Album Reviews

Rachael Cantu - Far and Wide

2009-12-11T01:56:00.000-08:00

Written By: Heather Wysocki

Label: Self-Released - Rating:

Rachael Cantu has toured with BB King, sung with Tegan Quin of Tegan and Sara, and had music featured on prime-time television.
The girl is what Winston Churchill would call a riddle wrapped in a mystery, and what those of us from Boston, where Cantu started gaining musical cred, would call a wicked hot ticket.

It’s safe to call “Far and Wide,” the second studio album from Cantu, a hot ticket too, full of a myriad influences and emotions that range from cheeky to cheerless in one four-line bridge.
And though she looks more apt to open for Pat Benatar (she’s done that, too), Cantu will indeed begin touring with BB King in January. As odd as that sounds – a skinny white girl sharing the stage with the legendary bluesman – Cantu has the chops, plus the sexy Nina Simone growl and slight bird-flipping rebellion that made blues so subversive during its heyday.

With subversive meaning ‘not Britney Spears’ in modern music, this girl’s definitely a rebel. There’s no glitter here, no short skirts or come-hither lyrics, and a definite dearth of auto-tuning, but the lack of cellophane shininess and slick production values are actually refreshing.
Cantu’s first song, “Devil’s Thunder,” is an interesting choice, melancholy and slow, a musing on life and all its pitfalls, but maybe not the perfect song to represent the rest of the album, considering its upbeat-but-probing feel.

A self-taught guitarist from Orange County (note the faint hints of optimism), Cantu spent quite a bit of time in Boston, too (note the melancholy that anybody within 100 miles of Boylston Street starts to feel around Nov. 1), a mix perfectly represented on happy-when-it’s-raining songs “Eaten Alive” and “Thieves and Their Hands.”

Clearly, though there’s a definite darkness to all her love songs, Cantu has had a few happy moments in her life, as well. “Make a Name for Me and You” is a violin-backed masterpiece, the slight country twang not a drawback but just another layer of complexity. That one’s matched equally by “Genius and a Wizard,” an acquiescent love song with just-have-to-smile lines like “I’m a genius and a wizard/ but I ain’t got nothing/ on ya, honey.”

Really, it’s just so damn pretty, which is probably why producers chose to feature it in “Private Practice,” the “Grey’s Anatomy” spin-off known, like its sexier older sibling, for whispery-voiced, guitar-driven ballads set to scenes of lovemaking on gurneys and long gazes during coffee breaks.

In other words, the music is slightly clichéd, with just enough Emily Dickenson-esque playfulness to keep it too kitschy. “Far and Wide” really is the perfect accompaniment for the sort of TV coeds watch while devouring Ben & Jerry’s and espousing on the pros and cons of dating the quarterback.

Cantu’s music is universal enough for almost any girl to identify with – frankly, it’s difficult to think of too many of those swooned-over quarterbacks listening to this pop-lite confection – but quirky enough to attract the girls who grew up wanting to be Lisa Loeb.

What comes through most clearly, on both successful efforts like “We’re the Rebels” and not-so-standout “Blue House Baby,” is Cantu’s personality, which she makes no bones about. She’s funny like Tina Fey (a fellow sexy geek) but introspective like Loeb and other rah-rah female singer-songwriters Tegan and Sara, Bjork and Sarah McLachlan.

The perfect mix of sweet and standoffish, Cantu is a breath of fresh O.C. air in a land of Lady Gaga showmanship and Taylor Swift sticky-sweet. While it’s been done before, the earnest “Far and Wide” is honestly good.

Like Rachael Cantu? Try: Tegan and Sara, The Pretenders, PJ Harvey

The Drums – Summertime!

2009-12-11T01:49:00.000-08:00

Written By: Justin Rands

Label: Holiday Records - Rating:

Are any of you still friends with the same people when you were in summer camp? I can’t say that I am. Too much time, too much moving, too much life has gotten in the way. Jonathan Pierce and Jacob Graham have done just that though. All while keep a their music dreams intact along the way.

After making and exhausting certain bands along the years (Goat Explosion, Elkland, Horse Shoes) the boys decided to start ‘The Drums’ based solely on synthesizers and guitars (two instruments they didn’t know how to play) which eventually led to their newly underground success (NME claims them to be the best band to come out of NYC in the past 10 years). Hyped enough for you? Good.

Putting their brains together Jonathan and Jacob learned as much as possible and constructed an six song album which can is described as a summery glitz post punk pop. Emphasis on Pop. A bit strange for an album this tame and innocent to be released in the latter part of this oh so happy year, but I’m sure there’s a reason for it. Maybe that’s where the punk fits in, I’m not sure.

The first song ‘Saddest Summer’ starts out fast. Hand claps, what! Sweet bass line, nice! “If you’ve got a boyfriend, well go kiss him, if you got a girlfriend, well go kiss her, cause she needs it, she wants it, yeah, he needs it, yeah, he’s gotta have it.” they yell manically as a fast guitar lick kicks in behind them. Super pop indeed. This track is filled with it and moves at a schizophrenic light speed.

Next song ‘Lets go surfing’ well, is about, going surfing. In NYC? Sure! The bass line on this track is pretty infectious but grasping onto the innocent ideals of the 50’s isn’t something that really makes me want to sing along with this whole thing. It’s all about what you like I suppose.

‘Make you mine’ carries the same message in the lyrics. Carried along with more hand claps Jonathan sings, “And I don’t know what to do, when I see you holding someone elses hand, and I don’t know what to say, I always sound so stupid. How am I gonna make you mine? How am I gonna make you mine?” Yes. We’ve all been there. It’s true.

This album isn’t going to excite the alternative crowd or hard punkers (it might, who knows) but will relate to the teenagers and early twenty crowd who might be feeling a lot of what The Drums talk about. You should listen to a few tracks either way, might be the type of innocence you’ve forgotten about.

Like The Drums? Check Out: Surfer Blood, The Pain of Being Pure at Heart, Fool’s Gold

LANDy - Eros And Omissions

2009-12-10T22:04:00.000-08:00

Written By: Shaun McNally

Label: Nine Yards - Rating:

Indifference for Entirety - A review of Landy’s latest album ‘Eros and Omissions’

It’s a quiet night at home in downtown Los Angles. I’m at home sipping vino, when I slip into iTunes and peruse my options. Although I’m not sick of the thousands of choices right before me, I seem to be. I try something new. Double clicking on the first track of Landy’s latest ‘Eros and Omissions’ I walk over to the kitchen counter , in part of my eating-out-of-boredom ritual. The first track, ‘Just a Thought’ has started. It being the first track, is a prelude to the album, and an honest one. The vocals are a whiney, melancholic chant… “Love…….there is no love,” over and over, and this is how the album goes.

I stop ‘Just a Thought’ and listen to it again, it reminds me of something I can’t quite discern, maybe the children chanting gives me an essence of ‘The Wall,’ yet less eerie. I have stopped looking for food, I’m not hungry, mostly because I am preoccupied waiting for something to happen. The steady beat of the music almost like a heart ticking has left me expecting something…anything, to happen. The second track ‘Your Words Not Mine’ is ordered cacophony.It has the feeling of the first track, which after listening to the whole album has me in a realization that the every song has this “feeling.”

Maybe it isn’t a “feeling” but more of a “quirk”, either way every track after this follows with same “quirk” as an ingredient. Each song is the perfect addition to a soundtrack for a Wes Andersen movie, where the main character, in a melancholic state has a realization, good or bad. It doesn’t matter what the realization is.

The movie soundtrack feel ,may have a correlation considering the group fell into the hands of actor/director Adam Goldberg, known for roles in “Saving Private Ryan,” “The Hebrew Hammer,” and “ 2 Days in Paris.” According to LANDy’s Bio Letter , Goldberg began mixing tapes as early as 1990, then, his largest audience was his family. In 2002 he met Emma Kathan of The Black Pine, and as the bio says he became the fifth member of the band…or started a new one. Next he met Stephen Drozd of The Flaming Lips. Drozd composed music for 2005’s “I Love Your Work,” directed by Goldberg, and that’s how Landy began, somewhere between 2002 and 2005.

As I progress through album, I await a climax that never fully arrives. It partially arrives with the song “Day for Night.” This song is the most fun on the album, with of being at a carnival, you almost can dive in to it. I listen over the next few days, and I find myself growing detached and even alienated. There is no getting lost in this album, it is the opposite, the listener becomes more concoiously aware of every instrument and vocal, and it’s placement in the song. I find myself wondering if I can organize the music in my brain somehow. Each song has a beat that resonates like a countdown or the ticking of a clock, leaving the listener in a state of suspense that is never fulfilled.

‘Eros and Omissions’ is a thoughtful attempt at what the band calls “apology music”, but with little or no variation from song to song, it is difficult to listen to the album as whole. Maybe a mood of indifference would call for a session with the album in its entirety. Otherwise it’s safe to say that any three songs at random would accomplish what listening to the album would.

Like LANDy? Check out: Earlimart, Bill Callahan, Eels

Hurricane Bells - Tonight is the Ghost

2009-12-10T14:56:00.000-08:00

Heather Wysocki

Label: Vagrant - Rating: 4 Guns

Buy On:

This is music to sink your teeth into. Music to fall in love to. Music to…
Alright, let’s just get this out of the way: a song by Hurricane Bells was featured on the hotly anticipated Twilight: New Moon soundtrack and in the very first scene of the obsession-inducing flick.

The only band on the Twilight: New Moon soundtrack not by indie wonders like Death Cab for Cutie or Muse, “Monsters” is a breathy, synthy masterpiece, perfect for vamp lover Bella’s melancholy drives around Forks, Washington.

But sorry: that song’s conspicuously absent from “Tonight is the Ghost,” which is unfortunate. However, despite what might be a pretty bad marketing choice, Hurricane Bells’ debut disc isn’t lacking a damn thing (sorry, Twi-hards).

Hurricane Bells is actually a one-man wonder band, made up of former Longwave singer/guitarist Steve Schiltz and his laptop, but “Tonight” features nuances and emotions galore, indicative of the musician’s time in a full-size band as well as a hint of excitement at getting to express emotions that might get knocked down during a traditional recording session.
“I Can’t Remember” is a freaky standout, with Flaming Lips-esque ‘la la la’ background notes and a gorgeous, Beck-ish vocal focus. Cheeky, but in a way that doesn’t irritate. And beautiful, too, in that unclear, blink-and-you’ll-miss-it way that forests and rainstorms and ocean waves have mastered.

This mix of pretty and sad continues throughout “Tonight,” with Schiltz masterfully combining his rich high-then-low voice with the stuff of ProTools dreams, his choice of guitar and keyboard sounds tricking the listener into thinking there really is a five-piece band behind the guy. (Don’t miss the all-instrumental “Tenterhooks,” which, while featuring an entirely different sound, harkens back to the best Led Zeppelin live tracks, when Robert Plant stepped away from the mic for a bit and let the rest of the instruments do the singing).

Jangling like the Strokes and moping expertly enough to make Morrissey jealous – check out “Darkness is So Deep” for the ultimate love child of the two – Schiltz brings a certain adultness to indie rock: there’s a Sartre-copping feeling that life sucks, but also the Toni Morrison-type conviction that every false step makes the next one stronger and more assured.

Sure, there’s an undercurrent of sadness, of never having gotten over The One or – hey, this is indie rock – of not getting to H&M in time for the Sonia Rykiel collection, but luckily Schiltz is aware that eventually, it’s time to draw the curtains and get over it already.

Which is exactly what he does in “Freezing Rain,” a song with a title that harkens back to that former emotional downturn but sounds, instead, like the perfect thing for John Wayne to listen to while galloping around Hawaii, a mix of high-steppin’ beats and what sounds, interestingly, like a ukulele.

At once as deep as a Cullen and as superficial as the kids who follow their story, it’s no wonder “Tonight is the Ghost” landed on such a high-profile soundtrack. Though, unlike the actual film it’s featured in, Hurricane Bells actually deserves the attention.

Like Hurricane Bells? Try: Bright Eyes, The Smiths, The Strokes

Hollands – Mother EP

2009-12-09T21:26:00.000-08:00

Written By: Justin Rands

Label: Self-Released - Rating:

Why is it most of the good music keeps coming from New York? Do we automatically take groups from there more seriously because of all the history that’s come out of that town, or are they so progressive when it comes to music that we can’t help but claim new bands ‘the next best thing?'

I’m not sure, but Hollands and their new EP ‘Mother,’ have caught my attention. They’re new EP combines elements of folk, punk, and rock flawlessly but are still experimental enough to catch your ear in the six-song album that spans at a comfortable 26 minutes long.

Virtually unknown until a couple months ago, besides the underground fans of course, Hollands (John-Paul Norpoth and girlfriend violinist Jannina Barefield), have been playing non stop before and after their last EP, ‘Faces’ which was released in the latter part of last year. The two were actually in separate bands before they came together. (Jannina had been listening to John’s band for a while so the transition was pretty easy for her).

Most of the songs written on the new album are composed in John’s hometown of Stony Brook, New York, where he took a break from working construction in NY with his father to regain his focus on what he was doing with his life/music. At home he went on to complete the rough draft of ‘Mother’ with nothing more than a baby grand piano, a laptop, and a lot of mics.

The album opens with their main single “Air Conditioned Heart”, a poppy indie rockers dream. It’s packed with everything. What about a bit of floating twinkling in the background followed by a power chord and a nice rhythm guitar? Yup. It’s there. Sexual Lyrics? “Just suck my drentched lips, now call me a son of a bitch”, John moans. Add some pretty catchy drums, eerie effects, a mini guitar solo at the end of the song, and you’ve got the perfect hit single. Definitely the best track on the EP.

John’s baby piano comes into play on the next track, “Cheerio!”. A slow balled and his singing opens up the track. Guitar, a slow bass, and drums shortly follow hand in hand with each other and leads the rest of the track until its dreamlike end.

‘Lungs of Steel’ is another favorite of mine. Anytime you have a set of disco drums leading the track in the background with layered lo-fi guitars, and violin you’ll be sure to melt my heart, it works every time. Ask anyone who knows me.

I recommend this album to anyone. It’s a really put together nicely and is short enough to listen to over and over again without really getting sick of it. Maybe one of the most underrated EP’s of the year? Might be.

Like Hollands? Check out: Girls in Trouble, Inner Banks

Painkiller Hotel - Black Roses

2009-12-08T21:16:00.000-08:00

Written By: Emily Cahill

Label: Rock Ridge - Rating:

The thing that is instantly exciting about Painkiller Hotel’s album Black Roses is the name. You like it, don’t you? It’s a heck of an image…where would you ever seen black roses? Maybe a funeral? So…is this album about a funeral? No, not literally anyway.

The thing that is instantly saddening about Painkiller Hotel’s album Black Roses is that it’s their debut, so there isn’t anymore of their music to buy just yet. Totally disappointing.

These guys, four of them in fact, from Illinois, are masters of imagery. Their lyrics, like their album name and like their band name (what is a Painkiller Hotel? Can I book a room for the weekend?) paint such a picture that you cannot help but get sucked into their world. Some is just funny and makes you laugh a little during the otherwise serious music such as “seeing you is intoxicating, yet I’m drinking alone,” in “How Was I Supposed To Know.” Those black roses from the title appear in the song “All I Ever Wanted.” It talks about a “soft-spoken” girl “digging a shallow grave/black roses on the stone” and things being “the end of the beginning.” The details of these lyrics are so effective.

Soft-spoken is so specific and full of intent—the easy choice would have been to call her quiet, but when she is referred to as “soft-spoken” a whole new, delicate connotation is applied.” The grave and black roses are disturbing in a way, but their macabre image brings about the idea of endings and changed, only enforced by the line “the end of the beginning.” This, of course, is a quirked take on the common phrase “the beginning of the end.” This thoughtful reversal of words adds great depth to the song and the idea of transition. “Brightest Flame” plays with the idea that it “seems like the brightest flame always fades so fast.” This idea is reiterated in “So Far Away” when it says “the brightest star is the most difficult to reach.” These images of the brightest things, the very best things allow the listener to follow along with the idea that the most intense of feelings are brief and hard to hold on to. It’s an interesting idea, romantic in it’s unfortunate existence, and expressed to very well by the images inspired by the lyrics.

The sound of Painkiller Hotel is great in that it is consistent throughout all the songs, but that each song is still so unique you can tell when the album shifts from one track to the next. Especially cool is the amazingly clear sound of each guitar string being played in “Lead Me On.” It’s like you’re sitting on the microphone. The rhythm is great all the way through and the music supports the vocals in a way that shows them off. The pace can seem slow in parts, but it’s effective. The songs would lose their meaning if sung any faster. Painkiller Hotel seems to have taken on many influences to create their own sound. In “How Was I Supposed To Know” the sound is reminiscent of some ‘90’s music that Ross and Rachel probably danced to in one of the episodes of Friends. Then in “You Don’t Know What You’re Missing” the vocals seem to slip into a blues-esque sound, immediately followed by a Middle Eastern intro in “Becoming Someone Else.” Painkiller Hotel proves that they have talent and depth by playing around with the strength of their sound. Songs like “You Don’t Know What You’re Missing,” “Becoming Someone Else,” and “Changes” have a stronger sound that mixes well with the softer sounds surrounding them.

The vocals are really the jewel of Painkiller Hotel. They are uniquely deep and gritty. The lead vocalist croons more than sings and it gives a whole different feel to this music when you compare it to other indie rock. In “Weakness” there is a whispery quality to the vocals that brings a whole sense of meaning to the song that a guitar or even great lyrics could not bring, no matter how hard they tried.

When writing these reviews I really try to keep my personal opinions out of it and give an unbiased critique of the bands I’m giving. Today, I am putting my personal opinion in. I am putting it in and saying, men of Painkiller Hotel, marry me! Marry me so I can wake up to your awesome sound everyday. No? Is that too crazy? Ok, maybe. Well, how about this: since I just wrote you a great review, how about you write me a great song? That way I can program it into my nifty musical alarm clock and then actually wake up to your awesome sound everyday. How about it?

Like Painkiller Hotel? Check out: Shawn Mullins, Better Than Ezra

RED - Innocence & Instinct

2009-12-08T21:09:00.000-08:00

Written By: Ben Millikan

Label: Essential/Sony - Rating:

After listening to Red’s new album Innocence & Instinct, it has become more apparent to me that symphonic rock continues to find its way into the work of more and more prominent hard rock acts. This is somewhat amusing considering that it wasn’t too long ago that Metallica received some scathing criticism from a section of its diehard fan base for making a live record with the San Francisco Symphony Orchestra. The mixture of classical music with hard rock/heavy metal isn’t that surprising (where do you think the diminished fifth came from?), but like all musical trends that get abused, the recent excessiveness of string patches in contemporary rock has become cliche.

Unfortunately, Red, a hardcore quartet from Nashville, Tennessee, relies on these synthetic strings far too often in their second full-length. Although the patches are complimentary to Red’s style, they tend to sound generic and repetitive in several songs. But then again, as guitarist Jasen Rauch explains, maybe the band’s excessive use of symphonic melodies behind walls of distorted guitars is part of the duality theme of the record: “Innocence & Instinct is about the duality of man. The album examines the fight between our childlike innocence and the instinctive side that makes us do things we shouldn’t.”

Despite the overuse of strings, Innocence & Instinct picks up right where the band’s Grammy-nominated album (End of Silence) left off with the opener “Fight Inside.” The song builds from a lush piano line into a head-banging, guitar driven breakdown. The song is really the epitome of the album with effortless transitions between melodic verses and aggressive, over-driven choruses. Once again, keeping with the theme of duality, RED vocalist Michael Barnes not only combines searing screams with the soothing melodies, but his schizophrenic lyrics portray an internal struggle that was inspired in part by the imagery of Dante’s Inferno. On “Death Of Me,” a frantic, bass-drenched jam, Barnes addresses the ambivalence of his own personal spiritual struggle: “You tear me down and then you pick me up / You take it all and still it’s not enough.”

Much like fellow Christian rockers Pillar, RED’s personal struggles are sincere and come across with plenty of raw emotion. Barnes’ self-narratives are empathetic and real; with a powerful story behind each song. In short, Innocence & Instinct is a blend of full-fledge rock and decent orchestration. A solid album, but next time around in the studio they should ease up a bit on the strings.

Like RED? Check out: Pillar, Three Days Grace

The Main Drag - You Are Underwater

2009-12-08T20:46:00.000-08:00

Written By: Joe Cardenas

Label: RPL Audio - Rating:

The Main Drag releases a new album that is sure to satisfy your Indie-Pop/Rock cravings. If you're tired of all the hackneyed bands sounding the same then you're in luck because The Main Drag gives you a taste of orchestrated electronica too. Delicious synthesizers and trippy drums beats plague the album into a sound that can be obscure at times but catchy all the same!

The album opens strongly with a catchy guitar riff leading into a verse that is just exploding with lots of energy. The track eventually mellows out into a smooth chorus, the use of violin and strings is very calming and conjures images of psychedelic trips to space. You can just tell from the start that this band has a very Indie sound but shouldn't deter anyone into thinking that it's just a vague Indie album.

The next song 'Tricky Girl' is very different compared to the first track. The tone is much more electronic, the intro begins with an obscure synthesizer and follows with a painfully obvious drum machine. The emphasis of the synthesizer makes the sound a bit corny(especially with the la-la-la-la's) but the song is catchy none the less and perfect for whenever you're feeling silly. It's a very radio-friendly song but it felt like they were trying too hard to make sure it was catchy enough to hook listeners.

I think that the contrast between pop-rock and electronica is very well done here. The first two tracks really demonstrate the diversity of the sounds rendered in the album. And having them presented back to back was interesting. It was a bit unmoving but that's what I liked about it. The shift made me feel uncomfortable in the same way a piece of art does, a feat that is not easily accomplished.

The track 'Megatron' is a nice mix of rock and jazzy interludes. The part in the middle just reminds me of the ending to Gorillaz's blockbuster album Demon Days, but what makes it different is their transition into an upbeat pop-rock sound. The contrast of styles and genres are concurrent throughout the whole album and keeps the listener interested.

Hearing the album, you'll notice that the each instrument is very strong. The bass is deep, the drums are fantastic, guitars are catchy and the vocals enchanting. The lyrics are kind of hallow but they play their part in making the songs unique and catchy.

Unfortunately an issue has reappeared; like my last review I critiqued the length of an album because the ending felt abrupt. The same is somewhat true here although you get a lot substance for a short time, the album(excluding the bonus track which is a remixed song from their previous album) is only 26 minutes long. I felt like there could have been at least two or more songs but then again, i'm being nitpicky because it's hard to critique an album that is just all around good. So check it out! This is one album you will not regret listening to.

3.5 guns

Like The Main Drag? Check out: Modest Mouse, Bloc Party

Apse - Climb Up

2009-12-08T20:37:00.000-08:00

Written By: Lindsey Hecht

Label: ATP Recordings - Rating:

Doing this review opened up my life to a world of Apse … and angst, compassion, sadness, honesty, intensity, maturity, and growth. As a writer for album reviews, I hold to very high esteem the importance of investigating the artist before coming to a conclusion of the work. So, in reviewing Apse’s latest album ‘Climb Up,’ I took it upon myself to do a little research on the band.

Musically active since the beginning of the decade began, Apse has survived a multitude of evolutionary mutations in their continued path to compose. Primarily instrumental in their 2006’s ‘Spirits’ and subsequently followed by a revolving door of new/old band members, to heavy with a voice in their latest album and thus exploring new musical genres, Apse has managed to conquer the many facets that ultimately drive bands to fall apart.

A change in members and sound can often be a devastating blow to artistry, let alone a fan base – but Apse has burned down the house with their electrical fires, and given back to their community by building us a new home twice the size with extra room to breathe - and those extra breaths? We’re going to need them, because Apse has a way of capturing moods defined by their abstract nature, ultimately provoking thought of great depths.

However unique Apse may be, I hear a familiar undertone in each track on ‘Climb Up.’ The band is brooding and ominous throughout the majority of their songs, but each manages to shine the tiniest peep of light on something we’ve heard before. In ‘All Mine,’ the main focus lies less in the music itself and more so on the increasing tension that builds throughout. Then it ends, and you’re thrust into a quiet and subdued instrumental revelation; a trademark of Nine Inch Nails for years.

The ninth track ‘Lie’ holds out on leading by either vocals or instruments, as it is a combination of the two which makes this a reactive song. The musical arrangement is the constantly flowing lazy river guiding the track, but it’s the singing that harnesses us in the tube downstream. The stop-and-go feel, the serenity of fading vocals, the experimental sounds: all reminiscent of Portishead. Who do you hear in the tracks ?

Although Apse seems to draw inspiration from high and low, the mere fact that they are able to do it with such diversity is impressive. ‘Blown Doors’ and ‘3.1’have speedier rhythms than other songs on the album, and ‘Rook’ matches the pace with the addition of oddly placed electronica sound effects. ‘The Age’ has a slight party feel with ecstasy, sensations, and swaying - and ‘The Whip’ adds to that with a heavy and rhythmic bass line. Then there is the entirely instrumental track ‘Tropica,’ which seems rather out of place, but nonetheless invokes feeling.

So, do the research yourself. Listen to Apse, and tell me what you think!

Like Apse? Check Out: A Shoreline Dream, Deerhunter, Enon

Switchfoot - Hello Hurricane

2009-12-07T01:50:00.000-08:00

Written By: James Swigart

Label: Atlantic - Rating:

Hello Hurricane, Switchfoot's brilliant new album, is a tour dé force of Jon Foreman's sublime vocals and Drew Shirley's, Jerome Fontamillas's, and Foreman's superb guitars. Foreman sings throughout like a young, hungry Bono mixed with pieces of Ian Astbury and Morrissey. The mix of his vocals above the music is reminiscent of how the Smiths' albums were mixed. The great Mike Elizondo and Switchfoot marvelously produced Hello Hurricane.

Hello Hurricane, like U2's best work, is a fabulous mixture of fast guitar rock, nuanced mid-tempo tunes, and slower, softer songs. We were quite taken with this mixture of styles and how it kept us engaged. Quite impressive.

Jon Foreman, his brother and bassist Tim Foreman, and mates want to get us off to a rocking good time with the anthemic opener "Needle And Haystack Life." Guitar on this song overwhelms us in a pleasant way like being overwhelmed by a gaggle of swimsuit models; this kind of feeling is what we live for. Twin guitars and drums played with the power of Alex Van Halen shock us at the start of the raver "Mess of Me." Guitar effects are short and modern. The time change brings to mind Metallica at its best.

"Your Love Is A Song" is a gorgeous mid-tempo tune played with both the force of Led Zeppelin and the light touch of U2 and R.E.M. Foreman's voice is transcendent and consistent. Chiming and driving guitar caress us and Foreman's bass works seamlessly with Chad Butler's drums to form a tight, forceful rhythm section. Foreman's bass is heard most strongly on the riveting title track.

"The Sound (John M. Perkins' Blues)" rouses us like the best Alarm and Big Country. The vocal choruses are uplifting and unique. The powerful guitar sounds like how Hendrix would play his if he preferred shorter chords and was playing in this era. We feel raised and ready to do good work, to defend the faith, to properly admire beauty.

"Enough To Let Me Go" starts off mellowly and features nice single string guitar notes. The tempo of this song increases but is never too fast and the mellow tone continues throughout. Very few bands that we've heard can rock as hard as Switchfoot and also create beautiful mid-tempo and slower songs.

An excellent example of a great mid-tempo song is "Free" which features organ sounding keyboards like those on "Kashmir." Foreman sings "Inside this shell there's a prison cell" to possibly remind us that we're all prisoners of our bodies. Like the best rock, there are as many interpretations of these lyrics as there are snowflakes.

"Always" is an ingenious slower tune reminiscent of the experimentation Led Zeppelin showed on In Through the Out Door and the softness perhaps the greatest of all rock bands showed on Led Zeppelin III. Zeppelin placed short, acoustic sets in its concerts and, if Switchfoot hasn't done this yet, the band may decide to go in this direction.

"Bullet Soul" is beyond cool like the best Lenny Kravitz. Foreman's voice sounds like Lenny at his most real and rocking. Guitars from heaven compete and soothe - the solo midway is pure rock perfection.

"Yet" is a superb slower track featuring chiming guitars like the Edge's. "Sing It Out" follows "Yet" and is also slower. The prolonged guitar sounds at the beginning are superb. As superb are Fontamillas's keys, Butler's drums, and Foreman's falsetto. Drums enter after the mysterious mood of the song reminiscent of the best Pink Floyd and Led Zeppelin has been set.

"Red Eyes," the album's final track, is yet another slower tune and greets us kindly with guitar and drums. Foreman sings, "All of my days are spent/Within this skin/Within this cage that I'm in" with a contemplative yearning that, once again, reminds us of the ace Bono. Jagger himself has compared his life to living in a cage. The slower songs at the end of the album remind us of the slower, glorious endings of the classics Remain In Light by the Talking Heads and the Melvins's Stoner Witch.

Switchfoot's startling ability to play excellent songs of different types can be both a blessing and a curse. If the band becomes indecisive and fearful, they may fail to make new music in a timely manner, allow these issues to destroy the band, or make songs that have no real definition. If the band stays true to itself and continues to connect with its fans by playing live, it will have the confidence to build upon the magnificence that is Hello Hurricane.

Four guns.

Like Switchfoot? Check out: Relient K, Sanctus Real, Jars of Clay

Want More Switchfoot?
Jason Coldiron's Interview With Switchfoot's Chad Butler
View all of our Switchfoot Photos (Roxy)
News/Tour Dates
Review of Hello Hurricane

Thao With The Get Down - Know Better Learn Faster

2009-12-07T00:56:00.000-08:00

Written By: Lindsey Hecht

Label: Kill Rock Stars - Rating:

Thao with The Get Down Stay Down slams their foot hard on the spring board and takes one massive leap to success. Their second full-length album, Know Better Learn Faster consists of 13 short, light-hearted and fun songs. The compilation (which totals to just under forty minutes) hands off catchy tunes with a quick tempo, slow tunes with drawn out and reverberating vocals, and trickier arrangements.

This San Francisco-based band consists of vocalist and guitar player Thao Nguyen, Adam Thompson on bass guitar, Willis Thompson holding the rhythm down on drums, and producer Frank Stewart on lead guitar.

The album begins with ‘The Clap,’ where the music is created by the band as an a* *cappella group, paired with a series claps and stomps. This is the ideal beginning to an album that takes chances, proving to its audience they use more than just instrumental talent to be innovative.

For me though, the real winner of *Know Better Learn Faster** **is *the second track, ‘Cool Yourself.’ In this upbeat and beguiling ballad Nguyen delivers only a few words with strong backing vocals from her bandmates. The song has a playful guitar tempo and while she exclaims, “Ooh whoa whoa whoa-oh-oh oh-oh,” she reminds me slightly of the young sounding vocals bellowed by Karen-O. I get this same feeling in ‘Body,’ as Thao so humbly screams, “What am I, just a body in your bed? / Won’t you reach for that body in your bed?”

In the title track ‘Know Better Learn Faster,’ the band shows their versatility as they throw Andrew Bird in the mix. Different from their other simplistic songs, this track has a mess of instruments including strings. When I listen closely, drowning out the rest of the music, the strings sound rather theatre-based and dramatic - which really adds a reactive element and a nicely polished, finished touch.

‘The Give’ is the longest song on the album, and in my eyes, also one the most the passionate. This song has a folk-like feel to it, and weaves in the waver and tremble of Thao’s voice to compliment the music perfectly. I would definitely recommend giving this band a chance, as their sound unique and their ideas inspiring.

Like Thao With the Get Down Stay Down? Check out: Yeah Yeah Yeahs, Camera
Obscura, The Weepies

Los Hollywood - Self-Titled EP

2009-12-06T23:59:00.000-08:00

Written By: Heather Wysocki

Label: Self-Released
Rating: 4 Guns

Buy On:

It’s all right, I don’t mind saying it: I am a Sartre-reading, frites-loving, beret-wearing Francophile. Well, I was, until I heard Los Hollywood.
In the past, my allegiances were clear: I visited France, spoke frequently and thoroughly about the country, and couldn’t get enough Edith Piaf. Now, thanks to the band’s self-titled EP, I’m now jealous of all those kids in high school who took Spanish classes.

The San Diego Latin-rock quartet’s debut EP, created on a wave of buzz including being featured on Telemundo and winning the Myspace Latin Battle of the Bands in 2008, is a perfectly crafted piece of indie pop that, well, happens to be partially in Spanish.

Music in another language, like foreign films, has to appeal not only to aficionados of a genre but must transcend barriers, too, and Los Hollywood manages this and more; this is indeed music to break barriers by.

Usually, music sung in Spanish is played only on Latino stations. But Los Hollywood states the perfect case for why Latino music needs to share the spotlight.

Singer Aide Flores’ voice is a dead-ringer for Gwen Stefani’s, sexy and sultry but flirty, the girl who stares across the bar all night but refuses to give up her phone number. In Spanish-titled pieces like “No Te Aguites,” Flores flits between English and Spanish, but this is no “Spanglish”; she sings in both with equal aplomb. And just to make you a bit more self-conscious about your musical abilities, she plays guitar and bass, too.

There’s a gorgeous mixing of ska and traditional Spanish ballad on “Te Quiero Tanto,” proving that these guys can do more than ape No Doubt. (And honestly, even when they’re doing that, it’s pretty damn entertaining).

Then, just when the guitars get pretty and Flores gets kinda mopey, Los Hollywood kicks into “Gira Gira,” with a beat that sounds like Interpol and a bounce that could get anyone on the dance floor for an impromptu merengue.

These and the EP’s other songs reflect a fine-tuned balance of influences, from the band’s San Diego and Mexico upbringings to their obvious love of uber-bands like the Beatles. Adobo-flavored fish and chips, anyone?

These are beautifully crafted and awesomely executed pieces of music, and even more amazing for their ability to transcend genres and languages.

All the best elements of indie rock are here – punchy drums, a charismatic and actually talented vocalist, and short, no-extra-fat songs – but those of Latin music are here too, in the form of more than a few Spanish lyrics and the celebratory feel Spanish-language music is famous for.
Though the mix of ballads and rockers is a bit disconcerting – one second it’s clubby, the next it’s drowsy – this is the perfect sort of EP, one that showcases the band’s immeasurable talents and range while leaving the listener begging for more.

Like Los Hollywood? Try: No Doubt, Paramore, Garbage

Dashboard Confessional - Alter The Ending

2009-12-06T23:35:00.000-08:00

Written By: Emily Cahill

Label: DGC/Interscope - Rating:

“Alter The Ending,” Dashboard Confessional’s newest album, was just released this month. Take a trip back in time for a moment, to 2003. Most any time you turned on the radio station you probably heard “Breathe in for luck/breathe in so deep,” the opening line of Dashboard Confessional’s single “Hands Down.” Good stuff, right? You remember rocking out to it, don’t you?

And then a few years later, in 2006, every girl who thought she was in love sung “You have stolen my heart,” from their single “Stolen,” while she got ready for a date. Good times right? You’re feeling all nostalgic now, aren’t you?

Well, sorry to snap you back to the present so unpleasantly, but this new album seriously lacks a sound as unique or special as “Hands Down” or “Stolen.” “Alter The Ending” is a great album, good music to play while you’re showering, driving or cooking. It’s got a fantastic sound and feel. But it is not exactly a new sound, and all the songs share it. In fact, for a good stretch in the middle of the album it is hard to tell where one song ends and the next one starts. The vocals, however, are pretty decent. They are clear and show a natural talent coming from the singers.

As far as subject matter, the album is very commonplace and it ends up feeling like you’ve already heard it. Most of the songs are about how hard it is to love another person. You might find yourself going, “Well, and?” Difficult relationships aren’t exactly a novel idea. “Everybody Learns From Disaster” touches on the idea of learning from mistakes, “Alter The Ending” speaks of starting over, and “Water and Bridges” talks of having faith in the next relationship being better.

“No News Is Bad News” talks about someone’s “symptoms” in references to their actions in the relationship, which is an interesting concept. Reactions are often symptoms of some original action, though they are rarely treated as such, and rather on a more individual basis. “Water And Bridges” and “Belle of the Boulevard” play with the old phrases “water under the bridge” and “belle of the ball,” giving them a modern spin. The lyrics are…vague, at best. A couple of songs offer up a good line here and there such as “watched the sun burn down to cinders” in “Everybody Learns From Disaster,” and “I can hear your sounds” in “Even Now.”

All in all, a decent attempt, but a slight disappointment if you were expecting something of “Hands Down” quality.

Like Dashboard Confessional? Check out: Yellowcard, Simple Plan

Devin Townsend Project - Addicted

2009-11-28T14:57:00.000-08:00

Written By: Tim Bannock

Label: Inside Out - Rating:

If you don't listen to this album, Gene Hoglan will blast beat you into your component atoms.

Still alive? Then let's hop right to this, shall we? Immediately apparent on Devin Townsend's new Project, Addicted, are the increased use of traditional electronic samples. But as with all things Devy, they are used to juxtapose music that is anything but traditional. Maybe you've seen the comments that Addicted is "danceable" and brings in raver music, but the truth is far more enigmatic and puzzling. In a good way. Let me explain!

The title track definitely plays up the dance-beats while still being familiarly heavy and screamy. Imagine Strapping Young Lad's self-titled album being remixed by an electronic artist that knows rock music: maybe Trent Reznor, Rhys Fulber, or DJ? Acucrack. It's got all the atmospherics and epic layers of sound that Devin brings to his brand of DevyMetal, along with a taste of some extra melody brought to you by former-The Gathering, current-Agua de Annique frontwoman Anneke Van Giersbergen. But just a hint...it's mostly just good ol' Hevy Devy at this point.

But the electronics get bigger and bigger as the album goes on (never at the lack of metal, though). The heavy gets heavier than a freight-train on "Universe In A Ball!" which is probably the key track to sample if you're interested in this album: it'll give you a good idea of what's in store for you, and also happens to be one of the best tracks Devin's put out since...well, probably his last album, 'coz he's consistently good, but whatever. Point is, it rocks hard, and at about the 2:30 mark somehow grows bigger and more terrifyingly good. I peed myself. Thanks, Devin. Can you mail me a demo so I can get an extra pair of tighty-whiteys? (Obscure reference, I know, but with a little help from Google, you'll be laughing. I guarantee.)

"Bend It Like Bender!" is where you'll get your first huge, up-front introduction to Anneke (which pretty much lasts from this point out) in the super-melodic chorus. I don't know what the hell this song is really about, but it's so grungy, whacky, fun, and ridiculous that it'll be in the rotation for a while. And it serves as a great introduction for what is then a series of much more "serious" songs. "Serious" being a giant misnomer when it comes to Devin Townsend music - hell, it's probably an insult - but for lack of a better term, that's what you're getting on "Supercrush!" and subsequent songs. Even if Devin and Anneke, in all their duet glory, were singing nonsense about a clown's testicles, they do it with such passion and intensity that you can't help but feel that the subject matter is beautiful and heavy (both in "mood" and "crushing guitar" volume). Those clown testicles could bring tears to your eyes (as well as those of little girls the world over). Maybe I'm getting off topic...

You may have heard "Hyperdrive!" somewhere else...and you'd be right. But you'd be wrong, too. You haven't heard it like this. Apparently, Anneke's covered this song (originally from Devin's 2007 "Ziltoid the Omniscient") with her solo project, Agua de Annique, and that's cool. But this version is like a Tears for Fears moment, where Gary Jules comes along and does a cover of "Mad World" that's better than the original, and so they steal it back and rearrange it to create some hybrid that's better than the previous two versions. So mote it be: the new "Hyperdrive!" is sleeker, sexier, and probably gets you further across the galaxy with less Astrogation planning than before (a little Star Wars nerdery there). Devin shows that you can take a song that's only two years old and really change it up without going too far afield yet delivering a shockingly different feel. And we applaud him. And there is much rejoicing. Which clearly carried over to the laughter that opens up the next track, "Resolve!" It's like The Human League meets Ocean Machine: over the top keys, Anneke and Devin screaming their lungs out, and a thousand Bon Jovi fans raising their hands and wearing bad headbands. It's amazing.

Then Devin says in a quiet, hushed voice, "I'm gonna turn things down for a sec and play a little acoustic number." That number is "Ih-ah!" It's nice, it's serene, it's got some I-love-you's in it, and then the harmonized vocals with Anneke make you cry a little. The techno-beats make you dance a little. And while you're doing your little crying-dancing thing, you start chanting the nonsensical "Ih's" and "Ah's" that reign supreme on this ballad. But watch out; it doesn't stay serene for too long, because after three and a half minutes we have to find "The Way Home!" Funky bass slapping, running double-bass drum beats, politely chuggariffic guitars, and building tension in the soaring vocals and the chirpy samples; that's what this is about. In typical Dev fashion, things change up yet again for "Numbered!" The guitar-work is like an anvil chugging a PBR at a frat party, but the Vai-influenced arpeggios and the singing that clearly pulls from Anneke's days with The Gathering bring crashing crescendos down upon your unwitting skull at every turn. Some bands write great tunes around their raging choruses. Devin writes raging choruses around his raging choruses, and then arranges them so that they rage harder than they did before. Hell, I can't describe it: the man's just a genius.

And in case my review is putting you to sleep, there's "Awake!" This song is at home with the entire The Devin Townsend Band catalog as a melodic rocker with glistening keyboards over the slick rock & roll guitars, but it also hints at the darkness of SYL with its death metal vocal moments, as well as the beauty of the rest of this disc with the dual Anneke/Devin vocal attack. Like many of Devin's final tracks, it fades out in movements that suggest other bits and pieces of the album: ambiance, discordant guitar, twinkling keyboards, high-fi and low dives.

Do I really need to sum this up?

[Editor-in-chief: Yes! That's what I pay you the big bucks for!]

Big bucks?! Well, anyway, here's the summary: if you don't know Devin Townsend by now, do yourself a favor and experience some of his tunes. Oh, you do know him? From that "Osbournes" Final Season commercial, right? Just listen to the music already. The man's smarter than all of us. Seriously, go. What the hell are you still doing here?

Everclear - In A Different Light

2009-11-23T00:25:00.000-08:00

Written By: James Swigart

Label: 429 Records - Rating:

Art Alexakis has an unique and potent voice that he uses refreshingly and heartily on Everclear's warm and engaging In a Different Light. On this disc, Alexakis and his crack band remake 9 of Everclear's biggest hits and compose 2 new tunes. The new songs, "Here Comes the Darkness" and "At the End of the Day," are excellent and blend seamlessly with the others. Alexakis produced In a Different Light (Like all Everclear records) and his production is brilliantly similar to that of one of rock's legends, Jeff Lynne.

On In a Different Light, Alexakis sings with the distinction and restrained force of such masters as Cash, Reed, and Dylan. Art's voice is smooth like Don Henley's and distinctive like David Lee Roth's. Alexakis doesn't show the greatest vocal range, but his passion and talent are clear and more than make up for a few high notes here and there.

"Father of Mine" has the pace of Wild Gift and More Fun in the New World-era X. Acoustic guitar, drums, serious keys, and vocals drive the song. The backing vocals are muted and subtle and create a fantastic effect. Tommy Stewart's drumming throughout the album is forceful and consistent like that of X's amazing DJ Bonebrake.

On "Fire Maple Song," there is a beautiful little Stevie Ray Vaughan-esque guitar solo. The guitar chords are reminiscent of Johnny Marr's while Marr was with the Smiths. Davey French and Alexakis play guitar throughout the album. "Rock Star" is a guitar driven medium rock song with a message that we love and respect and with excellent backing vocals and sonic force that bring to mind the Traveling Wilburys.

"Learning How to Smile" has backing vocals that sound like Exene at her most subtle and powerful. The lyrics "I was working in New Jersey/Hitching Rides in the Rain" bring to mind the everyman quality shown by great artists like Holly, Cash, Dylan, Springsteen, Cobain, and White. Typical of the songs on this album, the music never strains or gets too fast or too slow and Alexakis's singing is near perfect. This song relaxes us so much that we could listen to this and similar tunes for hours on end.

"I Will Buy You a New Life" shows Everclear at its best. Beautiful guitar and keys, restrained, powerful vocals and drums, and positive lyrics make us feel what the best rock 'n' roll wants us to feel - uplifted, renewed, and relaxed. Alexakis, like Cuomo and the beyond legendary Cash, makes us viscerally feel his message without straining or yelling.

The backing vocals on "Everything to Everyone," "Wonderful," and "At the End of the Day" are essential like those on early records by the Babys. The acoustic guitar chords combined with keys on "Everything to Everyone" keep us engaged without overwhelming or boring us. Josh Crawley's keys on In a Different Light are wonderful like Ray Manzarek's while he was with the Doors and on X's album of staggering genius, Los Angeles. Sam Hudson's bass playing is understated and keeps an excellent beat throughout.

The mood on this fine work is relaxed, playful, and swinging. We wish that at times Everclear rocked harder or swung freer. We also wish that there was greater variety among the songs. However, Alexakis and his mates' consistency and commitment is laudable.

Art Alexakis is one of the most important figures in rock over the last fifteen years. He continues to evolve and to try to bring relevant music to our fortunate ears. His subtle yet powerful excellence is all too rare in rock and extraordinarily influential. Here's to hoping that he ages as well as Dylan has.

Like Everclear? Check out: The Wallflowers, Better Than Ezra, Third Eye Blind

Want more Everclear?
Download Everclear’s "Here Comes The Darkness"
Everclear Feature - 10 Reasons Why Everclear is Still Relevant
Rock/Metal Editor, Jason Coldiron interviews Art Alexakis
Everclear Tour News
View all of Ed’s Everclear Photos (Roxy)
View All of Ed’s Everclear Photos (House of Blues)

Tokio Hotel - Humanoid

2009-11-23T00:08:00.000-08:00

Written By: Heather Wysocki

Label: Interscope - Rating:

Break out the black eyeliner, shine up those glittery Chuck Taylors and stock up on hair gel, because Euro-pop young’uns Tokio Hotel’s latest release is all the disco ball-and-Doc-Martens fun you’d expect. Bill and Tom Kaulitz, the super-coifed supertwins behind Tokio Hotel, are finally legal, and that slight bit of maturity shows on Humanoid, their already-charting-on-the-Billboard-200 third disc. The German emo quartet that turned heads in 2005 with debut album Schrei and kept on going with 07’s Scream proves with Humanoid that Bill, and the band that provides his awesome backing, deserve recognition for more than Kaulitz’s Sonic the Hedgehog hairdo and propensity to wear more makeup than Janet Jackson.

Though Tokio Hotel – consisting of the aforementioned pompadour-and-more Kaulitz twins, plus Georg Listing, Gustav Schafer, and a host of European songwriters – might be young bucks, they certainly know how to thrash like their older eight-pointer competition. The songs range from the standout piano-driven “World Behind My Wall” to the decidedly more haunting title track and the kinky come-on “Hey You.” All are full of the androgynous vocals and crunchy guitars the band has become known for. Anthemic choruses are beautiful, while background guitars range from understated to crashing, a soulful mix that elevates Humanoid from simple emo dance-pop to emo dance pop to think about (even if those thoughts are about eyeliner and adolescent sorrow).

Bill Kaulitz’ vocals are a mix of Robert Smith and Michael Jackson, hitting the lowest of lows but nailing the highs, too. This is the sort of well-crafted pop that Depeche Mode perfected years ago and Tokio Hotel emulates magnificently, its robotic feel not cold, not formulaic, but sexy and deliberate.

Like a lot of their young emo counterparts, there’s more than just a dash of pop-culture influence on Tokio Hotel’s Humanoid. Japanese overtones and perfect-for-Twilight song titles like “Pain of Love” and “Love and Death” are a reminder that the members of Tokio Hotel are still young, though expert arrangement and an uncanny knowledge of what vocals go well with what music ensure that Tokio Hotel will experience well-deserved recognition longer than most. That said, songs like the slightly juvenile “Automatic,” a clumsy ode to love, are a hint that Tokio Hotel’s finally legal dudes should still be a wee bit careful around anything besides light beer.

Humanoid is before-its-time pop that has finally hit its epoch, a gorgeous musing on deep emotion with the perfect teenage twist. Love has never been so bittersweet.

Like Tokio Hotel? Check out: Silversun Pickups, Blaqk Audio, The Cure

Yoko Ono Plastic Ono Band – Between My Head and the Sky

2009-11-23T00:01:00.000-08:00

Written By: Justin Rands

Label: Chimera Music - Rating:

Yoko Ono. She’s a household name. I don’t know anyone who doesn’t know her. She’s been a pop culture figure; well, since, John Lennon. This may be personal opinion, there may be actual fans that followed her before John, who were in awe of all that kooky experimental artwork and the boundaries she pushed, but I highly doubt it.

I could start going into her endless accomplishments and work she’s produced over the years, but I’m not going to do that. I’m going to stick to this album and how it sounds; what it means. After all, this is a music site. I’m not going to ramble on about her life just to fluff up the album because it isn’t that interesting or something. Come on.

Her latest release, which came out a bit earlier this year, is entitled Between My Head and the Sky, and is quite a doozey of an album. Spanning at an incredible 58 minutes and 33 seconds, Yoko and her band (Keigo "Cornelius" Oyamada and his band members Yuko Araki and Shimmy Shimizu, Sean Lennon (go figure), Yuka Honda (of Cibo Matto) as well as NYC improvisers Erik Friedlander, Shahzad Ismaily, Michael Leonhart, Daniel Carter and Indigo Street) tackle as many genres as possible, the leading one being exploratory experimental. Think Velvet Underground on Acid.

The beginning of the album starts out fantastic. First song: “Waiting For The D Train.” Woah! What is this? This is really Yoko Ono? (I’ve never actually listened to any of her songs before.) This is great, garage rock, some sweet fast drums, some Yoko Ono wailing in the background. Alright, I can do this. Then the yelling continues. And continues. And …kinda continues throughout.

The second track “The Sun Is Down” is actually a theme that reverberates throughout the whole album. “The Sun is down, The Sun is down, The Sun is down, it’s getting so dark”, Yoko teases us, giggling at her inside joke in the background as the electronic funk of the song kicks in. The song is actually quite good. Who knows what Yoko is saying in the background though. But that’s ok! We’re dancing! This is it!

The first few tracks are somewhat decent but it’s the middle that sort of loses its ground. Starting on the next track “Ask the Elephant,” it starts to escape any sort of validity. “One two three four, I love you! One two three four I love you!” she says, making childlike kissing sounds afterward. The band takes off in all different directions later, heading into an ADD ridden world, filled with loops, twangs, synthesized hooks, and Yoko, yelling, wailing, sometimes just talking in the background. And you know that line, “The Sun is down, The Sun is down, The Sun is down, it’s getting so dark?” It repeats through the whole album for some reason. Beats me.

Anyways, the album moves along, slowing at times so Yoko can share with us her overly obvious metaphors, and strange quotes like “Welcome to Time he says.” If you like Yoko Ono, and very experimental music, then grab this album. That’s all I can say.

Like Yoko Ono? Check out: Laurie Anderson, Diamanda Galas, OOIOO

Down With Webster - Time To Win Vol. 1

2009-11-22T23:52:00.000-08:00

Written By: Joe Cardenas

Label: Universal/Motown - Rating:

It's very refreshing to hear musicians cultivating different sounds and mixing genres into something new and different. Although the Hip-Hop/Rock genre isn't a revelation, Down With Webster brings an original style that is catchy, fun, and full of energy.

The album starts with a dynamic sound, powerful beats and rhythms that just make you want to get up and shake it! The raspy vocals are enthusiastic, three rappers/singers take the mic and the diversity makes it so that the song never gets dull. It brings to mind the Beasties Boys with their juvenile style and in-your-face attitudes. The lyrics are bit pompous at times, which is to be expected from a genre like Hip-Hop, but their attitudes are so out there and so silly that it can't be taken too seriously. And that, in part is what makes it so fun to listen to, knowing that it's just a bunch of eccentric dudes making music and having a good time with it.

The second track 'Whoa Is Me' is a bit repetitive. The usage of the word 'whoa' is much overused, and having listened to a lot of The Offspring and many other punk bands, I know how frustrating it gets having to hear it over and over again. This song, along with ‘Miracle Mile,’ is a bit too much. They don't go overboard with their length but I just feel like the songs could have been trimmed down. Hip-hop is known for having repetitive beats, and beats such as these are good for the dance floor, but I couldn't get past the minor annoyance.

DWW really mix the genres of Hip-Hop and Rock very well. An example is a personal favorite of mine, 'Back Of My Hand.' The upbeat drums and catchy synths keep the rhythm solid like they would on a Hip Hop album. The lyrics are on the darker side compared to the rest of the album and are expressed by passionate, near-shouting vocals. The vocals are a nice fit for a song about love/betrayal and are reminiscent of many Pop-Rock bands. This song demonstrates the best example of their work. It is masterful, and has the potential to be a great hit.

The album is a joy to listen to. It's full of energy and at times quite humorous (especially their Hall and Oats cover song: 'Rich Girl'). They display a variety of talent and do the genre of Hip-Hop/Rock justice. Hopefully with some time and maturity they can start busting out more classics like 'Back Of My Hand,' and focus on making more songs too. The album as a whole is unfortunately only 24 minutes long, and I found that extremely disappointing. This is not an EP. It is the actual album and is not nearly long enough! Its title 'Time to Win, Vol. 1' might suggest another album is in the works and coming out soon, but I have to grade them down cause I really wanted to hear more!

Like Down With Webster? Check out: Beastie Boys, Bloodhound Gang

Zee Avi - Self-Titled

2009-11-22T23:46:00.000-08:00

Written By: Lindsey Hecht

Label: Brushfire - Rating:

Zee Avi, originally Izyan Alirahman, is an acoustic singer-songwriter from Malaysia who can easily perk your interest with her innate talent. Discovered through word of mouth and videos posted on YouTube, Avi has taken the influence of positive feedback and managed to turn that into a career. Though her initial sound, both vocally and instrumentally, might seem rather familiar, give her debut album a chance. After one run through, I became a fan.

Avi’s lyrics are soulful and natural as she uses simple phrases to express herself through convoluted metaphors. In her third track she sings, “Oh my darling honey bee / I’ll come save you / Even if it means / I have to face the queen.” This track strikes a chord within me, as I’m sure we’ve all had the chance to stand up for love – whether or not we’ve taken the leap in the end.

The majority of her tracks act as slow and steady vehicles, which is demonstrated throughout ‘First of the Gang to Die,’ ‘The Story,’ and ‘Let Me In.’ However, it is evident that Avi has no problems exploring playful tunes founded by her skills on the Ukulele, like in ‘Kantoi,’ or the acoustic guitar, like in her hit single ‘Bitter Heart.’ Yet, regardless of the instrument played behind the scenes, Zee has vocals that keep you wrapped in the warmth of her album.

Her voice has the ability to rise and fall abruptly between notes leaving my heart to skip a beat at the end of nearly every lyrical line. Each song pulls me in, and her jazzy folk-pop inspires me to snap my fingers along to the catchy rifts of ‘Poppy,’ among other tracks.

At the mere age twenty-three, it appears that Avi has the gift of time on her side. With an already blossoming talent – I can only imagine that she will ripen with age, and I look forward to what she has to offer.

Like Zee Avi? Check out: Nina Simone, Madeleine Peyroux, Jack Johnson

Love Grenades - Tigers in the Fire EP

2009-11-22T23:30:00.000-08:00

Written By: Heather Wysocki

Label: Modus Vivendi - Rating:

It’s not usually a good sign when the first thought about a band fronted by a Betty Page look-a-like is that it sounds like something off a Patty LaBelle b-side. But Love Grenades’ sexy Page doppelganger, Elizabeth Wight, seems to have found the perfect formula to become a dance-floor mainstay, and that equation certainly doesn’t include originality.

That said, the debut EP by the band, “Tigers in the Fire,” is turning heads at clubs in Los Angles and NYC with its mix of die-hard devotion to pre-techno music and their knack for picking awesome DJs to remix their singles. Titular “Tigers in the Fire” is chock-full of 70s influence, bringing back the high-pitched backup singers and love-on-roller-skates feel of that era. All in all, though, the album is a bit confusing; the original “Tigers in the Fire” is all fancy-free flirting, Saturday Night Fever and Blondie, while Martin Peter’s mix turns it into a more Lady Gaga-esque cut-myself-onstage-for-the-drama haunter. Here, Wight’s vocals are more growl than come-on, bringing far more of the ferocity of the single’s namesake tiger into the mix than the original single even got close to.

Keeping a bit more loyal to LG’s more-comfortable-under-the-disco-ball feel is the Wayfarer mix of the same song. And just when three listens of “Tigers” is enough, there’s the Disco Damage mix, the most successful in turning Wight’s bubblegum-and-gold-lamé jam into a true club remix, the sort of thing anyone at Hyde would be happy to dance to (or their Real Housewives of Orange County-esque moms). Still, four remixes of the same song do not a complete album make, and “Tigers In the Fire” proves that it is possible to have too much of a good thing.

New sounds come along at track 4, “Off to Sea,” which stays true to the same disco-remix sound but showcases Wight’s surprising vocal aptitude, something that’s overlooked earlier. “Off to Sea” has more bite than “Tigers,” though those cheesy lyrics stay put. The most promising track, a Sam Sparro-remixed “Young Lovers,” delivers completely, bringing a similar pinup-sexy feeling but creating a more polished version of anything else Love Grenades’ first disc puts forth. Traditional disco sounds aren’t overworked here, a la “Tigers,” thanks to Sparro’s fantastic use of restraint. This one belongs in the next Grand Theft Auto, and that’s a compliment (there’s nothing better than a song that’s perfect for driving recklessly to).

Wight is a devotee of the modern pop feminism of Christina Aguilera and Britney Spears, and she brings that same idea of promiscuity as a right to every track. And unlike her blonde counterparts, who are apt to sneak in a devoted-to-my-man ballad, she makes her independence very, very clear, repeatedly spouting lyrics like “ain’t nobody gonna tell me that I can’t get down,” and the polyester pants suit-classy “I can screw anyone that’s nice then walk away.” It’s a nice ideal, but The BeeGees have got you beat at jive-talkin’, Elizabeth, and it’s never good to get one-upped by three guys in leisure suits!

The purpose of remixes and EPs is, usually, to showcase depth in a relatively short period of time. Unfortunately, while Love Grenades’ “Tigers In the Fire” EP is a good listen on a dark night, full of sultry bass and come-hither lyrics, its the disc’s remixes that really stand out, effectively de-clawing Wight and turning “Tigers” into little more than sex-kitten pop.

Like Love Grenades? Try Blondie, Lady Gaga, The Yeah Yeah Yeahs

More Love Grenades
Love Grenades Live @ Bardot
Love Grenades Exclusive Photos (Bardot)

Lover! - No Dreams Please EP

2009-11-22T13:47:00.000-08:00

Written By: Emily Cahill

Label: Big Legal Mess - Rating:

This is going to be short and sweet, and if you listen to Lover!’s No Dreams Please EP you’ll understand why. There just isn’t much to react to. The songs slide between the two extremes of harsh instrumentals and fuzzy vocals.

The overlong instrumentals on the ends of the songs would be much more enjoyable if they were shortened. The guitar work is really spectacular, but maybe it just needs to be showcased in a different way, perhaps within the song rather than trailing after it. The tune is always snappy though, and very much danceable. A softer sound is introduced in “Three Fools” and that seems to balance out the vocals better.

Upon first hearing the vocals you may ask yourself if the distorted sound is something artistic, but after it goes on for a few songs you’ll simply realize that the microphone was probably twenty feet away from the band while they recorded. Live performances come out better than this, and it’s really a shame, too, because in the first two songs “Devil’s Punchbowl” and “No Dreams Please” (where the vocals are really difficult to understand) what little you hear sounds like it would be good.

Finally, in “Goodbye” the words of the songs are clear and you realize that lyrics are actually good, but it is still very much active listening—you have to try to catch everything. Lover! redeems themselves with “Downstairs to Hell.” This song has some serious character to it. It’s a feel and sound they should have aimed for with all the music on the EP: a rich sound, something a little mysterious, clear lyrics, effective instrumentals and this excellent flute-sound that plays great with the guitar.

Despite its faults, great driving music and something worth playing when you want to dance around your living room in your underwear (yes, we all know you do that).

Like Lover!? Check Out: The Beatles, Mr. Big

Norah Jones - The Fall

2009-11-22T00:55:00.000-08:00

Written By: Lindsey Hecht

Label: Blue Note - Rating:

Norah Jones presents her newest album, ‘The Fall,’ and from the first beat, it's immediately evident that this album leads the way to a path of defiance. Staggeringly different from her quiet, subdued debut, and a far cry from her seductive, and flirtatious second and third compilations, her fourth album sounds effortless and mature. Perfect, even. I wouldn’t change a thing.

On ‘The Fall,’ Jones takes risks. She takes chances, and she shows us that she is much more than a beautiful voice bouncing off the wood of her piano for the fourth time. In past albums, her impeccable vocals have lured me away from the music itself. However, on this album the instruments are not lost, as they compliment the singer in a way I have yet to see. Jones even ditches the Piano on several songs, picking up electric and acoustic guitars.

Though staying true to her jazz-like, strict-tempo nature, Jones steps out from behind her instrumental shield and brings a fresh feel to her album by collaborating with artists such as Ryan Adams in ‘Light as a Feather’ and Will Sheff in ‘Stuck.’ She submits herself to the partnerships, and it makes you wish she would step out of her comfort zone more often.

Leading the album as her first single is ‘Chasing Pirates,’ which ordinarily I’d assume would put me to sleep (in the best way), but this song wakes me up with its catchy tune. The same applies with ‘It’s Gonna Be,’ where the first few measures make up a tough sound that rough-tatted bikers would listen to as they rolled into the dive bar, only to reveal their softer side when the vocals kick in as they order Cosmopolitans at the bar.

Jones isn’t selfish as she deviates from her norm though, and she thinks of her fans as she delivers deep, soulful lyrics and droned out tunes as demonstrated in ‘I Wouldn’t Need You.’ Proving to be opposite of what I initially thought this album would be, ‘The Fall’ is energetic, zealous, and inventive while still offering Jones’ fan base what they’ve been patiently awaiting.

Norah Jones possesses the unique ability to present whimsical melodies time after time, and if the record needed to take on a physical form, I’ve got the perfect image. Love, gratitude, experience, loss, and lessons learned all bundled together in an easily punctured packaged. With each staccato note and burst of talent creating a tiny hole, I see this bundle deflating and the contents within pouring out to douse her audience in the very emotions she was feeling in the studio.

Like Norah Jones? Check Out: Corinne Bailey Rae, Etta James, Keri Noble

Nova - Nepenthe

2009-11-22T00:29:00.000-08:00

Written By: Mike Acker

Label: Big Nothing - Rating:

In the second installment of the "Hitchhikers Guide To The Galaxy" series, space travellers Arthur Dent and Ford Perfect met a man named Hotblack Desiato, the lead singer of the band Disaster Area. Disaster Area is the loudest band in the universe, so loud that the audiences at their shows must be thirty-seven miles away in a concrete bunker for their own safety. Disaster Area’s massive stage shows finish with a space ship being crashed into the sun.

I say that to say this: If you are a band called Nova, your music should sound a little like a spaceship crashed into the sun. With their new record Nepenthe, the California based five piece band makes that happen.

The drumming of Rob Bujak kicks off the opening track, entitled “Supersonic Vagabond.” The strong vocals of Gabriel McGahee and the driving layers of guitar from Nick Young and Aaron Goforth, send home early what Nova is trying to accomplish with their sound: hard hitting tracks, strong guitar licks, and screaming vocals. My favorite guitar riff comes in on the fifth track, “Perfect Mistake.” The opening guitar part has a tinge of a classic rock riff, destined to be popular with head bangers and moshers countrywide as soon as they hear it.

There are two obvious measures of what makes a rock band successfully hard. The first is screaming, tantamount to hitting the high octaves by a songstress like Whitney Houston. The second: Going soft. The power ballad has been around as long as there has been rock music. Nova nails the screaming early and often, and Nepenthe goes soft just as well. “Our Last Goodbye,” the record’s sixth track, is part love song, part lament, and all slow power rock.

Nepenthe gets back to the roaring guitars, screaming vocals, and thundering drum lines for the second half of the record. The final four tracks of the album highlight, in different ways, what Nova does best, play loud and scream. “House Of Nepenthe,” goes slow and heavy, and loud of course. “3 Little Words,” is the albums darkest sounding track, due to the ripping opening bass line from Scott Procter.

“The Letter,” Nepenthe’s final song, takes the level down a notch to close out. Not so low to reach ballad status, but soft and slow enough for the listener to take a breath. There are no exploding planets at the end of Nova’s Nepenthe. There is, however, enough explosive sound on the record for me to applaud the choice of the band name Nova, and not something less dynamic like Ray of Sunshine.

Like Nova? Check out: System of a Down, Metallica, Incubus

Flyleaf - Memento Mori

2009-11-19T00:44:00.000-08:00

Written By: Ben Millikan

Label: A&M/Octone - Rating:

If you were to Google “Flyleaf Vs. Paramore” you would get a slew of threads on various message boards with ardent fans declaring their allegiance to their respective band. Most of these boards contain frivolous banter with tensions only coming to a rise over the ever contentious argument of who is hotter: Hayley Williams or Lacey Mosley?

Female lead singers aside, both bands do have strikingly similarities: both have members of the Christian faith; both had their previous albums go platinum (Paramore with Riot! and Flyleaf with their self-titled debut), and both now have new albums out in 2009. And while all of the talk over the past few months has been about Paramore’s Brand New Eyes, Flyleaf has quietly begun promoting their sophomore release Memento Mori.

What is readily apparent at first listen of Memento Mori is a much heavier sound than that of Flyleaf’s previous album. The drums are tighter, the guitars are thicker, and overall, there is a much more aggressive feel with a polished finish. The quintet from Texas has obviously matured form their first experience in the studio, but while they may be tighter rhythmically, there still is a lack of creativity. As a result, certain tracks tend to blur into one another with repetitive drum beats and recycled guitar riffs. “Beautiful Bride” has a powerful, palm-muted intro and “Chasm” contains a semi-interesting riff with a little bit of color, but the overall lack of a definitive groove from song to song fails to individualize each track.

Although musically, Flyleaf still has plenty of potential to expand, the onus of creativity is picked up with the lyrics of Lacey Mosely. There is definitely a more personal feel to Memento Mori, with Lacey constantly making spiritual references to the trials and tribulations of her faith. “Treasure” is an inspirational and heart-felt track where she reveals the glorious feeling of realizing her importance and her invaluable place in God’s kingdom. “Missing,” a catchy track that shows potential for another radio hit, is a thought-provoking commentary on how the world would be without love. Lacey explains: “Love is painful. It requires work. It's selfless. Even though it's difficult, if you take that out of the earth you're going to end up with nothing.”

Using her melodic charm to stand out in the mix, Lacey also lets off a few catatonic screams that she has become known for. On “Swept Away” she reaches a growling climax during the bridge that is usually unbecoming from female singers, but with the passion and emotion that she invests into her song writing she is able to get away with it. Lacey is able to pour out her spiritual guts into her deeply personal lyrics with a sense of unequivocal conviction that speaks to a larger audience and ties into the meaning of Memento Mori (a Latin phrase meaning "Be mindful of death").

Despite the sense of urgency that Lacey conveys through her lyrics, the same can’t be said for the music. I hate to use the cliche “sophomore slump”––and to be fair, this record doesn’t warrant such a claim––but there is definitely more room for Flyleaf to grow and define their sound. Paramore has already achieved this feat, but give Flyleaf another year or so of touring and the chance to write another record and they shouldn't be too far behind.

Like Flyleaf? Check out: Paramore, Skillet

Want More Flyleaf?
Flyleaf Album Release Party (Review)
Flyleaf Album Release Party (Photos)
Flyleaf @ The El Ray - Los Angeles, CA (Review)
Flyleaf @ The El Ray - Los Angeles, CA (Photos)
Flyleaf @ Hawthorne Theater - Portland, OR (Review)
Flyleaf @ Hawthorne Theater - Portland, OR (Photos)
Review of Memento Mori

Snow Patrol - Up To Now

2009-11-18T17:28:00.000-08:00

Written By: Sebastian Barnum

Label: Fiction/Geffen - Rating:

Two disc albums have a tendency to be fantastic achievements. From Led Zeppelin’s “Physical Graffiti” and Pink Floyd’s “The Wall” to “Quadrophenia” by the Who, it is an almost undeniable fact, that if an artist doesn’t limit their creativity by letting it go over the one disc standard, the music tends to be greater.

The case is no different with Snow Patrol’s newest album “Up To Now.” Granted it is simply a compilation of SP’s hits, so it should not be considered a work on its own. But a listener is still taken through a journey, one that takes us through Snow Patrol's musical chaos, composure, and creativity over the last 15 years.

As Irish rockers who have a way to be subtle and all over at the same time, Snow Patrol has constantly been compared to the likes of U2 and Coldplay. Although SP doesn’t quite have that level of fame yet, they continue to carry the atmosphere of soft melancholy heart strings, set at a surprisingly upbeat tempo. Having sold over 10 million albums worldwide, you cannot deny that they have earned the right to make a greatest hits album, unlike many who just use a “Greatest Hits” album to instigate a tour and pay off a mortgage.

The album seems to mostly revolve around SP’s biggest hit, but that doesn’t steal away from the complexity and vastness of the rest of the songs. Gary Lightbody seems to have a soft sweet Belle and Sebastian feeling to his vocals, which perfectly iterate the sweeping sadness that grows to feel fragile and almost privet. But 30 songs of soft and pretty rock chords make even the softest of hideaways a tad bit claustrophobic.

The album relies on mostly works that came after 2004. Not to say that they weren’t good before then, however with a “Hits” collection, you can only expect radio jingles, and the songs a teenage girl might listen to get over her breakup. If you are a die-hard fan, you should already have Snow Patrols albums, so the compilation album shouldn’t really sound that tantalizing to you. However for most others, who have heard only a few songs, or only heard the songs in your friend’s car on the way to get some Taco Bell at 2 am, this is a great album. Easily the best way to get to know the band, without actually seeing them live, and a great set of music. 3 out of 4 guns.

Like Snow Patrol? Check out: The Fray, Kings of Leon, The Bravery

Space Cowboy - Digital Rock Star

2009-11-18T15:46:00.000-08:00

Written By: Trisha Hanudel

Label: Interscope - Rating:

The Space Cowboy’s album, Digital Rock Star is designed to get your booty shaking on the dance floor. The album is a mix of dance floor anthems, and the Space Cowboy sound teeters between the acid-fueled rave heyday of the early 1990s, and the ubiquitous Hollywood club thump-thump-thump, with a splash of auto-tuned boy-band melodies for good measure. The female singer on most tracks, Chelsea Korka from The Paradiso Girls, soars above the electronic blitz as an earthy and seductive contrast, giving the album a blast of sexy soul. It’s Korka who makes the songs fun to listen to, even when they’ve been stuck in your head for hours on end. This is the album you need when you’re getting pumped up to go to the club to totally erase your memories and get lost in the sea of sweaty bodies on the dance floor.

The standout tracks are “I Came 2 Party”, “Talking In Your Sleep”, “I Want You Back”, “Egyptian Lover”, and the “Falling Down” remix. Space Cowboys manage to make every track deliciously different from the last, just when you thought they couldn’t bring any more life to the constant pound of the synth-driven beats. “I Came 2 Party” is still stuck in my head with its repetitive, bouncy lock-step beats and its lyrics that struck me as sweet – “I came to party, you came to party, so why can’t we party together” is a refreshing change from the overwrought “Let’s go jump in bed - now,” sentiment so often heard today.

“Talking In Your Sleep” has a distinctive 80’s dance rock vibe with guitars so cleverly layered in, you can’t tell if they’re real or from the Casio. “I Want You Back” is the pulsating, up-tempo club rager, with lyrics custom-made for remembering, in a grainy video montage format, all your old lovers. “Egyptian Lover” incorporates the expected middle-eastern sounds over Nadia Oh’s rap seamlessly over driving beats, and the “Falling Down” remix features a smooth male vocal that complements Korka’s voice perfectly, and makes you wish this male vocal appeared elsewhere in the album. The new vocals give a hint of the creative potential of experimentation and innovation Space Cowboy has. And if Digital Rock Star is any indication, whatever experimental turn Space Cowboy takes, it’s all destined to be the new dance-club hit.

Like Space Cowboy? Check out: Mindless Self Indulgence, Cinema Bizarre, The Paradiso Girls

Weezer - Raditude

2009-11-17T14:41:00.000-08:00

Written By: James Swigart

Label: DGC/Interscope - Rating:

"I've got the prettiest girl in the world/And I'm in love with her." The charming and incredibly masculine Rivers Cuomo sings these typical Weezer lyrics in the smashing song "The Prettiest Girl In The Whole Wide World" which is a bonus track on the deluxe version of Weezer's delightful new album, Raditude.

Weezer's always been all about guitars, hooks, good times, and, of course, girls. The band never wants to get too serious and, given their success, why should they? The second track on Raditude, "I'm Your Daddy," is hilarious. The chorus lifts us up, puts us on a cloud, and keeps us there. We never want this song to end. Cuomo's vocals throughout the album are sublime. His restrained, passionate crooning is complete genius and truly original. Nobody vocally expresses controlled yearning like Cuomo.

The first six tracks on Raditude are rock 'n' roll nirvana. Brian Bell's guitar chords are massive and loud. His staccato riffs on "The Girl Got Hot" are unexpected and brilliant. The backing chorus takes us back in time and lets us imagine that we're listening to one of the bands that invented rock. In the spirit with which rock 'n' roll was invented, the first song on the album, "(If You're Wondering If I Want You To) I Want You To," is a good time defined and features excellent acoustic guitar.

"I've gotta have a lot of pretty girls around me" are lyrics in the modern ode to excess "Can't Stop Partying." Lil Wayne sings guest vocals and his wordsmithing provides a lull that gives us time to ponder the genius that is Weezer. "Put Me Back Together" features chiming guitar like the Edge's and savagely brilliant falsetto from Cuomo. This anthem is uncontrolled brilliance and is on par with the best Boston and Cult.

"Trippin' Down The Freeway" brings us back to Weezer's first album with a modern sound that is refreshing. Patrick Wilson's drumming is powerful and massive. This song, like the rest of the album, is masterfully produced, primarily by Butch Walker and Jacknife Lee.

"Love Is The Answer" is a soft rock song that, although it professes a noble idea and is well done, doesn't belong on this album. Thankfully, Cuomo and company kick us back into the radness that is Weezer with the next track, the beautiful rocker "Let It All Hang Out." The following track, "In The Mall," keeps us on the rocking wave that we crave like Kobe Bryant craves championships. The driving guitar and Wilson's brilliantly varied drumming remind us that we are hearing the work of masters. Scott Shriner's understated bass helps keeps the beat that we all know and love.

"I Don't Want To Let You Go" is a fitting coda to the album proper. The pace is slower and when Cuomo sings, "I'll be waiting girl until the end of time," we know that we are in the presence of a singer with experience both vast and crucial.

Among the four tracks on the deluxe edition, "Get Me Some" is a classic rock anthem featuring beautiful guitar progressions that would command the attention of the legendary guitar god that is Jimmy Page. Put this song in place of "Love Is The Answer" on the album proper and you'd have an album that would rank among the best in rock history.

Weezer has a formula that works and they're confident and wise enough to stick with it. Another band that does this is the nonpareil AC/DC. The simply sublime Big Country varied from a brilliant formula and regretted it. Here's to hoping that Weezer stick to doing what works oh so well.

Four guns.

Like Weezer? Check out: Bush, Jet, The Raconteurs

Adelitas Way - Self-Titled

2009-11-13T15:19:00.000-08:00

Written By: Victor Alfieri

Label: Virgin - Rating:

Despite being incredibly young in terms of band life, Adelitas Way has already come a long way. They’ve already toured across the country with several large bands, are out with Halestorm right now and are all set to go out again in early 2010 with Shinedown.

“Invincible,” the first release off of their self-titled album was used earlier this year as CBS promoted the season finale for CSI: Miami. This same song is also the theme song for WWE Superstars airing Thursdays on UPN. The band also has recorded a song used by one of the wrestling tag teams for their intro.

After doing some research, it was with much anticipation that I sat down to listen to this album. With the first track being their “hit,” things started off well. “Invincible” is filled with just enough pent up emotion to get the heart rate up and the anthemic chorus creates images of arenas going wild. It does not take long to see that these guys can really play.

This album gets a little cloudy after that first track though. The band gets lost behind some of their influences at times throughout the rest of the album. “Dirty Little Thing” is a fun little song, but screams of Nickleback as does “Just a Little Bit.” “Last Stand” is a little too reminiscent of Daughtry. Let me be clear here. These are not bad songs. It’s quite the opposite. They are well-crafted and well-produced. With a little maturity and experience, I think it’s fair to say Adelitas Way will continue to carve out their own sound. They will get the chance, because I don’t think they are leaving anytime soon.

There are some strong tracks on this album. “Invincible” is definitely one of them. “So What if You Go” is another song that fits the “Major Air Play” mold. “Closer To You,” the album’s power ballad and “Brother,” the piano-based final track also do very well.

Adelitas Way consists of Rick DeJesus (Vocals), Chris Iorio (Lead Guitar), Keith Wallen (Rhythm Guitar, Vocals), Derek Johnston (Bass) and Trevor “Tre” Stafford (Drums). The album was released by Virgin Records and produced by Johnny K (Staind, 3 Doors Down).

This is a solid first attempt by a band that obviously has talent. As long as they continue to create the “Adelitas Way” sound and not get lost behind influences, they’ll do well. It won’t be long before we see them headlining the arenas instead of opening for others.

Like Adelitas Way? Check out: Nickelback, Daughtry

Rating: 2.5 out of 4 guns.

Black Rebel Motorcycle Club (Live)

2009-11-10T18:29:00.000-08:00

Written By: Joe Cardenas

Label: Vagrant - Rating:

The live album. Often overlooked and discerned by fans.

The live album is loved by some, but equally hated by others. A live album is tricky, as it sometimes does not represent the band or their sound as well as fans hope. It is also seen as inferior because hearing the live performance is not the same as seeing it or hearing it in person. So with the complexity of the live album and its arguable concept, will BRMC's album Live succumb to these faults?

I was a bit curious to see how BRMC would perform their songs live. Knowing the instrumental effects they use, and the polished sound their albums have, it could have been a disaster. They really did an excellent job of transcribing the sounds, although not exactly the same, they still produce the same energy but with a grungier and more punk-rock effect. It's pretty rad hearing your favorite BRMC songs in that sense, a reason in itself to hear this album out.
The first track 'Weapon of Choice' really had me worried as the quality of the sound is really disappointing, and reoccurring mic problems makes matters worse. The low quality is reminiscent of underground garage-bands, which isn't necessarily a bad thing, but I was expecting more. Things do pick up on the second track thankfully, and the energy and clarity that was missing in the previous track becomes more apparent. Listeners might get put off by this as it is not common to start the album with the worst track.

The album really starts to gain some momentum after the first two songs. Notable tracks include: 'Berlin,' 'No Easy Way Out,' and a beautiful rendition of the classic folk song 'Dirty Old Town.'

The energy is consistent all the way 'till the end. The instruments are clearly heard and it's a nice surprise to hear the bass so dominantly. I really wasn't aware of how much the bass contributed to BRMC's songs, a good example of how implementable bass guitar is to the foundation of a tune.

Despite low quality and sound issues in certain songs, BRMC's album, Live is still fun to listen to. All their hits are played and a good amount of energy is put into it. Fans will definitely want to include this to their collection cause it offers their favorite songs in a new light and shows the skillfulness of BRMC's ability to playing live.

Like Black Rebel Motorcycle Club? Check out: The Black Keys, The Dandy Warhols

Patrick Watson - Wooden Arms

2009-11-09T21:18:00.001-08:00

Written By: Lindsey Hecht

Label: Secret City - Rating:

Though the name Patrick Watson might sound like a one-man show, think bigger; more extravagant. This four-man band is comprised of Robbie Kuster on drums, Mishka Stein on bass, Simon Angell on guitar, and frontman Patrick Watson who lends his vocals while also playing piano and harmonium. Experimenting with sounds, Patrick Watson guides the listener through ‘Wooden Arms’ with a sequence of strings, effects, and acoustic landscapes.

Their newest album opens with ‘Fireweed,’ leaving little to no words and letting a string of noise reverberate in my ears. Though the first track depends heavily on sound cascading from speakers, the few words sung are not lost, as they are powerful and with a message. Watson croons, ‘So we dug us a hole / And planted our skin / Like a seed in the ground /To grow again’ and fast as this song ends, I wanted another to begin.

The transition from ‘Fireweed’ to the second song on the album is barely discernible, and I’m once again spinning in a fantasy as I listen to ‘Tracy’s Waters.’ During this song I find myself more focused on the music and less on the words, as they trail behind like a streaming sidekick companion. ‘Beijing’ follows and is by far the most experimental track on the album. I’ve pressed my ear to the speakers countless times, with closed eyes, wondering what objects are being manipulated to make the hullaballoo I’m hearing. Pounding on chests, legs? Drum sticks on glass cups? Bicycle wheels spinning as the track rounds out? Your guess is as good as mine, but it draws me in – and I’m wanting more.

Next up is the title track ‘Wooden Arms,’ which reminds me of the cobblestone streets and boat rides of Italy's Venice. The rhythm of his voice is especially unique in the way it draws its listeners in, and his ability to capture a French mystique seems only natural as Watson himself composed the entire soundtrack for the French-Canadian film, ‘C'est pas moi, je le jure!’

Though the band emphasizes the word ‘experimentation’ with their inimitable style, their versatility is remarkably evident in “Hommage,’ which accentuates strings and angelic orchestral tunes. This song, specifically, forces me to visualize the closing scene to a grand play in a theatre. Without any lyrics at all, and even as the shortest track on the entire album, this grandiose theatrical moment of suspense buries me in its beauty. As a band, their ability to provoke thought with their echoes and strings is remarkable; the fact that they achieve the same effect with playful, staccato songs such as ‘Where the Wild Things Are’ is even more impressive.

Like Patrick Watson? Check out: Rufus Wainwright, Animal Collective, Radiohead

Dead To Me - African Elephants

2009-11-09T01:12:00.000-08:00

Written By: Zoe Porteous

Label: Fat Wreck Chords - Rating:

Dead to me is a punk rock band from San Francisco. Three years after their highly praised debut release, “Cuban Ballerina," Dead To Me returned with the long sought- after follow up full-length album, “African Elephants." The lengthy time between albums seems to have paid off. Fans have been clamoring for a finished product and here it is. I don’t know if that is such a good thing. While the band has matured and grown a new sound, they are still uneven. The very first track, “X”, sounds like a bad reggae version of what it could have been. I understand that they are playing with their sound but come on guys. This album also differs from their first by not having guitarist/vocalist Jack Dalrymple take part. He is still in the band, but taking a break to care for his infant son. Instead, guitarist/vocalist Nathan Grice has taken over the vocals. His voice is melodic and easy to listen to, which helps songs like “cruel world” become more enjoyable.

There are a few tracks that help the album along, however, Dead to Me seem like they are trying to break out of the mold of other punk rock acts before them, but not really getting it right. There are a few tracks that I quite liked. “California Sun” is one of them, which is a mellow anthem that will remain on my playlist. “I Dare” is another saving grace. “Don't be afraid there's still strings attached, I'll let go if you go first.” This is a typical line from “I Dare” which sums up so many relationships its sad.

All in all they know what they are doing. They are not bad musicians, it just sounds uninspired. I don’t get a sense of any passion behind it. If I cant feel the bands' energy and love of what they're doing then I cant love the album. We shall see what the next album from the band sounds likes. Perhaps with Jack Dalrymple back they will be more cohesive with more energy.

Like Dead To Me? Check out: The Loved Ones, The Methadones, Latterman

Audra Mae- Haunted EP

2009-11-08T16:54:00.000-08:00

Written By: Emily Cahill

Label: Side One/Dummy - Rating:

The title “Haunted” is fare warning as this EP might depress you just a little bit. Each of the five songs is about some particular tragic circumstance. However, the imagery used is so classic and thoughtful that it makes each song artful and definitely worth a listen.

“The River” has a country-ish beat, but not a country sound. It plays with the age-old image of a river and sin, but does so beautifully and thus it does not feel like a rerun. “Lord I can’t swim/but it’s alright/’cause all my sin would drag me down/even if I could,” says the song, which puts a new twist on the river washing away sin—here it seems to be the punishment for the sin, rather than the absolution. The lyrics play at being a narrative but they never reveal exactly what is going on, which is the great strength of the song. It has meaning without outright definition.

“Eli, The Barrow Boy,” and “Sullivan’s Letter” are special in their treatment of death. The imagery and language used to describe Eli’s drowning and Sullivan’s death on the battle field are familiar and classic, but these old settings lends room for Audra Mae to move forward with new ideas on these old scenes. It is not uncommon in art (television, stage play, music, novels, anything) for a woman to be receiving a letter her husband had been carrying on him in war after his death. In fact, it’s the whole plot of the very famous play Cyrano de Bergerac. What Audra does is make it so unique that even though you have probably seen this a hundred times in your life. When you hear, “when the breeze brushes against your cheek heaven is sending you my breath,” you’ll be ready to cry of the lost love all over again.

Also worth noting while you listen is the way Audra Mae plays with sound and meaning. Listen for a fairy-tale sound in “The Fable,” eastern tones in “One Silver Dollar,” and the military march at the beginning of “Sullivan’s Letter.”

Like Audra Mae? Check Out: The Audreys, Clock Hands Strangle

Pillar - Confessions

2009-11-08T15:54:00.000-08:00

Written By: Ben Millikan

Label: Essential/Sony - Rating:

Usually, a band’s lineup is indicative of their longevity and overall success. A Band that is able to stick together through thick and thin with its original members is usually one that will go a long way in the music industry; whereas bands that consistently have to go through lineup changes inevitably end up faltering. But there is an exception to every rule, and in this case the exception is Christian alternative/metal band Pillar.

Led by founder/frontman Rob Beckley, Pillar has endured five different lineup changes over their successful twelve-year career. But despite this, Pillar has managed to forge ahead with nearly one million albums sold to date. Now, with five studio albums under their belt and two more new faces, Pillar has put together what they believe to be their best album to date with Confessions. Despite having a new bass player (Rich Gilliland) and drummer (Taylor Carroll), Beckley believes that the current lineup is the best that Pillar has ever had: “We're still a guitar-driven band, but now, for the first time, we have a tight rhythm section with a serious groove. Musicianwise, this is the strongest lineup we've ever had.”

Although fans will have to get acclimated with the new faces, the deeply personal and thought provoking lyrics of Beckley are still the focal point of the band. Whether it be confronting the destructive cycle of hiding secret sins (“Secrets and Regrets”) or discussing how God’s plan in his life rescued him from his partying days in college (“Better Off Now”), Beckley’s thoughts expressed on Confessions have no shortage of emotional appeal or deep-rooted empathy. Just as Beckley has done so in the past, his faith-inspired lyrics on Confessions will continue leave an indelible mark on listeners.

Musically, Pillar has taken a more direct, mainstream approach with Confessions, while still following the formula that got them to where they are: heavy, over-driven guitars mixed with catchy, melodic vocals. The epitome of this description can easily be heard on the album’s opener, “Fire On The Inside.” Loaded with plenty of punch and bottom end, the track really sets the tone for the record with a heavy, old-school metal guitar riff that is full of thrash and aggression. But Pillar has expanded their sound to include a more anthematic and symphonic feel with tracks like “Will You Be There” and “Better Off Now.” It should also be noted that they put together an amazing cover of Collective Soul’s “Shine.”

Once again, Pillar has proven why they are the pioneers of the Christian hard-rock scene with their work on Confessions.

Rating: 4/4 Gunz

Like Pillar? Check out: Skillet, Disturbed

thenewno2 - You Are Here

2009-11-08T15:46:00.000-08:00

Written By: Mike Acker

Label: Vagrant - Rating:

Which side of the Atlantic sets the trends in music? It’s a question that’s been around as long as there have been methods of getting music from the UK to the USA. The Beatles listened to and were influenced by American acts like Elvis and Little Richard in the 1960s. A decade later they were the driving creative force behind many stateside bands like the Byrds.

In 2009 the question of trend-setting and influence in the world of electro synthesized alternative rock comes up when listening to the newest record from the British outfit Thenewno2 entitled You Are Here.

You Are Here, the work of Londoners Dhani Harrison and Oliver Hecks, introduces the style of thenewno2 with the first track. “So Vain,” relies heavily on layers of synthesizers and a psychedelic backing rhythm that is a staple of the entire record. It’s in the first track that I felt Thenewno2’s similarity to the American group Ghostland Observatory. Although where Ghostland Observatory tends for a quicker, more dance type beat, Thenewno2 chooses to stay mellower.

The old saying goes that Great Britain and the United States are two countries separated by a common language. Listeners to You Are Here may need a quick language lesson when the record reaches the third track, “Back To You.” After the relative calmness of the record’s first two tracks, the shift to a louder volume of backing instrumentals highlights the lines, “No surprises, not for me, every time the mobile rings.” For people not versed in the BBC, in the Queen’s English, “mobile,” means cell phone.

The mellow vibe picks up again in the middle of You Are Here. “Give You Love,” plays almost like an electric rock love ballad. Again, “Give You Love,” is an example of the shifting nature of Thenewno2. As soon you get the feeling of the soft tones of the song, the pace and instrumentation picks up. As soon as you get the feel for that, it drops right off again, and so on and so forth. That may sound unappealing, but the effect is an enjoyable musical complexity.

You Are Here finishes off the way it starts, with an array of electric piano tricks and melodious vocals that showcases some of the range of Thenewno2. I keep coming back to Ghostland Observatory because I believe that both these bands are examples of the versatility of electro alternative rock. It is in You Are Here’s final track “Wind Up Dead,” and in the high vocal tone of the lyrics that the American electro rock influence is most evident.

Thenewno2 bring an assortment of abilities to a type of music that is being shaped and molded in all types of ways by all types of bands. Today’s bands may be listening to groups in America, experimenting with electronic music and sounds, and turning out records like You Are Here. Groups on this side of pond my hear a band like Thenewno2, and be influenced to make the next big leap in electronic music.

Like Thenewno2? Check out: Ghostland Observatory, MGMT, Wolf Parade

Kate Miller-Heidke EP

2009-11-06T18:48:00.000-08:00

Written By: Emily Cahil

Label: SIN - Rating:

Australian singer/song writer Kate Miller-Heidke’s newest five-song EP is sure to make an impression on all listeners. Anyone paying attention will quickly realize that each of thes songs are about particularly mundane things, instances from everyday life. But Miller-Heidke’s thoughtful lyrics, supported by creative rhythm, elevate these ordinary happenings to events. Each song is narrative in the way of a ballad but without the distinctive Irish or Country sound often associated (negatively) with narrative music.

“Politics In Space” really plays with sounds. The vocals range from windchime-lighteness to a deep croaking. The whimsical tone of the music and vocals (enhanced beautifully by a tambourine) reflects a very 1960’s sound, and is supported by the lyrics which holds several 60’s references. This only goes to show that Miller-Heidke is not only creative but also knowledgeable and respectful of musical history, and impressive quality.

“The Last Day On Earth” will make anyone listening consider what their last day on earth would be like. The piano intro is an incredibly expressive piece of music. The drums throughout this song support the vocals in a way the drums rarely do, and the result in beautiful. This song would be perfect soundtrack music, especially in something slightly off-kilter and Juno-esque.

“Words” is such a cool piece of music because it is not exactly music. The vocals have a distinctly spoken word sound to them. The lyrics are very funny and the rhythm, being spoken word-ish is incredibly artful. The title is amazingly appropriate as the words really are the central focus of this song; the music is very much secondary (but no less go for it).

“Are You F*Cking Kidding Me” will make anyone, anywhere laugh with the sheer honesty of it. This is the perfect example of Miller-Heidke’s ability to make the ordinary extraordinary. The song starts out clear and slow and then suddenly becomes about a friend request on Facebook. It quickly speeds up and becomes comic in sound, but it makes you think, “Why is the world advancing so much but our music staying in the realm of pre-technology?” The lyrics will make you laugh, but it is so true that after you have broken up with someone you really do not want them poking you on Facebook. It is a simple fact of life, and a great subject for a song.

The best song on the EP is easily “Caught in the Crowd.” This song won Miller-Heidke and her husband (and musical partner) Keir Nutall the International Songwriting Competition. They were the first Australians to do so. The song is beautiful lyrically, vocally, and musically. It is definitely a narrative, and it is about teenagers. It has a message, but it’s clear the song was not written to convey that message. The song simply reflects daily life so perfectly that the lesson is clear in it. Listen to it. You’ll be back in the high school hallway in a second and you’ll be saying “I’m sorry,” right along with Kate Miller-Heidke.

Like Kate Miller-Heidke? Check out: Crash Test Dummies, The Dandy Warhols

The Antlers - Hospice

2009-11-06T18:19:00.000-08:00

Written By: Sebastian Barnum

Label: Frenchkiss - Rating:

Even though they remain relatively unknown, The Antlers are going places. Between releasing the album that their loyal fan-base has been waiting for roughly 2 years, and touring behind indie up-and-comer “Minus the Bear,” it’s safe to say that The Antlers have something special about them.

There newest full length album “Hospice” is the first studio album that Peter Silberman (the bands founder) has had band mates on. While recording his first album, titled “In the Attic of the Universe,” Silberman did the album alone and released it under his own name, having originally decided the band would be a solo project. However after that, Peter Silberman joined up with Michael Lerner on drums, and Darby Cicci on keyboards. The result was a set of EPs, titled “Cold Wars” and “New York Hospitals.”

The Antlers new album is an orchestrated masterpiece. It begins with a song adequately labeled “Prologue” which is essentially the departure point on your journey of emotions that the band attempts to take you on. As the beginning of the album revs up with a beautiful tapestry of sci-fi sounds, and gentle keyboards. A listener quickly gets sucked in to a repetitive dance of melody and madness as “Kettering” starts. “Kettering” shows the final product of the prologue as you are racked with the writers emotions and thrown into their world of sorrow and confusion. Listening to the song was, putting it mildly, redeeming.

“Sylvia” is somewhat of an out of place moment in the album. It follows the mellow opening of the album with what reminds us of an awful dial-up internet connection. However, once you get past the intro of the song, the music seems to explode into what resembles U2 before they became mainstream. It’s comforting to be gifted the realization that innovation isn’t dead.

“Antrophy” is in my opinion the milestone of the bands masterpiece. It’s an eight minute journey through the bands past, which leads you to realize the way they wish a future might be. After soft quiet verses that resemble a guilty man going to a confessional, it begins to build, until you’re so anticipant of what comes next that it almost itches. Finally, after over half the song is over, it seems to be shuddering, and the chaos of childhood trauma is clearly illustrated.

The albums first single “Bear” reminds us of childhood innocence. With lines like “We’ll drink champagne although we shouldn’t be,” and “I don’t see how we’re too old,” Peter Silberman pleas for peace again. Speaking about childhood trauma, dysfunctional adults, and attempted suicide, you would expect this concept to be a huge mistake. However The Antlers handle it with ease and poise. With persistent drums, and music all set in a major key, it’s somewhat puzzling to have such happy music be the medium for such a sad story.

This album is relentless. From soft exploits such as “Thirteen,” “Epilogue,” and “Shiva,” and explosions of raw sound like “Wake,” “Two,” and Sylvia” you can get everything you might hope to from a concept album. The songwriting is spectacular, the orchestration superb. However there is always one major flaw within an album and that is that the vocals are less audible than you might want.

Regardless I can’t help but feel like if the band never wrote another song, they could be proud of a musical success like “Hostile” for the rest of their lives. Peter Silbermans directions of melocholly concepts, and musical fluxuation brought this album full circle. Even though it is a concept album, and could’ve fallen apart at so many different places, they made it work. Bottom line… I’m impressed. I give this album 3 out of 4 guns.

Like The Antlers? Try: Coldplay, Manchester Orchestra, Chimes & Bells

Tegan and Sara - Sainthood

2009-11-06T17:34:00.000-08:00

Written By: Victoria Hill
(Urban/Pop Editor)

Label: Sire - Rating:

Inspired by emotional longing and the quiet actions we hope may be noticed by the objects of our affection, Sainthood is about obsession with romantic ideals.

The sixth album from Tegan and Sara was produced by Chris Walla (Death Cab For Cutie), who produced “The Con” and Howard Redekopp, who produced “So Jealous.” Tegan explained that Chris and Howard were chosen because “the fan favorites in terms of records have been our last two. So we brought in the production teams from both and made a hybrid of sound.” The hybrid sound is lush and inventive and adds a new dynamic to the group.

I loved the song “Someday,” as it was a combination of strength (”Might do something I’d be proud of someday, mark my words I’m going to be something someday”) and insecurity ("I don’t want to know that you don’t want me, I don’t want to know what you’d do without me, I don’t want to know what I’ll be without you.”) The idea that we can be own worst enemy and give into feelings that just send us to places we shouldn't be.

“On Directing” is a snappy punk song that includes an interesting line, “I know it turns you off when I get talking like a teen.”

“Alligator” is a poppy, bouncy song about someone you love running around behind your back. Even Tegan and Sara’s voices sound bubblier. I love how the sisters can change their voice to match the moods they're creating. With auto-tune and a lot of one-dimensional singers; it's great to see people taking time to craft songs and looking at each part of the song to make sure it blends together well and stands apart from everything else.

While listening to this album and trying to think what to call the style of music Tegan and Sara created…do I call it electronica, pop, rock, punk, alternative, etc. and I have thought of a word to best describe it…fresh. Sainthood is a great album and is another step forward for a band that deserves even more success.

Maps - Turning the Mind

2009-11-06T02:27:00.000-08:00

Written By: Heather Wysocki

Label: Mute - Rating:

“Die Happy, Die Smiling,” “Papercuts,” and “Valium in the Sunshine.” If basing the decision on how much of a role model Maps are exclusively on song titles, Maps is the worst. Role model. Ever.

Despite Maps’ propensity for uber-hipster bad-advice song titles – plus a band name and synthy sound that make it impossible not to think of the Yeah Yeah Yeahs – Turning the Mind is a musical journey, one that follows the Frostian advice to take the road less traveled in order to get to a place far more penultimate than your true destination.

That place, according to Maps’ only member James Chapman, is super-consciousness: the state where total relaxation meets hyperawareness. It’s not usually the sort of place a techno-pop album can take you, but it’s one they should definitely start visiting.

U.K. native Chapman mixes fantasy video-game sounds and some mighty cool indie-electronic notes with hypnotic vocals, luckily bringing listeners to a place more reminiscent of Middle Earth than the World of Warcraft and crafting music that is far better than the sum of its parts.

“Valium in the Sunshine” must’ve been named for the feelings it produces, while another one of those oddly titled tracks, “Die Happy, Die Smiling,” is a cerebral slash of made-you-think lyrics and made-you-blink-at-the-strobe-light beats.

The heavy hands of Bjork producer Valgeir Sigurosson and Sigur Ros mixer Ken Thomas are extremely evident here, but Chapman brings something else to the airy-but-industrial sounds those two artists call their trademark: an all-at-once sophistication and cheekiness that Britain will always, always be more successful at than Scandinavians.

Everything’s not super-duper in Chapman’s world, though; title track “Turning the Mind” is a little too pitchy, high and strong like espresso, not the mellower oolong tea of other, more successful tracks such as “I Dream of Crystal” and “Nothing.”

With a lot of atmospheric pop-rock, it’s easy to get caught up in the pretty sounds and overlook sometimes so-so lyrics. But Maps’ words are more Eminem than earthy, a mix of fightin’ words and pro-cocaine ditties; Chapman’s a guy who definitely grew up on the grittier side of Pickadilly Circus.

If MGMT members Ben Goldwassser and Andrew Van Wyngarden knocked off the ecstasy eating and tried some Oxycotin, maybe they’d stop singing about mythical animals and reach the level of perfectly imperfect sounds that Chapman creates.

It’s difficult to know what Maps would sound like live, as a band only joins Chapman in his quest for indie treasure when Maps plays concerts. But for now, it’s okay not to know, since the destination reached through listening to Turning the Mind is way better than any sticky-floored concert venue could ever be.

Like Maps? Try: MGMT, Spiritualized, My Bloody Valentine

The Summer Set - Love Like This

2009-11-06T02:19:00.000-08:00

Written By: Joe Cardenas

Label: Razor & Tie - Rating:

The power-pop group from Arizona kick it off with their first album Love Like This. Right off the bat you get a feel that the band just graduated from high school and transcribed all their experiences into this album. The songs cover a lot about love and girls and anything you'd expect from any pop rock band. Although they didn't score much points for originality the music is really solid and well-played. You can find yourself listening to these catchy tunes reminiscing of high school days and for those high-schoolers these subjects sung here will be all too familiar.

One thing that really makes this album unique is the use of synthesizes and trance-like beats in such songs such as 'Chelsea.' Even subtle use of the synths make a huge difference in the songs' overall tone in songs like 'Punch-Drunk Love.' It just gives it that extra something and makes the music more interesting. I really think that the band could have taken more of a risk and added more electronic synthesized sounds into mix. It's a good start and a solid effort by The Summer Set at trying to make themselves stand out.

The majority of the songs are very catchy and many parts feel very sugar-coated, especially the guitars. This isn't a bad thing necessarily, it's all a matter of whether you like the upbeat feel of the music. Much like that, not everyone is going to be a fan of the young sounding vocals, but anyone who does enjoy that will definitely want to listen to this album.

The lyrics are very well crafted into making nice melodies that are somewhat memorable but are just catchy enough to stick into your head. What's impressive is that the lyrics aren't as naive as one would expect from a young pop rock band like this. Although it does have its moments: “I heard you’re talking shit again / I’m gonna sleep with all your friends” and “I've waited all my life for a bitch like this.”

This is definitely a good start for the The Summer Set, they have good potential and could be something truly memorable if they continue to experiment with their sound. Hopefully as the band matures, so will the music. The high-school-themed music is enjoyable and despite a few faults here and there it's a very solid album, I definitely recommend hearing them out!

Like The Summer Set? Check out: The Cab, The Maine

Nirvana - Bleach (20th Anniversary Edition)

2009-11-05T13:59:00.000-08:00

Written By: James Swigart

Label: Sub Pop - Rating:

Nirvana's Bleach Deluxe Edition, re-mastered beautifully by Jack Endino, gets in our face from the get-go and stays there. Since this album is very attractive, we are stoked that wise people decided to make it.

Bleach Deluxe Edition contains both the original album and 12 live tracks. Six of the live tracks are versions of songs on the original. The live tracks are all from one show in early 1990. "School (live)" is simply stunning. The legendary and seminal Kurt Cobain's vocals and guitar are both incredibly powerful. "Floyd the Barber (live)" is equally powerful. Krist Novoselic's bass guitar is nimble and Cobain's guitar a beast.

Novoselic's simple yet elegant bass begins "Dive (live)" and Cobain's trademark howl is in full effect. Cobain's rasp has vocal power equivalent to that of the best Johnny Cash. We can not recall a vocalist having the raspy power of Cobain. The drums and bass keep a nice beat while Cobain's voice pierces us over and over again.

"Spank Thru (live)" is a snappy little tune with some guitar similar to Johnny Marr's while Marr was with the Smiths yet rougher. Of course the guitar's rougher - it's Nirvana. This tune rocks with the vocal fluidity shown by Cobain on his tragically final record, In Utero.

"Sappy (live)" begins with Cure-like guitar chords and then the vocals hit us hard and lovingly. Guitar swirls and forms a bed of flowers that we could lie on forever. The power, urgency, pace, and need of this song define Nirvana, one of the great bands in rock history.

"About a Girl (live)" is perhaps my favorite Nirvana song. The fast pace, vocal rasp, Marr-like guitar, and consistent bass display a band that's powerful and hungry. The album ends with "Blew (live)." Good drums, peppy bass, and slower Sonic Youth-esque guitar keep us enthralled.

The original album shows power similar to that heard on Joy Division's Closer and on the Cure's Seventeen Seconds. Some of the pacing can be plodding as one would expect from a band with relatively inexperienced musicians. This plodding is heard especially on "Floyd the Barber" and on "Paper Cuts."

"Blew" is the first track and we are taken by vocals and guitar. Cobain's solo shows confidence that would serve him well musically. Chad Channing's proficient yet much maligned drumming keeps a good beat. Channing drums on every track on the original album except "Floyd the Barber," "Paper Cuts," and "Downer" - tracks on which Dale Crover drums. The drumming is never bad and is frequently what we prefer - forceful and blending. We were unable to determine who drummed on the live tracks. The drummer was probably either Dave Grohl or Channing.

"School" is our favorite track on the original. "Love Buzz" shows uncommon power and a funky bass line similar to that used by Flea. In spite of the plodding nature of some tunes, the original is a good album because the string of songs beginning at the 7th song, "Negative Creep," and ending with the original's closer, "Downer," is powerful, brilliant, impassioned, and seminal. In particular, Cobain's use of prolonged guitar chords, staccato riffs, and raspy, powerful vocals is pioneering. The brutally underrated Melvins owe a huge debt to Bleach.

Need is a word that defines all great bands. The need to please; the need to perform; the need to improve; the need to experience. Cobain's and Novoselic's need is prevalent throughout Bleach Deluxe Edition. Those who heard Bleach shortly after its release and said that Nirvana would be great heard this need and knew how it would forecast.

Like Nirvana? Check out: The Melvins, Alice in Chains

Flight of the Conchords – I Told You I Was Freaky

2009-11-05T13:29:00.000-08:00

Written By: Justin Rands

Label: Sub Pop - Rating:

I guess these guys weren’t kidding when they started to tackle this music thing. Many thought the New Zealand comedy duo would be a flash in the pan but luckily for us, the albums keep on coming, and after listening to this new album, “I Told You I Was Freaky,” they seem to be getting better.

The duo, Bret McKenzie and Jemaine Clement, the now HBO induced celebrities, were flatmates at Victoria University of Wellington, and luckily for them were heading into the same field of film and theatre. After throwing ideas around for a while they decided to form the group “Flight of the Conchords” in 1998.

They played and played, hitting random television gigs, and festivals, gathering awards and getting hype. HBO finally contacted them and gave them their own stand up comedy series, “One Night Stand.” Then after performing at the South by Southwest festival in Austin, Texas and then later on David Letterman, they finally gathered the songs they had been playing over the years and released, “The Distant Future” EP, which, in 2007, they won a Grammy for, Best Comedy Album. One album later, flash-forward to 2009 and they’ve released their latest, “I Told You I Was Freaky.”

Keeping in touch with their satirical roots, they dive and explore the feelings you get from daily social situations like, hm, well, we’ve all experienced this: You end up going to a club, even though you don’t really want to, and once you’re there, there are with too many guys there for your own liking. There are some girls, but they’re all ridiculously hot and only dancing with each other and all the guys are gawking at them, some even try to dance with them, but to no avail. Well, what do you know, they sing about this on, “Too Many Dicks (On the Dance Floor)”.

Or there are songs about having little to no skill in anything, and you’re broke, and the only solution you can think of is reverting to prostitution. Yes, that songs called, “You Don’t Have Be A Prostitute.” And lines like “I see you girls looking at my junk, checking out my rump, then back to my sugarlumps,” appear on satirical rap song, “Sugalumps.”

For all you cult fans out there I’m sure you won’t be disappointed when listening to the group’s new material. They poke fun at every genre and every random situation they can. I’m sure out of the thirteen songs on here they’ll be one that you can laugh and connect with.

Like Flight of the Conchords? Check out: The Lonely Island, Demetri Martin, Video Kid

Ken Flagg - The End Of Suffering

2009-11-03T01:03:00.000-08:00

Written By: Victor Alfieri

Label: Incurable Eclectic - Rating:

Whenever you pick up something new, or see it for the first time, your mind immediately goes into it’s databank to classify this new thing by comparing it to all other things it has seen. We all do it. “That guys sounds like…” That movie was just like…” “That car is a combination of…” Upon listening to Ken Flagg’s The End of Suffering my mind needed to come up with an “other” category.

Where musicians like Beck re-invent themselves and their “sound” with every album, Flagg does so with every track on this album. From heavy hitters like “Mountain Girl” to songs with full orchestration like “Brightest Day” or bossa nova pieces like “When the Sun Sets in the Eastern Sky,” the “Sound” never truly settles. Yet, none of it seems out of place. One would guess that Ken Flagg has worked hard at separating himself from the pack, and that hard work has paid off.

Originally from Long Island, New York, Flagg now makes San Francisco his home. This is his second release, from Incurable Eclectic Records and a very ambitious one. He used over 50 musicians and what sounds like full string and horn sections in both “Brightest Day” and “Blinded.” There’s a battle between the horns and a choir on “Suffering” as well.

The core of this band consists of Flagg (vocals, piano, synth, guitar), Matt Heulitt (guitar), Paul Eastburn (Bass) & Chris Brague (drums). This follow-up to Paralysis & Denial continues to build a strong reputation of musicianship, song arrangements and the ability to blend styles seamlessly.

Flagg lists such bands as The Beatles, Radiohead, ELO & The Beach Boys as musical inspirations. When digging through each of these songs, you can pick them out, especially the ELO-inspired “Accelerator.” You also get the distinct impression that he has a selection of 80’s new wave, such as Depeche Mode and New Order in his CD collection. The lyrics tend to move around as much as the music; from the emotional (“Pieces”) to the whimsical (“Funeral”).

The End of Suffering comes very early on this album. It is truly an enjoyable listen and a wonderful new addition to my Ipod.

Like Ken Flagg? Check out: Beck, or go back to the classics of ELO, The Cars.

The Swell Season - Strict Joy

2009-11-02T16:49:00.000-08:00

Written By: Lindsey Hecht

Label: Anti - Rating:

Comprised of Glen Hansard and Markéta Irglová, The Swell Season is an unlikely, yet magically uplifting, duo. Since winning an Oscar for ‘Best Original Song’ the pair have been hard at work creating music that seems to effortlessly manifest tracks far above audience expectations.

On my most recent CD-release radar has been their much anticipated follow-up album, “Strict Joy.” This 12-track compilation demonstrates their inherent musical talent via shared vocals, with Irglová on piano and Hansard on the guitar. With each successive track, the music and lyrics evidently create a fantasy world in which its listeners can bask in their experience of real-life love and loss. Though Hansard wrote and provides main vocals for the majority of songs, Irglová’s backing vocals remain crucial as her tranquil expressions perfectly compliment her partner.

Although bylines suggest that Glen leads as composing frontman, Markéta’s talent is unmistakable in ‘I Have Loved You Wrong,’ which Markéta composed entirely. With a verse so lyrically strong, she writes “But this estranged organ in my chest / Still beats for you / It will not rest, so / Meet me in our secret place / When the time has come.” Her words are written with the potency of a libretto, and force me to visualize an intimate candor as Hansard holds her tightly with his backing vocals. However gifted each member is on their own, the duo is at their strongest when vocals are weaved together, like in ‘Fantasy Man’; a seamless harmony of sincerity and truth.

Though the musical inspiration for ‘Strict Joy’ is rumored to have been derived from the experience of their eventual break-up, the album is a breath of fresh air when compared to the more common method of on-air pity parties or abrasive hate songs. Their ability to work closely with one another to develop yet another unique and fascinating album only creates greater expectations for their work in the future.

It would be difficult for audiences of any genre not to fall in love with the band, and the journey involved in listening to this album. The Swell Season has become bloated with an ever growing fan base, and just as the album is named ‘Strict Joy,’ so do those words come to life and become a real emotion within me when its tracks are heard.

Like The Swell Season? Check out: The Frames, Iron & Wine, Damien Rice

Hot Chelle Rae - Lovesick Electric

2009-11-02T16:05:00.000-08:00

Written By: Ben Millikan

Label: Jive - Rating:

For a debut album, Hot Chelle Rae’s Lovesick Electric sure doesn’t feel like it. After rereading their bio to make sure that this was in fact their first studio release, I’m still sort of reeling at the amazing eleven song collection that the dance-rock act was able to put together during their first trip to the studio. It probably doesn’t hurt that vocalist and guitarist Ryan Keith Follese, his brother/drummer Jamie Follese and lead guitarist Nash Overstreet are the sons of A-list Nashville songwriters. Oh, and bassist Ian Keaggy’s father, he’s just a grammy-nominated guitarist. Not too shabby of a foundation for four guys from Nashville.

Despite their youth and inexperience, Hot Chelle Rae’s work shows how the guys are wise beyond their years with carefully constructed songs and an overall dynamic balance to Lovesick Electric. The album opens with “Say (Half Past Nine),” an energetic dance number with a catchy guitar riff and a disco-esk drum beat. Fittingly enough, the next track (“I Like to Dance”) is built around the same formula, but the tonal elements have been slightly modified.

Although Lovesick Electric does at times cross into the threshold of repetitiveness (the sixteenth notes on the high-hat does get old after a while, even if it is the perfect dance beat), there are a couple of straight-up rock songs to add more variety to the album. “Bleed” is an acoustic power-ballad that opens with a few simple chords on the guitar and builds up to a full, driven chorus. And “The Distance,” undoubtedly the most complete song on the album, moves from a dark blend of strings, synth stabs, and clean electric guitar picking into a heavy, orchestra-filled chorus. The song continues its dynamic journey into a light marching-band drum roll during the bridge before exploding into a tasty guitar solo, and finally fading out with a different string patch under the soothing “ooh’s” of vocalist Ryan Keith Follese.

And speaking of Follese: despite being only twnety-two and having lyrics that would confirm just as much, his amazing vocal range is indicative of an award-winning singer. Reminiscent of Dashboard Confessional’s Chris Carrabba, Follese’s soaring vocals serve has the glue that really holds the whole album together.

Overall, Lovesick Electric is an impressive debut. Hot Chelle Rae obviously took the time to craft each song, as opposed to rushing into the studio and laying down whatever came out. If the band focuses less on the dance grooves and Follese learns to put more of himself into his lyrics then Hot Chelle Rae could very well be on their way in becoming the heir to The Killers.

Rating: 3.5 Gunz

Like Hot Chelle Rae? Check out: The Killers, The Bravery

The Orange Peels - 2020

2009-10-29T17:10:00.000-07:00

Written By: Heather Wysocki

Label: Minty Fresh - Rating:

In the 1990s, a war between indie and rawk raged, when music pitted six-string strummers against screaming axe-splitters, splitting rock music fans into skinny jeans-wearing and Mohawk-sporting factions and determining which would influence the decades beyond.

Well, it’s 2009, and Limp Bizkit and the other Fugazi-inspired yowlers are nowhere to be found (unless you count that Fred Durst sex tape).
And “2020,” the four-years-coming release from Northern California indie front-runners the Orange Peels, proves exactly why: Once the noise subsides, bands like the Peels had that good old-fashioned talent that Durst and company really, really lacked.

Unlike 2005’s “Circling the Sun,” which sometimes strayed too far out of this atmosphere and ended up burning a bit because of it, “2020” is a flashback to when groups like The Orange Peels ruled the roost, rather than stood by and watched the spring chickens write songs about Blackberries.

Coming of musical age in an era when Mark Zuckerburg was more concerned with Sesame Street than Facebook, it would’ve been easy for the Peels to sound, well, a bit aged. But modern takes on classic themes and the group’s signature harmony-and-pretty-guitar songs are as fresh as ever.

Since 1997, The Orange Peels have spent their career perfecting indie-pop, remixing and remastering and replacing band members but never losing their quintessentially California sound.

It’s amazing, too, considering the ever-changing lineup, but core members Allen Clapp and Jill Pries (joined on “2020” by multi-instrumentalist Oed Ronne and a bevy of session drummers) manage to stay true to chronicling life in NoCal, which songs like “Seaside Holiday” and “The Great Outdoors” do sublimely, hand-claps and all.

Nature-inspired lyrics and floaty, flirty harmonies – especially the perfect ones on “Emily Told Me Why” – combine to form the sort of songs perfect for a drive to Malibu down the highway, or just for dreaming about it while wasting time at work.

At over five minutes, “Emily” is longer than its counterparts, but it’s perfect and perfectly scatterbrained, bringing those harmonies into play with guitar-driven bits and Clapp’s Ben Gibbard-on-helium vocals, bringing to one song the sounds of, seemingly, four or five.
Though The Orange Peels extol the virtues of taking wine, women, and song in moderation, they don’t forget their sex, drugs, and rock ‘n’ roll roots, bringing in stronger vocals and strong-enough guitar on “Shining Like Stars” and never forgetting, especially during superb first single “Birds of a Feather,” that being musical is beautiful, but being successful is much better.

Not a fan of listen-to-while-picking-sunflowers pop? Try title track “2020,” where Clapp takes a stab at predicting the future (no evergreens in sight) and does so in an atmospheric manner not used on other songs.

Simply put, “2020” is the future and past of indie-pop, a mix of flashback and idealism and modern ideas that will never again be surpassed by backwards hat-wearing dudes with songs called “Nookie.”

And thank God for that.

Like The Orange Peels? Try: The Gaslight Anthem, The Apples in Stereo, Spoon

Chris Ayer – Don’t Go Back To Sleep

2009-10-29T16:18:00.000-07:00

Written By: Victor Alfieri

Label: MRI - Rating:

In the world of guitar-toting songwriters, sometimes they all start to sound the same. When that song comes on the radio, or in your local trendy outlet store, you know the song, but can never place the singer. Chris Ayer is different and he has the award to prove it. A winner of the 2006 John Lennon Songwriting Award, he has proven he has the ability to differentiate himself from the pack. With Don’t Go Back To Sleep he is on his way to showing it.

Ayer, originally born in Virginia, started writing songs while attending Stanford University. He now is immersed in the New York City scene. His second full length release, off of Another Record Company, offers 13 tracks of strong songwriting and lyrics. He mixes up his style from song to song, giving the listener a chance to truly let this album open up as they take it in. Whether straight pop, ballad or rock, nothing seems out of place.

As with many of these musicians, the comparisons will start flying. The following are just to give you an idea of the range. The first track, “Opening,” is reminiscent of Jason Mraz or Jack Johnson. It has a purely positive message and has a slight “beach” feel to it. “Lost+Found” and “Let Go,” both strong tracks, sound like Vertical Horizon, another recent review at CWG.
“Awake,” one of the best tracks on the album conjures images of a young James Taylor. “Pretty Poison Things,” about a girl in a food court, “This is a Test” and “Roy G. Biv” are both whimsical and poignant with uncanny ability to get your feet tapping.

Not every song is a winner, but there isn’t an actual “bad” song here. Mr. Ayer has considerable talents that are showcased very well. Through multiple listens, what the listener will notice is the layers. The strong lyric may grab you the first time. The melodies will jump out next. Maybe it’s a specific piece of instrumentation; the quiet banjo here, the understated slide guitar there.
After hearing this album, it has certainly sparked an interest in hearing this artist’s earlier stuff and anticipation in seeing how Chris Ayer will mature over time. One thing is for sure, it will take a few days before this album get out of my head.

Like Chris Ayer? Check out: Vertical Horizon & Josh Kelley

The Lawrence Arms - Buttsweat & Tears

2009-10-28T13:59:00.000-07:00

Written By: Zoe Porteous

Label: Fat Wreck Chords - Rating:

“Buttsweat and tears” is an EP by the Chicago-based punk rockers, “The Lawrence Arms.” It has been highly anticipated by fans, since they have not heard anything from the band in the last three years. The EP is released on Fat Wreck Chords label as a digital download and a 7-inch vinyl. Singer/bassist Brendan Kelly announced that the band came up with the concept and cover art ten years ago, only now making it happen to correspond with the bands ten-year anniversary and first West Coast tour in two years. After “Oh! Calcutta!” was released in 2006 the members of the band all performed in various side projects. Brendan Kelly and Neil Hennessy performed in “Falcon” and Chris McCaughan performed in “Sundowner.” Getting back to their main project “The Lawrence Arms” to produce the 7-inch Buttsweat and Tears” that they had been planning for the last ten years.

The opening song “Spit Shining Shit” definitely has a title you remember. The actual song is catchy enough even though the title will stick with me long after I forget the song entirely. Its pretty much middle of the road punk, not to say that’s a bad thing. I love the lyrics “I am tired of waiting, I am tired of waiting, this is my life, this is my time, It’s time to take it, don’t let it die.” The lyrics are what grab me. They are written like poems and could stand alone without the music..

There is one stand out song on the EP. “The Redness In The West” was beautiful and the message of the song was the best thing on the whole damn album. “Do you wanna get lost, cuz I can’t stay found. I done my time killing days in this town. I got a little itch and I’m thirsty. All I wanna know is who’s coming with me. Fuck you. You’re cool. Fuck you, too. The last goodbye is simple and true. I got a fever for the cowbell, boys. I fell for the beat and I stay down for the noise.” The lyrics are amazing, I love them. They are so simple yet strong and ring true.

Honestly, I wasn’t really interested in the band after listening to the EP. They are not bad and they're not great. Maybe it will grow on me the more I listen to it, maybe it wont. What I will give them is true credit for writing kick-ass lyrics. I would consider it more poetry rather than lyrics. I hope they keep going and maybe the next album will blow me away?! Who knows.

Like Lawrence Arms? Check out: Dillinger Four, The Falcon, The loved Ones

Balance And Composure - Only Boundaries EP

2009-10-27T15:42:00.000-07:00

Written By: Sebastian Barnum

Label: No Sleep Digital - Rating:

Many punk and alternative bands come and pass, for example does anyone remember Yellowcard, point made. Often they are somewhat interchangeable, and have roughly a year of fame before they move home and work on “side projects,” when they in fact give music lessons for the rest of their life. They are forgotten because they don’t have that quality that makes people want to put the album on repeat and just drive. Luckily the music industry nowadays has gotten rid of mediocre bands for straight forword bad hip-hop. Fortunately for us, Balance and Composure falls into none of these categories. As an up-and-coming band in the world of alternative and punk, they have in my opinion the best EP of the year, “Only Boundaries.”

From the opening track, Balance and Composure revs up the engine, and slowly but surely takes control of your attention and your ears. The adequately titled “I Can’t Do This Alone” begins with a quiet guitar and light drums, but soon explodes into an energetic story of youth and sympathy. The vocals have a seemingly intentional lethargic style to them, which only adds to the emotions that resonate in the audience. Lyrics like “You call yourself a cowboy, but you just can’t let things go” show the connection that this band has found with its audience, and an understanding of the emotions we all feel at one point or another. While the drums play simple rhythms that drive the song, one can’t help but be reminded of the late years of Blink-182, and the constant struggle for color in a bland and hopeless world.

The title track of the album (Only Boundaries) has a simplistic yet seductive structure to it. While the vocals are melodic and the harmonies are great, there are unnecessary screams that work, but at the same time seem to come from nowhere. The guitar and drums drive the song, playing off of each other with the controlled chaos that one could only hope for from a band that chooses to be labeled “punk.” The lyrics clearly express some sort of sorrow “It’s always on my troubled mind.” And while the song begins with a rather cheery sound to it, it is clearly revealed as false. The images created lyrically perfectly contrast with the perky feelings manifested by the accelerated composition.

My absolute favorite track on this album is “Show You Face,” in which Balance and Composure takes full advantage of their creative control. With excruciating perfect drums, and a wicked driving guitar, the band steps into a territory that forgotten bands have never seen. The harmonies are perfect, and the agitated screams reveal a teenage angst that you will fall in love with. With a guitar riff that’s catchier than the swine flu, you won’t even realize that it explains the emotional wreckage of a bad breakup. A song that you can head bang to, fight during, jump during, run during, or just drive with the top down in the summer, its almost the perfect new-age punk song.

The album ends with a song called “What’s Wrong With Everything,” which seems like the bands emotional breakthrough. It’s not very similar to the rest of the EP, but it’s individuality adds to its subtle charm, and importance to the record. The wailings of the lead vocalist seem to show him begging for sympathy, or the end of a bad day. The song clearly focuses on the hateful grudge against an ex-lover, while making it independent and unique compared to other soppy broken heart ballads.

All in all, the “Only Boundaries” is certainly worth the listen. Actually, it’s worth buying. Balance and Composure is simply the best Punk/Emo band I have heard in the last five years. With the fiery angst of a grunge album, and the controlled chaos of late 90’s punk rock, they demonstrate the way music should be. I give this album 4/4 guns, and I would suggest you all go out and pick it up.

Chimes & Bells - Into Pieces of Wood EP

2009-10-27T15:35:00.000-07:00

Written By: Sebastian Barnum

Label: Minty Fresh - Rating:

Certain bands from early on such as Pink Floyd, The Doors, and later Beatles albums, can give the distinctive feeling of psychedelics and a transition into the depths of your mind. The same can be said about Chimes and Bells. Without a doubt, they are the most trance inducing band I have ever had the pleasure of listening to.

With a soothing harmony throughout, and enough subtle biblical references to taunt you into madness and questioning, they’re truly impressive and decisively unique. “Into Pieces of Wood”, the bands EP, is what I would call an achievement of “avant garde” musical expression.

The album begins with “Stand Still” a song infused with a soft percussion, and an almost invisible guitar tone. As you hear this Danish quartet ease you into what feels like the beginning of an acid trip, you can’t help but be reminded of The Doors, between the howling of the simplistic guitar and the mumblings of the female vocalist; you can feel the same flowing tension from songs like “The End” and “Riders of the Storm.” With lyrics like “Heard you’re leaving for Babylon, hope you’re having fun” over a haunting musical tapestry, it’s understandable why they have the ability to be so simplistic, yet so moving. The vocalist has the innate ability to show you every emotion she has felt in the last ten years, while having a smooth Jazz tone like Portland’s indie favorite “She & Him.”

The title track of the album is called “Into Pieces of Wood,” and it is essentially the tensest moment of this whole album. The guitar is repetitive, and yet not annoying. Though the song is basic, and features only a few different chords, you never find yourself fallen into the trap of boredom. Just as you arrive at the conclusion that this song has little to offer, it begins with a winding web of percussion and mumbles, leaving you curious. “And the sound is all we knew” becomes the cry of this soon to be cult classic, and the song erupts into the sound of a well choreographed tribal dance, with seemingly relentless melodic chaos, and then drops before chaos can steal away from the song.

“Golden Sweater” is a song that you cannot simply turn on and appreciate. With a wailing cello, and very little fluctuation of any sort of instrument until roughly a quarter through the song, it’s too complexly-simple to just hear and then say “I Get It!” Once you spend some time feeling out the song, you can almost hear the musicians exercising there demons through their instruments. The screeching and cello seem to explode all at once into a breakdown of sanity, and then it’s all over. You’re left with your jaw resting firmly on the ground, and begging for more.

“You Shall Not Pass” is absolutely awe-inspiring, and a very adequate ending to what has been such a strange and addicting sort of musical journey. It oozes with a bluesy touch, and builds dramatically between the cello weeping and the drums escorting you into the back of your mind. And all the while you hear this anger and tension being created with lyrics like “… fool at sea, I will plaster you to the floor.” With an incredible feeling of time standing still, it’s almost as if you’re living in a silent film.

Chimes and Bells are somewhat of a mystery to me, as I find the most impressive bands to be that which can create the most energy through music. I assure you that I have fallen asleep to the album roughly ten times in the last week, because the emotions resonate, and because they convey them so well… it calms you. Though this band is quite mellow and melancholy, you cannot deny them as a group that have taken the greatest aspects of some classic bands, and combined them into what sounds like an acid laden orgasm. I give this band a 3/4 guns, and I can’t wait until they tour the US.

Like Chimes and Bells? Check out: Imogen Heap, The Cranberries, She & Him

Monty Are I - Break Through The Silence

2009-10-27T14:27:00.000-07:00

Written By: Mike Acker

Label: Island Records - Rating:

Some music needs to be played loud. Some bands sound the best with the volume all the way up, all the time. One such band is the five man group Monty Are I from Cranston, Rhode Island, and their newest record Break Through The Silence plays fast and loud, and does so to great effect.

Break Through The Silence jumps right in. The first track, the title song, drives hard and loud, showcasing right from the get go Monty Are I’s ability to layer guitar tracks, manipulate vocals, and tie everything together with a strong steady back beat.

Monty Are I doesn’t slow down a beat for almost the rest of their record. Four tracks in, the band drops “One In A Million,” Break Through The Silence’s first single. “One In A Million” has all the characteristics of a single. Clean production, and big guitar swells, that invoke visions of outdoor rock festivals with throbbing crowds of head-bangers, not unlike the Warped Tour where Monty Are I have been on the bill for five years.

The slowest song of the first half dozen follows “One In A Million.” “Making Sounds,” shows off the vocal ability of Monty Are I. Steve Aiello is listed as lead vocals, but as “Making Sounds” unfolds Aiello is joined by the backing vocal efforts of Andrew Bornstein and Ryan Muir for the albums most densely layered vocal track.

Break Through The Silence’s most inventive song comes just before the album takes a one-song slow-down. On “Kaleidoscope,” Monty Are I still plays fast and loud, but the band throws in a few tricks, most notably a couple of sweet horn breaks, that add a previously undiscovered dimension to the song, the album, and the band.

The only slow song on Break Through The Silence, “All Of You Tonight,” comes in as the eighth of twelve tracks. Markedly different, in both speed and tone, than what has come before it, “All Of You Tonight,” gives the listener a chance to catch a quick breath before the final four explosive tracks.

Leading of the last four tracks is the song “On The Wire,” which after a few times through the record is my favorite track from Break Through The Silence. “On The Wire,” plays directly to the strengths of Monty Are I. The effects that have carried the record up to this point, strong guitar riffs, rising and falling vocals, and pounding drum lines, come together in “On The Wire,” better than any other place on the album.

Monty Are I knows how to start a record, putting their best foot forward, but they also have a good sensibility of how to close out an album. Along with “On The Wire,” the last three tracks, “Desert,” “Mirage,” and “Convoy Of Angeles,” brings Break Through The Silence to rest with the same ferocity it had when the record started.

Turn your stereo up loud when Monty Are I comes on, and it will soon, and they will not disappoint.

Like Monty Are I? Check out: The Red Jumpsuit Apparatus, 30 Seconds To Mars, My Chemical Romance

SOJA – Born in Babylon

2009-10-27T13:28:00.000-07:00

Written By: Justin Rands

Label: CMV Records - Rating:

Social and political awareness. Humanity. Love. I and I. The constant search for the answers to our daily struggles through Jah and the Rastafari movement. Waking up to the injustices of our present world. And, one of the biggest questions: Is Haile Selassie, founder of Rastafari, really the reincarnation of Jesus Christ? (‘Heh’).

SOJA, otherwise known as Soldiers of Jah Army, touch upon all these subjects with their latest release, “Born in Babylon”. They are a traditional reggae style band hailing from Washington D.C. that might be the head contender and front-runner of the ‘new movement’ of reggae and social awareness.

Reggae’s been around since the late 60’s and has been bubbling around underneath the surface of what’s deemed ‘new’ or ‘mainstream’ up until now. I know what most of you are thinking. You’re seeing the word ‘bubbling’ and think I’m making a pot reference. But I’m not…cough… I’m not doing that at all. I’m just giving a little back history here. Seems like the only reggae people listen to nowadays IS under the influence of pot on a ratty couch at one of their friend’s houses underneath a ripped Bob Marley poster.

All joking aside, these guys sure do know their history. Founded way back in first grade, Jacob Hemphill (vocals, guitar) and Bob Jefferson (bass) have now successfully gotten three albums under their belt. First was the “Peace in a Time of War”. Then they followed up with “Get Wiser”, which has remained on the top 100 Reggae Albums on
ITunes since. And now, their latest release, “Born in Babylon” has been released.

The uplifting third album comes at time when things aren’t that great in our country. Everything looms over our heads: Money, Bills, The Economy, the unemployed, if we stay or go from Iraq, health care, our Presidents approval. It can be a bit overwhelming. The album’s songs go into depth upon these subjects and the effect they have on us. The new album touches upon what all great Reggae artists have been expressing since the sixties, but SOJA is taking that history, the sounds from their previous albums, plus our countries present problems and pushing the limits on “Born in Babylon”.

After listening to this album, and hearing the news of the day, feeling the pressure of society wearing thin on my consciousness I can say that the music these men create have helped ease the pain a bit. A sense of oneness shines through their sound, and the feelings of hope they evoke make this album timeless.

Like SOJA? Check out: Tribal Seeds, Groundation, Rebelution

Blues Traveler – North Hollywood Shootout

2009-10-23T17:34:00.000-07:00

Written By: Victor Alfieri

Label: Verve Forecast - Rating:

Recently I've had the pleasure of interviewing Brendan Hill of Blues Traveler, as well as covering their show in Clemson, SC on October 20, 2009. Though this album is over a year old (Released August 26, 2008), CWG felt it was a good idea to close up our “Blues Traveler Section” with this review.

When a band finds extreme commercial success, as Blues Traveler did with their 1994 release Four, the backlash after the success can be vicious and very hard to overcome. That album had a single, “Run Around,” that smashed records for time on the charts. Think of musicians like Hootie and the Blowfish or Alanis Morrisette and their first albums. Just about every track on those two albums was a hit. The chance of any follow up living up to the potential of the first release was nearly impossible.
The casual BT fan and the general media wrote this band off after that album and the tragic passing of original bassist Bobby Sheehan. While the line up of the band and the overall sound has changed, what hasn’t is the ability for this band to create good music.

The addition of a keyboard player (Ben Wilson) and a bassist (Tad Kinchla) with a different style than Sheehan gave the band a new dynamic to play with. It isn’t like they never had a keyboard player on any of their albums. Musicians like Chuck Leavell and Gregg Allman have appeared on earlier albums. Wilson and Kinchla have given John Popper and guitarist freedom to explore musically.

That being said, Blues Traveler does not take too many risks on North Hollywood Shootout. Other than the final track, “Free Willis” with Bruce Willis (yes, THAT Bruce Willis) free form ranting, there are few risks on this album. The harmonica playing is pulled back and subdued throughout, and with the exception of “The Beacons” and to some extent “How You Remember It,” the band really doesn’t let loose. It’s like owning a ’69 GTO and driving the speed limit. Anybody that has seen BT live knows what this band can do. They are built for the live show and have been for 20 years. This distinct attempt at power pop style ballads, while not completely out of character, is a bit surprising.

In terms of song craft, there is a lot of strong work here. “Forever Owed” & “Orange in the Sun” are both very good songs. “What Remains” has the added texture of a horn section, but rather than using the horns to funk it up, the song is a ballad.

This is still a strong album and long time BT fans will enjoy it. Popper, the Kinchla brothers, Ben Wilson & Brendan Hill are a strong and cohesive group that are still very good at what they do.

See Victor's interview with Brendan Hill.

See Victor's review of Blues Traveler's live show in South Carolina.

Like Blues Traveler? Check out: Robert Randolph and the Family Band, The Black Crowes

Hotel St. George - City Boy Lemon

2009-10-23T15:46:00.000-07:00

Written By: C.W. Ross
The CD Reviewer.com

Label: This Is Tightrope - Rating: 3 Guns

Buy On:

This San Diego band first came together in 2007, since then they've been busy releasing music and getting their name out to the music public. In the short amount of time that they've been together the band has managed to release, 2 EPs and a 7-song EEP, and the guys are now back with their full length debut release, City Boy Lemon. The new project offers up 10-tracks of music that blends both modern and retro 80's sounds, including elements of British post-punk, pop, and rock music.

One interesting thing that I read about this release was that the band members did some rotating in the songs with members playing different instruments on different songs. The only exception was the drum parts that were all handled by drummer, Simon Leader. Considering that the band did a nice job of keeping a cohesive sound throughout the entire release and kudos also for the multi-instrument talents of the band members.

The songs found on City Boy Lemon are for the most part upbeat in tempo and the kind of music that would have you up and dancing along to if you heard it playing at your local club. The songs are driven by catchy guitar riffs and the slightly nasal vocals of band front man Matthew Binder. You'll also find a drumbeat that, for the most part, is content to remain in the background except for on tracks like, "Simple Man," and "Trouble," featuring thick beats that push the drum part to the forefront of the songs.

The band went for quick-hitter types of songs on this release with most of the tracks lasting under 3-minutes with, "Simple Man," and "City Boy Lemon," lasting under 2-minutes, so don't let your mind drift off or the song will be over before you get back to it.

The short song lengths have both good and bad aspect to them. The good part is that it keeps you from getting bored and you’re always hearing something new. The bad part is just about the time you really start jamming along to a song it's over, it's like sex without a happy ending, it kind of leaves you hanging out there with an unfinished feeling.

Highlight tracks found on City Boy Lemon include, "Simple Man," a lively tempo song that offers up infectious guitar and drum parts. The "Rich Folk," another track that offered up an interesting rhythmic rock sound with punchy drum beats. This track is also the hardest edge song that's found on the release, complete with amped up and slightly distorted guitars.

City Boy Lemon offers up enough strong music in its songs that it should help Hotel St. George to be able to increase their footprint in the very crowded Indie music scene.

Like Hotel St. George? Check out: The Libertines, Buzzcocks, Louis XIV

Rescue Signals - Indecisions

2009-10-22T14:44:00.000-07:00

Written By: James Swigart

Label: Rock Ridge - Rating:

Beau Tyler has the voice of and the vocal presence of an older, much more experienced singer. His pleasing rasp throughout Rescue Signals's gripping, nuanced Indecisions is reminiscent of that shown by the nonpareil Ian McCulloch on Echo and the Bunnymen's new, savagely brilliant single "Think I Need It Too." Tyler frequently channels the almost criminally hypnotic Bryan Adams with ease.

His and Noah Galaviz's guitars are often beautiful and always arresting. Guitar effects on "Every Word You Said" are stunning. Staccato riffs and swirling guitar are prevalent in "Tell Me That You're Wrong." The swirling guitar brings to mind Robert Smith. Bryan Nicholas's drumming keeps a slow, patient beat when the song demands it.

Nicholas's drumming shows great versatility and maturity throughout Indecisions, original and extraordinary, it places a base beneath the music that is indispensable. The best thing about Nicholas's drumming is that it doesn't command our attention. We have recently learned that Nicholas has left Rescue Signals. A pity. When we hear Mike Marhefka's bass guitar, it is subtle and appropriate.

"California" is drumless and reminds us of "Disarm," the beautiful Smashing Pumpkins classic. On the rock anthem "Angel," Tyler shows excellent vocal range that includes a few a alarmingly effective falsetto pieces. Staccato riffs and urgent vocals reminiscent of Kim Gordon grab and hold us at the beginning of "Carousel." "Carousel" features some more falsetto and rocks hard and free like signature Foreigner and Who.

"Favorite Kind of Pain" drives us with powerful guitar, harmonies reminiscent of Van Halen at that band's zenith, and ferocious, smartly varied drums. "Up On A Wire" begins and goes on without drums for a decent stretch. When the drums begin, they add depth and power. Tyler's vocals are greatly varied and this vocal range is reminiscent of that shown by Tom Petty while Petty was a much younger man.

"She Puts the Needle in Her Arms and Swears She's Not Addicted" are the lyrics that begin a slower version of the Pornography era, Cure-like tune "She Writes Love." When guitar chords hit us after a little while, we're relieved. Anything to break the tension of the vocals. The harmonies are brilliant. Tyler's vocals keep us at an emotional pitch similar to that granted us by McCulloch, Smith, Gordon, Gramm, and Daltrey at their best. "You Never Touch Me Anymore" ends the album and is a drumless acoustic guitars and harmonies fest.

Indecisions sounds like an album Bryan Adams or Lou Gramm, Mick Jones, and the rest of Foreigner would have made if they were now in their prime. Indecisions has a distinctly American sound reminiscent of the best John Mellencamp, Van Halen, and R.E.M. We hope that Rescue Signals has an impact at least close to that of these artists.

4 guns.

Like Rescue Signals? Check out: Foreigner, Bryan Adams, The Who

Gossip - Music For Men

2009-10-22T01:15:00.000-07:00

Written By: Zoe Porteous

Label: Columbia - Rating:

OK, this album should be called: "Music for women who loathe men and want to tell them why." Not that I don't fully sympathize with that point of view sometimes, and during those times this would be the album to listen to!

Obviously, someone really pissed of lead singer, Beth Ditto. While Music For Men's sound is up-beat, the lyrics are obvious odes to the person or people that have hurt her.

"Love is a four-letter word that should never be heard." - And that's just a sample of the “love sucks” mentality of the album. I love that they made the album's music highly enjoyable with the synth-pop dance beats and heavy drums.

The first track “Dimestore Diamond” is one of my favorites, although it tends to drag on a little bit; the lyrics are awesome and totally remind me of my life and early fashion forays. It's a very danceable track, and I would be happy to play it at any of my parties.

Another good one is “pop goes the world” which sounds like Heart on crack, (which is a good thing). The drums in the intro lead you right into the song and have you up on your feet in an instant. Beth Dittos vocals, while not fantastic, carry the songs well and maintain that punk-pop sound.

Music For Men as a whole can in some parts drag on, yes we understand you have had your heart broken, who hasn’t? However, listening to each individual song as a single entity makes them sound fresh and entirely enjoyable. As a first time listener to Gossip, I have to say that I am pleasantly surprised and intrigued by their sound. I have had a soft spot for a few “Heart” tracks like “Barracuda” and “Magic Man,” and can definitely hear their influence in Gossip.

I will be checking back with this band soon to see what else is coming our way.

Like Gossip? Check out: Heart, ladyhawke, Little Boots