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.
Sunday, March 9, 2008
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.
Silverchair- Young Modern
I became a Silverchair fan when I heard "Tomorrow" and "Pure Massacre" off of their first record, Frogstomp, which they wrote and recorded when they were just 15 year-old kids. Twelve years later, they are still pumping out material, and it could not be more different from the heavy stuff that got them lumped in with grunge in the mid-90s. Young Modern is one of the most unique records I've ever heard. It is both retro and, well, modern. It has some country songs, some songs that sound straight out of the '60s, and one very progressive three-part song.
Let me first talk about that progressive three-part opus, "Those Thieving Birds (Part 1)-Strange Behaviour-Those Thieving Birds (Part 2)." The "Thieving Birds" sections are soaked with reverb and strings. Daniel Johns's vocals are gorgeously layered. It sounds almost like their version of the Moody Blues's "Knights in White Satin." And then there's the part that links them together, "Strange Behaviour." This song is very dancey, and makes you want to start tapping your foot and clapping your hands in time with the snare drum. It at times can sound like a 1960s musical, and then like a very poppy 1970s radio hit. The whole song actually sounds like it should be performed by a Broadway cast. It's a very awesome experience.
The rest of the album doesn't fall short. It is a strange mix of retro and modern sounds that create probably the most unique album of the year. There really isn't a bad song on this record. Some highlights: "Young Modern Station" almost sounds like Radiohead with a dance vibe. "Straight Lines" is a gorgeously constructed piece of pop. "If You Keep Losing Sleep" sounds like a slightly evil version of the Beatles, with a very Ringo-esque drum part. "Reflections of a Sound" is almost folky, very spacey, and even sounds a bit like Tom Petty in the verses. "Waiting All Day" is one of the country songs, and it has some creamy layered background vocals, along with a very gorgeous reverby chorus that has a bit of twang thrown in for good measure. "Mind Reader" is a very dirty, gritty sounding pop song that is probably the heaviest song on the record (though it isn't very heavy at all, and there's nothing wrong with that) with a great sing-songy chorus. "Low" is the other country-style song, and it has a very sad-sounding verse, but a very perky, wonderful chorus. "All Across the World" ends the record on a very spacey, slowed-down retro rock vibe. It's quite excellent.
Basically, this record kicks ass. It is incredibly interesting and delightfully eccentric. I would definitely recommend this, for it has something for nearly everyone. 10 out of 10 for sure.
Let me first talk about that progressive three-part opus, "Those Thieving Birds (Part 1)-Strange Behaviour-Those Thieving Birds (Part 2)." The "Thieving Birds" sections are soaked with reverb and strings. Daniel Johns's vocals are gorgeously layered. It sounds almost like their version of the Moody Blues's "Knights in White Satin." And then there's the part that links them together, "Strange Behaviour." This song is very dancey, and makes you want to start tapping your foot and clapping your hands in time with the snare drum. It at times can sound like a 1960s musical, and then like a very poppy 1970s radio hit. The whole song actually sounds like it should be performed by a Broadway cast. It's a very awesome experience.
The rest of the album doesn't fall short. It is a strange mix of retro and modern sounds that create probably the most unique album of the year. There really isn't a bad song on this record. Some highlights: "Young Modern Station" almost sounds like Radiohead with a dance vibe. "Straight Lines" is a gorgeously constructed piece of pop. "If You Keep Losing Sleep" sounds like a slightly evil version of the Beatles, with a very Ringo-esque drum part. "Reflections of a Sound" is almost folky, very spacey, and even sounds a bit like Tom Petty in the verses. "Waiting All Day" is one of the country songs, and it has some creamy layered background vocals, along with a very gorgeous reverby chorus that has a bit of twang thrown in for good measure. "Mind Reader" is a very dirty, gritty sounding pop song that is probably the heaviest song on the record (though it isn't very heavy at all, and there's nothing wrong with that) with a great sing-songy chorus. "Low" is the other country-style song, and it has a very sad-sounding verse, but a very perky, wonderful chorus. "All Across the World" ends the record on a very spacey, slowed-down retro rock vibe. It's quite excellent.
Basically, this record kicks ass. It is incredibly interesting and delightfully eccentric. I would definitely recommend this, for it has something for nearly everyone. 10 out of 10 for sure.
Strata-Presents the End of the World
Let me first start out by saying that I wasn't a Strata fan until I began to hear tracks from this record. I had always kind of written them off before as a band that was trying to ride on Dredg's coattails, since they're friends and all, and that they couldn't write good songs. However, this record absolutely changed my mind.
This entire album is amazing, and sounds gorgeous. It is laced with lush amounts of echoey, reverb-soaked guitars and vocals, and the bass and drums sound impeccable. Eric Vitorino's vocals are incredible. I am in awe of how high the man's voice can get. He actually does sound like a female on a few of the songs, like "Daylight in the City" for example. The songwriting is very strong. Each song has its own unique feel, as an album should. The standout songs are "Cocaine (We're All Going to Hell)," "Coma Therapy," "Night Falls (The Weight of it All)," and "Stay Young." "Cocaine" is a very dancey song that has an excellent chorus. "Coma Therapy" is very spacey and ambient. "Night Falls" is actually fairly heavy, and has one of the best choruses on the record. "Stay Young" is just the best song on the record. It is all of these elements listed above combined. It is just a powerful piece of songwriting. You almost can't help but nod your head to it's rising 3/4 riff, and when it gets heavy in the middle, the effect is perfect.
A couple of downfalls: 8 out of the 12 songs start with some sort of guitar intro, usually picking one note with a ton of reverb and echo on it. Usually a nice touch, but they could have thought of more unique and imaginative ways to begin songs. The two instrumentals, "The Brothers" and "Natoma Alley" are strange, and almost don't fit on the record with their hip-hop-esque drums and loops. Just a bit distracting from the rest of the album. The final track "Daylight in the City" is actually pretty weak. It's a slow piano ballad that just doesn't really go anywhere, and seems to be a spotlight for Victorino's voice.
Overall, Presents the End of the World is a very strong record. It is both powerful and soft, heavy and light, and definitely worth checking out. I'd give it an 8 out of 10.
This entire album is amazing, and sounds gorgeous. It is laced with lush amounts of echoey, reverb-soaked guitars and vocals, and the bass and drums sound impeccable. Eric Vitorino's vocals are incredible. I am in awe of how high the man's voice can get. He actually does sound like a female on a few of the songs, like "Daylight in the City" for example. The songwriting is very strong. Each song has its own unique feel, as an album should. The standout songs are "Cocaine (We're All Going to Hell)," "Coma Therapy," "Night Falls (The Weight of it All)," and "Stay Young." "Cocaine" is a very dancey song that has an excellent chorus. "Coma Therapy" is very spacey and ambient. "Night Falls" is actually fairly heavy, and has one of the best choruses on the record. "Stay Young" is just the best song on the record. It is all of these elements listed above combined. It is just a powerful piece of songwriting. You almost can't help but nod your head to it's rising 3/4 riff, and when it gets heavy in the middle, the effect is perfect.
A couple of downfalls: 8 out of the 12 songs start with some sort of guitar intro, usually picking one note with a ton of reverb and echo on it. Usually a nice touch, but they could have thought of more unique and imaginative ways to begin songs. The two instrumentals, "The Brothers" and "Natoma Alley" are strange, and almost don't fit on the record with their hip-hop-esque drums and loops. Just a bit distracting from the rest of the album. The final track "Daylight in the City" is actually pretty weak. It's a slow piano ballad that just doesn't really go anywhere, and seems to be a spotlight for Victorino's voice.
Overall, Presents the End of the World is a very strong record. It is both powerful and soft, heavy and light, and definitely worth checking out. I'd give it an 8 out of 10.
Monday, October 8, 2007
The Download Festival
The Download Festival was an awesome experience. Basically, I went on behalf of AFI and the Cure, but I was pleasantly surprised by She Wants Revenge. I had kind of written them off as "just a garage band with slightly gothic overtones." However, they were frickin' great. Totally danceable and bouncy. I LOVED it! I will definitely be checking out their music.
Black Rebel Motorcycle Club was up next. They were really bluesy, but pretty boring. I didn't really pay attention to them. When I did, though, it definitely sounded like some good music. Just not my thing.
AFI is amazing. They have a lot of energy on stage. They are all constantly running around, jumping, and look like they have a good time up there. They had some weird technical difficulties at first, but once those were through, they sounded great. All of their songs translate really well from disc to the stage, which is really cool. The diversity of the crowd made for some interesting dancing/moshing. It was really funny. They only played for an hour, which was WAY too short, but their time on stage was incredible.
The Cure: amazing band on record, kind of boring live. At least, they are when they start by playing a bunch of material that thousands of people DON'T know. When they started to finally play some hits, the energy at Shoreline really kicked up. People were dancing and having a good time. I did enjoy them a lot. It was just a bit disconcerting that they started off with a bunch of material that no one knew, and then kept drawing on material that I certainly didn't know, without introducing it. I would love to see them again someday, but not at a festival show. They need to play to their own specific audience. I want to feel the good vibes from their fans when I see them again, not the weird, drunken confusing vibes everyone gave off on Saturday night.
All in all, it was a good show. I wish I hadn't been sick during it, but it certainly didn't take anything away from it for me. I wonder what show I'll see next?
Black Rebel Motorcycle Club was up next. They were really bluesy, but pretty boring. I didn't really pay attention to them. When I did, though, it definitely sounded like some good music. Just not my thing.
AFI is amazing. They have a lot of energy on stage. They are all constantly running around, jumping, and look like they have a good time up there. They had some weird technical difficulties at first, but once those were through, they sounded great. All of their songs translate really well from disc to the stage, which is really cool. The diversity of the crowd made for some interesting dancing/moshing. It was really funny. They only played for an hour, which was WAY too short, but their time on stage was incredible.
The Cure: amazing band on record, kind of boring live. At least, they are when they start by playing a bunch of material that thousands of people DON'T know. When they started to finally play some hits, the energy at Shoreline really kicked up. People were dancing and having a good time. I did enjoy them a lot. It was just a bit disconcerting that they started off with a bunch of material that no one knew, and then kept drawing on material that I certainly didn't know, without introducing it. I would love to see them again someday, but not at a festival show. They need to play to their own specific audience. I want to feel the good vibes from their fans when I see them again, not the weird, drunken confusing vibes everyone gave off on Saturday night.
All in all, it was a good show. I wish I hadn't been sick during it, but it certainly didn't take anything away from it for me. I wonder what show I'll see next?
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