Review: Mutemath – Odd Soul

Drew Beringer Oct 4, 2011

You’d never picture the guys in MUTEMATH to be dark wizards, but after listening to Odd Soul numerous times, I’m just not so sure anymore. It’s plain as day to see that the band is using horcruxes, as they have divided up their Odd Soul into separate different genres to reach musical immortality.

So while my analogy may have been totally lame, you cannot deny that there has always been some sort of uniqueness about MUTEMATH. From their energetic live show to their fantastic music videos, you rarely hear or see the band to the same thing twice. And that’s what makes Odd Soul one of the best albums of 2011 – it’s MUTEMATH reinventing themselves while remaining true to their roots throughout the thirteen track LP.

Drew Beringer Sep 29, 2011

If Evan Weiss isn’t a household name within the scene yet, he will be soon. The singer/songwriter’s resume includes two very ambitious projects – one album featuring a song for every week in a year (52 Weeks) and one collection of twelve songs that represent twelve different cities (Twelve Towns). He’s already impressed critics and fans alike, and that’s even before you sit down with his first true full-length album, the aptly titled Proper. While the majority of Weiss’ discography is of the soft, acoustic variety, his No Sleep debut is stuffed with twelve energetic and poignant tracks, all in its full-band glory.

AbsolutePunk Sep 27, 2011

It’s almost like this review doesn’t have to be written. A shiny, freshly made batch of 11 pop-punk songs recommended for people who love pop-punk songs.

Or, in other words, a new New Found Glory record. Recommended if you like: New Found Glory.

Perhaps the most consistent band in the history of a genre they helped make extremely popular, New Found Glory’s seventh studio full-length, Radiosurgery, is exactly what you think it is. It’s 11 (actually, 10) wonderful gems meant for playing: 1. With the windows down; 2. With the volume turned up; 3. During the summer. Predictable words about a predictable record.

If I sound like I’m criticizing Radiosurgery, I’m only doing it half-heartedly. Aside from the question mark of Coming Home, New Found Glory has very rarely tweaked its style since its 1999 debut, Nothing Gold Can Stay. And why would they ever change? Creeping up on the 12th anniversary of that first release, New Found Glory has already almost doubled the timeline of relevancy compared to many of their peers. They’re one of the most-loved band in the genre and 12 years is a lot longer than the number suggests. Fans have loved every NFG album and have come out in droves to seem them perform live. Radiosurgeryisn’t going to change that.

Thomas Nassiff Sep 27, 2011

A few years ago, a lot of positive reviews for pop-punk records talked about how the record in question was a change of pace; a break from the then-unfortunate norm of neon clothes and auto-tune. That tone began to change – slowly at first, then with increasing speed. Something of a “golden age” emerged, and whether you want to thank Run For Cover and No Sleep Records or any of the other numerous amazing independent labels that have been the behind-the-scenes faces of this movement is your call. But my point remains: For avid music listeners, for the users on this website, and for the college-aged generation across the country, these record labels and a tight-knit scene of bands stretching from Gainesville to Boston to Los Angeles to, um, Oregon, loomed into the spotlight. Their shadows overtook and made irrelevant the neon and the auto-tune.

Ryan Gardner Sep 27, 2011

A lot has changed for Cartel since the release of 2009’s beloved Cycles. Bassist Jeff Lett left the band and was not replaced. More importantly, the band decided to split from Wind-Up Records and release In Stereo entirely independently. Still, the transition from Cycles to now shows no missteps, as this EP picks up right where Cartel’s last fantastic attempt left off.

With only five songs to work with, Cartel leave nothing behind throughout In Stereo. As always, Will Pugh soars as a vocalist, exercising an unforgettable vocal performance on “Conduit” over piercing guitars. The musicianship shines on each track, highlighted by guitars mixing wonderfully with the unique vocal delivery on the infectious “American Dreams.” Pugh truly shines on the closing “Something To Believe” which may be the catchiest track on the EP – although it really is hard to choose what song deserves that title.

AbsolutePunk Sep 22, 2011

”Go back to Fall Out Boy!”

”Your solo stuff sucks!”

These responses, while ignorant and misguided, unfortunately exist in regards to the solo undertaking of former Fall Out Boy front man Patrick Stump. After the influential pop-punk quartet went on hiatus in 2009, each member went their separate ways. Drummer Andy Hurley and guitarist Joe Trohman formed hard-rock The Damned Things, while bassist Pete Wentz delved into club-centered dance pop in Black Cards. Stump, on the other hand, had a different and the arguably most ambitious vision as to where to take his next step musically.

Thomas Nassiff Sep 21, 2011

It’s only been 14 months since Man Overboard last released a full-length record, but the stage couldn’t be any different for the New Jersey-based pop-punk defenders. You knew I was going to bring up that motto in the first paragraph before you clicked that link, didn’t you?

Unfortunately, just like my introductory remarks, Man Overboard’s self-titled second LP and first for upstart-pop-punk-powerhouse Rise Records is…slightly predictable. Luckily for listeners and fans, that isn’t even close to a bad thing. When the group released Real Talkon Run For Cover last summer, they had something to prove. After quite a few successful EPs, it was time to show that they could make a record that was something like 35 minutes long, and worth every second.

They succeeded. Real Talk was well received by fans and critics. This self-titled album is more of the same, albeit with better production and hooks that soar even higher. The chorus and double-time tempo of opener “Rare” shows right away that recording with New Found Glory’s Steve Klein was an A+ decision, as his extensive experience in the genre is a valuable asset in production. Compared to Real Talk, Man Overboard is more clear, crisp and punchy.

AbsolutePunk Sep 19, 2011

Today is September 20, 2011, and there is a new Blink-182 record in existence.

1,096 days. That’s exactly three years and one day.

That’s how long it’s been since Blink-182 drummer Travis Barker and close friend Adam Goldstein managed to escape a flaming Learjet 60 crash site in South Carolina with severe injures. They were the only survivors of the crash.

That incident is credited as the event that brought Blink-182 back together. For the first time since 2005, Mark Hoppus, Tom DeLonge and Barker were communicating with each other. Much larger and prominent than the sequence of events that tore them apart, the tragedy held enough weight for them to realize they wanted to spend time together, rather than stay apart with bad blood between them.

Drew Beringer Sep 1, 2011

Hate is a strong word. As a kid, I was advised by my parents to not use that word lightly, so much so that I would usually say “strongly dislike!” instead. But in Hawthorne Heights’ case, hate is absolutely the right word to use. After the personal strife and label drama the band has been through, it only makes sense that they titled their first independent release Hate. The self-funded and self-produced EP features nine of Hawthorne Heights most volatile, vulnerable, and pissed-off songs. After a their brief stay at Wind-Up Records, the Ohio quartet decided to ditch record labels all together. They wanted to release music whenever they wanted to and however they wanted to, thus creating their own label, Cardboard Empire.

Thomas Nassiff Jul 26, 2011

Only after several years can you begin to notice the influence a record has had. Some may say it takes foresight to know whether a record will become legendary, but there’s no way to really predict something like that. For this Retro Review project, we’re reviewing records that are a minimum of 10 years old – and with Jimmy Eat World’s Bleed American celebrating its 10th birthday on July 18, I can’t think of a better place to start.

The “Class of ’01,” not to infringe on AltPress’ phrase or anything, is very impressive. Bleed American, however, might be my favorite record from that entire year, and it would certainly be on a list of my all-time favorites from the genre. Jimmy Eat World does have a sense of early-decade pop-punk on the album, but it’s infused with their now-unmistakable brand of angst-ridden emo, making it a pop-punk sound no other bands have successfully duplicated. Bleed American was the launching point for Jimmy Eat World’s commercial success as well, spawning multiple hit singles.

Thomas Nassiff Jul 25, 2011

How does one begin to measure the influence of a band like Blink-182? You can’t count how many garage bands were spawned after Enema Of The State came out. You can’t put a price on taking a relatively new genre and thrusting it into the mainstream with full force. Without Blink 182 and their peers like Green Day and The Offspring, and a little while later, bands like New Found Glory, where would pop-punk be? It quite possibly would never have even gotten started.

Drew Beringer Jul 13, 2011

Alkaline Trio aren’t the first band to trade in the electric guitar for an acoustic one and release stripped down material – bands such as Against Me!, Moneen, and Saves The Day are a few that come to mind. But I can’t think of many bands who’ve released an entire album full of re-worked, semi-acoustic versions of fan favorites from albums past. That’s what makes Damnesia somewhat unique – this isn’t your normal “greatest hits” compilation. There are 15 tracks on Damnesia – 12 “classic” tracks, 2 new ones, and a cover – and on each one the Trio attempts to bring something new to the song through these re-imaginings.

Blake Solomon Jul 5, 2011

There’s certainly an obligation here to discuss songs and melodies and all that jazz (pun intended?). But you’ve – we’ve – done that a million times. There are hints of The Starting Line and The Graduate, there are intensely personal lyrics, there’s a certain world weariness that is both refreshing and depressing to hear from a band so young – War Paint has all these things. And it’s good! It’s a very good album. There is no debating that. But of course, there is debating that. That’s all there really is. Especially if you’re one of the listeners who found Reach for the Sun to be some sort of musical epiphany. For you, War Paint might challenge your previously held opinions on The Dangerous Summer. And me? I don’t know – I guess for a few reasons that are none of your business thank you very much, I view War Paint in a vacuum. Its merits are based only on the sounds I currently hear, not the nostalgic ones my 12-year old emo boy heart fondly remembers. Making a connection with War Paint could mean lots of things: but what I hope it means for you is that you’re not ready for this world to be the boss. Liking War Paint means it’s time to stand up, move on and improve.

Thomas Nassiff Jul 1, 2011

Two years ago, Set Your Goals was riding a high. The group’s 2009 full-length, This Will Be The Death Of Us, was fairly well received on a large scale even though it disappointed some longtime fans of the group’s breakthrough record, Mutiny! That 2009 release catapulted the band to some fair heights and a position as a leader in the new-school pop-punk scene, for whatever that was worth.

Well, if I’m trying to go by Alternative Press’ line of thinking … it must really suck to be Set Your Goals right now. Burning At Both Ends isn’t just a step back from the group’s previous work, it’s a downright embarrassment considering we all already know how good this band can be. On a broad scale, if I was going to pin down one major problem with the record, it would be this: it is super boring.

Drew Beringer Jun 28, 2011

No one ever thought the five guys who created the scene staple, Tell All Your Friends, would ever reunite. Too much gossip, too much pain, too many bridges burned. It just wasn’t going to happen, and it was just the world Taking Back Sunday fans learned to live in. After the band released the uninspired New Again in 2009, a lot of diehard fans took it as the last straw and started to jump ship for good. Never again would we be fooled into getting excited for a new TBS record – we’ve been burnt for the last time.

Then the (what we thought) impossible happened.

Bridges were rebuilt. Friendships were mended. John Nolan and Shaun Cooper decided to rejoin Adam Lazzara, Eddie Reyes, and Mark O’Connell in Taking Back Sunday, and just like that, we were back. At first it was hard to believe, but hey, if Jay-Z and Nas could bury the hatchet and collaborate on a song, then why not Taking Back Sunday (and more specifically Lazzara and Nolan)? And even though shows sold out quickly and recording updates teased, fans were still apprehensive. Could they recapture that Tell All Your Friends magic? Or would the hype and expectations crush them?

Review: Mutemath – Odd Soul

Review: Into It. Over It. – Proper

Review: New Found Glory – Radiosurgery

Review: Transit – Listen & Forgive

Review: Cartel – In Stereo EP

Review: Patrick Stump – Soul Punk

Review: Man Overboard – Man Overboard

Review: Blink-182 – Neighborhoods

Review: Hawthorne Heights – Hate

Review: Jimmy Eat World – Bleed American

Review: Blink-182 – Take Off Your Pants and Jacket

Review: Alkaline Trio – Damnesia

Review: The Dangerous Summer – War Paint

Review: Set Your Goals – Burning at Both Ends

Review: Taking Back Sunday – Taking Back Sunday