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Relationships
really suck sometimes, don’t they? I mean let’s face it, the bliss and
warmth that’s supposed to accompany love are often times contradicted by
feelings of stress, betrayal, and frustration. Whoever said love is easy,
in my opinion, had to have been extremely drunk! Now, I’m aware of the
fact that not everyone shares my opinion, but for those of you who do, I
suggest giving Taking Back Sunday’s Tell All Your Friends a
listen. I think you’ll be able to relate.
Victory Record’s Taking Back Sunday, comprised of Adam Lazzara
(vocals), Eddie Reyes (guitar), John Nolan (guitar), Shaun Cooper (bass),
and Mark O’Connell (drums), may have formed only a year and a half ago,
but their sound is far from immature. A cross between The Movielife’s
This Time Next Year and Thursday’s Full Collapse, Tell All
Your Friends proves to be a chaotic, energetic, and dramatic album
epitomizing the dark side of relationships. In “The Blue Channel,” the
ever so common act of cheating is described when Lazzara sings, “you’re so
guilty it’s disgusting, he’s been sneaking underneath your sheets.”
Furthermore, in “Bike Scene,” the annoying realization that “I want to
hate you so bad, but I can’t stop this anymore than you can” is
brilliantly captured. But the best and most blatant lyrics on this album,
found in “You’re So Last Summer,” have to be “you could slit my throat and
with my one last gasping breath I’d apologize for bleeding on your shirt;
it’s pathetic.” Need I say more?
Again, I’m aware that not everyone agrees with this pessimistic
take on relationships. But the truth remains that heartache does exist in
epic proportions. That in itself seems to prove that often times love
truly does suck. But you don’t have to take my word for it – just check
out Taking Back Sunday and Tell All Your Friends!
-Kristal
Austin
Links:
www.takingbacksunday.com
www.victoryrecords.com |
Light A Match, For I Deserve To Burn,
the debut album of The Beautiful Mistake, bridges the gap
between emo/pop punk and hardcore rock/metal. Whether it’s
a mistake or not, this band pleases the palate of a wide range
of audiences.
“We’ve pretty much played with every kind of band, and
the response has always been really good,” says Josh Hagquist,
vocalist and guitarist.
Hagquist and co-vocalist Shawn Grover electrify tracks
with guitar riffs and combine a tender emo style with guttural
screams. This is never more apparent than in the song
“Silence,” where the screams mix seamlessly with the soft voice.
Jon Berndtson lays down the underlying beat on the bass, and
Armin Chami pounds the pulse with songs like “On Building” and
the drum-driven “Stavesail.”
Both powerful and mellow, The Beautiful Mistake finds
creative ways of intertwining the two moods with musical
breakdowns, lulls, and delays set against hard charging guitars
and drums. The final tracks, “Narnian Analogy” and “For A
Friend,” are perfect examples of taking a slow and vocally soft
song and picking up the pace to make the screaming vocals work.
There’s only one thing these guys need to learn: it’s
okay not to scream in every song. At times, it seems out
of place, such as in the songs “Circular Parade” and “Lancaster,
PA.” But in the song “Anonymous vs. California,” with its
hardcore guitar riffs and drum beats, screaming is expected.
In a world with manufactured pop stars and many emo/punk
bands sounding the same, anything different is good. Not
only is The Beautiful Mistake different, but it’s also good.
-Edward
Vassallo
Links:
www.thebeautifulmistake.com
www.themilitiagroup.com |
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I'm convinced there's something in the water in New
Jersey. It seems like every time I turn around, I hear about
some new band popping up that's "worth listening to." The
Garden State's latest product and Drive-Thru Records’ newest
signee, The Early November, is certainly one of them. Their
new eight-song EP, For All of This, is full of raw emotion
and has a very personal quality to it--a quality that seems to be
lacking in today's music.
When the band started in Hammonton, NJ almost a decade
ago with only current vocalist Ace Enders and his step-dad's
guitar, it had the same goal it has today: to sign a contract.
With that goal now reached, who knows where the band will go; more
correctly, who knows where its music will go? The quartet (Ace
Enders-vocals and guitar, Jeff Kummer-drums, Sergio Anello-bass
and John Dubitsky-guitar) came together after several trials and
errors with various band members. Once the dust cleared, a real
band was visible. Ace and Jeff came up with the band's name when
they were the only two members. Meant to represent a "changing of
the seasons...a calm before the storm," The Early November is
fitting.
Taking this into account, one might get an
understanding of what the album as a whole is trying to say.
Several of the songs deal with regret or uncertainty.
Moreover, the themes are universal. The album is primarily
concerned with love and relationships; according to Jeff, the band
had this in mind when coming up with their name. In "All We
Ever Needed," the words "tonight I will sit next to you to see if
you act like we're through" come across as very earnest and
genuine. On "Sunday Drive," they write," and the silence
from the side of the car tells me everything and how we are and
there's no more trying to make this alright." The entire
piece is intuitive, and the lyrics, coupled with the intense
music, make for a very enjoyable listen.
I tend to base my opinion of albums on how many songs I
deem "forgettable." With the exception of a quasi-jam
session at the end of the track list, I'd say just about every
song is worthy of an open ear or two. I'm not alone on this
one. Two months after playing on selected dates at the Warped
Tour, The Early November created such a stir that three of the top
five songs on MP3.com's punk charts belonged to them. And,
hey, 180,000 downloading punk rockers can't be wrong, can they?
-John
Tomas
Links:
www.theearlynovember.com
www.drivethrurecords.com |
A time
comes in every band’s career when that all-important “prove our
relevance” or “fade into the oblivion” album is released. For
Boston-based ska rockers, The Mighty Mighty Bosstones, A
Jackknife to a Swan is just such an album. Fans of the band
can relax, though; these guys aren’t going anywhere anytime soon.
Following the success of 1997’s platinum selling Let’s Face It
and its hit single “Impression That I Get,” the band released
Pay Attention in 2000 to less fanfare. Along with it came
doubts about the band’s prowess. What happened to pitch perfect
songs such as “Someday I Suppose” and “Hope I Never Lose My
Wallet?” A Jackknife to a Swan gives the Bosstones’ fans
something to sink their teeth into, a record that reinforces their
fun-filled, rambunctious reputation and offers some
classic-in-the-making tracks.
With lyrics like “I eat punks like you / I do for
breakfast / You’re just a bowl of cereal to me,” “Mr. Moran,” a
song inspired by the real life saga of Mob-informant Sammy “The
Bull” Gravano, is easily the most lyrically entertaining song on
the album. “I wanted to write a song about a real dark character,
but I wanted to hit the chorus like Dr. Seuss, with a simplistic
melody and rhyme scheme, so you’re almost singing a nursery rhyme
about a killer,” explains lead singer Dicky Barrett.
The band’s love of their hometown is also quite evident
throughout the album on tracks such as “The Old School Off The
Bright” and “I Want My City Back.” On the latter song, Barrett
laments that Boston just isn’t what he remembers, with lyrics such
as, “I looked around and found/this doesn’t feel like my hometown”
and “I looked up to the Citgo sign / you used to be a friend of
mine.”
A Jackknife to a Swan
reinforces what the Bosstones do best: play loud, fast and fun. A
veteran rebuttal to all the nay Sayers who thought Dicky and the
boys were through. And let’s face it, in this era of saccharine
sweet pop recorded by annoying neophytes, isn’t it nice to hear
the “old guys” voice their opinion? -Wade
Peters
Links:
www.bosstones.com
www.sideonedummy.com |
I've said it before and I'll
say it again - punk is such a small word for such a vast community. Time
and time again, I've contemplated the true definition of punk music, and
I've only ever come up with one answer: there is no definition. The very
essence of punk music is its ability to be diverse, unique, and
non-conformist.
One of Drive-Thru Record's latest recruits, The Movielife,
definitely fits that description. Lead vocalist, Vinnie Caruana, says, "I
hate it when people label our band," so I won't try. I will, however, say
that Long Island's, The Movielife, also comprised of Brandon Reilly
(guitar), Alex Amiruddin (guitar), Phil Navetta (bass), and Evan Baken
(drums), has a sound all its own. They've managed to intertwine
fist-clenching, New York City hardcore instrumentals, pop-punk melodies,
and heart-felt lyrics into one solid package: The Movielife Has A Gambling
Problem.
This debut EP consists of five tracks that Vinnie classifies as "the best
five songs we've ever written." Although these tracks are more melodic
and not quite as harsh as their '99 Revelation Records release, This Time
Next Year, they do remain consistent lyrically. With thoughts such as,
"you did it before and you'll do it again - wasting all the time I spent"
("Up To Me"), "the way you compromise is like pulling out my eyes"
("Operate"), and "anything that you do or say couldn't compare to the pain
that I felt the day that we said that we'd go our separate ways" ("Walking
On Glass"), it's evident that these boys have been badly burned in
relationships. And for those of us who can relate, The Movielife Has A
Gambling Problem proves to be a therapeutic outlet to all the built-up
frustration and anger that accompanies heartache.
So if you're looking for a little therapy or just want to get jumpin',
this EP is for you. In conclusion, I'll agree with Vinnie when he says,
"punk music is kind of irresistible." But I'll take it one step further
and say so is The Movielife! -Kristal
Austin
Links: www.themovielife.com
www.drivethrurecords.com |
Drive-Thru Records has done
it again! They have managed to introduce the next punk band which
will undoubtedly become a favorite among thousands. This time it's
not New Found Glory who's breaking out but rather Philadelphia's The
Starting Line. Similar to New Found Glory's infectious, energetic
sound, The Starting Line, made up of Ken Vasoli (vocals/bass), Matt
Watts (guitar), Mike Golla (guitar), and Tom Gryskiewicz (drums), is
where it is today thanks largely to the Internet. Matt (22), Mike
(20), and Tom (21) found their lead singer Ken (17) two years ago through his America Online profile.
But that's not all. The
Starting Line was accidentally discovered by We The People Records who
encountered the band's songs on mp3.com. Greatly impressed, We The
People sent The Starting Line over to Drive-Thru, who gave them a record
deal almost immediately. The result is an amazing, upbeat EP
entitled, With hopes of starting over.... This debut
EP contains five pop-punk songs with killer guitar riffs and catchy
choruses that will leave the listener singing along at the top of his
lungs. In "Leaving," the first song off their EP, the
band reminisces about not wanting a first love to end, knowing "as
weekdays and weekdays unwind, I'll be found staring back in time."
Similar to American Hi-Fi's "Flavor of the Weak" is
"Saddest Girl Story," which implores girls to "stop
expecting change, he's just a lost cause that you're waiting on; /take a
look around, you could have anyone." "Three's A
Charm" then desperately tries to explain the hardships of a rebound
relationship with lyrics such as "I'm sorry, girl, I'm in no shape
to love; /it's not you, it's her." "Greg's Last Day,"
about the loss of a best friend, and a fresh cover of the old favorite,
"Nothing's Gonna Stop Us Now," go on to complete this EP.
If With hopes of starting over... is any indication of
what's to come (their full-length album is due this fall), it's safe to
say that The Starting Line is about to skyrocket into punk stardom! -Kristal
Austin
Links: www.startinglinerock.com
www.drivethrurecords.com
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When you are in the mood for
easy-listening music after a stressful day, Outside
Inside, the new release from The String Cheese Incident, is a first
choice to pop into the stereo. The String Cheese Incident, a
Colorado-based band, hit the studio to record a collection of earthy,
cathartic instrumental songs that were a long time coming--three years
to be exact. There is a
binding thread--the purging of emotions and mere simplicity--that runs
throughout the entire CD. Most
of the tracks share a rhythm and beat and boast rather homogenous
lyrics. Although some might
argue that this is indeed a negative aspect of the CD, others would say
this quality adds to its appeal--there is no surprise as to what you can
expect from the remaining songs. What
you can expect is a Tom Petty sound with a jazz band twist.
The band members are truly gifted musicianers who have formulated
a sound mixture consistent with the spirit of rock, bluegrass, and jazz.
The harmonious sound of the leadoff track, “Outside and
Inside” sets the stage for the remaining songs.
“Up the Canyon,” which is the final track, ends the
collection on the same note with which it began.
For those who like variety,
Outside Inside probably should not be added to your shopping list.
But, if you enjoy the tranquil sounds of instrumentation, add it
to your collection. -Rhonda Thomas
Links:
www.stringcheeseincident.com
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For those of you who think
it's been too long since the last Oasis album, the Tender Idols' latest
release, Distressor, will definitely tide you over. The
Tender Idols have been compared to the Gallagher sound in almost every
publication, and with good reason. Front man Ian Webber's voice is
haunting enough to trick the average listener into thinking that the
Idols are another Brit-rock band riding the coat tails of "the new
invasion." However, that is only partly true. Webber,
who hails from Devon, England, is the only Brit; the remaining members,
Danny Howes (guitar), Joe Jones (bass), Guy Strauss (drums), and David
Cobb (guitar/vocals), are all Georgia natives.
Even though they were approached by the major labels, the
Idols chose to sign with E-Magine, which enabled them to retain more
creative freedom over Distressor. In a Billboard article
published in April, Webber explained, "a lot of the people we
talked to were trying to fit us in a formula. [E-magine] let us do
the album we really wanted to do."
With love as the underlying theme, this album offers
something for everyone. Along with the Oasis-like tracks,
including the very catchy "One More Life" and the guitar-heavy
"Freefall," Distressor displays the Idols' many
influences. "Washed Away," with its dreamy guitars and
beautiful lyrics ("If half the world is saved and half gets washed
away, I'll meet you where the mountains turn to heaven"), could
have easily been a hit for Pink Floyd. The intro to "Give Us
Wings" closely mirrors The Verve's "Space And
Time." The last song, "The Two Of Us (part 2)," is
a gorgeous, hopeful ending to "Part 1," even though the lyrics
suggest a parting: "and the world will be a better place without
the two of us."
Despite the many references to their musical influences, Distressor
is a wonderfully refreshing album from start to finish. The Tender
Idols are definitely a band to watch out for in 2002. This album
is truly worth buying. But be forewarned--it's addictive, so don't
plan on buying any more CDs for months. -Lauren
Bradley
Links: www.tenderidols.com
The
Used’s self-titled debut album could’ve been the soundtrack
to the late-nineties indie flick SLC Punk. The
film paints a grim portrait of drug-addled punks living in
the heart of Mormon country, yearning to separate themselves
from the dull, close-minded community that suppresses them.
A particularly telling scene of this dichotomy involves the
Sid Vicious clones trying to buy beer in a non-descript
rural truck stop, all the while sarcastically harassing the
patrons with “assumed” punk behavior, yearning to elicit any
kind of response from the complacent community around them.
Tales of past drug use, homelessness and fish out of
water syndrome fuel twelve expressive tracks, but equally
important is the overwhelming sense of success and triumph
throughout the album. As frenzied lead singer Bert
McCracken screams the opening lyrics, “As we trudge along
through the mud / and we tried to call it home”, before
settling into a melodic verse, one gets the feeling that
this is going be one cathartic ride. Longtime cohorts
McCracken, guitarist Quinn Allman, bassist Jeph Howard and
drummer Branden Steineckert deftly alternate between
guttural screams, vibrant harmonies and pounding rhythm,
never letting the listener get too comfortable or bored.
This polarity is clearly evident on tracks “Poetic Tragedy”
and “A Box Full of Sharp Objects,” demonstrating the manic
swing that persists throughout the album; echoing the band’s
intense desire to break free from their troubled past.
McCracken sums up the band’s need to break free from it’s
constricting surroundings with one perfectly constructed
lyric from the latter song; “It’s our time to shine through
the down / Glorified by what is ours.”
The
orchestral swirl of “On My Own” and the hushed urgency of
“Blue and Yellow” demonstrate The Used’s versatility, while
keeping them from falling into a dull nu-metal rut that
seems to plague too many of today’s bands. That’s the
Used’s trump card: unafraid to spit bile and rant till they
vomit, but at the same time carve away at themselves
revealing layer after layer of thoughts and emotions.
-Wade
Peters
Links: www.theused.net
www.repriserecords.com |
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| The
Waterboys A
Rock In The Weary Land
Razor & Tie Entertainment
Music
Head Rating:  
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Since their debut in 1983, The Waterboys have gone through
numerous self-inspired musical evolutions in search of a sound.
In the process, The Waterboys have experimented with sounds
ranging from classical to folk, inspired by a three-year stay in
Ireland. Although they have not been classified as stateside
favorites, their growing popularity in the UK has afforded The Waterboys
an opportunity to compile a CD consisting of their favorite musical
genres.
The result is A Rock
In A Weary Land, which encompasses all their favorite sounds
including folk country and blues and gospel, as well as rock. As
intriguing as this sounds, however, A
Rock In A Weary Land is not awe-inspiring.
It is at times agreeable to the ear-- after you make your way
through the beginning of the CD, that is.
The first three songs are sung an octave too high, although both
the rhythm and lyrics have merit. The
best example of this can be heard when listening to track three, “Is
She Conscious.” Like many
Edgar Allan Poe poems about doomed, beautiful women, these lyrics tell
of a woman with exquisite beauty who is oblivious to the fact that she
has such a profound effect on so many; this innocence in turn is the
catalyst of her own destruction. Even with such well-written
lyrics, The Waterboys are simply not able to pull off tracks one through
three. However, they
reconcile themselves to the discerning listener with the songs
“We Are Jonan” and “It’s All Gone.”
The combination of both musical and verbal tones makes up for
what the first three songs lack: euphony.
This is to say that there is a harmonious blend of the group’s
vocals, lyrics, and rhythm. The
upward trend culminates with the final track “My Lord What A
Morning.” This track is a
welcome addition to original UK version released earlier this year.
Overall, A Rock In A
Weary Land is a CD that longtime fans will appreciate for its
evolving sound and strong finish. -Rhonda Thomas
Links: www.mikescottwaterboys.com |
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Trapt Trapt
Reprise Records
Music
Head Rating:
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The key to writing a captivating story is finding a unique angle —
one that acts like a ray of sunshine beaming through the
inhibiting dark clouds of non-fiction. The formula for writing
music is parallel. Put so much original thought in it that people
feel the music. From the first note on Trapt’s third and
self-titled album, the band tells a story that’s been told a
thousands times already this year.
The album is loaded with been-there, heard-that
melodies, and some could be catchy. If only there were more.
Drummer Aaron Montgomery could probably bang out a decent solo if
he had some free time in between every verse-chorus-verse. The few
times Trapt shows promise, Brown overextends his stretched pipes,
and the aftertaste is worse than the eggnog that’s been in the
fridge since last Christmas. Too many times he one-two punches
listeners with his raspy, monotone blathering and tired complaints
about “you” and “things.”
It’s sorry to say, but the best part of the album is
the instrumental hidden track at the album’s end. In it, Brown
shuts up for once and cosmo rock flutters around without script.
Sociologists wouldn’t have a hard time picking apart
this band’s place in modern society. They’d turn on the radio and
hear exactly what bands Trapt poorly impersonates. They’d listen
to Chris Brown’s lyrics from “Made of Glass” — “I don’t know
anything at all, and I’m somebody else” — and wholeheartedly
agree.
But maybe that’s wrong. Maybe Trapt is trying to show
listeners how much pain they’re in by making us experience the
same agony listening to their music.
Look for their first single and album-opener,
“Headstrong,” to get a few spins on some clinging-to-a-fad rock
station. Don’t bother looking for a second single because it’s
unlikely that’ll happen. The album is emotionless, bland and
repetitive — and emotionless, bland and repetitive.
The point of all this hate: Trapt is the remains lying
in the ring after Incu-Fuel loses a hardcore tag-team match
against Nickel-Roach. The bands that distinguish themselves from
the others are the ones that create new music. There are
countless songs out there that make the grade with embezzled riffs
or swiped drum loops (not Trapt, of course). But if someone you
didn’t know copied your ideas and made the New York Times
Bestsellers list, how would you feel?
-Mike
Caggeso
Links:
www.trapt.com
www.repriserecords.com |
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