I can't really say anything that hasn't already been said about OK Computer. The soundscapes are boundless. This album represents that alienation that a generation felt after the grunge era. Social discord has never been so disturbing. A perfect album, one that will never be equalled.
Queens of the Stone Age continue to be, with My Morning Jacket, one of the two most underappreciated bands in the world. The first five tracks on this album are all as good as anything Queens of the Stone Age have ever cut. The manic, terrifying Sick, Sick, Sick features guest vocals by Strokes frontman Julian Casablancas. The highlight of the album, and one of the highlights of Josh Homme's career, is the tremendous Misfit Love. His patented funky stomp/groove is in full force and reaches its peak less than a minute in. At this point in his career, Josh Homme would have to try to write a bad song. Era Vulgaris is yet another stellar album from the most consistent band in the business.
Aenima, Tool's most commercially unsuccessful album also happens to their best, and its not close. With the addition of their secret weapon, bassist Justin Chancellor, Tool sounds MONSTROUS. Chancellor's bass lines are completely independent of guitarist Adam Jones', unlike his predecessor, Paul D'Amour. Lyrically, the album is heavy, courtesy of tortured anti-hero frontman Maynard James Keenan. The sound is not overly clean, like Aenima's follow-up Lateralus, nor is it grungy, like their first LP Undertow. Track highlights include the timeless first single, Stinkfist, the rhythmically incredible 46 & 2, and what is possibly Tool's finest hour, the amazingly intense Pushit. With Tool, the whole is indeed greater than the sum of its parts. An incredible album.
The rap-rock revolution has now spawned artistic integrity-free copycats. After the success of Outkast and Gnarls Barkley, an abomination of this magnitude was inevitable. Three marginally talented "musicians" have dumbed down the styles of viable artists. Shop Boyz, who were likely formed boy-band style by a record label. Depending on the long term commercial success of Rockstar Mentality, this could lead to a swarm of money hungry imitations. For the sake of the genre and genuinely talented musicians therein, I implore you: PLEASE do not encourage this kind of travesty. Save yourself and the music industry. DO NOT BUY THIS ALBUM!!!!!!
PJ Harvey's first album arrives with a complete sound constructed. There is not an ounce of effort or conviction wasted. Sheela-na-gig is what Nirvana would sound like with a female singer. Oh my Lover is one of Harvey's best early vocal performances. The crushing one-two punch of Dress and Victory will always be live favorites. A song that flies under the radars of a lot of Harvey's fans is her phenomenal seventh track, Hair. Drummer Rob Ellis is a logical precursor to Radiohead drummer Philip Selway's creativity and precision in the 90's. Throughout the album, Harvey's lyrics are alternately angry and pleading. An incredible debut, especially considering that her only near miss 15 years later was 1998's Is This Desire?
Ben Harper triumphs with his most eclectic work to date, Diamonds on the Inside. He channels vintage Bob Marley on the opening track, With my Own Two Hands. The album also features concise pop songs such as Everything. Ben also adds piano to his repetoire on the gorgeous Amen Omen. Brown Eyed Blues and Bring the Funk show sound like Parliament/Funkadelic mixed with a bit of Phish. Overall, Diamonds on the Inside is Ben Harper's most fun, diverse album yet.
Lou Reed's amphetamine fueled masterpiece White Light/White Heat is the grand predecessor to punk and grunge. The title track directly inspired David Bowie to write his timeless hit Suffragette City. The Gift follows a terrifying John Cale tale over a lurching mutant groove. Cale's delivery is totally devoid of emotion, adding even more discomfort to the track. The final two songs, I Heard Her Call my Name, and Sister Ray, are Lou Reed at his best. His tortured, fractured guitar work will not bring to mind any previous blues scale invented. Sister Ray is the sludgiest, most deafening 23 minute stomp/groove freakout in the storied history of freakouts. It is the perfect way to punctuate one of the most innovative, original, and fearless records of the 60's. White Light/White Heat is a must have.
There is nothing ironic in the Black Keys interpretation of the blues on Rubber Factory. These two gentlemen from Akron, OH seem to have discovered Junior Kimbrough and Muddy Waters well before they heard the work of Led Zeppelin and Cream. Their blues is fused with nothing. The first single, 10 am Automatic, should instantly silence skeptics. The beautiful, lap steel tinged Lengths is a welcome respite from the powerful beginning of the album. Aeroplane Blues is CRUSHINGLY loud, as powerful sonically as any blues attempt in the last ten years. Stack Shot Billy and Grown So Ugly feature creatively constructed drum patterns from drummer Patrick Carney. Guitarist/vocalist Dan Auerbach seems to have been gargling with southern fried chicken to sing the way he does on Rubber Factory. A stunning step up from one of the most exciting young bands in the world.
Muse have been headlining stadium shows in Europe for years, and with Black Holes and Revelations, they attempt to do the same in the States. Their sound mixes elements of Bends-era Radiohead with the more bombastic parts of Queen and U2. Make no mistake, Muse are not a Radiohead rip-off. They have forged their own sound, particularly on this album. The album begins with the bleak, foreboding Take a Bow, with an aching vocal performance by Matthew Bellamy. Other highlights include the Depeche Mode-esque Map of the Problematique, the anthemic Starlight, and the gorgeous choral elegy Soldier's Poem. Muse should also be seen live at all costs. A very consistent and powerful album, one of the best of 2006.
Chad Kroeger and Co. have made no effort to improve with their train wreck, "All the Right Reasons." The classless Kroeger lacks any tact lyrically or stylistically as always. The vague melodrama award goes to the ballad If Everyone Cared. Kroeger's blind idealism is more akin to the hippie movement than his obviously cherished 80's hair metal. He also manages to give narcissism a try with his pointless, cheap nostalgia ridden first single, "Photograph." This album has provided a talentless, corny, money driven band with the means to do the only thing worse than All the Right Reasons, make another record.