Truant Wave Review

Patrick Stump is something of an interesting character, isn't he? During his time with the wildly successful Fall Out Boy, he led his group through a series of pop-punk (border on pop toward the end of their career) releases, which garnered them an explosion of attention from 2003 to 2008. Since the band's indefinite hiatus announcement in 2010, he's been working on his upcoming solo album, Soul Punk. From this release spawned the six track EP, Truant Wave which was released in order to keep the fans satisfied until he could complete his full length - and with this release came quite the surprise. The album sports a boisterous and danceable power-pop sound, saturated with synth and club-pounding beats under Stump's powerfully soulful vocals. With such a remarkable career shift from one of the most well known mainstream pop-punk front men, it will undoubtedly create quite the hype machine from his devoted fans - but does it deserve such a response?

Degeneration Street Review

Degeneration Street, The Dears fifth studio outing, is an album you've heard countless times before. During the congested fifty-nine minutes that compose the record, the group chooses from a grab-bag of genres, varying between bits and pieces of arena-rock, to anthemic indie jams, and even the occasional toe tapping pop tune. While this range of sound would be hard to pull off by even the craftiest of artists, it's the disregard for any sort of flow that presents Degeneration Street as disjointed and unorganized. This lack of focus is fairly strange when one takes a look at the group's 2008 release, Missiles, on which they created a concentrated atmosphere of dismal and somber futures. Fast-forward two years and you find a band that has somehow lost a voice of their own, and have dove head-first into a muddied pool of genre clichés and songwriting barren of any real inspiration. Degeneration Street is what you get when you scrape the floating remains of a dozen other records off the top of that pool. 

Though, credit where credit is due, Degeneration Street begins in a deceivingly great way. "Omega Dog" is, hypothetically speaking, what the entirety of the record could have been had there been any sort of consistency with its sound. Every bit of this song works together in a wonderful assembly of what went right with the band's previous effort. The screaming guitar at the end, the hushed intensity of the violins during the build up to the crescendo and the equally boisterous drumming all lend each other to Murray Lightburn's charming falsetto. Had the record followed this path in even a few more songs, it would have made it immensely more successful - however, just as track two begins, we're introduced to another band. The undeniably Arcade Fire influenced "5 Chords" screams everything about this record that needs to be said. From the out of the blue tonal shift from track one, to the contrived rising and falling from verse to chorus, The Dears kill the success of track one and begin to bury it with each track from there onward. 

From sightings of Radiohead and The Killers, to frequent glimpses of TV On The Radio, it's simple to see what went wrong with Degeneration Street. In a record riddled with repeated chorus after repeated chorus, paired with the unused sheet music of every prominent indie artist in the scene, The Dears anchor themselves to the bottom of the indie scene where they could be swimming victoriously. For every nearly impressive moment that they pull off, there is another uninspired shot at success that drags it down by the ankles. 

The Cold Still Review

The Boxer Rebellion are the metaphorical pebble trying to make tsunamis in the massive ocean that is the current alt-rock scene. With their third studio release, The Cold Still, they invest all of their creative gusto to import influences across the gamut to ultimately attempt to craft a sound of their own. With each unavoidable comparison to groups such as Radiohead or even U2, they struggle to make their voice loud enough to penetrate the critics who claim they're riding coattails. However, with each haunting crawl and creep coalescing with each booming crescendo throughout the relatively short duration of The Cold Still, they show an undeniable potential that is surely ready to be unleashed. Unfortunately for The Boxer Rebellion, this budding talent has yet to reach its full growth, and thusly we're given an album that is, for all intents and purposes, another stepping stone for a still blooming alt-rock group.

As Nathan Nicholson's vocals anxiously repeat the chorus of opener, "No Harm", he also introduces the overall atmosphere of the record. Within tracks such as "Step Out of the Car" and "Caught by the Light" he creates a variety of different moods that seamlessly tie back to a frigid, foggy backdrop for his lyrics to float upon. Unfortunately all of these must come with the comparisons to several tracks of similar bands, but are undoubtedly performed well in their own element. Luckily for them they prove their creative worth several times throughout the record, even producing some truly engrossing tracks such as "Both Sides Are Even". It utilizes the classic buildup and hits a wonderful crescendo, making for one of the most memorable tracks of the record. Had The Boxer Rebellion hit such highs as found in the gems of the record, they could have made a remarkable record - and although they hit the nail on the head several times, they never quite hit the pinnacle of what they're seemingly capable of.

While their influences crowd the record in a fairly noticeable manner, The Boxer Rebellion show that they're capable of moving into their own voice. They vary their style in an impressive manner throughout the album, with memorable crescendos and a well-maintained atmosphere paired with consistently smooth instrumentation and vocals to match. As they slowly get their bearings with The Cold Still, The Boxer Rebellion mostly do what the album title suggests by maintaining a mostly cold atmosphere and doing little to vary from it. A little simplicity goes a long way, but a change of pace for this band would not do them any harm.

Barton Hollow Review

The Civil War's highly anticipated debut LP, Barton Hollow, arrives just in time to capitalize on the season that fits its moods most accurately - winter. The timid plucks of the acoustic guitar paired with the breathy, soulful voices of the vocal duo Joy Williams and John Paul White encapsulate the season with a stunning precision as they volley between a simplistic folk facet and an underlying soulful country presence. It's this tip-toeing between genres that allows The Civil Wars to experiment in their myriad of techniques in order to convey what they do best - and that is writing music.

Atop their wispy and flowing music in the opening tracks of the record, they croon their poetic romanticisms on superb tracks like "I've Got This Friend" and "To Whom It May Concern" which will either split your heart in two or leave you chagrined that you're listening to such cutesy tunes. The pair work wonderfully together as their contrasting vocals hit perfect harmony occasionally, with White's gruff deliveries mixing with Williams' soft-as-silk vocalization to a surprisingly effortless success. It's in these soft moments that they slowly build up to the climax of the record, "Barton Hollow", which hits with a sharp intensity as they stir in hints of rock with their decidedly simple folk backbone. The pair's singing of "Won't do me no good washing in the river/Can't no preacher man save my soul" is another example of how well they mix together with their contrasting accents and vocal tones, but still finding a way to make it sound completely natural.

After the explosion that was the title track, the album simmers down to a musical interlude as the haunting "The Violet Hour" moves with a soothing eeriness as a cello hums in the foreground. Even with the absence of Williams and White, they contain the chilled atmosphere in the most layered and musically adept song on the album. They show enormous strides throughout this record as it progresses, which hits a small stagnancy as the few tracks before the conclusion mull along, but still they end with a satisfying number. "Birds of a Feather" is the one song that can describe everything that The Civil Wars has to offer to the world of modern folk music. It sways and swells with the group's customary vocals and simplistic chord progression, but still manages to remain absorbing as their lyricism ends the record on a remarkable note. With Barton Hollow, The Civil Wars live up to every bit of hype that arose prior to its release and imprint some incredible tracks onto their resume as their career begins with a bang. Not only are they a group showered in praise, but also they're a group that deserves that praise. And that, ladies and gentlemen, is the real payoff of Barton Hollow.

There Are Rules Review

It must be a difficult task for a band to ask themselves just how long they can keep up a certain style or demeanor when it comes to how they make music - and for The Get Up Kids, it seems they did this long ago. Upon the release of their 1999 critically acclaimed LP, Something To Write Home About, they were the face of catchy and innocent pop-punk, and for good reason. They displayed the ability to not only craft fun and memorable tunes fueled by a nostalgic energy, but to sustain it for an entire record and not just pump out a few singles and call it a day. However, one must wonder how long they could have kept that up. What's the shelf-life of innocent pop music when bands appear out of the mist to ride off your coattails? And to answer this, they released their 2002 LP, On A Wire, which stripped away elements of pop-punk and replaced it with a new, slightly more grown approach to what they established on their previous outing. They built upon this sound until their eventual break-up in 2004 and since then they've poked their heads out of their holes to release a teaser of an EP just last year, and now their long-awaited return, There Are Rules. 

With their return, The Get Up Kids make it clear that they're not quite the Kids we once knew, but aren't entirely different either. Throughout the record we're introduced to a new, slightly more powerful version of the melancholic boys who produced their first four records. Beginning with the quick and strong "Tithe", which flows intensely with its distorted guitars and thick bass lines - which remain a prominent feature throughout the record - they teeter on the edge of their previous veneer with a newer, nearly-punk sounding performance. Matt Pryor's often belligerent vocal work is what sets the group apart so clearly from their previous work. He shouts with a powerful intensity, but can still restrain himself for the poppier tracks such as "Shatter Your Lung", which again features the prominent bass beautifully. It comes with no surprise how versatile the group is during several moments on the record, as they've tested the waters of their capabilities over their four previous LP's, however during several moments on the album they seem to rely too much on the gritty sound they utilized superbly on other tracks, bringing their momentum down to a slow drag.

While several moments during the course of the record can take away from the overall enjoyment of The Get Up Kids' return to the studio, they ultimately deliver with a fun, energetic, and fresh album to please long-term fans and usher in a new sound for themselves with only a few glaring flaws along the way. The drab, boring feel of "When It Dies" and "Keith Case" bog down the last tracks of the record, but never entirely let it sink. It would take a lot for The Get Up Kids to make a bad record, and fortunately for them they haven't done it in their fourteen years in the industry.

Outside Review

Outside, Tapes 'n Tapes third studio album, is kind of like that really annoying friend that you only keep around because every now and then they do something interesting that will make for a good story later on. For every fun and catchy moment on the record, there's another typical and outright boring match for it waiting on the next track to make you forget what made you enjoy the last - and it's only in those rare enjoyable moments that Tapes 'n Tapes show their real potential. Hiding behind the bells and whistles that saturate most of the record in a vain attempt to make it slightly more interesting, there is a band that really wants to make music for an audience, but something is holding them back. 

The groups' forty-five minute LP starts with "Badaboom" a quick, enjoyable track not too uncommon on many indie-pop records present in today's congested scene, but soon afterward it begins to decline into an uninspired, dragging record that only slightly keeps its mouth above the water to sustain a little life. For the first five tracks, Tapes 'n Tapes do a fine job of sustaining the energy that many indie-pop bands thrive upon, producing some very fun and memorable songs such as the toe-tapping "SWM" or the delightfully boisterous "One in the World" which introduces horns and subtle chimes to the mostly stagnant musicianship. However, once "Outro" ends and "Freak Out" begins with its deceivingly upbeat guitar licks, the real feel of the record begins to show its face. The lyricism which was nothing to write home about to begin with, paired with Josh Grier's dull tone over the desperately energetic music makes for a falsified sense of liveliness and soon the album lies itself down in its own grave holding a bouquet of clichés. It abuses the inspiration of bands such as Phoenix or maybe even a pinch of The Killers in order to lazily stride past any worthwhile lyricism or memorable moments past the first few tracks. 

To the group's credit, they decently begin and even end the record in a memorable fashion, but what lies in between is forgettable at best and makes no real effort to display any of the band's talents - and they certainly have them. If the record were more devoted to the energy and stylish charisma of the beginning and ending tracks, then it could easily be one of the most enjoyable records to start the year off - unfortunately, that road wasn't taken. It's adequate for the singles that could come from it, but for what's leftover, it's nothing short of an uninspired, boring clutter of a record. There are the catchy drum patterns and the slick guitar riffs, as well as the damn good bass lines in several tracks, but the droning feel of the last half of the record simply can't compensate for what lacks in both lyricism and creative effort. Perhaps it would be best to not cross our fingers for a fresh approach to indie-pop in 2011.

While We're Young Review

It's odd how appropriate the album art for Pegasus Bridge's debut LP, While We're Young is. The young boy wearing the get-up of a full grown business man is almost a self-aware message of what's to come from the record - a mostly young band trying to show themselves off as seasoned veterans in order to get their name into the industry. They wear a indie-pop veneer akin to that of a watered down version of The Killers but with a lot less gaudy theatrics to make themselves an easier pill to swallow for newer audiences. As unappealing as that may sound they manage to not break the barrier between catchy pop music and unbearably polished radio-electronics. For the first track, "Like Dogs", we receive the utilization of the classic clap-along beat to hook us and an explosive chorus to reel us in. The tried and true methods of former British indie-pop groups both help the group establish their voice, while ultimately bogging them down with their lack of variation and unwillingness to try anything fresh or unique. For a debut LP, While We're Young is everything that Pegasus Bridge desires it to be, but never quite reaches the heights that the band seems capable of.

But in a scene so easy to please, what sense does it make to try to break the mold? They provide the energy and the catchy tunes to make radio stations jump all over them, as well as a young luster to make them a band young listeners pine for. With the electronic fueled energy of "Ribena" (paired with an acoustic version for the sake of filler) sure to be a hit, along with the sing-along appeal of "Yoko" (also paired with an alternate version), there is a definite appeal to the group in terms of just pure fun, but the lyricism leaves much to be desired. The snappy drum beats and swift guitar licks try their best to make up for lines like "She gets jealous when I'm away/I've got nothing else left to say/Yoko Ono" but unfortunately fall very short. As much as the catchiness of While We're Young begs to be embraced, it barely holds its own in the overwhelming number of bands trying to do the same. However, there still remains potential for the young band, so here's hoping Pegasus Bridge takes up the challenge. 

Brother, Sister Review

While I myself am not a religious man by any stretch of the imagination, I always find myself running into more and more Christian bands that catch my attention. It began when I first started to expand my musical tastes with Underoath. Their album "They're Only Chasing Safety" was wonderfully catchy and had some great lyrics, but not once did it seem like the Christian themes were overly present. I was honestly surprised to be so interested in something that I figured I would dislike off the bat since I'm not exactly warm to the whole "religion" thing. From there I looked more into the genre and found some shockingly great bands, not all necessarily having the same style. But it wasn't until I fell in love with an album by Pennsylvania's mewithoutYou that I realized that the genre can be not only endearing, but absolutely beautiful with it's religious themes.

Even as somebody with an extreme disinterest in the ideals, I was immediately infatuated with mewithoutYou's third studio album "Brother, Sister". They take a step forward from their previous work and incorporate new sounds and instruments to add to the overall feel of the record which shifts speeds and intensity as quick as Aaron Weiss' singing does. Take the tenth track on the record, "In A Market Dimly Lit" for example. At first, it's simply Aaron weakly singing with various instruments softly playing in the background until just after he says "The needles worn the grooves too deep..." where the song explodes into cymbal crashes and Weiss shrieking. It catches you completely off guard but is perfectly done with Aaron doing some of the most impressive emotional singing to be heard on the record. Weiss' vocals sincerely display that raw anger and desperation many times throughout the course of the record.

The softer songs of the album can be referred to as the Spider trilogy since, obviously, they all refer to a different colored spider. Each of the songs are unique in their own sense, despite the fact that they all use the same guitar pattern. The accordion used on "Yellow Spider" is one of the many examples of the different instruments strewn in with the basic band instruments. There's trumpets, harps, accordions and pianos among the drums and guitar which makes each song unique in it's own way aside from Weiss' incomparable lyricism. He uses brilliant metaphors and several bible references in order to paint a picture that is never what it appears to be on the surface. On "O, Porcupine" is where you'll find some of the most memorable lyricism on the record. Aside from the catchy drum beats and guitar riffs you're given wonderful imagery and intelligent wording that Weiss shouts with the perfect amount of intensity and emotion.

"O' Porcupine low in the tree/Your eyes to mine/You'd be well inclined not to mess with me!"

The light rainfall heard in the background of the opening track, "Messes Of Men" immediately introduces a dark environment to the listener. The atmosphere is delicately accentuated by the slow guitar and Weiss' softly spoken words until finally the song breaks into faster paced guitar and drum and Weiss' volume and desperation increases. This song, unfortunately, holds most of the atmosphere on the record -- The rest relying on Weiss' singing and the music; which are both great in their own regards. This is only a small downfall of the record, although it does keep it from reaching a "classic" status with me. Had the atmosphere for the majority of the record been established more effectively it would have been an absolute masterpiece.

The album concludes on a strong note with "In A Sweater Poorly Knit". It takes everything that made the last twelve songs great and captures it in a single track. Weiss' lyricism is at top-strength here with more clever bible references and his wonderful use of metaphors. It ties back into the opening track with it's repetition of "I do not exist..." which if taken with the first lines of "Messes Of Men" it makes an intelligent reference and makes you think back to the start of the record, and always makes me want to start listening again from the beginning. Weiss' singing over the soft playing of the harp makes this one of the more musically beautiful on the record.

Whether you're heavily religious or a more spiritually laid back person, you will find something to enjoy on "Brother, Sister". Enjoy intelligent lyrics riddled with metaphors? See "The Dryness and The Rain". Enjoy atmospherically dark and intense music? See "Messes of Men". Enjoy impressive musicianship and incorporation of various instruments to create a wonderful backdrop? See "In A Sweater Poorly Knit". Enjoy all of the above? See mewithoutYou's album "Brother, Sister". It will be one of the best post-hardcore listens you'll have and will have you enjoying it for hours upon hours.

Here, Hear. III Review

La Dispute's shockingly brilliant first release, "Somewhere At The Bottom Of The River Between Vega and Altair" made a substantial impact on me -- And I wasn't the only one. With Dreyer's wonderful writing and passionate singing he captured the attention of many hardcore fans and even some people who weren't too interested in the genre (Me). In no time I was pining for more of the band. I searched to see if they had any earlier material, and to my surprise they actually had three EPs released, "Here, Hear. III" being the freshest. With eager anticipation I quickly nabbed it from the site. I was excited to hear more of the hardcore greatness that I heard on "Somewhere...", but to my surprise what I heard was something completely different.

Within seconds of listening to the opening track you'll notice that the sound is a massive step in the opposite direction of what we've come to expect since "Somewhere...". "nine" begins with the slow sounds of a soft breeze and dull synth, creating a dark and soothing atmosphere. Once the first strum of the guitar comes in, we're introduced to Dreyer. He's replaced the whiny wailing we've grown accustomed to from his last effort with a smooth, breathy tone which contributes to the songs tranquil mood. The song flows along, increasing the volume and adding more sounds while we hear that Dreyer hasn't lost his touch as a writer. He gives such vivid imagery while at the same time maintaining the sad, dark vibe established by the music in the background. This song could easily trump one of the weaker songs on "Somewhere..." with how well the atmosphere is created and held.

"We'd throw our bottles from the rooftops/At this city - it looked endless/Guess I still don't see the difference between real purpose and that urgent adolescence"

"ten" is another tranquil song, being carried along by an acoustic guitar and Dreyer's spoken words. On the first few listens this song sounded slightly corny, but it grew on me. Something about how it progressively grows more intense really captures the essence of La Dispute. They maintain a slow, quiet mood until the final verse where the electric guitar makes it's appearance and we're given Dreyer's desperate screaming once again -- And it works to absolute perfection here. It exposes what the beginning of the song for what it is with it's repetition of "It doesn't bother me at all" -- It's a clever twist on the lyrics by showing that the first few verses were actually the faux thoughts of a desperate man. The style in which this is done is so beautifully clever that it almost catches you off guard when the screaming kicks in. It feels like a quiet, peaceful song; And then in no time it's a passionate plea for help.

"eleven" is a slightly faster moving track, but the desperation is still present. Dreyer sings quickly with his slightly whiny voice as the solid lyrics progress with the guitar. It's not quite up to par with the previous two tracks, but it's still an enjoyable listen. "twelve" is a surprisingly poppy song, with it's high-pitched guitar and Dreyer singing slightly above the droning tone from the first two tracks. The lyrics are soothing and beautiful, and match great with the tone that the music develops.

When looking back at "Somewhere..." it's hard to think that La Dispute could make such a drastic change of tone here. They went from fast, intense music to slow, passionate songs that perfectly show how skilled they are at creating vivid atmospheres. There are few things to dislike about "Here, Hear. III", with Dreyer creating some of his best work. They show such great potential as a group and I have no doubt that they'll keep up the trend. Some fans of their previous album may be confused upon first listening, but it takes little time to adapt and appreciate the change.

Goddamnit Review

One album I will always associate with pop-punk greatness is Alkaline Trio's first studio release, "Goddamnit". The band's lineup at the time of recording was Matt Skiba, Dan Andriano, and Glenn Porter (Who would later leave the band). Together they created a thrashing, catchy and raw album that caught the attention of many with its intelligent lyrics, speaker shattering guitar work, and addicting choruses. Although the record is relatively short, coming in just over thirty minutes, it's full to the brim with everything you'd expect from a great punk album and more. Sit down with your expectations high -- Or maybe even a head full of anger and a shattered heart for an intensified experience -- and be ready to experience Alkaline Trio at their best.

The opening track, "Cringe", wastes no time with a subtle introduction. Within seconds we're plunged from silence into a delicious mess of guitar, bass and drums. How better a way to start an album then immediately diving into the grungy display of Matt's scratchy vocals, the quick, but repetitive guitar work and Dan absolutely shredding on the bass? This would soon be known as the Trio's formula for each catchy song they've produced over the years and it works fantastically throughout all of "Goddamnit". From there we're taken to our next number which begins appropriately with police sirens, pounding drums, a great bass line and a distortion-laden pick slide. "Cop" is another quick, addicting song which again shows how great the Trio are at what they do. Matt's voice is clean and sings his ever-clever lyrics with an intense anger that he performs so perfectly. This style is repeated numerous times throughout the record, but never once does it feel stale. It's always an invigorating listen, especially when you're angry and feel like screaming at the top of your lungs, the Trio has a style with angry songs that is always flawlessly executed.

Among the fast-paced angry numbers there are also the emotional tracks, which are just as good, if not better in their own respect. "San Fransisco" shows us Skiba at his best. The heart-wrenching lyrics about his homesick feelings for his hometown give us an insight to his emotions that is rare to see so vividly in music today. His voice is just the perfect intensity to show how truly heartbroken he is and how raw the passion for what he's singing is. Skiba appears with another emotional song on the album's acoustic conclusion, "Sorry About That". Here we're shown again that Skiba has a soft side outside of the songs about drugs and anger. The vocals are flawless once again for what he's singing. He really has a way with letting his emotions flow out through his music.

I'm of course not forgetting another key player in Alkaline Trio's success on this album. Dan Andriano is ever-present with his gruff bass shredding on each fast-paced song, giving us wonderful ear candy when he's not being drowned out by Skiba's relentless guitar. He first appears as vocalist on his slow, emotional number, "Enjoy Your Day". Although this track slightly dulled the pace that was set up by Skiba's previous tracks, it is still a great, emotionally vivid track. Andriano, much like Skiba, wonderfully portrays his emotions through his singing. Each note stings with an obvious sadness that only Andriano could make you feel. The next track we hear him on is his faster number, "Message From Kathlene". Though not as emotionally effective as his last, this is still a solid track; His bass prominently appearing with a sweet line throughout.

During the course of the album we're shown Skiba's intelligence as a writer. He gives us wonderful metaphors (Mostly focusing on drugs and alcohol) and witty quips which set him apart from many of his punk competitors. On songs like "My Little Needle" and "As You Were" he gives us the insanely catchy rhythms along with his clever writing to create some of the best tracks on the record. On the other side of this, Andriano's writing isn't nearly as cryptic but is still effective in it's own regard; though you can't say he had as much of a chance to have an impact with only 2 tracks to himself.

"I'll come down and get you high/Or maybe sing you a lullaby/Sing you to sleep, a sleep you'll never wake from/Sing you to coma so to speak"

For the Trio's first full release this is an absolutely superb effort. We're served wonderfully rough, emotionally fueled songs from start to finish. It has an almost unstoppable pace, only losing momentum a few times along the way, making this an album to easily become entranced in. This will remain one of my favorite pop-punk albums available and would highly recommend it to anyone who is at least slightly interested in intelligent writing, gruff music, and of course those ridiculously catchy rhythms.

This Addiction Review

Since the release of their 2008 record, "Agony & Irony", Alkaline Trio has undergone several changes. The punk group originating from Illinois have taken on their own record label, Heart & Skull, leaving behind their major label, Epic, as well as making a so called "Return to roots,". Whether this self-proclaimed resurrection of past styles is legitimate or rather a ploy to bait in older fans lies solely in the music of their newest release, "This Addiction". There was plenty of build-up for the album, vocalist and guitar player Matt Skiba stated several times that this record would be reminiscent of their earlier work. They even went as far as to return to the recording studio used for their first full length album, "Goddamnit". Is this truly a return to punk glory for the trio? Let's observe their latest creation.

As the album starts we're immediately introduced to the first single of the record, also being the title track, "This Addiction". This is the quintessential song to show the bands (Somewhat) return to their former sound. It has everything you've come to expect from Skiba -- Drug metaphors, catchy rhythms, and some simple guitar chords to string it all together. There is no denying this song's catchy factor; It's simple and addicting (pun very intended). Along with that, it also shows Skiba's repetitive and dare I say laziness as a writer on this album. The drug metaphors are nothing new -- Any Trio fan having come to expect them -- But these lack the cleverness we've also come to expect from him. This is seen once again on the third track, and Skiba's second of eight songs on the record, "Lead Poisoning". Besides it's sickening catchiness, and the surprisingly great use of a trumpet, this song is nothing special. Using the common broken-hearts, bitterness, and death filled lyrics to a catchy rhythm that can be found in almost any Trio song to bring forth an almost solid track; If only the lyrics had a bit more substance.

"Sobbing softly, lost and hollow/This fevered dream, tough pill to swallow"

The way I've introduced this has brought us to a shaky start for the record, but it's not all bad news. In fact, there are indeed some solid tracks delivered by Skiba. The fifth track of the record, "The American Scream", is a good song about a soldier's suicide after his return from Iraq. This is possibly Matt's best on the album, portraying the situation successfully with his descriptive lyrics. The next Skiba song that caught my attention sounds as if it could be a missing track from his side project, Heavens. "Dorothy" is incredibly reminiscent of "Anabelle" from Heavens' 2006 release "Patent Pending". I suppose you could say that about just any song by the Trio that includes a female name in the title, though.

I feel like I'm missing out on something here... Oh yeah! Dan Andriano! He's on the record too! With a whopping three songs out of the eleven on the album I almost forgot about him. Though, that isn't to say that his songs were forgettable -- In fact they were far, far from that. Andriano presents some of the best songs on the record, and I hate to admit it, but I don't think the album would have been half as good without his contribution. The second track is where we first hear Dan on lead vocals. "Dine, Dine My Darling" is a catchy song with good lyrics and, of course, Dan's wonderful vocals. He sounds consistently crisp throughout the record, which is refreshing with eight tracks of Skiba's not-so-savory pipes. Four tracks later Dan shows up with "Off The Map", another great song which has seamless flow and is one of the catchier tracks.

"I loosen my lips and the truth slips out/A free ride on a forked tongue/This twine of trust is unspun"

As the conclusion, and best song on the record, we are served Dan once again. "Fine" is possibly the best song Dan has written thus far. The ability to make a song extremely emotional, cleverly written, and catchy all at once is something that the Trio has perfected. Of course, you must compliment Andriano's vocals once again, showing that he is indeed the star of this album. It gives us a wonderful conclusion to a record that I was iffy about during the process of listening to, almost redeeming some of the mistakes on earlier tracks. This will no doubt be a fan favorite, and will be on repeat for me for quite some time.

"If I'm the captain of this boat then all my shipmates are fools/And all the stars in the world couldn't help me steer my way out of this kiddie pool"

I'd say this is a decent record at best. There are blatant weak spots brought by some of Skiba's weakest writing thus far -- And there are some high points, brought by a few Dan songs and the addictive factor of Matt's. Is this a return to former glory? I wouldn't say that at all, but it's a definite nod to their older material. It's a fine effort, but not quite up to par of what the band is capable of. Is it worth your money? Yeah, I'd say so. It has plenty of catchy songs and singalong chorus' to keep you humming them for a while. For older Trio fans, I'd say check it out. And, of course, if you've never listened to the Trio before. What are you waiting for? Seriously.

Somewhere At The Bottom Of The River Between Vega And Altair Review

It's a rare occurrence when I listen to an album obsessively for months and it still holds that initial magic for months afterward. It is also interesting that this should happen with an album spawning from a genre I've never been entirely fond of. They call it "Hardcore", and I've had a small relationship with it. I've always seen it as just noise, admiring very few bands that represent it. The screaming over the sometimes suffocating guitar riffs and pounding drums always gave me a headache, but somehow this little-known band from Michigan flipped that formula on it's head for me.

La Dispute's first full length album Somewhere At The Bottom Of The River Between Vega And Altair, had a shaky first impression with me. Lead vocalist Jordan Dreyer's whiny singing was a turn off for my ear drums and I felt like it took away from the very solid lyrics. My dislike for his style soon faded after only a few listens of the opening track Such Small Hands, which is where the storyline for this record begins, and it is a great story indeed.

Throughout the album we're taken through a rollercoaster of emotions such as anger, depression, desperation and eventually emotional triumph which all loop around a story of a swiftly failing marriage -- Each of these emotions being perfectly portrayed by Dreyer's shrieking vocals. The third track of the album, New Storms For Older Lovers, displays such vivid anger that you can truly feel the narrator's troubles seeping through your speakers. This was one of the initial appeals of the record; how emotionally driven every song is.

"I have half a mind to make you hurt/To make you bleed, to make you suffer/I swear if you touched her/Oh, heaven forgive what I would do to you"

The true beauty of the album is how the narrator's struggles are shown through sometimes brilliant metaphors and clever lyrics. It's obvious that an immense amount of thought went into each track, which I believe separates it from its genre predecessors. This gives the album a wide appeal -- Even if you're not interested in the style of music, you can still appreciate the great lyrics. Bury Your Flame, brings both catchy guitar rhythms and impressive metaphors, being a prime example of the album's intelligence.

"We held a match to keep our sight on the path/But the flame gave up and we lost it/And I've knelt for the last three years/Trying to find it back with the blackened matchstick"

Another impressive feature of the band is how it can seamlessly switch between flowing guitar into intense riffs and vice versa. This being perfectly displayed in The Castle Builders and Damaged Goods. It's simple things like that which sets this album apart from others in the genre, they refuse to stick to formulaic Hardcore themes. When things begin to feel stale it's switched up in the next song, making no two songs sound alike; which is something to admire.

Perhaps the most intense song on the record, The Last Lost Continent, plays for just over twelve minutes and is the essential song to tie everything together. It encompasses every bit of anger shown elsewhere on the record perfectly. Dreyer's vocals really shine here; every line dripping with emotion. And of course it doesn't abandon the sharp lyrics that have been consistent throughout the record -- I'd even go as far as to say that it has some of the best on the album, bringing an inspirational touch as we see the narrator's acceptance and eventual overcoming of the situation.

"Oh, how selfish of myself/To always say that it was more than I could take/Like it was pain I couldn't shake/Like it could break me with its fingers"

La Dispute brings an interesting offer to the Hardcore genre. Not only do they have consistently great lyrics, impressive musicians and a great, emotional vocalist, but they don't get old. Between Vega and Altair has been ear candy for me for months and I don't see it getting old any time soon. Something appeals to me in the band's skill and I honestly hope they make a name for themselves. They definitely have the talent.

The Ugly Organ Review

There's something about an angry singer singing angry lyrics angrily that appeals to me. Tim Kasher of Cursive seems to be a perfect example of this in the band's fourth studio release, The Ugly Organ. Throughout the album we're shown themes of anger, spite and emotional drainage, all perfectly wailed by Kasher's appropriate vocals. Much like my previous Radiohead experience, this is the first time I've listened to the band. They without a doubt delivered a solid first impression.

The first track that really captured my attention was The Recluse, a flowing song about sex and desperation, and a perfect example of the band's sound on this record. Kasher's desperate words falling off the tip of his tongue over the cello of Gretta Cohn simply oozes emotion, making it one of the best and most memorable on the album.

"And I can hardly get myself out of this bed/For fear of never lying in this bed again/Oh Christ, I'm not that desperate/Oh no, oh God, I am"

What I find to be unique about the album are the interesting things added in, like the Pinocchio narration voice at the end of Butcher The Song and the beginning of Driftwood: A Fairy Tale. It adds a creepy and theatrical feel to the two tracks. Along with that, I'm new to the thought of a cello and an organ mixed with guitar and percussion, but it works seamlessly and adds a necessary element to the album.

An ever-present theme of the album is Kasher's anger towards the record industry and the pressure put on him to deliver greatness with every album. The theme is perfectly portrayed on the second track, Some Red Handed Sleight Of Hand, where he pinpoints that he can hide nothing from the audience, as it always appears in his lyrics. The precise display of his overwhelmed head makes this another great track on the record. Along with that, you get to hear some serious shredding on the cello.

"So why do I think I'm any different?/I've been making money off of my indifference"

At the end of the anger and desperation filled tracks of the record, we're served a bit of optimism. Staying Alive, playing for a little over 10 minutes, shows us the narrator's push through everything that's held him down. This is a spirit lifting song, and I think the perfect end to an album such as this; however excessive the length may be. Once the chorus of singers begins their doo-do-doo's, it feels like a choir of hope, and it sounds great.

In a conclusive statement, I'll say this is a very good album. It has its weak spots, but they are few and don't bring down what the other tracks have to offer. A beautiful cacophony of Kasher's voice, a cello, and some wonderful guitar and drum are what you'll get from The Ugly Organ, and I enjoyed nearly every track. This should definitely be on your list of albums to pick up. It's an interesting and enjoyable experience.

OK Computer Review

First impressions have always been a difficult thing for me when it comes to music. Sometimes I'm immediately hooked, sometimes I'm skeptical, and sometimes I completely hate it. I'll admit, this is the first time I've listened to Radiohead, and they made a great first impression. OK Computer is Radiohead's third studio album, and their most successful and critically acclaimed. So obviously when I sat down to listen to the record, I had high hopes; however hard I tried to keep my head above the hype. How could I not be excited to hear one of the so called best albums of 1997? Disappointment was nowhere to be found in it.

Upon first listening of the second track, Paranoid Android, I noticed how unique this band's sound was. It's incredible how every little sound adds to the overall feel of the song, giving it depth and atmosphere. The lyrics really give you something to think about (Which I love), compelling you to scrutinize them; pick out what it might really mean. The mysterious lyrical trend is consistent throughout the record, which I believe is one of the standout successes of it.

"Ambition makes you look pretty ugly/Kicking, squealing, Gucci little piggy"

Perhaps one of the eeriest songs I've heard in a long time, Fitter Happier, may catch you off-guard with a robot voice (The same voice that can be heard in the background in Paranoid Android) spewing the thoughts of a man stuck in a formulaic life. Though it is simply a robotic voice speaking, it feels like you can hear the desperate cries of the man. It's truly something to admire when words, spoken through what sounds like the default voice of a Mac, can make you feel uneasy. From the end of that track we're transitioned into a harder rocking song compared to the previous. Electioneering presents a perfect satire of modern politicians, presenting the sometimes savage nature of elections.

"I will stop, I will stop at nothing/Say the right things when electioneering/I trust I can rely on your vote"

No Surprises comes in as another one of the eerie, yet beautiful songs that this record is mostly composed of. Thom Yorke's voice in this song adds just the right tinge of emotion to make it really stick. It's a tale about a man desperate to live a quiet life, through means of suicide. This could very well be considered the best song on the album. The way Yorke can make a song about suicide sound almost comforting is remarkable.

"I'll take the quiet life/A handshake of carbon monoxide"

Among the unnerving songs there are also a few sprinkles of uplifting attitudes. The first track of the record, Airbag, tells the story of a man reinvigorated with life after surviving a car crash. This song can really pump you up with Yorke wailing lines like, "In an interstellar burst/I am back to save the universe". I mean, how can you not feel invincible when you're singing that in the shower? The eleventh track, Lucky, is a slower song, but still has lyrics set to inspire. A man feels saved by his love, like she pulled him from his deathbed. Though the tempo is slow and the vocals sounding almost desperate; the way this song portrays the man's optimism is beautiful.

"I don't have time for him/It's gonna be a glorious day/I feel my luck could change"

Through 12 tracks of music, only one falling under the 3 minute mark, you'll find that the brilliant writing of one man can really engage you as a listener. Yorke's lyrical and vocal style was a new experience for me, and at first I wasn't sure if I'd like it. After sitting and listening -- Really listening -- I found this album to be exceptional in the way it conveys the story of each song in a cryptic and elegant manner. The lyrics are obviously the high point of this record, if I didn't stress it enough. For my first Radiohead experience, I don't think they could have made a better first impression and I'm excited to hear more of their work. Definitely check this one out.

My Dinosaur Life Review

A little over two years since their last release, the Minneapolis pop-punk powerhouse group, Motion City Soundtrack, returns with a bang. Mark Hoppus of Blink-182 has returned to the producer seat, having also previously worked with the group on their sophomore album, Commit This To Memory. Onto their newest creation, entitled My Dinosaur Life. What does that mean? I have no idea, but it sounds pretty rad. Nevertheless, ladies and gentlemen, I give you My Dinosaur Life.

The moment the drums and guitar really kick in on the first track, Worker Bee, you know this is a new band. They've strayed from the synth-pop sound of their previous albums into a more stripped down sound, emphasizing the instruments and Justin Pierre's voice over the Moog. His deeper, more focused vocals add an almost mature sound to the album; however cheesy some of the lyrics may be. A perfect example of said vocals come in on the second track, A Lifeless Ordinary (Need A Little Help). He switches between a low, almost melancholy tone to a higher, more emotionally driven sound seamlessly.

The third track of the album, Her Words Destroyed My Planet, chronicles Justin Pierre's progression through a negative relationship to come out of it better than before. I think song is the essential song that portrays Motion City's progression as a band. This of course doesn't suggest that they've completely abandoned all the things that they've been loved for since their debut album, I Am The Movie. For example, the eighth track of the record, Pulp Fiction, has more keyboards then every other track put together, along with lyrics that I couldn't interpret if I studied them for hours. In essence, the Moog synthesizer is still there, just cleverly hidden.

"Sold my XBOX to Jimmy down the street/ I even quit smoking weed."

If you think you can get by with listening to this album a single time, you're terribly wrong. Nearly every song has catchy elements to it. Whether it is the chorus, the bridge, or just the rhythm, you'll be humming along through 12 tracks of fun music. A fine example of this would be @!#?@!, however you may pronounce that. Even with its silly (And explicit) lyrics, you're still compelled to sing along.

"You all need to leave me and my sensitive homeboys' alone."

My standout favorite would definitely be Stand Too Close. This is obviously a very personal song for Justin. He simply pours himself into the lyrics and his vocals portray just as much emotion. He continues this style in the song Skin and Bones, where he simply questions the meaning behind everything. "What if there's nothing more to me?/I'm just skin and bones, there's no mystery." Everyone has asked that at one point or another, making this song very relatable.

The pace of the record never seems to ease up, always keeping your attention. Just how it started, the album concludes strongly. The Weakends begins with a slow melody and transitions into crashing drums and guitar, and then slows back down as Justin begins singing. This is a fantastic end to the album; another strong, emotional track that Motion City seems to enjoy slipping in every now and then. My Dinosaur Life has your essential Motion City needs, catchy tunes, nerdy but meaningful lyrics, and of course Justin's impressive vocal box. This is an album definitely worth your $10, as well as their previous albums. Motion City Soundtrack never fails to deliver.