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| Album Reviews; Everyone Loves Music, Right? | |
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| Topic Started: Mar 27 2011, 04:44 AM (11,687 Views) | |
| DucksFAN93 | Jun 14 2012, 03:45 AM Post #166 |
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The Sports Nut Member
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Artist: For All Those Sleeping Album: Outspoken Released: June 19, 2012 Performance: N/A Posted Image REVIEW: The sophomore release by metalcore band For All Those Sleeping is noted to be heavier, more "in your face" than the bands debut record Cross Your Fingers. Musically, the record is very heavy. In fact, it is probably heavier than the new Miss May I record (Which I will be reviewing soon). The riffs are crunchy throughout, and also noticeable is the electronic flourishes employed by the band with generosity. Almost every, if not every song features a synth backline, and one song even begins with a dubstep intro ("Turn Of The Century"). The band actually has three vocalists, and this adds quite a dynamic not usually heard in metalcore. Lead single "Mark My Words" definitely makes a statement: This album is heavy. Much harder than their debut, it is inevitable that screaming vocals have been notched up. I really like this decision to include more unclean vocals, because I thought that Mike Champa (Lead vocalist) has beastly low screams, and Jerad Pierskalla (rhythym guitar) has awesome high screams. They were underused in the debut record, which was much more of a pop-punk sounding record. Outspoken is a full-fledged metalcore record, and it is a change for the better. The chorus in the afore mentioned lead single is very catchy, but the multiple breakdowns are admittedly awesome. Perfect choice for the lead single. "Once A Liar (Always A Fake)" is also really good. Keyboard solo introduces a breakdown midway through. Fade effects and plentiful bass drops punctuate the breakdown before the pre-chorus includes an electronic tinge. It is quite unique. Then three minutes in, the band uses an almost Asking Alexandria dance tune before demonic growls end the song. It is amazing. The most melodic song on the album is "One Kiss". The lyrics are alright, but it was really cool to hear the lead vocalist (The guy doing all the growling on the album) do some clean vocals too. In fact, he is very, very good. "Backstabber" ends the album on a high note, as the band uses a dubstep backing to end the song. "Never Trust A Deadman" has an absolutely massive breakdown. The best one on the album. The improvement shown by the band in one album is so huge, calling it small would be an understatement. Everything is better, but there are better offerings available. The riffs get a little repetitive, the cleans are a tad whiny. Everything else is rock solid. I can't say "Go run out and buy it!", but I can say that it is a good, not great, record that is worth checking out. |
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| Granskjegg | Jun 14 2012, 12:02 PM Post #167 |
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Eg e husfar.
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Thanks, I figured you can't have all the fun :P |
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| DucksFAN93 | Jun 30 2012, 01:43 AM Post #168 |
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The Sports Nut Member
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Artist: Linkin Park Album: Living Things Released: June 20, 2012 Performance: Will debut at #1 on the Billboard 200 Charting* Posted Image REVIEW: Has Linkin Park already released five albums? It seems like just yesterday I was buying Hybrid Theory...Anyway, after LP's 2010 concept record A Thousand Suns, fans were split between embracing the bands apparent new founded electronica with some rock sound, and completely abandoning the band, complaining the band sold out. Truth is, the band didn't sell out, because more people would buy their records if they stayed true to their hard rock/rap metal roots. So, here we are, two years later, and fans everywhere are clamoring to know one thing: Is Linkin Park back? The answer is yes...kind of. Those expecting Hybrid Theory V3 will be sadly disappointed. Those who approach the album not wanting the old sound back, but rather want some good old rap rock tunes will find a pot of gold with Living Things. LP gives us twelve songs, some that sound very reminiscent of Meteora ("Lost In The Echo", "In My Remains", "I'll Be Gone", "Burn It Down"), and some that straddle the line of the alternative rock found on Minutes To Midnight and the electronica on the afore mentioned A Thousand Suns (""Skin To Bone", "Until It Breaks"). Overall, we get a very balanced attack plan, with perfect timing of the aggressive songs (Old fans will be very pleased with the raw aggression shown on "Victimized", the band's hardest song yet) and more subtle mid-tempo rockers. Vocal performances are stellar, as Chester Bennington's voice soars through memorable melodies ("Powerless", "Burn It Down", "In My Remains") and actually returns to screaming on occasion ("Lies Greed Misery", "Lost In The Echo", "Victimized"). The other guy, Shinoda, has some of his best rhymes yet, most notably in the bridge (And verses) to "Lost In The Echo", and his rap in "Until It Breaks". He also lends his singing voice to harmonize with Chester in a few songs ("In My Remains", "Castle of Glass"). Drumming is organic once again, and the guitar work, while simple, is classy, sophisticated, and flares up the music as it should. Turntables and synthesizer work from Mr. Hahn spice up the action with notable sequences in "Lost In The Echo" and "Tinfoil", the albums lone instrumental. The album ends on a powerful note, with the closer "Powerless". The vocals and instrumental progression show deep growth from the band. It is sure to be the next "In The End" or "Numb". I am a Linkin Park fan. I am not however, a stubborn thick-headed "This ain't Hybrid Theory or Meteora" Linkin Park fan. While I was not satisfied with the concept electronica album from 2010, I was pleasantly surprised to find that the guitars are definitely back. And so is the band that I loved so many years ago, and still love now. Welcome back boys. Whether the guys are screaming to heavy guitars or dabbling in electronic rock, all of the songs are awesome, most notably the first half and the closer. I would definitely strongly recommend Living Things, it is easily worth a listen or two. Recommended tracks: "Lost In The Echo", "In My Remains", "Burn It Down", "I'll Be Gone", "Victimized", "Powerless" |
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| dwestfan13 | Jun 30 2012, 01:56 AM Post #169 |
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Feeder
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'Lost in the Echo' was a pretty decent track but I still felt the album was rather mediocre. Slightly better than 'A Thousand Suns' though. |
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| DucksFAN93 | Jun 30 2012, 02:33 AM Post #170 |
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The Sports Nut Member
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Different tastes I suppose. I loved that track and, obviously, the rest of the record too. It is a good kind of different. Also, what I forgot to mention is that these songs are stuff they can play live too. |
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| DucksFAN93 | Jul 1 2012, 03:19 AM Post #171 |
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The Sports Nut Member
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Artist: Miss May I Album: At Heart Released: June 12, 2012 Performance: Debuted at #32 on the Billboard 200 Charting Posted Image REVIEW: Miss May I finds themselves proudly waving the flag of melodic metalcore in their third effort, At Heart. Levi Benton (Lead vocals) has always been a beast screamer, but I have always taken issue with the fact that his screaming doesn't always sound organic, but occasionally produced. Flip side, Ryan Neff (Bass, clean vocals) never hits more than one or two pitches per section. Monument (The bands second record) was amazing instrumentally, but the vocals, particularly the cleans, really hampered the experience. Two years later, has the band improved enough to lift themselves onto higher ground? Yes. Benton's screaming is 100% organic and real this time around, no studio mixing, nothing. We do get layered highs and lows, but this is to be expected from all metalcore (Save As I Lay Dying, of course). At times the young 22 year old singer reaches deathly lows ("Opening Wounds", "Leech"), and demonic highs ("Gold To Rust", "Ballad Of A Broken Man", "Leech"). On the actual singing standpoint, Neff has improved considerably, but his parts have been reduced considerably as well. Most of these songs are screamed by Benton, in fact, there are one or two songs that don't have cleans at all. Instrumentally, the riffing is spectacular ("Hey Mister", "Leech") and the drumming is stellar. While the band features the classic chugging progression style, what separates MMI from their peers is the fact that they have a lead guitarist technical riffing the part as well. As melodic and great as this is, what would MMI be without their signature crushing breakdowns? Nothing, probably. Thus, At Heart has some of the most crushing breakdowns in the bands discography thus far, with each song having one - sometimes more - breakdown. "Hey Mister", "Leech", "Second To None", "Road Of The Lost", "Gold To Rust" and "Ballad Of A Broken Man" have the hardest, most bone crushing breakdowns on the record, as are they the hardest overall. Lyrically, we see a lot of soul searching, as well as resentment. "Hey Mister" sees lead singer Levi Benton confronting his father for never being there as he was a child ("Hey Mister / Where have you been /.....I hope hell is a home for you / Cause I never found mine / While I was / Always looking for you"). The closer "Ballad Of A Broken Man" explains how the feeling of letting a harlot go, as well as improving ones life by separation. Elsewhere, the MMI positivism staples reach through, encouraging listeners to find their way ("Found Our Way"), live cautiously and always keep faith ("Day by Day") or to seek home as a refuge ("Road Of The Lost"). The lyrical content is varied, enjoyable, and the writing is superb. Miss May I has found their way, and their sound, with At Heart. Every song has deep lyrical content to go with the crushing breakdowns and effortless melody. Miss May I should be proud of this album, because At Heart it is an accomplishment musically and lyrically. The band has definitely shown considerable growth since their last full length effort. There are still some things that aren't the best (the still bland clean vocals) as well as the lack of memorable, individual tracks (I could't tell you the names of some of these songs besides "Hey Mister" and "Ballad Of A Broken Man". The songs are great, and sound is great, and I would certainly recommend picking up At Heart for its heart. |
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| DucksFAN93 | Jul 5 2012, 01:45 AM Post #172 |
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The Sports Nut Member
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Artist: The Word Alive Album: Life Cycles Released: July 3rd, 2012 Performance: TBA Posted Image REVIEW: I am very excited to be reviewing this album. I was a huge fan of TWA's first release off Fearless Records, entitled Deceiver, back in 2010. The album debuted fairly well (#97 on the Billboard 200) and garnered critical acclaim from music critics for their unique combination of thrash, ambience, and metalcore. Once again, all of those elements are retained for a unique TWA experience, but this time, the album seeks to be at the pinnacle of melodic metalcore. We have the breakdowns and the chugging riffs, but there is much more to the sound than that. Synth lines, piano parts (In almost every song), and technical riffing/tapping make this album feel unique. "Dragon Spell" kick starts the album with a synthetically altered vocal layer before bringing in the guitars. The song is really indicative of what kind of album TWA has written. Heavy, while being very melodic. An awesome line that carried over as a fan favorite is "Don't fuck with family", and I was happy to hear the line in this song as well (In Deceiver, the song "Like Father Like Son" coined this phrase for the band). There is some crazy tapping from Zack on the guitars, and the breakdown(s) are brutal. The band also wrote an ode to our military ("Wishmaster"). This song fades in slowly where "Dragon Spell" left off. In fact, all of the songs are basically connected, making for a very cohesive, together experience. But about fifty seconds into "Wishmaster" we get a synth line to introduce the breakdown, as well as a high scream. It is truly awesome, something you have to hear. This song is probably the heaviest, as it features four separate breakdowns. The cleans are also well mixed, as Telle Smith sings the chorus and extended chorus. "Entirety", the albums lone love song (Various topics are all tackled, making for a very diverse subject matter), is also quite heavy. What makes this song notable is the hook: "You're all I have!", and the bass line after the first chorus. This song is also the first single, and it definitely deserves it. "For Your Health" starts with a beat box creating the tune before the drop kicks in and levels the listener. Crazy tapping is found through the pre-chorus, as well as the bridge. The piano line is also quite good, and audible, even through the double kick drumming. The cleans are quite good ("We are all still here"). "Bar Fight" is super aggressive, and the blast beat through the verse ends, giving way to an awesome synth-laden pre-chorus, then introducing the amazing chorus. The breakdown is almost sludge metal, as the chord progression is very slow, and the guitars are down-tuned and very distorted. The growling is amazing, the layering of high screams and down growls is very pleasing for the ears. The drum fill after the breakdown is very sick. Ending the song is a piano line, giving a false sense of peace. The title cut ("Life Cycles") is memorable for me because of the line "I'd rather die for what I believe / Then live a life without meaning", and the different way the song is composed. Starting with the chorus, the song progresses into something different entirely. Ending with an epic breakdown, "Life Cycles" is simply amazing. "Evolution", the sole angry track on the album, is also one of the best. Telle described this song as very angry, possibly too angry for the theme of the album he was striving for. Anyway, the anger translates to how this one sounds. There are several nice guitar solos, as well as fast kick drumming. The chorus is beautifully sung, while the verses are growled very well. The breakdown is amazing, as Telle shouts "Drag me to hell!" twice. It ends with a military style march sound, while the music fades out. It is definitely one of my favorites. I love the next song, "Hidden Lakes". This song is about Telle's grandfather who had passed on, and the music is more melodic than not for this track. The chorus is chilling, as the clean vocals are epic. The breakdown is also very good, but cut a little short to make room for the drum fill inspired bridge which sees Telle talking over the ambiance. It is very nice, and the vocal lines you will want to hear for yourself. "Ambitionary" is very electronic, and the synth line is more over-powering than the other tracks. However, the growling/screaming is as powerful as ever, and the technical riffing is on main display here. The layering is fantastic, and the vocal tracking is spectacular. Sadly, this is one of the shorter tracks (Just over 3 minutes), while the creativity in this song shows the immense potential fulfilled from TWA. By the way, the progressive riffing/chord progression is something rarely seen in today's metalcore scene. The chopped sound of the chords to end the song is oddly cool. "Live A Lie" begins with its breakdown, and it is bonecrushing. The slow double bass laced chorus is classy, and really adds to the sound of the lead guitar soloing throughout the chorus. The electronic hook through the verses add variety and are entirely cool. The variety shown through the songs is simply outstanding to this point. Things get really interesting at the two minute marker, as the chorus pours in with another guitar solo, but instead of a breakdown, a ambient and haunting piano line intrude the party. A welcome sound. "Belong" follows, and is easily one of my all-time favorite Word Alive songs. The synth is still here, but is placed on the back burner. The double kick drumming is in full force, and the chorus is amazing. Easily the best part of this song is the second pre-chorus, where the synth laces the guitar riffing, and the growls and high screams are layered. This is a commanding point for the entire album. I love it. "Room 126" is awesome as well, and the multiple breakdowns lend themselves to make this one of the heaviest tracks present. This track also sounds more traditional metal than anything else on the record, and also features the best guitar solo on the record. Lastly, the album closes on a high, yet soft, note. "Astral Plane" last for 3:13, yet the first half is very quiet and electronic, before halfway in, the hammer drops. All the while, the song ends with "gears" shifting, and the progression being made. This is a band that has matured. The Word Alive has crafted one behemoth of an album. Life Cycles surpasses their previous work in every which way, as well as beating its competition. This is the best album I have heard all year, and is easily my favorite album now. The vocals from Telle are superb, from his screaming to his growling to his gorgeous clean vocals (Which he uses much more this time around). The guitarists play with such precision and technicality on every track that it is hard not to appreciate them. The drumming is tight, from Luke Holland, and the bass lines get more air time than other bands. Everything comes together in such cohesion, that listeners have to be impressed with the musicianship on display. It is not every day a band can combine so many different elements into their sound and still be good. TWA is more than good, they are great. Definitely check out this record, it is easily the best metalcore album all year, and who knows, it is a great start for those who haven't yet liked the genre. Accessibility, depth, technicality, brutality, hooked, and melodic are all words that The Word Alive have perfected. |
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| DucksFAN93 | Jul 22 2012, 08:22 PM Post #173 |
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The Sports Nut Member
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Will have reviews of the following albums soon: Nothing Personal - All Time Low Leave This Town - Daughtry Attack Attack! (Deluxe Re-issue) - Attack Attack! |
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| DucksFAN93 | Jul 26 2012, 05:05 AM Post #174 |
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The Sports Nut Member
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Artist: Attack Attack! Album: Attack Attack! (Deluxe Re-Issue) Released: July 19, 2011 Performance: Debuted at #26 on the Billboard 200 Charting Posted Image REVIEW: Innovators of the modern crabcore movement, Attack Attack! is hated for many (valid) reasons. Their debut record featured little in terms of quality, and plentiful supply of generic breakdowns and auto-tuned cleans. The second album, sees Caleb Shomo take lead vocals (Screamed vocals, and clean vocals for tracks 1-4) instead of Austin Carlile. So is it any better than the first? The deluxe re-issue has four new songs with Caleb Shomo doing all vocals ("Last Breath", "Pick A Side", "Criminal", "All Alone"). These songs are distinctly different than the rest of the pickings originally recorded. Using heavily downtuned guitars, the sound is very organic, while the screaming is also different. "All Alone" and "Last Breath" are fantastic songs ("Last Breath" is easily one of their best songs all-time), while "Criminal" is par and "Pick A Side" is quite generic and actually poor. The screaming is just off somehow. "Last Breath" is easily the highlight of the re-issue, and is definitely worth a download. The cleans are epic and not autotuned, and the screaming is spot on. The chorus is nice and poppy ("I can't see/That I have lost my dreams / Carry me / Cause my heart is awake/ Is this my last breath?") while the breakdown is sick. The strangely titled "Sexual Man Chocolate" features haunting piano lines, while three songs have dancy-trance interludes (The stellar "Smokahontas", "Turbo Swag", and "Fumbles O'Brian"). Unfortunately, the album is severely unbalanced. AA! is at their best when Caleb and Johnny exchange vocal parts, but some songs focus on either one of them too much. "Lonely" is an all dubstep pitch, which firmly fails at being a thoughtful closer, and "Shut Your Mouth" is just bad. "Fumbles O'Brian" starts horrifically, but actually turns out to be one of the better songs. True highlights are few ("Last Breath", "Renob, Nevada", "Smokahontas", "Turbo Swag", and "I Swear I'll Change"). The rest is muddled, generic metalcore/electro-pop. I did enjoy my time with AA!, but there were times where I couldn't wait to pop in a different disc. Alas, the new songs are decent, but making this disc almost an hour long is unbearable. I'd recommend downloading the true highlights and skipping the rest. Unfortunately, this is the very best set of songs AA! can offer at this point (Three albums in to their career), and it is evident that these guys have talent, and can innovate, but they just struggle to find their sound. |
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| DucksFAN93 | Jul 31 2012, 01:40 AM Post #175 |
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The Sports Nut Member
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Artist: All Time Low Album: Dirty Work Released: June 6, 2011 Performance: Debuted at #6 on the Billboard 200 Charting Posted Image REVIEW: The fourth studio album (First on a major label) from All Time Low is a little different than ATL fans are used to. While the pop punk elements we've come to love are still present, this is definitely much more of a pop rock album than anything else. Sadly, lead singer Alex Gaskarth (who is truly a talented singer), has his voice masked with some studio trickery in a handful of songs. This kid really has a voice, and is a shame to have some studio magic and sparkle "improve" his voice. Anyway, several songs are fast, hard hitting pop punk ("Heroes", "Do You Want Me (Dead)", "Forget About It") while others introduce a mostly unnecessary string section ("Return The Favor", "Just The Way I'm Not"). For the first time in the band's short career, slower songs take stage throughout the album ("A Daydream Away", "Under A Paper Moon"). While none of these songs are bad by any stretch, they are nothing like what we would expect to hear on an All Time Low album. Positives! What still remains is the bands insatiable hunger for massive, and I mean massive, hooks. Such as the one in "That Girl" (Oh, Oh that girl she's such a bitch / I tell myself I can handle it") or the hook in lead single "I Feel Like Dancin'" ("I feel like dancing tonight / Gonna party like it's my civil right..."). The guitars are either quiet or noisy in ATL fashion. This album is very glossy. There is a TON of studio magic and production values in this album, such as the dancy beat of "Time Bomb", or the completely overdone piano lines and orchestral sections. This is NOT All Time Low. I wouldn't quite go so far as to say they sold out, but you can definitely notice how the label adjusted these songs, especially since they perform these songs MUCH different live than they appear on the record. I really like this album, however. The vocals are consistently amazing, the songs are undeniably catchy, and it is 40 minutes of pure fun. There isn't a bad song here, just a collection of really good pop rock candy. POST THOUGHT: It is interesting that the band left the label and returned to Hopeless after the release of Dirty Work, and soon after released a new single to appear on their upcoming fifth album, yet to be titled. The name of the song is "The Reckless and The Brave", and is a firm return to the pop punk style which made them famous in the first place. |
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| DucksFAN93 | Aug 9 2012, 01:34 AM Post #176 |
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The Sports Nut Member
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Artist: Yellowcard Album: Southern Air Released: August 14, 2012 Performance: TBA Posted Image REVIEW: It's tough releasing two album in an 18 month period. It's even more rough when you have just returned from a hiatus many thought to be the disbanding of a renowned pop-punk group. Thus is the plight of Yellowcard, and while they are making a lot of new music lately (See my review of 2011's release When You're Through Thinking, Say Yes REVIEW: WYTTSY). I have to say, the quality and musicianship displayed by the band is fantastic. Refreshing poppy riffs, complemented perfectly by energetic drums and controlled, yet spectacular violin parts. "Awakening", the leadoff track, sets the mood with a short, yet poignant, acoustic intro before breaking out into full on pop-punk attack. Likewise, "Always Summer" follows suite, while featuring Sean Mackin's best violin work, and best solo, of his Yellowcard career. It is spectacular. As is the chorus/hook. The most rocking song is "Surface Of The Sun", which features a surprisingly hard intro riff, and is a true highlight. "A Vicious Kind" is hard and catchy, while "Sleep In The Snow" is even catchier. I love the honest-to-God approach to the lyrics in this album, and always with Yellowcard. "Ten" is an amazing with a four part harmony in the bridge, featuring Alex Gaskarth of All Time Low. That alone makes it worth listening to. "Ten" is also an all acoustic, heart wrenching tale of, obviously, a miscarriage (You would be ten/...I'd be driving you to school/You'd be telling all your friends I was cool..."). "Telescope" is the ballad of the bunch, minus the all acoustic song, the somber "Ten". "Southern Air", the title track, is the most bombastic of the bunch, featuring the main riff alone with no frills or vocals for about a minute. It is amazing. "Rivertown Blues" is the fastest song the band has ever written, and also has Ryan Mendez's best guitar solo of his career. Yellowcard has undoubtedly been through lots of ups and downs, as many of us have been. One thing Yellowcard delivers on a steady basis, is quality, uplifting and positive takes on REAL issues. Sentimental and somber, while mainting optimism in tough situations, Yellowcard is a mainstay. Poppy and exciting when they need to be, these guys pack a lot into a 10 track, 38 minute disc. Do yourself a favor and pick up your own issue of Southern Air, it will be the soundtrack of your summer no doubt. Readers, I tell you, Yellowcard is back and better than they ever have been. |
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| DucksFAN93 | Aug 23 2012, 02:55 AM Post #177 |
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The Sports Nut Member
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THROWBACK REVIEW Artist: As I Lay Dying Album: The Powerless Rise Originally Reviewed on March 28, 2011 Original Score: 10/10 PREFACE: So, I'm gonna try and be more consistent with my album reviews. I have so many albums I have bought, listened to, and written down notes of my thoughts about them, but I have been to lazy to type them out for you guys to see. So, every Friday, I will review a NEW (Never before been reviewed on TSP) album, and every Wednesday I will do a retro, throwback review. Meaning, an album that has been reviewed already on TSP, from any author. This way there will be some second opinions, as well as thoughts maybe a year or so after the original review. Do the albums hold up to date? Or were they only good for the time of release. Was the album in question poor, or was it written before the author truly appreciated the music and ideas presented. So thoughts and ideas would be appreciated! Anyway, ON TO THE REVIEW! REVIEW: Over a year ago, I had stated that As I Lay Dying was the king of metalcore. And I still stand by this notion. The Powerless Rise is an absolute behemoth of a record, crackling with prophetic words and lyrics painting a visual picture of deep thought provoking material. While some bands are content to fill their lyrics with meaningless lyrics, and filler, AILD refuses to do that. Instead we get incredible lyrics about true faith, the afterlife, over-consumption, greed, separation, and living on behalf of others. Oh, and the music is just as amazing as the lyrics. Stemming heavily from melo-death, AILD is heavy. High-pitched screams and deathly low growls from lead vocalist and lyricist Tim Lambesis are perfectly intertwined. Always varying his pitch, it never gets monotonous, only more beastly. Lambesis is easily the best screamer in any genre....easily. Dueling lead guitars from Nick Sgrosso and Nick Hipa are frantic and hurried ("Without Conclusion", "Beyond Our Suffering") or unbelievable melodic and purely majestic ("Parallels", "Anger And Apathy", "The Blinding Of False Light", "Upside Down Kingdom"). At least half of the eleven songs feature clean vocals from bassist Josh Gilbert, and these refrains are beautifully sung, as Gilbert proves he is one of the best in the genre. Highlights are "Upside Down Kingdom", "Parallels", "Anodyne Sea", and "Vacancy". Also noteworthy is "Condemned", the absolute hardest song AILD has ever written. Also a CANNOT miss is the final track, the commanding and majestic "The Blinding Of False Light". Becoming more enticing and deep as the album progresses, The Powerless Rise is the best album in the genre of metalcore. No question in my mind. Even years after the release, this album still sits at the pinnacle of metal music. There is nothing powerless about this album, it only crackles and detonates with prophetic potency, while never relying on genre cliches and conventions. AILD didn't rework metalcore, they simply are the masters of their own music, not tying themselves to a particular one. AILD draws on so many different genres of rock and metal, it is impossible to define them. Over a year ago, I had said that As I Lay Dying is metalcore. And if I hadn't said it then, I would be saying it now. Posted Image |
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| DucksFAN93 | Aug 24 2012, 10:09 PM Post #178 |
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The Sports Nut Member
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Artist: Hollywood Undead Album: American Tragedy Released: April 4, 2011 Performance: Has been certified Gold in the USA by the RIAA (I seem to be having problems getting the album art uploaded. I will post that as soon as I can.) REVIEW: Shifting to a more atmospheric, dark, and serious tone, Hollywood Undead's sophomore album (First without former founding member, Deuce) American Tragedy is anything but. Featuring several commanding moments, HU's second record easily navigates the band from the sophomore slump. I believe the best way to review this album is to separate the fourteen tracks into two groups. Those who know who HU is knows that this group is a rap rock band, with emphasis on rapping. But for the rock/metal fans, HU incorporates heavy guitars and real drums into more than half the tracks on American Tragedy. So separating the rock tracks from the hip hop/electronic tracks seems to be the easiest way to do this. I will start with the more rap centric tracks. The band claims they don't have to ("Apologize") for their legacy and music, also claiming to be role models for all the kids. Not so certain on the role models, but the music is pretty great. The fun, humorous verses flow seemlessly into the insanely catchy (And well sung) chorus. Ironically, the chorus flows as ("We won't apologize/ Fuck we can harmonize / Even if we sound like shit / We are role models for all the kids.") The beat to this song is infectious, and easily one of the best on the album. Also very catchy (And one of the singles) is "My Town". The chorus is really catchy, Danny's voice is very good on this one, and this song flirts with rock. Not one of their "rock" tracks, but is a little edgier than some of their other tracks. The band claims ("I Don't Wanna Die") on the fifth track, singing during the chorus ("I don't wanna die / I don't wanna die / I don't wanna die / So you're gonna have to.") Also a nice tone is the subtle piano lines, and the electro beat meshing together well with the well-versed raps and hook-laiden chorus. The other true standout hip hop track is "Gangsta Sexy". Obviously intended to be humorous, this one is probably my favorite track of this style. This track shows that these guys know how to spit sweet rhymes. They also claim to be packin' heat, and warns haters not to disrespect them...all in good fun I hope. Now for the rock driven highlights. I would be just wrong not to make mention of the lead off track first in this section. J3T and Johnny claim to have ("Been To Hell") for the first song, and this heavy track is sweet. Leading up to the first chorus, some sweet rhymes are backed by heavy chords every 5 or so seconds. Then the amazing chorus comes in, with Johhny singing with conviction ("I can show you the devil / Welcome to a world where dreams become nightmares / Been to hell"). A warning of the hellish world beneath us. The song ends with some unexpected double bass rolls, a nice touch. As a side note, the second half of the album is more rock driven, while the first half is more hip-hop and electronic influenced. The next rock song is also lead single, "Hear Me Now". This song is actually pretty indicative of what to expect in this album. Synthesized drums, but real guitars, and cleanly sung chorus and bridge, with short, rapped verses. This one is a true highlight. Also worth noting is that the album truly hits a real hot streak starting this song ("Hear Me Now"). The next six songs are all stellar. "Glory" is one of the hardest songs, as Johhny says ("We did it for the glory / The glory / Only for the glory / We live to tell the story / For the glory"). This track is truly pulverizing, and the doubles in the bass drum in the bridge and ending are also nice touches. The next track sees the band punching ex-member Deuce's ("Lights Out"). One of my favorites again, the verses are awesome, but the chorus is heavy and catchy. The bridge is also stellar. The chorus is hooky, try not singing along to ("Lights out / You're talking to loud / So just shut your mouth / Who the fuck are you now? / Lights out."). The best song on the album is the next track. Completely broken and vulnerable, Danny knows his lost loved one is one day ("Coming Back Down"). Starting with the tenderly sung chorus ("I just can't escape / It's like you're here with me now / But the words you say always seem to fade out / Since you've been away I'm just a face in the crowd / Someday, someday, I know / You're coming back down."). The verses are well timed, and the guitars flow easily with the synth beat. Best song on the album, the guys need more songs like this. Lastly, HU shows their ("Tendencies") towards rock, as they close the album with the fastes, hardest hitting song. With some restrained screams in the chorus, these guys like the heavy side of the spectrum for sure. The bridge is the best part of the song, it is a true highlight. Songs that are not really rock, nor are they electronic are the hooky "Pour Me" (A tale about alcohol abuse, and how it is destructive) and the acoustic standout "Bullet". This song is so peppy, and happy sounding, you won't believe this is a serious song about suicide and the horrors a person goes through when attempting suicide. It is eery, but very catchy. On the other side of it, there are a couple of forgettable tracks, those being "Levitate" and "Comin' In Hot". While these aren't bad songs, they just don't standout amongst their peers. I really hadn't heard Hollywood Undead before this album, I knew maybe one or two songs by them. It seems the departure of Deuce is proving to be a good move musically for the band, as they really have a good collection of songs here on American Tragedy. I would highly recommend checking out the latest from this rap rock group, especially for those who really like the best of those worlds. |
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| DucksFAN93 | Sep 7 2012, 08:56 PM Post #179 |
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The Sports Nut Member
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Artist: Chelsea Grin Album: Evolve EP Released: June 19, 2012 Performance: N/A Posted Image REVIEW: My review this week brings me to some new material. This week, I review the new EP from deathcore group Chelsea Grin. Evolve is simply some of the heaviest music I have ever heard. Consisting almost completely of high shrieks and deathly growls, Chelsea Grin incorporates melody almost soley through melodic guitar licks and shreddingly melodic drums. While choruses exist, the are almost always screamed, with clean vocals being extremely rare. One thing I noticed from this group right of the bat is that the guitar work is extraordinary. While the chugging riffs exist, every song on the stellar EP has progressive guitar riffs that are just great. The drumming is equally awesome, with the blast beats bearing down on the speakers, while drum fills aplenty make sure the drum set is destroyed after a set of playing these songs. "The Second Coming" starts the EP off with some ear-piercing shrieks. The heavy, heavy breakdown in the ending quarter of the song is ridiculous. The highs and lows combined layering of the vocals is stellar. Lyrics aren't all that great, but you can't really understand him anyway. EP highlight "Lilith" just tears it up. Some completely unexpected clean vocals for the chorus only make the song that much better. The lead guitar riff is stellar and progressive, while the bass and drumlines rip their appropriate sets. This is my favorite song on the EP, and I do highly recommend buying this song, or just listening to it. Other songs such as "S.H.O.T." and "Confession" show progression with either downtuned leads, or creative musical arrangements. Lastly, "Don't Ask, Don't Tell" leads the evolution with heavy progression, breakdowns, solos, clean vocals, chanted passages, clean riffs, epic drumming, all clocking in at 5 minutes. This song is a must as well. Chelsea Grin is an interesting band to listen to, while some of the songs are pretty typical deathcore, two of the songs ("Lilith" and "Don't Ask, Don't Tell") are unbelievably good. For sure check out those two, and keep an eye out for this band in the future in you like this kind of tunes. |
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| Romanticide | Sep 11 2012, 07:14 AM Post #180 |
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Cult Leader
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Will post a review of the new Amanda Palmer album later on today. For now, I'm just gonna sit back, turn my volume up to ear-murdering levels, have the lyrics in front of me, and take it all in. |
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8:17 AM Jul 11