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Stereophonics
'This is an excellent, modern rock record. Dense, intelligent and challenging' - NME

'LSVO burns with an unexpected sense of mission' - The Times

'...a newfound sense of groove, a dark, sleazy edge that shows of a whole new side to the 'phonics' - Kerrang

'...the energy of their earliest recordings in back. The riffs are back. The vocals have snap and bite. It starts with menace and malevolence, Stereophonics have never sounded so brooding, mysterious and sexy' - Q

Kelly Jones vocals , guitars & piano
Richard Jones bass guitars
Javier Weyler the drums
Release date: March 14th 2005

It might be their fifth album, but Stereophonics view Language. Sex. Violence. Other? with the same excitement as a debut record. It is also the band's fourth No. 1 album in the UK, achieving platinum status just one week after it's release. The album also gave the band their first number one single, Dakota, which topped both the singles chart and the download chart and was the longest running number one on itunes UK.

It's a little under two years since You Gotta Go There To Come Back Stereophonics' third consecutive Number One album and the band have been busy on a world tour during which they wrote and demoed most of the material for the new album. There's a new member Javier Weyler replaces Stuart Cable on drums new working practices, and, a new, super-affirmative attitude. 'This band is so positive right now,' says Kelly. 'We've made the most exciting record we possibly could.'

The daily papers obviously agree with him. The Observer said 'this record moves with rekindled vigour. A critical and commercial success', whilst the Guardian commented 'What went right?'. The Telegraph thought it was 'at once classic and contemporary' and the Times thought that 'it burns with an unexpected sense of mission'. The Sunday Times thought the band had '...clearly hit the ground running...making this vibrant album'. The Star said '...brooding, harder edged and vibrant, simply superb'.

The music press were equally enthralled, with NME commenting 'This is an excellent, modern rock record. Dense, intelligent and challenging', and Kerrang giving the album 4/5 saying '...a newfound sense of groove, a dark, sleazy edge that shows off a whole new side the 'Phonics'.
Mojo thought it a '....volley of fierce minimalistic but defiantly pop-sensible hard rock' whilst Q thought 'the energy of their earliest recordings in back. The riffs are back. The vocals have snap and bite. It starts with menace and malevolence, Stereophonics have never sounded so brooding, mysterious and sexy'. Classic Rock gave the album 8/10 saying ' ...a magnificently direct album, packed with full-throttle rock songs'. Esquire felt that '...the Welsh trio turn out an epic and highly
focused fifth album that should knock your socks off'.

Language. Sex. Violence. Other? IS a magnificent album. Eleven tracks. All killer, no filler. The band agreed they wanted to make something that was very different from their last album. Something that captured the listener straight away, but something that also had a lot of depth.
It's a record that's already been greeted with surprise by most. The band happily admit that the common reaction has been amused bafflement, followed by delight. It's the Stereophonics, alright. Just maybe not as you knew them.

The band knew exactly the kind of album they wanted to make before they went into the studio. This would be a very 'up' record. It would be very concise. It would play like the best set-list the band could put together. The song titles would all be one word. It would have the energy of their first album, 1997's Word Gets Around, but it would have influences from a variety of artists Stereophonics have appreciated along their way to becoming one of Britain's most successful rock bands. It would be a very modern record.

The songs for this album were mostly written during the You Gotta Go There To Come Back World Tour and demoed in London in March 04. Javier, who was then still a studio assistant played on some of those demos with kelly, triggering off the thought he could be ideal for the band.

'Javier was a guy the band have known and loved for over three years. He's got a great attitude and energy to life. Playing music together felt very natural. So when we went to make the album we called him up.' kelly

Language. Sex. Violence. Other?, then. The title comes from the classification code used on the back of DVDs, and Kelly wondering if it meant that everything could be broken down into those four categories or, as he says, 'is there something more?'

It's conceived to be one album where you won't have to employ judicial use of your CD player's 'skip' button. The intention was to recall the days of the classic vinyl album, where you'd play one side, listen to all the songs, and were often inspired to put the needle back to the start of the record and listen to them all over again. These days, how often do bands fill up the maximum allotted 80 minutes on a CD with flab and noodle, just because they can?

And so... lead-off single 'Dakota' is up there with the very best Stereophonics songs. Devil is a masterpiece with 'verses dripping of leering suggestion' and an exploding chorus. 'Superman' the lead off track kicks it off with 'menace and malevolence', the first song Kelly wrote for the LP, leading him to think: 'Oh f---. That's great. Now I've got to write another ten of them!' Superman will be the second single to be taken from the album, and will be released in June 05.

Language. Sex. Violence. Other? comes with special artwork by renowned graphic illustrator Graham Rounthwaite, and marks another first for the band.

Which brings us back to the original point.

'The band have made the most exciting album they possibly could' says Kelly 'where we can go from here... this is just the beginning'

--- from the official Stereophonics website

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Stereophonics
Language. Sex. Violence. Other?
2005

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