Posted March 20, 2008 in Music

Flogging Molly— Float (SideOneDummy)

Flogging Molly took a chance on making waves in the flooded punk ocean when they arrived as the quasi-second coming of The Pogues just over a decade ago. The septet took the double-timed, Warped Tour-friendly punk rhythms, merged with ’em with a green bath soap commercial or Men Without Hats (whichever came first), tossed in some traditional tearjerkers, and arrived at their oft-boisterous, occasionally-depresso mish-mash that’s since resoundingly resonated with both elders and whippersnappers for years. Float, the act’s latest installment, arrives with the band in its finest form yet, sloshing around from Guinness-laden glass-swayers (“The Story So Far”) to the pit-swirling cacophony of “Man With No Country.” Float simply reaffirms Flogging Molly’s preeminent Irish folk-punk status and bolsters an already stout catalog of gems. Now, if frontman Dave King would simply re-ignite his ’80s power trio, Fastway, life would be totally complete. (Waleed Rashidi)



Morrissey—Greatest Hits (Decca) 

It’s hard to put a finger on who Morrissey’s new Greatest Hits collection was actually made for: the purple gilt love letter style packaging (with a bonus photo of “Morrissey’s arse”!) and the two new tracks point to the intended audience being Morrissey collectors, but it sure seems like they’d already have all the rest of these songs and they’ll probably buy the double disc Deluxe Edition anyway. Of the 13 remaining “Greatest Hits” arranged in no discernable order on the 15-track single-disc version, four come from Moz’s 2004 comeback album You Are the Quarry, while an additional four were released a mere two years ago on Ringleader of the Tormentors, making it more of a “Greatest Hits of the 21st century” with “Suedehead” and “Everyday is Like Sunday” and a couple of other tunes thrown in to entice ’80s era fans to take a crack at New Morrissey. Despite feeling rather un-comprehensive, however, Greatest Hits is a pleasant listen, and reassures that Morrissey remains as angstily unhappy as ever, whilst still cranking out some rather lovely tunes. (Red Vaughn)



Switches—Lay Down the Law (Interscope)

Every genre has its second and third waves and so, after the up-and-at-’em melodies, post post-punk angular arrangements, wandering basslines and lovably roguish charms of Franz Ferdinand, Bloc Party and Artic Monkeys we now get Switches—another Brit import who’ve absorbed all of the aforementioned, plus doses of Interpol (“Snakes & Ladders”) and Hot Hot Heat (“Coming Down”). Thankfully, Switches have a distinguishing sonic feature: a Queen-like sense of scale and quasi-opera, notably on cunningly titled opener “Drama Queen” and the almost Darkness-level falsetto-capped folly of “The Need To Be Needed.” It’s singer/guitarist Matt Bishop’s malleable vocal prowess and throwback art school songwriting sensibilities that serve the band best: when they try for something more smarty-pants/Supergrass (“Message For Yuz,” “Lay Down The Law,” “Testify”) they become instant also-rans. Sneered at as a synthesis of all-things NME (and guilty-as-charged to an extent) Switches are also a lot more besides. Hopefully next time around we’ll hear more of the band and less of their CD collection. (Paul Rogers)


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