James Morrison
Undiscovered
Twenty-one-year-old British singer/songwriter James Morrison is enjoying success: his new album Undiscovered just went platinum in the British Isles. Unfortunately for Morrison, who grew up in a poverty-stricken home and left on his own to make it as a singer at a young age, his background is far more interesting than his music. Many of the tracks on this album tend to run together and sound like carbon copies of typical radio friendly singer/songwriters. If you love John Mayer or really like the music they play at Starbucks, then you might enjoy some songs, such as “Call the Police” and “The Letter.” To Morrison’s credit, his voice does sound soulful and he pulls off the soul/pop feel pretty well, but it certainly is not for everyone. Grade: C-
— Nicholas Kyriacou, Muse Staff
The Fratellis
Costello Music
After enjoying much success across the pond in 2006, Scottish natives The Fratellis brings its critically acclaimed debut Costello Music to the US. The album opens with “Henrietta,” a slice of pop punk with a hint of ska. The track wastes no time introducing the band’s signature sound; whether it’s warbling “wa-ah-ah-ah” or “bada-bap-baba” or traditional “la-las,” the Fratellis really enjoys the nonsense chants. The album carries on with the iPod ad standout “Flathead,” a kitschy track reminiscent of Jet’s “Are You Gonna Be My Girl?.” The beyond catchy “For The Girl” and “Baby Fratelli” follow, both boasting frantic riffs and insatiable hooks. Even the band’s stab at something mellower, “Whistle for the Choir,” evolves into an irresistible chorus that listeners can’t help but sing along with. With such an upbeat sound, Costello Music is a gleeful forty-six minute ruckus that has arrived just in time for summer.
Grade: A-
– Charlie Adelman, Muse Staff
Emmure
Goodbye to the Gallows
Emmure’s first full-length release on Victory Records begins with a droning, chugging guitar riff warning listeners to prepare for a hard-hitting metal adventure. The second track, however, is not as impressive. Emmure quickly falls into the trap that so many metal-core bands fall into, by using pinch harmonic breakdowns and shrieking about some ex-girlfriend being “a whore.” Though they rely on archetypical metal-core conventions for most of the album, there are tech-metal inspired guitar runs and mesmerizing harmonies sprinkled throughout, which proves the band’s talent. On the album’s best track, “Sleeping Princess in Devil’s Castle,” Emmure enlists the help of Tyler Guida, the singer of My Bitter End, and Karl Schubach, the singer of Misery Signals, to create a song that is bursting with passion. Suicidal lyrics dominate the last two tracks of the album and singer Frank Palmieri literally sounds like he is about to kill himself as he screams “my broken soul can’t take another day.” These last two tracks should have never been released because they ruin a decent album. Grade: C
— Adam Straub, Muse Staff