When I stopped getting paid for doing this blog, I said that I would still continue to blog because I loved doing it just for the sake of doing it. I still stand by that statement, but I was not counting on the immense work load that would consume me during my second semester at ASU. The last blog post on Switchfoot was a good note to end on, but I still have a half-written draft for Flyleaf's newest album, Memento Mori, that I never got around to finishing/publishing. For that I am sorry.
But the good news is that the blogging has recommenced! The focus is a little different, but the exposing of new music remains the same. I will now focus on music that is less mainstream but deserves all the attention that popular bands get, whether that means the CD is a new release or not. The reviews will also be less thorough, focusing on the star tracks of each album.
So for those of you who miss in-depth analysis of great music, fear no more! Head on over to my new blog, Diamond In The Rock, and find music to listen to once again! I already have one post up on the newest album by a band called Blessthefall. Go check it out! And keep on rockin.
http://diamondintherock.wordpress.com
Thursday, September 9, 2010
Saturday, November 14, 2009
Switchfoot: Hello Hurricane Review
Switchfoot. My favorite band of all time. This is a band that has been around since 1997, a band that spreads hope and faith through their music, a band that consistently expands their sound while appeasing all of their old and new fans' expectations. This is the band that set the mood for "A Walk To Remember" and gave it the great feel it had. Their fourth album, "The Beautiful Letdown" was the first album I ever bought out of the 250+ albums I own. "Dare You To Move" is my favorite song out of the 5,700 songs on my I-Pod. I was given the opportunity to go see Switchfoot live last night in Scottsdale, AZ, and I cannot deny that it was the best concert I've ever attended, and that's including some great concerts I've been to like Green Day, Linkin Park, Hollywood Undead, Taking Back Sunday, New Found Glory, Mayday Parade, Maroon 5, and Counting Crows. Granted, I might be a little bias since they are my favorite band, but I have never seen a band connect more intimately with their audience, and I have never seen an audience so moved. There is nothing better than a band that sounds just as good live as they do on their CD, but these guys made the music even better. After seeing them play their entire new album live and then going back and playing all their other greats, and after listening to "Hello Hurricane" for the hundredth time, their new album is even better in my mind than it was before. And that's really saying something because Switchfoot's latest effort is absolutely extraordinary. Their debut album, "The Legend Of Chin" was a little different compared to what new fans are used to, but it still was solid and had a lot of good songs. And from there this band just skyrocketed in terms of consistently making better and better music. Their pinnacle hit with 2003's "The Beautiful Letdown," but I think that "Nothing Is Sound," "Oh! Gravity." and now "Hello Hurricane" are at the exact same level. "The Beautiful Letdown" might always be my favorite album just because of the history I have with it, but there is no denying that this band is still going places, still spreading great messages through great songs, and touching the hearts of fans everywhere. I have never been able to connect with songs and with a band's lyrics like I am able to with Switchfoot, and their diversity in the types of songs they put out lends to their legacy. Talk about a band that makes a difference in the world, and I'll show you Switchfoot.
1. Needle And Haystack Life- This song starts off with some quiet background guitar and drums that are a little distorted until lead singer Jon Foreman's voice comes in with some of the softest and most pleasant vocals I've heard from him. Anyone who has heard Switchfoot before knows how unique his voice is, and this album does not disappoint in that regard. The lyrics are great and use a wonderful metaphor related to the song title to convey how special we are and can be. This is a song about making the most of yourself and realizing and appreciating the beauty in ourselves and each other. The song is upbeat for the chorus and the guitars of Drew Shirley, Jerome Fontamillas, and Jon Foreman, as well as the bass of Tim Foreman, are used especially well to convey the emotions of hopefulness and wonder associated with the lyrics (which can be said of the entire album). Chad Butler's "splashy" drums mix extremely well with the music as well. A superb start to a superb album. 10/10
2. Mess Of Me- Anyone who says Switchfoot's music is too mellow and slow is proven wrong by songs exactly like this. While it doesn't return to heavier rockers like "Meant To Live," "Lonely Nation," or "Politicians," it definitely exhibits this band's overall musical talent. The guitar scheme for this song is just wicked in general, Foreman's vocals are spot-on, the drums are excellent, and this song is a lot of fun in general. I also think it is important to note the background vocals, which are right on the money here and throughout the album, really giving the songs even more feel and characterization. This song was awesome to watch the band rock out to, and they really get into it. There is a quick and sick solo that sounds like Queen Of The Stone Age guitar and then everything stops for that killer guitar to come in a dominate. This gives way to some more drumming and then Foreman wailing in that way that only Jon Foreman can but it's accompanied by some shrill guitar, which makes it sound even cooler. The song ends aggressively with Foreman screaming and the band rocking out. Great song. 10/10
3. Your Love Is A Song- This song fits in with the category of Switchfoot slow songs, and Foreman's vocals are far softer. His cooing and wailing are really pleasant and his vocal range is really put on display here. There is some nice acoustic guitar during the verses along with some background vocals. The song picks up a little bit for the chorus, and it really is beautiful, not only because of the music itself, but because of the ideas behind the music as well. Foreman said that he writes about things that he doesn't understand, mainly, "God, girls, and everything else." Well, to be honest, I don't know anyone else that can write about something they don't understand and do it so well so as to inspire others and create beautiful ways for people to think about "God, girls and everything else." This song likens God's love to a song that is all around us and is extremely touching. 10/10
4. The Sound (John M. Perkins' Blues)- This song picks up the tempo a little bit, and gives another taste of Switchfoot rock. The guitar and bass are really cool here, the drums are excellent, and Foreman's deeper vocals set up the mood well. The chorus is an explosion of rock, and Foreman's heightened wails and eventual screams are awesome to behold. This is a song voicing discontent that can only be appeased by love. The screeching guitars throughout the song are really cool and give the song a unique feel. The last minute of the song picks up the intensity, including a portion where they all just let it go and rock out right before the end. Very cool stuff. 9.5/10
5. Enough To Let Me Go- This song is more upbeat than "Your Love Is A Song," but still fits within the category of mellow Switchfoot songs. The constant strumming mixed with the acoustic guitar seen throughout is very pleasant and peaceful. The chorus is even more pleasant with the background vocals and Foreman's vocals step up, especially near the end of the song where there are some higher notes that he hits flawlessly. This song asks the question "Do you love me enough to let me go?" and is extremely touching. This is a great song to fall asleep/meditate to because it's so peaceful and moving. Let me just put it this way: last night at the concert, I saw a woman closing her eyes and crying while singing along with this song, a song on an album that has only been out for three days. That should give you an idea about how touching their music is and how it really speaks to people. 10/10
6. Free- A killer guitar scheme characterizes this song and gives it a Western-outlaw kind of feel. This song is pretty epic and badass overall. The drums lend well to this notion and the lyrics do as well. This song is desperately asking either God or someone loved to help release the chains that bind. Foreman's vocals of "Inside this shell there's a prison cell" ring out in the middle of sudden silence and then the music comes back in, which effectively sets up the drama of the song. This song was awesome to see live because they really got into it. Once again, this is a song that testifies to the band's diversity, talent, and overall legacy. 9.5/10
7. Hello Hurricane- This song is characterized by the background vocals and the quick acoustic guitar strumming. The title track of the album really lives up to the name and overall theme of the whole album. The chorus is extremely pleasant and has sing-a-long written all over it. This is classic Switchfoot at its best, and the lyrics "Hello hurricane, you're not enough; hello hurricane, you can't silence my love" typify the theme of the whole album perfectly and beautifully. This song is very inspiring and uplifting. The drums and guitars are very good especially near the end of the song, and Foreman's vocals hit the jackpot once again. The message of hope is once again conveyed uniquely through beautiful music. This is the type of song that you can listen up to while looking at a cloudy sky and appreciate the beauty not only of the music itself, but of life in general. 10/10
8. Always- Some great piano and vocals by Foreman characterizes this song, and blends extremely well. This song professes someone being either God's or someone else's for "always," and is about second chances. The piano is simply beautiful and the vocals only enhance it, especially when the violin and other instruments kick in near the middle of the song. The background vocals and steel guitar seen later in the song give it even more emotion, and it climaxes with Foreman singing "Hallelujah! I'm caving in. Hallelujah! I'm in love again. Hallelujah! I'm a wretched man. Hallelujah! Every breath is a second chance." This song is simply beautiful and majestic, accurately displaying the emotional firepower this band puts out through their music. 10/10
9. Bullet Soul- This song shows the fun side of Switchfoot's rock, and is more upbeat. The thundering and buzzing guitars are superb and the drums follow suit. Foreman's vocals are more aggressive and his screams are great. This is some old-school style rock, almost sounding like UK rock, and it translates really well here. The chorus is another explosion of rock, especially for the last huzzah at the end of the song. This song shows how much Switchfoot enjoys rocking out, even if it still isn't that heavy rock style akin to "Meant To Live." 9/10
10. Yet- This slow song is very uplifting and inspirational, taking the position of someone beaten down with a heavy heart because of all the bad things in the world, but who will not give in and will continue to stay true to their beliefs and to their love, which are especially emphasized with the lines, "But you haven't lost me yet. You haven't lost me yet. I'll sing until my heart caves in. No, you haven't lost me yet." This is where the hopeful message is interjected, and it is further expanded upon when Foreman puts it in perspective with the lines, "If it doesn't break your heart, it isn't love; if it doesn't break your heart it's not enough." This slow song is very touching and really displays Switchfoot's knack for spreading hope through their own perceptions about love. 9.5/10
11. Sing It Out- A dramatic beginning gives way to a slow chorus where Foreman's vocals stand out entirely on their own. After all the static noise and violin of a couple verses, things return to normal and acoustic guitar kicks in to accompany Foreman's stellar vocals. This song once again unites song with God's love and forgiveness, or perhaps the love of someone special. Foreman hits a couple of really high notes throughout the song, and the song becomes something special to witness when the guitar and drums kick in for the final minute and a half of the song, which is where Foreman's vocals take off. Then everything stops and violins dominate the end of the song. 9.5/10
12. Red Eyes- The final track on the new album starts off with music-box-lullaby feel and then some guitar, drums, and vocals kick off. The chorus is based on a beautiful concept and is the appropriate way to close the album. Foreman asks the lamenting and crying person the question "With red eyes, what are you looking for?" almost as if the angel asked the lamenting disciples "Why do you look for him here? Do you not know that He is risen?" The message of hope is conveyed in this similar fashion, telling people not to despair but to go out and live in love. The song closes with some lines from the first track, "We are once in a lifetime," along with the opening lullaby notes. This ending is nearly perfect for the entire album. 9/10
Overall: 116/120
As the final score indicates, this is one of the best albums I've reviewed so far. It didn't just turn out that way because Switchfoot is my favorite band, but because this new album is just that good. This score wasn't affected by seeing them live last night either, these scores are my accurate reflections of what I found in the music itself, and I think that based on that, it is plain to see that Switchfoot delivers as always. You may notice I didn't pick a "best song on the album" this time around. That's because I wouldn't be able to make a decision and would end up sharing the title between 3-5 songs. That should testify to how good these songs are. I have never encountered another band that mixes great and diverse music with great themes about love and faith better. They don't call themselves a Christian band, but it is evident the message of love is not spread as well anywhere else, and I really do mean that when I say it. This is coming from someone who listens to his fair share of Christian bands: Switchfoot is one of the greatest if not the greatest in spreading the message of love in our world. These guys love what they do and they love their music; what is better than a band that can say that and spread these messages at the same time? "Hello Hurricane" delivers on all fronts and after seeing them play last night, I can honestly say I may never see a concert that tops that one. I think that when you compile all these concepts together, you can start to understand why Switchfoot is my favorite band, why "Hello Hurricane" deserves the high score given, why this band deserves your attention, and why these guys are gonna leave behind a legacy of love long after they are gone. A lot of people nowadays just see music as something to fill the quiet time with something entertaining, but I believe that it has to power to influence us and inspire us, and it's because of bands like Switchfoot that I say that. Thanks for tuning in. Coming Monday will be a review for Flyleaf. Rock on.
1. Needle And Haystack Life- This song starts off with some quiet background guitar and drums that are a little distorted until lead singer Jon Foreman's voice comes in with some of the softest and most pleasant vocals I've heard from him. Anyone who has heard Switchfoot before knows how unique his voice is, and this album does not disappoint in that regard. The lyrics are great and use a wonderful metaphor related to the song title to convey how special we are and can be. This is a song about making the most of yourself and realizing and appreciating the beauty in ourselves and each other. The song is upbeat for the chorus and the guitars of Drew Shirley, Jerome Fontamillas, and Jon Foreman, as well as the bass of Tim Foreman, are used especially well to convey the emotions of hopefulness and wonder associated with the lyrics (which can be said of the entire album). Chad Butler's "splashy" drums mix extremely well with the music as well. A superb start to a superb album. 10/10
2. Mess Of Me- Anyone who says Switchfoot's music is too mellow and slow is proven wrong by songs exactly like this. While it doesn't return to heavier rockers like "Meant To Live," "Lonely Nation," or "Politicians," it definitely exhibits this band's overall musical talent. The guitar scheme for this song is just wicked in general, Foreman's vocals are spot-on, the drums are excellent, and this song is a lot of fun in general. I also think it is important to note the background vocals, which are right on the money here and throughout the album, really giving the songs even more feel and characterization. This song was awesome to watch the band rock out to, and they really get into it. There is a quick and sick solo that sounds like Queen Of The Stone Age guitar and then everything stops for that killer guitar to come in a dominate. This gives way to some more drumming and then Foreman wailing in that way that only Jon Foreman can but it's accompanied by some shrill guitar, which makes it sound even cooler. The song ends aggressively with Foreman screaming and the band rocking out. Great song. 10/10
3. Your Love Is A Song- This song fits in with the category of Switchfoot slow songs, and Foreman's vocals are far softer. His cooing and wailing are really pleasant and his vocal range is really put on display here. There is some nice acoustic guitar during the verses along with some background vocals. The song picks up a little bit for the chorus, and it really is beautiful, not only because of the music itself, but because of the ideas behind the music as well. Foreman said that he writes about things that he doesn't understand, mainly, "God, girls, and everything else." Well, to be honest, I don't know anyone else that can write about something they don't understand and do it so well so as to inspire others and create beautiful ways for people to think about "God, girls and everything else." This song likens God's love to a song that is all around us and is extremely touching. 10/10
4. The Sound (John M. Perkins' Blues)- This song picks up the tempo a little bit, and gives another taste of Switchfoot rock. The guitar and bass are really cool here, the drums are excellent, and Foreman's deeper vocals set up the mood well. The chorus is an explosion of rock, and Foreman's heightened wails and eventual screams are awesome to behold. This is a song voicing discontent that can only be appeased by love. The screeching guitars throughout the song are really cool and give the song a unique feel. The last minute of the song picks up the intensity, including a portion where they all just let it go and rock out right before the end. Very cool stuff. 9.5/10
5. Enough To Let Me Go- This song is more upbeat than "Your Love Is A Song," but still fits within the category of mellow Switchfoot songs. The constant strumming mixed with the acoustic guitar seen throughout is very pleasant and peaceful. The chorus is even more pleasant with the background vocals and Foreman's vocals step up, especially near the end of the song where there are some higher notes that he hits flawlessly. This song asks the question "Do you love me enough to let me go?" and is extremely touching. This is a great song to fall asleep/meditate to because it's so peaceful and moving. Let me just put it this way: last night at the concert, I saw a woman closing her eyes and crying while singing along with this song, a song on an album that has only been out for three days. That should give you an idea about how touching their music is and how it really speaks to people. 10/10
6. Free- A killer guitar scheme characterizes this song and gives it a Western-outlaw kind of feel. This song is pretty epic and badass overall. The drums lend well to this notion and the lyrics do as well. This song is desperately asking either God or someone loved to help release the chains that bind. Foreman's vocals of "Inside this shell there's a prison cell" ring out in the middle of sudden silence and then the music comes back in, which effectively sets up the drama of the song. This song was awesome to see live because they really got into it. Once again, this is a song that testifies to the band's diversity, talent, and overall legacy. 9.5/10
7. Hello Hurricane- This song is characterized by the background vocals and the quick acoustic guitar strumming. The title track of the album really lives up to the name and overall theme of the whole album. The chorus is extremely pleasant and has sing-a-long written all over it. This is classic Switchfoot at its best, and the lyrics "Hello hurricane, you're not enough; hello hurricane, you can't silence my love" typify the theme of the whole album perfectly and beautifully. This song is very inspiring and uplifting. The drums and guitars are very good especially near the end of the song, and Foreman's vocals hit the jackpot once again. The message of hope is once again conveyed uniquely through beautiful music. This is the type of song that you can listen up to while looking at a cloudy sky and appreciate the beauty not only of the music itself, but of life in general. 10/10
8. Always- Some great piano and vocals by Foreman characterizes this song, and blends extremely well. This song professes someone being either God's or someone else's for "always," and is about second chances. The piano is simply beautiful and the vocals only enhance it, especially when the violin and other instruments kick in near the middle of the song. The background vocals and steel guitar seen later in the song give it even more emotion, and it climaxes with Foreman singing "Hallelujah! I'm caving in. Hallelujah! I'm in love again. Hallelujah! I'm a wretched man. Hallelujah! Every breath is a second chance." This song is simply beautiful and majestic, accurately displaying the emotional firepower this band puts out through their music. 10/10
9. Bullet Soul- This song shows the fun side of Switchfoot's rock, and is more upbeat. The thundering and buzzing guitars are superb and the drums follow suit. Foreman's vocals are more aggressive and his screams are great. This is some old-school style rock, almost sounding like UK rock, and it translates really well here. The chorus is another explosion of rock, especially for the last huzzah at the end of the song. This song shows how much Switchfoot enjoys rocking out, even if it still isn't that heavy rock style akin to "Meant To Live." 9/10
10. Yet- This slow song is very uplifting and inspirational, taking the position of someone beaten down with a heavy heart because of all the bad things in the world, but who will not give in and will continue to stay true to their beliefs and to their love, which are especially emphasized with the lines, "But you haven't lost me yet. You haven't lost me yet. I'll sing until my heart caves in. No, you haven't lost me yet." This is where the hopeful message is interjected, and it is further expanded upon when Foreman puts it in perspective with the lines, "If it doesn't break your heart, it isn't love; if it doesn't break your heart it's not enough." This slow song is very touching and really displays Switchfoot's knack for spreading hope through their own perceptions about love. 9.5/10
11. Sing It Out- A dramatic beginning gives way to a slow chorus where Foreman's vocals stand out entirely on their own. After all the static noise and violin of a couple verses, things return to normal and acoustic guitar kicks in to accompany Foreman's stellar vocals. This song once again unites song with God's love and forgiveness, or perhaps the love of someone special. Foreman hits a couple of really high notes throughout the song, and the song becomes something special to witness when the guitar and drums kick in for the final minute and a half of the song, which is where Foreman's vocals take off. Then everything stops and violins dominate the end of the song. 9.5/10
12. Red Eyes- The final track on the new album starts off with music-box-lullaby feel and then some guitar, drums, and vocals kick off. The chorus is based on a beautiful concept and is the appropriate way to close the album. Foreman asks the lamenting and crying person the question "With red eyes, what are you looking for?" almost as if the angel asked the lamenting disciples "Why do you look for him here? Do you not know that He is risen?" The message of hope is conveyed in this similar fashion, telling people not to despair but to go out and live in love. The song closes with some lines from the first track, "We are once in a lifetime," along with the opening lullaby notes. This ending is nearly perfect for the entire album. 9/10
Overall: 116/120
As the final score indicates, this is one of the best albums I've reviewed so far. It didn't just turn out that way because Switchfoot is my favorite band, but because this new album is just that good. This score wasn't affected by seeing them live last night either, these scores are my accurate reflections of what I found in the music itself, and I think that based on that, it is plain to see that Switchfoot delivers as always. You may notice I didn't pick a "best song on the album" this time around. That's because I wouldn't be able to make a decision and would end up sharing the title between 3-5 songs. That should testify to how good these songs are. I have never encountered another band that mixes great and diverse music with great themes about love and faith better. They don't call themselves a Christian band, but it is evident the message of love is not spread as well anywhere else, and I really do mean that when I say it. This is coming from someone who listens to his fair share of Christian bands: Switchfoot is one of the greatest if not the greatest in spreading the message of love in our world. These guys love what they do and they love their music; what is better than a band that can say that and spread these messages at the same time? "Hello Hurricane" delivers on all fronts and after seeing them play last night, I can honestly say I may never see a concert that tops that one. I think that when you compile all these concepts together, you can start to understand why Switchfoot is my favorite band, why "Hello Hurricane" deserves the high score given, why this band deserves your attention, and why these guys are gonna leave behind a legacy of love long after they are gone. A lot of people nowadays just see music as something to fill the quiet time with something entertaining, but I believe that it has to power to influence us and inspire us, and it's because of bands like Switchfoot that I say that. Thanks for tuning in. Coming Monday will be a review for Flyleaf. Rock on.
Monday, November 9, 2009
Weezer: Raditude Review
Weezer is known for a couple of things. They are known as a band that has been around for a long time, a band that consistently produces pleasant music with cleverly funny lyrics, and a band that is just plain weird. Weezer delivers on all three of these characteristics with the release of "Raditude." While almost all Weezer fans will agree that the best album is still their self-titled debut "Weezer" back in 1994, but it 2005's "Make Believe" is also in contention. Most fans were disappointed with Weezer's last effort, "The Red Album," but I actually thought it was pretty decent: it was most certainly weird but it was another solid entry in Weezer's discography and contributed some great songs. This latest effort is no different, mixing humor with pleasant music with just downright weirdness. Sometimes the odd nature of the music adds to the humor and sometimes it doesn't, but I guess it just depends on the person. Rivers Cuomo sounds great and nerdy as usual, and pitches in guitar, keyboard, drums and harmonica. Guitarist Brian Bell, bassist Scott Shriner, and drummer Pat Wilson all also cover keyboard and pitch in vocals, which does give the band a better feel as a unified group. As with all other Weezer albums, the enjoyable elements outweigh any awkwardness, and it is once again worth the ride.
1. (If You're Wondering If I Want You To) I Want You To- Acoustic guitar and lively, upbeat drums kick this song off. Cuomo's voice matches up awkwardly with it and all the verses tend to follow suit in this fashion but the chorus is highly enjoyable and more than makes up for it. This won't be the first time oddities are overruled by more agreeable elements. The lyrics are great, attacking the typical notions of boy-making-a-move, offering a different perspective and providing a humorous background story during the verses. These guys are seriously the biggest nerds on the earth, but they are so lovable they are cool. If not for an awkward transition from verses to chorus, this would be an "extremely awesome," but as it is, it is limited to "really damn good." 9.5/10
2. I'm Your Daddy- Once again, humor and pleasant-sounding music blend to entertain any listener. The song starts with a nice little drum beat accompanied by that identifiable trademark Weezer guitar. Cuomo's vocals seem much more appropriate for these verses, and they give way to more lively choruses dominated by guitar and electric components (synthesizer) that actually add to the song in my opinion. The vocals actually pick up for the last run-through of the chorus but other than that this song is pretty straight-forward. The chorus is funny; there really hasn't been an experience for me this week quite like hearing Weezer's lead singer say "I'm your daddy." Great stuff. 9.5/10
3. The Girl Got Hot- An interesting little guitar scheme accompanied by some harmonizing "OH-WHOA-OH!"'s that are seen throughout the song really give the song a fun feel. They really testify to the non-chalant way in which Weezer can sing about anything they want and it be successful, even if this song does actually have more of a point and general focus. This song is about a beautiful, ball-busting tease, and it has an old-fashioned, fun rock feel to it. This is some really good stuff, possessing entertaining lyrics and universal accessibility, making it the best song on the album. 9.5/10
4. Can't Stop Partying- I think it's important to first note that this song features Lil Wayne and the title of the song basically gives away the main idea. This is Weezer's attempt at having one of their songs played in the club, and it's actually not bad and is kinda funny and cool. Looking at the lyrics, this really is a typical hip-hop/rap song about clubbin' and partying and being rich and all that stuff. Lil Wayne's verses are pretty sick and really lend to the song's high-rollin' high-flyin' nature. There is nothing better than a bunch of nerds gathering to sing about how boss they are at the club partying. Except maybe hearing Lil Wayne proclaim, "Okay bitch, it's Weezer and it's Weezy..." Awesome, and the second best song on the album. 9.5/10
5. Put Me Back Together- Here we see some more awkward and uncomfortable verses mixed with more enjoyable choruses and humorous lyrics (although these lyrics are funny because of how random they are rather than how clever they are) about someone's positive influence. The verses aren't too bad, having a nice, softer feel to them, but they are too repetitive for my liking. The buildup to the chorus is solid, especially when the drums and pleasant background guitar kick in. The chorus is very enjoyable except for the unnecessary synthesizer that reminds me of Motion City Soundtrack (not that anything related to Motion City Soundtrack is a bad thing, but I'm not sure Weezer should be trying to pull that off). There is an interesting high note for Cuomo near the end of the song that transitions the vocals into shakier ground, but he holds his own just fine as usual. 8.5/10
6. Trippin' Down The Freeway- This song is a very humorous take on high school sweethearts. It basically talks about being in love with one's high school sweetheart and then about "stickin' together as we're trippin' down the freeway." The song is catchy in its own right and even though I find the use of the synthesizer to be unnecessary once again, it accomplishes its goal of being a simple, agreeable Weezer song. These guys have a knack for creating fresh music to add to their list of greats, even if most of them will not have lasting significance, and this song is a great example of this. 9/10
7. Love Is The Answer- This song has a really good message even if it does kind of stray into hippy territory when it talks about love, but it's still a good concept. This is a really weird and unique song in that it has an Arabian feel to it and parts of the song are sung in Hindi. The typical odd Weezer sound of this song meshes awkwardly with the female Hindi singing and sitar. This is where one can see the awkward elements of Weezer outweighing anything good they had going for them in this song. It has a decent feel to it, and there is some decent guitar near the end but it's just too different to be enjoyable. I shouldn't feel like I'm watching Slumdog Millionaire when Weezer pops up on my I-Pod. 7.5/10
8. Let It All Hang Out- A killer atypical Weezer guitar intro grabs a listener's attention right off the bat and reassures them that they are returning to the kind of rock they are best at. This is a really great song because it doesn't get weird and stays within the realm of normal Weezer rock. The lyrics are certainly entertaining, referencing Jay-Z and talking about blowing off some steam with his "homies" for the weekend. It's a great concept and when mixed with the great guitar work and Cuomo's consistently good vocals, it really makes up for the previous song. 9.5/10
9. In The Mall- Yet again, another song about absolutely nothing; the title gives away the most complex idea of the song. I'm not exaggerating or kidding either, about 65% of the lyrics are "in the mall." This is really a shame because the guitar and drumming is solid; it would just have been really nice if there was a point behind them. The buildup to the final portion of the song is just stupid and awkward, even if it does give room for a killer guitar return when it slows down and drops off. Like I said, the guitar and drums are pretty sick, but there is absolutely not purpose here. At the very least you can rock out to the last 45 seconds of the song I suppose. 7.5/10
10. I Don't Want To Let You Go- This song is the only slow song on the album, and it really shows that Weezer can masterfully execute and enforce mature ideas when they really want to. This is a solid closer track with slightly faster verses that build up the momentum first unveiled through the lyrics about not wanting to let go and fighting to keep something good alive between you and the person you love. The deep guitar and bass are spot on, and the background vocals are pretty good for the most part, lending to the happy-yet-sad feel of the song. Cuomo's vocals are great here and Weezer closes their new, weird, and short album on a positive note. 9/10
Overall: 89/100
This is another solid entry in Weezer's discography and fulfills what seems to be the standard now for new Weezer albums: not breaking any new ground or competing for the top spot in creating something really memorable, but still managing to appease Weezer fans looking for their fix of new music. They still maintain their weird, nerdy, random, humorous, clever, and pleasant nature, and there are definitely some great songs here. Just don't be expecting the best you've ever heard from these guys. I really enjoy having something new to listen to from Weezer, but these guys have been around for awhile, and it's starting to make me wonder if when their time comes, they will go out with a bang or just create another solid but unmemorable piece of work. I just hope it's the former. Thanks for tuning in. Coming up this week will be Switchfoot and Flyleaf. Rock on.
1. (If You're Wondering If I Want You To) I Want You To- Acoustic guitar and lively, upbeat drums kick this song off. Cuomo's voice matches up awkwardly with it and all the verses tend to follow suit in this fashion but the chorus is highly enjoyable and more than makes up for it. This won't be the first time oddities are overruled by more agreeable elements. The lyrics are great, attacking the typical notions of boy-making-a-move, offering a different perspective and providing a humorous background story during the verses. These guys are seriously the biggest nerds on the earth, but they are so lovable they are cool. If not for an awkward transition from verses to chorus, this would be an "extremely awesome," but as it is, it is limited to "really damn good." 9.5/10
2. I'm Your Daddy- Once again, humor and pleasant-sounding music blend to entertain any listener. The song starts with a nice little drum beat accompanied by that identifiable trademark Weezer guitar. Cuomo's vocals seem much more appropriate for these verses, and they give way to more lively choruses dominated by guitar and electric components (synthesizer) that actually add to the song in my opinion. The vocals actually pick up for the last run-through of the chorus but other than that this song is pretty straight-forward. The chorus is funny; there really hasn't been an experience for me this week quite like hearing Weezer's lead singer say "I'm your daddy." Great stuff. 9.5/10
3. The Girl Got Hot- An interesting little guitar scheme accompanied by some harmonizing "OH-WHOA-OH!"'s that are seen throughout the song really give the song a fun feel. They really testify to the non-chalant way in which Weezer can sing about anything they want and it be successful, even if this song does actually have more of a point and general focus. This song is about a beautiful, ball-busting tease, and it has an old-fashioned, fun rock feel to it. This is some really good stuff, possessing entertaining lyrics and universal accessibility, making it the best song on the album. 9.5/10
4. Can't Stop Partying- I think it's important to first note that this song features Lil Wayne and the title of the song basically gives away the main idea. This is Weezer's attempt at having one of their songs played in the club, and it's actually not bad and is kinda funny and cool. Looking at the lyrics, this really is a typical hip-hop/rap song about clubbin' and partying and being rich and all that stuff. Lil Wayne's verses are pretty sick and really lend to the song's high-rollin' high-flyin' nature. There is nothing better than a bunch of nerds gathering to sing about how boss they are at the club partying. Except maybe hearing Lil Wayne proclaim, "Okay bitch, it's Weezer and it's Weezy..." Awesome, and the second best song on the album. 9.5/10
5. Put Me Back Together- Here we see some more awkward and uncomfortable verses mixed with more enjoyable choruses and humorous lyrics (although these lyrics are funny because of how random they are rather than how clever they are) about someone's positive influence. The verses aren't too bad, having a nice, softer feel to them, but they are too repetitive for my liking. The buildup to the chorus is solid, especially when the drums and pleasant background guitar kick in. The chorus is very enjoyable except for the unnecessary synthesizer that reminds me of Motion City Soundtrack (not that anything related to Motion City Soundtrack is a bad thing, but I'm not sure Weezer should be trying to pull that off). There is an interesting high note for Cuomo near the end of the song that transitions the vocals into shakier ground, but he holds his own just fine as usual. 8.5/10
6. Trippin' Down The Freeway- This song is a very humorous take on high school sweethearts. It basically talks about being in love with one's high school sweetheart and then about "stickin' together as we're trippin' down the freeway." The song is catchy in its own right and even though I find the use of the synthesizer to be unnecessary once again, it accomplishes its goal of being a simple, agreeable Weezer song. These guys have a knack for creating fresh music to add to their list of greats, even if most of them will not have lasting significance, and this song is a great example of this. 9/10
7. Love Is The Answer- This song has a really good message even if it does kind of stray into hippy territory when it talks about love, but it's still a good concept. This is a really weird and unique song in that it has an Arabian feel to it and parts of the song are sung in Hindi. The typical odd Weezer sound of this song meshes awkwardly with the female Hindi singing and sitar. This is where one can see the awkward elements of Weezer outweighing anything good they had going for them in this song. It has a decent feel to it, and there is some decent guitar near the end but it's just too different to be enjoyable. I shouldn't feel like I'm watching Slumdog Millionaire when Weezer pops up on my I-Pod. 7.5/10
8. Let It All Hang Out- A killer atypical Weezer guitar intro grabs a listener's attention right off the bat and reassures them that they are returning to the kind of rock they are best at. This is a really great song because it doesn't get weird and stays within the realm of normal Weezer rock. The lyrics are certainly entertaining, referencing Jay-Z and talking about blowing off some steam with his "homies" for the weekend. It's a great concept and when mixed with the great guitar work and Cuomo's consistently good vocals, it really makes up for the previous song. 9.5/10
9. In The Mall- Yet again, another song about absolutely nothing; the title gives away the most complex idea of the song. I'm not exaggerating or kidding either, about 65% of the lyrics are "in the mall." This is really a shame because the guitar and drumming is solid; it would just have been really nice if there was a point behind them. The buildup to the final portion of the song is just stupid and awkward, even if it does give room for a killer guitar return when it slows down and drops off. Like I said, the guitar and drums are pretty sick, but there is absolutely not purpose here. At the very least you can rock out to the last 45 seconds of the song I suppose. 7.5/10
10. I Don't Want To Let You Go- This song is the only slow song on the album, and it really shows that Weezer can masterfully execute and enforce mature ideas when they really want to. This is a solid closer track with slightly faster verses that build up the momentum first unveiled through the lyrics about not wanting to let go and fighting to keep something good alive between you and the person you love. The deep guitar and bass are spot on, and the background vocals are pretty good for the most part, lending to the happy-yet-sad feel of the song. Cuomo's vocals are great here and Weezer closes their new, weird, and short album on a positive note. 9/10
Overall: 89/100
This is another solid entry in Weezer's discography and fulfills what seems to be the standard now for new Weezer albums: not breaking any new ground or competing for the top spot in creating something really memorable, but still managing to appease Weezer fans looking for their fix of new music. They still maintain their weird, nerdy, random, humorous, clever, and pleasant nature, and there are definitely some great songs here. Just don't be expecting the best you've ever heard from these guys. I really enjoy having something new to listen to from Weezer, but these guys have been around for awhile, and it's starting to make me wonder if when their time comes, they will go out with a bang or just create another solid but unmemorable piece of work. I just hope it's the former. Thanks for tuning in. Coming up this week will be Switchfoot and Flyleaf. Rock on.
Sunday, November 8, 2009
We Came As Romans: To Plant A Seed Review
I know I promised to review Weezer next, but I have recently been struck by a musical bolt of lightning that has possessed me and revealed a new and impressive talent to review that I cannot possible ignore. It is not often that one comes across fresh and awesome music, and it is always pleasant when this happens, so in that spirit, I am pushing back my Weezer review until tomorrow so that I can review accurately and so that I can begin to tell you about how awesome We Came As Romans is. For starters, they are really awesome. They are also harder than most easy-going music fans are used to. Make no mistake, this is for fans of bands like Underoath, Demon Hunter, and The Devil Wears Prada, but at the same time, fans of slightly lighter bands will be drawn in as well. Let me explain what I mean by this. It is true that lead screamer David Stephens can scream with the best of them, but as with almost every other screamo/hardcore/electronica band, there is a screamer and a soft vocalizer that adds that tender and dramatic element to every song. Kyle Pavone plays this part, and he plays it ridiculously well, sounding like a mix between Hawthorne Heights' frontman JT Woodruff and A Change Of Pace's former singer, Torry Jasper (you know, back when A Change Of Pace was good). Even if you don't like/know these two singers, trust me when I say that this guy is good. When you put these two vocal components together, all you need left is dramatic and rocking music, and We Came As Romans delivers on that too. Then you can throw in the fact that this is a Christian band with a great message that they effectively spread through their music, and you can begin to see why I'm so excited about this group. Believe me when I say that these guys are turning some heads and I guarantee you they are the next big thing in the world of screamo. I'd like to thank my roommate for introducing me to them, and I'd like to thank fate that even though they did release two EP's already, this is their first LP, so I can review them as a fellow newcomer to the wonderful world of We Came As Romans.
1. To Plant A Seed- This band establishes itself as musically talented and authoritative right off the bat, with a killer, thunderous drumming intro that immediately testifies to Eric Choi's insane drumming skills. This is accompanied by Lou Cotton and Joshua Moore's ridiculous guitar throwdowns and Andy Glass' solid bass. After this there is a solid verse of throaty screaming until the tempo picks up and the softer vocals accompany the screaming with echoes and being in the background. Then the tempo slows down and Kyle's vocals are given their first opportunity to shine. Lyrically, this song is about a seed of love being planted in our beings and spreading. There are some heavy throwdowns in this song, but almost all of them give way to some nice, dramatic singing from Pavone. This dramatic tension is paramount in the last minute of the song and is simply awesome to behold. A killer start. 10/10
2. Broken Statues- This song begins with a cool little ditty on the synthesizer and drums and then explodes into some quality screaming and killer guitar hooks. This is just a purely epic album, and songs like this testify to it. This song is about forgiveness and washing your hands clean. This song is one of the heavier songs until Pavone comes through, accompanied by the aforementioned blazing guitars. These guys' energy is just incredible. The addition of violins with the synthesizer adds an even more dramatic touch, and when Pavone comes back on in the last minute along with Stephens screaming, the scorching hot guitars, the violins, the synthesizer, and heavy thunderous drums, you get one of the most epic songs ever. 10/10
3. Intentions- This song came off the band's second EP "Dreams" and has been modified and polished for the LP release. The song begins with some intensely deep screaming, drumming, guitar, and echoing background chanting akin to A Day To Remember. Then Pavone's singing comes in and one is reminded of Torry Jasper and A Change Of Pace and their glory days (Remember when they used to be good?). Anyway, this turns to some more screaming and then some intense synthesizing, violins and drums that slows down and allows a piano to have its say in the drama that's being established. Then everything cuts loose and you are left with a massive headbanging fest. Pavone joins in and lends his own voice to Stephens's screaming. Another epic and dramatic ending that brings everything together shows this group's commitment and success at being awesome. 9.5/10
4. Roads That Don't End And Views That Never Cease- This song starts off with some ferocious roars and drumming that gives way to a killer guitar hook, and then Pavone's simply awesome chorus accompanied by the synthesizer. I'm not usually an electronica/synthesizer supporter, but the scheme behind each chorus is just too awesome to ignore, especially when mixed with Pavone's perfect vocals. The mix of hardcore verses mixed with the awesome chorus makes this the best song on the album. Lyrically, this is about being far away from someone you love and wanting to be together again. Even though the fashion in which they are presented doesn't really show the beauty behind the lyrics, looking at what is being sang/screamed reveals how deep and heartwrenching they are. There is another epic section of the song that rivals each of the other ones I've already mentioned with all the previously mentioned elements: Pavone's vocals, Stephens' roaring, the synthesizer, the drums, and the guitars. Absolute perfection is all that comes to a listener's mind when the song closes with some piano and soft vocals: "This is how we love." 10/10
5. Dreams- The only other song to make it from the "Dreams" EP has been given a makeover and has never looked better. The sweet little drummer intro introduces Pavone to the song and things start to get epic right off the bat. The theme of desperation mixed with notions of being noble in the face of darkness manifests itself here with the repeated lyrics: "This is how I show you my love." This song is about being God's love here on earth and how we all struggle here on earth together as brothers. The verses are mainly harder screaming and the chorus reverts back to Pavone for that signature line. There are some really sick guitar hooks in the middle of the song if you pay close enough attention. The only problem I have with this song is the way it kind of fades and doesn't really end on an epic note like the other ones, but it is also true that it prevents all the songs from being too similar and sets the next track up nicely. 9.5/10
6. We Are The Reasons- A beginning with a sound akin to a xylophone lullaby sets up the drama of the song very effectively and the screaming and fast-paced verse takes it from there. Pavone comes back in and things slow down so that when the screaming kicks back in and joins him, the drama is able to be further emphasized, especially with the help of brass, violins, and the synthesizer. Then, when these elements fade back out and the drums and guitars dominate the sound, the headbanging nature of the song makes its presence known. The song ends on a final note from the violins and is set up by the return of the lullaby sound. I'm not sure how many more times I'm going to have to say epic at this point. 9.5/10
7. Beliefs- Pavone's lamentations in the background and a splashy drum intro give way to some aggressive guitar. The momentum builds with the help of the drums, the synthesizer and the keys. Another headbanger that is about holding fast to what you believe in in the midst of confusion and doubt. There is some more A Day To Remember-type chanting here, and the bass makes itself known after this. Pavone is given a chance to dominate as his voice is the principal characterizing element of the last minute, even though it is important to give credit to Stephen's screaming that adds that extra dramatic touch first set up by Pavone. For the final thirty seconds, Pavone closes to some soft notes and one is reminded of Saosin's lead singer Cove Reber. 9.5/10
8. I Will Not Reap Destruction- A cool little intro with the keys and synthesizer sets up some harder screaming, allowing for some rock-out time for the guitarists, and they sure as hell make the most of it with some catchy and mind-boggling hooks. The chorus is pure genius and Pavone nails it once again. The title of the song accurately sums up the main message of the lyrics, but examining the lyrics themselves continues to reveal how deep the message is. This is one of the hardest songs on the album minus the chorus, but based on the message of the song, it works well. This ambitious song closes on the haunting intro it began with, and it effectively emphasizes the drama. 9.5/10
9. Searching, Seeking, Reaching, Always- An upbeat intro that contains more screaming kicks this one off and then gives way to Pavone and some momentum-building guitar before the intense chorus kicks off. Lyrically, this song is about searching for something more, as the song title indicates. This song is a lot shorter than the other songs, but it gets in and makes its point before it's said and done. The chorus is great and Pavone pretty much dominates the majority of the track, only using Stephens's screaming as a dramatic supplement. This is probably my least favorite track because I don't think it was developed as much as it could have been, but it's still damn good and it serves as a testament to this band's greatness that the least interesting track is still receiving a nine. 9/10
10. An Ever-Growing Wonder- This song kicks off intensely with Pavone, switches to some Stephens' roaring, and then slows down and allows tension to build. There is some consistently good guitar here, and the chorus involves Pavone's intense lyrical examination, the synthesizer, and awesome drumming. This song is about facing who you are and making sure that it is the person you want to be. There is an epic buildup in the middle of the song, and then the tempo slows down. However, when this happens, the violins build up more drama and then everything explodes into an appropriately epic conclusion for the entire CD. All I have to say is well done. 9.5/10
Overall: 96/100
As the overall score (and the entirety of my review, to be honest) should indicate, these guys are really good. A lot of people think the concept of a hardcore Christian band is a little bit ironic and almost hypocritical, but in listening to bands like this, I have to think these people are gravely mistaken. We Came As Romans has a great message and the fashion in which they choose to spread it is more effective than lighter Christian rock bands because it reaches a more diverse, appropriate, and younger audience. If they are out spreading this great message, it really shouldn't matter to other Christians how their music sounds. And then you throw in the fact that these guys own what they do and you have something really special that will reach a lot of people. These guys are so musically talented it is ridiculous and even people who are not particularly fans of hardcore music would have to admit to the musical talent they possess. For the faint of heart, this might not be for your listening pleasure, but for those who are able to look beyond the harder elements of the music itself, you will be able to appreciate the message and see that this band is unique, fresh, has a great message, rocks out, and has really compelling lyrics accompanied by a musical fervor that rivals any of the other hardcore screamo bands out there today. I'm guaranteeing it right now: We Came As Romans is going places. Thanks for tuning in. Up next is Weezer. Rock on.
1. To Plant A Seed- This band establishes itself as musically talented and authoritative right off the bat, with a killer, thunderous drumming intro that immediately testifies to Eric Choi's insane drumming skills. This is accompanied by Lou Cotton and Joshua Moore's ridiculous guitar throwdowns and Andy Glass' solid bass. After this there is a solid verse of throaty screaming until the tempo picks up and the softer vocals accompany the screaming with echoes and being in the background. Then the tempo slows down and Kyle's vocals are given their first opportunity to shine. Lyrically, this song is about a seed of love being planted in our beings and spreading. There are some heavy throwdowns in this song, but almost all of them give way to some nice, dramatic singing from Pavone. This dramatic tension is paramount in the last minute of the song and is simply awesome to behold. A killer start. 10/10
2. Broken Statues- This song begins with a cool little ditty on the synthesizer and drums and then explodes into some quality screaming and killer guitar hooks. This is just a purely epic album, and songs like this testify to it. This song is about forgiveness and washing your hands clean. This song is one of the heavier songs until Pavone comes through, accompanied by the aforementioned blazing guitars. These guys' energy is just incredible. The addition of violins with the synthesizer adds an even more dramatic touch, and when Pavone comes back on in the last minute along with Stephens screaming, the scorching hot guitars, the violins, the synthesizer, and heavy thunderous drums, you get one of the most epic songs ever. 10/10
3. Intentions- This song came off the band's second EP "Dreams" and has been modified and polished for the LP release. The song begins with some intensely deep screaming, drumming, guitar, and echoing background chanting akin to A Day To Remember. Then Pavone's singing comes in and one is reminded of Torry Jasper and A Change Of Pace and their glory days (Remember when they used to be good?). Anyway, this turns to some more screaming and then some intense synthesizing, violins and drums that slows down and allows a piano to have its say in the drama that's being established. Then everything cuts loose and you are left with a massive headbanging fest. Pavone joins in and lends his own voice to Stephens's screaming. Another epic and dramatic ending that brings everything together shows this group's commitment and success at being awesome. 9.5/10
4. Roads That Don't End And Views That Never Cease- This song starts off with some ferocious roars and drumming that gives way to a killer guitar hook, and then Pavone's simply awesome chorus accompanied by the synthesizer. I'm not usually an electronica/synthesizer supporter, but the scheme behind each chorus is just too awesome to ignore, especially when mixed with Pavone's perfect vocals. The mix of hardcore verses mixed with the awesome chorus makes this the best song on the album. Lyrically, this is about being far away from someone you love and wanting to be together again. Even though the fashion in which they are presented doesn't really show the beauty behind the lyrics, looking at what is being sang/screamed reveals how deep and heartwrenching they are. There is another epic section of the song that rivals each of the other ones I've already mentioned with all the previously mentioned elements: Pavone's vocals, Stephens' roaring, the synthesizer, the drums, and the guitars. Absolute perfection is all that comes to a listener's mind when the song closes with some piano and soft vocals: "This is how we love." 10/10
5. Dreams- The only other song to make it from the "Dreams" EP has been given a makeover and has never looked better. The sweet little drummer intro introduces Pavone to the song and things start to get epic right off the bat. The theme of desperation mixed with notions of being noble in the face of darkness manifests itself here with the repeated lyrics: "This is how I show you my love." This song is about being God's love here on earth and how we all struggle here on earth together as brothers. The verses are mainly harder screaming and the chorus reverts back to Pavone for that signature line. There are some really sick guitar hooks in the middle of the song if you pay close enough attention. The only problem I have with this song is the way it kind of fades and doesn't really end on an epic note like the other ones, but it is also true that it prevents all the songs from being too similar and sets the next track up nicely. 9.5/10
6. We Are The Reasons- A beginning with a sound akin to a xylophone lullaby sets up the drama of the song very effectively and the screaming and fast-paced verse takes it from there. Pavone comes back in and things slow down so that when the screaming kicks back in and joins him, the drama is able to be further emphasized, especially with the help of brass, violins, and the synthesizer. Then, when these elements fade back out and the drums and guitars dominate the sound, the headbanging nature of the song makes its presence known. The song ends on a final note from the violins and is set up by the return of the lullaby sound. I'm not sure how many more times I'm going to have to say epic at this point. 9.5/10
7. Beliefs- Pavone's lamentations in the background and a splashy drum intro give way to some aggressive guitar. The momentum builds with the help of the drums, the synthesizer and the keys. Another headbanger that is about holding fast to what you believe in in the midst of confusion and doubt. There is some more A Day To Remember-type chanting here, and the bass makes itself known after this. Pavone is given a chance to dominate as his voice is the principal characterizing element of the last minute, even though it is important to give credit to Stephen's screaming that adds that extra dramatic touch first set up by Pavone. For the final thirty seconds, Pavone closes to some soft notes and one is reminded of Saosin's lead singer Cove Reber. 9.5/10
8. I Will Not Reap Destruction- A cool little intro with the keys and synthesizer sets up some harder screaming, allowing for some rock-out time for the guitarists, and they sure as hell make the most of it with some catchy and mind-boggling hooks. The chorus is pure genius and Pavone nails it once again. The title of the song accurately sums up the main message of the lyrics, but examining the lyrics themselves continues to reveal how deep the message is. This is one of the hardest songs on the album minus the chorus, but based on the message of the song, it works well. This ambitious song closes on the haunting intro it began with, and it effectively emphasizes the drama. 9.5/10
9. Searching, Seeking, Reaching, Always- An upbeat intro that contains more screaming kicks this one off and then gives way to Pavone and some momentum-building guitar before the intense chorus kicks off. Lyrically, this song is about searching for something more, as the song title indicates. This song is a lot shorter than the other songs, but it gets in and makes its point before it's said and done. The chorus is great and Pavone pretty much dominates the majority of the track, only using Stephens's screaming as a dramatic supplement. This is probably my least favorite track because I don't think it was developed as much as it could have been, but it's still damn good and it serves as a testament to this band's greatness that the least interesting track is still receiving a nine. 9/10
10. An Ever-Growing Wonder- This song kicks off intensely with Pavone, switches to some Stephens' roaring, and then slows down and allows tension to build. There is some consistently good guitar here, and the chorus involves Pavone's intense lyrical examination, the synthesizer, and awesome drumming. This song is about facing who you are and making sure that it is the person you want to be. There is an epic buildup in the middle of the song, and then the tempo slows down. However, when this happens, the violins build up more drama and then everything explodes into an appropriately epic conclusion for the entire CD. All I have to say is well done. 9.5/10
Overall: 96/100
As the overall score (and the entirety of my review, to be honest) should indicate, these guys are really good. A lot of people think the concept of a hardcore Christian band is a little bit ironic and almost hypocritical, but in listening to bands like this, I have to think these people are gravely mistaken. We Came As Romans has a great message and the fashion in which they choose to spread it is more effective than lighter Christian rock bands because it reaches a more diverse, appropriate, and younger audience. If they are out spreading this great message, it really shouldn't matter to other Christians how their music sounds. And then you throw in the fact that these guys own what they do and you have something really special that will reach a lot of people. These guys are so musically talented it is ridiculous and even people who are not particularly fans of hardcore music would have to admit to the musical talent they possess. For the faint of heart, this might not be for your listening pleasure, but for those who are able to look beyond the harder elements of the music itself, you will be able to appreciate the message and see that this band is unique, fresh, has a great message, rocks out, and has really compelling lyrics accompanied by a musical fervor that rivals any of the other hardcore screamo bands out there today. I'm guaranteeing it right now: We Came As Romans is going places. Thanks for tuning in. Up next is Weezer. Rock on.
Friday, November 6, 2009
The Almost: Monster Monster Review
The Almost is a band fronted by Underoath drummer/vocalist/multitalented badass Aaron Gillespie. Their debut album "Southern Weather" was known for its freshness, originality, and enthusiasm, but their new effort falls short of that mark. Don't misunderstand me, this is not a bad album. It just lacks the fervor and energy that the first album possesses, which, in my opinion, made The Almost unique and entertaining to listen to. As an avid fan of Underoath, I almost (no pun intended) think that The Almost is an attempt for Aaron Gillespie to mellow out after the intensity of Underoath, but the music is definitely solid and exposes another side to not only Gillespie's talent, but also the talent of the band as a whole. However, it is important to note that while "Southern Weather" was pretty much solely Gillespie's brainchild, this new release represents a transition from an individual-centered project to that of an actual band; what I mean is that for this CD, the other members had more influence on the music, and it definitely shows. I think the diversity of the band's members really shows: Aaron Gillespie covers lead vocals, guitar, and sometimes drums, Joe Musten covers drums for the most part, Dusty Redmon and Jay Vilardi play guitar, and Alex Aponte covers bass. However these are just the core members; Josiah Holland does keys, Chris Scruggs and John Davis pitch in some steel guitar, and Aaron Sprinkle contributes additional vocals, keys, guitar, and sundries. All of this contributes to the fact that while "Monster Monster" is pleasant, easy-going rock that almost anyone can pick up and enjoy, it's just not at the same level as their debut. This is a good album for what it is, but compared to the standards set by its predecessor, it doesn't fulfill the longings of fans for another typical The Almost outing. I've listened to this album all the way through multiple times, and I have no shame in admitting that I'm confused as to the approach in reviewing this album. There is no doubt that these songs are definitely good and worth listening to, but the fact that "Southern Weather" completely surpasses "Monster Monster" in nearly every facet still remains. There are elements of blues and even country present in this album and even though it contributes to the individual songs, it creates an identity crisis that makes labeling as a whole hard to do. The mellow nature of this new effort undermines its authority as a dominative sophomore effort, but there is no doubt that The Almost still deliver something worth listening to.
1. Monster Monster- The lead-off track has some pretty cool and unique electric guitar at the beginning and the lively drumming lives up to fans' expectations of the kind of music Aaron Gillespie can produce. While the lyrics of the chorus are not strong, the verses aren't half bad (The Almost said "bastard"!) and the concept behind the song is pretty good. This is the kind of music I was expecting to hear throughout the album, with catchy guitar hooks, lively drumming, and Gillespie wailing and singing loudly. There is some technological influence on Gillespie's voice and while I normally hate that kind of thing, it serves its purpose here. This is a fun and highly enjoyable song, especially during an awesome guitar solo near the end. 9.5/10
2. Lonely Wheel- The first song to be released off the CD first displayed the more mellow side to The Almost's more fast-paced rock that seems to be a recurring theme of the whole album. The verses aren't really interesting but the chorus is solid and catchy. Gillespie's vocals really shine here but the drums and guitar are great as well. This fits in with the realm of what fans are used to hearing from The Almost, with subtle little hints thrown in suggesting the future break from the norm. This is an excellent song with solid lyrics about giving in to someone you can't stay away from. 10/10
3. No I Don't- In their debut, The Almost's slow songs were really good and demonstrated diversity and spiritual and thematic maturity in the lyrics. The Almost once again deliver on that established standard, giving us something nice and reflective to listen to. The only qualms I have about the slower songs on the album is how many there are, even if all of them are good songs. This particular song starts off with some acoustic guitar and very soft vocals. Then the other guitars and drums kick in, the vocals step up, and the chorus unfolds. It has a beautiful message about finding a change in yourself with God's help despite what other people say or think to hold you down. The drums really set the tone, and one can hear the steel guitar in the background (for those of you who don't know what steel guitar is, steel guitar is that Hawaiian-style warbling, resonating sound that you hear a lot in country music, used to add a certain touch of beauty or hopefulness to any song). This uplifting song really hits its peak for the climax, and finishes appropriately. 10/10
4. Hands- The second song to be released from the CD is a little too mainstream for my liking; I'm not ready to jump on the bandwagon of calling this song the best. Despite the nice addition of the piano to the solid guitar and drums, which gives it an interesting touch reminiscent of Relient K, the chorus is kind of simplistic and almost annoying with the backup vocals and clapping. This song has sing-a-long written all over it, but not in the good way. The verses are solid, but the chorus is too generic for my liking. There is a touch of raw emotion near the end when Gillespie wails "I am the one who needs you!" multiple times, but other than that this song is just kind of average. 8.5/10
5. Young Again- This song returns to a more fast-paced tempo and kicks things off with a killer guitar intro right off the bat. The guitar and drums are solid throughout. Gillespie's vocals contain some of the most intense wails on the album are are a welcome addition to the album because it falls right in line with what fans are expecting. This song is about feeling young again and the message really fits in nicely with the emotions stirred by the music itself. This is a very solid and entertaining song because it grabs your attention and doesn't let go. 9.5/10
6. Summer Summer- The second slow song has an appropriately dramatic intro that gives way to a very slow verse. This song has a heart-wrenching feel to it especially when the chorus hits and the violins come out, and examining the lyrics only enhances these feelings; a song about dwelling in past memories and trying in vain to bring them back is enough to remind anyone of home and evoke at least some kind of emotion. Some will label this song as depressing, but it's beautiful in its own right as a blues rock song with a lot of soul and emotional firepower. 9.5/10
7. Hand Grenade- This is another slow song but this one is certainly more uplifting and one might think this is a country song in the beginning. The use of steel guitars really gives it that country feel. The acoustic guitar is really beautiful here, and the drums contribute nicely for the chorus. Gillespie's softer vocals are very pleasant and mix nicely with the great message about falling inside God's love. The metaphor about the hand grenade might seem slightly morbid but it represents the notion of God's love transcending death and giving everything up to follow Him. The piano comes in at a great moment, and the song ends appropriately. I never would have thought it would come to this, but a slow song takes the title as the best song on the album this time around. 10/10
8. Books & Books- An upbeat drumming intro gives way to some rocking guitar reminiscent of Paramore. Gillespie's vocals are almost haunting in the beginning, alternating between raw, deep, throaty wails and high-pitched notes. He returns to his normal screaming and wailing for the mellower chorus. The more intense verses do not really correspond with the relaxed chorus, but it works well and the transition is not awkward in any way. The only problem I have with this song is that it doesn't really have to do with anything. The title of the song doesn't have anything to do with the lyrics, and the lyrics are a little bland and vague. The song does end on a rocking note, but this is not particularly note-worthy in comparison. 8/10
9. Souls On Ten- The upbeat, catchy guitar and piano intro reminds me of New Found Glory or Relient K, which is a good thing here. I never thought I would say that about the Almost but it adds some pleasantry to the song between the chorus and verses. The chorus is very agreeable and is about being with someone special and making memories. It's a nice little song, even if it is a bit hollow in terms of impact on the album. I probably never would have pictured The Almost making a song like this, but it's actually not too bad for what it is. 9/10
10. Want To- This song starts off with some guitar reminiscent of Spitalfield, and there is some fast-paced background drums and guitar strumming that foreshadows some intensity to come despite Gillespie's slower singing. After the first chorus everything picks up and it stays that way until the end. Gillespie's wails are right on the money here and a little bit of the Underoath side comes out as well. Lyrically, this is about fighting through confusion and finding yourself and acting on it. This is a solid song, not really anything too special, but it's still good. 8.5/10
11. Get Through- This is more of a return to the kind of music "Southern Weather" gave us with some heavy upbeat drumming and solid guitar. The verses are energetic and build up to the chorus well. The chorus slows down in comparison, but they mesh well. I really like the headbanging verses that still manage to be light and universally accessible. This song has pleasant rock written all over it, and should appeal to "Southern Weather" diehards because it embodies the fast-paced harder rock elements mixed with the fun and accessible qualities that characterized their debut. This is a very energetic, fun, and vocally rocking song. 9.5/10
12. Monster- This song embodies all of the qualities an awesome closer track should have. It begins with some acoustic guitar and mixes in some steel guitar, but it is a different kind that actually sounds pretty close to regular guitar if not for the warbled, whining effect it creates. Gillespie's softer vocals go along perfectly with the message of the song. Lyrically this song is about being embraced by God despite being the monsters that we all really are because of our sin. The acoustic and steel guitar mix perfectly with Gillespie's superb vocals, and the effect it creates is stylishly haunting. The first few verses are extremely slow, but then it builds up and turns into a dramatic and haunting rockfest. The drums kick in after a perfectly hit wail from Gillespie, and the steel guitar's limitations are lifted and allowed to jam out. It gives it a dramatic, soulful feel and really makes you appreciate music in general. This song is just really cool in general. 10/10
Overall: 112/120
As the final score indicates, this is a very good album, but one should keep in mind that it is a good album for what it is. "What it is" is a break from the standards set by their first album, and while it is unfortunate that they weren't able to deliver on those standards, they did create something interesting and different. The slow songs are really good here, but I just think there are too many of them. I have mixed emotions about this album because it definitely is good, it's just not the same. I think Gillespie should be given more executive power over the direction the music takes, especially given the fact that his influence single-handedly made "Southern Weather" the surprising triumph it was. I will be watching this band closely to see where they go from here with great interest, because depending on what direction they take from here they have the power to establish themselves as diverse and unique or to go downhill into the depths of disparity and disarray. But with Aaron Gillespie, I have a good feeling it will be the former. Thanks for tuning in. Next are We Came As Romans and Weezer. Rock on.
1. Monster Monster- The lead-off track has some pretty cool and unique electric guitar at the beginning and the lively drumming lives up to fans' expectations of the kind of music Aaron Gillespie can produce. While the lyrics of the chorus are not strong, the verses aren't half bad (The Almost said "bastard"!) and the concept behind the song is pretty good. This is the kind of music I was expecting to hear throughout the album, with catchy guitar hooks, lively drumming, and Gillespie wailing and singing loudly. There is some technological influence on Gillespie's voice and while I normally hate that kind of thing, it serves its purpose here. This is a fun and highly enjoyable song, especially during an awesome guitar solo near the end. 9.5/10
2. Lonely Wheel- The first song to be released off the CD first displayed the more mellow side to The Almost's more fast-paced rock that seems to be a recurring theme of the whole album. The verses aren't really interesting but the chorus is solid and catchy. Gillespie's vocals really shine here but the drums and guitar are great as well. This fits in with the realm of what fans are used to hearing from The Almost, with subtle little hints thrown in suggesting the future break from the norm. This is an excellent song with solid lyrics about giving in to someone you can't stay away from. 10/10
3. No I Don't- In their debut, The Almost's slow songs were really good and demonstrated diversity and spiritual and thematic maturity in the lyrics. The Almost once again deliver on that established standard, giving us something nice and reflective to listen to. The only qualms I have about the slower songs on the album is how many there are, even if all of them are good songs. This particular song starts off with some acoustic guitar and very soft vocals. Then the other guitars and drums kick in, the vocals step up, and the chorus unfolds. It has a beautiful message about finding a change in yourself with God's help despite what other people say or think to hold you down. The drums really set the tone, and one can hear the steel guitar in the background (for those of you who don't know what steel guitar is, steel guitar is that Hawaiian-style warbling, resonating sound that you hear a lot in country music, used to add a certain touch of beauty or hopefulness to any song). This uplifting song really hits its peak for the climax, and finishes appropriately. 10/10
4. Hands- The second song to be released from the CD is a little too mainstream for my liking; I'm not ready to jump on the bandwagon of calling this song the best. Despite the nice addition of the piano to the solid guitar and drums, which gives it an interesting touch reminiscent of Relient K, the chorus is kind of simplistic and almost annoying with the backup vocals and clapping. This song has sing-a-long written all over it, but not in the good way. The verses are solid, but the chorus is too generic for my liking. There is a touch of raw emotion near the end when Gillespie wails "I am the one who needs you!" multiple times, but other than that this song is just kind of average. 8.5/10
5. Young Again- This song returns to a more fast-paced tempo and kicks things off with a killer guitar intro right off the bat. The guitar and drums are solid throughout. Gillespie's vocals contain some of the most intense wails on the album are are a welcome addition to the album because it falls right in line with what fans are expecting. This song is about feeling young again and the message really fits in nicely with the emotions stirred by the music itself. This is a very solid and entertaining song because it grabs your attention and doesn't let go. 9.5/10
6. Summer Summer- The second slow song has an appropriately dramatic intro that gives way to a very slow verse. This song has a heart-wrenching feel to it especially when the chorus hits and the violins come out, and examining the lyrics only enhances these feelings; a song about dwelling in past memories and trying in vain to bring them back is enough to remind anyone of home and evoke at least some kind of emotion. Some will label this song as depressing, but it's beautiful in its own right as a blues rock song with a lot of soul and emotional firepower. 9.5/10
7. Hand Grenade- This is another slow song but this one is certainly more uplifting and one might think this is a country song in the beginning. The use of steel guitars really gives it that country feel. The acoustic guitar is really beautiful here, and the drums contribute nicely for the chorus. Gillespie's softer vocals are very pleasant and mix nicely with the great message about falling inside God's love. The metaphor about the hand grenade might seem slightly morbid but it represents the notion of God's love transcending death and giving everything up to follow Him. The piano comes in at a great moment, and the song ends appropriately. I never would have thought it would come to this, but a slow song takes the title as the best song on the album this time around. 10/10
8. Books & Books- An upbeat drumming intro gives way to some rocking guitar reminiscent of Paramore. Gillespie's vocals are almost haunting in the beginning, alternating between raw, deep, throaty wails and high-pitched notes. He returns to his normal screaming and wailing for the mellower chorus. The more intense verses do not really correspond with the relaxed chorus, but it works well and the transition is not awkward in any way. The only problem I have with this song is that it doesn't really have to do with anything. The title of the song doesn't have anything to do with the lyrics, and the lyrics are a little bland and vague. The song does end on a rocking note, but this is not particularly note-worthy in comparison. 8/10
9. Souls On Ten- The upbeat, catchy guitar and piano intro reminds me of New Found Glory or Relient K, which is a good thing here. I never thought I would say that about the Almost but it adds some pleasantry to the song between the chorus and verses. The chorus is very agreeable and is about being with someone special and making memories. It's a nice little song, even if it is a bit hollow in terms of impact on the album. I probably never would have pictured The Almost making a song like this, but it's actually not too bad for what it is. 9/10
10. Want To- This song starts off with some guitar reminiscent of Spitalfield, and there is some fast-paced background drums and guitar strumming that foreshadows some intensity to come despite Gillespie's slower singing. After the first chorus everything picks up and it stays that way until the end. Gillespie's wails are right on the money here and a little bit of the Underoath side comes out as well. Lyrically, this is about fighting through confusion and finding yourself and acting on it. This is a solid song, not really anything too special, but it's still good. 8.5/10
11. Get Through- This is more of a return to the kind of music "Southern Weather" gave us with some heavy upbeat drumming and solid guitar. The verses are energetic and build up to the chorus well. The chorus slows down in comparison, but they mesh well. I really like the headbanging verses that still manage to be light and universally accessible. This song has pleasant rock written all over it, and should appeal to "Southern Weather" diehards because it embodies the fast-paced harder rock elements mixed with the fun and accessible qualities that characterized their debut. This is a very energetic, fun, and vocally rocking song. 9.5/10
12. Monster- This song embodies all of the qualities an awesome closer track should have. It begins with some acoustic guitar and mixes in some steel guitar, but it is a different kind that actually sounds pretty close to regular guitar if not for the warbled, whining effect it creates. Gillespie's softer vocals go along perfectly with the message of the song. Lyrically this song is about being embraced by God despite being the monsters that we all really are because of our sin. The acoustic and steel guitar mix perfectly with Gillespie's superb vocals, and the effect it creates is stylishly haunting. The first few verses are extremely slow, but then it builds up and turns into a dramatic and haunting rockfest. The drums kick in after a perfectly hit wail from Gillespie, and the steel guitar's limitations are lifted and allowed to jam out. It gives it a dramatic, soulful feel and really makes you appreciate music in general. This song is just really cool in general. 10/10
Overall: 112/120
As the final score indicates, this is a very good album, but one should keep in mind that it is a good album for what it is. "What it is" is a break from the standards set by their first album, and while it is unfortunate that they weren't able to deliver on those standards, they did create something interesting and different. The slow songs are really good here, but I just think there are too many of them. I have mixed emotions about this album because it definitely is good, it's just not the same. I think Gillespie should be given more executive power over the direction the music takes, especially given the fact that his influence single-handedly made "Southern Weather" the surprising triumph it was. I will be watching this band closely to see where they go from here with great interest, because depending on what direction they take from here they have the power to establish themselves as diverse and unique or to go downhill into the depths of disparity and disarray. But with Aaron Gillespie, I have a good feeling it will be the former. Thanks for tuning in. Next are We Came As Romans and Weezer. Rock on.
Monday, November 2, 2009
Atreyu: Congregation Of The Damned Review
Atreyu is a band that quickly gained underground fame for their harder, more aggressive, pulse-pounding rock accompanied by thundering instruments, compelling and intense lyrics, and of course, a good amount of hearty screaming. From their debut album "Suicide Notes And Butterfly Kisses" to bigger success with "The Curse" and "A Death-Grip On Yesterday", Atreyu fans could always count on dark and almost morbid themes to be presented in a heavy and dramatic fashion that could only be described as cool. Then came "Lead Sails Paper Anchor". Many older fans were disappointed and labeled the album as a sell-out, a departure from metalcore into mainstream rock. While I could understand older fans' grievances, it is also true that it was still a damn good album for what it was. It did not meet more hardcore fans' expectations, but I think that album represented growth for overall production value of the music. This is not much consolation for the fans who were disgusted or disappointed with Atreyu's new direction, but the fact of the matter is that Atreyu still advanced their sound and produced something memorable. "Congregation Of The Damned" is an attempt to mix the harder and more intense elements of older albums with the catchy and appealing nature of "Lead Sails Paper Anchor", and while it sometimes misses the mark, for the most part, it does a great job in appeasing older fans while continuing to impress and perhaps even expanding the musical horizons of those who jumped aboard the bandwagon in 2007. The album's darker and more morbid theme mixes well with the nature of the music itself, and Atreyu delivers on their most noteworthy characteristics once again; namely, provoking and compelling lyrics from lyricist/vocalist Alex Varkatzas, intense and mind-blowing guitar from Dan Jacobs and Travis Miguel, numerous F-bombs, solid bass from Marc McKnight and dual vocals: lighter (in comparison) vocals from drummer/vocalist Brandon Saller and from Alex Varkatzas, of course, hearty screaming that would make anyone want to pop a Hall's just listening to it. In short, Atreyu is back and should grab your attention once again.
1. Stop! Before It's Too Late And We've Destroyed It All- I like the way that this song really sets the tone for the whole album in the very beginning with some ridiculous fretwork on the guitars accompanied by some quick drumming. Listening to this intro, this is the kind of guitar shredding that kids listen to and are inspired to play guitar. The dark and foreboding mood manifests itself first here and lets listeners know this is not for the faint of heart. Or ear. The chorus is a great rock anthem that one can just imagine a crowd pumping their fists in unison with the chanted "TAKE, TAKE!" and "KILL, KILL!" This song deals with the negative influence humanity has on the earth. There is a sick breakdown near the end of the song with screaming, background chanting, and haunting guitar. This is a solid start and should automatically reaffirm any fan's interest in the band. 9.5/10
2. Bleeding Is A Luxury- A sick beginning akin to Monty Are I's style of music gives way to some switching between screaming and singing between the two vocalists before the chorus comes and singing is the dominate force with accompanying screams to add to the intensity already shown through the instruments. The lyrics here are stellar, and the point of the song is phenomenal. The guitar scheme is incredible, the thundering drums and use of cymbals really stand out give the song a unique feel, and there is a sick breakdown in the middle of the song that utilizes violin to add to the drama of the song. In short, this is Atreyu at their best, not only taking the title of best song on the album, but maybe even the best Atreyu song in general. 10/10
3. Congregation Of The Damned- The song bearing the title of the album does it justice and relates to the overall dark and desperate theme. Saller's bellowing that straddles the line between screaming and singing dominates the song and does a really great job. The shrill guitar gives the song a unique feel, and the chorus gets in your face and doesn't let up. The drums are once again superb and a great guitar solo accompanied by chanting voices, fast-paced drumming, and quick strumming in the background add to the dark nature of the song. Alex is given an opportunity to warm up his vocalizer and he makes the most of it when the time comes. This song does the title of the album justice. 9.5/10
4. Coffin Nails- One would think that after three consecutive ass-kickers, the pace would slow down, but Atreyu keeps laying it on, even if technically the pace does slow down a little bit. The dramatic chorus draws the listener in for another musical beatdown and one might not even recognize that the pace has slowed down. Atreyu starts off the song by once again displaying their gift for making intros interesting, and the lugging chorus builds up into the more dramatic chorus. As demonstrated by the background chanting "Break free!" this song is about breaking free but the message is delivered with the metaphor of being pronounced as dead and trying to break free of the coffin nails. This really cool concept adds to the desperation portrayed in the song itself. 9.5/10
5. Black Days Begin- This song has its own cool style, but it doesn't really appeal to my tastes. This is one instance where the merging of older and harder elements with newer appeal does not mix as well. The song is characterized by the constant guitar-chugging and it sends off the right emotions in regard to the theme of humanity becoming immersed in these dark times. This song does do a good job in adding some diversity to the album, and when the chugging mixes with some guitar scaling up and down, the result is really cool, especially when the guitar solo after that finishes the job. There is no doubt the guitars and bass shine the brightest here, but it may not appeal to everyone. 8.5/10
6. Gallows- This song returns to the feel established in the first four songs and once again, the intro reveals the intensity to come with great drumming and guitar fretwork. At this point, almost every song on the album would be one of the last songs to be conquered on Guitar Hero (just to put things in perspective). Lyrically, this song is about facing the truth of who you are in the face of death (gallows). The imagery in the lyrics is really solid, and the ending sends it off on a great and dramatic note. 9.5/10
7. Storm To Pass- Some of the best lyrics on the album are accompanied by instruments and vocals that really combine to accurately portray the feelings expressed in a way that is not often successfully accomplished. This song deals with the foreboding and desperation involved in facing the impending doom we face. It is extremely dramatic and appealing, and the Saller's vocals in the chorus are pure gold when he proclaims the best lines of the album: "I'll be watching, waiting, dreadful, shaking. Will the storm pass over us today? Will lightning strike our sins away? Watching, waiting, falling, shaking. Will the storm pass over us today? Or is the future looking grey?" The screaming chants of "OH NO!" also add to the drama felt by the guitars and drums. This is extremely close to taking the spot of the best song on the album, and is actually my favorite, but I cannot deny "Bleeding Is A Luxury" the credit it deserves. Still, this song is another to add to Atreyu's best, and one that even the general population can enjoy without it losing its edge. 10/10
8. You Were The King, Now You're Unconscious- Aside from having a really cool name, this song begins in a live setting with some cool marching-band style drumming and some chanting that builds up with the help of some technology. One can picture Atreyu beginning a live performance exactly like this. This buildup turns into a quick little drum solo that soon is accompanied by thundering guitars. The pace then quickens significantly and both are given the chance to rock out before the vocals kick in. Some will not really take a liking to the vocals because they waver a little bit but I like them. This song seems to be directed at leadership overthrown for being corrupt, and the Sick Puppies-style guitar near the end really ends it on a strong note. 9.5/10
9. Insatiable- A great guitar intro gives way to some antagonistic lyrics that relate to the theme of insatiable greed. The vocals dominate this song, and while the screaming is good, the actual singing is too forceful and seems to cross too far into wavering territory for me to greatly enjoy. There is a really solid set of guitar solos in the middle of the song that once again testifies to how awesome it would be to be able to play the guitar like this. 9/10
10. So Wrong- The shrill guitar returns at the beginning of this song before transitioning into a slow verse of very soft vocals. This quickly changes with the help of some screaming that goes into the chorus with a vengeance. Lyrically, this song is focused on admitting being wrong. There is a solid little breakdown with thundering drums and shrill guitar near the end, and the screaming of "All that I know is that I KNOW NOTHING!" is a nice addition. 9/10
11. Ravenous- An extremely fast-paced guitar shredding mixes with the quick beat to set up some intensity. This song is closer to the older days and the guitar and screaming reminds me of Demon Hunter a little bit. This song does not let up until it is over, which seems appropriate given the theme of humanity taking more than it needs. This song is shorter but is sure to appease the harder fans. In my opinion this song is not really anything special (aside from an admittedly wicked breakdown near the end), but it is a nice addition. 8.5/10
12. Lonely- This is probably my least favorite song on the album because it seems to be too light and does not really show off the musical power this band possesses. The shining aspect of this song is actually the lyrics, and while some might like this song because it diversifies the album, I am not really ready to start singing its praises. I'm not saying this is a bad song, but there are a lot stronger songs here. This probably won't appeal to the harder, older fans either, but there is a pretty good guitar solo in the middle. 8/10
13. Wait For You- This song fits the category of slow songs, which further adds to the album's diversity. The soft lyrics from both Brandon and Alex are a nice change of pace and this song really translates well as a transition into slow song territory. The guitar is pleasant and soothing especially near the end, the slow drums keep the beat well, and the final notes of the song are terrific. This is a great closer to the album and ends it on a more hopeful note. 9.5/10
Overall: 120/130
"Congregation Of The Damned" represents a merging of the old and new Atreyu, and the translation, while it may not be extremely smooth or polished at times, comes across well. Atreyu is back and in my opinion, better than ever. This is not a complete reversion to the old days, but the band certainly draws on its roots in order to take their music in a new direction. Do not be afraid of this statement, Atreyu fans, because this is a good thing, and I think that all the older Atreyu fans who said that the band sold out and would never be the same have been proven wrong. As the final tally indicates, this album is damn good. "Congregation Of The Damned" gives fans a dose of musical smackdown and sticks to its morbid and almost political theme extremely well. This is a great effort by Atreyu and I look forward to what comes next. Thanks for tuning in, later this week will be reviews for The Almost and Weezer. Rock on.
1. Stop! Before It's Too Late And We've Destroyed It All- I like the way that this song really sets the tone for the whole album in the very beginning with some ridiculous fretwork on the guitars accompanied by some quick drumming. Listening to this intro, this is the kind of guitar shredding that kids listen to and are inspired to play guitar. The dark and foreboding mood manifests itself first here and lets listeners know this is not for the faint of heart. Or ear. The chorus is a great rock anthem that one can just imagine a crowd pumping their fists in unison with the chanted "TAKE, TAKE!" and "KILL, KILL!" This song deals with the negative influence humanity has on the earth. There is a sick breakdown near the end of the song with screaming, background chanting, and haunting guitar. This is a solid start and should automatically reaffirm any fan's interest in the band. 9.5/10
2. Bleeding Is A Luxury- A sick beginning akin to Monty Are I's style of music gives way to some switching between screaming and singing between the two vocalists before the chorus comes and singing is the dominate force with accompanying screams to add to the intensity already shown through the instruments. The lyrics here are stellar, and the point of the song is phenomenal. The guitar scheme is incredible, the thundering drums and use of cymbals really stand out give the song a unique feel, and there is a sick breakdown in the middle of the song that utilizes violin to add to the drama of the song. In short, this is Atreyu at their best, not only taking the title of best song on the album, but maybe even the best Atreyu song in general. 10/10
3. Congregation Of The Damned- The song bearing the title of the album does it justice and relates to the overall dark and desperate theme. Saller's bellowing that straddles the line between screaming and singing dominates the song and does a really great job. The shrill guitar gives the song a unique feel, and the chorus gets in your face and doesn't let up. The drums are once again superb and a great guitar solo accompanied by chanting voices, fast-paced drumming, and quick strumming in the background add to the dark nature of the song. Alex is given an opportunity to warm up his vocalizer and he makes the most of it when the time comes. This song does the title of the album justice. 9.5/10
4. Coffin Nails- One would think that after three consecutive ass-kickers, the pace would slow down, but Atreyu keeps laying it on, even if technically the pace does slow down a little bit. The dramatic chorus draws the listener in for another musical beatdown and one might not even recognize that the pace has slowed down. Atreyu starts off the song by once again displaying their gift for making intros interesting, and the lugging chorus builds up into the more dramatic chorus. As demonstrated by the background chanting "Break free!" this song is about breaking free but the message is delivered with the metaphor of being pronounced as dead and trying to break free of the coffin nails. This really cool concept adds to the desperation portrayed in the song itself. 9.5/10
5. Black Days Begin- This song has its own cool style, but it doesn't really appeal to my tastes. This is one instance where the merging of older and harder elements with newer appeal does not mix as well. The song is characterized by the constant guitar-chugging and it sends off the right emotions in regard to the theme of humanity becoming immersed in these dark times. This song does do a good job in adding some diversity to the album, and when the chugging mixes with some guitar scaling up and down, the result is really cool, especially when the guitar solo after that finishes the job. There is no doubt the guitars and bass shine the brightest here, but it may not appeal to everyone. 8.5/10
6. Gallows- This song returns to the feel established in the first four songs and once again, the intro reveals the intensity to come with great drumming and guitar fretwork. At this point, almost every song on the album would be one of the last songs to be conquered on Guitar Hero (just to put things in perspective). Lyrically, this song is about facing the truth of who you are in the face of death (gallows). The imagery in the lyrics is really solid, and the ending sends it off on a great and dramatic note. 9.5/10
7. Storm To Pass- Some of the best lyrics on the album are accompanied by instruments and vocals that really combine to accurately portray the feelings expressed in a way that is not often successfully accomplished. This song deals with the foreboding and desperation involved in facing the impending doom we face. It is extremely dramatic and appealing, and the Saller's vocals in the chorus are pure gold when he proclaims the best lines of the album: "I'll be watching, waiting, dreadful, shaking. Will the storm pass over us today? Will lightning strike our sins away? Watching, waiting, falling, shaking. Will the storm pass over us today? Or is the future looking grey?" The screaming chants of "OH NO!" also add to the drama felt by the guitars and drums. This is extremely close to taking the spot of the best song on the album, and is actually my favorite, but I cannot deny "Bleeding Is A Luxury" the credit it deserves. Still, this song is another to add to Atreyu's best, and one that even the general population can enjoy without it losing its edge. 10/10
8. You Were The King, Now You're Unconscious- Aside from having a really cool name, this song begins in a live setting with some cool marching-band style drumming and some chanting that builds up with the help of some technology. One can picture Atreyu beginning a live performance exactly like this. This buildup turns into a quick little drum solo that soon is accompanied by thundering guitars. The pace then quickens significantly and both are given the chance to rock out before the vocals kick in. Some will not really take a liking to the vocals because they waver a little bit but I like them. This song seems to be directed at leadership overthrown for being corrupt, and the Sick Puppies-style guitar near the end really ends it on a strong note. 9.5/10
9. Insatiable- A great guitar intro gives way to some antagonistic lyrics that relate to the theme of insatiable greed. The vocals dominate this song, and while the screaming is good, the actual singing is too forceful and seems to cross too far into wavering territory for me to greatly enjoy. There is a really solid set of guitar solos in the middle of the song that once again testifies to how awesome it would be to be able to play the guitar like this. 9/10
10. So Wrong- The shrill guitar returns at the beginning of this song before transitioning into a slow verse of very soft vocals. This quickly changes with the help of some screaming that goes into the chorus with a vengeance. Lyrically, this song is focused on admitting being wrong. There is a solid little breakdown with thundering drums and shrill guitar near the end, and the screaming of "All that I know is that I KNOW NOTHING!" is a nice addition. 9/10
11. Ravenous- An extremely fast-paced guitar shredding mixes with the quick beat to set up some intensity. This song is closer to the older days and the guitar and screaming reminds me of Demon Hunter a little bit. This song does not let up until it is over, which seems appropriate given the theme of humanity taking more than it needs. This song is shorter but is sure to appease the harder fans. In my opinion this song is not really anything special (aside from an admittedly wicked breakdown near the end), but it is a nice addition. 8.5/10
12. Lonely- This is probably my least favorite song on the album because it seems to be too light and does not really show off the musical power this band possesses. The shining aspect of this song is actually the lyrics, and while some might like this song because it diversifies the album, I am not really ready to start singing its praises. I'm not saying this is a bad song, but there are a lot stronger songs here. This probably won't appeal to the harder, older fans either, but there is a pretty good guitar solo in the middle. 8/10
13. Wait For You- This song fits the category of slow songs, which further adds to the album's diversity. The soft lyrics from both Brandon and Alex are a nice change of pace and this song really translates well as a transition into slow song territory. The guitar is pleasant and soothing especially near the end, the slow drums keep the beat well, and the final notes of the song are terrific. This is a great closer to the album and ends it on a more hopeful note. 9.5/10
Overall: 120/130
"Congregation Of The Damned" represents a merging of the old and new Atreyu, and the translation, while it may not be extremely smooth or polished at times, comes across well. Atreyu is back and in my opinion, better than ever. This is not a complete reversion to the old days, but the band certainly draws on its roots in order to take their music in a new direction. Do not be afraid of this statement, Atreyu fans, because this is a good thing, and I think that all the older Atreyu fans who said that the band sold out and would never be the same have been proven wrong. As the final tally indicates, this album is damn good. "Congregation Of The Damned" gives fans a dose of musical smackdown and sticks to its morbid and almost political theme extremely well. This is a great effort by Atreyu and I look forward to what comes next. Thanks for tuning in, later this week will be reviews for The Almost and Weezer. Rock on.
Thursday, October 22, 2009
Cartel: Cycles Review
Cartel is a band that gained a lot of popularity and fame from their debut album "Chroma" with their catchy and pop punk sound that any casual rock fan could not help but be drawn to. While the biggest accusation against the band was that their music was one-dimensional, it is clear Cartel's songs actually have a lot of diversity, even if a lot of it may be subtle enough for more casual fans to not notice. Cartel's self-titled sophomore effort was a solid follow-up in my opinion even if it didn't quite meet the bar set by their debut album, but a lot of fans heavily criticized it, demanding a step back in the direction of "Chroma". Whatever your stance on "Cartel" is, I am here to happily and confidently state that "Cycles" is a return to what "Chroma" fans were expecting while still managing to keep the music fresh and new. They maintain the ability to make their music general accessible, effectively mixing heavier guitar, bass and drums with solid vocals and still managing to appease both harder rock fans and more casual rock fans. I honestly can't say if "Cycles" is the best Cartel album, because both albums have their own pros and cons, but the fact that I even have to debate the matter should be an indication to any fan that this CD is worth your money, and that Cartel is back (even though I never really thought they went anywhere anyway).
1. Let's Go- The first single of the album is also the lead-off track and it reaffirms the notion that Cartel is back with a characteristically catchy jingle. The song begins with solid Cartel-esque guitar from Joseph Pepper and Nic Hudson and vocals in the verses from Will Pugh that sometimes screech in a way that reminds one of Michael Jackson (and this is not a bad thing, it is actually a great compliment because it sounds cool and dismisses the complaint that Cartel's sound is one-dimensional). Some solid bass from Jeff Lett kicks in later, and the drums from Kevin Sanders are solid throughout. The chorus is not necessarily complex as far as lyrics go, but it doesn't really need to be because that's not the point of the song, and the verses aren't bad in themselves. Cartel demonstrates their undeniable talent for creating beguiling music that one can't help but sing along to, while expanding their sound (especially as far as the vocals are concerned) at the same time. A very solid beginner. 9.5/10
2. The Perfect Mistake- This has proven to be the most popular song on Itunes so far, and while I don't think this is the best song on the album, it's definitely really close. In fact, it's the second best song in my opinion. This song is lyrically as good as it gets, talking about being a mistake you hope your significant other will make, and the accompanying vocals add to Pugh's already solid foundation. The verses have a consistent beat and guitar strumming that eventually builds up momentum leading in to chorus, and it translates well that when the chorus hits there is an explosion of pleasant rock. Can you say catchy? I hope you can, because there's really no other way to describe this song, it's just really good, certainly up there with "Chroma" fans' standards. 10/10
3. Faster Ride- A medium-paced beginning with pretty cool guitar schemes gives way to some Kenny G-esque guitar that you can hear if you listen hard enough until the chorus hits. While I personally don't care for how much this song sounds akin to Cobra Starship/Boys Like Girls because of the synthesizers added in for the chorus, it certainly will add to the likeable aspect of the song for some. This is not a bad song; I just would have preferred it to stay true to the solid guitar and bass scheme initially displayed. Great verses, but the electronic interference sort of detracts from the reversion back to actual instruments that is seen every time the chorus ends. This is lyrically sound, talking about someone who lives on impulse and needs to slow down. This song is vocally sound as well, except for when Pugh's voice becomes warbled by the synthesizer. 9/10
4. Deep South- If not for this song, "The Perfect Mistake" would take the title of best song on the album. And the best thing about this song is that I don't think the band knew how awesome people would think it is. This song reveals Cartel's knack for having heavier guitar and drums while still being able to be classified as pop punk/alternative rock. The verses are not necessarily complex as far as the instruments are concerned, but the chorus lets everything go and rock out hard. Lyrically this song expresses the band's love for their hometown, Atlanta and talks about returning his bones to the Deep South. Vocally, Pugh's long notes are extraordinary and the song as a whole adds to the variety of the CD. While some will disagree with me on this choice, this song has too much style and kick-ass value to be ignored, and so I am able to declare it to be the best song on the album. 10/10
5. Only You- Things slow down at this point in the album, and while some will be disappointed by this attempt at a slower song in the wake of "The Minstrel's Prayer", this song is still solid and has a good deal to offer. The acoustic guitar blends in nicely with the slightly quicker beat and Pugh's softer vocals are a nice complement to the album's variety. The lyrics are heartfelt and powerful, relating how being in love allows for everything else to shrink away. It picks up near the end, but not by much, only enough to allow the emotions of the song to sink in and have a lasting effect. This song is very good and certainly should not be excluded from the spotlight. 9.5/10
6. It Still Remains- A beating heart in the beginning gives way to some guitar strumming in the intro reminiscent of Jimmy Eat World, while Pugh's more aggressive vocals turn into a fast-paced and catchy chorus with a lot of guitar. Lyrically this song is very interesting and deals with trying not to dwell on the good memories of the past in regard to someone you care about because the person is gone now. The lyrics are certainly heartfelt and it is not only shown in the vocals, but also in the musical eruption that takes place in every chorus. This is the second most popular song on Itunes so far, and its catchiness certainly can be attributed to this fact. This is a very good song and a solid entry in Cartel's song list. 9.5/10
7. 27 Steps- This is another song in the contention for the top spot on the album, and once again displays Cartel's more aggressive side not seen since "Settle Down" off the debut album back in 2006. Some pretty cool guitar and drum patterns in the beginning slow down and allow Pugh to come in and control the attention of the song until the instruments start to build up again, and they blend together nicely with a more aggressive vocal note right before the chorus. The chorus is rocking and the edge shown is carried over into the subsequent verses. The song nicely illustrates the tension felt in the lyrics talking about walking away from a negative and draining influence. There is a really sweet guitar solo near the end of the song, and the climax right before the end of the song contains an entrancing and epic buildup composed of guitars, drums, and vocals. A very well-executed rocker. 10/10
8. See Me Now- In comparison to the preceding track, things slow down, but this is more of a mellow medium-paced rocker, not a slow song. The guitar is nice and fresh while the lyrics are slightly simplistic. The chorus is good and the song is upbeat as whole but I don't really care for the instrumental construction of the verses. There is some really good guitar and drums near the end of the song in a solo and the vocals definitely pick up significantly around that time as well. The background vocals are a good addition to the song, but this song doesn't really stand out in comparison to some of the other tracks here. 8/10
9. Typical- A song that starts out with a solid guitar hook and a poppy beat that is very infectious and progresses well into a more upbeat chorus that is further illuminated by some solid lyrics, even if they may be a tad simplistic. But they don't really need to be extravagant to be effective here since the music speaks for itself here and has a lot of interesting things to say. Aside from the synthesizer, the drums and bass strumming really stand out. This is a nice song to listen to if you want to feel good about not liking someone who pisses you off. This song stands out for itself and is a fine addition to the album and the category of typical Cartel music. No pun intended. 9/10
10. Conventional Friend- A heavier song that once again displays Cartel's harder side with head-bashing guitar, a wicked beat kept by great drumming, and Pugh's appropriately spiteful and calmly dramatic tone. The verses involve a lot of intricacies on the drums and guitar and the chorus simplifies things in order for Pugh's stunning vocals to shine and this further allows the listener to rock out as well. This is about letting a shaky friend go and expresses the anger felt in the lyrics extremely well (Cartel even drops an F-Bomb here!). This song is definitely one of the highlights of the album, showcasing Pugh's vocal strength and the band's ability to have a heavy jam session. 9.5/10
11. Retrograde- The final track on "Cycles" has a medium-paced beginning of guitar chugging that gives way to a more dramatic and heartfelt chorus consisting of more blaring vocals, fast-paced strumming, and a steady beat on the drums. Out of all the songs on the album this one is definitely the most appropriate as far as a closer goes, but it doesn't really fit in with my personal preferences as far as what classifies a great closer track. However, that being said, it is still a good song with great lyrics, heartfelt vocals, and some truly attention-arresting moments. One of these aforementioned moments would be the crescendo, which is a very cool beginning of the end for the song and the album as well. The song (and the album itself, really) ends on an abrupt note, but I'm not sure how it could have been ended differently and the song is still good enough despite a few minor snags. 9/10
Total: 103/110
I cannot really say whether this is Cartel's best album or not, because "Cycles" and "Chroma" each have their own highlights and special qualities that could be used to argue either case. But I do know that Cartel's newest effort is a damn good album. For those of you who fell in love with "Chroma" and were somewhat disappointed with "Cartel", I am here to tell you that Cartel is back and (depending on your own opinion) better than ever. For those of you who saw nothing wrong with "Cartel", I am here to tell you Cartel has returned and once again they deliver. The whole album is well-thought out, well-executed, and extremely fun to listen to. This is one that is definitely worth your money if you're into bands like All Time Low, Mayday Parade, and The Starting Line. Well done, Cartel. Coming up this week will be a review on the new album from Atreyu. Thanks for tuning in. Rock on.
1. Let's Go- The first single of the album is also the lead-off track and it reaffirms the notion that Cartel is back with a characteristically catchy jingle. The song begins with solid Cartel-esque guitar from Joseph Pepper and Nic Hudson and vocals in the verses from Will Pugh that sometimes screech in a way that reminds one of Michael Jackson (and this is not a bad thing, it is actually a great compliment because it sounds cool and dismisses the complaint that Cartel's sound is one-dimensional). Some solid bass from Jeff Lett kicks in later, and the drums from Kevin Sanders are solid throughout. The chorus is not necessarily complex as far as lyrics go, but it doesn't really need to be because that's not the point of the song, and the verses aren't bad in themselves. Cartel demonstrates their undeniable talent for creating beguiling music that one can't help but sing along to, while expanding their sound (especially as far as the vocals are concerned) at the same time. A very solid beginner. 9.5/10
2. The Perfect Mistake- This has proven to be the most popular song on Itunes so far, and while I don't think this is the best song on the album, it's definitely really close. In fact, it's the second best song in my opinion. This song is lyrically as good as it gets, talking about being a mistake you hope your significant other will make, and the accompanying vocals add to Pugh's already solid foundation. The verses have a consistent beat and guitar strumming that eventually builds up momentum leading in to chorus, and it translates well that when the chorus hits there is an explosion of pleasant rock. Can you say catchy? I hope you can, because there's really no other way to describe this song, it's just really good, certainly up there with "Chroma" fans' standards. 10/10
3. Faster Ride- A medium-paced beginning with pretty cool guitar schemes gives way to some Kenny G-esque guitar that you can hear if you listen hard enough until the chorus hits. While I personally don't care for how much this song sounds akin to Cobra Starship/Boys Like Girls because of the synthesizers added in for the chorus, it certainly will add to the likeable aspect of the song for some. This is not a bad song; I just would have preferred it to stay true to the solid guitar and bass scheme initially displayed. Great verses, but the electronic interference sort of detracts from the reversion back to actual instruments that is seen every time the chorus ends. This is lyrically sound, talking about someone who lives on impulse and needs to slow down. This song is vocally sound as well, except for when Pugh's voice becomes warbled by the synthesizer. 9/10
4. Deep South- If not for this song, "The Perfect Mistake" would take the title of best song on the album. And the best thing about this song is that I don't think the band knew how awesome people would think it is. This song reveals Cartel's knack for having heavier guitar and drums while still being able to be classified as pop punk/alternative rock. The verses are not necessarily complex as far as the instruments are concerned, but the chorus lets everything go and rock out hard. Lyrically this song expresses the band's love for their hometown, Atlanta and talks about returning his bones to the Deep South. Vocally, Pugh's long notes are extraordinary and the song as a whole adds to the variety of the CD. While some will disagree with me on this choice, this song has too much style and kick-ass value to be ignored, and so I am able to declare it to be the best song on the album. 10/10
5. Only You- Things slow down at this point in the album, and while some will be disappointed by this attempt at a slower song in the wake of "The Minstrel's Prayer", this song is still solid and has a good deal to offer. The acoustic guitar blends in nicely with the slightly quicker beat and Pugh's softer vocals are a nice complement to the album's variety. The lyrics are heartfelt and powerful, relating how being in love allows for everything else to shrink away. It picks up near the end, but not by much, only enough to allow the emotions of the song to sink in and have a lasting effect. This song is very good and certainly should not be excluded from the spotlight. 9.5/10
6. It Still Remains- A beating heart in the beginning gives way to some guitar strumming in the intro reminiscent of Jimmy Eat World, while Pugh's more aggressive vocals turn into a fast-paced and catchy chorus with a lot of guitar. Lyrically this song is very interesting and deals with trying not to dwell on the good memories of the past in regard to someone you care about because the person is gone now. The lyrics are certainly heartfelt and it is not only shown in the vocals, but also in the musical eruption that takes place in every chorus. This is the second most popular song on Itunes so far, and its catchiness certainly can be attributed to this fact. This is a very good song and a solid entry in Cartel's song list. 9.5/10
7. 27 Steps- This is another song in the contention for the top spot on the album, and once again displays Cartel's more aggressive side not seen since "Settle Down" off the debut album back in 2006. Some pretty cool guitar and drum patterns in the beginning slow down and allow Pugh to come in and control the attention of the song until the instruments start to build up again, and they blend together nicely with a more aggressive vocal note right before the chorus. The chorus is rocking and the edge shown is carried over into the subsequent verses. The song nicely illustrates the tension felt in the lyrics talking about walking away from a negative and draining influence. There is a really sweet guitar solo near the end of the song, and the climax right before the end of the song contains an entrancing and epic buildup composed of guitars, drums, and vocals. A very well-executed rocker. 10/10
8. See Me Now- In comparison to the preceding track, things slow down, but this is more of a mellow medium-paced rocker, not a slow song. The guitar is nice and fresh while the lyrics are slightly simplistic. The chorus is good and the song is upbeat as whole but I don't really care for the instrumental construction of the verses. There is some really good guitar and drums near the end of the song in a solo and the vocals definitely pick up significantly around that time as well. The background vocals are a good addition to the song, but this song doesn't really stand out in comparison to some of the other tracks here. 8/10
9. Typical- A song that starts out with a solid guitar hook and a poppy beat that is very infectious and progresses well into a more upbeat chorus that is further illuminated by some solid lyrics, even if they may be a tad simplistic. But they don't really need to be extravagant to be effective here since the music speaks for itself here and has a lot of interesting things to say. Aside from the synthesizer, the drums and bass strumming really stand out. This is a nice song to listen to if you want to feel good about not liking someone who pisses you off. This song stands out for itself and is a fine addition to the album and the category of typical Cartel music. No pun intended. 9/10
10. Conventional Friend- A heavier song that once again displays Cartel's harder side with head-bashing guitar, a wicked beat kept by great drumming, and Pugh's appropriately spiteful and calmly dramatic tone. The verses involve a lot of intricacies on the drums and guitar and the chorus simplifies things in order for Pugh's stunning vocals to shine and this further allows the listener to rock out as well. This is about letting a shaky friend go and expresses the anger felt in the lyrics extremely well (Cartel even drops an F-Bomb here!). This song is definitely one of the highlights of the album, showcasing Pugh's vocal strength and the band's ability to have a heavy jam session. 9.5/10
11. Retrograde- The final track on "Cycles" has a medium-paced beginning of guitar chugging that gives way to a more dramatic and heartfelt chorus consisting of more blaring vocals, fast-paced strumming, and a steady beat on the drums. Out of all the songs on the album this one is definitely the most appropriate as far as a closer goes, but it doesn't really fit in with my personal preferences as far as what classifies a great closer track. However, that being said, it is still a good song with great lyrics, heartfelt vocals, and some truly attention-arresting moments. One of these aforementioned moments would be the crescendo, which is a very cool beginning of the end for the song and the album as well. The song (and the album itself, really) ends on an abrupt note, but I'm not sure how it could have been ended differently and the song is still good enough despite a few minor snags. 9/10
Total: 103/110
I cannot really say whether this is Cartel's best album or not, because "Cycles" and "Chroma" each have their own highlights and special qualities that could be used to argue either case. But I do know that Cartel's newest effort is a damn good album. For those of you who fell in love with "Chroma" and were somewhat disappointed with "Cartel", I am here to tell you that Cartel is back and (depending on your own opinion) better than ever. For those of you who saw nothing wrong with "Cartel", I am here to tell you Cartel has returned and once again they deliver. The whole album is well-thought out, well-executed, and extremely fun to listen to. This is one that is definitely worth your money if you're into bands like All Time Low, Mayday Parade, and The Starting Line. Well done, Cartel. Coming up this week will be a review on the new album from Atreyu. Thanks for tuning in. Rock on.
Sunday, October 11, 2009
Relient K: Forget And Not Slow Down Review
Before writing this review, I think it's important to examine how many albums Relient K has done, because they have a lot. Like a lot. They began in 2000 with the self-titled "Relient K" and then came "The Anatomy Of The Tongue In Cheek", "Two Lefts Don't Make A Right...But Three Do", "Mmhmm", the EP "Apathetic", "Five Score And Seven Years Ago", the Christmas album "Let It Snow Baby...Let It Reindeer", "The Bird And The Bee-Sides", and now, "Forget And Not Slow Down". Phew. So it's easy to see how long these guys have been around (in terms of discography that is, since their first album came out only 9 years ago). Because of this, some would be worried that their sound would get old or remain too similar to continue to be interesting, or worse, that they would try to change their sound in order to "mature" or attract new fans. I am very happy to say this is not the case. Because while I do not think this is their best album, it expands on their sound, appeasing the vast majority of Relient K fans while still making it interesting so that people do not easily dismiss it. Anyone who needs their Relient K fix and who is looking for something new should look no further. Despite some unnecessary and short transitions into songs that don't really serve much purpose, this is a solid addition to the legacy that is Relient K. The mood of the album is very reflective and peaceful, giving it a serene and inspired feel that is enhanced by lead singer Matt Thiessen's solid and agreeable vocals. I think it is kind of cool also to note how diverse the band's talents are: Matt, in addition to the vocals, also dabbles in piano, organ, electric piano, electric guitar, trombone, steel drum, bells, and string guitar. Matt Hoopes not only tackles electric and acoustic guitar, but also involves himself with the omnichord, John Warne adds backup vocals while playing the bass, John Schneck plays electric guitar and the aluminum bat (interesting), Ethan Luck handles drums, percussion, and electric guitar, and Mark Lee Townsend plays the electric guitar and mandarin. These guys clearly are musically talented and diverse. Although this CD does not really have the band rocking out as much, the mellow and melodious nature sets it apart from other records and is a nice change of pace that fans would be remiss in not appreciating.
1. Forget And Now Slow Down- The first single off the album was a foreshadow of what was to come with this album. This song really epitomizes the mood and feel of the whole album, having a hopeful and pleasant perspective that is very catchy and inspirational. There is some nice use of acoustic guitar in addition to electric guitar and skilled drumming that contributes to the feel of the song. Lyrically, Relient K continues to prove why so many people are drawn to their music: clever, tangible, and pertinent words that reach out and grab people with a hopeful or fun message. This song falls in the hopeful category and definitely makes references to the band's Christian-oriented lyrical roots. The first song and album title track does not disappoint. 10/10
2. I Don't Need A Soul- This is the most popular song off the new record on Itunes right now, and although the lyrics confuse me, I can see why it's such a hit so far. It is a very smooth, introspective song that is open to interpretation as far as what it is actually about, but I think it is about moving on in regard to getting over someone while recognizing that life and the other person "remain beautiful" despite the separation. I like the piano seen throughout the song, the buildup at the end of each chorus leading into each verse is good, and the drumming and guitars are excellent as well. Sure to be a hit. 10/10
3. Candlelight- A laid-back song that is very agreeable to the ears and has some very clever lyrics to it. The song talks about someone special in a really unique way that is cute and dear in its own right. This is a memorable song that is sure to evoke or characterize a time or person in your life. This song is one of those universally enjoyable songs that is just pleasant to listen to, mostly due to the light drumming with a great guitar scheme and Matt's solid vocals. It then leads into the next song which serves as a transition between this track and track number five. 9.5/10
4. Flare- So far I've only had to cover one intro/transition track and it wasn't so bad because that particular intro had some purpose and relevance to the next song and was really good and easy to score. This track is different because it only serves the purpose as singing a lullaby to an infant. It is less than a minute long and I don't really see why this song is distinguished as a separate track when it could have just been an awkward ending to "Candlelight". I suppose it definitely lends to the more artsy and reflective atmosphere of the album, but still, a little too trippy for my personal preference. 7.5/10
5. Part Of It- A solid guitar and bass hook give way to some good drumming and strumming as one of the more energetic songs on the album. Lyrically, this is as strong as it gets for any songwriter, displaying Relient K's knack for injecting strong vocabulary into a song while still being able to make it catchy and witty. The use of metaphor also lends to the notion of looking at things in terms of the whole world and keeping things in perspective. This song features more forceful vocals from Matt although there are definitely sections where his softer vocals are on display. A very solid track and another fine addition to Relient K's list of great songs. 9.5/10
6. Outro- Once again, another transition track that doesn't really serve any particular purpose but is not necessarily a bad thing. This one is better than the last one for sure, especially when one considers that a listener might not even notice the transition from "Part Of It" to this song. I don't see why they couldn't have just had this song be the end of the last song instead of its own separate song, because the only reason I could see behind this is boosting the track count while giving the album its own uniqueness, but maybe I'm making too big a deal about nothing. 8/10
7. Therapy- This is a very stylish song that opens up with some classy piano, cool drumming, and smooth vocals. It gives way to some guitar and a stellar chorus involving the aforementioned excellent piano and drums. This is a song about growing and getting beyond whatever holds you, and finding yourself amidst all this confusion. It really accurately deals with the notion of someone who is messed up actually being better off than someone who thinks they know what everything is all about because at least they are finding themselves in this process. With this idea in mind, the song definitely is able to speak to you and really pull you in. I really like this song because it is different but still manages to embody the essence of Relient K. 10/10
8. Over It- A trippy and mellow beginning gives way to some classical and blues-y piano and Matt shows off another range of his vocals. This jazzy song is definitely one that fans will enjoy singing along to because of how beautiful it is in its simplicity. This song is about being over something and being just fine with that. This song definitely has a great feel to it and is very stylish. It then transitions to softer grounds and becomes reflective at the very end. Very nice break from the norm. 9.5/10
9. Sahara- This song kicks off with an awesome guitar riff that turns to strumming when Matt's vocals kick in. This really cool riff returns throughout the song, and is reinforced by a return of Matt's more intense vocals. This is the hardest song on the album and certainly spices things up a bit. There is a really wicked musical throwdown near the crescendo that features Aaron Gillespie (Underoath, The Almost), adding some additional firepower to the arsenal of the song. One of my personal favorites, and even though the lyrics are not particularly strong (even if they don't need to be), I like the notion of not wanting to be turned loose. 10/10
10. Oasis- Yet another transition track that is only forty seconds long, featuring some quiet and almost mischievous guitar work along with some background harmonizing of the word "Savannah". I understand the play on words of Sahara, Oasis, and Savannah, I just wish I knew what the significance is. Maybe I'm reading too much into this. 7.5/10
11. Savannah- The mischievous and almost folksy guitar returns from the last song in the beginning of this one. Matt's vocals are extremely pleasing to the ears here and consistently so throughout the song, and so is the acoustic guitar that kicks in, especially when everything slows down. This song features frequent changes in tempo and mood, but overall, the mellow side wins out, and I think this is the best characterization the song could have had. This song deals with returning home to someone you love and emphasizes all the special things one remembers about their hometown in context of being with the person you love. The great guitar finishes up the song before taking an abrupt and odd transition into the next track. 9.5/10
12. Baby- The last of the transition songs is only forty six seconds long, features an electronically-affected Matt Thiessen belting out the word "Baby", and finishes up any unsaid thoughts from the last track. This would have been better served without the electronic influence and without being separated from "Savannah". 7.5/10
13. If You Believe Me- A great intro consisting of guitar, bass, and then drums sets up a more upbeat song that is lyrically and vocally strong. This is more of what Relient K fans were expecting throughout the album, but the accompanying vocals in the chorus give it a different style that translates really well onto this album. The chorus is more dramatic and deals with someone declaring their love for someone else and hoping the other party believes it and accepts it despite a major shortcoming. There is some great wailing guitar and piano in the background and the drumming is very strong here. There is a drastic change in tempo near the end of the song that features the piano centrally, and then the drums and guitars kick in to build tempo up in great fashion back up into a rocking chorus with more eccentric guitar. This song really combines rocking music with emotional feel and depth that makes it a beautiful song in its own way, and is the best song on the album. 10/10
14. This Is The End- This song begins with a jaw-dropping piano intro accompanied by Matt's voice which is tailored to the piano, rising and falling with it perfectly. This gives way to some solid strumming and drumming that does not necessarily have much variety, but serves its purpose in declaring "This is the end". Some variety is shown near the end of this very short song with some great drumming accompanied by a cool piano/vocal breakdown. The song closes with Matt showing more intensity with screaming and some discord on the instruments to show that something in the normal order of things is cracking. 9/10
15. (If You Want It)- I don't really see a purpose in separating these two tracks because they sound as though they are one whole song, but the beginning of the song abruptly switches from the aforementioned breaking down in the normal structure to a much calmer and smoother place with softer vocals from Matt, a sudden drop-off of the drums and guitar, and piano. The piano really shines here, and Matt's vocals once again rise and fall extremely well with it. The return of violins is welcome to many Relient K fans who recognize how frequently it is used on slower songs on previous albums. This song is very interesting lyrically and is open to interpretation, but there are too many religious/spiritual references and allusions for me to ignore, and I think its significance lies in this realm. A very solid closer to the album. 9.5/10
Overall: 137/150
Don't let the final tally mislead you Relient K: this is actually a phenomenal score when one takes into account how much room there is for disparity with 15 tracks; then one considers that four of the songs were give scores in the 7.5-8 range because they were transition tracks and it is easy to see that this album is really something magnificent. I will admit that I didn't really take to this album right away, but after listening to it completely through numerous times, it really grew on me, and when I started looking at it more in-depth, I realized how much there is here. This album really is unique and has an artsy and mature feel to it while maintaining the band's own style and feel of pleasantry and quality music. This is not my favorite Relient K, which still remains 2004's "Mmhmm", but this is certainly the most intricate and introspective, thereby making it the most unique and stylish in my opinion. If you are looking for something pleasant to listen to that lies within the realm of rock and having a deeper significance and meaning, look no further. Thanks for tuning in rock fans. I have nothing for you this coming week, but I will be returning a week from now with a new review on Cartel. Rock on.
1. Forget And Now Slow Down- The first single off the album was a foreshadow of what was to come with this album. This song really epitomizes the mood and feel of the whole album, having a hopeful and pleasant perspective that is very catchy and inspirational. There is some nice use of acoustic guitar in addition to electric guitar and skilled drumming that contributes to the feel of the song. Lyrically, Relient K continues to prove why so many people are drawn to their music: clever, tangible, and pertinent words that reach out and grab people with a hopeful or fun message. This song falls in the hopeful category and definitely makes references to the band's Christian-oriented lyrical roots. The first song and album title track does not disappoint. 10/10
2. I Don't Need A Soul- This is the most popular song off the new record on Itunes right now, and although the lyrics confuse me, I can see why it's such a hit so far. It is a very smooth, introspective song that is open to interpretation as far as what it is actually about, but I think it is about moving on in regard to getting over someone while recognizing that life and the other person "remain beautiful" despite the separation. I like the piano seen throughout the song, the buildup at the end of each chorus leading into each verse is good, and the drumming and guitars are excellent as well. Sure to be a hit. 10/10
3. Candlelight- A laid-back song that is very agreeable to the ears and has some very clever lyrics to it. The song talks about someone special in a really unique way that is cute and dear in its own right. This is a memorable song that is sure to evoke or characterize a time or person in your life. This song is one of those universally enjoyable songs that is just pleasant to listen to, mostly due to the light drumming with a great guitar scheme and Matt's solid vocals. It then leads into the next song which serves as a transition between this track and track number five. 9.5/10
4. Flare- So far I've only had to cover one intro/transition track and it wasn't so bad because that particular intro had some purpose and relevance to the next song and was really good and easy to score. This track is different because it only serves the purpose as singing a lullaby to an infant. It is less than a minute long and I don't really see why this song is distinguished as a separate track when it could have just been an awkward ending to "Candlelight". I suppose it definitely lends to the more artsy and reflective atmosphere of the album, but still, a little too trippy for my personal preference. 7.5/10
5. Part Of It- A solid guitar and bass hook give way to some good drumming and strumming as one of the more energetic songs on the album. Lyrically, this is as strong as it gets for any songwriter, displaying Relient K's knack for injecting strong vocabulary into a song while still being able to make it catchy and witty. The use of metaphor also lends to the notion of looking at things in terms of the whole world and keeping things in perspective. This song features more forceful vocals from Matt although there are definitely sections where his softer vocals are on display. A very solid track and another fine addition to Relient K's list of great songs. 9.5/10
6. Outro- Once again, another transition track that doesn't really serve any particular purpose but is not necessarily a bad thing. This one is better than the last one for sure, especially when one considers that a listener might not even notice the transition from "Part Of It" to this song. I don't see why they couldn't have just had this song be the end of the last song instead of its own separate song, because the only reason I could see behind this is boosting the track count while giving the album its own uniqueness, but maybe I'm making too big a deal about nothing. 8/10
7. Therapy- This is a very stylish song that opens up with some classy piano, cool drumming, and smooth vocals. It gives way to some guitar and a stellar chorus involving the aforementioned excellent piano and drums. This is a song about growing and getting beyond whatever holds you, and finding yourself amidst all this confusion. It really accurately deals with the notion of someone who is messed up actually being better off than someone who thinks they know what everything is all about because at least they are finding themselves in this process. With this idea in mind, the song definitely is able to speak to you and really pull you in. I really like this song because it is different but still manages to embody the essence of Relient K. 10/10
8. Over It- A trippy and mellow beginning gives way to some classical and blues-y piano and Matt shows off another range of his vocals. This jazzy song is definitely one that fans will enjoy singing along to because of how beautiful it is in its simplicity. This song is about being over something and being just fine with that. This song definitely has a great feel to it and is very stylish. It then transitions to softer grounds and becomes reflective at the very end. Very nice break from the norm. 9.5/10
9. Sahara- This song kicks off with an awesome guitar riff that turns to strumming when Matt's vocals kick in. This really cool riff returns throughout the song, and is reinforced by a return of Matt's more intense vocals. This is the hardest song on the album and certainly spices things up a bit. There is a really wicked musical throwdown near the crescendo that features Aaron Gillespie (Underoath, The Almost), adding some additional firepower to the arsenal of the song. One of my personal favorites, and even though the lyrics are not particularly strong (even if they don't need to be), I like the notion of not wanting to be turned loose. 10/10
10. Oasis- Yet another transition track that is only forty seconds long, featuring some quiet and almost mischievous guitar work along with some background harmonizing of the word "Savannah". I understand the play on words of Sahara, Oasis, and Savannah, I just wish I knew what the significance is. Maybe I'm reading too much into this. 7.5/10
11. Savannah- The mischievous and almost folksy guitar returns from the last song in the beginning of this one. Matt's vocals are extremely pleasing to the ears here and consistently so throughout the song, and so is the acoustic guitar that kicks in, especially when everything slows down. This song features frequent changes in tempo and mood, but overall, the mellow side wins out, and I think this is the best characterization the song could have had. This song deals with returning home to someone you love and emphasizes all the special things one remembers about their hometown in context of being with the person you love. The great guitar finishes up the song before taking an abrupt and odd transition into the next track. 9.5/10
12. Baby- The last of the transition songs is only forty six seconds long, features an electronically-affected Matt Thiessen belting out the word "Baby", and finishes up any unsaid thoughts from the last track. This would have been better served without the electronic influence and without being separated from "Savannah". 7.5/10
13. If You Believe Me- A great intro consisting of guitar, bass, and then drums sets up a more upbeat song that is lyrically and vocally strong. This is more of what Relient K fans were expecting throughout the album, but the accompanying vocals in the chorus give it a different style that translates really well onto this album. The chorus is more dramatic and deals with someone declaring their love for someone else and hoping the other party believes it and accepts it despite a major shortcoming. There is some great wailing guitar and piano in the background and the drumming is very strong here. There is a drastic change in tempo near the end of the song that features the piano centrally, and then the drums and guitars kick in to build tempo up in great fashion back up into a rocking chorus with more eccentric guitar. This song really combines rocking music with emotional feel and depth that makes it a beautiful song in its own way, and is the best song on the album. 10/10
14. This Is The End- This song begins with a jaw-dropping piano intro accompanied by Matt's voice which is tailored to the piano, rising and falling with it perfectly. This gives way to some solid strumming and drumming that does not necessarily have much variety, but serves its purpose in declaring "This is the end". Some variety is shown near the end of this very short song with some great drumming accompanied by a cool piano/vocal breakdown. The song closes with Matt showing more intensity with screaming and some discord on the instruments to show that something in the normal order of things is cracking. 9/10
15. (If You Want It)- I don't really see a purpose in separating these two tracks because they sound as though they are one whole song, but the beginning of the song abruptly switches from the aforementioned breaking down in the normal structure to a much calmer and smoother place with softer vocals from Matt, a sudden drop-off of the drums and guitar, and piano. The piano really shines here, and Matt's vocals once again rise and fall extremely well with it. The return of violins is welcome to many Relient K fans who recognize how frequently it is used on slower songs on previous albums. This song is very interesting lyrically and is open to interpretation, but there are too many religious/spiritual references and allusions for me to ignore, and I think its significance lies in this realm. A very solid closer to the album. 9.5/10
Overall: 137/150
Don't let the final tally mislead you Relient K: this is actually a phenomenal score when one takes into account how much room there is for disparity with 15 tracks; then one considers that four of the songs were give scores in the 7.5-8 range because they were transition tracks and it is easy to see that this album is really something magnificent. I will admit that I didn't really take to this album right away, but after listening to it completely through numerous times, it really grew on me, and when I started looking at it more in-depth, I realized how much there is here. This album really is unique and has an artsy and mature feel to it while maintaining the band's own style and feel of pleasantry and quality music. This is not my favorite Relient K, which still remains 2004's "Mmhmm", but this is certainly the most intricate and introspective, thereby making it the most unique and stylish in my opinion. If you are looking for something pleasant to listen to that lies within the realm of rock and having a deeper significance and meaning, look no further. Thanks for tuning in rock fans. I have nothing for you this coming week, but I will be returning a week from now with a new review on Cartel. Rock on.
Thursday, October 8, 2009
Mayday Parade: Anywhere But Here Review
This review is going to be extremely difficult to write. If you are familiar with Mayday Parade, you know how much ass their first LP "A Lesson In Romantics" kicked. And you also know why: awesome and heartfelt dual vocals accompanied by great lyrics and instruments, especially in the area of the drums. This was a band that was lyrically and (dual) vocally-driven, and it was a trademark that set them apart from every other band on the face of the earth. This was their uniqueness, their one identifiable trait that increased not only their appeal, but also just how cool they were. But notice that I've written this paragraph in the past tense. Because co-lead singer, guitarist, and head songwriter Jason Lancaster left the band after the completion of the first LP. And its effects can easily be seen. The focus of the music has shifted from being vocally-driven to trying to distract the audience from the blatantly obvious absence of Jason's voice and lyrics with great lead guitar riffs from Alex Garcia, rhythm guitar from Brooks Betts, bass from Jeremy Lenzo, and skillful drumming from Jake Bundrick. This isn't a bad thing that they've stepped up showcasing their instrumental talents, but despite this, most Mayday Parade fans are only noticing this blatant lack of Jason's vocals and song-writing skills. I am torn writing this review, because in comparing "A Lesson In Romantics" to "Anywhere But Here", their first LP easily has my vote and probably the vote of 95% of MP fans. However, this is not a bad album. Let me put it to you this way: this is as good as Mayday Parade could possibly be without Jason Lancaster. Lead singer Derek Sanders doesn't quite harness the great wailing and bellowing that typified the first album, which was a really effective way of displaying some powerful emotion, but since it is only his vocals this time around, he has to do a lot of new things this time around. I'm not going to sit here and rant and rave like some other fans about how Mayday Parade is finished, or how they sold out, or how their uniqueness is gone, or how they have become the same as Cobra Starship/We The Kings/Boys Like Girls/The Academy Is/whoever the hell else you wanna throw in there in an attempt to diminish their reputation but the truth is that although this band is not the same, it is still good music, and while it is closer to pop punk than I personally prefer and despite the fact that the album is somewhat short in length and lyrical depth, this is still Mayday Parade, people. They're still good. They're still worth listening to. And they still deserve your loyalty.
1. Kids In Love- This song reveals the album for what it is: catchy, but just not quite the same. Although the lyrics here are pretty solid, I have to admit, even if they are a tad simplistic. This is a pleasant, optimistic song reflecting on young love, and one will notice the drums are spot on, as well as the fact that Derek's vocals are consistent throughout; although he cannot continuously bellow and wail like the first LP, he still does a good job with the part he is assigned here. This is a pretty typical Mayday Parade song even if it isn't as upbeat and fast-paced as normal, and one almost expects Jason's voice to suddenly join in during the chorus. Sorry, wishful thinking. Maybe next time. 9.5/10
2. Anywhere But Here- The second song to be released to the public for their listening pleasure, this song really captures the essence of Mayday Parade's magic, minus Jason Lancaster of course. It features Derek's identifiable softer voice in the beginning before a great guitar hook and drum scheme pick it up a notch. The vocals remain soft until the chorus, which returns to the great bellowing and wailing I've been mentioning. The guitar for the chorus is brilliant, and the entire song is well executed. Simple lyrics, but a song like this doesn't necessarily need extravagant lyrics to work. The best song on the album is also the title track here. 10/10
3. The Silence- The first song released to the public would have been the best song on the album if not for "Anywhere But Here". This is where Jason's absence is most clearly obvious. Mayday Parade ventures into new territory here: dramatic. The guitar pattern for the entire song is damn good, the drums are consistently good, and Derek's vocals combine for a very dramatic effect. The chorus is great and the point of the song is a good one as well, due in part to the stronger lyrics and also due to the fashion in which it is executed. The build-up to the end of the song is terrific as well. A great, different song from Mayday Parade that works well. If only Jason's absence would have meant stellar music like this throughout the album. 10/10
4. Still Breathing- Another break from the norm that is made clear in the very beginning with some guitar and bass that is uncharacteristically mellow. It picks up right before the chorus, which then returns to more placid grounds. Softer vocals are nice, but not as good as what Mayday fans are used to. This is a solid and heartfelt song, and some of the lyrics are all right, but I have to question the inclusion of the line seen at the beginning of each chorus: "It's hard to be a man, but I'm doing all I can". Why would anyone say that? All kidding aside though, there is some nice piano in the middle when the song slows down and a sweet guitar solo near the end of the song that gives way to great guitar whammying til the end. Not bad. 8.5/10
5. Bruised And Scarred- This song represents a return to typical Mayday Parade: heartfelt and strong vocals, upbeat rhythm, and a catchy and enjoyable chorus. This blues-y rock song has sing-a-long written all over it. The lyrics are not strong, but once again, the ideas conveyed here do not necessarily need to be extravagant to be effective. A nice change of tempo near the end of the song gives the song variety and transitions back into the great chorus well. One might also notice the subtle inclusion and emphasis put on the instruments in the background as well. 9/10
6. If You Can't Live Without Me, Why Aren't You Dead Yet?- While I don't particularly mind the fact that the song titles for this band's music aren't as clever and witty as before, I'm glad they included at least this one in there. There are some really good guitar and drums here, and this song shows Mayday Parade rocking out with a fervor not previously seen. It works well, and Derek's vocals are noticeably well-founded. Lyrically simple, but musically complex and compelling. There is a really kick-ass guitar solo in this song as well, which was not seen anywhere in "A Lesson In Romantics" for some reason, but really takes advantage of the spotlight when the chance is given. The guitar then returns for round two near the end of the song, and makes me wonder why I never knew how great these guys could rock out this intensely before. 9.5/10
7. Save Your Heart- Another blues-y rock song that I could picture fitting in with previous Mayday Parade work if not for Jason's absence (again). And another repetition here, simple lyrics that are simple because there is no need for meticulousness. A solid concept of saving your heart "for someone that's worth dying for" that is very heartfelt and catchy. It is in listening to this song that I miss Jason's presence in the band the most, because while this is a great song, it could have been so much better (which can really be said for the whole album) if this band had all of the components that put them on the map and in the hearts of its fans. 9.5/10
8. Get Up- This is my least favorite track on the album. I appreciate the fact that the band wanted to make a song giving shout-outs to its fans all over the US, but this is way too pop-punk for me to care for. To take a page out of the book of newly-formed Mayday Parade haters, this really is too close to Boys Like Girls for me to like. I can't really say anything else bad about the song because the guitar and drums and everything else are pretty good, and Derek's vocals are solid again, even if they are accompanied by annoying chanting in the background. This song just doesn't really appeal to my musical interests, especially when one considers how simple the lyrics are here. 7.5/10
9. Center Of Attention- Much stronger lyrics this time around, dealing with calling someone who thinks they are more important than they really are back to reality. This is a nice addition to the Mayday Parade track list, displaying some solid guitar, bass, and drums. The vocals for the verses are not really anything special, but the chorus is very polished with shining vocals and a very appealing guitar riff. This is some solid work, especially when the song closes with the great guitar scheme and a longer note from Derek. 9.5/10
10. I Swear This Time I Mean It- The first and only slow song on the album, which kind of disappoints me because the emotionally-charged songs from "A Lesson In Romantics" gave the album variety and even more emotional impact on a listener. This is pretty much just acoustic guitar accompanied by heartfelt and compelling softer vocals from Derek. This is lyrically akin to their debut LP, which is the greatest compliment I could bestow at this point. A very solid and emotionally appealing song that is great for relaxation and reflection. 10/10
11. The End- This song is nowhere as great of a closer as the final track on their previous album, because "You Be The Anchor That Keeps My Feet On The Ground, I'll Be The Wings That Keep Your Heart In The Clouds" epitomized all the qualities a stellar closer track should have, but this is still appropriate for ending the album. An upbeat song that shows it has more underlying feel to it, and therefore establishes itself as a quality final song. This song gets in, makes its point, and gets out, lyrically and musically, and it is done very well. A quality rock song, but once again, it could have been so much better. 9/10
Overall: 102/110
As you can tell from the score, this album is definitely sound. But one has to take into account that this album is sound for what it is, and this may not be what Mayday Parade fans are used to. I can definitely understand that eventually a band will not be able to top their previous effort, and that this is acceptable if the band at least comes close or produces something respectable, but this stage should not be occurring this soon, nor should it be happening because of an inner feud within the band that robs them of their style, uniqueness, and therefore, significance. Like I said, this is as good as Mayday Parade could possibly be without Jason Lancaster, and I certainly congratulate them and commend them for a well-done record. But there is no denying that this is not the Mayday Parade that we all know, love, and now, miss. Although I don't know what is true and untrue about the reasons why the band broke up despite the fact that most people believe it to be Mayday Parade's fault, it doesn't matter where the fault lies. I am truly saddened by the fact that the band and Jason parted ways, because one simple and potentially easily solved argument is preventing appreciative and supportive fans from getting the quality of music they are used to. I am further saddened by the fact that Jason even said on a blog for his new band, Go Radio, that he is sorry for the whole feud and that he is leaving the door open to his five friends from Mayday Parade in the hopes that they will one day bring themselves through it. There you have it. Jason Lancaster clearly would be down for coming back, no matter how excited and into Go Radio he may be (and it would certainly be possible for him to be a part of two bands anyway like Aaron Gillespie of Underoath and The Almost), and Mayday Parade cannot be pretentious enough to not recognize how much dissent is being voiced by their fans, no matter how hard they worked on this newest effort and no matter how many new fans they may have acquired. Both sides would benefit from a reunion, and I believe I accurately voice the opinions of 99% of Mayday Parade fans when I say that I eagerly yearn for the day when this becomes reality. Anyone who is not swayed needs to listen to "A Lesson In Romantics" and then tell me this argument is not well-founded. I know it's not always as simple as that, but sometimes it needs to be. Thanks for tuning in everyone. Next up is Relient K. Rock on.
1. Kids In Love- This song reveals the album for what it is: catchy, but just not quite the same. Although the lyrics here are pretty solid, I have to admit, even if they are a tad simplistic. This is a pleasant, optimistic song reflecting on young love, and one will notice the drums are spot on, as well as the fact that Derek's vocals are consistent throughout; although he cannot continuously bellow and wail like the first LP, he still does a good job with the part he is assigned here. This is a pretty typical Mayday Parade song even if it isn't as upbeat and fast-paced as normal, and one almost expects Jason's voice to suddenly join in during the chorus. Sorry, wishful thinking. Maybe next time. 9.5/10
2. Anywhere But Here- The second song to be released to the public for their listening pleasure, this song really captures the essence of Mayday Parade's magic, minus Jason Lancaster of course. It features Derek's identifiable softer voice in the beginning before a great guitar hook and drum scheme pick it up a notch. The vocals remain soft until the chorus, which returns to the great bellowing and wailing I've been mentioning. The guitar for the chorus is brilliant, and the entire song is well executed. Simple lyrics, but a song like this doesn't necessarily need extravagant lyrics to work. The best song on the album is also the title track here. 10/10
3. The Silence- The first song released to the public would have been the best song on the album if not for "Anywhere But Here". This is where Jason's absence is most clearly obvious. Mayday Parade ventures into new territory here: dramatic. The guitar pattern for the entire song is damn good, the drums are consistently good, and Derek's vocals combine for a very dramatic effect. The chorus is great and the point of the song is a good one as well, due in part to the stronger lyrics and also due to the fashion in which it is executed. The build-up to the end of the song is terrific as well. A great, different song from Mayday Parade that works well. If only Jason's absence would have meant stellar music like this throughout the album. 10/10
4. Still Breathing- Another break from the norm that is made clear in the very beginning with some guitar and bass that is uncharacteristically mellow. It picks up right before the chorus, which then returns to more placid grounds. Softer vocals are nice, but not as good as what Mayday fans are used to. This is a solid and heartfelt song, and some of the lyrics are all right, but I have to question the inclusion of the line seen at the beginning of each chorus: "It's hard to be a man, but I'm doing all I can". Why would anyone say that? All kidding aside though, there is some nice piano in the middle when the song slows down and a sweet guitar solo near the end of the song that gives way to great guitar whammying til the end. Not bad. 8.5/10
5. Bruised And Scarred- This song represents a return to typical Mayday Parade: heartfelt and strong vocals, upbeat rhythm, and a catchy and enjoyable chorus. This blues-y rock song has sing-a-long written all over it. The lyrics are not strong, but once again, the ideas conveyed here do not necessarily need to be extravagant to be effective. A nice change of tempo near the end of the song gives the song variety and transitions back into the great chorus well. One might also notice the subtle inclusion and emphasis put on the instruments in the background as well. 9/10
6. If You Can't Live Without Me, Why Aren't You Dead Yet?- While I don't particularly mind the fact that the song titles for this band's music aren't as clever and witty as before, I'm glad they included at least this one in there. There are some really good guitar and drums here, and this song shows Mayday Parade rocking out with a fervor not previously seen. It works well, and Derek's vocals are noticeably well-founded. Lyrically simple, but musically complex and compelling. There is a really kick-ass guitar solo in this song as well, which was not seen anywhere in "A Lesson In Romantics" for some reason, but really takes advantage of the spotlight when the chance is given. The guitar then returns for round two near the end of the song, and makes me wonder why I never knew how great these guys could rock out this intensely before. 9.5/10
7. Save Your Heart- Another blues-y rock song that I could picture fitting in with previous Mayday Parade work if not for Jason's absence (again). And another repetition here, simple lyrics that are simple because there is no need for meticulousness. A solid concept of saving your heart "for someone that's worth dying for" that is very heartfelt and catchy. It is in listening to this song that I miss Jason's presence in the band the most, because while this is a great song, it could have been so much better (which can really be said for the whole album) if this band had all of the components that put them on the map and in the hearts of its fans. 9.5/10
8. Get Up- This is my least favorite track on the album. I appreciate the fact that the band wanted to make a song giving shout-outs to its fans all over the US, but this is way too pop-punk for me to care for. To take a page out of the book of newly-formed Mayday Parade haters, this really is too close to Boys Like Girls for me to like. I can't really say anything else bad about the song because the guitar and drums and everything else are pretty good, and Derek's vocals are solid again, even if they are accompanied by annoying chanting in the background. This song just doesn't really appeal to my musical interests, especially when one considers how simple the lyrics are here. 7.5/10
9. Center Of Attention- Much stronger lyrics this time around, dealing with calling someone who thinks they are more important than they really are back to reality. This is a nice addition to the Mayday Parade track list, displaying some solid guitar, bass, and drums. The vocals for the verses are not really anything special, but the chorus is very polished with shining vocals and a very appealing guitar riff. This is some solid work, especially when the song closes with the great guitar scheme and a longer note from Derek. 9.5/10
10. I Swear This Time I Mean It- The first and only slow song on the album, which kind of disappoints me because the emotionally-charged songs from "A Lesson In Romantics" gave the album variety and even more emotional impact on a listener. This is pretty much just acoustic guitar accompanied by heartfelt and compelling softer vocals from Derek. This is lyrically akin to their debut LP, which is the greatest compliment I could bestow at this point. A very solid and emotionally appealing song that is great for relaxation and reflection. 10/10
11. The End- This song is nowhere as great of a closer as the final track on their previous album, because "You Be The Anchor That Keeps My Feet On The Ground, I'll Be The Wings That Keep Your Heart In The Clouds" epitomized all the qualities a stellar closer track should have, but this is still appropriate for ending the album. An upbeat song that shows it has more underlying feel to it, and therefore establishes itself as a quality final song. This song gets in, makes its point, and gets out, lyrically and musically, and it is done very well. A quality rock song, but once again, it could have been so much better. 9/10
Overall: 102/110
As you can tell from the score, this album is definitely sound. But one has to take into account that this album is sound for what it is, and this may not be what Mayday Parade fans are used to. I can definitely understand that eventually a band will not be able to top their previous effort, and that this is acceptable if the band at least comes close or produces something respectable, but this stage should not be occurring this soon, nor should it be happening because of an inner feud within the band that robs them of their style, uniqueness, and therefore, significance. Like I said, this is as good as Mayday Parade could possibly be without Jason Lancaster, and I certainly congratulate them and commend them for a well-done record. But there is no denying that this is not the Mayday Parade that we all know, love, and now, miss. Although I don't know what is true and untrue about the reasons why the band broke up despite the fact that most people believe it to be Mayday Parade's fault, it doesn't matter where the fault lies. I am truly saddened by the fact that the band and Jason parted ways, because one simple and potentially easily solved argument is preventing appreciative and supportive fans from getting the quality of music they are used to. I am further saddened by the fact that Jason even said on a blog for his new band, Go Radio, that he is sorry for the whole feud and that he is leaving the door open to his five friends from Mayday Parade in the hopes that they will one day bring themselves through it. There you have it. Jason Lancaster clearly would be down for coming back, no matter how excited and into Go Radio he may be (and it would certainly be possible for him to be a part of two bands anyway like Aaron Gillespie of Underoath and The Almost), and Mayday Parade cannot be pretentious enough to not recognize how much dissent is being voiced by their fans, no matter how hard they worked on this newest effort and no matter how many new fans they may have acquired. Both sides would benefit from a reunion, and I believe I accurately voice the opinions of 99% of Mayday Parade fans when I say that I eagerly yearn for the day when this becomes reality. Anyone who is not swayed needs to listen to "A Lesson In Romantics" and then tell me this argument is not well-founded. I know it's not always as simple as that, but sometimes it needs to be. Thanks for tuning in everyone. Next up is Relient K. Rock on.
Friday, October 2, 2009
A bit of news
Well ladies and gentlemen, it is with great sadness that I inform you that my account has been monetarily cancelled. What does that mean? It means that I will no longer be making money for my blogging. I have appealed this decision in the hopes that the money I have made for all of my painstaking work will be returned to me, but I just want to inform all of you that despite the fact that the payment for this blog has been removed, I will continue with my blogging. I do this primarily for the love of music, not for the money. So I will continue in my blogging despite this major disappointment, and you can look forward to a review on Paramore's new album this weekend. That is all. Thank you for your support everyone.
Monday, September 28, 2009
Paramore: Brand New Eyes
Paramore's latest album is definitely a step in a new direction. If you're wondering if this is a good thing or not, I honestly can't really tell you; it comes down to a matter of your opinion on what this band's best is. Their 2005 debut record, "All We Know Is Falling" was more of a solid rock album that garnered them some popularity, which was completed with the great hits of 2007's "Riot!". So while some will view this new record as the band's maturing, or a re-establishment of themselves as actual artists, not just radio/chart-topping single-mongers. Because this new album really doesn't have that many radio-worthy songs, just good rock songs. This is an album made for Paramore fans, not casual listeners who tend to follow the general population's taste in music. This is not to say that the new album is bad, it's just different. I personally prefer "Riot!" because although some fans will say it was too mainstream-oriented, the truth is that "Riot!" was just a great album that appealed to a larger audience; their music didn't change and still embodied the energetic and fun nature of their music, and it just packs more of a punch. Their last album seems to have more feel to it, both lyrically and musically. A lot of the fun that came with listening to Paramore was generated due to their clever and outspoken music, but this new effort is more reflective mellow as a whole. The album shines when it shows glimpses of its old spunk and energy, but tends to disappoint when things slow down. Lead singer Haley Williams' vocals stand out once again, but I don't think the band utilized the talent of the other musicians as well as "Riot!" or "All We Know Is Falling". Zae Farro's drums are the closest second here, but I don't think there was a chance for this drummer's talents to really stand out. It is true that there are some tracks where the recognizable Paramore guitars kick in and do their part, but these small sections are limited by the album as a whole. I see a lot of untapped potential not only in bassist Jeremy Davis and guitarists Josh Farro and Taylor York, but in "Brand New Eyes" overall. This is not the album Paramore fans were waiting for or expecting, but I'm not ready to jump on the "this album is awesome, it shows Paramore's maturity and their love for music" bandwagon along with a lot of the other Paramore fans just yet. I'll be waiting patiently for a return to their roots, because while this new effort shows a more mature side, Paramore is known for being fun to listen to, and that's what they do best.
1. Careful- This is more along the lines of what Paramore fans were expecting in terms of actual rock music. The drums shine brightest here, and Haley's vocals are impressive as well, even though I don't particularly care for her bellows of the word "more". The guitar and bass are spot on here as well, but the lyrics aren't really anything to write home about. A solid beginning track, but it would have been better if it this style had been further explored and expanded upon throughout the album. 9.5/10
2. Ignorance- The first single from Paramore that is the closest thing to radio-worthiness. The lyrics are the most noteworthy on the album, but do not come anywhere close to the mark reached by "Riot!" That being said, this is still a catchy song and could be considered a typical Paramore song. I didn't really care for the melody of the chorus at first, but it really grew on me, and for someone who didn't like it at first, I can only imagine how much people who are initially hooked will like this song. Best song on the album. 9.5/10
3. Playing God- This song marks the turning point of the album, and really, the turning point of Paramore's music in general. That's not to say there weren't songs of this type in the past, but the impact of this type of song can be seen throughout the rest of the CD. Keeping that in mind, I actually like this song a lot. The guitar and bass is very laid-back, chill, and reminds listeners of how relaxing music can be. Haley's vocals are great, and the lyrics of the chorus are good, dealing with someone playing God and being hypocritical, but they are lacking in the witty one-liners that helped put them on the map. A very good song, just not what one would expect from Paramore three tracks in. 9.5/10
4. Brick By Boring Brick- This track doesn't really know what it wants to be, having an upbeat rhythm in the beginning accompanied by a more relaxed.....everything else. Then for the chorus, everything switches, and while the chorus is pleasant in its own right, the calm music doesn't really match up with Haley's fervent screaming. And the "Ba da ba ba da ba ba da" is annoying to be honest. This is not really my thing, but it might appeal to some. Lyrically, I have no idea what this damn song is about, it's all just a bunch of fancy words meant to draw people in but don't make sense and rely on the use of "Ba da ba ba da ba ba da"s. An ok song, but in the grand scheme of things, a waste of track space. 7.5/10
5. Turn It Off- Another mellow song, but they actually execute this one quite well. This would be right at home on one of their older CDs as a change of pace from the normal aggressive tracks. The guitar and bass are pleasant here, and despite the fact that the song has a slower tempo, the drums still give listeners glimpses of skill. The vocals are simply induce feelings of sweetness in the verses, and the lyrics, while only dealing with one metaphor, are not bad. Once again, trading in witty and punkish lyrics and sound for deeper and more mature music. While I don't appreciate what this song represents as a whole for the band, I can't deny it is a great song 9.5/10
6. The Only Exception- The first song that actually crosses over from mellow territory into legitimate slow, acoustic lands. For the first three minutes or so, there isn't anything other than Haley's voice, and acoustic guitar, and a tambourine in the background, and while the lyrics don't evoke a lot of thought processing from a listener, that's not the point of the song, and the idea that is expressed about someone being an exception to the rest of the disappointments of love is a very solid base. Some will not really care for Haley's lower and deeper voice during the chorus, but I think it works, and when the drums come in to finish off the song, the listener is left with something enjoyable. 9.5/10
7. Feeling Sorry- Closer to the punk rock fans are used to, but the truth is, this is more alternative rock than anything. This song also continues the streak of dabbling in pleasantry rather than delivering substantial, but this song isn't bad either. The guitar has a good rhythm to it, and the chorus reinforces the mood set up by it. Lyrically sound, and it could fit in with a previous Paramore album, but once again, only as a track whose purpose is to give the album a break from the normal and deliver a strike in the form of a change of pace. It doesn't really work as an effective change of pace if this is the pace of the whole record. 9/10
8. Looking Up- A positive song that has some good guitar and shows some promise on the drums, but if you're not careful, you will mistake this track and the last one as one song, because they are pretty similar. I like this song, but it is so similar to the track that precedes it, its value is kind of diminished, despite the fact that the closing lyrics about the band itself are uplifting and shed some light on the song as a whole. 9/10
9. Where The Lines Overlap- Another mellow yet upbeat song that screams alternative rock. However, after two consecutive songs of the same genre, this song is sure to get lost in the shuffle, and while I would normally oppose such a thought, I'm not sure I really mind that much. This isn't a bad song; it just doesn't stand out and doesn't really have anything special to offer. Lyrically simplistic and pretty intangible for listeners to relate to comparatively, this song shows Paramore having fun and loving their music and what they do, but I think if they had expressed it in a way fans are used to, it would have been better understood. 8/10
10. Misguided Ghosts- This song is just downright different. Haley has never sung like this before, and she has never sung about anything like this before either. The acoustic guitar is agreeable enough, and the rhythm is enjoyable and relaxing, but I just don't really click with this song for some reason. Despite its length being three minutes, it goes by extremely fast and kind of undermines its lasting effect. I would be incredibly relaxed if I was sitting around a campfire and Haley Williams suddenly just appeared and pulled out a guitar and started playing (and not just because she's hot), but other than that, this song doesn't really reach out and grab my attention. 8.5/10
11. All I Wanted- Great guitar in the beginning along with soothing vocals from Haley accompanied by bass picks up tempo and shows off some rock power that hasn't been seen since the beginning of the album. This is a more dramatic song that makes people realize Haley still knows how to scream with the best of them (especially at the 2:45 mark and on), and that this group still knows how to rock. There is a lot of raw emotion that is translated well into great music, even if the lyrics are slightly bland and simple. A solid finisher however. 9.5/10
Overall: 99/110
This newest Paramore album is not bad, and certainly one can understand why the title "Brand New Eyes" is appropriate, because this is not the same Paramore fans are used to, and to be honest, I don't think this is the Paramore that Paramore is used to. One can tell that the band was really into the music they created this time around, but it doesn't translate well into something that the fans will enjoy as much as last time. Paramore fans will be appeased for now, but don't be surprised if you find yourself rocking out to "Riot!" or "All We Know Is Falling" a few weeks from now. This is enjoyable music, but this isn't the aggressive, clever, fun Paramore rock that fans identify with the band, but I guarantee you I will be awaiting their next outing an anxious, excited anticipation to see where they go from here. That's it for Paramore, coming this week will be Mayday Parade and Relient K. Thanks for tuning in. Rock on.
1. Careful- This is more along the lines of what Paramore fans were expecting in terms of actual rock music. The drums shine brightest here, and Haley's vocals are impressive as well, even though I don't particularly care for her bellows of the word "more". The guitar and bass are spot on here as well, but the lyrics aren't really anything to write home about. A solid beginning track, but it would have been better if it this style had been further explored and expanded upon throughout the album. 9.5/10
2. Ignorance- The first single from Paramore that is the closest thing to radio-worthiness. The lyrics are the most noteworthy on the album, but do not come anywhere close to the mark reached by "Riot!" That being said, this is still a catchy song and could be considered a typical Paramore song. I didn't really care for the melody of the chorus at first, but it really grew on me, and for someone who didn't like it at first, I can only imagine how much people who are initially hooked will like this song. Best song on the album. 9.5/10
3. Playing God- This song marks the turning point of the album, and really, the turning point of Paramore's music in general. That's not to say there weren't songs of this type in the past, but the impact of this type of song can be seen throughout the rest of the CD. Keeping that in mind, I actually like this song a lot. The guitar and bass is very laid-back, chill, and reminds listeners of how relaxing music can be. Haley's vocals are great, and the lyrics of the chorus are good, dealing with someone playing God and being hypocritical, but they are lacking in the witty one-liners that helped put them on the map. A very good song, just not what one would expect from Paramore three tracks in. 9.5/10
4. Brick By Boring Brick- This track doesn't really know what it wants to be, having an upbeat rhythm in the beginning accompanied by a more relaxed.....everything else. Then for the chorus, everything switches, and while the chorus is pleasant in its own right, the calm music doesn't really match up with Haley's fervent screaming. And the "Ba da ba ba da ba ba da" is annoying to be honest. This is not really my thing, but it might appeal to some. Lyrically, I have no idea what this damn song is about, it's all just a bunch of fancy words meant to draw people in but don't make sense and rely on the use of "Ba da ba ba da ba ba da"s. An ok song, but in the grand scheme of things, a waste of track space. 7.5/10
5. Turn It Off- Another mellow song, but they actually execute this one quite well. This would be right at home on one of their older CDs as a change of pace from the normal aggressive tracks. The guitar and bass are pleasant here, and despite the fact that the song has a slower tempo, the drums still give listeners glimpses of skill. The vocals are simply induce feelings of sweetness in the verses, and the lyrics, while only dealing with one metaphor, are not bad. Once again, trading in witty and punkish lyrics and sound for deeper and more mature music. While I don't appreciate what this song represents as a whole for the band, I can't deny it is a great song 9.5/10
6. The Only Exception- The first song that actually crosses over from mellow territory into legitimate slow, acoustic lands. For the first three minutes or so, there isn't anything other than Haley's voice, and acoustic guitar, and a tambourine in the background, and while the lyrics don't evoke a lot of thought processing from a listener, that's not the point of the song, and the idea that is expressed about someone being an exception to the rest of the disappointments of love is a very solid base. Some will not really care for Haley's lower and deeper voice during the chorus, but I think it works, and when the drums come in to finish off the song, the listener is left with something enjoyable. 9.5/10
7. Feeling Sorry- Closer to the punk rock fans are used to, but the truth is, this is more alternative rock than anything. This song also continues the streak of dabbling in pleasantry rather than delivering substantial, but this song isn't bad either. The guitar has a good rhythm to it, and the chorus reinforces the mood set up by it. Lyrically sound, and it could fit in with a previous Paramore album, but once again, only as a track whose purpose is to give the album a break from the normal and deliver a strike in the form of a change of pace. It doesn't really work as an effective change of pace if this is the pace of the whole record. 9/10
8. Looking Up- A positive song that has some good guitar and shows some promise on the drums, but if you're not careful, you will mistake this track and the last one as one song, because they are pretty similar. I like this song, but it is so similar to the track that precedes it, its value is kind of diminished, despite the fact that the closing lyrics about the band itself are uplifting and shed some light on the song as a whole. 9/10
9. Where The Lines Overlap- Another mellow yet upbeat song that screams alternative rock. However, after two consecutive songs of the same genre, this song is sure to get lost in the shuffle, and while I would normally oppose such a thought, I'm not sure I really mind that much. This isn't a bad song; it just doesn't stand out and doesn't really have anything special to offer. Lyrically simplistic and pretty intangible for listeners to relate to comparatively, this song shows Paramore having fun and loving their music and what they do, but I think if they had expressed it in a way fans are used to, it would have been better understood. 8/10
10. Misguided Ghosts- This song is just downright different. Haley has never sung like this before, and she has never sung about anything like this before either. The acoustic guitar is agreeable enough, and the rhythm is enjoyable and relaxing, but I just don't really click with this song for some reason. Despite its length being three minutes, it goes by extremely fast and kind of undermines its lasting effect. I would be incredibly relaxed if I was sitting around a campfire and Haley Williams suddenly just appeared and pulled out a guitar and started playing (and not just because she's hot), but other than that, this song doesn't really reach out and grab my attention. 8.5/10
11. All I Wanted- Great guitar in the beginning along with soothing vocals from Haley accompanied by bass picks up tempo and shows off some rock power that hasn't been seen since the beginning of the album. This is a more dramatic song that makes people realize Haley still knows how to scream with the best of them (especially at the 2:45 mark and on), and that this group still knows how to rock. There is a lot of raw emotion that is translated well into great music, even if the lyrics are slightly bland and simple. A solid finisher however. 9.5/10
Overall: 99/110
This newest Paramore album is not bad, and certainly one can understand why the title "Brand New Eyes" is appropriate, because this is not the same Paramore fans are used to, and to be honest, I don't think this is the Paramore that Paramore is used to. One can tell that the band was really into the music they created this time around, but it doesn't translate well into something that the fans will enjoy as much as last time. Paramore fans will be appeased for now, but don't be surprised if you find yourself rocking out to "Riot!" or "All We Know Is Falling" a few weeks from now. This is enjoyable music, but this isn't the aggressive, clever, fun Paramore rock that fans identify with the band, but I guarantee you I will be awaiting their next outing an anxious, excited anticipation to see where they go from here. That's it for Paramore, coming this week will be Mayday Parade and Relient K. Thanks for tuning in. Rock on.
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