Review: Anberlin – Cities

Drew Beringer Jan 29, 2007 0 comments

For every individual who listens to music, there is also that one “iffy” band. It could be a band that has released solid yet not spectacular albums, or has released a few great songs and a few mediocre songs; basically, it’s a band that has grabbed your attention but cannot seem to hold on to it. One band that has fit this description for me is Anberlin. Sure, their first two albums have some great tracks, but they also have contained tracks I could care less for. They’ve also been a band that couldn’t seem to figure what they wanted to sound like. Some tracks they would be very intense while other tracks were as poppy as can be. Because of this, Anberlin was a band that I was very lukewarm towards. Until I heard Cities. With their third album, the Florida quintet has shattered everything I used to think about the band. Produced by Aaron Sprinkle, Cities display a vast improvement in every aspect. The drums hit harder, the guitars sound tighter, and Stephen Christian’s vocals soar higher than every before. In other words, the overall sound of Anberlin is bigger than ever.

Drew Beringer Nov 13, 2006 0 comments

It’s inevitable, +44 and Angels & Airwaves will be (unfairly) compared. Yes, both bands feature members from one of the most influential pop-punk bands ever, blink-182. And yes, both bands released their hotly anticipated albums this year. But, this is where all the comparisons end. While AVA’s album was trying to be the next U2, Mark Hoppus wrote more about the end of blink and how horrible his past year had been. While +44 isn’t completely different than from the sound blink-182 captured on their last release, it would be an injustice to the band to categorize their debut album, When Your Heart Stops Beating, as “blink-182 with synths.” It’s much more than that on this thirteen track journey. Produced by Hoppus and drummer Travis Barker, with some help from executive producer Jerry Finn features a nice balance of upbeat pop-punk tunes, arena-sized rockers, and somber tracks.

Drew Beringer Oct 29, 2006 1 comment

Throughout their long career, Deftones have been pushing the musical boundaries of metal since day one. Their first two albums (1995’s Adrenaline and 1997’s Around The Fur) were raw, chaotic, and in your face. After a 3 year break, the Sacramento band, which was originally a quartet (vocalist/guitarist Chino Moreno, guitarist Stephen Carpenter, bassist Chi Cheng, and drummer Abe Cunningham), officially added keyboardist/DJ Frank Delgado to the mix, and released the genre defying White Pony. Heavier, moodier, and complex, it prompted all major music publications to crown them as the “Radiohead of Metal.” It is also very likely that White Pony influenced some of your favorite post-hardcore bands recent albums. After all the success and hype (Pony went on to go platinum), Deftones followed it up with 2003’s self titled effort, which left much to be desired. The band has said they became lazy on that record and that album showed how much they put into it. Leaving many fans disappointed, Deftones barely toured to support that record, and many began to forget about them and/or write them off. Their latest release, Saturday Night Wrist, is here to win back those fans and erase the disappointment of the last album.

Drew Beringer Oct 24, 2006 0 comments

This Halloween, just like any other, many people go out looking for something that’ll scare them. They search for something that rattle their bones, haunt their dreams, and leave a lasting impression on their senses. While most people will look for this sensation in the wrong places, such as going to cheesy haunted houses or wasting eight bucks on Saw III, I am here to point you towards something that is truly horrific, brutal and unforgiving. This “something” is nothing but Converge’s latest hardcore offering, the ruthless No Heroes. The longtime Boston outfit – vocalist/madman Jake Bannon, guitarist Kurt Ballou, bassist Nate Newton, and drummer Ben Koller – are back to old habits here, as fans who were disappointed by 2004’s You Fail Me will be happy to notice somewhat of a return back to the style of Petitioning The Empty Sky and When Forever Comes Crashing. Produced by Ballou and guided by Bannon’s artistic vision and meditative lyrics, No Heroes is here to take no prisoners.

Drew Beringer Oct 16, 2006 0 comments

In 2003, a small five-piece from California named A Static Lullaby released their debut album, …And Don’t Forget To Breathe, on Ferret Records and where one of the first bands to make the “sing-scream” pattern huge. Forget To Breathe was a gateway album for many people, as it was the first album kids heard of this style. As they developed a devout following, they signed to major label Columbia records and released what we would call the sophomore slump. ASL released Faso Latido in 2005 and switched up their style a bit, making their sound more rock-orientated. Needless to say, this blew up in their face; they were dropped by Columbia and were near breaking up. 3 original members – bassist/vocalist Phil Pirrone, drummer Brett Dinovo, and guitarist Nate Lindeman – quit the band to pursue other projects, leaving the other two members, vocalist Joe Brown and guitarist/vocalist Dan Arnold in a tight spot. Instead of retiring A Static Lullaby for good, they recruited three new members – guitarist John Death, bassist Dane Poppin, and drummer Jarrod Alexander – and signed to a new label (Fearless) to release their self-titled third album. Produced by Steve Evetts (Saves The Day, He Is Legend, Lifetime), A Static Lullaby is a return to their roots; Brown’s scream dominates many tracks and the song structures closely follow those of Forget To Breathe. This album is meant to bring back their old fans, which this album succeeds at doing.

Drew Beringer Oct 4, 2006 0 comments

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 3 comments

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 1 comment

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 5 comments

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 0 comments

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 1 comment

“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 0 comments

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 1 comment

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 0 comments

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 0 comments

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.

Review: Anberlin – Cities

Review: +44 – When Your Heart Stops Beating

Review: Deftones – Saturday Night Wrist

Review: Converge – No Heroes

Review: A Static Lullaby – A Static Lullaby

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