Sanity (2009)

i hear the ambulance outside my door
and i know it’s coming for me
i look at the flowers bloom
and they set my mind free

of all the pain
of all the distress
helps me keep my sanity
amongst the madness

i watch the candlelight
and i want to crash and burn
burst into glorious flames
i guess i’ll never learn

never learn to cope
never learn to heal
like i’m losing my sanity
that’s simply how i feel

© Allyson Yates, 2009

Dave Gahan in Spin Magazine (2007)

© Allyson Yates, 2007

La Tour Eiffel (2009)

© Allyson Yates, 2009

Lady GaGa - Beautiful, Dirty, Rich (2009)

© Allyson Yates, 2009

Depeche Mode at the World's Fair Globe (2009)

© Allyson Yates, 2009

Album Review: Tinted Windows - Tinted Windows (written for Issue 11 of the Brooklyn College Kingsman 05.11.09)

Tinted Windows Bring Back Fun Pop Music
by: Allyson Yates
(staff writer)

Tinted Windows is the new super-group in town. Created by Taylor Hanson (lead vocals, Hanson), James Iha (guitar, Smashing Pumpkins/A Perfect Circle), Bun E. Carlos (drums, Cheap Trick) and Adam Schlesinger (bass, Fountains of Wayne), they have brought back that nostalgic 70’s rock/power-pop sound to the masses on their debut album. With simple, predictable melodies and lyrics written by Schlesinger, Iha and Hanson, this record just breezes by; some of these tracks can get lost in the shuffle, but that doesn’t mean that it’s not enjoyable.

The record kicks off with the first single, “Kind of a Girl.” This is a nice way to showcase to the world what they’re about, but after repeated listening, the “whoa oh whoas” do get a bit under your skin for sure. The whole album isn’t filled with those “whoa oh whoas” at every turn, however, so it shouldn’t be discouraging. “Messing With My Head” follows with yet another catchy chorus reminiscent of Cheap Trick that will get you playing air guitar and bopping your head to the beat in no time. “Can’t Get A Read On You” is one of those songs that after hearing the chorus once, you can sing along right from there because the words are so easy. “Nothing To Me” starts like a Paul McCartney and Wings track – simple guitar riff and drums that build it right up to the vocals – and could slip right into a pre-Steve Perry Journey record with its little bit of blues influence. “We Got Something” strangely sounds like an early Green Day track at first, but then it finds its place.

Throughout the record, you can hear how much Taylor Hanson’s voice has grown from those teenybopper years with his brothers. Usually it shows when a singer is singing something outside of his niche and it just doesn’t work. At some points throughout the record, you don’t even recognize him. His voice has definitely come a long way, and it’s evident on tracks like “Dead Serious” and “Cha Cha.” Listeners that weren’t big fans of Hanson back in the late 90’s may just come away from listening to this album having a quite different opinion.

With so many genres of rock coming together in this one super-group, fans can get a bit confused as to how they all came together to make music in the first place. Also by either recording music outside of the comfort zone of their former bands or as to how they would even bother to record such pop music with such a culture that is dominated by urban/hip-hop music. It is always nice to have something different out there musically – an alternative, if you will – to break up the monotony on today’s radio and MTV. Tinted Windows definitely succeeds in doing this, and they do it with a retro sound that is friendly to any ear and will be a nice surprise to those that give this record a spin.

© Allyson Yates, 2009

Album Review: Depeche Mode - Sounds Of The Universe (written for Issue 9 of the Brooklyn College Kingsman 04.27.09)

Depeche Mode Keeps The Universe Talking
by: Allyson Yates (contributing writer)

After a four year hiatus, Depeche Mode make their return to the music scene this year with their 12th studio album, Sounds Of The Universe. The Mode Men are one of the few bands left out of the 80’s post-punk/New Romantic movement that still makes (relevant) music in the new millennium. In a Mute/EMI Records press release it was declared that this record was “a Violator for the 21st century.” A little too much hype, perhaps, but a great record nonetheless. It could be put on the list of their best work to date.

The first track on a Depeche Mode album makes a strong statement - that they have returned to embark on the next era of their almost 30 year career (i.e.: the siren intro on "A Pain That I'm Used To" from 2005's Playing The Angel) and “In Chains” is no exception to that tradition; starting off with a bombardment of analog synthesizers that could easily be a turn-off. But lead singer Dave Gahan’s rich baritone vocal will bring you right back.

The album’s first single, “Wrong,” is an anthem for the outsiders. With its lyrical chant of life gone wrong (“I was born with the wrong sign/In the wrong house/With the wrong ascendancy…There’s something wrong with me chemically/Something wrong with me inherently…”), primary songwriter/guitarist Martin Gore has succeeded yet again with writing lyrics that would make one reach for the black goth clothes from the closet; put on the heavy black eyeliner and sing right along, and have no remorse while doing so. Not since “Barrel Of A Gun” from 1997’s Ultra have they released a dark single to announce they’re back.

This album marks the second time that Gahan has contributed songs to a Depeche Mode record (the first time being Playing The Angel in 2005). The three songs that he contributed this time around -“Hole To Feed,” “Come Back,” and “Miles Away/The Truth Is” - show that his writing is getting stronger as time goes on. There is a significant evolution from his debut solo album, 2003’s Paper Monsters.

“In Sympathy,” “Fragile Tension” and “Little Soul” are the most classic Depeche Mode-sounding tracks on the album, with their heavy use of analog synths and familiar melodies to any fan’s ears; best fit for the dance floor or for sitting around in those black clothes and matching eyeliner. You can easily fit these tracks within past records, such as Violator and Music For The Masses.

“Corrupt” closes the record with raunchy lyrics and crunching guitars, proving once again that Gahan’s voice and Gore’s words are a match made in musical heaven. After the song ends, there are about three minutes of dead-air, until a music-box version of the melody of “Wrong” is reprised to officially close the album; leaving the album on a high, open-ended note.

Depeche Mode fans always speculate over if they will ever release another record, since they only have a new album roughly every four years. With this kind of close to Sounds Of The Universe, it’ll keep the fans talking and wanting more for after their massive world tour is completed.

© Allyson Yates, 2009

Album Review: Two Suns - Bat For Lashes (written for Issue 8 of the Brooklyn College Kingsman 04.20.09)

Bat For Lashes - Worth A Listen
by: Allyson Yates (contributing writer)

The highly-anticipated sophomore record from Bat For Lashes, Two Suns, is an acquired taste. At first listen, it may seem a bit quirky - not exactly what you would hear on today’s Top 40 radio, but after a few listens, it definitely grows on you. Natasha Khan’s gorgeous vocals and lyrical imagery keep you hooked on every track and wanting more. This album could be the soundtrack to a Francesca Lia Block novel. It sounds kind of like a passage from Weeztie Bat while listening, and it just fits, words and music; the same imagery is conjured up. Two Suns is a beautiful record from start to finish if you give it a chance.

The album’s opener, “Glass,” builds up from a cappella vocals and ambient sounds to a pulsating, tribal drumbeat; sings of “a thousand crystal towers,” “a hundred emerald cities,” and her “knight in crystal armor.” The drums will stick in your head for days. Khan’s falsetto throughout the chorus adds to the dreaminess of the track, definitely one of the highlights of this record.

“Daniel,” the album’s first single, and “Pearl’s Dream” use synthesizers and drum machines to create a 1980’s New Wave throwback. This is the closest thing to mainstream pop as it gets on this record. “Peace Of Mind” has a group of gospel singers assisting Khan in the lyrical mantra. “Two Planets” also has catchy percussion and handclaps that will get you moving. “Moon and Moon” is a minimalistic track, unlike the rest of the album, with just piano and vocals and the occasional snapping, but doesn’t stick out like a sore thumb.

Another highlight on this record is “Siren Song.” This piano-driven ballad showcases Khan’s beautiful voice singing about being in love and happy with someone until they take her away (“Promise I’ll never get sad/’Till the siren comes calling, calling”). This song also introduces Khan’s album alter ego, Pearl, which is present throughout the whole album (“My name is Pearl and I’ll love you/The best way I know how/My blonde curls slice through your heart”). From this track on forward, you can start to see these songs weaving together to create this concept. “Pearl’s Dream” mentions “a sign that says ‘Good Love Town’” and the subsequent track is named “Good Love” (“Passed it last night in a dream/Good Love/And my heart caught fire”).

“The Big Sleep,” the final track, has vocal arrangements that could make this get away with closing an opera. This is a very poignant ending to the record. The first line in “Glass” is “I will rise now” and the final line of “The Big Sleep” is “Goodbye my dears and into the big sleep I go.” The journey has ended, the album is done and you feel as if you just woke up from a dream that you didn’t want to get up from. One can’t help but think that this was Khan’s intention while writing and recording the album: to take us on a journey with her words and the music. Mission accomplished.

© Allyson Yates, 2009

For You (2009)

i can feel the blood rushing through my veins
as i try to sleep away the pain
every time my heart beats, it yearns for you
i see you in my dreams, but i can't see your face
but i know that you're out there
somewhere...
out there...


© Allyson Yates, 2009

Poison (2009)

love is poison
drives you mad
wants to consume
makes you blind

i will never
(i will never)
fall in love
(fall in love)

love is toxic
takes you in
spits you out
twists the knife

i will never
(i will never)
fall in love
(fall in love)
ever again
(ever again)

love is fatal
breaks your heart
down the middle
leaves you dead

i will never
(i will never)
fall in love
(fall in love)
ever again
(ever again)
too much to risk
(too much to risk)

love is poison
makes you blind

© Allyson Yates, 2009