Parlour Bells ring in dark rock in ‘Waylaid’
Parlour Bells open their latest album, “Waylaid in the Melee,” by tweaking Churchill’s defiant “We shall fight on the beaches” speech. Frontman Glenn di Benedetto reimagines the words for a modern world: “We shall fight on the internet. We shall fight in the comment threads. We shall fight on Twitter and Reddit and Facebook.” It’s a witty, cheeky opening, but the dark rock on the LP is deadly serious.
The speech dissolves into “Red, White and Bruised,” a track that mixes new wave, goth and epic rock in an attempt to lead us out of our post-election malaise. Making use of the same sonic textures, Parlour Bells keep swinging on “Sanctuary Cities.” Adding some drunken Stax horns and Jane’s Addiction sleaze, the group’s new lineup shows how elastic it can be on “Never Let ’Em Hold You Back.”
“Waylaid in the Melee” doesn’t exclusively focus on politics, but the themes and the sounds all fit tightly together to make the LP thoroughly contemporary and constantly compelling. Experience just how compelling when Parlour Bells roll out the songs live and headline Once Ballroom in Somerville on Jan. 13.
The second Monsieurs album, “Deux,” is 10 songs in nine minutes. OK, not literally. But that’s what it feels like. What did you expect from the trio of Andy Macbain, Hilken Mancini and Erin King? With alumni from Fuzzy and Tunnel of Love, did you expect dubstep flourishes, world beat or prog epics? Hell, no.
“Deux” is a furious sonic assault, from the opening feedback burst of “Burning Flame” to the screaming crescendo of “My War.” Some would call it punk. They wouldn’t be wrong, but it sounds to me like garage rock with zero inhibitions. The Monsieurs don’t care about sneering like punks. Instead, they write nice hooks (listen to “Suburban Girls” and “At the Hop”), then burn them down through excessive volume, speed and energy.
It’s great to have a new Monsieurs album, but you simply have to see the band live to experience their full power. Sadly, the group doesn’t have any local shows on the books, but why not roadtrip with them to Ohio for Sick Fest in March? Take off for spring break. You deserve it!
An unprecedented set of rock and pop blockbusters came out of 1987: U2’s “The Joshua Tree,” Bruce Springsteen’s “Tunnel of Love” and Guns N’ Roses “Appetite for Destruction” on one side, Michael Jackson’s “Bad,” George Michael’s “Faith” and Whitney Houston’s “Whitney” on the other. But only one act conquered both genres at once: INXS.
INXS’ “Kick” slid with swagger from modern rock to Nile Rodgers-style pop funk to tough and tender new wave. The band’s peak became a global smash, spinning off four Top 10 singles in the States. A ride through the newly released 30th anniversary edition of “Kick” suggests that any of the album’s cuts could have been hits. “Tiny Daggers” triangulated the middle ground between Duran Duran, Crowded House and R.E.M. nobody imagined could have existed. The horn-powered chorus of the title track may be the catchiest thing on the LP, and throughout Chris Thomas’ production, it sounds both contemporary and classic.
Even after an impressive celebration of the album’s 25th birthday, this three-CD/one Blu-ray set is welcome. Only super fans need every included mix, but a handful of the bonus tracks feel as essential as the original album. The demo of “Mystify” strips some gloss from the LP version, leaving it a roadhouse rant Jim Morrison and Iggy Pop would both smile at. The outtake “The Trap” should have been included on the album. (I’d slip it between “Calling All Nations” and “Tiny Daggers.”) The syrupy-but-passionate live performance of “Never Tear Us Apart” reminds you why this song became a prom staple for a decade.
There probably won’t be enough archive material to justify a 40th anniversary release, but part of me hopes the band marks the milestone anyway. Every few years “Kick” needs a reissue, just to emphasize the record is the equal of any of 1987’s triumphs.