You know, it’s a tough task to review a record in this day and age that is one of those “career spanning, greatest hits” type sets. Obviously, the artist is at least somewhat popular (in this case—quite popular) enough to warrant it a worthwhile investment to even do by the label. Second, it basically comes down to if you like the artist to begin with. If it’s nothing more than older tunes from older releases, why not save twenty bucks, and just burn your own mix from your fave file sharing program, or rip what you want from older albums? If you’re bringing no new songs to the mix, it’s almost a naught effort in today’s iTunes generation of mix-burning and options.
It’s taken long enough, but indie-pop-mainstream-grrl music wonder Alanis Morissette has finally put out a greatest hits-ish collection. Not exactly landing on just the “greatest hits” side of the spectrum, The Collection includes some deeper cuts, on top of all the songs you’ve surely already heard played to death on modern pop radio. I consider myself a moderate fan of her work, being able to remember back when “Ironic” was a somewhat edgy tune to hear on mainstream radio. So, is it all worth it?
The answer is yes, and no. If you’re new to Alanis Morissette, I would greatly recommend this album as a starter piece. Spanning her full career (but not in chronological order), and including a couple of great, overlooked deeper cuts—The Collection makes a fantastic introduction into the works of Morissette. Including the hits “Ironic,” “Head Over Feet,” “You Learn,” “You Oughta Know,” “Uninvited,” “Thank You,” “Hand In My Pocket,” and “Hands Clean;” among others. As you’ve probably noticed, a lot of the tunes come from Morissette’s most known release: Jagged Little Pill, which has sold, like, a bazillion copies. This makes sense, as almost all of her hit songs originated from that release.
Some of the better, deeper cuts are “Let’s Do It (Let’s Fall In Love),” which is a jaunty little bouncy piano piece that you can’t help but bob your head to. Also listed is “Mercy,” “Still,” and “Crazy.” Obviously, if you’re already a fan of Morissette’s, you probably have everything that can be found here. Nothing new is brought to the table, so you’d be just as well off to toss some of your favorite tunes on a burn and be done with it.
But, if you’re new to the genre, and looking to take a foray into the angrier side of girl singers; you could do much, much worse than this album. The Collection is about as strong a hits release as you’re likely to find by anyone out there. I cautiously recommend it.
The Ritualists – Painted People
The Ritualists play some determined, strong-willed music
After listening to Painted People by The Ritualists, I was very surprised to learn that this is their debut album. This band shows a maturity in their music that I would not expect from a first album and provides inspirational sounding tracks with ‘reach for the stars’ type of guitar riffs. I hear a modern version of U2 in The Ritualists, along with an influence of Radiohead. Their songs are full, wholehearted post-punk hooks with a lead singer that has a sizeable range.
“Rattles” opens the album, and it’s the type of song that shows their audience that they are here to stay. It has a great build-up of excitement and intensity. The band explains that this song is “A combination of dark, deep-pocketed verses juxtaposed with big, flashy choruses is a key element to tracks”.
“Ice Flower” and “Worthiest One” welcomes an electronic wave to the album and showcases just how impressive lead singer Christian Dryden’s range is. His ability to hit those high notes with such conviction puts my falsetto abilities to shame. “Worthiest One” brings this sort of nostalgic feeling- it’s a rock ballad with a floaty guitar riff.
“She’s The Sun” is a great follow-on from “Worthiest One” as it transfers the mood upwards and directs the music into more of a hypnotic vision, which conveys “the band’s inner Sixties Love Child”. “I’m With The Painted People” has a really relatable background to the song. Dryden felt a larger than life inspiration from people like David Bowie and Simon Le Bon, these artists felt like soulmates, which can be lonely at times. It wasn’t until he ventured out into the clubs of the lower east side of New York which helped him feel comfortable to express his creative vision freely. The song is all about finding like-minded people.
There are hooks galore and catchy choruses in pretty much every song. “With this record, I’ve specifically tried to be anthemic,” admits Dryden. “I’ve always loved going to shows, where immediately after the performance, and even on the ensuing days after, you just can’t help but remember and sing the songs you’ve just heard. It’s almost like a higher form of communication.” The Ritualists play some determined, strong-willed music and Painted People shows hints of variations with different genres explored throughout. They sound motivated and in return have produced motivating music for their listeners.
The Decline – Flash Gordon Ramsay Street
What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk
It’s possible that since punk broke through to the mainstream in the mid to late ’90s, listeners outside of Australia think Frenzal Rhomb are the only band to have come from the lucky country. It’s true that during the rise of that Epitaph and Fat Wreck sound, Frenzal Rhomb became the namesake of the genre from Australia. However, Australian punks know that their history stretches long before the release of Survival of the Fattest. From the legendary sounds of The Saints to the rock n’ roll infused punk of Radio Birdman, Australia’s punk rock history is not only rich but very much precedes the genre’s mainstream explosion.
Frenzal Rhomb were another chapter in punk down under and for many, they opened a lot of doors. If not at the very least, proved that there were fertile grounds for new bands to emerge across the vast land. Western Australia’s The Decline formed in 2005 and quickly showed their talent for writing up-tempo melodicore that shred as much as it soared. From their 2010 debut, I’m Not Gonna Lie To You, it was clear that the band were equal parts snotty, urgent, funny, and melodic. Like the Frenzal Rhomb formula, they’ve got all of it in spades with a mean streak of Australianness that is both endearing and extremely relatable. Their latest album is no different.
From the title alone you can tell you’re in for a shedload of fun, and while it’s easy to think that Flash Gordon Ramsay Street is just goofy humor, it’s actually got a lot of pointed commentary too. From the animal-supportin’, veggie-lovin’, attack on meatlovers and meatheads (“Brovine”), to the real-estate market questioning “Smashed Avo”, there’s plenty of current talking points that The Decline run through. Sure, you also get vegan buffalo wing recipes (surprisingly, not the song titled “Bullet With Buffalo Wings”) and a love for The Legend of Zelda, but who says you can’t sing about Marxist theories while talking about your love for Nintendo?
What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk; taking plenty of cues from the best of the NOFX / No Fun At All up-tempo, hardcore-derived brand of punk. The hooks on Flash Gordon Ramsey Street are as infectious as horny teens on spring break, highlighted by the endless harmonies on songs like the terrific “It Was Always You” and the call and response male-female vocal attack of “Verge Collection”. Brevity is also key, as the majority of the songs here never overstay their welcome with the longest clocking in at just 3:15 (the wistful closing of “Josh”).
Flash Gordon Ramsey Street is concise, to-the-point, and a furious medley of skate punk urgency that is relevant to young adult life as punks in Australia. Great production values to boot mean you can’t go wrong here.