The (International) Noise Conspiracy - The Cross of My Calling

This is the fourth and final record by the band and the second that they recorded with producer Rick Rubin, who does consistently get a great sound. Here they are much poppier than their previous releases (although they always had a pop element), and, as usual, they also stretch out into bits'n'pieces of other styles.

This is especially apparent in the opening cut, a highly psychedelic instrumental simply titled "Intro" that flows into the power-pop of "The Assassination of Myself" - certainly not the usual power-pop subject matter, but a great, catchy tune with some fine guitar work and almost Who-like drumming! Damned if they don't almost go into heavy bubble gum territory for "Dustbins of History" - driving rhythms reminiscent of "Mony Mony", swirling keys, jangly guitars and plenty of melodies. "Arm Yourself" has a bit of their old a-rhythmic, funky tempos, but still retains lots of melody, energy, hep guitars, cool vocals and a wild, old school organ solo. Some more sorta-kinda-odd time signatures in "Hiroshima Mon Amour", but an insanely sing-along chorus and a rare harmonica break! A ballad of sorts in "Boredom of Safety" with some neat slide work for coloring and an expert use of dynamics and a superb guitar lead, along with soulful vocals, followed by "Child of God", a powerful, minor-key, mid-tempo tune with a neat, 70's-styled, electric piano instrumental break - definitely bringing in some new sounds here - that builds in intensity to a wild conclusion.

Back with "Interlude", a funky, groovin', keyboard-led instrumental and then back to the work at hand with "I Am the Dynamite", a mid-tempo rock'n'soul stomper with hip call'n'answer vocals. Fuzz bass opens the tough-sounding, Bo Diddley beat of "Washington Bullets", there's some white-boy-soul, (I)NC style, complete with a percussion break and "whoo whoo's" in "Satan Made the Deal", "Storm the Gates of Beverly Hills" (love the title and sentiment!) is as much of a straight-ahead rock'n'roller as these cats do (nice "hey, hey hey's" too), they get downright punkity in "Black September" (albeit with keys and a beautifully insane, noisy guitar break) and they close with the title track, a heartfelt, tortured ballad that builds in instrumentation and intensity.

In the last few years I've gone from not knowing much of anything about this band to being one of their biggest fans. I wish I had dug into them while they were playing around. Really great, original rock'n'roll/funk/punk/noise/coolness!