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Awesome as always - the menu changes with the seasons so we stop by regularly :)
Love the bar area ambiance! Service was great and food had great flavor. The feta bake was fantastic! Mussels had great flavor. Everything was an A+! Can't wait to go back.
Great chef.
My Tortilla salad was sparse, very little chicken and small amounts of other added ingredients. Not very filling nor flavorful, very disappointed with my selection.
If you want the same old thing every time you dine......this is not for you. If you want great, interesting food..... that changes from time to time......this is your place
This was absolutely perfect for a dinner with my colleagues after a long week of work! Food was absolutely amazing and the waiter was very informative, hospitable, and patient.
Birthday celebration
I am never dissatisfied. Every dish and cocktail is delicious!
The food was excellent, the wine selection was excellent, and the service was first rate. We were a little surprised to have some noisy small children next to us on a Saturday night. But they were part of a larger group so it might have been a special occasion.
Super evening. Great service. Delicious food. From starters through dessert.
Another great night at Inovasi. Garrett (our server) was outstanding, helpful, talkative, attentive. Plus he had to man the bar when Abby had to leave early.
This restaurant has never disappointed me. This week I had a guest with numerous (really numerous!) food allergies, and our server noted each one. No problems!
This has become our new go to choice for impromptu lunch or dinner outings. The menu is eclectic and the food is very good and is made from local ingredients where possible. Service is outstanding. Outdoor seating in season is very nice. Top picks are the smoked brisket, rye chicken pâté, gatherer's lunch and their sushi rolls (dinner menu offers several sushi items). The wine list is good too.
wonderful food and attention to detail. parking is a bit of a challenge
Inovasi is our go-to neighborhood restaurant. Chef John de Rosiers continually updates the farm-to-table menu with new ingredients and a ton of innovation (hence the name Inovasi). Our server, Jennifer, is always outstanding.
Most affordable tasting menu I've ever had! And amazing quantity and portions. Ask for Adam as your server and he will take you on a journey you won't forget.
I sooooooooo love Inovasi!!! We go there for special occasions and THE FOOD IS ALWAYS AMAZING AND THE STAFF IS ALWAYS AMAZING!!!!!
I was really looking forward to our dinner with friends at Inovasi. I am so sorry to say that it was so disappointing. I will admit that the drinks were very good, but expensive ... we had a rusty nail. No bread or crackers were brought to the table. To get bread, you had to pay for it. I had squash soup, which was just ok, nothing special. For entrees, I had shrimp, which were very good, but there was a mess of veggies on the plate that were not recognizable. My husband had the sliced sirloin, which he didn't enjoy at all. My friends each had the brisket, which they said was dry and stringy, which if cooked properly, should not happen. The noise level was very bad ... I was reading my friend's lips, who was sitting right next to me. Would I recommend this restaurant to anyone ... I'm sorry to say, "absolutely not."
We loved the Tasting Menu and requested it be Gluten Free because one of the four of us is GF. It was no problem for them at all and I've never seen my GF friend happier in a restaurant! We all loved the food and the wine pairings were excellent. We found some new favorites. Walking around the cute and surprisingly lively little town of Lake Bluff made it a perfect night!
This is one of our favorite places and we are lucky because it is close enough to walk to. They also have a great frequent diner program.
Enjoyed a quiet night at this dinner spot. The NY strip was delicious and cooked to perfection. The mashed potatoes were runny (but I like them that way). Had the chocolate cake -- it says for two but really could feed three. It's very rich, so I liked that they paired it with cherries to offset the richness. Love that they try to source locally. Will come again in the summer to enjoy patio dining!
Wonderful food and great service—we will definitely go back!
Our server was very engaging and knowledgeable about the menu and food/wine in general. We were promptly seated upon arrival which seems rare these days. Easy parking and tasty cocktails.
Overall, everything was delicious. I found the shrimp a bit salty but a generous size. Downtown restaurant quality in the burbs.
Terrific experience with my group of 4. We ordered the prix fixe menu which, at our request, was done completely Gluten Free with no problems. Fabulous wines accompanied. Nice service & great quality. Well done!
Fantastic night out with a friend. Food is fresh and seasonal. Portions were perfect. Our waiter was amazing...attentive and helpful in choosing wine and an entree to pair well with it. We sat by the fireplace and the ambiance was quiet and intimate. The bar looked like it would be a fun place to hang out, as well. Everyone we came in contact with that worked at Inovasi was friendly and warm. It was a wonderful night out.
My wife and I celebrated our anniversary and found the food to be outstanding. Of note is the mushroom appetizer. My wife had the sea bass which was exceptional and I had the duck, which was quite good.
The service was also excellent. Would recommend Inovasi's for its creative and tasty dishes.
Great find in the suburbs. We have low expectations for restaurants in the suburbs and Inovasi exceeded our expectations! Excellent service, great cocktails and delicious food. A perfect Saturday night out.
Fantastic all around and awesome waiter
Always good food and Interesting flavors!
Great burgers! Always good quality!
Great place for a date night. Great food and service.
Great evening from all aspects - great food and service! Always a pleasure to go to Inovasi!
Inovasi is a true gem. I personally would consider it fine dining/new American. It is certainly quite capable of delivering for the foodies from Chicago to the North Shore. I highly recommend it.
Always great, something new and delicious every time we dine with you.
We've been here before. We were early for our reservation but were still seated right away. There was a little confusion as to whom would be our server and since we waited longer than normal they gave us a few appetizers for free. We told them it wasn't necessary but they insisted. Once that was figured out everything else was great. The salad and also the carrot app was so delicious. I was a little disappointed they don't have filet on their menu but the food was still good. Cocktails were also very good. Bathrooms are clean and bar is nice. Parking surrounds the building since they are on a corner so even when busy its easy to find a spot.
We have been to Inovasi several times and have never been disappointed. This time, we brought friends from out of town. It was a perfect choice. Food was creative and delicious. Our server, Ivan, was friendly and helpful. The dinner was paced perfectly and gave us plenty of time to socialize.
We enjoyed our meal on a Monday night. It was not crowded, however, there was a large party with children that were running wild and a baby crying through most of it. It took the fun out of it for us. The service was slow but the food was creative. Would have been more fun outside if the weather had permitted.
Tasting menu was a hit especially the variety and presentation.
The waiter was very attentive and charming. The food was to die for. There were six of us and we decided to order tapas style and there was not one dish that we didn't love. Wine selection quite remarkable. Can't wait for the next time I dine here


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Ford Escape S
Come test drive this 2018 Ford Escape. Smooth gearshifts are achieved thanks to the efficient 4 cylinder engine, and for added security, dynamic Stability Control supplements the drivetrain. Ford prioritized practicality, efficiency, and style by including: 1-touch window functionality, a tachometer, adjustable headrests in all seating positions, fully automatic headlights, remote keyless entry, cruise control, and more. Enjoy your favorite music via the stereo system, which includes a CD player with MP3 capability, steering wheel mounted audio controls, and 6 speakers, providing excellent sound throughout the cabin. In the event of a rollover collision, side curtain airbags provide additional protection for outboard seated passengers. Our sales reps are knowledgeable and professional. We'd be happy to answer any questions that you may have. We are here to help you.


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Ignoring Seaside Rock, their vinyl/digital-only release from last year, Living Thing is Peter Bjorn and John's follow-up to their widely-lauded 2006 LP, Writer's Block. If you need a refresher, just think of "Young Folks." Or, better yet, hear the album in its entirety since they were a lot more interesting than a mere buzz band who did that song that even your mom knows front-to-back. There's some good news and bad news for the group's new album. Thankfully, there isn't a song on here that will be raped and murdered by commercials and pop culture like "Young Folks" was. Unfortunately, there isn't a song as memorably catchy as "Young Folks" was.
But that's not necessarily a bad thing. Living Thing is a darker and stiffer journey than the last, one punctuated by knife-like synths, hollow percussion clangs, fuzzed-out fills and vocals that alternate between a particularly trodden and despairing Lennon-esque puncture and reverb-doused warbling. The closest they come to a potential alt-radio hit contains a refrain that blurts, "Hey, shut the fuck up, boy! You are starting to piss me off." Also hook-friendly is "Nothing to Worry About," which features the second recent usage of a children's choir to eerie effect. They chant like The Wall's orphans gone gangster and help kick you in the proverbial head—the murky menace is positively disturbing once you step away from the martial beat.
Other songs feel as vacant as Ian Curtis on a sleepy heroin binge. In fact, "It Don't Move Me" sounds like the transition that Joy Division made to New Order in the early 80s, from the vacant drone to the chilly, thumping beat. "I'm Losing My Mind" uses spaced-out, angular guitar chords for the verses, but the strut is like a zombie; the creases in the chorus choke up on the mic and a series of four-step beats drive home the agony. "4 out of 5" sounds like the kind of soul-sucking defeat we typically go to There's a Riot Goin' On Here for, but not with the same revelatory and triumphant shock.
Even the gentler moments wallow in the murk. Before the chirping synth line takes us into "Blue Period Picasso"'s arms, we get a mashed a cappella shuffle and a match crackle. Even then, the vocals are disembodied except when the upper notes need to get struck by the register. Finger snaps and oohing back-ups help the sentimental mood of "Stay This Way," but the tempo drags its feet like Eeyore first feeling the effects of a roofie. And the title track sounds like an 80s pop icon (Sting, Peter Gabriel, Phil Collins, etc.) trying out that decade's hot-button issue of eco-concern and incorporating an Afro-jungle style. Somehow, this isn't a cover of the ELO song, despite featuring a chorus that states, "It's a living thing, it's a terrible thing to lose." It's one of the album's silliest moments, but the chorus will stick to your ribs. That 80s/Africa theme even echoes on the next song ("I Want You") which finds the vocals styled like Graceland's Paul Simon.
Any aspirations for dance mixes are nixed pretty quickly, but I doubt they had the intention of getting people on their feet for this one. Their precision and passion for a strong rhythm can't be denied, but bleakness and introspection doesn't make for shaking. Instead, they drag out the tempos and let them breathe (or at least try to breathe, like you would if you found yourself in the unenviable position of floating through outer space after you plumb forgot to bring your helmet). Then they coat the rhythms in grime and gauze. This process allows the album to pass by on that first listen so the mood can snag you, but then on the second spin you begin to discover the lock-step percussion on several of them. You'll never want to start a party with this album, but there are enough head-nodding moments to keep you interested even when they fumble the beat.
If this is the sound of maturation or just the act of an outfit escaping the agonizing pressure and fleet of fair weather fans looking for another "Young Folks," they succeed in stepping away from that self-made shadow. The eclecticism of Writer's Block kept us coming back, but they're more focused here for a stronger ensemble. It's not a fun record, but neither is it one you'll balk at returning to on an appropriately austere afternoon. Still, climbing out of that hole must have been a slippery trek. This one shows a wearily beating heart, bleeding black.
Matt Medlock
Peter Bjorn and John - Living Thing Review
Ignoring Seaside Rock, their vinyl/digital-only release from last year, Living Thing is Peter Bjorn and John's follow-up to their widely-lauded 2006 LP, Writer's Block. If you need a refresher, just think of "Young Folks." Or, better yet, hear the album in its entirety since they were a lot more interesting than a mere buzz band who did that song that even your mom knows front-to-back. There's some good news and bad news for the group's new album. Thankfully, there isn't a song on here that will be raped and murdered by commercials and pop culture like "Young Folks" was. Unfortunately, there isn't a song as memorably catchy as "Young Folks" was.
Chris Cornell - Scream Review
Curiosity can be more powerful than common sense at times. The pairing of Chris Cornell with Timbaland is such a mind-boggling match that curiosity wins. Even the faintest knowledge of those two should elicit the same reaction from everyone, regardless of what they think of either of them. That reaction is: what the fuck? It's a combo that even the Grammy committee would likely think too bizarre to ever attempt on their yearly telecast. Is one or the other slumming in different territory? Has Cornell's stock fallen so far that he'd jump genres and make such a blatantly transparent attempt to ensure that he shifts units? Does Timbaland envision himself so invincible as a producer that he feels like showing off and taking a fallen star to grand new heights? Or have they both lost their freakin' minds?
Crap You Probably Shouldn't See: "I Love College" Music Video
About three months ago, Arya Ponto brought us the awesomely bad music video of Chris Dane Owens' "Shine on Me." Today, I bring you the just plain bad music video for Asher Roth's "I Love College." Why would I want to share something so offensively awful? Because people must be warned, especially any high school seniors or college-bound youths out there. Someday soon, there's a frighteningly good chance that this dreck is going to become the "soundtrack" to half the sub-moronic frat houses across the country. Brace yourself.
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The Decemberists - The Hazards of Love Review
It could easily be argued that the Decemberists get away with a cluster of sins that most bands couldn't commit one at a time and receive exoneration. The prog-folk sound they build bigger and breathier with each new effort could barely be carried out by ELO, the Incredible String Band and Jethro Tull during the anything-goes slumber of the seventies. Their hyper-literate lyricism always contains at least two or three words on each album that sends me in search of a dictionary. No matter how linear their storytelling is (and just as often it's not), the point of view and speaker is rarely predictable—as told by killers, ghouls, babies and other unreliable narrators. And they flaunt their indie preciousness and musical worldliness both through their catalog of charming songs and their actions off-stage—a potential prize for pre-ordering their latest album is a Baglama Saz that's been "festooned with signatures" from the band. If you don't know (and I didn't), a Baglama Saz is a Turkish three-string banjo-like instrument. Suddenly, the mandolin sounds as generically workmanlike as a bass guitar.
Grandmaster Flash - The Bridge: Concept of a Culture Review
Twenty-one years is a long time to wait for anything. That's a fetus finally being able to ditch his/her fake ID and get into a bar legally. For Grandmaster Flash, twenty-one years is the length of time between his last studio album and his most recent one. He hasn't been a ghost during that tenure, of course, choosing instead to spend his time mixing, producing and releasing a handful of remix/reprise records along the way. But the legend of Grandmaster Flash cannot be scoffed at. Long before I accepted hip hop as a legitimate musical form I knew and respected the deejay's body of work, no matter how shallow my knowledge of it was. But in such a gap, the entire face of the genre and industry has undergone more facelifts than the King of Pop. So the natural (and easy) question is: can Grandmaster Flash thrive in the modern world?
Neko Case - Middle Cyclone Review
With one of the most powerful and appealing voices in popular music today, Neko Case owns every song she performs. When she lends her talent to the potent power pop of the New Pornographers, she's a surge of sunny melody and body-bouncing energy. When she concentrates on her own material, her tone is always the most immediately grabbing part of every song. Repeated listens unearth the instrument method but no studying is required to unpeel the layers of her throat. Even when she draws it back to a warble, there's no one else in the room that matters.
Handsome Furs - Face Control Review
Most greeted Plague Park with enthusiasm that didn't match the reaction (including myself). Handsome Furs' Dan Boeckner is also one of the leaders of Wolf Parade, a band that specializes in twitchy and nerve-rattling rhythms much in the same way that their Apologies to Queen Mary producer Isaac Brock's Modest Mouse does. Comparisons between Brock and Boeckner were unyielding but often apt; cut from the same cloth, but not carbon copies. So this Handsome Furs racket was anticipated as another sweaty burst of jangly extremes but arrived as a grim and moody venture across an ungainly technoid wasteland of sandy synths, clinical acoustica and black root storytelling. Reevaluation has been kind to its legacy but it still didn't ring entirely true. As a side project, it could be forgiven as an outlet for Boeckner's alter egos and songwriting aspirations, but an occasionally electrifying mixed bag it remained.
Movies That Deserve a Second Life: Action/Adventure Edition
When referring to a movie that nabbed a second life, typically home video is the savior. There are countless movies that didn't fare well in their original theatrical runs but have earned a so-called second life thanks to profitable video sales and rentals that make them much stronger than they ever were when they first arrived. Examples of this trend vary greatly, whether you're referring to genre, era, proliferation (or magnitude of the "second life") and, of course, how deserving it is. Most that get a boost long after its premiere got where it is now slowly, spread wide by word of mouth and critical re-analysis. Most of them were not well received during the initial run, and many are re-evaluated, and mistakes are mended. Among them: 2001, The Princess Bride, The Day the Earth Stood Still, The Big Lebowski, Fight Club, Office Space and Dazed and Confused. These are movies that weren't initially loved by general consensus (or for some, even liked at all) and/or failed to sell many tickets and seemed doomed to semi-obscurity. But as the years passed, each of them actually gained momentum long after magazines and newspapers stopped mentioning them. Such is the forgiving nature of a "second life."
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Mr. Corgan Goes to Washington
Billy Corgan recently visited Congress to speak to a Senatorial committee in favor of revising an act that would force radio broadcast stations to pay more money for airing music. As it stands now, stations have to pay royalties to songwriters whenever they play a song. If the law (called the Performance Rights Act) is amended, they'll have to pay both the songwriter(s) and the artist(s) who performed it. So is this an act of stupefying greed on the part of a well-to-do and prolific rock star or an act of fairness to the people who give us songs we all cherish (or loathe, depending on the group/performer)? What Mr. Corgan had to say to Congress and my own analysis are ahead.
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Robyn Hitchcock & the Venus 3 - Goodnight Oslo Review
When someone graduates from stirring young voice to elder statesman, there's always a temptation to write off new material with shrugs. How many artists are better than they were twenty years prior? With precious few exceptions, the answer is none, in no small part to the fact that a lengthy career of relevance in the spotlight usually requires near-classic returns during the pioneer days. Robyn Hitchcock is one such example of this unfortunate but undeniable trend. And along with R.E.M.'s Peter Buck, Ministry's Bill Rieflin and Young Fresh Fellows' Scott McCaughey (which make up Venus 3), they represent a supergroup of sorts that all have similar claims made upon them. All of them found their best years during the 80s, but they are also of that ever-shrinking class that overcame dips during the 90s and the early part of the new millennium to now emerge refurbished and vital once again.
Long associated with quirkiness, surrealism and eccentricity, Robyn's been lumped into the pretentious prestige of "thinking man"'s rock n' roll, as if brainiacs can't appreciate hair metal or morons can't cozy up to Mozart. Along with the Venus 3 lineup, there's also room for several guests, including vocalists of other skewed acts like the Decemberists (Colin Meloy) and Harvey Danger (Sean Nelson). Having all that prolific talent at his beck and call doesn't necessarily mean that Hitchcock is ready for action, though. His blender influence of Bob Dylan's mood and Syd Barrett's kinky lyricism is always present, but Venus 3's broader sound borders on old-fashioned; but is there a better tonic to today's retro/machine overkill? Either way, although there are few numbers on here demanding spin after spin, the worst you can say about any of them is that they're simply "pleasant."
Beginning with a subdued blues melody, Dixie-ish horns and back-up vocals from Lianne Francis, Hitchcock is a long way from the Soft Boys and Egyptians right off the bat. "What You Is" is a slice of Memphis R&B that doesn't necessarily play to his strengths, but Hitchcock brings a smoky swagger to the song anyhow, forgoing empty wryness for tongue-in-cheek motto-grasping at the refrain. "It doesn't matter what you was, it's what you is and what you is is what you are." Typically, it's a simple and serious message twisted by Hitchcock's screwball tongue/pen.
The 60s aren't ignored elsewhere, though folk rock and harmonic pop is the chief guidepost instead of R&B. Roger McGuinn's guitar sound is found all over this album, and the harmonies seem equally inspired by the Beach Boys and the Hollies, all furnished by the crooked troubador style of Dylan and the eclecticism of '67-'68 Beatles. "Saturday Groovers" reflects all of these signatures into a singular passage, jostling with ba-da-bums, sunny harmonies, the bounce of prettily-distorted guitars, trumpet flares and basic-but-potent percussion. But the offbeat subject matter remains in Hitchcock's vault.
"Your Head Here" meanwhile recalls his own Soft Boys heritage, with more than a hint of a weary but polemic Dylan drag in Hitchcock's own nuanced snarl-to-smirk aesthetic. "Hurry for the Sky" marries a country-western choo-choo shuffle with the same sort of vocal inflection, slightly itchier, twitchier and clinging to well-bottled desperation. As for the title track finale, it begins hinting at apocalyptic menace but winds up as just a rumbling surge that climaxes in an almost quaint way—quaint, that is, after years of inflated arena-friendly barn-burners that mistake massiveness for magnitude.
The concerns of "TLC" follow another 80s legend's recent work. Consumed with the numbing effects of pharmaceuticals, Hitchcock runs through a brief medicine cabinet list (Tryptisol, Librium and Carbitol) in much the same way that Morrissey handled "Something's Squeezing My Skull"'s bridge. But since Morrissey's chugged with anger and this one eerily drifts by in a narcohypnotic haze, it's less redundant than supportive (similar release dates obviously nullifies any accusations of plagiarism).
Not long after Morrissey and Nick Cave gave their best efforts in at least a dime, Hitchcock and crew give us their best in about the same span. Venus 3 were last heard (or, really, first heard) on Ole! Tarantula, one of those "little albums that could," occasionally dazzling but ultimately uneven. But this one is the comeback, if such a term is even appropriate for Robyn Hitchcock, who has seen plenty of critical acclaim and cult adulation, but minimal sales and little mainstream appeal. He hasn't been in as much control of the medium since the Fegmania! days. It's not in the same league, but it does offer a package worthy of far more than long-time fan submission or outsider curiosity—it's a fine effort no matter how you view the canon or genre.
Fifty Years of Great Music: The Top 100 Songs of the 1960s
So begins an ambitious ten-part project reflecting on the best that popular music had to offer in the last fifty years. Each part will present a list of the one hundred best songs or albums that five separate decades had to offer, culminating with the best of this decade at the end of the year (so, roughly one list per month until 2010). I'll start with the best songs of the 1960s, and work my way ahead through time during the remainder of the year.
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Pre - Epic Fits Review
More people will hate Epic Fits than will enjoy it. Actually, "enjoy it" isn't entirely accurate either. This is sonic meth. And no one takes meth and has a mixed, blasé reaction to it. I suppose the easiest correlation would be to Melt-Banana, the fine Japanese noise rock outfit that gave us Cell-Scape in 2003 (and several other fine records). Using "fine" is, of course, a wry choice. Simply hearing that Epic Fits is going to be a messy noise-punk record won't prepare you any better than knowing what Melt-Banana is all about. This is not music to make you reflect or offer a sing-along. Once again, it's sonic meth. I can only make the guarantee that no matter how you react, it's going to temporarily change you after an extended hit.
Akika Matsuura is your ringleader for this freakish circus, so introduce yourself and don't be shy. She's going to be the one shrieking at you for the next twenty-five minutes. You may call her Exceedingly Good Keex, for that is how she will credit herself. And if you expect to understand more than eight words she screams your way, you're going to be disappointed—not that much you understand makes a lick of sense anyway.
John Art Webb will help you out, though. He adds the salt and vinegar to Keex's sugar rush. He doesn't so much play riffs on his guitar as he takes a cheese shredder to rusty grates and grinds away like he was auditioning for a bad industrial band. Keeping everything tuned low allows him to get away with the aural terrorism; in fact, it lends everything a respectable "basement-made" authority.
Kevin Hendrix, Matthew Warburton and Richard Bennett are going to be the ones making everything slightly more palatable, so you know you're not listening to chaos simply for chaos' sake. Furnishing the limber but repetitive grooves and hammering that relentless rhythm against your skull is what they're up to. Hendrix and Warburton pull double duty with their steel wool basses, keeping everything thumping hard against the pink belly. And Bennett treats his kit like an aggressively naughty child, refusing to stop pounding until the noise around him shuts the hell up.
This pack of rogues isn't content to pawn sleazy on you. They feel an intense need to dress up sweet and simplistic pop in all the punk gear they can muster up at Salvation Army, then smear it with axle grease and push it into a fire pit. They're only a few degrees either way of being lumped in already outrageous circles with either Deerhoof or Ponytail, but they'd rather trash up the place than ever concern themselves with cliques. It's dance music for spastics, riot-springers for the eternally disaffected and muscle relaxants only for the deaf or criminally insane.
Their output typically clocks in under two minutes (with a few spending it all before a minute's even up). Even their "epic," "Scenes from a 1963 Los Angeles Love-In," would have been over a lot sooner if the band hadn't decided to piss all over the flames of the corpses they left behind for another three, skull-piercing minutes. Likewise, "Popping Showers" uses every one of its two hundred thirty seconds to rack your nerves and bleed you dry.
But Pre specialize in short, barely-controlled bursts of machine gun fire. While I wouldn't call them one-trick ponies, these quick, frenetic spark showers flow into each other not by musical segue but because each one picks up where the last left off. If you were to listen to this and try to keep up on a pogo stick, you'd have a heart attack before "Slash in the Snakepit" arrived.
Despite their mangled and mutant appetites for destruction, the songs can be damn catchy. "Ace Cock" has a rusty groove similar to Primus' "My Name Is Mud." You'll flash back to the 80s wasteland on "And Prolapse." Ditto to "Drool," which starts out pretty clean but shreds apart any semblance of sanity courtesy of the guitar squeals and Keex's distorted howl. But this isn't an album for cherry picking favorite songs—you begin at track one and, assuming it doesn't break you along the way, you finish it gasping for air.
So if you prefer your pop without a lot of crash and clatter, sample before buying. But Pre has converted a handful along the way, and look to continue leaving rock music a frazzled, smoking ruin. They even recruited Steve Albini for their sophomore full-length; promising, indeed. Apparently bands as hectic and snaggle-toothed as this one need not always collapse beneath the weight of chaos. No matter how feverish they may sound, there's no cure in the world to make them sound any better than they wanna. For now, let this anarchy reign.
Nine Inch Nails on Tour: Could Be the Last Chance
Most know by now that Trent Reznor recently announced an indefinite (and possibly permanent) hiatus for his Nine Inch Nails project. It might have seemed odd that the man who was Nine Inch Nails could end it (how exactly does a breakup work when it's really just one person?), but it most likely means that his touring days may very well be soon behind him. It's highly doubtful that he will no longer invest himself in writing and recording music, but this might be the last chance anyone has to see him on stage. There is at least one bit of silver lining to the otherwise depressing (but wholly understandable) news: the perchance final tour of Nine Inch Nails will feature Jane's Addiction.
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School Boy Humor - School Boy Humor Review
It's easy to blame Fall Out Boy for the current crop of emo pop-rockers that clutter up the rock aisle of your favorite record store. Before them, blink-182 was the whipping boy. But as bad as both groups can/could be, at least Fall Out Boy shows flashes of ambition and songwriting complexity. And blink could pen a catchy tune or two amidst albums stuffed with thirteen variations of the same lousy song. School Boy Humor owes a debt in their songcraft to both groups. And their inspirations should thank this Little Rock quintet for making them sound like musical geniuses.
There's a niche for bland and straightforward songwriting in the world (see the recent All American Rejects review), but shrugging off this kind of dreck because other people might like it is kind of like allowing tykes to veg out on brain-rotting junk when they could be watching something like, say, Sesame Street. If you've ever heard a song by Every Avenue, Forever the Sickest Kids, etc., you know what you're getting into. It's not even the style I'm opposed to (though it truly is disheartening) but rather an utter absence of originality, identity and substance.
"Paint Me with Envy" is up first and scribbles out a cheat sheet for the band to follow to the letter for almost every track that follows. Cleanly distorted guitars, oversimplified drum beat taps, two-note bass thumps, superfluous synthesizer gimmicks plugged in just to make the music "soar," and ultra-generic, sub-frat sing shouting balanced between two vocalists, Phil and Anthony Evans (ahem, blink, ahem). But so what? So they play it completely safe with the instruments they sound like they just picked up two months ago for the first time. Big deal. Maybe they'll have something interesting to say. Nope. "She's dressed to kill so you better stop staring." "Boy, you know that she isn't like you, she's a little insecure." And, of course, "Good looks are what you need to have/To make it somewhere in this world/To lead a life you won't end up regretting." If Evans (whichever one) was attempting to be ironic/sarcastic, he needs to figure out a way not to sound so blandly earnest with his monotonous singing. If not, I don't even know what to say...
Five tracks later, we're treated to something slightly different. Click-stutter drum machines, chilly synth drones and a looping keyboard line fill up the verse background. It's not much of an improvement, but at least it's something disparate. Then the chorus arrives and we're back to track one. Or three. Or eight, two, and so on. Efforts to be even more "important" and "sincere" than before just make everything hit flatter. Japanese dog robots have more heart than this clumsy faux-ballad could ever scrape up.
But wait. After that is "Cheating Myself," another song that starts off calmly, quiet enough to hear, "We'll sing just a little bit louder/And we won't stop 'til she can't handle it/We'll sing just a little bit slower/So she'll hang on to every single word." Where's Steve Albini when you need him? Later, after another loud and spotless refrain, the song quiets down again so you won't miss, "So close your eyes girl, and tell me what you see/The lives that we've created were all because of me/So listen closely, girl, 'cause our future is at stake/The reason we are ending is because I give, you take." It's performed/sung exactly like a second-tier boy band (say, Westlife?). Memo to SBH: if you can't even compete with first-tier boy bands, it's time to go back to the drawing board. Of course, following that song up with a track that opens amid a frosted-tips, sandals-and-shades pseudo rap is good timing; makes the last one actually seem not quite so bad.
And so it goes. Around and around, each one seemingly more tiresome and obnoxious than the last. Even when they "spice" cuts up with airy breaths of quiet, they return to the formula soon enough. Before long, that very attempt to "break things up" becomes even more repetitiously mundane than the shiny power pop they were peddling early on. And whenever they get tired of composing tired takes on heartbreak, they summon a handful of lines that suggest they want to have a little force and weight. But hearing them announce, "You have to fight for what you believe in," is like watching five guys attempt a coup d'etat armed with Super Soakers.
Just as every song seems even more shapeless than the one that came before, so too does the last song dig further down into their seemingly bottomless hole (discounting a hidden cover that proves that not every album concealing a secret finale can call such a surprise a "bonus"). It's called "What If," and if you wanted to see these guys' "softer" side, you get what you asked for. Take the same old obvious and oblivious lyricism, throw in a piano, acoustic guitar, electronic chimes and multi-part harmonies. If you can make it all the way through without reaching for the mute button six or seven times, you're a braver man than I.
Now that I've probably devoted more time trying to uncover the band's appeal than they set aside for composing this disaster, I can lay my weary head into folded arms. But there's something to be said about the task of writing these banal little tunes. Writing credit for all but one song is shared by the album's producer/mixer, Geoff Rockwell; a quick glance at his career credits will give you all the info needed on deciding how clueless a choice it was. To save you the chore, one highlight is an assist on a compilation called Punk Goes Crunk. I probably should have warned you not to read that last sentence on a full stomach. Consult your local Yellow Pages for a cleaning crew.
As much as I support emotional honesty in songwriting, there's plenty of reason to go in the other direction. If there was a version of Guitar Hero out there that focused solely on emo pop, these guys would have cut their teeth on that stuff. Assuming not, they still went and hired someone to shave off what little friction there might have been there originally so it could appeal to people who think that N'Sync is "too edgy." And they plunged into their eighth-grade journals to copy wet-eyed 'tween sentiment into every grimace-worthy stanza. Hearing this for more than nine straight minutes will invariably force the listener to develop a morphine addiction just to make the pain dissipate. Give me noise n' nihilism any day over this trite tripe.
Odawas - The Blue Depths Review
If you're to believe the band's blog, the Odawas duo of Michael Tapscott and Isaac Edwards has no patience for Led Zeppelin. Already, I'm at odds with them. More curiously, though, is that they also don't care for Neil Young jams. As unforgivable a thing to say as the Zeppelin comment is, I can at least believe them. But to shrug at Neil Young flies in the very face of The Blue Depths. If Neil Young had hired Tangerine Dream or Vangelis to support him instead of Crazy Horse, it's quite possible that he could have ended up with an album like this one. So, not only am I at odds with them, but I also can't seem to trust them. Tsk, tsk, Odawas.
But this is not music to get you riled up, so my fury slowly dissipated to embers. The Blue Depths rolls out of the speakers like a slumbering fog, one far too disinterested to ever appear disheveled and threatening. Notes flicker out like street lamp lights through the mist. And everything is dense, in a way where "atmospheric" would be too obvious and "busy" too inaccurate. This is music to get lost inside, not to pluck apart for hidden meaning or insight. I suspect that many won't be flipping this on intentionally, but rather accidentally by subconscious means, to revert to a specific state of mind and for background music that will keep them interested but never distracted. It's music good for drifting towards sleep, whether watching starlight or snuggled up in bed.
Contrary to their use of electronics, though, the album buzzes with feeling and warmth. Because everything is awash in those synthesizers, you hardly even notice the appearance of guitars or strings or harmonicas or bells because they spring naturally from the lush keyboard sounds that drives everything. This might have even been considered a folk record if the organic waves were more rustic than mechanical. But such is the nature of the beast that is classification. Startlingly, all of this noise was created by two people; even when you realize how programming comes into play, the soundscapes they build brick by brick seem impossibly compact but airy for just a pair. And although a lot of it enriches subtly, some of it amazes in its audacity. The harmonica alone wails like it was borrowed from Charles Bronson in Once Upon a Time in the West.
"Swan Song of the Humpback Angler" uses an 80s synth and looping drum machine mix for faint texture; the song is carried by emotive and reverberating vocals that suggest Jim James going New Age. "The Sound of Lies" stakes its place near the record's center and uses a subdued dance beat and piano stabs to keep you from getting entirely lost. It could be found somewhere between a John Hughes score and Digital Ash in a Digtal Urn. "Harmless Lover's Discourse" begins with a slow and gentle strum amid a billowy drone that suggests a big ballad, but blessedly never goes for an obvious hook or sweeping chorus. Standing out for escaping the frequent Vangelis comparison, you elsewhere notice a fluttering synth on "A Boy in the Yard," a shapeless distorted guitar on "Secrets of the Fall," and the back-up harmonies that get flattened by digital interference about three minutes in during "The Case of the Great Irish Elk."
Despite these unexpected moments, though, The Blue Depths' chief triumph is uniting all of these divergent sounds and instruments into a coalescent whole. No matter the direction they choose, everything is united by those bedrock whirls, a combo of space-piercing synth flames and velvet waves over a blue-grey sea. The digital effects are rarely ostentatious; it's difficult at times to understand what Tapscott is singing, but his voice remains the musical anchor. On first listen, you may mourn the absence of memorably catchy melodies, but Odawas likely scoffs at such efforts. As the title suggests, they prefer epic and resonant images of lush music passing them by, instead of easily digestible nuggets to fill up your iPod.
With romanticism trumping the more absurd electronic skills, Odawas can't be condemned for plasticity. It's not an easy album to grasp, and even after multiple listens, I find that the words often either ring hollow or lend the experience a certain pretentious affectation that the music otherwise narrowly avoids. But with shimmering guitars, redolent harmonicas and lovely string arrangements complementing the sheets of synth echoes, the entire experience remains vibrant. This may not be an album you'll actively seek out on busier days, but it would be tough not to get lost in its balmy spell when you decide to let it unfurl.
It's not replacing my Zeppelin LPs, though.
U2 - No Line on the Horizon Review
I suspect that U2 will eventually replace the Rolling Stones as being the second-oldest profession on the planet. The Stones may have the deeper catalog, but U2 has just entered their fourth decade and continue to release well-received albums with new songs that fans will clamor for at concerts rather than view as opportunities to visit the lavatory or buy another ten buck beer. But U2 has to be huge at this point in their career; if they were anything less, they'd never get away with what they were up to. Your average rock band could never sell the big drama, soaring sound and ego-fattened sentiments. But U2 is usually forgiven for any amount of obtuse sappiness or self-aggrandizement because they really are the biggest rock band in the world.
No Line on the Horizon is their eleventh studio album. Bono and crew have stated that this album will return to a more adventurous frame of mind after a pair of played-too-safe disappointments earlier this decade. And first single, "Get on Your Boots," for all of its creaky lyricism, is a big glam rock fireball, like post-grunge-meets-Achtung. But "Boots" doesn't sell what is to come. It's misleading. Despite a sprinkling of intriguing (if not always successful) new directions, No Line is mostly just more of the same from a band that may not look their age but is beginning to advance their career like they need walkers just to move forward.
Opening with the title track, we're given a reason to look ahead favorably. Verbally-impaired, "No Line on the Horizon" at least manages to move with shiny, chugging speed atop Larry Mullen's martial drums. Even the whoa-ohs, which would have sunk most other songs of its ilk, are so refreshingly integrated into the melody, that it hooks you into place to enjoy all the overcooked charm. But not long after the optimism-boosting leadoff, the band runs through a dead zone rarely matched in their long and storied history. Until "Get on Your Boots" lands in the sixth spot, the rest of the first half is an arduously dull grind, like dragging your feet through a pool of bubbling tar.
"Magnificent" promises more than it can deliver, with bass-heavy fuzz squelches à la "No Son of Mine" and a building rhythm that promises some serious thunder. It does have thunder...if you think that arena rock romantics like Journey and Foreigner brought the thunder to their shows. The song's promises of love are confusing, though, since we never get a firm grasp on the narrator, the subject or the magnitude (unless we're to gauge solely on how big the choruses are, in which case U2 is always global). It runs out of energy before the fifth minute passes and one wishes for more prudent editing. But "Magnificent" is a spunky little gem compared to the ultra-laborious "Moment of Surrender," which traces lines through synthetic dust for seven-and-a-half minutes. Beginning with, "I tied myself with wire/To let the horses run free/Playing with the fire/Until the fire played with me," it only gets worse from there. Bono doesn't even try to shoehorn his limp lines into meter; better than forcing clunky rhymes, yes, but without a uniform rhythm, it can't even work as an empty-but-catchy number. No matter—it ain't catchy anyway.
"Unknown Caller" is up next, and again begins with a drawn out series of faint electronic washes that takes forever to coalesce. Momentum hint: if you're going to subject the audience to more than seven minutes of flat pseudo-balladry, you better get the next one going quick. For all of the track's spacious arrangements and ohh-ing that suggests heart-and-soul feeling, the lyrics fumble over the faux-futurism of everyday technology, uncomfortable bedfellows with any band that aims to attach itself to your estimations of love and faith. Efforts to translate IT lingo into life lessons are unbearable—"Force quit and move to trash" is as cloyingly lame as anything from Plastic Operator's "Folder." Thoughts of, "Keep the old man away from the computer," spring up.
By the time that "Boots" shows up, you're more willing than ever to forgive Bono's cryptic didacticism. At least it swings with the swagger that a band of U2's magnitude ought to be flashing more often. Instead of being content to sell a perfunctory message or query about the magnitude of life and spirituality, it keeps the fuzz unshaven and throbs with the thrill that marked their last album's brightest moment, "Love and Peace or Else." It helps that the band gives us that vivacious kick; if I had to suffer Bono's forced (and often bizarre) rhymes with another soppy ballad arrangement, I might have given up right then and there. But "Rockets at the fun fair/Satan loves a bomb scare," and "You free me from the dark dream/Candy floss ice cream?" It makes you long for a mixing engineer that'll bury Bono's voice beneath the twittery percussion and static.
The second half features the more experimental material they hinted at months back. "Stand Up Comedy" traverses a dangerous line with its rowdy rock groove and its "God is love" mantra, but Bono sells it through unexpected simplicity, rarely straining for bloated metaphors, and offering a straightforward and inspiring message. "Fez – Being Born" is No Line's most obvious flirtation with the avant garde. Combining their power pop bread and butter with mysticism, gospel and the occasional non-linear change-up, Bono offers an odd mélange of hotrod bravado, foreign intrigue and insecure helplessness, all of it used in figurative ways to paint a wider but no more specific picture. "Breathe" brings together so many divergent ideas that its partial success is almost a miracle. There's staccato narration, a heartfelt run through of the refrain, Springsteen grit, latter-day Replacements grind, Edge's shimmering guitar, "Beautiful Day" heated glee, soaring bridge...it's like a musical apocalypse where everything shuffles towards grim death and gets mixed up in a huge column of white fire. None of these trickier moments are great, but they at least show greater purpose than the tired tricks they faltered over on the first side.
The album ends on a high note, though. "Cedars of Lebanon" is a moody and subtle mood-changer that calmly floats by like many of The Joshua Tree's unsung second half ballads. It even offers lyrical imagery that evokes vivid scenes rather than straining pomp. "Now I've got a head like a lit cigarette/Unholy clouds reflecting in a minaret." The performance even rings of a weary journeyman, appropriately mirroring the creased-eye observational mood.
But a good line like that is in short supply. Instead, we're usually given drably playful phrases like, "You put me on pause/I'm trying to rewind/And replay." Inflated grand moments like "At the moment of surrender/I'm falling to my knees," and, "I was born to be with you/In this space and time," keep the band's sentiments at arm's length. The best rock anthems typically speak more directly; Bono usually sounds like he's speaking for us on subjects we wouldn't bother to consider, and not for lack of insight. They're also better off summoning sights of more earthly treasures like the Atlantic Sea and African sun; when they move towards the stars with, "I've been in every black hole/At the altar of a dark star," the eyes roll almost as quickly as the stomach.
If all the blame could be issued upon Bono's pen, you might have ended up with a decent record anyway—ego can be forgiven in the face of great tunes. But U2 has difficulty in even making big arena rockers and power ballads anymore. The band brings back a familiar trio of producers; Steve Lillywhite knows how to layer on the sheen, but Brian Eno and Daniel Lanois are better at more intimate material. Eno's stamp can even be found on the dreadful "Surrender," an unfortunate miss for the usually reliable legend. And for all the promise of a return to more daring days, U2 actually plumbs into their 80s heyday for inspiration far more often than the 90s. The somber spirituality, the ambient drone pop, the optimism amidst uncontrollable ego...the only thing missing, really, are the fiery political tirades (which get light brushes on tracks like "Boots"). And if they're not being inspired by their own 80s interests, they look to the era's other arena balladeers. In addition to the aforementioned Genesis lift, "I'll Go Crazy If I Don't Go Crazy Tonight" blatantly steals the hook from Journey's "Faithfully."
The disappointment of this record doesn't stem entirely from unfair expectations. It's not even about the direction taken by a once truly viable band. I don't mourn the years of their great albums or unforgettable hits. But the U2 of the new millennium seem distracted by their own glamor and fame. They're no longer U2 the band but rather U2 the institution. They're chiseled figures in an increasingly stale world of popular music. If you found their last two albums to be worthy of the acclaim they found in many circles, there's no reason to dislike this one. It falls lockstep in line with their recent edgeless big pop/rock endeavors. But so little grabs hold on No Line on the Horizon, so little is remembered. The bookends are really good, but the rest ranges from uneven to outright failures. I don't see the sun setting anytime soon on U2's horizon, but I'm beginning to fear that their noteworthy days are long past them now.
The Pains of Being Pure at Heart - The Pains of Being Pure at Heart Review
Hey, do you miss that brief period around the turn of the decade between the 80s and 90s? Specifically, the pink noise dream pop that was all the rage for all of about three weeks? Do you remember the short-lived bands that made that beautiful music? Here-today-gone-tomorrows like Black Tambourine and Ride (okay, they survived much longer, but their peak period was marked by both brilliance and brevity)? How about bands with more staying power like 14 Iced Bears or early Flaming Lips? Okay, I know you miss My Bloody Valentine. Well, if you think you've heard a hundred bands just like 'em, it's time to make it a hundred-and-one. Say hello to the Pains of Being Pure at Heart.
If you think I'm being deliberately sarcastic, I'm not. The fact is, no matter how much you hear of that style, it'll never become tiresome so long as it's done right. For further proof, look at last year. You want something more retro? You had a delicious helping of M83. Something a bit more modern? School of Seven Bills fit the bill. Wanted something a little rougher, a little more lo-fi? There was always Crystal Stilts and Vivian Girls (hell, they even share a drummer). But what (besides their music) do all of them have in common? They all had really good releases last year. Why? Because you gotta have it.
And hey, TPOBPAH don't even bother to hide their influences. "Contender" is like early My Bloody Valentine, with sparkling guitar flickers and heavy-lidded vocal droning buried beneath drapes of cotton candy. The organ sound during "Hey Paul"'s bridge is pure Rocketship. You can't miss Tiger Trap on "Come Saturday" nor will fans of the Field Mice be left cold by "This Love Is Fucking Right!" And there are multiple references to groups as diverse as the Cure, Jesus and Mary Chain and Arrogants. But if they lack originality, they make up for it in aesthetic—you'll know right away what the Pains of Being Pure at Heart are bringing to the table, and you'll know even sooner how much you're going to like it.
What's most surprising about their sound is how precise it is. Usually, when a band dabbles in layers of noise, the guitars sound ramshackle and the hooks seem accidental. But here, their jangle couldn't sound more pristine even if played without the fuzz. The catchier songs showcase this better than the others: the pop-tastic climax of "Young Adult Friction," the keyboard that stabs on every fourth beat of "Stay Alive," the clean tom pops of "Hey Paul"'s unexpectedly muscular distortion (it might even be a drum machine, it's so perfectly timed), the parting of the clouds for the second verse on "This Love Is Fucking Right!" This doesn't make them sound any more manufactured or less daring; it's proof that they're beyond the luck of the amateurs and they just know how to get things done.
The songwriting also seems to favor wry observation far more than affairs of the heart, something rarely heard of in the realm of twee/dream pop. "Teenager in Love" uses a sweet jingle to mask its bleak story: "And when you'd finally gone/He tells me, 'She was dead all along'/He was wrong, he hadn't lived a day/The way you lived your final days/A teenager in love with Christ and heroin." Then, on "Gentle Sons," vivid imagery comes front and center—"You stumble down the diamond path...the sunken eyes you just can't see." Even when they do express themselves more plaintively, it's about the swell and the cool, not bedroom wishes. "You don't have to dress to please/Perhaps undress for me/I know that when you come we'll be staying in." The most memorable lines belong to "This Love," where the words, "Can you go home, look your best friend in the eye?/No, you can't go home after where you slept last night...You're my sister and this love is fucking right," can be interpreted in different ways, ranging from grimly serious to just plain icky.
Peeling apart the layers to get to the band's pure heart is a waste of time; like all of their ilk, the melodies stick with you because they imitate the haze of dreams, the sweetness of fantasies and the melancholy of reality. Whether it's Kip Berman alone, or if he's joined by keyboardist Peggy Wang-East, the words float from their lips like deep sighs and turn to vapor just slow enough to make out before disappearing in the swirl. Unlike the syllables, the Pains of Being Pure at Heart record songs that will linger with you long after. Following three straight go-throughs while prepping the review, the half-hour after in the quiet of my room never stopped ringing of that crisp jangle buried in gauzy pink flurries. If you can hear a song even when it's not playing, that passes every test there is on whether it should be played again. Hey, you have my word.
U2 Retrospective: Best and Worst
With U2 ready to drop their eleventh studio album upon the world (No Line on the Horizon), general anticipation is very high. For long-time fans, it represents a new batch of songs from the so-called "biggest rock band in the world." For naysayers, it gives them an opportunity to see how U2 could stumble even further from greatness. And for all those in between (including myself), it offers the promise of another chance. While U2's popularity has only grown during this decade, the quality of their last two albums are diminished. But the band has suggested that this will be a return to their edgier, more experimental days, so optimism bubbles freely. Yet this is not about No Line on the Horizon (review forthcoming in a few days); this is a look back on the best and worst that this undeniable musical institution has given us.
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Abe Vigoda - Reviver EP Review
You may be alarmed by the entrance of Reviver. Atypical of Skeleton, we arrive amid a wash of no wave fuzz, creeping rhythms that gurgle in the bathtub and a haunting, disembodied croon that wants to soften the blow of damnation. It sounds like a razor mix of Bowie's early Berlin period (even the voice). So much for the frantic sweat of Abe Vigoda's last release.
They lurch ahead a couple of years to Joy Division's final months on "Wild Heart" (a Stevie Nicks cover). Discontent to merely translate it to the experimental rock crowd, they give it an appealing body of glitchcore blips amid a tour guide of faint guitar clicks. Over that they layer grimy distortion that feel like storm clouds tracing across the darkening skies. Michael Vidal sounds less like Bowie here and more like Magnetic Fields' Stephen Merritt. And at almost six minutes, it's more than twice as long as any song you've come to expect from the band. It's a cover that sounds nothing like the original...and even less like the Abe Vigoda we knew from Skeleton.
"Endless Sleeper" is even more out of place, like a segue that wandered in from a recording by Women, Deerhunter or Dirty Projectors. It's post-rock meets shoegaze, and although it lasts less than two minutes, it still serves as an important epilogue to what preceded it. That song, "House," is what fans might call comfort food. It's darker and dirtier, and could only be referred to as a tired uncle to the itchy kids of their last, but the bloodline is strong. Over a 7/4 rhythm, chiming guitar plucks make up the hook while echoes lead us into a series of gauzy breakdowns. But the rhythm is unmistakable, fumbling spastically with anxiety until the final third when all pretense collapses into a trope of clean chords buried under furry feedback.
What makes "The Reaper" such a fitting finish, then, is that it incorporates all of what came before it into one song. The somberness, the stains, the panic, the complacency: all of it slapped across the arrangement with entire disregard for how it might end up sounding. Maybe this comes from a band angry to be constantly overwritten by the achievements of No Age. Skeleton aimed for uniqueness, but instead the band was just compared to their fellow Smell grads (or, even more often, Vampire Weekend).
So does this signal some kind of an audio-print press release from the group? A promise to be better than even their fans thought they could be? If nothing else, it proves that they're not content to regurgitate more of the same on their next full-length. What they lack in singularity and flawless record, they make up for in ambition, integration and talent. It seems unlikely that this is merely a collection of songs unfinished or ill-fitting from Skeleton sessions. Like another great EP from earlier this year (Blood Bank), this declares that you ain't seen nothing yet.
Morrissey - Years of Refusal Review
Morrissey has seen his fair share of highs and lows since the dissolution of the Smiths, but mostly, his solo material grazed in forgotten but not unattractive pastures. It's not that he wasn't any good; he just wasn't doing much truly noteworthy, particularly since the early 90s. In typical rock star fashion, he kissed-off his critics with snide dismissals and frosty shrugs, but atypically, he did it cleverly, where no matter how much of an ass he might seem to fatuous know-it-alls, he always remained a smartass. Years of Refusal as a whole is among his most scathing and pugnacious efforts, a full-swing f-you to anyone he has dealt with—the ignoble, vacuous or deceitful. As always, he remains that glittering demon of self-seriousness and unabashed ambiguity. It was usually in the musical arrangements that he was flagging: his tongue rarely significantly faltered. And if nothing else, no one can say that Refusal doesn't rock.
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A year after voters threw out plans for an elected North East Assembly, a furious row erupted today over the way the North East is governed. "No" campaigners accused the region's political leaders of failing to heed the lessons of the historic referendum last November.
They repeated their call for the unelected North East Assembly, based at the Guildhall on Newcastle Quayside, to be scrapped and claimed the region is heading in the wrong direction.
But leaders of the assembly say they have an important role to play in helping plan jobs and homes, and if they were abolished these powers would probably be handed back to the Government.
It was a year today that the proposal for an elected assembly was rejected by 696,519 votes to 197,310, a majority of nearly four to one.
Businessman John Elliott, chairman of the No campaign, said: "Throughout the campaign, North East people consistently said we already pay too much council tax.
"People voted no because they didn't want higher council tax for a talking shop.
"It beggars belief that one year later our councils are using council taxes to support a regional assembly."
Labour MPs including Tyne Bridge's David Clelland hit back. Mr Clelland said: "These issues are not being ignored, they are being addressed."
He said MPs from the North East, North West and Yorkshire are looking at setting up a body to help deliver the Government's Northern Way strategy, which aims to close the North-South divide.
Houghton and Washington East MP Fraser Kemp said: "According to most indicators, economic and social, the North East is moving in the right direction.
"The North East is certainly a lot better off than it was 10 years ago under the Tories."
Durham North MP Kevan Jones said: "It's easy for people who don't put themselves up for election to criticise politicians.
"In my constituency we have two new hospitals and investment in schools. These are things I have campaigned for and will continue to campaign for."
Newcastle City Council's Liberal Democrat leader, Coun Peter Arnold, said: "We have spent a lot of time tackling issues like long-term unemployment and regeneration.
"If Mr Elliott believes local government in the North East has lost its way, he needs to produce facts and figures.
"In Newcastle, we are spending on the priorities identified by members of the public, such as street cleaning, while the new Chief Constable has mounted a successful crackdown on crime and disorder."
A delegation from the No campaign, headed by Metric martyr Neil Herron, used the anniversary of the referendum to deliver a symbolic notice to quit at the assembly's headquarters. Chairman Judith Wallace said: "A year ago 78% of the North East public said `no' to regional government. This body, the North East Assembly, is still costing each and every one of us. It's time for it to go."
Mr Herron called it "an expensive, useless, toothless talking shop whose contempt for people of the North East is an arrogant affront to democracy".
The 73-strong assembly was set by the Government in 1999. It is funded by the Government and the region's local authorities .
Chairman Coun Alex Watson said: "Although some members receive limited travel and related expenses, none of the members are paid. These dedicated and hard-working representatives give freely of their time to further the interests of our region."


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Ulster Men's Basketball defeated Orange Tuesday night 98-62, securing a Championship for the program for the first time since the 1970's. The win moved the team to 15-9 on the season, and they will move on to play in the Regional Division 2 tournament next weekend.
The program secured a three year turnaround in which they improved by 15 wins, and went from worst to first in the Conference.
Naje Greene (Scanlon HS) had 16 points and 12 assists. Tyreik Johnson (Kingston HS) had 11 points and 5 assists. Skyler Rebeor (Ravena HS) had 16 points and 5 assists. Alex Karamanos (Kingston HS) had 9 points and 5 assists. Ulster had a 49-25 lead at halftime and lead start to finish.


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the Internet, newspapers and magazines can often find employment announcement: "Work for students: sticker ads.Schedule free. "At first glance, the work seems simple and attractive.Strolling in the district itself, hangs ads.But ... Few people know that these workers often remain unpaid.Because I do not know that even in such a simple post has instructions.Not all employers are reporting their students.And for neglect of duty then fine.Or, if the employer does not deceive, for posting leaflets in the wrong places can be punished by police.To work "sticker board" has brought at least a small income to employment should be approached very seriously.
Job Description
Find social research interviewing job ads easily.It is more difficult to get right on it.Even a temporary worker, employers should refer to the instructions defining the main points of his work.The applicant should know: to recruit social research interviewing is only entitled to the head of department or unit.He obeys the same sticker.Reco
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- own rights and responsibilities.
If the last tenants somehow introduce job seekers about the rules of sticking say rarely.And they exist.
Terms of sticking ads
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- improper performance of their duties (such as violation of the law);
- material damage (in particular, it can cause paint the wall at his own expense, for which he nalepil announcement).
Job "sticker board" brings a penny.Before her, it should think twice whether to do it.


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Inspector General of Police, Gen. Kale Kayihura has warned his boys against sharing police secrets with other security agencies.
The warning comes at a time when there's believed to be a rift between the Internal security organization, ISO and the Uganda police force.
In a circular dated February 21st 2018, the IGP instructs all Directors, unit commanders, heads of departments, to ensure that officers do not conspire to sell secrets of the force.
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3 Numerology
A regular SIM card runs about $3, while a Silver card carrying a number with some combination. The value of the cards is derived not from numerology or lucky.
3 Numerology
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3 Numerology
Dreams and numbers – In a highly superstitious country where even the educated make a detour to avoid walking under a ladder or crossing a black cat, lottery.
3 Numerology
Numerology, meaning and symbolism of the number 7.
3 Numerology
Those with Numerology number 3 are fun-loving, attractive and charming. Here are the traits and challenges of 3's, their best career paths and life partners.
Numerology, meaning and symbolism of the number 3.
Lucky Number 7 Tattoo Oct 16, 2014. Lucky Number 7 Tattoo Designs Skin Arts Source. Find this Pin and more on Number Tattoos by tattoomaze. See More. Tattoo of any important date, like marriage, baby's birthday, ect. Roman Numeral TattoosRoman NumeralsRoman Numbers TattooGet A TattooFirst TattooTattoo ArtTattoo PicsImportant. Numerology, meaning and symbolism of the number 23. RidingTheBeast.com. It's my
Characteristics and Traits. Personality Number. Balanced-You mix with others well and communicate your feelings openly and with ease. Your artistic sensitivity and aesthetic taste cause people to appreciate your creative endeavors. You are often found where sales, promotion, explanation and education are a part of your.
The test, conducted in Samsung labs using the tech giant's pre-commercial 5G base stations and prototype Qualcomm devices, established connections in the 3.5 GHz and 28 GHz bands. "scalable 5G NR OFDM numerology,
Learn the meaning of Life Path Number 3 in Numerology from Life Script Doctor. Discover your potentilal if your Numerology Life Path is # 3
Lucky Number Dream Book Pdf Numerology What Is My Karmic Number Karmic Lesson Numbers The Opposing Forces in Your Life. In previous chapters, we have looked at Numerology from the standpoint of concrete, determinable and. Learn how to find your karmic debt number from your birthdate. Discover the lessons you missed in your past life with your karmic number and
numerology behind the news 12,000+ real-world examples of numerology in action (brought to you by Ed Peterson (numerologist to the world and author of the book.
In a highly superstitious country where even the educated make a detour to avoid.
Lucky Number Review Guardian Feb 26, 2006 · L ucky Number Slevin is an artful confection, directed by Scottish filmmaker Paul McGuigan, best known for the superior British crime movie Gangster No 1. Lucky numbers are essential data for anyone with even the slightest. According to numerology, number 5 is a symbol for Humankind and its. My Guardian Angel.
Number 3 Numerology | Numerology.com – Learn about the three Cs of the number 3: creativity, communication and a childlike nature.
Numerology is the study of numbers that all of life, known & unknown and meanings of number 1, 2, 3, 4, 5, 6, 7, 8 and 9 reveals how they effect your life path.
May 18, 2016. DATE OF BIRTH : 3, 12, 21, 30. Persons governed by number 3: The number 3 governs all those people who are born on the 3rd, 12th, 21st and 30th of any month; moreso, if they are born between 19th February to 27th March and between 21st November to 27th December. Ruling planet: The number 3.
Free Numerology reveals the Numerology meaning of the number 3.
People of life path number 1 – characteristics overview. According to the esoteric doctrine, life path number one is the number of Creation, and the original source.
Bookmark Numerology Meaning Of Number 3! Tell a friend! Home–> numerology number meaning–> meaning of number 3 Numerology 3 – Characteristics of Numerology Number.
Consult world's famous Astro Numerologist Sanjay B Jumaani and Swetta Jumaani introduces Numerology which helps to change ones destiny for the better. Name.
In Chinese tradition, certain numbers are believed by some to be auspicious (吉利, pinyin: jílì; Cantonese Yale: gātleih) or inauspicious (不利, pinyin: bùlì
In Numerology the number 3 symbolizes the expression of humankind. It is the coming together of the one and two. When these two numbers combine into three they.
Ironically for those into numerology, the number is more than three. Dillon took.
NUMEROLOGY 3 – Learn the NUMEROLOGY MEANINGS & spiritual significance of NUMBER 3. In-depth descriptions for LIFE PATH, COMPATIBILITY, DESTINY, & CAREER!
Are You Living At The Right Address? Numerology For Your Home. – Now you calculate the apartment number, which is 28. 2 + 8 = 10; 1 + 0 = 1. Letters also have numeric value in Numerology. So you live in apartment 15A, you would take the numeric value of the letter A (see below) and add that to the apartment number. In this example: 15A = 1 + 5 + (A = 1) = 7. 1 = A, J, S 2 = B, K, T 3 = C.
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