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.
Thursday, October 22, 2009
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.
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