Review: Spitalfield – Better Than Knowing Where You Are

Drew Beringer Oct 4, 2006

It’s just another stretch of highway. 
I never asked for ordinary. 
Time and time change. 
If I rewrote this it might just sound the same.

Those are the words that begin Spitalfield’s third album, Better Than Knowing Where You Are. That intro (titled “Dare To…”), backed by dreamy guitar tones and softly sung by vocalist and guitarist Mark Rose, displays the writing perspective from the Chicago quartet. Spitalfield has never written the same record twice, from the pop-punk goodness of their debut, Remember Right Now to the more rock-orientated second album, 2005’s Stop Doing Bad Things. These lyrics can also be directed towards Spitalfield’s fans, the majority of which despised the critically acclaimed Bad Things, longing for the pop-filled hooks that dominated Right Now. Fans need not worry about the groups latest (and best) offering yet. Combining the hooks and melody of the first record along with the maturity of the second, Better Than Knowing displays how much progression this band has made over the course of their eight year existence.

Drew Beringer Sep 26, 2006

In the August issue of Alternative Press, Senses Fail vocalist and lyricist Buddy Nielsen had this to say about his lyrics for the new album: “No violence; no blood; none of that stupid shit. I want to be as honest as possible. Most of the songs are about the past year of my life, when I had a mental breakdown – I basically went crazy.” These words hold true on the New Jersey quintet’s second album, Still Searching. Gone are the songs about chainsaws, digging up dead girlfriends, and his obsession with fire. Instead, Nielsen’s lyrics are self-reflective and open about his struggles with depression and alcohol. This is a nice change from the cliché-ridden lyrics from Let It Enfold You and instantly you can tell Senses Fail have grown up, which was helped by Midtown guitarist Heath Saraceno, who joined the band on tour and then played and influenced the sessions of Searching. Immediately, the musicianship, most notably the guitars, have improved tenfold, thus strengthening all thirteen songs. The effort still has some notable flaws, but that’s not to take away from how much this band has matured and improved over the course of 2 years.

Drew Beringer Sep 13, 2006

Don’t be fooled by those promo photos of Norma Jean all dirtied up in your new AltPress issue because their latest album, Redeemer, shines with a clean-cutting and smooth sound from alt-rock master producer Ross Robinson. Norma Jean’s last offering, 2005’s sludgy O` God The Aftermath, was the first with vocalist Cory Brandan, who replaced the much loved Josh Scogin. O` God was received with mixed reactions, but one thing most people could agree on was that it sounded like Botch Jr. Now, don’t get me wrong, there is nothing wrong from being influenced by such a great band, but when it dominates your sound, it becomes a bit much, and that was the major downfall to O` God. Norma Jean looked to redeem themselves with their third album from Solid State, and, with help from Robinson, succeeded greatly. The eleven track beatdown is a return to what made Norma Jean so loved in the first place. Back is the melody, Brandon’s vocals have improved dramatically, and the guitars are bombastic.

Drew Beringer Aug 30, 2006

Alexisonfire are like a cult. They aren’t wildly popular and haven’t rode the wave of “popular screamo” like most bands have, but they have a fiercely passionate core of fans and two albums that match that intensity. After spending a few years on the Equal Vision roster, Alexis has jumped ships to one of the biggest independent labels ever, Vagrant, to release their third album, Crisis. Possessing one of the finest vocals talents in the scene, Dallas Green, Alexisonfire are looking to break into new ground. Incorporating three styles of vocals (from Green, George Pettit, and Wade MacNeil) with dual guitar work, Crisis is a bag full of mixed results. Throughout the eleven tracks, you’ll come across some songs that are good, some that are horrible, and a lot that sound like watered down versions from Watch Out!.

Drew Beringer Aug 1, 2006

The only thing more nonexistent than dinosaurs, aliens, zombies, or vampires these past 3 years was the debut album from the happy go lucky California quartet, Hellogoodbye. A stolen laptop with demos and leadman Forrest Kline’s struggle with his A.D.D. lead to numerous delays that made fans impatient or, even worse, just plain giving up on the band. But, finally Hellogoodbye have emerged from the darkness to release their debut album, Zombies! Aliens! Vampires! Dinosaurs!!, through Drive Thru Records and what we get is a mixed bag of surprises, disappointments, cheesiness, and fun. Really though, should we really expect anything serious or groundbreaking with an album title like this and a band with a track history of goofiness like Hellogoodbye? I wouldn’t think so, and you would be wise to listen to this eleven-track album with an open mind and check your “scenester/elitist/holier-than-thou” attitude at the door.

Drew Beringer Jul 31, 2006

“Too rock for hip-hop, too hip-hop for rock,” has been the tagline for the upstate New York quartet, Gym Class Heroes. After name-dropping a who’s who of important scene bands in the catchy “Taxi Driver,” GCH developed a nice following, and after signing to Pete Wentz’s label, Decaydance, and releasing their heart-on-sleeve debut The Papercut Chronicles, people started paying attention, expectations began to build, and the Heroes began to worry: can we top Papercut? Fortunately, it is safe to say that their second album, As Cruel As School Children, not only surpasses their previous effort, but it is also going to serve as their launching pad into the big time. Produced by Sam Hollander and Patrick Stump,School Children’s fourteen track offering is heavy on the hip hop side this time around, yet still possesses that full band sound. Influenced more by frontman Travis McCoy’s obsession with 80’s R&B, GCH have added more depth to their lyrics and music on album two.

Drew Beringer Jul 12, 2006

A little over a year ago, folk artist Sufjan Stevens released his critically acclaimed masterpiece, Illinois, an album that beautifully crafted folk, pop, and acoustic with a melody of different instruments which pleased the senses. A year later, he is one of the biggest indie buzz artists and is name-dropped by all sorts of music fans, whether they genuinely enjoy his music or just want some cred. To follow up the 22 songs that madeIllinois, Stevens has released a 21 track b-side album, titled The Avalanche. With 18 new tracks and 3 different versions of “Chicago,” this kind of effort displays how limitless the sky really is for Stevens. Don’t be fooled by the “Outtakes And Extras” tag this album displays on the cover, as this album features songs that are better than the majority of any artist’s best stuff these days.

Drew Beringer Jul 3, 2006

Rise Against has been a staple in the punk community since their Fat Wreck debut, The Unraveling, released in 2001. Since then, they’ve become Warped Tour heavyweights, signed to a major label, and have clawed their way into the hearts of many. Now, with the release of their fourth studio album (and the second off of Geffen), The Sufferer & The Witness, Rise Against (vocalist Tim McIlrath, bassist Joe Principe, guitarist Chris Chasse, and drummer Brandon Barnes) touches back on their roots while still progressing forward. Produced by their old friend, Bill Stevenson, Sufferer offers 13 tracks of some of the best songs Rise Against have ever written, as well as throwing us a few curveballs.

Drew Beringer Jun 18, 2006

The Early November is taking the idea of the concept album and turning it upside down. Instead of having the music progress with the storyline, they have written two entirely different records that revolve around one idea. And to top that feat off, they also recorded a third disc that sums up the first two discs into a soundtrack of dialogue and music. Yes, the Early November has written the very album that will make or break their career. The Mother, The Mechanic, and The Path offers us a very unique storyline: we are introduced to a young man who clashes with his domineering father. He leaves his family with the girls he loves, setting out to make his own path in life, one that avoids the life of his parents. Upon having his own child, he promises to himself that he will not become like his father. But, as his life comes full circle, his son begins to revolt against him, and he finds himself slowly slipping into the mold of his father, the very destiny he tried so hard to break away from. TEN frontman Ace Enders was inspired to write this story after seeing movies such as Eternal Sunshine Of The Spotless Mind, The Matrix, and The Truman Show. The plot is very intriguing, yes, but would the music measure up to the story?

Drew Beringer Jun 7, 2006

Over the course of the past decade, AFI has released 5 full length albums on indie label Nitro, signed to a major, reached platinum status with major label debut, headlined numerous Warped Tours, toured around the world, and is held dear by thousands and thousands of rabid fans. With a resume like that, one would think that any band would be content with that, but not AFI. Since the release of Sing The Sorrow in 2003 and many days on the road, AFI (vocalist Davey Havok, guitarist Jade Puget, drummer Adam Carson, and bassist Hunter Burgan), over the course of 9 months, recorded over 100 songs in the studio with long time producer Jerry Finn and out of those sessions, they came out with their seventh full length album, Decemberunderground. December is a twelve song collection that blends rock, punk, hardcore, pop, and electronica into a beautifully dark work of art.

Drew Beringer May 2, 2006

With every major music publication and their momma jumping on the bandwagon, it’s pretty easy for some of us to hate the Arctic Monkeys. Overrated and hype are two words that come hand in hand with this band these days, and with their debut album, Whatever People Say I Am, That’s What I’m Not selling like hotcakes overseas and here in the United States, it’s not hard to fall into this mindset. But I’m here to advise not to. Not only is their debut album something special, their follow-up EP, Who The Fuck Are The Arctic Monkeys, follows in the same vein of smart, aggressive indie rock.

The EP begins with the same opening track of the LP, “The View From The Afternoon,” which starts fast and finishes faster, and is a great opener here as it is on the LP. “Cigarette Smoker Fiona” follows with a guitar line that chugs and drums that bash as Alex Turner’s thick vocals take control. “Dispair In The Departure Lounge” is a slow, echoing track that’s great to chill out to. “No Buses” starts with a simple, relaxing riff and is a mild, bouncy track that picks up at the end with a constant pounding on the drums. The final track, “Who The Fuck Are The Arctic Monkeys?,” begins with a bass line that grooves and more high guitar tones. At 3:17, the song takes on a slight dark tone thanks to Andy Nicholson’s bass and Turner’s vocals. The end of this song is the storm taking over the sunshine of the beginning, making it the standout track on this EP.

Drew Beringer Apr 22, 2006

In 1992, the defending AFC Champion Buffalo Bills faced the Houston Oilers in the AFC Wild Card round. The first half of this game was a disaster for the Bills. Jim Kelly out with an injury and the Oilers dominated going into halftime with a 28-3 lead. Dejected, the Bills didn’t have a lot of time to make changes, but they realized they were the defending champs and needed to live up to that. The second half featured a completely different team, as backup quarterback Frank Reich threw 4 touchdowns to bring the game into overtime, which the Bills eventually won 41-38, making it one of the greatest comebacks in NFL history. I’m sure by now all of you are confused as to why I began the review with such a story, but it is a great way to describe Thursday’s second major label album (and fourth overall), A City By The Light Divided.

Drew Beringer Apr 12, 2006

Thus far in 2006, there have been a few really good records, some solid ones, and more mediocre albums than I can count. No album has hit me in a way where I have to take a step back and just mutter “whoa.” Enter The Red Tree, the new album from Canadian rockers Moneen and the first great album of 2006. I enjoyed their previous efforts, but I was not expecting this album to hit me like it did. This 11-track masterpiece incorporates beautifully crafted lyrics with music that is just as delicate as it is hard-hitting, making this album full of intensity, passion, and raw emotion.

Drew Beringer Apr 1, 2006

Tell me again how we're easily forgettable
So formulaic and way too simple to be at all original, yea so we've heard
It's time to keep your mouth shut while we show you how to rock-n-roll

This is how Hit The Lights begin their debut full-length album, This Is A Stick Up….Don’t Make It A Murder, by responding to a certain AbsolutePunk.net reviewer’s opinion on their EP Until We Get Caught. The Lima, Ohio, five-piece not only deliver on their promise to “show us how to rock-n-roll,” but this album is also one of the first feel-good albums of 2006. Produced by Matt Squire (The Receiving End Of Sirens, Panic! At The Disco, many others), HTL offers us 12 tracks of pop-punk goodness that’ll have you wishing that summer were already here.

Drew Beringer Feb 21, 2006

Over the past year, The Academy Is… has sold over 100k of their Fueled By Ramen debut, Almost Here, have toured with the likes of Fall Out Boy and Midtown, have headlined their own nationwide tour, and have been embraced by TRL and 15 year old girls everywhere. They have boarded the “buzz” train and are on their way to a major label deal, so to keep the buzz pulsating and to satisfy fans (old and new alike), they have released a 6 track EP titled From The Carpet, exclusive only to iTunes. Now while I strongly disagree with this “digital only” crap, The Academy Is… (vocalist Will Beckett, guitarists Mike Carden and Tom Conrad, bassist Adam Siska, and drummer Andy Mrotek) do not disappoint with this EP. With 2 new acoustic songs, one John Lennon cover, and 3 new versions of favorites from the debut, this EP is definitely a must-have for all TAI fans.

Review: Spitalfield – Better Than Knowing Where You Are

Review: Senses Fail – Still Searching

Review: Norma Jean – Redeemer

Review: Alexisonfire – Crisis

Review: Hellogoodbye – Zombies! Aliens! Vampires! Dinosaurs!

Review: Gym Class Heroes – As Cruel As School Children

Review: Sufjan Stevens – The Avalanche

Review: Rise Against – The Sufferer & The Witness

Review: The Early November – The Mother, the Mechanic, and the Path

Review: AFI – Decemberunderground

Review: Arctic Monkeys – Who the Fuck Are Arctic Monkeys?

Review: Thursday – A City By The Light Divided

Review: Moneen – The Red Tree

Review: Hit the Lights – This Is A Stick Up… Don’t Make It A Murder

Review: The Academy Is… – From the Carpet EP