Review: A Wilhelm Scream – Partycrasher

A Wilhelm Scream - Partycrasher

Many bands who release an album after a long hiatus inevitably disappoint. Expectations are too high, inspiration isn’t what it once was, and momentum is lost. Partycrasher is a boot to the face of every flat late-career release that preceded this one. “Why’d I take so long to break these chains around me?” The band soon answers the opening self-imposed question with an admission in “Boat Builders”: “I admit I’ve been bored, I’ve been lazy.” The next 10 tracks serve as more than an adequate apology, as A Wilhelm Scream has stuck yet another jaw-dropping middle finger to the competition.

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Review: Katy Perry – Prism

Katy Perry - Prism

The first time I heard “Roar,” the lead-off single and opening track from Prism, Katy Perry’s fourth full-length record—as well as Perry’s eighth number one hit—I thought it was a solid pop song. It had a catchy melody, a huge, arena-rock-esque hook, generic lyrics, and just about everything else you would expect from the new Katy Perry single. It was neither a great song nor a terrible one, and after coming to loathe pretty much every radio hit from both 2008’s breakthrough, One of the Boys and 2010’s world-conquering juggernaut,Teenage Dream, “solid pop song” was just about a home run for Perry in my book.

Then I started paying a bit more attention.

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Review: Into It. Over It. – Intersections

Into It. Over It. - Intersections

Just short of admitting all of my neuroses to a bunch of strangers, it seems pertinent to start a review of Intersections with the beguilingly cliche statement that you’ll like this if you often find yourself alone. Evan Weiss has become known for his sheer proliferation of music, a sort-of workman in the emo age. Which is fine and true, but what you really get on a stellar album like Intersections is a painting of a person forced from the safehaven of their mind. It’s music with all of the intricate guitar, soft singing and autumn-hued loneliness we love about Into It. Over It., but these one-on-one conversations (or more often one-on-none) carry more weight. Mr. Weiss is far from talking to himself these days, and as a mouthpiece for those of us tripping through our twenties, he’s someone we need to hear.

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Review: Mayday Parade – Monsters In The Closet

Mayday Parade - Monsters In The Closet

I’m not really into pop-rock music anymore. That might be a shock to the people who know me/follow me on Twitter, but it’s true – the oversaturation of the genre has really turned me off to the entire sound. Despite all of my preconceived notions about this style of music, Mayday Parade always seem to write an album that needles its way into my heart. I hate using the term “guilty pleasure,” so I’m not going to use here, especially on a band that just wrote 12 huge tracks on its latest release, Monsters In The Closet – an album built for arenas. 

Now, I’m not saying the band has reinvented the wheel or anything – rather they’ve continued to refine and perfect the pop-rock sound so many fans fell in love with six years on A Lesson In Romantics. Vocalist Derek Sanders is still one of the most emphatic and charismatic front men today and he totally owns each of Monsters’ twelve tracks. “Ghosts” kicks off Monsters with Sanders singing a cappella (with the band harmonizing behind him) before kicking it into high gear. Drummer Jake Bundrick punctures through the dueling guitar riffs of Brooks Betts and Alex Garcia while Sanders carries the song’s massive hook. And honestly, nearly every song has a monstrous hook. “Girls” and “Repent and Repeat” go from zero to sixty in an instant (displaying the band’s pop-punk chops), while “Last Night For A Table Of Two” and “The Torment of Existence Weighed Against The Horror Of Nonbeing” (awesome Calvin and Hobbes reference by the way) showcase the continuous growth in the band’s songwriting (Betts and Garcia have really outdone themselves on Monsters). 

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Review: Panic! at The Disco – Too Weird To Live, Too Rare To Die!

Panic! At The Disco – Too Weird To Live, Too Rare To Die!

If there’s anything to be said about Panic! At The Disco it’s that they aren’t afraid to try new things. Each of their three records up to this point have sounded drastically different. But you know what, they probably don’t really care which one you like more or why. With that in mind, the band’s fourth record, the long-titled Too Weird To Live, Too Rare To Die, takes yet another step away from previous material. 

Demographically, this record sort of sounds like the band started down a similar path of Vices and Virtues before quickly veering down a more dance/dubstep inspired path (Side note: this is where I apologize if I am an idiot – I do not listen to dubstep, so I am only speculating that some of the instrumentation is dubstep-influenced). The explanation for this path reasoning comes very early with singles “This Is Gospel” and “Miss Jackson.” Both of these tracks basically take the pop sensibilities of Vices – I’m looking at tracks like “Memories” and “Ready To Go” – and pick up where they left off. “Whoa-oh-ohs,” repetition, and bombastic choruses start this record off on a note of addictive pop tunes.

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Looking at the a Day to Remember Court Case; What Does It Mean?

A Day to Remember

You either care about the current A Day to Remember vs Victory Records court case or you don’t, and if you do, odds are you are a little confused about just what the fuck is going on. I’m going to be speaking with the band shortly for a longer piece about the new album and the ongoing legal stuff, and we’ve already read the statements from Victory. After pouring over countless court documents, talking to a variety of legal sources, and caring way too much about this (yeah, this stuff fascinates me, in another life, I wanted to argue in a courtroom instead of a message board all day) — I’ve begun piecing together what we currently know.

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Review: A Day to Remember – Common Courtesy

A Day To Remember – Common Courtesy

The law is a complicated thing, but listening to music is not. Listening to music is easy. So even though you might not be interested in learning the ins and outs of A Day to Remember’s ongoing lawsuit with (former?) label Victory Records, you can instead digest something much more straightforward: The band’s new album, Common Courtesy. And in the face of two years of drama surrounding the release of this record, it seems like an important time to remind the Internet that years down the road, people won’t remember that a band was once in a lawsuit with its label – but the record, and these songs, will be remembered. The record lasts forever.

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Review: Justin Timberlake – The 20/20 Experience (2 of 2)

Justin Timberlake - The 20/20 Experience 2 of 2

Making a double album is a risky proposition for any artist. Plenty of the greats, from Bruce Springsteen to the Beatles to the Smashing Pumpkins, have stumbled into the pitfalls of self-indulgence and/or plentiful filler material en route to creating their own double albums, and those records are considered the classics of the medium. Imagine what a complete double album disaster could sound like. Expansive and interconnected musical projects hardly become easier when you break them up into separate releases and space them out across several months (just ask Green Day), and it all becomes a little bit trickier when you have nearly seven years of built-up anticipation waiting on the receiving end of your return.

Such was the perfect storm of intensity waiting for Justin Timberlake when he made his comeback earlier this year with the first part of The 20/20 Experience. Timberlake’s answer to handling the “double album” pressure was, unsurprisingly, to play it cool and not tell anyone he was actually making a double album: The 20/20 Experience 2 of 2 wasn’t even announced until well after the first part had scored a just-shy-of-a-million-copies first week of sales. Timberlake also subverted expectations with the music, inflating his song lengths to the five, six, or seven minute range (if not more), meaning that his two 2013 albums have ended up with a collective running time of 144 minutes, enough music for three or four records. Needless to say, the 2013 version of Justin Timberlake has been a guy with a lot of songs to share and plenty of surprises up his sleeve.

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Review: Balance and Composure – The Things We Think We’re Missing

Balance and Composure - The Things We Think We're Missing

When you hear a record like this and you’re going to write about it, you really want to open up with some grandiose, sweeping statement that sets the tone for the next few paragraphs. I mean, that’s what we’re here for, album reviewers. To tell you that Balance and Composure wrote our album of the year, or whatever. Well, lists are unimportant, and album reviews are glorified blogs. And I have no sweeping statement for you, because The Things We Think We’re Missing leaves me – yes, me, a 22-year-old with a keyboard and reliable Internet connection – completely speechless.

The Things We Think We’re Missing is a significant record. It’s significant in the fact that it’s a new full-length album from one of the most beloved bands in our little community, coming at us in hotly anticipated fashion. It’s significant in the fact that this is the album that will provide Balance and Composure with a launching pad to leave this little community and move along to…wherever the fuck this band is going. Somewhere bigger with more ears listening. It’s a record that has true lasting value, the kind you feel in your bones; the kind where you know it doesn’t matter how many times you hear a song like “Lost Your Name,” because it’ll never feel played out. You know what I mean. You know the songs that you’ve listened to thousands of times but you’ll still never skip when they come up on a playlist. There are lots of those here.

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Review: The 1975 – The 1975

The 1975 - The 1975

I had never seen a band gain such rapid buzz before releasing a debut album like The 1975. Surviving multiple name changes before finally deciding, the band released EP after EP over the course of the past year. Each EP gained them more of a following and more of a following – until recently when they seem to be everywhere. Watching this band grow has been incredibly exciting, because this band defines everything pop music should be.

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Review: Butch Walker – Peachtree Battle

I just remember my dad flew out to see me and first thing he got off the plane, I’d never seen him cry, and he just started crying. And it was a big moment for me because I could see he was proud of having a boy who could wipe his own ass and make his own way. And ever since then, I wanted his respect, no matter how I looked and how I dressed. So I tried to make him proud after that, and many, many years later and many failed attempts later and different bands and trying to be successful, and failing, he always had my back after that, and he would give me his only twenty dollars in his pocket and say ‘let’s go get some beer and hug it out.’ And…this is for him.

Butch Walker, dedicating a song to his father at a recent concert

Over the past week, I’ve written ten reviews spanning ten different records from Butch Walker, my favorite living songwriter—or at very least, a guy I consider tied with Bruce Springsteen for that title. I’ve covered solo albums, full-band records, and side projects, and I’ve written about nearly every song that Walker has written in the past 15 years. I did it in some 16,000 words, in a feature I called “Butch Walker Week,” and for those who have made the journey with me—and survived that hefty word count to get to here, no less—I thank you for your attention. It’s been an adventure, to say the least, a walk through some of my favorite songs of all time and through records that have shaped my life since I first stumbled upon Letters eight and a half years ago. And today I reach the end—or hopefully, the middle—of Walker’s catalog with a new EP called Peachtree Battle, which releases to digital outlets today. Suffice to say, it feels like a good place to pause the music, lay down my pencil—er…laptop keyboard—and reflect. This album, I think, is a culmination.

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