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The first thing you notice about "Going Home," the
opener of the superlative "Old Ideas," is that Cohen's basso croak sounds older than
God. Then it hits: Cohen is God, adopting the POV of the Almighty to dress down
his fleshly instrument Leonard. This unforgettable cut highlights the recurring
tensions between spiritual and physical yearnings, and questions of mortality,
permeating his 11th studio album. "Come Healing" and "Show Me the Place" rise
and fall with the simple grace of church hymns while the 77-year-old poet
ruminates on affairs of the heart (and other body parts), slowly inching toward
enlightenment. - Kurt B. Reighley
This Internet sensation bills herself as the "gangsta
Nancy Sinatra," an apt comparison.
Both present a glamorous bad girl image, have voices short on technique but
brimming with attitude, and are best appreciated as singles acts. Luckily, "Born
to Die" is practically a greatest hits. Framed by cinematic strings and blunted
beats, Del Rey renders the title tune in a narcoleptic croon, pouts and purrs
the biting "National Anthem" and evokes "Twin Peaks" chanteuse Julee Cruise on "Video Games." Is Del
Rey "authentic?" Hardly. But she's shilling a complete, polished fantasy - and
isn't that what modern pop is all about? - K.B.R.
Still reeling from fan backlash after the contentious
"Lulu" collaboration with Lou Reed, Metallica hits the reset button with
this EP of four previously unreleased epics recorded during the 2007-2008 "Death Magnetic" sessions. Just the
first minute of opener "Hate Train" should redeem the quartet in the eyes of the
faithful, Kirk Hammett's fiery leads soaring over rapid-fire staccato riffs.
Although there are a few brooding, quiet passages, like the midsection of "Just
a Bullet Away," the thrills mostly come fast and furious - emphasis on furious,
as James Hetfield growls and howls of black moods and betrayals throughout. Nice
save, dudes. - K.B.R.
The fifth album from this California indie combo
flits about stylistically like a cartoon hummingbird, touching on elements of
bubblegum and synth-pop one moment, groovy psychedelia and droning prog the
next. From the jaunty, homoerotic intrigue of "Last to Know" to the cheesy
keyboards and surf rock echo of "All the Same," each cut boasts a distinctive
personality, yet they're all fun in their own way. The two-boy, two-girl lineup
shares songwriting duties, swaps vocal and instrumental roles, and harmonizes
beautifully. Skeptics usually call such even distribution of responsibilities
and rewards socialism, but here it sounds like utopia. - K.B.R.
The grown-up, sensitive side of '80s pop is alive and
well on the latest from this Belgian-Australian multi-instrumentalist and
singer-songwriter. Galloping standout "Eyes Wide Open" and "Somebody That I Used
to Know" both showcase plaintive vocals reminiscent of Peter Gabriel or Sting, while "In Your Light," with
its bouncy bottom end and loose acoustic guitar, is a kissing cousin of George Michael's "Faith." Not
everything works - at five-plus minutes, the oddball novelty "State of the Art"
overstays its welcome - but it isn't hard to understand why Gotye's quirky
aesthetic, blending familiar sounds with fresh ideas, is winning fans worldwide.
- K.B.R.
