Review: Gym Class Heroes – The Quilt

Drew Beringer Sep 7, 2008

When Gym Class Heroes released 2006’s As Cruel As School Children, it wasn’t perceived immediately as being a big hit. The band had their core fan base, but the focus was more on labelmates Fall Out Boy, Panic At The Disco, and The Academy Is…. Then the band released a remix cut of “Cupid’s Chokehold,” which was originally featured on 2005’s Papercut Chronicles. That song turned everything around for the band, as Travis McCoy and company crashed the mainstream.

GCH look to continue that same line of success while progressing as a band with the release of The Quilt, but what we hear throughout the album is that that line is hard to toe, as the band falls off every now and then.

Drew Beringer Sep 1, 2008

Why do we fall, sir? So that we might learn to pick ourselves up.
Alfred Pennyworth, Batman Begins

When I look back on what has occurred around Underoath over the past two years, this is one quote I think of. There were plenty of highlights in Camp UO, such as 2006’s Define The Great Line being certified gold and debuting at number two on the Billboard. But all of that seemed to get overshadowed with the band’s sudden drop off that summer’s Warped Tour, the near break-up of the band, and vocalist Spencer Chamberlain’s battle with substance abuse and past and present demons. It was a dark time for the Florida sextet. But they fought through it and came out of it stronger than ever – armed with their sixth studio album, Lost In The Sound Of Separation, just waiting to unleash it on the world.

Drew Beringer Aug 5, 2008

Norma Jean vocalist Cory Brandan explains The Anti Mother as “The Anti Mother is a character we created which represents anything that is deceptive, and yet possesses an outwardly beautiful nature.” Which makes sense, as the fourth album from the metalcore staple is the most melodic album they’ve created. Going back to work with Redeemerproducer Ross Robinson, the band has learned how to channel that aggressiveness into something more melodic, while still being just as destructive as before. How this turns out on disc is yet to be heard.

“Vipers, Snakes, and Actors” begin the showdown in fine Norma Jean fashion: Brandan’s growl is overpowering, the drums hit like Josh Hamilton, and the guitar chords could be arrested for causing a domestic disturbance. “Self-Employed Chemist” features Brandan’s singing skills and musically it sounds like something off a From First To Last album. It’s not my favorite song, but it is rather catchy. “Birth Of The Anti Mother” is rambunctious, with a dizzying guitar and bass combo. It’s an auditory beatdown, as Brandan screams “We came for blood!,” while “Death Of The Anti Mother” is a slower, sludgy song, putting the dismay on display.

Drew Beringer Jul 17, 2008

Pop-punk is dead.

Okay, so maybe that isn’t as great or grand as the statement Nas made in 2007 about hip-hop, but it still applies here. Once a genre full of camaraderie, energy, and statements has become stale, as bands are more concerned with their neon clothes, swooping hair cuts, and which 17 year old groupie they are going to nail tonight. Pop punk is dead. And like Nas tried to resurrect his genre, we need a band that can breathe new life into pop-punk.

This band is Valencia.

The band’s debut, 2005’s This Could Be A Possibility, was overall a good album, displaying themes and vibes that brought back memories of quality pop-punk, but their Columbia Records debut, We All Need A Reason To Believe takes the Philadelphia quintet’s sound to the next level. Produced by Ariel Rechtshaid (We Are Scientists, Plain White T’s), We All Need A Reason To Believe features eleven tracks that are fast, raw, and pack an emotional punch the majority of the bands in the genre fail to generate.

Drew Beringer Jul 12, 2008

To have the “perfect” night, you need to make sure you hit all the criteria.

Is the sun setting and is there a light breeze?

Check.

Are my closest friends with me and am I drinking my favorite brew?

Check.

Is the soundtrack to the perfect night spinning in my stereo?

You can only check this off if said soundtrack is Stay Positive, the fourth studio album from The Hold Steady.

The Brooklyn quintet has a knack for spinning intricate tales of drinking, friendship, the good times and the bad. Vocalist and guitarist Craig Finn is a master at his craft; his vocals are gruff yet inviting, his lyrics deep yet simple. Produced by John Agnello, Stay Positive is eleven tracks chock full of big riffs, beautiful keys, and raw energy throughout.

Drew Beringer Jul 8, 2008

Just when I thought you couldn’t get any dumber, you go and do something like this… and totally redeem yourself!
Harry Dunne

When you saw the link to my Finch review, you probably thought to yourself, “oh, Drew will probably talk about how Say Hello To Sunshine alienated so many fans and in some way was a cause to the band initially breaking up, blah, blah, blah.” But I will do no such thing, instead I fooled you with a Dumb and Dumber quote! Just like that adventure Harry Dunne and Lloyd Christmas made cross-country to return that briefcase (Samsonite! I was way off! I knew it started with an S, though.), Finch’s journey has been one of up’s and down’s. But the California quintet (Hmmm, California! Beautiful!) have fought through all their adversity to release the best Finch material to date.

Drew Beringer Jun 30, 2008

“This is so bad.”

“This is my least favorite record by them.”

“They’re dead to me.”

“Maybe they should just break up.”

These were just some of the general reactions to Alkaline Trio’s 2005 release, Crimson. Many longtime fans of the band disliked it; they didn’t like the dynamics, the vibe, the atmosphere. It was “too goth.” The list continues. Quite frankly, this very reviewer enjoyedCrimson, sure it wasn’t their best work, but it was far from horrible. Now three years have passed, and the Chicago punk vets are back with their sixth studio album and Epic debut, Agony & Irony. But has three years been enough for fans to forget the bitter taste of Crimson?

Drew Beringer Apr 29, 2008

To be honest, before even listening to my copy of From First To Last’s new self-titled album, I was thinking of how many horrible puns I could create using former vocalist Sonny Moore’s name. But because I’m just a Neanderthal, I couldn’t come up with any decent ones. Unfortunate for me (fortunate for you, though).

Seriously, though, From First To Last have encounter more drama over the past year than the entire first season of A Shot At Love. After Moore quit to go make his own music, the band was dropped by Capital Records and seriously considered breaking up. Instead guitarist Matt Good took over lead vocals, the band picked up a permanent bassist in Matt Manning, and they were picked up by Suretone Records. Armed with a new home and a permanent lineup, From First To Last went on to complete their third studio album and major label debut.

Drew Beringer Mar 19, 2008

Oh how it’s been so long, we’re so sorry we’ve been gone. 
We were busy writing songs for you. 
You don’t have to worry ‘cuz we’re still the same band.

Those are the first words uttered by Panic At The Disco’s Brendon Urie on “We’re So Starving,” the opening track of his band’s second album, Pretty. Odd..

Good joke guys, gooooood joke.

If you’re looking for hyperactive vocals paced by synths, Pretty. Odd. is not the album you’re gonna play, because it seems that the Las Vegas quartet have sweated out that fever known as the dance-rock trend. Instead, guitarist/lyricist Ryan Ross spent his spare time going to garage sales and scourging for as many Beatles and Beach Boys records he could find and reinvented his writing style. Instead of using witty pop culture references as a basis for his lyrics, Ross’ style on Pretty. Odd. is sometimes insightful, sometimes infuriating, but mostly just nonsensical (he seems to enjoy moons).

Drew Beringer Mar 15, 2008

Whenever the discussion of underrated bands comes up, I always automatically think of The Hush Sound. It’s hard to get attention on a label stacked with more popular acts like Panic At The Disco, The Academy Is, and Cobra Starship, but The Hush Sound would rather not cater to the teenage girl scene. With the release of their third album, Goodbye Blues, the Chicago quartet furthers themselves from the Decaydance sound, as their brand of mature, piano-backed pop have flourished into a more refined sound.

Produced by Kevin Augunas (Cold War Kids), Goodbye Blues is a more focused effort, displaying a good balance of quirky, upbeat pop tunes and piano-driven, heavy ballads. Vocalist and pianist Greta Salpeter definitely carries this album, as you hear a lot of her throughout. Her vocal delivery has improved from Like Vines, as she demands more of your attention on each track she appears. She welcomes you to the listen experience with “Intro,” as heavy piano keys paint the mood. Two of the catchier tracks follow, first single “Honey” and the foot-stomping “Medicine Man” (which should have been the first single; hopefully it gets second single treatment).

Drew Beringer Feb 17, 2008

Over the past few months, we’ve seen notable metalcore front men try their hand at quieter and gentler side projects, such as Keith Buckley and Josh Scogin, of Every Time I Die and The Chariot fame, respectively. But, if this is to become the new trend, we should give credit to City and Colour, the side project of Dallas (city) Green (colour, get it?), for spearheading such endeavors. Most famous for his work as the lead man in Canadian rock act Alexisonfire, Green is now making waves in the States with his solo work on his Vagrant-debut, folk-inspired Bring Me Your Love.

Already a star in Canada, his debut album, Sometimes, garnered a plethora of critical acclaim and awards from our northern brothers. While Sometimes wasn’t widely available in the U.S., it still made a modest splash with American fans. Now, with the backing of Vagrant, Bring Me Your Love is the first City And Colour album to be released on American soil and aims to be a big hit with many in the scene.

Drew Beringer Nov 2, 2007

Not going to lie, it was kind of strange listening to a new Armor For Sleep record and not hearing vocalist/guitarist Ben Jorgensen sing about sleeping, dreaming, or dying. Instead of writing another concept album, Jorgensen penned lyrics about a culture that’s dependant and obsessed with celebrity news and reality television, among other social commentaries, for the band’s major label debut, Smile For Them.

When the band first began the writing and recording process for Smile, they moved out to Los Angeles with a pre-arranged producer, courtesy of Sire. Unhappy with the results, the band packed up and restarted the process in their hometown and brought back Machine, who brilliantly produced their 2005 record, What To Do When You Are Dead. The end product is twelve tracks that seamlessly flow between post-hardcore and pop, resulting in what may be Armor For Sleep’s most rockin’ record to date.

Drew Beringer Oct 29, 2007

Are albums this good supposed to be this depressing?

Saves The Day’s sixth album, Under The Boards (which is the second album of the band’s planned trilogy), dives into brain trust’s Chris Conley’s mind, which we find is a very dark place. While the first installment of the trilogy, 2006’s Sound The Alarm, was all fire and brimstone, Boards focuses on picking up the pieces.

With the help of Marc Hudson and Eric Stenman, the band produced this thirteen-track trek through despair, and the title track, which opens the album, immediately lets you know what kind of journey you are in for. Paced by a simple guitar riff that crawls underneath your skin, Conley’s vocals are on point, as he painfully begins to pour out his innermost feelings. The track then segues right away into “Radio,” an upbeat song with an undeniable catchy chorus. “Can’t Stay The Same” slightly reminds me of “Anywhere With You,” with how the verses lead into the chorus, while “Get Fucked Up,” a mid-paced track about attempting to get over someone, is beautifully depressing.

Drew Beringer Oct 23, 2007

And the record begins with a song spoken by Satan.

Okay, so that’s not as catchy as the line that began 2004’s superb …Is A Real Boy, but Max Bemis ups the ante with the 27 song, double disc major label debut In Defense of the Genre, an album that blends chaos, attitude, insecurity, and about two hundred guest vocalists into an epic portrayal of and journey through Bemis’ thoughts. In what may be the most anticipated album of 2007, Bemis did not copy what made …Is A Real Boy so good. Instead, he channeled even more quirkiness and brutal honesty into his writing that exudes a sense of confidence not heard on previous Say Anything records.

Drew Beringer Sep 25, 2007

If I were to use a simile to describe the Foo Fighters, I would definitely exclaim that they’re like a fine wine. With the release of their sixth studio album Echoes, Silence, Patience, & Grace, the Foo is a band that just gets better with age. Produced by Gil Norton, the same man who produced the defining record of the Foo’s career (1996 The Colour And The Shape), Echoes is a hauntingly beautiful display of how good this band is.

Don’t let the opening track (also the first single), “The Pretender,” fool you, Echoes is not as rip-roaring as that track is. This is very recognizable on “Let It Die,” a song that repeatedly tip toes the line behind quiet and loud. The verses are paced by the gentle strumming of the guitar, while the bridge and ending feature Dave Grohl yelling his lungs out. And this particular song is what Echoes is in a nutshell. We still have the hard-hitting and fast-paced music that we all know and love about the Foo Fighters, but, overall, they show a mellow demeanor throughout the album.

Review: Gym Class Heroes – The Quilt

Review: Underoath – Lost in the Sound of Separation

Review: Norma Jean – The Anti Mother

Review: Valencia – We All Need a Reason to Believe

Review: The Hold Steady – Stay Positive

Review: Finch – Finch EP

Review: Alkaline Trio – Agony & Irony

Review: From First To Last – From First To Last

Review: Panic! at the Disco – Pretty. Odd.

Review: The Hush Sound – Goodbye Blues

Review: City and Colour – Bring Me Your Love

Review: Armor for Sleep – Smile For Them

Review: Saves the Day – Under The Boards

Review: Say Anything – In Defense Of The Genre

Review: Foo Fighters – Echoes, Silence, Patience, & Grace