It’s still weird when a formerly bad band does something unequivocally great. Kenny Vasoli’s Person L has managed it, and I’m literally flabbergasted. The Starting Line made magic here and there (that one song on Direction, the one where he missed a girl, etc.), but they were never really anything other than what they appeared. From the first complex moments of mostly instrumental opener “Hole In The Fence,” it becomes obvious that Person L’s previous problems, namely the frustrating inclination to sit stagnant instead of explode, are long gone. With Person L, he has truly unchained himself from every shackle being a pop-punk icon brings with it. And he didn’t have to go metal like the ugliest guy from Fall Out Boy or go stupid like Gabe Saporta. He just went creative, and sure, maybe he listened to too many Radiohead albums, but most people would tell you that’s a good thing. But even more importantly than The Positves’ successes is the fact that Vasoli has reached his full potential. Somewhere, he’s smiling.
Read More “Person L – The Positives”Review: The Lawrence Arms – Buttsweat and Tears
Upon first listen to the latest material from The Lawrence Arms (their first new release in almost four years), the casual fan will dismiss the perennial front-runners of the modern punk scene to be hashing out the same old formula: fast, roughneck, gritty punk rock we’ve been hearing from the Chicago threesome since 1999. However, that casual fan would be a numbskull and the failure to examine what the Lawrence Arms actually strive to do is an important aspect at determining why they continue to resonate with such a large group of punk enthusiasts. Like their peers, Rise Against and Alkaline Trio, they are growing and exploring what tools they have available to them. While the other two acts continue to flirt with the mainstream, the three Arms boys continue to do this for themselves, trying out new inspired techniques.
Read More “The Lawrence Arms – Buttsweat and Tears”Review: Dashboard Confessional – Alter the Ending
It’s no secret Chris Carrabba is a deeply emotional guy. Ever since he began releasing albums under the pseudonym Dashboard Confessional in 2000, his breathy-vocal ballads with plenty of heartache to spare have won over several crowds (check out his MTV Unplugged special if you don’t believe me). After releasing two big-budget, full-band records, Carrabba turned to his old faithful acoustic six-string once more to release the more-refined Shade of Poison Trees, which was not only a return-to-form, but a reminder that when given the ability to showcase his more nuanced side, Carrabba is one talented individual. The man must be a hit at campouts.
With Alter the Ending, Carrabba decided to go back into full-fledged rock band mode, acquiring two pop-rock connoisseurs in producers Butch Walker & Adam Schlesinger (Fountains of Wayne’s main songwriter/guitarist) to assist them in creating an eclectic blend of harrowing emotional pop with arena-sized hooks. Whether or not Carrabba wants to be Bono or a coffeehouse Casanova has yet to be determined, because Alter the Ending’s biggest drawback is the big production value over pre-determined substance, which hinders the potential of the weight these songs carry. The thematic material at hand is far more mature and gives Carrabba the opportunity to use this canvas as a means to explore a new side to his songwriting tasks. Less romanticized emotional outbursts and more perspective on touchier subjects makes this record blossom — but everything else it is comprised of tends to clutter its internal message and, above all, the integrity of these tracks.
Read More “Dashboard Confessional – Alter the Ending”Review: The Almost – Monster Monster
After being the sole operator of his side project debut Southern Weather, Aaron Gillespie expanded his solo effort into a full band deal, which may explain the increase of variety in The Almost’s second album, Monster Monster.
Monster Monster retains the aggressiveness that Southern Weather possessed while diversifying the tempos and compositions as well. Produced by Aaron Sprinkle, Gillespie’s voice has never sounded stronger. Musically, Monster Monster twists and turns, sometimes severely. In fact, Monster Monster channels Foo Fighters a lot more than it does its scene contemporaries.
Read More “The Almost – Monster Monster”Review: Say Anything – Say Anything
Max Bemis isn’t pissed anymore. Well, he’s still got a bit of a chip on his shoulder about a few things, but when you just got hitched to a beautiful singer, wife Sherri Dupree of Eisley, why would you continue to be a shell of a man, one that seems bitter at the world they’re playing their heart out in? Bemis is no longer the little kid scared of the world, maturing from a real boy to a kid set to save it. The band’s self-titled isn’t the double disc venture of last time, but a compact one still attempting different elements of pop: some great, some confusing, all Say Anything.
From the start of the disc, the band’s attempts of “pop,” or something like it, are well received through the guitar work of the opening “Fed to Death.” For a second, the opener shines over the city, and possibly sounds as uplifting as anything from Andrew McMahon vocally, but lyrically, a religious open forum, two stories, the later obviously about Jesus Christ.
Read More “Say Anything – Say Anything”Review: Weezer – Raditude
Let it go. Weezer’s days of recording classic material that ranks anywhere near their self-titled “blue” album or Pinkerton are done; that Weezer sound is dead. Yet, that anticipation from fans everywhere has continued upon the arrival of each new Weezer record. Five albums into their new millennium comeback and well, nothing has changed: Rivers Cuomo and his band of brothers are still recording goofball pop music with joyful rhythms and tepid lyrics… and by now, you’d be ignorant to believe it will change. Raditude is Weezer’s seventh full-length release and their most widely-collaborative effort. After last year’s third self-titled “red” album failed to impress many fans with the band’s experimental side, Weezer changed things up and hired veteran pop producer Butch Walker to helm the boards, as well as co-write a few songs. Jacknife Lee was also brought back, and despite their last effort’s lack of appeal, the band stuck with a few ideas that continue to amplify their teamwork mantra (for example, all members share songwriting duties).
Read More “Weezer – Raditude”