds and cool things happening. I love the subtle harmonis. The lyrics are coming a cross a bit corny, bt the song is awesome. Another really cool solo. and again the guitar interplays with teh vocals. Cool track.

"If I Hd A Tail" comse in slow, and the drums kick in a nother grover track. Bowie-esque vocals and the whole song really feels like 80s Bowie, and I LOVE 80s bowie, so this is nid.e. IT's cool to listen to exactly how---cool guitars solo AGAIN! Exactly how little instrumentation there is yet the song writing creates so much depth. I love it. I can't read what I"m typing very weell, so I'm gonna got a head and wing it... I'm sorry for any lack of coherency. Weird ending thing...

Leads into "My God Is TTe sun". Driving. This woke me up, and that driving bass is keppker... KeikkFuck. Killer! Killer. keiller. Shit. :This song is cool. Driving,a nd yets still has that cool groover. Rally cool writing here. I dif this song a lot . that fall apart part is brilliatn! Holy shit. And drive int tohe hend.

"Kalopsie" I have no I dea if i yped that right.. This song is aweosme snyway. Slow into pounding. Rally cool. The tones ad sounds here are awesome. Theyve been making nice use of keys too. I keep hereing a bowie vibe. Guitar = AMAZING. holy shit. That kick in! Fvorite track thus far on the disc. Right here.

Group of voices open "Fairweather FriendS". Into a really nice set of guitar lines. Dynamics abound o theis sisc. The guitar work is so cool as well. God, the keys and gtar interplay is awsoe! Badass guitar. So badass. Cool abrub end int...

"SmoothSailing" now this is fucking groove. Holshit. This is playing with evey drunk bone in my body... Which is all of them. I love the vocals so much. It's all good. And the little guitar runs are so cool as well. This is the sort of song I want to have sex to and follow the rhythms witht eh thrusting until my girlfriend looks at me, like, why, I am not enjoyin gthis as much as you, just do me right... May have shared a little too much there... Still. Sexy tune. Whoah... That part moving towar the end... So weird and cool. POW!

"I Appear Missing" oves along opening with a very slow groove feel. I dig it.  Opens up nicely. Nothing uer special, it's really cool, but just a refrained section thus far... Lest see whre it heads.cooll tesion building. Drop out... Back in and... Drop... Back in... Repeating.. Nope heres. Shit it is repeating. Kind of. Really cool. I like all of the movement here. Cool guitar work again... No shredding. Just... Feeling int. Cool driving moving toward the ending... Another acceptable fade out as the musc fades to naked voice.

The title track, also the closer, "...Like clockwork" openss with ckeys. Slow and pretty. Keys and voice is all thus far.Really nice falsetto. I really love the voice. Hvae I said that? I think mayve?

Really cool grotwth as everyting kicks in. And yet agian some awesome guitarwork. Strings are cool too. Drop to piano. An bas and drums kink in. Nice push into the ending.

Final Thoughts (Again):

Really cool disc. Too drunk to say more. Check it out. I have to whn I'm less... thins....

Gotta rest... Comment. And... autsad.sf;hsadfjl;ksadf. Fuck typen.

-Badhorse

Celebration of Distractions - Panic! At The Disco - Too Weird To Live, Too Rare To Die!

Hello, all. I would like to start this off by informing you that while I usually wait until I start typing out this blog to drink, tonight, I broke in to my beer early, and thus, I have a solid buzz going at this point. I am continuing my look back at albums I was not able to review over this year.

Tonight, I will be doing Panic! At The Disco's latest effort, Too Long to type out. Here is everything I know about P!AtD (Not sure if that's the appropriate abbriviation, but it's what I'm going with): They are signed to Fueled By Ramen (Go Vinnie!), A Fever You Can't Sweat Out is a beautiful work of art, I've heard absolutely nothing other than that album. Yep, that sums it up.

'I also know that they have a thing with long titles that may be butchered by my increasingly drunk self.,,

So before I get more drunk... On. To. The. REVIEEEEEEEEEW!

Album:

Panic! At The Disco - It's typed in the title...

Alcohol:

Sierra Nevada's Celebration Ale

"This is Gospel" opens us up with a heartbeat... well.. beat. Going into electronic vocals. Building nicely. Excellent electronic explosion. Probably one of the best I've heard. It's weird being this okay with the electronic feel, but this is really good. God, that push into the chorus is incredible. Well, done. Strong opener here.

Heartbeat outro slows before "Miss Jackson" opens with female vocals. The tune move into a cool beat, and the verses have a nice groove. This is way too poppy for my tastes, yet somehow, I'm digging this hardcore. The drive and dynamics are nice. The groove is beautiful. It's definitely NOT anywhere near their debut album, but still excellent.Really cool bridge. Still gratingly popppy, but.... I like it.

Woah... Transistion threw me... Any how. Cool little thing, then we are into "Vegas Lights". This tune settles into a cool electro punk feel. Not quite as in-your-face as it's predecessors, but not bad either. Very reminicient of the Killers. I wish I were a little more sober to pick out more lyrics, but I dig this in a weird who-am-I? sort of way.

Moving into a REALLY cool electronicy "Girl That You Love". THis is how, like, ALL electronica should be made. Like, I'm not sure what I was expecting with this album, but I know this is not it, and I'm okay with that. Really okay with that. It's a pleasant surprise. Like aa Christmas gift you really needed but forgot you needed in the suffle of all the things you want. You know the feeling? No? Well fuck you then, just listen to the album. This track is super melow, but really cool.

"Nicotine" Comes in super cool wth some keys before a killer synth cts through everything. A very primal beat. And drp out. Cool tune. Like REALLY cool tune. Favorite thus far. Lyrically beautiful. Holy shit. Awesome tune.Gonna smoke a cig to this one. God. If you hear one song off of this album, make it this one! Amazing!

Girls/Girls?Boys is a cool groovy song, and P!AtD is hitting their stride a little bit. Or... Wait. this song is slightly less inspiring. Cool, but knidof meh... nt track. Cool parst, but I'm getting a vaugely filler feel. Goodish tune.

Cool electronic intro to "Casual Affair". Nice groove here. Why isn't every electronic song like this? P!Atd is selling me on electronic music right now, and I'm impressed. This tune has such n amzing feel ike. Ethreal and groove at the ame time. Cool brakdown-ish thing. I LOVE that chorus. Drop out. Beat comes back. Excellent break into keys to end the track.

And sythn coms out of that to start "Far Too Young To Die". Cool electronic beat here again... Nice growth into the chorus. Standard popish tune. I can dig it, bt not anythin astounding. Ooo. Cool heavy push coming out of the second chorus. Into heavy chorus. Nice end.

"Collar Full" opens with a nice synth line before kicking into a nice driving ellectro-punk track. Cool tune, but the album fells as though it's tappering off. This song is cool, but they are really going to have to give a nice end. That being said, I'm still sold on this disc. Whoah. Really cool shitty guitar line there. I dig it. Cool growth into the final chorus here aswell. 

"The End Of All Things" starts the end of the disc with a nice piano line. Starting a very ballad feel as stings come in. The vocals mirroring that of the opening track. I like that. Tension created here... Waiting to see where it goes. Fades... Piano saves it. Nice. Still ballady. Really cool play with the vocals and piano. Pretty. I can dig pretty.

Final Thoughts:

I could blame it on being drunk, but the fact of the mater is... (Gulp) Panic's Too drunk to type it is a great electronic disc.... Yes. An electronic album that I like. It happens. Sometimes. I love it. If you dig electronics, or apparently, even if that's not your thing, you'll probablly find something you like on this disc. And that will probably be track 5... Nicotine. I'm going to listen to that again. 

-Badhorse

Two Hearts and a look back - Dott - Swoon

Hello, friends, readers, people who find themselves here completely by mistake (I'm sorry), it is time again for me to make a mockery of both myself and as we progress, the english language as I provide you with my terrible-yet-always-accurate opinions on music I've never heard.

It has become apparent to me that we have reached an end of relevant albums being released for the year (at least so far as my lackadaisical internet research is concerned). Thus, I will be turning my attention to albums I have missed this year due to various reasons.

Starting out this few week run is a band by the name of Dott. I found them randomly, and aside from the name and solid recommendation from a random website I've never heard of and couldn't find again if I tried, I know absolutely nothing about this group.

However, if animal masks are any indication of music, I may like this one.

I made sure to fight through the snow to get myself some Bell's Two Hearted Ale for this because it sounded like a good beer to have. And since thats all I have to say about that, on to the review!

Album:

Dott - Swoon

Alcohol:

Bell's Two Hearted Ale

"Small Pony" brings us in with drums and feedback before kicking in nicely to a lo-fi feel that is nice. There is a lead instrument I can't quite make out. I think it's just guitar distorted awesomely. The farty bass is love ly. That drop out bofore the final chorus was nice. The kick in was subtle, but the drum fill was cool as hell. The oo's to finish are a nice touch.

And keeping with that heavy-yet-low-key feel is "Day That I Found You". It has a cool punk ballad feel. That farty bass continuing to drive the album. The songs are simple, but well done. And the trasition to the bridge was awesome. I really love the vocals as well.

"Rain Day" opens with naked voice before the drums come in with more beautiful bass, this time they dropped the fuzz, but the tone is still incredible. I really like the bouncy feel, and really cool explosion there. It's hard to read any formulaic structure here, and that's a good thing. Build. No big reveal, but well done nevertheless. I dig it. A lot.

Voice and claps open "Tefl". The track settles into an almost 60's ballad feel. Pleasant. Well done with the harmonies. This is a style that's easy to do, but not so much if you want to stand out while doing it, and this song is standing out to me. Even the cliche "Do-Wap's" aren't enough to bury this song into "overdone." it's a pleasant song. And executed well.

"Leave Tonight" opens with guitar and voice. I love the vocals here. Drop out. Excellent kick in. Subtle, keeping the pace down, but effective. Second drop out comes back bigger into the chorus. And nicely catchy with the oo-OO-oo's. Driving low again. a little more tension here. Beautiful cymbal build. Drop out. Chorus again, and I'm in love with the basslines. This may be my favorite moment on the disc so far. 

Coming in to slow the pace is "Talk toYou". Ballady fel here, but there is a nice slow build being felt with the drums. Growing into a really cool lo-fi epic feel. Parts of this give me a what-if-the-Deftones-went-lo-fi-indy feel. I dig. Very much.

"Love You Too" opens with big-ish guitars before settling into a nice bouncy tune.  I really dig these vocals. They are... I don't know... Subtly powerful? They fit the music in that way. This band could have gone straight pop-punk with better production, but they recognized that the feel of restrained power can speak volumes more. It also allows more depth without just turning into a wall of sound. Fun tune.

Driving bass carries on the uptempo feel set up by the last track on "Start All Over". This song is fun and bouncy, and I dig the chorus. Seriously compositionally, I'm loving the structures. It's, like, all over the place, but not enough to lose you. This drummer is fun to listen to as well. Lowkey chorus. Into big chorus. Excellent.

"Love You Forever" comes in with drums and cool vocals. I really dig her voice and the ways she uses it. This song is badass. Much more badass than I was expecting for a song with this title. Excellent building bridge. Cool explosion. New favorite track. Cool drop out ending.

"Last Summer" comes in as another sort of ballad. Thus far, the pacing has been a really cool blend of ups and downs. Nothing  abrupt or off putting, but flowing in and out. It's really well done. This song builds and gains pace through out and sets up to perhaps even not slowdown at all. It's so cool to have nice pacing while still not being able to predict the disc. My only complaint that I could even find at this point is a lack of complete climax. This, however, could be a product of the lo-fi feeling production.

"Cherry Blossom" comes in with guitar, and vocals soon come in and the song starts driving. Building into a second refrain of "Cherry Blossoms" Building still. This time with harmonies. I love this. Bass is amazing here as well. Vocal build here. God, that drum fill was killer! Okay... Album climax. We are talking spooge in the face with this track. I dig it. I dig it. Oh, and that bass to end it. On to the epilogue?

"Another Summer" opens as another pretty ballad. Cool bass lines abound, build into... Fake out. Build again...  Subtle pop... Cool as it moves. Building again. Drops down. Really cool power moving into the end captuing every bit of lo-fi awesomeness here. Drop out ending, and I'm sold.

Final Thoughts:

If you want a really cool listen with ups and downs and beautiful lo-fi presence, this is your disc. If you don't, you're probably reading the wrong blog. I really dig this disc. It's all there, the only concern one may have is the vocals. Personally, I love them, but they are a bit static throughout, so if you don't like them with the first track you hear, this is probably not your band, but if you fall in love as I did, get this one. It's good.

As always, leave your praise and worships below (also your hate and condemnations).

-Badhorse

Bruised Rib and a childhood hero - Boston - Life, Love & Hope

Long ago, this humble blogger was killing time while his father was doing work on cars. You see, cars were never a big interest, and although his father would try, the child would never take. However, in the garage, next to an old component stereo, there was a cassette case. This is always where the child's attention went when his father started to work. Sifting through its contents, he discovered the likes of Billy Joel, ZZ Top, .38 Special, etc. These were all fun to listen to; however, the one cassette that he fell in love with completely had a set of guitar-shaped spaceships on it.

As he got older, he learned of the magical tale of badassery that was this album's creation. The epic innovations of Tom Schulz, and the pure shitatical-ness that was the music industry. You can read all about it here.

Bringing us to today, when an album 10 years in the making is being released by a band I have adored for nearly my entire life.

If the future doesn't look EXACTLY like this, you can count me out.

I am beyond pumped for this one, and fresh off a Thanksgiving trip to my native Iowa, nostalgia is still lingering with me (Also lingering is the pain from slipping on snow and bruising my ribs to clarify the title). So before I carry on with anymore musings from my youth, on to the review!

Album:

Boston - Life, Love & Hope

Alcohol:

Rebel Yell Kentucky Straight Bourbon Whiskey

The disc opens with "Heaven on Earth". A nice riff gives way to a slowly building bridge. Not too much of an open up, but a nice ballad feel. The vocals are very low, but nice. And I like the guitar compliments. I'm not really being wowed here, but it's early, and I have hope. Cool guitar parts, but over all this one is kind of blah...

Opening with a phone ringing over an organ is "Didn't Mean to Fall in Love". This is another slow moving ballady tune. really pretty guitar work there. Whoa. Abrupt change up into that organ line. Vocals are still way too quiet for me. This song is giving me an 80s pop vibe, and I'm not sure how I feel about that... Fixed the vocals with my EQ; however, it did little for the 80s pop thing. =/ Not that it's bad thus far, but certainly off from my expectations. Ew. Fade out ending. Bad choice. ALWAYS.

"Last Day of School" opens with keys and some nice, promising guitars. Lost of cool things happening here. Still mellow, but this is quickly restoring my hopes. This seems to be an all instrumental track, and it's a beauty. Cool track.

"Sail Away" opens with a weird feel and some interesting samples. Epic feel as the guitars come in. Cool drop out into piano. Strings slowly come in. Such a tension with vocals and guitars. Building. Drop to the samples. Into an almost marching chorus. Cool feel, but still so far off of what I was expecting. God, those guitars are epic though. Second chorus, nothing too special. Interesting breakdown. Cool ending.

The title track comes out of the abrupt ending in a driving fashion, and again, my hopes raise. Still a little mellow, but the disc is definitely picking up pace. Cool vocal chords in the chorus there. But I'd like a little more umph. Thus far, the album has been considerably lackluster. There are cool things, but the songs over all are just.. blah...

"If You Were in Love" comes in with keys, and a female voice. Guitars add build. Really cool feel as the song grows. This is the one... I know it. Settling into a chorus... Drop out to keys and voice again. Build, but nothing pays off. Building again... nope. At the very least, this is pretty. Cool build. And the guitars seem to push through the utter muddiness that is the voice. It's like everyone is shying away from really ripping on vocals. They are just soooo static.

"Someday" comes in with a slightly up beat tempo, but still, the vocals are just boring. I appreciate the harmonies, but where are the soaring vocals that made me fall in love with the band? Am I listening to a choral rendition of the album? Did they forget to ad the lead vocal tracks to the final mixes? Cool harmonica. Also cool organ. Meh song.

Moving onward, "Love Got Away" opens with *gasp* a single voice with guitar. This has a kind of cool feel, but the vocals are so quiet except when there are ten of them, and then, it's like, in your face, but not in the good way... Really cool solo here. The music is SOOOOO ambitious, but I feel no justice is being given by the vocals. There may be cool things happening lyrically, but they are all either buried by too quiet single voices, or too muddy choral voices. What gives, Boston?

"Someone (2.0)" comes in with a cool organ and some nice guitars. The voice, again, lacking any umph whatsoever. Well, my hope is al but squandered here. And god, the music wants me to hold on, because its sooooo good, but you NEED the voice to be there. Sadly, I don't think I ccan drink this album better, but I am damn sure gonna try...

I was drinking, so I wasn't typing out anything when this song opened, but thus far the strongest vocal showing is here. Ohmygosh! Belting. Vocal swelling with guitars! It can happen! Oh! drop out with Naked voice holding a beautiful note. Guitar solo. Cool. drop out. Best song on the album thus far. Not saying a lot. Cool driving guitar behind pretty acoudstic. awesome kick in! There's BostoN! Took until the second t last song, but I knew they'd get there.

Final track. Opens with piane. And another 80s pop tun. Drinking again.... This song gives me the feeling that John Cusak i standing outside my window. Which makes me feel special and dirty at the same time. Mostly because I'm in my underwear, drunk, and, let's face it, I'd hit that just to say iv'e been there at this point. Goddamn you alcohol. What's that? Oh, the disc ended. 

Final Thoushts:

Sooooooo... I'm gonna go listen to the first Boston recod to wash out this bad taste in my ears. That is all.

-Badhorse