If
anything, The Pretty Reckless will be remembered for not only their visual and
lyrical antics, but also their nostalgic sound that reminds listeners of
classic rock ‘n’ roll bands from the sixties. Their influences are varied but
that hasn’t hindered the band from developing their own unique sound. Centered on
Taylor Momsen’s seductive, husky, raspy, and sensual voice, the band delivers
the best album of 2014 so far with their superb second record, "Going to Hell."
The
album starts off with the moans of Momsen’s good friend, and lesbian porn star,
Jenna Haze. As strange and out of place as this moment seems, it truly sets the
tone and atmosphere for the album. As Haze does her thing, we hear the
approaching sirens of a police car. The pairing here is immediately intriguing.
It somehow signals something taboo that we still fear as a culture in talking
about sexuality. Although the US and many other nations have become
hyper-sexualized in recent times (with regards to media, film, celebrities,
etc.) Follow Me Down, one of the
bands darkest songs, clearly sets the stage for the message of the entire
album. Lyrically, the song is quite suggestive, but taking it at face value
deflates its underlying meaning.
Soon
to follow is the title track: Going to
Hell. The song is practically made by its opening riff from guitarist Ben
Phillips. With pounding bass and drum work, this song is one of the highlights
of the album and the bands career so far. The tune is addicting as hell and
will surely make air guitarists out of most listeners.
Two
of the best songs on the album, Heaven
Knows, and House on a Hill raise
the level of songwriting complexity that listeners have come to expect of The
Pretty Reckless. "Light Me Up" featured
many sing-alongs, and pop/rock hits while "Hit Me
Like A Man" showed the bands versatility in experimental sounds. "Going to Hell" continues to deliver on a more
sophisticated level. Gone are the catchy hooks and rhythms (albeit Heaven Knows still retains some of
this), and instead there is a mature musical dexterity that has risen after touring the globe for two and a half years. The
video for Heaven Knows is sublime,
and I have yet to understand why there is a controversy surrounding it. We’re
still in a society that seems to find it obscene and wrong when a woman
displays her body on camera, but we’re ok when men can appear in any form they
desire. The song (and video) plays brilliantly to this concept of expectation
and the idea of “right” versus “wrong.” From there, listeners are presented with House on a Hill, the highlight of the bands career, which will indeed take
audiences by storm. The band has done some fine work with power ballads in the
past (Just Tonight [Light Me Up]) but this is a dark, brooding, atmospheric, and melancholic piece
of genius. Out of the entire album, it truly feels like this is the song that
audiences should be paying the most attention too. The message of the song is
profound, and for twenty-years old, Momsen’s lyrical abilities shine with the
level of metaphorical complexity that she has delivered.
Sweet Things is one of the new songs that the band played live on their 2013
Going to Hell North American Tour. It was one that I immediately didn’t connect
with. Most likely it was because it was so different from anything the band had
ever written. After hearing the album, I’m positive that this one of the best
tracks they’ve composed. Featuring dual vocals from Momsen and Phillips, the song
works in three parts, none of which are identical. The breakdown between
rock ‘n’ roll, soft rock, and metal rhythms are interesting and it gives the album
a dynamic, and almost psychedelic feel. For those that are fans of the EP "Hit Me Like A Man," this is an evolution
of the sounds that the band was playing with back in 2012.
Dear Sister is a nice 57-second “interlude” in the album that works as a
division between a more metal-sounding first half, and a more stripped down
rock ‘n’ roll second half. Absolution is
hands down one of my two favorite songs on the album. Staring off with a
quirky, yet almost folky acoustic guitar, the song kicks your ass when
Phillips’ electric axe cuts the acoustic jams. This is Momsen’s best vocal performance to
date. Her husky, soulful, and raspy voice has truly developed over the years.
Once again, her lyrical abilities have far exceeded expectations. Gone is
the little 16-year old singing of being misunderstood. Now we have a woman
singing of social problems and complexities within the modern world. Although Absolution is lyrically repetitive, it
continues in the same thematic vein as the rest of the album, and the
instrumentality is absolutely brilliant and seductive.
For
a throw back to "Light Me Up" we
have a track entitled Blame Me: a
mid-tempo song that relies primarily on toned down guitars and prevalent bass
and drums. Momsen’s vocals shine once again, rivaling some of her strongest
performances from "Hit Me Like A Man"
on tracks like "Under the Water" and "Cold Blooded." If any song feels a bit
out of place, or more “bonus track” like on the record, it’d be this one. It
doesn’t fit perfectly into the fold of Going
to Hell; there are glimpses of the theme, but not like most of the other
songs. But thankfully, it is followed by a brief and stunning Burn. Made up entirely of an acoustic
guitar and Momsen's pure vocals, Burn is a
heart-wrenching tune that works as a companion piece to its predecessor, which
allows Blame Me to feel rounded out
with the album’s concept. The songs work well as yin and yang as one feels
softer and the other far more ominous.
Ok,
well, this may be my favorite song on the album. Why’d You Bring A Shotgun to the Party? screams "Holy Wood"-era Marilyn Manson but with a Pretty Reckless feel. One
of the exemplary moments of the album is on this song. Just when you think that
the band is going to break into the chorus, they pull you into a second verse that
is just as sweeping. There are catchy hooks
throughout, and this will immediately become a fantastic live hit for the band.
Not to mention the clever use of shotgun and machine gun sounds throughout the
chorus. This could turn into a good live visual one day if the band ever
travels down the theatrical route.
When
I saw the band in Anaheim back in October I wasn’t impressed with their closing
song Fucked Up World. Taylor said in
a recent interview with Loudwire that playing new songs before the album was
released was dangerous. To be honest, she was right. It didn’t connect with the
audience, and as a closing song, it put a bit of an odd damper on an otherwise
exceptional show. But sixth months later, I can honestly say that this will be
one of my favorite songs they’ll perform on upcoming tours. It’s great that The
Pretty Reckless are staying true to their origins and Fucked Up World seems to continue the "Factory Girl" story with more references to the “back door” (whether
or not this is intentional, or even in the same thematic territory of "Factory Girl," I don’t know; it’s just
something I caught onto inadvertently). With a great chorus and the addition of
a tambourine, the song is catchy, raw, and energetic. If there is one song
listeners should take at face value without any metaphorical message, it’s this
one. Each song does a great job of adding to the thematic territory of Going to Hell, but Fucked Up World is a good summation of the album.
Waiting for a Friend. I’m a sucker for a good harmonica. And even as
brief as it is in the closing track to Going
to Hell, I am nonetheless impressed with the harmony and texture it brings
to a beautiful acoustic piece. As a closing song, I think it’s quite
appropriate that the band made this track stripped down. It is the darkest of the 12
songs on the record, and lyrically, it’s melancholic and apocalyptic. Great work
by Ben Phillips on guitar once again. He always utilizes some unique chords and
playing techniques in his recordings and it definitely shines here. Never will you
get a “straight-sounding” acoustic song from this band. There is always
something raw and personal in their songwriting. Overall, a solid ending to a milestone
in the career of a fantastic up and coming band that deserves legions of fans
and attention.
The
only downside I can see with "Going to
Hell" is that it probably isn’t going to win over many new fans for The
Pretty Reckless. "Light Me Up" was much
more mainstream and it probably had to be considering the band was new to the
scene and needed something catchy and simple to land a record deal. "Going to Hell" is far more brutal sonically, which will deter a great deal of listeners. But with "Going to Hell," The Pretty Reckless has
evolved into a unique and original sound. Audiences will now have a
heavier, edgier, and smarter band that is ready to tackle the rock and metal
scene. I can never stress
enough that the mainstream music scene of today is unoriginal, tasteless,
formulaic, auto-tuned, and far over produced. Here we have a band that plugs in
and rocks out like true, classic rock stars. No glitz and glamor are needed to make "Going to Hell" a modern
opus.
Favorite moment: The climatic shotgun blasts in Why'd You Bring A Shotgun to the Party?
WTF my mind is blown moment: That harmonica. Won me over instantly.
Final Score: 10/10
For more of the band, check out their two exceptional music videos off of "Going to Hell":
Going to Hell
Heaven Knows
