Album Review: "Le Noise" by Neil Young

Neil Young nearly succeeded in making one of the least accessible albums with his appropriately titled solo work. The album opens with heavy, distorted electric guitars. Just heavy, distorted electric guitars. For some reason Young that it was a good idea to perform songs solo without a band and on top of that play with dense electric tones that sound like they recorded through a direct input.

The effect is not very pleasant.

The first songs contain more distortion and generalities than you can (or want to) shake a stick at. In the first two tracks, Young manages to sing two songs without actually saying anything (anything of value, anyway). Not only are these songs bland lyrically, they aren't catchy musically. Luckily, the third track on the album manages to save the ship from sinking with a half-way interesting riff.

The electric fuzz suck-fest is broken up mercifully by "Love And War", the first listenable track on the album. Again, Mr. Young really doesn't say a lot here. His musings are summarized at the beginning of the song: "When I sing about love and war / I don't really know what I'm saying." The thoughtful guitar work on this song and the absence of electric guitars make this song passable.

The listener is dumped back into the heap of slogging leaden guitars with the album's first single, "Angry World". The lyric "It's an angry world / And no doubt everything will go as planned" is the only thing that keeps this song from being total bollocks.

After the autobiographical "Hitchhiker" comes "Peace Valley Boulevard", a sparse acoustic number about America's expansion and the consequences of industrial progress. This is easily the best song on the album in terms of lyrics. Thankfully, the album ends on a fairly strong foot. "Rumblin'" is easily the best of the electric numbers and actually expresses some potent sentiments. It's a shame it wasn't placed earlier on the album. A gem isn't always appreciated when you have to wade through a seemingly endless swamp of dreck to get to it.

Needless to say, I was not impressed with this album at all. Young performs an incredible feat, making an album of only 8 tracks that sounds desperately repetitive. The songwriting is widely uninspired and the production, in most cases, is grating and nearly unbearable. It seemed like Young wrote bland pop songs and then set about stripping away anything that was even remotely appealing.

I understand that Young might be going for a deconstructed rock sound but without the constructive framework of a rhythm section the songs just collapse on themselves, crushed under their own immense weight.

If you're a Neil Young fan, you'll probably want to get this album. If you're not, then I suggest you avoid this buzzing bumbler.

Album Review: "How I Got Over" by The Roots

Despite their success in nighttime television, The Roots haven't lost their edge. They're still sharp, delivering a mature album that deals with despair and how it. If you felt, like me, that the first half of the album was hard to get through, it's because the album is divided into halves. The first half is steeped in melancholy and introspection whereas the second half is all about self-improvement and empowerment.

The album starts off slow with A Peace of Light, an instrumental featuring a capella vocals by members of The Dirty Projectors. Walk Alone follows next, saddled by a heavy, uninspired piano part and a chorus that sounds's like The River of Dreams by Billy Joel. Finally, the album gets a pulse with Dear God 2.0, which couples harps with tender vocals provided by the Monsters of Folk.

We don't get the familiar smooth Roots sound until Now or Never and How I Got Over, which together serve as the emotional tipping point on the album. Now or Never illustrates the decision to stand up and make a change in order to get your shit together. How I Got Over is easily the catchiest track on the album. Black Thought and Dice Raw both give strong singing performances as Black Thought raps about life in the streets and importance of lending a helping hand.

The rest of the album continues the upbeat trend set by the last two tracks. The Day is a sunny call to action and Right On combines a catchy drum break with Joanna Newsom's quirky vocal stylings. Black Thought proceeds to lay his cards out on the table with the help of John Legend on, Doin' It Again and The Fire, returning to his hard-hitting form, confidence restored.

Overall, How I Got Over is a streamlined, focus work. This album has a solid concept, taking a journey from the depths of despair to the heights of empowerment. While it may be hard to get into at first, multiple playthroughs should prove rewarding.

Check it out.

Album Review: "Li(f)e" by Sage Francis

A Healthy Distrust was probably Sage Francis' breakout record and, unfortunately Human the Death Dance was not much of step up for him. Fortunately, Sage gets something he really needed on his latest album: a live band.

Sage collaborated with a host of indie rockers and musicians, working with different musicians on each track, to create a record that sounds different from the rest of his work, with a largely country-rock influenced sound.

Li(f)e opens with Little Houdini, a true story about a man who escapes from jail several times to visit his family. This nonfiction narrative is a refreshing turn for Sage, taking a break from his usual lyricism that often draws criticism for its over-the-top profane imagery and lack of subtlety. The music, a building country-tinged rock beat, is by Grandaddy's Jason Lytle. The lyrics and music mesh perfectly to make arguably the best track on the album.

Three Sheets to the Wind is a straight-rocker conducted by Death Cab guitarist Chris Walla. I Was Zero sees Sage return to old lyrical form over a buoyant accompaniment.

The album's first single is Slow Man. Written long before the rest of this album, the lyrics for this song didn't have a home until it found a home with this tracks bluesy groove.

The album closes with it's second single, The Best of Times. Here, Sage Francis brings back his trademark confessional style, recounting his troubled youth over a beautiful arrangement by French composer Yann Tiersen, who's most known for composing the soundtrack to the motion picture "Amelie."

While this album has a view pitfalls, overall it is very good. The music definitely steals the show and is the landmark difference between this record and the rest of Sage Francis' catalog.

Click here to hear Sage Francis discuss Li(f)e

Read more about Sage Francis and his new album here

Album Review: "Trans-Continental Hustle" by Gogol Bordello

When you listen to Gogol Bordello's newest album you're probably going to pick up on some Latin roots mixed in with the usual gypsy punk madness, undoubtedly influenced by singer Eugene Hütz's relocation from New York to Rio. Hütz's pursuit of Afro-Latin beats has led to a personnel change in the band. Original drummer Eliot Ferguson (once called the only sane member in the band) has been replaced by a drummer by the name of Oliver Charles. Here's a a quote from Hütz on the band's newest addition:

"He comes from a dynasty of drummers from Trinidad, (which is) so essential for some of the new elements in our music. Oliver comes in with a full knowledge to break out the gypsy punk samba. It is out of this world."

Though I hate to see people leave bands (oh what will RHCP be without Frusciante?) as much as I hate to see good bands break up (Rage is never coming back) I can only hope that the split was made on good terms.

Anyway, back to the album. Trans-Continental Hustle opens strong with Pala Tute a song about a gypsy girl from Hütz's youth. The song, which has been a solid promotional favorite and was first heard on the DVD extras portion of Live From Axis Mundi, immediately gives the listener the basic gypsy goodness that can be expected from the band.

My Companjera continues along in the same vein. Musically, this song sounds a bit like a re-hash of My Strangle Uncles From Abroad, from 2007's Super Taranta. Sun Is On My Side adds some variation to Gogol Bordello, starting out as a somber and tender ballad.

The band brings back the fire with Rebellious Love and the album's first single and most punk-influenced effort, Immigraniada (We Comin' Rougher), before bringing it back down again. Hütz gets reflective on When Universes Collide, bringing the heavier fare of gang violence and war to the table. Despite serious musings, the band doesn't let it overcome then, instead rising triumphantly over the melancholy before finishing in a relaxed reprise.

The Latin sound starts coming out with Una Menina and Raise The Knowledge, which sports some mean violin licks and some electric organ (a rare addition for Gogol). The album ends strongly with Break The Spell and the title track. Break The Spell is perhaps the best rock number on the album, featuring exciting rhythms and riffs. The final track boasts samba rhythms and a chorus ripped from You Gave Up (Roumania), a song from the band's BBC Sessions featured on Live From Axis Mundi.

Overall, I'm extremely satisfied with this album. There's not a bad song on this album - all of the songs are extremely catchy and fun. The band, while employing a lot of the same tricks, is using some new influences to freshen up their sound (moving away from a lot of the dub sounds on Super Taranta!)

It's always a party with Gogol. Go get it.

The whole album can be streamed from their Myspace page here

For info on the band and their store go to their website here

Album Review: "Heartland" by Owen Pallett

The third album by Owen Pallett (formerly known as Final Fantasy) is a concept album that tells the story of a farmer named Lewis, and his adventures in the fictional land of Spectrum. The songs are Lewis' words to his maker, one-sided conversations with the god of Spectrum, Owen.

The album opens with "Midnight Directives", a fanciful piece that builds from a mysterious intro into a bubbling bit of call and response. Immediately, the record hits a slow patch starting with the Mission Impossible bass line of "Keep the Dog Quiet".

Things pick up, however, with "Lewis Takes Action", a bright track that proves to be one of the best on the album. It is here that the listener gets a real good look at the character of Lewis, riding on his horse Imelda towards adventure. Boastful, Lewis proclaims "I have a message for the acolytes/I am your man for a wifey fight." Pallett gives us a great image of the ultra-violent farmer brandishing a whip and shooting fire from his fingers.

The plucky tone of "Lewis Takes Action" is cut immediately with abrupt slashes of strings in "The Great Elsewhere". Originating in burbling keyboards and glitchy electronic sounds, this song builds until Pallett's voice is almost overpowered by the orchestra when he sings "My words were drowned out by the sound/Of the motors and rowers, the ship as it ran aground".

Next comes the comparatively stark "Oh Heartland, Up Yours!" and the bright "Lewis Takes Off His Shirt", which might be the gem of the album. The bubbling piece shows Lewis, on his horse, riding across the plains. He's on a mission that he doesn't understand but he has to keep going. He's hot and has to take off his shirt and is gazed upon lustily by the deity, Owen. However, Lewis is defiant and he says "If what I have is what you need/I'm never going to give it to you."

The record stays with the silly for a moment with the cartoonish, time-shifting "Flare Gun" before moving on to something a bit more delicate with "E Is for Estranged". Lyrically, this song seems to be a departure from the narrative of the album. The song seems to be told from Pallett's point of view ("If pathos is borne, borne out of bullshit - in formal attire/I'll score you a string ensemble") and deal with the reflections of a father concerning his son ("I saw my son at seventeen/The shutters made projections on his naked frame"). I felt as though it could've come from He Poos Clouds, as though it were a companion piece to "Many Lives -> 49 MP", which is told from a son's point of view, looking into the future.

Musically, this album is an ambitious step from 2006's He Poo Clouds, as Pallett is joined by a full orchestra (the Czech Symphony Strings and the St. Kitts' Winds). The full, dynamic sound makes for epic arrangements. However, while the orchestration is one of the album's greatest strengths, it is sometimes its greatest weaknesses, as the arrangements can sometimes be overblown and overpowering. For instance, on "Mount Alpentine", Pallett's vocals are almost inaudible under the strings.

However, my opinion regarding the orchestration on this album is due mostly to the love I have for Owen Pallett's live performances. I often much prefer the stripped-down simplified versions of these songs. There is an intimacy and subtlety that is sometimes lost in the grandiose orchestra versions. Overall, however, this album is great, perhaps Pallett's best works to date.

Check out a full-orchestra performance of "Lewis Takes Action" here.

Watch Owen perform "E Is for Estranged" solo here.

Watch Owen play "The Great Elsewhere" with Thom Gill here.

Watch Owen play "Lewis Takes Off His Shirt" solo here.

Album Review: "Contra" by Vampire Weekend

So, I went online to listen to Vampire Weekend's newest album, Contra. The first thing I noticed is that the tracks were listed in a format similar to the track listing for Radiohead's In Rainbows. While Vampire's Weekend isn't available for free download like Radiohead's was, you can stream it for free, which I am thankful because I am currently strapped for cash.

As I said before, I have been excited for this album because I wanted to see what was going to happen to Vampire Weekend's sound. The good news is that this album is not a re-hash of their eponymous debut. The better news is that it's still catchy. Vampire Weekend has released another album that's perfect for the summer, this time combining familiar strings and tropical guitars with electronics. There's plenty of fun melodies and rhythms to be had here. Contra is definitely an improvement over Vampire Weekend, providing more variation in the way of instrumentation supporting Ezra Koenig's vocals.

Highlights include the ska-tinged "Holiday" , the subdued "Taxi Cab", and the soulful "I Think Ur a Contra".

Album Review: "Felt: A Tribute to Rosie Perez" by Felt

When I first learned that rap duo Felt was a team-up between Murs and Slug, my curiosity was piqued. When I learned that Aesop Rock was doing production for their latest release, Felt 3: A Tribute to Rosie Perez, I was hooked in. Aesop Rock is my favorite rapper, not only because he is a great lyricist, but also because of the music under his rhymes. While Blockhead does the majority of the production on Aesop Rock’s albums, Aesop Rock can hold his own and his sound is unmistakable. No one makes beats like Aesop Rock and he creates some of the most interesting and complex rap music out there. I took a quick listen to previous Felt albums and the production overall seemed solid and pretty standard. But it was just that: pretty standard. So, needless to say, I went into this album with high expectations and I wasn’t disappointed.

The album opens with “Protagonists”, a fairly standard hype track where Murs boasts “Who made you want to rap and be independent? /It’s Felt, motherfuckers if you want to come and get it.” Though not the brightest track on the album lyrically, “Protagonists” serves as a preview of Aesop Rock’s production for the rest of the album: rock beats mixed with synths and absurd samples.

The Felt trio begin to hit their stride with the thumping “Bass for Your Truck”, which drives forward, leading into the slightly unsettling “Like You”. Next comes “Permanent Standby”, a track that proves to be one of the best on the album. The lyrics tell the tragedy of a misguided girl drifting from city to city, from drug to drug. The straightforward lyrics are laid perfectly over a relatively sparse beat, punctuated by menacing guitar feedback.

My favorite song on the album is “Ghost Dance Deluxe”, a trip off the beaten path where the guys from Felt confess their love for phantom female. Murky synths and faraway trumpets accompany Murs as he declares, “Forget material girls I need a paranormal chick from an ethereal world.”

For the rest of the album Felt moves back and forth between standard material like the hype tracks “She Sonnet” and “Felt Good”, and more interesting fare like “Henrietta Longbottom”, where Murs and Slugs trade absurd tall tales of the eponymous character. For the most part, Felt 3 is entertaining and catchy. However, Aesop Rock’s production is a bit of an acquired taste, since his beats can be too dense for their own good. An example of this is “We Have You Surrounded”, where the music is pushed way up front and almost completely drowns out the vocals.

Another issue with this album is that it is very long. At over an hour long with 21 tracks, Felt 3 can be a trial to get through, and it is probably Felt’s least accessible album. However, it definitely worth a listen to any rap connoisseur, and fans of Murs, Slug, and/or Aesop rock will certainly find something to enjoy.

Check out Felt online here

Album Review: "The Resistance" by Muse

Well Muse is back at it again with another gloriously over-the-top album. While less stylistically diverse than 2006's Black Holes and Revelations, The Resistance is perhaps the most musically impressive release by Muse due to the widespread inclusion of orchestra parts. This album channels influences from glam rockers like Queen and composers like Rachmaninov and Tchaikovsky. Lyrically, this album is political, as singer Matt Bellamy runs through the familiar fist-pumping rap we've been hearing since 2003's Absolution. Here are foot-stopping anthems about freedom and overthrowing oppression but overall the lyrics are too vague and generic to be truly impressive. Indeed, like many Muse albums, the most impressive thing at work is the music.

The album opens with the first single, "Uprising". UFO synths and hand claps are laid over a thumping bass-driven beat before bursting into a guitar and synth arpeggio-laden chorus where Bellamy lays out his revolutionary campaign promises of "They will not force us/They will stop degrading us/They will not control us/We will be victorious". If you listen hard you can hear Bellamy reaching impressive high octaves on the background vocals, much in 2006's "Knights of Cydonia".

The next track, "Resistance", is a lot more urgent, relying less on crunchy riffs but on galloping drums and echoey pianos. Originally an off-shoot of Black Holes and Revelations' "Map of the Problematique", this solid title track draws lyrical inspiration from the love affair in George Orwell's "1984".

"Undisclosed Desires" is the album's first stand-out track. Featuring a pizzicato string section, this song sounds almost like a straight-forward pop song, almost so much that I can imagine Matt Bellamy doing some sort of Justin Timberlake dance while singing it.

The glam rock really comes out in "United States of Eurasia/Collateral Damage (Excerpt from Nocturne in E-Flat, Op.2 No.9)" as well as a number of classical influences. Bellamy cited Maurice Ravel and Peter Tchaikovsky as influences, which definitely shows in the dramatic post choruses. The pre-chorus sounds like it was ripped straight from a Queen song, as Bellamy belts over a screaming guitar. After an operatic climax, the track settles into Frederic Chopin's Nocturne in E-Flat, played on piano with a string accompaniment over sounds of children and then sounds of warfare.

"Guiding Light" proves to be the only low point on the album, a tribute to 1980's stadium rock that's just too cheesy for it's own good. "I Belongs To You/Mon cœur s'ouvre à ta voix" brings some pop quirks to the album with a solid groove and some silly circus songs. An excerpt from Saint-Saens' opera Sampson and Delilah is included in the middle of the song and the whole thing is wrapped up with a playful bass clarinet solo.

The last three tracks are a three-part symphony inspired by Rachmaninov, Strauss, Chopin, and Pink Floyd. Part 1 sounds like a more melodic version of the Smashing Pumpkin's "The Beginning Is the End Is the Beginning". Part 2 starts out like a softer throw-back to their 2003 track, "Butterflies and Hurricanes". Part 3 provides a sweeping climax before quietly cooling down in a reflective resolution.

Overall, this is an ambitious and exciting album. I bought the iTunes LP for $12 and it was definitely worth the price as it came with lining notes and bonus videos.

Album Review: "Can't Maintain" by Andrew Jackson Jihad

This band was brought to my attention by friend Sepanta and boy was it a good find. Andrew Jackson Jihad is a folk-punk band out of Arizona. Sean Bonnette plays guitar and provides lead vocals while Ben Gallaty plays upright bass. They formed in 2004 and started releasing recordings in 2005. 

Recently, I listened to their latest full-length album, Can't Maintain, which will be released in September. My first impression of Andrew Jackson Jihad was that they sounded like a mix between The Mountain Goats and Dead Kennedys. I sensed a bit of Neutral Milk Hotel folk-punk influence, which was reinforced when I saw one of their singles that featured a cover of "Two Headed Boy" and had artwork that took off the cover for In The Aeroplane Over The Sea. 

The album starts off with "Heartilation", one of the most straight-up punk tracks on the album. The vocals on this track, like many of the others, sound urgent and nervous, almost yelpy. "Love in the Time of Human Papillomavirus" is probably the most beautiful song on the album, with a somber string arrangement and female back-up vocals. The silliest song on the album goes to "Kazoo Sonata in C Major" which is exactly what is sounds like. Overall this is a good album. The lyrics are honest and sharp. Bonnette rips out his heart and slams it down over

every song. The music is bouncy and fun. Listen to it.

Andrew Jackson Jihad's website

Andrew Jihad Jackson on Myspace

Album Review: "Wilco (The Album)" by Wilco

I once said that I would never like a band that had the same name for their band, their album, and one of their songs. Well, Wilco proved me wrong. Wilco's newest album, Wilco (The Album) is another great release from the Chicago-based country-influenced alternative rock band. It was so good that it made me give another listen to their last album, Sky Blue Sky, which I, for the most part, had just passed over (which now I can see was undeserved). The album starts with Wilco (The Song), a quirky little number where Jeff Tweedy declares "Wilco will love you, baby." The lyrics sound like a commercial advertising the band, a comment on how bands must promote themselves and their music. The next track is Deeper Down which sounds a bit like a fuller fleshed-out take on the experimental sounds of Yankee Hotel Foxtrot. "You And I" is a warm love song featuring Canadian singer-songwriter, Feist. Overall, Wilco (The Album) is filled with great, well-executed songs driven by lush instrumentation, great guitar work, interesting harmonies, and Tweedy's heartfelt vocals.

Album Review: "The Ecstatic" by Mos Def

While I was taking a shower this morning I found myself wondering "When is Mos Def going to release a new album?" Later, I logged into to iTunes to buy a couple Tom Waits tracks and I was surprised to see that Mos Def had released a new album two days ago. The Ecstatic is a solid rap record in which Mos Def sings and raps his way over an ever-changing soundscape. While 2004's The New Danger has a lot of hard-rock and blues influence, The Ecstatic encompasses a wide range of styles and influences which may be attributed to the fact that seven different producers worked on this album (excluding Mos Def). Overall, this album has better grooves and is it a bit more playful that his last release.

Listen to it suckas!

Album Review: "For All I Care" by The Bad Plus joined by Wendy Lewis

Ah fuck it, I can't let Blogged Drainpipe die easily, because I'm pretty sure no one will be there for the funeral. Well if anyone's out there I got something for you. This month I have decided to review The Bad Plus' newest album For All I Care. The Bad Plus is a acoustic avant-garde jazz trio from the Midwest. Now that might not sound to exciting, but I assure you they kick ass and rock harder than most bands out there. Yeah that's right, these guys rock. The Bad Plus is a jazz group that is influenced by the likes of Rachmaninov and Nirvana just as much as they are influenced by the work of jazz musicians like Ornette Coleman. 

Since their debut in 2000, The Bad Plus have perhaps become best known for their pop repertoire, covering such rock songs as "Smells Like Teen Spirit", "Karma Police", "Iron Man", "Immigrant Song", and "Tom Sawyer". While they also compose their own pieces, For All I Care is their first all-covers album. On it they cover pieces by Pink Floyd, Wilco, The Flaming Lips, Milton Babbitt, and others.

The next notable difference between For All I Care is the presence of vocals. This time around The Bad Plus are joined by Minneapolis indie rocker Wendy Lewis, who has performed with several bands and worked with Andrew Bird.

There are several stand-out numbers on this record. The album starts out with a lurching version Nirvana's "Lithium". Lewis' vocals are laid lazily over a stretched-out beat (the band extended the lines of the song by adding half a beat, changing it from 4/4 to 5/8). The drunken feel fits perfectly with the song. "Long Distance Runaround" starts with a bit of a latin feel before progressing into a swing ballad. Next the band moves into a classical number, Milton Babbitt's Semi-Simple Variations, a jittery piece that darts around.

Overall, this is a good album. The band's interpretation of the songs are at most times faithful and interesting. The Bad Plus is a good group for the jazz novice and pop music fan.

Sigur Rós: Med sud i eyrum vid spilum endalaust

Though the title of the latest release from Sigur Rós may seem like a mere jumble of letters (or for that matter, a bunch of gobbledigook), it translates into English as "With a buzz in our ears we play endlessly." One could only hope that this Icelandic group does play endlessly, producing more beautiful music for all eternity. Once again, Sigur Rós deliver what they are most well-known for: beautiful, soaring, ambient music. On this Sigur Rós paints a frosty landscape of untold mystery and wonder which is characteristic of their earlier work. However, this does not mean that the group's sound has gone stale. In fact, it is quite the opposite as there are many delightful surprises to be found. The album kicks off at a rapid pace to the sound of hand claps, call-and-answer guitars, and la-la-la's with Gobbledigook, a quick and intensely fun number that still manages to show off their harmonizing talents at a tempo befitting a pop song. The second track, Inní mér syngur vitleysingur opens like a cheerful children's parade, bouncing forward at a joyful pace. Midway through the album lies perhaps the album's best song, Ara Bátur, which really showcases singer Jónsi Birgisson's vocal talents. The song starts with just piano and vocals but eventually peaks in a heavenly, epic climax with the aid of 67 piece orchestra and a children's choir. The final surprise comes at the end of the album with All Alright, the first Sigur Rós song to be sung in English. Overall, the album is beautiful, triumphant, sorrowful, joyful, empty, full, fast, slow, wonderful, beyond description. Listen to it.

Sigur Rós website download page:

http://www.sigur-ros.co.uk/media/

Myspace page (featuring helpful audio clips of pronunciatons):

http://www.myspace.com/sigurros

Samples available on last.fm:

http://www.last.fm/music/Sigur+R%C3%B3s

The Fratellis: Here We Stand

Tonight I give up my album-reviewing virginity with a look at Here We Stand by The Fratellis. Over the 6 or 7 months I had fallen in love with The Fratellis debut Costello Music. I delighted in its unabashed, youthful pub-rock sound and the catchy story-telling lyrics. It quickly made it on to the list of top albums (most heavily dominated by Radiohead) not because of its innovation or artistic merit, but simply because it was fun to listen to and had a lot of songs that I could enjoy again and again.

When I learned of The Fratellis' sophomore album I eagerly anticipated for of the same high-energy pub-rock from the British trio. However, I was disappointed but at the same time pleasantly surprised. On Here We Stand, the group makes an effort to move away from this sound for better or worse. They experiment with different guitar tones, sometimes opting for a heavier sound than is typical of their earlier work. More focus has been put on guitar riffs rather than just rhythm guitar. Guitar solos are longer and more frequent than on their previous album. Also notable is the use of piano in several of their songs and a broadened range of percussion.

Overall, they have a created a more diverse sound. Even though this shows the band's potential for growth, it also brought them close to music clichés in several songs, with predictable melodies and song structures. However, there are always a few surprises waiting around the corner, and The Fratellis have proven that they always have a few tricks up their sleeves.

Highlights:My Friend John, Baby Doll, Look Out Sunshine!, Milk & Money

Lowpoints: Jesus Stole My Baby, Straggler's Moon, A Heady Tale

Here's a link to the music video for their single Mistress Mable:

http://youtube.com/watch?v=pVAQoBwXR20