Label:Universal Music Release date: March 22. Andrew W.K. website After a very calm, piano-laden introspective -gasp!-beginning , Andrew W.K. (real name: unknown, but who cares?) goes into his old tricks, which are Wagnerian Rock (more in the style of a lean Meat Loaf) and PARTY HARD. It has been mentioned somewhere before, regarding this third “lost” album and it bears repeating: Andrew W.K.'s vocal delivery sounds different, even harmonious. It fits the Jim Steinman style of the lyrics, which sound like the original cast recording of a lost musical. 'You will remember tonight' goes out on an spectacular solo (which includes videogame samples of 'Defender') that could've well be a b-side of Whistle down the wind. The usual shenanigans are here: heavy guitars (although the wall of sound is less saturated), piano and lyrics about seedy partying, but again, the changes in delivery (including the bombastic ‘Las Vegas, Nevada') make it a wider experience from what you'd expect from the fella and his cohorts. Who cares if this guy might be a fake persona? Daft Punk made a career out of that and nobody cries foul. But enough debating, this is a proper rock album. You can hear some of Andrew WK classical training in the song structures, most of them, like stated before, sounding not unlike anything you might find in a Jim Steinman musical, with the insane rhythm of para para (a Japanese genre of electronic music with synchronised dancing) music just added for extra entertainment. This release is a double disc affair, with the second album Mothers of Mankind, acting as a collection of b-sides encompassing 10 years. As it is a series of unreleased tracks, its a little give and take. There are a few changes of styles, including some reggae; piano instrumentals and the odd experiment that makes you remember why sometimes “b-sides and rarities” don't make the cut. Still, some gems hidden here, like the beautiful, organ-led 'Who knows?' and the instant anthem nature of 'Coming bad' (I could swear it could send you back to an arena in the 80s). Although being a double album makes it a daunting prospect, it would be a good starting point for non-fans of Andrew W.K., as there's an inside to his musical range, instead of the over-compressed, wall of noise from his first album. There's some great piano playing here (again, showing some of his classical musical training). Close Calls With Brick Walls is untouchable, is probably the best Andrew W.K. album has and it's about time it's available. Mothers of Mankind is a little hit and miss, but it's understandable due to its nature. One question remains, though: Who is John and why does he deserve getting slammed against a brick wall? Did he call Andrew W.K. Andy? And will these questions get me slammed too? Photobucket