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| Album Reviews; Everyone Loves Music, Right? | |
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| Topic Started: Mar 27 2011, 04:44 AM (11,685 Views) | |
| DucksFAN93 | Oct 10 2012, 10:11 PM Post #196 |
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The Sports Nut Member
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Artist: All Time Low Album: Don't Panic Released: October 9, 2012 Performance: N/A Posted Image Dirty Work, All Time Low's previous outing, was absolutely no Nothing Personal, their 2009 hook fest (If I haven't reviewed that, I will definitely fix that shortly). You will not get me to say that Dirty Work was a bad album, it just wasn't All Time Low. The punk was completely absent on all but one track, and the numerous co-writers slaughtered Alex Gaskarth's natural talent for songwriting. Studio gloss and finish neutered the impact of Jack Barakat's usually magnificent pop punk riffs, while the drumming was toned down to be more radio friendly. But wait, DON'T PANIC...All Time Low's latest release is easily, easily their best music of their career. It even tops their previous pinnacle Nothing Personal. What is All Time Low? Catchy pop punk/pop rockers focused on making the catchiest darn tracks of the year. Mission accomplished. Not only is this their best record of their career, it is the best pop punk/pop rock album of the year. This is a must own for fans of the genre/band/scene/music. The album benefits from All Time Low being the sole writers for the ALL the songs, and Alex Gaskarth writing ALL the lyrics. It is true, Hopeless Records needs to be their permanent home. The very first words out of Alex's mouth this time around are "Long live the reckless and the brave!" ("The Reckless and The Brave"). Discussing the bands time on the major label, the music is so comfortable in itself, it sounds like it came of their first hit record So Wrong, It's Right. Frantic drumming and smooth riffs go along with Alex's perfect vocals. This is how All Time Low needs to sound. "Backseat Serenade" mixes in a little bit of the distortion of Dirty Work, while maintaining dizzying drum work and slick riffs. The hooks is huge, while the lyrics are a bit cliche, ("Backseat Serenade/Dizzy Hurricane / Oh God I'm sick of sleeping alone"). The music is really great and features Cassadee Pope of Hey Monday. Likewise, one of the greatest hooks lies on "If These Sheets Were States", again the lyrics are a bit corny, but the music is superb. The first epic track is next, and it comes in the form of "Somewhere In Neverland". Kicking off with a slick drum roll, the soaring riff leads perfectly into Alex's smooth pipes. The song keeps the upbeat, almost heavy trend going, and the hook is heavenly ("Wendy run away with me / I know I sound crazy / Don’t you see what you do to me? / I want to be your lost boy / Your last chance, a better reality/ Wendy we can get away / I promise if you’re with me, say the word and we’ll find a way / I can be your lost boy, your last chance / Your "everything better" plan Oh, somewhere in Neverland") This is the best song of the album, their discography, and their careers. The lyrics are genius and splendid, while maintaining the accessible simplicity we love the band for. Things get fast on "So Long Soldier" the hardest, fastest song on the record. Double time drumming, great vocals, and signature 2:50 time really take fans back to their Put Up or Shut Up EP. One of my favorites, "Thanks To You" has a memorable hook, and infectious lead riffs. Jack is genius on this record. Album closer "So Long, And Thanks For All The Booze" is also double-timed, and I'm really liking the edgier style from the band. By the way, even the "clunkers" on this album are great songs ("The Irony Of Choking On A Lifesaver" and "Paint You Wings"). This is the perfect ATL album. After gutting their sound, they put it all back into Don't Panic. This is the album of their short careers, and I highly recommend picking it up. Welcome back boys. |
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| Granskjegg | Oct 12 2012, 01:24 PM Post #197 |
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Eg e husfar.
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*WARNING* INB4BIAS Artist: Devin Townsend Project Album: “Epicloud” Released: 18th of September (US), 24th of September (EU), 2012. Posted Image Introduction: Devin Townsend has this habit of releasing music that’s nothing short of brilliant. He’s proven this time after time since he first released “Ocean Machine” and Strapping Young Lad’s “City” in 1997. I’ve been a huge fan of Devin Townsend’s work ever since I first heard SYL’s last album, the compilation “The Chaos Years 1996-2006”. And for every new album he releases I just keep loving him and the music more and more. Thanks to Devin Townsend my musical taste and “tolerance” has grown immensely. “Epicloud” continues this trend fantastically! As is tradition I’m skeptical when it comes to new albums, I’m excited about them, yet I am ultimately slightly underwhelmed after the initial listen. I was skeptical about Epicloud, because this is a more poppy and “mainstream” release. I was slightly underwhelmed when I first listened to it. The music, the vocals, everything is top notch, but the feel is a little strange. It was something I had to adjust to, and when I had; the music just opened up and sucked me in like only Devin can do. The Good: “Epicloud” is definitely very different from anything you’ve heard Devin do in the past. Some songs and elements that might give you the same vibe are “Life”, “Christeen”, even some Synchestra (like “Pixillate”) and of course the album “Addicted!”. It also borrows subtle elements from the three other DTP records. The music is consistent all throughout the album. It’s simply great. It’s all very midtempo-y with a few ballads thrown in. The rhythm and steady beats provide a sweet foundation for the music. And the album flows so smoothly: from the smooth and amazing “Save Our Now” to the classic and redone “Kingdom” from the amazing album “Physicist”. If you’ve heard the mind-blowing live version of “Kingdom” from the “By a Thread” DVD you have an idea how this version is. It’s pretty similar, just with less screaming. It’s miles ahead the original version (I guess only Devin can outdo himself). Anneke’s vocals provide a beautiful and subtle touch to most songs, but it’s mostly Devin who takes the lead. Speaking of his vocals, his singing is probably the best it’s ever been at this point of his career. All of his singing is simply perfect. It doesn’t get better than this. The best songs on the album are: “True North”, “Lucky Animals” (I have a feeling this song will be played live a whole lot), “Save Our Now”, “Kingdom” and “Grace”. “True North” throws Anneke’s divine singing in your face along with Devin’s wall of sound. It’s a strong opener and it fits well with the odd “Effervescent” intro track. “Lucky Animals” is probably the most surprising favourite on this album: it’s so simple and fun. The song even has a subtle homage to the fantastic Norwegian band “Shining” in the middle. I didn’t notice the saxophone part the first few times I listened to it. “Save Our Now” is one of the tracks that has more Anneke. It’s a simple and epic sounding song, one that’s sure to bring goosebumps down your spine. “Grace” is probably one of the more surprising tracks on “Epicloud”: it starts out very calm with Anneke’s beautiful vocals and a nice acoustic guitar and then it explodes into a heavy guitar part and drumming with Anneke and Devin screaming “GRAAAAACE!!!” and it just unfolds into good old Devin Townsend beauty. It really is phenomenal. The album has dark and light spots. Some parts of poppy goodness, some parts of sensual acoustic songs and some parts of metal up your ass. In a whole this is a hard rock record with a lot of Devin in the mix, making it something unique. The Bad: There truly was not a lot on this record that was bad. Devin has a nasty habit of releasing nearly flawless music. My biggest gripe with this record is that there wasn't enough Anneke. That’s really all there is. On my first few listens this album felt a little weak, however if you give it time, it will grow on you. If you plan on giving this a listen, don’t set your final opinion on one listen: you simply won’t do the music justice that way. Conclusion: “Epicloud” is an album for hardcore Devin Townsend fans, for fans who are discovering Devin and enjoy his more melodic and poppy side. Hardcore metalheads might frown upon “Epicloud”, but screw those guys. “Epicloud” is a fantastic album, and one that I highly recommend any Devin Townsend fan to purchase. And when you go to buy this record, I recommend buying the digipack. The digipack has a kickass bonus disc with ten songs that didn’t quite make it to the final record. There are a lot of very good songs on this record that were definitely deserving of a spot, but (and I’m paraphrasing from the booklet) Townsend didn’t feel like they would fit the main album. So then we get “Epicloud” and “Epiclouder”. “Epicloud” is definitely worthy of getting an album of the year nomination and is an album that will get a lot of spins. Devin Townsend never disappoints. Score: “Epicloud”: 9/10 “Epiclouder”: 8/10 (ps. I don't feel like I wrote a particularly good review this time, but whatever, here are my opinions on Devin's new masterpiece) |
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| DucksFAN93 | Nov 26 2012, 06:28 PM Post #198 |
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The Sports Nut Member
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Artist: All Time Low Album: Nothing Personal Released: July 7, 2009 Posted Image REVIEW: Let's get one thing straight; if a pop punk band is going to release an album right in the middle of summer, it better darn well have hook after hook after hook. Such is the case with this magnificent, catchy, albeit predictable album from pop punkers All Time Low. Nothing Personal sure isn't perfect, as two of the songs out of the twelve ("Hello Brooklyn", "Too Much") are completely skippable, but the other ten are pure pop rock goodness. Starting from the top with the explosive lead single surely all have heard, (If not where have you been?) "Weightless". Beginning with electronic, synthesized drums and Alex's awesome voice, the band slowly introduces iteslf with quick real drum strikes and power chords before finally exploding into the chorus that you will be singing along to ("Maybe it's not my weeked / But it's gonna be my year / And I'm so sick of watching while the minutes pass as I go nowhere / And this is my reaction to everything I fear / Cuz I've been going crazy don't wanna waste another minute here"). Solid lead guitar and drumming and a guitar breakdown? In All Time Low? Excuse me, but it's awesome. "Break Your Little Heart" isn't as good as "Weightless" but is still catchy, with meaty guitar licks and a solo? In All Time Low? Excuse me but it's still awesome. This song also contains the title of the album in the lyrics ("Wide awake, my mistake Nothing Personal"). It is shorter than the rest of the songs but still poignant. Perhaps the best hook on the album comes from the next song, which even enjoyed a bit of commercial success on the radio: "Damned If I Do Ya (Damned If I Don't"). If you haven't heard this song, then I rightfully shake my head. The song has sticky drum patterns and amazing vocals. You absolutely will sing the chorus even after just one listen ("Oh, oh, oh, how was I supposed to know that you were / Oh, oh, over me I think I should go / Never took a fool to see the things that I don't / I'm damned if I do ya / Damned if I don't"). This is probably the catchiest song I've ever heard, seriously. "Lost In Stereo" again pumps an amazing hook, but instead of being the vocals with the hook (yet, the vocals and sorts are amazing too), the guitar is actually the driving force between the catchiness. The drums occassionally go double time, especially at the ending, flashing some punk roots in this pop punk glamour. Quickly following is "Stella", another immediately hook-laiden, by the numbers pop punk All Time Low song, but that doesn't mean its bad. The drums lead the hook, but Alex's voice is the star of the show. You will definitely fight the song in your head as you'll be repeating the chorus ("You're only happy when I'm wasted / I poiint my finger but I just can't place it / Feels like I'm falling in love when I'm falling to the bathroom floor / I remember how you tasted / Feels Like I'm falling in love alone / Stella would you take me home"). The band slows it down for the next track "Sick Little Games", and while the song is good, it is fact that All Time Low is best when they keep the tempo high, the speed quick, and lyrics playful and fun. Skip over "Hello, Brooklyn" and "Too Much" and we come to "Walls". Finally another pop punk high tempo song we are waiting for! The final three songs are amazing and definitely ones you'll want to check out ("Keep The Change You Filthy Animal", "A Party Song (The Walk of Shame)", and "Therapy"). All Time Low made the pop punk/rock album of 2009 with Nothing Personal. Before they released Don't Panic a month ago, this was their pinnacle album. Filled with hit after hit, the accessibility is there without compromising any artist integrity (The band wrote the lyrics and music). With 10 out of a dozen tracks being sweet pop rock goodness, any fan of the genre would be sadly mistaken to pass on this gem. If you don't want to listen because of Ewww All Time Low!! Then you are, dumb, Nothing Personal. |
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| Granskjegg | Nov 26 2012, 07:38 PM Post #199 |
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Eg e husfar.
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I don't want to listen because "Eww pop-punk" :P Good review though. |
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| Vieira151 | Nov 26 2012, 09:58 PM Post #200 |
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Dickwad 3000
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:lol: |
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| DucksFAN93 | Nov 26 2012, 10:01 PM Post #201 |
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The Sports Nut Member
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Haha your loss :P |
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| DucksFAN93 | Mar 22 2013, 06:23 PM Post #202 |
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The Sports Nut Member
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Artist: Black Veil Brides Album: Wretched and Divine: The Story of the Wild Ones Released: January 8, 2013 Posted Image REVIEW: Oh, how bands can change their entire musical styling in a mere three years. Dropping almost all elements from their "scene" debut We Stitch These Wounds in 2010, the Black Veil Brides focus almost completely on a straight forward heavy metal sound that fans got treated to in 2011 with their stellar record Set The World On Fire. So with their latest record, what;s different this time around? Well for starters, the record is a concept record, meant to be listened to in one sitting (But the songs are great as stand alone songs as well). Telling a rebellion story of the "Wild Ones", lyricist and singer Andy Biersack and his group are straying from a religious order called F.E.A.R. (Their oppression is heard through four short interludes called Transmissions). The story is solid enough, but even more impressive is the quality of lyrics brought forth this time around (See tracks "Wretched and Divine", "In The End", "Lost It All", "Shadows Die") All that is great, but what about the music? Everything is finished so to speak. The production is crystal clear, there is not one issue. Everything is balanced and clean. Every song flows into each other beautifully, but are done in such a way that the songs can stand alone without each other. I will preface the following part by saying this is their best music. This is their best record, and one of my favorite albums of 2013 so far. There is plenty, and I mean plenty, of heavy metal goodness to be had here. Complete with your up tempo in your face tracks ("Shadows Die", "I Am Bulletproof") all the way down to the occasionally obligatory power ballads ("Lost It All", "Done For You"). Biersack's voice has come a long way from their debut, he finally has a personality in his voice. When he sings on tracks like "Lost It All" and the title cut, you feel it. But this is a heavy metal record after all, so most importantly, how is the guitar work? Amazing. The work here is nothing spectacular. Shredding abounds for solos always tastefully done, and the technicality for the verses and choruses honestly puts most of the rest of the genre to shame. While the drumming has been toned down (in terms of double kick drum usage) the fills are just as awesome as always, and those who like the aggression brought by double bass, there is still plenty to be heard. The songwriting is just spectacular as well. There is not one boring composition to be heard, and by the time the shred comes in on the slowest song of the record "Lost It All", the guitar solo sends the head spinning bliss into full force. That said, there are some songs that aren't as good as others ("Days Are Numbered", "Nobody's Hero"). Also, while they are necessary to tell the story of the album, the F.EA.R. Transmissions interupt the flow of the album occasionally. Small gripes honestly, but worth mentioning. The Black Veil Brides have a quite a record on their hands. The music here is compelling, quality and authoriatative. It is difficult for me to think that they can top themselves here. Complaints are small and surely have no effective on the experience. In fact, I would recommend listening to the record soley to hear the amazing guitar work. I would never have thought after such a typical and boring debut album, the guys in this band would be where they are now, enjoying critical and commerical successes. Well done, and I would most certainly recommend The Story of the Wild Ones to you guys, it is definitely worth a listen. |
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| Granskjegg | Apr 23 2013, 05:51 PM Post #203 |
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Eg e husfar.
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Review of Lucretia's new album "The Damnati" (for those of you who don't know it, this is MrMarill's band) Artist: Lucretia Album: "The Damnati" Posted Image Introduction: After going through a small village of vocalists, doing plenty of gigs and posting shitty videos on YouTube of it, Lucretia finally got in the studio for the first time sometime before Christmas and recorded their first demo «Salvation and Sin». The demo contains two of the (best) songs on their debut album, «The Damnati», called «Salvation and Sin» and «The Unbeliever», the first song they wrote. With a healthy inspiration from Iron Maiden, Metallica and a good bit of creativity they've managed to pump out an album satisfyingly epic, heavy with acoustic intros and bridges that make you want to close your eyes and dream. Now, with the introduction out of the way, lets start the praising and bashing (not really). Review time: The album opens with the «old» «Salvation and Sin», this song is pretty much the perfect song to end concerts with. Epic opening, epic ending, great solo, great drumming and some of the best singing on the album. Now, speaking of the vocals, they might be the biggest weak point of this record, however Neil’s vocals have plenty of time to shine as well. Being a young band, this is bound to be the case. When I compare this to other debut albums things get a little weird as well, so it’s to be expected, especially by such a young band. On songs like «Damnati part 3» (reminiscent of «A Perfect Circle», very cool) and «Salvation and Sin» Neil’s vocals are in the comfort zone and they really do shine there, the harsher vocals also fit «Damnati part 3» very well, and it’s a joy to listen to it. «Gates of Heaven» is one of the more interesting songs, and also the weakest one, although Neil shows some ball squeezing action and goes full on falsetto and actually pulls it off, which was very impressive, and is one of the high points of the song, along with the solo by Chris. The falsetto on «Damnati part 2» is also quite good, just to have that out there. And suddenly another segway was made, the guitars. The riffing throughout the album is quite good (I especially enjoy the riffs in «Damnati part 3») however one of the high points of the album are definitely the clean and acoustic guitars that are sprinkled across the album even flirting with Alcest-esque sounds at times(although they were written before them knowing who they were). The solos are also phenomenal, they aren’t your generic wankery, and they actually stick out from the bunch and also work very well with the songs themselves. the tapping solo in «Legends of Ignorance» and tremolo solo (aka goose bump city) in «Damnati part 1» are simply brilliant. The songs themselves have some rough edges, however that’s part of the charm with low budget debut albums. The songs on the record are mostly very good, progressive and never dawdle around too long with overly long proggy parts. They’re actually quite nicely balanced with a multitude of good riffs, fun guitar solos, gorgeous acoustic breaks, fantastic and dynamic drumming, fun bass lines that compliment the guitar perfectly (especially on the riff in "Gates of Heaven" and bring that delicious oomph in the calmer parts, great vocals (for the most part). The pinnacle of the entire album is the gorgeous acoustic part on «Legends of Ignorance» that break into an intense and epic tremolo picking riff. It all comes to an end with the eleven minutes and thirty three seconds long appropriately named «Symphony of the Damned». For the first couple of minutes it does a just job of giving the album an epic, majestic ending that ties the album together, and the it drags on in an epic wank session of epic parts for about 8 minutes. It’s a shame that it goes on for that long as it would have been so much fun to see it be a short, sweet and epic ending to the album that ties perfectly together with the calm and epic introduction of «Salvation and Sin». This album is riddled with great tracks, but the best ones have to be: «Salvation and Sin» (I always sing along on the singalong part), «Legends of Ignorance», «Damnati part 3» and «The unbeliever». Sadly «Gates of Heaven»’s somewhat awkwardness drags the album down a little bit, however it is still a fun upbeat song with some great riffs in the second half of the song, but in comparison to the other six songs it kind of pales. And if I had a favourite of the record, I’d probably have to go with either «Salvation and Sin» (due to its overall brilliance) or «Legends of Ignorance» (due to its heaviness and that fucking tremolo outbreak). At first listen the rough edges almost killed this album for me, but after 4-6 digital spins the roughness goes away, and what you’re left with is an epic, heavy and at times beautiful 55 minute long prog metal album. Congratulations to the guys in Lucretia, Jonty on drums, Chris on guitar, Neil on vocals and Robin on the bass, for making a fantastic debut album. I am very excited to see what you will bring in the future. Rating: 9/10 (will likely be in my top 10 of 2013) All the songs are available for listening on YouTube. And can be downloaded for free HERE. |
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| Annihilator Zero | Apr 24 2013, 01:24 AM Post #204 |
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Thank you very much sir! Yeah the Symphony needs to be reworked but I simply didn't have the time what with studying and whatnot. Will probably tinker with it over the summer and cut it to a more reasonable length. Also I think Gates is the worst song too but hey, I didn't write it |
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| Granskjegg | Apr 24 2013, 10:42 AM Post #205 |
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Eg e husfar.
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No problem, man. I don't think the album really had a "worst" song, but Gates kind of fell short. It is pretty fun though, and as Jonty said, it's just different. |
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| DucksFAN93 | May 31 2013, 03:06 AM Post #206 |
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The Sports Nut Member
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Artist: Escape The Fate Album: Ungrateful Released: May 14, 2013 Posted Image REVIEW: Trading the musical variety that was seen on their last, and self-titled, album, Escape The Fate have returned after a lengthy three year absence with their some real muscular and up-tempo tracks. From tracks with pre-dominant screaming ("Ungrateful", "Fire It Up" "You're Insane") to the more somber and subtle tracks ("Chemical Love", "Picture Perfect") ETF strike a quite consistent pose for this outing. The pace of the album never drags or goes on too quickly, and the two slower songs are placed right next to each other on the record. This is the third record with Craig Mabbitt at lead vocals, and it also finds him at his best. The screams are ranged well and NOT overproduced and his singing is much more mid range this time around which is a good fit for the rest of the music. The guitar work is amazing, most of the songs have technical riffs instead of power chords and the guitar solos are epic, most notable on "Fire It Up" and the potent yet short "Desire". And, of course, it is post hardcore so there is no lack of breakdowns here. "Forget About Me" and "Fire It Up" feature the most notable and epic breakdowns, while other tracks are still real headbangers as well. The drumming is no slouch, but the bassist is rarely heard to be honest. Typical, yet always slightly disappointing. It is clear that the band drew influences from some bigger bands in certain genres. The intro to "Until We Die" is so blatantly Bullet For My Valentine it screams plagiarism. The riff to "You're Insane" also sounds eerily similar to "Psychosocial" by Slipknot. Fall Out Boy rears its poppy head on the exquisite ballad "Picture Perfect" and dance metal beats show up on the toe-tapping yet somehow headbanging "Live Fast, Die Beautiful". Each track is very good, there are no throw aways here. "One For The Money" is completely made for arena rock and the "run, run, run" refrain for "Risk It All" will be stuck in your head after just one listen. Overall, the musicianship takes ques from bigger bands in the genre, but that is certainly not a bad thing. What we have here is 11 (14 on the Deluxe Edition) tracks delivering exactly what you would expect from post-hardcore/hard rock bands. If you aren't willing to buy the entire record (Which I would suggest if you are into this style of music) then I would recommend at least checking out the best tracks on this offering ("Ungrateful", "Live Fast, Die Beautiful", "Forget About Me", "Picture Perfect", "Fire It Up"). Definitely a solid entry for the band and the genre, I would recommend checking it out. I am excited to see what the future holds for the band after such a strong release, I just hope the wait is not three years. I'll be Ungrateful. |
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| DucksFAN93 | Jun 13 2013, 08:44 PM Post #207 |
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The Sports Nut Member
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Artist: Falling In Reverse Album: Fashionably Late Released: June 18, 2013 Posted Image REVIEW: There wasn't much good to say about Falling In Reverse's debut record The Drug In Me Is You. About 75% of the albums lyrics were spiteful, classless cheap shots at lead singer Ronnie Radke's former band Escape The Fate. On top of the lyrical shortcomings, the music really didn't get any more generic than the post-hardcore/metalcore he brought forth. A couple of bright spots couldn't save the record, as Radke's vocal delivery was almost intolerable on over half the songs. So what does a two year absence do for the band? Well, a lot. First, all of the spiteful lyrics are all but done away with, more focusing on personal demons and battles. Ronnie Radke seems very proud of who he is, and comes off as self-absorbed on a handful songs. There are very few songs that sound similar on this record, so let's get right into it, the songs themselves. The first single "Alone" was met with complete controversy and with good reason. Auto-tune? rapped verses? dumb lyrics? check! The song honestly does grow on you, but songs shouldn't have to grow on you. Luckily, there's not one song on the record that sounds like this one. The next single was the title track, "Fashionably Late". This song is much more up-tempo pop punk style music. The song is extremely catchy and shows the better song-writing Radke has than what he showed on "Alone". Things get even crazier on "Bad Girls Club", a straight-up pop rock song complete with cheerleaders backing up vocals. I honestly like the hook to the song, but the gimmick of having a cheerleader chant in the bridge is atrocious. That just seems to be the issue I have with the record, there's too many gimmicks and sound effects, such as the ones seen on "Game Over". Again, the hook is good and instrumentals are rock solid, but the use of video game sound effects and references is cheap and tactless. It's the songs where these gimmicks are left out that really pop as highlights. The first song "Champion" brings it heavy with metalcore style riffing and screaming until the soaring chorus brings it back do pop sensibilities. The singing is really well-polished. Things get a stop when he starts rapping for the bridge, but honestly the rap isn't that bad and he's actually not a bad rapper. Then they break down ferociously before ending with a righteous guitar solo. This is what most of the record sounds like. "Rolling Stone" follows the same suite with the same flow, but the breakdown begins with a dubstep introduction, which admittedly, is pretty cool. What makes everything feel unique is the fact that he won't use the same gimmick twice. There's *one* dubstep breakdown. *One* synth laiden hook. *One* EDM influenced track, etc. Everything feels fresh. Things get heavy on "Born To Lead" an absolute gem of a track. Metalcore to the roots, there is a Dragonforce-esque guitar solo which lasts for over a minute then the band delves into a punishing, yet truly unique breakdown for another 45 seconds. "It's Over When It's Over" channels the bands inner Linkin Park. Think "Somewhere I Belong", but a bit heavier. Good stuff though. "Self Destruct Personality" channels the bands inner Slipknot. The verses are rapped, but they are also screamed. The guitar solo is pretty cool and the band fades the song out by breaking down and repeating the screamed rap over again. It's also a highlight. One of my personal favorite's is the straight-up pop punk song "Fuck The Rest". The song is so uptempo and fast, yet featuring the best hook of the album ("I know in my heart / I can reach for the stars / All the things that you dream / Will indeed take you far"). Good stuff, and there's a very optimistic sounding break down to end the song. The only throw away track is "Drifter" which closes the album on a very disappointing note. There really is something for everyone on this record. The album is sure to please almost anyone for any type of music they're into. There's pop, rock, metal, rap, EDM, country and more. Most of the album stays similar to the rock and metal aspect, but there is a nice amount of the other genre influences present. That said, the album definitely will not please everyone. There are plenty of people who will say he sold out, gave up, went commercial. But honestly, the fact that he put all of these genres in one record shows that this is the diversity FIR was looking for. Yes, they will probably sell a bunch of records, but more important, the band seems so proud of this record it feels wrong to hate it for the sake of hating it. I'm not one bit disappointed that I bought the album, I know it will get plenty of play on my iTunes. I would recommend checking out some of the tracks at least. This is a very diverse record, it will be interesting to see if this album is a gimmick album for the group, or if they'll return on their third full length with more of the same ...everything-core music. |
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| DucksFAN93 | Aug 4 2013, 01:58 AM Post #208 |
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The Sports Nut Member
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Artist: Asking Alexandria Album: From Death To Destiny Released: August 6, 2013 Posted Image REVIEW: Change can be a good thing or a bad thing. It's all about the kind of change. Asking Alexandria, the infamous electronicore band, can be added to the list of metalcore bands departing from their roots in search of a "good" change musically, stylistically, and lyrically. While the band showed a stylistic shift in their last record (2011's Reckless and Relentless, some elements of the odd Electronic dance music influence still infused a couple of tracks. That album traded most of those EDM influences for '80s hard rock and heavy metal riffing. What we find on From death To Destiny is a complete departure from the bands humble beginnings as a niche post-hardcore electronicore. The album, while still retaining electronic elements (stutters, shifts, remixed vocals), focuses almost solely on riffing, vocals, and more organic features such as strings, pianos, and live choir arrangements. The band refuses to spit in the face of old time fans as heavy songs and breakdowns still influx several tracks ("Creature", "The Death Of Me", "Break Down The Walls", "Poison", "Run Free"). Replacing the monotonous chugging riffs that plagued their first two records, some technicality shows up on most of the tracks. There's nothing truly ground breaking about it but it is much less monotonous and much more impressive than their original two records. Classic rock and metal riffs show their face on a handful of tunes ("Moving On", "White Line Fever", "The Road"), while heavy tremolo picking famous from melodic death metal bands ends up on a couple other tunes ("Don't Pray For Me", "Until the End"). Some true highlights that mix the different styles include the ace track "Believe" and the stellar bid for radio rock "Moving On". Lead singer Danny Worsnop has penned "Happier more uplifting" lyrics for this record and that is quite evident. The majority of the tracks are either about overcoming("Believe"), helping others("Killing You", or making a difference("Believe", "Run Free"). His singing is also much improved this time around, as he hits some real high and low notes. "The Road" and "Moving On" really put his voice at the focal point of the tracks. His screaming is also much more organic sounding as he hits more deathly lows and ear bleeding highs than usual. The screaming is evened out to fifty/fifty with the clean vocals. This is really a heavy metal record with metalcore influences. Asking Alexandria seems to have finally started playing the music they have always wanted to. They have completely evolved from the scene and have developed into a band to take seriously with this record. Lyrics that actually have meaning, intelligent song writing, proficient instrumentals and a cameo from legendary Howard Jones only give the band some real credibility. Short comings are few, and the only complaint would be the intro to "Killing You" and the reliance on string arrangements instead of electronic dance elements. Overall, this is a fantastic heavy metal record. Fans of the Stand Up And Scream era will be disappointed, yet fans of the Reckless and Relentless years will feast themselves upon this offering. Truly this is the path Asking Alexandria have chosen and it is the right choice for the band. In this case, affirming that change can be a very good thing. |
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| DucksFAN93 | Aug 12 2013, 03:23 PM Post #209 |
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The Sports Nut Member
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Will have some new reviews coming up! The latest from August Burns Red and blessthefall. Yes I've just heard the whole album and it's incredible! If there's any other albums you guys could suggest I'd be more than happy to give it a go. :) |
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| DucksFAN93 | Aug 15 2013, 04:45 PM Post #210 |
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The Sports Nut Member
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Artist: blessthefall Album: Hollow Bodies Released: August 20, 2013 Posted Image REVIEW: "I honestly couldn't pick a favorite song if you asked me to, after listening to it so many times every single song is it's own beast and each song can truly stand alone. I believe that 'Hollow Bodies' is leaps and bounds beyond anything we've ever created and that this album will take us places we've never been before." These are the words from frontman Beau Bokan in an interview with Billboard before the release of the new album by this metalcore outfit from Arizona. It really is impossible to find a favorite song on the new record, and it is absolutely leaps and bounds beyond anything they've ever written in the past. Just one listen to the title track and you'll understand that this record isn't following the troupe of sticking to what works. From "Exodus" to "Open Water (feat. Lights)" there is not one song to skip. Basically, I have to tell you how good it is. This metalcore group are now giants. The album is as diverse as it is true to form. The band experimented with new sounds, as seen on the ambient "Buried In These Walls". The band plays very quietly, as Bokan sings over a bed of synths "Can you take me to a better place? / Somewhere I feel safe?". The piano line is haunting, yet brilliant and leads into the next song ("See You On The Outside") beautifully. Speaking of that track, the instrumentals in that song are incredible, especially the drum work. Matt Traynor tears up the kit with various tempos, speeds and technicality. The highlight here is the progressive breakdown lead by another beautiful piano line and drum fills. The album is perfectly paced, as the "softer" songs are lined up only after a near onslaught of brutality. See the placement of "Youngbloods (feat. Jesse Barnett)". Placed right after the more quiet tracks previously mentioned, this track is brutal. Hardcore drumwork somehow meshes with the melodic lead guitar work when the chorus comes crashing down. Chant vocals are sure to be a hit when Barnett and Warth scream together "Your reign is ending". "Carry On (feat. Jake Luhrs)" is yet another highlight on the record, this one resembling an August Burns Red track especially when Luhrs makes his deadly appearance. "Don't go running your mouth again / You're playing with fire" growls the August Burns Red frontman. It's an epic moment and gets even more commanding when the chorus does not disappoint as Beau sings "You know that someday / I will carry on". Lastly, on the album closer epic "Open Water (feat. Lights)", Bokan sings with Lights in a beautiful duet that is as progressive and risky as it is amazing. Full string arrangements are accompanied by synth and slow guitar work until the choruses. But it isn't just the guest vocal appearances that lift this album to the highest levels. "Standing On The Ashes" features a perfect marriage of heavy and melodic as Warth screams the verses and Bokan sings the chorus. The riffing is intricate until the punishing breakdowns at the end of each chorus where the deafening sound of downtuned guitars level the hearing ability of all who hear them. The song is sure to become a fan favorite with a refrain like "You will burn!". The lead guitar work comes its peak during the exciting title track ("Hollow Bodies"). This is the song to listen to if you are wanting to see if you will like blessthefall. The track is completely guitar driven with a ridiculous riff in the chorus, while Warth screams his lungs out during the verses. "The Sound of Starting Over" is one of my personal favorites, as the chorus is as catchy as it gets. Instrumentally it is very impressive, and the band does some new things with atmospheric elements usually reserved for bands like Bring Me The Horizon, yet they pull it off flawlessly. The obvious choice for the albums lead single "You Wear a Crown, But You're No King" is the only song on the record that you could place on one of their previous records. It is heavy, brutal, and an obvious bone thrown to the fans for their love. The better single "Deja Vu" incorporates everything the album has to offer, including a chorus song over a soaring bed of synth and technical riffing, as well as guttural, punishing screaming and breakdowns. The song ends with electronics fading quietly, this is something the band wouldn't have tried on their last couple of records. Hollow Bodies is an extremely ambitious, impressive, progressive and surprisingly melodic record. In their career, blessthefall has always been an extremely guitar driven band and that is no exception this time. Hollow Bodies features the most impressive guitar work from the band to date, but also incorporates so many new song writing techniques and elements that this is not just their best album, it is also the best release this year, and one of the pinnacles of modern metalcore. The album is an accomplishment for the band, it is the album of their careers not only thus far into their careers, but I am hardpressed to believe that they can top this record. The sheer amount of time put into each song is evident, every track could easily be picked as a favorite. This album will be on constant repeat, it has immense replay value. This album is blessthefall, I haven't been as impressed with an album since 2010's The Powerless Rise by giant As I Lay Dying. If you are looking to see what the band or the genre is all about, this is the album to do it. I highly recommend checking out Hollow Bodies, you surely will not be disappointed. |
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8:17 AM Jul 11