The Weekly Wank

Hello there, fellow wankers. As you can see, I did not set up the mp3s from last week, and this week lacks audio as well. I haven't had the time to play with it. Perhaps next week. Additionally, the writing effort this week isn't exactly top notch.

It's been a bit of a shit week and the optimism present this time last week has disintegrated. Things have been as hectic as they have been dismal because apparently catching a fucking break is far to much to ask.

So, on that cheery note, I present to you The Weekly Wank:

1. What's So Amazing About Grace? by The Paper Chase

The tragedy about making an album, particularly one with an overlying concept behind it, lies in the fact that sometimes you'll have these great little instrumental interludes that, in the context of the album, sound perfect, but cannot hold their own separated from the collection. Such is the case with "What's So Amazing About Grace?" Without the rest of the album, it's lost as a seemingly filler track.

Both a pro and con, the track is very atmospheric, butit relies on the ambiance set up by the rest of the album in order to carry it's weight. It's roughly 90 seconds long and feature a repetitious string instrument (violin or cello) scratching while a string of music and vocal samples are played in the background. Essentially, it's an effective interlude.

Don't get me wrong, I love this track, and album, Now You Are One Of Us, is one of my favorite albums of all time, but unfortunately, this is not TPC track I'd openly suggest.

2. Cash Cow by We Are Scientists

We Are Scientists play this form of sort of mixture of retro "indie rock" and a sort of modern non-synth influences dance-punk, like a lo-fi, less pretentious version of the The Killers.

You can sort of sense a bit of swagger in Keith Murray's voice as he slides the last word of each line of the verses. It sets up a nice steady pace, which he shatters with the speedy outcry of the chorus.

Like every We Are Scientist song, "Cash Cow" is oddly catchy. The music is of this strange sort where you feel like it should be very exclusive, but it has this undeniable dancey quality to it. It also makes the band's music a bit difficult to discuss. It's not quite in the fixtures of indie rock, punky yet no where near the style of perceived punk rock (which, you could argue, makes it punk rock), and intelligently witty without beating the listener over the head with a snobby air.

Lyrically, the song seems takes note of the desire to act immediately when the opportunity of success, or, as some may point out, the idea of selling out. Unfortunately, the song is a bit lyrically minimalist and not their best effort, which is a bit odd for them, but We Are Scientists has a way of turning their lines into instruments that set a beat, instead of always saying something new (for instance, the repetition of "Well I've been taking my time" throughout the song)

Strange, I know, but for some reason, the band makes it work. It's partly because the dance-punk quality of their music allows for this sort of repetition. Their music is not the sort that feeds of doing a stereotypical formula, so taking different avenues for their sound is encouraged.

A solid track. I would definitely recommend it, but it's not the first We Are Scientists song I'd put on a comp.

3. Caught In The Middle by Dio

Oh, Dio. How could I not have you on iPod? The cock rock metal of old is too irresistibly fun.

"Caught In the Middle" is not their most atmospheric or complex song, but it's got that steady, old school guitar riff, the power metal vocals, and consistently fun atmosphere.

By no means is this a great song, but a perfect inclusion for those nights you want something to shamelessly belt out after far too much caffeine or alcohol or both.

Although, personally, I'd pick "Holy Diver" or "Don't Talk To Strangers" off the same album, Holy Diver.

I really don't have much to add except a shameless laugh.

4. Over The Head, Below The Knees by (A) New Found Glory

O....kay. This is listed as a track from Bad Religion's No Control, but it is most definitely from New Found Glory's 2004 release, Catalyst.

This is such a filler track. I rarely listen to it, which is probably why I never noticed it was missing from it's proper place.

It's somber tone is poorly executed, coming off as needlessly whiny, the chorus is ineffective and agitating rather than catchy, and there seems to be a drive to sound a littler heavier musically than they are, which does not fit the song at all. NFG have ha some moments were they utilized something like that well, but this is not one of those times.

I'm a huge fan of New Found Glory. In fact, I still insist of calling them A New Found Glory, which kind of indicates just how long I've been listening to the band. I will always love pop-punk and this band has always been a welcome mainstay in my listening rotation.

But this is probably one of the band's worst efforts from an otherwise extremely solid album. Avoid.

5. The Beautiful People by Marilyn Manson

This song deals with what Manson once referred as the "fascism of beauty" and handful of other convoluted concepts that made his career somewhat interesting back in the day when he actually contributed music worth listening to.

A track from Antichrist Superstar with Trent Reznor's fingerprints clearly all over it, this song served as an anthem for ever pale-faced, baggy black denim wearing teenager in the country who bought what he was selling.

If I sound a bit caustic, it's because Manson has not aged gracefully, as a musician or a public figure. Nowadays, he comes off more like an idiot who is desperately trying to remain in the limelight. He had the potential to become an amazing artist, but that went out the window long ago.

I own his Very Best Of compilation, which is not only an amazing Manson mix tape, but it's probably the only Manson album I'll ever really need to own (though his material is on my iTunes, just unselected).

As for "The Beautiful People," it's a damn good song. It's intelligent, angry, extremely well produced and programmed by Reznor, and catchy to boot.

There isn't much to say beyond that other than it's a testament to Manson's former potential as this song as aged extremely well and has not lost anything over the years.