Brave City: the hometown band with vision for bigger and better things. Intentions is the start of something big for this group. With only 5 songs, Brave City shows their potential and variety with a multitude of different sounds and vibes that are explored throughout this album. Their lead single "Avalanche" (for my detailed review of that, click here ) was just a taste of their hard work and dedication, and those aspects of the group are very present in these new songs.
The album kicks off with "Sweet Teeth", full of gritty guitars and passionate vocals. It has a nice mix of a faster tempo and a dark nature that doesn't get the listener down. I especially enjoy the build in the bridge, which erupts powerfully with cries of "I don't wanna hear about it" and "What do you want, do you want from me?" interweaving as the band's dual vocals shine through. The contrasting nature of the gritty almost screams with the more traditional, smooth singing further pushes the passion behind the track. The next song, "You, Me, and A Ghost" starts with an extended instrumental intro, but then surprises the listener by going from a more relaxed verse to a chorus that almost sounds happy, like Brand New from "Your Favorite Weapon" era. One of the best parts of the song is the outro, which is a solid breakdown that'll make you want to get on your feet and jump around or nod your head along. Their strongest song, (in my opinion), is their lead single "Avalanche". The dual vocals shine their brightest here, with Garrett Jackman and Danny Pruit in a constant exchange of back and forth singing. The instrumental is on point, clean and crisp as it takes you from pulsing verses hinted with synths to overdriven guitars and crashing drums leading ann impassioned chorus.
Not all of their songs follow in this same vein, however; "Coming Home" is a stripped down song that utilizes clean guitars and quiet vocals to create something with unexpected maturity and depth from a band who is just getting their feet on the ground. It builds into something bigger, but does not lose the sensitivity and vulnerability created by the first half of the track. The gang vocals about 5 minutes in add another layer of depth to the song, and truly give it a beautiful sound. It is very 30 Seconds To Mars "This Is War"-esc. Their album closer "The Great White" is not necessarily a mellow song, but it is at a slower tempo and plays less on their aggressive sound found in the other tracks. It is a steady build, which they seem to do quite well, and is definitely memorable, lyrically. The line "I've got no skin, but it still crawls for you" is genius in my mind. I love how catchy and eerie and even relatable it is. This song may be longer at 7 and 1/2 minutes, but it's definitely worth the listen.
All in all, another solid piece of work from a band who is on the edge of bursting out and becoming bigger than playing local shows in the Bay. Despite the limitations of home-studios and a lack of access to huge resources, this CD has come out like something that bands with much more experience would create. Brave City, a job well done, and the best of luck to as you continue to do great things!
Rating: 9/10
Recommended: Avalanche, The Great White, Sweet Teeth
Sounds like: Brand New, Manchester Orchestra, 30 Seconds To Mars
Monday, August 4, 2014
Friday, August 1, 2014
Lowborn - Anberlin
While I may have not closely followed Anberlin from their beginnings, I have become quite familiar with their music in the last couple of years, and I was just as heartbroken to hear about their decision to say farewell as a band at the end of 2014. However, it meant that they were going to put out one final album, and the anticipation couldn't be higher for the last release from a fantastic band. Despite a delay, the final effort from Anberlin encompasses who the band was and who they have become.
Within the 40 minutes and 10 songs, Anberlin has managed to put out some of the most sonically diverse and lyrically deep music they have ever done. They move from each end of the spectrum, with songs like the explosive opener "We Are Destroyer" and the scream filled "Dissenter" to the electronically driven "Birds Of Prey" and bittersweet closer "Harbinger". The album is a ride of emotions and sounds, and a worthy end to an incredible career.
The album kicks off with "We Are Destroyer", an energy driven monster of a song that tricks you into a false sense of serenity with the electronically lead intro that drops into roaring guitars, blistering drums, and passionate vocals that set the bar incredibly high for the rest of the record. The chorus gets your blood pumping like an anthem, with lines like "We could lose it all" and "We are the destroyer" making you want to raise your fist and shout it right back. This song is one of the best blends of electronic and rock elements that Anberlin has yet to put out in a combination of smooth and polished moments with raw rock n' roll. Later on in the album, "Dissenter" focuses more on the second element, with almost all screaming vocals in a move that is quite unlike anything the band has done. While it has a lot of energy like "We Are Destroyer", it is harnessed in a much different fashion and serves as a perfect mosh-along song. The bridge provides a more familiar soundscape for Anberlin and some striking contrast to the rest of the song. I was quite surprised by the ferocity and intensity of the song at first, but after a few listens found myself very easily getting into the energy of the song. "Velvet Covered Brick" is also on the more edgy side, with overdriven guitars leading the charge into a song that is familiar territory for Anberlin. The more mellow verses are actually my favorite parts of the song with a pronounced bass line and Stephen's almost sultry vocals floating over the other instruments.
Anberlin definitely explores their softer side within their last musical effort as well. "Birds Of Prey" is a hauntingly beautiful peace of music that mixes electronic/almost dance elements, gritty rock instruments, and polished vocals into one of the most unique songs of the album, and possibly of anything Anberlin has done. The lyrics are spot on as well, exploring an element of love and breakups that is common, but putting it in such a different light that it feels like something completely new. Lines like "Regret is nothing more than a lover's disease" and "memories circle like birds of prey, waiting for the right mind to drive insane" are on point and very much relatable, creating an instant emotional tie to the song. "Armageddon" is another song that utilizes a lot of dance-type sounds and is a bit more relaxed, but does build into a heavier section near the end. It has a sense of mystery and almost sensuality to it, thanks to the subtle synths in the background and the aggressive yet smooth guitars and steady beat that leads the verses. The chorus, however, fully embraces the aggressive undertones and erupts into an epic and passionate confession of "starting my own Armageddon". "Losing It All" is another softer song, but not in the same sense as these other two tracks. It is upbeat, but it takes on a lighter tone in terms of the instrumentation. Acoustic guitars, a piano line, and less aggressive drumming lay the groundwork for a more sensitive sounding piece. It is also, lyrically, a song of hope, which gives it a more positive vibe that you could almost call happy.
Within the 40 minutes and 10 songs, Anberlin has managed to put out some of the most sonically diverse and lyrically deep music they have ever done. They move from each end of the spectrum, with songs like the explosive opener "We Are Destroyer" and the scream filled "Dissenter" to the electronically driven "Birds Of Prey" and bittersweet closer "Harbinger". The album is a ride of emotions and sounds, and a worthy end to an incredible career.
The album kicks off with "We Are Destroyer", an energy driven monster of a song that tricks you into a false sense of serenity with the electronically lead intro that drops into roaring guitars, blistering drums, and passionate vocals that set the bar incredibly high for the rest of the record. The chorus gets your blood pumping like an anthem, with lines like "We could lose it all" and "We are the destroyer" making you want to raise your fist and shout it right back. This song is one of the best blends of electronic and rock elements that Anberlin has yet to put out in a combination of smooth and polished moments with raw rock n' roll. Later on in the album, "Dissenter" focuses more on the second element, with almost all screaming vocals in a move that is quite unlike anything the band has done. While it has a lot of energy like "We Are Destroyer", it is harnessed in a much different fashion and serves as a perfect mosh-along song. The bridge provides a more familiar soundscape for Anberlin and some striking contrast to the rest of the song. I was quite surprised by the ferocity and intensity of the song at first, but after a few listens found myself very easily getting into the energy of the song. "Velvet Covered Brick" is also on the more edgy side, with overdriven guitars leading the charge into a song that is familiar territory for Anberlin. The more mellow verses are actually my favorite parts of the song with a pronounced bass line and Stephen's almost sultry vocals floating over the other instruments.
Anberlin definitely explores their softer side within their last musical effort as well. "Birds Of Prey" is a hauntingly beautiful peace of music that mixes electronic/almost dance elements, gritty rock instruments, and polished vocals into one of the most unique songs of the album, and possibly of anything Anberlin has done. The lyrics are spot on as well, exploring an element of love and breakups that is common, but putting it in such a different light that it feels like something completely new. Lines like "Regret is nothing more than a lover's disease" and "memories circle like birds of prey, waiting for the right mind to drive insane" are on point and very much relatable, creating an instant emotional tie to the song. "Armageddon" is another song that utilizes a lot of dance-type sounds and is a bit more relaxed, but does build into a heavier section near the end. It has a sense of mystery and almost sensuality to it, thanks to the subtle synths in the background and the aggressive yet smooth guitars and steady beat that leads the verses. The chorus, however, fully embraces the aggressive undertones and erupts into an epic and passionate confession of "starting my own Armageddon". "Losing It All" is another softer song, but not in the same sense as these other two tracks. It is upbeat, but it takes on a lighter tone in terms of the instrumentation. Acoustic guitars, a piano line, and less aggressive drumming lay the groundwork for a more sensitive sounding piece. It is also, lyrically, a song of hope, which gives it a more positive vibe that you could almost call happy.
Two of the lead singles, "Stranger Ways" and "Hearing Voices" were songs that took a little while to grow on me, but they did and now they're some of my favorites from the record. "Stranger Ways" is on the calmer side, but still somehow manages to build without really hitting a peak moment. It doesn't erupt into crashing drums and stadium guitars; instead, it swells into something powerful that isn't loud. That is something the band should be immensely proud of that, for it is a rare feat to achieve. This was also one of my favorite songs, lyrically, because it felt personal and seems to be about a broken love, which is something that most people can relate to. "Hearing Voices" takes a different path instrumentally, with overdriven guitars and tribal-sounding drums. It is also a much faster tempo, and the band capitalizes on this. The chorus feels ready to be played in front of huge crowds, with anthem-like vocals and the drums and guitars working together to create a huge sound. I also really liked this one lyrically, for it's one of the few songs where Anberlin is very up-front about their faith. Lines like "Can't escape the ghost when the ghost's not dead" and "Everyone wants to know God, but they want to live like he died" are some of my favorite by them to date.
I always pay close attention to album closers, because I feel that they tend to encapsulate the entirety of the album and perhaps even offer a view of what is to come next from the band. The latter aspect isn't quite so applicable in this case, but "Harbinger" certainly does work as a summing up of Anberlin's album, and perhaps even their career and time as a band. Haunting is a very appropriate word for this song, but bittersweet is a close fit as well. The chorus line "We'll live forever, forever, forever
(I don't wanna go now, but I know I've got to)" hit me hard when I finally understood what it was talking about. This song is truly a farewell from the band, a final salute to their fans and a kiss goodbye. When you realize that, the lyrics become exponentially more powerful and it leaves an impression that is hard to ignore.
All in all, this was some of Anberlin's best work, if not their best collective work they have put out. As a final effort, it was spot on. They picked their exit, and they made it an incredible piece of art and music. They set the terms for their ending, but it's just the beginning of everything that is to come in their lives. Thank you, Anberlin, for all that you've done. The music you've made, the shows you've put on, and the lives you've touched. I will see you one more time in October.
Rating: 10/10
Recommended: We Are Destroyer, Harbinger, Hearing Voices, Losing It All, Armageddon
(I don't wanna go now, but I know I've got to)" hit me hard when I finally understood what it was talking about. This song is truly a farewell from the band, a final salute to their fans and a kiss goodbye. When you realize that, the lyrics become exponentially more powerful and it leaves an impression that is hard to ignore.
All in all, this was some of Anberlin's best work, if not their best collective work they have put out. As a final effort, it was spot on. They picked their exit, and they made it an incredible piece of art and music. They set the terms for their ending, but it's just the beginning of everything that is to come in their lives. Thank you, Anberlin, for all that you've done. The music you've made, the shows you've put on, and the lives you've touched. I will see you one more time in October.
Rating: 10/10
Recommended: We Are Destroyer, Harbinger, Hearing Voices, Losing It All, Armageddon
Tuesday, July 29, 2014
Sleeping Limbs - From Indian Lakes
From Indian Lakes is a band that has a sense of depth and attention to detail that is hard to find nowadays. When I first discovered them opening for Lydia, The Maine, and Anberlin, I found them to be far more impressive than Lydia, and equally as professional as the two headliners who had quite a bit more experience. They have a sound that is fully their own, and they know how to put on a fantastic show while still remaining humble and grateful to their fans.
When I discovered that a new album, Absent Sounds, was to be released in October, I was ecstatic to say the least. If the lead single, "Sleeping Limbs", is any indication of the rest of the album, then I foresee this being one of my favorite albums of the year. It is able to be both upbeat and relaxed, haunting and beautiful, a mixing of contrasts that blend in a marvelous manner. The sharp drum hits complement the smooth guitar lines in the verses, and the instrumental erupts in the layers that create a mesmerizing depth in the chorus. And Joey Vannuchi's vocals are on point as always, this time displaying a more calm side, yet still retaining power and a sense of intensity that makes his voice one of the most memorable today.
If you have never given these guys a listen, you will not be disappointed. Check out "Sleeping Limbs" and the rest of their works on Spotify, and fall in love.
5/5
When I discovered that a new album, Absent Sounds, was to be released in October, I was ecstatic to say the least. If the lead single, "Sleeping Limbs", is any indication of the rest of the album, then I foresee this being one of my favorite albums of the year. It is able to be both upbeat and relaxed, haunting and beautiful, a mixing of contrasts that blend in a marvelous manner. The sharp drum hits complement the smooth guitar lines in the verses, and the instrumental erupts in the layers that create a mesmerizing depth in the chorus. And Joey Vannuchi's vocals are on point as always, this time displaying a more calm side, yet still retaining power and a sense of intensity that makes his voice one of the most memorable today.
If you have never given these guys a listen, you will not be disappointed. Check out "Sleeping Limbs" and the rest of their works on Spotify, and fall in love.
5/5
Saturday, July 12, 2014
Avalanche - Brave City
Brave City, the alternative-rock outfit from the San Francisco Bay Area, is gearing up to release their second album Intentions on July 26th. To build momentum, they've released the gritty and explosive single "Avalanche". Recorded and mixed by some of the band members themselves, the song radiates a DIY attitude and passion that can be lost in the glossy radio hits. With a back and forth nature in the vocals, the listener (or at least me) is definitely reminded of a "Deja Entendu" Brand New era-sound. It's got that raw energy that makes you tap your foot along and grin because it just feels good. The contrast between the verses and the chorus is stellar, with the switches being sudden but not choppy. While most of the instrumentation leans towards the guitar/drum side, the inclusion of a synth at certain points like the bridge adds an extra level of depth and richness to the song that you might not expect. Overall, it is definitely a solid intro to what could be a great album from a local band.
Rating: 8/10
Sounds Like: Brand New, Manchester Orchestra, Modest Mouse
Rating: 8/10
Sounds Like: Brand New, Manchester Orchestra, Modest Mouse
Friday, June 27, 2014
The Hunting Party - Linkin Park
Every time Linkin Park has announced a new album, I have awaited in excitement for the what new ideas they've come up with. Some albums were hits from the start, sometimes the new sounds took some time to get used to, but without fail each album has proven to be a solid work from a solid group. This album is among the later group. When the band announced a "return" to a more rock based sound, many fans and listeners, especially those who have been whining for years for the band to return to a Hybrid Theory/Meteora sound, were quite excited for the possibilities the new album would hold. Some of the lead singles, "Guilty All The Same (feat. Rakim)", "Wastelands", and "Until It's Gone" were a fairly indicative of a rock based sound, but not the nü-metal sound some were hoping for. Instead, the band drew on influences from the 90's such as Helmet, System of A Down, and Rage Against The Machine, and even went as far as to include members from each of the respective bands on different tracks throughout the album. After listening to the album front to back, it is very clear that LP wanted to distance themselves from their last two releases that dabbled in electronic ideas. This release is less layered and definitely more stripped down from previous ones, with the focus mainly being on the guitars and the drums in the forefront of the sound. In interviews leading up to the release, Mike Shinoda consistently described the sound as being "raw and visceral", and with that he was spot on.
While there are a few songs that were on the "softer" side, most of the tracks from "The Hunting Party" are fueled by blisteringly fast drums and gritty overdriven guitars. The album opener, "Keys To the Kingdom", for example, kicks things into the red from the start. Chester gives some of his screamiest vocals to date with Mike bouncing between vocals and rapping, all over an instrumental that is reminiscent of Minutes To Midnight. Everything on the song is filled with passion and aggression, a more raw and unprocessed sound than the majority of the songs on their last 2 releases. Another song from the album that runs in the same vein is "War", a short 2 minute song that keeps up the heat from start to end with a punk feel. Rob Bourdon continues some of his most impressive and intense drum work to date, with the cymbals constantly crashing and the bass pedal working overtime as Brad Delson shreds away on the guitar like never before, getting the spotlight on this song as well as many others throughout the album.
Linkin Park works just as well when they combine fragility with intensity, however. Some of the tracks, such as "Until It's Gone", "Mark The Graves", and "Final Masquerade" blend opposite elements seamlessly, which is what LP is best at. "Until It's Gone" is one of the most powerful songs on the album, thanks to it's simple yet relatable lyrics and the moving instrumental that keeps the edge from the rest of the album but reveals a vulnerability as well. "Mark The Graves" has a bright sound while still retaining the heaviness present throughout the album, brining to mind both sounds from A Thousand Suns and the guitars that were absent from that album. "Final Masquerade" has a ballad feel to it, with the slower tempo and more focus given to clean vocals and melodies. It also has some of the more relatable lyrics, feeling very personal and vulnerable when combined with the emotion driven instrumental.
The guest spots are very interesting to note, because while Linkin Park is no stranger to collaborations, they have never had them on studio albums. The fact that there are 4 different guests is even more suprising, but it made for some varied sounds on the album. "All For Nothing (feat Page Hamilton)", for example, is quite different from LP's sound in certain aspects. Given that it has the vocalist from Helmet, it obviously has a similar sound to that group, but the song also brings to mind The Offspring and other groups of that time. Another song that is very much influenced by the presence of a guest is "Rebellion (feat Daron Malakian)", which immediately brings to mine System Of A Down and their signature guitar sound. The vocals on "Rebellion", however, are very much Linkin Park-esque, and the bridge features some of Chester's throatiest screaming ever.
I always am drawn to album closers, because I think they have to be a powerful track to end the journey the band has taken the listener on. It should be like a summary of what has happened, and perhaps a preview of what is yet to come. "A Line in the Sand" is a fantastic example of a powerful closer, beginning with a dark and brooding intro made even more eerie by Mike's mournful singing that starts things off. This song is one that very much feels like Linkin Park, with a blending of the slow and upbeat, the polished and the gritty, the sorrow and the rage. The synth and ambient noise giving way to pounding drums and roaring guitars is one of the most intense and fist-thumping moments of the album, making you want to just move around. It is definitely one of the stand out tracks, and one of my personal favorites.
My only qualm with this album is the lack of depth, both in the sound and some of the lyrics. Linkin Park has consistently made music that has a very 3 dimensional quality to it, and while it was present on some songs from The Hunting Party, it wasn't always there. The focus on guitars and drums and the lack of the electronic elements resulted in some songs feeling a bit empty. Lyrically, the album felt a bit uninspired at some points. They weren't bad, but I wasn't able to connect with them like I have with their lyrics in the past. Besides that however, I was really pleased with how this album turned out, because I was a bit worried when they announced they were returning to a rock-based sound. They managed to do that without sounding generic or losing their touch.
The bottom line with this album is that it is Linkin Park at it's core. It may not always sound like them, but that's the point. They don't want to be tied down to a specific sound, hence why they haven't gone back to their sound from Hybrid Theory and Meteroa. They are not content with finding one single sound they can master, but instead continue to push the boundaries and explore with what they can do. They will continue to do this until they retire, and that is why I will continue to listen to what they do.
Rating: 6/10
Recommended: A Line In The Sand, Until It's Gone, Wastelands, Final Masquerade
While there are a few songs that were on the "softer" side, most of the tracks from "The Hunting Party" are fueled by blisteringly fast drums and gritty overdriven guitars. The album opener, "Keys To the Kingdom", for example, kicks things into the red from the start. Chester gives some of his screamiest vocals to date with Mike bouncing between vocals and rapping, all over an instrumental that is reminiscent of Minutes To Midnight. Everything on the song is filled with passion and aggression, a more raw and unprocessed sound than the majority of the songs on their last 2 releases. Another song from the album that runs in the same vein is "War", a short 2 minute song that keeps up the heat from start to end with a punk feel. Rob Bourdon continues some of his most impressive and intense drum work to date, with the cymbals constantly crashing and the bass pedal working overtime as Brad Delson shreds away on the guitar like never before, getting the spotlight on this song as well as many others throughout the album.
Linkin Park works just as well when they combine fragility with intensity, however. Some of the tracks, such as "Until It's Gone", "Mark The Graves", and "Final Masquerade" blend opposite elements seamlessly, which is what LP is best at. "Until It's Gone" is one of the most powerful songs on the album, thanks to it's simple yet relatable lyrics and the moving instrumental that keeps the edge from the rest of the album but reveals a vulnerability as well. "Mark The Graves" has a bright sound while still retaining the heaviness present throughout the album, brining to mind both sounds from A Thousand Suns and the guitars that were absent from that album. "Final Masquerade" has a ballad feel to it, with the slower tempo and more focus given to clean vocals and melodies. It also has some of the more relatable lyrics, feeling very personal and vulnerable when combined with the emotion driven instrumental.
The guest spots are very interesting to note, because while Linkin Park is no stranger to collaborations, they have never had them on studio albums. The fact that there are 4 different guests is even more suprising, but it made for some varied sounds on the album. "All For Nothing (feat Page Hamilton)", for example, is quite different from LP's sound in certain aspects. Given that it has the vocalist from Helmet, it obviously has a similar sound to that group, but the song also brings to mind The Offspring and other groups of that time. Another song that is very much influenced by the presence of a guest is "Rebellion (feat Daron Malakian)", which immediately brings to mine System Of A Down and their signature guitar sound. The vocals on "Rebellion", however, are very much Linkin Park-esque, and the bridge features some of Chester's throatiest screaming ever.
I always am drawn to album closers, because I think they have to be a powerful track to end the journey the band has taken the listener on. It should be like a summary of what has happened, and perhaps a preview of what is yet to come. "A Line in the Sand" is a fantastic example of a powerful closer, beginning with a dark and brooding intro made even more eerie by Mike's mournful singing that starts things off. This song is one that very much feels like Linkin Park, with a blending of the slow and upbeat, the polished and the gritty, the sorrow and the rage. The synth and ambient noise giving way to pounding drums and roaring guitars is one of the most intense and fist-thumping moments of the album, making you want to just move around. It is definitely one of the stand out tracks, and one of my personal favorites.
My only qualm with this album is the lack of depth, both in the sound and some of the lyrics. Linkin Park has consistently made music that has a very 3 dimensional quality to it, and while it was present on some songs from The Hunting Party, it wasn't always there. The focus on guitars and drums and the lack of the electronic elements resulted in some songs feeling a bit empty. Lyrically, the album felt a bit uninspired at some points. They weren't bad, but I wasn't able to connect with them like I have with their lyrics in the past. Besides that however, I was really pleased with how this album turned out, because I was a bit worried when they announced they were returning to a rock-based sound. They managed to do that without sounding generic or losing their touch.
The bottom line with this album is that it is Linkin Park at it's core. It may not always sound like them, but that's the point. They don't want to be tied down to a specific sound, hence why they haven't gone back to their sound from Hybrid Theory and Meteroa. They are not content with finding one single sound they can master, but instead continue to push the boundaries and explore with what they can do. They will continue to do this until they retire, and that is why I will continue to listen to what they do.
Rating: 6/10
Recommended: A Line In The Sand, Until It's Gone, Wastelands, Final Masquerade
Saturday, April 12, 2014
If You're Down, I'm Down EP - Dear Misguided
Dear Misguided are back at it again. A little more than a year after their first full length release Hold This Against Me, they're releasing their latest EP, If You're Down, I'm Down. This new release shows that the band is determined to explore ideas and fine-tune the sound they've been working on since they began. They were able to record the EP last November at an industry standard studio located at Chico State University, and that reflects on the improved quality of the recording as compared to their previous home-recorded work.
The EP starts out with "Sleeping Sound", which, like its title suggests, begins the album off with a low-key mood of soft drums, clean guitars, and smooth vocals. It has a melancholy tone to it, but is not depressing; the subtle bass line and drums keep things from falling into despair. When the bridge kicks in however, the band picks up the intensity and the song really begins to shine as lead singer David Hollenbeck jumps an octave and begins a passionate plea to the song's subject. The rest of the song feeds off this intensity, and it results in a solid opener for the EP. It then slips into "It's My Fault, But You're Wrong and I Hate You" a more upbeat and bright sounding song. It opens with a ethereal sounding synth, but quickly kicks into the drum-driven rest of the song. Right before the chorus is some evidence of the recording environment they had access to, because of the professional and awesome sounding fade from the verse into the instrumental version of the chorus. The chorus, with vocals, is the highlight of the song, with the slick gang vocals and tight instrumental that gives off a more mature and grown up sound than the "fun" songs of their debut album. "Keep It To Yourself", the next track on the album, brings the energy level back down to the more mellow levels of the opener. It serves as middle ground in terms of the mood of the previous two tracks, taking a more upbeat approach while sticking to a quieter overall sound. The vocals are a focus point of this song, with them coming in loud and clear over the crashing drums and guitar lines. David has dual vocals, which add a sense of depth to the song and gives more emphasis to them. The bridge is especially memorable, with a sweet guitar line that sounds a bit like something Walk The Moon would do building the energy until the rest of the band comes crashing in. Finally, the EP finishes off with "*You're", a strictly acoustic tune who's title plays on the common error made with your/you're. The song has a lullaby sort of tone to it, with the picked and strummed guitars providing a gentle sway as the vocals come in softly over them. That doesn't mean it will lull you to sleep, however, with a slow building of the guitars gives the song a little edge to keep the listener intrigued. It's a fitting end to the EP, bringing things down to a soft, yet angsty end as Hollenback wishes he could go home and get away from the person he sings about for the rest of the song.
Overall, this EP showed a lot of improvement from their debut, which is good and expected. Having a professional quality studio helped, but the tracks definitely had a more mature and adult sound than was present before. The lyrical content helped this as well, taking on a darker nature and touching on some sad and raw sounding lyrical ideas. The indie nature of the band shines through, and the tracks flow well together, all drawing from a more consistent vibe then the debut album managed at points. This is another sign of why this is a band to continue to watch, with their continued growth and tightened sound showing through more and more clearly.
Rating: 4/5
Recommended: Sleeping Sound & It's My Fault, But You're Wrong and I Hate You
Related: Death Cab For Cutie, Walk The Moon, From Indian Lakes
The EP starts out with "Sleeping Sound", which, like its title suggests, begins the album off with a low-key mood of soft drums, clean guitars, and smooth vocals. It has a melancholy tone to it, but is not depressing; the subtle bass line and drums keep things from falling into despair. When the bridge kicks in however, the band picks up the intensity and the song really begins to shine as lead singer David Hollenbeck jumps an octave and begins a passionate plea to the song's subject. The rest of the song feeds off this intensity, and it results in a solid opener for the EP. It then slips into "It's My Fault, But You're Wrong and I Hate You" a more upbeat and bright sounding song. It opens with a ethereal sounding synth, but quickly kicks into the drum-driven rest of the song. Right before the chorus is some evidence of the recording environment they had access to, because of the professional and awesome sounding fade from the verse into the instrumental version of the chorus. The chorus, with vocals, is the highlight of the song, with the slick gang vocals and tight instrumental that gives off a more mature and grown up sound than the "fun" songs of their debut album. "Keep It To Yourself", the next track on the album, brings the energy level back down to the more mellow levels of the opener. It serves as middle ground in terms of the mood of the previous two tracks, taking a more upbeat approach while sticking to a quieter overall sound. The vocals are a focus point of this song, with them coming in loud and clear over the crashing drums and guitar lines. David has dual vocals, which add a sense of depth to the song and gives more emphasis to them. The bridge is especially memorable, with a sweet guitar line that sounds a bit like something Walk The Moon would do building the energy until the rest of the band comes crashing in. Finally, the EP finishes off with "*You're", a strictly acoustic tune who's title plays on the common error made with your/you're. The song has a lullaby sort of tone to it, with the picked and strummed guitars providing a gentle sway as the vocals come in softly over them. That doesn't mean it will lull you to sleep, however, with a slow building of the guitars gives the song a little edge to keep the listener intrigued. It's a fitting end to the EP, bringing things down to a soft, yet angsty end as Hollenback wishes he could go home and get away from the person he sings about for the rest of the song.
Overall, this EP showed a lot of improvement from their debut, which is good and expected. Having a professional quality studio helped, but the tracks definitely had a more mature and adult sound than was present before. The lyrical content helped this as well, taking on a darker nature and touching on some sad and raw sounding lyrical ideas. The indie nature of the band shines through, and the tracks flow well together, all drawing from a more consistent vibe then the debut album managed at points. This is another sign of why this is a band to continue to watch, with their continued growth and tightened sound showing through more and more clearly.
Rating: 4/5
Recommended: Sleeping Sound & It's My Fault, But You're Wrong and I Hate You
Related: Death Cab For Cutie, Walk The Moon, From Indian Lakes
Tuesday, April 8, 2014
Issues - Issues
I'll be honest, I haven't really given Issues much of my attention. I enjoyed their version of Justin Bieber's "Boyfriend", but hadn't entirely enjoyed the rest of their material. However, I saw that their debut self-titled album had released, and after hearing some news about it, decided to give it a listen. I also listened to their Black Diamonds EP to familiarize myself with their kind of sound.
Upon first listen, I was actually somewhat impressed with the first full-length record from Issues. It seemed that they settled on a sound and took it from there, for the songs from Black Diamonds seemed to be a bit too disconnected in terms of musical elements. Issues takes the hybrid elements that the band experimented with and integrates them further into their core metal sound. Songs like "Mad At Myself", "Tears On The Runway Pt. 2" and"Late" incorporate a large amount of electronic elements, from glossy synths to drum machines. "Late" is the closest thing to a "mellow" song you can get on the album, thanks to the heavy presence of dance-synths, electronic drums, and even occasional acoustic guitar. However, that doesn't mean that you can't rock out to it, for it has its fair share of roaring guitars and blistering drums. "Tears On The Runway Pt. 2" is in the same vein as Late, although it almost takes on a hip-hop vibe during the first verse. The guest vocals by Nylo add a deeper emotional dimension to the song, as well as Tyler Carter's emotion-driven vocals, which trade the yelling and intensity he channels in most of his songs for a sense of vulnerability. "Mad At Myself" has a similar sound to the majority of the album, blending pop-sensible vocals with blistering instrumentals and floating synth lines. Especially on this track, Carter's vocals sound a lot like something you'd hear on the radio, almost like something Justin Bieber would do. That's not a negative comment; the vocals are just very catchy and melodic.
The band isn't afraid to hit things hard though. Songs like "Stingray Affliction" and "Never Lose Your Flames" still utilize clean vocals, but get down and gritty for the duration of the songs. They also stray away from tenderness, and come off aggressive, at least in terms of the instrumentals. "Never Lose Your Flames" has an anthemic feel, with the title becoming a cry for the kids who struggle in life. There is a nice back and forth nature within the vocals, alternating between Carter's pop-sensible voice and Michael Born's deep guttural roaring. "Stingray Affliction" is one of the heaviest tracks if not the most gritty. The roaring guitars, the growling screams, and the occasionall scratching come together to give you something to headband along to. The chorus has that polished factor thanks to Carter's vocals and the high synth line, but it is mainly geared towards a more intense and darker sound.
As much as I like some of the songs and their mixing of elements from various genres, sometimes it doesn't quite work out so well on this album. Songs like "Life Of A Nine" and "The Langdon House" don't flow so well, both within the songs and in terms of the album as a whole. "Life Of A Nine" opens with incredibly low guitars and throat ripping screams, but on the verses switches into rapping, which is very tricky to incorporate into metal music. It's not bad and it only last for a few moments, but I feel it takes away from the song, which overall is quite good. The only song I didn't like flat out was "Personallity Cult", which according to Carter is a calling out to Memphis May Fire. It's just trashing what Matty Mullins tries to talk about, and comes off as fairly immature.
Upon first listen, I was actually somewhat impressed with the first full-length record from Issues. It seemed that they settled on a sound and took it from there, for the songs from Black Diamonds seemed to be a bit too disconnected in terms of musical elements. Issues takes the hybrid elements that the band experimented with and integrates them further into their core metal sound. Songs like "Mad At Myself", "Tears On The Runway Pt. 2" and"Late" incorporate a large amount of electronic elements, from glossy synths to drum machines. "Late" is the closest thing to a "mellow" song you can get on the album, thanks to the heavy presence of dance-synths, electronic drums, and even occasional acoustic guitar. However, that doesn't mean that you can't rock out to it, for it has its fair share of roaring guitars and blistering drums. "Tears On The Runway Pt. 2" is in the same vein as Late, although it almost takes on a hip-hop vibe during the first verse. The guest vocals by Nylo add a deeper emotional dimension to the song, as well as Tyler Carter's emotion-driven vocals, which trade the yelling and intensity he channels in most of his songs for a sense of vulnerability. "Mad At Myself" has a similar sound to the majority of the album, blending pop-sensible vocals with blistering instrumentals and floating synth lines. Especially on this track, Carter's vocals sound a lot like something you'd hear on the radio, almost like something Justin Bieber would do. That's not a negative comment; the vocals are just very catchy and melodic.
The band isn't afraid to hit things hard though. Songs like "Stingray Affliction" and "Never Lose Your Flames" still utilize clean vocals, but get down and gritty for the duration of the songs. They also stray away from tenderness, and come off aggressive, at least in terms of the instrumentals. "Never Lose Your Flames" has an anthemic feel, with the title becoming a cry for the kids who struggle in life. There is a nice back and forth nature within the vocals, alternating between Carter's pop-sensible voice and Michael Born's deep guttural roaring. "Stingray Affliction" is one of the heaviest tracks if not the most gritty. The roaring guitars, the growling screams, and the occasionall scratching come together to give you something to headband along to. The chorus has that polished factor thanks to Carter's vocals and the high synth line, but it is mainly geared towards a more intense and darker sound.
As much as I like some of the songs and their mixing of elements from various genres, sometimes it doesn't quite work out so well on this album. Songs like "Life Of A Nine" and "The Langdon House" don't flow so well, both within the songs and in terms of the album as a whole. "Life Of A Nine" opens with incredibly low guitars and throat ripping screams, but on the verses switches into rapping, which is very tricky to incorporate into metal music. It's not bad and it only last for a few moments, but I feel it takes away from the song, which overall is quite good. The only song I didn't like flat out was "Personallity Cult", which according to Carter is a calling out to Memphis May Fire. It's just trashing what Matty Mullins tries to talk about, and comes off as fairly immature.
Overall, this was a solid record for a debut album. I didn't have much interest before, but I'll definitely be keeping my eye out for more from these guys.
Rating: 6.5/10
Recommended: Never Lose Your Flames, Late, Stingray Affliction
Related: Dangerkids, Memphis May Fire, Bring Me The Horizon
Rating: 6.5/10
Recommended: Never Lose Your Flames, Late, Stingray Affliction
Related: Dangerkids, Memphis May Fire, Bring Me The Horizon
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