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Post by mattchew on Sept 11, 2011 20:20:18 GMT
September 11, 2011HOWLING Bells look to redefine themselves again (or evolve) with their third album, The Loudest Engine. The result is never less than interesting even if it fails to completely blow you away. Where debut album was widely praised for its chaotic mix of styles and claustrophobic delivery, sophomore session Radio Wars flirted with synth elements and drew a mixed reaction. The Loudest Engine combines elements of both former albums while looking to embrace the expansive surroundings of where it was recorded: namely, Nevada, USA with the help of The Killers’ Mark Stoermer as producer. Singer/guitarist Juanita Stein’s vocals continue to take centre stage, with brother Joel taking lead guitar and Glenn Moule and Brendan Picchio taking drums and bass respectively. But while there are undoubtedly some moments to enjoy, it’s a solid rather than spectacular offering that isn’t without problems. The start is very strong, however, with a gritty riff accompanying the opening moments of Charlatan… the type of offering that will almost inevitably draw comparisons with both the earthy style of early PJ Harvey and the retro leanings of The Pierces. Former single Into The Sky, meanwhile, features an enticing blend of driving bass and electric guitar riffs offset against a vaguely ethereal set of vocals. It’s a sharp mix that’s sonically disarming – think The Blues Brothers instrumentalists jamming with The Pierces and you’re somewhere close to what to expect. The Wilderness then drops a breezier disposition and a strong guitar finale, Don’t Run includes some nice vocal interplay between the siblings and continues to remain more upbeat, and The Faith nods to the echoed harmonising of The Shins before returning to acid rock territory in solid fashion. But while these tracks certainly make the album worth checking out, there are some very pedestrian moments scattered among them. Title track Loudest Engine is a little too brooding for its own good and needs a little winding up, Gold Suns, White Guns comes over disastrously trippy and Bowie-esque and elements of tracks like Baby Blue and Secrets struggle to differentiate themselves from the overall sound of the album. The overall result is engaging enough to make it a worthwhile addition to the Howling Bells’ CV but one that feels more pedestrian at times than its creation and supporting environment suggests it ought to have been. 3.5/5 Jack Foley[/i]
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Post by mattchew on Sept 11, 2011 20:32:44 GMT
Ouch, a 2? I actually checked their debut out after they gave it a 9. Not that NME is to be taken serious at all, but yeah. That's just the thing, it's not NME's, or Mojo's, or the BBC's opinion. It's the opinion of the person doing the review. Without a doubt there are people in the NME office who will think just the opposite and love it. Maybe some of you don't know or don't remember, but that's why I used to credit just the name of the reviewer and never his or her organization, because it's not an aggregated decision. Unfortunately, in the end that's how it's perceived.
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Post by mattchew on Sept 11, 2011 20:38:52 GMT
September 11, 2011musicOMHHowling Bells - The Loudest Engine (Cooking Vinyl) UK release date: 12 September 2011 Recording in the American desert seems to hold many attractions for bands who want to reinvent themselves - it's been done in recent years, with varying degrees of success, by The Killers and Arctic Monkeys, and now comes Howling Bells' third album, recorded in Las Vegas and produced by The Killers' bass player, Mark Stoermer. For if ever there was a band that needed a fresh start, it's Howling Bells. Their debut, self-titled, album in 2005 seemed to usher in a genuinely exciting new talent - full of dusty, evocative bluesey folk numbers that stood up gloriously to repeated listening. Yet the follow-up, Radio Wars, seemed to squander all the goodwill. More polished, more commercial, and oddly heavy on the synths, they'd lost that very edge which made them special. So it's no surprise to see that The Loudest Engine sees the Australian quartet go back to basics. Joel Stein's guitars are once agan to the forefront, while Juanita Stein sounds like a woman reborn, after her flat, lifeless performance on Radio Wars. At first listen, it's a wise move - Charlatan is a stormer of an opener, with guitar riffs ripping through the speaker and Juanita cooing sweetly "You're not a man, you're a beautiful, beautiful charlatan". It's followed by the single Into The Sky, which is even better, a thrilling, soaring number which recalls the best moments of that debut. The Stein family are the undoubted stars here. Indeed, it sometimes feels like there's some sibling rivalry going on here, especially on the title track where the quality of Joel's guitar solos are equalled by Juanita's vocal performance. Stoermer is obviously a good partner for the band, producing a gritty 'live' sound which suits them down to the ground. Having said that, The Loudest Engine still has a way to go to match their debut. The album could do with some judicious editing, being at least two tracks too long, and at times the lack of variety becomes wearying, with too many songs seeming to blend into one another. The one song that does stand out is Gold Suns White Guns - but for all the wrong reasons. For some reason, Juanita decides to adopt a falsetto for the song but it just ends up sounding like a bad impression of Kate Bush. It unsettles the flow of the second half of the record and sounds like an out-take from another album. On balance though, The Loudest Engine shows Howling Bells back on track. They've not equalled their own high standards on here, but this is still a rebuilding project. Despite the occasional lapse into MOR sludge, this is mostly the sound of a band back on form. 3/5 John Murphy[/i]
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Post by mattchew on Sept 11, 2011 20:44:45 GMT
September 11, 2011release date: 12 Sep 2011 (Cooking Vinyl) This is Howling Bells third album and by some distance the most satisfying. They headed out to Vegas to work with The Killers Mark Stoemer and the result is less inhibited than before and with a wonderful sense of the chilling side of psychedelia. Juanita Stein’s vocals are melodic and rich but with a dark edge to them and brother Joel’s guitar work is rich and has a pop edge that seems to carry over from their first album rather than the intermediate ‘Radio Wars’. They clearly give the sense that the music is being created without trickery or overdevelopment – a raw edge as well as an organic flow to the music. ‘Charlatan’ and ‘Sioux’ have quickly made themselves into favourites alongside the Western sounding ‘The Faith’ but I have not yet found a track that doesn’t hit the spot either on first listening or on further exploration. One of the least predictable albums to come from an Australian band for a while – a grower that hits you immediately as well. Andy Snipper[/i]
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Post by mattchew on Sept 11, 2011 21:10:22 GMT
8 September 2011BBCHowling Bells The Loudest Engine Review The are a couple of newly added comments underneath the review from Chris Lo, that disagree with his opinion. The second comment, the person mentions one of the most underrated guitarist in rock, Robby Krieger. If you don't know who that is, then I suggest you find out fast. Poor Robby, he never got the attention he deserved. A lot of times it takes me a few listens for the music to really sink in. These reviewers listen to it once, and then never again! Personally, I don't think you can truly love a band, a boot, or an album when you spend your time listening to ten different cd's a day.
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Post by blade on Sept 11, 2011 21:38:54 GMT
Some excellent research you've done here, and your last couple of comments are particulary true. But all these reviews you've found must be 90% (or better) positive.
Robby Krieger, John Densmore, Ray Manzarek, Jim Morrison.... if anybody doesn't know who those four are they don't know their music history....
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Post by incoasterble on Sept 11, 2011 21:55:10 GMT
Yeah totally don't agree with Chris Lo's review at all. It's like he's judging The Loudest Engine from this standpoint like it's actually an attempt at recreating a very particular style or genre, I think I'dve better received what he'd written if he'd taken a broader outlook... And I'm certainly not seeing any compromising of strength - perhaps thats just how he's viewing some of the more delicate, skillful musicianship on TLE... And as for 'freespeech2011' New Music Express have lost credibility in my eyes also - 2/10's just excessive - I think calling it anything below average I'd disagree with... Sometimes getting the feeling people were expecting something more 'killers'ish from the Mark Stormer production / bass playing and maybe got dissapointed they didn't get owt like that. Personally I'm glad I'm really not into their stuff..... Anyhoo thankyou so much for getting all these reviews up mattchew! looks like I need to get to know my music history...
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Post by chrome3d on Sept 12, 2011 7:07:46 GMT
I found this review in my head.
Howling Bells – The Loudest Engine
This is the kinda record Howling Bells always had it in them. Juanita is a sexy and slightly crazy singer, Joel´s guitar solos are always exciting and stylish and Brendan/Glenn are so dependable and innovative rhythym section that it´s hard to believe. There is tons of style and personality on offer here and their sense of melody suits the loose and unforced production. They are not afraid to take risks and that gives the album highlights and shape among the more streamlined songs like the funky single Into The Sky. Songs like The Wilderness Gold Suns, White Guns are the kind of songs that are not afraid to be what they are. This album, which might be their finest hour so far, is heads above the usual faceless landfill indie that clutters our cultural landscape.
5/5
Chrome3d
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Post by mattchew on Sept 12, 2011 11:42:26 GMT
6 September 2011You can download Sep. 10, 2011 issue of NME as PDF here and see review for The Loudest Engine (p. 47). [/quote] NMEAlbum Review: Howling Bells – The Loudest Engine Their comeback sucked.
It took Sydney natives Howling Bells three years to follow their 2006 debut, a record that blew dust from retro rock and fitted right into the times. Maybe it was easier before pop reintroduced itself as the new rock’n’roll, but anyone hoping for a Howling Bells comeback that vital should look elsewhere. If 2009’s ‘Radio Wars’ was patchy, ‘The Loudest Engine’ is thoroughly passé. Juanita Stein’s vocal – once as hot as her – is lost in reverb and bad lyrics, and the clichés are coated a stadium finish about as interesting as magnolia. In what might be a last hurrah, ‘The Loudest Engine’ punches for psychedelia and falls flat in a puddle of MOR.
Listen to ‘Into The Sky’ below, finger on the mute button:
2/10
Hazel Sheffield [/i] _____________________ Same poop review from inside the quote box but with a couple of poopy xtras thrown in. For those who didn't download the PDF.Also, I've been meaning to ask this - what the hell is MOR??? I've seen this in at least two reviews so far.
Ok, nevermind, I found out that MOR stands for "middle of the road".[/left][/size]
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Post by mattchew on Sept 12, 2011 11:46:30 GMT
September 11, 2011In announcing this release, the band made much of the impact the location (Las Vegas, the Great American Landscape) had on the music on it, and in listening, I'd say they ain't lying. They're laying down a very heavy blues-based foundation -- a big, American rock sound with a psychedelic lean a la The Doors. But lead vocalist Juanita Stein can really sing, and her clear, strong voice is not the least bit overwhelmed by all this rock. The Loudest Engine starts out with "Charlatan", which is something like Maria McKee fronting Queens of the Stone Age, and rolls into "Into the Sky" (we posted the video previously here), which has a beautiful, transcendent vocal fronting a very tough-sounding rock band. "Wilderness" is more of the same, but things slow down a little bit on "Secrets", giving the band a chance to demonstrate some real skill at varying the tempo - it doesn't all have to be heavy. "Don't Run" is a bona fide ballad, a country-sounding acoustic-based song that really suits Stein's phrasing. "Gold Suns, White Guns" exhibits a wall of sound quality with some psychedelic guitar over the second half of the song. Again, the common thread throughout the album is Stein's vocals, and Howling Bells are smart to feature it this prominently. The record is out tomorrow (Monday, Sept 12). Right now you can stream the album at their Facebook site, or visit Howling Bells Website to find out about buying it. John Hyland[/i]
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Post by mattchew on Sept 12, 2011 12:51:38 GMT
12 September 2011Subba-CultchaHowling Bells - The Loudest EngineHowling Bells branch out Label: Cooking Vinyl Howling Bells eponymous debut album back in 2006 was a breath of fresh air. Juanita Stein’s powerful voice was ably complimented by not only the marvellously catchy songwriting, but by a band into which she fitted like a glove. And on The Loudest Engine, little has changed, which is both a good and a bad thing, all things considered. The main criticism with Howling Bells is their tendency to be rather one-dimensional, their first tow albums could easily be merged into one with little perceptible difference. However, considered conversely, this isn’t really a criticism when what they do they do so well, and The Loudest Engine is another accomplished record, only this time a little more varied. The songs are all geared around Stein’s voice but they have started to branch out a little. The deep baritone backing chorus vocals of ‘The Wilderness’ echo Mark Lanegan, adding a much needed resonance to the guitar riff and organ parts that otherwise dominate the song. ‘Into The Sky’ hints at Blondie, ‘Secrets’ and deep and bass-y and ‘The Loudest Engine’ has cribbed a bit of guitar styling from The Wall-era Pink Floyd. Time could well prove this to be the most diverse Howling Bells album and consequently their best to date. There is the odd bit of album filler present, but mostly this is a consistently strong and interesting album, well written, sweetly produced and pretty much on the money. 8/10 Steven Fanning[/i]
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Post by mattchew on Sept 12, 2011 17:24:42 GMT
12 September 2011Released: 12th September 2011, Cooking Vinyl Recruiting The Killer’s bassist, Mark Stroermer, to produce Howling Bell’s newest album 'The Loudest Engine' appeared a risky strategy. On one hand Juanita Stein and her fellow Australians could have gleamed some of 'Hot Fuss'’s excellence of execution but the danger was that the toxic mediocrity of other Killers works could set in. The evidence would suggest those doubts were at least slightly unfair. As much as Juanita’s voice guarantees a sexy sway to proceedings, that seductive silhouette sometimes hides the fact that Howling Bells have pushed much further from their safety zone than their first two albums would lead you to expect. Flirting consistently with the unhinged psychedelia of newer Queens of the Stone Age, thankfully casting aside the obvious self-indulgence, and the confident stomp of The Black Keys, Howling Bells suggest many parallel tracks to the stylings of their first two albums. The album starts with the inviting trademark riffs but in truth first song ‘Charlatan’ fades at its chorus, a mistake the second track ‘Into The Sky’ keenly avoids with a fantastic rafters-shaking peak that seems equal amounts ‘Low Happening’ (agreed by many as the bands best song to date) and QOTSA’s ‘3 & 7s’. Third track ‘Wilderness’ ends with a chaotic 70s breakdown, ushering in a softer mid-section that interests without enthralling. Having reached the midpoint of the album, ‘The Loudest Engine’ offers up its most attractive proposition; ‘The Faith’. A spiralling psychedelic jaunt, held together by Stein’s swoon and haunting background “Oohs”. Title track 'Loudest Engine' is almost the seal of completion for this new style, afterwards Stein ably attempts Kate Bush style vocals for 'Gold Suns, White Guns' a celestial dreamy affair which best showcases the clever instrumentation of the band. The album ends slowly and elegantly retreating mysteriously back into the haze. I can’t imagine Death Valley would be the perfect site for a smoky bar and its brooding live rock and roll band but what is easy to imagine is this guise of Howling Bells filling that unlikely role. They may well still be making the odd misstep but with their newfound experimentation and what’s becoming a formidably reliable reputation it’s becoming ever harder not to forgive them. Gaining an arsenal of new moves, but not losing their softer touch has enabled Howling Bells to make an album more varied and rewarding. They can still brood, they can still bark and now more ferociously than ever Howling Bells can bite. 7/10 Matthew Davies[/i]
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Post by mattchew on Sept 12, 2011 17:43:57 GMT
September 11, 2011LAXmagHowling Bells: The Loudest Engine "Ich denke, dieses Album wird die Perspektive der meisten Leute in Bezug auf diese Band ändern," kündigte Sängerin Juanita Stein das dritte Album ihrer Band Howling Bells an. Wenn man dazu noch liest, dass The Loudest Engine von Killers-Bassist Mark Stoermer produziert wurde und die Band sich für Songwriting und Aufnahmen in die Wüste Nevadas zurückgezogen hat, kann man es erst einmal mit der Angst zu tun bekommen. Der Opener Charlatan beruhigt dann zum Glück gleich. Es ist alles doch noch alles beim aAten bei den Howling Bells! Nach dem eher experimentellen letzten Album Radio Wars haben sich die Australier anscheinend wieder auf ihre alten Stärken zurückbesonnen - schwermütiger Garage-Rock, dominiert von der mal verletzlichen, mal kraftvollen, aber immer verführerischen Stimme von Juanita Stein. Leider hält dieser erste positive Eindruck genau 2:54 Minuten, dann schlägt The Loudest Engine jene Richtung ein, die von der Band euphemistisch als „psychedelisches Album des 21. Jahrhunderts" bezeichnet wird. Übersetzt heißt das: belangloser barfuß-in-der-Wüste-Rock mit Selbstfindungseinschlag. Ein bisschen QOTSA, ein bisschen Sonic Youth (Twin-Gitarren!) und eine handvoll Doors vermischen sich zu songwriterischem Mittelmaß, während Juanita Stein dazu den Mond anheult. Einziger Lichtblick neben dem starken Auftakt-Song ist die eingängige Ballade Don't Run, doch auch die kann The Loudest Engine leider nicht aus 40 Minuten orientierungsloser Oberflächlichkeit herausreißen. Die Band behauptet, mit Album Nummer drei endlich ihren Sound gefunden zu haben. Dafür klingt The Loudest Engine aber entschieden zu bemüht und konzeptlos. VÖ 09.09.11 Bettina Koch Translated: "I think this album is the perspective of most people in relation to change in this band," announced singer Juanita Stein's third album of her band Howling Bells. If one was to have read, that produces The Loudest Engine Killers bassist Mark Stoermer, and the band has retreated to songwriting and recording in the Nevada desert, once it can get scared. The opener charlatan then calmed right to happiness. After the more experimental last album, Radio Wars, the Australians seem prudent to back their old strengths - moody garage-rock, dominated by the vulnerable times, sometimes powerful, but always seductive voice of Juanita Stein. Unfortunately, this keeps the first positive impression exactly 2:54 minutes, then The Loudest Engine suggests that one direction of the band's euphemistically known as "psychedelic album of the 21st Century is called "Translated this means:.. Inconsequential barefoot-in-the-desert-rock with self-discovery felling a bit QOTSA, a bit of Sonic Youth (Twin-Gitarren!) and a handful of Doors blend into songwriterischem mediocrity, while Juanita Stein the moon howls. The only bright spot in addition to the strong opening song is the catchy ballad Do not Run, but also the engine can not pull out The Loudest unfortunately 40 minutes disoriented superficiality. The band claims to have with album number three finally found their sound. The Loudest this engine sounds but decided to tried and without concept. Release 09:09:11 Bettina Koch[/i]
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Post by houdini on Sept 13, 2011 5:54:11 GMT
NME always useful pages when you run out of toilet paper
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Post by houdini on Sept 13, 2011 5:56:21 GMT
funny how the female reviewers dont seem to like it,the males do - "hmm Juanita's beautiful and I'm not" - out with the claws scratch scratch meow
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