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Hot Fuss
(2004)
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The Killers
There are so many garage rock/dance-rock tunes perfectly stylized and glamorous for the pop kids in the city and in the suburbs of new-millennium America. What's nice about these the bands producing these songs is how they strive so desperately to individualize themselves. On a commercial level, they do quite well in delivering catchy pop hooks. ...
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Sam's Town
(2006)
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The Killers
Not even the Killers, the champions of retro new wave, think that synth rock is music to be taken seriously , and Lord knows that this Vegas quartet wants to be taken seriously -- it's a byproduct of being taken far too seriously in the first place, a phenomenon that happened to the Killers after their not-bad-at-all 2004 debut album, Hot Fuss, ...
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Franz Ferdinand
(2004)
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Franz Ferdinand
While the Darts of Pleasure EP proved that Franz Ferdinand had a way with equally sharp lyrics and hooks, and the "Take Me Out" single took their sound to dramatic new heights, their self-titled debut album offers the most expansive version of their music yet. From the first track, "Jacqueline," which begins with a brooding acoustic prelude before ...
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You Could Have It So Much Better
(2005)
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Franz Ferdinand
Opting not to fix what broke them, You Could Have It So Much Better serves up more of the stylish, angular sound that worked so well on Franz Ferdinand's debut. After years of rehearsing in abandoned Glasgow warehouses and playing in relatively obscure groups like the Yummy Fur, it's perfectly understandable why the band chose not to mess with a ...
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Is This It
(2001)
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The Strokes
Blessed and cursed with an enormous amount of hype from the British press, the Strokes prove to be one of the few groups deserving of their glowing reviews. Granted, their high-fashion appeal and faultless influences -- Television, the Stooges, and especially Lou Reed and the Velvets -- have "critics' darlings" written all over them. But like the ...
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The Bravery
(2005)
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The Bravery
The Bravery's self-titled debut is a slick twist on '80s new wave and post-millennium modern rock. Those who've followed the Killers, stellastarr*, and the like will surely pounce on the Bravery's luscious synth-driven pop. The 11-song set, produced by the band's frontman, Sam Endicott, is playful and confident, unlike the stressful production of ...
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First Impressions of Earth
(2006)
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The Strokes
Why would a comeback from one of the most-talked about rock acts of the 2000s arrive just after the holidays, when the music industry is usually still hibernating (or hung over)? Optimistically, they could be taking advantage of holiday money and gift certificates burning holes in the pockets of their fan base. Less charitably, they may be trying ...
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Our Love to Admire
(2007)
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Interpol
Though Our Love to Admire is technically Interpol's first major-label album, the way the band attempted to streamline the gorgeously dark atmospherics of Turn on the Bright Lights into something more marketable on Antics made that album feel more like their big-time debut than this album does. On Our Love to Admire, Interpol spends roughly half ...
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Turn on the Bright Lights
(2002)
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Interpol
One might go into a review like this one wondering how many words will pass before Joy Division is brought up. In this case, the answer is 16. Many are too quick to classify Interpol as mimics and lose out on discovering that little more than an allusion is being made. The music made by both bands explores the vast space between black and white ...
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Dying to Say This to You
(2006)
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The Sounds
It can be said with as much certainty that any outside observer can have that the Sounds' sophomore effort, Dying to Say This to You, has achieved all of its goals and then some. The Swedish indie rock band by all appearances set out to make a fun, high-quality pop/rock record and they did so, brilliantly. This disc has been rendered with ...
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Walking With Thee
(2002)
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Clinic
Right down to its gritty, mod-punk art direction, Walking With Thee seems like it should fit right in with Clinic's previous work. Indeed, the group's second full-length album could've been a carbon copy of their debut, Internal Wrangler, but to Clinic's credit, the band makes a few changes, opting for a smoother production and a quieter, more ...
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Room on Fire
(2003)
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The Strokes
Unlike many bands that release notable debut albums and then take years to deliver a follow-up, the Strokes got Room on Fire out as quickly as possible after their lengthy tour for Is This It. Good thing, too; the two years between their debut and this album were long enough for the expectations for -- and the backlash against -- a new Strokes ...
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Agony
(2007)
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The Tossers
On Agony, the Tossers make it clear that they don't have any intention of departing from their tried-and-true formula anytime soon: by now they've probably resigned themselves to the obvious comparisons (the Pogues, Flogging Molly) and decided that there's nothing wrong with being derivative as long as you're very bloody good. And they're right. ...
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Communication & Conviction: Last Seven Years
(2001)
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The Tossers
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Elevator
(2005)
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Hot Hot Heat
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The Futureheads
(2004)
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The Futureheads
On their self-titled full-length debut, the Futureheads turn the promise of their early EPs and singles into an almost relentlessly playful, lively, and smart album of zippy post-punk-pop. Even though shades of XTC, the Jam, and Gang of Four (whose Andy Gill produced the album) jump out at almost every turn on Futureheads, the band's chiming, ...
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Make Up the Breakdown
(2002)
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Hot Hot Heat
Picking up where the Knock Knock Knock EP left off, Make Up the Breakdown completes Hot Hot Heat's transformation from a purveyor of the noisy synth-punk displayed on the band's debut into a polished, but still edgy, pop group. Where some of their contemporaries delve into '60s garage or '70s post-punk, Hot Hot Heat specializes in re-creating and ...
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She Wants Revenge
(2006)
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She Wants Revenge
Los Angeles Joy Division-obsessed duo She Wants Revenge blend electronic beats with goth pop misery on their self-titled Geffen debut. DJs Justin Warfield and Adam "Adam 12" Bravin may have crafted the post-punk equivalent of XTC alter-egos Dukes of Stratosphear's psychedelic rock tribute Chips from the Chocolate Fireball, but there is suspicion ...
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An End Has a Start
(2007)
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Editors
To put it plainly, An End Has a Start doesn't have the electricity of Editors' first effort. And let's face it, The Back Room was a tough act to follow -- it was a damn near perfect debut, delivering a compelling set of cathartic, nocturnal neo-post-punk songs. The problem is not simply that there isn't a track on this release that comes close to ...
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Antics
(2004)
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Interpol
Had Interpol been honest with themselves before making their second album, they would've accepted the fact that improving on the debut would be out of the question. Their prime objective, then, would be to make a different record -- not a better one. Suck it up, prepare for the inevitable "sophomore slump" darts, and get on with it. Having fielded ...
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Enemies Like This
(2006)
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Radio 4
Fast forwarding two years after the lukewarm Stealing of a Nation won the hearts of very few, one would think history wouldn't repeat itself with the same mistakes when discussing Radio 4. Perhaps an expansion of musical palettes or a change in direction would bring about the evolution of a band that seemed so promising with 2002's Gotham!. And ...
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Elastica
(1995)
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Elastica
Elastica's debut album may cop a riff here and there from Wire or the Stranglers, yet no more than Led Zeppelin did with Willie Dixon or the Beach Boys with Chuck Berry. The key is context. Elastica can make the rigid artiness of Wire into a rocking, sexy single with more hooks than anything on Pink Flag ("Connection") or rework the Stranglers' ...
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The Back Room
(2005)
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Editors
Before issuing their debut, The Back Room, in August 2005, Editors were immediately compared to the dark, brooding sounds of Interpol as well as the post-punk brashness of Echo & the Bunnymen. Singles such as "Blood" and "Bullets" quickly put Editors in the elite crowd of those to watch that year. The band -- Tom Smith (vocals/guitar), Chris ...
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Echoes
(2003)
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The Rapture
One 12", produced and released by the DFA, transformed the Rapture from a benign indie band into hot hot sh*t. Once "House of Jealous Lovers" -- a horrifically mangled jolt with a viscous rhythmic vroom as dynamite as anything from the late-'70s U.K. post-punk bands -- took hold in the underground, anticipation for this album built, built, and ...
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The Sun and the Moon
(2007)
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The Bravery
Like many of-the-moment bands, the Bravery know that yesterday's trends are today's trash. And, like the band's former sparring partners and fellow new wave revivalists the Killers, the Bravery move away from the style that made them famous (or, at the very least, incorporate new sounds into their music) on their second album. Unlike the Killers, ...
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