Skipping one or two songs on an album is usually customary; filler songs are practically inevitable. But when listening to Stereophonics' fifth album, "Language. Sex. Violence. Other?" the utter thought of switching tracks will not even cross your mind.
The release is rock to the very core, and each song contains its own unique sound, but the overall tones of bitterness and angst tie each song into a cohesive web of creativity and listening pleasure.
While the album is inviting and enjoyable, it is not by any means a pick-me-up, "feel good" L.P. In other words, having visions of butterflies and unicorns is not probable when listening to this album.
But this is definitely not a bad thing; rather, anyone who listens will be relieved to know that someone is feeling exactly like them-confused, depressed and powerless, but hopeful, nonetheless.
Despite the dominantly dark overtones, the record is catchy in its own right. The ability of Stereophonics to capture emotions through quote-worthy lyrics that grace each song is magnificent. The L.P. broadens the mind and soothes the soul.
"Language.Sex.Violence.Other?" is a leap from Stereophonics' 2003 release "You Gotta Go There To Come Back," which had only slight glimmers of rage. On this album, the boys are downright furious.
Kelly Jones (vocals and guitar) and Richard Jones (bass guitar) welcomed Javier Weyler (drums) as a replacement for their old drummer, Stuart Cable.
The original trio formed in 1996, but with the somewhat recent addition of Weyler to the band, there was a new hyped attitude about the masterpiece that provided the album with a fresh energy and spirit that past albums lacked.
"Superman" is the opening track, and man is it super! The low, somewhat twisted sound that Jones delivers sounds like it belongs in some S&M night club-complete with whips and chains, of course. However, if that's not your scene, the instruments in the song provide a contrasting tone that takes edge off Jones' dark vocals.
The aggressive beat soldiers on in "Devil," and it is a jubilation of initial mellow beats that develop into sublime, retro rock. The song is perhaps one of the catchiest selections, but not in a bubble-gum pop sort of way. Rather, it sustains the overall rock sound of the album as the frenzied chorus of "Devil" compliments the more subdued verses.
"Dakota" is like a spiraling staircase with an end that you never want to reach. The track is initially happy, possibly even a tad light and fluffy.
However, this tone is quickly abandoned as the song breaks into feelings of sadness and regret. It is an exceptional selection, and it is a major high point of the album.
The track "Rewind" is by far the most insightful of all of the songs. Your philosophy class might actually come in handy as you ponder the lyrics: "If you could rewind your time/would you change your life?…/How's your life?/How's your place?"
The lyrics of "Rewind" would make Socrates and Aristotle jump with glee-the words force you to think about philosophical dilemmas and life in general.
The significant lyrics are remarkably incorporated into the song, and compel the listener to "rewind" and listen to the track over and over again.
The Stereophonics undoubtedly concocted an enthralling album that is a positive departure from their past works. "Language. Sex. Violence. Other?" is real, witty and different.
There is no need for a warning on this record; the only danger is that you will listen to the luscious music until your ears ache.
