The Band's Second Album is out today!!!!! It goes on today, at the same time as Catharsis' album. Buy The Band's guys!!!!!!

Traclisting-
All songs written by John York(except where noted)
Produced by George Greenwood, from an idea by John York
1.Overture-4:04
2.I Hope You're Not Involved At All-3:32 (music by George Greenwood, lyrics by John York)
3.Don't Let Me Down-7:04 (lyrics by Kim Black
4.The Montagues and Capulets- 2:54
5.Royal Wedding-3:23 (lyrics by John York and Kim Black)
6.Bloody Disgrace-3:28
7.Where Do We Go From Here-4:48
8.Between Us-1:31 (lyrics by Kim Black)
9.I Forgot How Nice it Is-2:34
10.House of Lords-5:38- (lyrics by John York and Kim Black)

Critical Response-
The album has recieved a solid, generally positive response. It has been praised for its hooks, with a reviewer saying, "despite all his pretentions, John York is essentially just writing pop songs here, but they're great ones." Some have been less enthusiastic, noting that this feels like a regression after the more ambitious first album.

Rolling Stone-4/5
Robert Christgau-thumbs down
Pitchfork-7.5/10
NME-4.5/5
Q-4/5
Spin-4/5
Allmusic-3.5/5

Album artwork-
The album cover is a black and white photo of the band, with York and Kim standing in front of a castle, and Ian and Pitt looking down from above. The photo is from a low, odd angle. York is wearing a full suit and Black is covered by a trench coat. The back of the album features The Band's coat of arms logo, which had been on the cover of all prior realeases. The inside of the album has various female "friends of The Band" in provacative poses, with their faces blocked. There is already speculation that one may or may not be Kim Black

Track Descriptions-

1.Overture-This is a instrumental, orchestral opening to the album. It starts low and chaotic, giving off an ill forboading. It then builds to an early crescendo, before settling into its main melody, with several key changes along the way. There is an emphasis on the brass. The song then builds to a final crescendo, with the drums pounding. A piano loop enters during this segment, and continues into the beginning of the next song.

2.I Hope You're Not Involved At All-The song begins with nothing but Kim singing an opening with the formal piano loop as the backdrop. Just as the loop begins to fade out, guitars enter. A fast drum beat enters behind them, and York begins an extraordinarily fast opening solo. The song then repeats a verse and chorus twice, in a Post-punk style with backing vocals on the chorus. Black's vocals are shouty and expressive. The lyrics are in the second person, with Black trying to talk a girl out of becoming a prostitute. York based the lyrics on his feelings when he found out a girl he had crush on in school had to work evenings as a streetwalker.

Sounds Like (link)-
"Dancing Shoes" by the Arctic Monkeys


3. Don't Let Me down-
The song starts with only Black's voice for the first few words, before piano enters for an opening bit. On the first real verse, Ian enters on acoustic guitar. Soft electric guitar and the rhythm section come in on the first chrous. On the second run-through, Pitt and Ian sing harmony, and a formal English horn part enters. The songs opening is repeated again, this time with the full arrangement. After this, the song appears to end, with the Blacks and Pitt singig after the music has ended. But the song completely changes shape, as York begins an extended guitar solo. It begins melodically, but heavier than the rest of the songs poppy sound. After a few small flourishes, it becomes noisy and feedback heavy for a short time. Open chords segway into the bulk of the solo, which is an extended homage to Jimmi Hendrix. York imitates his fuzzy sound, and fast fretboard action. He also uses bluesy wah-wah affects. As the solo builds in speed, York plays a sloppy, wild bit. He starts to play genuinely badly, but ti fits with where the song was headed. At the concllusion of the solo, he returns to the riff from the early parts of the solo, playing at mid-tempo. Handclaps, and Kim singing "nah-nah-mah" enter as the solo finishes. For a few seconds there is nothing but the melodic hand-claps, prior to the song cutting off. The lyrics in the opening were Black trying to talk a younger girl into admitting her feelings to a boy.
Sounds Like-
opening-
"Penny Lane" by The Beatles

solo-
Voodoo Child by Jimmi Hendrix

4.The Montagues and Capulets-The song goes through it's first verse and chorus in a post-punk style. The first verse uses a "call and response" vocal style It also concludes with them, with backing vocals on the final chorus. The chorus uses heavy noise compression, but still has a romantic, bitter-sweet vocal hook, reminiscent of "God Only Knows" by The Beach Boys. The two sections are linked by a bridge another solo from York. He continues playing in a post-punk style, with the song getting heavier and heavier, untill his solo ends in a burst of noise reminiscent of 60's garage rock. The lyrics are about York's various romantic failings. The title comes from the first verse about a girl York knew as a boy. Her parents did not approve of his "hooligan" image. The second verse is cryptic, but may be inspired by his inability to begin a relationship with his friend Amy Meyer.

Sounds Like-
Someday by The Strokes

6.Bloody Disgrace-The opening verse of the song is done is a bluesy, doo-waa style. For the chorus it picks up into a heavy, fast, extreme punk segment. This continues on the second verse, and the next chorus is played twice in this style. The song then suddenly slows down into a mid-pace heavy style(AC/DC without the swagger). A final verse and chorus are platyed like this, before the song veers out of control in the finale, with Black spewing out an ad-libbed, profanity laced, semi-rap rant. The lyris discuss anarchy, and how it would be better to live under it instead of some governments.

Sounds Like-
Califronia Uber Alles by The Dead Kennedy's

7.Where Do We Go From Here-The song has a brief instrumental opening. It is in the Band's typical sound, but driven by jazz horns. The horns leave after this, with the first two verses and chorus's being played in a post-punk arrangement. There are harmony vocals in the second verse After the second chorus, there is a bridge, which is only a drum beat and Ian singing, followed by open chords from York and the bridge being repeated again. Guitars re-enter, and build into a wave of feedback and noise. They are abruptly cut off and a string section enters. Kim returns to the lead vocal spot, and sings a final verse, only backed by strings. It is mid-tempo and very poppy. The song concludes with Black repeating the first line of the song, while York plays a few notes softly on electric guitar. The lyrics are comic, with York bemoaning the instability of the music industry. It is partially inspired by his long evening at the Chaos awards afterparty with Cassie Summers and Kamacazi Kate.

Sounds like-
Last Nite by the Strokes

8.Between Us-This is a brief song. The lyrics are Black complaining that a man only esnts to be with "lower-end" women. Black's vocals are high-pitched squeals. It opens with just she and her bass. A funky guitar riff from York enters soon. At the end of the song, there is a build-up where drums eneter, and it sounds like it is going to reach some big arena rock finale, but instead it abruptly cuts off.

Sound like-
Scar Tissue by The Red Hot Chili Peppers

9.I Forgot How Nice it Is-The song opens with finger snaps, immediately cutting in from the end of the prior song. It is accapella, with Black singing lead and Ian and Pitt providing vocal percussion, occasionally coming in to sing with her in unison. York can be heard slapping a table for percussion. The lyrics are about the joys of being in love, specifically with a girl with orange hair.

10.The House Of Lords-The song opens by repeating a verse twice. Black sings in a semi-rap delivery. The only intruments are drums and York's acoustic guitar. The drum beat speeds up, and Black's bass enters with her playing extremely fast. The bass and drums fade out as an orchestra fades in, playing an extended interlude reminiscnet of the Romantic Period. This abruptly cuts off. Ian begins singing a verse, backed by nothing but a fast piano riff from John. Following this, the first verse is sung again, with the piano riff continuing. The song builds up the same way it did before, culminating in an entirely diferent otchestral segment. It crescndos, and after a few seconds of silence, York begins a melodic, melodramatic guitar solo and concludes the album with a loud power chord. York considers this the second masterpiece on the album. It could be interperted as an anti-police anthem, with the lyrics describing two incidents from York's life. Once where he was beaten by cops, and another time where he was arrested for handing out food without a permitt.
Sounds like-
A Day in the Life by The Beatles

and
Like a Rolling Stone by Bob Dylan

Edited by user 07 June 2011 00:10:24(UTC)  | Reason: Not specified

Lily: Pretty good album. You guys are a band to be reckoned with ;)

The Band has triumphed in their battle with catharsis. The Band's Second Album debuted at no. 6 on the UK album charts, whereas Catharsis' record was a huge dissapointment in the UK. Depite theirs being a hit in other countries, The Band is being declared the "winner" by the British press. They were invited to a posh party by a prominent underground DJ following the release of the charts last night. Kim arrived in a home made t-shirt declaring "James White's Album sales aren't the obnly thing that's small". John was mopey and generally avoided cameras, but when pressed had the following to say.

"Look, those guys are a joke. When they first came up I thought they were being ironic, but I should have known better. The just act stupid and make generic music. Do we need to keep talking about them? I don't want to rant about other artists, but really."

The Band's Second album also debuted at no. 21 in the US.

Today is a big day for The Band indeed. The Band's Second Album has already earned Silver certification in the UK after just four weeks, equaling the entire sales of the first album. Kim is also on the Cover of Rolling Stone, vastly increasing The Band's notereity. Don't worry, it's impossible to miss her cover. In a brilliant display of patriotism(that will surely atone for some of the lyrics on the new album) Kim is wearing nothing on the cover except for Union Jack bloomers and a strategically placed full-size Union Jack. There are more lovely photos of her inside.



The cover story-

I am the envy of every rock journalist. I get to interview the lovely, fresh-faced, Brit, Kim Black. Everyone here wanted this assignment, but I got it. I came, I saw, I conquered, baby. She hasn’t wanted to talk to the media until now, the combination of Rolling Stone, and the inevitability of her fame have led to her “coming out” into public life. She’s already done the photo shoot (now those are the REALLY lucky guys.) I start in an urban area in England; I’m leaned against a brick wall, waiting. Here she comes. Kim usually dresses like a colorblind schoolgirl. Today she’s just got a t-shirt and jeans, and no shoes. How trendily minimalist. She goes barefoot whenever possible. We go through the customary greetings. She’s a bit shy, having never been interviewed before. I ask her if there’s anywhere we can go where she’d feel really at ease. This leads us to her studio apartment. It is just one large room, with a back overlook, and a bathroom not much larger than a telephone booth. The closest thing to a kitchen is a microwave sitting in the back corner. I see of variety of Inquisition era torture devices in the other corner; that’s how she keeps that stomach so perfect, “out of boredom” in her words. The place is a mess, she admits that her commitment to sanitation is lacking. The bed probably hasn’t been made since she moved in. There are stacks and stacks of CD’s and Vinyl up against the wall. The complete discography’s of every abrasive, guitar driven British New Wave band known to man are here before me. The other usual suspects are here, Old-school punk (Kim has a framed photo of Sid Vicious up on her wall), mildly cheesy 70’s jazz/funk rock, plus lots of Miles Davis for a bit of sophistication. Plus some 50’s representation from Chuck Berry and Little Richard. She’s got the traditional British favorites, Beatles, Blur, Stones, and Stone Roses. Plus more alternative offerings from Radiohead and Arcade Fire, and various extreme punk bands. She might own every release from every act to have ever been labeled “riot grrl”. There are poppier discs hidden in there too, Paramore, Christina Aguilera, even The Carpenters, who have become the first band since The Beach Boys (who she also loves) to become so un-hip that it’s hip to like them. Girl can pick up a trend. She should be a music critic. I might’ve pulled a knife, and jacked half of this stuff (sans the Riot Grrl crap, and I can really do without the O-Jays, but you get the point) but then what would the poor girl do with her life? We talked about her specific idols; she lists Beth Gibbons from Portishead, Karen O, and Debbie Harry. Especially Debbie Harry. She wouldn’t just want to be her for a day, no, maybe a year, or the rest of her natural life. She’s always loved the bass more than anything in music. So if she shows up at your gig, just know for once it’s not going to be the guitarist who gets the hot chick. We talked about bass at length; she expressed her admiration for the skills of Dave Allen from Gang of Four, John Paul Jones, Kim Gordon, Flee, Paul McCartney, and various Public Image Ltd. bassists. Her floor is littered with more than just albums. I see objects so diverse that I wondered if she was schizophrenic or had a roommate I didn’t know about. In one pile I see a copy of Wuthering Heights, a lacy thong, and what, after a double take, looked like a bong. That relationship could prove troublesome. John York has declared that he will kick anyone out of The Band who uses hard drugs, given his own bad bout with Heroine as a teenager. Nonetheless, we don’t know what she’s doing, so the gossip section will now end. We finally head out to the back balcony. She has a small hot tub installed, which is only for “special guests”. Apparently, Kim doesn’t think I’m special. We talked about her photo shoot. I asked if she was worried about any unclean thoughts it might trigger. “Not a bit” she says, in fact, she can’t think of anything better for 14 year old boys to do than wack off to her. “It keeps them off the streets” she says. She’s really relieved that the new album is doing well commercially, because had it flopped, “John was going to make me tell people I was bi.” She laughs. We move on to what she thinks of other artists. We all know how women can be so catty. So, yeah, this is more gossip.

What does she actually think of Catharsis?

“Actually, I don’t think of Catharsis” she says.

John York’s “friend” Amy Meyer?

“I don’t know why she didn’t want to date him. He’s brilliant and his glasses are so cute. He’s got a slightly over-developed sense of self, but you can get that fixed, right?”

John’s other “friend” Cassie “bitch” Summers?

“I fucking HATE Cassie. She’s the worst. John’s only nice to her because he thinks if he gets in her pants it’ll be some superhuman sexual experience. I bet she’s a BIG FLOP. All talk and no game.”
Glamazon?

“Her ax is cool.” She has nothing more to say.

Stephanie Fierce?

Apparently, Kim used to think she was okay, but Steph wasn’t nice to her one time and she’s still sulking. Oh well.

And so our interview ended. I was pleased with myself. I managed to get some “dirt” and not just throw softballs all day. Sure I was easy on her, but if you were there, you’d of been cleaning up her apartment for her in between giving her foot massages. She’s got that soft, oh-so-upper-middle class British accent. The look she’s always got in her eye, plus the freckles always make it seem like she’s coming up with something naughty to do. Even though the famous tummy was covered, I still struggled to make eye contact; her butt looked positively perfect in those jeans. She might actually be perfect. If only she’d clean up more. Or write some of her band’s songs, but that’s a discussion for another interview.

Isabel: I think you are very cool Kim :)

OOC: Lol funny. Love how she had nothing more to say about Glamazon.

The song, Where Do We Go From Here will be released as the second single from The Band's Second Album. It's B-sides will include a studio and live cover of The Beatles' I Am the Walrus. It is played in a punk rock style, and concludes in an affects heavy solo from John York, backed by many of the same samples from the original. Kim Black's vocals are positively ferocious. Strings briefly enter on the studio version.

A big-budget music video for Where Do We Go From Here will be produced. A desription should be posted in a few days. A live video of I Am the Walrus will be posted to The Band's vevo channel, and sent to music stations as well.

Where Do We Go From Here is becomign a bigger hit. It has become a mild crossover hit in the US, reaching the top 30 in the pop charts. It is also recieving play on BBC 1. This can be attributed to the success of its music video. Coming off this success, The Band is going to play on the American series "Let's Find Another Pop Star" sometime this week. Be on the lookout for an account on this site

OOC: That was one of the funniest RPs i've ever read xD haha, i loved it!

Damion Holmes: AAAHHH!!! I LOVE YOU GUYS!!! JOHN I LOVE YOU, THE BAND, YOU ARE AWESOME!!

Damion: I love all of you Kim. Don't tell the others - but you are what makes you guys' music so awesome!

Kim-I was just kidding. I was operating under the assumtion that you loved me.




Edmund-Our episode of "Let's Find Another Pop Star" was for mature audiences, I'm afraid. I'm sure John is sorry if he hurt your little ears or something.

Edited by user 15 June 2011 06:42:12(UTC)  | Reason: Not specified