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Due to overwhelming volume, OpeningBands.com regrets that is not accepting CD admissions at this time.
| by james sowa (JimEWrld) | |
1. Milk
2. As We Leave the City
3. Alabaster
4. New Sound
5. Hours
6. Deep Dive
7. Such Charm
8. 1925
9. Dilemma
10. A.w.l.t.c.
11. Milk [Radio Edit]
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Band: æther
CD: æthersound |
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æther is an indie group hailing from Columbus, OH with three previous releases, all of which are instrumental. æthersound constitutes the first vocal release for this quartet. It is quite clear from this release why the band was so successful releasing instrumental albums; they can write music. Every song on this CD is epic, and the vocals add a whole new element to their sound. æther's music is comparable to Radiohead, My Bloody Valentine, Explosions in the Sky, and sometimes even Muse.
"Milk" is a great opening track and the most radio-friendly song on the album. This track sounds similar to Abandoned Pools but makes itself unique with several well placed solos and overall excellent guitar work. The lyrics are truly amazing and could rival those of Brand New. The song has a sort of emo feel to it, but that feel makes it so perfect.
The next noteworthy track is "New Sound," which sounds like a club song from the start with some excellent synth. This song has an electronic feel to it, and the vocals fit perfectly with that. It is truly amazing to hear a good synth line and excellent bass riff combined so effectively in the same song. This song is aptly titled because it is definitely a new sound direction for the album, but it fits perfectly.
"Deep Dive" is a sad song, no way around it. From the slow depressing guitars to the way vocals sound like whispers at a funeral, this song sounds sad. However, it is probably the best track off the album. It has perfect lyrics and the feel of the song matches the mood of the album so well. Plus, the chorus is almost unforgettable.
This CD is an excellent vocal debut from a formerly instrumental band and showcases the skill that æther has. This CD is an indie-rock gem, waiting for the right hands to pick it up.
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| by brian kagel (kegs1287) | |
1. The Homeless and the Hummingbirds
2. Your Red Dress (Wedding Song at Cemetery)
3. The Beautiful Burial Flowers We Will Never See
4. Balkan Low Rider Anthem
5. Lovely Lovely Love
6. Twenty Four Hours in Lake of Ice
7. Dance Party in the Balkans
8. Harmonijak
9. Staring at the Sun
10. Horsey Horse
11. Rain on Every Weekend
12. Don't Read Dostoyevsky
13. Close Your Eyes - We Are Blind
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Band: Alaska in Winter
CD: Dance Party in the Balkans |
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I recently just watched A Night at the Roxbury for the first time since I was in grade school. The movie was about as consistent as the old SNL skits that inspired it used to be, but near the end of when Doug Butabi (Chris Kattan) holds up a boom box blasting that old club hit "What Is Love?" all Say Anything-style, interrupting his brother Steve's (Will Ferrell) wedding, it made the movie. For that moment, I even liked that song. I'll admit it; I even bobbed my head.
So, how does this relate to Alaska in Winter's debut album Dance Party in the Balkans, you ask? Only that most of the album's lead vocals have the same echo-heavy and club-ready feel to them that left you wondering: "What is love?" Now, depending on whom you ask, that could be a good thing or a bad thing. I currently would be in the latter group, so I do believe the best tracks on the album are the songs with the least amount of vocals from band creator and leader Brandon Bethancourt. "The Beautiful Burial Flowers We Will Never See" is a beautiful mourning piece that runs right into the perfectly titled "Balkan Low Rider Anthem" with a pouncing piano line and crying strings, and even the vocals near the end of the song sound good because they sound just like another instrument in this case.
I wanted to like this album a lot, but maybe I was just hoping for a substitute Beirut album until their new one comes out. I probably came into this album with the wrong mindset, but I really believe a lot of listeners that find Alaska in Winter (and a lot will because of the Beirut namedrop) will have the same expectations and assumptions I did (warm horns with a dynamic real percussion section and an expressive singer) and will be left feeling a little alienated by the deliberate icy vocals and music. Why such robotic vocals would be put to electronic Balkan-infused music is not beyond me. I understand that Bethancourt wrote these songs among the glaciers and loneliness of Alaska, and he wanted to represent that in the music, but he should have left the Balkan inspiration out then. In fact, when the horns do drop out to just beats and vocals, it sounds good, really good, but when the brass starts back up, everything starts to sound out of place.
Some will call this completely jumping on the bandwagon of success that Beirut and A Hawk and A Hacksaw have had in the European-by-way-of-Arizona music. I know it crossed my mind, but Heather Trost of A Hawk and A Hacksaw contributes violin on the album and Zach Condon himself adds trumpet and ukulele and even takes lead vocals on the last and undoubtedly best track of the album, "Close Your Eyes - We Are Blind." This track starts off with the familiar solo ukulele strum of some of the best Beirut tracks such as "Elephant Gun" and "Postcards From Italy," with Condon's voice slowly rising to the introduction of horns, beats, strings, and group vocals around him. It is the perfect conclusion to the album. With two of the bands that inspired Alaska in Winter contributing so much to the album, it would appear that they are digging the tunes Bethancourt is creating, so who are we to say who is ripping off whom?
Here's how I picture things: back in the old country, Beirut is outside gathering a crowd, dramatically playing and swaying and singing in full voices for the peasants in the streets. A Hawk and A Hacksaw is out in the countryside, standing in a green, grassy valley, playing outside a rundown tavern before the sun goes down, and they move inside and really get things going. Then there is Alaska in Winter, inside the church raining down beats and sterile choral voices for a funeral. With this in mind, Dance Party in the Balkans does not necessarily deliver on what the listener would assume by the title. It really does sound like electronic funeral music, and sure, a lot of the time they also sound like they belong on the Garden State soundtrack right next to "Let Go" and "We Will Become Silhouettes." Depending on whom you ask, that could be a good thing or a bad thing.
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| by nathan schwalm (mythox007) | |
1. Grown
2. Ridin'
3. Free Man
4. Dinosaur
5. It's Your Time
6. Hat Energy
7. See You Near You
8. Animal
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Band: Awesome Color
CD: Awesome Color |
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When I first grabbed this, I had no clue who Awesome Color is or how this would sound. The second I hit play, the sonic juices from the speakers filled my room with dynamic garage rock power with proto-punk and lo-fi attitude fused together. This is a must for fans of The Stooges, The Living Blue, late '60s Stones, MC5, and The Sonics. This Brooklyn band is simply awesome!
"Grown" starts the groove with a heavy Slade/Sweet glam drenched in Keith Richards guitar licks. This cut has nasal and raspy vocal attitude that would get the dancers, rockers, and bikers to rock simultaneously. "Ridin'" takes you on a journey through noise rock landscapes with bluesy Humble Pie mixed with explosive MC5.
The album cools off for a bit as "Free Man" has the laid-back Stones vibe with a bit of Slider-era T.Rex. "Dinosaur" is electrifying early King Crimson without the elite prog stuff and a Stooges jam added; it also has a wild case of some smokin' blues harmonica stuff too. The key track to this album is "It's Your Time." The tune features young Iggy Stooge alive and well with a "1969" vibe going on. The only downfall from being the best garage rock album of the year is the last two tracks as they are literally endless jams that end the album with a chaotic mess.
Despite the last 11 minutes, the first 25 minutes makes this awesome rock and roll that keeps the spirit of the late '60s alive. Overall, solid and tight tunes to crank up and keep in high rotation on your CD, computer, and iPod.
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| by lance birch (lance) | |
1. Give Thanks and Praises
2. Jah People
3. Pure Love
4. Natty Dreadlocks 'pon the Mountaintop
5. Build a Nation
6. Expand Your Soul
7. Jah Love
8. Universal Peace
9. Roll On
10. Until Kingdom Comes
11. In the Beginning
12. Send You No Flowers
13. Peace Be unto Thee
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Band: Bad Brains
CD: Build a Nation |
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Bad Brains' Build a Nation is an experiment for which their fans have waited over 20 years. With celebrity superfan of Beastie Boys fame Adam Yauch at the controls, the four original Bad Brains members set out to create the types of hardcore punk and reggae sounds featured on the classic albums Rock for Light and the self-titled ROIR cassette. They followed their hardcore albums with the somewhat overrated heavy metal and pop I Against I in 1986, and despite adding some elements of their original sounds on 1989's Quickness, they never approached their original fury until recording for Build a Nation began a few years ago.
While I am especially a fan of their faster music, I appreciate most of their work. To help the reader understand my perspective in this review, here is how i would order the Bad Brains' best proper albums (leaving off demos/singles/live recordings):
Rock for Light
ROIR cassette
Quickness
I & I Survived (dub)
Build a Nation
I Against I
Rise (no HR on vocals & no Earl on drums)
God of Love
The sound on this record does differ from the Brains' previous hardcore punk offerings. Most notable is vocalist HR's lack of fast chattering, shrieks, and squeals. Instead, we get a comparably relaxed voice manipulated with echoing effects. While this works and serves to mix the reggae vibe into the hardcore songs (a rarity for this band), it prevents these hardcore songs from approaching the level of the classics.
People seem to universally praise this album. It needs to be put in perspective. This is retro Bad Brains with a twist. The riffs are crunchy, repetitive, and sometimes boring. Daryl's mauling bass is very prominent, and this often helps to differentiate the songs where HR's chattered vocals usually would. Dr. Know's guitar solos are not as overachieving as on the other albums, which emphasizes this album's "punk" status. While he is very talented, Earl's hardcore drumming on this record is mostly standard stuff. What often results resembles a mix of the ROIR cassette sound and the speedy songs from Quickness (particularly "Messengers," "Sheba," and "Don't Bother Me"). The organ on the (usually superior) reggae cuts often makes them reminiscent of Beastie Boys instrumentals. One may wonder how much influence Yauch had on this record.
Aspects of several of the hardcore songs recall previous favorites: "Jah People" is structured like "I Against I"; "In The Beginning" sounds like "Sheba" or "Messengers"; and "Universal Peace" has an intro resembling that of "FVK." These songs are better than most punk music today, and they do get slightly better with time. "Peace Be Unto Thee" is the best reggae song on the disc, probably followed by "Natty Dreadlocks 'pon the Mountaintop".
I have to wonder what would happen if this were 1986, and this album were released instead of I Against I. I think it would be received as Bad Brains adding new elements to their sound, while combining those that existed in new ways. However you look at it, whether as a 2007 retro album or a would-be 1986 follow-up, this is an experiment. And just as the Bad Brains perfected their I Against I ideas with 1989's Quickness, we can only hope they will focus their re-found hardcore punk enthusiasm with a perfected follow-up.
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| by brian kagel (kegs1287) | |
1. Scribblers Heart
2. Impossible Mission
3. Kaleidoscope Gun
4. I May I May
5. Soft Blade
6. World Is On Fire
7. Poisoning the Pool
8. Leaving for Eugene
9. When I Say Go
10. The Bringdown
11. Everything You Want
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Band: Billy Harvey
CD: Bearsick |
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From what I can find, Bearsick is Billy Harvey's third solo release. I have not heard any of his previous body of work, but if they all have been as good as Bearsick, I am truly amazed this man is not as famous and critically acclaimed as your John Vanderslices or at least recognized and appreciated as much as your David Bazens of the music world. Upon first hearing "Scribblers Heart" and Harvey sing with double-tracked and sometimes triple-tracked vocals, a finger-picked guitar and a tale of love in a "deep dark forest past the wiggly wormy trees," I couldn't help but be reminded of the early Elliott Smith records. I also recognized, though, that this was something entirely different, great, and new. In "Kaleidoscope Gun," hand claps, a steady clinking of metal, bass in the forefront, piano lines weaving in and out, and some Califone-like electronic bits all work out great together.
When I got to "I May I May" I pretty much stopped in my tracks. It just has something beautiful and heartbreaking about it that is immediately identifiable and memorable. It is everything a beautiful acoustic ballad should be and sounds as if it could have come straight off Rubber Soul. Next is "Soft Blade," coming off as a strange '50s slow dance song that will make you want to hold someone close and sway around an empty room. "World Is on Fire" incorporates a drum machine background with a rumbling bass line and some very Eels half spoken half sung vocals that have just the right amount of eeriness in them. The song puts you in a trance, allowing you to watch the destruction: "La la la la la la la la la la la la la la la, the world is on fire."
On "Poisoning the Pool," Harvey channels Tom Petty, weary and soft, and picks up a harmonica. This song is another gorgeous piece of acoustic work about growing up and living life:
The evidence around us is kind of overwhelming, but the future is here
And there's got to be a limit to death and destruction, but the line is not clear
She's got a little baby, and I don't have a baby yet, but one day I might
And I don't know much about it, but I know what I know, and I know what feels right... right?
Slowing things down for a moment, "Leaving for Eugene" is a quiet finger-picked affair about the one that got away and the false acceptance of losing someone you thought you never would lose. About two-thirds of the way through the rest of the instruments kick in, fleshing out the ending isolation of the lines: "She's sleeping; I'm not sleeping."
I think that it is important now to mention that Billy Harvey is already 40 years old, and I say this in the most positive and productive way. By the time Paul McCartney was 40, his Wings were crashing and burning creatively, and he couldn't consistently write as perfect a pop song as Harvey's "When I Say Go," the centerpiece of catchiness on the album. The second-to-last track is another standout that delivers the garage rock workout "The Bringdown." This fuzzed out romp would go perfectly between any of the songs off the first two Velvet Underground albums, and maybe even better than the Nico-sung songs. Why was she on that album anyway? But that's a whole other article.
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| by james sowa (JimEWrld) | |
1. Sinner
2. Full Circle
3. Man of Mystery
4. Killer Queen Bee
5. Something Elephants
6. Napier
7. Michael Jordan
8. Shrimp Fried
9. Slow Dive
10. Four Hundo
11. M.D.K.
12. Clockwork Tangerines
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Band: Downtown Harvest
CD: Golden Dragon |
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Downtown Harvest has pioneered their own genre; they call it "comic-book dance rock." This genre is a mixture several other genres, including hip-hop and a little bit of house. The band features driving bass and synth with guitar riffs that are comparable to very few bands. With so many different styles of music, it is hard to believe the songs have any consistency or flow; upon first listen, it sounds like a mix tape of different styles. Thankfully, this flaw does not detract from the overall likability of the album.
"Sinner" is the opening track and sounds similar to an upbeat Eels song. Moore (lead singer) tames his voice to blend in perfectly with the opening riff and the slowly builds up to a climatic shout. "Full Circle" follows, picks up the pace, and is a nice segue into "Man of Mystery," the guitar work of which could be compared to Maroon 5. "Killer Queen Bee" introduces the hip-hop vibe and is reminiscent of early Lucky Boys Confusion, though it is not one of the best tracks.
"Something Elephants" makes up for the lull with an amazing bass riff to open the song and a chorus that one could sing along to. It is an excellent track and has a more mainstream vibe to it. "Napier," "Michael Jordan," and "Shrimp Fried" follow and add nothing spectacular, though "Shrimp Fried" is almost completely a hip-hop tune and the best of the three.
"Slow Dive" would not be out of place on a Fountains of Wayne album and acts as a nice break. It has pleasant-sounding guitars and vocals that exude the melancholy of the lyrics. "Four Hundo" introduces a trombone which is the driving force behind the song. "M.D.K." is a filler track that contributes very little lyrically but adds a decent musical track. "Clockwork Tangerines" is the final track and the single. With an amazing intro and a laid-back sound to the guitars, this is a dramatic closer. It talks about a broken friendship and features several brief but excellent guitar solos. Moore proclaims over and over: "You broke another / You broke another." Timing in at 5:14, it provides a melancholy conclusion to a very good album.
The overall tracks of note are: "Sinner," "Full Circle," "Something Elephants," "Slow Dive," and "Clockwork Tangerines." This album has several different genres blended in the same pot but leaves a listener wanting more. While it is not completely stellar, it is an excellent sophomore release for these Philadelphia rockers.
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| by mike arnold (sanityyy24) | |
1. Konpeleh Mi Milah
2. Look to Your Purse
3. Ha Non
4. American Ingenuity
5. Al Jazz Era
6. Golden Sleigh
7. Technique Arabique
8. Dubai
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Band: Grey Egg
CD: Indoor Ski |
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Grey Egg's release Indoor Ski is beyond indie rock. The album features such instruments as guitars, violins, electric bows, mandolins, bass, shanais, Casiotone MT-36s, Yamaha PSR-16s, banjos, duzbeks, tambourines, drums, claves, and even wrenches. What's more interesting than the plethora of instruments present on this record is the fact that it is sung in an entirely invented language, roughly resembling Eastern languages. The band's style could be described as progressive Gypsy, which seems like a contradiction, but upon hearing this record, you will likely understand my claim. On to the songs.
The songs on this album are riddled with quirky Eastern and Gypsy melodies, haunting vocal outbursts, and intricate percussion arrangements, with the occasional familiar guitar riff or chord change. The progressive element to this band brings on the irregular time signatures and rhythm structures as well as the epic solos and complex interludes. The musicianship on this record is mostly flawless, and the strange style they were trying to capture was indeed captured successfully and tastefully.
Sometimes the sheer over-the-topness of this record is a little much, making it hard to get through. It's very hard to tell from the album artwork and the text within the CD booklet whether these guys are completely serious or not. I'd say they definitely have a sense of humor about what they're doing. ("Ga'tar: bass guitar on tracks 1 and 7"!) Also, take for example track seven, titled "Technique Arabique." If you can wade through the thick bizarreness, the nonsensical lyrics and the completely hidden motives behind the band, you are likely in for a treat. The musicianship is fantastic, the arrangements are top notch, the melodies and passages are tasteful and well done, the production is phenomenal and the band's strange vision of style was tackled and implemented superbly.
In conclusion, this is a very interesting, mostly original album. Although they aren't the first band to combine Gypsy styles with progressive elements (Kultur Shock), and aren't even the first band to sing in an invented language (Sigur Rós), Grey Egg has definitely captured a very unique, intriguing sound, and thus deserves serious attention.
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| by brian kagel (kegs1287) | |
1. Clouds Look Down
2. Pendulum
3. Using Words to Describe the Ocean
4. First Time Talking to Myself
5. When the Sidewalk Ends
6. Lawnlaying
7. Dandelion
8. Peace Smells
9. Miso Soup
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Band: Origami Ghosts
CD: Solving My Own Puzzles |
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The first thing that came to mind when I put in Seattle's Origami Ghosts' debut album Solving My Own Puzzles... was how much of a debt they owe to another Seattle band, older and now disbanded: Carissa's Wierd [sic]. But don't just go and label Origami Ghosts as another chronically depressed Pacific Northwestern band, although they are quite melancholy. The lyrics of band leader John Paul Scesniak are more subtle and restrained than bleeding heart on the sleeve and angry. Scesniak uses the tension found within oneself when you are confused and lonely even if you're not alone. In the standout tracks "Clouds Look Down," "When the Sidewalk Ends," and "Pendulum," you and he know things will change for the better, just not when. His voice helps set the mood, never rising beyond the occasional crack and extremely reminiscent of Pall Jenkins but singing in his bedroom instead of a nightclub lounge.
Sometimes, though, Scesniak is especially unclear in what he is trying to get across, and the words can just get dismissed as something depressing, but when that does happen it doesn't necessarily take much away from the song because the music is pretty strong. The guitar work is usually handled by one or two acoustic guitars plucking out lines and occasionally tuning it up to a strum. Think Rob Crow's acoustic songs and "Third Planet" Modest Mouse along with well placed cello parts and a hammered dulcimer plinking throughout accompanying the guitar work. The pace of all the songs is kept pretty steady as well, never nearing the crawl Carissa's Wierd and The Black Heart Procession would sometimes go for.
The brevity of the album is a major plus. With all the songs around the three-minute mark, the listener can get through the whole album in one sitting and take the music in at one time. Plus, no one likes to be overloaded with glumness, and Solving My Own Puzzles... has just the right amount. I have to say, though, that the album will not immediately grab people as music needs to immediately to gain a new fan base. It will probably take a new listener some alone time with the album to concentrate on picking out what makes each song its own because without that kind of time to let things sink in, I'm afraid to say it might just all blend together into some shade of blue.
With Carissa's Wierd broken up and turning into the reverb-laden Crazy Horse-inspired Band of Horses, and The Black Heart Procession releasing one of the best reviewed but also most criminally ignored album of their career, Origami Ghosts could be the freshest group out there in their self-described "moody and spacious anti-folk/pop/punk/hop" genre.
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| by james sowa (JimEWrld) | |
1. Won't Let You Down
2. Daze
3. Into You
4. I Sold Your Ring
5. Uncle Henry
6. Just Go Away
7. It's My Life So I Can Throw It Away
8. Crawl
9. Solitaire
10. Hope Will Fall
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Band: Posterwall
CD: Charged |
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Punish the guitar with frantic power chords; hammer out a chorus to catch the ear; and seal it with a blistering solo, or two. Posterwall follows this formula on nearly every song of their second release, Charged. This album, which was self-released, may not reflect the most technical music but it is catchy, straight-ahead rock-and-roll.
Chunky guitars and heartbroken lyrics are mainstays on this CD. Though most of the tracks sound similar, there are a few that stand out. "Won't Let You Down," the opener, introduces the power of the album. The song opens like something from The Darkness and proceeds in the same fashion. (Thankfully Stewart the lead singer's voice is not as high-pitched.) Power-driven verse into a decent chorus. A solo picks up after the second chorus and plays through the rest of the song.
"Uncle Henry" is probably the most innovative song on the album, lyrically that is. How many times have you heard a love song that involves alien abduction? The lyrics on this song are innovative and fresh; the guitars sound familiar but are pleasing nonetheless. Solos and fills rule this song, displaying the talent of these boys.
The closer offers inspiration and depression. "Everything changes, but you will stay the same." One of the slowest tracks, it is also the most emotional. The guitars sound epic and Stewart's voice is filled with emotion. The song is one of the most effective closers that I have heard and it fits perfectly into the album. The guitar work is flawless and a terrific solo cap an excellent album.
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| by nathan schwalm (mythox007) | |
1. What He Says
2. Play Pretend
3. Jaywalker
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Band: Ringleader
CD: What He Says |
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If you are searching for the next life-changing hip flavor, this is not it. But if you dig '90s alternative pop with a pint of sass and a solid dose of catchy melodic tunes, you have hit the jackpot.
What He Says is a sign of great things to come from this DC band. They got started as a duo in 2003 with Lena Esposito on vocals and Chris Brownelle on guitars. The main track is like some sparkling long-lost Belly tune with an obesssion with flirting. "Play Pretend" goes into an intriguing reggae groove with a lo-fi version of Gwen Stefani back in the early days of No Doubt. What keeps "Play Pretend" from being another bubblegum song is the complex lyrics that remind me of late '80s 10,000 Maniacs or Aimee Mann's bitter moments. "Jaywalker" rounds up this EP with fuzz guitar that resembles early Veruca Salt and poppy Hole moments. The only setback is that the lyrics are just plain random.
Ringleader's latest is a short but sweet companion piece to a drive around town with the windows down on a sunny afternoon. Strong stuff that needs only a little work on the lyrics, otherwise fun.
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| by nathan schwalm (mythox007) | |
1. Power
2. Passenger
3. Tokyo
4. Kraftwerk (invented the disco beat)
5. Captain
6. Fountain
7. Sound the Alarm
8. I.C.U.
9. Angry Books
10. Apocalypse Hurts
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Band: Shapes of Race Cars
CD: Power |
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Shapes of Race Cars is a jammin' band from LA that has a steady underground buzz from their recent album. They have a knack for modern day pop punk/alternative rock along with nostalgic tastes and quirky writings about women, lost love, and traces of '70s culture. Power is recommended for fans of Plain White T's, JigGsaw, and Fall Out Boy with a melodic rock kick.
The main reason behind submitting interest in this review is simply the title "Kraftwerk (invented the disco beat)." The Kraftwerk tune is actually about an indie lady who is obsessed with hiding her real emotions by acting cool while the tune reminds me of a catchy Fountains of Wayne pop vibe. The title track lets out late '70s power pop wiith a sarcastic tone and an imitation of "Pictures of Matchstick Men" during the solo. Another enjoyable treat is "Passenger" as it goes from a Television outtake into a tight pop punk groove that should be blasting at every alternative radio station.
Power ballad "Fountain" puts the album on the brief mellow mode as a solid stand-out for the songwriting that gets your attention. The subject of the tune is a hopeless romantic with "Marc Bolan on the stereo" and a heart "full of gold." "Angry Books" is another strong cut with "The Knack" Power Pop and a bitter aggressive edge that can whoop into a Taking Back Sunday frenzy. The final tune "Apocalypse Hurts" becomes the band's farewell greeting with kick-ass guitar licks and a fun bouncy new wave vibe.
Power proves that they are not an awesome or an original band but they are on the right track to become a tight pop punk machine. Great guitar work and good harmonies with the downfall of stealing too much of the past without any new twists. With their minor flaws, a decent solid album that deserves some solid new fans and radio hits.
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| by dave cohen (SirDAVE) | |
1. I Declare This Day a Holiday
2. Ruining Something Beautiful
3. Famous Last Words
4. The Story Unfolds
5. In Your Hands
6. Out of My Mind
7. Ego
8. Purpose
9. Ready Foe Me
10. Just Evolving
11. Promise You the World
12. Carry On
13. She Says
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Band: The Mirrors
CD: Somewhere Along the Wall |
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Just a few months after their formation, The Mirrors have recorded and released their first full-length album, Somewhere Along the Wall. I had very mixed feelings about this album. The first song was cool. It starts out with a blues inspired riff, then goes into a riff/chord alternating song. The contrast between the two sounds nice, and the unison between the vocal melody and lead guitar sounds neat and reoccurs frequently on the album (which doesn't necessarily mean it's overdone). The second song may be even better. Maybe it's just personal taste, but I think there is more there in terms of arrangement. The different sections of the song really flowed together flawlessly with clever and subtle transitions. Rhythmic unisons, short breaks that come out of nowhere, etc. make this a very tight arrangement. At this point I had high hopes for the rest of the album.
Unfortunately the next song destroyed those hopes. It just came off as a really cheesy and clichéd song. It sounded very manufactured, and aside from a few guitar parts stuck in the background, I found nothing interesting about this song. From that song on, the rest of the album was hit or miss; I loved some of the songs, I hated some of the songs, and if the rest came on the radio while I was driving, they probably wouldn't piss me off enough to change the station. Interestingly enough, there seems to be an inverse correlation between length and quality of song; the best songs, in my opinion, were all of the songs under 3 minutes, and aside from the first and last tracks, anything over 3 minutes didn't do much for me.
This is a tough album to give a concrete review to. There's a lot of stylistic variety on the album; a lot of the songs definitely have the same flavor as others, but there are 2 or 3 styles that dominate the album, so you might be like me and love some songs while hating others. It's an album that you have to really listen to for yourself. From a purely objective standpoint, there are parts in the album that display great musicality; a lot of the arrangements are fantastic, they're good about being dynamically variant, they have a lot of really nice sounding chord progressions and riffs, they have a really good ear for fitting creative lead parts over those chords to make them sound amazing, and they're very creative with vocal harmonies, including some cool counter melodies. On the other hand, several songs are bland and typical, and there isn't very much interesting about the arrangement aspect at all. It was a shock to hear how a band could go from so interesting to so boring in such a short amount of time. A lot of times the vocalist's voice rubbed me the wrong way (but this happens a lot--I'm very picky about vocalists, and a lot of times they grow on me after repeated listening). I should mention here that I'm not really a lyrics person. I mean I enjoy good lyrics, but in general, bad lyrics won't really ruin an otherwise good song. But for those lyrics people out there, the words on this album seem typical and lame. I wasn't listening for the lyrics when I had the disc on--I never really listen to lyrics--but the few lines that stuck out were pretty bad. All in all I'd say just try it for yourself. Listen to some samples on iTunes or something. I had some legitimate musical complaints, but most of the issues I had were purely taste-related. All in all I thought the album was about 40/60% good/bad, but that 40% was well worth the listen.
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| by james sowa (JimEWrld) | |
1. Undefined
2. Low
3. Last of the Sunday Drivers
4. Weightless and Easy
5. September
6. Oblivion Shines
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Band: The Weightlifters
CD: Last of the Sunday Drivers |
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Last of the Sunday Drivers constitutes the first release by The Weightlifters and leaves you wanting more and more. From the great rhythms and the excellent alternation between a fast and slow tempo on several of the songs to the soaring vocals, this sounds like a record out of the early '70s and would fit perfectly to that scene. The Weightlifters is headed by musical mastermind Adam McLaughlin, former guitarist of Idle Winds. McLaughlin plays most of the instruments on this release and receives help from several highly talented musicians. The musicianship shows as the first song, "Undefined," opens with a great rhythm and vocals that seem to lift the soul. The music sounds similar to Fountains of Wayne and Apples in Stereo and is slightly uplifting with claps and a chorus of "na, na, na"; the music envelops you in a feeling of warmth.
"Low" follows and continues the trend of warmth but ramps up the guitars a little further with an impressive little solo to open the song and plenty of perfect fills. The chorus blends perfectly with the song and makes the song one of the most noteworthy on the disc. The title track is a five-minute lamentation that provides an excellent break in the proceedings. This is the first song that truly sounds sad, and it has a solo to match it. While not one of the strongest tracks, it has a chorus that gets stuck in your head and is still worth a listen, for excellent guitar and lyrical quality.
"Weightless and Easy" plays exactly as it sounds. It opens with a pulsing rhythm that continues through the song and yields to an excellent chorus that proclaims, "make it large, larger than history." The guitar work is truly excellent, and the vocals match it very well. This is an excellent track to pick up the mood. It also shows its roots with a Wah-driven solo before the final chorus. "September" continues the trend of excellent guitar with a solo to open a calmer song. Like its name, this song signals the autumn of this record. It slows down the pace slightly before the closer, "Oblivion Shines."
Acoustic driven and lyrically beautiful, the closer leaves you truly sad that this EP is over. McLaughlin pulls out all tricks for this final song, including a piano and a set of soaring oho's in the background. This song leaves no doubt to the ability of The Weightlifters. This truly is an excellent EP and will leave you desiring more and more music from a soon-to-be famous artist.
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