Luscious Lemur's Top Ten Albums for 2010

Okay, I told myself I wouldn't do this because it'd be so dang hard, but I think I put together a pretty accurate list for myself. It was not a bad year musically. Some bands close to my heart (Copeland, Lydia as examples) broke up, but out of the ashes, some great music has come unto the scene (States literally rose from the Copeland/Lydia ashes. I am thankful for that).

Here we go!!!

 
10. From First to Last- Throne to the Wolves
I already know what most might be thinking at this point. "ewwww, that defunct emo band that further imprinted embarrassment on the genre?". Yes. Because they took a lot of embarrassment away from it with this album. Sure a big lineup change might've had something to do with it, but this album is full of crazy good talent. From hardcore-inspired riffs to auto-tuned madness, this album was a shocker for me.


9. Sufjan Stevens - The Age of Adz
This man has too much talent for one guy. With the All Delighted People EP, I was excited to hear the full-length, and was not disappointed either. Beyong musical description, and comprehension for that matter, sufjan delivers once again, to the ecstasy of many understanding fans.


8. Minus the Bear - OMNI
If I wasn't a college student bent on doing well in school, I would've seen these guys twice this year. As it is, my lack of a car (and cash, really) prevented such an adventure. But to be sure, OMNI left me pleased on many a long night studying, with interesting and novel guitar melodies laced with some electronic experimentation. A definite must for the indie fan.


7. Greeley Estates - No Rain, No Rainbow
Another band that has decided to take a leap in a different direction is the group Greeley Estates. Upon first listen of No Rain, No Rainbow I was sickened, then puzzled, then astounded at how great it was. These guys should've been doing metalcore their whole career, they were born for it. It's a shame that this album beats off several veteran metalcore bands already in existence.


6. As I Lay Dying - The Powerless Rise
A metalcore band that Greeley Estates did not top is As I Lay Dying. With their fifth full-length, the fun and games were over, and a bone-shatteringly cohesive album was the result. It had all the elements of a good metal album; energetic solos, an energetic vocalist, and no pussy breakdowns. Definitely what i'd consider the band's best work to date.



5. States - Line 'Em Up (EP)
The Laurenson brothers of Copeland teaming with Mindy White of Lydia couldn't possibly make bad music. And thus, their debut EP demonstrates White's diverse vocal styles, keeps the bittersweetness heard in  Copeland's songs, and yet glimmers with a brightness that neither band on their own possessed. A great band that I am keeping an eye out for in 2011!




4. He is We - My Forever 
I'd hate to repeat myself, as i'd already posted my review of this album on Review Rinse Repeat, but this album is truly a happy, poppy gem. That is saying a lot, because it's coming from a pessimistic, hopeless romantic. This duo have made some great music, and this album is one I highly recommend.



3. Lydia - Assailants (EP)
Being my second favorite band, it only makes sense that their EP would make the list. Despite it's rushed feel, this group of songs is bright and beautiful, but also mellow and has a wonderfully sharp aftertaste that left me wanting more. It is a great farewell gift of the band, and has gotten probably the most plays in my iTunes library this year.



2. Hellogoodbye - Would It Kill You?
Again, i've posted what I think is a comprehensive review of this album on RRR, but to recap: this is NOT the old Hellogoodbye. Filled with indie-popspiration (the words indie-pop and inspiration mashed together), this band has released a remarkable mature and exciting album that reveals itself more and more with each listen. A necessary addition to anyone who enjoys happy music!



1. Linkin Park - A Thousand Suns
It was a Wednesday evening when I decided, begrudgingly, to give this album a spin. at 7pm I started listening, and kept listening until 11:30pm. Yes, you heard correct: I listened to this album a good four times in a row. It truly blew me away. "Is it like that crappy Minutes to Midnight?" Um, that album was not crappy, and no, this is NOTHING like anything you've heard from Linkin Park. Hybrid Theory is the teenage angst Linkin Park, A Thousand Suns is the Tchaikovsky Linkin Park; mature, beyond its years, solid from start to finish, bewilderingly different. It is a broad spectrum of whooshing guitars and epic apocalyptic anthems. If you haven't, buy this album, and if you have, buy another to give to someone for Christmas. They need to hear it. This is my top album for the year, not only because it is a masterpiece, but it represents a complete turnaround of a group of musicians. Don't think of these guys as the multi-platinum selling, rapping metalheads. They are the revolutionary spearheads of the exciting music to come in 2011, and I simply cannot wait.

Whipped Hair and Stutters: the Science of Pop Music Pt. 1

Let's face it, we've all had our moments when we get caught up in the wonder that is pop music. Be it at a high school dance, in the car while playing on the radio, or at home when no one's around, we catch ourselves singing along to songs we otherwise find distasteful, or at least annoying. So what is it about this pop music we hate so much that has us falling in love? Is it the intense, introspective lyrics? Perhaps the wondrous harmony of all the timbres and instruments coexisting to create a musical masterpiece. No? Well, perhaps it is something else. I'd like to propose that it is one thing, and primarily this one thing: CATCHINESS.


Now, some people have argued that a catchy song is a beautiful one, one that took a great deal of talent to craft. I disagree wholeheartedly. Firstly, let us set down a fairly relevant definition for "catchy": "instantly appealing and memorable", as defined by our great friends at Wikipedia (whose accuracy and integrity, for the sake of this article, I will not spend time defending). 


It is indeed possible for a catchy song to be beautiful and to have taken a lot of talent and effort to produce. But it is painfully easy to make a catchy song without requiring any talent, or effort for that matter. To illustrate I will use two examples found in today's mainstream media: Willow Smith's odious single "Whip My Hair" and Ke$ha's disgustingly popular radio hit "We R Who We R". Will Smith's daughter took the liberty of hooking herself up to the string of the Hollywood puppeteers (Roc Nation to be exact) and came up with "Whip My Hair", a song that, trance music aside, breaks records for the number of times a single line is in one song....68 to be exact (yes, I listened and counted for myself. It was painful). Something catchy, as we've stated, is both memorable and appealing. For a lot of girls, whipping hair is appealing. Check. Do we have a memorable song? The world of marketing can back that claim for us. Marketers on average name their brand/product at least 3 times in the 30-60 second ad they pitch in order for our brains to process and remember the name. In the 197 second song, we hear the line "I whip my hair back and forth" not three times, not 10 times....but a whopping (or should I saw whipping) SIXTY-EIGHT TIMES! Do we have a memorable song? CHECK.


Then we have Ke$ha, the most hair-brained, sleazy drunk that Almighty Hollywood could create. In her new single "We R Who We R", it seems that Ke$ha has some problems pronouncing her words. The chorus goes:


"Tonight we're going hard hard-ha-ha-ha-hard
Just like the world is ours-ours-a-a-a-our
We're tearin' it apart-part-pa-pa-pa-part
You know we're superstars"

Is it just me, or can she not finish her words without a severe stutter? She's not the only one. The infamous and unnecessarily crazed Lady Gaga has similar phenomena going on in her tracks. Are America's 'best' musicians impaired with speech impediments? Hardly. Stutters are tools of repetition. They emphasize and further pronounce certain words or phrases. They build expectations for the listener, so that someone who's never even heard the song before can sing along, stutters included, by the time the second chorus rolls around.  I'm not sure how much thought goes into these songs, but if I sang "roses are re-re-re-re-red, violets are blu-blu-blu-blue" i'd bet you could have it stuck in your head. Heck, I could just sing the word "pots" repeatedly and you'd start catching on. It's a science.

Is catchiness important in pop music? Definitely. But that's not all.

--To Be Continued~

More Reviews for RRR

Saves the Day - 1984 EP
Vanna - Honest Hearts EP
Kylesa - Spiral Shadow
Hellogoodbye - Would It Kill You?
Oceano - Contagion

More links:

Thriving Ivory
Royksopp
MS White
Motionless In White

Oh yeah, the links!

In This Moment
36 Crazyfists
Miss May I
The Reign of Kindo
The Red Jumpsuit Apparatus
Melee
For Today
Lakes
Funeral For a Friend

Some links to reviews i've done for the site. Be sure to check out upcoming album reviews, and bookmark Review Rinse Repeat!

Indefinite Reprieve

So, life is busy at the moment. College is starting up, working with RRR has been fun, but also is time consuming. From now on, I will post links and direct you all to whatever reviews I do for Review Rinse Repeat. Be sure to check that site out, it is a great place to find new music! (the BIG "RRR" button on the side will take you there).

I might pick up individual reviews later, but for now i'll be selling my soul to school, recording music, and RRR.

Thanks everyone!!!!

Sufjan Stevens - All Delighted People EP (2010)

Artist: Sufjan Stevens
Album: All Delighted People EP
Date Released: August 20, 2010
Genre: Folk/Indie

Album Review:

With a diversity to folk hardly before experienced (and a pretty interesting collage-like album cover), Sufjan Stevens releases "All Delighted People EP" in an attempt to truly delight all. The hour-long EP starts with the title track, and 11 minute track, where Stevens incorporates a unique vocal style, moving his voice every which way, almost striking the bizarre realms of space. The background instruments (everything from zithers, to organs, to banjos, to choir backup vocals) really help lift the listener into an ethereal state. The theme of the song seems simple and innocent, but it serves to strike a seemingly simple point hard: "and the people bowed and prayed to the neon god they made, and what difference does it make? 'I love you so much anyway'".

The following songs are so that they are great by themselves, not just fill-in sessions. Songs like "Heirloom" strike more of a happy/content feel, while songs like The Owl and the Tanager reflect on Steven's ability to make morose dirges that still glimmer with hope. The instrumentation on the Classic Rock version of All Delighted People really gives off a 'trippy' feel, with synthesizers and swells and drops that made me question how much LSD I had prior to cracking into the song.

All in all, this album had too much reliance on the longer symphonies, and though the shorter songs were great as stand-alones, they refused to stick out. Sufjan is a master of instrumentation and piecing together wonderful pieces to listen to.

Rating: 7.5 out of 10

The Secret Handshake - Night and Day (2010)

Artist: The Secret Handshake
Album: Night & Day
Date released: August 17, 2010
Genre: Powerpop/Motown

Album Review:

Texas-based Luis Dubuc (aka The Secret Handshake) decided not to stick with the standard electronic-based music he relied on before, and made an album that he describes as "a Motown record, man". Instead of synthesizers and vocoders, there are brass instruments, gospel vocals, and upbeat piano rhythms in Night & Day. In addition, an album simply called "Night" will feature techno remixes of the songs on this release.

It goes without saying that this is a big change for fans of TSH, and a big step for Dubuc. Motown is not a field of music one would expect him to jump into, and yet on this album it surfaces in many songs. The opening track "Every Single Time" explodes with trumpets and piano upfront. Although some of the songs are catchy in themselves, like the track "Domino", the whole album has an awkward feel, not because of how different it is, but simply the music itself. Clearly, Dubuc has far to go if he is to exemplify soul music, with the random falsetto notes and lack of overall elegance vocally. The track "Used to be Sweet" features Lights, and even her normally stellar voice went astray. Though a great songwriter, the songs on Night & Day seem overly cheesy and thematically shallow.

Overall, Dubuc's desire to make music for himself is admirable, but if this motown-style of music is what he wants to stick to, let his music just be for himself.

Rating: 5 out of 10

Enemy Logic - Breakdown of the Bicameral Mind (2010)

Artist: Enemy Logic
Album: Breakdown of the Bicameral Mind
Date Released: August 4, 2010
Genre: Death Metal\Metalcore

Album Review:

This 4-piece metalcore group from Cork, Ireland don't seem to believe in baby steps. With a courage and persistence not seen in other bands, Enemy Logic have made their best efforts to break through the "local band" arena and be a true force to be reckoned with.

Breakdown of the Bicameral Mind Starts with the gun cocked, and doesn't cease fire until the closing track. With harmonized riffs, panic chords, and solid breakdowns, this band has already got the dynamics of metal down to a science. And though there's still that under-produced tone, the album has a heavy aspect to it that makes it a serious contender (though the guitars seem empty at some points, perhaps due to a lack of second guitarist).

Tracks like "Heart of Stone" display the vocalist's ability to produce both high-pitched screams and lower growls that fit the music well. "Vengeance Served Cold" feature synth and pianos to intro the track, which could serve as a helpful platform for the band's musical style in the future. In "Fall of the Sun", a female's voice is heard (though very quietly) in the background, giving it a haunted tone. The album's main weakness is a poor mix and thus an empty, unfinished sound.

Overall, this album was surprisingly well made in terms of musicianship, and Enemy Logic shows a lot of promise for growth and maturity as a talented group of metalheads!

Rating: 7 out of 10.

Reign of Kindo - This Is What Happens (2010)

Artist: Reign of Kindo

Album: This Is What Happens

Date Released: August 3, 2010

Genre: Jazz/Alternative Rock

Album Review:

To pin this band under a genre would do them a disservice, for their style is definitely unique, combining avant-garde jazz elements into alternative rock to present some refreshing sounds that one doesn't often come by in the music world.

Their second full length, This Is What Happens, opens with an explosive introduction and a song rich with emotion. The songs have very soothing harmonies to them, and yet cry out distinct messages. Songs like "Symptoms of a Stumbling" are more downtempo and are reminiscent of older and quant piano-driven ballads, while songs like the opening "Thrill of the Fall" are more chaotic and upbeat. "Now We Make Our Ascent" is the obvious part two to the previous "Til We Make Our Ascent", and mirrors it with the vocal melodies.

It is uncanny how the music can make the most down-to-earth topics seem bizarre and surreal, giving them a mysterious element and added depth. The acoustic "Soon it Shall Be" is a simple flamenco-laiden romantic: "So I wrote you this song, though in vain dear, for no lyric or rhyme could contain all the gladness you bring to the saddest of days, oh my love, how I yearn for you now..." Lastly, the outro song "Psalm" is a great song that encapsulates the album, finishing the almost hour-long love song.


One complaint, if any are to be made, is the album lacking the same lead guitar as before (songs like Needle & Thread were made alive by the jazzy guitar licks). It is hardly noticed here and there (Out of Sight, Out of Mind for example) but otherwise absent. I feel that this makes the album empty in comparison to previous efforts. To make up for it, Reign of Kindo incorporated some Latin influences, which have definitely matured the band's sound.


Overall, the album has its dragging points, but it is a great follow up to Rhythm Chord & Melody. Very easy on the ears, and not too heavy on the heart!


Rating: 7.5 out of 10

Black Veil Brides - We Stitch These Wounds (2010)

Artist: Black Veil Brides
Album: We Stitch These Wounds
Date Released: July 20, 2010
Genre: Emo/Post Hardcore

Album Review:

After the single Knives and Pens was released, quite a stir has followed the name Black Veil Brides. With a heavy Hot Topic endorsement and quick fanbase, this LA group seemed to have a bright and promising future.

But alas, there is nothing impressive, unique, or interesting about this release. It seems like BVB borrowed elements from different post-hardcore bands, watered them down, and crammed them into 12 highly boring songs. The album is laced with emotionless guitar solos, awkwardly placed screams, and an all-too-familiar set of guitar riffs. This band could easily have been renamed "insert name of a screamo band here". As a debut album, this doesn't favor well for the band. We Stitch These Wounds should be an album that defines BVB, and makes them stick out of the massive crowd of bands in their niche. Instead, it is Black Veil Brides that are stitching their wounds, the wounds of failure.

Everything from the generic lyrical themes to the pathetic breakdowns interspersed, to the Joker-influenced face plastered onto the cover make this an album worth skipping, or it will be the listener who will have wounds to stitch.

Rating: 3.5 out of 10

The Devil Wears Prada - Zombie EP (2010)

Artist: The Devil Wears Prada
Album: Zombie EP
Date Released: August 24, 2010
Genre: Metalcore

Album Review:

The Devil Wears Prada has brought the metal audience a very solid group of 5 songs in their EP Zombie. As the name suggests, the concept regards apocalyptic themes in the form of zombie infestation. From the chainsaw-like riff opening the EP to the audio clips describing the end, this is, as the band claims, some of their heaviest work. TDWP seems to have such a unity within its members that gives them the ability to write creative and heavy songs.

With intense drum fills, and DePortnoy offering the ever-familiar clean vocals, the album opens with Anatomy,  one of the heaviest and fastest of their songs to date. This EP doesn't contain humorously titled tracks as before, but has a seriousness that only adds to its frightening atmosphere.  The haunting arpeggios from the piano and eerie sound clips give metalcore a truly frightening twist. Outnumbered finishes the EP with a 35 second clip of some broadcast heralding the apocalyptic onslaught of said "zombies".

This EP is definitely worth looking out for, as it defines The Devil Wears Prada as one of the most creative and skilled metal musicians to exist. Be scared!

Rating: 8 out of 10

Ivoryline - Vessels (2010)

Artist: Ivoryline
Album: Vessels
Date Released: August 3, 2010
Genre: Pop punk/Alternative Rock

Album Review:

The "Anberlin minions" released Vessels with the intent of breaking through an imprinted underdog position, and place themselves in a prominent spot among the alternative rock kings. It has been two years since the last release, and one can't help but wonder: how has the band grown since then?

This second full-release album starts with an energy not seen on There Came a Lion, with the opening track The Healing featuring Jason Verna. With synths and a Coheed & Cambria feel in the harmonies, it was a great way to start the album. However, as the album progresses sequentially, it ceases to do so musically. With crooning repetitive songs, one after another, it makes such songs hard to stand out from the others. The single "Instincts" deserves a nod, a song full of passion and truth "narrow is the gate that leads to life". Broken Bodies contains some subtle vocoder action that might raise some eyebrows. Otherwise, the songs seem quirky and don't run together. Even the songs themselves, like "Walking Dead" with it's woah-woahs, have a sense of awkwardness that misses the mark of originality, and instead rings out a tone of disorderliness.

The album was hard to listen to from start to finish. That should be a good indicator of the band's progress. Let's hope Vessels was just an over-produced hiccup.

Rating: 5.5 out of 10

Haste the Day - Attack of the Wolf King (2010)

Artist: Haste the Day
Album: Attack of the Wolf King
Date Released: June 29, 2010
Genre: Metalcore

Album Review:

From the band's inception, Haste the Day has steadily grown to garner respect from both Christian and non-Christian metalheads, with unique riffs and slamming breakdowns that definitely made them competitors for iPod space. Even with vocalist changes in their lineup, the band has prospered under the shade of Solid State, and have thus released their fifth album.

Attack of the Wolf King is a heavier attempt at music than Dreamer and Pressure the Hinges were. The danger, however, is the temptation of throwing something heavy together and forgetting to put actual talent into it. The album features generic breakdowns, and though it has some impressive riffs, and great intros like the song The Un-Manifest, the album has the same flow of any album in the genre, except without a decent ending track (White As Snow would have been a great ender, but it was placed in the middle). However, in spite of how predictable the album is, it offers some great chorus lines, like in the song Merit For Sadness; "open my heart to sadness, it's through the pain that I believe, it's through the pain that I can see". And the album does have a heaviness to it than can merit some respect.

I enjoyed the album, to be sure. But I expected more from the band's ability to surprise me in the past with outstanding metalcore tunezzz.

Rating: 6 out of 10

Avenged Sevenfold - Nightmare (2010)

Artist: Avenged Sevenfold
Album: Nightmare
Date Released: July 27, 2010
Genre: Metalcore/Hard Rock

Album Review:

Following the style of their self-titled album, Avenged Sevenfold have continued in the less edgy style of metal with the release of Nightmare. There were indeed doubts on the band's future after the passing of The Rev (former drummer), but with the aid of Mike Portnoy of Dream Theater, the band has conquered nightmares of their own and show no signs of slowing down.


Nightmare is heavily focused on death. M. Shadows and Syn Gates said this about the album during an interview with Hard Drive Radio: "The new album, Nightmare, is dedicated to The Rev memory and although it's not exactly a concept album, it does center around The Rev."


From start to end, Nightmare does have (as it may indicate) a darker tone to it. From the angry, warbled screams in "God Hates Us", to the breakneck, merciless thrash of "Natural Born Killer", the album jumps at the listener with the ferocity of a group of hyenas. Syn Gates pulls of some very thrash metal-esque solos in between the forgettable guitar riffs, and the "double-ride thingy" (Rev's words) is used sparsely as well. Overall, the band has continued to write more impactful songs, ones that fit the tone and mood of a vengeful group. And yet, surprises like "Victim" serves as an anger management, and the album afterwards tones down. The song "Fiction" is of special dedication to The Rev, and the true heart and soul of the band can be heard in it. This album's diversity and continuity surprised me, and definitely deserves a listen.


Rating: 6.5 out of 10

Norma Jean - Meridional (2010)

Artist: Norma Jean
Album: Meridional
Date Released: July 13, 2010
Genre: Post-hardcore/Mathcore

Album review:

Norma Jean's lifespan speaks for itself. Having sold over 360,000 albums to date, Norma Jean definitely has made some waves in the metal arena. Since the release of Bless the Martyr, Norma Jean have continually made albums that cease to grow old. Meridional, their fifth album, could very well continue their winning streak. With the composure of a mad scientist, Norma Jean continues with their calculated-yet-chaotic melodies and end up creating a concise and sensible album.

Meridional is a term used to refer to the southern part of the globe, and is a reference to the band’s origins in Georgia. From the artwork to the lyrical themes, there is definitely something refreshingly foreign about the album. From the introductory feedback of “Leaderless and Self Enlisted” to the hidden outro at the end of “Innocent Bystanders United”, the album contains an unsettling element that keeps the listener from getting bored. Cory Brandon Putman delivers more diversity on this record, ranging from lingering vocal lines to his raspy cries. The album, in turn, takes the listener on a dark journey, involving explosive and energetic ballads like “Blood Burner” as well as haunting choral interludes like “Septentrional”. Indeed, this album is testimony to the maturity of the band members both new and old, and should not be classified as your run-of-the-mill hardcore outfit.

As an additional note, Norma Jean took a step in the right direction upon the switch to record with producer Jeremy Griffith. The album was to have a dark and ominous feel, which Griffith succeeded in pulling out of the mix. Each dissonant guitar riff, vocal harmonies, and drum beats that seem to resound into a black abyss adds to the album’s haunting theme. Griffith himself even contributed several additional instruments and sample vocal melodies.

Norma Jean, then, has definitely made quite a step in the right direction with Meridional. It is proof that terms like “mathcore” and “orderly” can be used to describe one thing. This album is enjoyable on repeated listens, and is worth the price tag.

Rating: 7 out of 10

Impending Doom - There Will Be Violence (2010)

Artist: Impending Doom
Album: There Will Be Violence
Date Released: July 20, 2010
Genre: Deathcore/Metalcore

Album Review:

I highly respect Review Rinse Repeat for their spectacular album reviews. Regarding There Will Be Violence, Impending Doom's third release, RRR said this: "It’s disturbing how accurate predictions with this album become. The incessant chugging, the throaty roars, the "let’s beat a dead horse" breakdowns - all of it is completely expected." With much regret, I agree. The album is a testimony to the failure of a great band caused simply by a lack of creativity. Sure, there are attempts made, like Love Has Risen, to change the flow of the album and mix it up a little bit, but the fact remains that this group of musicians has grown only in age.


If one wants a quick headbanging fix, this album might deliver. Otherwise, the album is relentless in presenting the listener with a mechanic synthesis of what already exists in mainstream metal: the blast beats, the chugs, the oh-so-emotional growls. I was disappointed in this album, and somewhat glad it was only 34 minutes long.  Consider it a tangible mark of this band's retrogressing, from Nailed Dead Risen onward. 


Rating: 4.5 out of 10


Song-by-song: I don't have the heart to do a song-by-song. Understand that the album is one big breakdown, with Love Has Risen being it's only somewhat surprising interlude.

Lydia - Assailants (2010)

Artist: Lydia
Album: Assailants
Date Released: July 20, 2010
Genre: Indie

Album Review:

Quick heads up, yes, I am intensely prejudiced in my review of bands I very much like. I will try hard not to do that here, as Lydia is my second favorite band (aside from Copeland).

This album is truly a farewell to Lydia's fanbase, with the opening song stating "we're glad you could make it, to our farewell..." A short EP, clocking in at 21:04, but every second of it is filled with a spacey, soothing atmosphere that leaves the listener in a wondrous daze. Leighton does an amazing job singing, even without Mindy (who is joining the Laurensons from Copeland and is forming States!). I've gotta say though, despite the amazingly beautiful songs Lydia can create, it is stuck in a box. Each album is unique, but inquiring within, the songs all have the same sound. Save for Music Makers, the album can wear quickly on the listener. It is a short album, i'd take it like a shot of vodka. For fans of Illuminate, this album will take you for a trip!

Rating: 8 out of 10

Song-by-song:

Enjoy the Show: A calm and intriguing intro - or should I say invitation - to this, their final album. A short track, representing the album well.

We Clean Up So Well: This song has such a powerful intro. It fills the room with rich, warm bass and a sparkling tone that only resembles something that an angel would have dropped on their way to heaven. My favorite track.

Empty Out Your Stomach: "There, there, pretty girl"...another amazing song, with harmony that definitely sets you off-kilter.

I've Never Seen a Witch: I love the lyrical message of this song. It is also a very soothing song. I could easily fall asleep, and happily, to this song. It is about a drama queen of sorts.

Music Makers: A very quirky interlude, and although noisy, I feel that the noisiness only helps to add to the haunting feel created by the song. Vocoders and keyboards fill the air.

A Place Near the City: A very calm song, especially during the verse, with the drumbeat and calm key strokes setting the mood.

Assailants: Another album with the title track as the outro, but here it fits, as it bookends the beginning, with the lines "I can't seem to kill my assailants, they just keep changing faces". Beautiful. I will miss you Lydia!

I Am Abomination - To Our Forefathers (2010)

Artist: I Am Abomination
Album: To Our Forefathers
Date Released: May 11, 2010
Genre: Experimental/Progressive

Album Review:

This album had been in my library since it came out, and I just now bothered to listen to it. I should have had a mop in hand with which to clean up the mess caused undoubtedly by the fact that each lick, each riff, each lyric and solo in this album left my brains blowing out of my head. Of course, i'm a sucker for the experimental, other-worldly, special group of musicians who seek more out of music than the standard four-chord, verse-chorus-verse type of shenanigans brought to us by the sick and relentless media mongrels. But I digress...Like I always do...

This band grips your ears with a creativity rarely seen by a typical band, effortlessly blending drums, keyboard, guitar, and vocals to make one power-packed sound. There is hints of DJENT-style guitar playing mixed with flighty, electronic action that makes this album hard to press pause on. From the mind-bending guitar solos to the catchy lyrical phrases, this album has sent me on a trip, and I definitely recommend that you buy this album and let it lift your spirits!

*DRAWBACK* - it tends to get old real quick. Which is highly unfortunate. Definitely keep this in a mix playlist though, it will consistently amaze you!

Rating: 8.5 out of 10

Song-by-song:

Since 1776: An album that needs no calm introduction, needs a song like Since 1776. A beautiful song that introduces the listener to all that I Am Abomination is about.

Thoughtcrime is Death: Like the first, this song is explosive and holds back no punches. And yet, the song outros like soft butter. Wonderful!

Cataclysm: This song tends to get lost in the mix, but what hit me here was the great guitar solo around the 3 minute mark.

The Deceiver: "God so loved the world"... a great, emotional and complex song. I love how some of the chords go dissonant, like you would find in a hardcore melt.

Rock N' No Soul: Yet another powerful and haunting intro, followed by questioning lyrics (and screaming, YES!) make this song another standout on the album. Perhaps my favorite song out of all of them.

Invisible Titans: I guess one of the slower songs? My only problem with this album is that most of the songs sound the same. Take it for what it is...

Greetings From Easter Island: A good song with DJENT-like backing to it. It has a dragging feel to it with the vocals, but I feel that the band could have gone more acoustic for a slower song.

Art Attack: I like how the effects are implemented here, with the choppy vocals, and aside from the fact that at this point, the songs really are very similar, it's another great stand alone.

Creatures of the Night: One thing this band has nailed on the head is the ability to master an introduction. With crushing breakdowns and electronic fills, this song really ushers you into the night.

Element 151: Unfortunately, this track did not make the outro for me. It almost did, with a longer intro, but the approach was not as soft, containing heavy riffs and an (albeit insane) guitar solo.... And then came the creepy vocals at the end. But well done, IAA, I will be keeping my eyes on you in the future!

Mae - (m)orning (2009)

Artist: Mae
Album: (m)orning EP
Date Released: April 19, 2009
Genre: Indie, Alternative Rock

Album Review:

The Tune is a blog that I hold in high respect, and the author writes: "Mae....keeps their morning mood perfectly". Indeed, the feel of this concept EP is very much down tempo, rebirthed, and filled with a new creative energy not seen in Singularity. As Mae is supposed to stand for (M)usic, (A)rt, and (E)ducation, this and the 2 following EP's are to stand for (M)orning, (A)fternoon, and (E)vening. So far, with (M)orning I am very impressed. What's more impressive, is that the proceeds for this album's sales are going to charities of the band's choosing. SAWESOME!!!

The 37-minute EP is filled with creativity and new life. Extended, mind-blowing instrumentals are accompanied by traditional Mae-like ballads like Boomerang. With catchy lines that one might end up singing without knowing, the songs in turn take the listener to unexpected, pleasant places. Having grown up with this band's music, it is easy for me to see (and safe for me to say on their behalf) that this album contains promise for the band. I definitely look forward to listening to, and reviewing (A)fternoon and (E)vening!

Rating: 8.5 out of 10

Song-by-song:

Good (M)Orning: Bleeps and drum taps fall behind dissonant chords to start the album. I wasn't much for this intro track, as it didn't fit the springy, bright morning feel like the other songs do.

The Fisherman Song (We All Need Love): at 8:39, this long song grows in feel and style, from an acoustic opening to an explosive rocking beat. Definitely a great song from start to finish, though start to finish will take a while...

The House That Fire Built: Another long song follows the Fisherman. I don't like this one as much, as it tends to drag, but it maintains the upbeat tempo.

Boomerang: A beautiful love song, and a unique one at that. Dave Elkins hits the falsetto notes perfectly.

Two Birds: One of the best instrumentals I have ever listened to. And I mean that with all seriousness. So much creativity and harmony, and unmatched tone that makes this song really sound like two hundred birds singing together blissfully.

A Melody, the Memory: "When you sing do you slip away? Back to that place in your mind? Let our love be the one thing you wont leave behind" Beautiful lyrics, and another song that feels very uprising and inspiring.

Night/Day: Another great song, perhaps the one with the "fattest" sound (distorted guitar, cracking riffs, nice drum beat). The lyrics are also very strong. I enjoyed this one a lot.

(M)Orning: A closing instrumental, with the same dissonant tones as the intro track. That makes sense, but again, I cringe at the chords and the quirky overall sound of the song. Ah well. Well done Mae!

Skillet - Awake (2009)

Artist: Skillet
Alum: Awake
Date Released: August 25, 2009
Genre: Hard Rock/Alternative Rock

Album Review:

I know, this review is of an album that's almost a year old, but I must address and dispel any erroneous views presented by severely deluded people......THE ALBUM IS HYPE. To go gold in 7 days, I figured heck, it's Skillet, that's reasonable. Then I listened to the album...and was severely disappointed. John Cooper said this about the album on Jesus Freak Hideout: "This album is even more immediate than “Comatose,” but there’s also a noticeable maturity. Some of the songs are complex, others are just really intense rockers and overall there’s a real sense that we’re opening a new chapter. There are definitely some classic rock elements on the record, some very melodic moments with orchestration and piano, along with a lot of today’s heavier rock influences as well. ”


Are you joking me?!?!?!! I will admit, there's a maturity to the band's sound, no small fault of their deep wallets to call upon the higher powers of amazing studio work. But there is no real complexity to the songs, and aside from Monster, this album is void of anything upbeat. It's a long, morose dirge that makes you wonder if THIS album should've been named 'Comatose' instead of 'Awake'. Singles like Monster make the cut, but most of the album hits a softer tone, to a degree that no hard rock band should take. From 3 Doors Down to 3 Days Grace, bands like Skillet have held to the traditional feel of an album, and how it should be a mix of songs and emotions to convey one concise message. That is not found in Awake. Instead, one is greeted with a nitrous, explosive beginning, and then....not much else. The songs on the album are great, I will say, but the album gives off a very soft and inconsistent tone. My consensus? Awake will put you to sleep, then wake you again, then put you to sleep again...


Rating: 7 out of 10


Song-by-song:


Hero: A powerful intro track to this album. I adore the energy Skillet can produce with their songs, it's as if their hearts are being shoved down your throat....too bad it's short-lived...


Monster: A nice, but deceiving single off the album. Upbeat, and with a dark overtone, the message fits the sound of the song.


Don't Wake Me: A nice, slower song. Doesn't follow the power-packed awakener Monster, though...


Awake and Alive: The synth instruments and upbeat guitar riffs come in loud and strong. Definitely a nice track and single off the album.


One Day Too Late: Another slower song, and one with a nice message of reaching out with love, because "tomorrow could be one day too late"...


It's Not Me, It's You: Well......it's not me.....it's you. Not much to say about this song.


Should've When You Could've: A love song to a girl who missed her chance. I'm not against Christian bands writing love songs, but they just can't suck...I guess Skillet gets really old to me.


Believe: Another slow song. It's all downhill from here.


Forgiven: A different kind of love song, and yet another one of the calmer songs on the album.


Sometimes: A nice heavy song to pop your white collar to. But I still feel that the album is all topsy-turvy. 


Never Surrender: I feel like i've heard this song 5 times already....oh wait....just another slow song.


Lucy: This song is a beautiful outro. For all the album's confusing shortcomings, this ending track makes it for me. (and you all know how picky I am about ending tracks)

Minus the Bear - OMNI (2010)

Artist: Minus the Bear
Album: OMNI
Date Released: May 4, 2010
Genre: Indie/Eletronica

Album Review:

I can't believe that today was my first encounter with Minus the Bear. I feel like they've made quite a few waves in the indie world, and as such I should have hit them sooner. With over 20 million plays in Last.Fm, this band has made a name for itself. But I digress.

With a style that perhaps best fits under the name "indietronica", this album explodes from the start, and shows the creativity and fearless experimentation from song to song as it progresses. This album is definitely a picker-upper, and has both explosive symphonies and calm sonnets. It's, in one word, diverse. I just love the low-fi sound that Bearless have made. The music is very experimental, and Jake has a sort of jazzy voice that blends very well. The album is beautiful in sound, but I feel could be arranged better. It looses pizzazz as it progresses, and the listener burns through the wailing guitar notes and electronic whooshes to find that at the end is...the end.

However, its ingenuity cannot be overstressed....go buy it now!!!

Rating: 8 out of 10

Song-by-song:

My Time: An amazing intro track to the album, very expressive and upbeat. Definitely got me hooked for more.

Summer Angel: A chill song to completely erase the intro track. Uncool. Usually albums start with 3 or 4 strong ones, but anyway, still a great song in itself.

Secret Country: The intros to all the songs on this album are phenomenal, but I like this one especially. Very mysterious sounding. WE FORGET WHERE WE ARE.....

Hold Me Down: This song is very mellow without losing its upbeat flair. Hard to pin down, perhaps because of its lukewarm state. It is still a great song lyrically: "Hold me down, or the wind will catch me up again"...

Excuses: Here's that jazzy feel I was talking about earlier. Sounds a lot like Reign of Kindo, very experimental and avant-garde.

The Thief: "You've got a rich dad who hates every boy like me. I've got no money..." I like the feel of this song, as a song of the underdog, filled with spunk. Minus the Bear knows how to match a song's message with musicality.

Into the Mirror: The song is shady both lyrically and musically. It's got a depressing tone to fit the storyline of one who grabs sex and drugs, and still feels pretty empty.

Animal Backwards: Using delay, the song takes the main electronic beat of Mirror and reverses it. It turns the beat from a depressing one to a very introspective one.

Dayglow Vista Road: A low-key song fills the empty space on the album. As a stand-alone, it sounds pretty good, but the album could've used something more peppy near the end of the album.

Fooled by the Night: Meh, not worth 7 minutes of my time. And yes, by now you should know that when it comes to album endings, I am extremely picky. Nothing will do. It has to start good, and end better. But good show Minus the Bear, you've made a new fan out of me!

Attack Attack! - Attack Attack! (2010)

HEADS UP!!!! I'm back from working at camp, back to album reviewing!


Artist: Attack Attack!
Album: Attack Attack!
Date Released: June 14, 2010
Genre: Post-hardcore/Electronica

Album Review:

I must say, as soon as I heard Sexual Man Chocolate when it was released as a single off the album, I had mixed feelings. It promised a more mature group of musicians, but also decidedly marked their change since Austin left the band. However, despite completely new vocals, the album has given me smiles. It is chock full of breakdowns and sizzling synthesizers equipped to remind the listener that they are on the attack....all right, a little too much right there, even for me.

Even though the band has retained most of their sound to mass appeal's delight, one should be aware of how stagnant it can get. There are virtually no real riffs, just a bunch of chugs and bleeps that somewhat make me feel that this album is waaaay to mosh-friendly. That lacks class. And yet, the vocal choruses are catchy and melodic, almost enough to make up for the droning palm mutes. In some sneses, the screaming style is less of post-hardcore. Where Carlisle was high-pitched, here it is more reminiscent of A Plea For Purging, mostly because of its growly nature. All in all, the album provides a nice listen. But expect it to get old really fast.

Rating: 7.5 out of 10

Song-by-song:

Sexual Man Chocolate: I love the piano introduction, and how the breakdown comes in large and in charge. The chorus is always stuck in my head. Definitely a great intro track.

Renob, Nevada: Here, the vocals go back and forth between screaming and a yell. It has a nice full sound. Another good track.

I Swear I'll Change: A very beautiful song in many aspects. The echoed vocals are haunting, and the synth adds to that. The bass pounds through, and it's overall a great lighter song...for the first half. More growling/yelling and breakdowns sneak in.

Shut Your Mouth: A funny and interesting song. Definitely written towards a girl. Vocoder is the band's favorite toy here, and this song serves as a nice interlude for the album. Also definitely my favorite.

A For Andrew: I like the chorus in this song, it has a nice harmony. Otherwise, nothing much to say.

Smokahontas: Breakdowns and bended bass notes open this song, and then explodes into a Breathe Carolina-esque synthpop extravaganza. I like this song, when it picks up anyway.

AC-130: the opposite of Shut Your Mouth. A hxc interlude, a pretty angry one at that. Sigh....NEXT.

Fumbles O'Brian: What's up with the crunk? Remember the intro to Someday Came Suddenly? Was that serious?!?!? Anyway, that's how this song starts out, and it rides into a very nice back and forth between the clean vocals and growling. Very nice sound to this one. SHAWTYYYYYY.

Turbo Swag: This song came out of O'Brian's womb. Feels like the same song upon a first listen. Don't like it much.

Lonely: Slow song of the album. Beautiful vocals, just like the other songs. However, I felt that it lacked the morose feel to close out the album......until I heard the secret track at the end, and I smiled, because I know that AA! has the guts to pull a haunting dub-step style track to end an album. Well done!

Band of Horses - Infinite Arms (2010)

Artist: Band of Horses
Album: Infinite Arms
Date Released: May 18, 2010
Genre: Indie/Folk

Album Review:

Band of Horses recently delivered arguably the most anticipated album of the year for the indie world. I've received mixed opinions about this one, however. At the Guardian, Dave Simpson seems to be highly impressed, saying that it has "a much bigger, more spacious sound has been achieved without sacrificing intimacy or their old elemental sense of wonder". On the other hand, HighlanderNews remarked that Infinite Arms "isn’t a progression as much as a regression". Chris Locascio, the author or the article, wrote that Band of Horses haven't changed much except for a loss of bite and edge.

Unfortunately, I agree with Chris. Band of Horses left SubPop Records, and with Columbia Records, has a chance to reach a wider and new audience. Bands normally either change their sound to ease this transition, or keep the same winning strategy. Unfortunately, Band of Horses seems to have done neither with Infinite Arms, an album that goes in one ear and out the other, mellow to the point of losing identity. There is no bite or edge; the vocals are softened, the guitar licks are not as soaring, and it is an overall softball in comparison to Cease to Begin and Everything All the Time. I feel that this band of horses should either keep their unrefined, glorious sound that helmed indie pop, or they'd better be put to sleep.

Rating: 6 out of 10

Song-by-song:

Factory: Cease to Begin started with one of the best songs to ever be heard. Factory is a nice attempt at opening the album, with a nice melody, but it doesn't cut it as a song that draws a possibly new listener.

Compliments: This song has a very interesting flair. Upbeat and quirky, this one was released as a single. It passes the driving test, otherwise it can easily be overplayed.

Laredo: This could better suit as an opener to the album, with nostalgic vocal lines and charming guitar riffs.

Blue Beard: Reverb and vocal echoes fill this song, but it doesn't feel half as rich as songs like Funeral or Is There a Ghost, ones that explode during the chorus.

Way Back Home: A song with much musical interlude and high range vocals from Bridwell make it an enjoyable listen, but again, nothing much stands out.

Infinite Arms: A tragic title track. Might as well dig your grave from this point on, fellas. (interestingly enough, however, after Infinite Arms their first two albums both made their appearance on the UK top Hits chart).

Dilly: With a funky keyboard intro and Brit pop-like vocals, this song changes mood to something more light hearted and springy. Adding a "y" to things make them more fun. Imagine the title "Dill". Nah...

Evening Kitchen: The slow song of the album, I suppose. I gotta admit that Horses' vocal harmonies are unparalleled....except by Fleet Foxes, perhaps :P

Older: I can tolerate the steel guitar in this track, as it strikes quite a different chord. Instead of a country feel, something akin to an "oldies" feel is presented. I'm not much for it, but it's a good song in itself.

Trudy: Another slow song. Dilly proved to be misleading, and so does the rest of the album, it seems. Take it for what it is, but it isn't much.

Northwest Apartment: Very upbeat, and perhaps the most distortion i've heard in any Horses song. This song is one of my favorites off the album.

Neighbor: This song was almost unbearable to listen to, as it seems to go nowhere. I did enjoy the lyrics however, ambiguous as they tend to be. plus, after the 3:30 mark, the song picks up, and for a cruddy album, it had a very nice outro.

Envy on the Coast - Lowcountry (2010)

Artist: Envy on the Coast
Album: Lowcountry
Date Released: March 30, 2010
Genre: Pop Punk/Emo/Alternative Rock

Album Review:

Driew nialp tsuj si siht (this is just plain weird). Here is a band who has jumped in a completely different direction, from the emo/punk scene to something resembling southern rock (hence the album name, perhaps). And yet, they haven't completely shed their old skin. Stuck between two worlds, Lowcountry is either an attempt to bridge two different styles or an attempt to demolish both.

RottenTomatoes says this about Lowcountry: "The tempo has drastically slowed with almost every song based on heavy, often funky rhythm section that starkingly resembles Incubus and Red Hot Chili Peppers in their most streamlined mode. Bass guitarist Jeremy Velardi along with the band's vocalist made to play drums, Ryan Hunter seldom fall victim to routine delivering an array of varied groovy passages. Guitarists Brian Byrne and Sal Bassio steer clear of distorted riffs in favor of clean sound. In consequence, the guitar tracks are way more stylish, moody, not to mention impressive bringing the band's southern rock fascination to the foreground. "

I couldn't disagree more. I ripped into this album with little to no expectations of what i'd hear. In fact, i'm not very well acquainted with Lucy Gray, or Envy's other songs. However, this album has made a person who absolutely hates country hate it more. The influence is subtle, seen in certain vocal twangs, short guitar licks, but it's nevertheless there, and despite its attempts to grace the listener out of the previous idea of Envy on the Coast, it pulls no punches and ends up injuring the listener. With religious references that can only be described as "intriguing", and with a lack of catchy hooks necessary for the rock arena, this album captures the side of the coin that many artists neglect; it has interesting content, good flow, and identifies with the "style". However, the songs just plain suck. It sounds like a group of under-produced amateurs smoking cattails in Alabama who then decided to write songs about Jesus and praying. This one was a disappointment for me.

As far as the empty content, it seems to be a concept album of the southern-gospel lifestyle and its woes. Take the messages how you like, the lyrics did amuse me for a bit.

Rating: 5.5 out of 10

Song-by-song: (I seriously do NOT have the heart to do this...maybe the album will grow on me)

Death March on Two, Ready?: With twangy guitar licks, this song starts out Lowcountry. There's the same screamy-singing style seen in Lucy Gray, and overall....yeah that's pretty much it.

The Devil's Tongue: With lines like "fuck the sin right outta me", a lot of bitterness is expressed in this song, marking an overall rejection of desiring religion and prayer. Another bleh song musically, however. Still not getting into this album..

Head First Into the River: With what some might call "experimental vocals" (I find it at times close to Closure in Moscow...mmm that's good), one of the tastier tracks greets the listener.

Puritan Dirt Song: I must admit, there is an attempt at compensating for horridly country like songs with clever lyrics. "I'm a sinner in the hands of a God that could use a good laugh". I smiled at that one.

Laugh Ourselves to Death: Short and sweet. Not sweet enough though, with interesting lyrics but an unrelenting bass line. Curiously absent is the guitar that drives the song along warranting such a short running time.

The Great American T-Shirt Racket: Another short song that went in one ear and out the other. I seriously almost forgot what I was going to write about it after replaying it twice. I guess that in itself is a proper evaluation.

Southern Comfort: Unfortunately, i'm not from the South. This droning dirge provided no comfort for me.

*: A little interlude regarding phone messages. This one was kinda funny. I wonder if this was candid recording of someone drunk or not.

Like I Do: Hands down, easily my favorite song on the album. The layered vocals give a really interesting sound. This song is a slower one, so no driving rhythm guitar is needed. Instead, a haunting organ and bass line floats along, disguised within the album, but definitely should be seen as a diamond in the rough.

Numb: I like the intro to this song, with the lasting cry "I can't feel a thing". There's still that obnoxious southern accent to the song, but it is not as cringing. Overall, one of the better songs.

Made of Stone: Some boring song about Jesus not being able to sing. Is this album over yet?

Clean of You (Contains Non-Indexed Track Just South of Heaven): one of those incredibly annoying 35 minute songs, where the last 2 minutes contains some super extra special track. The chorus of Clean of You was pretty explosive, and mellowed out to a few minutes of silence, where Just South of Heaven kicks in. And that's when I kick this song.

Bad News (Bonus Track): This song is a mix of the new and old Envy on the Coast, I like it to say the least.

Spinal Cords (Bonus Track): Figures that i'll like the bonus tracks the most. This one was enjoyable for some reason, even though the style was similar. The song structure was less chaotic, and there was a solid chorus.

Clergy: A slow acoustic melody, and very natural too, to the point where I wonder if country is the foundation of Envy's music, and punk is the addition? I enjoyed this one, nice singing and nothing too crazy.

Company of Men: A very slow and chill-out song, unfortunately under 2 minutes however. The lyrics are also interesting, as always. I will give Envy credit for that.

Crystal Castles - Crystal Castles (2010)

Artist: Crystal Castles
Album: Crystal Castles
Date Released: May 24, 2010
Genre: Electronica

Album Review:

What can only be described as an alter-ego to Crystal Castles' first release, this (regrettably confusing) self-titled sophomore exposes a darker, more aggressive side of this electronic duo. However, in a sort of Cut Copy groove, their sound has overall matured and developed into a fairly cohesive set of tunes. And by aggressive, I also intend to note that Alice Glass is really breaking glass here. To quote RA Reviews, "Alice's voice still sounds like it needs some WD-40 on some of the early cuts. But later in the record, she chirps and purrs, too. She's older, I guess". I agree, it's a little too abrasive at times, but for some of the songs it fits well.

Oh, and let me clarify that the LP is cohesive in the sense that it blurs together into one 53 minute song, and though it's one of those good-yet-forgettable albums, it lacks any real 'plot', so to speak. The emotion is pretty haphazard and maybe even chaotic.

So what started out as a fairly positive review, ended up as a slow sigh of disappointment. It's an enthralling album, but it has its faults. Die-hard fans won't be phased by anything I have to say, but my opinion? Brush over this album, and keep the first one in your favorites list. The two don't belong in the same league.

Rating: 6.5 out of 10

Song-by-song:

Fainting Spells: Radio static starts this album, and what seems like a crow singing underwater...oh wait....yup, Alice Glass. The song has an overall haunting feeling, but no depth.

Celestica: This song is the opposite, with plenty of reverb, those Cut-Copy-esque vocals, and I can foresee this one being a popular play.

Doe Deer: And with an intense amount of feedback and banshees, we grin and bear it. It's only 1:38 long. And the more you listen to it, the more it draws you in.....to the point where you start to enjoy watching your grandmother pole dance. SKIP.

Baptism: With some neat keyboard fills, this trance pulls you almost completely away from Doe Deer....until Glass sings again. And again, the vocals' poor representation is almost forgivable because of how catchy it is. No fault of Ethan Kath, just a poor idea.

Year of Silence: I am not sure if the lyrics are indecipherable or foreign...anyhow, there certainly isn't any silence on this track.

Empathy: A very spacey song with enough reverb to show me a sonogram of myself slightly conceals Glass's voice...to my dismay, because I highly enjoy her voice when it isn't an ultrasonic frequency.

Suffocation: Another song that shies away from the chaotic, and towards the tried-and-true instrumentality pioneered by Daft Punk and others. As soon as it comes in full force, it begins its descent and outro. A very enjoyable song indeed.

Violent Dreams: A very low-key and chill out tune, with the bass eat hardly noticeable, and lofty synth carrying the whole song through.

Vietnam: I do like what the Castles have done to the vocals on this one, I like it a lot. I could explain it, but it's worth a listen for yourself. A beat equivalent to a drum march sustains this song, before it explodes into that infamously tagged "elevator music" sound.

Birds: This song was a pretty heavy one, and it also carried a dark tone. If by "birds" they meant "carnivorous vultures", then the song title is very fitting. Otherwise, it kind of gives the listener a daze, even after a second listen (that's a good thing).

Pap Smear: If Crystal Castles EVER had a "sound", this song best personifies it. Admirers of their first release will find a home in this song, with that crystalline synth sound, and that middle ground between soft ambient vocals and harsh shrieks provided by Alice Glass. I can sense another hit from this one.

Not In Love: What could very well be an accidental remix of an 80's pop song (fittingly titled, by the way) follows behind Pap Smear. The warbled vocals got on my nerves, and so did the synth for that matter. I'm not a big 80's person I guess. But seriously, the vocals are too souped up.

Intimate: Electronica is not my forte. But if you toned this song down and added quirky audio clips, I swear that this could slide as an M83 track. I like its minimalistic yet full tone.

I Am Made of Chalk: If you rewinded a casette tape of a lion singing underwater, you wouldn't be too far from copying the glorious vocal effects witnessed on this ending track. But surprisingly, I am really drawn in by it. This is not a bad ending track. I'll let you judge this one for yourself.

Animals As Leaders - Animals As Leaders (2009)

Artist: Animals as Leaders
Album: Animals as Leaders
Date Released: April 28, 2009
Genre: Experimental/Progressive/Instrumental

Album Review:

I have always been a fan of groups like Meshuggah, Scale the Summit, Periphery, and such "DJENT" music. This album, however, took me by surprise and blew me away. As the full-time project of Tosin Abasi, former guitarist for the band Reflux, the music is impressive on several levels. The complexity of the music and its ability to delve into some really deep, bassy riffs and emerge again with lofty and celestial licks shows how diverse Abasi can be with utilizing his 7 string bass and electric.

There's a song for everyone on this record, and I mean that in a good way. I don't think I can properly stress the diversity of this album. It is truly avant-garde, and I can only hope that this is the future of metal.

*DISCLAIMER* No your ears aren't broken, and you're listening to the right songs. There are NO VOCALS on the album, just like Periphery's instrumental release (though that was semi-purposeful, as their old singer left to pursue pop song writing...yuck).

Rating: 8.5 out of 10

Song-by-song:

Tempting Time: With a really spacey, glitchy intro, the listener is greeted with not only a good presentation of Abasi's skills as a bassist/guitarist, but is an aggressive and fitting intro track.

Soraya: Bridging the gap between ambient and metal, this song is on the lighter side, and kind of resembles something Satriani would do. Definitely original though.

Thoroughly at Home: Very DJENTey, this song will please Meshuggah fans, carrying a deep sound and using unconventional timing for the time signature.

On Impulse: Another lofty, light song, with very talented soloing and tapping throughout.

Tessitura: This word is translated as "texture", and it refers to the vocal range of a singer, usually in opera. The song climbs, almost like practicing scales.

Behaving Badly: Starting out with a xylophone and synth, one already knows that mischevious behavior is occurring here. The song explodes as it goes in, and though it's taken a while, this track has grown on me.

The Price of Everything and the Value of Nothing: The title of this song made me smile, and so did the song, almost conveying without words the essence and emptiness of things, as it crescendos and then diminishes.

CAFO: My favorite track. Very heavy and in your face, and also has some of the most intricate tapping on a guitar i've ever heard. Tosin Abasi, you are a beast.

Inamorita: The beat and intro to this song is very catchy. The subtle background noises add to the song as well, though it's a bit long for me to savor it, passing the 6 minute mark.

Point to Point: A soft, clean interlude, or so I thought...the distorted 7 string kicks in and leads into another short song...

Modern Meat: No idea what this title is referring to, but this song is nice and low-fi. It has a very jazzy sound to it.

Song of Solomon: Unfortunately, despite the diversity, i'm feeling a little bored at this point (maybe because i've listened to this album 5 times in a row?). But this song shakes that out. The synth output on Abasi's awesome custom RG, the song has a very neat sound to it. Good ending track, I must say.

Nevermore - The Obsidian Conspiracy (2010)

Artist: Nevermore
Album: the Obsidian Conspiracy
Date Released: June 8, 2010
Genre: Doom Metal, Progressive

Album Review:

I've never listened to much doom metal, much less anything from Nevermore. Thus, I can't really speak in terms of their older music. However, many references have told me that this album is definitely the crown works of the band. There is such a full and majestic sound that makes even the most foreign visitors to metal smile at the beauty of the music. The riffs from Loomis are unmatched in technicality and beauty, and Warrel Dane's singing fits the music very well.

Don't box yourself into a style. The aggressive, fast-paced anthems with the morose and somber dirges mold into one Obsidian Conspiracy that you don't want to miss!

Rating: 8.5 out of 10

Song-by-song:

Termination Proclamation: This is easily my favorite song off the album. In fact, I was about to discontinue this review on account of keeping this song on replay! The opening riff is so strong and intense that it drives the listener forward, propelling them into the rest of the album.

Your Poison Throne: With the repeated cry to "rise, rise, rise", a haunting feel is added into the mix. It was a nice tie-in from Termination Proclamation.

Moonrise (Through Mirrors of Death): With an intro resembling This Dying Soul by Dream Theater, this song starts out raging and pounding, but by the chorus, things slow down to really focus on the heaviness of the song. There is that haunting feel in the words spoken "is this soliloquy or psychosis, or self-hypnosis?".

And the Maiden Spoke: Once again, the song seems to take you one direction (in this case of a slower, calm melody), but the song explodes into a rampage about some mysterious maiden. I officially love doom metal.

Emptiness Unobstructed: Definitely a slower ballad, and stays that way. There has been some question about whether the band is Christian. I am not completely sure, but lyrics like "within the cold absolute, the cold brutal truth", there are at least Christian ideals represented.

The Blue Marble and the New Soul: This song is slower in sound than Emptiness Unobstructed, but I wouldn't call it the slow song. It seems like a continuation of the previous song. Beautiful.

Without Morals: On a different note, another heavy riff and warning lyrics greet the listener in Without Morals "without morals we wither, we might as well be gone"...

The Day You Built the Wall: As a shout to one who is relentless in destroying themselves, I think this song is very creatively written. Definitely that progressive rock feel to it.

She Comes in Colors: Looking back, perhaps I would prefer one or two more fast-paced songs, but looking back again, I like how melancholy this album is. This song is acoustically-filled, haunting, and then explodes into angry and explosive riffs and cries. A great song.

The Obsidian Conspiracy: I don't like it too much as the ending track, but it is an amazing title track. I first listened to an instrumental version, and that alone blew me away. With the great vocals and words by Dane, this song is another favorite! Well done Nevermore, you've made a fan of me!

Keane - Night Train (2010)

Artist: Keane
Album: Night Train
Date Released: May 10, 2010
Genre: Alternative Rock/Indie

Album Review:

It's a shame that Keane has been consistently nudged into becoming Coldplay's successor. As a result, Keane has shied away from the melancholy dirges of Hopes and Fears, and took all of us by surprise with Perfect Symmetry. Night Train is their attempt to further make the stride into the pop world, combining upbeat synth tones and guest singers together to make an urban, contemporary sound. MusicOMH explains further:

"So, where 2008's Perfect Symmetry may have seemed over the top, Night Train takes that progression and amplifies it in a natural direction, adding a bit of dance-pop and hip-hop flair to the piano-based palette."

Having listened to the EP through a few times, I agree. It is very poppy and stands out even moreso than Perfect Symmetry did. And that bothers me a little bit, because a band shouldn't have a forced change to their sound to get out of a schema. Anyhow, before I go on a completely useless rant, I will say that this album marks a new stride for Keane. Whether it was a stride in the right direction or not is a tough and highly debated question (but the answer is no).

Rating: 6.5 out of 10

House Lights: As an intro track, it is a deceptive one. It is very minimal, and almost feels like you are no a night train, heading into a dark tunnel.

Back in Time: This song changes that mood. Its Interpol-like sound coupled with the synth and upbeat chorus warm the listener for what's to come.

Stop For a Minute: The obvious single off the EP is the height of Keane's progression into pop culture. With K'Naan offering lyrical lines, and the hand clap in the background, this song is a standing memorial to Keane's step forward. Although it's catchy, it's not what Keane really became prominent for. Must all bands take the pop route upon acclamation? I suppose I miss the old Keane is all...

Clear Skies: This song, in a nostalgic twist, is akin to their old aspirations. The falsetto in the chorus is done well. Possibly my favorite track.

Ishin Denshin: Ishin Denshin is a Japanese term, meaning that it is honorable to communicate with unspoken communication and not use straight talk. This song has a quirky 80's sound, with the line "see how the world goes around, you've got to help yourself". In addition, it guest features Tigarah, a Japanese singer. I deeply enjoy this track myself.

Your Love: Again, an intro that resembles The Birthday Massacre makes me scratch my head for a second or two. This is a nice mellow song.

Looking Back: ROCKY. ROCKY. RROOOOCCKKKYYY. GONNA FLY NOW. Trust me, once you listen to this song, Bill Conti is the only thing that will go through your head. That is all I can say about this song.

My Shadow: The slow song of the EP, and is more Keane-esque than any of the other songs on the album (yes, I will deny their new personality in favor of Hopes and Fears). Good ending to the EP, it makes me feel like i'm on a train going home past midnight.

Veil of Maya - [id] (2010)

Artist: Veil of Maya
Album: [id]
Date Released: April 6, 2010
Genre: Deathcore/Technical Death Metal

Album Review:

This is easily the shortest LP i've ever listened to. Eleven tracks...29:10 total playing time. And it's also one of the most boring albums for a tech death band. Were the essential components there? Let's see...fast double bass and blast beats? Check, with songs like Dark Passenger and Resistance showing some nice drumming virtuoso from Sam Applebaum. Intricate guitar lines? Check, and there's the standard vocalist-with-lead-guitar for death metal seen here as well with Marc Ukobo. Deep growling vocals? Check, and there was also higher pitched screaming as well.

So what's the problem? To be honest, i'm not sure. I've listened through it several times, and it has grown on me, but it's grown kind of like the mold sitting in my roommate's trashcan, not really like a masterpiece of music does. One could attribute the album's weakness with failure to find good album flow, failure to give emotion and strength to songs (or mismatched emotion; as I will explain, many songs have forlorn music coupled with explosive and angsty vocals), or intense repetition. But i'm just rambling now. However, I can appreciate the band's great talent, shown moreso here than their previous releases. For metal fans, i'd say that if you must listen to this album, stream it on Grooveshark, or heck, just torrent this baby, it can't be that big of a download anyway.

Rating: 5 out of 10

Song-by-song:

[id]: who makes a title track the 43 second intro to an album? It just seemed weird to me. Anyhow, this intro starts with a haunting feel, progressively getting heavier and flows right into Unbreakable.

Unbreakable: this song is actually one of my favorites. I give VoM props for the flow of the first two songs. This song has a neat, albeit repetitive riff interspersed throughout. There's something akin to a breakdown around the 50 second mark.

Dark Passenger: This song has a really boring riff in the back, despite the technicals that take too long to come in. The drums, if given an ear, sound very good, but otherwise this one I didn't like too much.

The Higler: I had to Google what a Higler was. It is a person who sells provisionals from door to door. You learn something new every day I guess. This song has some complicated riffs, and an even more complex drum pattern. This is one of the better songsm even if that doesn't say much.

Martyrs: An interlude that I think could have made for a better intro track than [id]. But like I always say, you get what you get.

Resistance: Resembling Meshuggah-like breakdowns in between, this song has a lilting guitar riff, giving this song a sad tone rather than what I think should be an angry tone to fit the name "Resistance"? Just my thoughts...

Circle: Another minute-long interlude, which they could pull off if their other songs were longer and filled with some rich technicality, meaningful choruses, and heck, i'll take guitar solos.

Mowgli: Like resistance, Veil has trouble getting a tone other than sad, mourning, or reposed. All their riffs seem calm and soothing, very different from other technical death bands like The Faceless or Obscura.

Namaste: This song, however, explodes with a dissonant tone, and is more edgy than the others. For the first 30 seconds anyway. If they stuck with the intro pattern, they wouldn't have gone wrong. The breakdowns almost redeem its sad state, otherwise, this one could be easily skipped.

Conquer: More sad guitar riffs. The bass line I could hear also was using a minor scale, and it just didn't fit the growling and screaming. In fact, i can't get a grasp on the vocals without matching music. That's my opinion anyways.

Codex: The ending track. Same problem as most of the tracks. Repetition, mismatched emotion, etc. But the intro did fit what would be an ending track for this confusing album. Thank God it was just 29 minutes long...

Coheed and Cambria - Year of the Black Rainbow (2010)

Artist: Coheed and Cambria
Album: Year of the Black Rainbow
Date Released: April 13, 2010
Genre: Experimental/Progressive

Album Review:

I never got on the Coheed bandwagon, following the other-worldly tetralogy in the albums, or even glanced at the novelization of it (which, in the box set will be released with this album for the first time, here on Amazon). But anyone with ears can marvel at the music. It is quite hard to analyze them using any conventional means, considering that no other band really embraces "space rock", as they are fondly tagged as. But let's see....they are Xbox Live's Artist of the Month, and have won MTV's Musical March Madness, upsetting My Chemical Romance. I feel that much more acclaim is in store for Black Rainbow in the near future.

The album is a prequel to the others, setting the stage for Claudio, the protagonist of the story. And like I previously stated, while one can deeply examine and follow the story, the music itself is just brilliant. Former Dillinger Escape Plan member Chris Pennie shows his golden talent in this album, and as a Dillinger fan this draws me to have some more personal interest. As for the music itself....well....

Claudio tries some more brash vocals in this one, seen in upbeat songs like "Here We Are Juggernaut". the music has a heavy electronic influence not much seen in the older albums. It's a fresh sound, and more resembles Muse in its approach and style. But it's definitely still Coheed. This album passed the driving test, so Coheed fans shouldn't miss this one!

Rating: 7.5 out of 10

Song-by-song (including bonus tracks):

One: Bringing us to the forefront of the album is, for lack of a better word, an empty intro track. Pretty dead if you ask me...let's hope for a better track...

The Broken: With crazy interludes and familiar vocals, this is more like it! They should've chucked One and had this as an intro.

Guns of Summer: There's the electronic influence I was referring to, seen here. Something about the vocals in the album seem under-produced, not sure why that is...

Here We Are Juggernaut: The single off the album, this is one of my favorite tracks. An appeal to young spirits: "nothing matters anymore, so here we are juggernaut". I like the synth in this one.

Far: I don't know the story, but this prequel seems to have a heavy love story intertwined within it. On the previous track: "this is not your playground it's my heart"...a good slow song.

This Shattered Symphony: Here is an example of the more abrasive vocals. Not liking this one much though.

World of Lines: There are those Dillinger drums starting us off. The vocals still sound a little premixed...but I like this song, it's nice and upbeat.

Made Out of Nothing (All That I Am): The irony in the title makes this a friend of mine, one of the better songs off the album.

Pearl of the Stars: Slow song off the album, another love song of sorts (again, I don't know the story). But it's no Always and Never.

In the Flame of Error: Very Muse-like introduction here, something akin to Knights of Cydonia. But then Sanchez's vocals yell unique brilliance, and you know the rest.

When Skeletons Live: Another trippy song, one that feels like you're listening to it underwater. That doesn't make sense at all. I know. I'm talking to myself.

The Black Rainbow: running at 7:35, this song reminds me of the four-part song "the End" from Good Apollo. I must say this one has too slow of a start for my taste, to the point of me skipping it twice before sitting through all of it. But, at 6:04 it abruptly cuts off and regains my attention. Very nice.

Chamberlain (bonus): funny electronic noises. I like Coheed's direction very much. Even though this is a bonus demo, it's one of my favorites off the album.

The Lost Shepherd (bonus): Same with this bonus track';it's not officially on the album, but I adore it so much!