Review: Silverstein – A Shipwreck In the Sand

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.

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).

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

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.