The Almost - Monster monster

'Monster monster' is the sophomore album of Aaron Gillespie (Underoath)'s side-project The Almost. It can be considered as the full band's first actual release as the frontman wrote and recorded all the songs himself on 'Southern weather'.

In my opinion, this album will divide fans. On one hand, 'Monster monster' is the continuation of its predecessor. We're being served with a bold alternative rock with a strong southern touch. Tracks like 'Monster monster' and 'Get through' have this rough "desert rock" sound, taking you to the American depths, surrounded by dust and rocks. The Almost clearly have a rock sound in the traditional meaning of the term. On the other hand, they've decided to slow down the pace and the album lacks the debut's urgent and fast songs. That doesn't mean some tracks aren't enjoyable, 'Young again' (mostly for Gillespie's vocals) or 'Want to' (the fact that its screamed break is the only one on the album makes it very pleasing) retain the attention. But, on most of the other tracks, substance and focusing are unfortunately missing. First, there is a strong pop addition to their sound, whether be through soft piano (the pop-punk-ish 'Souls on ten'), radio-friendly melodies ('No I don't') or unsurprising handclaps ('Hands' and its disconcerting intro and chorus that would have fit on Cobra Starship's first album). Several tracks are just bland mainstream rock in the vein of The All-American Rejects or typical Tooth & Nail alternative rock. There is also a lot of Americana influence on 'Monster monster'. Far from being a fan of country, the pedal steel, percussions and acoustic guitar on 'Hand grenade' just don't do it for me. The 6-minute long, epic wanna-be 'Monster' is more moving as Gillespie's singing and repetitive lyrics really stand out. The song follows a progression leading to a nice musical climax with an electric guitar solo. The album as a whole is much more spiritual than 'Southern weather', being based on the issue of facing sins and flaws (the "monsters") in life. There's no wonder who the vocalist is addressing to when he sings: "With our hands up high we're screamin' / Woah, woah, oh / Woah, woah oh / And with our feet we stomp a cadence for you" ('Hands') or "When I am a monster / You never wince when you look at me / When I am a freak, you never stare / When I am a leper / You never say unclean / And when I am lost / You come and get me free" ('Monster'). I should actually write "you" with a capital, if you see what I mean... It's not a secret for anyone, Gillespie is a strong, devoted Christian and The Almost is just as faith-related as Underoath.

With this acceptable sophomore album, The Almost set themselves as a not-so-bad but definitely not great band. Aaron Gillespie sure is a talented artist and can be as impressive on the mic as he is behind drums but those compositions have poor lasting value and aren't very consistent. I ended up getting bored after a few listens as none of the songs are that memorable. Though, people that really enjoyed 'Southern weather' should give 'Monster monster' a try as they may be happily surprised, but I don't promise you anything.

P.S.: I didn't say the album stinked, but apparently Amazon consider legitimate to compare it to a good old sandal.

3/5

Recommanded if you like:
Saosin, Scary Kids Scaring Kids, Foo Fighters
Check also:
House Of Heroes, Ivoryline, The Wedding

www.myspace.com/thealmost
(Tooth & Nail Records, 2009)

Oceansize - Home & minor (EP)

Spacey prog-rock band Oceansize decided to settle down their loud and psychedelic riffage to go into a more reserved direction with their new EP. Whereas their records are famous for their diverse and boundaries-crossing sounds, on 'Home & minor' they focused on one single, chilled atmosphere. Mind you, they haven't gone acoustic and fans will still recognize their favorite band since the first listen of opener 'Legal teens', but it's definitely a different Oceansize. While certain will find those "short" (or shorter, cause they're still longer than average), soft compositions boring and unworthy of the Manchester five-piece's talent, others may appreciate the more cohesive path they took. There are a few new additions to the band's catalogue: pedal-steel guitar, trumpets and a bit of electronics, as well as additional vocals from Kate Ray whereas there is barely any audible distortion pedal. The songs are at the same time busy, mellow and airy, creating a kind of thematic record. The gentle result is quite similar to what the song 'Music for a nurse' off their second album 'Everyone into position' sounded like.
Here are Oceansize's most settled numbers. If you're craving for their blend of dynamics and styles, you're looking in the wrong direction. You'd rather wait for their new album, which the band stated as "not that stylistically different" and featuring some of their loudest material yet.

3/5

Recommanded if you like:
Dredg, Jeniferever, God Is An Astronaut
Check also:
Kaddisfly, Cougar, The Pineapple Thief

www.myspace.com/oceansizeuk
(Superball Music, 2009)

Dead To Me - African elephants

Dead To Me is a punk-rock band from San Francisco that features former members of One Man Army and Western Addiction. If any of you enjoyed their first full-length but didn't listen to their EP 'Little brother' released last year, you will be a little surprised when you hear the first song of 'African elephants'.

Whereas their first album 'Cuban ballerina' was mostly catchy pop-punk with rough vocals and elements of street-punk, the EP showed a kind of evolution with the presence of ska vibes and reggae beats. Here, the transition is done and Dead To Me now proudly play a bouncy punk-rock with strong dub and ska influences. The switching in tempos and genres is surprisingly well-executed, blending to form a good and cohesive record. As previously said, the intro 'X' will give you a quick idea of where the Californians decided to go. Vocals shouted half in Spanish, half in English, dub beat, reggae percussions, the change is obvious. Yet, Dead To Me haven't become a ska-punk band as the reggae flavor remains low-key and sensible. This new sound is at its best when meeting the energy and dual vocals of the first record, like on the excellent 'Nuthin' runnin' thru my brain'. Vocalist/bassist Chicken Annicharico's hoarse singing seems to be now accompanied by guitarist Nathan Grice's impressively great vocals. Previous singer/guitarist Jack Dalrymple isn't featured on the record because he took some time off to enjoy his new life as a father. Besides, and as every band of their kind, their riffs are as infectious as their lyrics are conscious, providing interesting lyrical moments such as 'Cruel world'. The band also proves they can branch out with lighter tunes like 'California sun', while 'Fell right in' will reassure the fans that Dead To Me haven't lost their punk-rock rythm and dynamic.

Different sound, different line-up, 'African elephants' almost shows off a new band. The change may be rough for a lot of fans, but let's clearly say it fits them well. Dead To Me have definitely matured and stepped away from their direct influences and former bands to find their own sound. A sound you can now appreciate on this pleasing, fresh record.

3.5/5

Recommanded if you like:
The Clash, Rancid, Swingin' Utters
Check also:
Time Again, Western Addiction, The Briefs

www.myspace.com/deadtomesf
(Fat Wreck Chords, 2009)

The Rocket Summer - You gotta believe EP (Digital)

Excuse my roughness but to me, Bryce Avary is kind of the poor man's Andrew McMahon. Or at least The Rocket Summer is a less inspired and less talented Something Corporate for the new generation and, contrary to McMahon's former band, mostly girls. I have nothing against him and I honestly understand why he is an inspiration and a role model for a lot of young people via his commitment to faith, his hopeful lyrics and his permanent good mood. But his music makes me miss, worse, crave for new Something Corporate material. Quite fast-paced songs, high-pitched vocals, piano addition, the genre is the same but Avary fails where his peers succeeded by choosing pop catchiness over raw emotion.

'You gotta believe EP' isn't changing the equation. You'll find the pop-rock anthems to optimism ready to be sung along ('You gotta believe') and piano-driven ballads about love and life ('Hills and valleys') The Rocket Summer has been releasing since his debut. The choruses are easy, the hooks very commonplace and the lyrics about "believing and being free" cheerful but primary. It is yet to mention that the band is Avary's solo-project and if he has a full band on tour, he is the one composing, playing and producing all the instruments on his records. I personally think he is a better guitar than piano player and some of the guitar parts are very good, as the one following the break on 'Lights', which makes it my favorite song off the EP. Still on this track, he proves he isn't bad on drums either. But the piano parts are nothing great as they only add cheerful melody to the already very catchy compositions. What bothers me the most though is Avary's vocal fuss. He is much too often making annoying repetitive moans and breath sounds which I'm sure a lot of female fans find absolutely hot, but that to me makes him sound more like a dog in heat. Listen to 'You gotta believe' if you don't... believe me.

Bryce Avary's music isn't bad, just too average to feature real emotion. I won't hate on him, his message is meaningful and respectable, besides he is a great guy. Overall, The Rocket Summer isn't likely to disappoint many fans with his new EP, a glimpse of his next album 'Of men and angels' expected for early 2010. So if you like happy, keep-your-head-up pop-rock or enjoyed his previous material, you'll be pleased by those new songs.

3/5

Recommanded if you like:
Jack's Mannequin, Augustana, Waking Ashland
Check also:
The Morning Of, Ace Enders And A Million Different People, The Morning Light

www.myspace.com/therocketsummer
(iTunes, 2009)

The Lawrence Arms - Buttsweat and tears (7'')

Three years that The Lawrence Arms hadn't released any new material. Rumors about an eventual break-up were flying around, but with the band's 10th anniversary comes the proof they're still going: 'Buttsweat and tears', a new 7''.

Incidentally, the title and the cover were actually intented to be those of the band's very first release 10 years ago. But they never released a 7'' and ended up starting their discography with the full-length 'A guided tour of Chicago'. This one is indeed The Lawrence Arms' first proper 7'' and if its cover and title aren't really brand new, don't worry, the songs are. If a lot of fans were worried that the Chicago trio might now sound too much like The Falcon (singer/bassist Brendan Kelly and drummer Neil Hennessy's side-project with current and former members of Alkaline Trio and Rise Against), those new tracks will wipe their fears away. Sure, 'Demons' reminds the latter band a lot, but the rest of the songs continue right where 'Oh! Calcutta!', their last record, ended. High energy and raw emotion are still Larry Arms' formula and it works without being repetitive, years after years. You'll find those Midwestern melodic punk-rock riffs, fast-paced drums, booze-fueled vocals and relatable lyrics on new songs like 'Spin shining shit' and 'Them angels been talkin' '. Though, 'The redness in the West' is a little different than what the Windy City boys have done in the past, its blend of punk with a folk touch reminding The Gaslight Anthem. But the stand-out track on the album is 'The slowest drink in the saddest bar on the snowiest day in the greatest city' (a title with no doubt adapted to MTV). This is the only song featuring guitarist Chris McCaughan alone on main vocals and I have to admit I've always had a soft spot for his voice. As always with the 32-year old songwriter, his lyrics are heartfelt and tell a story about love, drinking and loneliness. One of the best songs in the band's latest material.

The Lawrence Arms aren't dead, far from it and this 7'' will undoubtedly satisfy their whole fanbase as it features everything we love about the trio. They have songwriting skills few of their peers can claim to own and ten years after their formation, they're still one of the most exciting and original punk pieces around. Let's hope a new full-length will come soon.

4/5

Nb.: As the song 'Demons' only appears on the digital version of the EP, the band put it for free on the Internet for the vinyl's buyers. You can download it here.

Recommanded if you like:
Hot Water Music, Jawbreaker, The Loved Ones
Check also:
The Broadways, Banner Pilot, American Steel

www.myspace.com/thelawrencearms
(Fat Wreck Chords, 2009)

Four Letter Lie - A new day

Do you remember how generic was this band? Well, they've had major line-up changes going on, removed clean vocals, but they're still nothing special.

2/5

Recommanded if you like:
Underoath, Akissforjersey, Across Five Aprils
Check also:
Here I Come Falling, Asking Alexandria, Miss May I

www.myspace.com/fourletterlie
(Victory Records, 2009)

Weezer - Raditude

Weezer has always been a mystery to me. I mean, ever since they got back together and changed their style. Which feels like forever but is actually around 2001 and 'The green album'. Look at Rivers Cumo. Look at him. Do you really think he is serious when he sings: "I wanna live a life like that / I wanna be just like a king / Take my picture by the pool / Cause I'm the next big thing! / Beverly Hills, that's where I want to be"? Me neither. But when it becomes recurrent, you start questioning their sense of humor. How far can the irony go? Their previous album's cover was kind of funny. But this one? And calling it 'Raditude'? Really?

Unfortunately, the confusion doesn't stop here. Weezer's new effort is the most "WTF?" album of the year. Who thought, when 'Pinkerton' came out, that 13 years later, we would witness Rivers Cuomo rapping with Lil' Wayne about partying with pretty girls? Yet, it's this kind of nightmare you're going to find on 'Raditude'. Half of the songs on the record don't even deserve to exist. 'Can't stop partying' is an awful Timbaland-esque song with barely any instrument, a terribly catchy dance chorus and the worst lyrics in rock history. Wait, it's not even rock anymore. I can't even quote them, you have to read them to understand. Just by their titles, you can tell the other tracks aren't better: 'I'm your daddy' (another a la Cobra Starship party song), 'The girl got hot' (a worse version of 'Beverly Hills') or 'In the mall' (nothing like The Clash's 'Lost in the supermarket', if you were wondering). 'Love is the answer' is Cuomo's hippy moment, a weird song in a terrible lack of actual lyrics with samples of Indian music and singing. But they're not even done yet. There's also a fair amount of cheesy stuff on 'Raditude', 'I don't want to let you go' maybe being Weezer's most cliche song ever. The rest is just okay. Not even good. '(If you're wondering if I want you to) I want you to' is the typical post-'Pinkerton' Weezer single (the chorus is quite enjoyable, though), 'Put me back together' is a generic alt-rock tune (the chorus was written by The All-American Rejects' Tyson Ritter) and the others either sound like 'The green album', 'Make believe' or 'The red album'. Except from 'Turn me round', strangely put as closer, that reminds old Green Day with its old-school vibe in the production and the guitars.

Weezer just made another bad album. Former fans will always ask themselves how in the world did this extremely talented band (it's quite hard but you can still hear how good they are from time to time, especially the drummer Pat Wilson) get to write stupid songs you could find in any American teenage movie soundtrack. And it's legitimate. But that also means they'll still be there everytime their ex-favorite band, which they were so proud of buying a t-shirt from ages ago (now sold on eBay), will release a new record, with the unconfessed hope that Rivers Cuomo and his bandmates decided to stop playing the fools and went back to write proper good music again. But for the moment, 'Raditude' is here to remind us that this band definitely doesn't give a fuck about anything.

2.5/5

Recommanded if you like:
Wheatus, A, Foo Fighters
Check also:
Rivers Cuomo, Harvey Danger, The Lemonheads

www.myspace.com/weezer
(Geffen, 2009)

All For Nothing - Miles & memories

'Miles & memories' is Dutch punk-hardcore band All For Nothing's third album. Blending influences from punk to metal, their yelled female vocals, fast parts, melodic riffs, passionate sing-alongs and crunchy breakdowns have something for everyone that enjoys heavy music. You can definitely feel the punk approach in their fast, old-school hardcore ('Epitome'). The whole album lasts less than half an hour, as every straight in-your-face punk record should be. No gimmicks and no experimentations, 'Miles & memories' is as raw and unpolished as its predecessors. It's nothing innovative, but it's as honest as it could be. And unlike many of their peers, All For Nothing don't get repetitive and boring as the songs go by. There are diversity and dynamics in songs like the more melodic 'Overhaul' (singer Cindy van der Heijden being helped on the mic by Comeback Kid's Andrew Neufeld, even if she doesn't really need any kind of assistance), the title track and its huge gang vocals or 'All For Nothing' and its heavy breakdown where the frontwoman screams with all her guts: "It takes every hour / Every minute, anything you put in it / It takes fucking everything / Just to make it not / All for nothing". It's pleasing to still feel passion in some hardcore bands' delivery these days.
All For Nothing may not be original, but 'Miles & memories', their best effort to date, can be a good call for any punk-hardcore fan looking for both freshness and old-school vibes at the same time.

3.5/5

Recommanded if you like:
Down To Nothing, Verse, Cruel Hand
Check also:
My First Failure, Reaching Hand, Make It Count

www.myspace.com/allfornothingnl

(GRS Music, 2009)

Grave Maker - Home is where the heartache is (EP)

Grave Maker is a hardcore four-piece from Vancouver, Canada. They released their full-length debut 'Bury me at sea' last year, which, associated with a dedication to non-stop touring, helped them make a name in the North American new school scene.

Their new EP 'Home is where the heartache is', released on 7'' and digital versions, while maintaining the same formula, shows a few slight differences with the album. It's still fast and agry, with lyrics focused on eternal hardcore topics such as how to live your life in the right way and how to become a better self. But they seem to have put their kind of Modern Life Is War progressive sound aside to focus on their straight-up, aggressive modern hardcore side. Melody is still here, but they're pushing the pace more, at least on those three new songs. And it's what they seem to be the best at. The rhythm section is energetic and there are some epic breakdown riffs ('Sever thy head'), as well as great two-step parts but the metallic edge of 'Bury me at sea' is less audible, which is a good thing to me. The drums also sound way better than on the full-length. Jon McRae's vocals are still what prevents me from really enjoying the band on record, they have this tone you find in the East Coast tough guy bands. They're quite monotonous but yet convincing and they're much more guttural on those songs, which will probably please a lot of hardcore fans. The songs are all above the minute mark and even if you don't really notice when the first song ends and the second starts, 'Vlad the impaler' feels more entire than a lot of tracks off 'Bury me at sea'. On another side, the production is still very slick and the formula very common so if you're looking for an edge or raw sound, Grave Maker may turn you off.

3/5

Recommanded if you like:
Have Heart, Terror, Bane
Check also:
Swamp Thing, Dirty Money, Anchor

www.myspace.com/gravemaker
(Smallman Records, 2009)

The Summer Set - Love like this

I will probably repeat myself everytime I will review an album by this kind of bands, but that's just because they all sound the same. The Summer Set is no exception to the current pop-rock/power-pop trend: ridiculously catchy choruses, Autotune vocals, cheesy lyrics, poor musicianship, dance beats, annoying synth lines and stupid music videos. At least their clothes and haircuts are proper. There is not much to say about 'Love like this'. If you liked the band's EPs, you'll surely love this first full-length. Production is flawless, vocals are youthfully energetic and potential cheery summer anthems are plentiful. 'The boys you do (Get back at you)' and 'Chelsea' are instant dancing crowds' live favorites and show the band's potential to be as big as All Time Low in a few years. But chances are if you're older than 16, you'll probably be bored after the first four tracks. The Summer Set may be decent compared to most of their genre's mates but, just like them, they lack creativity and originality. Nothing feels new and memorable on 'Love like this'. Riffs have already been heard on every Glamour Kills-sponsored band's album out there and songs' topics don't go much further than high-school drama ("I heard you’re talk­ing shit again / I’m gonna sleep with all your friends") and flirt stories ("If I'm Romeo then you're Juliet / As long as I'm breathing I love you to death").

Despite a solid self-confidence (mostly acquired over the Internet), The Summer Set's debut isn't a record to remember. Sure, if you like the bands they tour with, you will inevitably like them, as they're pretty similar, but you're not really likely to if you're not used to comment your favorite songs with lots of "<333333". style="text-align: center;">2.5/5

Recommanded if you like:
Forever The Sickest Kids, The Maine, The Friday Night Boys
Check also:
The Bigger Lights, Cash Cash, Mercy Mercedes

www.myspace.com/thesummerset
(Razor & Tie, 2009)

Eisley - Fire kite EP (Digital)

Eisley have always been a discreet band. Each release from the Texan familial band (three sisters, a brother, a cousin) has been out with small promotion and buzz. Still, their fanbase is really consistent and devoted. The band once again proves them their gratitude and their love for spontaneous EPs with 'Fire kite EP'.

This 4-song record is originally a tour-only EP Eisley just released for their shows with Say Anything. But there's also a digital version available for the ones not being lucky to witness the tour. The first two tracks are unmixed versions of songs featured on the upcoming album. 'Ambulance' is a gorgeous piece of alternative rock, with a piano/voice intro slowly breaking into a full-band musical highlight. Stacy DuPree's strong vocals and the lyrics that seem to be about her sister Sherri's divorce with New Found Glory's Chad Gilbert ("I built a monument for the love we used to know / But that is far removed / And you say that I'm gonna be okay / [...] / 'Cause I was told to get out / Told to leave / Told I have my things in the parking lot") are incredibly powerful when joined by the dark instrumentation of her bandmates. This may be one of the best songs Eisley have ever written. When they released their first EP on a label, Stacy was only 14 and you can tell, six years later, how much her and the other members have grown as musicians. 'The valley' is a pretty indie-pop song that sounds more like their previous album. It is hard to tell both of these tracks are unmixed when hearing how polished they are. The two garage band demos are far less memorable though. 'Away we go' is a slow and sweet keyboard-driven song without any specially great moment and '192 days' is a classical acoustic tune that will make you feel like you're listening to a 1950's radio song you can hear in old movies. The tour EP version thus seems more interesting, as 'Away we go' is replaced by Sherri's husband and Say Anything's frontman Max Bemis's cover of Eisley's 'Telescope eyes'.

Eisley's honesty and unpretentiousness remain unwavering and if 'Ambulance' and 'The valley' are any indication, fans can have their hopes high for their new album, preticted to be out in February, as the new material may be their best yet.

3.5/5

Recommanded if you like:
Rilo Kiley, Copeland, Lydia
Check also:
Vedera, Ambulette, Now, Now Every Children

www.myspace.com/eisley

Request: Copy Of A Copy - This is it

This French band from Toulouse contacted me to review their full-length debut, 'This it it'. After many line-up changes, the guys seem to have settled down and to be ready to spread their punk-rock to the masses.

As their name frankly suggests, Copy Of A Copy haven't invented anything. Don't look for groundbreaking compositions in this collection of fast, melodic punk songs with a tint of hardcore. You should rather expect good energy and sincere passion. For a quite young formation, the five French surprise by their mastery. There surely isn't any blowmindingly technical riff on this record, but it's certainly not what you want from a band like theirs. Still, the guitars are prominent and precise ('My last word', 'Summer'), one being quite heavy and the other one more melodic. The rhythm section isn't bad either, the bass isn't put aside ('Insomnia') and the drums provide some good moments ('Fake'). The production is also better than you would expect from a small punk band debut. The three tracks that composed their EP released last year have been integrated to the album with a better mix and the new singer's voice. The latter may be the least enjoyable thing about 'This is it', as the singer's hoarse vocals are rather repetitive and don't stand out like Strike Anywhere's Thomas Barnett's do, for instance. It is sometimes muffled, not only by the instruments, but also by the screams, good but too numerous (and sometimes surprisingly high-pitched), that accompany it. Yet, it doesn't prevent from appreciating the album's straightforwardness and dynamism. 'Black list' is a well-executed classic punk song that will warm up the coldest crowds and the 'Summer' closes the record on a slightly different touch with its great break.

'This is it' is a promising debut for a band that doesn't surprise by its originality and may end up swallowed up by the mass of the genre's bands but is however noticeable by its intensity and its control. Moreover, the album only being 8-tracks long, you won't get weary before its end.

3/5

Recommanded if you like:
No Trigger, Strike Anywhere, Good Riddance
Check also:
The Video Dead, Reason To Care, Smartbomb

www.myspace.com/copyofacopytheband
(What We Believe Records, 2009)

Cartel - Cycles

'Cycles' was supposed to be the redemption record for Cartel. In 2007, following to their acclaimed debut 'Chroma', they recorded their sophomore self-titled in a glass bubble for a MTV show. The result was absolutely mediocre and let loads of fans down. Cartel thus had a lot to prove with 'Cycles', which was logically described by the band as a return to form to their first full-length.

Musically speaking, yes, 'Cycles' comes back to the sound of 'Chroma'. Simple and catchy choruses ('Let's go', a genuine call to former fans, 'Typical'), big, clean riffs ('The perfect mistake', 'Deep South'), the album is a fair compromise between pop-rock and pop-punk. But qualitatively speaking, it reaches in no way the level of 'Chroma'. The songs are decent but lackluster in general and quite repeatable that it won't make you want to press "Repeat". Will Pugh's vocals may be great, but his lyrics are below average. None of the intrumentations are really innovative and are rather pretty identical. The middle section of the album is especially weak, 'Only you' being a typical stripped-down acoustic song, 'It still remains' reminding early Simple Plan and the chorus of '27 steps' sounding too familiar to be really enjoyable.

'Cycles' has some good choruses, melodies and hooks but nothing is great enough to be memorable. Some fans may be happy to find the 'Chroma'-era sound again, but the ones with the highest expectations for this album will be disappointed to find it just okay.

3/5

Recommanded if you like:
The All-American Rejects, Boys Like Girls, Houston Calls
Check also:
Olivia The Band, Parade The Day, Amely

www.myspace.com/cartel
(Wind-Up Records, 2009)

Tegan And Sara - Sainthood

I have to admit I discovered Tegan And Sara pretty late, at a time when they were closer to their indie-pop mainstream success than their alt-folk early days. I really can't brag about being a specialist of the band but the least we can say about the two Canadian twin sisters is that their music can appeal to a lot of different kinds of fans. 'Sainthood', their sixth full-length album, is here to confirm this statement.

If the Quin sisters had the will to create a kind of blend of their previous records by getting both 'So jealous' 's producer Howard Redekopp and 'The con' 's one, Chris Walla (Death Cab For Cutie), to work on this one, 'Sainthood' yet pushes even forward the limits of their sound. With Chris Walla behind the production and the mix and Death Cab For Cutie's drummer Jason McGerr behind the drums, it's safe to say several songs have a Deathcab-ish vibe ('On directing', 'The cure'). But Tegan And Sara didn't stop at the indie-rock frontier. The record, their most experimental so far, is almost entirely electronically-driven and you'll be surprised to hear the amount of programming in a track like 'Night watch'. 'Don't rush' goes even further with its hipster club beat that could fit into a MGMT or The Ting Tings song. Other boundary-breaking, 'Northshore', one of the best moments of the album, is nothing else than a 70's punk-rock song, combining heavy riffs, fast-paced drums, rapidly sung verses and excellent back vocals. The dynamic single 'Hell' is another truly rock song and almost has a 'New wave'-era Against Me! feeling in its intro riff. 'Sainthood' is also the first record that features a track the sisters wrote together ('Paperback head'). Fans shouldn't be too scared though, as they also recorded songs reminding of their previous album ('Sentimental tune') and of the ones before ('Red belt'). As every Tegan And Sara release, this sixth full-length is characterized by big bass lines and catchy, repetitive choruses that will stay stuck in your head for days. The album's overall theme being moving on from a breakup, it could be the twins' most heartfelt and serious work to date. 'The ocean', maybe the best song, is a superb fast beat-driven song with a beautiful chorus and poignant lyrics.

The Canadian duo once more proves their originality and diversity with 'Sainthood', a record that extends all their musical boundaries without sounding unfocused or losing sight of what made their success. Their pop is catchy, their rock is raw and their folk is soothing. This album is a beautiful, emotional, bittersweet piece of music for every indie lover.

4/5

Recommanded if you like:
Death Cab For Cutie, The Format, Eisley
Check also:
An Horse, Uh Huh Her, Bella

www.myspace.com/teganandsara
(Sire Records, 2009)

Taking Back Sunday - Live from Bamboozle 2009 (Digital)

After the release of 'Louder now' which ended up convincing me that Taking Back Sunday was forever buried in my record collection, I wasn't very excited to hear the band's live recording of their set at the Bamboozle performed earlier this year in New Jersey. Their previous live release, 'Louder now: part two' only consisted of tracks from the latter studio album whereas this iTunes and Amazon exclusive is actually quite a good mix of their four full-lengths. Three songs from each album are being played, except for 'Louder now', again, which has four.

It's honestly a pleasure to start listening to this by hearing 'You know how I do'. 'Tell all your friends' 's perfect opener really is a great way to begin their set. Indeed, each "old" song is a good live moment. Guitars sound just like the studio recordings, drums sound much better than on the last record and Adam Lazzara's performance is almost flawless if you override his annoying singing on 'Error: operator'. Other good surprise, new addition to the band Matthew Fazzi does a great job on vocals. His voice tone is quite similar to former guitarist Fred Mascherino so it's not that shocking to hear him actually singing (and not only doing back vocals as he does on 'New again') and he deals with his solo parts quite well. The sound quality is great, you can hear both vocals and instruments perfectly well and the crowd is not muted during the songs. It may be a fest audience, but it's obvious the great majority of it are fans of the band and they make themselves heard all along the recording. The "Why can't I feel anything from anyone other than you?" on 'Cute without the "E" ' sing-along is just amazing. The subpar parts are the two poppy songs from 'New again', less energetic and featuring unsurprising handclaps and already heard "Hey! Hey!" sing-alongs. 'Liar (It take one to know one)' is a little boring too.

Their new material being far less interesting than their previous one, it's a good thing this live was recorded before the release of 'New again', as their setlist now includes more songs off the record. This performance is not a Taking Back Sunday best-of, but it's a fair, well-executed mix of the band's discography.

3.5/5

Recommanded if you like:
The All-American Rejects, Armor For Sleep, My Chemical Romance
Check also:
The Color Fred, Northstar, Smudge

www.myspace.com/takingbacksunday
(iTunes & Amazon, 2009)

Quietdrive - Close your eyes (iTunes EP)

Whereas their first album enjoyed a small buzz due to its few potential singles (that were actually all featured on their previous EPs, probably their best work to date), Quietdrive's second album went down like a lead balloon. Unfortunately, this new EP won't put them back under the spotlights. Quietdrive is still nothing more than your typical pop-rock band. Catchy choruses ('Jessica'), down-tempo melodies ('Lottery'), over-produced ballads ('Into the ocean') and uninteresting lyrics ('Just my heart'), this band has sinked into the mass of bands trying to be the new Cartel without any result. They're severely lacking their debut's energy. But what actually bothers me the most on this record are the vocals. Not only Kevin Truckenmiller's voice doesn't stand out at any moment and is whiny most of the time, but the singer also experiments on 'It's a shame' some high-pitched singing that fails epically and makes him sound like a Michael Jackson parody. The title basically resumes the song.
Quietdrive missed their chance to reach the top when they had it and will now have a hard time to ever get it again.

2/5

Recommanded if you like:
Boys Like Girls, Cartel, Amber Pacific
Check also:
Search The City, Treaty Of Paris, National Product

www.myspace.com/quietdrive
(iTunes, 2009)

Daïtro - Y

It would have been easy to miss Daïtro's third album. The French screamo scene is not really the hypest thing in music and this kind of bands usually split up after a few years. Yet, the five-piece from Lyon, France is releasing their new LP, 'Y', five years after what is surely tagged as a "true screamo masterpiece" on Last.fm, their sophomore record 'Laisser vivre les squelettes'.

What strikes the most when listening to this album is the addition of clear vocals in the band's passionate hardcore sound. If Daïtro are famous for their visceral screaming parts and their brutal live performances, 'Y' shows a softer side of the French formation. There's more singing, spoken-word parts, and less guitar chaos or airy instrumental interludes. The whole record is quite moody ('Part VI') and more rock and heavy ('Part VII'), while proposing inevitable and memorable screaming moments, especially on its second half ('Part X'). Some of those changes can be real turnoffs at first, as the very melodic vocals on the intro of 'Part III'. But Daïtro's assets are still here: beautiful over-driven guitar tones, alternate tempos and, last but not least, Aurélien's lyrics, which are still some of the best you will find within the screamo scene, avoiding every cliche you'd expect him to fall into.

France may be the least rock nation ever (tied with Tajikistan), but you can't say I am being chauvinist when affirming that this country has brought and still brings us some of the best screamo bands in the world. Daft Punk, Air or Justice may be the the pride of thousands of French hipsters, Daïtro still remains my country at its finest.

4/5

Recommanded if you like:
Raein, Amanda Woodward, Suis La Lune
Check also:
Gantz, 12XU, Sed Non Satiata

www.daitro.com
(Purepainsugar, 2009)

Update

Hello everyone,

Just a few lines to tell you about a change in the blog's concept. It is now called "Daily music reviews" (no thanks to the guy who already owns "A review a day" and doesn't use it) as I will try to post a new review everyday. It may be a little too ambitious and it will certainly be a challenge but I listen to a lot of records and, as a consequence, I buy a lot of records so I'm not worrying about not finding new material to write about but more about my ability to make a new review everyday. I am absolutely sure I will regularly fail in my obligations as I am a student and therefore have a busy school and social life but I will try to update this blog on a regular basis, if not daily. I hope you won't mind these little breaches to the rules and, as far as possible, I will try to compensate the delay everytime it happens.
Another big change is that I won't post on the two blogs at the same time anymore, as I will now only write in English. I am sorry for my French-speaking readers but it will already be hard enough to write everyday, so imagine there is no way I will be able to translate each review in time. I hope that won't push too many readers away. If you're not too lazy, you can still use the marvelous website that is WordReference. I use the occasion to apologize for all the mistakes you may find in my texts, my English is far from being perfect but I try to improve it everyday! English-speaking readers, your corrections are more than welcomed.

This being said, I hope you will enjoy reading my reviews and that you will discover great new music thanks to this blog. Don't hesitate to leave comments, whether it be about the records or the reviews themselves. Both readers and bands can contact me here: dailymusicreviews(at)hotmail.fr

Thank you for your reading,
Romain.

Sherwood - QU

Sherwood is unmistakably one of the most underrated bands of the US indie-rock scene. Quite unknown by the masses, critics yet are very flattering when it comes to discuss the quality of their discography. The latter sees itself being expanded by the release of 'QU', their third full-length album.

'QU' simply is the missing piece between Sherwood's first and second albums. This collection of twelve new songs have the delicacy of 'Sing, but keep going' combined with the liveliness of 'A different light'. If all the songs are resolutely pop-rock and upbeat, they don't have the sophistication of the band's last compositions but on the contrary regain the simplicity of the very first ones. The style may be less indie than at their early days but many elements bring to mind 'Sing, but keep going' 's atmosphere: the acoustic guitar is put under the spotlights ('Hit the bottom', 'Worn'), the choirs are judiciously placed ('Make it through', 'Free') and the instrumental touches of keyboardist and percussionist Mike Leibovich are still as delicate and tasty ('Not gonna love', 'Around you'). While the most upbeat songs like 'What are you waiting for?' would have easily had their place on 'A different light', others as 'Maybe this time' seem to come directly from the first album's studio sessions. It's this efficient mix between a cheerful pop with almost dancing rhythms (drummer Joe Greenetz is doing absolutely brillantly on 'Not gonna love') and moving ballads with superb instrumental accompaniments (the beautiful 'Ground beneath my feet') that keeps on being Sherwood's great talent. Let's not also forget the delicious retro touch of some of their compositions ('Free'), which is here to remind us that the band's biggest influence is with no doubt The Beach Boys. A retro touch to be found on the more than original album's cover too.

'QU' belong to those "feel good" records that will embrace your nostalgy moments as well as your summer days. Its songs exude freshness, from its a capella intro to its sweet final ballad. Sherwood keep on shining in a musical landscape where all the stars today seem to look like each other.

4/5

Recommanded if you like:
Mae, Daphne Loves Derby, Relient K
Check also:
We Shot The Moon, Brighten, Socratic

www.myspace.com/sherwood
(MySpace Records, 2009)

Paramore - brand new eyes

Paramore's long-awaited third album is finally here to satiate the band's very large fanbase, (even larger since the success of 'Twilight') and most of them shouldn't be disappointed.

However, it would be wrong to say that the band from Franklin, Tennessee, chose easiness. Paramore, formerly a quartet and now a five-piece with the addition of the second guitarist Taylor York, seems slightly to step away from the rather pop turn approached with their previous album and to come back towards the more rock sound of their first release. 'Careful', perfect opener, is just excellent in its catchy but dark style a la 'Emergency'. 'Turn it off' and 'Feeling sorry' as well have atmospheres closer to those of 'All we know is falling'. Yet this is not a step backwards as the band improved itself on ever level. Paramore is so much carried on its charismatic frontwoman Hayley Williams's shoulders than we too often forget that the musicians behind her are far from being bad. Josh managed to forge his own songwriting, quite recognizable although in no way groundbreaking. The progression is even more important as the bands' members still remain quite young (their average age is less than 21). The melodies are more subtle, less straightforward, the chords are meticulous and the rhythmic part is ten times above what they've done in the past. But the most striking progression is yet Hayley's. Her range got way wider and her variations are surprising. Surefire vocal slap on 'Brick by boring brick', certainly one of the best songs the band has ever written. It was hard to imagine her even more pushed forward but it's the case, despite the good surprise that are Josh's greater vocal contributions. Other record's good moment, 'Looking up' is a 100% pop-punk tune and the riff from 'Feeling sorry' will remind you some The Starting Line listening times.
'brand new eyes' (to be typing without the cap, according to Hayley) however wouldn't be a Paramore album if it didn't have its two or three big flaws. Despite, here again, a visible improvement, the band's lyrical level stays very weak. As pretty as Miss Williams and her vocal chords may be, her writing remains really classical. Sometimes clumsy, a few times naive, often without surprise, her lyrics yet address quite different topics on this album, especially the one about the band's split that almost happened in February 2008. Hayley uncompromisingly and sometimes with a disconcerting frankness reveals what she had to reproach her masculine bandmates with ('Ignorance', 'Looking up'). But the sentimental songs are too often on the verge of the cliche ('The only exception') and the other ones lacking a real message ('Where the lines overlap'). Musically, the ballads are the weaker tracks. 'The only exception' will give you the impression that you've already heard it a hundred times and 'All I wanted was you' rushes into a more "generic rock" path (which we could already foresee with 'Decode', which can lead us to believe that it is due to Rob Cavallo's production) that seems to lead towards Avril Lavigne's field. The never-ending comparisons that the band got when they started may had been totally incorrect, on this song's chorus, the similarity is here. Mid-tempo, one-line chorus, the song is quite sub-par, just above the average of what is played on the typical American rock stations. The big difference is that Williams has a good band in the back and that her voice goes much higher than Lavigne's. it is yet still to be seen if she will be able to hold the notes live, as the girl already lost her voice during the first show of the tour. Laryngitis not helping, obviously.

'brand new eyes' is, at the image of its predecessors, irregular and imperfect. The faster tracks are hits, but the calmer parts, too generic, have a hard time moving the listener and some ballads are on the verge of the b-side. If Hayley Williams was not performing the vocals on these songs, it's a safe bet that they would have gone unnoticed. Cute, but hardly memorable. Paramore gave us three good albums, they still have to give us a great album. The potential is here, with no doubt. It's still a long road, but as their cannot-be-missed singer says it so well in 'Looking up', "we're just getting started!".

3.5/5

Recommanded if you like:
Jimmy Eat World, Anberlin, Taking Back Sunday
Check also:
Automatic Loveletter, BannerHill, Like A Movie

www.myspace.com/paramore
(Fueled By Ramen, 2009)