Those “RIYL” tags magazines and press releases use to simplify an entire thought process into easy-to-use comparisons and generic recommendations are certainly handy aren’t they? Passive listeners raise the roof at the incredible ease in which thinking has been denounced to nothing more than association. Perhaps it is the fault of the many artists whose work is so lacking in any distinctive traits that we reviewers are left with such a feeble route for discourse. Maybe people just don’t listen enough; and thus quick analysis has become routine to ensnare potential revenue cows. Nonetheless, it is quite perturbing that Ahleuchatistas have so effortlessly been recommended to those who like Don Caballero and Rush. Not because the comparisons are without merit, but because Ahleuchatistas simply has a lot more to offer than just being some offshoot of the mentioned groups. Formed in the untapped resources of mountains high, this unrelenting trio is everything the rational listener dreads: that music is no mere form of comfort, no warm bed light to soothe, no outlet for understanding.
It would appear that the two characteristics most common in Ahleuchatistas that in one way or another could be derived from both Caballero and Rush would be the ideas of “progression” and “mathematics,” and while they do possess a certain progressive nature, there isn’t too much to warrant “math-rock” descriptions. That would mean there is some form of structure or certainly involved within the music and that negates the strongest aspect of what is on display here. This trio relies more on freeform expression than anything that would construe a distinct meaning or interpretation. And it can be said that music sans lexica is a far more challenging method of conveying ideas and emotions, but that is precisely the quality On the Culture Industry so strongly exhibits. There really is more that one way to absorb the bass-heavy, frantic, wavering of “Lacerate,” easily the album’s most winning combination of boundless and bounded instrumentation. Similarly, the rest of the album may pull instances from a range of styles – the eerie atmospheres of “I Don’t Remember Falling Asleep Here,” the frenzied metal leanings on “Fodder for Defamation,” and the more systematic deconstruction of noise in “Empath / Every,” (even briefly sampling instances of melody) they never quite settle for one lucid trait.
So it would be far too basic to lump On the Culture Industry as an album exhibiting a singular scheme. They’re very keen on breaking specific molds; boldly implying more complex, unstructured entities that have been formed from recognizable styles and genres. Repeated listens will evoke new understandings and ideas, undoubtedly awakening emotions previously unfelt – and that is a quality a lot of music today just isn’t built to do. Simpletons will be fazed; caught in a dimension wrought with confusion, fear, anguish and a complete lack of control. It is the very reason why so much of the aural landscape is so stale, and it begs the question (and duly answered by Ahleuchatistas): Why are we so afraid to be challenged?
Alice Cooper – Breadcrumbs EP
Few frontmen of rock will ever be as enigmatic and as timeless as Alice Cooper
For a large number of Alice Cooper fans who didn’t experience everyone’s favorite snake-adorned shock rocker at the height of his powers through the ’70s, most probably were introduced to Cooper through 1989’s hair-metal infused generational breakout album Trash. That was at least, my introduction to Vincent Furnier, at the age of 9 years old, seeking for something to satiate my love of hair metal and shock rock. Trash was everything Bon Jovi’s New Jersey was- big, radio-friendly- but had that added sense of danger and darkness that didn’t come with the pretty side of hair metal. However, as sure as songs like “House of Fire“, “Bed of Nails“, and the ubiquitous hit “Poison”, are still great today, long-time Alice Cooper fans know that Cooper is at his most enthralling is when he taps into his garage rock lineage, cut from the same mold that was paved by bands like the MC5.
So for those born in the early 80s like myself, the initial foray into the world of Alice Cooper meant that you had to work your way back into this long-running discography to find the rich, often timeless work Cooper is best known for. In 2019 Alice Cooper himself is working his way back on his latest EP, the aptly titled Breadcrumbs. The 6-song EP finds Cooper revisiting music and artists connected thematically by what ties them all together- the Motor City. This Detroit-centric EP features Alice Cooper’s take on songs by Suzi Quatro, The Dirtbombs, Motown soul singer Shorty Long, and of course, The MC5 (the EP also features guest guitar and vocal work from Wayne Kramer). Included in the mix are a reworked version of the 2003 Alice Cooper song “Detroit City” and one new cut, “Go Man Go”.
On his reworked “Detroit City”, the song is given a rawer makeover, sounding far less produced than the original. Gone are the orchestral overdubs with the song relying more on the loud bluesy guitars- perhaps the way it was meant to sound. Suzi Q’s “Your Mama Won’t Like Me” stays fairly faithful to the original, but Quatro’s vocal sneer is replaced with.. well, Alice Cooper’s vocal sneer. MC5’s “Sister Anne” is almost as great as the original 1971version, with the added benefit of today’s production qualities.
The EP’s one new track, “Go Man Go”, is very much Detroit, and very much Alice Cooper. It’s rock n’ roll roots are coated with a little bit of rockabilly, a little bit of garage, a lot of attitude. Like this EP, the track should be a precursor of Alice Cooper’s anticipated next album. The hope is that he continues this work of keeping things dirty rock n’ roll as the results are more often than not, pretty great.
Few frontmen of rock will ever be as enigmatic and as timeless as Alice Cooper. Breadcrumbs is a noble effort meant to tease and build anticipation than satisfy your craving for all new Alice Cooper material. It’s done just that, hinting at what could be around the corner. On top of which it shows that there are few rock stars who will ever reach the status and longevity of everyone’s favorite rock n’ roll snake charmer.
Goo Goo Dolls – Miracle Pill
The Goo Goo Dolls have always just written good music for people who cared only that the music was good
One of the most remarkable things about the Goo Goo Dolls is their steadfast consistency amongst the ever-changing backdrop of popular music. Six years ago when they released Magnetic, I wrote that the band remained unchanged in the face of their supposed “waning popularity” in the eyes of pop culture and radio charts. It’s true that many of their contemporaries that made it big alongside them in the late 1990s are long gone, but for the Goos, they’ve quietly continued to be above everything else, themselves, just older, wiser, and continuingly more refined. Miracle Pill is their 12th studio album and is the natural progression from 2016’s Boxes. Like their previous release, Miracle Pill continues their musical evolution away from alternative rock to the more serene territory of adult contemporary. Sure, it may sound like a bad thing, but like everything the Goos have done over the past 25 years, it’s supremely confident and composed.
They may not write songs with the caustic bite like “Here Is Gone” anymore, but they have been finding comfort in the more introspective pop-strewn melodies found in songs like “Lights”. Similarly, in the new album’s lead single and title track, the Goos tap into bouncy, easy-to-digest pop empowerment. Songs like “Indestructible” show that the band haven’t put down their guitars just yet, constructing songs that are still fond of their alternative rock roots but have found comfort in grander, more expansive sounds.
The album’s best moments are when the Goo Goo Dolls unashamedly tug on the heartstrings like they’ve done so many times before. The quiet jangly nature of “Over You” does this particularly well, while the bigger, electronic-infused arena rock of “Lost” shows that this type of music is just done extremely poorly by bands like Imagine Dragons. “Autumn Leaves” is a throwback to the kind of songs found on Let Love In and Dizzy Up The Girl, sounding organic and wistful, while the closing of “Think It Over” is the kind of song they’ve been hinting at since Something For The Rest Of Us. It’s part quintessential Goos, but contemporary and timeless at the same time.
Credit to the Robby Takac songs of the album too- “Step In Line”, “Life’s a Message”- both some of the finest songs Takac has written. He is often cast in the shadow of John Rzeznik’s more recognizable sound, but on Miracle Pill, his work is the best its sounded since Dizzy.
The Ringer recently wrote a piece titled ‘The Goo Goo Dolls Were Never the Cool Kids, but They’re Still Standing’. I echoed these sentiments in that Magnetic review years ago, but if there was anything long time Goo Goo Dolls fans know is that the band were never concerned about popularity or being “cool”. The problem with being cool in music is that it fades. The Goo Goo Dolls have always just written good music for people who cared only that the music was good. Not much has changed in that sense, and really, that’s much better than being cool.