On Modern Vintage

Anyone who follows me on Twitter is aware that Sixx:AM released a new album, Modern Vintage, last week because I have been tweeting about it almost constantly. And it is also probably pretty clear to those people that I’m a fan of the album overall (and that I am exponentially excited about accompanying tour).

However, 140 characters is not a lot. And so, a full-length review seemed in order. 

(I got this image from Google, no one sue me)

I have been fan of Sixx:AM since approximately the moment that anyone could be. I really enjoyed both of their previous two albums, The Heroin Diaries and This Is Gonna Hurt–both soundtracks to books authored by the band’s bassist and my favorite person ever, Nikki Sixx–and I have always found them to be an extremely exciting and ambitious band. (“Life Is Beautiful” was the automatic-play song on my Myspace profile at one point in high school–that’s real love, my friends). 

So naturally, I was extremely excited when they announced they would be releasing their first stand-alone album–no book this time–of entirely new material this year. I was on edge waiting for an album title…then an album cover…a release date…and a first single and video. I soaked it all up.

Finally, late last Monday night, it was all finally here. Eleven songs of new material, inspired, the band said, by the glitter rock and disco songs of the 70’s that they grew up with–but with a perfect-for-2014 flair. “Modern vintage,” the best of both worlds.

As I mentioned, overall, I like the album. I think Sixx:AM definitely accomplished their goal of sonically bridging the past and the present. They weren’t afraid to take risks and, with a few exceptions, it worked for them. It was fun to see what Nikki, DJ, and James could come up with when they were just letting it go, with no book to lead their way.

My favorite tracks on the album are the ones that rock a little harder and where the 70’s influences are high. “Let’s Go” and “Give Me a Love” are good old-fashioned rock songs, heavy on the driving guitars and catchy choruses. “Gotta Get It Right,” the album’s first single, is so obviously Queen-inspired, in all the best ways. “Hyperventilate” is arguably the most Sixx:AM-sounding song, with it’s weird pauses, risky guitar techniques, and life-is-better-than-drugs lyrics. And “Miracle,” arguably the weirdest of my faves, is basically a disco song–unusual for a band like this, but it works well with James Michael’s amazing voice (see: the near falsetto in the beginning) and it’s fun to dance to.

For the most part, it’s the riskier choices the band made that I’m less down with, but I applaud them for the courage, nonetheless. The odd choice to cover The Cars’ “Drive” strangely works, because they took it in a synth-ier direction and, again, Michael’s voice is stellar. “Get Ya Some” has an almost Spanish influence that I didn’t dig on first listen, but that I’m liking more with every replay. “Before It’s Over,” my least favorite track, is folksy in a way that’s a little too hokey. The rest of the songs aren’t bad, but they aren’t amazing either–perfectly acceptable, if sometimes generic, rock songs that will be good radio fare, should they become singles. 

Overall, Modern Vintage is a good effort. I’m impressed that the trio wasn’t afraid to do what they wanted (even if it didn’t always work) and I’m glad the album is doing so well critically–it’s nice that it has songs that both fans that loved the first two albums can like and ones for those who were less about the band’s darker initial direction. 

I was lucky enough to see Sixx:AM when they toured on Mötley Crüe’s first Crüefest way  back in 2008 and they were great back then. Now, with a better footing as a band and three albums worth of material rather than one, I can only imagine how their live show will have improved. I can’t wait until April 17th, when I’ll be making the trek to Dallas to see it for myself.