Midwestern Dirt

The Few, The Proud, The Pretentious: 2007 In Music

2007-12-31T13:31:00.001-05:00

If you're looking to be told what's hip or what to buy, you're in the wrong place. The vast majority of best-of-2007 lists on the web look exactly like this: Radiohead, Jay-Z, The Arcade Fire, Amy Whinehouse, LCD Soundsystem, Feist, Fall Out Boy, The White Stripes and Kanye West. Anyway, I'm not Rolling Stone, so instead of insulting your intelligence, I'm just going to grade the albums I've listened to this year.

Grade: A

The Weakerthans - Reunion Tour

Hands down the best indie band out there right now. Leaving Propagandhi was the best move John K. Samson ever made. Some of the best songs of the year are on this album and I've definitely worn this one out. After making us wait all these years, they certainly didn't let me down.

A Wilhelm Scream - Career Suicide

I don't say this about music I like very much, but this album thoroughly pummels. These guys have become one of my favorite bands and while their lyrics are kind of awkward every once and awhile, everything else about this album is solid. I've listened to this one way too much.

Circa Survive - On Letting Go

My favorite album from 2005 was hard to top, and while they didn't quite match it, they came pretty close. While catchier and heavier, different doesn't mean worse here. All of their music takes me to another world, and as down-to-earth as I am, that has to mean something.

Dear And The Headlights - Small Steps, Heavy Hooves

This band came out of nowhere and is a shining example of what mainstream "indie" rock should sound like. In fact, this is the closest I can get to that kind of music without puking. That's a good thing, I think.

Against Me! - New Wave

Possibly the best sell-out record I've ever heard. I tried so hard to hate it, but it's just a great album, especially after the relative disappointment of their last attempt. But don't be surprised if they can't do better next time because it's likely all downhill from here.

Hot Cross - Risk Revival

I never got into their older material, but they made an abnormally catchy post-hardcore record here. It's a shame they broke up soon afterwards, as I had predicted that their next album could have been a masterpiece.

Bad Religion - New Maps Of Hell

Even without breaking much new ground, Bad Religion is still the only band with a 30 year long back catalogue that I love every minute of. And their live show is unbelievable considering their age. I can't leave my all-time favorite band out of the cream of the crop.

Grade: B

The New Amsterdams - At The Foot of My Rival

I'm convinced that Matthew Pryor can do no wrong. Even after the Get Up Kids, he still churns out great music. Few bands do mellow, emotional, indie (some times folk-) rock better than the New Ams.

Sundowner - Four One Five Two

The smoother voice of the Lawrence Arms picks up an acoustic guitar and gives it his best shot. I like his voice a lot, but his vocal are sometime more halfhearted than they should be. In any case, it's fun to hear someone play punk songs with an acoustic guitar.

The Gaslight Anthem - Sink or Swim

This is another band that came out of nowhere, but it's a really fun record that's kind of a punk rock cross between early Against Me! and Bruce Springsteen. I found it late it the year, but it's still one of the most enoyable records of 2007.

Minus The Bear - Planet of Ice

Electronic indie rock sounds pretty decent when the keyboards and sound effects aren't beating you over the head. The first half is better than the second, but it's a good listen. Good music to relax to.

Smoke Or Fire - This Sinking Ship

While this album's not epic, I still like every song. It's catchy, heartfelt, somewhat poppy punk rock. Exactly what you'd expect from Fat Wreck Chords.

Ted Leo And The Pharmacists - Living With The Living

Their last album was near perfect, so it's only natural to fall a little behind. Ted Leo is great and he's got some powerful tracks on this one, but something's missing that used to be there. If you drop the last two songs from this one, it's probably an 'A'.

Bayside - The Walking Wounded

The former Alkaline Trio wannabes have made a name for themselves and they've gotten pretty good at it. Emotional, but signigicanly less self-pitying than former releases, this one is pretty good for being on Victory Records.

Crime In Stereo - Is Dead

A strange record that from a melodic punk band that has almost gone soft. While this sounds more like Brand New than they probably intended, it's actually better than the music they are best known for. I appreciate that some bands can change without sounding terrible.

Fake Problems - How Far Our Bodies Go

This is a really fun folk-punk band that puts on a great live show. While the music sometimes drags, it's still a great listen and makes you want to rock out hillbilly style. Believe it.

Grade: C

Hot Rod Circuit - The Underground Is A Dying Breed

The music and vocal arrangements on this one are generally really cool, but the lyrics and repetition kill it dead. Improve those two elements, and this is a solid record.

The Receiving End Of Sirens - The Earth Sings Mi Fa Mi

Their debut was fantastic, so it pains me to see this album go nowhere. There are some pretty good songs here, but you can't attempt to sound epic two albums in a row. They need to come back to earth and get me excited again.

Every Time I Die - The Big Dirty

Everyone loves this, but I'm not sure. I like this band, but it's hard to really keep track of their songs. It's good, hard, rock music, but I generally like to know which songs are which.

The Methadones - This Won't Hurt

While sometimes enjoyable, pop-punk at it's best is still mediocre. I enjoy listening to these guys, but the content is lacking. I guess that's what pop-punk is all about right?

From Autumn To Ashes - Holding A Wolf By The Ears

After losing their vocalist, I'm surprised at how well they managed to survive. Unfortunately this album is too constant in its sound and delivery to be as memorable as their previous release.

Dropkick Murphys - The Meanest of Times

I'm pretty indifferent about this one. Yeah, they're still around and sure, they make enjoyable music. But at this point, it all sounds the same to me. Their best is behind them.

Thursday - Kill The House Lights

This is pretty decent for a collection of unreleased tracks. Nothing fantastic here, but I enjoy listening to alternate takes and what some of their songs could have been.

Grade: D

Leftover Crack/Citizen Fish - Deadline

I didn't expect much from this split, but I used to really like Leftover Crack. Unfortunately, I didn't really care for any of the songs. Either I'm over them, or they just didn't care with this one.

Motion City Soundtrack - Even If It Kills Me

I really enjoyed their past two albums, and while this one is well-produced and seemingly heartfelt, it just doesn't have any claws. I tried to love it but the lyrics are trite and the music is unremarkable.

The Unseen - Internal Salvation

I loved this band as a teenager, but in retrospect, our relationship seems only halfhearted. This album doesn't have a single standout track and I don't think that's normal.

Pierce The Veil - A Flair For The Dramatic

One of the biggest disappointments of the year. From a unique blend of genres to generic emo-core, this album kinda broke my heart. Another solid band goes down the tubes.

American Steel - Destroy Their Future

I never heard of this band before, although they used to be Communique. In any case, if there is any hype around them, I guess I just don't get it. If it's punk, then it's just plain boring.

Hopesfall - Magnetic North

What do you say about the band you didn't expect much from in the first place? Take a guess. They've lost their touch and now it's just getting sad.

Anti-Flag - A Benefit For Victims Of Violent Crime

I know this is supposed to be a benefit CD, so I feel kind of bad about it, but the B-side material mostly sucks. Also, the half-live scheme worked for Mobilize, but not so much here.

Grade: F

Armor For Sleep - Smile For Them

This band was mediocre before, but I still kind of liked them. The pathetically terrible lyrics just ruin any hopes they had of making a decent record. I just can't take it seriously.

Chiodos - Bone Palace Ballet

I can't remember why I liked their last record, but the vocals are like nails on a chalkboard and the content is abysmal. And those obnoxious song titles really have to go because it just proves that your songs mean nothing.

Saves The Day - Under The Boards

These guys used to be kings of the emo scene, but their depressing, poorly written, embarassing lyrics won't fly anymore. These boys need to grow up already or call it quits. It makes me cringe.

The Fall of Troy - Manipulator

These guys are amazing musicians but this was a huge disappoinment. Their last record was nuts, but even with all the variety, this one falls flat on its face. Boring and uncreative.

To be fair to some of the albums that didn't really make the grade, I feel like I should mention that many of them were placed so low as a result of failed expectations. The most disappointing part about the albums in the last three groups is that I thought that most of them were going to be a lot better. Don't get me wrong, some of them flat out sucked unsurprisingly, but I just couldn't let that go unsaid for the others.

The Unseen - Internal Salvation

2007-10-31T18:33:00.000-04:00

LABEL:

Hellcat

GENRE:

Punk

RELEASE:

July 10, 2007

LENGTH:

30 min 24 sec

RATING:

Ah, yes... another album from the band that will forever symbolize the punk angst from my high school years. Make no mistake about it, when I was young and angry... well, I'm still somewhat young and I'm still pretty angry... when is was really young and angry, I really loved this band. They were loud, fast, political, and of course, angry. Representing the lower rung of modern society, The Unseen helped people like me express their anger through street punk, thrash dancing, mohawks, patches and studs. In retrospect, most of the band's work isn't anything to write home about, but with the increasingly crowded field of dime-a-dozen "punx" in the underground scene, their early work was pretty impressive. However, over time, they begun to show their age. While each album become more polished and the lyrics grew more tired and repetitive, The Unseen managed to hold my interest to at least a some degree.

After they released their last album, I had decided that they weren't really my cup of tea anymore and we sort of parted ways. They still hold a special place in my heart, but I've pretty much outgrown them. So why the hell am I reviewing this? I guess I just wanted to see how they were doing... you know, check in to see if they were doing fine without me. The answer is a resounding, "um... maybe?" They're still angry, but they're older and kind of running out of ideas. Overall, Internal Salvation is kind of ridiculous. I mean, it's supposed to be serious. I get that. But some of the songs have these weird voice over transitions, where someone spouts some socio-political lower class gutter punk rhetoric. Leave the sloganeering to Anti-Flag, will ya? And about the album art... seriously? Is that really a skeleton just floating around in the background? The lyrics aren't really creative at all. The songs kind of sound the same, so I don't feel like I can really give it much of a thorough evaluation, so screw it.

Maybe I'm just showing my age, but I really can't get excited about these punks like I used to. For an example of how a band like this should have turned out, check out the progression of the band that Mark Unseen used to be a part of: A Global Threat. I don't feel quite as silly listening to them. If you're into street punk, you might like The Unseen, but if you're one of those mega-punx, then you probably think they sold out anyway. I mean, they are on Hellcat, where punks go to die. I guess I should probably give this album a rating... well, how about two stars? Sure, why not?

The Methadones - This Won't Hurt

2007-10-17T17:19:00.000-04:00

LABEL:

Red Scare

GENRE:

Punk

RELEASE:

July 10, 2007

LENGTH:

33 min 9 sec

RATING:

The Methadones are somewhat of a paradox. Despite being commonly categorized as pop-punk by fans and critics, they are unlikely to have much mainstream success like so many other acts in the genre. Their music isn't usually political in nature and their sound is pretty bouncy, but Dan Vapid's voice has always lacked that little extra something that brings other pop-punk bands to fame. Not to mention that the lyrics are generally depressing and the vocals have always sounded like they were coming out of a tin can, but that was part of the band's charm. All of their albums have been relatively similar, with the only the noticeable changes being increasing quality in production. You won't hear anyone calling The Methadones fresh or groundbreaking, but they have always succeeded in their element.

When I first popped in This Won't Hurt, I wasn't expecting any deviations from the band's course, but to my surprise, it didn't sound quite the same. The lyrical content hasn't really changed, and neither has the musical style, but with this newest effort comes at least three noticeable "improvements". While Vapid's voice still has that familiar hum to it, the reverberation effect it has always seemed to posses has decreased significantly. It's still there and probably always will be, but I bet more people will find this band tolerable than ever before as a result of this change. The only other discernible difference is pretty much in the same vein. The music is catchier than it has been in the past, but not so much that longtime fans will have to worry about the band's direction. I don't know if these enhancements were intentional or if they are just artifacts of better production. Regardless of the reason, their existence is a welcome change to a familiar formula. So what about a third modification? How about... an acoustic song?! Correct me if I'm being ignorant about this, but I don't recall ever hearing The Methadones perform anything acoustically. It's called "I Believe," and it's actually a pretty good song, but it sure as hell comes out of nowhere.

Like I said, don't expect any lyrical revelations on this record, but there's definitely a handful of tracks that I feel like I might be able to share with somebody without them falling asleep. "Poor Little Rich Girl," "Street In My Hometown," and "Where Did You Hide The Sun" come to mind. However, the definite winner in the pop department is "Turning Up The Noise," which is easily the catchiest song they've ever written, boasting gang vocals that feature the very title of the track. With each new album, The Methadones inch one step closer to what I can only assume is the goal of being the best unpopular pop-punk band ever, and This Won't Hurt is a clear indication of that progress. While the album is quite enjoyable and the production value is the best it's ever been, the lack of innovation and Vapid's tendency to fade into the background as an album progresses are starting to leave me wondering if they will ever reach that goal. I know that many will applaud their consistency, but I just can't brag too hard about a band that puts out practically the same record repeatedly. This Won't Hurt is a step in the right direction and the band is ever so close to making an album that makes me want to call them one of my favorites. Maybe next time.

Bad Religion - New Maps Of Hell

2007-10-14T13:30:00.000-04:00

LABEL:

Epitaph

GENRE:

Punk

RELEASE:

July 10, 2007

LENGTH:

38 min 30 sec

RATING:

I'm not entirely sure how to write an unbiased review of a Bad Religion album. They have been my favorite band for years, and I like everything that they've done, for better or for worse. They were the first real punk band I ever listened to and their music certainly did a lot to help me get through high school. I still think Greg Graffin is probably the coolest punk rocker in the world, despite how old and nerdy he is. In fact, that's what I love about them. Not only is Bad Religion socially conscious, intelligent and uncharacteristically well-versed, they are by far the least hip looking group of men I have ever seen. It's fantastic. The best way I can possible do it is just to compare it to their other works. Fair enough, right?

New Maps Of Hell starts off in the same manner as the two albums that came before it, with short, fast songs, each clocking it at under two minutes. The awkward and intro-like "52 Seconds" is the opener, followed by "Heroes & Martyrs" and "Germs of Perfection." Once that's over with, we finally get into the kind of songs that better represent the style of this album as a whole. "New Dark Ages" is classic Bad Religion lyrically, minus the unfamiliar melodies leading into it. "Requiem For Dissent" is a rarity for Bad Religion, in that powerful gang vocals dominate much of the song, as opposed to usual harmonies, or "oozin' ahs," as they are commonly referred to in the liner notes. "Before You Die" is a pretty good song, but the lyrics seem as if they were forced so they'd rhyme. Perhaps the most controversial track on the album is "Honest Goodbye," not so much because of its content, but due to its very slow, melodic nature. I think the song is great, but apparently lots of people felt that the band was getting soft. The next two tracks are a couple of my favorites on this record. "Dearly Beloved" is about a man losing his faith and being unable to relate to his peers, followed by "Grains of Wrath," another all-encompassing song about America's turmoils. The next six songs are decent, but slightly less memorable than the others, the most notable exception being "Murder," just because it's a very short, bizarre song. The last track, "Fields of Mars" is an epic song that, punctuated with brief piano accompaniment, is a perfect way to to end this album.

If I compared each of Bad Religion's albums to the work of most other artists, they would all get five stars, given the special place they have in my heart. While New Maps Of Hell is better overall than The Empire Strikes First, it still has its flaws and by this band's standards it's nowhere near perfect. About half of the 16 songs on this record are fantastic and the rest are solid, but nothing new. Criticism aside, I still really love this album and it has completely exceeded my expectations. After thirty years and everything that Bad Religion has accomplished, I'm amazed that they are still able to make quality punk music, especially considering that Professor Graffin is old enough to be my dad, which I kind of wish he was.

Against Me! - New Wave

2007-10-11T17:12:00.000-04:00

LABEL:

Sire

GENRE:

Punk

RELEASE:

July 10, 2007

LENGTH:

33 min 33 sec

RATING:

Some bands change very little over time, while others add slight variations here and there to keep their sound fresh. And then you have artists that reinvent themselves with every release, creating a dilemma for fans who aren't sure whether to call the unexpected changes evolution or devolution. The first modern punk band that comes to my mind is Anti-Flag, who despite their consistent lyrical content, have gradually modified their sound with each release. I think you can see where I'm going with this. Against Me! is one of those bands whose inability to make up their minds consistently makes fans go, "what the fuck?" From anarcho-folk-punk to folk-punk to punk to borderline pop-punk, they appear to be well on their way to alienating every last one of their fans. That's the common feeling amongst the AM! faithful, however unlike them, I don't believe they peaked with The Disco Before The Breakdown or Reinventing Axl Rose. My favorite album of theirs is probably As The Eternal Cowboy, and Searching For A Former Clarity is decent, but not as good overall as its predecessor. Inevitably, Against Me! left the indie circuit for Sire Records, which cut a lot of hearts out, given that the band appeared to simultaneously ditch its anarchist roots for the a chance to make it big.

The result of this supposed betrayal is New Wave, a curiously titled album that continues down the path the band appeared to be destined for. I suppose it's expected of me to completely rip both the album and its creators apart, but fortunately for them, I generally reserve that kind of treatment for bands that actually suck. I wanted to hate this album from the first time I heard it but I just couldn't. There are too many good songs on it and despite my dedication to independent music, I can sometimes understand when certain people say that they're sick of sleeping on the floor. But make no mistake, I agree with the assumption that Tom Gabel is probably a bigger asshole now than he ever was in the past. That being said, let's take a stab at New Wave.

The first song is the title track, which immediately shows us what this album is headed for, being poppy, catchy and upbeat. Ironically enough, the next track, Up The Cuts, spends all of its time complaining about the music industry. It's a good song and I agree with the premise, but a song like this seems pretty hypocritical at this point. Then again, I guess they sort of still have the right to complain because, despite their major label status, they have not yet completely driven off the cliff into mediocrity. The single Thrash Unreal is unabashedly poppy as fuck, and I hear it on the radio every time I somehow find myself accidentally listening to it. The lyrics are pretty good, but they wasted a golden opportunity with the corresponding music video, opting instead for something shiny and meaningless. White People For Peace takes a peculiar stab at America's new anti-war fad, essentially claiming that, despite opposition and waves of protest music, no one is actually doing anything to stop the war in Iraq, or wars in general.

The disco-esque Stop is probably the most annoying song on the album, as Against Me! was clearly stuck in a 1970s time warp when it was written. Gabel somehow pulls off a duet with Tegan Quin on Borne On The FM Waves Of The Heart, and then launches headfirst into yet another song about how shitty your favorite band is, a base I'm pretty sure they already covered once on this record. The last two songs find Against Me! in new territory musically, with the sluggish former only bearable during the chorus and the latter being at the very least, refreshing and, oddly enough, in the same vein as the closer on their previous album, sporting internal conflicts about gender identity. The advantage is this time I don't get Freddie Mercury's weird little face in my head when I listen to it.

Overall, New Wave is a pretty good album, but it's nothing like the folk-punk that we're used to. Simply remembering that your preconceptions about this band mean pretty much nothing once they move on to their next project makes it easier to digest. The only track remotely reminiscent of the old Against Me! is Americans Abroad, which should come as no surprise to anyone who has seen them perform or listened to the live album by the same name. It's an old song, and it's pretty obvious. While this album breaks new ground only for those who exist solely near the center of the Against Me! universe, it's not nearly as bad as it could have been. As a result, I have decided not to disown Tom Gabel, at least not until he manages to create an utter travesty that makes me finally rip their patch cable pin off my backpack.

Pierce The Veil - A Flair For The Dramatic

2007-10-10T22:56:00.000-04:00

LABEL:

Equal Vision

GENRE:

Emo/Hardcore

RELEASE:

June 26, 2007

LENGTH:

40 min 50 sec

RATING:

If you've never heard of Pierce The Veil, I certainly don't blame you. In fact, a couple years ago, before they changed their name, they were called Before Today, and even then they would have definitely been an obscure reference in any conversation. In any case, I had the pleasure of owning the only full length released under their previous moniker, entitled A Celebration Of An Ending. Its contents were a rare treat, a combination of fast-paced punk rock beats and riffs, intricate hardcore melodies, introspective lyrics, respectable harmonies and a voice suited for emo, only not quite enough to be terribly dull and irritating. And best of all, there appeared to be no gimmick, just music. There was even a good instrumental track at the end. Be still, my beating heart! I've enjoyed the hell out that record for the past few years, but the band has since had two huge problems. The first one is figuring out who the hell they want to be. Between then and now, they have lost members, changed their name and brought some newcomers on board. Keeping with tradition, the band's new name is identical to the title of the most popular song from their previous album. So they recorded a new record that I was pretty excited about, but unfortunately the results were not quite what I was hoping for. Which brings me to the other glaring issue.

For a hint about what I mean, just take a look at the album cover. Give me a break. It doesn't get any worse than a depressed bride on a bed in a black room. This looks like something I would expect to see on the next AFI record. In fact, pretty much every song on this album has a ridiculous title that screams... well... screamo. Needless to say, it looked disappointing, but how did it sound? Well, it sounds exactly like it looks. Gone are the punk beats, in favor of the more popular, dramatic post-hardcore sound, complete with more blood-curdling screams than before and a total bastardization of the harmonies from A Celebration Of An Ending. It begins with "Chemical Kids And Mechanical Brides" and "Currents Convulsive," which are both decent songs, until the latter picks up bizarre Michael Jackson-esque transitions that just rub me the wrong way. "Yeah Boy and Doll Face," stupid name and all, could easily be a Fall Out Boy song, which is, needless to say, pretty disheartening. Next is "I'd Rather Die Than Be Famous," which tries to make up for the bubble gum in the last song by throwing tons of incoherent screams in the background, which are nothing but overkill if you ask me.

I could probably put up with all of that if the rest of the album wasn't so boring. After a few more songs, I forget what I'm listening to. And let's get back to the titles shall we? "The Cheap Bouquet," "She Sings In The Morning", "The Balcony Scene," "Diamonds and Why Men Buy Them." Really? Someone let Pierce The Veil know that all the shitty screamo bands that no one cares about anymore called and want their shtick back. Not to mention that the slower songs on this album are so unlistenable, it makes me want to write a sad song about it. Perhaps I'm being a little too harsh for a band that's apparently trying to find itself, but for crying out loud, A Celebration Of An Ending was a fantastic album, and this one is just lousy by comparison. I think the biggest problem I have with this band is that they gave up their solid sound for something more digestible by teenagers that have terrible taste in music. It straight up pisses me off. By itself, A Flair For The Dramatic could probably earn two stars, but upon pitting it up against its predecessor, I want to give it a zero. We can all learn a lesson from this: don't sell out your talent for something that sounds like shit. Shame on them and thank goodness they changed their name, so as not to tarnish what they used to be. What a waste.

Circa Survive - On Letting Go

2007-10-10T17:53:00.000-04:00

LABEL:

Equal Vision

GENRE:

Indie/Experimental

RELEASE:

May 29, 2007

LENGTH:

45 min 29 sec

RATING:

In an attempt to be perfectly honest, I need to confess that Circa Survive's debut album Juturna was hands-down my favorite of 2005. It was a glorious, experimental indie-rock record that helped fill the audible void left in my heart by the modern music industry. And whenever a new band emerges, critics come out of the woodwork to feast on the newly exposed flesh. It's rather telling that I'd be one rich son of a bitch if I had a nickel for each time I heard or read someone complaining about how feminine and annoying Anthony's Green's voice is. Bitching aside, the best part about their debut was that I had discovered Circa Survive long before they had even announced plans for a debut album, and it was exciting to see which direction they would take. So when they finally announced their follow-up for 2007, it should come as no surprise that I was thoroughly excited, so much that my anticipation for it superseded my excitement for Bad Religion's new album, and for those who know me, that might be a hard pill to swallow.

Much to my delight, Anthony and company have yet to promise something they couldn't deliver. All 12 of On Letting Go's tracks are fantastic and, interestingly enough, seem to be unofficially divided into three groups of four, with each third bearing a style unique from the others. The first four songs are exactly what I expected from this album: quality tunes reminiscent of the fantastic songwriting of Juturna, only much more powerful, structured and listener-friendly. The clearest example would have to be the first single, "The Difference Between Medicine And Poison Is In The Dose," which was available online well before the album was released. The next four songs bring four new musical styles to Circa's resume, each being individually dynamic, constantly changing tone, pace and melody throughout.

The most notable addition is "Kicking Your Crosses Down," which is very slow and quiet, even by this band's standards, and punctuates the not-so-subtle undertones of the album, which seem to represent a critical and rather depressing view of religion. However, the actual opinions and intentions of the band regarding the subject are generaly difficult to decipher, as every once and awhile, they appear to be expressed on this record in an oddly positive manner. The last four tracks strongly resemble the previous release, boasting familiar ambient guitar work and vocalization that may not be as enjoyable to the casual listener as the rest of the album. However, the last track, "Your Friends Are Gone," is also one of the strongest, brilliantly building each verse up to a cathartic chorus, and ending with the song's equally relieving bridge and breakdown.

Amid the catchier sound, stylistic experimentation, and spiritually confusing content, Circa Survive has managed to create another masterpiece that should send all the fans home happy. Like its predecessor, I wasn't sure how I felt about it at first, but after a few listens, I was sold (to tell the truth, I hated Juturna the first few times I heard it). This highly anticipated sophomore release has more than lived up to its expectations and once again sets the bar dangerously high for a band that has already done so much in a relatively short period of time. While not a traditional sing-along record, On Letting Go always makes me recite the lyrics in my head when I listen, and is easily one my favorite albums of the year, leaving me with only one question for this band: what next?

Hopesfall - Magnetic North

2007-10-08T17:46:00.000-04:00

LABEL:

Trustkill

GENRE:

Post-Hardcore

RELEASE:

May 15, 2007

LENGTH:

52 min 29 sec

RATING:

It's been a long time since I've seen a band lose so many fans so fast. For years, Hopesfall had created epic, spacey, melodic post-hardcore music that had garnered them much critical acclaim in the underground music scene. Beginning as a Christian metal-core band, they eventually dropped the religious label and began crafting some of the most ambient hardcore the world had ever heard. The band's lyrical content was usually overshadowed by their music, but for some reason, that was acceptable because the sound was unique. This trend continued until 2004, when they released A Types, an act that pissed off the vast majority of their listeners and caused their popularity to plummet. Foreground melodies and heavy screams were replaced by radio-friendly singing and a more straightforward sound, earning the band a huge "sell out" label. Unlike 99% of (former) Hopsefall fans, I enjoyed the album, and decided not to give them the old heave-ho. While it wasn't as experimental as their older material, it was a decent rock record and it wasn't catchy enough to push them into the mainstream.

After remaining in fan-limbo for a couple years, they released Magnetic North. I didn't know what to expect because I didn't see them returning to their roots and I knew that another "bad" record could put them under for good. As it turns out, they somehow managed not to launch themselves headfirst into destruction. Taking one step forward and two steps back (which might be a good thing for the Hopesfall deserters), their newest effort is a mixture of old and new. The songs are somewhat less structured than on A Types, and there are even some short, vocal interludes thrown into the mix. The strangest aspect of this album, at least compared to their older material, would have to be the song titles. I certainly never expected to see anything from this band that could be mistaken for overblown or witty. You know, it's the kind of creativity that makes you look like you're attempting cash in with bizarre names like "Swamp Kittens," "Vacation/Add/Vacation!" and "Cubic Zirconias Are Forever." Weak.

If you're looking for a return to form, the introduction to "East of 1989; Battle of the Bay" is vintage Hopesfall, but that's about it. Magnetic North is more like its predecessor than anything else, but it desperately tries to sound like its older siblings. There are moments when the album gives the impression that it could have been born between No Wings To Speak Of and The Satellite Years, but for the most part, this album deserves to exist in a strictly post-A Types era. It doesn't help that the membership of this band has been a constantly revolving door, throwing any sense of stability out the window. In the end, it's really difficult to give this album a thorough review because there's really not much to it. Come to think of it, that's been the case with every album they've made. I guess there's not much of a need to review their albums in the first place. Oh well.

Fake Problems - How Far Our Bodies Go

2007-10-03T16:49:00.000-04:00

LABEL:

Sabot

GENRE:

Folk/Punk

RELEASE:

April 24, 2007

LENGTH:

35 min 49 sec

RATING:

Usually when people refer to folk-punk, I imagine they're thinking about artists like Flogging Molly or Billy Bragg. You know, bands with folk roots that are categorized as or associated with punk rock. Currently, Against Me! comes to mind, which is quite a coincidence because it was at their show in Toledo that I discovered Fake Problems. If ever there was such a band that takes folk-punk to the extreme, it's this band. With wood blocks, country guitar and what sounds like a fiddle, their style of punk rock is straight out of the old south... well, technically Florida, but it sure sounds that way. When I saw them play, they were full of energy and fun to watch, so I figured their latest album would be a blast. In reality, that turned out to be an overstatement, but only slightly.

How Far Our Bodies Go is not quite as energetic as the band's live show, but it could just be that they played songs from previous albums that happened to be like that. The songs that I recognized the best from the set were '"To Repel Ghosts," due to its memorable chorus, chanting "we're afraid of the dark," and "Born & Raised," an interesting retrospective on growing up and not serving the military or going to college. Other notable tracks include, "Maestro of This Rebellious Symphony," "Heck Yeah Summer!," and "Crest on the Chest". These songs are fun to listen to, but some of the slower tracks, while not particularly long, don't possess the necessary memorable melodies that make such songs successful. As a result, you find yourself wishing that there were more songs to dance to (hoedown style, that is).

One of the problems this album faces is that the vocals are relatively undeveloped, which is most likely due to how young the band is. The singer isn't bad at what he does, but there are short moments, however dispersed, where you feel he might be slightly tone-deaf. Then again, this is supposed to be folk-punk, right? There's a good chance that it's done on purpose, but I get the feeling that, with time and experience, future albums will sound a lot better. Also, for a full-length, it's relatively short, which wouldn't be factor if every song was memorable. What it lacks in quantity and in some areas, quality, it makes up for in originality and fun factor. It's enjoyable enough that I've listened to it quite a bit and while it's not going to be one of my top picks of the year, How Far Our Bodies Go is a clear indication that Fake Problems could easily create such an album in the future, once they get the bugs worked out. Personally, I can't wait.

From Autumn To Ashes - Holding A Wolf By The Ears

2007-10-03T14:03:00.000-04:00

LABEL:

Vagrant

GENRE:

Post-Hardcore

RELEASE:

April 10, 2007

LENGTH:

39 min 52 sec

RATING:

Since the turn of the century, a significant number of bands have drawn criticism for allegedly jumping on the "screamo" bandwagon. A perfect example of this is Thursday, a spectacular band that always gets lots of crap from the holier-than-thou in the independent music scene for being unfortunate enough to gain popularity during that particular time. There exist countless bands who deserve such ire, far too many to list here. For a long time now, From Autumn To Ashes has been treated that way and while their poetic, yetgeneric name isn't helping their cause, I'm not so sure they deserve it. Sure they were part of the trend, but I'm not sure it was completely voluntary. In any case, fans and critics alike shit a collective brick with each new release, crying foul that the band was getting worse and selling out. In a way, I've benefited from this, as I became a bigger fan with each album and as a result of this wax-and-wane pattern, I have managed to avoid dealing with the trendy fucks that gave the band a bad name to begin with.

I really enjoyed FATA's last album, Abandon Your Friends, and after Ben Perri, who was responsible for the hardcore half of their vocals, left the band, I figured they were done for. So after they announced Holding A Wolf By The Ears, I only assumed the screaming would be gone and the sound would become much too docile to be successful. Then it dawned on me that Francis Mark's melodic singing style was the main reason I got into the band in the first place because, while Perri's harsh voice was probably the main reason the aforementioned trendies loved them so much, it didn't sound so great when Mark wasn't complementing him. So when I got my hands on the new release I was surprised the learn that Mark had taken it upon himself to not only retain his previous vocal style, but to take over screaming duties as well. The result was something much different than what fans were used to.

Holding A Wolf By The Ears is not so much an exercise in raising the bar as it is an example of overcoming adversity. Many bands would have called it quits when their lead vocalist departed, but From Autumn To Ashes kept on going. There aren't that many tracks that really stand out and some people won't be able to remember which ones are which, but I like most of them, especially on the first half. Actually, I start to feel somewhat bored after that point, as the vocal novelty seems to wear off. The main reason why this album is simply average is because it feels like it doesn't have much staying power. At the end of the day, Holding A Wolf By The Ears is pretty good, but this band has done better. If this album were shorter, perhaps at EP length, it would be a lot more enjoyable, but as it is, there's not enough in this full length that jumps out and grabs you. I applaud the effort, but if From Autumn To Ashes want to bounce back, they're going to have to give it that little something extra.

Ted Leo and the Pharmacists - Living With The Living

2007-10-02T13:10:00.000-04:00

LABEL:

Touch and Go

GENRE:

Indie/Punk

RELEASE:

March 20, 2007

LENGTH:

61 min 7 sec

RATING:

Over the years, Ted Leo and the Pharmacists have been able to accomplish what few others have. Despite possessing a sound that often gets labeled as indie-pop, the band continues to satisfy a devoted and loyal fan base in the punk community. Known for their thought-provoking indie-punk sound, social consciousness and tendency to write songs that drag on forever, Ted Leo and his band have managed to stay on the independent music circuit since 1999. While relatively little changed in their sound during their first five years, they crafted the amazingly well-written Shake the Sheets in 2004, their most politically-oriented album to date. As a result, their biggest hurdle to overcome was going to be the next album in their catalogue, which didn't see daylight until earlier this year. As important as it is to review each album independently, you just can't ignore the fact that improvement over their last effort was going to be very difficult, and could easily result in a huge let-down.

So, did Ted succeed in this quest? Well, the short answer is, no. Obviously, a short answer won't suffice, so let me explain. Shake the Sheets was, thankfully, almost completely devoid of the one element in the band's history that seemed to be holding them back: the epically-long song. It was an excellent all-around piece of art and it created a world of expectations that could not be met. Living With the Living is good, classic Ted Leo. All the familiar elements are there and while that might satisfy many fans, it's a hard pill for me to swallow considering just how much I was expecting. Perhaps this is my own flaw, but there is just something missing. While Shake the Sheets was catchy and full of energy, put simply, this album is not.

After a seemingly unnecessary intro tack, it finally starts off strong with "The Sons of Cain" and "Army Bound," and the next three tracks are good while they're building up momentum to choruses that fall flat on their faces, most obvious in the downright irritating "A Bottle of Buckie." On top of that, "La Costa Brava," "The Unwanted Things" and "The Lost Brigade" are each somewhat enjoyable for the first few minutes, but in sheer length, they easily overstay their welcome. Two of the best tracks are reminiscent of Shake the Sheets, like "The World Stops Turning" and "Some Beginner's Mind," which in my opinion, should have closed the album out and helped save itself from suicide. The last two tracks, "The Toro and the Toreador" and "C.I.A" absolutely refuse to end, together totaling nearly thirteen minutes, much too long even for people who don't have dangerously short attention spans.

In songwriting, lengthiness is not inherently evil, and I feel bad treating it so badly in this review. It is, however, Ted Leo's kryptonite and it severely inhibits his ability to write a great album, as Living With The Living clocks in at just over a ghastly hour. Take out the snoozers and you have a record that almost lives up to its predecessor, which only had one song that was over five minutes long. I also sort of feel like I'm being overly critical by constantly comparing this album to Shake the Sheets, but keep in mind that if my rating was based on this comparison, earning three stars would be the musical equivalent to getting away with murder. I do not completely dislike this album, but I know Ted Leo and the gang can do better and if they expect their albums to actually be listened to all the way through, they need to give a little more thought to their decisions, especially when they choose not to leave a few more songs on the cutting room floor.

Hot Rod Circuit - The Underground Is A Dying Breed

2007-09-29T15:11:00.000-04:00

LABEL:

Immortal

GENRE:

Emo/Rock

RELEASE:

March 20, 2007

LENGTH:

36 min 49 sec

RATING:

For much of the past decade, my impression of Vagrant Records was that every one of its bands was stuck living under that shadow of The Get Up Kids, easily the best thing that ever happened to that particular label. Throughout that time, if there was anyone fighting for acceptance by fans of that band, it was Hot Rod Circuit. Consistently one step behind the 'Kids,' they played a similar style of heart-felt, emotional music with a slight southern twang, but could never quite match the quality of their peers. Today, Hot Rod Circuit is the only one of the two still standing, so they forge ahead, attempted to create their own identity in the music scene.

With The Underground Is A Dying Breed, the band has left Vagrant Records and seem to be seeking bigger and better things. It's hard to tell at this point if they have found it, as not much had changed. The lyrical content on this album is nearly identical to their previous efforts, primarily consisting of songs about love and emotional struggle. While there is nothing wrong with that, it seems that HRC have literally run out of things to sing about and are just reliving their past with some more contrived lyrics. I could almost look past it if it weren't for the glaring weak spot that this band has had since I can remember: the inability to write any variation into their verses instead of simply repeating them. I've put up with the fact that this band can only write one verse per song for too long and I'm not letting it fool me anymore. If your songs can all be skipped halfway through without missing anything, then you are ripping off your listeners.

I was really hoping that this band could finally turn the corner and break out of their old habits, especially since I really enjoy the music on this album and the vocals are good. The lyrics aren't even really that bad, but the repetitions just drive me nuts. Unfortunately, The Underground Is A Dying Breed feels like just more of the same and while some bands can pull that trick off, Hot Rod Circuit cannot. "Stateside," the opening track and a catchy one at that, starts its chorus with the line, "as typical as it may seem," and that pretty much sets the pace. That's not to say that this album is necessarily bad, but I can't in good conscience call it great. While I admire HRC's dedication to their sound and ability to improve over their previous release, to me, this is the kind of album that is only enjoyable if you ignore most of the lyrics. Every time I listen to it I try a little harder, and with any luck, I will be able to stop cringing when I do.

Smoke or Fire - This Sinking Ship

2007-09-27T20:18:00.000-04:00

LABEL:

Fat Wreck Chords

GENRE:

Punk

RELEASE:

February 20, 2007

LENGTH:

33 min 54 sec

RATING:

After several name changes, Smoke or Fire popped up on the punk rock radar with their album Above the City on Fat Wreck Chords in 2005. While thoroughly enjoyable, the album was missing the necessary staying power of a good punk album. Additionally, their gritty-yet-catchy sound was bound to become more polished and This Sinking Ship is a shining testament to that promise. The album is full of anthemic tunes that are primarily focused on American culture, politics and everyday life, similar to the trademarked lyrical content of modern punk godfathers The Bouncing Souls, with a slightly more serious style.

"What Separates Us All" grabs your attention with a critical perspective on the divisive ideologies that grip our country, followed by the surefire pop-punk single "The Patty Hearst Syndrome," the title of which is sufficiently descriptive. There is lots of introspection on tracks like "This Sinking Ship," "I'll Be Gone," and "Irish Handcuffs," which touches on an potentially genetic desire to drink and the feelings associated with it. The difficulties of growing up and raising children rear their ugly heads in "Breadwinner," while "Life Imitating Art" takes a stab at television and advertising's hypnotic control on humanity. While there may not be a whole lot of new ideas expressed in these songs, they certainly do their best not to cheapen the existing ones and bring an always welcome perspective on life.

For those who might still be on the fence about Smoke or Fire, let me explain it like this: I like this album for the same reason that I go out and buy every Bouncing Souls record and fans of that band know exactly what I'm talking about. This Sinking Ship creates an unexplainable sense of admiration for our existence, in spite of life's endless pitfalls. I want to give this album a higher rating, while simultaneously feeling like I am praising it too much, with both reactions stemming from the exact same sentiment: put simply, it is what it is. It's not groundbreaking and to some, it may feel like more of the same, but to me, that's where it gets its charm. This is a good, catchy, reflective punk album; nothing more, but certainly nothing less.

Hot Cross - Risk Revival

2007-09-27T19:01:00.000-04:00

LABEL:

Hope Division

GENRE:

Post-Hardcore

RELEASE:

February 20, 2007

LENGTH:

43 min 48 sec

RATING:

Admittedly, I am not a devoted fan of Hot Cross. I have listened to previous efforts like Cryonics and blasphemous as it may seem to many in the hardcore underground, I wasn't really impressed. That's not to say that their music was particularly bad, but it kind of just blended together into just another incoherent hardcore sound. I'm sure it was quite an acquired taste, and maybe the poor production on their older albums threw me off too much, I'm not sure. Let's put it this way: while I didn't dislike them, I probably wouldn't have paid real money to see them live.

Now if any of that makes sense, then the exact opposite is how I feel about Risk Revival. The first thing you notice about this album is the production, which is far superior than anything Hot Cross has released before. Better yet, the vocals on this album actually sound good, as opposed to the rest of their catalogue, which suffers from today's ever-so-popular strep throat style. For the first time, you can listen to this band without it sounding like a sick person screaming in your ear. Unfortunately, they broke up soon after releasing this album, which figures because they were really starting to develop an excellent sound. I secretly theorize that the cause was that many fans of gritty-or-die hardcore complained that Hot Cross "sold out" by realizing that it's not a good thing to sound like shit. In reality, they probably just got tired, which happens a lot.

As far as this particular album goes, it's pretty solid, starting off with "Exits and Trails," which boasts astonishingly quick and ferocious guitar work, which turns out the be a mainstay for the entire forty-plus minutes. The short interlude "Resent Resist Rebuild," builds up to the thunderous opening riffs of "Fire the Foundations," a powerful stop-and-go tune. "Rejoinder," one of the strongest tacks, is followed by a bizarre, acoustic change of pace that begins "Finance Fuels The Sickness at Heart," only to be overtaken by the band's classic sound after only 24 seconds. The closer, "Scrape Wisdom," is the album's longest track, clocking in at one second short of five minutes, and creates a proper ending without overstaying its welcome.

While the shortcomings of this release are few in number, their impact is enough to lower its rating. The music is impressive, yet static at times, and the vocals lack variation and often seem like they are stuck between singing and yelling, without knowing which way to go. Despite its flaws, and while I would have been looking forward to even greater things from this band, Risk Revival is an appropriate way for Hot Cross to go out: fast, hard and loud.

Dear and the Headlights - Small Steps, Heavy Hooves

2007-09-26T21:00:00.000-04:00

LABEL:

Equal Vision

GENRE:

Indie Rock

RELEASE:

February 6, 2007

LENGTH:

53 min 11 sec

RATING:

Last year, I heard the song "It's Getting Easy" by Dear and the Headlights on their MySpace page and immediately decided that Small Steps, Heavy Hooves was going to be one of the most highly anticipated releases for me in 2007. Two seasons later, I am still listening to it very frequently and I am surprised at how this amazing band seemed to come out of nowhere. Then again, it's not too surprising, because Equal Vision Records has been releasing some of my favorite records over the last few years. Many mainstream listeners might not see Dear and the Headlights as much more than a generic indie-rock band, although it could easily enjoyed by people who like bands like The Killers and Coldplay (thankfully, I am not one them).

Some of the tracks are rather upbeat, like "Skinned Knees and Gapped Teeth," which is happily reminiscent of nearly universal childhood experiences, even for those who didn't have a glorious youth, and "I Just Do," which shows just how nerdy people can be when they're in love. Some of my favorite tracks are more poetic and somber, like "Run In The Front," "Paper Bag" and "Midwestern Dirt." The arguably catchiest song are "Sweet Talk," for which a video was produced, and the aforementioned "It's Getting Easy," although it's difficult to find one that can't get stuck in your head. The exception, of course, might be some of some of the slower songs if you're the kind of person who prefers a faster pace. There are some moments that seem to drag, and while they usually don't last too long, you might catch yourself wanting to skip a track halfway through if you don't get hooked on the repetitions.

Small Steps, Heavy Hooves set a dangerous precedent for the year in music because it came out in February and in my opinion, it left me wondering if it wouldn't still be my favorite by the time December rolled around. Much to my relief, there have been several strong contenders since then, so I feel better about enjoying an early release so much. Despite its flaws, there aren't any songs on this album that I dislike, so it's hard not to give it a perfect rating. It's not often that an album has such poetic foundations when slow-paced, yet makes me legitimately want to dance without feeling like I would be doing it mindlessly, and that's why Small Steps, Heavy Hooves is easily one of my favorite indie rock albums.

Bayside - The Walking Wounded

2007-09-26T19:40:00.001-04:00

LABEL:

Victory

GENRE:

Emo/Punk

RELEASE:

February 6, 2007

LENGTH:

46 min 12 sec

RATING:

Finding a good band on Victory Records is like looking for an atheist at the Republican National Convention. There are just a few such bands that bear much of this weight and keep the record label from being completely swallowed by mediocrity and corporatism. That being said, when one of said bands releases a new album, even the optimists among us cringe. Fortunately, Bayside has somehow managed to stay above the ocean of metalcore and create something actually worth listening to. The former Alkaline Trio sound-alikes have slowly crafted their own sound and on every album and written fewer songs about girls and misery, which is always a good sign.

The Walking Wounded picks up exactly where their self-titled effort left-off, and furthers their trend of sounding slightly more optimistic ("Landing Feet First") and less self-deprecating ("I and I"). Of course, traces of the past still linger on tracks like "They're Not Horses, They're Unicorns" and "Choice Hops And Bottled Self Esteem." The familiar mix of cliché and thought-provoking lyrics is still there, but with considerably more emphasis on the latter. One of the most outstanding tracks is the very last one, "(Pop)ular Science," referring to the sad state of the music industry and, for all practical purposes, labels like the one Bayside calls home.

In the end, you have to give them credit for managing to produce a solid record, despite making only minor stylistic changes from their previous release. Clearly, the band is looking for consistency and quality, as opposed to striving for something fresh and shiny. While you won't find anything groundbreaking about The Walking Wounded and it won't change anyone's opinion of the band, their continuing ability to stay under the radar is impressive and in most ways, this album is better than the last. The question is, can they continue to make good music with their somewhat limited formula, or if they decide to follow a new path, can they do so without succumbing to the "Victory syndrome?" To be cliché as hell, only time will tell.