Review: Forgive Durden – When You’re Alone, You’re Not Alone

AbsolutePunk Nov 21, 2005

Yet another great Seattle band has emerged, and their name is Forgive Durden. This super catchy pop-rock band has released an excellent debut album. When You’re Alone, You’re Not Alone is full of soaring choruses, tempo changes, varied instrumentation, and great production by who else – Casey Bates. Upon first listen of this EP, one will immediately hear the similarities to bands on Rocketstar Recordings – specifically This Providence and Gatsby’s American Dream. Full of technical breakdowns and amazing vocals by lead singer Tom Dutton, currently unsigned Forgive Durden is about to make a name for themselves.

AbsolutePunk Nov 21, 2005

Sherwood’s album is an enjoyable mix of musical styles. With vocal stylings similar to Ace Enders (Early November) and drumming comparable to Copeland, Sherwood has followed a formula that has proven to be successful. Slow, emotional choruses and tight, crisp guitar work assist catchy verses. Fans of emo-rock will really dig what this CD has to offer. While you can detect the band’s talent instantly, there is definitely something lacking in each song. Every song has a good hook and a nice flow to it, but there is simply nothing unique about Sherwood, minus a few tracks – one of these being “Pray Forgive Me These Mistakes”. Synth drums move a slow ballad of a song forward. It’s a great testament to how awesome Sherwood’s vocals are. He really sounds like Aaron from Copeland in this track. Another track, “Anything You Choose” displays Ozma-esque keyboards while guitars twang forth an alt-country beat. This eventually falls into the same pattern as all the other songs, give or take a breakdown or two. Nonetheless, it’s still a fun album to listen to. Overall, it’s a solid effort. Check it out if you want something new to listen to you in your car while you drive home late at night.

AbsolutePunk Nov 21, 2005

There was once a time when I’d buy just about anything that came out on Drive Thru Records, based solely on the label’s reputation for putting out nothing but great pop punk albums. After losing some of their best (biggest) bands to major label Geffen Records (Something Corporate, Midtown, The Starting Line, New Found Glory) and a breakup (The Movielife), Drive Thru was left with the challenge of essentially rebuilding their label. With a depleted roster, Drive Thru signed a flurry of bands that, let’s just say, weren’t quite up to the Drive Thru standard of previous years (though, of course, many of these bands are now about to put out their first full lengths, so we may be delightfully surprised), in addition to starting a sister label, Rushmore Records. Thus far, Rushmore Records’ releases haven’t really done much to change the perception that Drive Thru is still under renovation—save one. Houston Calls’ debut full length, A Collection of Short Stories, is a ridiculously catchy, remarkably well written pop punk album that has restored both my and Jason Tate’s faith in Rushmore/Drive Thru Records. If albums like A Collection of Short Stories are what we can expect from the new Rushmore/Drive Thru, then Drive Thru is back, as good as ever.

AbsolutePunk Nov 21, 2005

They’re back. Modern-day punk legends MxPx have released yet another studio full-length after being a band for well over a decade. After their last album received mixed reactions (too poppy, overproduced), MxPx signed up with an indie label (Side One Dummy) and decided to return to their roots. Well, as much as they could. We all remember when MxPx claimed to be returning to their roots the last time – the result was the largely mediocre The Renaissance EP. This time around, it’s different. It’s a nice combination of MxPx circa 1996 and modern day MxPx. Overall, it’s a much faster album than their past 2 studio full-lengths, and for the first time in years (thank God) the production is excellent. While this record is a step in the right direction for the band, it’s far from a perfect record. On every MxPx album, there are one or two songs that are just pure crap, and Panic is no exception, but more on that later. After hearing the first five tracks to Panic, something became apparent – this is the album I wished MxPx had released after Slowly Going the Way of the Buffalo. The tempo, the lyrics…everything would have matched up perfectly. Instead, they released the terribly produced The Ever Passing Moment, followed by the super-sappy pop-fest that was Before Everything and After. Mind you, I enjoyed both of these albums, but they were far below what the band was capable of. Keep in mind, MxPx is the reason I listen to music today – Life in General is my favorite album of all time.

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Review: Circa Survive – Juturna

AbsolutePunk Nov 21, 2005

Circa Survive’s debut record hits stores with an undeniable amount of hype behind it. Vocalist Anthony Green is one of the most respected and idolized singers in the scene today. He is of course known for his work in such bands as Saosin, Zolof the Rock and Roll Destroyer, etc. His latest endeavor comes courtesy of Equal Vision’s Circa Survive, a technical indie rock band with interesting time signatures and melodies. The music itself can be compared to Further Seems Forever, but with a bit more quirk to it. Anthony’s vocals vary from straight forward blasting of melodies (“Act Appalled”) to bizarre rhythms matched with slightly odd musicianship. The album’s opener, “Holding Someone’s Hair Back” is an example of Circa’s weird side. Still, the intentional clash between vocals and offbeats melds together nicely for a solid head-nodding tune. The second track, “Act Appalled,” is easily my favorite on the album. Saosin fans will love this song, as Anthony hits the peaks of his range and strains his voice on the higher notes. Listeners who are unfamiliar with Anthony’s style of singing will be pleasantly surprised at his ability to max out his range and turn each note into a second of raw emotion. The music is basic enough to let the song be driven by Anthony’s voice, which I see as a smart decision.

AbsolutePunk Nov 21, 2005

Minus the Bear has returned with their highly anticipated sophomore full-length. The appropriately titled Menos El Oso (meaning Minus the Bear in Spanish) is different from the band’s previous works, but still distinctly Minus the Bear. MTB is known for electro-rock songs full of finger tapping work on the guitar, with lyrics about girls, booze, women, alcohol, and more drinking. While Menos El Oso is a bit toned down from their previous releases, the lyrics are still dark and witty, and the music is as unique as ever. Minus the Bear is so very different from other bands out there in the sense that they are extremely talented song writers. Instead of settling for cheap hooks and choruses, Minus the Bear writes songs that get better with ever listen. Menos El Oso is an album that I was grossly unimpressed with upon first listen. The overall tempo is slower than the band’s earlier releases, the music seems to be less technical at first glance (not really the case), and the whole album just seemed to drag. Then, after weeks and weeks of constant listening, Menos El Oso has grown to be one of my favorite albums this year. As it gets better with each listen, I realized that Minus the Bear has created a brilliant album, full of mid-tempo songs that contain melodies in all kinds of places. In almost every track, you’ll find yourself singing along to the guitar line or the bouncing bass line instead of the vocal melody. The songwriting displayed on Menos El Oso is outstanding.

Drew Beringer Nov 20, 2005

”Gutter Phenomenon” was a term coined in the 1950’s to describe rock and roll and its “sinfulness”. 50 years later, Every Time I Die is a band from that gutter that stands out among the rest. With two chaotic-filled albums under their belt already, ETID has become the hottest thing out of Buffalo since those world-famous wings. With Gutter Phenomenon, ETID brings a different sound. This time around ETID brings less chaos, more structure, and refined singing from vocalist Keith Buckley. Still evident are the biting, intelligent lyrics and overall passion and intensity from the band. This isn’t the ETID you’re used to; rather this is an ETID that proves that overall they are great musicians. Produced by Machine (Lamb Of God, Armor For Sleep, Boys Night Out), “Gutter Phenomenon” is an 11-track rock and roll beat down. Along with Buckley, ETID is rounded out by guitarists Jordan Buckley and Andrew Williams, with Mike “Ratboy” Novak on drums. The bass was done by Kevin Faulk for the record, but he was dropped by the band afterward. While this may be a more mature ETID, they still have the same bite as before.

Drew Beringer Nov 20, 2005

Before The Blackout, Allister’s third full-length album, refers to the many drinking binges lead man Tim Rogner went through before completing this album. It’s been three years since the Drive-Thru Record veterans released Last Stop Suburbia, and, after lineup changes, frustrations, and painful breakups, they are ready to give us a new offering of their pop-punk. Rogner, along with guitarist Kyle Lewis, bassist Scott Murphy, and drummer Mike Leveranz, wanted to add a more rock and roll style to this batch of songs this time around. What we get is a solid album that incorporates sing-along choruses, fist-pumping riffs, and persevering vocals.

Drew Beringer Nov 20, 2005

What do At The Drive-In, Taking Back Sunday, and The Movielife all have in common? Other than releasing genre-defying albums, they’ve also have broken up and each have produced two new bands. At The Drive-In gave us The Mars Volta and Sparta, Taking Back Sunday gave us a new TBS and the John Nolan-led Straylight Run, and the Movielife spawned I Am The Avalanche and Nightmare Of You. While TBS and Sparta have tried to recreate their older sound, TMV and SLR have drifted away from their previous band’s sound and have gave us something more original and fresh. When The Movielife broke up, Vinnie Caruana formed I Am The Avalanche and guitarist Brandon Reilly formed Nightmare Of You. While IATA began where The Movielife left off, Nightmare Of You follows in the vein of Straylight Run; a mellow indie band that features more accomplished and mature songwriting than before. Reilly is the lyricist, vocalist, and guitarist for NOY, while the rest of the band is rounded out by guitarist Joe McCaffrey, bassist Ryan Heil (although he joined NOY after the album was recorded, Lader played bass on most of the album) and drummer Sammy Siegler. Produced by Jason Lader, Nightmare Of You offers 11 dark pop songs that burst with memorable melodies, sarcastic lyrics, and great emotion.

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Review: Chiodos – All’s Well That Ends Well

Drew Beringer Nov 20, 2005

To be honest, when I got “All’s Well That Ends Well” in the mail, I didn’t know what to expect. First known as the Chiodos Bros., they had a variety of styles show up in their earlier work, but with their Equal Vision debut, they tried to categorize their sound a bit more with duel-guitar riffs and better lyrics. While there is still a melting pot of styles on this release, it’s more defined. Chiodos is a sextet featuring vocalist Craig Owens, Radley Bell on keyboards and backing vocals, guitarists Pat McManaman and Jason Hale, and Matt Goddard on bass. Chiodos has a nice-sized fan base and has toured with the likes of Coheed and Cambria and Yellowcard. With musical influences from Saves The Day to Queen to At The Drive-In, Chiodos covers a lot of genres in their music. Filled with electronic beats, piano, metal riffs, screaming, and vocals that rival Anthony Green, this is one fun album. At times melodic and at times in your face, this is one album that will definitely intrigue you.

Jason Tate Oct 18, 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.

Review: Cartel – Chroma

Jason Tate Sep 20, 2005

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.

Review: The Starting Line – Based on a True Story

Jason Tate May 10, 2005

Okay, so let’s start with what we know:

I’m a huge pop-punk kid. It’s the musical style I started listening to back in the day with MxPx and Blink-182. As much as musical purists will complain and moan, it’s the truth, and it’s my roots.
I have been a pretty big fan of The Starting Line from their We the People Sessions back a few years now; however, everyone knows I was let down by their first full-length (Say It Like You Mean It) because I loathed some of the production by Mark Trombino.

I know, I know, so many people disagree with me on that one – but this is my vindication. The Starting Line return May 10th with their new full-length, Based on a True Story, produced by Tim O’Heir – and after hearing this album, it makes me bitter to think how the band’s last album may have sounded without Trombino on the dials. Yet, it makes me incredibly happy to finally have a CD that maximizes everything I’ve wanted this band to be for the past 4 years.

Jason Tate May 10, 2005

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.

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Review: Copeland – In Motion

Jason Tate Mar 22, 2005

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 …

Review: Forgive Durden – When You’re Alone, You’re Not Alone

Review: Sherwood – Sherwood

Review: Houston Calls – A Collection of Short Stories

Review: MxPx – Panic

Review: Circa Survive – Juturna

Review: Minus the Bear – Menos El Oso

Review: Every Time I Die – Gutter Phenomenon

Review: Allister – Before the Blackout

Review: Nightmare of You – Nightmare of You

Review: Chiodos – All’s Well That Ends Well

Review: Thrice – Vheissu

Review: Cartel – Chroma

Review: The Starting Line – Based on a True Story

Review: Days Away – Mapping an Invisible World

Review: Copeland – In Motion