The only way to open this review is to be honest about my intentions. Everyone knows I’m a fan of this band. My website has followed their career closely over the last few years and I have a personal relationship with some of the band members. It’s not often you hear a reviewer admit their bias, but I am doing just that. I’m a fan of the band, always have been, and probably always will. The reason I’m doing this is because I’ve come to the conclusion that there will be very few reviews (public or personal) on this album that, if the reviewer is honest with themselves, are completely objective. It seems everyone has a preconceived notion on how they feel about this band. The truth is — it’s their third (official) full-length, by this time you know if you like what they do or not. If you’re already a hater: don’t try and fool anyone into thinking you really thought, “you just might like this one” – because you won’t.
This best of list was originally posted on AbsolutePunk.net in 2006. It has been brought over to Chorus.fm for posterity.Read More “Jason Tate’s Top Albums of 2006”
I am going to be up-front with you right now: This band is not for everyone. In fact, there are a good many of you that are going to straight up hate this album. There are quite a few reading this that would probably rather place nails in their ears than ever listen to this band. I, however, am not one of those people. In fact – I think this is one of the best albums to be released this year and one of the most creative and innovative bands to be creating pop/punk/rock music in our, or any, genre.
This interview was conducted over the phone with Mark Hoppus on August 14th, 2006. A huge thank you goes out to Ingrid at Interscope for setting this up and of course Mark for participating in the interview with us. For those of you that don’t know, Mark Hoppus is the former bassist for Blink-182 and is currently finishing up work with Travis Barker on their new project +44.Read More “Mark Hoppus of +44”
At the proverbial heart of the record everything about this sophomore full-length is actualized in the form of one solitary line. Let me explain: Midway through the album sits the title track, “Dog Problems,” and midway through the song, the music gently wilts and Nate sings, “Can you hear me? Are you listening? This is the sound of my heart breaking and I hope it’s entertaining. Because for me, it’s a bitch. Was it worth it when you slept with him? Did you get it all out of your system?” If there was ever a defining moment in what is sure to become The Format’s opus, this is it.
Less Than Jake have been doing the whole, “we’re a band thing” for longer than most of those reading this review have probably been into this whole “scene.” They released one of the best albums I overplayed during my high-school years (Hello Rockview); and they continue to get shit from kids who can’t get over the fact that they won’t release the same album over and over. What one needs to remember is that Less Than Jake have proved their not a flash in the pan band. They’ve been writing hit songs for years. While it’s hard for me to picture myself listening to some of the pop-bands I enjoy at this stage of my life in 15 years – I can totally see myself still breaking out Less Than Jake albums well into my years.Read More “Less Than Jake – In With the Out Crowd”
Brandtson has been releasing amazing albums for years, the problem is not many people have been paying much attention. Their last album, Send Us a Signal, was the sleeper hit a few years ago. Building a wave of buzz from within the belly of our little community here. They’ve returned, they’ve evolved, but they’ve stayed within their formula for making some of the catchiest and enjoyable pop-rock you’ve ever heard.
With the song-writing storytelling skills of Limbeck and the catchy musical prowess of The Format, the sing-a-longs begin and don’t stop until the last note. As we’ve already mentioned this “electronica” trend has taken hold. Even Brandtson aren’t safe from this invasion! We get the beats, we get the dance songs (one song is even titled “No One Dances Anymore”) – but they do it in a way that comes across with the maturity only a band that’s been doing this whole shebang for years could have.Read More “Brandtson – Hello, Control”
This best of list was originally posted on AbsolutePunk.net in 2005. It has been brought over to Chorus.fm for posterity.Read More “Jason Tate’s Top Albums of 2005”
Have you ever finished watching a particularly moving film or completed a strikingly emotional book, only to sit in your plush-leather seat — dumbfounded? There is that split second of realization that nothing you ever accomplish in your life will come close to the intellectual and emotional genius you just experienced. I have had such a feeling on only a few rare occasions; however, after each listen of Thrice’s Vheissu, this numbness pummels the skin around my chest.
It is perfect.
Ever since this debut full-length was first played in my car stereo on the drive home from The Militia Group’s home office, I’ve had one goal in mind: review this before Rohan does.
Okay, I’m only half kidding.
I’m reviewing this CD for one reason: I believe in this band. I think my faith in Cartel is evidenced through my desire, and utmost excitement, to ‘leak’ the band’s album on this very website. I’d never do such a huge promotion with a band I wasn’t 100% behind. There’s a variety of aspects to the band’s music that touch me in a way few bands are able. I hope to convey these feelings as best I can through the following words; however, there are things that you will only discover through sitting down for a good hour with this album, alone, in your room, and with the volume turned up very loudly. My conviction and sharp pose on this band are apparent from any visitor’s every day visit to this website, and this is exactly the review you expected me to write.
This album was a long time coming.
It has been a long hard struggle to get this album out into the hands of the fans. This is despite it being produced beautifully by Neal Avron (Yellowcard, Fall Out Boy, Everclear), despite the band being fronted by one of the most vocally talented front men in the music scene, and despite the album being one of the best I’ve heard all year (if not the past few years). Apparently the problem with greatness is that no one appreciates it in it’s time.
Combining the pop-sensibility of Coldplay with the oldies jam sound of Simon and Garfunkle, Days Away have come into a sound with the potential to last through the ages. This album, in my opinion, should be a staple in everyone’s collection. Despite what genre you find yourself leaning towards – this is one of those bands you can appreciate for the pure talent and beauty in their music. Do not be afraid to try something a little different, and outside of your comfort zone – because the journey you will take in Mapping and Invisible World is a trip unlike you have experienced before.Read More “Days Away – Mapping an Invisible World”
Growing up in the suburbs of Oregon I spent most of my youth outside entertaining my hyperactive mind with all sorts of daily activities. I remember spending countless hours running through grass fields and spinning around in circles staring straight up towards all the spiral-pouring raindrops. Copeland’s new full-length album, In Motion, brings to head all of these nostalgic thoughts as their sonic wave invades my speakers. (Cheesy lines are all I have sometimes ..)
Being a huge fan of the band’s last album and their cover’s EP: there was more than a little anticipation running through my blood. Remarkably, I was not let down by the perfect combination of their full-length’s slower melodic styled songs and their EP’s slightly edgier rock-pop songs. It seems that only a few weeks ago all of us on the website were debating which bands have what it takes to take on a sort of “iconic” status later in our lives, years from now when all of us are old and grey. The irony is how quickly we may have just been answered …Read More “Copeland – In Motion”
When does music stop being just notes and chords and transcend into the physical world as a material life form? It takes unimaginable skill to breathe such life into songs that they take on a living function of their own. Say what you will, but not all music is created to be impossible to decipher: not all guitar parts are written to be the hardest riffs to emulate, not all lyrics are written to conceal hidden agendas and meanings, and not all songs are fashioned to be so enigmatic that they require Harvard level IQs in order to be understood. At what point did this become the level for which we judged music? Where in the evolution of song did we forget about emotion and start judging based upon song titles? Who became king and declared that if the song doesn’t involve an obscure nihilist reference that it is not worthy of our ears? Where is the document that states the rules of music? Because, if inside your head you have such a document by which you judge music: fucking burn it. The first song I ever learned to play on the guitar due to its insane simplicity was “Yesterday” by The Beatles. It is still, in my opinion, one of the greatest songs of all time. Pop music caught a bad wind when “performers” took front stage and “artists” fell to the back. And pop music began a downward ascension amongst some listeners when those who sang the songs were not those who wrote them, when dance numbers became more intricate than the content, and finally, when an image was created and sold before the music.