This is probably the newest and most unknown band review I've done yet, and maybe will ever do. However, these guys stuck out to me because I'm from Indiana, so their Indianapolis-base makes them kind of seem like hometown boys to me. Not only that, but maybe it's because they are hometown boys who have the confidence to do what I never did: actually believe in myself enough to start a band and try to make it in the big, bad, over-saturated world of pop-punk.
So, I went to the Blank Pages facebook page and played the five songs from there. Let's just get it out there right now that you'll never see my review a band or an album of which I'm not at least fond, to some degree. I know that doesn't seem like equal journalism, but why would I want to spend enough time listening to a band or an album that I didn't like just to be able to review it? And anyway, I'm not going to put a band down just because I didn't like them--everyone has different tastes. Unless we're talking about Nickelback or Hinder in which case they are terrible.
I liked the sound of this band right off the bat. They caught me enough on the first time through the album that it made me want to listen again and actually "get" the album, and that's the first step. They have a kind of early/mid-blink sound, but softer, that comes off right away on the first song, "Goodbye." I really liked how they ended this one. Next up was "Reach For the Stars," which is my favorite of the five songs. The chorus is really catchy, and it was definitely this song that brought me back for the second time through the album. If I chose one song to download from the album, this would be the one. Next is just a clip of the song "Always," which I also liked, at least what I heard of it--seems like it might be an overall softer song. "Just Fine" is good; I'm really down for the dual voices, as always--my second favorite. "Everything and More" is also just a short clip, and it seems okay. It's not my favorite, but I like the lyrics.
All in all, I'm rooting for this band. I really like their sound and I hope that in a few years I can say I reviewed them back when. My advice to this band would be to explore the vocals--the back-up on "Just Fine" sounded like he had a pretty good voice too, so possibly give that voice a few more parts. I'm only saying this because while the current lead has a good voice, it sounds like any other pop-punk band's lead singer at this point. Not necessarily a bad thing, it just doesn't set you apart right away. Do a few more change-ups with the song order, like the bonus lines at the end of "Goodbye." Those are my opinions, take it or leave it.
Check out the band and get the album, which is apparently on iTunes, if you like them. The link to their facebook page is https://www.facebook.com/#!/blankpagesband. And to Blank Pages, good job guys. If you ever need another review, opinions on new songs, or whatever, hit me up on twitter, @noiseaboutmusic.
Saturday, December 10, 2011
Tuesday, November 29, 2011
Angels & Airwaves Love Album Review
Its been a little while since I've done a review, but Angels and Airwaves' latest addition to the rock world has inspired me. I've been an AVA fan since We Don't Need to Whisper, and I'm not really sure what it is about their music that does it for me. The best I can do to describe the reason is to say that the band takes a genre of music that I already love, then twists and turns it into something new and different. Or maybe its just the fact that I've never been able to get over Tom DeLonge's voice...
Either way, I was excited for the release of Love Part 2. My favorite AVA album is I-Empire, but Love Part 1 has comparably high numbers on my iTunes play count records. Now, the physical double album is already on my Christmas list, but until then I'll be satisfying my Angels cravings with Spotify (search Angels & Airwaves for the Love album...search Angels and Airwaves for the first two. You're welcome).
The album starts off with "Saturday Love," which starts really space-y, then takes off into quickly-sung lyrics that get you engaged in the song right away. This song follows the trend of "Call to Arms" and "Flight of Apollo" from the previous two albums--a fast catchy song right away to get you hooked and keep you listening. Next comes "Surrender", which I think is a great catchy song. The chorus is simple, but it completely works. If it wasn't for the next song, "Anxiety," I would venture to say that "Surrender" would have been one of the lead singles from the album. "Anxiety" is a great song, and the only one so far (that I've found) that has a music video. I didn't want to like "Anxiety" because its the song I'm supposed to like, but I just can't help myself; I love how the word "anxiety" is spread out over entire lines of other lyrics during the chorus. It's definitely one of my favorites on the album.
Next come a few songs that are good compositions but not quite standouts. "Crawl" starts off slower and picks up around 2:00; this works for the album as a whole because the past three songs were fairly quick. "Moon as my Witness" also starts off slow and with a fairly long intro, but again, it works and I really like the song. "Dry Your Eyes" has some weird-sounding alien speak at the beginning, but it just reinforces what Tom and AVA want you to think about their music: it's space rock. "The Revelator" has a really nice pre-chorus that changes things up from the typical AVA song-structure progression. It also seems kind of minimal in instrumentation, so this song is a worthwhile change-up. "One Last Thing" reminds me of "Rite of Spring" from I-Empire, and is an okay song; I wouldn't call it anything special by itself, but it helps round out the album.
The next song, "Inertia," makes me glad that "One Last Thing" was not actually the last thing on the album. Inertia is the closest song comparable to Boxcar Racer that I've heard from Angels & Airwaves yet. That one Boxcar album is in my top 10 punk albums, so I obviously love "Inertia." Even after the heavy guitar riff ends at the verse, I love the sound of the verses. The only problem with this song is that around 3:00, I was expecting a repeat of the beginning guitar riff, and I didn't get it. Oh well, I can't complain--its still a great song with a fantastic quote at the end: "Remember that what you've done in your life may change what someone else is doing in their life." It's so, so true and just the type of introspective lyric that I love. The last two songs, "Behold a Pale Horse" and "We Are All That We Are,"so terribly sorry are classic AVA songs and nice ones to finish out the album; I especially like that the latter starts slow and builds.
Normally, I would say something like "I recommend this album to anyone who enjoys blah blah and blah. However, I'm not really sure what to compare with AVA, so just give it a listen--I'd be willing to bet you'll enjoy it, and even if you don't, at least you can say you tried something new. I keep waiting for Tom DeLonge to put out a bad album, because then I would be able to end this rock-star crush I have always had on him; however, he just won't oblige me--he keeps being awesome. Dammit.
I also have to recommend AVA live; I can't wait to get to another Angels & Airwaves concert. I went in early 2010 and raged hard, front row style. (Aka I got every bone and organ in my body smashed.) There aren't many musicians or bands I would suffer such pain and abuse for, but it was totally worth it. I was surprised at how great the show was--with all the synthesizers and just general odd sounds in their music, it would have been easy for the live music to sound weird, but it was surprisingly great. I'm also excited to see what the new drummer can do.
So go. Buy the album. Mosh at the concerts. Enjoy the greatness that is Angels & Airwaves. Angels and Airwaves? I'll never know.
Either way, I was excited for the release of Love Part 2. My favorite AVA album is I-Empire, but Love Part 1 has comparably high numbers on my iTunes play count records. Now, the physical double album is already on my Christmas list, but until then I'll be satisfying my Angels cravings with Spotify (search Angels & Airwaves for the Love album...search Angels and Airwaves for the first two. You're welcome).
The album starts off with "Saturday Love," which starts really space-y, then takes off into quickly-sung lyrics that get you engaged in the song right away. This song follows the trend of "Call to Arms" and "Flight of Apollo" from the previous two albums--a fast catchy song right away to get you hooked and keep you listening. Next comes "Surrender", which I think is a great catchy song. The chorus is simple, but it completely works. If it wasn't for the next song, "Anxiety," I would venture to say that "Surrender" would have been one of the lead singles from the album. "Anxiety" is a great song, and the only one so far (that I've found) that has a music video. I didn't want to like "Anxiety" because its the song I'm supposed to like, but I just can't help myself; I love how the word "anxiety" is spread out over entire lines of other lyrics during the chorus. It's definitely one of my favorites on the album.
Next come a few songs that are good compositions but not quite standouts. "Crawl" starts off slower and picks up around 2:00; this works for the album as a whole because the past three songs were fairly quick. "Moon as my Witness" also starts off slow and with a fairly long intro, but again, it works and I really like the song. "Dry Your Eyes" has some weird-sounding alien speak at the beginning, but it just reinforces what Tom and AVA want you to think about their music: it's space rock. "The Revelator" has a really nice pre-chorus that changes things up from the typical AVA song-structure progression. It also seems kind of minimal in instrumentation, so this song is a worthwhile change-up. "One Last Thing" reminds me of "Rite of Spring" from I-Empire, and is an okay song; I wouldn't call it anything special by itself, but it helps round out the album.
The next song, "Inertia," makes me glad that "One Last Thing" was not actually the last thing on the album. Inertia is the closest song comparable to Boxcar Racer that I've heard from Angels & Airwaves yet. That one Boxcar album is in my top 10 punk albums, so I obviously love "Inertia." Even after the heavy guitar riff ends at the verse, I love the sound of the verses. The only problem with this song is that around 3:00, I was expecting a repeat of the beginning guitar riff, and I didn't get it. Oh well, I can't complain--its still a great song with a fantastic quote at the end: "Remember that what you've done in your life may change what someone else is doing in their life." It's so, so true and just the type of introspective lyric that I love. The last two songs, "Behold a Pale Horse" and "We Are All That We Are,"
Normally, I would say something like "I recommend this album to anyone who enjoys blah blah and blah. However, I'm not really sure what to compare with AVA, so just give it a listen--I'd be willing to bet you'll enjoy it, and even if you don't, at least you can say you tried something new. I keep waiting for Tom DeLonge to put out a bad album, because then I would be able to end this rock-star crush I have always had on him; however, he just won't oblige me--he keeps being awesome. Dammit.
I also have to recommend AVA live; I can't wait to get to another Angels & Airwaves concert. I went in early 2010 and raged hard, front row style. (Aka I got every bone and organ in my body smashed.) There aren't many musicians or bands I would suffer such pain and abuse for, but it was totally worth it. I was surprised at how great the show was--with all the synthesizers and just general odd sounds in their music, it would have been easy for the live music to sound weird, but it was surprisingly great. I'm also excited to see what the new drummer can do.
So go. Buy the album. Mosh at the concerts. Enjoy the greatness that is Angels & Airwaves. Angels and Airwaves? I'll never know.
Sunday, October 23, 2011
The Noise Tour with Mayday Parade
I originally agreed to go the Noise Tour because a good friend loves that type of music and wanted someone to go with. Obviously I said yes because I love all music, especially live music...and the tickets were only $20. Then, I looked up the bands on the tour and was actually pretty excited; I wasn't a huge fan of any of the bands, but I knew a few songs by almost all of them; I'd also heard from several different people that Mayday Parade is incredible live. I started listening to all of the bands (Spotify) and discovered I really liked them all.
So, I went to the venue only semi-knowing what to expect. The first band up whose songs I had seriously listened to was You Me At Six, who I discovered I actually like. They were really very good live and put on a great show. The lead singer actually jumped into the crowd to mosh with us, which I thought was fun. However, I did feel bad for the band; Indianapolis isn't exactly the mecca for punk rock kids or any type of rock, but nobody really seemed that into it at all. In my concert experience, regardless of whether you know the music or not, if it sounds good you should be moving to show appreciation for the band. I mean, these guys came all the way over from England and this is the respect we showed them? Come on, Indy. Anyway, I thought they were really talented live. The only thing I wish is that they would have played some older stuff. Save it for the Bedroom is my favorite song by them, and despite my enjoyment of their set I would have really liked to hear it.
Next was We Are the In Crowd, who I was really excited to see. I've seen Paramore and Hey Monday, and since I kind of consider WATIC the group to round out a triangle of pop punk girl lead singers, I was excited to see how they did. What I really do enjoy about this band is that while a girl is the lead, a guy is the backup and does a lot of lead singing himself in certain songs. They played everything I wanted to hear (my favorite by them is Lights Out) and their new songs, which I really hadn't heard very much of, sounded really good as well. They also had a fun show and tried to get the crowd pumped up. Unfortunately, the problem was the same for this band: no matter what they did, this crowd wouldn't really get into it. I've been to enough concerts to know that it wasn't the band's fault--they were genuinely trying to have a party. The crowd I experienced is just exemplary of Indiana. In sum, We Are the In Crowd is a really talented band and they have a lot of potential, especially considering that their first full-length just came out and most of their fame up to this point was riding on a single LP.
Next up was the headliner, Mayday Parade. I was excited for them because as I mentioned, they sort of have a reputation for being awesome live. They opened with their latest single, Oh Well Oh Well, which (a) I absolutely loved, and (b) was a really gutsy move--most bands wouldn't begin a concert with a song that starts slow, but it totally worked for them. Oh Well Oh Well was one of my top songs of the night, along with When You See My Friends, Miserable, and Three Cheers. I also liked that they started off with this one, because its got some great higher/belt-them-out notes in it--I was ready to see right away how talented the lead singer is live. Decision: he was just as awesome as everyone promised he would be.
Mayday was really interesting to me, because normally I have a penchant, when it comes to just about any band, for liking the lead singer more than any other member. Derek Sanders was incredibly talented and so cute, but truly all of the members put on a fantastic show. The guitarists never stopped jumping around and on top of things, and swinging their guitars around. Then the drummer... As I said, I listened to Mayday before the concert but I didn't really research the band too much. I knew there was another singer in addition to Derek, but naturally I assumed it was one of the six-strings or the bassist. I couldn't figure out for a while where the voice was coming from at the live show, then I realized it was the drummer. Listening to the music, I have always thought the backup/harmony guy had a voice that is just as good as Derek's, just not as definitive (you can always tell its Derek when he's singing). And believe me when I tell you, playing drums and singing at the same time is not easy. Guitar and singing? Not too bad. Drums are a different story. I have the greatest respect for this guy.
The thing about both Derek and drummer Jake Bundrick is that they are so natural about their voices--it doesn't seem like they have to focus too hard or strain to hit the notes. And the fact that they stopped everything to let Derek do an acoustic song on a keyboard was absolutely clutch. Mayday Parade has this weird way of being able to play slow or sad songs, but still keeping the crowd pumped. Probably this is the factor that makes everyone say they are incredible live. If I had one bone to pick with Mayday Parade it would be that they neglected to play The Silence; it might be old but its an incredible song, maybe my favorite by them. Oh well...
All in all? Mayday Parade is without a doubt a fun show to attend, but for someone like myself I was stunned at the actual talent in this band. For most bands I like, I will readily admit do not have the most natural performing talent. Songwriting and lyricism are two things my favorite bands have in spades, but natural singing and playing talent is sometimes lacking. The only reason Mayday Parade isn't more famous than they are is because of the slew of bands in their genre and the fact that its hard to break out when there is so much competition. Its also hard to be a band that's more in the pop side of the genre than rock, because many people who like pop music don't get the fact that you might have to listen to a rock album a few times before really getting it.
Anyway, this is an great show and if you have any opportunity to ever see Mayday Parade live, it will be more than worth it. Trust me.
In reference to my earlier ramblings about incredible artists who don't have much natural singing talent...I often wonder what would happen if there was a mix-and-match band gathering the best songwriters with the best lyricists with the best singers and instrumentalists. If one band had everything? Either the world would implode...or it would suck.
So, I went to the venue only semi-knowing what to expect. The first band up whose songs I had seriously listened to was You Me At Six, who I discovered I actually like. They were really very good live and put on a great show. The lead singer actually jumped into the crowd to mosh with us, which I thought was fun. However, I did feel bad for the band; Indianapolis isn't exactly the mecca for punk rock kids or any type of rock, but nobody really seemed that into it at all. In my concert experience, regardless of whether you know the music or not, if it sounds good you should be moving to show appreciation for the band. I mean, these guys came all the way over from England and this is the respect we showed them? Come on, Indy. Anyway, I thought they were really talented live. The only thing I wish is that they would have played some older stuff. Save it for the Bedroom is my favorite song by them, and despite my enjoyment of their set I would have really liked to hear it.
Next was We Are the In Crowd, who I was really excited to see. I've seen Paramore and Hey Monday, and since I kind of consider WATIC the group to round out a triangle of pop punk girl lead singers, I was excited to see how they did. What I really do enjoy about this band is that while a girl is the lead, a guy is the backup and does a lot of lead singing himself in certain songs. They played everything I wanted to hear (my favorite by them is Lights Out) and their new songs, which I really hadn't heard very much of, sounded really good as well. They also had a fun show and tried to get the crowd pumped up. Unfortunately, the problem was the same for this band: no matter what they did, this crowd wouldn't really get into it. I've been to enough concerts to know that it wasn't the band's fault--they were genuinely trying to have a party. The crowd I experienced is just exemplary of Indiana. In sum, We Are the In Crowd is a really talented band and they have a lot of potential, especially considering that their first full-length just came out and most of their fame up to this point was riding on a single LP.
Next up was the headliner, Mayday Parade. I was excited for them because as I mentioned, they sort of have a reputation for being awesome live. They opened with their latest single, Oh Well Oh Well, which (a) I absolutely loved, and (b) was a really gutsy move--most bands wouldn't begin a concert with a song that starts slow, but it totally worked for them. Oh Well Oh Well was one of my top songs of the night, along with When You See My Friends, Miserable, and Three Cheers. I also liked that they started off with this one, because its got some great higher/belt-them-out notes in it--I was ready to see right away how talented the lead singer is live. Decision: he was just as awesome as everyone promised he would be.
Mayday was really interesting to me, because normally I have a penchant, when it comes to just about any band, for liking the lead singer more than any other member. Derek Sanders was incredibly talented and so cute, but truly all of the members put on a fantastic show. The guitarists never stopped jumping around and on top of things, and swinging their guitars around. Then the drummer... As I said, I listened to Mayday before the concert but I didn't really research the band too much. I knew there was another singer in addition to Derek, but naturally I assumed it was one of the six-strings or the bassist. I couldn't figure out for a while where the voice was coming from at the live show, then I realized it was the drummer. Listening to the music, I have always thought the backup/harmony guy had a voice that is just as good as Derek's, just not as definitive (you can always tell its Derek when he's singing). And believe me when I tell you, playing drums and singing at the same time is not easy. Guitar and singing? Not too bad. Drums are a different story. I have the greatest respect for this guy.
The thing about both Derek and drummer Jake Bundrick is that they are so natural about their voices--it doesn't seem like they have to focus too hard or strain to hit the notes. And the fact that they stopped everything to let Derek do an acoustic song on a keyboard was absolutely clutch. Mayday Parade has this weird way of being able to play slow or sad songs, but still keeping the crowd pumped. Probably this is the factor that makes everyone say they are incredible live. If I had one bone to pick with Mayday Parade it would be that they neglected to play The Silence; it might be old but its an incredible song, maybe my favorite by them. Oh well...
All in all? Mayday Parade is without a doubt a fun show to attend, but for someone like myself I was stunned at the actual talent in this band. For most bands I like, I will readily admit do not have the most natural performing talent. Songwriting and lyricism are two things my favorite bands have in spades, but natural singing and playing talent is sometimes lacking. The only reason Mayday Parade isn't more famous than they are is because of the slew of bands in their genre and the fact that its hard to break out when there is so much competition. Its also hard to be a band that's more in the pop side of the genre than rock, because many people who like pop music don't get the fact that you might have to listen to a rock album a few times before really getting it.
Anyway, this is an great show and if you have any opportunity to ever see Mayday Parade live, it will be more than worth it. Trust me.
In reference to my earlier ramblings about incredible artists who don't have much natural singing talent...I often wonder what would happen if there was a mix-and-match band gathering the best songwriters with the best lyricists with the best singers and instrumentalists. If one band had everything? Either the world would implode...or it would suck.
Saturday, October 15, 2011
Drop Out of Life
I was reading a review of this album, the latest from This Time Next Year, and the author mentioned how the pop-punk era that happened about 10 years ago brought about some annoying bands, but it was worth it to end up with legends like Yellowcard and Taking Back Sunday. First off, this author and I are obviously of the same soul in that respect. However, this author then (in a deceivingly nice voice) basically said he/she didn't see much in a new pop-punk/punk revolution.
Hmm. That part was curious to me because I do see some potential in new bands. I will be the first to admit that there are many new bands I don't like and will probably never listen to, but This Time Next Year does not fall in to that list. About a year ago I was cruising the interwebs for some new music, ended up stumbling upon "New Sensation" and never looked back. I bought Road Maps and Heart Attacks with real money, and rocked out hard in my car for months. When I found out Chad Gilbert was producing their newest record, Drop Out of Life, I was beyond excited. (Have I discussed my A Day To Remember/New Found Glory obsessions yet?)
Anyway, it took me some time to get around to listening to this album due to its release date of September 27th...(we all know that despite my excitement over TTNY, blink had to take the forefront on this magical day). Now, I've listened to it multiple times, and I'm ready to give a solid, well-thought out review. Spoiler alert: It ends with me wishing sincerely, even more than before, that the Pop Punk's Not Dead tour was coming a little closer to where I'm at.
Drop Out of Life, the album's namesake, is the lead track, and it was a great idea with which to begin the album. Its such a catchy tune and I really do like the meaning behind the lyrics. He gets cheated on, and just wants to drop out of life for a second and forget it all happened. I love the lead-up to the chorus: I let you run around and do me like this/Now we're falling out, she's falling over this fucking prick... it sounds better with music added in, trust me.
The next three songs (Better Off, Living Hell, and Last Call) are all good songs, just not quite standouts to me. All are catchy and I especially like the intro and verses to Last Call. However, next comes two of my favorite songs from the album: Modern Day Love Story and Spoontonic. Modern Day Love Story just has such a great chorus and is one of those songs that on the fourth album run-through, you're like oh! I get this now, and its awesome. Spoontonic is generally recognized as the standout song on this album, and for good reason. In the chorus, it really gives some tension with some accidentals or minor chords, maybe both. And the lyrics are great: In the middle of the night, it's not that easy/In the middle of the night, I am alone.
The rest of the album generally reflects how I felt about that aforementioned run of three songs. Great stuff, definitely great, catchy music and lyrics, just not the standout tracks. Matchbook is good, and a sing-along for sure; I also love the slowdown at the end of the chorus on My Side of Town. This tune will ring true for anyone who feels a certain connection to their hometown, or any town. Get it, Got it, Good is a bit of a harder tune, and I truly enjoy the punk-ness of it. Note has real potential to become my favorite track on the second half of the album with the guitar riffs in the intro and verses. The album closes with This is an Airport Train, and this is also in contention for one of my favorite second-half tracks: such a great chorus. I'm not waiting for you/This time I won't be back again/I'm not waiting for you/Life's not over yet.
This band may have a little growing up and practicing to do, but they have real potential. And as with any rock album in this genre, you need to give it a couple listens to really get it. I know I like this album because every time I hear it, I have different favorites. Don't start off this album by comparing them to any certain band, just listen with an open ear. It may or may not rock your world, but it definitely won't be a waste of your time. The one piece of advice I have to give to this talented band is to change things up a bit more in their songs: more slowdowns, more tension, maybe more minor chords and/or key changes. I sincerely hope the Pop Punk's Not Dead tour drums up some new fans for This Time Next Year, because they deserve it (obviously, or they wouldn't be touring with a legend...duh).
If you haven't heard of this band, here are some tunes to start off with:
From Road Maps: New Sensation, Alex in Wonderland, Liquid Diet (my personal favorite), Rhyme and Reason
From Drop Out: Drop Out of Life, Spoontonic, Modern Day Love Story, Airport Train
Friday, October 14, 2011
Neighborhoods
“I have a really bad problem. I feel like I can do anything in the world.”—Tom DeLonge, in a recent interview for Rolling Stone.
I really liked this quote when I read it because it made me think: what is it about blink-182 that makes them so awesome? Why can they do anything? After 6 albums, a 5 year hiatus, side projects, and almost 20 years since their beginning, why are they more popular now then ever before? Coming from guys just skateboarding and messing around with guitars, this is a band that influenced a generation of music and has become more well-known than almost any other punk band. And now, numerous new-school pop punk and punk bands are citing blink-182 as a huge influence. Best of all, not only are they favorites of multitudes of punk kids and twenty-somethings, but critics have liked their past few albums too.
So how can they manage this? Well, it might be the fact that Travis Barker is the greatest active drummer alive. On the other hand, it could also be that no matter what Tom DeLonge and Mark Hoppus do, they just cannot write a bad song--some people can write good lyrics, and some can write great catchy music, but these guys can do both at once. Every. Single. Song.
Neighborhoods is a genuinely good album. When you hear the first song, you may be confused: Am I listening to blink or Angels and Airwaves? I like Ghost on the Dance Floor a lot, but then I'm a huge AVA fan. When Natives started up, I also got an AVA vibe--maybe because Tom's guitar riff sounds strangely like an AVA song (see: Young London). However, when the verses actually start, it broke more into a blink-182 vibe; then, when Mark joins in the chorus, you know. You know that finally, this is what you've been waiting for.
Up All Night is next, and I love that fact that Tom and Mark have competing lines in the verses. I've always thought one of the greatest things about blink is the fact that Tom and Mark have such drastically different voices, but somehow they are complementary. After Midnight might be one of my favorite songs on the album; it takes a little longer to catch on to when compared to Up All Night, but after a few listens I was obsessed. Snake Charmer comes next, and is hands down one of the catchiest on the album. At first I thought the lyrics were a little...weird, but I find myself humming it literally all the time--can't get it out of my head.
Heart's All Gone Interlude is just what you'd expect it to be. It leads up to and gets you excited for what is undoubtedly the most punk song on the album (you guessed it: Heart's All Gone). Travis goes absolutely insane on this song, and while the song itself might seem slightly out of place when compared to the style of the rest of the album, I don't think the album would have been complete without it. I love the songwriting on this one, and the style of it is going to make a lot of die-hard punk fans happy.
But now is the point in the album where I have to be honest: after Heart's All Gone, the rest of the album is slightly lacking. I've always held the position that the worst blink-182 songs are still close to par with a lot of bands' biggest successes; thus, I'm not saying these songs are bad--in fact they are still great songs--they just aren't as great as the first half of the album. However, this isn't exactly unusual, as blink seems to have a penchant for loading the hits on the first half of their albums.
Wishing Well is a song that has amazing lyrics (I reached for a shooting star, it burned a hole through my hand/ Made its way through my heart, had fun in the promise land) and makes me wish the music was slightly better, but still a great song . Kaleidoscope is what I thought I was waiting for the entire album: a song with Mark on the verses and Tom on the chorus. I'm am a gigantic fan of songs that seem calm and then absolutely explode--absolutely rock your world--on the chorus. However, even though it wasn't what I was expecting, this is my favorite song on the back half of the album. This is Home goes back to AVA-like tones again, and next comes MH 4.18.2011. Since its a Mark-composed song, it sounds more punk again and has a catchy chorus.
Now, we're into the bonus tracks. Love is Dangerous sounds more like AVA than almost anything else on the album, with the exception of Mark's backing vocals (the two singing at the same time marks the high point of the song), but as previously stated I'm an AVA fan so I like it. Fighting the Gravity has definitely got some really cool sounds going on; the whole song is sort of trippy, and its got a catchy chorus so overall I like this one; in fact, the more times I went though the album, the more I found myself looking forward to this song. Even If She Falls is a Tom-led song that is definitely new blink: sometimes a distinction between "new blink" and AVA is hard to make, but this song brings memories of "Not Now." Maybe this isn't the most catchy song on the album, but I'm a big fan of the lyrics.
So, there you have it. I could listen to tracks 1-7 all day long, every day. The rest of the album makes me happy because its blink-182 and is still really good music, but the first half is really where the greatest music lies. I've read reviews where people love the album, and read reviews where people hate the album. I would recommend this album to anyone, but whether you actually like it or not definitely depends on your taste in music. If you don't like the album, I would challenge you to ask yourself whether you would like it if you didn't have any expectations. I think some bad reviews don't stem from it being a bad album, just from the fact that its not as good as the impossibly high expectations. I can say that as a true blink fan, this album may not be their greatest ever, but its still terrific to have blink-182 back in action and Neighborhoods is a great, great new beginning for my favorite band.
Tom, Mark, and Travis: Thank you. I can't tell you how many people I've met who have told me that blink-182 changed their life, or helped them through a particular point in their life, and I'm also one of those people. Hopefully this album represents a long road ahead for blink-182 so they can keep inspiring youth and music lovers everywhere.
I really liked this quote when I read it because it made me think: what is it about blink-182 that makes them so awesome? Why can they do anything? After 6 albums, a 5 year hiatus, side projects, and almost 20 years since their beginning, why are they more popular now then ever before? Coming from guys just skateboarding and messing around with guitars, this is a band that influenced a generation of music and has become more well-known than almost any other punk band. And now, numerous new-school pop punk and punk bands are citing blink-182 as a huge influence. Best of all, not only are they favorites of multitudes of punk kids and twenty-somethings, but critics have liked their past few albums too.
So how can they manage this? Well, it might be the fact that Travis Barker is the greatest active drummer alive. On the other hand, it could also be that no matter what Tom DeLonge and Mark Hoppus do, they just cannot write a bad song--some people can write good lyrics, and some can write great catchy music, but these guys can do both at once. Every. Single. Song.
Neighborhoods is a genuinely good album. When you hear the first song, you may be confused: Am I listening to blink or Angels and Airwaves? I like Ghost on the Dance Floor a lot, but then I'm a huge AVA fan. When Natives started up, I also got an AVA vibe--maybe because Tom's guitar riff sounds strangely like an AVA song (see: Young London). However, when the verses actually start, it broke more into a blink-182 vibe; then, when Mark joins in the chorus, you know. You know that finally, this is what you've been waiting for.
Up All Night is next, and I love that fact that Tom and Mark have competing lines in the verses. I've always thought one of the greatest things about blink is the fact that Tom and Mark have such drastically different voices, but somehow they are complementary. After Midnight might be one of my favorite songs on the album; it takes a little longer to catch on to when compared to Up All Night, but after a few listens I was obsessed. Snake Charmer comes next, and is hands down one of the catchiest on the album. At first I thought the lyrics were a little...weird, but I find myself humming it literally all the time--can't get it out of my head.
Heart's All Gone Interlude is just what you'd expect it to be. It leads up to and gets you excited for what is undoubtedly the most punk song on the album (you guessed it: Heart's All Gone). Travis goes absolutely insane on this song, and while the song itself might seem slightly out of place when compared to the style of the rest of the album, I don't think the album would have been complete without it. I love the songwriting on this one, and the style of it is going to make a lot of die-hard punk fans happy.
But now is the point in the album where I have to be honest: after Heart's All Gone, the rest of the album is slightly lacking. I've always held the position that the worst blink-182 songs are still close to par with a lot of bands' biggest successes; thus, I'm not saying these songs are bad--in fact they are still great songs--they just aren't as great as the first half of the album. However, this isn't exactly unusual, as blink seems to have a penchant for loading the hits on the first half of their albums.
Wishing Well is a song that has amazing lyrics (I reached for a shooting star, it burned a hole through my hand/ Made its way through my heart, had fun in the promise land) and makes me wish the music was slightly better, but still a great song . Kaleidoscope is what I thought I was waiting for the entire album: a song with Mark on the verses and Tom on the chorus. I'm am a gigantic fan of songs that seem calm and then absolutely explode--absolutely rock your world--on the chorus. However, even though it wasn't what I was expecting, this is my favorite song on the back half of the album. This is Home goes back to AVA-like tones again, and next comes MH 4.18.2011. Since its a Mark-composed song, it sounds more punk again and has a catchy chorus.
Now, we're into the bonus tracks. Love is Dangerous sounds more like AVA than almost anything else on the album, with the exception of Mark's backing vocals (the two singing at the same time marks the high point of the song), but as previously stated I'm an AVA fan so I like it. Fighting the Gravity has definitely got some really cool sounds going on; the whole song is sort of trippy, and its got a catchy chorus so overall I like this one; in fact, the more times I went though the album, the more I found myself looking forward to this song. Even If She Falls is a Tom-led song that is definitely new blink: sometimes a distinction between "new blink" and AVA is hard to make, but this song brings memories of "Not Now." Maybe this isn't the most catchy song on the album, but I'm a big fan of the lyrics.
So, there you have it. I could listen to tracks 1-7 all day long, every day. The rest of the album makes me happy because its blink-182 and is still really good music, but the first half is really where the greatest music lies. I've read reviews where people love the album, and read reviews where people hate the album. I would recommend this album to anyone, but whether you actually like it or not definitely depends on your taste in music. If you don't like the album, I would challenge you to ask yourself whether you would like it if you didn't have any expectations. I think some bad reviews don't stem from it being a bad album, just from the fact that its not as good as the impossibly high expectations. I can say that as a true blink fan, this album may not be their greatest ever, but its still terrific to have blink-182 back in action and Neighborhoods is a great, great new beginning for my favorite band.
Tom, Mark, and Travis: Thank you. I can't tell you how many people I've met who have told me that blink-182 changed their life, or helped them through a particular point in their life, and I'm also one of those people. Hopefully this album represents a long road ahead for blink-182 so they can keep inspiring youth and music lovers everywhere.
Taking Back Sunday w/ The Maine and Bad Rabbits
Its Sunday night, at a slightly shady venue just outside St. Louis. I'm about four rows from the stage, and my friends and I turn around and see Adam Lazzara, the man himself, walking around the nightclub. Like he's a normal person. It took everything we had not to run up to him--it typically annoys famous people to be bothered, and the last thing I would ever want to do is annoy Adam Lazzara. Besides, what would I say when I got close? Hey Adam...No, no, I'm not crying tears of joy over meeting you...my allergies are just acting up.
Anyway, after we got over the excitement of seeing the great man himself, it was time for the concert to start. Bad Rabbits opened the show; I'd never listened to this band before and they definitely weren't what I was expecting, but they without a doubt gave it their all. They really seemed to be great musicians--the lead singer had a great voice--and the songs were catchy. They knew how to pump up the crowd. At the end of their set, I may have still been a little confused as to why they were on tour with Taking Back Sunday, but I nevertheless enjoyed their show. These guys know how to party.
The Maine were next, and admittedly I've only listened to a few songs by The Maine, but I really liked those few songs. Therefore, I was excited to see them and find out if they were any good live--unfortunately, I got my answer. I was not really that into their set; they didn't do much to pump up the crowd, and the few things they said appeared to be planned. My favorite song by The Maine is "Into Your Arms," and I was really disappointed that the lead singer didn't even try to hit the high note at the end of the chorus, not once throughout the entire song. Then, "Inside of You," which I always thought was a cute song about getting inside someone's head, getting inside someone's heart, getting inside someone's life, was pretty much ruined for me when the lead singer announced it was about "Having sex. With a female." I'm not even going to get started on the notes he skipped in this song.
I will say that backup vocalist was at least attempting the higher parts, and the drummer and bassist seemed pretty cool. I have to wonder if the lead singer thinks he can do whatever he wants because he's gorgeous and girls will fall over him no matter what. Not I, sir. I will say though, that it wasn't necessarily bad. The instrumentation was overall good--they didn't seem to make many technical errors--and I don't really have many specific gripes except skipping high notes. I was just a little bit bored throughout the set.
Then for the main act. There have been very, very few times in my life when I have been as excited as I was that night waiting for Taking Back Sunday to come out on the stage. They started their show with El Paso, which I love and think is a great opener. I can't remember the order of the songs for the rest of the show, but the order is kind of irrelevant--they placed just about everything I wanted to hear. What I can say is that after El Paso, they without a doubt kept up the energy and the excitement for the rest of the show. My only small disappointment was that with a small venue, such as the one we were at, Adam doesn't really have the room to swing the microphone as much as he normally does (I saw TBS this summer in a slightly larger place and it was incredible--really pumped up the show). But the group still had an awesome dynamic, from John Nolan's banter with Adam to Adam jokingly rubbing Ed Reyes' chest during a song. I particularly loved this because it shows me that the members of the band are actually friends, and its not just a front they are putting on for their fans.
I love that they still play songs like "You Know I Do," even though that's not necessarily one of their most famous tunes. Also, the fact that they do "Existentialism on Prom Night" really gets me; the harder ending they add in makes it even more perfect than it was when only John Nolan was singing it. Basically, I just can't stress enough that they simply put on a fantastic show; when you go to one, you'll understand why I can't really find the right words.
I love that they still play songs like "You Know I Do," even though that's not necessarily one of their most famous tunes. Also, the fact that they do "Existentialism on Prom Night" really gets me; the harder ending they add in makes it even more perfect than it was when only John Nolan was singing it. Basically, I just can't stress enough that they simply put on a fantastic show; when you go to one, you'll understand why I can't really find the right words.
I have to say the greatest part of the night was when Adam made a comment that he can't believe he lets us see how open and emotional he gets during shows--and then after a moment of consideration, saying that he guesses we do the same for him. I think it really means a lot, as a fan, to know that the people in the band still care about the music they are performing--its not just to have something to do, or just to make money. Adam made a great effort to connect with his screaming fans, and the entire group put all they had into the performance.
I realize that I'm prejudiced about TBS, but I truly think that if you like Taking Back Sunday at all, or if you are at least neutral on their music, its worth going to a show. They perform a great mix of old songs and new, and you won't be disappointed by the performances. (They don't skip difficult guitar riffs or drum parts, and they never reject hard vocals--at least I don't think so--I'm usually too busy singing along and getting thrown around by the crowd to pay too much attention.) Even people who aren't really into music would be able to see the joy on Adam Lazzara's smiling face when he lets the crowd finish his lyrics, and sees that 500 screaming fans know every single word. Add in some mic swinging, and those competing vocals, and this is a show that is not to be missed.
I said before in this blog that having a hand on Adam Lazzara during "Cute Without the 'E'" was the best concert moment of my life. Now, I think the best concert moment of my life is holding eye contact with him during "One-Eighty by Summer." It's like he was talking to me when he said "my best side was your worst invention." I know I'll never forget it for the rest of my life.
And I'm already planning to hit at least one stop on their next tour.
And I'm already planning to hit at least one stop on their next tour.
Tuesday, September 27, 2011
Neighborhoods, Part 1
I'm calling this review a "Part 1" because I feel like I need more time to truly get into and understand the new blink-182 album, but I can't ignore that it was released today. I'd feel like a failure if I didn't post something. I'm going to start off by saying that I won't prejudice this blog by overtly revealing who my favorite band is, but if you can't guess it after this blog...
Anyway, I was unfortunately too young when albums like Dude Ranch (1997) and Enema of the State (1999) came out to actually make my own decisions about music and buy my own records. However, I can imagine this is how it went. With Dude Ranch, people who knew about the album probably thought, Wow! what a great punk rock album. And Dammit? One of the greatest punk songs ever. I wonder where this band will go from here. Then came Enema of the State, and I bet people thought, Oh my God. They got better! AND they got a pop punk hit on Top 40 radio! A game-changer, for sure. And their concerts were great, and the blink boys were hilarious, and thus a star was born.
But, like most bands, I bet people thought their records wouldn't get better, wouldn't progress. Most bands don't after all; after coming out with an iconic album, they might have some more great albums, but never up to par with the one that made them famous. But then there was Take Off Your Pants and Jacket (2001). And while hits like Rock Show and First Date sounded like they probably could have been included in Enema, Stay Together for the Kids absolutely rocked my world. Add in the rest of the songs on the record, and this album was somehow, crazily, another icon in the pop punk/alt punk genre. At this point, most people were probably thinking, Well this is it. There is absolutely NO WAY they can get better.
And then...self-titled. With this album, I personally feel that blink-182 rose above their pop punk roots (in a good way) and showed the world what they were really made of, and what they had learned from their past albums. For me, this is my favorite album of all time. No one could seem to classify this album, and I read a lot of reviews because I was trying to figure it out myself. It wasn't really punk anymore, but what was it? It was like they took punk and twisted its arm until it spit out its absolute best elements; then they added in their impressive songwriting and musical imagination, and came out with something indescribable. This album, it turned out, would actually be blink's legacy in the eyes of many people.
So when blink-182 broke up and devastated millions of teens and 20-somethings, I was mostly upset because I didn't think I would ever hear anything comparable to that album ever again. From anyone.
Needless to say, all these ramblings have been leading up to Neighborhoods--the very first blink-182 album to come out since the eponymous record. Does it live up to the extraordinarily high expectations? The expectations placed on it by fans, critics, and the record label? Could this be the album that inspires masses of youth to start listening to blink? In my honest opinion...it could. I'm not saying it will, but it has that potential. Its another game-changer, mixing Tom's space rock with some of Mark's indie and Travis' hip-hop. I'm not sure that every song will be a hit, a fan favorite, but there are some real gems on there. In my initial run-throughs, I love "After Midnight," "Hearts All Gone," and of course "Up All Night." I've also been drawn to "Even If She Falls," although I definitely haven't disliked any of the songs yet either.
So are you wondering if its good enough? Give it a listen. If it doesn't have you convinced to keep listening by the first few tracks, then you might not really like blink, or rock in general, because I think this album is the eventual progression from their past. Oh, and to those upset, saying blink-182 is a sellout? A sellout continues to make the same music over and over to please their fans and make money without really trying to do anything new, or real. Blink-182, on the other hand, is always progressing, and not worrying about what anyone thinks--and not so shockingly, it has always worked out for them, and probably always will.
Anyway, I was unfortunately too young when albums like Dude Ranch (1997) and Enema of the State (1999) came out to actually make my own decisions about music and buy my own records. However, I can imagine this is how it went. With Dude Ranch, people who knew about the album probably thought, Wow! what a great punk rock album. And Dammit? One of the greatest punk songs ever. I wonder where this band will go from here. Then came Enema of the State, and I bet people thought, Oh my God. They got better! AND they got a pop punk hit on Top 40 radio! A game-changer, for sure. And their concerts were great, and the blink boys were hilarious, and thus a star was born.
But, like most bands, I bet people thought their records wouldn't get better, wouldn't progress. Most bands don't after all; after coming out with an iconic album, they might have some more great albums, but never up to par with the one that made them famous. But then there was Take Off Your Pants and Jacket (2001). And while hits like Rock Show and First Date sounded like they probably could have been included in Enema, Stay Together for the Kids absolutely rocked my world. Add in the rest of the songs on the record, and this album was somehow, crazily, another icon in the pop punk/alt punk genre. At this point, most people were probably thinking, Well this is it. There is absolutely NO WAY they can get better.
And then...self-titled. With this album, I personally feel that blink-182 rose above their pop punk roots (in a good way) and showed the world what they were really made of, and what they had learned from their past albums. For me, this is my favorite album of all time. No one could seem to classify this album, and I read a lot of reviews because I was trying to figure it out myself. It wasn't really punk anymore, but what was it? It was like they took punk and twisted its arm until it spit out its absolute best elements; then they added in their impressive songwriting and musical imagination, and came out with something indescribable. This album, it turned out, would actually be blink's legacy in the eyes of many people.
So when blink-182 broke up and devastated millions of teens and 20-somethings, I was mostly upset because I didn't think I would ever hear anything comparable to that album ever again. From anyone.
Needless to say, all these ramblings have been leading up to Neighborhoods--the very first blink-182 album to come out since the eponymous record. Does it live up to the extraordinarily high expectations? The expectations placed on it by fans, critics, and the record label? Could this be the album that inspires masses of youth to start listening to blink? In my honest opinion...it could. I'm not saying it will, but it has that potential. Its another game-changer, mixing Tom's space rock with some of Mark's indie and Travis' hip-hop. I'm not sure that every song will be a hit, a fan favorite, but there are some real gems on there. In my initial run-throughs, I love "After Midnight," "Hearts All Gone," and of course "Up All Night." I've also been drawn to "Even If She Falls," although I definitely haven't disliked any of the songs yet either.
So are you wondering if its good enough? Give it a listen. If it doesn't have you convinced to keep listening by the first few tracks, then you might not really like blink, or rock in general, because I think this album is the eventual progression from their past. Oh, and to those upset, saying blink-182 is a sellout? A sellout continues to make the same music over and over to please their fans and make money without really trying to do anything new, or real. Blink-182, on the other hand, is always progressing, and not worrying about what anyone thinks--and not so shockingly, it has always worked out for them, and probably always will.
Thursday, September 22, 2011
Bad Habits
So this summer at Warped Tour, I was lucky enough to not only catch Every Avenue's set, but also get my ticket signed by them. I got to their tent just in time...to realize I had forgotten both my EA albums. Also, I wasn't allowed to take a picture with them. Is that a joke? Sigh. It would have made a great profile picture...
So, even though I got no picture and no albums signed, I still think Every Avenue is awesome and obviously bought Bad Habits. And after I could bear to remove A Day to Remember from my CD player, it was the first thing I listened to. I was really surprised, in a good way. The first song, "Tie Me Down" assuaged all my fears that Every Avenue may have changed. I didn't want them to go with that trend of auto-tune and sounding ever more poppy...not going to mention any names...
But the album is really, really good. "Tie Me Down" is the lead in to what is definitely tied for my favorite song on the album: "Whatever Happened to You." With this song, listeners are introduced to a different aspect of Dave Strauchman's voice; he is nearly screaming during these verses, and I love it; it has so much feeling. Then "There Tonight" comes in, and its a change from the past two songs, which is great--keeps life interesting. "Fall Apart" is also a favorite of mine from this album and is so catchy, I couldn't get it out of my head even before I really knew the words. How annoying!
"No One But You" is a good song, although it was a little anticlimactic; the verses were a lot better than the chorus. However, it doesn't matter because "Only Place I Call Home" comes next. Basically, it has the impact of getting punched in the face, but feels as good as the first day of spring. The chorus is a great complementing contrast to the verses, and Dave's falsetto is better than expected. He really pushes his voice and shows his talent through the whole chorus. "Someday Somehow" is also a really good song, and I like the lyrics and the meaning behind them (however, the lyrics are about staying home and not touring, which scares me a little). "Hit Me Where It Hurts" is catchy, as is "Watch the World." The real gem towards the end of the album, though, is "I Can't Not Love You." This song is actually soulful. I love the piano, and the vocals, and the songwriting...its such a positive step from their last slow-down, "Between You and I," and that song was really pretty good to begin with.
In conclusion, this album definitely borders more on rock, and slightly punk, than pop. I think its great, and a surprising album after the release of Picture Perfect. My favorite Every Avenue song up to this point has always been "Empty Room," but I might have to revise that decision after listening to this album a few more times. Shout out to Dave's mega-talented voice, and the rest of the guys for the awesome contributions in guitars, percussion, and songwriting. (Also, shout out to Joshua Withenshaw, who was especially nice when I met the band this summer--fans always remember that.)
Overall, great job on Bad Habits. I'm recommending this album to anyone who likes music, or just general happiness.
So, even though I got no picture and no albums signed, I still think Every Avenue is awesome and obviously bought Bad Habits. And after I could bear to remove A Day to Remember from my CD player, it was the first thing I listened to. I was really surprised, in a good way. The first song, "Tie Me Down" assuaged all my fears that Every Avenue may have changed. I didn't want them to go with that trend of auto-tune and sounding ever more poppy...not going to mention any names...
But the album is really, really good. "Tie Me Down" is the lead in to what is definitely tied for my favorite song on the album: "Whatever Happened to You." With this song, listeners are introduced to a different aspect of Dave Strauchman's voice; he is nearly screaming during these verses, and I love it; it has so much feeling. Then "There Tonight" comes in, and its a change from the past two songs, which is great--keeps life interesting. "Fall Apart" is also a favorite of mine from this album and is so catchy, I couldn't get it out of my head even before I really knew the words. How annoying!
"No One But You" is a good song, although it was a little anticlimactic; the verses were a lot better than the chorus. However, it doesn't matter because "Only Place I Call Home" comes next. Basically, it has the impact of getting punched in the face, but feels as good as the first day of spring. The chorus is a great complementing contrast to the verses, and Dave's falsetto is better than expected. He really pushes his voice and shows his talent through the whole chorus. "Someday Somehow" is also a really good song, and I like the lyrics and the meaning behind them (however, the lyrics are about staying home and not touring, which scares me a little). "Hit Me Where It Hurts" is catchy, as is "Watch the World." The real gem towards the end of the album, though, is "I Can't Not Love You." This song is actually soulful. I love the piano, and the vocals, and the songwriting...its such a positive step from their last slow-down, "Between You and I," and that song was really pretty good to begin with.
In conclusion, this album definitely borders more on rock, and slightly punk, than pop. I think its great, and a surprising album after the release of Picture Perfect. My favorite Every Avenue song up to this point has always been "Empty Room," but I might have to revise that decision after listening to this album a few more times. Shout out to Dave's mega-talented voice, and the rest of the guys for the awesome contributions in guitars, percussion, and songwriting. (Also, shout out to Joshua Withenshaw, who was especially nice when I met the band this summer--fans always remember that.)
Overall, great job on Bad Habits. I'm recommending this album to anyone who likes music, or just general happiness.
Saturday, September 17, 2011
Tell All Your Friends to Get the New Album.
"It doesn't feel a thing like falling." Actually, when I fell in love with Taking Back Sunday's latest album, it did feel a little bit like falling...like falling off a cliff and landing in a refreshing pool of great music.
I had honestly lost a little faith in Taking Back Sunday after New Again. It did have some good songs, but as a whole was not up to par with their previous releases. Then, a friend who is an avid TBS fan informed me earlier this year that they were back to their original line-up; I was so excited I may or may not have listened to Tell All Your Friends for the entire next week. The same guy loaned me their new self-titled release when it came out, and I remember tentatively placing it in my car's CD player the next morning. This was one album I was actually worried about not liking--I needed Taking Back Sunday back in my life.
Well, I didn't need to worry. "El Paso" hit me like a ton of bricks. The slow verses and screaming choruses actually remind me a little bit of Nirvana, and show a really mature quality to Adam Lazzara's voice. The next song on the album is "Faith (When I Let You Down)," and I found the lyrics incredible. I interpret it as a really cool love song: "Don't lose your faith in me...I'm not going anywhere!" John Nolan in the background along with the chorus of voices at the beginning and end also give this song a really spectacular quality.
Luckily, I had already bought a ticket to their headlining tour, because even after these first two songs I was so excited. I only made it through the first four songs on my way to work that morning, and I was kicking myself the whole day for not uploading it to my iPod so I could keep listening. I did manage to listen to the whole album that night...and the next day, and the next...
If I had to pick other favorites from the album, my choices would be "It Doesn't Feel a Thing like Falling," "This is All Now," and "Since You're Gone." In the latter, Lazzara puts so much feeling into the choruses; it paints a clear picture of a man in pain about someone. Also, "Falling" has the best guitar intro, in case you were wondering.
All in all, you can't go wrong with this album. Every single song is above average, and most reach the status of being great. Taking Back Sunday shows their maturity with this album, but still incorporates so many of the aspects that gained them most of their fans in the first place. Nolan's back-up vocals are again the perfect accompaniment to Lazzara; TBS's affinity for using multiple voices in songs has always been one of my favorite things about them. Maybe the best part about this album is that it belongs on the shelves of all rock fans--not just the punk rock fanatics anymore.
Also, as a side note, they are fantastic live. They have so much fun and get the crowd involved, but they don't lose track of playing the music well. When I went, Lazzara crowd surfed all the way to the back of the room and up to the front again. I had my hand on his shoulder for part of "Cute Without the E," and it was probably the best concert experience of my life. And if you've never seen him do his signature microphone swinging, you need to put "attending a Taking Back Sunday concert" at the top of your to-do list. I went so crazy at the concert I was dehydrated and sick for a week, and my phone was water damaged from sweat. Worth it.
I had honestly lost a little faith in Taking Back Sunday after New Again. It did have some good songs, but as a whole was not up to par with their previous releases. Then, a friend who is an avid TBS fan informed me earlier this year that they were back to their original line-up; I was so excited I may or may not have listened to Tell All Your Friends for the entire next week. The same guy loaned me their new self-titled release when it came out, and I remember tentatively placing it in my car's CD player the next morning. This was one album I was actually worried about not liking--I needed Taking Back Sunday back in my life.
Well, I didn't need to worry. "El Paso" hit me like a ton of bricks. The slow verses and screaming choruses actually remind me a little bit of Nirvana, and show a really mature quality to Adam Lazzara's voice. The next song on the album is "Faith (When I Let You Down)," and I found the lyrics incredible. I interpret it as a really cool love song: "Don't lose your faith in me...I'm not going anywhere!" John Nolan in the background along with the chorus of voices at the beginning and end also give this song a really spectacular quality.
Luckily, I had already bought a ticket to their headlining tour, because even after these first two songs I was so excited. I only made it through the first four songs on my way to work that morning, and I was kicking myself the whole day for not uploading it to my iPod so I could keep listening. I did manage to listen to the whole album that night...and the next day, and the next...
If I had to pick other favorites from the album, my choices would be "It Doesn't Feel a Thing like Falling," "This is All Now," and "Since You're Gone." In the latter, Lazzara puts so much feeling into the choruses; it paints a clear picture of a man in pain about someone. Also, "Falling" has the best guitar intro, in case you were wondering.
All in all, you can't go wrong with this album. Every single song is above average, and most reach the status of being great. Taking Back Sunday shows their maturity with this album, but still incorporates so many of the aspects that gained them most of their fans in the first place. Nolan's back-up vocals are again the perfect accompaniment to Lazzara; TBS's affinity for using multiple voices in songs has always been one of my favorite things about them. Maybe the best part about this album is that it belongs on the shelves of all rock fans--not just the punk rock fanatics anymore.
Also, as a side note, they are fantastic live. They have so much fun and get the crowd involved, but they don't lose track of playing the music well. When I went, Lazzara crowd surfed all the way to the back of the room and up to the front again. I had my hand on his shoulder for part of "Cute Without the E," and it was probably the best concert experience of my life. And if you've never seen him do his signature microphone swinging, you need to put "attending a Taking Back Sunday concert" at the top of your to-do list. I went so crazy at the concert I was dehydrated and sick for a week, and my phone was water damaged from sweat. Worth it.
Friday, September 16, 2011
A "We the Kings" State of Mind
My background on We the Kings music began a couple of years ago, when I heard they were coming to my college campus to play a free show. I had previously only vaguely heard their radio hit "Check Yes Juliet," but I figured a show is a show. I turned to YouTube for help, and the first hit that came up when I searched "We the Kings" was some song called "Skyway Avenue."
I listened to "Skyway Avenue" all the way through, and afterwards just sat at my desk with my mouth hanging open. Replay! Replay!! I couldn't believe what I was hearing--how was I such a newcomer to such a great band?! The next night I went to the free show, caught the pick Travis Clark used when they played "Skyway Avenue," and to this day its hanging on the wall I'm facing as I type this--and that song is still in my Top 10 favorite songs of all time. (Pretty hard list to make when blink-182 alone takes 3 of those spots.)
After that night, I listened to the self-titled album over and over. I was definitely a fan, and bought Smile Kid when it came out. I would be lying if I said I didn't like that album; it has some great songs, specifically "The Story of Your Life" and "Anna Maria." I maybe wasn't as crazy about Smile Kid as I was about the self-titled album, but I thought hey! every band changes.
Also, at this point, I'd heard enough We the Kings to convince me that nobody, ever, has incorporated the bridges that WTK does, and seems to put in almost every song. Its truly insane. They change keys, they get heavier, and sometimes the lyrics even get deeper. And I think that's what saving me from crossing the line with Sunshine State of Mind--the line between liking it and just feeling blah about it.
This album is catchy. Its poppy. Its super, super polished. And its...sort of lacking in substance. I wish I could say I wasn't expecting it. We the Kings is a great, incredibly talented band, but in my honest opinion, I think they need to go back to their roots if they want to stay as successful as they are currently. "Check Yes Juliet" caught everyone's attention, as did "We'll Be A Dream." These may have been more pop hits than alternative or punk rock, but I can guarantee the kids standing front row at your shows are also waiting for your less commercial hits, too.
I know that "Friday is Forever" is the headlining single from this album, but I've heard them do better. However, the album isn't bad, and while not groundbreaking, I think most would definitely find it somewhat enjoyable. I particularly like the slow tune, "The View From Here," and also "Kiss Me Last," "Somebody to Call My Own," "Say You Like Me," and "The Secret to New York." Most of the ones I like include a great bridge--again, how do you do that? The slowdown in the bridge during "Secret to New York" might be my favorite moment on the whole album. If you are into the type of pop-inspired, immediately catchy, ready-for-radio tunes, then you'll probably be into this album; its just not my cup of tea.
I love the We the Kings and I want to see them succeed and get even more popular, so that's why I feel the need to dole out a little bit of tough love. They need to start focusing on their next album, and instead of going even more pop and commercial, they need to regroup and come out with another great album. My bottom line is, don't be afraid to push the boundaries--playing in safe territory is not going to get you that next definitive album or song. I think some bands reach fame and have all these amazing fans, and they forget which albums and songs made them famous in the first place. We the Kings: you are a great, talented band who I'm rooting for--for your next album, I am hoping you release something that lives up to what I've come to expect from you.
I listened to "Skyway Avenue" all the way through, and afterwards just sat at my desk with my mouth hanging open. Replay! Replay!! I couldn't believe what I was hearing--how was I such a newcomer to such a great band?! The next night I went to the free show, caught the pick Travis Clark used when they played "Skyway Avenue," and to this day its hanging on the wall I'm facing as I type this--and that song is still in my Top 10 favorite songs of all time. (Pretty hard list to make when blink-182 alone takes 3 of those spots.)
After that night, I listened to the self-titled album over and over. I was definitely a fan, and bought Smile Kid when it came out. I would be lying if I said I didn't like that album; it has some great songs, specifically "The Story of Your Life" and "Anna Maria." I maybe wasn't as crazy about Smile Kid as I was about the self-titled album, but I thought hey! every band changes.
Also, at this point, I'd heard enough We the Kings to convince me that nobody, ever, has incorporated the bridges that WTK does, and seems to put in almost every song. Its truly insane. They change keys, they get heavier, and sometimes the lyrics even get deeper. And I think that's what saving me from crossing the line with Sunshine State of Mind--the line between liking it and just feeling blah about it.
This album is catchy. Its poppy. Its super, super polished. And its...sort of lacking in substance. I wish I could say I wasn't expecting it. We the Kings is a great, incredibly talented band, but in my honest opinion, I think they need to go back to their roots if they want to stay as successful as they are currently. "Check Yes Juliet" caught everyone's attention, as did "We'll Be A Dream." These may have been more pop hits than alternative or punk rock, but I can guarantee the kids standing front row at your shows are also waiting for your less commercial hits, too.
I know that "Friday is Forever" is the headlining single from this album, but I've heard them do better. However, the album isn't bad, and while not groundbreaking, I think most would definitely find it somewhat enjoyable. I particularly like the slow tune, "The View From Here," and also "Kiss Me Last," "Somebody to Call My Own," "Say You Like Me," and "The Secret to New York." Most of the ones I like include a great bridge--again, how do you do that? The slowdown in the bridge during "Secret to New York" might be my favorite moment on the whole album. If you are into the type of pop-inspired, immediately catchy, ready-for-radio tunes, then you'll probably be into this album; its just not my cup of tea.
I love the We the Kings and I want to see them succeed and get even more popular, so that's why I feel the need to dole out a little bit of tough love. They need to start focusing on their next album, and instead of going even more pop and commercial, they need to regroup and come out with another great album. My bottom line is, don't be afraid to push the boundaries--playing in safe territory is not going to get you that next definitive album or song. I think some bands reach fame and have all these amazing fans, and they forget which albums and songs made them famous in the first place. We the Kings: you are a great, talented band who I'm rooting for--for your next album, I am hoping you release something that lives up to what I've come to expect from you.
Wednesday, September 14, 2011
I'm Through Thinking
"Do you remember when I said you were my Only One?" I do. I remember rocking out to that like it was yesterday. Actually, it probably was yesterday.
When you're through thinking about whether you should listen to Yellowcard's latest album...say yes. Now, I realize this album isn't brand new, but it has come to my attention that not enough people have given this album a listen. Even some people proclaiming themselves die-hard YC fans haven't even checked it out. Really?! So I'm going to review it anyway. Deal with it.
Let's start off by saying that while there were definitely great songs on Lights and Sounds and Paper Walls, I didn't think either album as a whole was spectacular. I still listen to them frequently (if i want violin rock, where else am I supposed to turn?) but it is obvious that the small time-out Yellowcard took was beneficial.
My favorite song on the whole entire album is "With You Around." This song alone makes the album worthwhile...and makes me wonder which Saves the Day record they're talking about. (Hence, it was mighty disappointing this spring when they played "Hang You Up" instead on their tour. Hello, that's my least favorite song on the album. Whatever.) First runners up are definitely "Hide," "See Me Smiling," and "Soundtrack," although all of the songs are really pretty good. "For You and Your Denial," and "The Sound of You and Me" get stuck in my head and "Sing for Me" is a nice ballad-ish tune.
In conclusion, I would definitely, definitely check out this album especially if you've been a Yellowcard fan in the past. We're never going to get back to Ocean Avenue, but the face of pop punk is changing, and besides, that album is just plain historic. When You're Through Thinking, Say Yes makes me happy because it brings back some of the roots of Yellowcard, but stays current. Just try not to look like a loser on the street when you're accidentally headbanging to it on your iPod.
Also, happy 10-year anniversary to Yellowcard on One for The Kids. I freaking love that album...okay, I love at least like 4 songs on it.
When you're through thinking about whether you should listen to Yellowcard's latest album...say yes. Now, I realize this album isn't brand new, but it has come to my attention that not enough people have given this album a listen. Even some people proclaiming themselves die-hard YC fans haven't even checked it out. Really?! So I'm going to review it anyway. Deal with it.
Let's start off by saying that while there were definitely great songs on Lights and Sounds and Paper Walls, I didn't think either album as a whole was spectacular. I still listen to them frequently (if i want violin rock, where else am I supposed to turn?) but it is obvious that the small time-out Yellowcard took was beneficial.
My favorite song on the whole entire album is "With You Around." This song alone makes the album worthwhile...and makes me wonder which Saves the Day record they're talking about. (Hence, it was mighty disappointing this spring when they played "Hang You Up" instead on their tour. Hello, that's my least favorite song on the album. Whatever.) First runners up are definitely "Hide," "See Me Smiling," and "Soundtrack," although all of the songs are really pretty good. "For You and Your Denial," and "The Sound of You and Me" get stuck in my head and "Sing for Me" is a nice ballad-ish tune.
In conclusion, I would definitely, definitely check out this album especially if you've been a Yellowcard fan in the past. We're never going to get back to Ocean Avenue, but the face of pop punk is changing, and besides, that album is just plain historic. When You're Through Thinking, Say Yes makes me happy because it brings back some of the roots of Yellowcard, but stays current. Just try not to look like a loser on the street when you're accidentally headbanging to it on your iPod.
Also, happy 10-year anniversary to Yellowcard on One for The Kids. I freaking love that album...okay, I love at least like 4 songs on it.
Tuesday, September 13, 2011
Am I The Enemy? RJA's Latest Release
When I think Red Jumpsuit Apparatus, it automatically takes me back to high school. We couldn't get enough of False Pretense, Guardian Angel, and of course Damn Regret and Seventeen. I waited three long years after that for RJA to release another album and finally secure their spot as one of my favorite bands. Unfortunately this didn't happen: Lonely Road happened instead.
I'm not saying that album was necessarily bad--it just was not up to par with Don't You Fake It. Sure, it had a few good songs, and showed off Ronnie Winter's impressive voice in a couple (which I have yet to experience live--what kind of headliner plays Warped before 3 p.m.?! Ridiculous. My greatest disappointment of '07, people).
Anyway. Moving on. With Am I The Enemy, I don't think RJA has quite gotten back to Don't You Fake It territory, but they've sure come close. (Clarification! I know everyone hates when people expect bands to stay the same. "Of course the album is different! They've matured! How dare you insult their evolving creative genius?!" I'm not expecting another album like the first, just another album as good as the first.)
I really like this album. I first listened to it on Spotify (if you don't have Spotify, you need it like yesterday) and I might actually have to buy it. This album is full of what I would call power choruses, and RJA gets back to a bit of screaming in a couple of songs. And in classic Red Jumpsuit form, they've got that softer tune on the record, and I think Dive Too Deep is great. I'm a fan of Reap (one complaint: the non-screamo version for the radio edit...hmm) along with Salvation and Wake Me Up. Dreams has a really strong intro, and Where are the Heroes has a really cool breakdown. Fall From Grace is harder, more screamo again, and Choke is an overall mediocre song, but has a great ending.
What songs are left? Am I the Enemy, Angel in Disguise, and Don't Lose Hope are all good songs also, and add to the overall album; they just didn't stick out to me in particular. One more note: if you're listening to the album and not realizing how versatile and gifted Ronnie Winter's voice is, from screaming to high notes, then you're not listening hard enough. Or you've just never tried singing. Whatevs.
Final ruling on this album is LISTEN TO IT. That's like, not as good as BUY IT NOW, but substantially better than IF YOU HAVE TIME. If you've been a fan of RJA in the past and been wishing for a real follow up to Don't You Fake It, I think this is as close as you're going to get. A few more listens to this album might put RJA right back in their place of favor with me...where I've always felt they could be someday.
I'm not saying that album was necessarily bad--it just was not up to par with Don't You Fake It. Sure, it had a few good songs, and showed off Ronnie Winter's impressive voice in a couple (which I have yet to experience live--what kind of headliner plays Warped before 3 p.m.?! Ridiculous. My greatest disappointment of '07, people).
Anyway. Moving on. With Am I The Enemy, I don't think RJA has quite gotten back to Don't You Fake It territory, but they've sure come close. (Clarification! I know everyone hates when people expect bands to stay the same. "Of course the album is different! They've matured! How dare you insult their evolving creative genius?!" I'm not expecting another album like the first, just another album as good as the first.)
I really like this album. I first listened to it on Spotify (if you don't have Spotify, you need it like yesterday) and I might actually have to buy it. This album is full of what I would call power choruses, and RJA gets back to a bit of screaming in a couple of songs. And in classic Red Jumpsuit form, they've got that softer tune on the record, and I think Dive Too Deep is great. I'm a fan of Reap (one complaint: the non-screamo version for the radio edit...hmm) along with Salvation and Wake Me Up. Dreams has a really strong intro, and Where are the Heroes has a really cool breakdown. Fall From Grace is harder, more screamo again, and Choke is an overall mediocre song, but has a great ending.
What songs are left? Am I the Enemy, Angel in Disguise, and Don't Lose Hope are all good songs also, and add to the overall album; they just didn't stick out to me in particular. One more note: if you're listening to the album and not realizing how versatile and gifted Ronnie Winter's voice is, from screaming to high notes, then you're not listening hard enough. Or you've just never tried singing. Whatevs.
Final ruling on this album is LISTEN TO IT. That's like, not as good as BUY IT NOW, but substantially better than IF YOU HAVE TIME. If you've been a fan of RJA in the past and been wishing for a real follow up to Don't You Fake It, I think this is as close as you're going to get. A few more listens to this album might put RJA right back in their place of favor with me...where I've always felt they could be someday.
Monday, September 12, 2011
The Beginning
I love music and I love to talk about it, but let's be real: talking about music to your friends who aren't interested becomes increasingly less fun as the days go by.
Me: "Have you heard the new album from [fill in artist]?"
Friend: "...What's an album?"
So, I've decided to unleash my opinions, wanted or not, into the internet world. I'll be reviewing new music in a somewhat timely fashion, and while I'll focus mostly on rock (go with what you know), I'll touch on a little bit of everything. I hope you don't agree with everything I say...that would get boring.
Read. Comment. Enjoy. Learn something new.
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