Customer Reviews

Meltdown

5 star:		(13)
4 star:		(7)
3 star:		(4)
2 star:		(2)
1 star:		(0)

 

 

Received my copy of the latest installment of the Ash saga, Meltdown; after spending a few days with it I thought it time to write a review that reflects what I feel. A disclaimer before I begin: if you cannot accept any criticism of your favorite band whatsoever and believe that every little scrap is infallible genius, go ahead and flame my review and skip on until you reach a 5-star rating you approve of. Me? I call them as I see them and if that means something doesn't sit right, even if I adore the band, well that's why they have ratings from 1 to 5. Even the Beatles made horrible music, so deal with it.

Having said that, Meltdown is a pretty good album by a great band. The hooks are there, the production is pretty clear, and it's a fairly consistent album. The rumors must be true: Rick traded his soul to receive the strength of ten drummers, all of whom must be named Thor, because the drums sound great.

Ready to flame me? Here's the major problem I have with Meltdown (and indeed, a lot of Ash's output since 1977); weak songwriting. Tim Wheeler has yet to find a vocal range he's really comfortable with to write tunes worthy of their power. In a concert setting, that's not really an issue, but on record it can really affect how you enjoy the music. He has a delicate voice, but he can push it effectively. Listen to "Live at the Wireless" for proof of that. A lot of Meltdown suffers from vocals that sound too strained, too tinny, or too far away from the microphone to deliver the emotional punch the songs require. And let's be frank, Charlotte's vocals are great, but they don't have to appear on every song. If you only write songs with a wah pedal, after a while, you forget why adding it makes it special. Wait, maybe that's not the best analogy...

Also, and I hate to say it, but the band needs to hide Tim's rhyming dictionary because it's getting a bit stale. You're 27 Tim, but Clones sounds like it was written by a 13 year old Slipknot fan living in Croydon who complains that no-one cherishes how sensitive they are for writing such "heavy" lyrics.

In spite of the above, Meltdown is a good album that displays their able strengths and charts some interesting developments as a unit. I can't say I'm completely over the moon about every track, but that's the case with a lot of my favorite bands. I'm not saying I can write better tunes (hell, who doesn't want to be in this band) nor am I saying that Ash isn't great. It's just really tough to write good albums that challenge listener's perceptions while keeping the fan base happy. You know it, I know it, REM knows it, Oasis knows it, and Ash knows it. I don't envy having the pressure to follow up an album as tight as Free All Angels, so they're to be applauded for what they've done. But if they can loosen up a little bit and nail their songwriting, they'll be unstoppable.

Meltdown was supposed to be released here in the US months and months ago. But Ash's record label went into bankruptcy just as it was about to drop, and so the record never saw the light of day until now.

It was only a couple of years ago during the release of Free All Angels that Ash were being touted as candidates for breakout US success, but that time has come and gone. Meltdown isn't anywhere near as pop-friendly as that record. In fact, it's a metal record. And one of the better metal records of the past few years.

And when I say "metal," I'm not talking about six-minute dirges sung by 17 year-olds trying to sound like 52-year-olds. If you're looking for that, go by a Slipknot album and bang your head against a desk. For those of us that grew up in the 80's, the magical decade that provides VH1 its only source of revenue, standard metal revolved around riffage, riffage, and more riffage. And so it is with Meltdown, an 11-song battering ram of chunky guitar goodness. The riffs on "Clones" and the title track can pretty much lay waste to any set of eardrums, while "Evil Eye" and "Vampire Love" bring back 80's style goth (think Ozzy's Bark at the Moon), which was always wayyyyy more fun than 90's style goth (think being forced to take a poetry class at RISD).

But the centerpiece of Meltdown remains "Orpheus", a song that masterfully blends Ash's pop knowhow with their thunderous guitar attack. The bridge alone has a Chill Factor of about 12. It was by far the best song of 2004, and now it's available to you without the hefty import price tag. Lucky you.

With Meltdown, Ash continue their streak as one of Briitain's most versatile and hard-rocking outfits. They may never reach soaring heights here in the US. But they remain a hidden rock treasure for anyone willing to look hard enough. At least now you can look for Meltdown without crossing the Atlantic.

Since the release of the career-saving monster of an album 'Free All Angels' back in 2001, fans of the British quartet Ash have witnessed a distinct lack of new material; 2002's 'Intergalactic Sonic 7"s Singles Collection' featuring Envy, the only new track in approximately 2 and a half years. But now the boys (and the token beautiful lady) are back in town with their most sumptuous, brash and satisfying release to date...Prepare for Meltdown, folks.

The title track kick-starts the record with an unashamedly loud and rousing call to battle; an anthem against the injustices of society and authority rife with metal-edged heavy guitar riffs, yet Tim's vocals, practically the same as they were back on FAA, retain their prominence amidst the sea of lush heaviness. But if 'Meltdown', as a track, reassured fans that normal, high Ash-standards had been maintained, it is the album's second standout track that exceeds them. 'Orpheus', debuting in the UK charts at just number 13, sounds like the lovechild of 'Burn Baby Burn' and 'Girl from Mars'; a truly glorious thing to behold, the lyrical desperation of the former and the summery feel-good factor of the latter. 'Evil Eye' follows, mocking the flirtatious and provocative side of love, before it's toned-down, laid-back accesibility erupts into 'Clones', the band's heaviest piece of work to date. Whilst Wheeler's vocals don't sound quite dramatic enough throughout, praise is due for both the man's harrowing end-of-bridge yell (which is easily mistaken for a riff!) and Mark's often overlooked excellent Bass playing; he really shines through on 'Clones'. 'Starcrossed' breaks the momentum somewhat, recalling the romantic sensitivity and hard-up elegance of Shining Light whilst not quite breaching the artistic boundaries of it's predecessor (always will my love be there/and never be away). 'Out of the Blue' flaunts catchy hooks with a typically sugary Ash chorus, and the nostalgia of 'Oh Yeah' is reborn in 'Renegade Cavalcade'; this time around with vocal softness and a thin-on-the-ground verse pattern building up to a tumultous chorus that sounds fantastic live and creates a passion in the crowd only rivalled by set-closer 'Burn Baby Burn'. Detonator, another track primarily designed to sound good live, recalls the same build-up in the chorus, compensating sing-along lyrics for sinister sounding instrumentation and is Drummer Rick McMurray's finest performance to date. 'On a Wave', what Tim refers to as a song about 'the apocalypse and surfing' repeats the same pattern of repeating the chorus to maximum effect as 'Out of the Blue', its lack of repeated listening value saved by an inspired bridge. Despite a minor number of flaws, the album ends on two exceptionally high notes: 'Won't be Saved' featuring Charlotte Hatherley's backing vocals in divine form against a loveable, similarly loud/soft pattern as 'Renegade Cavalcade' and album closer 'Vampire Love' with its fascinatingly illustrative lyrics and guitar-work working in complete harmony to present an Ash song that sounds vivaciously danceable.

What now lies ahead of the band SHOULD be worldwide recognition of their astounding progression from three kids writing about sci-fi books and Hulk Hogan Bubblebath on Trailer to a band critically acclaimed for their ability to stick to their end goal whilst tipping their hat to whatever music may be in or out of fashion; Ash's decade in rock may have gone unnoticed by the media, but they'll always keep churning out great songs for the faithful, regardless. Isn't that what rock's supposed to be about?

It's such a shame that the best album released last year had absolutely no airplay. every song on this album is amazing and the album as a whole is very upbeat and fast except for the very few slow songs which are written well too. unbelieveable and a must own.

From the initial riff we can tell this is not the Ash we have come to know over the years. "Meltdown" and "Orpheus", the two leading tracks, and the most representative of the album, serve to surround the listener with that fun-but-not-quite-great sound. As the party continues, some memorable renditions start to surface, like the contagious "Clones" and the classic ballad "Starcrossed", which is probably one of the few moments when we can truly feel Matt is singing from the heart (I still believe him when he cries "you know that I'd die for you"). But the the explosive beginning soon fades into a repetitive mediocrity we cannot accept. It is true that his voice is not made for the guttural groan needed to lift these stadium anthems to the stratosphere, but the bass and the drums are simply irresistible when one thought doom was already over the last word of the chorus line (take "Detonator" for instance).
Overall, Meltdown picks up where "World domination" left off. And that might be either a good or a risky move. Listening to the live bonus CD we can tell that Ash find their joy more in the likes of "Burn baby burn" than in the preachy sillyness of "Renegade cavalcade". If Free all angels showed Ash as a band capable of delivering a whole collection of nearly flawless songs, Meltdwon will prove to be a strong reason to finally give them credit on this side of the world. A rawer edge that will certainly see them shining with the light they deserve in the end.

When Ash burst on the scene with "1977" everyone, quite rightly, fell at their feet. 1977 gave birth to many many songs that just ARE summer in many respects, and this was the mood that definied Ash's early sound.

Follow up "Nu-Clear Sounds" sounds may have been a public fall from grace, but at least the band where trying to hone their sound. Each album has tweaked the sounds of the last a little to produce something new, but something undoubtedly Ash.
"Free All Angels", and more specifically the song "Burn Baby Burn" re-ignited the public's love for the pop rock band everyone could enjoy. Dripping in melodies and cool riffs, it laid the foundation for "Meltdown".

There one word that follows Ash everywhere, and that word is "infectious". Meltdown is equally as infectious as all Ash albums. Similarly, it has just the same amount of pop hooks and blissful melodies that are Ash's trademark. So what is the big furore?

Quite simply, this album ROCKS. Suddenly the riffs on all other Ash albums sounds pale in comparision as this time the little band from Ireland pull out all the stops and powerhouse their way through the melodies. Opener "Meltdown" is a clear statement of intent, a riff that could force even a baby to headbang, yet a chorus so beautifully pop you'll sing it for days. Just when you dont think they can top the title track, "Orpheus" does just that.

"Evil Eye" is more classic Ash, except (and you realise this as you listen) the bass and drums sounds much more HUGE this time around. "Clones" starts with a riff that wouldn't be out of place in a nu-metal band, except Ash make it entirely theirs, underpining it with the dual vocals of Tim Wheeler and Charlotte Hatherley to sucessfully stamp their own style on it. "Starcrossed" is this album's "Shining Light", a hint of ballard, a hint of a tear jerker, a soothing rock riff.

And so it continues. Each song is a wonderful example of how to fuse power chords with pop melodies, ("Detonator" is just, well, explosive!) and there are even some fantastic wailing screeching solos to turn the albumn away from the "great" classification, and cement it soundly into the "outstanding" pedastal. The last song on the album "Vampire Love" rounds things off with an intrigingly dark set of Tim Wheeler lyrics and a power chord or six to blow you away, and is neatly topped of with a solo Slash would have been proud of. It's the perfect end to the album.

This fusion of pop and power is not necessarily new (the Wildhearts have been doing it for well over 12 years now) but Ash pull it off with such enjoyable aplomb that you would be fool to pass up Meltdown. An album, that like 1977, will surely become synonomous with the summer.

Unlike many other people, I don't think Tim Wheeler's vocals are the weak point of the band. Instead, I think they suit the songs best! Tim's voice is fragile, young and innocent (backed by Charlotte Hatherley's equally innocent and cute vocals), which is one of the things that gives Ash their individualism and beauty. I consider the contrast between the vocals and the heavy music beauty. This album was a surprise to me. It is Ash's best and most mature album so far, with great song writing, old-school metal-sque riffs and guitar solos that surprisingly fit with the refreshingly sweet melodies well, and beautifully done harmonies. Like another reviewer said, "Suddenly the riffs on all other Ash albums sound pale in comparision." It seems to me that Ash have found a way to bridge their old sound and something new and more hard rocking. I love all their other albums and almost began to think they couldn't come up with anything better but now they have Meltdown. Three years on I am stilling listening to this album without skipping a single song. There is never a dull moment on this album (maybe the single Orpheus is the weakest song, but still alright). If I have to pick a few, the highlights of this album are: Meltdown, Clones, Out of the Blue, Renegade Cavalcade, Detonator, On A Wave, Won't Be Saved, Vampire Love. Those songs are full of twists (esp. On A Wave).

The lyrics are just as well-crafted as the songs. Many bands seem to lack imagination and vocabulary when it comes to writing lyrics. Ash is certainly not one of them! Check out the lyrics of Renegade Cavalcade and Vampire Love. The lyrics of this album are better-written than those on Ash's previous albums. Sure, the themes may sound childish to some people. But wasn't that one of the reasons we fell in love with Ash in the first place? The perfect blend of harsh power rock and childish whimsicality is Ash's distinctive style. And they haven't changed a bit over the years. It should be a good thing that bands we love are consistent with their artistic identity. I would suggest someone who's new to Ash to get this album before getting 1977, so that they have an idea how much the band have progressed.

Well done, Ash. I know my favourite band of more than 10 years will never let me down. I am not sure if their next album will be this brilliant musically, since Charlotte left the band and they now only have one guitar.

Verdict for Meltdown: 4.8 out of 5.

Tim Wheeler is possibly the best powerpop songwriter right now. Bar none. Too bad this album was caught in the crossfire in the US between their prior US label Kinetic collapsing, delaying it for months and months, and the momentum gone and changing tastes amongst popular tastes here and the media.

What will probably happen is their NEW US label, Warner's Record Collection, will put it out just so it's out, have the band go on a small tour, and when they do their NEW album, which is being recorded now in NYC, might be a DOUBLE album of 27 tunes BTW, RC will put $$$ into promoting that one properly, with no delays, top priority.

Now, they are back to being a 3-piece, circa "1977", with Charlotte gone, preferring to focus on her solo career. This final Charlotte album is top-to-bottom great, with no dud tracks, catchy chunky loud powerpop riffage, hooks to die for, energy to burn for years, and just killer songs with not an ounce of pretentiousness.

All the singles are great here, espesh the tour-de-force "Orpheus", the gorgeous "Starcrossed" (like "There's A Star" part deux), and the unbelievable "Renegade Cavalcade". "Clones" is their hardest track yet, and yes it burns but brightly, with killer riffs and an even better chorus and Tim's scream in the middle is way cool and not out of place.

Fave overlooked tune here is "Won't Be Saved", a hidden powerpop gem, with an ace melody and creamy harmonies. The bonus B-side tracks are great and the bonus DVD is good value.

Basically, they are amongst the best bands out now that have been around a decade at least, and have not broken huge in the US. This next album could be their time though. Discover a gem of a band if you haven't yet. The best Irish band out now, and yes, that includes U2.

Once posed for Calvin Klein clothing, Tim Wheeler and his gang are kicking the world once again with their seventh studio album, with two solid openers, `Meltdown' and `Orpheus', concentrating much on the distortion of the lead guitars, the deepness of the bass, and the richness of the drums. The bad news is the rests were more like tokens, written only for the sake of completing an album. Too many unmemorable tracks take over towards the end. Aside of uncreative and hardly catchy melodies, Tim did not challenge himself with a high range vocal as he used to. The good news though is they still sound consistent and hardcore since the start of their career, when nowadays rarely an alternative rock band can be musically loyal to their core fans as they have fallen into the trap of writing mainstream crowd-pleasing music.

Though they've made their reputation on fast punky singles, the Ash songs that have spoken the most to me in the past have been mid-tempo songs about love's longing ("Shining Light", "Folk Song") or downright dirges (1977's "Gone the Dream"). So my approach to Meltdown, their fifth proper release after a collection of singles and b-sides (Intergalactic Sonic 7s), was not so much skepticism as dread when I'd read they were forsaking lyricism for rocking out. Yet Tim Wheeler and his able bandmates find their own lyricism in the 4/4 - they not only muscle up (some of these tunes are damn near metallic) but provide a few twists to hard rock's standard themes. So, for instance, "Orpheus" is both paean to "the open road" and the mythological character, and "Won't Be Saved's" iconic rebel remains despondent even as he pledges the eternal love that damns him. The songs that merely appropriate the hard rock verities get by on how hard that rock actually is.