Artist Vs Poet - Favorite fix

Take the review I posted for The Rocket Summer's new album:

"I'm gonna be very unprofessional today. Which isn't bad, as I'm only a blogger. I don't have much to say about The Rocket Summer. Bryce Avary's one-man band doesn't inspire me much. My feelings for his fourth full-length 'Of men and angels' are the same as those I expressed for his previous EP (which songs are included on the album). If you liked, you'll still enjoy, if you didn't, he won't get a new fan with this one. Contender for ugliest artwork of the year, though."

Replace "Bryce Avary's one-man band" and "The Rocket Summer" with "Artist Vs Poet", the link for the previous EP with this one, and you get my review for Artist Vs Poet's debut full-length. Artwork dissing included.

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)

Bomb The Music Industry! - Adults!!!... Smart!!! Shithammered!!! And Excited By Nothing!!!!!! (Digital EP)

Another digital EP from the most famous totally DIY punk band today, Bomb The Music Industry!, another free record to download on their label's website (feel free to donate, as always). In case you didn't already know, the Baldwin-based collective got everything there was to get about how music should work.

Not only is this band respectable for everything they do for both their fans (all their shows are all ages and under $10) and the state of the music industry (free discography, revolutionary way to deal with merch), but they also make great music. This new EP is no exception, offering 7 new songs (including a Nintendo-like electronic interlude) filled with everything you like about Bomb The Music Industry!. Especially if you like the fast Bomb The Music Industry!. The opener 'You still believe in me?' is the band at its punkest, with a fast instrumentation, Jeff Rosenstock providing great vocals, as off-tune as always, and lyrics about drinking. Their ska side is to be found on 'Planning my death', filled with horns, and 'The first time I met Sanawon', whereas keys are put forward on the upbeat 'Slumlord'. Closer 'Struggler' is particularly representative of the band's crazily wide musical horizon as it starts as a slow song with acoustic guitar and trombone before speeding up to get full-band and heavy, Rosenstock screaming: "I don't wanna go outside / 'Cause I might have a terrible day". The only slow-paced song is actually the moody 'All ages show' dealing with the punk scene.

Bomb The Music Industry! is a mess, but a very fun mess. They always use a dozen of instruments as well as a dozen of musicians and all of that makes them sound like they're out of this world. Catchy, eclectic, original, easy to relate to, this band never ceases being entertaining. This new EP doesn't prove me wrong, especially when you know it was written and recorded in five days. The collective belongs to that category of band who you will be very enthusiastic and proud to support, especially since they don't ask you to.

4/5

Nb.: The picture is not the actual artwork, it is made of all the eight different covers (one per musician) plus the artwork for the single 'Struggler'.

Recommanded if you like:
The Arrogant Sons Of Bitches, Big D And The Kids Table, High School Football Heroes
Check also:
Chotto Ghetto, Infamous Jake & The Pinstripe Mafia, Rick Johnson Rock And Roll Machine


www.myspace.com/bombthemusicindustry
(Quote Unquote Records, 2010)

Interview: Fair

Fair's new album has finally arrived and it meets everyone's expectations (review here). The band's guitarist Erick Newbill took some time to tell me about the recording of 'Disappearing world', his side-project and touring. Read the interview by clicking "Read more".

Enter Shikari - Tribalism

Already a new album? No my friends, just a collection of b-sides, remixes and live songs. But Enter Shikari also decided to record two new songs to increase the album's interest.

The first new song is 'Tribalism', a synth-led track showcasing another change in direction, the English four-piece going further towards experimentation than they already did on 'Common dreads', with the part sung by Chris Batten even having a Depeche Mode vibe. The verses are a bit boring at times but the song benefits from an excellent chorus, dynamised by a faster rhythm and back-and-forth vocals. The breakdown is good as well, fairly heavy with big gang vocals and Rob Rofle smashing his drums. The funny yet deep lyrics about humanity are worth checking out. 'Thumper' is a more traditional Shikari song, full of breaks and energy and featuring a great vocal performance. The drums are a bit disappointing compared to the guitars but the nasty synth line will put everyone straight. The 6-minute b-side 'All eyes on the saint', a tribute to the band's hometown St Albans's hardcore scene, is an average b-side despite its original construction and the live cover of Faithless's 'Insomnia' is a bit weird as they really turned it into a metal song, so you'll hear moshing guitars mixed with a very cheesy pop synth line. They also included the 2008 single 'We can't breathe in space, they just don't want us to escape' (originally demoed in 2005), in my opinion of the best songs the band have ever written, so it's great to see it finally being able to get the exposure it deserves. It has everything the rock Enter Shikari are good at: crazy guitar notes, impressive vocals, energetic drumming, sing-alongs and a nasty breakdown. The keyboard only really comes at the very end, creating a gorgeous atmosphere like the band have rarely done and it is such a shame the version included on this album is the radio edit, as the original 6-minute song's soaring end is incredible. Next is the remix part, starting with Nero's version of 'Juggernauts', a good chilling tune with a great drum'n'bass beat. The same song then becomes a quite good dubstep track in the hands of Blue Bear, member of True Tiger. When it comes to The Qemists, they gave 'No sleep tonight' both a heaviness and an appeal for the clubs that the original didn't have. The only unreleased remix on the record is the drum'n'bass take on 'Wall' by Welsh DJ High Contrast, who turned it into a good anthem for clubs but nothing worth adding to your iPod's Shikari library. The only annoying moments are to be found on the second half of the album when come three other remixes of 'No sleep tonight', one of them being a boring dubstep remix only including the chorus's vocals (Mistabishi), another an upbeat club song (singer Roughton Reynolds' DJ alter-ego Rout) and the last one an experimental dance mix not having much to do with the original (LightsGoBlue). They're not really bad, but hearing four takes on the same song is a bit tiring. Closing the album are three live songs, transcribing well the intensity of the band's live show and if you dig it, I'd recommend you to check out both of their live bootlegs, one of them accompanying the pre-order for 'Tribalism'.

The new songs are worth buying the release if you're a real fan of the band (even if in this case you probably already own a lot of the other tracks on vinyl as they were b-sides of singles) but if you aren't, just buy them separately on iTunes. Definitely better than Bring Me The Horizon's attempt, but really not essential.

3.5/5

Recommanded if you like:
The Prodigy, Pendulum, Chiodos
Check also:
The Qemists, Exit Avenue, Rout

www.myspace.com/entershikari
(Ambush Reality, 2010)

The Rocket Summer - Of men and angels

I'm gonna be very unprofessional today. Which isn't bad, as I'm only a blogger. I don't have much to say about The Rocket Summer. Bryce Avary's one-man band doesn't inspire me much. My feelings for his fourth full-length 'Of men and angels' are the same as those I expressed for his previous EP (which songs are included on the album). If you liked, you'll still enjoy, if you didn't, he won't get a new fan with this one. Contender for ugliest artwork of the year, though.

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
(Island Def Jam, 2010)

Angels & Airwaves - Love

Blink-182 may have reunited, it didn't stop Thomas Matthew DeLonge Jr. to continue his space odyssey with his friends of Angels & Airwaves, releasing their third album for free on Saint Valentine's day. Hate them or love them, you can't say the four-piece haven't created their own signature sound, no matter how prominent the influence of a band starting with a U and ending with a 2 appears to be. Well, if you disliked the two first albums of DeLonge's more-ambitious-than-the-moon project, 'Love' will unfortunately have the same flavour as watching 'Notting Hill' with a box of chocolates, alone on your couch for Saint Valentine's day.

From the very start of the 'Chariots of fire'-like intro of the record, fans will indeed feel home. For their third full-length, Angels & Airwaves have kept the same sound and grandiloquent aesthetic that captivated fans - and pushed others away. 'Love' is grandiose, as every Angels & Airwaves album, full of metaphors on love and space, echoey guitars and huge drumming. Same slick production, same low-key soaring guitar lines, same mid-tempo hooks, same drum beats (despite a very good work from Atom Willard), same stretched vocals, it's 'We don't need to whisper' and 'I-empire' all over again. I guess we can't reproach them for having found their signature style, but on a pure musical level, you feel like you've heard all of this before. The main riff of 'Shove' sounds just like the one on 'Distraction', 'Epic holiday' reminds 'Everything's magic' and the majestic 'The adventure' comes to mind when hearing the back sample of 'The moon-atomic (...Fragments & fictions)' and the rhythm of 'Some origins of fire'. The transitions between songs are totally flowing, indeed you won't even notice it when the second track skips to the third. It could backfire the band as the limits between the songs are so blurry and the compositions so similar that you may feel like you've been listening to one single song that would have lasted 54 minutes. Thus, the changes on 'Love' are to be found in the details. If you scrutinize the band's new delivery of arena rock anthems, it appears a few things have been modified since the last album. First, it seems that Tom DeLonge has almost abandonned the vocal fuss he put much effort into on the previous records, if you override the "Yeah, hey, hey, hey, ho" on 'Soul survivor (...2012)'. Despite some obvious Auto-Tune moments, his voice also seems more natural (keep in mind we're still talking about Angels & Airwaves, though) and less suffocated by effects. One very noticeable difference however is the increase in the use of synth on the album ('Clever love') which, despite not providing any unforgettable moments, adds something more. But the best moments are to be found when the guitars deviate from the twinkling effect layers they usually are swallowed by, like on 'Epic holiday' or the amazing 6-minute long 'The flight of Apollo', which energetic riffs and different construction manage to maintain the listener's interest all the way through the song. Angels & Airwaves try so hard to build atmospherical moments that when a real riff comes in it always end up being noteworthy. When they pick up the pace on the very unsurprising single 'Hallucinations', which reminds the average level of their previous album, it actually works well. 'Young London' is a success, its intro being one of the best moments off the record, if only the main riff wasn't that reminiscent of AC/DC's 'Thunderstruck'... DeLonge can also revive the attention of the listener when he actually decides to sing and it's a shame he doesn't do it more often. His main fault is however and with no doubt his terrible lyrics. Vague, common and abstract, they're just as cheesy as the title of the album, the lowest level of songwriting being reached at the very end of the album when on 'Some origins of fire' he decides to open the world's eyes with the chorus lines absolutely ruining the song: "We are all love / And love is hard / So here's my heart". And as you could tell reading this review, the song names aren't less ridiculous. So lots of cheese on this album, but if starship romances is your thing, you'll always find what you want in Angels & Airwaves.

'Love' isn't bad. It's a good music album, that gets credit for at least proposing a universe. Let's not forget that the band (or dare I say their frontman) decided to give the album away for free and that's always a respectable decision. Many will find it repulsive and neverending, reproaching the band with laying it on thick. Yes, Angels & Airwaves stick to the pompous/fascinating image and sound they have created. I personally think that it's now in their own interest to try something new and maybe to focus on capturing more energy and variation, as it seems they've already experienced everything when it comes to dreamy and spacey atmospheres. At the end of the day, the group of four astronauts certainly didn't make it up for all of DeLonge's cocky declarations and have a hard time creating songs really memorable for their own sake as they kind of all rely on each other but 'Love' is a good and pleasing experience, that will satisfy every fan of the band.

3.5/5

Nb.: You can download the album for free here.

Recommanded if you like:

30 Seconds To Mars, U2, Muse
Check also:
Dead By Sunrise, SafetySuit, Beta State

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

Fair - Disappearing world

Many of you may have missed out on Fair's beautiful debut album, 'The best worst-case scenario'. Indeed, the American quartet are very quiet and discreet within the alternative rock scene, one of the main reasons being that the band features musician and superstar producer Aaron Sprinkle who has quite a busy schedule with his work on albums of everyone from Anberlin to Copeland or Emery. Thus, it took three years and a half for Fair's second full-length to come out. And now that it's finally available, I have to tell you that if you've never heard of the band, you're gonna have to buy both.

'Disappearing world' is a step up from Fair's debut album. It is such a pleasure to listen to new songs from them, but it's also great to see they're even better. Some of them are reminiscent of the first album but those are less emotionally powerful and also the most somber ones ('Walking in my sleep', 'Take some risks'). The four-piece not only applied the same solid formula, but they've also spoiled themselves with a few new musical experimentations, from the jazzy/bluesy sections of 'Walking in my sleep' to the tempo of the piano-driven 'Great divide'. The keys are indeed an important part of the band, omnipresent on half of the tracks and totally leading a song like 'The worst of your wear'. The ladder features guest vocals from Copeland's Aaron Marsch, what could be more normal when you hear the perfect combination of the two Aaron's voices. Marsch's singing comes to light up the melancholic composition and leaves you wondering how could your ears be treated better than by the association of those two wonderful voices. 'The escape artist' will prove anyone that Sprinkle is not only a talented producer, as this song is a gorgeous vocal and lyrical success. Very well-executed also are the two catchy upbeat numbers 'It's doubtful' and 'One last time'. You'd smile big if Sprinkle wasn't so touching when he sings: "If I'm happy / There's a good chance I'm lying through my teeth / Cause without you, it's doubtful". 'Anymore' is the simplest song and yet one of the most moving, as the lyrics are packed with huge emotion and sincerity. Despite a few weaker moments, the record a a whole is a musical and lyrical success. All along your listen, you'll find nothing but catchy, polished melodies and well-thought yet simple lyrics about faith, love and consciousness.

Fair are not a boring, dull, arrogant indie band. They create a meaningful, dreamy, addictive brand of music filled with sensations and emotions. Fair sing simplicity, and sing it well. Their pure and virgin sound doesn't lack any complexity, depth or other addition to be completely amazing. 'Disppearing world' is an excellent follow-up to 'The best-worst case scenario', taking back the elements that made their debut work so well and adding more consistency and variation. It is certain Fair will remain in their little bubble, far from the lights of the success but the unanimous critics have already proved their worth. Both of their albums are made of haute couture pop-rock and you'd be stupid not to give them a listen.

4/5

Recommanded if you like:
Copeland, Tegan And Sara, Death Cab For Cutie
Check also:
Poor Old Lu, Rose Blossom Punch, Lakes

www.myspace.com/fair
(Tooth & Nail Records, 2010)

Crime In Stereo - I was trying to describe you to someone

I took my time to write about Crime In Stereo's new record. The Long Island-based five-piece have always been at a special place within the hardcore scene. The direction taken with 2007's 'Is dead' set them even more apart and with 'I was trying to describe you to someone', they go further than we would have ever thought.

Let's not talk about the cover. Yes, it's awful. Yes, it's the singer. But there's gonna be enough to say about the music. With 'I was trying to describe you to someone', Crime In Stereo pick up right where they left off with 'Is dead' but they're pushing much further into experimentation. The eerie intro 'Queue moderns' starts off the album with an ambient tone, the rhythm is slow, provided by a drum machine, and the vocals are ethereal. But quickly, the fast pace the band are famous for comes in and the song gets into a seething melodic hardcore section with singer Kristian Hallbert's yells. This quiet/loud dynamic is to be found throughout the record, so much that the first listens are quite blurry when it comes to distinguish songs. But with time the space and the nuance featured on this album become clearer and the great work executed by the band and their producer Mike Sapone becomes obvious. The rhythm of the album is a very good point, the drums sound amazing and when the band say that they wanted to make an album that would work better than 'Is dead' in a live setting, you understand where they come from on tracks like 'Drugwolf' (the most conventional and melodic song, a satirical tract against the police) and 'I am everything I am not' (one of the rare choruses where hardcore kids will be able to sing along). While keeping an aggressive sound on most of the album, Alex Dunne and Eric Kuster's guitars experiment an array of new sounds, using effects pedals more than ever, sometimes over-distorted ('Type one', 'Republica') and sometimes soaring ('Drugwolf', 'Exit halo'). A song like 'Not dead' benefits much from the bite provided by the distorted guitars, the grunge-like hook added to the shrill vocals of Hallbert singing "I'm not dead / But you're losing me" and its "hey, hey" chorus making it one of the most efficient on the album. The work on bridges is excellent as well, building up literal walls of sound on 'Odalisque' and 'Exit halo'. The latter may be the best song Brand New didn't write on 'Daisy', haunting by its reverberating vocals and intense bass line, unpredictable by its binary construction making the two halves of the song completely different. Kristian Hallbert has really found his best vocal execution, alternating soft singing and distant yelling, finally setting up his own recognizable trademark. There are settled-down moments on 'I was trying to describe you to someone', though. 'Young' is a beautiful and poetic number, at first sounding like an acoustic pop-punk track with its soft guitar notes and catchy vocals before trashing drums turn it into a peaceful and melodic full-band song. 'Dark Island City' (which has very little in common with the track of the same name off 'The troubled stateside') is as laid-back but is much more sombre, paving way for the most upbeat song on the record, the closer 'I cannot answer you tonight'. This song is the closest to what Crime In Stereo was five years ago, a more traditional melodic hardcore filled with an epic feeling very peculiar to the band. And the last 40 seconds made me realize that it's in this configuration that they are the most likely to move me, as the tense bridge turns into a wonderfully energetic and touching ending with Hallbert yelling "Come back to me" with all his heart.

Crime In Stereo have gone a long way since their 2002's basement demo. They have worked hard and evolved on every level, improving their musicianship and their songwriting, also distancing themselves from the casual hardcore music to add a "post-" prexif to their sound. 'I was trying to describe you to someone' is a challenging album, hard to get into. You're constantly lugged around between quiet and loud, distortion and progression, airy and angry. So much that it can be a little misguided at times. By avoiding conventions, the album also bears a certain form of analogy. It is not as astonishing as 'Is dead' because the effect of surprise is not as strong, but it is a more consistent and ambitious effort that will also be easier to transcribe live. The mix of Mike Sapone is once again faultless, even if lots of fans will blame him for turning the band into Brand New. The comparison is legitimate, their sound now is very similar, but it is first and foremost the result of Crime In Stereo willing to add depth and variation to theirs. Whilst some will argue that 'I was trying to describe you to someone' is the masterpiece that 'Is dead' gave a glimpse of, others will feel betrayed by a band who gave up their older sound. Where is the hardcore? Probably in the spirit of the album. Where is the punk? Probably in the heart of the album. Crime In Stereo haven't forgotten their roots, they're an incredible band who, despite being now less moving than before for a part of their audience, need to be regarded as the grittiest act erupted from the 2000's hardcore scene.

4,5/5

Recommanded if you like:
Brand New, Moneen, Sparta
Check also:
Make Do And Mend, Hostage Calm, Jettison

www.myspace.com/crimeinstereo
(Bridge Nine, 2010)

Interview: Prawn

The second interview of 2010 comes from New Jersey-based act Prawn. They've released one of the best EPs of 2009 (which I reviewed here) and their singer/guitarist Tony Clark was kind enough to accep to answer my questions. You can read them by clicking the link "Read more" below.

Blacklisted - Eccentrichine (7'')

After surprising (shocking?) their little world two months ago with the incredible 'No one deserves to be here more than me', there they go again with a new 7'' as unexpected as the 12'' ahead of it.

Hardcore heavyweights Blacklisted recorded this four-song EP this summer. It features two new songs as well as new versions of two previous ones: 'The P.I.G.', acoustic on the last album, here benefits from a full instrumentation and 'Wish', taken from 'Heavier than heaven, lonelier than God', in an acoustic take. Both new songs could have been on 'No one deserves to be here more than me'. Bizarre and almost ambient, full of weird instrumentations, they keep the atmosphere the full-length had, strikingly precise and careful. The gorgeous vocals of George Hirsch are accompanied by some female ones on 'Stones throw' and on 'Eccentrichine' he pushes even further the limits of the band's hardcore sound with very cheerful "too-doo-doo-doo-doo-doo, doo-doo-doo-doo-doo" 's while the drums are banging in the back. This latter is probably one of the most accomplished songs the band have ever written and whether you like it or not, you have to admit it's impressive, just like the evolution of the band. The two other songs are good alternatives to the ones we knew, adding to the diversity of Blacklisted's new sound.

With this new 7'', Blacklisted are reiterating the effect provoked by their latest full-length. 'Eccentrichine' is sticking the knife in deeper, confirming the band have become a real unidentified hardcore object, those two new songs sounding like the copulation of Snapcase and Dinosaur Jr.. No doubt, no one deserves to be here more than them.

4/5

Recommanded if you like:
Snapcase, Quicksand, Bitter End
Check also:
New Lows, Downpresser, Pellinore

www.myspace.com/blacklisted
(Six Feet Under Records, 2010)

Tony Sly - 12 song program

No one would deny No Use For A Name's importance in the punk scene since the 90's. Key figure of Fat Wreck Chords, the Californian act have created their own signature style, most of it being thanks to singer/guitarist Tony Sly's unmistakable vocals and songwriting. After 23 years fronting No Use and a split album with Lagwagon's Joey Cape released in 2004, Sly is offering his first ever solo album, '12 song program'.

As expected, the project is entirely acoustic. Sly put aside the fast rhythms of his band to record delicate melodies along with his guitar. Whereas a few songs could be acoustic versions of No Use For A Name ('Capo, 4th fret'), the album as a whole doesn't give this impression, the songs stand up on their own feet, letting us witness the most sensitive side of Sly. His songwriting is simple and poetic, taking a introspective look at love and life while he strings together sweet and soft harmonies song after song. Whereas a few tracks inevitably sound folk-punk as you would expect a punk-rock singer's solo project to do so ('Via Munich') and certain songs are stripped-down at the most possible ('The shortest pier'), Sly surprises by the range of sensibilities included on the record. He didn't content himself with his guitar alone and surrounded himself with a cast of guests instruments and vocalists. The lovely voice of Karina Denike, from the ska-punk formation Dance Hall Crashers, makes the vocal line thicker and smoother on seven songs and Joey Cape comes to support his long-time friend on 'Amends'. 'Via Munich' and 'Fireball' feature a subtle violin, 'Expired' a movie sample, the excellent 'Toaster in the bathtub' drums and handclaps. You'll even find the accordion of Swingin' Utters' Darius Koski ('Already won') and the bass of NOFX's Fat Mike ('AM'). Whilst the first is quite upbeat, the latter has a darker and airy atmosphere mostly provided by the addition of keys.

With his first real solo experience, Tony Sly didn't necessarily choose the predicatable route of folk-punk like many of his peers did (Chuck Ragan and Greg Graffin in the lead), he instead relied on an original instrumentation to give to the record a more pop and diverse appeal. Whilst not indispensable, '12 hour program' will please No Use For A Name's fans and suckers for acoustic punk.

3.5/5

Recommanded if you like:
No Use For A Name, Sundowner, Nikola Sarcevic
Check also:
Kevin Seconds, Joey Cape, Jon Snodgrass

www.myspace.com/tonyslymusic
(Fat Wreck Chords, 2010)

Story Of The Year - The constant

2002 and 2003 were two crucial years for the alternative rock scene. Several successful albums released at the time built up, musically, commercially and broadly speaking, most of what it is today. One of them is 'Page avenue', Story Of The Year's first album. The unknown band witnessed a quick rise to the top thanks to a few singles and a solid debut in a period that was marking a change in bands and fans' environments. Ever since the release of their first album, just like their fellow newcomers The Used but to a lesser extent, the five-piece from St. Louis, Missouri never stopped fading. With every new album decreased the number of songs I would add on my iPod and with 'The constant', I continue to forge ahead.

I am not surpised, though. If there's one thing this album is not, it's surprising. Its title fits it quite well, even if the constance is more in the regression in my opinion. Story Of The Year have, over the years, lost the edge that made their relative success to embrace a new sound, mix of radio-friendly rock tunes and attempts towards heaviness. While trying to "strip down the excess and get back to basics", the band lost almost all their interest. The record opens on 'The children sing', a loud without being heavy song filled with big riffs and a terribly cheesy chorus where singer Dan Marsala is joined by very annoying kids' vocals to beg: "Don't take this / Don't take this world away from me". The most polished, radio-ready songs are 'To the burial' and the single 'I'm alive', both having very easy and catchy melodies. The boring chorus of 'To the burial' is particularly frustrating as the verses set up a faster pace reminding times when drummer Josh Wills actually played fast. But the deathblow comes with 'Remember a time' and 'Holding on to you', with no doubt the worst songs the band has ever written. The guitar lines of the first one make it sound like a bad Weezer song whilst the ladder is a classic subpar piano ballad I never thought I would hear Story Of The Year play. It seems that guitarists Ryan Phillips and Philip Sneeds are letting their pop influences speak more, as the creation of their side-project Greek Fire could let understand. The heavy tendencies of the band are concentrated on two songs, 'Won threw ate', which lacks the substance that the similar songs had on 'In the wake of determination', and the closer 'Eye for an eye', a fast and scorching song brought down by a weak chorus. The rest of the songs are more moderated in their style, reminding the style of 'Page avenue' ('Ten years down', probably the most efficient track) or 'The black swan ('The ghost of you and I'). Maybe I just got bored and over Story Of The Year's signature style, but the formula seemed to work much better a few years ago. In the end, the good and decent songs don't make up for the bad moments.

There are albums on which you take a while to have a opinion. 'The constant' is not one of them. It's a very simple album, that you will figure out if you like or not during the first listens. Story Of The Year would argue they matured as a band and I will be the first to admit they definitely found their sound over the years, but with it occurred an undeniable decrease in their appeal.

3/5

Recommanded if you like:
The Used, Funeral For A Friend, Lostprophets
Check also:
Greek Fire, The Fuck Off And Dies, Behind Crimson Eyes

www.myspace.com/storyoftheyear
(Epitaph, 2010)

Request: Prawn - False institutions (EP)

I usually know most of the bands that ask me to review their records, but rarely am I really enthusiastic about their music. At least, not as much as I am about Prawn's music. Prawn is a small band from Ridgewood, New Jersey. A small band like hundreds of others, I would tend to say. Until you hear them play.

'False institutions' is their second EP. It's not only promising, it is also fucking great. First, there are the vocals. Singer/guitarist Tony Clark's voice is just so real and catchy, its vocals following the amazing intro of 'Nightmares' immediately warn you that what you're holding in your hands is not ordinary. This song is incredibly powerful, the vocals bringing so much energy. 'Arctic foxes', though weaker, is another vocal success, with the addition of handclaps and strong gang vocals at the beginning and at the end. Clark's lyrics are very pragmatic, realistic and often give the impression to be taken out of a casual onversation. They don't try to play the smart or wanna-be-poet card, they just keep up with sincerity and end up being fairly poignant. But it wouldn't be fair to talk about Prawn without dwelling on the guitar work. 'Thousand grains of sand' is the perfect illustration of the four-piece's instrumental greatness: after a few minutes of Explosions In The Sky-like driving progressions, a heavy rhythm picks it up to blow you away. Once again on 'Courage kills men', the guitars play a massive role in captivating the listener with their endless lines and crescendos. How can you be upbeat and poppy when you have long instrumental parts? I have no idea, but they do. They manage to be appealing to a wide audience while bringing elements of lesser-known music sensibilities. The drums are nothing special, but I like the way they sound in the mix as well. The slow pace of superb closer 'Family tree' reminded me of 'Goodbye sky harbor', the last fabulous track off Jimmy Eat World's masterpiece 'Clarity' and probably one of the best closers of all time. Prawn produced six songs of midwestern emo mixed with post-rock subtility, all of that being not too much elaborate to be fairly accessible.

'False institutions' is a record of compelling, half-measure music. With their second EP, Prawn avoid all the cliches of easy post-rock to produce something genuinely good, full of great intentions and overall well-executed. Keep an eye on those four guys, chances are they will be opening for your favorite bands very soon...

4/5

Nb.: The band made the entire EP available for download here.

Recommanded if you like:
Moving Mountains, Brand New, Park
Check also:
The Devil And The Lion, A Perfect Kiss, Rockets And Bluelights

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

Request: Renae - ...And hell follows (EP)

I discovered Springfield, Illinois outfit Renae in 2008 when they released their second EP called 'The coward, the storm and the outlaw' of which they sold not less than 4000 copies, which got them signed on Hotfoot Records at the end of last year. With the release of their third EP '...And hell follows' (maybe they don't like full-lengths?), I've been contacted to give my opinion on the band's label debut.

As I was reading informations about the band, I found out that this new EP was entirely recorded live in the studio, which is something I love that bands do. Few bands can allow themselves to do it, but it really captures the real energy I appreciate in this kind of music. It is true for Renae, which rawness is a main component of the songs. This is not how this record starts, however, as 'Conquest' opens on a Saves The Day's 'Under the boards' dark guitar atmosphere. The tempo quickly changes though, and after a minute come the first metalcore screams which, if I am not a fan of the genre, I have to admit sound more like a good old Poison The Well than a shitty The Devil Wears Prada. This song basically showcases what singer Stephen Rosborough is capable to offer, his clean vocals (in the vein of The Dear Hunter's Casey Crescenzo) being more interesting than its screams in my opinion. The chorus reminds me of Thrice's 'The weight', which is not a bad thing at all. What strikes the most is the blend of influences executed during the songs. 'War' starts off as a basic brutal and guttural metal song before turning into a more technical and atmospheric instrumentation, even including unexpected gang vocals, which makes us think Cave In must be one of the band's favorite acts. The guitar playing on 'Famine' is a good example of the band's musicianship, with complex notes that would please The Fall Of Troy fans. 'Pestilence' is the softest song, slow-paced and intriguing, almost sounding like an intro to closer 'Death' and its big choirs, an attempt to finish the EP with an epic ending. Just like the whole record, it is interesting without being impressive.

'...And hell follows' is not Renae's best offering but is interesting in the way the band is now blending different styles to obtain more unexpected and experimental compositions. They got heavier as well and I am not a fan of the guttural screams but the genre's aficionados will get something out of it. It'd be interesting for the band to try the experience of a full-length, to see if they can duplicate this energy and creativity on a larger amount of time.

3/5

Recommanded if you like:
The Receiving End Of Sirens, Thrice, Poison The Well
Check also:
Eagle Scout, Lions Lions, Beast From Sea

www.myspace.com/renae
(Hotfoot Records, 2009)

Manchester Orchestra & Kevin Devine - I could be the only one (Digital split EP)

Friend bands covering each other's songs is always an interesting concept. Labelmates and long-time close friends Manchester Orchestra and Kevin Devine decided to try the experience with the digital release of 'I could be the only one'.

You guessed it from its name, the songs chosen are Kevin Devine's 'I could be with anyone' and Manchester Orchestra's 'The only one'. Both took a laid-back approach to make their cover, Andy Hull's incredible voice making the cover of 'I could be with anyone' much more depressing than the original, only accompanied by an acoustic guitar and putting aside the pop sensibility of the song. But unlike we would expect, he didn't really make it an acoustic Manchester Orchestra song. The result is very soft, in the form of a ballad that Hull's side-project Right Away, Great Captain! would compose. The "lalalala" 's on the bridge are a bit out of place in my opinion but overall, his contribution sweats sincerity and beauty. Devine's cover of 'The only one' is even more surprising. He obviously slowed the pace down but didn't make it an acoustic version of a raw rock tune. He gave it an upbeat electronic backbone that, when added to his atmospherical vocals, makes the cover get a totally different, airy and sweet, look. He went as far as changing the second line of the original song, "I am the only son of a pastor I know / Who does the things I do" being changed into "I am the only son of an officer I know / Who does the things I do" to make it suit him.

A well-executed split, interesting on both sides, Kevin Devine taking more risks without necessarily topping the quality of the original in my opinion. It's pleasing to see two incredibly talented artists loving each other's music just as much as we do.

3.5/5

Nb.: You can stream the EP here.

Recommanded if you like:
Brand New, Colour Revolt, Cassino
Check also:
Right Away, Great Captain!, John Nolan, All Get Out

www.myspace.com/manchesterorchestra
www.myspace.com/kevindevine
(iTunes/Amazon, 2010)

Rufio - The loneliest (Digital EP)

I belong to those who have followed Rufio from the very start without ever being disappointed. Contrary to many old fans, I absolutely loved the more alternative and ambitious step taken with 'The comfort of home'; so needless to say I was very enthusiastic when I heard, last year, that Rufio was rising up from the ashes, three years after breaking up and losing two of their members for creative differences, to release new material and hit the road again. Here's the first delivery of the new Rufio, a 4-track digital EP called 'The loneliest'.

Let's make it clear: from those new songs, you can't say "it was better before". Nope. 'The loneliest', composed of two new songs executed in both full-band and acoustic version, is Rufio in great shape. The first song, 'All that lasts', has the feeling of the band's older material, a fast pop-punk tune without many technical riffs. And when Scott Sellers is claiming: "Understand / The bad days are over / We're free at last / To learn from our past", you can tell his voice is better than ever. Really, it's so good to hear him sing again. It takes you back to the old days of The Ataris, No Use For A Name and Lagwagon. Whereas the vocals and guitars are quite mid-paced, the new drummer Terry Stirling Jr. (ex-Drive A) is totally on fire, playing at maximum speed almost the whole time. The other song, 'The loneliest', is slower, more mid-tempo and standard pop-punk flirting with pop-rock. A very pretty and sweet song. The acoustic versions can seem quite useless at first but they enable to focus on Sellers's vocal melodies and even if they're far from being essential, they're not unpleasing.

I am very happy to announce that Rufio are back, and back in style. Despite a few differences with their latest material (fans will probably ask for more technical guitar compositions, which has always been Clark Domae's specialty and some will miss former bassist Jon Berry's imposant presence, as Taylor Albaugh's bass is more distant, but I personally didn't mind at all listening to the EP), those two new songs are Rufio's pop-punk at its finest (the first one emphasizing on the "punk", the second on the "pop") and you can hear some maturity in the melodies as well. 'The full reality', the band's fourth full-length coming out later this year, could be the best pop-punk record of 2010.

4/5

Recommanded if you like:
Slick Shoes, No Use For A Name, Over It
Check also:
Fastlane, Olivia The Band, Straighten Things Out

www.myspace.com/rufio
(iTunes/Amazon, 2010)

Tubers - Anachronous

Tubers come from Florida. They're signed on the punk temple that is No Idea Records, which already gives you an idea of what to expect. The band features members of more hardcore formations Twelve Hour Turn, True North and Asshole Parade. 'Anachronous' is their third album and their best to date.

Tubers' new delivery is gritty, lively and urgent. Mixing vigorous and upbeat post-punk ('Coconut thunder') and garage or even grunge sounds ('High tide it's inside'), they surprise by the range of influences developed. The instrumentation is rigid, angular, the energy is inexhaustible, the guitars go wild and the production (provided by the great Rob McGregor, who has recorded with everyone from Against Me! to Hot Water Music and New Mexican Disaster Squad) is so raw you'd think the record was released two decades ago. Indeed, Tubers have a really old-school feeling, ending up somewhere between 80's hardcore and 90's emo. Fugazi is by far the most obvious comparison. There are some excellent furious moments with lots of shouting ('Small signs big posts', 'Anachronous'), but those fast tempos are mixed with more moderate ones, for the best effect ('Pale sunbather'). There even are very old-school instrumental tracks, half effective ('Unmutual') and half falling flat ('40 XL'). But as a whole, the music quality is high. The composition work (with the addition of harmonica) on a song like '68' is simply impressive.

I wouldn't listen to it everyday, but Tubers' third album is a big step for the band and one of the genre's finest. No matter if you prefer Nirvana, Radio Birdman or Rites Of Spring, there's something you'll like on 'Anachronous'. Another great record straight from Gainesville, another great band to see on the Harvest Of The Hope festival stages.

3.5/5

Recommanded if you like:
Fugazi, Jawbox, Drive Like Jehu
Check also:
Twelve Hour Turn, Double Dagger, How Do We Jump This High?

www.myspace.com/tubers
(No Idea Records, 2010)

Adorno - Said and unsaid (7'')

Adorno is a four-piece emo band from Portugal. They sing in English though, and their emotional mix of passionate hardcore and distorted punk sounds like they would have fitted perfectly on Dischord Records (Fugazi's Ian MacKaye's label) back in the day. After a remarkable demo and two splits with the excellent German act Syn*Error and the Americans of End Of A Year (later compiled on the album 'Year one'), the guys are finally back with 'Said and unsaid'. The seven inches, announced a year ago, is being released by Germany's Adogio830 and our very own French label Pure Pain Sugar.

It was worth the wait. Four new songs of bouncy emo. From the first track 'One thirty six', you'll realize Adorno's sound is not chaotic, it's actually very tidy, with a clean production and pushed-forward vocals. That's not saying they lack energy though, as the noisy 'Uncharted maps' will quickly prove you. The distorted sound is still here but they slowed the pace down on those new songs; perfect example, 'Untitled' is much more melodic, especially in the vocals, than their previous work. You may even be surprised by the gang vocals at the end. The delay pedals bring a post-rock touch ('Said and unsaid') while the shining vocals and the genuinely-sounding drums recall their screamo influences. No screams, no rawness, just a clean, real and very pretty sound.

Adorno got softer, pushing further their melodic side, and it fits them well. 'Said and unsaid' is a very good 7'', easy to digest and only paving the way for the best to come. Two new tracks will appear on a split 12'' with France's best newcomers, Sugartown Cabaret, in March. But afterwards we want a full-length, obrigado!

4/5

Recommanded if you like:
Comadre, Snowing, Loma Prieta
Check also:
Prawn, Suchi Rukara, Shokei

www.myspace.com/adornno
(Adagio830/Pure Pain Sugar, 2010)

New Found Glory & Dashboard Confessional - Swiss army bro-mance, limited edition tour split (Split 7'')

At the occasion of their American tour together in November and December, New Found Glory and Dashboard Confessional decided to release a tour split 7'' only available at the dates. The tour got cancelled because of Dashboard's familial reasons, but the split is still coming out.

Each band chose two songs from the other and covered them. On side A, New Found Glory start with 'Saints and sailors' and 'The swiss army romance'. We know the band's ability to make others' songs theirs and it's proved once more with those two. If you had never heard the originals, you would think they're 'Not without a fight' b-sides. Power chords, energetic drums, gang vocals, Chad Gilbert's screams, New Found Glory's touch is here and it works pretty well. Unfortunately, we can not say the same about the side B. Dashboard certainly did a good job in choosing two non-singles of New Found Glory, but the execution is quite mediocre. Both are very mellow and slow; whilst 'All about her' may be a sweet cover thanks to its upbeat chorus and the female guest vocals, 'Better off dead' is nothing more than boring. The beat provided by the drum machine is a major turn-off and Chris Carrabba's vocals don't get off the whispering level.

Both bands really appropriated the songs but the split is clearly serving New Found Glory. Not only they made two more good covers, but Dashboard Confessional's covers actually give credit to their friends' sense of melody more than anything else. Even at slow pace, New Found Glory's catchiness is undeniable.

3/5

Recommanded if you like:
The Starting Line, Four Year Strong, All Time Low
Check also:
Save Your Breath, All Or Nothing, Living With Lions

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

Motion City Soundtrack - My dinosaur life

I don't know why, but Motion City Soundtrack's fourth and major label debut album 'My dinosaur life' seems to do it for everyone but me. I tried very hard, though.

I'm confused about it. On paper, everything sounds perfect. Singer Justin Pierre makes an unmistakable vocal contribution, as always, his voice leading the band more than ever and his lyrics, close to Max Bemis's cynical and multi-referential (from Zelda to 'Veronica Mars') songwriting, remain one of the major interests of the five-piece. Pierre even went back to swearing in the songs, which I always thought fitted him very well. Other important success, all the instruments are shining on this record: bassist Matt Taylor enjoys Mark Hoppus's production to show off his skills on a new scale, the guitars are blasting on (sometimes unexpectedly) heavy parts ('Worker bee', 'Disppear' or the explicit '@!#?@!') and Tony Thaxton's drums have probably never been that precise (the closer 'The weakends'). Though, the synth, which used to be the band's trademark, is disturbingly quiet as keyboardist Jesse Johnson is only really put on the spotlight on 'Hysteria,' the single 'Her words destroyed my planet' and the pretty 'Pulp fiction' with its chorus reminding Eve 6's 'Inside out'. And it's not the only thing bothering me when listening to 'My dinosaur life'. Justin Pierre's singing, as great as it is, takes some unseemly paths at times, catching my attention away from the music, like on the weird verses of 'Disappear' or its strange pace on 'A lifeless ordinary (Need a little help)' and 'Hysteria' which I find annoying. With the maturation of their sound, they have also lost something in their way with melodies in my opinion, even if a lot of people would argue on this point. The chorus of a song like 'History lesson' sure is catchy but hardly enjoyable for me in the end and the one in 'The weakends' suffers from a lack of subtlety compared to its great verses. As a whole, 'My dinosaur life' can sound like a mix of the band's three previous album, but darker and taken to a higher level: the originality of 'I am the movie', the catchiness of 'Commit this to memory' and the pop sensibility of 'Even if it kills me'. But I have this hardly explainable sensation that something is missing.

Motion City Soundtrack fans, even those disappointed by the last album, really have to listen to this record and give it several chances as there's a big chance of them ending up satisfied with what the band have accomplished. Their new maturity is obvious, on every level, particularly on the noteworthy songwriting (though many will regret Pierre's angsty lyrics from back when he was not sober) and the brilliant musicianship and many will argue that 'My dinosaur life' is Motion City Soundtrack's best album. It will not come to join 'I am the movie' and 'Commit this to memory' on my shelves but it doesn't mean you should not check it out.

3.5/5

Recommanded if you like:
Say Anything, Weezer, Fall Out Boy
Check also:
Two Tongues, Single File, Weatherbox

www.myspace.com/motioncitysoundtrack
(Columbia, 2010)