Too Weird To Live, Too Rare To Die! is a perfect definition of Panic! At The Disco. They are too unique to stick to one particular sound, but too creative to go away anytime soon. With a variety of releases, they have gathered a wide ranging fan base, but despite the constant changes in both sound and members, they have managed to come out of the fire not only in one piece, but refined like gold and better than ever. Too Weird To Live, Too Rare To Die! is a culmination of all of their albums, and still points to the future and what it may yet hold.
Drawing heavily from their first and third albums, Panic! moves in a largely electronic direction, which is expected if you've followed their career at all. Synths, drum machines, and an eclectic assortment of electronic noises drive the latest batch of songs from Panic!, but they are also interwoven with gritty guitars, rock-oriented drums, and, of course, Brendon Urie's soaring and theatrical voice. These elements all come together to create just over a half hour of a musical roller coaster, filled with twists and turns, highs and lows (but not too many of those). It kicks off with the heat beat intro of "This Is Gospel", which was one of the lead singles and one of the best songs Panic! has ever put out. The vocals and harmonies are fantastic, and each verse leads into the explosive chorus, filled with stadium ready drums, roaring guitars, and sing-along lyrics. Panic! manages to keep their lyrical weirdness that set them apart all those years ago, but still has moments of clarity, and being relatable, with lines like "if you love me let me go" and "the fear of falling apart" becoming anthem cries for teenagers as they listen along. This song slides right into the other lead single, "Miss Jackson (feat. Lolo)", a Fall-Out-Boy-My-Songs-Know-What-You-Did-In-The-Dark sounding anthem, which is not a bad thing at all; it just doesn't seem quite as original as it should. I still very much enjoy the song, with it's contrasting elements, going from low-key bass led verses to sharp drums and whining guitar filled chorus. It is one of the harder hitting songs, and has a more intense feel to it.
This vibe is continued throughout the album, with songs like "Vegas Lights", "Nicotine", and "Casual Affair" all keeping up the intense nature in different manners. "Vegas Lights" takes on a more fun-natured vibe, yet still sounds fierce thanks to it's driving beat and the few synths that provide a edgy vibe. The children's countdown as an intro is a tad bit creepy, but the song unfolds into alternative/electric genius. It's by far one of my favorite songs, thanks to the catchy nature of both the vocals and the electronic elements. Another song that follows in this catchy fashion is "Nicotine", a fast paced song that inspires clapping along and dancing to the beat. It has some electronic elements, but leans more towards traditional rock instruments, being led by guitars, bass lines, and resounding drums. The bass line during the pre-chorus is excellent, since I'm a sucker for a good bass. I also enjoyed the acoustic piano that can be found when the song brings the energy level down, adding a different vibe than the more commonly found electronic elements. However, just a few songs more into the album is "Casual Affair", the heavily electronic-laden piece, which is both beautiful and haunting at the same time. This collision of sounds is created mainly by Urie's vocals, the repeating synth line, and the echoing drums. Urie's voice provides both the beauty and a chilling sense thanks to his vocal sound being combined with echoing effects and a bit of auto tune, which I think is a fantastic fit with this song. Some people might complain simply because it's being used, but it's not to make up for his voice or cover mistakes; it's simply to complement the song itself. This song also has a swagger to it, which makes me think that this might have been where the hip-hop influence Urie mentioned in an interview about the album comes in.
The whole album isn't edgy and dark, however; a nice 80's pop influence helps provide some fantastic upbeat tunes. "Collar Full", led by synths and a very 80's style drum beat, provides some fun for the listener. The happy nature of this song is infectious, and you can't help smiling and wanting to move to the beat. It rides the line of annoying catchy perfectly, feeling preppy yet not totally care-free. "Girl That You Love" is another song that exemplifies this 80's influence, thanks to some excellent toms and pulsating synth lines. It has a bit of a darker nature than "Collar Full", but is not a mood-killer, thanks to the driving beat and added staccato guitar lines during the chorus. "Far Too Young To Die" follows in this nature, opening with a steady beat and synth that bring to mind a multitude of movie scenes in 80's clubs. It moves into a more modern nature when the vocals kick in, which are the best part of the song in my opinion. Urie has a voice that can change from incredibly upbeat to intense and emotional. This song strays more towards the latter, but not in a manner that depresses you. It's just splendid to listen to, whatever he ends up doing with it. Not all of the songs make you want to pull out your roller blades and leg warmers, however; an upbeat nature can be achieved without bringing back those days. "Girls/Girls/Boys" is in the same line as "Collar Full", but differs in style. A more mellow sound and stripped down combination of groovin' bass line, simple drums, and a slightly distorted guitar to create a solid song about relationships and (obviously) boys and girls. Finally, the closing tune "The End Of All Things" is a dramatic turn from everything else on the album. With an eerie, haunting, and emotional sound, this song stands apart thanks to the simple instrumentation of just a piano line and Urie's vocals. It brings down the energy, especially from the previous song, but shows some incredible musicianship. The vocals are fantastic, with the effects and harmonies coming together to be both digital and human, revealing a rawness, yet also being polished simultaneously. The strings at the end of the track solidify the somber nature, and create a fitting end to this wild ride.
Rating? 4/5
Track-list:
This Is Gospel - 3:07 (5/5)*
Miss Jackson (feat. Lolo) - 3:13 (5/5)*
Vegas Skies - 3:09 (5/5)*
Girl That You Love - 3:09 (4/5)
Nicotine - 3:07 (5/5)
Girls/Girls/Boys - 3:27 (4/5)
Casual Affair - 3:18 (5/5)*
Far Too Young To Die - 3:17 (4/5)
Collar Full - 3:18 (4/5)
The End Of All Things - 3:32 (5/5)*
(* tracks indicate recommended downloads)
Tuesday, October 15, 2013
Friday, October 11, 2013
Five Song Friday - October 11th
The weeks fly by, and I discover lots of fantastic music to listen to (and by lots I mean A LOT). Check out what I've been listening to, and see which ones you like as well! I've attached links to the song names, so if you want to hear how they sound, click the title of the song and it'll take you there.
- I've Given Up On You - Real Friends
I actually discovered this song thanks to some of my friends covering it, and found that I really enjoy it. The first time I listened, I felt it should eventually build with drums and the likes, but have found after a few listens that I love the way it is acoustic yet not. The addition of the bass guitar and the slightly distorted guitar help build the intensity without erupting into a full on punk song. The vocals and lyrics are where the song shine, with lines like "I write songs about you all the time" and "I'll stay awake at night with just my skin and bones" reveal an angst and depression present after a rough break up. Break ups are covered by every artist out there, but this felt like a fresh and more raw, emotional take on the subject. I very much enjoyed it. 5/5 - Vegas Lights - Panic! At The Disco
I was stoked for this album, and it did not disappoint in the slightest. With the lyrical feel of their debut album and the instrumental of the future, Too Weird To Live, Too Rare To Die was a short but sweet set of tunes. This song, besides it's odd intro, is one of my personal favorites off the album. It has swagger, it has groove, and it embodies Vegas, (hence the title), which is a fitting tribute to the birthplace of Panic! Brendon Urie's voice is the best part of the track, which soars high and low, growing with intensity and teeming with intimacy at points. It's one of the highlights of the album, and I highly recommend it for fans of Fall Out Boy, Cobra Starship, and All Time Low. 5/5 - Sugarcane - Sleigh Bells
To start, I apologize for the video link on this song; it was the only one I could find. The song, as you'll find if you listen, is raw. It punches you as the beat comes in to it's full extent, a wave of sound hitting your ears with resounding and booming beats lay the foundation for gritty guitars and polished vocals. Vocalist Alexis Krauss has a voice that isn't easily forgotten, and is especially showcased in this song, with melodies that catch your attention and enthrall you. I come back time after time just for her vocals, but also for the hard-hitting instrumental that backs up the intensity of her voice. I haven't listened to the entirety of the new album from Sleigh Bells, but after this and a few others, I'm well prepared to buy it. 5/5 - Blood On The Leaves - Kanye West
I know that this seems like an odd addition to this list, but I do appreciate Kanye's talent as a rapper and making very innovative beats and tracks. This song is an example of that talent. It builds wonderfully, and erupts into an intense, dark track. The auto-tune fits the vibe perfectly, and is backed by a loud and gritty horn line with a perfectly timed beat. The song gets me pumped, and inspires me to create music with the same intensity. Lyrically, it's not terribly exciting, but the vibe and feel of the song is fantastic. 5/5 - I Don't Know You - From Indian Lakes
I discovered this band at the Anberlin/The Maine show I attended last week, and was incredibly impressed with not only their sound, but their mature and professional stage presence. They did not have the awkward vibe of an opening band, but came off as confident and together as the openers. They are one of those fantastic bands who are better live than recorded, which is what I think all that matters. However, that doesn't mean the record is bad. This song is one of the many I really enjoy. It's one they played live, and one of the more low-key songs, but it still has it's intensity at times. Their sound is very relaxing and fall/winter-esc, fitting in with the clouds and chilly weather lately. Definitely check them out if you like The Maine, Walk The Moon, and Lydia. 5/5
Saturday, October 5, 2013
The 20/20 Experience: 2 of 2 - Justin Timberlake
When Justin Timberlake makes a comeback, he makes it big. While everyone was still going ecstatic over The 20/20 Experience, he revealed that it was only the first of two parts, immediately building the hype and excitement for the next part. When it dropped this last week, the fans could finally hear the rest of Justin Timberlake's explosive jump back into the music scene. I knew that the expectations would probably exceed the result, due to the first part being fantastic. I was pleasantly surprised, however, to find that this album holds it's own as part continuation, part sequel. Even though the songs were recorded at the same time as those from Part 1, they have a different vibe and different sounds. It was probably engineered this way, for I'm sure JT wanted to create different listening experiences with each album, even though they are connected. In this aspect, he most definitely succeeded.
There is a definite division in this album, with the two halves containing different emotional drives and moods. The electric synth, hip-hop beat driven first half unfolds into the more acoustic guitar, orchestrally led second. Songs like "TKO", "True Blood", "Gimme What I Don't Know (I Want)", and lead single "Take Back The Night" contain a higher-level energy, making you want to dance to the beat and sing along with a smile. "Gimme What I Don't Know (I Want)" opens the album in a much different fashion than Part 1, with multilayered vocals quickly giving way to JT's signature beat-boxing combined with some hip-hop drums and a groovin' bass line. The song has some funk to it, thanks to that bass line and the guitar that subtly fades into the chorus. All this is complemented by JT's vocals, which soar over the instrumental as he greatly utilizes his falsetto on this song as he compells the muse of his song to come to him. The chorus, thanks to both Timberlake's lyrics and vocals and the resounding beats, inspires a jungle vibe, which is further confirmed and solidified by the bridge section, that is punctuated by animal noises and Timberland speaking of "deep in the jungle, the animals come out". The next song, however, takes on a far different theme than an animalistic lover, although the implications are similar in a sense. "True Blood" is about what your first thoughts probably are; a lover with vampire qualities. The song overall has a very Halloween vibe, thanks to many lyrical references to creepy and spooky things and well placed wolf howls, which I'm sure will inspire a rise in popularity as it comes nearer to Halloween. It also feels a bit like Michael Jackson's "Thriller", not only because of the supernatural influence, but due to the bridge/spoken word section, that JT and Timberland speak in low tones with ghostly shrieks in the background to create a chilling mood. I very much enjoy the extended nature of this song; clocking in at more than 9 and a half minutes, it creates a haunting experience that makes you want to grove along at a eerily decorated Halloween party in some wacky costume. It'll be interesting if they make a music video for this song.
Not all of the songs, however, are themed quite in this manner. "Cabaret", for example, is a more pop/hip-hop track that talks about the same sort of material, just in a more mainstream manner. This song is one of the two songs with a guest spot, with this song featuring Drake, a pairing I found odd in theory, but excellent in practice. His rap spot fits the vibe of the song perfectly, along with some great lines and a well placed section of his signature singing/rapping. JT himself has some hilarious, yet not so appropriate lines, which I won't repeat (you'll have to listen to it for yourself). His vocals complement the romantic, yet hard-hitting nature of the song, emphasizing the softer side more, and creating some fantastic contrast. Another example of a more expected theme within a song is lead single "Take Back The Night", a tribute to a gone age of big bands, flashing lights, and soul-filled music. It definitely has a Michael Jackson vibe to it, but JT makes sure to make it his own. The addition of The Tennessee Kids adds not only flare, but legitimacy for Timberlake as an artist. As this world moves farther and farther into the electronic age, it's nice to hear some real instruments; blasting trumpets, funky bass lines, and some driving drum set rhythm. This goes to say, however, that electronic isn't a bad thing. Songs like "TKO" and "Murder" both contain high amounts of electronic based instruments and still show a high quality of musicianship. "TKO", as you might guess, is more based around a boxing theme, and is driven by sharp beats and climbing and falling synth lines. JT sings of not a knockout girl, as one might expect, but a girl who knocks him out because she isn't who she used to be anymore."Murder", the other track on the record with a guest artist, comes in as a middle ground between the electronic and the authentic, containing striking beats combined with loud brass jabs and a slick guitar line. Jay-Z provides a rap for this song with some clever lines and good contrast, and furthering the musical relationship between the two, since they continue to do guest spots for each other.
Now, I earlier mentioned that there was a clear division in this album. This starts with "Drink You Away", a surprising blend of Southern Gospel and danceable country. Timberlake even manages to throw a hint of a country twang on his voice, creating a vastly different listening experience than the previous songs on the album. It isn't fast paced, but does not feel slow thanks to the upbeat nature and despite the lamenting nature of the song. The acoustic guitar and slightly distorted electric guitar definitely further the country vibe, and help to make this song a nice break from the dominating hip-hop/pop nature of what the listener has been experiencing. The next song, "You Got It On", opens with a radically different sound, somewhat bringing back the pop and hip-hop sounds. However, it doesn't feel nearly as driving, but instead bringing down the pace of the album with a soulful feel. JT is definitely romancing with this song, and he's not trying to rush it at all. The song finishes off with an orchestral outro, helping to finalize the old-time feel of the song, and transitioning right into the next song "Amnesia", which is a little more urgent in nature as the beat-boxing kicks in and Justin sings over Timberland providing some bass. This song fades into a more emotion led, stripped down outro of bass kicks, key jangles, and sharp snare hits, with plucked and bowed strings complementing JT as he soars in and out of falsetto. "Only When I Walk Away" builds the intensity present in the last song even more, even taking on a angry tone accented but a roaring guitar and some vocal distortion. JT gets into this song, almost yelling at points as he sings of a flip-flop lover who continues to change their mind. The transition at almost 4 minutes keeps the same energy level, yet channels the emotions through a hard-hitting beat that drives the song as JT howls how she loves him "only when I walk away". The last minute changes as well, bringing down the energy this time, but instilling a foreboding sense in the listener. The last song on the album, "Not A Bad Thing", is also the longest song, clocking in at a lengthy 11:32. The first half is a more pure pop sound, almost reminiscent of JT's earliest days in his career. He tries to convince a girl that she should give him a chance to be her man. The second half, however, takes on a completely different sound, solely being driven by a picked guitar and eventually strings. JT's voice also switches up during this part, taking on a very soft and sensual tone to inspire a time in music long gone. It's a very beautiful way to end the album, and is a last effort to reveal the diversity Timberlake has as an artist.
After listening to this whole album, I'm very glad Justin Timberlake decided to do 2 parts of his album and release all these songs, for there are some great new additions to his library on this latest release. Not everything was absolutely perfect, but you could tell it all had a lot of effort and work put into it. My only major problem with the album overall was the higher amount of swearing present. I don't mind it, but it felt unnecessary at times and almost forced in for the sake of having it. That said, I still love the album, and am excited to see what JT does in the future. 4.5/5
Track-list:
Gimme What I Don't Know (I Want) - 5:15 (5/5)
True Blood - 9:31 (5/5)
Cabaret (feat. Drake) - 4:33 (5/5)
TKO - 7:04 (5/5)
Take Back The Night - 5:55 (5/5)
Murder (feat. Jay-Z) - 5:08 (4/5)
Drink You Away - 5:31 (5/5)
You Got It On - 5:56 (4/5)
Amnesia - 7:05 (4/5)
Only When I Walk Away - 7:06 (5/5)
Not A Bad Thing - 11:32 (4/5)
There is a definite division in this album, with the two halves containing different emotional drives and moods. The electric synth, hip-hop beat driven first half unfolds into the more acoustic guitar, orchestrally led second. Songs like "TKO", "True Blood", "Gimme What I Don't Know (I Want)", and lead single "Take Back The Night" contain a higher-level energy, making you want to dance to the beat and sing along with a smile. "Gimme What I Don't Know (I Want)" opens the album in a much different fashion than Part 1, with multilayered vocals quickly giving way to JT's signature beat-boxing combined with some hip-hop drums and a groovin' bass line. The song has some funk to it, thanks to that bass line and the guitar that subtly fades into the chorus. All this is complemented by JT's vocals, which soar over the instrumental as he greatly utilizes his falsetto on this song as he compells the muse of his song to come to him. The chorus, thanks to both Timberlake's lyrics and vocals and the resounding beats, inspires a jungle vibe, which is further confirmed and solidified by the bridge section, that is punctuated by animal noises and Timberland speaking of "deep in the jungle, the animals come out". The next song, however, takes on a far different theme than an animalistic lover, although the implications are similar in a sense. "True Blood" is about what your first thoughts probably are; a lover with vampire qualities. The song overall has a very Halloween vibe, thanks to many lyrical references to creepy and spooky things and well placed wolf howls, which I'm sure will inspire a rise in popularity as it comes nearer to Halloween. It also feels a bit like Michael Jackson's "Thriller", not only because of the supernatural influence, but due to the bridge/spoken word section, that JT and Timberland speak in low tones with ghostly shrieks in the background to create a chilling mood. I very much enjoy the extended nature of this song; clocking in at more than 9 and a half minutes, it creates a haunting experience that makes you want to grove along at a eerily decorated Halloween party in some wacky costume. It'll be interesting if they make a music video for this song.
Not all of the songs, however, are themed quite in this manner. "Cabaret", for example, is a more pop/hip-hop track that talks about the same sort of material, just in a more mainstream manner. This song is one of the two songs with a guest spot, with this song featuring Drake, a pairing I found odd in theory, but excellent in practice. His rap spot fits the vibe of the song perfectly, along with some great lines and a well placed section of his signature singing/rapping. JT himself has some hilarious, yet not so appropriate lines, which I won't repeat (you'll have to listen to it for yourself). His vocals complement the romantic, yet hard-hitting nature of the song, emphasizing the softer side more, and creating some fantastic contrast. Another example of a more expected theme within a song is lead single "Take Back The Night", a tribute to a gone age of big bands, flashing lights, and soul-filled music. It definitely has a Michael Jackson vibe to it, but JT makes sure to make it his own. The addition of The Tennessee Kids adds not only flare, but legitimacy for Timberlake as an artist. As this world moves farther and farther into the electronic age, it's nice to hear some real instruments; blasting trumpets, funky bass lines, and some driving drum set rhythm. This goes to say, however, that electronic isn't a bad thing. Songs like "TKO" and "Murder" both contain high amounts of electronic based instruments and still show a high quality of musicianship. "TKO", as you might guess, is more based around a boxing theme, and is driven by sharp beats and climbing and falling synth lines. JT sings of not a knockout girl, as one might expect, but a girl who knocks him out because she isn't who she used to be anymore."Murder", the other track on the record with a guest artist, comes in as a middle ground between the electronic and the authentic, containing striking beats combined with loud brass jabs and a slick guitar line. Jay-Z provides a rap for this song with some clever lines and good contrast, and furthering the musical relationship between the two, since they continue to do guest spots for each other.
Now, I earlier mentioned that there was a clear division in this album. This starts with "Drink You Away", a surprising blend of Southern Gospel and danceable country. Timberlake even manages to throw a hint of a country twang on his voice, creating a vastly different listening experience than the previous songs on the album. It isn't fast paced, but does not feel slow thanks to the upbeat nature and despite the lamenting nature of the song. The acoustic guitar and slightly distorted electric guitar definitely further the country vibe, and help to make this song a nice break from the dominating hip-hop/pop nature of what the listener has been experiencing. The next song, "You Got It On", opens with a radically different sound, somewhat bringing back the pop and hip-hop sounds. However, it doesn't feel nearly as driving, but instead bringing down the pace of the album with a soulful feel. JT is definitely romancing with this song, and he's not trying to rush it at all. The song finishes off with an orchestral outro, helping to finalize the old-time feel of the song, and transitioning right into the next song "Amnesia", which is a little more urgent in nature as the beat-boxing kicks in and Justin sings over Timberland providing some bass. This song fades into a more emotion led, stripped down outro of bass kicks, key jangles, and sharp snare hits, with plucked and bowed strings complementing JT as he soars in and out of falsetto. "Only When I Walk Away" builds the intensity present in the last song even more, even taking on a angry tone accented but a roaring guitar and some vocal distortion. JT gets into this song, almost yelling at points as he sings of a flip-flop lover who continues to change their mind. The transition at almost 4 minutes keeps the same energy level, yet channels the emotions through a hard-hitting beat that drives the song as JT howls how she loves him "only when I walk away". The last minute changes as well, bringing down the energy this time, but instilling a foreboding sense in the listener. The last song on the album, "Not A Bad Thing", is also the longest song, clocking in at a lengthy 11:32. The first half is a more pure pop sound, almost reminiscent of JT's earliest days in his career. He tries to convince a girl that she should give him a chance to be her man. The second half, however, takes on a completely different sound, solely being driven by a picked guitar and eventually strings. JT's voice also switches up during this part, taking on a very soft and sensual tone to inspire a time in music long gone. It's a very beautiful way to end the album, and is a last effort to reveal the diversity Timberlake has as an artist.
After listening to this whole album, I'm very glad Justin Timberlake decided to do 2 parts of his album and release all these songs, for there are some great new additions to his library on this latest release. Not everything was absolutely perfect, but you could tell it all had a lot of effort and work put into it. My only major problem with the album overall was the higher amount of swearing present. I don't mind it, but it felt unnecessary at times and almost forced in for the sake of having it. That said, I still love the album, and am excited to see what JT does in the future. 4.5/5
Track-list:
Gimme What I Don't Know (I Want) - 5:15 (5/5)
True Blood - 9:31 (5/5)
Cabaret (feat. Drake) - 4:33 (5/5)
TKO - 7:04 (5/5)
Take Back The Night - 5:55 (5/5)
Murder (feat. Jay-Z) - 5:08 (4/5)
Drink You Away - 5:31 (5/5)
You Got It On - 5:56 (4/5)
Amnesia - 7:05 (4/5)
Only When I Walk Away - 7:06 (5/5)
Not A Bad Thing - 11:32 (4/5)
Five Song Friday - October 4th
Another Friday is here, and an exciting Friday it is! I am going to another concert tonight, this time featuring Anberlin and The Maine (which yes, it will be my second time seeing them this year) as headliners, and Lydia and From Indian Lakes as the openers. It'll be an awesome show, and I'm stoked. So be on the look out for a review, and hopefully some pictures and videos. Seeing as that's the case, this week's will have some new music I've discovered (which means Justin Timberlake), and some of my favorites by The Maine and Anberlin.
- The Runaways - Anberlin
I had not heard this song before I knew I was going to see them, and it was a pleasant surprise. I absolutely love the intro, which just sounds cool, plain and simple. This song has that edgier, gritty tone to it that is awesome. I don't know if they're going to play this song, but it would be awesome if they did because it's fantastic. It's evident that it's from Anberlin's earlier days, but it's a great work, and has some nice contrasts between the chorus and the verses. 5/5 - These Four Words - The Maine
This is one of those songs that really showcases the raw talent The Maine has. It's stripped down, it's simple, but it's hauntingly beautiful. I got to see them perform it last time I saw them, and I hope they play it again, because it was fantastic. It just consists of pianos and vocals, but makes for a great sing-along. 5/5 - True Blood - Justin Timberlake
JT is back again, and Part 2 is just as good as the first. "True Blood" is a Halloween-dance party song for sure, thanks to the vampire theme, monster references, and the occasional werewolf howl expertly placed. I love the thrill of this song, and it's evident inspiration from Michael Jackson's famous "Thriller". It's one of the best songs on his new record. Even though it's long, it really doesn't feel like it. I love JT's extended outros, and how they create unique listening experiences within each song. 5/5 - Cabaret - Justin Timberlake
This is the shortest song on Justin's new album, but also one of the best. It's got a guest spot from Drake, who adds a lot to the song thanks to well thought out lines that complement JT's own great lyrical plays. It has a more hip-hop vibe than pop, which isn't a surprise since Drake is on it. It has a very sensual vibe to it as well, which is definitely Justin's style. I highly recommend it if you like Drake, Jay-Z, or the like. 5/5 - Royals - Pentatonix
I love everything they do, I admit it. But they absolutely killed this song. I never was a big fan of the original, but this version blows it out of the water. The dynamics, the harmonies, the bass, the beat-boxing; it's all fantastic. Especially the harmonies, they get me every time I listen to the song. It's insane. Go listen to it, buy it, love it. 5/5
Tuesday, October 1, 2013
Concert Review - Fall Out Boy, Panic! At The Disco, and Twenty One Pilots
This took a little longer than I had hoped, but then again, life gets busy. I had the great privilege of going to this concert, and I do not regret going in the slightest. It was a blast, and an entertaining show. It was at the Honda Center in Anaheim, California, which is a fairly large venue. This ended up being a blessing in terms of noise, for I was not nearly as deaf at the end of the night as I anticipated. I know I should wear earplugs, but I just love the loud, loud music at live shows. Anyways, I had an actual seat, just about dead center, at the top of the lowest seating level. It was as good as it could get, (unless I was in the very front of the floor crowd), but it was really a quality spot to watch the show. I got there a little early, so I enjoyed my time, waiting for the show to begin.
It kicked off with Twenty One Pilots, a group I discovered soon after I learned they would be opening for the show. They had an immense amount of energy, with lead singer Tyler Joseph running and jumping around the stage as he sang, rapped, and screamed earnestly and emotionally. He was all over the place, including walking ON the crowd itself, using their hands to hold up his feet so he could sing to the crowd as he stood upon it. They, and all the other bands, incorporated a great many lighting effects into the show, (which makes me glad I don't have epilepsy, because I would have for sure had a seizure) and also did a lot of flips and backflips, which were all awesome. They used a lot of pre-recorded tracks, which bugged me a bit at first, but then I realized it makes sense since they're a two man band and can't possibly play 4+ instruments at the same time. It was cool, however, that they did play some, such as the drums, piano, and ukelele. Their bass lines, both synths and guitar, were INSANE. You could feel it hit your chest and mess with your heartbeat, it was so loud. I absolutely loved it, and I think everyone else in the crowd did. Another thing I liked about them was their humility. After almost every song, Tyler would talk to the crowd and thank them for coming out. Not only did he thank the crowd, but he continued to ask if the band was doing good enough for everyone, and if they all liked it. I thought it was a very humble attitude, one that is hard to find nowadays in the music industry. It gave me a lot of respect for them, and more interested in their show. They played only 6 songs, but they had just as much energy as the headlining acts. Not only that, but they ended their set with an insane drum-off outro where they just banged away on some toms as synths and bass was rumbling the arena. They were definitely a great opening group.
After a 20-30 minute pause for setting-up, Panic! At The Disco took the stage to screams and enthusiasm plentiful. I sadly missed them coming out because I was in line for a shirt, but still managed to catch most of their opening song, "Time To Dance". Panic! had a very Vegas show style to their set up, with lots of lights, screens flashing their name, and a whole lot of color. They came out with a different kind of energy than Twenty One Pilots, but that's expected. They were a much more theatrical act, and all about working up the crowd and performing their hearts out. They were also more comedic, with lead singer Brendon Urie having witty and hilarious remarks in-between songs. One such instance was when he told the crowd that his parents were in the crowd, and after having everyone say hi, he said to them, "Look Mom and Dad, I made it!" It was a great moment, with the crowd laughing and cheering for them. Comedy aside, they put on a great performance. All the members of the band were into the music, putting passion into their work as they jumped, ran, and jammed out. Urie's vocals were spot on, showing that the talent was not only real, but better than expected. He also was able to let out throaty screams, surprising me and adding some intensity to certain songs that complemented them well. Their energy was a great prelude into the openers; Fall Out Boy.
When the lights went out for Fall Out Boy, the screams and shouting where almost unbearable. But soon the crowd died down (slightly) to the sounds of "The Phoenix" rising up and bursting with energy. The boys of FOB came out in ski-masks for the first song, and then ripped them off as they carried on. The next hour and a half was filled with the screaming crowd, a set-list full of sing alongs, and a surprising amount of rock n' roll. Don't let the alternative-pop of their last album trick you; FOB is here to rock and make noise. They had crazy lights, an immense amount of energy, and no fear in going all over the place. The show flowed, from pure rock to piano led ballad moments, to even an acoustic stage in the center of the floor. It was all an absolute blast to watch. They brought back out Brendon to do guest vocals on "20 Dollar Nose Bleed", which was awesome, but they even took the time to cover Drake's "Hold On, We're Going Home", (which was actually really cool, despite being really unexpected). The acoustic stage was really great, taking a moment to lower the mood of the crowd and create the feel of a campfire sing along (without the fire). Guitarist Joe Trohman and drummer Andy Hurley each got their own solo moment, which furthered the rock concert vibe, and bassist Pete Wentz provided some throaty screams when necessary. Frontman Patrick Stump led the band with a solid grip, singing his heart out and driving the band to put on a real, authentic show. And that's what they brought. For most of the concert, I was on my feet, singing along and singing my lungs out. It was one of the best show's I've been to just based on the energy and enthusiasm each band put out, and I'd easily do it again.
Set-lists:
Twenty One Pilots-
Ode To Sleep
Migrane
House Of Gold
Holding On To You
Car Radio
Guns For Hands (with outro)
Panic! At The Disco-
Time To Dance
The Ballad Of Mona Lisa
The Only Difference Between Martyrdom and Suicide Is Press Coverage
Let's Kill Tonight
This Is Gospel
Ready To Go
Miss Jackson
But It's Better If You Don't
Nine In The Afternoon
I Write Sins Not Tragedies
Fall Out Boy-
The Phoenix
I Slept With Someone In Fall Out Boy And All I Got Was This Stupid Song Written About Me
A Little Less Sixteen Candles, A Little More "Touch Me"
This Ain't A Scene, It's An Arms Race
Alone Together
Guitar Solo
Thriller
Death Valley
Sugar, We're Going Down
Young Volcanoes
Hold On, We're Going Home (Drake Cover)
What A Catch, Donnie
20 Dollar Nose Bleed (With Brendon Urie)
(Acoustic Stage)
I'm Like A Lawyer with the Way I'm Always Trying To Get You Off (Me & You)
Grand Theft Autumn/Where Is Your Boy
Drum Solo
Dance Dance
Just One Yesterday
I Don't Care
My Songs Know What You Did In The Dark (Light 'Em Up)
Encore
Save Rock And Roll
Thnks fr the Mmrs
Saturday
It kicked off with Twenty One Pilots, a group I discovered soon after I learned they would be opening for the show. They had an immense amount of energy, with lead singer Tyler Joseph running and jumping around the stage as he sang, rapped, and screamed earnestly and emotionally. He was all over the place, including walking ON the crowd itself, using their hands to hold up his feet so he could sing to the crowd as he stood upon it. They, and all the other bands, incorporated a great many lighting effects into the show, (which makes me glad I don't have epilepsy, because I would have for sure had a seizure) and also did a lot of flips and backflips, which were all awesome. They used a lot of pre-recorded tracks, which bugged me a bit at first, but then I realized it makes sense since they're a two man band and can't possibly play 4+ instruments at the same time. It was cool, however, that they did play some, such as the drums, piano, and ukelele. Their bass lines, both synths and guitar, were INSANE. You could feel it hit your chest and mess with your heartbeat, it was so loud. I absolutely loved it, and I think everyone else in the crowd did. Another thing I liked about them was their humility. After almost every song, Tyler would talk to the crowd and thank them for coming out. Not only did he thank the crowd, but he continued to ask if the band was doing good enough for everyone, and if they all liked it. I thought it was a very humble attitude, one that is hard to find nowadays in the music industry. It gave me a lot of respect for them, and more interested in their show. They played only 6 songs, but they had just as much energy as the headlining acts. Not only that, but they ended their set with an insane drum-off outro where they just banged away on some toms as synths and bass was rumbling the arena. They were definitely a great opening group.
After a 20-30 minute pause for setting-up, Panic! At The Disco took the stage to screams and enthusiasm plentiful. I sadly missed them coming out because I was in line for a shirt, but still managed to catch most of their opening song, "Time To Dance". Panic! had a very Vegas show style to their set up, with lots of lights, screens flashing their name, and a whole lot of color. They came out with a different kind of energy than Twenty One Pilots, but that's expected. They were a much more theatrical act, and all about working up the crowd and performing their hearts out. They were also more comedic, with lead singer Brendon Urie having witty and hilarious remarks in-between songs. One such instance was when he told the crowd that his parents were in the crowd, and after having everyone say hi, he said to them, "Look Mom and Dad, I made it!" It was a great moment, with the crowd laughing and cheering for them. Comedy aside, they put on a great performance. All the members of the band were into the music, putting passion into their work as they jumped, ran, and jammed out. Urie's vocals were spot on, showing that the talent was not only real, but better than expected. He also was able to let out throaty screams, surprising me and adding some intensity to certain songs that complemented them well. Their energy was a great prelude into the openers; Fall Out Boy.
When the lights went out for Fall Out Boy, the screams and shouting where almost unbearable. But soon the crowd died down (slightly) to the sounds of "The Phoenix" rising up and bursting with energy. The boys of FOB came out in ski-masks for the first song, and then ripped them off as they carried on. The next hour and a half was filled with the screaming crowd, a set-list full of sing alongs, and a surprising amount of rock n' roll. Don't let the alternative-pop of their last album trick you; FOB is here to rock and make noise. They had crazy lights, an immense amount of energy, and no fear in going all over the place. The show flowed, from pure rock to piano led ballad moments, to even an acoustic stage in the center of the floor. It was all an absolute blast to watch. They brought back out Brendon to do guest vocals on "20 Dollar Nose Bleed", which was awesome, but they even took the time to cover Drake's "Hold On, We're Going Home", (which was actually really cool, despite being really unexpected). The acoustic stage was really great, taking a moment to lower the mood of the crowd and create the feel of a campfire sing along (without the fire). Guitarist Joe Trohman and drummer Andy Hurley each got their own solo moment, which furthered the rock concert vibe, and bassist Pete Wentz provided some throaty screams when necessary. Frontman Patrick Stump led the band with a solid grip, singing his heart out and driving the band to put on a real, authentic show. And that's what they brought. For most of the concert, I was on my feet, singing along and singing my lungs out. It was one of the best show's I've been to just based on the energy and enthusiasm each band put out, and I'd easily do it again.
Set-lists:
Twenty One Pilots-
Ode To Sleep
Migrane
House Of Gold
Holding On To You
Car Radio
Guns For Hands (with outro)
Panic! At The Disco-
Time To Dance
The Ballad Of Mona Lisa
The Only Difference Between Martyrdom and Suicide Is Press Coverage
Let's Kill Tonight
This Is Gospel
Ready To Go
Miss Jackson
But It's Better If You Don't
Nine In The Afternoon
I Write Sins Not Tragedies
Fall Out Boy-
The Phoenix
I Slept With Someone In Fall Out Boy And All I Got Was This Stupid Song Written About Me
A Little Less Sixteen Candles, A Little More "Touch Me"
This Ain't A Scene, It's An Arms Race
Alone Together
Guitar Solo
Thriller
Death Valley
Sugar, We're Going Down
Young Volcanoes
Hold On, We're Going Home (Drake Cover)
What A Catch, Donnie
20 Dollar Nose Bleed (With Brendon Urie)
(Acoustic Stage)
I'm Like A Lawyer with the Way I'm Always Trying To Get You Off (Me & You)
Grand Theft Autumn/Where Is Your Boy
Drum Solo
Dance Dance
Just One Yesterday
I Don't Care
My Songs Know What You Did In The Dark (Light 'Em Up)
Encore
Save Rock And Roll
Thnks fr the Mmrs
Saturday
Friday, September 27, 2013
Five Song Friday - September 27th
Another week, and more exciting music has found it's way to my ears! After having a blast at the Fall Out Boy/Panic! At The Disco/Twenty One Pilots concert (look for a review of the show later this weekend/week), I have still managed to find music that I very much enjoyed. So check out what's been playing on my iTunes this week, and look for exciting things next week! (It may or may not have to do with Justin Timberlake's new album...).
- A Light That Never Comes - Linkin Park & Steve Aoki
I've been really busy lately, otherwise I would have said something about this song a lot sooner. New Linkin Park always gets me excited, and this song is no exception. Teaming up with Steve Aoki was a genius move to reveal their new remix album, Recharged, due out next month. This song is LP through and through; I know some people will complain about the "dubstep", (even though it really isn't), and how they want their old sound back, and I respect that. Comparing this song to their material from the days of Hybrid Theory and Meteora shows a drastic change, but at the same time, it doesn't. They're doing what they set out to do from the beginning, which is mix genres and test out new and exciting sounds. This song combines their latest album, Living Things, and the rising tide of EDM, and still showcases their "hybrid" sound. 5/5 - Paper Thin - Dangerkids
I discovered this song through the internet, and have never been so pleasantly surprised by what I've discovered. When I talk about this group to friends, I describe their sound as a combination of We Came As Romans and early Linkin Park. They have a hardcore sound that is prevalent throughout the scene, but throw in rapping on the verses that not only pays homage to LP, but their rapper even sounds like Mike Shinoda in his early days. Their sound is killer, and the energy they bring is intense. Not only that, but their lyrics are fantastic as well; lines like "until you're broken, you don't know what you're made of" reveal a genius that isn't too common. If you like We Came As Romans, Linkin Park, or Conditions, then this band is definitely for you. 5/5 - Love Alone Is Worth The Fight - Switchfoot
Switchfoot is always a band you can rely on to put out solid music, and this song is a testament to that. Working as a prelude to their new album, Fading West, "Love Alone Is Worth The Fight" is a more pop-oriented, polished sound that sounds a little different than previous work, but still has the spirit of Switchfoot. It's a catchy song, and it has some great lyrics. It also has a very large sound, thanks to some elements like strings and synths that give it a grandiose feel. If you're a fan of the band, or bands like Relient K, Lifehouse, or Anberlin, then you'll enjoy this song. 5/5 - TKO - Justin Timberlake
After releasing "Take Back The Night", a throwback to big bands and soulful music, Justin Timberlake's latest single brings a more modern flare, with a sound similar to something off of FutureSex/LoveSounds. It incorporates his signature beat-boxing and bright synths, and of course his fantastic voice. This song overall isn't anything terribly groundbreaking, but it is JT through and through, and is definitely a solid track from his new album, due out Monday (my excitement level is very high. VERY HIGH). I also liked the lyrical direction, which I originally thought was going to be about how a girl was so amazing and wonderful that she just knocks him out, hence the title, "TKO". Instead, it is about how a girl beats him down by changing, and not being the girl who she used to be. I thought it was an interesting take, and a creative incorporation of boxing terms. Definitely looking forward to the rest of the new album (A LOT). 5/5 - Wu-Tang Forever - Drake
Now, I know this is an odd addition to this week's collection, but it show's that I do listen to a variety of music. I don't always listen to his stuff, but I do think Drake does some good work. This song is off his latest album, Nothing Was The Same, and is one of the better songs. It's a more relaxed song in terms of tempo, but it has a dark and intense feel about it. Lyrically, is isn't the most appropriate, but it has some weight to it. Drake can be shallow, but he also gets into some more deep subjects and ideas. I recommend it if you like the darker vibe of rap. 5/5
Tuesday, September 24, 2013
The Other Side - Tonight Alive
The Other Side is a polished pop-punk record from Australian rockers Tonight Alive. I discovered them when they released their debut album, What Are You So Scared Of?, and very much enjoyed their style and sound, which varied generally towards the upbeat and somewhat happy end of pop-punk. With their latest release, however, they seemed to gravitate towards a darker sound; it's not so much gloomy as realistic. It seems that they've become more comfortable with delving deeper into their own struggles, and the result is a very intimate, vulnerable album.
The record kicks off with "The Ocean", a prime example of this new edgier vibe. The lyrics and meaning, as I've discovered, are incredibly important to Jenna McDougall. The song is about her struggle with eczema, which is a skin condition that causes dryness, cracking, and blistering of the skin. The opening lyrics reveal her constant battle, as she sings "I feel heavy, I feel weighted, And I feel hungry, I feel wasted". It is a moving song, one that you can really feel the emotion and pain behind it. Luckily, Jenna overcame her struggles, and so this bitter song has a sweet ending. Another song that talks about the band enduring hardships is "Hell and Back", which is somewhat more upbeat, yet still retains that underlying darker tone. I really enjoy the drum intro, with the rim hits creating a different sort of vibe than the full on drumming found throughout.
Now, the edgier side is not only used to describe hardships the band has experienced; they get a little gritty and even mean in some songs. "Lonely Girl", which was one of the singles, talks about a friend Jenna had in high school who never accepted her help, and seemed to spiral down into her problems. Lines like "I won't be the one to keep you sane" and "looks like the table's turning, and now you're wishing me well like you miss me" reveal the harsh nature this song takes. And I know that might come off as me putting down the song; to the contrary, it's one of my favorites from the album, and a big reason as to why I ended up buying the record. The song isn't mean-spirited, but it has a "I told you so" nature to it, which I think some artists today are afraid of taking on. Another song that could fit in this category would be "Don't Wish", a song aimed towards a former flame who keeps trying to come back to her, but Jenna keeps rejecting him and telling him to not wish that the next girl is her. It's a relationship song, which isn't uncommon, but I think the approach taken lyrically was unusual in terms of subject matter like this. I also very much enjoy the instrumental, which has the more moody vibe, and also has a nicely placed guitar riff/solo in the bridge, which seems to be something uncommon in pop-punk (although I could be wrong about that).
But again, there are more subjects that the band covers lyrically than anger and the hardships of being in a band. "Bathwater", for example, somewhat follows in the same path as "The Ocean", with lines like "The weight comes back to my body, and I’m hopeless again" revealing a struggle with oneself and one's image, or possibly issues like depression and the like. The chorus of this song feels like a real, deep cry of pain and hopelessness, with Jenna crying for help as she sinks back into the water, back into the depths of her struggles. It's another one of my favorites from the record, as is "The Other Side", the title track that talks about a friendship/relationship that fell apart when distance separated the pair. It's one of my favorites because it's the only song on the record that I would describe as cute; it's a little more light hearted than the other songs, and it has a romantic/bittersweet sort of feeling to it. Even though the ending isn't a happily ever after type, the song as a whole still leaves you with a smile rather than a frown.
Speaking of a more happy vibe, one of the songs that falls into this category is "The Fire", a very pop-punk oriented track. It talks about reaching a goal, achieving something that they put hard work into, and coming out feeling almost invincible. Now, the material is great, but it is the vocal lines in the chorus that have me coming back to this song for listen after listen. Jenna's voice just soars up and down in an enchanting manner. It's hard to describe, so you'll have to forgive my lack of words, and just listen to truly give it justice. Not to mention, this song also has some pretty sweet bass guitar work, which always scores points with me.
As for the last song I'll mention, I thought it'd be appropriate to end with the last song on the album, "You Don't Owe Me Anything", which reminds me very much of their song "Amelia" from What Are You So Scared Of? in terms of the emotional feeling elicited and the general vibe of the song. Although the lyrical content between the songs is different, with "You Don't Owe Me Anything" being about losing a loved one, though I'm not quite sure if it is because of a break-up or a death, but either way, it is a more saddening song by far. Not the happiest way to end the album, but like I said earlier, this album had a more realistic tone to it, so the ending is appropriate.
Overall, I was very impressed with this album. It showed maturity on multiple levels, and had a solid collection of songs with ranging subjects and all backed by great instrumentals. If you're a fan of You Me At Six, Sleeping With Sirens, or We Are The In Crowd, then this album is for you. 4.5/5
Tracklist: (* songs are my recommendations to buy & download)
The Ocean - 3:01 (5/5)*
Don't Wish - 3:51 (4/5)
Lonely Girl - 3:11 (5/5)*
Hell And Back - 3:25 (5/5)
The Other Side - 3:40 (5/5)
The Fire - 2:47 (5/5)*
Complexities - 4:08 (5/5)
Come Home - 3:28 (4/5)
Bathwater - 3:13 (5/5)*
No Different - 2:38 (4/5)
Say Please - 3:14 (4/5)
You Don't Owe Me Anything - 3:20 (5/5)*
The record kicks off with "The Ocean", a prime example of this new edgier vibe. The lyrics and meaning, as I've discovered, are incredibly important to Jenna McDougall. The song is about her struggle with eczema, which is a skin condition that causes dryness, cracking, and blistering of the skin. The opening lyrics reveal her constant battle, as she sings "I feel heavy, I feel weighted, And I feel hungry, I feel wasted". It is a moving song, one that you can really feel the emotion and pain behind it. Luckily, Jenna overcame her struggles, and so this bitter song has a sweet ending. Another song that talks about the band enduring hardships is "Hell and Back", which is somewhat more upbeat, yet still retains that underlying darker tone. I really enjoy the drum intro, with the rim hits creating a different sort of vibe than the full on drumming found throughout.
Now, the edgier side is not only used to describe hardships the band has experienced; they get a little gritty and even mean in some songs. "Lonely Girl", which was one of the singles, talks about a friend Jenna had in high school who never accepted her help, and seemed to spiral down into her problems. Lines like "I won't be the one to keep you sane" and "looks like the table's turning, and now you're wishing me well like you miss me" reveal the harsh nature this song takes. And I know that might come off as me putting down the song; to the contrary, it's one of my favorites from the album, and a big reason as to why I ended up buying the record. The song isn't mean-spirited, but it has a "I told you so" nature to it, which I think some artists today are afraid of taking on. Another song that could fit in this category would be "Don't Wish", a song aimed towards a former flame who keeps trying to come back to her, but Jenna keeps rejecting him and telling him to not wish that the next girl is her. It's a relationship song, which isn't uncommon, but I think the approach taken lyrically was unusual in terms of subject matter like this. I also very much enjoy the instrumental, which has the more moody vibe, and also has a nicely placed guitar riff/solo in the bridge, which seems to be something uncommon in pop-punk (although I could be wrong about that).
But again, there are more subjects that the band covers lyrically than anger and the hardships of being in a band. "Bathwater", for example, somewhat follows in the same path as "The Ocean", with lines like "The weight comes back to my body, and I’m hopeless again" revealing a struggle with oneself and one's image, or possibly issues like depression and the like. The chorus of this song feels like a real, deep cry of pain and hopelessness, with Jenna crying for help as she sinks back into the water, back into the depths of her struggles. It's another one of my favorites from the record, as is "The Other Side", the title track that talks about a friendship/relationship that fell apart when distance separated the pair. It's one of my favorites because it's the only song on the record that I would describe as cute; it's a little more light hearted than the other songs, and it has a romantic/bittersweet sort of feeling to it. Even though the ending isn't a happily ever after type, the song as a whole still leaves you with a smile rather than a frown.
Speaking of a more happy vibe, one of the songs that falls into this category is "The Fire", a very pop-punk oriented track. It talks about reaching a goal, achieving something that they put hard work into, and coming out feeling almost invincible. Now, the material is great, but it is the vocal lines in the chorus that have me coming back to this song for listen after listen. Jenna's voice just soars up and down in an enchanting manner. It's hard to describe, so you'll have to forgive my lack of words, and just listen to truly give it justice. Not to mention, this song also has some pretty sweet bass guitar work, which always scores points with me.
As for the last song I'll mention, I thought it'd be appropriate to end with the last song on the album, "You Don't Owe Me Anything", which reminds me very much of their song "Amelia" from What Are You So Scared Of? in terms of the emotional feeling elicited and the general vibe of the song. Although the lyrical content between the songs is different, with "You Don't Owe Me Anything" being about losing a loved one, though I'm not quite sure if it is because of a break-up or a death, but either way, it is a more saddening song by far. Not the happiest way to end the album, but like I said earlier, this album had a more realistic tone to it, so the ending is appropriate.
Overall, I was very impressed with this album. It showed maturity on multiple levels, and had a solid collection of songs with ranging subjects and all backed by great instrumentals. If you're a fan of You Me At Six, Sleeping With Sirens, or We Are The In Crowd, then this album is for you. 4.5/5
Tracklist: (* songs are my recommendations to buy & download)
The Ocean - 3:01 (5/5)*
Don't Wish - 3:51 (4/5)
Lonely Girl - 3:11 (5/5)*
Hell And Back - 3:25 (5/5)
The Other Side - 3:40 (5/5)
The Fire - 2:47 (5/5)*
Complexities - 4:08 (5/5)
Come Home - 3:28 (4/5)
Bathwater - 3:13 (5/5)*
No Different - 2:38 (4/5)
Say Please - 3:14 (4/5)
You Don't Owe Me Anything - 3:20 (5/5)*
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