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.
Saturday, November 14, 2009
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.
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