Review: The Graduate – Only Every Time

Drew Beringer Aug 19, 2010

What a strange two year (or so) journey it has been for one of the most promising bands in the scene, Springfield, Illinois’, The Graduate. After releasing their debut album Anhedonia to much fanfare and critical acclaim, their label, Icon Mes, folded, and the band found themselves without a home. After a short tour in late 2008, the band decided not to dwell on the label issue and began to work on new material. After a year and half of being label-less, Razor & Tie signed the quintet, bringing relief to fans that have waited so long for new material. And it is well worth the wait, as their second full-length, Only Every Time, is the sound of a band realizing their full potential.

Drew Beringer May 3, 2010

Oooh baby, turn down the lights and turn up the bass. It’s about to get dangerously sexy all up in here with Minus The Bear’s latest album (and Dangerbird Records debut), the funktastic Omni.

Basically, this is the story of how Minus The Bear got their groove back after the lukewarm reaction to 2007’s Planet Of Ice, arguably their worst effort to date. And from the very first notes of opener, “My Time,” you immediately hear the difference. Featuring a synthesizer barrage of noise, “My Time” is taking you into the bedroom and dimming the lights. “Summer Angel” is a little bit gentler than the preceding track, bringing out more of Minus The Bear’s smooth rock sound. Guitarists Jake Snider and Dave Knudson emphasize the dark and furious nature of “Secret Country,” as their guitar work lends to the controlled chaos that is the bridge.

Drew Beringer Mar 9, 2010

When I initially contacted Universal Motown about an advance of Four Year Strong’s hotly anticipated major label debut, Enemy Of The World, they told me I was SOL. When I asked why, they told me that someone had stolen the master copy.

That damn monkeywizard…

After reading his pathetic attempt at reviewing, I PM’d monkeywizard asking how I could obtain the new FYS album to give it the proper review it deserved. After a lengthy back and forth exchange in which he made fun of my 5950 hat collection and reminded me that Aaron Rodgers has never won a playoff game, he made it known that there was nothing I could do to get that master copy. Little did he know that I had some brand new Set Your Goals’ demos (monkeywizard’s a big fan). So in exchange for the demos (which were really just songs from New Again tagged as SYG tracks – monkeywizard is going to be pissed), I finally acquired the master copy of Enemy Of The World. After my first listen, I was floored. It was immediately evident that this album was built with machine guns, spiked bats, jagged rocks, and skulls. Oh yeah, I can’t forget about the wolves either. Enemy Of The World hits harder, runs faster, and operates more smoothly than its predecessor. Yes, the duel-vocals, infectious choruses, and delicious breakdowns are still present, only this time they sound a lot bigger. The production difference between this and Rise or Die Trying is dramatic. And you can thank Machine for that. He found the perfect balance between grit and gloss, as Four Year Strong have never sounded crisper.

Drew Beringer Jan 27, 2010

After expanding their musical boundaries with their last two albums, Alkaline Trio is returning back to what made their music so addictive. Their seventh studio album (and Epitaph/Heart and Skull debut), This Addiction, takes cues from their dearly loved earlier records, such as Goddammit and From Here To Infirmary. The Chicago natives’ main goal was to make a stripped-down punk rock record while maintaining a big sound. This Addiction accomplishes this, but does it recapture the same magic first heard 12 years ago? Throughout the album, the highs are incredibly enjoyable, while the lows are brutal, just like with any addiction.

Drew Beringer Jan 17, 2010

With all the personal issues that vocalist and guitarist Justin Pierre has faced over the course of his life, it’s sometimes hard to believe that Motion City Soundtrack remains a band. With the addictions and relapses plaguing Pierre, the band should have been extinct years ago. But having a great support system around him and a musical outlet has helped Pierre and his band mates release stellar album after album. You would think that eventually things would spin out of control, especially after the lukewarm reception their last offering (2007’s Even If It Kills Me) received from fans. It definitely was more poppy than previous releases, and instead of tailspinning, the Minneapolis quintet landed right back on its feet to record their Columbia Records debut.

Drew Beringer Jan 6, 2010

“If it ain’t broken, don’t fix it.” That’s the philosophy Story of the Year has subscribed to since breaking out with their gold debut album, 2003’s Page Avenue. 7 years later, the St. Louis quintet have switched labels (from major Maverick to indie-powerhouse Epitaph) and released albums that added in new quirks, but overall the band has maintained the same direction: loud and fast rock anthems that get your heart pumping.

That isn’t to say the band hasn’t fine-tuned their craft. Their fourth studio album (second for Epitaph), The Constant continues the precedent set by previous albums, featuring the big riffs and melodies we’ve come to expect, yet it rarely gets stale. The title is fitting, since the band has been pretty consistent with their music since Page. And just like the three previous albums, the energy seeps out of The Constant’s pores throughout, as guitarists Ryan Phillips and Philip Sneed try to keep up with vocalist Dan Marsala’s pace.

Drew Beringer Nov 3, 2009

After being the sole operator of his side project debut Southern Weather, Aaron Gillespie expanded his solo effort into a full band deal, which may explain the increase of variety in The Almost’s second album, Monster Monster.

Monster Monster retains the aggressiveness that Southern Weather possessed while diversifying the tempos and compositions as well. Produced by Aaron Sprinkle, Gillespie’s voice has never sounded stronger. Musically, Monster Monster twists and turns, sometimes severely. In fact, Monster Monster channels Foo Fighters a lot more than it does its scene contemporaries.

Drew Beringer Oct 26, 2009

I practiced on my sainthood
I gave to one and all
But the rumours of my virtue
They moved her not at all

The lyrics from Leonard Cohen’s 1976 song, “Came So Far For Beauty,” work as the inspiration behind Sainthood, the sixth studio album from twin sisters Tegan and Sara Quin. For the last ten years, the Canadian musicians have worn their hearts on their sleeves with their music. Starting out as the little folk duo that could, the sisters have matured into one of the finest indie rock bands today. They’ve beautifully grown into their song writing and Sainthood is a testament to that, as it is the finest work of their career.

Yes, the theme of the album still revolves around relationships, but Sainthood features the best lyrics the sisters have ever written. Continuing the trend set on 2007’s The Con, Tegan and Sara’s lyrics go deeper than the typical relationship drama. The struggle, grief, and bitterness bleed and breathe throughout the album. In one instance, Tegan wants to make a relationship work, only to realize it’s futile on the aptly titled, Cure-tinged “The Cure.” Immediately after, Tegan closes herself off to every one on the punk-flavored “Northshore.” The lyrics throughout Sainthood convey many emotions. Frankly, the conversations here are just more adult. Over the eerie, electronic vibe of “Night Watch,” Sara admits, "I need distance from your body / I deserve this anguish on my house." You’d never hear a line like this even five years ago from this band, displaying the lyrical strides Tegan and Sara have made.

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.

Review: The Graduate – Only Every Time

Review: Minus the Bear – Omni

Review: Four Year Strong – Enemy Of The World

Review: Alkaline Trio – This Addiction

Review: Motion City Soundtrack – My Dinosaur Life

Review: Story of the Year – The Constant

Review: The Almost – Monster Monster

Review: Tegan and Sara – Sainthood

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