REVIEW: Childish Gambino - EP

Alright. Before you start reading this review, go ahead and download the EP we're talking about here. You're welcome.

Childish Gambino is the rapper alias of Donald Glover. Glover is best known for playing Troy on the TV show Community, but his previous jobs include DJ, stand up comedian, and Emmy winning writer for 30 Rock. So, he's only got a little bit of creative talent.

EP is more polished than his previous album, Culdesac, but it's no less witty or incisive than its predecessors. Glover's vocal style is a little rigid, which lends an urgency to his words, like he almost can't say them fast enough. His verses are littered with pop culture references ("You my stand in Cameron / Let me be your A-Rod," "I'm the boss / Michael Scott / Y'all is just Phyllises") and references to his own life ("You ever made out with a Gap ad?" "Couldn't see me as Spider Man / now I'm spittin' venom"). In fact, a good portion of the lyrics revolve around the trajectory of Glover's career and his quest to be taken seriously. This is a theme that is carried over from Culdesac. Glover feels looked down on by both black and white communities and he has no qualms with taking people to task about it.

Glover does a fair amount of singing on EP as well, including some falsetto. I think he's better off sticking to straight rapping, but his singing sets the tone for the songs by giving them a bit of a haunting feel. There's a sense of grasping for a foothold that is just at the edges of the songs. There's also more than a fair amount of cursing and foul language (NOT a work safe album for sure) that at first felt out of place. Soon though, I realized that it felt out of place because Glover himself was looking for his place in all of it. The imagery of high end bars and crowds of women feels thrown upon the listener, much the way a sudden rise in fame might throw them upon a celebrity.

All of this is not to say this album is a down-tempo downer. To the contrary, in fact. It's one of those albums that you keep turning up as you move through it. It gets your blood pumping and makes you want to get up, get a drink, and dance. Immediately. Glover's passion, creativity, wit, and urgency are completely infectious. I've got my tickets for the Childish Gambino show in my town this spring, and it absolutely can't come fast enough. I'm sure it will be overrun by local hipsters, but it's virtually guaranteed to be better than the Fred Armisen show everyone was so amped for last month. I'm so excited to see these songs live, not to mention Glover will be doing stand up as his own opening act. This guy has a huge and varied career in front of him, and it will be wonderful to watch it all.

Thrills, The - Teenager

The Thrills - Teenager
Record Label - Virgin Records
Release Date - July 30th, 2007

Ireland's pop outfit The Thrills are known for their beachy pop songs, carried by the breathless voice of singer Conor Deasy. Probably the best way to summarize their sound is to note that the band was featured playing in the bar on The OC. With they newest release, Teenager, The Thrills have delivered us another round of exactly this music. The album isn't a huge departure from either So Much For The City or Let's Bottle Bohemia. This isn't to say that the album isn't enjoyable. Rather, the opposite is true. When listening to Teenager, it's hard to believe you're not on the west coast at sunset.

The album opens with some jangly guitars and cymbals on "The Midnight Choir," and launches almost immediately into Deasy's falsetto. The Thrills have often used guitar hooks rather than vocal hooks, and this trend continues here. It's a pleasant midtempo track that sets the mood for the rest of the album.

When listening to Teenager, the lyrics end up taking a backseat to the instruments. Part of this is the thinness of the vocals, but part of it is just the fact that the lyrics aren't particularly memorable. Deasy is always nice to listen to - he never hits a harsh note - but at the same time it doesn't really matter what he's saying. Many of the songs on this album feel like that - like they make better background music than singalong tunes. However, maybe that's the idea. I'm not sure. The downside to this is that many of the tracks blend together and seem a bit interchangeable.

There is a marked change of pace on "Restaurant," where the guitars are clearer than on other songs, and there's a bit of a country vibe to the whole song. Deasy's voice almost clashes with the music, but not quite. There's a fine line there that he manages not to cross, and it makes the song work beautifully. "I'm So Sorry" uses a piano and a harmonica to great effect, also adding to the country feel. Sometimes it's hard to believe that this band is from Dublin, when it feels like their songs are straight out of the American West. The title track is a meandering song that has Deasy longing for a love from his past. The instrumentals are beautifully arranged and complement the pining vocals perfectly.

The final track, "There's Joy To Be Found...The Boy Who Caught All The Breaks," is where the band brings in all the musical elements found throughout the album to create a wonderfully hopeful dual song that winds everything up nicely. Overall, this album is simply "pleasant." It's not inspiring, but it's not unbearable. It's perfect background music for your summer bonfires on the beach.


Tracklisting
01. The Midnight Choir
02. This Year
03. Nothing Changes Around Here
04. Restaurant *
05. I Came All This Way
06. Long Forgotten Song
07. I'm So Sorry
08. No More Empty Words
09. Teenager
10. Should've Known Better
11. There's Joy To Be Found...The Boy Who Caught All The Breaks *

* - standout tracks

For Fans Of: Athlete, The Magic Numbers, Nada Surf

Listen: Website | MySpace

Buy: iTunes | Amazon

Rosematter - Shooter's Gonna Choke

Rosematter - Shooter's Gonna Choke
Record Label - Oort Records
Release Date - October 23, 2007

Okay, time to be honest: I used to be a ska kid. Less Than Jake, Suburban Legends, Save Ferris...I loved it all. To this day, the opening horns of "Come On Eileen" can still get me up and dancing. I think that's why I'm as curious about Rosematter as I am - it sounds like the stuff I grew up on, minus the brass section. That may be a bit of an oversimplification, but you get the idea. Subtract the horns and replace it with a bit of the intensity that Paramore used to have, and you've got yourself Shooter's Gonna Choke.

Lead singer Katie Kolos wastes no time exploding to the front of the track on "Decadence Is Freedom With A Smile." She's backed by pounding drums and thick guitars that complement her vocal style well. Rosematter keeps the songs short and sweet, exactly the way high energy rock should be. The drums on "I Bet She Gives Great Helmet" pave the way for crowd interaction: clapping, jumping, and moshing made easy.

Rosematter have perfected the art of mixing upbeat music with downtrodden lyrics, which are probably best showcased in "Your Mom Doesn't Count As A Fan, Jesse:"

and you are pressing all my buttons / and throwing these colors at me / feeding off my failure / and I am trying to keep my composure / my blue eyes are turning green / but you will never see

The Pennsylvania-based band also often turns their eyes to the west coast, as they do in the beautiful "Fool Me Once, Strike One. Fool Me Twice, Strike Three:"

behind the wheel I am the only one with my eyes open / to witness the Pacific Coast Highway / stretch to become a breathtaking symphony for the soul

This song in particular shows similarities to bands like The Forecast in tempo and vocal style. it also nicely displays the band's versatility in lyrical subjects. On the flip side of that, however, the band doesn't slow down for any of the tracks - every one of them pummels the listener just as hard as the previous one. On one hand, none of these songs would work as ballads, but I'd like to see what other directions they can go in before they pigeonhole themselves. On the other hand, they seem to have no shortage of heavy hitting riffs or choral hooks, even when it comes to ass late in the album as "Being Brave Usually Means Having Your Adult Teeth Knocked Right Out."

"Pull A Fievel And Go West" uses some gang vocals, but they are placed rather far back in the mix. I think Rosematter could use gang vocals to their advantage, seeing how much their music already lends to crowd participation. The last song, "I Drink To Prepare For A Fight (Tonight I'm Very Prepared)," features the most graphic of their lyrics, and is thus one of the more powerful songs. The pop culture references and vivid imagery throughout the album is one of Rosematter's strongest points, and it all comes together nicely in this final track.

Rosematter intrigues me because their influences reach so far back, and at the same time, I am interested to see where they will be going in the future.


Tracklisting
01. Decadence Is Freedom With A Smile
02. I Bet She Gives Great Helmet *
03. I Don't Cheat, I Get Results
04. Fool Me Once, Strike One. Fool Me Twice, Strike Three *
05. Do Re Egon
06. Chuck Norris Jokes Aren't Funny Anymore
07. Anyone Who Hates John Hinckley Doesn't Understand True Love
08. Your Mom Doesn't Count As A Fan, Jesse
09. Being Brave Usually Means Having Your Adult Teeth Knocked Right Out
10. Pull A Fievel And Go West
11. I Drink To Prepare For A Fight (Tonight I'm Very Prepared) *

* - standout tracks

For Fans Of: Paramore, The Forecast, Kenotia

Listen: MySpace | PureVolume

Buy: iTunes | Amazon

We Shot The Moon - Polar Bear & Cougar EP, The

We Shot The Moon - The Polar Bear & Cougar EP
Label - The Militia Group
Release Date - December 18, 2007

I was really upset when Waking Ashland called it quits. They had been a favorite of mine for a long time, so when I heard that Jonathan Jones was working on a project with some of the Sherwood guys, I leaped for the EP. To my relief, I was not disappointed.

The collective known as We Shot The Moon encapsulates the best of Waking Ashland, Sherwood, and the California sunshine. The EP's opener, "Sway Your Head," has one of the catchiest hooks in recent memory, along with a nice piano melody and a strong drum backbone. Jones' vocals are dead on, and he ranges up and down the scales effortlessly.

"Julie" is a lilting pop-rock powerhouse with loud guitars and Weezer-like harmonizations. "Water's Edge" is very reminiscent of Waking Ashland circa Composure, only it is overflowing with more energy than Waking Ashland ever had. The chorus practically explodes out of your headphones. "LTFP" is the most rock-oriented of the tracks. It takes awhile to build up, but when the chorus drops down, the band delivers another crack hook.

The EP closes with the acoustic based "Welcome Home," which was originally one of Jones' solo songs. I might even go so far as to say it's one of the best songs he's ever written. The lyrics are the most complex on the album, and the addition of bells are a nice touch. Jones sounds completely sincere in his delivery, which is nice to hear in a pop-rock band. If these five songs are what We Shot The Moon came up with right out of the gate, I cannot wait to hear what they'll come up with for their full-length debut.

Track Listing
01. Sway Your Head *
02. Julie
03. Water's Edge
04. LTFP
05. Welcome Home *

* - standout tracks

For Fans Of: Waking Ashland, Brighten, The Morning Light

Listen At: Web Site | MySpace | PureVolume

Stranger's Six, The - A Date With Daylight

The Stranger's Six - A Date With Daylight
Label - Orange Peal Records
Release Date - May 8, 2007

I have to admit, when a band advertises itself as "a perfect blend of sleaze and class," I approach them rather cautiously. Is it possible to mix those two? Or does it end up just being a slimy mess?

A Date With Daylight opens with stuttering drums and loud, monotone vocals. While the chorus of "Back To The Start" has a nice hook that brings +44 to mind, the sleaze factor is pretty high in this one. This song, and many of the ones that follow it, stick to a standard song structure and don't really ever step out of the box. Singer Aaron "A-Fresh" Thompson is trying hard to make his voice sound booming and epic, but he ends up merely shooting out the words without much emotion behind them. This emotionlessness makes it tiresome to try and pick out the lyrics, or even to hear much of the music under the vocals. When you can hear the instrumentation, it is also often bland. There are occasionally interesting guitar licks, but most of it is just a wall of sound that takes a backseat to the vocals.

All of the songs follow the same format: guitar intro, verse, chorus, verse, bridge/breakdown, chorus. You might even go so far as to say the band are sticklers for this format. There is no variation - even the choral hooks sound very similar. It feels like there was no passion put into these songs. "Hiss And Hearse" has the most unique instrumental intro, with a neat distorted guitar sound that isn't heard anywhere else on the album. Unfortunately, Thompson soon begins droning over this glimmer of creativity.

By the time "One Step Closer" rolls around, one begins to feel like they've heard all these songs before. And indeed, the guitar in this song sounds very similar to the one in "Echo," and then the same tone is used again in the next song, "Ready To Fall." And true to cookie-cutter form, the band puts a slightly slower song at the end. However, this doesn't imply a more heartfelt song - just a slower tempo and more drawn-out vocals.

So for The Stranger's Six, the question of sleaze versus class is answered: sleaze will overpower the class every time.


Track Listing
01. Back To The Start
02. Echo
03. Skin Your Teeth
04. Love Letter
05. No Time For Queens
06. Caged Heat
07. Hiss And Hearse
08. Chopping Block
09. One Step Closer
10. Ready To Fall
11. I Only Sleepwalk

* - standout tracks

For Fans Of: Good Charlotte, banging your head against the wall repeatedly.

Listen At: Web Site | MySpace

Ryan Ferguson - Only Trying To Help

Ryan Ferguson - Only Trying To Help
Label - Better Looking Records
Release Date - August 21, 2007

A lot of bands try and cultivate their image to be that of traveling minstrels. I hate when bands do that. A lot of indie bands have vocalists that deliver their lines very flatly. I hate when bands do that. Ryan Ferguson does both of these things. I love Ryan Ferguson. The San Diego songwriter appears minstrel-like, but it isn't forced. His vocals are often slightly monotone, but he doesn't sound pretentious when he does it. His newest album, Only Trying To Help is refreshing because of this.

The album begins with the jangly chords of "Remission," and metaphors of surgery guide the listener through the tinkling keys and fairly forceful vocals. With a few well placed "whoa-o's," Ferguson has my full attention. The hooks are subtle and the melodies enjoyable while the the lyrics are deceptively dark. The stuttering guitars on "X's And O's" underline the sadness of the words.

never a big fan of fiction / I think I'm converting just to serve this fantasy of mine / no ink in my last pen / you've dried it out with run-on sentences / she's writing now with dark lipstick / engraving x's and o's in my head

"Kill My Confidence" is the album's lead single, and it's got a rollicking chorus that will stick in your head for days, complete with choral backup vocals and perfectly arranged keyboard flourishes. The music takes a dark turn in "Introduction." There are ominous strings sections, and the verses are chanted rather than sung. However, the tunes turn light again with "Future Reservations," going so far as to recall the likes of Death Cab For Cutie. Ferguson also evokes The Shins with the instrumentals on "In The Sea," but his vocal delivery is more along the lines of Straylight Run.

"Must Be Friday Night" is a highlight on the album. It begins with light guitars and choir vocals before giving way to Ferguson's plaintive voice, and building up with more and more instruments and voices as the song progresses.

The album closes with the expansive "And I Worry," where Ferguson's listed instruments include "guitars, vocals, bass, piano, percussion, nonsense," and Chris Prescott is noted as "mallet master." Overall, the album is fresh and enjoyable. It somehow manages to take all of the things I hate about indie rock and mold it into something I can love.

Track Listing
01. Remission
02. X's And O's *
03. Kill My Confidence *
04. Introduction
05. Future Reservation
06. The Impostor
07. In The Sea
08. Better Off
09. Not On My Watch
10. Must Be Friday Night *
11. And I Worry *

* - standout tracks

For Fans Of: No Knife, Pinback, Matt Costa

Web Site | MySpace

Perishers, The - Victorious

The Perishers - Victorious
Label - Nettwerk
Release Date - September 4, 2007

When I hear a new album, I always find myself envisioning the ideal time and place to be listening to that album. The albums I find to be the most beautiful and delicate feel like they would sound best when walking through a snow-covered forest at sunrise.

The Perishers' Victorious definitely sounds like that. The quartet, who hail from Umea, Sweden, create songs that are the aural equivalent of hand-blown glass. Ola Klüft's voice glides over light guitars and sweeping melodies with just the slightest hint of backing vocals to give the songs the depth they need.

The album opens gently with "Midnight Skies," a meandering tune where Klüft lets his voice waver along the scales until the band chimes in full force, turning the song into a track that will delight fans of the Once soundtrack. "Never Bloom Again" has a very precise melody that invites listeners to close their eyes and feel it in full force. The Perishers' lyrics are all about failed relationships and the unanswered questions that come with those situations. They're the kind of lyrics that people say they wish they didn't know how to relate to. Even on the upbeat tracks like "Carefree," these lyrics are prevalent.

tonight the ocean's at my feet / the stars glitter just like diamonds /
I'm here to drown my fears / so I can wake up empty and be carefree

"My Own" has the slightest hint of alt-country in it, making the song reminiscent of The Thrills. Klüft's voice sounds a bit odd when placed over these guitar tones, but the song maintains the mood of the previous tracks. The album's title track is one of the more melodically upbeat songs, and is at once successful and unsuccessful. The storylike verses are contain some of the best lyrics on the album, but when it comes to the sweeping hook in the chorus, Klüft does not seize the melody - instead he ends up sounding a little bored. He does much better when he sticks with quieter, more detailed songs.

"Come Out Of The Shade" features a programmed clapping beat that works surprisingly well when coupled with the piano that the band uses extensively. It's the only track on the album that uses this kind of programming, and I think the band should try pushing themselves in this direction a little further.

"Is It Over Now?" is a track that absolutely screams Morrissey - from the lyrics about a nonexistent relationship, to Klüft's vocal stylings, to the relatively minimal instrumentation. The track is barely two minutes long but is a perfect interlude-like break toward the end of the album. The final song, "Get Well Soon," has a big piano and beautiful vocal harmonization. Although the track doesn't really seem to go anywhere, it still ties up all the album's threads nicely.

Victorious may not be a perfect masterpiece, but The Perishers are well on their way to creating that. For now, we can soak in the beauty that they have managed to create thus far.

Track Listing
01. Midnight Skies
02. Never Bloom Again *
03. Carefree
04. My Own
05. Victorious
06. Come Out Of The Shade *
07. Best Friends
08. Almost Pretty
09. Is It Over Now? *
10. To Start Anew
11. 8 AM Departure
12. Get Well Soon

* - standout tracks

For Fans Of: The New Frontiers, Snow Patrol, Bell X1

Listen At: Web Site | MySpace

Astrea - Departure

Astrea - Departure
Label - X Off Records
Release Date - July 12, 2007

"Post-hardcore" is a term that gets thrown around a lot these days, and it doesn't seem to mean much anymore. In my mind, the word conjures images of a handful of stellar bands and tons of middle of the road scenester bands. Astrea falls into the latter category.

Their music isn't bad, per se, it's just not anything mindblowing. Driving drums and whining guitars fill the speakers, and singer Brendon Pires is doing his best impression of Saosin's Cove Reber. The five song EP seems to all run together, and it's difficult to recall which hooks belong to which songs. The lyrics are generically about broken hearts and fate, doing their best to sound profound and forward looking.

The band's bio has the band claiming that they've "developed an original style." However, I'd be more inclined to agree with them later in the bio with the statement that they make their music "as broad as possible," thus making them sound just like everyone else.

Track Listing
01. Over Your Head
02. Between The Tides
03. Hourglass
04. Love Is War
05. Shadows

For Fans Of: A Heartwell Ending, Therefore I Am, a less intelligent Circa Survive

Listen At: MySpace | PureVolume

Kings To You - Antidote, The

Kings To You - The Antidote
Label - Unsigned
Release Date - March 20, 2007

I didn't think that the lines between early pop-punk and modern mainstream radio intersected. Apparently, I had just never heard of SoCal's Kings To You. This band manages to mash together the sounds of the time with the "punk" mattered more than the "pop" with what you can hear if you switch on your local alternative rock station.

The Antidote's opening track, "Fight Night" opens slowly but the chorus soon rushes forward into the story of an estranged girlfriend. Cliche as this may sound, the lyrics are intensely personal and the addition of thrashing guitars and drums add to the painful emotions. Singer David Arthur has a strong voice capable or conveying such ideas in a believable way - you know he knows what he's talking about. The band powers through to "The Rise," which sounds much like the early work of So They Say. The song has a raucous chorus that pulls the song forward.

The album's fifth track, "Show Yourself," is an instrumental track. While technically sound, it's not particularly interesting and seems to slow down the album's momentum rather than add any new layers to it. However, the drums kick back in immediately with "Strike Back," a song that does exactly what its title says. It's got a huge singalong chorus about running away and never looking back. That seems to be the mantra for this band - grab your chance to get away while you can to make your way in life. "Strike Back" also features a brief guitar solo; this would be a great choice for a single.

"Take The Fall" is an acoustic based track that showcases the softer side of the band, and in particular Arthur's vocal capabilities. This slow-burning ballad hints at a future possibility of mainstream radioplay for Kings To You. The band then pummels through another couple of rock songs before coming to the album's second ballad, "The Arrow Or The Hero," where Arthur attempts a falsetto. It works fairly well, but I wish he had chosen his regular range, seeing as the lyrics to this song are so good:

the apple fell far from the tree and the arrow was shaky in hand / the target and my expectation struck me down instead / I won't be reminded of the damages you've done / so if I don't stand for something good in this world / set me sail and let me drift out to sea

Unfortunately, the song ends rather abruptly, and what could potentially be a tearjerking track simply feels unfinished. The album's closer, "Misconception," has a nice melody and again showcases the band's talent when it comes to lyrics. It's slightly more low-key than most of the rockers on the the disc, and winds the album down quite nicely. With a little polishing and a little more decisiveness in the direction they would like to take, Kings To You have the potential to be a massive rock band.

Track Listing
01. Fight Night
02. The Rise *
03. Don't Blink
04. Gone Blank
05. Show Yourself
06. Strike Back *
07. Take The Fall
08. Closer
09. Cut It Down
10. The Arrow Or The Hero
11. Second Opinion
12. Misconception *

* - standout tracks

For Fans Of: Lovehatehero, So They Say, A Thorn For Every Heart

Web Site | MySpace | PureVolume

Ben Harper And The Innocent Criminals - Lifeline

Ben Harper And The Innocent Criminals - Lifeline
Label - Virgin Records
Release Date - August 28th, 2007

I think the best way to describe Ben Harper is "respected." Lifeline is his eleventh release with the Innocent Criminals. All his releases have been critically acclaimed, making him well-known in the States and a superstar overseas. I'll be honest - I haven't heard most of this illustrious back catalogue. But I do know that I've seen this band play a handful of times, and each time has completely mesmerized me.

Because of this, I jumped at the opportunity to review Lifeline. I slid the disc into my stereo and was enveloped by the fluid, easygoing, reggae-based tunes. The inside of the CD's slipcase proudly proclaims that "Lifeline was recorded and mixed in 7 days on a 16-track analog tape machine. No computers or pro-tools were used anywhere in the process."

That's quite a feat these days in music, and it points to a love of the essential qualities of music, and that's exactly what Lifeline delivers. The album begins with an acoustic guitar and bare percussion on "Fight Outta You", leading into gravelly opening lines from Harper. You feel like you ought to be sitting barefoot on the porch in the summer. For those of you more indie or country oriented, imagine a more soulful rendition of Wilco's Summerteeth album.

The breezy vibe continues with "In The Colors," a loving song in which Harper pleads come and dance with me, and you really want to. The lyrics aren't full of long words or complex metaphors, but they are honest - more real than any band that takes itself too seriously and thinks they're going to change the world.

"Needed You Tonight" puts the piano high in the mix, and Harper belts out the words over the jangly melody. The song feels vaguely familiar, but Harper's immediacy and urgency makes the emotions fresh. "Say You Will" is the most musically upbeat track, beginning acapella and continues bouncing through similes:

like Marie Antoinette said to Louis XVI
man, I think we're going down
our chances are slim and none
and I'm afraid slim just left town

The whole song is backed by a female choir repeating the chorus and adding well-placed "shoops."

Harper slows it back down then with "Younger Than Today," a bittersweet nostalgic song. However, he immediately picks back up with the catchy guitar riffs of "Put It On Me."

"Paris Sunset #7" is a beautiful instrumental track that sounds exactly as its title implies. It's full of delicate acoustic guitar, and sinks further down the octaves as the song progresses, eventually bleeding into the final track, "Lifeline." The title track is reminiscent of Damien Rice or Elliott Smith - a faint acoustic guitar underneath the quavering vocals of a man desperately reaching out.

Lifeline is a thoroughly enjoyable album. While not the most technically innovative or lyrically complex, it's still moving and at times, intense. Save this one for next summer, when you're floating in the pool drinking lemonade.

Tracklist
01. Fight Outta You
02. In The Colors *
03. Fool For A Lonesome Train
04. Needed You Tonight
05. Having Wings
06. Say You Will *
07. Younger Than Today
08. Put It On Me
09. Heart Of Matters
10. Paris Sunset #7 *
11. Lifeline

* - standout tracks

For Fans Of: Donavon Frankenreiter, John Butler Trio, Ben Harper and the Blind Boys Of Alabama

Listen At: Website | MySpace

Last Car In Alaska, The - Comfort

The Last Car In Alaska - Comfort
Record Label - Unsigned
Release Date - August 15th, 2006

Some of the best shows I've ever seen have taken place in rec centers and basements. Even if the bands aren't of the highest caliber, there's a certain amount of heart and passion that make them worthwhile. The Last Car In Alaska wouldn't be out of place at all at a show like that.

The Last Car In Alaska's songs are based in punk, with a melodic edge that works to bring the lyrics to life. While the production isn't the sharpest, there are promising guitar hooks and driving drumbeats just underneath the vocals. Throughout the album, Dan Ubilla has high and low points as a singer. He tends to be a bit flat and monotone, but occasionally manages to spit out a nice vocal hook, like with the gang vocals on "Listen: We're All Quietly Battling The Human Condition."

In spite of the spotty vocals, Ubilla's lyrics are top notch. If Fall Out Boy had put out an album between Evening Out With Your Girlfriend and Take This To Your Grave, the lyrics here would probably be very similar. Take for example, the first verse of "Starving, Hysterical, Naked:"

The sun didn't fall so much as crash / and in the wake the sky was burned / an orange crisped to black / I still swear that if you squint / you can almost see all the purple hues / dancing around in it

The band steps away from their usual tempo with the closing track, "Bethany." It's a slow acoustic ballad that is simple and heartwrenching at the same time. It shows the band's versatility and the possibilities for their future. Most of the album is like that. The pieces haven't all fallen into place yet, but there's great potential for future material: just like all those basement bands we love to watch.

Track Listing
01. I Like You Man...You're Crazy
02. Listen: We're All Quietly Battling The Human Condition
03. With Friends Like You, Who Needs Friends?
04. You're The Kind Of Girl
05. Starving, Hysterical, Naked *
06. Bethany *

* - standout tracks

For Fans Of: the early work of MxPx, Fall Out Boy, and Taking Back Sunday

Web Site | MySpace | PureVolume

The Frantic - Audio & Murder

The Frantic - Audio & Murder
Label - Sinister Muse Records & Empyrean Records
Release Date - October 30th, 2007

There's not a lot of real punk music left anymore, not punk music with passion. Most of that kind of punk these days tends to be of the political variety, but The Frantic have created a record that encompasses these qualities, while still feeling like a good old-fashioned party.

These young Chicagoans (the oldest are just eighteen) combine the raw power of The Sex Pistols with the hooks of Set Your Goals. Audio & Murder bursts into action with a shout of "We're the Frantic! Who The fuck are you?!" and Ramones-esque "hey hey hey"s over pounding drums and stuttering guitars. "Big Papa" features a massive vocal hook in the chorus along with rapid fire verses that are bound to get a crowd riled up. There's even the faintest touches of synth accenting the guitars.

The growling vocals and undercurrent of power chords continue throughout the next few tracks, and the band doesn't loosen its grip on the listener for a second. "Fast Girl" provides prime opportunities for fist-pumping and crowd participation, as does the driving beat of "Frantic Summer." The lyrics aren't particularly deep, but they're relatable - tales of best friends and ex-girlfriends galore. Every suburban kid will key into the short spoken bit in "Frantic Summer" where two of the guys talk about having nothing to do since there aren't any shows that night.

"Movin' Along" is an acoustic ballad about moving to the city and not looking back to ex-girlfriends. It's got a country vibe to it, which doesn't fit the rest of the album at all. Regardless, it's a pretty song in the vein of Limbeck or Steel Train. After that divergent track, the band leaps back into their regular sound with "Rock & Roll Renegades" and keeps it there for the rest of the album.

The most entertaining track on the record by far is the closer, "Heifer." Clearly someone had a bitter breakup:

Your waist is a waste of space / My ass looks like your face /
You are a fat fuckin' heifer / I said / you fat piece of shit

The best part is that this chorus is one of the biggest hooks on the entire album. There's also handclaps and gang vocals - this will be a fan favorite for years to come for this band.

Audio & Murder clocks in at 25 minutes and 51 seconds. On one hand, I think that's far too short and I want to hear more. On the other hand, there isn't a single track I'd consider to be filler, and any attempt to stretch out the running time would have dragged the album down considerably. It's a great debut album by a band that has heaps of potential; I hope Audio & Murder will catapult them into view of the music community.

Track Listing
01. We're The Frantic
02. Big Papa
03. Fast Girl
04. Frantic Summer
05. Movin' Along
06. Rock & Roll Renegade
07. Audio & Murder
08. I Don't Want To Be Alone
09. Always Gonna Roll
10. Hollywood Homicide
11. Heifer

For Fans Of: The Ramones, MxPx, Dude Ranch-era Blink-182

Web Site | MySpace | PureVolume

A Hero From A Thousand Paces - Mistakes

A Hero From A Thousand Paces - Mistakes
Release Date - April 3rd, 2007
Label - 1x1 Music

In this music scene, there is a sort of image continuum that bands fall along. There are some bands that are entirely music driven, with no focus on image. There are some bands that try to balance both. And there are some bands that are entirely image based and their music is secondary. A Hero From A Thousand Paces fall firmly in that third category.

This band from New Jersey is made up of former members of The Pennyroyals and Riding Bikes, but have lost any vestiges of punk from those old bands. Instead, they wear exclusively red, black, and white, along with a lot of makeup and hair gel. On their slick myspace page, the music seems the be merely a vehicle for promotion of the band, rather than the other way around.

As for Mistakes, it starts off with what sounds like a pretty promising guitar riff. That is, until the rather weak vocals of Mark Fray set in, forcibly bringing to mind bands like Hawthorne Heights. The next three songs all feature the exact same guitar tones and and uncreative, sex-driven lyrics:

System overload / surge malfunction / Aching for your love / Starved and malnourished / We've been tarnished with a kiss / There goes our precious innocence

There aren't any discernible hooks anywhere, and Fray takes on a similar cadence for every verse. He occasionally ventures into falsetto, where his voice becomes even less powerful than it already was. "Semantics" is Hero's attempt at a ballad, but Fray still delivers his lines exactly the same way as in previous songs, only this time with the aid of even higher pitched background vocals. He simply sounds bored all the time. Fray does manage to belt it out a little more in "A Hand Written Apology," but the trite lyrics of I'm sorry / I never meant to hurt you don't keep your interest.

"Close Your Eyes" starts out with an acoustic guitar, a sound much more fitted to the vocals. However, the band rushes back to their electric guitars just as the song is starting to sound good. If they hadn't followed their formula, they would have has a sweet song on their hands.

A Hero From A Thousand Paces is clearly trying to capitalize on the subset of kids who are into music to be seen, not to see. By the looks of their website, they've got dozens of these kids under their net. However, as soon as those kids find a prettier boy in eyeliner, Hero will find themselves without a fanbase and will have to latch onto the next hot trend.

Track Listing
01. Bold And The Beautiful
02. With Closed Fists
03. The Aftermath
04. Semantics
05. Doctor Doctor
06. She'll Pay For Me In Singles
07. It's Not Over
08. A Hand Written Apology
09. Philadelphia
10. Close Your Eyes
11. The Stained Slide Show
12. A Good Thing

* - standout tracks

For Fans Of - Hawthorne Heights, 30 Seconds To Mars, Silverstein

MySpace | PureVolume

Verona Grove - EP

Verona Grove - Verona Grove EP
Release Date - Spring 2007
Label - Pat's Record Company

These days, reviews of pop-punk albums often contain the disclaimer that the band is "nothing groundbreaking." But who says a band has to be groundbreaking to be fun? Yeah, you've probably heard Verona Grove's style of music a thousand times over, but that isn't to say you shouldn't give them a shot.

This trio from Wisconsin sound like a cross between The Starting Line and Driving East. Tell me that isn't fun. Their four song EP starts with the fist-pumping "Everything You Dreamed," and the rolling guitars and smooth vocals are sure to get teen girls jumping up and down in a frenzy. Their simple choruses and vaguely heartbroken verses are just begging for crowd singalongs.

"Revolution" is a fairly well executed piano slow jam, and sounds like it could be Waking Ashland b-side. I'd like to see them push this style a little further; they seem to know how to use the piano well.

The best song is the closing track, the synth-driven "Goodbye Surrender." It's easily the EP's catchiest tune, and is capable of launching the band into the current dance-rock craze. The backing vocals on this track are also simply made for crowd participation. Production-wise, the EP is nicely done, though I think they could benefit from more punchy vocals and drums.

So yes, Verona Grove is not breaking any new ground, but most bands these days aren't. So why not enjoy the music of those who know the formula and how to work it?

Track Listing
01. Everything You Dreamed *
02. No Words To Say
03. Revolution
04. Goodbye Surrender *

* - standout tracks

For fans of: The Starting Line, All Time Low, Holiday Parade, The All-American Rejects

MySpace | PureVolume

Marc Broussard - S.O.S.: Save Our Soul

Marc Broussard - S.O.S.: Save Our Soul
Release Date - June 26th, 2007
Label - Vanguard Records

Bob Seger once sang about how great old time rock and roll was. Now, Marc Broussard is here to tell us how great old time R&B was.

Save Our Soul is a collection of covers ranging from Marvin Gaye to The Pointer Sisters to Stevie Wonder. Broussard rolls through these classic tunes with a swagger in his step and a rasp in his voice, giving each song new life.

The album kicks off with the funky groove of Stevie Wonder's "You Met Your Match." Broussard's gravelly voice gives it flair - the only drawback is that he occasionally veers into wailing, becoming a bit too high pitched to enjoy.

The cover of Blood Sweat & Tears' "I Love You More Than You'll Ever Know" features sultry horn and strings sections behind Broussard's meandering words. The sparse instrumentation on this track is surprisingly powerful, making this song a key slow jam on the record. Broussard picks it up again quickly with Marvin Gaye and Tammi Terrell's "If I Can Build My Whole World Around You." His falsetto melts into the beautiful voice of guest Toby Lightman, who easily steals the show on this track. The song fades out too quickly though - it would have been nice to have been able to hear the entirety of the last verse.

"Come In From The Cold" is the album's lone original track, and sounds like a cross between John Mayer and Jamie Cullum. Broussard again makes use of light strings in the back of the mix, which are a nice accent to this song. Lyrically, Broussard is surprisingly good, if a bit cliche when it comes to love:

throw off all the memories that can bring you down / loving is the only way to heal a heart that love has wronged

"Let The Music Get Down In Your Soul" (Rance Allen) showcases a nice piano part, as well as some well placed harmonization in the background to create a bouncy singalong. Harmonization is also used to good effect in his cover of The Pointer Sisters' "Yes We Can."

While Broussard's voice is no match for any of the great artists he covers on this record, he is still enjoyable to listen to, and he's found ways to give each song a new twist while still maintaining the spirit of the originals. Broussard claims he wants to help people discover the heart and happiness of R&B. Listening to Save Our Soul makes me want to go dig up some old Stevie Wonder and Marvin Gaye records...I think that means Broussard has accomplished his goal.

Track Listing
01. You Met Your Match (Stevie Wonder)
02. Kissing My Love (Bill Withers)
03. I Love You More Than You'll Ever Know (Blood Sweat And Tears & Donnie Hathaway)
04. If I Could Build My Whole World Around You (Marvin Gaye & Tammi Terrell)
05. Come In From The Cold
06. Love And Happiness (Al Green)
07. Harry Hippie (Bobby Womack)
08. Let The Music Get Down In Your Soul (Rance Allen)
09. I've Been Loving You Too Long (Otis Redding)
10. Respect Yourself (The Staple Singers)
11. Yes We Can (The Pointer Sisters)
12. Inner City Blues (Marvin Gaye)

For Fans Of: The Temptations, The Isley Brothers, The Four Tops.

Website | MySpace

Review - Shape

Artist: Shape
Album: Raised Near The Power Lines
Label: Division East Records
Release Date: March 27th, 2007

One doesn't usually think of New Jersey and immediately think of great MCs. However, the scrawny, white Jersey boy who calls himself Shape is clearly aiming to put his hometown on the hip-hop map.

Raised Near The Power Lines begins unconventionally with the sounds of a scratchy record player and distant horns. The track lazily flows into "Darkside Of The Silhouette," where we first hear Shape's meandering flow. His words are bitter, but he doesn't spit them at the listener.

In the excellent "Rising Up To The Top," Shape dedicates the track to Jam Master Jay while denouncing the senseless violence in mainstream rap, pointing fingers at artists like 50 Cent for encouraging kids to adopt the gangster lifestyle.

Shape's lethargic rhymes are very similar to other "backpack rappers" like Atmosphere and Aesop Rock. He also shares the unpolished style of these artists, rather than the highly produced sounds of Talib Kweli or Consequence. There are tracks where he picks up his pace, "Stereo Gun Unplugged" probably being the best example. This particular song is also notable for the line Sometimes I rob like an emotional white guy / 'Cause all I wanna do is open shows for Bright Eyes.

Periodically, the album has instrumental interludes that return to the record-scratch sounds of the opening track. Seeing as the album runs over an hour in length, these interludes seems a bit unnecessary. The tone of the album stays intact just fine without them.

Shape does a great job of using nontraditional instruments like pianos and horns to great effect, particularly the piano loop on "Something That Could Make You Do Wrong." Without the piano, the song wouldn't be worth noting, but with it, the song sticks in your head.

As stated previously, the album is a little on the long side - 19 tracks and 1 hour 11 minutes is a bit excessive. With a little bit of trimming, Shape would have an album that could put him on par with heavy hitters like Atmosphere and Jedi Mind Tricks. His lyrics are smart and he knows how to use interesting samples to catch your ear. If he keeps at it, people will begin to note West Orange, New Jersey, and the home of great hip-hop.

Tracklisting
01. Introduction To Power Lines
02. Darkside Of The Silhouette
03. Every Step Forward (Two Steps Back)
04. Rising Up To The Top (ft. Atbash Cipher)
05. Stereo Gun Unplugged *
06. BY3X's Favorite Beat (Instrumental)
07. Something That Could Make You Do Wrong
08. Rock Like This (ft. Atbash Cipher)
09. Empeecee2K
10. Nasty As A Bag Of Yak/Richard Pryor *
11. Early Mourning (Interlude)
12. Ax Throwers (ft. Tame One)
13. Gary Oldman (ft. Atbash Cipher, C-Minus, Bully Mouth, GDP, & Def Dom)
14. Playing To Get Famous
15. OMG (I'm Going Crazy) (ft. GDP)
16. Super Heroes (ft. Bill Hicks) *
17. The 7th Hour
18. The 7th Hour Pt. 2 (Instrumental)
19. Heart Beats

* - standout tracks

For fans of: Atmosphere, Sage Francis, Cage.

MySpace

Review: Four Year Strong

Artist: Four Year Strong
Album: Rise Or Die Trying
Label: I Surrender Records
Release Date: 9.18.07


Listening to Four Year Strong makes me tired.

You might think that's a negative thing to say about a band. In this case however, it's a compliment. I get tired because I imagine all the mosh pits, gang choruses, and synchronized handclaps that a Four Year Strong show must be full of. In my mind, I'm in the pit screaming with the best of them. It's exhilarating.

Four Year Strong have blended hardcore and pop-punk beautifully with their debut album, Rise Or Die Trying. Beginning with slowly building sirens on "The Take Over," and exploding to life with "Prepare to Be Digitally Manipulated," this album is a half hour of pounding adrenaline.

Songs like "Heroes Get Remembered, Legends Never Die" and "Men Are from Mars, Women Are from Hell" use the double bass generously to great effect. The songs are driven by the drumbeats, and the squealing guitars are merely added emphasis.

Lyrically, the band is reminiscent of Fall Out Boy circa Take This To Your Grave. The best example of this is probably in "If He's Here, Who's Runnin' Hell?"

Take it or leave me behind / because you know that you never did care at all / my poor ears have had it / you're coming in static / Tuned out across the board / like a million times before / you're living it up now / just wait until it goes down

The similarity to Fall Out Boy doesn’t stop there – so many of the guitar riffs and vocal hooks recall pre-From Under The Cork Tree Fall Out Boy. Pete Wentz always claims to be influenced by Lifetime – Four Year Strong sound like a perfect mashup of the two bands.

The album never pauses, not even for a second. The slowest song is "Catastrophe," and even on that song, the band has only taken the speed down about half a notch. If Cartel were to suddenly start listening to a lot of Set Your Goals, they might sound like this song. Though this track slows things down a bit, Four Year Strong dive right back into the thick of it in the next few songs.

The only criticism I have of this album is there is very little variation between the songs. If you're not listening to the lyrics, the neverending breakdowns and gang vocals tend to blur together. It's clear that Four Year Strong have found a formula that works for them, and they're going to stick to it very closely. I hope that they can find a way to vary their sound more in future releases, before they run this formula into the ground.

I can imagine this album turning up in a lot of end of the year lists. And I can also imagine that a lot of other people will let Four Year Strong become their new guilty pleasure. As for me, I can't wait to catch the band on tour and finally get to take part in those mosh pits and handclaps.

Tracklisting
01. The Take Over
02. Prepare To Be Digitally Manipulated *
03. Abandon Ship Or Abandon All Hope
04. Heroes Get Remembered, Legends Never Die *
05. Wrecked 'Em? Damn Near Killed 'Em
06. Catastrophe
07. Men Are From Mars, Women Are From Hell
08. Bada Bing! Wit' A Pipe! *
09. Beatdown In The Key Of Happy
10. If He's Here, Who's Runnin' Hell?
11. Maniac (R.O.D.)

* - standout tracks


For Fans Of: Set Your Goals, Hit The Lights, Take This To Your Grave-era Fall Out Boy

MySpace | PureVolume

Coconut Records - Nightttiming

Coconut Records - Nighttiming
Label - Young Baby Records

Usually, just knowing that a band is fronted by an actor is enough for most people to write them off. However, I am begging you to take a close listen to Coconut Records. It's indie darling Jason Schwartzman's newest project, and the songs can more than stand for themselves, actor supported or not.

Coconut Records' debut album, Nighttiming, is a breezy, hopeful walk through some surprisingly beautiful and endearing songs. The album pushes off slowly with the meandering "This Old Machine," a track that will instantly capture the hearts and ears of Bright Eyes and Death Cab lovers everywhere. Schwartzman's singing voice is decidedly different from his speaking voice, and is very soothing to listen to.

Everything about this record screams California, particularly the aptly titled "West Coast." With its bells and flowing guitars, this song is simply meant to be listened to while driving along the beach at night. The lyrics are not particularly deep, but they fit the laid-back feel of the album to a T.

"Back To You" is along the lines of a Rooney song, which is fitting, seeing as Jason's brother, Robert, fronts Rooney. With perfectly placed handclaps and a catchy chorus, much toe-tapping is sure to ensue.

The album's title track is by far the best on the record. A dance tune of the best kind, "Nighttiming" is a song that will be stuck in your head for days on end; the type of song you'll find yourself craving to hear again and again. "Minding My Own Business" and "The Thanks I Get" are a couple of well crafted pop songs, and songs like "Mama" and "Ask Her To Dance" are very reminiscent of Bright Eyes in Schwartzman's vocal tone. While these styles may seem disparate, all of the songs weave together seamlessly to make an album that flows wonderfully from start to finish.

Full of light hooks and poppy piano pieces, Nighttiming should not be tossed aside as the failed efforts of an actor. Rather, it should be played again and again while dreaming of the California coastline. Very rarely do albums come along that straddle the line between light pop and hip indie, and with Nighttiming, Schwartzman has done that better than I could have ever hoped for.


Tracklisting:
01. This Old Machine
02. West Coast *
03. Back To You
04. Summer Day
05. Nighttiming *
06. Minding My Own Business
07. Slowly
08. Mama
09. The Thanks I Get *
10. It's Not You, It's Me
11. Easy Girl
12. Ask Her To Dance

* - standout tracks

For fans of: Phantom Planet, Rooney, Of Montreal

website | myspace | purevolume

ScientificLifestyle - The Arrow EP

ScientificLifestyle - The Arrow EP
Label - Mean Red Music
Release Date - 7.24.07

It's hard to be unique in Los Angeles, the town where everyone is trying to stand out. L.A.'s electro-tinged rock outfit ScientificLifestyles is trying their best, but are they making it?

Frontwoman Nicole Porter has breathy, flowing vocals that complement the sparse guitars and offset the rather heavyhanded drumming on The Arrow EP. Opening with "Flight 273," the music sounds a bit like a blast from the past - it wouldn't have been out of place on a soundtrack like Empire Records.

"Glee Slipper" is where the electronica tag on their MySpace shows up in full force, but even here it is not overpowering. It's often hard to understand what Porter's lyrics are - the background vocals tend to compete with hers. However, her voice is pleasant enough that it almost doesn't matter. On this track, the '90s stylings of Porter's voice blend very nicely with the '80s sound of the instrumentals. The song climaxes with a dance breakdown, which would have been a lot more fun had the mixing of the drums been better executed. Still, one can see that it would translate well in a live show. The band slows down for "Chinatown Swan," a very pretty pop ballad. Unfortunately, the midi programming leans toward elevator music on this track. Again, Porter's lilting vocals redeem the song.

The final song, "Or," finds a much happier middle ground between rock and electronic programming. It's the catchiest and most well-produced track on the album. Both the vocals and the instrumentals are clearly heard, and none are done to the point of cheesiness heard on earlier tracks. Overall, ScientificLifestyle's major redeeming factor is that of their vocalist Porter. The songs themselves are not as unique as an L.A. band needs them to be in order to get noticed. Hopefully Porter will be able to find a way to let her voice be heard through other avenues.


Tracklisting:
01. Flight 473
02. Glee Slipper
03. Chinatown Swan
04. Or *

* - standout tracks

For fans of: Straylight Run, Paper Route

website | myspace | purevolume

I wanna sleep right through the summer.

Artist: Kleveland
Album: Kleveland
Label: Unsigned
Release Date: 2006

A lot of female-fronted punk these days is highly polished and glamorized, monopolized by bands like The Sounds. Not Kleveland. This Oregon-based band is raw, dirty, and straight up punk, and it's wonderfully refreshing.

Singer Stephanie Smith has a voice reminiscent of Sahara Hotnights' Maria Andersson, while the style of the music is much more like '80s punk - The Clash, Sex Pistols, etc. Add the attitude of The Donnas, and you've got Kleveland.

Starting off with the driving "Jonny Is A Klepto," (Ramones much?) the album easily hooks in anyone with a passing interest in punk. This song sets the precedent for the rest of the album: fast songs overlaid with energetic vocals from Smith. There is some background harmonizing, but for the most part, Smith powers through the songs on her own. While the production leaves a lot ot be desired, particularly on the drums, the songs themselves are rough enough to let that slide.

Songs like "ESP" and "Sleep At Night" will get fans out of their seats and dancing in no time. There are also a number of slightly slower songs, like "Cursed" and "King Of The Drama Queens," but even these songs are nowhere near ballads, and all are worthy of a shake of the hips. The album's final track, "No Heart, Go Heart" is the closest to a ballad, bordering on pop-rock rather than punk. While the music isn't as fun to listen to in this slowed format, Smith's voice is stellar on this track and makes it an enjoyable closer.

A lot of the tracks in the middle of the album tend to blend together due to the lack of a great number of hooks. However, upon further inspection, each song has its own personality and intrigue.

Kleveland would have done really well in the early '90s, as their influences clearly draw on bands like Cheap Trick and The Pretenders. While this makes me like them a lot, it also worries me that people might write them off as a bit of a throwback band. While Kleveland isn't doing anything groundbreaking, they're still making good organic punk rock. And what's not to love about that?


Tracklisting:
01. Jonny Is A Klepto *
02. Summer Fun
03. ESP
04. King Of The Drama Queens
05. I Got A Date *
06. Room In Your Name
07. Flat Tax
08. Cursed
09. Pills
10. Be Prepared To Stop
11. If Your Friends
12. Sleep At Night
13. No Heart, Go Heart *

* - standout tracks

For fans of: Blondie, The Donnas, Hole.

website | myspace