More polished, diverse second album
936049
If you're looking for more of the gritty, emotional rock from "Wild  Place", you'll have a hard time finding any on this album.  There was  definitely more production and quality that went into this album, but the  music suffers a bit because of it.  On "Wild Place", I could  really believe I was listening to a whole band, where each member plays an  important role. On "Sun", the music often takes a backseat to  Hayes' vocals, as if the album should have been credited to Lisa Hayes  exclusively because the band didn't matter.  The emotional "Sherry  Swings" on this album has been seriously pop-ized for some reason, and  definitely lacks the feeling and grip as the same track on "Wild  Place".  I think they should have stayed on the independent labels -  it might have given this album more of the grit that "Wild Place"  had - but as a fan of their earlier album and their early live  performances, I think this is a decent, though different, record, to be  gotten if you're more of a fan of Hayes' voice than of the Violets as a  whole.
1218535
First off, I am the type of listener that does not like bands that keep recreating the same albums over and over.  Although this album follows a very similar formula as "How to Save a Life," I find that the band has definitely taken a step forward with a sound that has more atmospherics as compared to the first.  Contrary to many of the initial reviews, I find the album stronger than the first.  The first four songs (i.e.,Sydndicate, Absolte, You Found Me, Say When) are in the same vein as "Cable Car", but I find them to be stronger, louder, and deeper.  But to me, the strongest song on the album is "We Build Then we Break," which takes a more experimental approach that is far superior to the mainstream formula.  I hope that the band goes more in this direction.  If their next album was more like "We build then we break," they would define themselves as a relevant band, rather than a mainstream band that fades into the monotony of everyday radio.  One of the band members noted that they could've made an album like "Kid A" by Radiohead....I hope that they do go in that direction and "We build then we break" shows the great potential.  The Fray is an exciting band, particularly to those that live in the Denver area like me.  I wish them the best....
1350577
i  loved every second of tantric's debut-the intricate guitar work made me fall in love with the band.now with their second album, the guitar work is still there, but it is heavier by their standards.i think the classic "acoustic sounding" sound that they brought to the table on their first disc gave the band their signature style, and i do hear it with this album, just not in large quantities as the last cd.i also find myself having to listen to songs several times to get into them, rather than with the first album, i was jamming out to every song upon first listen.this is a great album, don't get me wrong, and i will continue to listen, but if checking out this band for the first time, stick to the debut for now.good effort guys.for fans of shinedown,3 doors down,revis,fuel,and days of the new (features former members of DOTN).
1659410
Expectations unmet always result in an unfavorable album review.  At first, I was disappointed.  I wanted a whole album full of Precious-styled songs.  That wasn't the case.  A lot of the songs seemed simplistic, musically speaking, and almost rough to the ear.  They weren't completely absorbing me or making me feel deep emotions like Violator, Songs of Faith and Devotion, and Ultra, to name some more recent albums.  I felt as if the music wasn't as deep and rich, with the arrangements not as lush and full and effective as they used to be.  I'd even compare them to much older songs like "The Sun and the Rainfall" and "Blasphemous Rumors" and almost feel cheated.  But nonetheless, this album has really grown on me and sounds much better today than it did almost two weeks ago.  For some reason, the rough sound to my ear has greatly minimized, and the songs have taken on a rich and edgy life of ther own.  Many negative reviews on this album have been written prematurely in my opinion.  One can't write a completely accurate review the same day or two the album comes out after only a listen or two.  This album is almost like a finely-aged wine, where the longer you listen, the better it becomes (the case with a lot of albums).  I tend to find that I get less tired of the albums that have to grow on me, versus the ones that are immediately accessible (those get older faster).  Precious is of course a standout, along with, surprisingly, two Gahan-penned tracks:  "Suffer Well" and "I Want It All."  "I Want It All" is the slowest song on the album, but very captivating and smooth, while maintaining a dark edge.  That's the essence of Depeche Mode.  Edge.  Edge, edge, edge.  "The Darkest Star" gets better and better as the long closer to the album, and "Lilian" is probably one of the more instantly infectious tunes.  "John the Revelator" has gotten very addictive, despite my not liking it at all at first.  And "A Pain that I'm Used To" is a pretty good, semi-fast paced opener.  "Macro" and "Damaged People" are the two Gore-sung tracks.  They're okay, and "Macro" has become very infectious, but both are nothing close to the vein of "The Things You Said" or "One Caress."  I should also mention that anyone who gives this album 5 stars is not truly using this scale effectively.  I mean, you can't have Black Celebration and Violator and Songs of Faith and Devotion ranked 5, and Playing the Angel ranked 5 too.  It's not as good, period.  It's good...it's getting better everyday to me...growing on me immensely...but still, it's not in the same class as those other albums.  Everyone has to admit that.  All that aside, this album should be looked at alone, by itself.  It's darned better than most crud being quickly produced these days...and much better than most new bands trying to get in on the genre's "comeback."  There's only room for one Gahan and one Depeche Mode, and this album has reaffirmed that they're keeping it for quite some time to come.
1347425
Spoon's fifth full-length studio album is a bit of a regression after their masterful "Kill the Moonlight" and "Gimme Fiction." Those who preferred the rougher and sloppier sounds of "A Series of Sneaks" may appreciate this one more; although it's a far slicker and more streamlined crystallization than that early effort, the half-formed, hell-of-it attitude and construction is evident on several tracks here. But those entering with the mindset that they'd continue to commit to the fractured epics on "Fiction" may be disappointed.

Unfortunately, while the "quick toss-off" aesthetic was part of (even most of) the charm of "Sneaks," on "Ga Ga Ga Ga Ga," it feels like quitting early or filling out an already slim album with material that should have been nourished better during the sessions. These songs, including "The Ghost of You Lingers" and "My Little Japanese Cigarette Case," are nice enough songs on their own right, but dropped in the middle of an otherwised well-honed and structured album, they feel like goofs or wonders too easily aborted.

The only time that they seem to let the best of both worlds crash together without a fiasco is on "Finer Feelings," a song that has the sound of a one or two take recording from a young group embracing the excitement of first entering a studio and the polish and craft of the veterans that they now are. The best bets remain the stark and punchy rhythms of songs that could have fit on "Moonlight" and "Girls Can Tell," like "Don't Make Me a Target" and "Don't You Evah." Meanwhile, first single, "The Underdog," while a fine track in its own right, lacks the marketable brilliance of, say, "I Turn My Camera On" and "The Way We Get By."

But the unevolved familiarity of past victories is a minor mistake; their two best albums embraced a unified sound while exploring many different facets. On "Ga Ga Ga Ga Ga," there's not a lot of variety in the approach and result--too many songs sound alike. Spoon is almost always good no matter what they do, but coming off the highs of their last two releases, consider this one a slight disappointment. Fans, you know what to do--buy the freakin' thing anyway. The rest, go for the others first, but don't neglect picking this one up as well after wearing out your copies of the last two.

Best cuts: "Don't Make Me a Target," "Don't You Evah," "The Underdog," "Finer Feelings," "Eddie's Ragga," "You Got Yr Cherry Bomb," "My Little Japanese Cigarette Case"
39879
Cargo (1983) is the worthy follow up to the enormously successful debut album, Business as Usual, released just a year earlier. On this sophomore album, the stakes were high, and what we got was a very good album that unfortunately may have looked very inferior next to their first album. Because of this, it's viewed by some as lackluster. This simply isn't true; there's plenty to like here, such as the hits OVERKILL and IT'S A MISTAKE. There are a number of songs that bring out a more mature-sounding band, which is the first thing that I noticed when listening. The songs are not as popish, though they retain that label. To reiterate my earlier point: Cargo is to Business as Usual what Tusk is to Rumours by Fleetwood Mac. In other words, very good albums that are extremely overshadowed and unjustly compared to their predecessors. It's unfortunate that the band didn't have a longer break between the first album and this one; that could've made a big difference in perception and sales. I recommend Cargo for those who like early 80s pop rock.
305562
I waited a few days before reviewing Meiko's second album in order to distant four years of expectations from what I was hearing.  First off, I love Meiko's voice, and her first album's melancholy tone placed me to a different state of mind whenever I listened to it.  Her second album certainly has a change of tone which I welcome.  She does a good job of relating the feelings of a young woman enjoying love and attraction.

I have to agree that her album seems to show the effects of heavy post-production and processing, but that's common in a second release.  I don't think it detracts too much from the enjoyment of the album, but I do miss the simple sounds of a woman and her guitar.

My biggest disappointment with this album is with the lyrical strength.  Meiko uses a lot of repetition in this album - a lot.  Some might say that there is strength is simplicity.  I wanted to believe that too, but after several listens I can only conclude that her lyrics are the weakest part of the album.  Too many of her songs are almost all chorus, and there are also so many lines repeated three or more times straight.  I like repetition as an occasional tool for emphasis, but I find her use of it grating.  I would really like to see her rely less on repetition and show her talent in writing more complex songs.

I don't think I can listen to this album as a whole as I do with her first, but I'm happy to take a few songs and put them in a shuffle of other singer/songwriters.  I hope for a strong third release.  Even if it takes another four years, I'll be waiting.
1774671
I think I like it even better than the first album.
387312
Whenever a band releases an album that causes people to get emotionally attached to--as happened with Interpol's first album "Turn On the bright Lights"--inevitably the follow-up is bound to be met with skepticism and criticism.  After all, the band set a very high bar for themselves on their first offering, many wondered if they would be able to equal it.

The answer is yes, they could.  And did.

At first listen, I wasn't overly impressed with Antics.  It sounded like a poorer version of "Bright Lights", trimmed down and more neatly packaged.  But after repeated listens, the subtleties and arrangements of each song began to creep out, to the point where I couldn't deny the fact that it was, in fact, as good (if not better) tha Bright Lights.

The overt 80s references are still there--Joy Division, Echo, Psychedelic Furs, Smiths, etc.  It's not hard to guess what Paul Banks and Co. grew up on.  What they have accomplished on this album, however, is move from simply aping those bands to taking their sound a step further and marking a style of their own.  "Slow Hands", the album's opening single, is energetic with both a memorable central riff and chorus.  It is certainly, for me at least, a strong contender for single of the year.

Other tracks are less immediate though no less rewarding.  "Evil", "Narc", and "C'Mere" are all engaging listens, and reveal an intriguing depth upon repeated listens.  The oddly-titled "Public Pervert" builds with a subtle growling energy before heading off on a thundering chorus.  The bridge on this track is one of the finest and most uplifting musical moments in recent years.

Musically, the band retains its strong alt-80s and neo-goth influences, but add to them with a unique gift of melody and hypnotic guitar riffs.  Paul Banks, already regarded as an interesting lyricist (along with owning one of the most distinctive voices in music today) really comes into his own on this album in terms of engaging melodies.  I have often subscribed to the belief that the best and most memorable melodies are those that don't grab you immediately, and that is certainly the case here.

Not every track here is a winner, however.  "Not Even Jail", the longest track on the album, sounds pleasant enough but also sounds like a leftover from the "Bright Lights" sessions.  Ditto for "A Time to Be So Small", which was actually played live during the "Bright Lights" tour.

An above-average and solid effort from a band with loads of potential.  They have cleverly shrugged off the criticisms that they rely too heavily on their 80s forbearers and have carved out a sound that is unique to them.  It is debateable how long they will be able to maintain this, but for now they remain one of the most engaging and unique listens in music today.
1205533
I'm going to take a different perspective by saying that Louis XIV's second album "Slick Dogs And Ponies" is a more mature work than their debut. To be honest, I wasn't sure the band was going to have a second album since their first failed to make an impression with popular music listeners.

After many listens this week I am able to say that I like "Slick Dogs And Ponies" about equally as much as I liked their debut. The completely adolescent songs about girls from the debut has matured into a more sobering and menacing reflective album that's no less rock and roll than their first.

I was hooked when I heard "Guilt By Association" on my local radio station a few weeks before the album was released. I agree that the Beatles are ever present influences, and I agree that T. Rex and now Radiohead are also present. For some reason I also think of the Black Crows as well--and even the Velvet Underground to an extent.

"Air Traffic Control" is one of the slower tracks, but it sticks to the brain like candy to a baby's hands. I really liked "Misguided Sheep", "Tina" and "Slick Dogs And Ponies" with "There's A Traitor In This Room", "Sometimes You Just Want To" and "Stalker" following close behind.

I don't believe Louis XIV have achieved perfection on either of their first two albums, but they continue to hint at something great. If Jason Miller and company can figure it out, they could have a run away smash on their hands.

For now, four stars because the album holds together well and has memorable songs. It might be darker, more subdued, well produced, but I find it still equal to their debut.
1911849
I'm enjoying this record, but I'm trying not to overspin it. It's a solid second effort, certainly treading different ground without ostracizing the fan base.
4602145
Enjoyed the first album, hated the second.  Luckily, this album sounds VERY different from the second.  Fun to listen to and much less "poppy", finally.  Definitely worth picking up.
3254574
This album is amazingly good. If you enjoyed their first album the chances are excellent you will be blown away by how well they've kept true to the sound of the first album whilst adding a diverse and refreshing layer of sound to their style. I am particularly impressed with how this band is able to go from a subtle, intricate acoustic sound to smashing you in the face with a heavy metal sledghammer in the same song and make it work perfectly; the only other band I know that can execute it as well as it's done here is Hurt. Fans of Evanescence, Lacuna Coil, or anyone looking for a rock band with a female singer with a voice that rings as clear as a bell should be clicking on "add this to cart" right now.
1221646
A healthy step beyond the first album.  It preserves the rough edges and energy of the first, with its appreciation of traditional Delta blues, but now makes it clear that the raggedy energy that results is not for lack of skill.  The band wraps this primal energy in a new, tougher, darker, tight wrapper where danger lurks almost everywhere.  Adds a wobbly rapper.  These are not nice white boys posing as the dark characters they sing about; they have harnessed the darkness from within to speak of a kind of gritty, masculine violence, contained as much by personal frustration as by the discipline of skill.  Very powerful and convincing.  I think of the Stones and find an authentic Southern white version.  I think of Steve Earle and find players closer to west Tennessee than to east Tennessee.  I think of the Allmans and find a new generation that lacks their pop fire in part because the All Stars are darker and closer to their roots than the post-Duane Allmans.  I am simultaneously embarrassed to be so attracted to them and happy to find kids working hard to keep Delta music, especially for National steel guitar, alive in the bones rather than in a museum.
1725617
In some ways this sophomore album eclipses their first. Just be aware that 'first rehearsal tapes' is just that, not a re-presentation of the first album
3177020
I don't know why this album is less liked than say, Apple O.  To me they are a bit different in sound, but the quality of songs is comparable.  I actually prefer the direction they went with this album versus Apple O (although I wouldnt say this is a better album)  Superficially, their approach is similar to other bands past and present, but as a whole they're making genuinely original music.

  I don't understand the reviewer who could only recommend two songs.  Certainly 'milkman' and 'milking' are very good songs, but they are not the only good songs on this album.  Actually I cant think of a song to remove.  Perhaps I could do without the added noise in "dogs on the sidewalk," but the little 'wong wong gune ga' melody makes it worth while.  "Desaparecere" is an incredible song with a catchy but interesting melody. "Milking" is just a great song. "New Sneakers" is probably the most straight forward, with very simple but pretty vocals that stand repeated listens.  Much of the same is true of "Dream Wanderer's Tune."  Those are the songs that stand out for me, but all of the songs have something to like.

My only complaint about the album (and Deerhoof in general) is that I (and even many of their fans) think of their music as really good in light of some greater potential.  Its as if the band is still developing its sound, and you are aware of it as you are listening to each album.  Certainly all bands change, develop, and progress (or regress) over time, but usually each album stands on its own (good or bad) and you aren't aware of this process.  It just seems like I'm waiting for Deerhoof to make that one great album that just brings it all together.

I own, but haven't heard the newest album (Runners Four)-maybe that will be closer to what I'm waiting for.
2083690
Listening to a lot of what constitutes indie rock can be an exercise in frustration when I'm looking for new sounds. So many bands borrow so heavily from different sources that it's hard for me to figure out where the line stops between irony and sincere homage to past eras. Girls, whose first album was refreshing to me for feeling far removed from the new wave and electro of many of their contemporaries is a band who create very somber and heartfelt songs that never quite reach the histrionic depths of what one would normally consider a ballad or love song, and for this I give them a lot of credit. I imagine it's hard to write songs like these. Ones that touch upon love, heartbreak, general sadness and other parts of our human condition without going into emotional overdrive with the vocalizing.

A lot has been said of Chris Owen's talent for capturing the essence of 60's pop songs, but there's far more to the heart of this record than repeating past triumphs. There's less emphasis on the peppiness that was often the spirit of their first full length and here the band infuses recognizable arrangements from many different genres of pop and rock. The first couple songs are decidedly lighter in tone. The next track is the first detour, featuring screeching guitars while the sense of melody remains 100% intact. Later standouts like "Vomit" find the band employing some fine dynamic songwriting craft, starting its journey like a slowcore song from the early 90s, building with gentle verses before its pure-Floydian crescendo.

The rest of the album goes between charming pop and ambitious multi parted suites that sound like they `re as equally fun for the band to play as they were to construct. All in all I'd recommend this to any rock music lover. The songs never get too dark nor too irritatingly cheerful yet there's one thing they have in common in that they don't lack in depth nor feeling. Good job, Girls.