Review: The Thermals - Personal Life (* * * 1/2)

The Thermals have always been more interesting than the majority of their pop-punk peers, mostly because they have so much to say about so many topics. Where their previous effort, 2009'sNow We Can See, focused on the purpose of life through the lens of death, and the two before that—2006's The Body, The Blood, The Machine and 2004's F****n A—were scathing rebukes of conservative American politics, the band’s latest turns inward, as its title might suggest, and takes a look at the complexity of relationships. “I’m gonna change your life/I’m gonna steal your soul” insists Hutch Harris on the first line of opener “I’m Gonna Change Your Life,” and somehow that kinda sums up the nature of the 32 minutes that comprise the remainder of the band’s fifth album. Looking introspectively through his cracked yet ultimately hopeful perspective, Harris proves that though his typically fiery indignation seems somewhat abated (or set aside, at least), his passion and lyricism remain a compelling combination. Less focused and less consistent perhaps than the band’s previous two albums,Personal Life may disappoint fans of Harris’s bigger statements, but the record has too many great moments to be ignored. (Continue at In Review Online. . .)

Review: Malachai - The Ugly Side of Love (* * * *)

Bristol duo Malachai make an awful lot of noise for just two people. Of course, coming after famously loud duos like The White Stripes and The Black Keys, perhaps the considerable volume produced by Gee Ealey and Scott Hendy shouldn't be surprising. But something in the explosiveness and variety of the band's debut, The Ugly Side of Love, makes it seem like there's just more people behind it.Their first effort is a brief blast of rock 'n' roll covering 13 tracks in just over 32 minutes, combining 80s punk swagger with 60s psychedelic rock (along with just a hint of Sublime's white-boy funk) in an often frenzied, consistently surprising blend that makes a fine introduction to these two gifted and ambitious musicians.

The primary ingredients here are scuzzy guitars, jazzy keys and Ealey's gritty vocals over simply effective drums, and though the boys occasionally throw in an unexpected flourish (the horns on "Lay Down Stay Down," for instance) the duo are effective with a fairly limited palette in ensuring the music never feels lacking for substance or style. The songs twist and turn in unexpected ways,and they often end before you'd like them to, but each subsides into another strange, yet hook-filled moment so the momentum never sags. At their best - the groovy opener "Warriors," the crunchy "Snowflake" and the breezy "Moonsurfin'" - the band manage to channel the best of their influences with their own unique spin to a consistently fun and enjoyably messy end that begs for repeated listens immediately.

The Ugly Side of Love may not make the broad impact that many of this year's more notable releases surely will, but there's no denying it's one of this year's best rock records thus far. And I wouldn't be surprised come year's end of the year if I'm saying the same thing.

Fading World (MP3 via Domino Records)

MySpace

New and Notable: Red Collar

Durham, NC rockers Red Collar are the latest and greatest in a long line of hard-working, hard-rocking bands channeling the energy of classic rock with a DIY punk attitude. Comparisons range from Bruce Springsteen to Fugazi to The Hold Steady, but these boys have carved out their own niche in the genre with a gritty, fiery style that has caught the ear of many a music blog over the last few months. Their debut full-length album, Pilgrim, was produced by Brian Paulson (Wilco, Superchunk) and was released in March after a healthy dose of touring and several EPs. The record is an excellent showcase of the band's rough and rocky yet compelling musical style, borrowing from the best of their earlier material but providing plenty of even better, newer songs as well.

At the most aggressive end of the group's stylistic spectrum are tunes like "Rust Belt Heart" and "Hands Up," both filled with noisy guitar lines and driving percussion under singer Jason Kutchma's barked vocals. The band treads the line between infectious energy and reckless abandoned with precision, never completely losing themselves in their angst but still maintaining a welcome frantic pace throughout the album. Many of the songs follow a similar pattern, but the boys shake it up with tracks like the slowly builder opener "The Commuter" and gentler, more melodic cuts like "Tonight" and "Catch A Ride." Everything on the album works well and Red Collar prove themselves adept at each twist and turn, but when the band hit the perfect combination of grit and pop sensibility on songs like the album's title track, the results are especially fantastic.

I've yet to see these guys live, but it's easy to hear why they're known for putting on an amazing performance. Pilgrim is a no-frills rock 'n' roll record by a no-frills rock 'n' roll band, honest, emotional, and meant to be played loud and often. Check out the band on MySpace and download The Astronaut from the record below.

The Astronaut (MP3)


*Photo by Brian Shaffer

Blast from the Past: Split Lip/Chamberlain

Ten years before 'emo' rock erupted with the likes of Dashboard Confessional, Taking Back Sunday, and Brand New - there was Split Lip, who later became known as Chamberlain - one of the pioneering emotional rock/hardcore bands of the 90s. It's quite easy to see why Chamberlain's music was such an influential force on the emo movement that's still with us; their sound had all the intensity of punk and grunge music combined with heart-on-sleeve lyrics delivered with earnestness by singer David Moore in a reckless style that you can still hear echos of today. Though I've mostly lost my taste for anything emo, I found the group's recently re-issued sophomore album, Fate's Got A Driver, to be a gripping and enlightening discovery.

There's a sincerity to Chamberlain's music that few of their posterity ever managed to really grasp, and their intelligent lyrics and solid musical chops make the eight tracks of 1995's Fate's Got A Driver quite compelling. Opener "Her Side Of Sundown" crosses the rock attitude of Pearl Jam with messy, emotionally-charged vocals more common to the emocore scene, while the bouncy, energetic guitar lines of "Yellow Like Gold" sound something like the ghost of Taking Back Sunday past. Other highlights include the bass-heavy punk-rock of "Uniontown" and the explosive "Drums and Shotguns," which, fittingly enough, features some fantastic drum work.

Though much of the record focuses on hard-hitting rock 'n' roll, some less bombastic moments, like the slow-burning "Five Year Diary," and the soft, acoustic "The Simple Life" sound like they alone might have provided the inspiration for dozens of sensitive singer/songwriters that would follow. There are, certainly, other influences from which more recent emo bands have drawn, but for a group that lasted less than ten years and only released a few records, Chamberlain managed to have quite an obvious effect on modern alternative music. If you haven't previously had the opportunity, now would be a great time to introduce yourself to this influential Indiana-based quartet.

Take a listen for yourself at their MySpace page or head over to Doghouse Records, where you can find more information about the re-release of Fate's Got A Driver on LP, with previously unreleased and rare material.

Review: The Thermals - Now We Can See (* * * *)

Fighting the powers that be isn’t exactly a new idea, but rock trio The Thermals have made a solid musical career out of it. Of course, it took much more than anger to bring upon the wash of critical acclaim that accompanied such releases as 2006’s The Body, The Blood, The Machine. The Portland rockers have become known for their rough, garage-rock sound, clever lyrics and catchy melodies-- all of which they've used in the past to express their dissatisfaction with Bush-era politics, religion and certain aspects of American ideology. With perhaps a little less to rant against, the band return with a new collection of 11 expressive, punk-inspired tunes dealing with the excitement of youth and the eventuality of death. Their (slightly) more hopeful outlook and less politically-charged approach are certainly welcome and produce some solid results on the group’s appropriately titled fourth disc, Now We Can See.

The first four tracks on the album contain what we’ve come to expect from The Thermals: brief blasts of pop-oriented punk rock that immediately grab hold of the listener, though the production is a little smoother and the feeling a little less sinister this time around. Opener “When I Died” is probably the strongest of the bunch, with talk-sing verse and a killer guitar hook that kicks things off spectacularly, though the title track is also undeniably great, including an unconventional, wordless chorus that shakes things up a bit. Fortunately, the band follow a consistent, albeit fairly predictable start with gentler ballad “At the Bottom of the Sea,” which continues frontman Hutch Harris’ trend of writing incredibly compelling lyrics that have always elevated his music above the typical low-fi indie rocker, this time in a more reflective and quite moment.

The second half of the record is similarly even, providing several more standouts. “I Called Out Your Name” is an earnest and fun pop-rock tune that’s impossible to resist, while closer “You Dissolve” ends things with one of the album’s strongest cuts, and an ode to the continuation of life through death, or, as Harris puts it, “just another way you exist, it’s just another way you survive.” A couple tunes add less to the overall appeal of the album, but there really aren’t any missteps here, and Now We Can See feels not only consistent, but also cohesive in its sound. As a result, there might not be a great deal of variation, but the songs actually become quite distinct and memorable after only a couple listens.

Making my way through the record, it quickly becomes clear that The Thermals are maturing, but rather than slowing down and mellowing out, they’ve found a way to evolve, making music that continues to be fresh and relevant. Featuring excellent lyrics, a tremendous sense of melody, and direct, no-frills rock ‘n’ roll, Now We Can See is another solid addition to the group’s catalog. It’s remarkable that a band still relying on a very straightforward and simple musical palette can avoid becoming tired or worn out, but The Thermals are anything but past it. Quite the opposite, in fact; the band feel just as energetic and determined as they ever were, they’ve just become a little older and wiser-- and they’re better for it.

Last Word: The Thermals return with a consistent and enjoyable rock album that retains the energy and attitude of their past releases while showing some maturity as well.

Review: Riverboat Gamblers - Underneath the Owl (* * * 1/2)

Texas punk-rockers Riverboat Gamblers are set to release their fourth album, Underneath the Owl, on March 10 on Volcom Entertainment. The band have made a name for themselves by creating rough, raw punk music that hearkens back to the glory days of the genre and for playing explosive live shows. The new record doesn't exactly broaden their musical or lyrical horizons, but the fiery guitar riffs, anthematic choruses, and frenetic energy make for an exciting blast of straightforward, no-nonsense rock 'n' roll.

Opening track, "DissDissDissKissKissKiss" may have the name of a Fall Out Boy-style emo tune, but when the guitars erupt behind singer Mike Wiebe's earnest, shouted vocals, you'll breath a sigh of relief. Throughout the record, the band keep things fast and loose, especially on cuts like the 'disastrous relationship' rocker "Catastrophe," the 'I'm falling apart' anthem "Keep Me From Drinkin'," and the pop-punk closer "Victory Lap." The subject matter isn't exactly original (failed romance, drinking, etc.), but the writing is fresh enough to be enjoyable and fun. The band do occasionally branch out a bit musically on the reggae-esque ska rhythm of "Pilgrims In An Unholy Land," some xylophone on the catchy verses of "Robots May Break Your Heart," and a little twang with the slide guitar on "The Tearjerker." The subtle variations keeps the album interesting past the first or second listen and actually provide for some exceptional moments on 'Owl.'

It's fair to say that Riverboat Gamblers sound much like a slightly updated version of many bands before them (most of which I probably couldn't name), but they've got plenty of talent and a tremendous sense of melody which makes Underneath the Owl a better record than the majority of their pop-punk peers could hope to make.

Art Brut release debut single and B-side from upcoming album

Art Brut is set to release their new album, Art Brut vs. Satan, on May 12, but you can get a preview of the upcoming record over at Pitchfork, where they're streaming the first single, "Alcoholics Unanimous," a rousing punk-rock tune with a fantastic group-shout chorus and some blistering guitar lines. Also, you can download an exclusive B-side, "Just Desserts," over at RCRD LBL.

The new album was produced by Frank Black and recorded over twelve days last December and will be the group's first effort since severing their relationship with EMI. About the songwriting process, frontman Eddie Argos said, “I had an album’s worth of songs written, but once we got there we wrote four or five new ones. It all just flooded out.” If this first single is any indication, May 12 is a day we should all be looking forward to.

Review: Vulture Whale - Vulture Whale (* * * *)

Vulture Whale are an Alabama-based rock quartet who recently released their sophomore (and second self-titled) album. The band have gained some well-deserved praise from a small selection of online mags and blogs, but have somehow managed to fly well under the radar so far, which is unfortunate for those of you not yet exposed. Their new record should do something to change that; with a southern-tinged rock sound that brings to mind a host of classic influences combined with plenty of punk swagger, the whole project feels messy, effortless, and fun.

Vulture Whale is, for the most part, delightfully simple. Some bands seek to expand a genre or create a new one, but these guys know their limits and choose to work within their strengths. With little exploration or invention, the band focus on creating solid rock 'n' roll music with plenty of hooks and a unique touch that makes the record much more than just a rehash of their influences. Right from the beginning of the opening track, "Teedy," the driving guitars and singer Wes McDonald's earnest yelp sound both familiar and fresh, an ode to classic rock by a band less interested in imitation than channeling the sound into their own style.

First single, "Sugar," is an immediate highlight, all attitude and fiery riffs in an impossibly catchy four minutes. "Tote It To Cleveland, AL" and "That's Cold" contain similar amounts of sexy, funky swagger in which McDonald confidently howls his way through twangy narratives backed by spot-on grooves from his bandmates. There's a little variation here, like the blistering southern punk tune "Guillotine," and the slower, more melancholy "What Do," but the band cruise most of the way through the record in the same energetic, yet slightly restrained, gear. Vulture Whale contains no filler, and only a few tracks that dip below the group's own high standard.

Vulture Whale have made another great rock album for 2009, a genre that is already stacking up to have a fantastic year. Check these guys out on MySpace to hear a few of their tunes, or look up my previous post for a free download of "Sugar."

Riverboat Gamblers: album details, song download

Austin rockers Riverboat Gamblers have a new album set to be released on March 10, and you can download the first single, "A Choppy, Yet Sincere Apology" (and an exclusive b-side) by simply submitting your email address on their MySpace page. You can also stream that track and another from the upcoming album for a taste of the band's melodic punk sound.

The record is titled Underneath the Owl and will be released through Volcom Entertainment.

New Artist: Cut Off Your Hands

Cut Off Your Hands hail from New Zealand, and are just now releasing their debut LP, entitled You and I, in the States last week on Frenchkiss Records. The trio play infectious power-pop-punk in the vein of The Fratellis, Franz Ferdinand, or The Wombats and are set to complete their introduction to the U.S. with some tour dates here starting in February.

The group's frontman, Nick Johnston, had the following to say about the record:

"Our pop sensibility has come lately. (While writing the record) I was listening to a lot of doo-wop - in particular Phil Spector produced groups like the Ronnettes, and the Crystals - and I've been obsessed with how melodically centred those old songs are. It's what makes them still relevant and exciting to someone like me, a 23 year old, 50 years later. I also began seriously taking an interest in 1950's artists such as Roy Orbison, Ritchie Valens and Elvis. I found that I was no longer that interested in weird sounds, or noisy groups, all I wanted to hear and recreate were beautiful vocal melodies that are calculated but appear so effortless."

Check out the band's MySpace page to hear several songs from the new record.


North American Tour Dates:

2/21 - Richard's on Richards w/Ra Ra Riot & Telekinesis - Vancouver BC
2/22 - Lucky Bear w/Ra Ra Riot - Victoria BC
2/24 - Doug Fir Lounge w/Ra Ra Riot & Telekinesis - Portland OR
2/25 - Neumo's Crystal Ball Reading w/Ra Ra Riot & Telekinesis - Seattle WA
2/27 - The Independent w/Ra Ra Riot & Telekinesis - San Francisco CA
2/28 - El Rey Theatre w/Ra Ra Riot & Telekinesis - Los Angeles CA
3/1 - The Loft-UCSD w/Ra Ra Riot & Telekinesis - La Jolla CA
3/2 - Detroit Bar w/Ra Ra Riot & Telekinesis - Costa Mesa CA
3/7 - Kilby Court w/Future Cop & Theophilus - Salt Lake City UT
3/15 - Firebird w/Headlights, Pomegranates & Gentlemen Auction House - St Louis MO
3/16 - Conservatory w/El Paso Hot Button - Oklahoma City OK
3/24 - The Cinemat w/Passion Pit & Ra Ra Riot - Bloomington IN
3/25 - Musica w/Passion Pit & Ra Ra Riot - Akron OH
3/26 - Blind Pig w/Passion Pit & Ra Ra Riot - Ann Arbor MI

New Artist: The Steps

The Steps are a young Austin-based quartet specializing in fashionable old-school punk rock. Their self-titled debut was released last year under the supervision of Chris "Frenchie" Smith (Dandy Warhols, Explosions in the Sky, Jet) and turned a few heads here (Austin Monthly, Paste Magazine) and in Japan (Rolling Stone). Their sound is simple and straightforward, a no-frills take on a familiar, but exciting formula that makes for more than a few great moments.

Tunes like the first single, "Dagger," the classic rocker "Outlaw," and the Jet-eque "Cold Floors" showcase the band's raucous, fun sound with frontman Will Thompson's earnest vocals, sweet guitar work, and an overall confidence that makes The Steps a band worth your ears' time. If this debut is any indication of what's to come, I'm eager to hear more from these guys soon.

Check them out on MySpace to hear a few tracks or head over to iTunes to purchase the album.

New Artist: Let Me Run

New Jersey punk quartet Let Me Run formed in 2007 and have wasted no time in hitting the road, getting noticed, and writing their debut album which was recently released on XOXO records. The group's raw, direct approach combines crunchy guitars and pounding drums with stories of tough living and attempted redemption. Meet Me At The Bottom is a hard-rocking collection of tunes that's equal parts grit and melody, punk attitude and pop sensibility. You can download a track below.

Behind singer Travis Omilian's emotional growl, the band create some great moments, like the arena-ready chorus of "Like a Fish," the friend-in-trouble anthem "Shane," and epic closer "The Body and the Slowburner." Meet Me At The Bottom bodes well for Let Me Run, who treat each and every minute on the album as an opportunity to impress instead of space to fill. Recommended for those who enjoy the music of Rise Against, Jawbreaker, and Roll The Tanks.

I'll leave you with this, from the band's bio:

"...imagine yourself drunk as f*** flying a fighter jet through the Grand Canyon at one billion miles an hour with a bear. That is how Let Me Run lives every second, every day."

Rock on, guys.

Head over to Fuse.TV to download "Like a Fish" and check out the band's MySpace to listen to a few others.

New Artist: Yves Klein Blue

Yves Klein Blue are a four-piece from the Land Down Under just a couple years outside of high school who are already set to make some serious noise there and in the States. With a win at MTV's Kickstart competition in 2007, the band attracted enough attention to sign to Australian label Dew Process and release a stellar EP, Yves Klein Blue Draw Attention To Themselves. Their music draws inspiration from bands like The Libertines and The Clash, but Yves Klein Blue have a sound all their own, blending old-school punk, Brit-rock, and classic pop melodies.

Several tracks on their debut EP are noisy and raucous, especially the gypsy-punk tune "Polka" and the raw rocker "Silence Is Distance." On other songs, front-man Michael Tomlinson's conversational verses bounce along on jangling piano, bossa nova guitars, and horns before climaxing into energetic, earnest choruses. Yves Klein Blue pull it all off spectacularly, with intelligent (though sometimes irreverent) lyrics, great style, and an exceptionaly talented and confident presentation. I highly recommend giving these guys a listen; you won't regret it.

The band are currently recording their full-length debut album, though I don't know of a release date. However, you should waste no time in getting to their MySpace page, which is now streaming the majority of Draw Attention To Themselves. Also, the EP is available on iTunes, Amazon etc.

Review: Roll The Tanks - Suffer City (* * * *)

Occasionally, a band comes along that reminds you of how great punk rock can be when it isn't being sung by whiny little pukes who miss their girlfriends and loathe themselves (probably because they wear makeup and girl pants). One such band is Roll The Tanks, a new quartet hailing from Los Angeles who strive to bring back all that is good about the genre by channeling past greats like The Clash, The Ramones, and The Sex Pistols into a slightly more modern skin.

Roll The Tanks find the right balance between melody and noise throughout most of Suffer City, creating catchy tunes full of raw energy. First single "Police Me" is a good example of the group combining pop sensibility with a harsh, anti-authoritarian message and delivery which ends up being both pointed and fun. The album keeps a solid musical theme throughout, but the band make sure to shake things up with a few departures. "Kid Can't Catch A Break" and "Look At Me" are intense and angry, but "Gameshow Love" is a catchy pop-punk tune that would make The Ramones proud, while "Saddle Up" brings piano and banjo into the mix for a truly unexpected and impressive detour.

The lyrics are usually simple and occasionally juvenile, but rarely distract from what is a solid record from start to finish. Suffer City is a refreshing update of a classic sound and proof that punk is not dead.

Favorite Tracks: "Blood Flow," "Gameshow Love," "Saddle Up"


Get a free download of their song "Police Me" at Fuse.tv!

Reviews: Oasis, Department Of Eagles, Rise Against

There are so many albums being released this week, I can't possibly do a full review for all of them. I've already reviewed Of Montreal's Skeletal Lamping, but here are a few others I've been listening to:

Oasis - Dig Out Your Soul (* * * 1/2)
I've learned a few things from the new Oasis album. First, Oasis hasn't lost all of that fire that they exploded onto the scene with way back when. In fact, they sound better and more consistent than they have in years. Second, Liam can actually write a decent tune, as evidenced by the Lennonesque (of course) "I'm Outta Time." And third, Oasis will never get over wanting to be, tying to be, and failing to be the Beatles (but I suppose we all knew that already). Dig Out Your Soul is a rock record that, at the very least, reminds us why Oasis was such a big deal in the first place.

As with Don't Believe The Truth and Heathen Chemistry, the results are still a bit hit-and-miss, especially during the middle section of the album, but the band sounds stronger, fresher, and best of all...more relevant. Dig Out Your Soul won't as Oasis' definitive comeback, but it should satisfy long-time fans.

Favorite Tracks: "Bag It Up," "The Shock Of Lightning," "I'm Outta Time"


Department Of Eagles - In Ear Park (* * * 1/2)
Department Of Eagles is releasing the most recent record in an explosion of indie folk albums to garner some serious attention this year. Though sometimes thought of as Daniel Rossen's Grizzly Bear side project, Rossen and Fred Nicolaus, the core of Department of Eagles, have been making music together since college in 2001 when the band was formed. It's an offbeat, almost low-fi combination of electronica, folk, and classic orchestral pop.

The sparse, yet complex arrangements employ a variety of sounds and instruments, all tastefully organized to provide a unique backdrop for the soft, even vocals. At it's best, the album is delightfully quirky, like "No One Does It Like You," which sounds almost as if it could have been released in the 1950's, or "Around The Bay," a blend of clever percussion and atmospheric guitars that gets under your skin.

Unfortunately, In Ear Park doesn't make for an especially captivating listen when consumed as a whole. The album drags during the halfway point, and can't quite redeem itself even with a couple of strong songs toward the end. Still, Department Of Eagles have made a unique and legitimately interesting record that can at least be enjoyed for the successful integration of its influences and its beautiful composition.

Favorite Tracks: "No One Does It Like You," "Around The Bay," "Balmy Night"


Rise Against - Appeal To Reason (* * * *)
Rise Against remain one of the few truly punk bands today getting any respect. It's not hard to see why, with a combination of ferocious vocals, blazing guitars, and thoughtful lyrics, Rise Against stand above the pack. Appeal To Reason continues the smoother, yet more explosive sound of their 2006 effort The Sufferer And The Witness, though occasionally the band branches out a bit with the old-school punk sound of "The Dirt Whispered," the 3/4 waltz bridge of "Entertainment" and the acoustic soldier-ballad "Hero Of War."

It's sometimes over-dramatic and a little too long, but Appeal To Reason is one of the better mainstream rock records to be released this year. Bringing both the melody and intensity to new heights; Rise Against raise the bar for the punk-rock genre.

Favorite Tracks: "Collapse (Post-Amerika)," "Kotov Syndrome," "Entertainment"


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Also, check out some other new releases at Spinner this week that are very much worth a listen (or two).

Of Montreal - Skeletal Lamping (see review below)

Annuals - Such Fun (will post review later)

Glasvegas - Glasvagas

Little Ones - Morning Tide

Spinto Band - Moonwink

Review: Anberlin - New Surrender (* * 1/2)

Anberlin has been something of a guilty pleasure for me over the last few years. Their sophomore album Never Take Friendship Personal and last year's Cities didn't exactly revolutionize music or expand my horizons, but they provided a healthy dose of singable melodies and catchy songwriting that stood out from a host of other pop/rock/punk albums. There is something about the band's balance of thunderous cries for rebellion and strings-laced songs of love and loss that gets me.

Either Anberlin are running out of new ideas, or I'm just losing interest in the band altogether. I think it's probably both. New Surrender is not a bad album, it just doesn't cover much territory that Anberlin hasn't been all over previously. The sound is slightly bigger, bolder, and more arena-ready this time around, but essentially the album plays like Cities, with a similar mix of ballads and anthems using familiar subject matter. The real shame, though, is "Feel Good Drag," a song lifted directly from Never Take Friendship Personal and tweaked just slightly. An unnecessary revisiting of a decent song that now lacks the same punch of the original.

If I listen to the album with a less critical ear, I find myself reminded of why I liked the band so much in the first place. The opening three tracks are exciting and catchy, and the triumphant choruses of "Burn Out Brighter (Northern Lights)" and "Haight St." showcase Stephen Christian's (how's that for the name of a CCM singer?) impressive vocal abilities, but too often I find myself unsatisfied. I guess I knew from the beginning that the relationship might not last, that this was only a fling. Thanks for the memories, Anberlin, but we both need to start seeing other people.

Favorite Tracks: "The Resistance," "Breaking," "Burn Out Brighter (Northern Lights)"


Listen to the album this week at AOL Music.

Review: Bound Stems - The Family Afloat (* * * *)

I don't have the time or energy to write one of my longer reviews here, but I wanted to at least mention a band that has impressed me this last week with their latest release. I've heard Bound Stems refered to as a "math-rock" band, though I have to be honest and say I've never been 100% clear on what "math rock" is. So, I'll classify it as classic indie rock with some punk and folk influences, though labeling these guys is tough. Whatever you call it, The Family Afloat is an impressive and unique collection of tunes that covers quite a bit of territory in ten tracks.


Starting with "Taking Tips From the Gallery Gang," a song that doesn't have a verse/chorus structure as much as three distinct sections, you'll know that you're in for a ride. Beginning with a mess of guitars, keys, and earnest vocals, the track eventually evolves into a chanted chorus with a joyous horn arrangement. It's weird, wonderful, and unexpected. As the album progresses, Bound Stems slow things down, speed them back up, briefly introduce a choir of children, and manage to keep the whole project somehow connected and relevant. Whether playing folk-rock on the banjo-led "Winston" or raw punk on "Passing Bell," the band sounds comfortable and proficient.

Bottom line; The Family Afloat is a showcase for a talented band with a remarkable ability to combine their influences and ideas into something exciting and fun.


Favorite Tracks: "Taking Tips From the Gallery Gang," "Palace Flophouse Grill," "Winston"


Listen to: "Happens To Us All Otherwise"

New Track: Fall Out Boy - I Don't Care

I just heard Fall Out Boy's new track,"I Don't Care," the first single from their upcoming album, and it rocks. Sure, it's derivative, repetitive, and we'll all be sick of it in a week, but it's a pop song with all the right ingredients. It's got big, shiny guitars, a stomping, danceable beat, and Patrick Stump wailing like a one-man gospel choir. I'm interested to hear what else they came up with for the new CD, Folie A Deux.

Anyway, don't take MY word for it, check it out on their MySpace page.

Review: The Gaslight Anthem - The '59 Sound (* * * *)

Remember the good old days? You know, the ones where Bruce Springsteen and David Bowie ruled the airwaves and large, American cars were still cool. Of course you don't, you're a 20-something like me, which means that when Ghostbusters came out, you were in diapers. The Gaslight Anthem want to take you back to that magical time with their new album, "The '59 Sound." It combines punk rock with very Springsteenesque vocal and lyrical qualities and it makes for one of the most compelling punk-rock albums in a LONG time.

Singer Brian Fallon's gruff voice delivers stories of blue collar, middle-class American struggles while the band pounds out guitar and drum riffs, making the whole experience seem earnest and heartfelt. Fallon certainly isn't the first to sing about broken families, old cars, and the need to leave small towns, but he uses vivid imagery and a few borrowed lyrics (Counting Crows, Paul Simon) to separate himself from his peers. It doesn't always work, and you might get tired of hearing songs about Bobby Jean, Sally, and Maria (and about a dozen other girls) by the end of the album, but for a young songwriter it's a remarkable effort.

The weakness and the strength of "The '59 Sound" is its consistency. There's not a weak song on the album, but there's also not a lot of variation either. The production is similar throughout the album (including the reverb on the vocals), and the pace is fairly constant as well, which can be tiring by the end of the album. Also, the song structures are all the basic ABABCB style. This makes the few stylistic departures some of the album highlights, especially the fantastic "Even Cowgirls Get The Blues."

All-in-all, a rock 'n' roll album that deserves the praise it is likely to recieve. Who knew that punk could sound so...classic?

Favorite Tracks: Great Expectations, Miles Davis & The Cool, Even Cowgirls Get The Blues