The Acacia Strain - Wormwood

Posted: Thursday, November 18, 2010 | Posted by Jason | Labels: 0 comments
Prior to a month ago, it had been quite some time since I had seen or heard The Acacia Strain. After seeing them twice live around the time they released The Dead Walk, my mind kind of forgot about them (and their album Continent) until I heard they had put out a new album back in July called Wormwood. Needless to say, I was curious to see where the band had gone since penning tracks like "Whoa! Shut It Down" and "Angry Mob Justice", and to be quite honest, not too much has changed for Vincent Bennett and company. The dissonant breakdowns, anger-filled lyricism and thundering rhythm section are all still intact, yet Wormwood is a lesson in blunt-force musical brutality that proves to be the band's most successful and most accessible offering yet. In its twelve tracks, Wormwood hits like a sledgehammer over and over, leaving a mark that is sure to be tough to get rid of.

From the scratchy opening monologue that leads us into "Beast", we can only assume something dark and heavy is coming. The lead track then bursts with a sludgy guitar riff backing Bennett's powerful barking of the first words 'We all come from broken homes / Broken hearts and broken bones'. Hatebreed's Jamey Jasta provides the first of a handful of guest appearances on this record, lending his voice to the slow, dissonant chorus that makes an unusual, yet worthy match for Jasta's growl. Throughout the album, Bennett's bark helps push thoughts of malice and nihilism to the max, touching on topics from ungratefulness ("Nightman") to religion ("The Hills Have Eyes") without sparing anyone or anything in the process. Lines like 'I won't be happy until everything dies' ("Nightman"), 'I hate everything you love' ("Jonestown") and 'Paris fucking Hilton wants you dead, enough said' ("The Hills Have Eyes") spit seemingly neverending venom. Simply put, this album is cathartic for anyone in need of some venting.

Musically, the band does a superb job of supplementing the lyrical rage with musical fury. From sludgy to shredding, guitarist DL Laskiewicz creates the perfect backdrops for TAS, proving you don't need to just palm mute on open for an entire record in this genre. "Jonestown" opens up with some impressive riffing behind the furious double-bass, as Laskiewicz weaves the melodic work in the background for some nice ear candy. What makes this record as sharp as it is lies within the band's dialed-in songwriting, as they cut away the fatty tangents in favor of a more straightforward, more relentless approach. The Acacia Strain has never been less apologetic about their songwriting, as they move from section to section with little or nothing to prepare you for the upcoming shift. The result is crystal clear – less bullshit musically equals stronger writing all the way around.

I feel like I could write on and on about this record, but I'd simply be reitterating the same point – Wormwood finds The Acacia Strain at the top of their game and atop the genre in what is one of the strongest heavy music releases of the year. Even on the best day of your life, Wormwood will leave you pissed off and looking for vengence.

The Acacia Strain
Wormwood
Prosthetic Records
A
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VersaEmerge vs. The Dangerous Summer (LOL DRAMA)

Posted: | Posted by Jason | Labels: 0 comments
You know, I wrote this whole entry about all the different aspects of the alleged incident between members of VersaEmerge and The Dangerous Summer, and after reading it I decided I did not care enough about the incident to post it.

Call me lazy, but after reading all of the he said, she said bullshit and trying to piece together what exactly happened, I now really only have a few sentences to say on the matter.

If you have a problem with the way the tour is being handled, waiting until something bigger happens is not the time to say something about it. If members of your band can't get along with certain people on the tour, someone needs to take the initiative to keep those people away from each other or find a way to settle things in a mature manner. And above all, if you can't deal with your problems as a member of a band or as part of a tour in a mature manner, why are you even out touring in the first place?

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PS I haven't fallen off the face of the earth, as this post proves. Just been really busy with work lately. I hope to have more content up soon. Keep checking back! - Jason
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Review: A Breath Beyond Broken/Aviator Split

Posted: Friday, November 12, 2010 | Posted by Jason | Labels: 0 comments
Nestled deep within the sweat-drenched floors of old VFW halls, lovable hole-in-the-wall bars, fraternity basements (believe me, I’ve seen it) and tiny all-ages clubs, there is a movement called “The Wave”. Now, you might ask what bands like La Dispute, Touche Amore and the rest of said collective might have to do with two bands from Massachusetts. In reviving what many had called a dead genre and what some still confuse with bands of the early ‘00s that sacrificed creativity for a spot on the t-shirt rack at Hot Topic, The Wave is ushering in a new era of bands creating slightly more accessible, but just as equally passionate, screamo. Enter A Breath Beyond Broken and Aviator. While still young in terms of writing and in many cases age, these are two bands who get the true ideals behind screamo and meld it with melodic hardcore without relying on the current underground trends of drop-b breakdowns or auto-tuned vocals.

A Breath Beyond Broken (affectionately referred to at AB3) brings ferocity beckoning Touche Amore while mixing in the trio of voices and often inventive drum work. The abrasive, yet uplifting fretwork on “Dreamt Myself an Architect Built Myself Some Walls” compliments the vocals well, bringing an aggressive sound full circle with the personal, yet relatable lyrics. “Kept Myself Awake” follows a similar path, yet shows the melodic ability of this band in the weaving guitar melodies heard near the beginning of the track. While the timbres don’t shift quite as much as say a band like Circle Takes the Square, AB3 don’t need constant changes to keep your attention – they pull you in with a solid vocal attack and impressive songwriting that hinges on solidarity.

On the flip side, Aviator bursts with melodic hardcore goodness with “I’m Sick of Standing in the Same Place”, again bringing to mind the sounds of The Wave. The title reflects the track’s characteristics through and through, as the buzzing guitars dance behind the sharp vocals and solid drumming. The track hinges back and forth between bombastic and subtle, not always relying on being loud to get the musical, and vocal, message across. Strong songwriting is the name of the game in “The Definition of a Dead End”, as the more straightforward track hits the nail straight through the board during the slower 3/4 section. Sure, they spice it up just as nice when they add in the little quirks throughout the song, but Aviator prove less is more with this track.

If you’re into any of the bands inhabiting The Wave, you’re going to want to check out this split. With these two bands writing this strongly already in their musical careers, it can only be imagined what they’ll think up next.

A Breath Beyond Broken/Aviator
Split EP
Self-released
B+
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Interview: A Breath Beyond Broken

Posted: Thursday, November 11, 2010 | Posted by Jason | 0 comments
In part two of three, let us sit down with the foursome known as A Breath Beyond Broken and talk about this upcoming split and what drives them as a band.



Photo by Dakota Sumpter
Tyler Bradley - guitar/vocals
Ryan Boone - guitar/vocals
Bryan Carifio - bass/vocals
Seamus Menihane - drums

MUSICVERSUSNOISE: Please tell me the history of your band, including when it started, who started it, how it came to form.
Tyler Bradley: Well, we came together in November of 2006 as a 5 piece. Ryan, Bryan and I, along with our former guitarist, originally formed AB3 from the wreckage of two defunct bands. At the time, I was in a band with our other original member, Tom, and we were unhappy with how things were going with that. Ryan and Bryan were in the same situation in another band. I had known Ryan since first grade, so it was easy to talk to him about starting something together. We talked about things for a while and eventually decided to start this project. We recruited a drummer I knew from a very old band and got ourselves going pretty quickly. We went through some member and sound changes in late 2007/early 2008 through which we found our current drummer, Seamus, who we’ve been with since February of 2008.

MVN: Where did you get your band name from?
TB: We came up with the name ourselves. We tossed around a few ideas and decided on this. I think the alliteration aspect helped attract us to it. I’m happy that it isn’t just a group of meaningless words. It means hopeless; to be “beyond broken”.

MVN: When you first started out, what were some of the bands you were attempting to sound like, and how does that compare to what you are making right now?
TB:I’d have to say that when we were just getting started I was very influenced by The Fall of Troy, As Cities Burn, At The Drive-In, He Is Legend and Underoath’s Define the Great Line. At this point, I’d say it would be hard to draw any connection to those bands except for acb. I guess you could see a little fall of troy and atdi in us, but it definitely isn’t obvious or intentional.

MVN: What would you consider to be the mission of your band?
TB: To create music that we truly love and feel passionate about. We definitely value and promote creativity and originality and we really hope that shines through. It’s a tough era for hardcore and everything related to it, so we’re trying to defy that in our own way. I guess we try to play music for the right reasons.

MVN: Who recorded the songs for your side of the split?
TB: I recorded and mixed everything myself and we had everything mastered by John Naclerio at Nada Studios in New York. I think it’s actually really cool that both bands did their own recording. It ended up giving each side of the split an even more personal and unique voicing.

MVN: How do you feel about the idea of a split being two bands of similar genres doing a song or two together (see Touche Amore/La Dispute split) as compared to two bands of totally different genres branching out their fanbase by doing a split together?
Seamus Menihane: This is actually our first split, so we approached Aviator because we're very friendly with them and because they share a very similar ethic. I think that sharing a similar ethic and passion for the music being played is much more important than the genre. Since this is our first split we can't really speak from experience, but I think the concept of a split naturally allows for each band to have the others fan base be exposed to their music. The great thing about hardcore is that there really are many different sounding artists who come together and appreciate each other because they share a similar passion and ethic.

MVN: Considering where your bands are from geographically, do you think it might be easier to start a band on the heavier side of the musical spectrum considering what bands have come out of the Northeast?
SM: I'd say that it's easier to start a heavier band with a generic sound, but it seems hard for musicians around here to do something different. People in general, but especially around here, are not very open to new things. Although, there are many bands from this area such as Converge and Have Heart who have proved that hardcore doesn't have to be one dimensional.

MVN:How did Aviator and A Breath Beyond Broken first start the idea of doing a split? How long ago did the idea come about?
SM: We started tossing around the idea of doing a split in May of this year. We were looking to put out a split in between Canvas of Seasons and our next bigger release for some time. We started playing some shows with Aviator in the spring and things just fell into place. Things really got going in late summer/early fall.

MVN: Who designed the artwork?
Ryan Boone: Adam Vass (http://adamxvass.com/). We worked with Adam for Canvas of Seasons and we were really happy with how things turned out, so we asked him if he'd take on this project.

MVN: Who is releasing it, or are you guys self-releasing it?
RB: We will be releasing the split ourselves. It will be available physically at shows and on our online merch store. It will also be available for digital download on our bandcamp page.

MVN: What are some bands you guys would compare yourselves to now?
RB: This is a hard question to answer. We have always advocated diversity and originality, which is why I think we have such a unique sound. But if I had to pick judging by some of our influences I would say Pianos Become the Teeth, mewithoutYou, Touche Amore, and Fear before the March of Flames. Those are all comparisons we have heard from fans as well.

MVN: What does it mean to be able to release this split?
RB: It means the world to be able to share a release with such a talented group of musicians. We are lucky enough to call those guys our best friends. Our mutual respect and appreciation for one another’s art made this such a great experience.

MVN: What does it mean to you to be in a band and releasing music, aka the ‘why do you do this’ RB: question? Being in this band means absolutely everything to all of us. For the past 4-5 years we have all poured our hearts and souls into this. We dedicate all the time we possibly can to the band and we wouldn’t have it any other way. We do this because it’s our true passion in life. Nothing beats getting up in front of people and playing what we have worked so hard on.

MVN: What were some of the musical/lyrical/personal influences on the songs on this split? What sets them apart from other songs you’ve written?
Bryan Carifio: I read a book on tour one day called "Franny and Zooey" by JD Salinger, and I played with the idea of writing songs about it and though this split isn’t a direct interpretation there are certainly some of the book’s themes at play. The titles and the general themes of the songs are about the toll that being too concerned with yourself takes on your relationship with the world. If you spend all of your time in your own head concerned with how you appear or what you’re doing with your life or what you’ll become, you’ll eventually begin to forget about the people you love and that will just continue to negatively affect you. They’re expressions over anxiety about living life in isolation or feeling apart from others.

One major difference from our full-length album is that this split is much more personal, where Canvas of Seasons was a concept album. They share some similar ideas. Canvas of Seasons is about rejecting the norms of society and how it impacts the thought process and relationships in the frame of typical symbols of the four seasons and this split is a more personal reflection on the problems of over thinking. I felt limited in the scope of my lyrics on Canvas of Seasons when I wasn’t the main voice of the band, but since I’ve taken over vocals primarily I feel much more comfortable expressing things closer to me and I think that’s made the songs more cohesive and relatable.

MVN: What are you planning to do, besides the release show, to get the word out about the split, ie touring/shows, etc.
BC: After the release show, the split will be at all of our shows and will also be available online at our bandcamp page (www.abreathbeyondbroken.bandcamp.com). If we do happen to run out, I think we’ll either restock or make it available exclusively online. Also, we’re in the early stages of booking a tour for late December, which is pretty exciting because we’ve only been able to tour in the summer due to the fact that some of the nerds in the band, like me, go to school. That will be a cool opportunity to promote our new music in some of the places we visited on tour a few months ago.
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Interview: Aviator

Posted: Wednesday, November 10, 2010 | Posted by Jason | Labels: 3 comments
As the first of many interviews you'll read here, I have decided to turn your attention to two young, but promising bands tearing up halls and stages in the northeast U.S. that just so happen to be releasing a split later this week. Aviator and A Breath Beyond Broken both hail from what has been called by some "Moshachusetts", and today you'll get to read some words from the guys in Aviator. Be sure to check in tomorrow where we'll talk to A Breath Beyond Broken, and then Friday to check out my review of their split before it drops on Saturday.

Aviv Marotz plays drums and records/produces Aviator (old EP and new split)
Mat Morin plays guitar.
Tommy Regan plays bass and does backup vocals.
T.J. Copello does vocals.
Mike Russo plays guitar and does backup vocals.


MUSICVERSUSNOISE: Please tell me the history of your band, including when it started, who started it and how it came to form.
AVIATOR: Mat and Aviv started the band back in the fall of 2009 when they met each other at college. Loud music, no parents, Mountain Dew at 9 am and my mommy can’t tell me I can’t. We had an old bassist named Justin who went to school with T.J. and so he brought him to a practice to see how we sounded and if maybe he’d be down to do vocals for us. He was down. Around the same time we brought Mike into the band to see if he was digging some of the material we were writing. He was digging it. Justin left the band for personal reasons and so Tommy (Guns) took his position. But really, it was a pretty long process to officially form the complete band, and Mat and Aviv actually wrote most of the music for our old EP before half the band was even in the band yet.

MVN: Where did you get your band name from?
AVIATOR: After a practice one night Mat and Aviv were driving around and Aviv pitched the idea of Aviator – with hopes of having a simple name that stood out at the same time. They were also pretty stoned. Somehow it just stuck. Haha.

MVN: When you first started out, what were some of the bands you were attempting to sound like, and how does that compare to what you are making right now?
AVIATOR: When we first started, Mat was really into bands like Have Heart and The Carrier, and Aviv and Tommy were talking about starting a band with the similar styles as Defeater, Hot Cross and Touche Amore. In the beginning we started playing music that sounded like a mix of Defeater and Converge, but once Mike joined we added influences like Dead Hearts, Sinking Ships, and Thrice. Once T.J. joined, we developed a pretty solid melodic hardcore/progressive/punk sound. Right now, with this new split, we definitely take influence from bands like Modern Life is War, Defeater, Touche Amore, Dead Swans, La Dispute, Pianos Become the Teeth and Sinking Ships, but we really don’t try to sound like any of them in general. We’ve really gained influence from a lot of older screamo bands, older bands in general and even more melodic hardcore as well.

MVN: What would you consider to be the mission of your band?
Mike Russo: The mission of our band is to express ourselves through our music, and capture the attention and appreciation of others. We may not be the most perfect people, but when we put our heads together, we create something of great value - and we strive for perfection. We write songs with meaning and heart, with hopes that people can relate and get into our music with the same emotion and intensity as us.

MVN: How did Aviator and A Breath Beyond Broken first start the idea of doing a split?
AVIATOR: We’re best buddies and with the way the local scene is at a low, we knew they were just as dedicated a band, if not more, as us. We both wanted to release new material with hopes of reviving a local hardcore scene that wasn’t all about looks and catchy breakdowns, and to be honest we’ve already seen some progress.

MVN: How long ago did the idea come about?
AVIATOR: The idea came in August of 2010. We already had started writing new material and this was the perfect time for us to get something new back out there.

MVN: How do you feel about the idea of a split being two bands of similar genres doing a song or two together (see Touche Amore/La Dispute split) as compared to two bands of totally different genres branching out their fanbase by doing a split together?
Aviv Marotz: There are positives to both of these ideas. Make Do and Mend just put out a split with Touche Amore as well, and though they’re very different bands they still have a similar fanbase. I think a lot of it has to do with the whole underground hardcore/punk/screamo scene and how it has developed into a sort of community of bands. As awesome as the Make Do and Mend/Touche Amore split was, the La Dispute/Touche Amore split seemed like more of a communal effort to me, especially with how they did guest vocals on each other’s sides. It’s always good to branch out a fanbase, and it’s always good to continue releasing new music to the fanbase you already have. In my opinion they’re both great ideas.

MVN: Considering where your bands are from geographically, do you think it might be easier to start a band on the heavier side of the musical spectrum considering what bands have come out of the Northeast?
AVIATOR: Yeah, we think so. There are many influential hardcore bands from this area, and with that there are more kids that listen to hardcore around here. The active hardcore/punk scene in the northeast has definitely influenced us in the creation of this band in one-way or another.

MVN: Who recorded the songs for your side of the split?
AVIATOR: We tracked the drums at our school with the help of our friend Mario Valdez, and with our own gear tracked the rest of the instruments at Triumph Studios, which is Tyler from A Breath Beyond Broken’s studio. They were generous enough to let us use some of their equipment and guitars for the recordings. Aviv then mixed both of our songs on his own and we mastered the songs at Nada Recording.



MVN: Who designed the artwork?
AVIATOR: Adam Vass of La Dispute created the artwork from start to finish.

MVN: Who is releasing it, or are you guys self-releasing it?
AVIATOR: We’re self-releasing the split with A Breath Beyond Broken.

MVN: What are some bands you guys would compare yourselves to now?
AVIATOR: We definitely derived influence from the bands we described above, but with how we’ve progressed we could compare ourselves to bands like Touche Amore, Defeater and The Carrier.

MVN: What were some of the musical/lyrical/personal influences on the songs on this split? What sets them apart from other songs you’ve written?
AVIATOR: Melodically we wanted a more minor/diminished dark sound with more melodic tones than our old EP, and rhythmically we wanted a much tighter sound that was still just as heavy. Lyrically, T.J. brought in personal influence that came from a lot going on in his life during that time that he felt he needed to vent, and with this being his escape, he wrote what he felt. Lyrically, the split is much more passionate and personal than the EP.

MVN: What are you planning to do, besides the release show, to get the word out about the split, ie touring/shows, etc.
AVIATOR: We plan on playing more shows locally as well as regionally. We’re all in school at the moment so we can’t do more than a small tour until this summer. Spreading the word through word of mouth as much as we can, and promoting the split via the Internet as much as possible. We’re really open to any interviews or anything where people can hear us/read about us, the more the better.


MVN: What does it mean to be able to release this split?
AVIATOR: It means everything to us, and that we’ve grown and we’re able to show everyone how we’ve grown as people and musicians. The fact that other people get to hear it is just an added bonus, and we’re more than happy to release it with some of our best friends.

MVN: What does it mean to you to be in a band and releasing music, aka the ‘why do you do this’ question?

AVIATOR: We do what we love. Music is what we love to do more than anything else, and that’s the one thing we all agree on in this band. To be in this band means so much to us, and releasing our music and giving other people the opportunity to listen to what we love to do is all we could ever ask for.

All photos courtesy of Franko Kosic and Aviator
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Various Artists - Punk Goes Pop 3

Posted: | Posted by Jason | Labels: 0 comments
The thought of having the phrase 'Punk Goes' and the word good anywhere near one another has beena much disputed occurrence since the series released the much maligned Punk Goes Pop 2, Punk Goes Crunk and Punk Goes Classic Rock. Now, I am not about to type that the tenth installment of the series is by any means mindblowing or game-changing, but I can easily say that for the first time in a few years, the Punk Goes... series may have actually put together a solid collection of cover songs for the third version of Punk Goes Pop (or should we maybe say Punk Goes Mainstream R&B?).

It really is a mindboggling thought to consider liking more than one or two of the tracks off of this collection when you first look at the tracklisting. And sure, after the sacred cow slashing done on Punk Goes Classic Rock, you have to think the general critical audience was pretty much ready to write Punk Goes Pop 3 off before even hearing it. But in all honesty, the current direction of rising music (which sadly lends itself more to electronica-mixed metalcore) seems to blend well with the nature of pop music. As much as I hate to admit it, being a huge Justin Timberlake fan and all, We Came As Romans' sound actually forms well into the slower, beat heavy melodies of "My Love". Same goes for Asking Alexandria's "Right Now (Na Na Na), which besides suffering from some unneeded guttural screaming actually holds up pretty well.

Other tracks hit the nail right on the head in terms of mimicing the sounds of the song's original writers. Family Force 5 do a pretty solid La Roux in their version of "Bulletproof", while Mayday Parade's normal pop-rock mediocrity makes a great bridge into the vocal-led "In My Head" by Jason Derulo. Sure, they don't offer much in terms of taking it to another world soundwise, but at least they make great fits for these bands.

As far as best cover of the bunch? My vote goes to the now Jerry Roush-led Of Mice & Men for their cover of Jamie Foxx and T-Pain's "Blame It". It has just the right amount of breakdowns, and just enough screaming, to not be completely overbearing and at the same time keep the energy of the original intact.

Now, I am not saying this is greatest thing ever released. But for the first time in a long time, you can actually listen to a decent amount of a Punk Goes... record without being completely confused or disgusted. You'll still have to skip the first track, but at least you won't be skipping all of them.

Punk Goes Pop 3
Fearless Records
C+
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Making A List: Collaborations

Posted: Thursday, November 4, 2010 | Posted by Jason | 0 comments
One of the coolest, and in many cases, most interesting things about music is when bands feature musicians from other bands in their songs. Sure, this has happened in rap/hip-hop for quite a long time and is still a huge part of that genre. I mean seriously, try to find a hit song in that genre that doesn't feature at least one other person in it. But in any case, we've seen numerous bands slide other people into their songs to create some interesting art (or in some cases, just a ridiculous melding of sounds) that might not be achieved. Here's just a short list of some of my favorite guest spots in music.

"Memphis Will Be Laid to Waste" - Norma Jean
Bless The Martyr and Kiss The Child

While this release can be debated up and down as far as where it stands in Norma Jean's discography (I still say it is one of their two best if not their best depending on my mood), this particular track features a short cameo from mewithoutYou vocalist/instrumentalist Aaron Weiss. I seriously get chills just listening to that part of this track. You can be on the fence all you want about Weiss' vocal delivery, but he absolutely KILLS it on this short spot that wraps up a jagged track featuring Josh Scogin and company at their dissonant, raw nature.

"Santana DVX" - The Lonely Island
Incredibad

E-40 somehow fills the role of fabled guitar player (and apparent ladies shoe producer) Carlos Santana in this short track about his mocked up brand of champagne. With flowing lines like 'I'm probably ya daddy, I probably nutted in ya mammy', it is hard not to laugh without thinking of Santana saying all of these things. His vocal tone even matches pretty well. This is ALMOST good enough to make me forget about that song he did with BrokenCYDE.

"Dirty Pillow Talk" - The Fall of Troy
In the Unlikely Event

We didn't know it at the time, but in what would end up being this band's last record, the guys brought in Protest the Hero's Rody Walker to anchor the funky, jaunted chorus-like sections of this track. Strange enough, Walker's voice is a perfect match for the sound and it really makes this track stand out if only for these small sections of Walker's raspy croon.
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Single Serving: "I'm Like" - Mixtapes

Posted: Thursday, October 28, 2010 | Posted by Jason | Labels: 0 comments
Crafting an addicting mix of solid punk-rock with boy versus girl vocalists, Ohio-based Mixtapes give us Michiganders another reason to actually enjoy the home state of the Buckeyes. The band has been busy with releases, including their upcoming 7" A Short Collection of Short Songs on Animal Style Records.

"I'm Like" boasts solid melodic work and smooth, by-the-book songwriting. Yet, the lyrical and vocal work draws you in, with quirky, yet personal lyricism on both sides of the microphone. For a young band with so many releases put in this year, you'd think you would see a drop off in terms of songwriting, but somehow Mixtapes just keep pushing it out without losing any steam.

You can either check out the song, along with the rest of the band's work, here or you can tweet it for a download link via Tweet for a Track here.

Look for a review of Mixtapes' Maps in the next few days!
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Energy - Walk Into the Fire EP

Posted: Wednesday, October 27, 2010 | Posted by Jason | Labels: 2 comments
I was a little confused when I read something from Bridge Nine describing one of their bands as having “haunting keyboards”, mostly because I don’t quite associate Bridge Nine with anything but hardcore. Yet, Energy fit in like a niche to the B9 family, with a sound combining said keyboards with catchy as fuck melodies and rock solid songwriting. Though mostly straightforward, the three songs on Walk Into the Fire are written well enough to keep you humming them well after you’ve hit the stop button.

Mixing Tank's delicate vocals and driving guitars from Joe Freedman and Dan Mancini can be a difficult task, but Energy seem to pull it off without much friction between the two. Sure, the vocals sound a little flat at first, but after only a song or two, you’ll see how said voice fits into the darker timbre sought by a track like closer “Angels at My Grave” – a track that balances the dark, yet majestic keyboards and huge guitar sounds into a great ending to this EP. Jumping back to the beginning though, the title track opens the EP with a chunky guitar melody that haunts our ears (in a good way) throughout the track. If there is one thing that Energy truly do well on Walk Into the Fire, it is grabbing your attention with a whimsically dark concoction of punk-rock and somehow never letting go, and the title track is a sure bet to keep you hooked. It might be a little too straightforward and repetitive for some, but Energy add enough bits and pieces of melody and drum fills to keep the repetition fresh without simply repeating the same section a million times.

“Let’s Get Away” is sandwiched in as the middle track, and serves as a great bridge between the first and third songs. While it again teeters on the border of darker punk-rock and theatrical sounding pop-rock, we get an atmosphere created by the keyboards and guitars that creates a strange, yet effective backdrop for the soaring vocals and pulsing drums. We get flourishes of brilliance on the drums from drummer Justin Flaherty throughout this track, as interesting fills on the ride and crash cymbals keep this from being a monotonous drum beat. “Angels at My Grave” ends the EP on a high note, as the band ventures away from their usual punk-rock sound to throw in sections of drawn out drums and ringing keyboard melodies. The bridge near the end of the track is truly epic, balancing a wall of double-beat guitars against huge synth melodies and solid kitwork.

If you like your music a little on the dark side, Energy would certainly be worth picking up. You’ll have a hard time saying no to anything as catchy as this, and you'll be thankful you looked in an odd place for it.

Energy
Walk Into the Fire
Bridge Nine Records
B+
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Record Wars: Coheed and Cambria - The Second Stage Turbine Blade vs. In Keeping Secrets of Silent Earth: 3

Posted: Tuesday, October 26, 2010 | Posted by Jason | Labels: 2 comments


I think it is easy enough to agree that Coheed and Cambria haven’t even come close to the masterpieces they created in The Second Stage Turbine Blade and In Keeping Secrets of Silent Earth: 3. Neither of the Good Apollo records or Year of the Black Rainbow can even come close to the staying power or overall brilliance of the first two records in the epic saga. That being said, which one of those first two records reigns supreme as the best album Coheed has produced? Let me start the conversation with these comparisons...

Songwriting: While SSTB has its flairs, it is for the most part a somewhat straightforward prog-rock record with a knack for great hooks and mind-bending guitar parts. We can definitely tell this is the earlier of the two records, mostly by the lack of time signature fluxing, simpler fretwork and a tendency for less technical drumming. This doesn’t make it necessarily worse though, as it definitely makes for a more inviting and more lasting experience at first listen. IKSSE:3 does show a tremendous amount of growth by not only expanding their writing palate in experimentation with song structures and length, but by upping the musicianship all the way around. Sure, we know they can all play their instruments quite well on SSTB (listen to the guitar riffing underneath the vocals on “Junesong Provision”), but they just don’t showcase it enough to be completely blown away. On top of that, IKSSE:3 just feels epic from start to finish (save a track or two), bringing the story of Coheed and Cambria to life in a perfect balance between storytelling and mystery with the ambitious, yet addicting musical backdrop of Claudio Sanchez and company.

Advantage: In Keeping Secrets of Silent Earth: 3

Musicianship: Even if they aren’t wrecking up and down their instruments, But while SSTB is not some random dudes chugging along to power chords and simple drum beats, it just doesn’t match up to the things you’ll hear during the hour-plus running time of IKSSE:3. Songs like the title track and “The Crowing” are proof enough to show both the nastiness of Sanchez and Travis Stever on guitars and the band’s ability to showcase said talents without sounding pretentious. Drummer Josh Eppard seems to take a huge step forward on IKSSE:3, as his trademark ‘left-hand open’ style takes flight with even more impressive drumming and less of a leniency on just tweaked backbeats. In honesty, Michael (or Mic as many have referred to him as) Todd is nasty on both records, and is seriously ridiculous to watch play the older tunes. Coheed does this while making interesting work of even simple time signatures to create often perplexing passages throughout the record.

Advantage: In Keeping Secrets of Silent Earth: 3

Accessibility: IKSSE3 spawned the single that would push Coheed in pseudo-stardom (“A Favor House Atlantic”), a track that is borderline pop-rock and almost out of place on this album. Still, I remember Sanchez introducing the song at Warped Tour 2004 by saying, “This is the song that made us famous.” Yet, while being experimental and quite ambitious in its nature, IKSSE3 doesn’t quite hit home as quickly as SSTB does. It feels strange saying any Coheed record is prone to singalongs, but SSTB gives you more than enough reason to sing along to Sanchez’s fabled voice. Pairing that with the catchier nature of SSTB, and you can’t help but be drawn in by the generally upbeat nature of songs like “Junesong Provision”, “Devil in Jersey City” and “God Send Conspirator”.

Advantage: The Second Stage Turbine Blade

Lyricism/Vocals: As soon as I started writing this piece, I dreaded trying to compare vocals on these two records. While I personally admire Sanchez’s voice on pretty much any record, I feel his generally higher register usage during SSTB fits that record better than if he were to try and be really versatile as he has been on anything after that. On the other hand, Sanchez does a little more with his voice during the tracks on IKSSE:3 (“Backend of Forever”, “Three Evils”), though the trademark croon is definitely still there, albeit with a crisper sound. Yet, this decision will come down to the portrayal of the story through lyrics and how said vocals help portray that story. Sanchez’s voice, though higher than most, is just a little bit raw on SSTB, creating a more interesting portal for the arguably less focused story on that record. Yes, there are still parts of the story blatantly obvious on SSTB, but IKSSE:3 has songs that really don’t translate themselves outside of the story. “In Keeping Secrets of Silent Earth: 3” just doesn’t mean anything to someone who doesn’t care or know about the Coheed story, where “Devil in Jersey City” can have some meaning outside of the story. Yet, both cause you to want to know more about the story behind what is going on, as it can be said SSTB’s story is buried a little deeper than the obvious passages of information found on IKSSE:3.

In the end, you’ll find that SSTB lends itself more to infectious lyricism, while IKSSE:3 does the same but on a smaller scaler with more of a focus on an increased range of vocals. Personally, I find myself more drawn to the vocals of SSTB, but only by a small amount, as IKSSE:3 is still a great display of vocal and storytelling prowess.

Advantage: The Second Stage Turbine Blade


Overall: Despite the accessibility and overall catchier nature of SSTB, IKSSE:3 is an album that grows over several listens into an epic experience, pulling you even further into the world of Coheed and Cambria – both literally and musically. You can’t really argue with the greatness of either album, but regardless of what Coheed and Cambria do in the future, In Keeping Secrets of Silent Earth: 3 will be their defining record.

Winner: In Keeping Secrets of Silent Earth: 3
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Disagree with me? Agree with me? Leave a comment, because I’d like to hear your thoughts!

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