ARTIST: The KooksALBUM: KonkLABEL: AstralwerksRELEASED: April 15, 2008
The release of the Kooks' sophomore album Konk, containing 13 new songs, proves how difficult it can be to create music after such a successful and original breakthrough record.
Hailing from Brighton, U.K., the young British indie-rock band, which is named after the song "Kooks" from David Bowie's 1971 album, Hunky Dory, skyrocketed to fame with their hit debut album, Inside In/Inside Out, in 2006. At the time all the band's members, lead singer and rhythm guitarist Luke Pritchard, bassist Max Rafferty, lead guitarist Hugh Harris and drummer Paul Garred, were 21 years old or younger, though Pritchard wrote their popular song "Na've" at age 15.
The Kooks' sound was reminiscent of the rival indie band Arctic Monkeys from Sheffield, U.K., who also released their first CD in 2006 and whose members are around the same age. The Kooks distinguished themselves with bouncier, more mainstream songs. Also, it seems several of their songs were made to be listened to at the beach more so than at a dance club.
However, they diverge from the Arctic Monkeys in another way - the Kooks' second album is not as innovative as the first and probably will not sell as many records.
Equipped with Dan Logan as their temporary replacement bassist, since Max Rafferty left in January of this year, the Kooks in Konk have managed to produce only a few songs that carry the same momentum and excitement that was present in Inside In/Inside Out.
"Always Where I Need To Be," their catchiest song, is also their first single and second track off the new album. Though the lyrics are simple, it is a feel-good song to play over and over and will remind you of their most energetic tracks on Inside.
With a touch of classic rock and roll flair, "Do You Wanna" is another one of the CD's best songs. Its lyrics are direct and lead singer Pritchard seductively sings, "Do you wanna, do you wanna, do wanna make love to me? I know you wanna, I know you wanna, I know you wanna make love to me."
Although in "Gap" Pritchard kind of whines the words "But don't go, take my love, I won't let you, I'm saying please don't go" and later, "And I miss you, and I love you. That's true," his choice to sing it that way actually is endearing. Unfortunately, the rest of the song is easily forgettable.
The same is true about several of the tracks on Konk like "Mr. Maker," "Love It All," "Sway" and "Shine On." These songs are generally fun and upbeat with a few elevated moments, usually during the choruses, but overall they all sound similar and are not anything too special.
"One Last Time," "Tick of Time" and "All Over Town," the final three tracks are debatably the blandest songs on the album. They are more acoustic than usual, which inherently is not a problem. Yet, they fail to ignite any emotional response.
However, there might be hope. In addition to their regular album, the Kooks have put out a deluxe version of Konk with a second disc and nine bonus tracks. Maybe those nine songs will show the potential the Kooks seemed to show after their first CD with a return to the old magic and more experimentation or maybe the second CD will be more of the same.
With Moby's return to his forte of dance music, let's hope that this is a warm-up album - a chance to stretch his electronica legs. While there are a number of good tracks on the album, it is clear that Moby needs to get back in shape.
-Sarah Addison
ARTIST: Sun Kil MoonALBUM: AprilLABEL: Caldo VerdeRELEASED: April 1, 2008
Mark Kozelek's newest album, April, with his band Sun Kil Moon, starts with the nearly-epic, 11-minute "Lost Verses," which sets the tone for the rest of the album. I say "nearly epic" because we expect such a long song to build, swell and climax toward the end. However, instead, we just amble along through the song, jamming through the soft melody.
Not that this is a bad thing: Kozelek's deep, pure-sounding voice gives emotion to backing guitars, together lamenting universal woes. The track doesn't really crescendo, it simply soothes, pushing along steadily and calmly.
In the same way, the album also never reaches any "high points," it just moves along, one song at a time, while Kozelek guides the music along with a gentle hand.
Important too to note is Kozelek's handling of the lyrical component of his music. His manner is such that he sounds every bit the poet, even if his verbal stylings aren't exactly Keats-caliber.
It sounds as if he wrote the words after some major event in his life, and, still remembering, sang his heart full out into the microphone. And he does this on every track of the album.
There are some incidents where I felt there were some overlaps from other artists. Occasionally we hear hints of Sufjan Stevens - you can't talk about palisades any more without Sufjan coming to mind. Similarly, Kozelek can't get away with his fast-picking of a D-chord while whispering out a song without us thinking of Elliot Smith.
Despite these stark similarities, who is really to say if they are intentional? Besides, what would music be if we couldn't borrow a bit here and there from our fellow artists?
Also worth mentioning are guests Ben Gibbard (Death Cab For Cutie), and Eric Pollard (Retribution Gospel Choir). These indie names will surely attract hipsters looking to boost their name-dropping quota ("Hey, did you heard Ben Gibbard on the new Sun Kil Moon album?"), but also actually do add to the value of the album.
April isn't quite the super-hip, exciting new record that you go and tell all your friends about. There isn't a standout single, no part where you turn it up and say, "Here, listen to this."
But when you need some music to get you through the late hours of the night, or the difficult struggle of an early morning, Sun Kil Moon's latest effort will more than serve to quicken your mind.
-John Kernan
