BLACK HOLES AND REVELATIONS

I somewhat hate that I bought this album- there just isn't much to it. The music is, for the most part, simple and uninteresting. The singer completely sounds like U2's Bono in tone, inflection, and apparent self-importance. Ladies and gentlemen, this is a pop album- there is nothing remotely progressive here, but it is not without any charm in the context of being a pop album. The final track is absent from my album, but I doubt it would do anything to change my thoughts about this.

"Take A Bow" Some intriguing keyboards begin the album. There's little variation, though, as the opener becomes something more akin to American club music.

"Starlight" Another U2-sounding piece, this song is pleasant enough, but simple and almost crying out for attention from FM radio. Still, it's the best and most memorable song on the album.

"Supermassive Black Hole" This one may as well be a commercial for any number of unrelated products. The vocals are non-stop falsetto, something a guy like Mika (a guilty pleasure of mine) could get away with, but this is just too much. The music is disgusting, a gritty mishmash of distorted guitar and robotic drums.

"Map Of The Problematique" Another U2 piece (albeit with a slightly fuller sound), including cliché lyrics ("when we bleed we all bleed the same") and nothing outstanding in terms of composition or musicianship.

"Soldier's Poem" A refreshing change of scenery, this is an acoustic piece in 6/8 with very good Queen-like vocal harmonies.

"Invincible" Marching snare drum, a gorgeously simple slide guitar, and soft vocals make up this more appealing and motivating piece. The heavier part is a bit grating, but the lead guitar over the keyboard makes for intriguing listening.

"Assassin" This is a rapid-fire piece, with heavy drumming and guitars- not much else to it.

"Exo-Politics" More like an indie-rock song (like something from a college band that's somewhat unsure of its direction), this has soft, flowing vocals and a fuzz guitar and bass spitting out a simple rhythm.

"City Of Delusion" Another welcome change of direction, this has a slight Latin flavor, with speedy acoustic guitar chords and a fitting vocal melody. For once, the bass has real personality. The trumpet adds a brilliant touch.

"Hoodoo" Surf-rock reverb blends with a Mexican rhythm cliché in the beginning that gives way to soft singing. If one track has a progressive feel or structure to it, it's this one, but that's largely because there are two distinct parts to this song.

"Knights Of Cydonia" The final track has an introduction that sounds similar to Uriah Heep, with distorted and acoustic guitar and pointless screeching. Queen-like harmonies return over a basic electronic groove. The guitar that follows is hard-hitting, but when those same harmonies return, it suddenly sounds a lot like ELO.