Word: riffs
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Dates: during 2000-2009
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...gives bassist Brian Gibson’s densely layered effects a bit of breathing room, revealing a textural intricacy that is lost in live performance. On “The Sublime Freak”, Gibson’s feedback-soaked bass rattles the hi-hat before diving into a riff as catchy as you can expect from the borderline noise that is Lightning Bolt. Multiple effects chains are audible above Chippendale’s machine gun drumming, and the latter half of the track features multi-tracking that would have been unthinkable in the band’s early days...
...after several years of live collaboration and half a year’s worth of hype, their self-titled debut lacks coherence and originality.“Monsters of Folk” oscillates between Oberst’s tired country tropes and James’ burnt-out classic rock riffs. The numbers that feature M. Ward’s vocals provide consistently solid songwriting, offering several truly fantastic tracks on an album that, on the whole, feels slap-dash, poorly executed, and only mildly enjoyable.On tracks like “Say Please” and “Losin?...
...Pearl Jam,” their most overtly political albums, Eddie Vedder sounded like he had the weight of the world on his shoulders. “Backspacer,” by glorious contrast, features Vedder and the band deriving immense enjoyment from their craft. In every riff and solo, in Stone Gossard and Jeff Ament’s versatile rhythm section and Matt Cameron’s punchy drumming, their pleasure and relaxation can be felt. But the biggest revelation is Vedder. For the first time, the lyrics are upbeat, not dwelling on the world’s woes...
...Still,” the distinction between Vernon and CoCoB’s contributions is clear, but on “Island, IS,” Volcano Choir prove that they are indeed one cohesive band. The track centers on a mesmerizing guitar and synth riff, enforced by tropical and free-spirited percussion. Vernon’s impassioned harmonies and falsetto fit skillfully on top of the rhythmic loops. The light-heartedness of the instrumentation makes the pathos inherent in Vernon’s voice less grounded, resulting in a track that is simultaneously light and catchy yet deep...
...Feeling Good,” a curve ball might crop up, but for the most part, Muse sing about one thing: the end of the world.A theme that big requires music of a similar scale to prop it up. For Muse, that means crunching guitar riffs and driving base lines overlaid with Matt Bellamy’s operatic, choirboy-gone-bad falsetto. When all these elements come together, Muse songs can be sublime slices of ominous, oddly euphoric prog rock; when they don’t, the songs veer quickly into the realm of the absurd. Through four albums...