Ever since my iPod went kaput in November, I’ve been listening to music almost exclusively via MOG. While that’s all well and good, I miss being able to pull up all the random stuff I’ve downloaded over the years that is nowhere to be found on that particular site.
That, coupled with the fact that my laptop is running dangerously low on available disk space, has led me to revisit my iTunes library for the first time in months. Among the 15,500 songs, there’s a lot of junk. And a lot of stuff I’ve never even listened to.
So, in the interest of finding “new” music and unclogging my computer, I figured I’d check out some of the mystery bands and see if they’re worth keeping. The results were mixed.
I’m not sure how I came to have Canterbury’s 2009 debut album, Thank You, on my computer, but I’m guessing it had something to do with Simon over at Outroversion.
At various times throughout the album, the five lads from Surrey, England, conjure memories of such bands as Fall Out Boy, Panic! At the Disco, All-American Rejects and Red Jumpsuit Apparatus. The music is neither horrible nor great but is rather disposable.
Formed in 2005 by several boarding school classmates, the group waited until it had a proper fan base before releasing its first album. Since then, Canterbury have lost a founding member, replaced a drummer and released two more albums — 2012’s Heavy in the Day and Dark Days, which came out this past January and hit No. 1 on the U.K. rock chart.
Whether their sound has improved in that time is up to anyone who deems them worthy of further listens. I do not.
Unlike Canterbury, I actually remember the name Chew Lips. Alas, that’s all I knew — the name. Apparently, I’d listened to about the first half of their 2010 debut, Unicorn, but I certainly didn’t recall any of it.
That’s probably because of how boring it is. Filled with derivative, electro indie-pop, the album sounds like a slew of others from the genre, with nothing setting it apart.
Formed in 2008 in East London, the duo of singer Alicia “Tigs” Huertas and multi-instrumentalist James Watkins have only released the one full-length album. The group received its share of hype at the time and rode that buzz through a relentless tour schedule.
They’ve put out a number of singles and EPs, remixed some other artists’ songs and had several of their songs remixed. But other than that, it looks like their momentum has officially petered out.
Apparently, Chromatics had an interesting run before landing in my laptop. That includes sizable lineup changes after the release of each of their first two albums, which resulted in a notable shift in sound by the time they released Night Drive in 2007.
No longer a noise-rock group, the band from Portland transformed into a electro-pop foursome.
Then came 2012’s Kill For Love, which took the band even farther from its roots and into a post-punk, post-rock arena.
That title track sounds like something straight out of 1980s Manchester, mixed with a modern ambience. It’s the second song on the album and is preceded by “Into the Black”, an impressive take on the classic Neil Young tune, “Hey Hey, My My (Into the Black”.
The third track, “Back From the Grave”, is more of the same Joy Division-meets-M83 goodness. But, from there, things start to lose steam.
And by the time the auto-tune kicks in on “These Street Will Never Look the Same” — the sixth of the 17 tracks — there’s no going back. It’s too bad considering the promising start to the album.
- P.S. Considering I never made it past the letter C, you can bet I’ll be doing several more of these iTunes spring/summer cleaning posts.