HIM // Razorblade Romance

Album: HIM - Razorblade Romance (1999)
11 tracks / 42:42
Acquired: May 2010

Vocals: Ville Valo
Guitars: Mikko "Linde" Lindström
Bass: Mikko "Migé" Paananen
Keyboards: Jussi-Mikko "Juska" Salminen
Drums: Mika "Gas Lipstick" Karppinen

All lyrics and music by Ville Valo

When I was 14, me and my family were spending our summer on our cottage - just like every summer before that. On our way there, my parents bought me and my little sister CDs - I got The Battle of Los Angeles by Rage Against the Machine and my sister got this album. As we had only one CD player on our cottage, we had to play our CDs in turns - for a whole week, because we didn't have anything else to listen with us.

Although I had disliked HIM before, I grew to accept the band's music, and eventually started even liking it. Though simple, naïve and radio-friendly, their brand of rock/metal (titled as love metal) is also quite cleverly written, full of catchy hooks and at times, really hits the spot.

That's why when I bumped into this album in some record shop - at a reasonable discount, if I may add - I had to buy it. During all those years after the first time I heard Razorblade Romance, I never grew to like the rest of their material that much, but this album has remained really enjoyable and quite unsurprisingly contains practically all my favorite tracks of the band. After all, to this date it's the only album that contains the heavy end of their music combined with their irresistible pop appeal in a prefect balance. All the other albums I've heard contain only one or the other.

1. I Love You (Prelude to Tragedy) (3:09)

The song opens with a real bastard - it has taken me numerous listens to learn that the CD is really playing and there is some ten seconds of silence before the song kicks in at full blast.

The band showcases what they are all about with the first track - the catchy guitar riffs, Valo's asthmatic vocals dripping with honey, ranging from rumbling low baritones to angel-like falsettos.

A powerful introductory song, that packs all the aces, yet holds itself back a little, lacking in the hit department. Otherwise, a great way to open the album.
9/10

2. Poison Girl (3:51)

One of their biggest singles of their early days and probably the first song I heard from them.

This song is pretty far from my regular music taste, with its standard pop song structure, Valo's fatal pronunciation and obvious hooks, yet I can't help but digging it. Don't know if it is only nostalgia factor, but I think this is one of the greatest HIM songs. I really have to restrain myself from singing this aloud like a little girl.
10/10

3. Join Me in Death (3:36)

And the single streak continues - another one of those big HIM hits that hits your face with cheesy broken chords played with a piano.

However, be it careful composition or just another burst of nostalgia, but I'm once again all over this song. The verses are too cheesy for even me to swallow, but dammit, the overtly clichéd, falsetto-sung chorus is just superb. These songs aren't musically world-turning, but they are so cleverly written pop-music-wise I can't help but feel a slight jab of jealousy.
9/10

4. Right Here in My Arms (4:03)

Yet another hit single! Once again catchy choruses with tragic vocals, but this time the metal factor is kicked up a notch - this song is definitely from the heavy end of the album. This doesn't mean that it is actually that heavy, but heavy nonetheless - despite the once again overtly cheesy sing-along-and-clap-your-hands part clearly reserved for big stadium concerts.
10/10

5. Gone With the Sin (4:22)

A slower and calmer song, first real ballad of the album. Despite being cheesy, melodramatic, clichéd and whatnot, in my mind it still remains the best ballad of this band. Even with having a modulation!

Especially in this song Ville Valo's deep vocals are like velvet that is dripping with honey - pure balm to one's ears. Also the synth solo that just descends and descends is pure perfection in its simplicity. Apparently these guys just have that recipe for success - no matter how over-the-top they go, it still comes out as awesome.
10/10

6. Razorblade Kiss (4:18)

The opening harkens back to their less-but-still-somehow-poppy debut album, being noticeably heavier and doomier than their previous hit singles. However its rock-credible chorus hollering and a clean interlude keep it safe on the pop metal ground.

"Razorblade Kiss" is borderlining with pop and metal even more than "Right Here in My Arms" did, and with success. It's definitely a great song, but stays a small notch behind the hit songs.
8/10

7. Bury Me Deep Inside Your Heart (4:16)

The introduction to this song is another deep nod to the doom metal roots of the band - trudging REALLY slow with massive, low register sonic assault.

The song however is not that special, mainly shifting between simple and quiet bass-and-drums verses and massive choruses. Even the catchy sing-along vocal melodies can't save the song, which remains on the other hand pretty good, but on the other hand pretty dull and repetitive.
6/10

8. Heaven Tonight (3:18)

This song sounds more like Depeche Mode trying to play metal. With bass lines reminiscent of synthpop era and synth melodies full of pop hooks "Heaven Tonight" manages to be rather interesting even though as a song it isn't that special.

A pretty good song, but it seems that the band used all their hits during the first half of the album.
7/10

9. Death Is in Love With Us (2:58)

Another hard rocker, this one is. A quick and catchy one, too. However, as a composition it seems that it isn't at its greatest in the album, as it is rather repetitive with no obvious hooks, but instead working as a power shot during a live show, what with its energetic beat and more peaceful breakdown part for waking up the audience.
7/10

10. Resurrection (3:39)

A song opening up like a power ballad, but emerging as a massive stadium-sized hard rocker. It's amazing how simply low registers of bass guitar with simple synthesizer chords can create an impression of something so massive and spacious.

A song with hit potential that is a bit better than the couple previous ones, but falls a bit short of the best hits.
9/10

11. One Last Time (5:10)

The album closes with more peaceful, partly acoustic "One Last Time" - sporting an interesting instrument; it sounds like a distorted cello, but I guess it is just a synth.

This song is less dramatic than the rest of the album but the cheesiness factor remains the same. This, however, is not a problem. What is, is that the song is pretty boring, to be frank. It doesn't really go anywhere but wallows in its sea of cheese. Despite this, it is an acceptable song to end the album, as it is a calm and peaceful one. A heavy metal attack couldn't have fared as well, methinks.
5/10

***

Final verdict
The album was as good as I remembered. Though not an ass-kicker all the way through, with a few weaker performances, it still is an exceptionally good package of radio-friendly pop metal - and that is pretty much said, considering my general distaste for music of that kind.

Admitted, the album is cheesy, very dramatic and theatrical, filled with clichés, but also very carefully crafted, full of great pop songs that are spiced with doom metal aesthetics. It's one thing to hear a pop metal song and a pop metal song with slllllooowww tempo and rumbling bass.

But you've got to remember to take this music with a pinch of salt. The lyrics might speak personally only to angst-ridden teenage girls, but despite that, they have got some serious sing-along potential. At times it's ok to turn your rational part of the brain off and just sing along to these songs like a silly.

Score: 82/100

Smashing Pumpkins, the

(1988-2000, 2006-)My definitive lineup:
Jimmy Chamberlin - Drums
Billy Corgan - Guitars, vocals
D'arcy Wretzky - Bass
James Iha - Guitars

Probably the biggest band of my life, or at least one of the biggest, is The Smashing Pumpkins from the United States. The Pumpkins were also, unarguably, one of the biggest alternative rock bands of the 90s - and probably of all time.

As a big fan of The Simpsons, I found the existence of the Pumpkins in the mid-90s via a Simpsons episode (S5E24, "Homerpalooza") in which the band performed one of their singles, Zero. The bleak rock sound impressed me, then 10-year old little boy, but I didn't have a CD player nor did I have any CDs for that matter, so I forgot the Pumpkins for some five years.

Then, during my first year of high school - when I was 16, I guess - I stumbled upon a Pumpkins song or two over the internet, and found out that I had couple of friends who had a couple of Pumpkins records. I borrowed them (Siamese Dream and Mellon Collie if I remember correctly) and fell in love with the music instantly.

I was completely blown away by the bleak, nihilistic and utterly melancholic message of Billy Corgan, the gloomiest man in the alternative rock scene. Some of the songs were musically dripping with melancholy, whereas others were surprisingly bright and cheery songs, in the vein of The Smiths, despite their angst-ridden lyrics. (Well, I guess it's easy to make music that is appealing to angsty teenagers - just make it depressive). I didn't even find Billy Corgan's nasal voice annoying at all - unlike many of my acquaintances, who claimed it was the biggest problem with their music.

However, and probably because of the great impact the band had on me, I still listen to the Pumpkins, unlike many other "gloomy" bands I found during my teenage years. I guess their music still was more mature, despite its dark nature.

But unlike the vast majority of Pumpkins fans, I soon found the two pre-breakup albums the most enjoyable ones, in the stead of the earlier works of the band. Adore's experimental nature tinted with gripping melancholy, and Machina's heavy metal aesthetics combined with modern soundscapes - to this day I find them more interesting than the grungy alternative rock of their first three albums. Don't get me wrong - I think these earlier albums are made of pure awesome, and they contain some of the greatest songs of the 90s, but however, the departure from their general sound to the electronic elements have made these two latter albums stand out for me.

I guess it would be best to clear the terminology about the pre- and post-breakup eras now. The musical history of the Smashing Pumpkins divides into three distinct eras - at least in my eyes.

First, there is the early pre-breakup era. During their formation years, they played fuzz-heavy alternative rock, heavily influenced by psychedelia and dream pop (debut album Gish), before moving on to more clearly defined alternative rock. During this time the song structures got simplified and shortened and the band's sound became more accessible. The band produced two albums during this era: the definitive Siamese Dream and the magnum opus, Mellon Collie and the Infinite Sadness. Also during this time, the band added the "The" article to their name.

Then became the late pre-breakup era. Billy Corgan kicked out the drummer and his close friend, Jimmy Chamberlin, due to excessive use of drugs, and then he solely composed their semi-acoustic, semi-electronic album Adore, which was a complete departure from their traditional alternative rock sound - fierce angst had changed into crushing melancholy. Adore received some critical acclaim but its commercial succes was far behind the two previous albums.

Later Corgan took back Jimmy and the band recorded the album Machina, which was to become the swan song of the band. Tensions were growing within the band and after the recording, bassist D'arcy Wretzky was kicked out. Former Hole bassist, Melissa auf der Maur, replaced D'arcy as a live bassist, but soon afterwards, the band called it quits. The members of the band left publicity or concentrated on their solo efforts or activities in other bands (for example, the guitarist James Iha played in the alternative rock supergroup, A Perfect Circle).

It took some six years (and for long I had never thought that it would happen) for Billy Corgan to put the band together - but to be honest, I think that it was more of an extension of Billy's solo project, because only Jimmy Chamberlin joined him this time. They recorded together one full-length album and an EP before Jimmy left the band. I think it is questionable to call this band, in which Billy Corgan is the only remaining Pumpkin, as "Smashing Pumpkins" (NB: the "The" article was dropped from the name). This period I call very unsurprisingly, the post-breakup era.

However, many sources claim that a vast majority of all of the Pumpkins songs and records have come solely from Billy's hands. It's true that a great deal of the songs have only Billy's name in the songwriting credits, but the rumors go that he also recorded almost all the instruments too - including the legendary hundred guitar overdub tracks on Siamese Dream. Despite that the man who has been almost single-handedly responsible for almost all of the Pumpkins song is still on the lead, the quality of the later releases are greatly overshadowed by the superb earlier works of the band. I wonder if the remaining members had after all something to do with the quality of music they did during the 90s, or if Billy just had his major inspiration back then and now it has run dry - now it seems that Billy has nothing more to say under the Pumpkins moniker, yet he wants to milk the cow as long as it milks.

I really hope that the now-ongoing "40-plus songs released free over the internet" -project titled Teargarden by Kaleidyscope results in songs that are more interesting than the earlier works of the post-breakup era. At least the first results are promising, but only time will tell. Still I think that it would've honored the legacy of one of the greatest alternative rock giants of the 90s if Billy had just released this insane, yet insanely awesome project under his own name.

***

My top-10 list of songs that are worth checking out:
Ava Adore
Bullet with Butterfly Wings
Crestfallen
Disarm
Eye
I of the Mourning
Siva
The Crying Tree of Mercury
Today
Zero

***

Reviewed albums:
Pisces Iscariot (1994) - 78/100

Smashing Pumpkins // Pisces Iscariot

Album: Smashing Pumpkins - Pisces Iscariot (1994)
14 tracks / 57:26
Acquired: December 2006

Guitars, vocals: Billy Corgan
Guitars (and vocals in #5): James Iha
Bass: D'arcy Wretzky
Drums: Jimmy Chamberlin

Pisces Iscariot is not a full-length album but instead a compilation of B-sides and outtakes from the previous two albums. The result is a collection of interesting songs that don't make a whole as cohesive as the previous two albums did. However, the cover songs that the band recorded add some curiosity value, because even though Smashing Pumpkins have done some covers throughout their career, recorded ones are not that commonplace outside bootleg recordings and live shows.

The biggest problem with Pisces Iscariot is that it lacks the great hit song. It is packed with pretty good songs, some of which are my personal favorites, but I still feel that it could've used some better material. But on the other hand, if the album is full of songs that didn't make it to the albums or were only filler material for the single releases, it's kinda expected.

1. Soothe (2:36)
(Billy Corgan)

The compilation opens with a short and aptly titled "Soothe". A peaceful, acoustic piece with soft vocals. This B-side of "Disarm" (from Siamese Dream) works as a soft introduction to the album, and though the song really doesn't go anywhere, and the album could've used a song less mellow to kickstart it, there is really hard to find anything bad from it. It's a little dull, if anything.
7/10

2. Frail and Bedazzled (3:17)
(Billy Corgan)

Now we're talking! Kicking with rumbling Chamberlin drumming, powerful riffing and those trademark Pumpkin leads. Apparently this song didn't have what it takes to end up in Siamese Dream, but one can clearly hear that sound-wise it could fit in there perfectly. I guess in Siamese Dream, this song would've felt more of a faceless filler track, whereas it receives more attention as a first real rocker in this compilation. A neat Smashing Pumpkins regular.
8/10

3. Plume (3:37)
(Billy Corgan, James Iha)

A slower, groovier track that includes one of the greatest single pieces of lyric Billy Corgan has ever written: "My boredom has outshined the sun." A regular rock song trudging this slow has a potential to be dull and uninteresting, but the effects-heavy guitar leads make this song melodically interesting while the chorus manages to keep me entertained. "Plume" is one of those songs I couldn't name as one of my favorites, but every time I listen to it I remember I like it pretty much.
9/10

4. Whir (4:10)
(Billy Corgan)

Another Siamese Dream outtake, this time much lighter and mellower sounds and a more relaxed atmosphere full with acoustic guitars and soft surf guitar fills.

As the song progresses it becomes obvious why it ended up as a B-side: it has no real flaws, yet it lacks the kick and catchiness the Pumpkins is known for. An enjoyable piece, but maybe it was best for the album to scrap it - after all, it still ended up in this compilation where it receives more attention. Especially its outro that shifts to a slightly darker atmosphere before fading out works great.
8/10

5. Blew Away (3:32)
(James Iha)

Well, it makes sense why this song is an outtake. I guess a song composed by James Iha could end up in a Pumpkins album, if Billy the dictator was in a good mood, but definitely not a song sang by James. Billy's nasal vocals are the cornerstone of the Pumpkins sound, that's why even a great song with only a different singer sounds too out-of-place in the middle of an album.

This song is as cute as Pumpkins go, with Iha's somehow childlike vocals and mellow sounds. Then suddenly a heavily distorted guitar solo emerges and the song ends up with massive, shoegaze-style guitar chords.

Most likely not your favorite Pumpkins song, but in any case an enjoyable one.
8/10

6. Pissant (2:31)
(Billy Corgan)

"Pissant" is a real asskicker after all these more or less mellow tracks. Crunchy, heavily distorted guitar riffs pound away with the support of Chamberlin's feverish drumwork. The guitar solo here is very reminiscent of the solos from the later Pumpkins era, both sound- and harmony-wise, and I guess this is one of the earliest Pumpkins songs in which Billy has played solos like these.

The liner notes say that this song almost ended up in Siamese Dream, but Billy Corgan didn't see it fit there. I agree to some extent, though it would fit there sound-wise, a song this aggressive and straightforward would've felt a little bit out-of-place in the middle of the relaxed atmosphere of Siamese Dream.
8/10

7. Hello Kitty Kat (4:32)
(Billy Corgan)

A quick, metallic snare fill and the crunchy guitars kick in. "Hello Kitty Kat" is a missing link between Gish and Siamese Dream: sound-wise it is straight from Gish, but instead of being a multi-phased prog opus like most of the Gish songs were, this one is more of a straightforward rocker like the Siamese songs are.

With manic drumming played along with as intense guitar leads and driving groove, this one is in my opinion probably the best Pisces track. One of the most intense works of early Pumpkins.
10/10

8. Obscured (5:22)
(Billy Corgan)

Once again, a mellow and a dreamy ballad, very much like the dream-pop-esque songs from Gish. "Obscured" is a Gish outtake, which makes sense, because there were already some songs very much like this on the album. However, I don't think that this one is any less good than the ones on the album are; in my opinion this song could've replaced easily any Gish ballad and the album would've worked just fine.

One of the greatest parts of this song are those clean, Hawaii-style slide guitars in the background. Towards the end, guitar feedback takes place and drowns the whole song away. Though not that memorable of a song, it is still very pleasing and relaxing one.
8/10

9. Landslide (3:10)
(Stevie Nicks)

The first of the two cover songs of the album, this one being a Fleetwood Mac cover. A melancholic and beautiful song, this one really stands out. It's an acoustic ballad, but very unlike the Pumpkins ballads, making it very distinct from the rest. Definitely the best ballad on the album and one of the best from the whole. No wonder even Stevie Nicks gave her approval for this version, it really honors the original while retaining the own unique Pumpkins sound.
9/10

10. Starla (11:01)
(Billy Corgan)

"Starla" is the behemoth of this album. Clocking at well over ten minutes, it is one of the lengthiest Pumpkins songs of all time, though not the only one. It's a B-side of one of their earliest singles, and the sound is definitely the same from Gish, whereas the composition is easily recognizable as their early works: it's a slowly growing prog mammoth that takes influence more from 60s and 70s psychedelia than from the early 90s grungy alternative sound.

It rumbles on slowly, shifts very slowly from one part to another, lulling in every piece for some time, having an extended space jam section in the middle. Especially the crazy guitar effects wankery part is a real divider of opinions - it's a tad too crazy and quite lenghty, but it also makes the song that memorable. Otherwise the song would've been most likely just a song way too long and gotten lost in the sea of vapidness. Now it makes this song "that crazy mammoth of a song that has that 5 minute wah guitar solo."

Though occasionally maybe too long, this song still to manages to remain as a cohesive package - as if Pumpkins made a crazy bastard offspring with Pink Floyd or King Crimson. It's long, it's crazy, it's interesting and thank lord, there are not that many more where this came from.
8/10

11. Blue (3:19)
(Billy Corgan)

A very Gish-ish song srom the first bass riff: buzzsawing guitars, distinct bass lines and sudden mood changes are all there. On ok song that could've made better in Gish, or even in a place less ungrateful - now it remains a little bit overshadowed by the massive "Starla".

A nice song that harkens back to the early Pumpkins days, but not anything mind-blowing.
7/10

12. Girl Named Sandoz (3:34)
(Eric Burdon, John Weider)

The second one of the two cover songs, this time The Animals cover. The song has nice, raw and groovy riffs doubled by trebly bass clatter, but the vocals really put me off. This song doesn't a spot in me, anywhere. It's a bit too dirty sound-wise, with all that feedback and over-the-top guitar wankery, but especially the vocals are the thing that remain as my biggest problem with this song.

From the cover songs, this one's light years behind the Fleetwood Mac cover.
4/10

13. La Dolly Vita (4:16)
(Billy Corgan)

Once again a relaxing, acoustic piece, almost like a cleaned-up dream pop song. Really a song you can fall asleep to. The distant guitar leads, pulsating bass rhythms and Billy's voice make a great lullaby. Not a special song in any way, but at least an ok one nonetheless. Though ending with the distorted guitar solo and hysterical drumming do fit the song, I wish the band could've come up with something a bit calmer to finish the song.
8/10

14. Spaced (2:24)
(Billy Corgan)

The track that closes the album, "Spaced", is not a real song, but some calm tunes accompanying some spoken stuff, which is quite unintelligible as there's a load of echo effect applied to it. A Siamese Dream outtake, which makes pretty much sense, because it would've ended up in the middle of all those great hits only a short filler, not a real song - though it plays same kind of role here too.

The cover booklet states that "Spaced" tells the 7 secrets of the 7 veils of Apollo. Thank you, booklet. Unfortunately the secrets remain rather untold to me, as I can't make anything out of it. I leave this piece out from the rating, as this is more of an outro to the album than a proper song. As indicated above.
-/10

***

Final verdict
After having listened to it through, one can pretty easily tell that Pisces Iscariot is a collection of B-sides and outtakes: it lacks the red thread and the sounds are a-changing throughout the album. Luckily the songs are from an era this short - even then one can hear how the band has evolved both sound- and composition-wise. If the album would've included songs from, say, Mellon Collie and the Infinite Sadness era, the differences between the earliest and the more recent ones might've been too much to be included on a single disc.

Pisces Iscariot works as a neat collection of nice songs, but it still lags a bit behind the full-length albums, due to its lack of cohesion and general sense of togetherness. However, it's an album well worth buying, but not as one's first Pumpkins record. It serves perfectly as an anthology to the early days of the Pumpkins, showcasing their evolution through songs one usually doesn't hear during the course of a single album.

Score: 78/100

Mono

(1999-)

My definitive lineup:
Yoda - Guitars
Kunishi Tamaki - Bass, piano
Takada Yasunori - Drums
Goto Takaakira - Guitars

Japanese Mono have been one of the forerunners of bands who create music that is as much rock music as it is classical yet not being either one of them. Though not as influential as the great godfather of post-rock, Godspeed You! Black Emperor, Mono is still one of the most recognized names in the world of post-rock.

During their first albums the band named some shoegaze bands as their greatest influences, which can be heard especially from their earlier music - it lends much from earlier post-rock bands, yet it nods to the direction of instrumental shoegaze as well. However, during their last few albums they have drawn heavy influence from classical music, which is underlined with the use of a chamber orchestra in their 2009 album, Hymn to the Immortal Wind. Despite this, their songs have always been very reminiscent of classical music - with the exception that it is played with traditional rock instruments. The songs are usually very long, having very minimalist composition, being based more on repetition and introduction of new layers of instrumentation instead of changing riffs and catchy melodies. Also many times leitmotif-type ideas are introduced and varied throughout the song, in vein of classical music. The main difference between their early and later works is that their earlier works are mostly bright, pretty and somehow nostalgic, whereas the couple more recent albums are dripping with intense melancholy and sorrow, borderlining between pathetic movie music and breathtakingly beautiful contemporary classical music.

I've heard some people grouping Mono together with the so-called "quiet/loud/quiet"-post-rock bands, which superficially may be true, but most of these bands base their music on simply parts that are loud and heavy and parts that are quiet and calm, which then are contrasted one after another. How Mono then differs from these bands, is the use of full dynamic spectrum in their music - the loud and heavy parts don't come right after the quiet ones, or the other way around, but instead slowly grow and evolve from them, making it occasionally impossible to point out when the quiet movement turned into a loud one.

To this day Mono's line-up has remained unchanged, and the band is led by their main composer and guitarist Goto Takaakira. One of the main distinctive feature of Mono's sound is Goto's, and their rhythm guitarist Yoda's, extensive use of delay and reverb, creating a dreamy and wavy feel to the songs. Also Mono seems to have polished the incredibly massive wall-of-sound guitar assault to the brightest already during their first works. Fuzz-and-delay-heavy guitar sound that is tremolo-picked creates this massive guitar noise that sounds more like a distorted, bowed instrument than a regular guitar lead, creating a massive sound that is perfect to underline an important crescendo part during a lengthy song. It was used already during their debut album and to this date it remains probably the single most important feature of the so-called recognizable Mono-sound - even though it also has become one of the most mimicked features of the modern quiet/loud/quiet bands.

Also after having seen one of their live shows, I must point out that these guys really put on an impressive show. It seems to be impossible that a band of which only one person (bassist Kunishi Tamaki) is standing up - rest of them playing seated - could play with such intensity, but it is really possible. During the quiet parts the players are almost still, only moving a little to the rhythm, but once the songs reach their climax, the players heave and sway frantically, as if in trance in which they don't move to the music, but the music moves them. Combined with the incredible sound and soundscapes they create, Mono is truly an instrumental band that needs to be seen.

***

My top-10 list of songs that are worth checking out:
2 Candles, 1 Wish
Burial at Sea
COM(?)
Error #9
Halcyon (Beautiful Days)
Halo
The Battle to Heaven
The Flames Beyond the Cold Mountain
The Kidnapper Bell
Yearning

***

Reviewed albums:
Under the Pipal Tree (2001) - 90/100

Mono // Under the Pipal Tree

Album: Mono - Under the Pipal Tree (2001)
8 tracks / 63:44
Acquired: September 2010

Guitars: Goto Takaakira
Guitars: Yoda
Bass: Kunishi Tamaki
Drums: Takada Yasunori

Mono was one of the first post-rock bands I've listened to back in 2005 or 2006 and Under the Pipal Tree was the first Mono album I found. However, after I found more of their more recent stuff, I somehow started ignoring this album unconsciously and that's why it took me some five years before I managed to buy a physical copy.

In a nutshell, this is an album full of lengthy, completely instrumental songs, and even though an occasional cello in two of the songs can be heard, all of them are performed with traditional rock outfit - bass, drums and two guitars - yet more connections to classical music can be made than to rock music.

Now we shall delve into the debut album of one of the greatest names in the post-rock front.

1. Karelia (Opus 2) (12:30)

The album opens with calm introduction played with clean, delay-heavy guitars that fade in very slowly. However, very quickly this song opens up into a Mono regular: distinct guitar textures, frenetic drumming and finally a massive, fuzz-heavy wall-of-sound guitar.

The song goes through its massive ups and fragile, cello-tinted downs with ease, carefully using the whole dynamic range. Even when my speakers are almost up to eleven, the interlude in the middle is pretty damn quiet, until interrupted by wailing guitar bends that kick the song into full speed once again.

"Karelia (Opus 2)" is both one of the few somehow Finland-related tracks, and an excellent Mono song. It is a perfect example what post-rock is all about: making the song a real rollercoaster using both slow and quiet parts, contrasted with massive and crushing parts. The song is well over 10 minutes long, yet it always feels to be of excellent length - too short, if anything.

For some time, this remained as one of my most favorite Mono songs. It still is pretty amazing, but I really can't give it full points as I know there are even better ones out there.
9/10

2. The Kidnapper Bell (10:00)

As "Karelia" fades out, The Kidnapper Bell starts to fade in - and as slowly as the starter. With Mono in lead, there's no need to rush. The songs take several minutes to open and once they do, they feel like they could contain a lifetime of music yet never making me feel bored. The Kidnapper Bell is a song song in this vein - melodies of intricate beauty, held steady with melodic bass lines and rock-steady drumming. The further the song goes, the more it feels that the song takes up the whole aural atmosphere and fills everything with interweaving, harmonious textures.

Especially the latter half is really massive, almost crushing with its immense heaviness (not in heavy-metal way) created by pulsating bass guitar chords and Goto's trademark guitar wall-of-sound.

"The Kidnapper Bell" really has no distinct, sing-along melodies, yet it is one of their most amazing works to this date being made of musical beauty of almost unreal quality. It is incredible to see how Goto has been one of the most stunning post-rock composers all the way from their first full-length album.
10/10

3. Jackie Says (7:31)

Though not kicking in at full speed, "Jackie Says" still shows it true colors a bit faster than the two previous ones did - and is also a bit lighter than those two darker songs. "Jackie Says" sways on with slow, massive pace in which heavy bass chords are contrasted with light and twangy guitar melodies and harmonies.

However, as post-rock is more about soundscapes than compositions, this song seems a bit "hollow" due to its lack of midranges. The guitars twinkle and wail at high registers, while the bass pounds the low ones, but this song seems to be lacking the massiveness up until the final quarter, making this song feel a bit unbalanced. But maybe I've just grown too accustomed to the regular Mono sound and when they want to do something otherwise, it just doesn't hit the spot for me.

Anyways, a nice song, but I must say it lacks that special something that many Mono songs have.
7/10

4. OP Beach (5:48)
The guitar-drums-duet opening "OP Beach" evolve quickly into a slow, fragile swayer of strong melancholic feel. A sorrowful and somehow nostalgic piece yet not lacking in hope. A great song showcasing that Mono don't need to use wah-fuzz-delay combo in every song - they can make tremendous songs only with a couple of clean guitars backed by bass and drums.
9/10

5. Holy (1:40)
"Holy" is more of an interlude than a song, consisting of a melancholic guitar melody played with reverse delay, suddenly creating an unreal, even a bit eerie atmosphere right after the soothing "OP Beach". However, a nice intermission that remains enjoyable because of its moderate duration.
9/10

6. Error #9 (12:30)
Another really lengthy piece that begins with quiet, atmospheric effects that mask the sound of guitar completely until another distinct guitar melody with the bass appear.

"Error #9" is another very Mono-esque track with pulsating rhythm created with the steady teamwork by Kunishi and Takada, on which the guitars weave aural bliss with delay-heavy guitars. These guys really seem to have the uncanny ability to know when to remain quiet and when to crush everything in sight with unrelenting sonic onslaught. Especially the quieter parts which are very bass-driven moments are really enjoyable, even though the whole song is as great as any Mono track.

The whole first, quiet half of the song serves as a contrast to the suddenly exploding loud part that encompasses the latter half almost completely, making this song into a combination of two distinct and unlike phases that still work together seamlessly. Together they make an amazing song, whereas both separately would be pretty great but a lot more one-sided, unbalanced.
10/10

7. L'America (4:37)

Another soothing slow-tempo track. Remaining bright and peaceful throughout, it works as a great counterpart to the preceding heavy part of "Error #9". It really doesn't go anywhere, just lulls around in a peaceful sway, though having a short climatic moment somewhere in its last third.

As a relatively short song - taking the average song length in this album into consideration - this song serves purpose both as a separate song and as an interlude between two lengthier tracks. All in all, a short but very enjoyable piece.
9/10

8. Human Highway (9:05)

The album closes with another lengthy epic, "Human Highway". It doesn't add anything new to the Mono palette, it simply does what the band is good at.

A small deviation from the general sound is the inclusion of a cello; bringing more depth and warmth to the already-winsome sound of the band.

"Human Highway" is a gentle giant, having layers upon layers of melodic guitar textures and rumbling bass chords intertwined with soft cello melodies. Once again, dynamic scale is used to the full extent to underline the emotional climaxes and to bring peace to the calmer moments. A perfect way to end the album; "Human Highway" never reaches a full-scale wall-of-sound crusher, but takes a turn to the quieter direction in place of it, and starts to slowly die out, until only a handful of silent notes linger on.
9/10

***

Final Verdict
Under the Pipal Tree is incredibly mature for a debut album, full of instrumental bliss from the beginning to the end. Instead of emphasizing rock instrumentation performed in post-rock aesthetics, Mono use their instruments and composition to create a blend of rock and classical music. With Godspeed You! Black Emperor's work, this album is a benchmark for post-rock bands that don't just play instrumental rock music, but also put on a great deal of emphasis on the dynamics and the dramatic play of the songs.

But also being a noteworthy album, it is also a very enjoyable and impressive one. Though the songs together aren't as coherent as the ones in the later albums, they are amazing post-rock songs on their own, and though Mono has done some really impressive works later on, their debut album is not overshadowed by them, and still remains as outstanding as ever. Under the Pipal Tree is really a "must" album for any post-rock listener.

Score: 90/100

Red Hot Chili Peppers

(1983-)
My definitive lineup:
Michael "Flea" Balzary - Bass
Anthony Kiedis - Vocals
Chad Smith - Drums
John Frusciante - Guitar and backing vocals

Along with Metallica and The Offspring, Red Hot Chili Peppers remain one of the few bands I listened to as a kid some 15 years ago, and still do.

Though I had known and listened to them to some extent as a kid, I really found them with their 1999 album Californication - an album that is definitely one of the oldest in my CD shelf.

The stuff the band has done after Californication are somewhat familiar to me, unlike their earlier works. For a long time all I knew about the band was Californication and the handful of their most known singles before that. Only recently I have familiarized myself with their older works.

What really got me when I really started digging the band was the intensive groove delivered with powerful and soulful vocals - of both Anthony Kiedis and John Frusciante. Soon after I found the awesomeness of both Flea's bass lines and Frusciante's guitar work. Nowadays I even consider John Frusciante to be one of the most underappreciated guitarists of our time. He really doesn't show off in the album versions, but after having browsed through the RHCP videos on Youtube, it has dawned to me that this guy really is both pretty versatile and able. But I guess I really don't need to talk much about Flea - the man that is hailed as one of the best rock bassists ever. And I guess I agree.

The way I see the band is as the godfathers of funky alternative rock, and in most cases, that's really what the band is good at - pounding away alternative rock in heavily funky fashion. However, especially during the latter Frusciante era, the band showcased their strength in regular alternative rock, of which most of the funk was stripped away. To me, it has proven that this band isn't a one-gimmick group - they really are good at what they do, whatever they do.

In my head I have divided Peppers's works into three different eras, although I guess five would make more sense. My division is:
a) The early era, from the eponymous debut always to the 1991 Blood Sugar Sex Magik - a fierce blend of funk, punk and alternative.
b) The middle phase, including only One Hot Minute. This album showcased more heavy metal and hard rock elements than any other album, probably due to the new guitarist, Dave Navarro, of Jane's Addiction fame.
c) The alternative era, Californication onwards. The band's sound calmed down and shifted towards more melodic alternative rock sound. During this time John Frusciante's backing vocals - somehow reminiscent of 60's hippie music - became a prominent element to their music, and though leaving most of the funk behind, some of it was retained in some songs.

Some people would probably divide the early era further into the earlier Hillel Slovak and latter John Frusciante era, but I have listened so little to the early stuff, I really can't make any difference between them - yet. Also I'm awaiting to see if the alternative era should be further divided into Frusciante and post-Frusciante era. We shall see.

***

My top-10 list of songs that are worth checking out:
Aereoplane
Around the World
Blood Sugar Sex Magik
By the Way
Californication
Otherside
Scar Tissue
Snow (Hey Oh)
Stadium Arcadium
Under the Bridge

***

Reviewed albums:
One Hot Minute (1995) - 74/100

Red Hot Chili Peppers // One Hot Minute

Album: Red Hot Chili Peppers - One Hot Minute (1995)
13 tracks / 61:24
Acquired: June 2011

Vocals: Anthony Kiedis
Guitars: Dave Navarro
Bass: Michael Flea Balzary
Drums: Chad Smith

All music and lyrics by Red Hot Chili Peppers unless noted otherwise.

Though I am familiar with some of the tracks from this album, One Hot Minute has remained a pretty distant RHCP album for me. I really don't know the reason why, but in my eyes it has lacked the awesomeness of the albums directly before and after it. Dave Navarro might have to do something with it, but I can't say this for certain.

Anyhow; it's time to go through the album in-depth so I can see whether this album really is as mediocre as I remember, or if I have just misjudged it.

1. Warped (5:04)

The calm bass-driven introduction works as a great contrast to the explosive energy that blows up as the guitars and drums kick in. For the most of the song intensive drumwork supports the straightforward guitar-and-bass riffs and Kiedis's lyrics about dependency and drugs. "Warped" is a straightforward hardrocker compared to the funky groove of older RHCP songs.

Kiedis's vocals in this song are a double-edged sword - although the heavily effected singing fits the mood of the drug-laden lyrics, you really can't hum them or sing along.
As the song reaches the end, the song suddenly shifts to a calm outro section unlike the rest of the song.

All in all, the song is energetic and pretty good, but it lacks some cohesiveness due to the intro and outro parts, and Navarro's riff-forward guitarwork really can't compete with Frusciante's interesting guitar melodies.
7/10

2. Aeroplane (4:45)

This one if one of the earliest RHCP songs I can remember and still it remains as one of my favorites. Navarro's guitarwork is more similar to Frusciante's in the earlier songs, although the wah-heavy guitar solos are really not my cup of tea.

Flea's bass lines shift nicely between the strong bass melodies of the chorus to the funky slap 'n' pop in the verses. Extra points for the groovy bass solo!

Even though I'm not fond of the kid chorus that the band used in the final part of the song, I still think this is one of the greatest Peppers songs, alas a bit overplayed.
9/10

3. Deep Kick (6:33)

Beginning with dreamy, bass-driven introduction that doesn't seem to go anywhere, with spoken word vocals, this song many times just asks to be skipped. It takes full two minutes for the song to kick in - a tad too much, if you ask me.

This time the guitar riffs are more funky chops than rock riffs, but the guitar leads seem to borrow more from Jane's Addiction than earlier RHCP. However, the song as a whole seems to be not unlike the stuff the Peppers wrote after this album (which is not a bad thing if you ask me).

The biggest problem with this song is the outro part - once again - when the horribly out-of-tune vocals and dissonant guitar screeches emerge. I really don't get it why these guys were so keen on ruining decent songs with horrible coda sections. Was it the drugs?
5/10

4. My Friends (4:02)

Suddenly a wild ballad appears!

Another one of those RHCP songs I remember from my childhood. Nice and soothing despite the gloomy lyrics. Very reminiscent of the Californication-era songs. Manages to roll from the beginning to the end without annoying me a bit. Clearly one of the better tracks of the album.
8/10

5. Coffee Shop (3:08)

In contrast to the peaceful "My Friends", this songs kicks in with full force, pounding with heavily distorted guitar riffs and slapping bass riffs.

"Coffee Shop" is not really anything special, yet due to its unrelenting energy and drumming I can't help but nodding to the rhythms. Also the sudden calm-yet-funky mid-section doesn't seem to be out of place at all, but instead adds some interest to the song.

Groovy rocker with attitude.
8/10

6. Pea (1:47)
(Flea)

A really weird solo part by Flea. I really can't say that this is a great song; yet I can't help liking this piece. It also gives some well-needed time to breathe before and after the surrounding pounders.
8/10

7. One Big Mob (6:02)

Back to the full-throttle rocking. Though the groovy rhythms rock, I'm not that much of a fan of the shouted backing vocals in the first and final parts of the song.

After the hard introduction, the song takes a shift to a semi-psychedelic direction. Though musically this part is nice, Kiedis's vocals - though effecs-heavy - are more of a nuisance than a mood-maker; he really doesn't seem to be at his best.

The dreamy middle section then returns to the groovy rock of the introduction ending with fierce funk-punk and heavy metal riffs.

Without the mid-section this song would be pretty boring, but at least it gives some interest to it. However, as a whole, it really isn't one of the strong points of the album.
6/10

8. Walkabout (5:07)

Clearly more funky tune after the few hard-rockers. Groovy and relaxed, "Walkabout" is a nice, peaceful moment in between the heavier tracks - but I must say that the funky guitars really remind me of the Love Boat and everything that is 70's - which works here just fine.
8/10

9. Tearjerker (4:19)

Another slower, calmer track. Intrumentally a nice interplay between the clean guitar with slight delay and melodic bass lines. Quite nice a track otherwise, but I must say that once again Anthony Kiedis's vocals are not up to par; especially the chorus part isn't really that listenable. With better vocals this could have been my favorite track of the album, but the chorus slices off a point or two.
8/10

10. One Hot Minute (6:23)

Just like the opener, "Warped", this song opens with a quiet intro, which suddenly explodes into loud hard rock song. However, "One Hot Minute" is significantly slower than the majority of the album, trudging on with massive force.

Otherwise this is a rather decent, though maybe a bit dull song, but Kiedis's vocals once again trouble me. They lack feeling for the majority of the song - they are more of a snarl than enjoyable singing.

Quite a boring track that lacks hooks and instead tries to rely more on slow groove and heavy distortion.
5/10

Falling Into Grace (3:48)

Bass riffery drives this funkier piece onwards. A groovy and rather catchy RHCP standard that relies on simple yet surprisingly catchy chorus and serious goofery with trippy guitar and bass effects. Though not my favorite tracks, it also fails to irritate me in any way.
7/10

Shallow Be Thy Game (4:33)

Well if the title isn't a "really funny" play with words.

Title aside, this track returns the album back to regular funk rock the band is known for. Navarro chops away nice guitar vamps while Flea supports Smith's drumming with bouncy bass grooves.

With a decent chorus and great instrumentation, this song happens to be one of the strongest tracks on the whole album. "Shallow Be Thy Game" clearly paves the road for the straightforward-yet-groovy rockers that made the following two albums popular.
9/10

Transcending (5:46)

The final track of the album begins with melodic yet intensive bass lines. The song as a whole has some of the greatest interplays between the bass and guitar melodies and also Kiedis manages to deliver more emotional vocals than for the vast part of the album.

Before ending, the song descends into a trippy, effects-heavy part with heavy and slow groove. All in all, "Transcending" is a nice closure for an album this uneven, and though it's not really a potential hit single, it is overall an enjoyable track. Luckily they picked a better song to end the album.
8/10

***

Final verdict

After listened the album once again through, I still feel quite mixed towards it. It has its moments, and even has some of the greatest Peppers songs, but on the other hand it lacks quite much that its follower, Californication, has. Probably it has something to do with the absence of John Frusciante, whose intricate guitar melodies and background singing play major part especially in the latter works of Red Hot Chili Peppers. I admit that Dave Navarro is an accomplished guitarist, but the heavier emphasis on rock and metal riffs shifts the dynamics of the band too much away from the sound I've grown accustomed to. However, the trippy psychedelic parts were interesting, and I actually hoped that the band would've emphasized it more instead of hard rock.

The heavy drug use seems to have had some impact on Anthony Kiedis's voice, as his voice seems to be rather strained, or even a snarl in some songs, making them not really a treat to listen to.

In a nutshell, the album is listenable, and at times actually really enjoyable, but it is far from the best works the Peppers have done. In my opinion some of the weaker tracks could have been scrapped from the album and nothing of value would've been lost. Actually, a shorter length would have done good for the album - clocking at over an hour, "One Hot Minute" is maybe a bit too lengthy.

Score: 74/100