It's no secret that Gallows have been having a turbulent time lately. In an earlier post, when 'Black Eyes' was the song of the weekI talked about the departure of Frank Carter to start up side project Pure Love, and the acquisition of Alexisonfire's Wade Macneil into the Gallows ranks.
It seems that this unusual choice of frontman has paid off though, as the incendiary 40 second assault of 'True Colours' kicks in. With a different but equally brutal vocal style from his predecessor, Wade brings a new dimension to the band which will surely give upcoming EP 'Death Is Birth' a fresh edge.
And So I Watch You From Afar- 'Search:Party:Animal'
OK, so it's been longer than a week, but at least you've had the summery vibes of Don Broco to tide you over. Why so long between posts? A mix of starting uni work, being typically horribly ill as the weather changes, and a busy and bustling social life (am I being sarcastic about that? I don't even know). Anyway, new post now! And it's a long old band name to be sure.
I didn't know anything about ASIWYFA until about a month ago when I saw them transform Moles into a writhing sweatbox of sheer tech-rock enjoyment and mirth. Since then I've been hooked on their latest album 'Gangs' and have listened to this track more times than is probably healthy. I find their music really interesting, both technical and intense, with some really cool riffs and a solid rhythm section, they've got a lot going for them.
One of the highlights of my year is seeing Don Broco at Hevy Festival in August. Proof that they are not only great on record but also live, the show was fun and intense, as Rob Damiani and the Bedford crew rattled through the best of their back catalogue. After reviewing their EP 'Big Fat Smile' for Dead Press I became a fan of their infectious alternative noise, and their latest track 'We're On Holiday', like other tracks 'Metalface' and 'Do What We Do', is imbued with the high-spirited personality of the band's members. It also helps that the chorus is damn catchy and the video is a right laugh too. Enjoy!
I saw Manchester Orchestra last Sunday and they absolutely blew me away. They're a great live band with three albums of great songs to back them up. Andy Hull is a charming frontman and the rest of the group are so well practiced at what they do it's impossible not to enjoy their music. Though there were many highlights of the show (check >Here< for my full review!) 'Where Have You Been?' has been a favourite of mine since I first started getting in to them. Live it was even more intense and brilliant, but for now the album version will just have to do. But the next time they're in the UK make sure to get a ticket to see them; they entirely exceeded my expectations and the gig is probably the highlight of my year so far. Go See Them! :D
Letlive- 'Muther'
I'm absolutely willing to admit that I was wrong about Letlive. The first time I heard them over a year ago I just didn't get it. I think I must have been played a bad song, because if I'd heard 'Muther' back then I would no doubt have all their albums in my possession by now. Frontman Jason Aalon Butler was recently voted by Kerrang! readers as the greatest rock star in the world, which I found very surprising, as I'm sure thousands of other people did flicking through the magazine. But this made me curious to hear more of Letlive. A friend played me this a few days ago and now I'm genuinely impressed with this bands' music.
'Ukulele Songs' is one of my favourite albums at the moment. Eddie Vedder is a rich, warm vocalist, and I've been a fan of his ever since I heard 'Ten' by Pearl Jam when I was first getting in to the whole Seattle grunge scene maybe 8 or 9 years ago. His voice is just so versatile; he can do raw and powerful, sweeping and soulful, as well as the taut and delicate tones that accompany his ukulele here.
On my first listen through of the album I wasn't entirely taken by the concept. After listening to Vedder singing with a full back-up of guitars and drums for so many years the sinuous, surprisingly haunting sound of the lone uke running beside the stripped back vocals came at odds with my expectations, and I thought that it could have done with more variety in feel and theme. It is an album that takes some dedication to prize out its subtleties, but it is worth the time. The song writing is deceptively deep and the sentiments are endearing.
I think 'Goodbye' would make a great break-up song. It is the sound of a clean, pure sadness expressed with real honesty. There's no schmaltz or melodrama to dull the melancholy in Vedder's lyrics, and it is all the more poignant because of it. I realise how emo that sounds, but give it a listen and I think you'll hear what I mean. I'm sure next week's will be a happier track!
Blink are back! I am very excited, especially if the rest of new album 'Neighborhoods' continues in the same vein as this track. I've always been a huge fan of Travis Barker; I've been trying to play some of his beats since the first time I ever picked up drum sticks, and I can still only just make it through 'First Date' without my arms flying off. So the first thing that jumps out at me on 'Up All Night' is the great drums, but it's also nice to hear Mark and Tom again, and to hear some Angels And Airwaves-influenced electronics in the mix. Tom has clearly taken comments about his nasally whine to heart and tried to tone them down, and there is defintely the impression on this song that the band as a whole are taking their music a bit more seriously. I'm definitely looking forward to hearing more from the album and picking it up when it's released (hopefully) on 26th September.
I'd be a bit of a hypocrite if I started complaining about how Biffy Clyro have sold out. If it weren't for their far more mainstream fourth album 'Puzzle' I might never have discovered them. I admit that I prefer their older material, particularly 'Blackened Sky' and 'The Vertigo Of Bliss', but I also think that their most recent release 'Only Revolutions' is bloody great. And I was never really a fan of 'Many Of Horror', so as far as I'm concerned Matt Cardle can have it, I don't really mind.
Anyway, 'Whorses' is my favourite track from 'Only Revolutions', if only for the collossal drop into the final third of the song, which remains as satisfying to listen to now as it did the first time. They can get as mainstream as they like, but chances are I'll still love them. Mon The Biff!
It's a feature that has been tried and tested by numerous magazines and websites, but is it time that Raucous Reviews had an 'Introducing' page? This would take the form of information about up-and-coming bands, a bit of bio and maybe an interview? I'd love to do it, and if I get enough interest I'll get right on it. If I don't get enough interest, then I won't.
If you are in a band and are interested in featuring on my blog, just for laughs and a bit of small-time publicity, you can contact me on here or through any of my Social Network adresses given on the Links page.
No one paints a picture quite like The Gaslight Anthem. Their music is clean and simple, while their lyrics are rich with memorable characters and a real sense of time and place. Yes, it is a well known fact that the band, particularly front man Brian Fallon, is a big fan of Bruce Springsteen, which shows through in their style. But their is enough endearing personality behind the songs and honest emotion that it's easy to forgive them for wearing their influences on their sleeves. 'The Queen Of Lower Chelsea' from latest album 'American Slang' is typical GA fair in theme, but in construction, with its swelling dynamics and a contradictary minor tone and uplifting feel, is certainly one of the highlights of the album.
It's all Frank Carter's fault. He started this whole chain of events. Unsatisfied with the music Gallows were planning for their third album, frontman Frank decided to leave the band and start his Brooklyn side project Pure Love. That's bad enough news for me. I think Gallows are great and that Frank was their USP, their key identifiable figure, their personality. Nevertheless the band started a search for a new frontman, one that could both Fill Frank's shoes and push the band forward in to their new sound.
In the end the band settled on Wade Macneil, Black Lung vocalist and Alexisonfire guitarist. Incorrectly I thought this was great news; that 2 of my favourite bands were, in a way, joining forces, combining elements. Then came the follow-up that, because of Wade's decision to join Gallows and Dallas Green's growing commitments to his solo side project City And Colour, the remaining members of Alexis had decided to call it a day. After 10 years and 4 great post-hardcore albums (plus a split EP with .Moneen. which I think is pretty wonderful) it's a real shame to see them go.
I got in to Alexisonfire just before I went to uni 2 years ago. I started with 'Crisis' and worked my way back through their discography, through the ambient noise and darker tones of 'Watch Out!', to the thrashy scream-heavy anthems of the debut, then back to their latest release 'Old Crows/Young Cardinals', with their core sound changed but still distinctly Alexis. Don't get me wrong, I'm sure the decision was for the best. I love C&C and Gallows and I'm certain I will enjoy their music in the future, and I definitely didn't want to see Alexis make a bad album and ruin all their hard work. But it is a shame.
So instead of looking to the future, where all kinds of shit could happen, I prefer to look back at when the band were first starting out, all fresh-faced and such, before the drama of the split. At least they leave some great music in their wake for their fans to remember them by. I am going to miss them though.
As of yesterday I have the image of Matt Caughthran's furious, sweating face branded indelibly on my brain, as he lept, mic in hand and eyes wide, in to the crowd at Hevy Fest. The last act that I watched on the final day of the festival, The Bronx's show was a true exercise in pure, scuzzy punk that left my ears ringing and my body bruised. I didn't know any of the words and I definitely don't know how to 2-step, but I still had a fucking great time listening to their music, and I'll definitely be checking out more of their stuff in the future.
So far I've been slightly behind the times with Manchester Orchestra, but I'm rectifying the situation with their latest album 'Simple Math' which fell happily through my door this morning, fired across the country from a big Amazon warehouse somewhere. I got in to them entirely by chance when looking for live footage of Brand New on Youtube and clicked on a video of Jesse Lacey performing 'Where Have You Been' with MO. On the strength of that one song I bought both of their albums, 'I'm Like A Virgin Losing A Child' and 'Mean Everything To Nothing', and haven't really stopped listening to them since. They fill a nice gap between the melodic emo pop of Jimmy Eat World and the fuzzy angst of Brand New, which suits me just right.
I 'm currently listening through the album for the first time and can say that MO have written a hefty fistful of great songs here. I've found from listening to them that their material needs a good few listens to really burrow into your subconscious. I'm also damn excited to see them in Bristol in October :D
Anyway, have a listen if you like, and enjoy the great video!
A few months ago I reviewed TAs latest release 'Free' for Dead Press (review here) and thought it was pretty damn great. I first saw the video for 'Edit Me' on the now-defunct Lava TV channel and was impressed with Sam McTrusty's voice and the noise his band were making. Since then their material and what is offered on 'Free' has only continued to grow on me; 'Apocalyptic Renegade' has even been a Song Of The Week before, and after yet another solid week of listening to the album I thought it was about time TA got another mention. Latest single 'Time For You To Stand Up' is out now and is accompanied by an awesome video which you can check out here if you like what you hear above.
These last 2 weeks have been absolutely fantastic for me. After a 7 month gig drought I went to see The Foo Fighters at Milton Keynes (review here!) with Biffy Clyro (who absolutely killed it) and Death Cab For Cutie. Then a few days later I was moshing my face off to Gallows in Folkestone (review of that too!) in a tiny room with lots of sweaty people. And finally I headed to Sonisphere on Sunday for a day of metal and hardcore greatness. Highlights include the double circle pits at Parkway Drive and the sea of crowd surfers, the bottle and smokebomb fight before Mastodon, and Bill Bailey doing a fantastic Rammstein-influenced cover of Scarborough Fair with full backing band.
All of this, superb. But not quite as good as Cancer Bats. Trapped on the Bohemia Stage, the tent full to bursting with even more people waiting to get in, Liam Cormiers gang play the set of their lives to the screaming masses. I managed to get right to the front for their encore, 'Hail Destroyer', as Liam launched himself in to the crowd. Everyone went crazy, the frontman lying on his front, mic in hand, leading into the first chorus. I literally cannot think of what I could say to do the show justice. One of my favourite moments from any gig I've been to. A great band at the top of their game playing a great song to a bunch of crazed fans. Awesome.
I've really had Gallows on the brain this week. I have had both their albums, 'Orchestra Of Wolves' and 'Grey Britain', practically on endless repeat since Monday, and on Thursday I went to see them play the Quarterhouse in Folkestone. It was an intense show, and I did more than my fair share of screaming like a mental patient and dancing like an idiot, but it was worth it just to hear some of their material. 'Black Eyes' was definitely a highlight. That, and 'Misery', and 'The Riverbed', and most of their set. Oh, and I got right to barrier in front of Frank and Steph for 'In The Belly Of A Shark, amidst a load of other hysterical fans. Basically, all of it was awesome.
I read today on NME's website that Frank is planning to leave Gallows in late July to front a new band, Pure Love. At first I was disappointed to hear this, but now I guess it means Gallows have a chance to move in a new direction, and Frank gets to shred his pipes with a fresh group, so it's not all bad.
But back to business. 'Black Eyes' is really what punk and hardcore is all about. It's fast and snarling but fun and catchy too, and it's one of my favourite tracks off of the practically faultless 'Grey Britain'.
Wow. So, once again, major laptop trouble. It's back now. It's starting to work abit. Should I get my hopes up? Probably not. Nevertheless, I thought it was about time I posted another song of the week. I know, it's been something like 18 days since the last one but oh well, have a great track anyway. So far I haven't heard very much Parkway Drive. About a month ago I just stumbled over this track on Scuzz and was instantly hooked by the drum intro and that soaring guitar bit when he's playing under the waves. The video is silly and awesome in equal measure and puts me in a good mood every time I see it. It's simple, brash metalcore but it's done really well, and if my laptop would hold up for longer then five minutes I'd be ordering their latest album ('Deep Blue', probs because they like the sea and surfing and stuff) right now. Anyway, 'Karma', enjoy!
This week I got to review C&C's new release 'Little Hell'. It's great, gave it a nine, nearly a ten, recommend it to anyone. No doubt one of the tracks would be the song of the week this time. But then I got sent this by a friend, and I was reminded of Dallas Green when he was just starting on his little-known solo project, and it really struck a chord with me. I think it's great that dallas and his gang continue to evolve their sound and their image. The new stuff and the new look are awesome, but I think my favourite Dallas will always be that scared guy singing sad songs, getting a little solo action on the side of Alexisonfire. It's stripped back and it's raw, and it's really, really good.
What a week for great music! I've got to say, the last month has felt like a bit of a musical drought, with nothing really jumping out at me as anything all that special. But this week I've been spoilt for choice, receiving City and Colour's latest release 'Little Hell' through my work with Dead Press (look out for the review coming soon!), as well as delving in to the back catalogues of August Burns Red and Dead Letter Circus.
I'm a massive C&C fan; Dallas and his band have been featured on this blog a couple of times before, and it would definitely be one more if there were any videos of the new tracks (when the album comes out have a listen to 'Grand Optimist' and 'Weightless', some of their best yet) but, yeah, there are only a few tracks up at the moment. SO, to the back-up song! 'Disconnect and Apply' by Dead Letter Circus. I don't know anything about them, but this song is awesome and has been in my head all week. Great video too. Keep a look out for the intense bearded man in the second chorus. Superb.
Technology has really had it in for me the last three weeks or so, and it's thrown the song of the week schedule a little of kilter, but who cares. I was going to wait until Monday to post another song just for the sake of routine, but this track came on my Ipod this morning and thought it can't wait. Picking a great Foos song isn't too hard, but I thought I'd avoid the obvious choices of 'Everlong'/'My Hero'/ 'All My Life' etc and go for the less well-known 'Aurora' from the album 'There Is Nothing Left To Lose.' Both heartfelt and intense, epic in the chorus and understated in the verse, the track has a great dynamic to it, and the passion of the song can really be felt, especially when played live (see the 'Everywhere But Home' DVD for my favourite version). Dave Grohl's talent for songwriting really comes through, and the whole band put in shining performances. Well worth a listen.
Hey! Wow, nearly 2 weeks Without a Song Of The Week. Kind of makes a mockery of the title. Still, hope everyone enjoyed an extra week of The Ghost Of A Thousand. Well, this has been a difficult and frustrating week, with a broken laptop making my life very hard indeed. Having a crashy laptop made doing my reviews for Dead Press an incredibly slow and annoying process, the one saving grace of the whole thing being that I got to listen to Twin Atlantic's 'Free' album over and over again. And what an album it is. If you're interested you can find my review here: www.deadpress.co.uk/5376/album-twin-atlantic-free/
They're a great band with a bright future, and 'Apocalyptic Renegades' is one of my favourite examples of their catchy alternative sound. Comparisons to Biffy are bound to come about, but really their sounds are totally different, and if you enjoy a bit of power pop with a harder edge and a nice Scottish burr, you can't go far wrong with these guys.
The fact that The Ghost Of A Thousand have broken up is a damn shame. I saw them a few years ago at Lounge on the Farm festival in a tiny tent and, needless to say, they fucking killed it. Easily the highlight of the whole weekend. I remember going absolutely mental as the first chords of 'Left For Dead' rang out, screaming back every word. It was an awesome gig, and if I manage to sort my Hevy ticket out this year then I might be able to get to see them at their last ever show, which is sure to be a special, face-meltingly hardcore time. Admittedly I wasn't a big fan of 'New Hopes, New Demonstrations,' their second album, but their debut, 'This Is Where the Fight Begins' is a beast that I'd recommend to any fan of punk and hardcore.
So, everyone excited for the new City and Colour release 'Little Hell'? I sure am. 'Fragile Bird' sounds like Dallas and co. are taking the band in a slightly different direction, with the scuzzy guitars and all, but there is still that Green heartbeat throbbing under all the new stuff and that's what counts. On first listen 'Fragile Bird' feels like a relatively unassuming track, with Dallas is playing it cool on the vocals. It's a grower though, and will no doubt fit well with the other tracks on the upcoming album. Also, why not check out 'O Sister' on Youtube, another great track by C and C with a little more intensity. I literally cannot wait to get my hands on 'Little Hell' on June 7th, make a date! :D
I read about The Xcerts a while ago; gig reviews and such, but it was only yesterday that I first heard some of their music. I'm reviewing their new EP 'Stairs To Noise' for Dead Press so I don't want to say too much about them here but, quite frankly, I think they're awesome. I had no expectations and I was absolutely amazed at how much they got under my skin. 'Slackerpop' is a 2-and-a-half-minute attack of hooks and beats, with an infectious chorus and a pretty awesome video too.
Also! Look out for my review of their latest EP 'Stairs To Noise' appearing soon on Dead Press :D
I've been having a Brody Dalle week. It started with some casual Spinnerette, a bit of 'Geeking' and 'Sex Bomb', and developed into a full blown Distillers binge. I bought this album ('Coral Fang') maybe 3 years ago on the strength of one song, 'The Hunger', and instantly fell in love. It's acerbic punk rock with LA-swagger and 50-a-day vocals. It's fun, it's fast, it's a classic, and you owe it to yourself to hear the whole thing with a beer in your hand and a sneer on your face.
A Day To Remember- 'You Should Have Killed Me When You Had The Chance'
I really didn't want to like ADTR in the past, I genuinely tried really hard. Right now for the life of me I can't remember why I resisted them. Clearly past me was a bit of an idiot, because this song and the majority of albums' 'For Those Who Have Heart' and 'Homesick' are great. It's simple, predictable metalcore, but that's also why it's so satisfying. Plus they've got that distictive metal-pop punk thing going on, like if New Found Glory had a really bad day at the office and decided to downtune their guitars for a major chug session. Here's the live version which you can find on the special edition of 'Homesick'.
The Sun's been out again, it's time for some pop punk. 'Sticks and Stones' was one of the first punk albums I owned (after 'Dookie' by Green Day) and I still stick it on when the mood's right. It's a timeless classic, but it has one flaw: 'Truth Of my Youth' isn't on it. This means I have to switch albums to listen to it or set it up in a playlist which, though worth it, is a real hassle. It would fit so perfectly between 'Something I Call Personality' and 'Head On Collision' but no, it's on 'Catalyst.' Anyway, rants aside, it's a great tune, and easily one of the best NFG have ever done. have a listen.
I've already posted about these guys once this week, but their third album 'Frames' is just bursting with tunes like this, and it felt like I'd be doing them a diservice by not having 'Trail Of Fire' as my song of the week. It's such a shame I'm just getting in to them now after their split in February, but you never know, maybe they'll come back and I'll get to see them live.
This week I was given 2 albums to review for Dead Press Webzine, and it was quite an interesting experience. The first was 'The Octopus' by Amplifier, an alt-post-rock-prog band. And secondly, well, Jessie J. As you've probably guessed from all the music on here and the long list of 'Songs Of The Week' i'm not a massive mainstream pop music fan, but I gave it my best shot! You can find both the links on the 'Links' page as always :D.
Also, Oceansize. I've known about them for a while but never really given them a fair listen. Recently they split up however, so I thought I'd look them up out of curiosity. I've only really scratched the surface but already there are some absolute tunes cominng through, and here's one:
Time for a change of pace I think. Spring is coming in and it's been a while since Jakob was mentioned on here. I'm still relatively new to the genre but so far this band have not written a song I haven't liked, and 'I Was Hidden' is possibly my favourite out of the lot. It's perfect chill out music with an ominous edge, with that driving synth in the background complementing Jeffs' guitar work. Check it out :D
Hey! I've written another review for Dead Press, this time it's the pretty damn popular collaboration-lovers Chase and Status. Something abit different for me to review this week but I think I was fair. You can find the link in 'Links'. Or you could just click here :D
Quite frankly, this needs no explaination. It takes a couple of listens to appreciate the true excellence of 'Floater', from its beast of a riff to its crushing breakdown to Keith Buckleys' mighty roar. Its' harsh, it's mental, it's the song of the week.
Taking Back Sunday- 'A Decade Under The Influence/Lightnight Song' Live From Orensanz
I've been a fan of TBS since I heard this song on 'Where You Want To Be', and when I discovered they'd released a live acoustic album I knew this song would rock with a couple of violins, the angst ratcheted up through the roof. The fact that they go on to play some 'Lightning Song' at the end sealed the deal though, a snippet of the Queens Of The Stone Age instrumental which can be found on 'Rated R.' It just goes to show that, even without Fred on guitar, and the slightly underwhelming 'New Again,' TBS still know how to rock.
When I was twelve I had a tape player (old skool, right?). I only had two tapes; one of then was 'Live In Hyde Park' by Red Hot Chili Peppers, the other 'Live From The Muddy Banks of Wishkah' by Nirvana. I'd listen to these albums all the time, when I was on the bus to school or out skating, my tape player clipped to my jeans. I remember one time I was on the bus, 'Scentless Apprentice' playing in my ears. A girl came up to me and asked what I was listening to. I gave her a headphone. She listened for ten seconds then gave it back to me, saying 'it sounds like death!' Then she went and sat back down.
Eventually I got a cd player, then an mp3 player, then an ipod. I listened to a lot more music and my tastes changed. But occassionally I'll be at home and those 2 tapes will appear out of nowhere, with the track names scrawled on pieces of paper inside the case, and I'll remember how fucking awesome Nirvana were and how much they influenced what I listen to now.
Happy Birthday Kurt x
You can now find the link to my TGUKs review on the Links page. It's a strange album, and I wasn't quite sure what to make of it. Let me know what you think :D
Honestly, my knowledge of cKy goes about as far as Bam Margera's brother is a member and they made some really stupid stunt/skate videos about 10 years ago. But these reasons have nothing to do with why this song is my song of the week, it's because '96 Quite Bitter Beings' featured on the Tony Hawks Pro Skater 3 soudtrack. As soon as the riff kicks in I'm taken back 8 years, sitting in front of my tv, THPS3 fresh out of its box, dropping into the Foundry level for the first time. I spent years playing that game, literally years. It's as much a part of my childhood as learning to ride a bike or playing in the park or anything like that. The soudtrack on this game was what I listened to for months, and hearing '96...' again gives me the biggest wave of nostalgia I've ever experienced. I know how sad that is, but I don't care. Wasted youth? Absolutely not. This song is awesome, THPS3 is awesome. Time well spent. End.
Taken from 'Good Apollo, I'm Burning Star IV, Volume One: Fear Through the Eyes of Madness,' 'Once Upon Your Dead Body' carries all the trademarks of Coheed's sound: melodic riffs, an infectious chorus, and Claudio Sanchez's unique voice. In my opinion this is one of their finest moments, representing a pinnacle in songwriting that they haven't quite been able to surpass on the releases that followed. 'Good Apollo...' is my favourite Coheed album, and I recommend it to anyone who loves a good guitar solo and lashings of tongue-in-cheek proggery.
Here is my review of 'Ironiclast' that I wrote for Dead Press. Feel free to leave your comments, whether you agree or disagree with what I've written, as I'd love to hear what you have to say regarding the supergroup's debut.
Taken from the supergroups' brilliant debut album 'Ironiclast,' 'Graverobber' is a mighty slab of bludgeoning rock, driven through with the beats of Andy Hurley (Fall Out Boy), the shredding licks of Scott Ian and Rob Caggiano (Anthrax), and the roar of Keith Buckley (Every Time I Die). It's a juggernaut of a song, check it out.
Biffy Clyro: the first band I ever loved, and this song is the reason why. My favourite track from my favourite Biffy album ('The Vertigo of Bliss') 'Bodies in Flight' shows the band teetering on the edge, Simon's disjointed guitar playing coupled with Ben's razor sharp drumming intensifying the experience, threatening to derail the song at any time. Here is the bands Reading performance of the track. It's jagged, it's passionate, it's Biffy doing what they do best.
This is my first album review for Dead Press Webzine, 'Payback Time' by Marya Roxx. Give it a look and let me know what you think :D Hopefully I will be doing more reviews for this website in the future.
Alexisonfire are a rare breed of band, with a back catalogue of solid albums representing a consistent level of stellar-high quality, even through numerous changes to their core sound. Trying to pick the best song from their debut album was quite a task, with 'Little Girls Pointing and Laughing' and 'Polaroids of Polar Bears' just missing out on the top spot to 'Adelleda.' The song truly shows the unique dynamic of the band, combining brute aggression, technical sections and soaring, haunting vocals.
With a career spaning two decades, Pearl Jam have built up quite a collection of stone-cold classics. But forget the likes of 'Alive, 'Even Flow and 'Jeremy'! 'Corduroy' from the album 'Vitalogy' is an under-appreciated gem of a song that, in my opinion, is one of the best Eddie and the crew have ever written.
