In an era where slacker sensibilities and low-gazing attitudes seem to dominate the musical mainstream, the Clientele’s preoccupation with lush, radiant textures and elaborate, ethereal arrangements consistently go against the norm. Vocalist/guitarist/musical mastermind Alasdair MacLean’s aversion to bombastic singers and self-serving guitar solos finds thoughts morphed into action via the collision of horns, harmonies and soft-swaying melodies that adorn Bonfires on the Heath, the latest extravaganza from this Hampshire band. The group conjures up a number of obvious influences – Love, the Zombies, Galaxie 500 and the Felt – but given their seamless delivery and breezy, shimmering style, it would sell them short to merely attribute their sound to appropriating that of their predecessors. “I Wonder Who We Are,” “Bonfires on the Heath” and “Jennifer & Julia” purvey a genteel charm and a soothing, sensual ambiance that seizes attention even on first encounter. And while the scattershot shuffle of “Sketch” almost seems disruptive in the midst of these mellow soundscapes, a song such as “Never Anyone but You” shows their ability to make a seamless transition from meditative reflection to gently compelling refrains. Varying the tempos between a samba and a sway, this rich mélange provides an allure all its own. (Merge 2009)
We’re admittedly late with this one (this was released in June), but better late than never when discussing the only album that came remotely close to challenging Thriller on the album charts in the early ’80s. Joe Elliott may make fun of Nick Rhodes for playing keyboards with only two fingers on those VH-1 “I Love the ’80s” shows, but as great as Pyromania is, it was Def Leppard’s ability to appeal to the fairer sex – a rarity for metal acts – that launched them into the stratosphere, and much like Rhodes and his mates in Duran Duran, Def Leppard’s music videos went a long way towards making that happen. (Come on, look at those pictures again of Joe Elliott in the sleeveless Union Jack shirt and his perfect hair. Dude’s the world’s first metrosexual.) Guys loved Def Leppard too because, let’s face it, they kicked ass. It was polished, obsessively overproduced ass, but ass just the same. There isn’t a band alive that wouldn’t claim “Photograph,” “Rock of Ages” and “Foolin'” for themselves. The album tracks, namely “Rock! Rock! (Till You Drop),” “Stagefright” and “Too Late for Love,” were just as good. 
Although he first emerged from Christian pop realms, Derek Webb has never found himself constrained by either dogma or dictates, especially as they apply to his own soft rock excursions and those that he pursues with his talented wife, singer/songwriter Sandra McCracken. However, anyone familiar with his music up until now might be somewhat confounded by Webb’s current switch in sound. Webb’s always aimed for accessibility, but here he deviates from that tact, opting instead for an atmospheric motif, some techno trappings and hip-hop beats to maintain his muse. On first listen, it sounds like an attempt to substitute dance club fare for the thoughtful approach that distinguished his previous efforts and indeed, Webb keeps things moving at a kinetic pace. However, while the undulating ambiance sometimes seems distracting, additional listens reveal some subtle nuances. In fact, it’s those moments of mellow respite – the gentle ballads “The State,” “Heaven” and “American Flag Umbrella” in particular – that make Stockholm Syndrome easier to abide. 