TinDefacto | Home of Ghotifish Productions

Pendulum - In Silico

This review is under construction.

After several seconds' worth of distorted voices and synths, the electronic (?) drums kick in on "Showdown" with Rob Swire's voice, and some more electronic noises. Then, a synth sound builds up, and the instrumental chorus starts, with its heavy guitars and weird noises and a bubble noise that are awesome. After that, there is a short interlude with some kind of - organ? - and more synths and guitars - a drum fill - a scream - some electric keyboard and distorted vocals. It's hard to tell exactly what these things are, but it's easy to tell they're awesome. Then, there is another drum fill - in triplets - and the songs explodes and fades off. A keyboard and some drums in swing build, and with Swire's "Here we go again," we go again to the chorus - in 6/8 time signature. Awesome. Then, it breaks into 4/4 again with all of its glory. Now, the song is ending. Different guitars and synths dive in, and then another organ-ish sounds. It builds up to be more epic with another yell, and with a drum fill, ends.

"Different" is quite, well, different. A strange distorted guitar brings up more electric drums, but it's not as fast-paced and full of energy. Swire sings again (but slightly distorted) and a woodwind-thing sounds at the end of every line. "Let them see your black heart tonight." A normal, quite cool guitar kicks in in an interlude, and Swire sings more after that with another new synth. At the end of this, the song kicks off. It gets a little harder, and then another guitar and organ-thing come in. Swire then sings another verse, and something else sounds with a strange sample of some sort that really works with the song. Another verse, another interlude, and more guitars. It's really going well. Another verse, and then the sample/guitar-ish thing. Verse... okay, it is a little repetitive, but it's good. Now, we're four minutes into it, and it stops. A synth plays in the back and then - a soft guitar? It's almost acoustic, but it fits in really nicely. There's then a synth solo of some sort (everything else has picked back up now), and "you're sinking in the sand," with the sample thing again. And, boom - it's over. Well played.

With a brass section starts "Propane Nightmares". It does sound out-of-place amidst the electronic tracks just heard, but, after Swire finishes the intro verse, the electronic drums start with some guitars (and still some brass), and then - bang! Off to the instrumental energy-full chorus with the distorted guitar riff that was sampled from "Smoke On The Water" (with some minor changes, of course). Then, a verse, with some breaks from the normal vocals for heavily distorted vocals. But, "anything to bring it on home." A pre-chorus comes in with some layered choir vocals, and it's off to the chorus again (with what seems to be the distorted sound of an angry tiger). Swire delivers another verse, and then we move on to the pre-chorus. Then, everything dies down with what might actually really be an organ, and the part that originally opened for the chorus plays again - but, following this, there is a solo of what seems to be Swire's extremely distorted voice, followed by an awesome synth. "Bring it on home!" The chorus, with a sudden burst of brass that's almost cheesy, ends.

Rob Swire's barely-understandable vocals start off "Visions". His vocals are heavily distorted, but not so much like the ones in the song before this. Then, there's some minimal drums, and a weird sample, before the beginning of a verse with some more synths. The bass drum is really powerful during the verse. "Keep your eyes to the ground." Then, the pre-chorus starts with some less energy (it's again quiet like "Different" - but, once again, in a good way). After Swire stops, there is a guitar (one of the few in this song), and a really awesome electric keyboard riff thing. With more singing, the song suddenly lurches into the short instrumental chorus with a ton more energy, and it's quite loud compared to the rest. But, it dies, and it's back to the verse. I'm really liking this song so far. Another pre-chorus follows, but, instead of the chorus, some more instruments (if that's what they are) play, and it all falls, leaving only the awesome keyboard. But - chorus! It's now more powerful than ever, and Swire's vocals added to it are a lot more clean. The chorus then ends but still keeps a lot of the energy with a strange distorted keyboard-thing. Then. that, too, ends, and it's back to a verse that ends suddenly.

"Midnight Runner" starts with piano and keyboard and tambourine. Then, some drumming starts with very distorted vocals, and then - bongos? Yes. Weird. But, it does fit. When this part ends, a new keyboard part comes in. After this, there is some piano that totally reminds me of Nine Inch Nails' "Complications Of The Flesh". This is another quiet-ish song. It really is quite good, though. Some 'ahhs' come in from the vocals for a while with some loud bass, and then a quite awesome guitar/keyboard/who-knows. Another unknown-instrument part follows, and this and the latter switch several time with each other. Then, everything explodes and a humming keyboard surfaces with some female-sounding 'oohs' and dolphin-speak. Everything come back in again with this keyboard, pretty full of energy now. But, the keyboard ends and is replaced by what sound slike the same thing, just in bass. Then - it ends, with some more dolphin-speak and assorted noises.

Muffled drumming begins "The Other Side".

Beck - Modern Guilt 6/10

I've been a slight Beck fan since 2005's Guero. So, I decided to do this album. It is not biased. Hopefully.

"Orphans" starts off with lots o' bass before some drum effects kick in, and an oriental whistle sounds in the background. Then, an acoustic guitar starts with real drums and Beck sings. A slight change since The Information. Beck's layered, melodious voice sounds during the bridge, before going to its normal sound. Come to think of it, the bass beat reminds me of Bon Jovi's "Dead or Alive". This is not a bad starter at all.

"Gamma Ray" has a drum loop as a simple snare beat with the ride cymbal going from nonexistent to loud - then back again. The bass guitar is amazing in both the verses and chorus. The singing seems to have a backup echo. Every once in a while, a sound can be heard quite like a pigeon or a microphone tapping on jeans or another soft material. Another good one. I'm enjoying, then - it ends suddenly.

"Chemtrails" is next. It is the lead single for a reason. Beck's melodious voice sings of heavy muffled drumming and a piano sounding about twice every measure. A bass guitar can also be heard in the background. Then, this all gives way to more oriental organ-piano-type things, with Beck singing until the familiar paino picks up... then it's back to the beginning. The drumming then features many more fills during a part of the chorus with new lyrics, and odd effects sound in the background. Is that a wolf I hear? Nope. Beck hums, and a string instrument sounds (a violin or something). Then, it's over... or is it? More drumming rises in the background, and a guitar solo comes around. Now it's over.

"Modern Guilt" is the title track. It has a fairly simple drumming rhythm, with bass on the downbeat. Beck sings, and it is soon joined by an electric keyboard, and a guitar sounds over it. A piano does a tune I love, and then it repeats. It's starting to get a bit old now. Beck sings "La di da da" and another violin or something surfaces... then it's over. When I was starting not to get bored.

"Youthless" begins with a bass rhythm and percussion beats with clapping. I love it already. An electric keyboard can be hear beneath this when Beck sings. Then, the bass changes a little and and the percussion gets a bit harder. Beck sings a bit differently. Then, it goes back to where it started. The keyboard surfaces during the bridge, and Beck's humming sounds. Then, it's over.

"Walls" has a violin or something and distorted drumming. There's barely any bass! Beck sings, and it sounds like Alvin the Chipmunk is, too. Then, Alvin stops, thank goodness, but the song drawls on, and eventually Alvin starts up again. It's extremely repetitive, and I didn't like it in the first place. And, suddenly, it's over. Yay!

The beginning of "Replica" sounds like Radiohead - frantic, unfollowable drumming followed by a guitar that just sounds like Radiohead. Not that I don't like them. I do. Though in 4/4, it seems very dissonant, and I don't like it. Beck sings, and a piano sounds during what I think is the chorus. There are several odd sound affects, too, and another violin sounds during the bridge. The drumming changes a bit during the bridge, and more instruments join in, including what sounds like acello. But, the drumming is even more unfollowable, and I just can't take it anymore... it's over!

"Soul of a Man" has a nice guitar, a bass drum, and sounds a bit like rock-and-roll. But it's not. Obviously. Though, at first, Beck's vocals don't help prove this exact point. Some clapping comes in on the 4th beat, and an acoustic guitar sings. This is getting old. Boring. A drag. Then, it fades out. Cool.

"Profanity Prayers" is the penultimate track. At first listen, it seems a lot better then its predecessors, what with its distorted bass, Beck's singing and the drumming. But it drags on. And on. Every once in a while, there's a new twist, but it wears off within ten seconds. Then, its instruments give way to an acoustic guitar playing a tune, then the drumming picks up, then the guitar picks up playing slightly differently. It's getting better... Boom. It's over.

"Volcano" begins with an odd drumming-related noise. Then, real drumming picks up, and, with an acoustic guitar, Beck's voice picks up. During the chorus, there's actually a chorus, and Beck's voice is better than ever. With the occasional sound effect, a verse starts, before giving way to a chorus in a chorus. Then, the beginning noise begins again, behind the bridge, and it gets a bit quieter during the verse. Another chorus kicks in, but it's old by now. An instrumental part follows with the violin-thingy again, and it's over. A pretty nice ending track..,. wha! Ending track?! After 34 minutes!? Sadly, yes. And I am without the four bonus tracks....

So, I rate. Up to five stars per song, then I average it...

Orphans ****
Gamma Ray *****
Chemtrails *****
Modern Guilt **
Youthless ****
Walls **
Replica *
Soul of a Man **
Profanity Prayers **
Volcano ***

Album - 6/10

Weezer - Weezer (Red) 6/10

I've heard "Beverly Hills", "Hash Pipe" and "Undone (The Sweater Song)" before, but other than that, I haven't heard much Weezer. Here goes.

The album starts off with "Troublemaker", a song I would gladly place on repeat if I wasn't dedicated to this review. The first time I heard it, it was being played on speakers, and very good ones at that. Well, in earphones, it just doesn't have the same feeling. Not to say it still isn't good - it very well may be the best song on the album. Based on a simple guitar rhythm, it builds on it to become a great song. The only bad thing? It's too short!

Next is "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)". They really mean variations - this song is full of ever-changing tempos, beats, and rhythms. It starts off with a recording of an audience and a piano before sirens take over and the drums kick in. The singer starts singing, with syllables placed making it seem a bit like rap. Then, the guitar gets a bit harder before stopping and giving way to an acoustic guitar and singing, before that giving way to a chorus that could have been found in any church with a marching snare drum keeping the beat. Then it turns to a pop feel. After this, it speeds up as the guitar gets pretty hard., before turning to a Weird Al feel. Soon, it slows down again, before taking to a spoken word part, which precedes another choir, this time a capella. A guitar surfaces, and it picks up speed again, turning to irresistible rhythms faster than ever. It's over, and, over all, pretty good. But not the best.

"Pork and Beans": the lead single. Mm-mm-mm. I hadn't listened to the radio recently, but when I first head the song, I was hooked. It has a catchy chorus and beats so that everyone can sing along (according to the lyrics in the second verse). It seems to be about mainstream rock. It starts off with an acoustic guitar rhythm with odd pig-like squealings every once in a while (maybe a guitar). Possibly one of my favorites.

"Heart Songs" is the follow-up. It starts off with an acoustic guitar, only, unlike "Pork and Beans", sticks to it. I had just woken up, so I almost fell asleep. It's pretty quiet, with Rivers (the singer) singing beautifully. Unfortunately, I somehow don't like it. But, an electric guitar rises, and plays quietly for the bridge, before kicking in as a nice soft rhythm, making the song much more to my liking. But, it's over.

After this is "Everybody Get Dangerous". Wow. The odd-numbered songs are becoming my favorites. This one starts off merely okay, but when the chorus kicks in, it becomes clear that this is a nice head-bobber. The chorus is irresistible, and the verses' rhythms of singing makes it absolutely wonderful. The bridge's lyrics seem painful, as if something is unfair. And, it is unfair that they couldn't have released it earlier. But, what'cha gonna do about it? As great as it is, it feels as if I have heard the guitar in the chorus before - at least the rhythms. But, it becomes forgotten as the song moves on, moving to an awesome drumbeat with odd kids' cheering. This fades out, leaving the listener to ponder the awesomeness of the song.

"Dreamin'" picks up next. It's got a soft guitar, and a mildly fast drumbeat, but it is still seems to be more sleep-inducing then "Heart Songs". The song fades out midway through. Is it over? Alas, no. Cheesy bird chirp recordings are enough to make the most keen of Weezer-lovers slap their forehead in exasperation. It picks up again, but still has the boring touch. At the end, the speed picks up, becoming a bit better, and it seems like it might come out okay... but it ends.

"Thought I Knew" is another odd-numbered song, so I had high hopes for it. It starts off with an almost-electric drumbeat before an acoustic guitar comes up. It should be as boring as "Dreamin'", but instead it is not. Indeed, it is written by Brian Bell instead of Rivers Cuomo, the writer of the other songs. It is still not as good as the other odd-numbered songs. The drums switch to real ones a bit into the song, and the electric guitar layered over the acoustic guitar with the singer (who might be a different one) singing painfully over it. Then it ends.

"Cold Dark World" is written by both Rivers Cuomo and Scott Shriner. It is another soft-ish one, but the singer's aggressive vocals during the verses and the slight darkness of the music makes it seem a bit like rock-and-roll. The nah-nahs in the bridge makes the song a tie with "Thought I Knew", despite it being an even-numbered song (don't call me a numberist!) and the distorted guitar at the end of some measures in the chorus pushes it up even higher ever so slightly.

At first, I thought "Automatic" was U2's "Vertigo" due to its stick clicks. A guitar kicks off, bursting a rhythm that sounds a bit like Australia (?) before fading off like a distant memory. This one is also fairly soft, with a piano during some parts. It is credited to Patrick Wilson. It fits in in terms of style, but it's a bit different with the odd distorted bass during the chorus, making it seem a bit more electronic, a feeling boosted by the backwards piano at the end.

"The Angel and the One": yet another softie. With a guitar on the beats and Cuomo's beautiful singing, you can barely hear the soft drums in the background at first. But, the guitar comes of the downbeats-only rhythm and the drums get harder, boosting Cuomo's voice up to an almost-yell. It gets softer again, with ooh's to match the wailing of the guitar backed by other band members' voices. It seems over when the -organ?- plays, then ends for a moment, but it keeps going, and going, and going until it finally reaches the end. Athough it wasn't the best, it was a worthy ending track for a great album. Wait - the ending track? After forty short minutes? Have no fear though - there are plenty of bonus tracks!

The deluxe edition contains four bonus tracks. "Miss Sweeney" starts off with a walkie-talkie-sounding thing, before giving way to to an acoustic guitar and drums, and, later, Cuomo's singing. An electric guitar picks up for the chorus. So far, I can see why it's a bonus track - it's not that good, although it is still better than "Dreamin'". It is credited to Cuomo and a Sarah C. Kim. Hmm... was it Kim that brought the song down? I shan't hold it against her, though - Cuomo has his good song, and he has his okay songs. This one must be an okay song.

"Pig" is next with a simple drumbeat kicking it off. Another acoustic guitar comes over it, and an ambient instrument (a violin?) comes over that before a piano joins in. It's still fairly boring, however. Some chimes during the chorus make it better, but also pick up some cheesiness, as if it were a Christmas rock song. I am, however, starting to like it. I'm starting to realize that this isn't the chorus, but the bridge. Then, it's only the acoustic guitar, and then it's the ending.

"The Spider", ironically enough, seems to be a children's lullaby. And it's affecting me, too. I'm managing to hold my eyes open though. Basically, it's another ambient string instrument over an acoustic guitar and Cuomo's voice, with falling star effects. I'm drifting off... and it's over. Thank goodness.

"One night at the disco..." starts off the song "King". It is, once again, acoustic guitar and Cuomo, with odd electric guitar effects with plenty of reverb. Then, the drums kick in after a minute and a half, and is joined with some distorted bass before an electric guitar at the two-minue mark. And, yes, I am watching the time. Unfortunately, this one is by half a minute the longest bonus track yet. Arg.... wait... harder drumming... the electric guitar has surfaced.... real bass... the song's getting good! Unfortunately, there's only a minute left, so it won't be able to get too good. And, as suddenly as it picked, up, it falls down, back to the acoustic guitar and singing. It's over.

That's all the Deluxe bonus tracks. However, there are two covers on the UK edition:

"The Weight" is a cover of a song by The Band. With a tambourine over the drumming, and an electric guitar, it's considerably more poppy than the other bonus tracks. But, I'm still not feeling it. At all. I feel as if I've already heard it before. When will it end? Oh.

"Life's What You Make It" is a cover of a Talk Talk song. Finally, something 'fresh'. With the distorted bass, great rock-and-roll singing style, electric guitar, and rock-and-roll drumming, it is pretty amazing, definately the best of the bonus tracks. Nice cowbell. However, despite the fact that it is considerably short, it still seems too long and stretched out.

Unfortunately, I couldn't get a hold of the iTunes bonus tracks and a Japanese bonus track: "It's Easy", "I Can Love", and "Meri Kuri", respectively.

Overall, this album is pretty good. If you have iTunes, you should probably download the few you like from the samples. However, some may like the entire album.

Out of five stars, I rated each song, then took an average of the ratings to get the album rating:

Troublemaker *****
The Greatest Man That Ever Lived (Variations on a Shaker Hymn) ****
Pork and Beans *****
Heart Songs ***
Everybody Get Dangerous *****
Dreamin' **
Thought I Knew ***
Cold Dark World ***
Automatic ***
The Angel and the One **
Miss Sweeney **
Pig **
The Spider **
King **
The Weight **
Life's What You Make It ***

US Album: 7/10

US Deluxe: 6/10

UK Album: 7/10

UK Deluxe: 6/10

Coldplay - Viva La Vida or Death and All His Friends 7/10

I've heard a lot of Coldplay. This album seems to be very different, though...

"Life in Technicolor" starts off with a 9/4 electronic melody before looping two of those beats and eventually starting on a 4/4 Oriental-sounding stringed-instrument riff with some hand drums in the background. Then, an acoustic guitar starts, and normal drums come in with a bassline. It seems to be instrumental, until some of Martin's "Oh"'s come into play. I like it a lot so far. Everything stops, the guitars fade out, and an ambient noise segues to...

"Cemeteries of London". A faint bass drum is heard in the background as Martin starts singing in this 3/4 song. A piano plays several notes in the background. At the chorus, an interesting guitar sounds, and, at the end, the drums start in the second verse. An acoustic guitar also plays. At the second chorus, backup voices are heard. After this is a guitar solo. Several Hispanic percussion instruments are heard in the back ground. The solo ends suddenly, and the third verse starts. Then the third chorus does. It's a great song. Everything falls away, and a piano plays a bit more before before fading as well.

"Lost!" begins quite suddenly with 4/4 percussion sounds similar to Queen's "We Will Rock You" and an organ, as well as Martin's vocals. At the chorus, the instruments seem to get louder, and a tambourine is added. The time signature seems to go to 2/4 measures in groups of five. A noise starts and fades out at the end, making way for the second verse, followed by the chorus again with extra background noise, it seems, and the drone at the end starts as the last line is repeated. A guitar solo then starts. At the end, the last line is repeated more. The great music continues, and then falls away agin, leaving the organ by itself before fading out. This is probably my favorite song so far.

"42" may be a reference to Douglas Adams' The Hitchhiker's Guide to the Galaxy, but the lyrics do not directly reference that. A simple piano starts it off with a cherry on top: Martin's singing. Eventually a string section and a bassline join in, and then quiet drums. This is in 4/4. It seems just okay so far, and Martin's notes get higher and higher. The, everything drops away, leaving Martin's vocals to fade out. Is the song over? No... What seems to be a backwards note of a string sections comes in, and, at its climax, drums and a guitar start with a bassline at what seems to be a faster tempo. Then, another guitar starts playing a riff that sounds a heck of a lot like Nine Inch Nails' "Where is Everybody?". I am not being simply biased, but it is almost exactly the same. Nevermind that though, it's still great. Then the drums get harder and put in a lot of cymbals that makes in a bit Radiohead-ish. Another guitar has come in. Suddenly, a piano come is, the drums get a bit softer and the guitars drop out. An acoustic guitar arises here, though, and Martin's singing comes in, telling you who you think you are. A guitar solo then starts. When it's over, It's the intro all over again, except as an outro. It is quite a medley of a song, but it's great.

Now, the next track on the CD is actually two, one appended on the other. There are two other tracks like this, and I shall review them separately.

"Lovers in Japan" starts off with an odd piano and strings section. Then the piano and/or/slash guitar plays another riff as the drums come in and the strings stay. A bassline joins, too. Eventually a guitar-for-sure comes in and so does Martin. The strings go away. After this first verse, a guitar starts on the left channel, and so does the chorus (on both channels, of course). The strings come back. I am really liking this songs, but "42" is still my favorite. A second verse comes in later, sounding like the first. The chorus then come, just like the other, until the lyrics change, then a guitar solo-ish part comes in. I am really enjoying this. Then, the normal music of the verse come in, and eventually fades out, leaving us with...

"Reign of Love". It starts off with a piano with several background noises. Martin come in with some bass. Then, he goes out, and in again. It seems pretty boring right now... and, at the end, after the piano fades out, it still is and has been. Definitely not a favorite of mine.

This next track is 2-in-1.

"Yes" starts off with strings and a piano. They fade out quickly, and an acoustic guitar and and another odd-sounding one come in with some faint drums. Then, they get louder and Martin starts in a low pitch. This seems to be the first verse. It's in 4/4, but, when an instrumental part comes at the end of the verse, the is a 4/4 measure, a 3/4. and then more 4/4. Odd, but I like it. Another verse come in. At the end, there is a Hispanic string-and-bow instrument. It has a solo, until the chorus starts. It's only abit different than the verse, music-wise. The guitars are a bit different, but Martin's singing is very different. At the end, the same instrumental piece at the end of the first verse starts and repeats. A third verse is heard, with a 3/4 measure at the end. Several 4/4 measures come, and then the same instrumental part from the end of the second verse is heard. A second chorus starts. At the end, the last line is repeated, and a guitar solo plays. this is a great song. Then, it ends as a guitar hits the last note, fading off, and a shaker is heard. That fades off, too.

"Chinese Sleep Chant" is unlisted on the album but is still there, appended to "Yes". A whoosh starts it off, and then an electric guitar comes in. Bass sneaks in, too. Drums start as Martin sings several words over the music. This is actually very calming. The drums get harder, and a string section comes it at one point. This is some competition for "42". Several odd sound effects are heard throughout the next several minues until there is a guitar solo. This may be repetitive, but I like it. The solo ends, and the main part comes in again. I like the feel: energized yet calming. I guess why it's a sleep chant. At the end, the guitar fades out again, slowly.

"Viva La Vida" is next. At first it is simply a string instrument, until Martin starts singing and a bass drum keeps the beat. After the first verse, more instruments are heard over an instrumental break, and the second verse starts with another instrument still there. Near the end of this verse, a suspended cymbal, tubular bells, and - a timpani? - are heard. After this part, there is another instrumental break with an acoustic guitar or another string instrument - obviously, I'm not good at naming string instruments - of some sort.There's also some distorted vocals. Another verse starts, and, at the end of this there's a piano, and a choir, then tubular bells. The main string melody fades out before coming back a bit higher during another instrumental break. Another choir sings, and yet another verse starts. I like tubular bells. Then, at the end... all fades out, and it's just the choir...

"Violet Hill" starts off very, very softly in all its ambiance.. then, Martin sings over a piano, and then drums come on. I really, really like this. The guitar gets a bit more prominent as it goes into the chorus, with cymbals and a bass drum every quarter note eight times before the next verse starts. It's quite the same, just with a new, other guitar, and the bass is louder. The second chorus moves on with the same eight quarter notes. A guitar solo breaks out... if you can say 'breaks'... it's not heavy or anything. Another chorus comes after it, and it gets extremely soft afterward - it's the end.

"Strawberry Swing" starts out with some whispers and tapping before a weird electric guitar comes in, sounding like country music. The verse starts with some added ambiance and muffled drums before adding some strings to go with the drums. Then everything suddenly fades out - if something can 'suddenly' fade out - before starting again. More singing follows, sounding the exact same, and then an acoustic guitar comes in. Now I like it. Martin sings over it, and than the country-ish guitar comes back. Darn. It's like this until it finally ends, everything but the weird strings fading out.

2-in-1:

"Death And All His Friends" starts out with just a piano and Martin. I like it. A guitar comes in during an instrumental break, then singing comes again. Then - the piano changes, and so so does the guitar. Martin stops. This is pretty cool. Drumming comes in, and this repeats a bit until it changes again, with a wait until Martin and co. sing in a what? - 30/4? - time signature and the breaking off.

"The Escapist", also unlisted, starts off much the same way as "Life In Technicolor". Martin just sings over the weird electronic 9/4 melody. It's soothing. A very strange string instrument is there afterward. Then, it just fades off, a nice closer.

"Lost?" is a bonus track on iTunes. It's a piano-and-Martin version of "Lost!" I like pianos. It basically follows the same structure of the original. Wait... I hear some bass. Hmm - the chorus seems to have groups of five measures instead of four like the original. I hadn't noticed that that was why it had sounded weird. This is very nice and relaxing. I'm glad I got it.

So, time to rate. It's up to five stars per song, and then averaged and multiplied by two.

Life In Technicolor ****
Cemeteries Of London *****
Lost! ****
42 *****
Lovers In Japan ***
Reign Of Love **
Yes *****
Chinese Sleep Chant *****
Viva La Vida ***
Violet Hill *****
Strawberry Swing **
Death And All His Friends ****
The Escapist ****
Lost? *****

Album - 7/10
iTunes Album - 7/10