Review: Daphne Loves Derby – Good Night, Witness Light

Daphne Loves Derby - Good Night, Witness Light

Believe me; I’m well aware what I am getting myself into by reviewing Daphne Loves Derby’s newest. There is a clear and present divide on this band and for good reason. Their early development in the maturity department, to an extent that surpasses bands twice their age, is an instant attraction to some. With that maturity, however, comes a fairly uninteresting byproduct in some cases and this being one of them. Their execution just can’t juggle it, unfortunately. Good Night, Witness Light is more or less a slightly modified revision of the same material these guys have been cranking out since ‘03. There is some slight newfound clarity in various instances, but not enough for those who found nothing of interest on On the Strength of All Convinced. Those who got off to the band’s first proper full-length, however, are more than likely going to be surprised with what this Seattle trio has crafted this time around. 

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Review: The Almost – Southern Weather

The Almost - Southern Weather

Over the past few years, many lead singers from various bands have started up their own solo project, and while it’s not a new concept, it has been gaining steam recently in the scene. From Dustin Kensrue to Gabe Saporta, some have had great success (Chris Carrabba and Ben Gibbard) to not so much (Claudio Sanchez). Regardless of end results, though, many artists still try their hand at the solo career. The latest to try his luck is Underoath drummer and vocalist Aaron Gillespie, who will be releasing his solo debut, Southern Weather, under the name The Almost through the collaborate efforts of Virgin and Tooth & Nail Records.

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Review: Modest Mouse – We Were Dead Before the Ship Even Sank

Modest Mouse - We Were Dead Before the Ship Even Sank

Allusions to death and the afterlife, crass cynicism, and pessimistic wordplay were all wonderful lyrical role models for my first foray into indie rock. This venture oddly enough began in an American Eagle at Georgia’s North Point Mall. Feeling the need for a new array of corporate spun polo-tees led me into the brightly lit, heavily perfumed AE showroom. It was fate, as I see it, that Modest Mouse’s “Float On” came tumbling out of the store’s speakers that day. Coming out of that mall a few hours later I was a changed boy. No longer worried about whom I’d impress the next day at school, I set to work on finding out more about this band that had just opened up my ears. Little by little, This is a Long Drive For Someone With Nothing To Think AboutThe Lonesome Crowded West, and The Moon and Antarctica slowly found their way into my, at that time, virtually empty CD shelf. Long story short, I would find myself exploring decrepit fan-sites, a lacking official website, and countless forums that touched and went on the band. The lack of information didn’t keep me from learning to play “Dramamine” on my bass, annotating themes and symbolism in “3rd Planet” and utterly worshipping “Styrofoam Boots”. All of the latter because of a humbly-formed, Issaquah based, angular indie-rock band by the name of Modest Mouse. Today I consider myself somewhat of an expert on the band and well-connected with the majority of the indie scene because of my beginnings with Isaac Brock and Co. Now, well after four full-lengths, four proper EPs, two B-side albums, and an official bootleg have been released by Washington’s finest, we are met with We Were Dead Before the Ship Even Sank. If Brock’s perpetual use of allusions to death and the afterlife, crass cynicism, and pessimistic wordplay has taught me anything; it’s that his genius is outright timeless and one of the reasons I write for this site today. 

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