By Samuel Rubenfeld
The self-professed greatest rock band of all time’s newest record just might live up to its own hype.
“Dig Out Your Soul,” the latest from Oasis, mixes sounds from each of its previous eras to make the band’s greatest record since 1995’s top-five hit “(What’s The Story) Morning Glory.” Foot-stomping arena rockers, psychedelic freak-outs, jangley garage rock and piano-driven ballads can all be found on this album. But the assortment of sounds never weighs down the record.
After 13 years in seemingly relative decline since Morning Glory, the brothers Gallagher finally got their act together again. Oasis survived the “battle of brit-pop” they had with Blur only to find themselves without a war to fight through the late 1990s and into this decade. Instead of being the rock n’ roll stars that walked on water, they receded into the ether, resting on their laurels and releasing four mediocre records in a row. Even the sensationalist British press had written them off.
But this record is a definite step forward. Instead of dictating the terms of the music, Noel allowed for his brother Liam to write three of the songs, and for guitarist Gem Archer and bassist Andy Bell to each contribute a song. Democracy was clearly a good decision for the band.
Showing no subtlety, Liam’s “I’m Outta Time” is his piano-driven tribute to John Lennon, and it features the last interview Lennon gave to the BBC days before he died.
The band has never been known for complicated metaphors in its lyrics, and this album is no different. “Falling Down,” their best psychedelic song in years, drives on a harsh downbeat while Noel croons “We live a dying dream/If you know what I mean.” They hit the drone pedals for album closer “Soldier On,” and the sound veers haltingly close to shoegaze as Liam repeats the title over and over again while drums and deafening guitar crescendo behind-and ultimately overtake-him.
Most of the energy, though, comes through in the album’s lead single, “The Shock of the Lightning.” The ultimate arena rocker, it flies out the gate with an upbeat riff, stomping drums and a chorus (Love is a time machine/Up on the silver screen) that recalls the Oasis of 1995, self-assured to the point of cockiness.
A more mature Oasis produced an album on the level with its best material, a tremendous feat considering the mediocrity the band found itself suffering through for the last 10 years.
(oasis.com)