Monday, November 30, 2009

Update

Hey,

Just a few words to tell you it might be a slow reviews week as I'm going to be very busy in the next days, lots of work and lots of shows... However I still haven't failed to miss one day since I started and I will still try to write the right amount of reviews this week. But don't be surprised if there aren't any new ones for a few days. I'll be back shortly.
Have a good week, sorry about that and thanks for you reading.

Romain.

Sunday, November 29, 2009

Artist Vs Poet - Damn rough night (EP)


"I guess I had a damn rough night / I'm still piecing it together / There's a girl in my bed / And I haven't even met her / Sorry for what I'm about to do / Turning 21 is a bitch to go through."

2/5

Recommanded if you like:
Forever The Sickest Kids, Sing It Loud, The Summer Set
Check also:
A Bird A Sparrow, School Boy Humor, Racing Kites!

www.myspace.com/artistvspoet
(Fearless Records, 2009)

Saturday, November 28, 2009

Interview: Man Overboard


I just did an interview with Justin of Man Overboard. If my review of their latest EP wasn't convincing enough, let me recommend you again to check this band out. My review of their upcoming split with Transit is coming. They're also very nice dudes, as you will be able to testify in the interview.

Click the "Read more" link below to read it.

Small Brown Bike - Composite volume one (7'')


Loads of punk this week, mmh? Let me tell you that with this one, it's for the best, my friends. If you're not familiar with Small Brown Bike, they're a four-piece band from Michigan that existed between 1996 and 2004 and produced a mix of punk-rock, emo and post-hardcore. While remaining quite underground, they would sell out thousand capacity venues and get critical praise. As a result, their sound became hugely influential for later bands to come. After they broke up in 2004, they played a few reunion shows in 2007 to benefit a dear friend battling leukemia. Oh yes, I forgot to mention they were great guys too. A few weeks ago, they announced they were getting back together with the original line-up to play dates and above all record new material. Punknews.org messageboards' server exploded, the Fest 8 took a sudden sacred side and orgcore punkers promised to shave and change their squared shirts.

Not really, but it did receive an unsurprisingly great reaction. The first piece of new material is this 7'', 'Composite volume one'. As you can guess, there will be a series of several vinyls. So, how are those two new songs, the first the band wrote in six years? As soon as the needle of their turntable will touch the record, fans will be pleased to hear the energy featured on 'When we run'. The songwriting is vivacious, the dueling guitars are doing their job to perfection, providing both dynamism and emotional melancholy. It sounds more like material from 'Our own wars' than the mellower 'The river bed'. The very melodic 'Hourglass' is another pretty song, well-composed and featuring a superb ending. Brothers Mike and Ben Reed's dual vocals still hit hard as one of the band's major assets. The lyrics are very inspired too.

You never know what to expect from new songs recorded after that many years of hiatus but Small Brown Bike should reassure a lot of fans with 'Composite volume one'. If those two songs are any indication of what's to come (that is to say first another 7'' at spring time), the Michigan act is able to reach everyone's expectations again. The Bike browns again!

4/5

Nb.: You can listen to the 7'' here.

Recommanded if you like:
Hot Water Music, Avail, Braid
Check also:
Able Baker Fox, Bridge And Tunnel, Young Livers

www.myspace.com/smllbrwnbk
(No Idea Records, 2009)

Random: Alter The Press!

Hey,
I just wanted to tell you that from now on I'm also writing live reviews for the UK website Alter The Press! that provides news, interviews, reviews, contests and more about the alternative rock scene. My friend Sean created it last year and to my surprise it got really big, actually competing with Punktastic and even getting exclusives before AbsolutePunk. I suggest you to bookmark it, you won't regret it!
My first live reviews can be found here and here. Thanks for your reading!

Romain.

MxPx - Left coast punk EP


Two years after their return to Tooth & Nail with their eighth full-length 'Secret weapon', MxPx bring some new material (that isn't covers) to their fans with 'Left coast punk EP'.

Some old fans who lost faith in the Bremerton trio because of the softer turn taken several years ago may be satisfied with the punk-rock orientation of this new EP. It shows us a side of the band we hadn't seen for quite some time. 'One step further' lays the cards on the table: the bass and the guitar provide such an immediate fast pace to the song that it honestly surprised me a bit. It reminded me of 'Time will tell' from the 'Renaissance EP' they released in 2001. For quite some time, I told you. They don't slow down with 'Desperate to understand', which intro riff is very, very reminiscent of the one opening Propagandhi's 'Speculative fiction'... Rip-off or coincidence, anyway MxPx haven't rocked that hard in a while. Mike Herrera tickles his bass like he's covering NOFX songs and drummer Yuri Ruley plays faster and harder than he has in the last ten years or so. Herrera even trades vocals with guitarist Tom Wisniewski ('Shangaie in Shangai'), which I feel last happened forever ago. It's classic MxPx skate-punk, which also implies very short verses leading to repetitive choruses. It's what generally pushes me away with their songs, and it's especially true on 'Broken', which is actually slower and darker, in the style of 2005's 'Panic'. The pop-punk frontier is finally crossed on 'Hopeless case', a song about God being the only hope when everything falls apart, and 'End', which starts acoustically. They unfortunately close the record on a more boring and less convincing way. The EP contains four other songs on physical copy, which are three instrumentals and one unreleased demo.

'Left coast punk EP' could be seen as a return to basics for MxPx fans. The sound is rawer, faster and reminiscent of their older material. It is more dynamic than their latest productions, even though half of the songs are still catchy pop-punk. I'm not totally convinced by the melodies but this EP may be a sign of good things to come.

3.5/5

Recommanded if you like:
NOFX, No Use For A Name, Fenix TX
Check also:
Tumbledown, The Cootees, Dogwood

www.myspace.com/mxpx
(Rock City Recording Company, 2009)

Thursday, November 26, 2009

Request: Another Fate - Chapter one (EP)


You can't hold back the Dirty South! Once again, I got asked to write about a band from Toulouse, France. Another Fate is a punk-rock three-piece from the "Ville Rose" ("Pink City"). 'Chapter one' is their first EP and contains five songs directly influenced by the softcore of the late 1990's and before.

The instrumental intro 'Dawn' is a very good foretaste, bringing us back to the older The Ataris records with its melodic yet sober riffs and pounding drums. All the songs have this kind of old-school feeling, which would make you think Another Fate are from the glorious Vagrant days era. Guitarist/singer Michael's voice makes me think a lot of Tony Cape (No Use For A Name) on certain moments. You know, this nasal and distant voice a lot of punk-rock singers have and that fits the genre perfectly. The tone is so much the same that 'Old friend' sounds like a No Use b-side. The choruses are melodic but not overly catchy and the compositions are all tight and temperate. But don't think they can't truly rock, the end of 'Fight for tomorrow' will prove you wrong, as the instruments race in a surprising and careful way, heavy riffs accompanying short and simple gang vocals. 'Shelter' is the fastest track on the EP, it could be orgcore and take them to the Fest if the vocals were more husky. The EP closer is an acoustic ballad featuring sweet notes but the singing is below the other songs, making it forgettable.

This kind of punk-rock, neat and soft, is a bit snubbed by French bands who seem to be attracted by simpler and more immediate compositions. It may be because Another Fate are older than most of them, which in this condition works in their favour. Thus, the three Toulousans can be proud to be one of the only ones to still carry this nostalgic sound.

3.5/5

Recommanded if you like:
No Use For A Name, Descendents, All
Check also:
Hamilton, North Lincoln, Your Own Fate

www.myspace.com/faterocks
(Self-released, 2009)

Me Vs Hero - This one's for our friend (Reissue EP)


Me Vs Hero, young band from Blackpool, England are reissuing their 2007 debut EP (which was self-titled at first) after a new recording of all the songs and the addition of an acoustic track. The record is said to be released as a tribute to their former guitarist Alex McCulloch who died in August 2008.

From the very first lines of this EP, you know what to expect: "Let's go / Turn up your stereo / Blow these speakers out / Move your feet / Tear these walls down"... Me Vs Hero are the British version of those scads of pop-punk bands trying to be the next Four Year Strong by incorporating a few hardcore elements to their sound. Just like a lot of their American peers, they've listened to the latter band way too much, the result being that they sound more like an uninspired and pale copy. The lyrics are terribly weak and pointless, mostly related to being in a band and creating beatdowns (the UK equivalent of "breakdowns"). The vocals aren't bad but the whole lot of gang vocals and screams are way too cliche to be enjoyable. You won't be surprised to find growled "Oh!" to introduce the breakdowns and a fair share of double bass. Speaking of breakdowns, they aren't much better. The band has such an obvious obsession with making the kids mosh that it sounds forced. They're either empty ('Hey Elzar, take it up another notch with the spice weasel. BAM!') or disorganized ('Upbeat (Down)'). Yeah, even the titles are ridiculous rip-offs from Four Year Strong.

The whole EP isn't unpleasing and those new versions of the songs make them more energetic, but nothing on it is memorable. Me Vs Hero are just trying too hard. They have potential, so they should try to make a more personal and honest music.

3/5

Recommanded if you like:
Four Year Strong, A Loss For Words, The Wonder Years
Check also:
Take Notice, Fight Fair, Chunk! No, Captain Chunk!

www.myspace.com/mevshero
(Self-released, 2009)

Wednesday, November 25, 2009

NOFX - Cokie the clown (EP)


Whether you hate them or love them, there's something you have to agree with: NOFX never cease entertaining their fans. Even if a lot of people accuse them to constantly rip-off 2000's great 'Pump up the valuum' on every new album ever since its release, I personally think they've had different periods, good and less good, and the one they're in right now kind of shows a more personal facet. The 'Backstage passport' Fuse TV episodes and DVD enabled fans to see what was going on in NOFX's world behind the curtain of their humorous and political punk-rock and 'Coaster', released earlier this year, was also a bit more intimate than their previous works. This new EP goes a step further.

The title-track is a fictional first-person-written song about a drug-addicted clown ("That is real blood / Dripping from his fake red nose"). I love guitarist Eric Melvin's vocals and his contribution here is excellent; the fast riffs, bitter tone and catchy lines (despite a lack of chorus) making it an immediate NOFX hit. 'Codependence day' is also about addiction (hey, it's NOFX, don't act surprised) but actually deals with both "merits" and dangers of alcohol. 'Fermented and flailing', despite its title, is more political. As always, Michael Burkett alias Fat Mike's lyrics are cynically yet truthfully depicting America's state without playing the alarmist and depressive card: "And it's a long, long way down / The parachutes are gone so grab a smoke / And it's a long, long free fall / No signs of soft landing, bon, bon voyage". Both tracks are fast whereas 'Straight outta Massachussets' is softer and more upbeat, being a full-band version of a song Fat Mike performed acoustically for a Pancake Mountain session. None of those tracks are amazing and it's rather the acoustic take on 'My orphan year', a track from 'Coaster', that is worth our attention. Probably the most personal song Mike ever wrote, it relates the loss of both his parents in 2006 and his difficult relationship with his father. The 3-minute track is even more touching when he performs it alone with a guitar, stripping it and slowing it down. He says it himself: "For once, I'm sincere / 2006, that was my orphan year". It's nothing cheesy, the 42-year old singer didn't try to make a heartrending ballad with beautiful lyrics, he's singing as out of tune as usual and keeping his traditional outspokenness but rarely has he been able to move his fans like that.

'Cockie the clown' doesn't beat its full-length companion 'Coaster' like 'Never trust a hippy' did to 'Wolves in wolves' clothing'. Those four tracks, recorded during the last album sessions, are quite average in their shape, featuring NOFX's trademark acerbic punk-rock but at the same time serve us a band opening up a little more to their fans. If that's a new perspective for NOFX, it will definitely be refreshing and appreciated.

3.5/5

Recommanded if you like:
Rancid, Lagwagon, Teenage Bottlerocket
Check also:
Uncommonmenfrommars, Frenzal Rhomb, Rehasher

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

Tuesday, November 24, 2009

Request: A Bridge To Many - Weights (7'')


Not many French hardcore bands have ever really attracted my attention. And to be honest, A Bridge To Many's first demo didn't either. Bad production, annoying vocals and a not-so-good English, I quickly gave up on it. Well, their new EP 'Weights' is just an impressive progression from where they were before.

First, there's the cover. Having your artwork designed by Cristy C. Road, that's some way to start off things! The girl worked for Green Day, no less. It's the kind of cover that makes you wonder why compact discs exist. Then there's the sound. I promise to forget everything I thought about this band. The five guys from Toulouse have simply changed everything that was bad on their demo: the drummer (Bastien, who also plays guitar for much less interesting act Through My Eyes) took an electric charge, the vocals are much less put forward in the mix, the riffs reach a whole new level, from now on more massive than catchy. Even the terrible accent seems to have vanished. Their modern hardcore has embraced a totally new intensity, to become clean and powerful. The impeccable production has a lot to do with it. Nico's imposing bass throws classic but great stop-and-go's ('Intro/Weights'), guitar riffs are heavy as fuck ('Screen me out') and Wilo's vocals are rough enough to give dynamism and not too much so you can sing along. However, the lyrics are less explicitely committed and strive more for a classical and vague hardcore songwriting running on "I" and "life" ('Salvation is not coming' yet blatantly tackles religion, but it's a song already featured on the demo). But what I particularly enjoy and am happily surprised about is that, despite their obvious influences, it doesn't sound like they force too hard and nothing appears overdone. The gang vocals are subtle enough not to be cliche and the breakdowns aren't patently predictable but still pretty solid: the end of 'Screen me out' wooh, slap in the face! Impressive work from Nab and Kevin.

Naturally, A Bridge To Many aren't bringing anything new to the table, but damn, they're French and it's relieving to finally witness a young band from our country delivering a solid, relevant hardcore with such a flawless production. Very good job, guys.

4/5

Recommanded if you like:
Go It Alone, Champion, Miles Away
Check also:
Lasting Traces, Nine Eleven, Every Second Week

www.myspace.com/abridgetomany
(Distorted Charly Brown Records/Eternalis Records, 2009)

Immanu El - Moen


Immanu El is a young Swedish five-piece producing an indie/post-rock with a sweet Nordic vibe. After a demo and a first album 'They'll come, they come' that enthusiasted critics, they're releasing their sophomore album 'Moen'.

Claes Strängberg's voice is still as sweet as a lullaby. So logically it isn't a bad thing that there's much more vocals on this album. In fact, the band moved away from their atmospherical post-rock sound to embrace indie-rock. They're not Death Cab For Cutie yet, but there's a strong pop influence on this record ('Lionheart') and less captivating soundscapes. 'Archers' would not have been far from Anchor & Braille or Copeland's last effort if it wasn't for the airy guitars. 'Moen' feels more personal and detached from their obvious previous influences (Explosions In The Sky, Sigur Rós), they've speeded up the pace, experimented more dynamics and harmonies (the violins on 'Storm') and if their sound may have matured, it is not really what I was expecting from them. However, it may be indie, but it's upscale indie: the percussions give depth to the songs, the songwriting is great, so is the production and some parts are pure bliss ('May' and its imposing drums) but in the end, there aren't jaw-dropping moments and it moves me less than 'They'll come, they come'. I hope this rock turn won't make them end up on a 'Grey's anatomy' soundtrack, but maybe that's what they want. Still, 'Moen' is a good album from a great band.

3.5/5

Recommanded if you like:
The Appleseed Cast, Ef, Copeland
Check also:
Kyte, Blueneck, Codes In The Clouds

www.myspace.com/immanuelband
(And The Sound Records, 2009)

Friday, November 20, 2009

Defeater - Lost ground (EP)


If you're into hardcore, Defeater must have smashed your little world last year. Their debut album 'Travels' was one of the most ambitious, poignant and mastered records Bridge Nine had released in a while. In eleven songs, the Boston formation, created around hardcore master producer Jay Maas (Have Heart, Verse, Carpathian), established themselves as the genre's most promising band of the year. They're already back with a new EP, 'Lost ground', a first answer to those who wonder if 'Travels' was only the state of grace of a band just like the others.

'Lost ground' is the continuation of 'Travels' or, more precisely, is kind of a spin-off from 'Travels'. The EP is still conceptual and based on a narration. So, the style is the same, a character-driven, first-person chronological story all along the record but the character changes. The protagonist, this time, is the one we were introduced to on the song 'Prophet in plain clothes' from 'Travels', that man who was playing guitar in the street. Those six new songs focus on him and a specific part of his life. Indeed, the songwriting is a story-telling about his journey from enlisting in the army during the Second World War to his comeback home. Through those years of life, we witness the man's struggles with family values, proper and mental war, alcohol addiction, faith, racism, recognition, loneliness, poverty and homelessness. We guess the character, who could be represented by the man on the cover, is black and songwriter Derek Archambault tried to depict the inequality in treatment and rights according to races, despite the common will of fighting and dying for the same country. On 'Home ain't never home' (which basically develops the unforgettable line "Home is never home, it's just the place where you came from" from the first album), he is shouting: "Ain't no man in this city / Will take a chance on me / The color of my skin / Is all they see / I was a hero when I came home / Now no one seems to know / And this medal that I received / It means nothin' to me". The lyrical content focuses on the desillusion of the soldiers when they come home and how they end up regretting having spent a part of their life killing men. The singer doesn't have an exceptional or groundbreaking writing talent, just a wonderful story-telling ability which enables him to spit realities that explode at your face, just like his band's music. Both are dense and inspired.
Defeater's compositions feature many nuances in dynamics and song structures (the powerful back-and-forth on 'The red, white and blues'). Their dissonant guitar harmonies and high-pitched riffs ('The bite and sting') rise behind Archambault's snarling vocals. The production is excellent and completely sublimates the rhythm section. The sharp bass has its glorious moments (the beginning of the same song) and the drums aren't put aside either ('Beggin' in the slums'). On the latter song, there's also a tiny bit of blues and a tiny bit of acoustic, just as on 'Travels'. On another note, the EP is less reckless than the album. The pace is less fast, more mid-tempo ('A wound and scar'), to focus on the emotion in the frontman's delivery. Numerous lines, without being catch phrases, will stay stuck in your mind after hearing them, something Have Heart used to be the best at. But the most memorable moment is the post-break part of 'Singin' New York town', when after a few calm guitar notes, the full band comes back in and Derek Archambault shouts with the whole world's despair: "I beg and I plead / For her [his mother] god to hear me". Definitely an emotional peak, so moving it gives me shudders.

Defeater give me so much to say with this EP but the best I have to do is to recommend you to check this band if you haven't already. And if you have and liked what you heard, go buy this gem of East-Coast hardcore. And read their lyrics, you will feel like you're reading a book. Without reinventing it, Defeater proves hardcore can still be innovating. 'Travels' was an incredible record, and so is 'Lost ground'. At the moment, I'm even thinking it's actually better. With Have Heart and Verse's recent breakups, there's no wonder: ladies and gentlemen, here is the new spearhead of modern hardcore.

4.5/5

Recommanded if you like:
Modern Life Is War, Have Heart, Verse
Check also:
In Remembrance, All Teeth, At Half-Mast

www.myspace.com/defeater
(Bridge Nine, 2009)

Endzweck - Ulysses (EP)


About two years after their last release, Japanese hardcore veterans Endzweck return with another mini-album on Cosmicnote Records. Their sound is a very emotional and dark mix of old-school and modern hardcore, with aggressive yet refined riffs (something rare that only inspired bands like Shai Hulud seem to dare try) and sharp melodies, led by scratched sceamo vocals a la Funeral Diner. While they can easily prove their efficiency on classic, fast and short hardcore songs ('Words'), it's their ability to create sad and haunting atmospheres that made them stand out by the past. Unfortunately, this particularity seems faded and put aside on those seven new tracks. Soaring guitars and slowdowns are few and alarming instrumental parts and powerful spoken-word seem to have vanished from Endzweck's sound. Nonetheless, a song like the three and a half-minute closer 'Fourty-two', with impressive melodic guitar lines, passionate screams and a memorable break led by a few chords before getting into a gang-shouted final reminds that the Japanese act are above all a great and unique hardcore band.

3.5/5

Recommanded if you like:
Shai Hulud, Sinking Ships, Trainwreck
Check also:
Meleeh, Naiad, Nervous Light Of Sunday

www.myspace.com/endzweck
(Comsicnote Records, 2009)

Thursday, November 19, 2009

Person L - The positives


While The Starting Line are amking the news again, their (former?) frontman Kenneth Vasoli is releasing with his other band Person L a second album entitled 'The positives'. But don't necessarily think the young songwriter kept going on the pop-punk path with his new project as Person L have as much to do with The Starting Line than Angels & Airwaves do with Blink-182.

Indeed, Person L enabled Vasoli to let his need to experiment something else soar. More related to the indie and progressive genre, the band is such a departure from the singer's former act. On 'The positives', Person L seem to have grown and found their sound. The music appears more established and polished, probably thanks to Copeland's Aaron Marsh who produced the album. The entirely instrumental and acoustic intro 'Hole in the fence' is here to warn you: Person L's songs are not as accessible as you would expect. With its soaring riffs and crescendo tempo, the song has a post-rock feeling in the vein of late The Appleseed Cast's material. Following tracks are more straight-up rock songs ('Goodness gracious', 'Pleasure is all mine'), with jerky guitars and determined vocals. There's a major classic and garage rock influence on those tracks. The raw sound of the first album is kept, despite what sounds like a bigger effort to refine it. But the distinctive feature of the band is in their use of percussions. They actually have two drummers, which certainly contributes to the originality of their rythmics. They're not absolutely technical and the songs themselves are simple, but some of their compositions appear quite complex. In the same way, Kenny's vocals are nothing psychedelic but you can hear him pushing forward his range, from laid-down and airy ballads ('Stay calm'), rough growls ('Changed man') or energic screams ('New sensations'). The whole album is quite diverse but doesn't fall apart from too much dispersion.

There's no hit or particular highlight on 'The positives', which rather is a cohesive record, with songs completing each other well. I don't really adhere to their style, but Kenneth Vasoli's evolution is nonetheless remarkable. Not anymore confined in a genre that was, from his on words, too limited for his creativity, he seems to be perfectly blossomed in his new orientation. And those who have seen Person L live will agree with me. That doesn't mean the man won't come back to his first loves, but 'The positives' confirms the idea of Person L as an established band.

3.5/5

Recommanded if you like:
Radiohead, Gatsby's American Dream, The Gay Blades
Check also:
Weatherbox, Dr. Manhattan, John Nolan

www.myspace.com/personl
(Academy Fight Song, 2009)

Tuesday, November 17, 2009

Cassino - Kingprince


There are bands that once existed and didn't leave an obvious mark on the scene but those who actually knew them miss them terribly. Northstar is one of those bands. A small yet flawless discography in their favour, the alternative/emo rock band from Alabama broke up in 2005. From the ashes of Northstar was created Cassino by singer/guitarist Nicolas Torres and guitarist Tyler Odom. The latter left the band a few months ago to join ex-Straylight Run's Michelle DaRosa's new band, Destry. After an impressive self-recorded, produced and released debut two years ago, Cassino is back, as Nick alone (not literally if you consider the number of musicians accompanying him) with 'Kingprince'.

The very first thing that will cross the fans' mind is that all the songs aren't new. Indeed, three tracks are re-recorded versions of songs featured on previous effort 'Sounds of salvation'. The slight disappointment may be legitimate but at least the band's justification was true: they do sound better re-arranged. Even 'Ice factory' that wonderfully closed 'Sounds of salvation' is deeper and more powerful. For those who didn't have the chance to give a listen to Cassino, they play a delicate acoustic indie rock with strong folk roots. Expect Northstar having an intimate acoustic jam in a backyard with Bon Iver, Ray Lamontagne, Iron And Wine and Owen. The album opens on the exciting and full of promises 'Djom'. The intro is quite long and so are most of the songs (two of them are above the sixth-minute mark), which isn't what you'd expect from a folk record. But there are a lot of instrumentations, from mouth-organ to mandolin, and they create a haunting, absorbing atmosphere. The strings are still very well used, with an emphasize on violins ('The gin war'). While listening to 'Kingprince', you can picture the guys playing on the porch of a house in the middle of the woods. This record is meant to be listened while walking on fallen leaves, while looking at the window of a car, while swinging in a rocking chair, while having a campfire. Well, actually it just takes you there. It is related to simple and true things, to love and to nature. It's even simplier and more stripped-down than the first album, but somehow it requires more time though. It takes the best of every kind they're approaching and makes it an epic yet simplistic combination that just flows naturally. Nick Torres also proves once again he is one of the most underrated songwriters of his generation. His lyrics are subtle, fragile, full of delicate imagery and pretty turns. See for yourself: "Maddie’s always moving / She’s flying down the aisles / Got both hands in her pockets / Trying to keep the balance mild / Her motions like a movie, slicing constant air / The wires are electrifying her phosphorescent hair / I have seen the hunger, soaking through your shirt / Sunken eyes found alive but smashed under the dirt" ('Maddie Bloom'). Many listeners will probably find the album repetitive at first, as the songs kind of blend together and may sound the same at the first listen, but when you really committ yourself to discover Cassino's music, you'll find out so many amazing subtleties that you'll love. It makes you wonder if you genuinely regret Northstar's break-up...

It seemed really unlikely, but Cassino have topped up the quality of their previous record. They've matured and grown in their sound, creating a brilliant second effort. Honestly, this isn't even the kind of music I usually listen to, but there are albums which greatness you can't deny, no matter your preferences. You have to recognize it when an album doesn't follow a trend, and 'Kingprince' does not, it will last long. It is made of timeless, truthful music.

4.5/5

Recommanded if you like:
Iron And Wine, Sufjan Stevens, Northstar
Check also:
Good Old War, Destry, I Can Make A Mess Like Nobody's Business

www.myspace.com/cassinoband
(Self-released, 2010)

Monday, November 16, 2009

The Starting Line - Somebody's gonna miss us (Live)


'Somebody's gonna miss us' is the live recording of underrated pop-punk band The Starting Line's last hometown show to date. It was a year and a half ago, on April 18th, 2008 at the Electric Factory of Philadelphia. It wasn't their last show ever (Bamboozle later in May was), but it sure was emotionally more special to the band.

The setlist is made of nothing less than 18 songs from their very first EP 'With hopes of starting over' to their third and last full-length 'Direction'. It's obvious the fans will be on cloud nine. None of their hits is missing (maybe 'Making love to the camera') and the set is a fair mix of the band's career. What strikes the most is obviously the contrast between their old and latest material. There's no wonder why frontman Kenneth Vasoli went to look for new horizons with his new band Person L, as you could feel on The Starting Line's last songs that their sound was really evolving. The songs from their last effort are much more complex and heavy and 'Direction' may feel a bit weird between pop-punk nuggets 'Almost there, going nowhere' and 'Up and go' if you're not familiar with the band's discography. But this live CD (accompanied by a DVD featuring the live performance and an hour-long documentary about the formation's last days with interviews helpful in understanding the hiatus) is meant for the fans so people willing to discover The Starting Line should rather start with their studio material. The performance is enjoyable, Kenny's speeches are full of emotion and passion but stay short and avoid cheesiness. The audience's contribution is especially great to hear. The recording is decent, nothing amazing and sometimes rough but overall it's all good. You almost forget the band actually threw the towel after this show until 'Somebody's gonna miss us' hits the speakers and Kenny claims it's their last song. The crowd chants "Bullshit! Bullshit!" and the album suddenly takes a sadder turn. There's an encore, of course, which consists in the beautiful 'Photography' and the inevitable perfect closer 'Best of me'. I wonder if we actually hear the singer or the crowd better as both are sung-along by the audience. The very last chorus of 'Best of me' is especially not far from giving chills with everyone in the room singing in unison.

'Somebody's gonna miss us' sure is must-have for The Starting Line fans' collection. It won't blow you away if you're not familiar with their songs but it's a pretty testimony of what this band was and tried to accomplish. However, it must be mentioned that they never really broke up and always said they would reunite. They lately affirmed in several interviews they already had dates fixed. During the show, you can even hear Kenneth Vasoli saying "We'll see you guys in 2011, okay?". I bet it will be sooner than that. Let's hope for new material and not only shows.

3.5/5

Recommanded if you like:
The Early November, Spitalfield, Valencia
Check also:
Person L, The Dangerous Summer, The Graduate

www.myspace.com/thestartingline
(Image Entertainment, 2009)

The Flatliners - Cynics (7'')


Canadian ska-punk four-piece turned into a punk-rock band with their 2007 release 'The great awake', The Flatliners (not to be mixed up with the Texan street-punk band of the same name) are putting out their second 7'' of the year after their split with sound twins The Snips on Paper + Plastick this summer. They're back home, that is to say Fat Wreck, with this one, including three brand new songs before the release of 'Cavalcade', their third full-length, next year.
I'm not particularly a fan of their albums but I have to highlight the band's efficiency on short releases. This 8-minute-ish EP is very pleasant if you enjoy angry yet very melodic punk-rock. Committed lyrics, half-shrill, half-sweet vocals, fast riffs, easily memorable choruses, everything's there. The chorus of 'Filthy habits' has the power of a young Rise Against and 'This song is like thunder and lightning in a wide open field' really reminds Strike Anywhere's latest material. '407' is a little poorer but overall, The Flatliners hit the bull's-eye with those new tunes. Still not mind-blowing, but still well-executed.

3.5/5

Recommanded if you like:
Anti-Flag, Strike Anywhere, Against All Authority
Check also:
The Snips, Hostage Life, Cobra Skulls

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

Saturday, November 14, 2009

End Of A Year & Segwei - Split EP


End Of A Year are not really the kind of band to brag about getting signed, but they got added to Deathwish's roster earlier this year. This split isn't released on the American hardcore label though, but on Japan's Alliance Trax, where come from Segwei. Alliance Trax already attracted my attention last year as they were the ones to put out the three-way split bridging oceans between Seattle's Sinking Ships (R.I.P.) and Japanese hardcore formations My Love (with ex-Endzweck) and As We Let Go, two bands I recommand to hardcore fans.

End Of A Year provides three tracks of their Revolution Summer's emotional hardcore (their name refers to an Embrace song) while Segwei chose to include two longer tracks. End Of A Year's blend of punk, hardcore and 90's emo is still as exciting. Proof of the wide appeal of their music is the unbelievable list of bands they shared a split with, from the hardcore punkers of Shook Ones to Portuguese screamo formation Adorno. 'Sensitive leopard' is a very quiet and subtle song only featuring guitar notes, spoken-word telling a heartbreaking story and bells coming at the end to light up the song. They haven't lost their humor either, whether it be in their lyrics ('Gary Evans') or their song titles still taken from real people (here, American actor Charles Rocket and previously quoted serial killer Gary Evans). The singer's voice is surprisingly different though, even more cracked than before and sounds almost subdued. It's not necessarily bad and fits actually quite well with their music's sobriety but it struck me at the first listen.
Segwei's songs are more energetic, emphasizing on their singer's heartfelt vocals, between spoken and screamed. The lyrics are in English but the accent is very good. Their compositions aren't necessarily chaotic and the singing wouldn't scare people out of the scene but they still have a pretty and melodic screamo feeling. I would describe it as a mix of Fugazi and their countrymates 1000 Travels Of Jawaharlal. They're worth cheking out.

3.5/5

Recommanded if you like:
Rites Of Spring, Sinaloa, Life At These Speeds
Check also:
Kids Explode, Shokei, Policy Of 3

www.myspace.com/endofayear
www.myspace.com/segwei
(Alliance Trax, 2009)

A Wilhelm Scream - A Wilhelm Scream (12'')


The follow-up to their unanimously acclaimed fifth album (third since they changed their name Smackin' Isaiah) 'Career suicide' has been impatiently waited for a while, but isn't expected to come out before several months. To make fans hold on, the band is releasing five new songs on their new label Paper + Plastick as a 12'' and digital EP.

The first impression you get while playing this self-titled EP is that the Massachussetts five-piece stuck to the sound of 'Career suicide'. Opener 'Australias' is a good icebreaker, taking back the efficient elements of the latest album. A Wilhelm Scream still make fast music, catchy punk-rock melodies ('Bulletproof tiger') with a hardcore touch and gruff vocals. Though, the speed is lesser than on their full-lengths. It's not slow, as I said, but it lacks a bit of aggressiveness. It's especially disappointing on 'Fun times' and its average chorus. The lyrics aren't great either. I feel like the format of the release gave them the freedom to try new things and therefore appears kind of experimental. There are numerous guitar solos, especially on closer 'Skid rock'. Sometimes it feels a bit messy and if it may be some of the best instrumentations they've ever done, it may also turn off some listeners.

I am quite torn about this EP. There are very good songs but there are boring ones, too. Most people hope they will keep the 'Career suicide' direction and I do too, but maybe they want to go somewhere else. A few slowdowns don't mean much though and we should be ready for something good coming from those guys next year. Whatever they decide to do, it won't go unnoticed and as vocalist Nuno Pereira simply states, "As long as I have friends / I'll have enemies in the making".

3.5/5

Recommanded if you like:
No Trigger, Strung Out, Propagandhi
Check also:
Copy Of A Copy, This Is A Standoff, The Video Dead

www.myspace.com/awilhelmscream
(Paper + Plastick, 2009)

Forever The Sickest Kids - The weekend: friday (EP)


Guys, you're 25. High-school is long gone. Stop.

2.5/5

Recommanded if you like:
The Maine, Metro Station, The Friday Night Boys
Check also:
Red Car Wire, Boys Will Be Boys, The Vanity Affair

www.myspace.com/foreverthesickestkids
(Universal Motown Records, 2009)

Outbreak - Outbreak


Yes, Outbreak are releasing their new album both on Think Fast! Records and on Universal Music's Trustkill. Yes, they're on the 'Saw VI' movie soundtrack. Yes, they've chosen a more punk way for their sound. But fuck no, they haven't got soft.

This self-titled album is only their second full-length despite a quite large discography. It's been five years since their previous album was released on Bridge Nine. They quit the label and had major line-up changes, with two members leaving the band to join Cruel Hand. It's a new start for the band, which can explain that this record is self-titled as it seems to define who they are now in 2009. Let's start with what hasn't changed: they're still making merciless music. The songs are short, fast, made of a relentless fusion of hardcore, trash and old-school skate-punk. Outbreak are still furious and this album is totally raging. But they've put their trash influences a bit aside to emphasize on a more traditional punk sound. What inspired them for this record seem to date from the 80's and before, from old-school skate-punk ('Temporary hype') to youth-crew hardcore ('Analyze/Criticize') or even hard-rock ('In the digital world'). The result is still explosive but more diverse. Breakdowns are concise and precise and frontman Ryan O'Connor delivers quick and abrasive vocals with aggressive lyrics full of conviction. Gangs vocals are many but not overdone to suffocate the songs.


Outbreak haven't drastically changed their formula and fans will be pleased to finally hear new material but this album definitely has an old-school feeling, from its artwork to its punk sound. They're still a hardcore band with a trash touch, but some diversity didn't harm them.

3.5/5

Recommanded if you like:
Bracewar, Trash Talk, Pulling Teeth
Check also:
Lewd Acts, Rotting Out, Naysayer

www.myspace.com/outbreak
(Think Fast! Records, 2009)

Request: As Fast As We Drive - Fast forward to the future (EP)


I'm not only a mean reviewer, I'm also a nice guy so today I'm going to do a little bit of advertising for my friends in As Fast As We Drive. They're a young five-piece from the South-West of France and they're releasing today their first EP after two self-recorded demos.

They've been together since 2003 so the boys had some time to find their sound. Their influences are clear: As Fast As We Drive play an energetic mix of pop-punk riffs, alt-rock melodies with dual vocals and a fair amount of screams. First, I think the compositions are well-thought and have some very enjoyable instrumental parts, whether it be as intros ('Nothing but another problem') or breaks ('The line'). They don't fall into the easiness of alternating heavy parts and cheesy choruses and it really is a good point. They have good musicians and they use them well, as both guitars and drums have the opportunity to express themselves fairly on almost all the songs. 'Nothing but another problem', the best track off the EP in my opinion, has catchy lead vocals, good riffs and an interesting structure. Three of the members contribute vocals, but whereas some of the high-pitched screams and back vocals on this song provide rhythm and consistance, it doesn't work on 'The way you torture me', which features quite annoying yells. I also think they should emphasize their aggressive raw sound and avoid the cliche effects on their singer's voice ('It's always difficult to try to write a song for a friend'). But overall, they reached their goals and the production on a song like 'The way you torture me' is surprisingly good for a band of their stature and they don't miss much to make a hit.

As Fast As We Drive can be proud to claim their band is one of the few to decently represent the French alt-rock scene (for those who knew them, they remind me of Full Screen). Sure, the competition isn't really tough, but their songwriting is above the wide majority of what's actually done in their country. They take me back to this period, a few years ago, where very melodic alternative rock bands that had some screams in their songs were blossoming, but a time when it was actually original and not annoying (Letter Kills, A Static Lullaby,...). I couldn't really tell why, but they have this almost nostalgic fresh feeling. It's only their first release and there's still a lot of work (the lyrics sound quite deja vu and I think they should figure out how to make the vocals sound more focused without losing the dynamics that provide several singers), but the quality of their songs will sure give them the chance to share the stage with some of their influences touring France in the future.

3/5

Recommanded if you like:
LoveHateHero, A Thorn For Every Heart, Halifax
Check also:
Full Screen, Normal Like You, Aphasia

www.myspace.com/asfastwecandrive
(Self-released, 2009)

Friday, November 13, 2009

Bane - Dublin 11:58 PM (7'')


It's honestly a little confusing and everyone seems to be a bit lost about it but Bane are doing one of the most creative things in today's marketing with their new release, their first in five years. Bands need to find new ways to sell their music and the idea that the Massachussetts-based hardcore band found after dropping Equal Vision is anything but great. They're releasing a series of 7'' on different labels all over the world. Each vinyl will have a different artwork (all of them beautiful and not what you'd expect from a band like them) and a different name according to the place where it's out. All the covers are pictures of the skyline taken at the same time in those different places and the titles indicate the hour. So, this 'Dublin 11:58 PM' released in Europe is actually 'Boston 6:58 PM' in the US, 'Tokyo 7:58 AM' in Japan and so forth. And they're going to do the same with the next one to be released next month with Rome/Los Angeles/Perth/Curitiba... It's all about being a vinyl nerd, so let's rather focus on the music.

I don't think a lot of Bane fans will be disappointed after the long wait for new material. The three songs off this 7'' is the hardcore five-piece at their best. 'The bold and the beautiful' could have been on their latest full-length, 'The note', with its fast old-school sound. The gang vocals are shouting "Live, learn, rise, fall, point, squeeze" before being taken over by singer Aaron Bedard's angry vocals: "We were not awarded bones simply to weigh down our graves". 'One life to live' is shorter and has a stronger punk feeling in its first verse before slowing the pace down to get into a big classic two-step hardcore part. Its lyrics approach the issue of living while going by principles other than religious ones, including this line that could be adopted by almost the whole punk/hardcore scene: "I didn't find God and he didn't come looking for me / But someone showed me Minor Threat". Though, the highlight of this 7'' is the last song, 'The young and the restless'. I have no doubt it is going to be the anthem of Bane's upcoming shows. It sounds like nothing they've done before and it features a surprising yet epic break with amazing drumrolls and heartfelt screams: "I will believe in dragons / For as long as I run with dragons". The kind of superb song you would like hardcore bands to write more often.

The hardcore scene has missed Bane and it feels good to have them back with such powerful energy and songwriting. Those are only three songs, but they're really promising about what's to come for the band. Needless to say a full-length is very, very anticipated.

4/5

Recommanded if you like:
Comeback Kid, Champion, Verse
Check also:
Another Breath, The First Step, Anchor

www.myspace.com/banecentral
(Hurry Up! Records, 2009)

Wednesday, November 11, 2009

Dashboard Confessional - Alter the ending


I'm going to be a bit lazy with this review. But this is my blog, so I guess I can do whatever I want. I don't know, I've never had much to say about Dashboard Confessional's songs. It's not that I don't like Chris Carrabba, I do. But I often have a hard time differentiating his songs.

This new album is a return to the full-band version of Dashboard, with an emphasis on keyboard, more present than on previous releases. Carrabba is famous for his beautiful voice and emotional lyrics, being the symbol of heartbroken emo kids in the early 2000's. Well, you can't sing about breakups during your whole life and he obviously has matured in his songwriting. Sure, he still sings and will always sing about love but, for instance, a few other topics approached on this sixth studio album are his faith and relationship with God or his sister's coma after she got into a car accident. You'll find many big hooks songs with mainstream production (most of it by Butch Walker): 'Get me right', surprising opener as it's a bit different from everything else on the record, reminds a poppier Brand New, 'The motions' and its light vocals and thick synth lines have a strong Fountains Of Wayne feeling (maybe because their songwriter Adam Schlesinger produced it), 'Blame it on the changes' features airy riffs a la U2 and the title-track has an alt-rock appeal Paramore wouldn't have rejected on their last album. Nothing is really amazing, but there are some good songs.
But what a lot of people (including me) agree on is that Carrabba's voice and songwriting is much more effective acoustically. I've always thought big studio processings didn't fit him. He probably figured that out after the release of the back-to-basics 'The shade of poison trees' as the deluxe edition of 'Alter then ending' includes a second CD with the acoustic version of the songs. And that's where the magic happens. Even if a few of them have regrettable polished pop-rock arrangement, the songs stand out much more when stripped down and played at their simpliest. They have more heart and the core of Dashboard Confessional can be found here. It really is a shame this is only a "bonus" disc and it can't be bought separately, just as the full-band version.

You can feel with 'Alter the ending' that Carrabba seems to be in a difficult position. He can't hide his will to break into the mainstream with most of the songs off the full-band CD, but it is not likely to happen (there are less immediate hits than on 'Dusk and summer') and he should rather consider how to conciliate his more pop-rock actual songwriting and the raw indie appeal of his post-emo material. It is done here, except it's on two separate CD's. It's still a good record fans will enjoy, but its polarized aspect prevents it to reach Dashboard's best moments.

3.5/5

Recommanded if you like:
Something Corporate, The Fray, Snow Patrol
Check also:
Bleu, Jon Foreman, Ace Enders And A Million Different People

www.myspace.com/dashboardconfessional
(Interscope Records, 2009)

Monday, November 09, 2009

Man Overboard - Dahlia (Digital EP)


If there's one pop-punk label that does everything right in 2009, it's Run For Cover Records. And "pop-punk" is restrictive. None of the bands this small, independent Boston-based label has signed was ever bad. In their ranks have been names now big such as Crime In Stereo, This Is Hell and This Time Next Year. And their current artists are just today's best upcoming pop-punk (and affiliated) bands: Fireworks, Transit, Agent, Death Is Not Glamorous, Tigers Jaw, Title Fight,... It's not a surprise if they just added New-Jersey young band Man Overboard to their roster.

Man Overboard is composed of former members of great band Front Page. They were first called Home Again before changing their name and releasing a very promising first EP called 'Hung up on nothing' that I highly recommand you to get as it features one of 2008's best pop-punk hits, the amazing 'Love your friends, die laughing'. All of this to say that their recent signature on Run For Cover is joined by the release of a new three-track digital EP, 'Dahlia'. To be short, it's just the pop-punk people in their early 20's loved and are dying to hear again in today's bands. There's a big Blink-182 influence (even in the band's name), a lot of Saves The Day ('Can't slow down' and 'Through being cool' era) and Jimmy Eat World too (the intro of 'Montrose'), but it still feels very modern and fresh. They have a way with catchy lines that makes their choruses unforgettable (the new hit 'Montrose' and its "Do you take pictures off the wall / When you know I'm coming to your room?"). I also love that their few heavier riffs are not immediate calls for mosh parts but rather great moments to nod your head to. The vocals are juvenile yet perfectly in tune ('They don't make 'em like they use to') and Jesse Cannon's production (Saves The Day, Lifetime) is nothing but perfect. This band really is for nostalgic pop-punk kids. 'Five girls pizza' even has a Taking Back Sunday's 'Tell all your friends' feeling. How could we ask for more?

Man Overboard make young pop-punk for older listeners. Nothing sugar-coated, overproduced, dancing or radio-sized. Just the pop-punk most of us grew up with and desperately miss in today's scene. Well, keep an eye on this band. Their motto is "Defend pop-punk". Enough said.

4/5

Nb.: You can stream the EP here.

Recommanded if you like:
Fireworks, This Time Next Year, The Wonder Years
Check also:
Such Gold, Save Your Breath, History

www.myspace.com/manoverboardnj
(Run For Cover Records, 2009)

Sunday, November 08, 2009

Native - Wrestling moves


Can you imagine Minus The Bear copulating with Cap'n Jazz? No? Then listen to Native and you'll have an idea. This (very) young four-piece band from Indiana, USA is the happy medium between These Arms Are Snakes and Russian Circles.

Native have something different. First, there's something special with the way vocalist Bobby Markos sings, half-yelling, half-speaking, which makes you feel like he is reading to you and makes the lyrics stand out. It has a very screamo feeling, not in the way he actually screams (he doesn't really), but in his vocal dynamics. The vocals are quite different from their acclaimed EP 'We delete; erase', as you can hear the singer much better when there aren't effects on his voice. I pretty much think Native's vocals are a hit or miss. Personally, I like it that way. It's not the only difference with their previous material, indeed 'Wrestling moves' is much more progressive. The sing-alongs are gone to make way for structure-less, complex compositions, even if a few small, sensible off-mic gang vocals are still here ('Members list'). There's a lot of energy in the approach that makes the band sound post-hardcore on a few songs ('Ponyboy') but it is yet controlled throughout the entire record. Energetic drums ('Backseat crew') are often providing memorable moments when accompanied by anxious guitars ('Marco Polo'). What impresses the most is that you never really know what to expect from the next song and it's quite rare for a band created only two years ago. The central piece of 'Wrestling moves', 'Five year payoff', is a slow, progressive and powerful song about the creation of the band and this album; it also features some of the record's finest lyrics: "These verses show readers the pictures of history / Words will age but never will fade". I didn't mention it yet, but Bobby Markos's songwriting is also captivating and surprisingly mature for a man in his early 20's. They seem to do everything right or very well, whether it be walking in the footsteps of These Arms Are Snakes (which drummer produced the album) with sober yet powerful compositions or setting up a somber, floating atmosphere in a few notes. There even are entire instrumental tracks ('Mason Jars', 'Pocket jingle') on 'Wrestling moves' and the five-minute long 'Marco Polo' only features two-line screams in its last minute.

Sargent House has a way with tracking down bands that sound like no other. Native's 'Wrestling moves' is more than a simple indie album. It's a mix of indie with math rock, post-hardcore and progressive rock. There's also a minimalist touch a la Foals. It is quite unique, to be honest. Anyway, the songs are linked together in a beautiful way and you honestly don't see them passing by. If you're very fond of this type of releases, you'll seriously find this one mind-blowing.

4/5

Recommanded if you like:
These Arms Are Snakes, Minus The Bear, Algernon Cadwallader
Check also:
The Reptilian, Street Smart Cyclist, Snowing

www.myspace.com/nativein
(Sargent House, 2009)

Friday, November 06, 2009

Jack's Mannequin - Dear Jack (Digital EP)


Andrew McMahon released this week his 'Dear Jack' movie, a documentary about his struggle with leukemia. It is accompanied by this digital EP which features four unreleased Jack's Mannequin songs. Both proceeds from the DVD and EP sales will benefit Andrew's cancer research fund, the Dear Jack Foundation.

Three songs are brand new, the fourth one is a remixed version of the single 'Swim'. They're all somehow related to the documentary and have been written a few years ago. It is yet the first opportunity we have to hear their studio version. The title track is the song that inspired the band's name and is a bit more upbeat than the others. 'Diane, the skyscraper' was written when McMahon was diagnosed with leukemia, in New-York. It's the only song he wrote while he was in the hospital. Diane was the name of his nurse back then. The song shows off the songwriter's fears and at the same time his striking mental strength. 'There, there Katie' is a pretty piano-driven song that was half-written during the 'Everything in transit' sessions and completed after he found out his sister Katie was going to save his life by donating him her stem-cell. The new version of 'Swim' adds sweet music box notes to the beautiful and powerful lyrics we already knew, with its repeated poignant line "I'm not giving in".

I haven't had the chance to see the documentary yet, but this digital EP must be its perfect soundtrack. They're not musically amazing, but the hope and strength contained in their lyrics are nothing but moving. Andrew McMahon is not only a great songwriter, he's also an incredibly inspiring and respectable man. You'd expect those songs, based on his struggle to survive, to be fueled by the worst thoughts and a constant darkness, but they're just pretty songs full of maturity, optimism and composure. It is just remarkable, after everything he's been through, to hear him sing "This world can be ugly, but isn't it beautiful?".

3.5/5

Recommanded if you like:
Something Corporate, Waking Ashland, Augustana
Check also:
We Shot The Moon, Ben Folds, William Tell

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

Bring Me The Horizon - Suicide season: cut up!


A little more than a year after the release of their breakout album 'Suicide season', Bring Me The Horizon are back in stores with the remix version of their Epitaph debut: 'Suicide season: cut up!'.

The five-piece from Sheffield, England may still be newcomers to the scene, however they managed to get some big names to bring their touch to their songs, as members from Slipknot, Gym Class Heroes, Lostprophets or The Dillinger Escape Plan provided remixes. There's a little bit of everything: mainstream techno, dubstep, drum'n'bass and even hip-hop, but unfortunately the whole album is basically just samples of Oli Sykes's vocals mixed with electro beats. While most of them have barely anything to do with the original songs ('The comedown' by Robotnics, 'Chelsea smile' by KC Blitz, 'No need for introduction, I've read about girls like you on the backs of toilet doors' by Ben Weinman), a few manage to be a fair mix of the band's sound and whatever genre the remix artist added ('Death breath' by Toxic Avenger, 'Sleep with one eye open' by Shawn Crahan, 'Chelsea smile' by Travis McCoy). Guitars are sometimes still featured, but obviously you can say goodbye to the drums. The result is quite forgettable. I guess it will sound original to the band's fanbase not familiar to dubstep or drum'n'bass but honestly it's nothing more than screams over heavy rave beats. The whole album isn't annoying (if you skip I Haunt Wizards' awful crunkcore version of 'Diamonds aren't forever') but rather unnecessary.

If you didn't like 'Suicide season', there's no need to even give this remix record a listen. You'll find it atrocious. If you did like it and if you're open to the electro genre, you may enjoy a few contributions as some of the lesser known acts did quite a good job with their remixes. But don't even think about buying it unless you're a die-hard fan.

2.5/5

Recommanded if you like:
Enter Shikari, Pendulum, Pitchshifter
Check also:
Skream, The Qemists, Hadouken!

www.myspace.com/bmth
(Visible Noise, 2009)

Wednesday, November 04, 2009

Biffy Clyro - Only revolutions


Could someone tell me what happened to this band? Seriously, Biffy Clyro could have been the best British alternative-rock band around. Just thinking of '57' or 'Justboy' gives me shivers. They were described as the new Nirvana a few years ago. It's hard to believe when you listen to 'Only revolutions'.

The trio from Ayrshire, Scotland have given up their powerful, aggressive and emotional sound to fall into such a generic radio rock. 'Puzzle' sure was a turning point in the band's career and a sign of what to come, but it is still legitimate to be disappointed. The single 'Mountains' is quite representative of Biffy Clyro's new sound. It is made of boring verses with uninspired lyrics and uninspired riffs, a very poppy pace and a poorly-constructed chorus. I can't believe this song has become the most famous of a band who created such music gems in the past. A lot of tracks follow this equation. The ballads may be the worst ('God & Satan', 'Many of horror') as they're nothing else than average cheesy pop. I'm almost wondering if the three first albums weren't a fraud and were really written by the same guys. It is so far from where they were before. The only song that I genuinely found interest in is 'That golden rule', which features good rhythm changes, their heaviest riffs since a while and also what is the closest to the screams Simon Neil used to put on their songs. 'Born on a horse' can also be interesting for those who enjoy Marmaduke Duke (Neils' side-project with JP Reid of Sucioperro). The rest is just very bland. As a whole, it is quite similar to 'Puzzle', except there's even less inspiration within the songs and the orchestrations used are much less efficient than they were on a track like 'Living is a problem because everything dies'. 'Bubbles' and 'Booooom, blast and ruin' sound like average Paramore songs, 'Cloud of stink' reminds me of Fightstar and 'Know your quarry' is so ridiculous that it seems to be a bad joke. 'Only revolutions' just sounds empty. From its very weak opener 'The captain' to its late Muse-ish closer 'Whorses', everything sounds empty. The lyrics, the compositions, the vocals, everything.

I wouldn't be that harsh if I didn't know how great can this band be and didn't love their previous records that much. You won't be overcome by distress if you're new to Biffy Clyro's discography but keep in mind it's the least good stuff they've ever written. Everything that used to set them apart from all the other bands around (yes, all) has disappeared for us to find nothing else but a cruel lack of inspiration. It is such a disillusion for their devoted fanbase which has praised them to the skies for a long time. Please, bring me back my Biffy.

3/5

Recommanded if you like:
Reuben, Foo Fighters, Idlewild
Check also:
Marmaduke Duke, Sucioperro, Twin Atlantic

www.myspace.com/biffyclyro
(14th Floor Records, 2009)

Tuesday, November 03, 2009

Every Avenue - Picture perfect


Every Avenue's sophomore album isn't much different from their debut released last year. Just like almost the entire Fearless Records catalogue, this record is full of pop-rock summer songs, generic vocals and guitar hooks. They sometimes speed up the pace to create a classic yet energic pop-punk ('Finish what you started') but most of the time it's quite down-tempo, going from unoriginal acoustic ballads ('The story left untold') to bad synth-driven tunes ('Clumsy little heart'), with the addition of terribly generic and cheeky lyrics ('Girl like that'). Most of the songs really feel like deja vu. At least it's not disgustingly sugar-coated, but it isn't far from showing what boys bands sound like in 2009. No creative jump over here, if Every Avenue's debut was enjoyable to you, you'll like their new set of songs as well.

2.5/5

Recommanded if you like:
All Time Low, Mayday Parade, The Maine
Check also:
Artist Vs Poet, Sing It Loud, Anarbor

www.myspace.com/everyavenue
(Fearless Records, 2009)

Sunday, November 01, 2009

Say Anything - Say Anything


A lot of the scene's aficionados had planned to end their best albums' annual lists with Say Anything's self-titled and fourth full-length (but considered as their third proper release by the band). So, will we end this glorious musical year with Max Bemis and his bandmates reaching our great expectations?

Well, there's a lot to say about this album. First, let's go straight to the point: 'Say Anything' is much poppier than its predecessors. A little bit more conventional. It's less aggressive and there's no true rock and hard-riffing tracks such as the incredible 'Admit it!!!', for instance. The band melted diverse genres: you'll find pop, alt-rock, indie and even some bouncy R&B (the surprising 'Do better', a more sophisticated 'Wow, I can get sexual too') on this record. There is synth, piano, brass and strings. Keyboardist Parler Case has a much greater role on this new material and literally inflames some of the songs (the excellent opener 'Fed to death'). And even when the beats are almost techno-ish ('Crush'd'), their subtility makes them enjoyable. But songs end up being quite unpredictable also because the six-piece didn't lose their freedom to avoid any structures' rules. 'Mara and me' starts with metal riffs followed by funfair-styled keyboard notes to end with subtle piano tones, punk-rock guitars and gang vocals a la 'Slowly passing through a vector'; whereas 'Property' will remind you of The Beatles' 'Oh! Darling' in its intro before getting into the band's raw rock touch with fast power chords and catchy, resontant vocals, interrupted by an hilarious spoken part. Those are the few moments musically reminiscent of their 2004's masterpiece, '...Is a real boy'. Some of the best songs are the kind of tunes with powerful choruses we could find on 'In defense of the genre', like 'Less cute', 'Eloise' and 'She won't follow you'. It is to add that drummer Coby Linder's vocal interventions are great, and even more appreciated as they're not numerous.
Lyrically speaking, I would say it's less impressive than before but it's also more mature. Max Bemis's teenage angst die-hard fans will feel betrayed by some of the stuff he wrote for this album and probably see it as cheesy. Sure, he is less turbulent: he has found both love (he is happily married to Eisley' Sherri DuPree, featured as guest vocals on 'Cemetery') and faith (he's now a Christian) and it is obvious the man is much happier and more settled than before. It may be an insignificant detail, but for the first time there isn't a single swear word on a Say Anything album. This being said, he's still a quirky, unchained frontman. He even mocks labelmates Kings Of Leon on 'Mara and me'! His songwriting style stays sarcastic (the title 'Hate everyone' speaks for itself) and tongue-in-cheek, including many pop culture references, from Wal-Mart to Deborah Messing or Will & Grace. He's as talented as before and has clearly kept his way with words. He uses a lot of alliterations, puns, metaphors while being so honest and explicit at the same time. The ballads are more cute than heart-rending and I'm sure 'Crush'd' will seem like an abominable insult to a lot of fans. The chorus is quite awkward and unexpected giving what we were used to and it's honestly embarassing at first to hear the singer openly dropping his wife's name in the last verse but you may end up moved anyway, as his simple yet deep lyrics are full of love and sincerity.

Here starts a new era for Say Anything. A poppier sound, a new mental state providing different lyrical themes, it is obvious the talented formation will lose as much fans as they will win new ones. This record isn't flawless, there are average tracks ('Young, dumb and stumb' has rather annoying verses with too much effects on Max's voice, fortunately well-compensated by its chorus) and some faux-pas ('Hate everyone' has seen itself being generously accused of ripping off The Clash's 'I fought the law'). But those imperfections are put right by impressive creations as the wonderful closer 'Ahhh... men', an acoustic-driven track leading to an explosion of emotion and sound when the frontman's shouts get replaced by full-band vocals repeating the profound words "Can I lie with you in your grave?". Max Bemis wasn't lying when claiming the album featured both their catchiest and most mature stuff at the same time. 'Say Anything' isn't a groundbreaking, scene-changing record like '...Is a real boy' was but I guess we can't only ask for benchmark albums. It is rather like a shorter and more refreshing 'In defense of the genre', a trim album that takes time to grow on listeners. A solid and well-written effort by a band now confident about having found their way.

4/5

Recommanded if you like:
Weezer, Saves The Day, Motion City Soundtrack
Check also:
Two Tongues, Forgive Durden, You, Me, And Everyone We Know

(RCA Records, 2009)