Review: Every Time I Die – New Junk Aesthetic

Drew Beringer Sep 2, 2009

Every Time I Die wants to destroy the world. While their previous albums have inflicted some damage on Mother Earth, the Buffalo quintet is not satisfied. The fact of the matter is ETID wants to leave their mark, so they’ve promised that their fifth studio album (and Epitaph debut), New Junk Aesthetic, would blow a huge gaping asshole into the earth. So if you’ve felt the earth shake recently, that’s just me recklessly playing this album way too loud, as New Junk Aesthetic is the heaviest Every Time I Die record to date.

Working with producer Steve Evetts once again, Every Time I Die set out to give manbirth to the most vicious record off their career; a record that kicks you in the teeth, shreds your balls, and shows no mercy. [Opening track “Roman Holiday” sets the bar high, as fuzzy feedback and a dirty riff scribble their way across the song before bowing out to a devastating breakdown that could TKO Brock Lesnar. “The Marvelous Slut” is full of urgency as vocalist Keith Buckley yells, “Why do I always give myself away?,” as Greg Puciato (Dillinger Escape Plan’s vocalist) adds some nice backing screams.

Drew Beringer Aug 25, 2009

When The Format went on hiatus a year and a half ago, many fans of their music cried tears (maybe even pastel colored tears?). But dry your eyes, because a musician as talented as Nate Ruess wasn’t going to be out of the music-making business for long. His newest project, fun., is a collaborative effort between Ruess, Andrew Dost (ex-Anathallo), and Jack Antonoff (of Steel Train). Their self-released debut, Aim & Ignite, is a ten track pop adventure with help from producer Steven McDonald, arranger Joseph Manning Jr., and contributions from other musicians.

Drew Beringer Aug 20, 2009

I must’ve been asleep when this takeover happened. The entire “genre” of techno/crunk/scream garbage just broke out overnight it seems. There was no warning, just one day “bands” like Brokencyde, I Set My Friends On Fire, and the like where picking up fans left and right. Not to be outdone is Breathe Carolina, who has unleashed their Fearless debut, Hello Fascination, to unfortunate souls.

Drew Beringer Jun 24, 2009

It’s no secret that I wasn’t particularly fond of Crisis, Alexisonfire’s third album and Vagrant Records debut. In fact, I was very disheartened by it because any band that has the talent Alexisonfire possesses should never release an album that bad. I hoped that Crisis was just an aberration and not a trend, and after waiting nearly three years, my fear has been calmed. Old Crows/Young Cardinals is a gem, as it is the album we’ve been waiting for the Ontario quintet to write their entire careers.

Produced by Julius Butty, Old Crows/Young Cardinals takes the best progressive parts of Crisis and the intensity of the first two AOF records, making the album a force to be reckoned with. It’s fast, aggressive, and in-your-face; paced by the soul of punk rock and layered with the triple-vocal attack of George Pettit, Dallas Green, and Wade MacNeil. “Old Crows” kicks off the album with a dirty guitar riff and is carried by Pettit’s new gruff vocal delivery. Green makes his first appearance on the high-octane “Young Cardinals,” as he rips through the chorus, while drummer Jordan Hastings sets the tempo.

Drew Beringer May 27, 2009

After the hot mess that was I’m Only A Man, and the inconsistent EP While Broken Hearts Prevail, it was probably fairly easy to forget about Emery. But that EP was a crucial stepping-stone to bringing the post-hardcore quintet back to prominence. Laying down tracks such as “The Smile, The Face,” and “Edge of The World” proved that Emery could still deliver quality tracks. And that they do, plus more, on their fourth album, …In Shallow Seas We Sail. Masterfully produced by Aaron Sprinkle, the thirteen track album features crisp musicianship, incorporating the melodic heaviness that drew us to love Emery in the first place.

Drew Beringer May 12, 2009

Everyone has a type. Whether it’s a type of food (Chinese) or a type of the opposite sex (brunette), everyone has specific criteria. Equal Vision has a specific type of band. You know, the kind that incorporates melody and aggression into somewhat technical music. Damiera, Circa Survive, early Coheed and Cambria, and the list continues with Closure In Moscow.

The Australian quintet is crisp; releasing melody at a quick pace. The band rarely takes their foot off the gas pedal, as opening tracks “Kissing Cousins” and “Reindeer Age” feature riffing that needles in and out, knitting tightly with Chris De Cinque’s high tenor. In fact, it’s fairly obvious that De Cinque patterns his vocals similar to Cedric Bixler of The Mars Volta. Not that it’s a bad thing, as his voice soars throughout each track.

Drew Beringer Apr 24, 2009

It’s not often you hear an album described as being accessible and polarizing at the same time, but that’s exactly what happened with it’s all crazy! it’s all false! it’s all a dream! it’s alright, the fourth studio album from mewithoutYou. It’s always been Aaron Weiss’ poetic vision set to post-hardcore that leaned on angst and shouting. But on it’s all crazy, Weiss and company have exchanged that noise for something simpler, as the group focused more on their melodic and folk influences.

Don’t let the lack of riffs and electric guitars fool you though, it’s all crazy is still an intense and passionate mewithoutYou album, just this time it is channeled into pianos, accordions, and lavish compositions. Opening track, “every thought a Thought of You,” is upbeat, as electronic piano chords and a steady drum beat pace Weiss’ poetic verses. The bass lines from Greg Jehanian’s are absolutely pleasant, as it livens up the track even more. Lyrically, Weiss is still exploring theological themes, delving into the Bible and the Qur’an for lyrical inspiration.

Drew Beringer Mar 30, 2009

Betrayal. Arson. Infidelity. True Love.

Two stories that parallel each other. A captain and his ship overthrown by men he put his trust into. A lover scorned by the betrayal of his woman and his best friend. A passion for fire. A concept burning with torment, confusion, and hatred. This is A Shipwreck In The Sand, and this is Silverstein’s finest offering.

This five-piece from Ontario, Canada, have never been the frontrunners for respect in the scene. While critics continued to dismiss the band as generic post-hardcore, the band has continued to improve. Just listen to the evidence in Shane Told’s vocals. Once a shrieking mess on their debut album, When Broken Is Easily Fixed, Told’s voice now bellows with a swagger. The band has also improved musically, adding new dynamics and tempos in each album. With A Shipwreck In The Sand, the improvements we’ve heard on the previous two albums reach a maturation and refinement.

Drew Beringer Jan 15, 2009

The critical and fan reception to Thursday’s 2006 release, A City By The Light Divided, were, at best, lukewarm. It caused a divide among fans; either you loved it or you hated it. There was no middle ground. City took on a more experimental route with Thursday’s signature sound still woven in. Some complain about the tone of the album, most complained about the production of Dave Fridmann (I personally love it). So when the Jersey sextet announced that Fridmann would be producing the band’s Epitaph debut, Common Existence, fans were naturally wary.

Drew Beringer Jan 7, 2009

Growing up in Minneapolis, Stefon Alexander latched onto bands like At The Drive-In, Refused, Kid Dynamite, and the hardcore scene. Combine this with his affinity for basement shows and after-class rhymes, and it’s no surprise to see how Pissed Off Stef, or P.O.S. for short, came to be. One of the founding members of Doomtree, P.O.S. has released two very loud and vocal albums on Rhymesayers, and his third album, Never Better, is no exception. Chunky bass lines, intense drumming, and bombastic beats pace the fifteen-track voyage into the mind of P.O.S. His rage, wit, and social criticisms flow freely throughout, and P.O.S. has, dare I say, never sounded better.

Drew Beringer Oct 27, 2008

It was only a matter of time before a band from the “scene” would have the ambition to write and record a musical. Quite frankly, I would have expected it to be done by a band like Say Anything or Angels & Airwaves (although that would have been horrible). Instead, it is the brainchild of Thomas Dutton, the sole remaining member of Forgive Durden, a band often overlooked on the Fueled By Ramen roster.

Dutton co-wrote Razia’s Shadow with his brother, Paul. He also organized and played most of the instrumentation on the album, with former Gatsby’s American Dream drummer Rudy Gajadhar hitting the skins. To bring Razia to life though, Dutton summoned the help of many top vocalists in the scene, including Max Bemis (Say Anything), Greta Salpeter (The Hush Sound), Aaron Weiss (mewithoutYou), and Chris Conley (Saves The Day). Each guest contributed a voice to a character in the musical.

Produced by Casey Bates, Razia’s Shadow is a thirteen track journey that tells “the story of a world divided in two by the selfish actions of a powerful and egotistical, yet insecure angel. After generations of darkness, the world is eventually brought back together by the love and sacrifice of a couple brave enough to fulfill their destinies.” Bates’ production is pristine, and along with Weiss’ narration, helps the story move crisply and cleanly. The story is winding and intimate, ripe with themes of hope, corruption, deceit, and love. I won’t be getting into the depth of Razia’s storyline because that is up to you, the listener, to interpret. Rather, I’ll discuss whether or not Dutton successfully brought his image to life.

Drew Beringer Oct 6, 2008

It’s amazing how one album can change the public’s perception of a band. Thanks to remarkable improvements Senses Fail made with their second album, Still Searching, many changed their opinions on the New Jersey quartet. The band had found a niche, and Life Is Not A Waiting Room progresses from the themes and vibes of its predecessor.

Senses Fail does little tinkering with their successful formula, enlisting Searching producer Brian McTernan once again to mesh the twelve tracks into a seamless journey. Still present are Garrett Zablocki and Heath Saraceno’s sick guitar riffs, as well as Dan Trapp’s persistent work behind the skins. One new wrinkle is Hot Water Music’s Jason Black temporarily filling in for the departed Mike Glita on bass. But the glue to Senses Fail is still vocalist Buddy Nielsen. Once an easy target for his vocals and lyrics, Nielson has made incredible strides in both his writing and delivery, as the whiny screams from the debut album have been replaced by unforgiving barks and his lyrics have become his own form of self-medication of anxiety and depression.

Drew Beringer Sep 7, 2008

When I read or hear about cancer survivors, they’ll sometimes describe how experiencing and overcoming cancer gave them a new sense of appreciation for life and how they carry on from day to day. After listening to The Glass Passenger, you can sense Jack’s Mannequin brain trust Andrew McMahon has developed an even deeper appreciation, as each track is lively and spirited.

McMahon’s battle with acute lymphoblastic leukemia has been well documented, so I won’t get into the details, but we’ve seen the photos and heard the stories: McMahon wasn’t going to let this thing beat him, and you can hear vibrant energy and beautiful compositions throughout The Glass Passenger, an album bursting with diversity.

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.

Review: Every Time I Die – New Junk Aesthetic

Review: Fun. – Aim & Ignite

Review: Breathe Carolina – Hello Fascination

Review: Alexisonfire – Old Crows/Young Cardinals

Review: Emery – …In Shallow Seas We Sail

Review: Closure in Moscow – First Temple

Review: mewithoutYou – it’s all crazy! it’s all false! it’s all a dream! it’s alright

Review: Silverstein – A Shipwreck In the Sand

Review: Thursday – Common Existence

Review: P.O.S. – Never Better

Review: Forgive Durden – Razia’s Shadow: A Musical

Review: Senses Fail – Life is Not a Waiting Room

Review: Jack’s Mannequin – The Glass Passenger

Review: Gym Class Heroes – The Quilt

Review: Underoath – Lost in the Sound of Separation