Review: Anchor & Braille – Felt

AbsolutePunk Aug 5, 2009

You have to give Stephen Christian credit – the man is far from your typical rock star. Of course he is best known for his work with scene staples Anberlin, but Christian has a degree in psychology, has written a book, co-founded a non-profit organization, and is in general a supremely nice guy. So when he accumulated a pile of songs that didn’t quite fit what Anberlin was doing, it makes sense that Stephen wouldn’t take the easy way out. He could certainly tweak the songs enough so they could be peppered amongst future Anberlin releases, but rather than compromise the cohesiveness of those works and the integrity of these compositions, Christian instead decided to give them a proper release under the Anchor & Braille moniker. This was by no means some hasty, overnight project. It is a true labor of love that has been in progress (in some form or another) for almost a decade, and with the quality of Felt, it shows.

Gregory Robson Aug 3, 2009

Few music critics, and/or consumers, were expecting the self-titled debut from Nightmare of You (NOY), the braintrust of ex-Movielife guitarist Brandon Reilly, to be as engaging as it was. And yet in the fall of 2005, Reilly and his three friends: now-departed drummer Sammy Seigler, guitarist Joe McCaffrey and now-departed bassist Ryan Heil, churned out a near-flawless work of 11, literate, Smiths-inspired offerings. Equal parts creative and caustic, the self-titled was an auspicious effort that marked the start of something very special. Or so we thought. The Long Island quartet followed their shimmering debut with the brief, but sonically different Bang EP, a disc that geared more towards experimentation and improvisation. From the danceable title track to the off-kilter “Herbal Jazz Cigarette,” NOY seemed to push the creative boundaries a bit further than most were expecting. So it comes with baited breath, that the group has released their second and long-awaited full-length Infomaniac, without two of its founding members.

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.

AbsolutePunk Jun 22, 2009

So here we are – halfway through the sprawling six-volume epic of The Dear Hunter, and the road has been anything but smooth. After the universally adored Act II came out and gained traction in the scene, the band was almost dismantled by the departure of three members, leaving the future of the band and its opus in clouded doubt. Thankfully for fans, Casey Crescenzo is persistent to the greatest degree, and along with Erick Serna, rebuilt The Dear Hunter to rise again.

One might think that with this discord and splintering, the work of The Dear Hunter might suffer in kind, but such is not the case. If anything, Act III: Life and Death ends up being a much more focused, coherent offering, and exhibits no signs of faltering or lost momentum. Whereas Act II: The Meaning Of & All Things Regarding Ms. Leading was the progeny of the band experimenting across the entire sonic spectrum, Act III is the sound of a band finding their sound, and honing it to a fine point. Act II was lauded for its diversity, but Act III almost makes it sound disconnected in comparison. Act II was almost certainly the band (and Casey) finding itself, and Act III is the first revelation of the growth to come from said self-awareness.

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Review: Emery – …In Shallow Seas We Sail

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.

AbsolutePunk May 14, 2009

The evolution of musical artists is an enigma in itself. While it can often polarize the fan of a beloved artist, it is absolutely fundamental for an artist to be able to grow, particularly as they become older and their longevity hinders on their next move. Surely it doesn’t always work, and many times, bands fail to ignite a fire with a large audience and are forced to step back creatively in order to earn their fans’ ears back. The approach is an anomaly since selfish listeners can’t budge and try out a drastic (or not so drastic) change, simply based on the band members’ decision to explore new depths of sound.

In 2004, Green Day did precisely what they had to do in order to maintain relevancy. There was no other choice after the mild success of 2000’s Warning, arguably their most inventive and shape-shifting album left the band in a questionable state. Following the lead of The Who down to almost a ‘T’, the band wrote a massive punk rock opera that followed the vaguely metaphorical tale of a youth living two different lives in a troubled modern era. The success paved the way for Green Day to distance themselves from their bratty punk rock past and move towards crafting ambitious efforts that rang of fierce, unsavory lashings at politics and religion, all while weaving a yarn that while still punk rock in all its context, allowed the band to develop a gratuitous sense of self while expanding their trademarked brand of punk rock.

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.

AbsolutePunk May 7, 2009

”I hate a song that makes you think you are no good. I hate a song that makes you think you are just born to lose.” – Woody Guthrie

Give Anti-Flag credit for never being condescending or coming across as know-it-alls. This is a band made up of four guys who like punk rock, and are willing to scrap the chance at super-stardom in order to express their messages through song. Maybe that is why so many people were upset when they signed to RCA in 2006, but were still able to release an album that maintained their own values and stuck it to the man with an ironic iron fist that was full of sarcastic wit & pent-up angst.

So, after seven full-length studio albums, Anti-Flag rode the major-label wave and wasn’t feeling the surf. Now, they are back where they belong, on a label that has been gaining some serious clout the past year, thanks to in part to their highly-praised roster (including The Gaslight Anthem and Fake Problems). While this should ultimately have the band dancing on clouds and skipping through the woods, Anti-Flag’s brand of joy comes from being exceptionally pissed off and letting you pleasure from it.

AbsolutePunk May 6, 2009

It’s tough not to sound like a pretentious music elitist when you are discussing something you feel very passionate about. So, if I come across as one right now, I apologize right off the bat. If you can’t find something to like in Paper Route, then you don’t appreciate good music. It’s even tough for me to try to convey my thoughts on this album when I can’t even fully comprehend how complex it is.

Paper Route is a four piece band from Nashville, Tennessee that was formed in 2004 after several other bands had disassembled. As of late, the band has been touring with music scene heavyweights such as Paramore, Jack’s Mannequin, and Copeland. Audiences and fans alike have been thoroughly impressed and have had nothing but great things to say about the band, mostly because they have only been touring on a couple of EPs and haven’t had a lot of material to work with, which brings us to the present place and time, April 28, 2009. Paper Route’s debut album Absence is officially available. So how does it stack up? Let’s just say that it’s one of the best albums of the year so far.

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Review: mewithoutYou – it’s all crazy! it’s all false! it’s all a dream! it’s alright

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.

Jason Tate Apr 21, 2009

Quick note to the rest of the albums coming out this year: The bar has just been set.

Over the years there have been a select group of artists that have become so well respected within our community that they have reached almost hallowed ground. Their recordings are considered by some as the pinnacle achievement of what our little music scene can create. These bands top many “all time favorite” lists – and even years later their influence and replayablity dominate the eardrums. I’d like to present to you the next candidate for admission: Manchester Orchestra.

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.

Blake Solomon Mar 1, 2009

Putting All I Ever Wanted on shuffle could, depending on your thought process, ruin or save the whole experience. A far cry from Ms. Clarkson’s very public fight to write all her own songs on My December, All I Ever Wanted finds the singer co-penning just six of 14 songs (mostly with One Republic crooner Ryan Tedder). In this case, it’s a good thing Clarkson gave up some creative control, as her songs are generally the album’s weakest tracks (with the winners being string-infused rocker “Long Shot” and “Impossible”, which may be one of the best vocal performances of her storied career). Instead, All I Ever Wanted finds redeeming value in songs meant for Katy Perry or songs written by some of the biggest names in the game – lead single “My Life Would Suck Without You”, for example, has a veritable who’s-who of nameless songwriters behind it.

Blake Solomon Jan 25, 2009

Homesick makes it abundantly clear why so many people refuse to jump sides for A Day to Remember. There are 12 songs of the exact same heavy/lol-pop that can be heard onFor Those Who Have Heart or And Their Name Was Treason. Stick with your instincts; there are no true changes to the band’s sound. However, I finally realized the (probably intentional) trickery that comes packaged with ADTR records. Each one begins with a blistering fist pumper that’s more pop than “mosh.” The listener is instantly “amped” up (or whatever), and then it’s almost like the remaining 35 minutes don’t even matter. Your sated pleasure sensors easily discharge the forthcoming filler. But let’s say you skip that first song – or in this case, the first and second song – do you still have a great record? Quite confidently, I will say without this carefully planned dose of adrenaline you have a terrible f**king record. After we hear a shattering breakdown proclaiming “This is a battleground!” in second song “My Life For Hire,” the album becomes pretty skippable – save for a few (admittedly contagious) moments. If any band should just release EP’s, it’s A Day to Remember.

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Review: Thursday – Common Existence

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.

Review: Anchor & Braille – Felt

Review: Nightmare of You – Infomaniac

Review: Alexisonfire – Old Crows/Young Cardinals

Review: The Dear Hunter – Act III: Life and Death

Review: Emery – …In Shallow Seas We Sail

Review: Green Day – 21st Century Breakdown

Review: Closure in Moscow – First Temple

Review: Anti-Flag – The People or the Gun

Review: Paper Route – Absence

Review: mewithoutYou – it’s all crazy! it’s all false! it’s all a dream! it’s alright

Review: Manchester Orchestra – Mean Everything to Nothing

Review: Silverstein – A Shipwreck In the Sand

Review: Kelly Clarkson – All I Ever Wanted

Review: A Day to Remember – Homesick

Review: Thursday – Common Existence