Waking Ashland-The Well
Waking Ashland apparently broke up in July, 2007. This is quite a pity, because the music on The Well is so wonderful. The album has a very happy-go-lucky feel to it. This is the type of stuff you’d want to listen to if you were feeling a bit down. It is such pretty, happy stuff that you can’t help but feel better. The songs center on Jonathan Jones’s piano and vocals and Ryan Lallier’s guitar parts, both of which are solid and beautiful. Evidence of this can be found on tracks “Salt Lake Jam,” “Diamonds on the Hillside,” and “Sinking Is Swimming.” “Salt” has a bit of a march feel to it, with Jones hitting pretty falsettos on the chorus. “Diamonds” sounds a bit like the Beatles meets Ben Folds. “Sinking” is a sparse piano ballad with some sweeping guitar bends ala Coldplay’s “Trouble.” The standout track is “Mark Like Mine,” a gorgeous song full of vocal harmonies and wonderful production. This is a solid band with a very wide base of appeal. It sucks that these guys broke up since they had such potential. Whatever the case, check out The Well for the excellent song-writing and good vibes.
Sunday, March 9, 2008
Zero Mag Post-The Spill Canvas Review
The Spill Canvas-No Really, I’m Fine
Nick Thomas and the rest of The Spill Canvas know how to write ridiculously catchy pop-rock songs. Just give first single “All Over You” a listen and you’ll see what I’m talking about. On No Really, I’m Fine, the band shows just how good they can be in a genre dominated by groups like Nickelback and Daughtry. Each song is methodically well-crafted. It is almost impossible to resist tapping your foot and nodding your head to the tracks. Thomas has a wonderful voice for rock. It is incredibly expressive, allowing him to belt, hit high notes (even some falsetto stuff in “Connect the Dots”) and go low when he needs to. You definitely need to like Thomas’s voice to like The Spill Canvas, since it is so prevalent. The music presented here isn’t exactly ground-breaking, but it is very solid. Sometimes they sound a bit like 90s rockers Vertical Horizon, which is a compliment. One song that is questionable is “Connect the Dots,” which is a bit of a corny love ballad that sounds like it would be better placed on a Backstreet Boys or NSYNC album. The rest of the album is gorgeous and stands strong. Check it out.
Nick Thomas and the rest of The Spill Canvas know how to write ridiculously catchy pop-rock songs. Just give first single “All Over You” a listen and you’ll see what I’m talking about. On No Really, I’m Fine, the band shows just how good they can be in a genre dominated by groups like Nickelback and Daughtry. Each song is methodically well-crafted. It is almost impossible to resist tapping your foot and nodding your head to the tracks. Thomas has a wonderful voice for rock. It is incredibly expressive, allowing him to belt, hit high notes (even some falsetto stuff in “Connect the Dots”) and go low when he needs to. You definitely need to like Thomas’s voice to like The Spill Canvas, since it is so prevalent. The music presented here isn’t exactly ground-breaking, but it is very solid. Sometimes they sound a bit like 90s rockers Vertical Horizon, which is a compliment. One song that is questionable is “Connect the Dots,” which is a bit of a corny love ballad that sounds like it would be better placed on a Backstreet Boys or NSYNC album. The rest of the album is gorgeous and stands strong. Check it out.
Zero Mag Post-Mudvayne Review
Mudvayne-By the People, For the People
Mudvayne’s By the People, For the People is pretty much what you’d expect from the title: a best-of record with a track list picked by the fans. Mudvayne picked what versions of the songs fans got to hear. It’s a mix of live and demo tracks, plus two new songs: one original and one cover. The coolest part about this record is that vocalist Chad Gray introduces each track. It is a very unique way of doing a best-of record. It feels like you’re going behind the scenes with the band (well, when he actually says something interesting about the track, that is). As for the record itself, the sound quality is all over the place. There are live tracks, which, of course, sound poor. Some demos sound better than others. “Dull Boy,” the new original for this compilation, isn’t earth-shattering, but it isn’t that awful either (sans the stupid voice intro). “King of Pain,” a cover of The Police, is actually a decent version. They do put their own little Mudvayne touch on it, which taints it, but it still works. But if you’re interested in this record, then you’re a fan already. Forget sound quality, just buy it.
Mudvayne’s By the People, For the People is pretty much what you’d expect from the title: a best-of record with a track list picked by the fans. Mudvayne picked what versions of the songs fans got to hear. It’s a mix of live and demo tracks, plus two new songs: one original and one cover. The coolest part about this record is that vocalist Chad Gray introduces each track. It is a very unique way of doing a best-of record. It feels like you’re going behind the scenes with the band (well, when he actually says something interesting about the track, that is). As for the record itself, the sound quality is all over the place. There are live tracks, which, of course, sound poor. Some demos sound better than others. “Dull Boy,” the new original for this compilation, isn’t earth-shattering, but it isn’t that awful either (sans the stupid voice intro). “King of Pain,” a cover of The Police, is actually a decent version. They do put their own little Mudvayne touch on it, which taints it, but it still works. But if you’re interested in this record, then you’re a fan already. Forget sound quality, just buy it.
Zero Mag Post-Idiot Pilot Review
Idiot Pilot-Wolves
Idiot Pilot consists of two official members: Daniel Anderson and Michael Harris, both 21. Wolves is their ground-breaking new record, and it is absolutely incredible. The two gentleman collaborate on the songs, with Michael handling most of the vocal duties (Daniel does some screaming here and there). The album is full of lush soundscapes that can at times be very spacey and ambient, sometimes technoey, and then go full-on metallic. The album mostly moves away from the hardcore sound that they had on their last record, vying for a sound that veers back and forth between The Postal Service and Muse. But there are still moments in songs like “Planted in the Dark” and “Good Luck” when they revert back and sound like Botch reincarnated. The band is only strengthened by the presence of drummer Chris Pennie (Dillinger Escape Plan, Coheed and Cambria). His solid skills add a wonderful touch to the epic-ness of the songs. Drummer Travis Barker (Blink 182, +44) also plays on “Elephant.” Every track just shines. There is tons of production all over this record, which makes it obvious that Anderson and Harris labored long and hard with Wolves. It doesn’t disappoint. Go check it out.
Idiot Pilot consists of two official members: Daniel Anderson and Michael Harris, both 21. Wolves is their ground-breaking new record, and it is absolutely incredible. The two gentleman collaborate on the songs, with Michael handling most of the vocal duties (Daniel does some screaming here and there). The album is full of lush soundscapes that can at times be very spacey and ambient, sometimes technoey, and then go full-on metallic. The album mostly moves away from the hardcore sound that they had on their last record, vying for a sound that veers back and forth between The Postal Service and Muse. But there are still moments in songs like “Planted in the Dark” and “Good Luck” when they revert back and sound like Botch reincarnated. The band is only strengthened by the presence of drummer Chris Pennie (Dillinger Escape Plan, Coheed and Cambria). His solid skills add a wonderful touch to the epic-ness of the songs. Drummer Travis Barker (Blink 182, +44) also plays on “Elephant.” Every track just shines. There is tons of production all over this record, which makes it obvious that Anderson and Harris labored long and hard with Wolves. It doesn’t disappoint. Go check it out.
Zero Mag Post-Armor For Sleep Review
Armor For Sleep-Smile For Them
Armor For Sleep’s new record starts out so strong. From there on out, it mostly falters. Ben Jorgensen and crew mostly set out to try and write catchy pop-punk, emo-riffic tunes. As far as that goes, they are pretty successful. But as far as writing songs with actual substance and feeling, they mostly fail. The first song “Smile for the Camera” is a really great intro to a mediocre album. It is both powerful and amazingly catchy. “Williamsburg” immediately kills that great vibe and it goes down from there. Jorgensen’s lyrics are the typical teen angst stuff you would expect from this type of band. His voice is a nasally whine, which can be tolerable, but can get quite annoying. Aside from “Smile,” the few standout tracks are the keyboard-laced “Hold the Door,” the ethereal march of “Snow Globe,” and the pop-metallic “Stars in your Eyes.” Everything else just sounds like they were reaching for some level that is unattainable. AFS, like most, tries to be bigger than they are. Unfortunately, they tend to fail whenever they try to do this. Jorgensen and crew should stick to rockin’ out. Anything else just sounds wrong from them.
Armor For Sleep’s new record starts out so strong. From there on out, it mostly falters. Ben Jorgensen and crew mostly set out to try and write catchy pop-punk, emo-riffic tunes. As far as that goes, they are pretty successful. But as far as writing songs with actual substance and feeling, they mostly fail. The first song “Smile for the Camera” is a really great intro to a mediocre album. It is both powerful and amazingly catchy. “Williamsburg” immediately kills that great vibe and it goes down from there. Jorgensen’s lyrics are the typical teen angst stuff you would expect from this type of band. His voice is a nasally whine, which can be tolerable, but can get quite annoying. Aside from “Smile,” the few standout tracks are the keyboard-laced “Hold the Door,” the ethereal march of “Snow Globe,” and the pop-metallic “Stars in your Eyes.” Everything else just sounds like they were reaching for some level that is unattainable. AFS, like most, tries to be bigger than they are. Unfortunately, they tend to fail whenever they try to do this. Jorgensen and crew should stick to rockin’ out. Anything else just sounds wrong from them.
Zero Magazine Post-Cobra Starship Review
Cobra Starship-¡Viva La Cobra!
Cobra Starship is a band that tries to incorporate elements of dance music, hip-hop and emo all into one nice, neat package. It doesn’t work. On ¡Viva La Cobra!, Gabe Saporta and crew try to continue the success of “Bring It (Snakes on a Plane),” their hit single for the movie “Snakes on a Plane.” However, we are only presented with horrible mash-ups of rock and dance music like “Guilty Pleasure” and “The City is at War,” or horrible mash-ups of dance and hip-hop like “Kiss My Sass” and “Damn You Look Good and I’m Drunk (Scandalous).” “City” tries to be epic, but is ruined by terrible keyboard riffs. “Guilty” sounds like a crappy 80s band. “Kiss” and “Look Good” both sound like the band was trying to rip off Kanye West. They both are awful, even laughable, attempts at songs. Saporta even bothers to mock Justin Timberlake at the beginning of “Kiss” by saying “I’m bringing sassy back.” Saporta’s lyrics are pointless drivel (his attempts at party music), and the band attempts to have a thumping dance bass drum in the background of each song (which is super annoying). This record is a waste of time.
Cobra Starship is a band that tries to incorporate elements of dance music, hip-hop and emo all into one nice, neat package. It doesn’t work. On ¡Viva La Cobra!, Gabe Saporta and crew try to continue the success of “Bring It (Snakes on a Plane),” their hit single for the movie “Snakes on a Plane.” However, we are only presented with horrible mash-ups of rock and dance music like “Guilty Pleasure” and “The City is at War,” or horrible mash-ups of dance and hip-hop like “Kiss My Sass” and “Damn You Look Good and I’m Drunk (Scandalous).” “City” tries to be epic, but is ruined by terrible keyboard riffs. “Guilty” sounds like a crappy 80s band. “Kiss” and “Look Good” both sound like the band was trying to rip off Kanye West. They both are awful, even laughable, attempts at songs. Saporta even bothers to mock Justin Timberlake at the beginning of “Kiss” by saying “I’m bringing sassy back.” Saporta’s lyrics are pointless drivel (his attempts at party music), and the band attempts to have a thumping dance bass drum in the background of each song (which is super annoying). This record is a waste of time.
Wednesday, November 14, 2007
Thrice-The Alchemy Index Volumes I & II: Fire and Water
I'm a pretty big Thrice fan. The build up to this record, or rather string of EPs released as two separate index volumes, was quite large. My friends and I have had huge debates as to whether or not this index volume was worth all that buid up. I definitely feel that it was.
Let's start with Fire. Fire is the heavy record out of the 4 volumes, and deals with things surrounding a fire theme. It is chock full of dark, chunky riffs, drop-tuned guitars, screaming vocals and heavy-ass melodies. "Firebreather" has a riff in 11/4. Odd-time riffs are a huge part of Thrice, and I feel it's one of their best. The outro of it is quite epic, much like something off of their last record, Vheissu. "The Messenger" starts off with a strange sounding piece of drum production, and then turns into an anthemic headbanger. "Backdraft" is the most unique song on Fire, with acoustic guitar and drum verses complete with vocals that are very evil sounding and a driving chorus. "The Arsonist" is probably the strongest song on this one. It kicks your ass from the get-go, and hardly relents from then on out. The outro is absolutely amazing in both its anthemic quality and in its brutality. "Burn the Fleet" is actually quite a gorgeous heavy song. It sounds like something that definitely could've been on Vheissu as well. "The Flame Deluge" is a piece of brutality that makes you want to go out and destroy things. It's that brutal. And then it ends with a gorgeously harmonized vocal piece to set things up for Water.
Water is definitely the record I like better. It is very ambient, spacey, beautiful, moody, dark, progressive as hell, unique, and incredibly interesting. It's actually a more simplistic record, with amazing results. "Digital Sea" is a crazy mix of a keyboard riff, an overdriven drum loop, and reverby vocals. It's quite a wonderful result. "Open Water" is very quiet and ambient in its verses, with a gorgeously lush chorus that is epic as hell. "Lost Continent" is beautifully simplistic and super epic. "Night Diving" is an instrumental, and it is the best thing on here. It is beautiful, heavy, dark, moody, and ambient all at once. I never want it to end when I hear it. "The Whaler" has another beautiful Rhodes keyboard riff. This song is almost hypnotic in its ambiance. I love it. It's absolutely wonderful. It actually almost sounds like the water levels in Mario 64 for the Nintendo 64. It ends with the most beautifully layered harmonized vocal part ever. "Kings Upon the Main" is quiet with a pushing, marching sort of feel to it, with a piano that sounds like it's on it's last legs. It then ends with a slow to fade tag line much like at the end of Fire.
Overall, I think it's a strong result from Thrice. I anxiously await the next index with Air and Earth. I give it a 9 out of 10.
Let's start with Fire. Fire is the heavy record out of the 4 volumes, and deals with things surrounding a fire theme. It is chock full of dark, chunky riffs, drop-tuned guitars, screaming vocals and heavy-ass melodies. "Firebreather" has a riff in 11/4. Odd-time riffs are a huge part of Thrice, and I feel it's one of their best. The outro of it is quite epic, much like something off of their last record, Vheissu. "The Messenger" starts off with a strange sounding piece of drum production, and then turns into an anthemic headbanger. "Backdraft" is the most unique song on Fire, with acoustic guitar and drum verses complete with vocals that are very evil sounding and a driving chorus. "The Arsonist" is probably the strongest song on this one. It kicks your ass from the get-go, and hardly relents from then on out. The outro is absolutely amazing in both its anthemic quality and in its brutality. "Burn the Fleet" is actually quite a gorgeous heavy song. It sounds like something that definitely could've been on Vheissu as well. "The Flame Deluge" is a piece of brutality that makes you want to go out and destroy things. It's that brutal. And then it ends with a gorgeously harmonized vocal piece to set things up for Water.
Water is definitely the record I like better. It is very ambient, spacey, beautiful, moody, dark, progressive as hell, unique, and incredibly interesting. It's actually a more simplistic record, with amazing results. "Digital Sea" is a crazy mix of a keyboard riff, an overdriven drum loop, and reverby vocals. It's quite a wonderful result. "Open Water" is very quiet and ambient in its verses, with a gorgeously lush chorus that is epic as hell. "Lost Continent" is beautifully simplistic and super epic. "Night Diving" is an instrumental, and it is the best thing on here. It is beautiful, heavy, dark, moody, and ambient all at once. I never want it to end when I hear it. "The Whaler" has another beautiful Rhodes keyboard riff. This song is almost hypnotic in its ambiance. I love it. It's absolutely wonderful. It actually almost sounds like the water levels in Mario 64 for the Nintendo 64. It ends with the most beautifully layered harmonized vocal part ever. "Kings Upon the Main" is quiet with a pushing, marching sort of feel to it, with a piano that sounds like it's on it's last legs. It then ends with a slow to fade tag line much like at the end of Fire.
Overall, I think it's a strong result from Thrice. I anxiously await the next index with Air and Earth. I give it a 9 out of 10.
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