The Tale of Our Love to Admire and Metalli-

An artist that can make me suddenly stop channel hopping and coerce all my concentration into one single moment is something that I rarely find, though a few do exist. When hearing in March the new Idlewild single, I had to brake the car, and drop a gear; I had to listen to every chord, every melody and every single snare hit until it ended, and then was left salivating for more. This meant that when hearing the album I was even more excited, and those who have read this blog will remember my review of Idlewild, and how I was pleasantly surprised by it. Another artist like this is Incubus.

A further example is the lesser known Interpol. They have released two albums, Turn on the Bright Lights and Antics, and both of these albums rate in my top albums that I can listen to non-stop, without skipping a single track. Something that, even with Idlewild and Incubus I don't encounter. So, upon hearing that a new album was on its way, I was much enticed and enthused.

So, understandably, you can expect disappointment from something that I am so willing to be great, that it must fail. If I wish it to be as great as the previous albums, I can only look at it disdain when it tries something new, non-Interpol, and far too left field.

Luckily, they miss this hurdle, and for me, have reaffirmed my love of music; this band, the survivors of the New York age of The Strokes, Yeah Yeah Yeahs and Mooney Suzuki, have produced a very solid album, one that reaches further than the previous albums in scope, but is still filled with the gloom and darkness of the first album, and the one-string riffs that still sound more complicated than they really are.

Pioneer to the Falls, the opening track from the album, is startling, as is Wrecking Ball and Lighthouse, two atmospheric songs that shy away from the verse-chorus structure that was so prevalent in Antics, but elsewhere on No I in Threesome, Mammoth and Pace is the Trick this can still be seen, and is handled expertly.

A very impressive album, and one that I am sure that, even though I was worried after two listens, 15 or so further on, I can imagine fitting so well into the back catalogue, that I will still be able to press play on Interpol's name, and not have to hover over the skip key.

On a related note, what a bunch of bullshit the Live Earth gigs were. They were over hyped, waste of time, and possibly have caused as much damage as they are trying to stop us from creating. I watched almost none of, and the only moment I did watch was cut short. Metallica played the three from The Black Album that you could have bet evens on, starting with Sad But True, slipping (via some lovely and totally uncrowd friendly feedback) into Nothing Else Matters. Before crashing into Enter Sandman, one the greatest metal live songs available, the BBC cut it, to which we are treated to Jonathan Ross, who rather insultingly gives us Crowded House. Who? I thought they had split up! And they were not even playing in Britain too, but was broadcast from Australia.

I notice that, in recent reports, more people complained about the cutting short of the Metallica set than for the unprompted swearing, but I am sure if the total carbon foot print of the concert was shown, that number would be doubled, tripled, and possibly be slightly greater that the average audience.

Thanks to everyone who did not watch it, you helped it show that we know that the whole thing was a set up, a publicity stunt, and a rather hypocritical method of showing climate change. I am no saviour my self, but at least I don't pretend that I am.