4Play: Green Day, Kasabian, The Enemy, The Gaslight Anthem

June 21, 2009

4Play
Kristi Kates 6/22/09

Green Day - 21st Century Breakdown - Reprise
The rock opera format worked extremely well for Green Day (American
Idiot), so it’s small wonder they went that route again on their latest
disc. Lightning strikes twice for the band here, on a standout set that’s
broken into three “acts” (“Heroes and Cons,” “Charlatans and Saints,” and
“Horseshoes and Handgrenades”) and narrates the tale of a girl and boy
traipsing through the century to date. Highlights include the uber-catchy
“Know Your Enemy”; the deceptively peppy title track; the poignant
“Restless Heart Syndrome,” and the rollicking, sharp “21 Guns.”

Kasabian - West Ryder Pauper Lunatic
Asylum - SMusic
Kasabian snagged Gorillaz producer Dan the Automator to helm their latest
release, on which they pull out the psychedelic guitar FX and take the
keyboards and samples to a near-orchestral level. “Take Aim” starts
acoustically, stacking electronic components, horns, and windy keyboards
underneath the vocal, while “Thick as Thieves” sounds immediately familiar
via its melody line; “Where Did All the Love Go?” throws in a few
unexpected disco elements, namely the backing vocals, and “Vlad the
Impaler” harkens back to old-school Kasabian with gritty bass and guitars.
The Enemy - Music for the People - Warner
Recorded on analog instead of digital studio gear, The Enemy’s new album
holds down the fort for big, arena-ready rock, even as they infuse said
tracks with their British sensibilities. Piano kicks off the political
complaint of “51st State,” and that lyrically-downtrodden mood continues
with “Sing When You’re in Love,” (despite the song’s cheerful sound) and
“Don’t Break the Red Tape,” which recalls the rebelliousness of The Clash.
One dichotomy to The Enemy’s music is that the lyrics often disagree with
the tone of the melody (or vice versa), but that just keeps things
interesting.

The Gaslight Anthem - The ’59 Sound - SideOne Dummy
It’s no coincidence that The Gaslight Anthem have supported Bruce
Springsteen on tour; echoes of The Boss can definitely be heard in the New
Jersey band’s rock-punk-soul songs, from the mentions of various American
classic cars to the sympathies with the working-class man. Produced by
Flogging Molly/Bouncing Souls producer Ted Hutt, the tracks that best
define the band’s sound include “Meet Me By the River’s Edge,” and
“Backseat,” all produced with, as the title suggests, a retro ’50s studio
texture that recalls the audio tone and heft of vinyl records.