FALL OUT BOY / Mania (2018)

 

I wouldn’t hold your breath on me suddenly warming to this one. I’ll gladly open with admitting that there are definitely a few exquisite verses buried herein. Sadly, that’s simply not enough. There’s a generally abrasive air that permeates, and while I do appreciate some albums for that, they simply do not tread as far into chaos as some of the songs here do—as far away from those artists’ general vision/identity. Two songs of which Patrick is particularly proud are inexcusably repetitive. I loathe them. Another is ANNOYING. AS. FUCK. No need for flowery verbiage; it’s goddamn painful.

The ironic thing is that this approach IS fitting for the central theme of the piece.

I have to share a verse that 100% describes my relationship with Sentai:

I know I should walk away, know I should walk away.
But, I just want to let you break my brain.
And, I can’t seem to get a grip,
no, no matter how I try to live with it.

It’s not delivered well, at all, but it’s haunting in its accuracy to my experiences.
 

The moral here is:

Merit being present in how something is done isn’t enough.
Liking something isn’t enough.

There both has to be merit, and I have to like it.

That’s the heartbreaking truth.

½ Doesn't Do Anyone Any Good out of 5

FALL OUT BOY / So Much (For) Stardust (2023)

 

Inscribed like stone and faded by the rain,
"Give up what you love, Give up what you love, before it does you in." 

 

 

The simple truth is that when this album was released, I wasn’t in a place to be willing, or able, to hear what it was trying to say.

I was wrong.
No worries; I’m infinitely and intimately used to that, at this point.

The boys are vying impossibly hard to be Costello’s preeminent students, and succeeding with flying colors, folding unsavory and disastrous topics into diabetically-sweet confections in ways that honestly, handily lap the master in his hey-day. You shouldn’t be able to write one of catchiest songs ever, about a pandemic, but they damn-well fucking did.

I said that there wasn’t much in the way of connections between the first two songs and the rest; in truth, the lyrics wrap around on themselves in dizzying ways akin to the time loop that births the Song of Storms. To the point where I frankly believe the emotional conclusion arrives at a point other than the final song in the tracklist.

Songs of Note: Fake Out; The Kintsugi Kid (Ten Years)


5 Engine Revving Resolutions out of 5

I'm going to talk about their update of We Didn't Start the Fire, real quick, since they stuck it in the playlist for ...Stardust. Seeing people freak out during its live debut, instead of feeling existential dread, as intended? Endemic of part of FOB's fanbase. Please stop swooning over them; ACTUALLY listen to the lyrics. Of all of their songs.

I am obviously ecstatic that they mention The Black Parade, but it took me a bit to remember that Green Day's iconic set took place at Woodstock '94, not Woodstock '99. There was one in '99?!?! I thought they had paid tribute to two of the all-time greatest, but apparently it was just the one.

From all of the history of gaming, they chose Metroid? Should have ended a verse with something like, "Final Fantasy VI, wasn't really III."

Without a doubt, though, it needed to be:

"Keanu Reeves is Neo, man."

JACKSON C. FRANK / Jackson C. Frank (1965)

It's heartbreaking to think that Jackson made just one album, and astonishing to learn that he reportedly recorded the entire thing in less than three hours. It's his masterpiece by default, but fully deserving of the accolade.
His talent is undeniable and every bit the equal of his more well-known folk music peers. His tragic life story (schizophrenia and depression, homeless and destitute, dead at 56 of pneumonia) adds a tearful footnote to the prodigious emotional current that characterises his works. Listening to the soft melancholy that he coaxes from his guitar strings breaks my heart every time, and also, somehow, consoles an unseen part of me that remembers what it was like to be lost.

Songs of Note: My Name is Carnival; Just Like Anything

5 tender skies out of 5

FASTBALL / Step Into Light (2017)

I suppose the most accurate way to describe this is as a collection of brief, somewhat experimental, aural pastiches. Though, there are some slight, thematic lyrical consistencies present to ever-so-gently reign it in. There are auburn Tom Petty highlights running throughout and touches of Dick Dale. The echoes of early Beatles can be heard, as well as some guitar glint and vocal hum honoring their Rubber Soul/Revolver era.

Regardless of its quality, I absolutely cannot recommend this to a newcomer. If you’re well attuned to riding Miles and Tony’s pleasingly ever more eclectic groove, however, this is the organically scintillating next step. It feels like they’re doing exactly what they want and I couldn’t be happier for them.

Songs of Note: We're On Our Way; Just Another Dream

3½ Rabbit Suits Quietly Shed in Room 1408 (or was it 302?) out of 5

FALL OUT BOY / Infinity On High (2007)

"I love you in the same way there's a chapel in a hospital: one foot in your bedroom and one foot out the door,

sometimes we take chances, sometimes we take pills, I could write it better than you ever felt it."

That's definitely one of the best verses I've ever heard. It's not alone, here. Some of Pete's strongest couplets call this offering home. I'm even going to spot it the two bonus tracks, because I love them both. While I have to admit that there is a sloggy, schmaltzy number to contend with, this is a generally punchy and pleasing affair. If F.U.C.T. is the blue-collar workhorse, Infinity is the swaggering, faux-tipsy jaunt through No-Man's Land in deliberately rumpled tuxes.

I'm compelled to say that I sincerely wish Pete would scream longer parts more often. Don't look at me like that. You know I adore MCR.

Songs of Note: Hum Hallelujah; Bang the Doldrums

4, Because of the Flawless Extra Credit out of 5
I painted myself into a corner in the Folie nut. I'm tramping the fuck out of it. We can team up and kick Past-Neg's ass.

FALL OUT BOY / Take This To Your Grave (2003)

I'd have to say that this is almost assuredly the only album capable of finding me singing along even when I'm not intoxicated. That's a feat and a half. It's melodic and eviscerating. Elvis Costello, as always, is very proud. You thought his presence on Folie à Deux was random? Heh~ I would say it's an early classic of the genre but that'd open a can of worms I couldn't give less of a fuck about. It's goddamn good. End of story.

Songs of Note: Tell That Mick He Just Made My List of Things to Do Today; Grand Theft Autumn / Where Is Your Boy

3½ Adamant Refusals to Use the Actual Covers out of 5

FASTBALL / Make Your Mama Proud (1996)

I wonder how many people even know that this exists? As soon as I was on board with All The Pain Money Can Buy, I immediately tracked this down and was blown away by how incredibly different it is from everything else they've done. The majority of what's on display is very fast and somewhat abrasive. That's not to say that the lyrics are lacking. They aren't. They're just carried along by much faster time signatures.

This consequently holds a teenage sense of nostalgia for me that's still able to be married to my long-held standards in regards to songwriting. I've always not-so-secretly hoped that they'd do something like this again, someday. A VERY special record well worth exploring if the songs of note appeal.

Songs of Note: Make Your Mama Proud; Nothing

4 Verses Max Bemis Would Be Proud Of out of 5

FASTBALL / All the Pain Money Can Buy (1998)

For a long time now, I’ve viewed this as their least successful outing. Depending on how you see things, this could be considered strange or even ironic, as it kicks off with the one song for which everyone in the world knows them. To anyone who bought this and never listened to what followed, FUCKING. SHAME. ON. YOU. There are a lot of quality tracks here and with every listen (to each of their efforts) I appreciate Miles more and more.

When properly conceptualized, their collective output is honestly far better than any single objective score of any given album could ever convey. They are unassuming geniuses.

Songs of Note: Fire Escape; Better Than It Was

3½ Doses of Blissfully Painful Honesty out of 5

FAITH NO MORE / Sol Invictus [2015]

18 years after their previous album and much-publicized self-destruction alt-rockers Faith No More returned in 2015 with Sol Invictus.
Picking exactly where they left off, FNM are still skipping around the boundaries of hard rock and bizarre art-rock, never once giving a toss about radio play (their first comeback single is a low-key operatic piece not-so subtly titled "Motherfucker").  Their smirking sarcastic humor and sinister piano lines are still firmly intact within the inviting tension they conjure up with each track.  For some odd reason, it seems as if the group forgot how to finish songs and each one peters out with slight boredom and misdirection.  The song order is a mess but with a customized re-arrangement one can easily remedy this minor problem.
There's a bit of dust and cobwebs collecting but hopefully this is just the boys getting back into the groove before they deliver another stellar album.

3½ leaders of men out of 5

Songs of Note: Separation Anxiety; Motherfucker

FASTBALL / Little White Lies (2009)

I implore any potential listeners to give this outing more than a single spin, as I rather disliked it on my initial go-round. It struck me as strangely grating and off-kilter. Miles and Tony sing simultaneously more than they ever have previously and are content to be pretty brazen in their just-enough experimentation. They even indulge in some effective meta-musings of the sort the Crows and Fall Out Boy have previously delivered. It took some self-adjustment, but once I was familiar with how to traverse these alternate avenues, I found an experience that was as satisfying as it was different. Hopefully others will as well.

Songs of Note: The Malcontent (Modern World); We'll Always Have Paris (Everyday All of the Time)

3½ Mariachi Cadillacs out of 5

FALL OUT BOY / American Beauty/American Psycho (2015)

The years since Save Rock and Roll released have been remarkably kind, canonizing it as slick, muscled perfection. Early in the game though it may be, Psycho gives it an exhilarating run for its money, violently demarcating this new era of the boys' career, even if they’ve always been on an upward trajectory, in my eyes. It continually comes back to this, but I think it really is the fact that their musical prowess is finally keeping pace with Pete’s ever more stylishly eviscerating lyrics. An arms race being resoundingly won.

Songs of Note: The Kids Aren't Alright; Jet Pack Blues

Their very own Resident Evil 4 out of 5
True to this simile, Mania is indeed their RE6. Oh my... 😒

FOUNTAINS OF WAYNE / Welcome Interstate Managers (2003)

Chris Collingwood and Adam Schlesinger are capable of writing lyrics that span the universe in terms of tone and focus. This is a gigantic melange of power pop that manages to phase rapidly between being heartfelt, heartbreaking, fist-pumping, lackadaisical, introspective, absurdist, nonsensical (yes there is a difference), and cheekily perverted. Is it any wonder one of them wrote and produced for Josie and the Pussycats?

Required listening for those who have a stomach for the genre and a sense of humor buoying their spirit.

Songs of Note: Valley Winter Song; Little Red Light

5 Things Far More Valuable Than Corporate Conformity out of 5

FASTBALL / The Harsh Light of Day (1999)

The best one hit wonders are the ones who carry on as if nothing ever happened, confident in what they do, making no unnatural efforts to further garner fame. There’s a consistent, comfortable professionalism about Miles and Tony that has long sold their effortlessly thoughtful pop tunes. While I usually prefer Tony’s contributions to a notable degree, this album is heavy with Miles’ musings, which makes it all the more impressive in my eyes. Some songs are crafted to be obscenely catchy and impossible to ignore. Others are content to make you wistful or give you quiet pause. Even better than I remembered.

Songs of Note: Love is Expensive and Free; Whatever Gets You On

4 Deceptively Simple Pleasures out of 5

FLUX OF PINK INDIANS / The Fucking Cunts Treat Us Like Pricks (1984)

The title and art are both clearly meant to offend, but not in a juvenile way. It's a direct, if obtuse, method of raising awareness for one of the themes explored on the album: the kind of abuse that goes on behind closed doors. It's also a noisy, feedback-infused, hate-filled attack on the kind of society that allows such activity to happen. When I say 'noisy,' I mean it. Even fans of traditional anarcho-punk may find the tumultuous compositions challenging or even deplorable.

Songs of Note: Hard Sell; Love Song

3 aggressors out of 5

FIELDS OF THE NEPHILIM / Dawnrazor (1987)

The cover art looks like it promises a musical version of John Carpenter's The Fog, but the music within is 90% Sisters of Mercy and 10% Ennio Morricone. Plus, it has Carl McCoy being mysterious and emotionally pained - just like Andrew Eldritch does, yes. If any of that sounds like it'll float your goat, then you're all set.

Songs of Note: Vet for the Insane; Preacher Man

4 weeping flowers out of 5

FLEURETY / Last Minute Lies (1999)

A short four track E.P. from the Norwegian weirdsters that offered a taste of what was to come on the following year's full length release, Department of Apocalyptic Affairs. The willingness to experiment with different genres, particularly electronic and jazz, mean there's very little left of the Black Metal sound that they became known for, but the song structures and the confidence to let the instruments tell a story of their own remains. The addition of female vocals and saxophone lend support when needed and don't seem at all out of place.

Songs of Note: Facets; Vortex

5 perverse angles out of 5

THE FLAMING LIPS / The Terror [2013]

It's pretty common for psychedelic rock acts as they age to get less and less "psychedelic" to the point of creating nice soft rock music over soothing sonic backdrops.  After being together for 30 years, The Flaming Lips will have none of that and prove it with the noisy, dark and bizarre 2013 album, The Terror.
Being a colorful, cold and vivid musical expression of loneliness, broken hearts and despair, I can't help but wonder what brought up such feelings from a normally upbeat act like The Lips.  It's like a suffocating krautrock version of Damon Albarn doing Atom Heart Mother that pulls you into it's headspace and paralyzes you with mesmerizing otherworldly soundscapes and emotions.

4 suns going up & down out of your control out of 5

Songs Of Note: Try To Explain; Always There...In Our Hearts

FALL OUT BOY / Save Rock and Roll (2013)

"You are what you love, not who loves you."

Fall Out Boy return with a pair of singles that’d make you think they’ve finally figured it out, that they've made their best album.  They may very well have. Even if I eventually decide otherwise, this’ll still stand unparalleled as their most consistent effort.  Patrick has managed to sprinkle Pete’s best nuggets across all of these tracks, even in the face of a couple superfluous guest appearances. More than anything this is a sonically ambitious album that has brought more joy with each passing listen.

Wait, this was an experiment? It’s a smashing success, boys.

Songs of Note: The Phoenix; Miss Missing You

3½ “I’ll look down and scream no.”s out of 5
2017 Neg, here. Hi! It's a 5, now.

Nutted by Neg

FANTOMAS / The Director's Cut [2001]

When most bands these days are doing covers of shitty '80's songs, it's nice to hear avant-garde super metal group Fantômas do something a bit different.

2001's The Director's Cut is a hilariously disturbing collection of cover tunes of cult classic horror & thriller film themes, including Ennio Morricone, John Barry, Jerry Goldsmith, Bernard Herrmann and many more.  Featuring members from Mr. Bungle, The Melvins and Slayer you can pretty much expect it to be an abrasive, distorted journey into the vastly weird.  It mixes death metal, sludgecore, jazz and eerie soundscapes all usually in just one track.  Film score nerds will find it to be unfaithfully offensive.  Metal fans won't know how to make heads or tails of it.  Freaked out rabid lunatics having a mental breakdown will feel right at home.  

5 seconds of nothing out of 5

Songs Of Note: Spider Baby; Twin Peaks: Fire Walk With Me

FILTER / Short Bus (1995)

The first track kicks ass.* Unfortunately, the remainder is less impressive, being somewhat bland and samey. There's anger in the distorted guitars and lyrics but it lacks the kind of vehemence that would take it to the next level. It's a safe kind of MTV anger, not the crippling kind that eats you up from the inside.
The potential is squandered on trying to capture a feeling that was already being done better by NIN. Altough, Trent must've been listening, because he stole some of that sound back years later for The Fragile (1999).
Short Bus is a decent album that might've benefited from a different production, one that picked out and enhanced strengths instead of burying them in the mix.

Songs of Note: *Hey Man, Nice Shot; Stuck In Here

3 breached spaces out of 5