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October, 2008

  1. Rock Band Live Tour in Los Angeles

    October 28, 2008 by A2S

    The Rock Band Live tour was one close to my heart. Having been a big fan of Dashboard Confessional for years and never seen them live, I bought two tickets as soon as they went on presale for over one hundred bucks and dragged along a lackluster friend on my dime. That’s how bad I wanted to go. It was a bit of a surprise to find out that Panic at the Disco was headlining over Dashboard Confessional, considering that these bands probably grew up listening to Dashboard just like I did. But you know, I guess that’s how things go.

    The Cab was the first band to hit the stage and I was a little taken aback. The last time I saw these kids was in Chain Reaction when they only had an EP. They weren’t much different than any other young band—lots of enthusiasm and a good sense of groove. This time, things went a lot differently. Apparently a year and a half of nineteen-year-olds being performing musicians creates a band full of divas. Lead singer Alex and his unkempt hair now reminds me of Russell Brand. [more]

    His vocals were over the top at points but the music had a good groove. They’re danceable and entertaining and although the lyrics lack much complexity, they’re enjoyable. They played the favorite jams—”Seventies Song,” “Bounce,” “Risky Business,” and my personal favorite, “I’ll Run.” To me, they’re the N*Sync of 2008; the dancier Jonas Brothers. If that’s what you’re into, go right ahead and get their LP Whisper Wars.

    The MC of the night ‘Ridiculous’ informed the crowd that anyone who wanted to “perform” Rockband on stage between sets need only compete in the lobby. That was pretty entertaining—between each set, “bands” came on stage and “performed” rock band. It definitely made the set changed pass more quickly.


    Plain White T’s came on stage next. Here’s the problem with Plain White T’s: they were a good band pigeonholed by one great song which has since determined their style. Revolving an entire style around one song that gets featured on two LPs and its own single… it forces the band down this rabbit hole to nowhere in search for the next “Hey There Delilah.”

    Their album Big Bad World came out this past September and they played songs off the album “Big Bad World” and “1, 2, 3, 4″. Both were misses for me. “1, 2, 3, 4″ was like a child’s sing-a-long morphed into pop rock. I found myself singing along but with “1 thing 2 do, shoot me will you?” They did play an older favorite “Hate (I Really Don’t Like You)” which has some semblance of ingenuity. All in all, there was nothing wrong with their performance but all was swallowed up by their success with one great single. If you want to hear some pre-Delilah PWTs, check out Stop. It’s good stuff, I swear.

    Finally, it was magic. No, really. Chris Carabba, wearing his signature fedora, and band sauntered on stage and got down to business. There was a great mix of old and new favorites. Off of the newest album Shade of Poison Trees, Dashboard played “These Bones” and “Thick as Thieves” which Chris told us is about magic as card tricks played on the big screen behind the
    band.


    Some of the best and classics he played were “Again I Go Unnoticed,” “Saints and Sailors,” “Screaming Infidelities,” and “Vindicated.” Dashboard also played a great classic by a great band they toured with—”El Scorcho” by Weezer. It seemed that I was one of the few who knew the words. If you’re unfamiliar with Weezer’s Pinkerton, you should go enjoy this great ASAP. A favorite he’d never forget, he prefaced “Hands Down” with telling the crowd this is a song about the best day of his life. Fireworks and beautiful bright images flashed behind him through this uplifting song.

    This is what Dashboard Confessional has always been perfect at—music that you can sympathize with and then make you feel better. The music understands you and then reminds you of everything beautiful. Whether their acoustic guitar heart-wrenching ballads or their swelling big soft rock songs, Dashboard Confessional creates beautiful music only enhanced with their performance and the video playing behind them. It was fantastic and worth every penny.

    Panic at the Disco… oh boy. I have such mixed feelings about them. Pretty. Odd. and A Fever You Can’t Sweat Out are definitely two of my favorite albums. I would even place Pretty. Odd. on my top 5 of 2008. But live, they are never as good as you’d hope. I saw them in May of 2006 on The Academy Is…’s Truckstops and State Lines Tour and was so put off Brendan Urie’s strained and uncontrolled vocals, it took me two years to see them again. 

    So impressed by Pretty. Odd. I was certain that the Rock Band Live Tour would be a different story. While I definitely think Urie’s vocals have improved, he still has this tendency to go off-script, flailing the notes around and hoping to hit ones that work with the song. His vibrato can get a little wild, but generally his vocals were enjoyable. Famous for their stage theatrics, the boys seemed to have tamed those tendencies slightly and relied more on their music to impress. That it did. Clean and bright re-productions of the best of Pretty. Odd. and A Fever rounded out the last set of the night—”Northern Downpour,” “When the Day Met the Night,” “Lying Is the Most Fun…” and “Nine in the Afternoon” to name a few. Lead vocals Urie was even able to impress the crowd with his stint on the ivory keys and drums. They closed out the encore with a rendition of “Shout!”

    Overall the performance was fun, entertaining, and got plenty of people dancing. Musically impressive and vocally mostly, Panic at the Disco are not the best band live, but they did help make Rock Band Live a great tour!

    Stay Saavy, Steph

    *More photos available in the Rock Band Live album on our Myspace


  2. Emery’s EP While Broken Hearts Prevail

    by Brianna

    The guys from Emery are back today with their third album, the EP While Broken Hearts Prevail.  “The Smile, The Face” and “Edge of the World” open the album and give you a feel for what to expect.  While not far from The Weak’s End and The Question, their 2003 and 2005 releases, this EP definitely introduces some new elements for Emery.  “The Smile, The Face” is full of minor keys and haunting harmonies with intense screaming and a Nirvana-like hallow chorus.  “Edge of the World” starts off with the expected distorted guitar and screaming, but toward the middle of the song, breaks down first into almost a dance beat with the drums and then slows down into a snare beat coupled with quiet tenor vocals and more like yells than screaming.  “Do the Things (You Want),” the closing song on the EP, is a completely new formula for Emery, beginning with electronic elements, leading into acoustic guitar coupled with deep melodic vocals, is almost like H.I.M. in a major key.  Always the defeatists, they sing “Lets write the songs that we want.  I thought they’d love us but they don’t.”  I loved the emotion behind this song—it could move anyone listening to sympathize with them.

    My favorite off this EP would have to be the last song, “Do the things (you want)”. This song with its dark acoustic feel, I believe tells the tale of doubt and a betrayal—a very relatable idea. I think that this EP is definitely worth listening to.  If you listen and you like, more is hopefully to come with a full studio album in 2009.


  3. National Product and 1997 with Polaris at Noon, Inverse, and Daybreak Ends

    October 17, 2008 by A2S

    The Knitting Factory wasn’t too populated and even after the opening band, Daybreak Ends, started jamming on stage much of the attendees seemed unaffected by the noise emanating from the stage.  Two girls ventured to get up close and sing along while the rest of the audience formed a semi-circle ten feet back.

    Daybreak Ends is a dark metal rock band that seemed to be heavily influenced by H.I.M. via minor key sweeping vocals, heavy bass, and ethereal guitar riffs.  Somehow, strangely enough, the vocals also remind me of Adam Pascal, “Rodger” from Rent the movie.  Peppered by screaming here and there, this foursome put on a good show and were good musicians, but lacked anything interesting enough to make them memorable. [more]

    Inverse strut out next sporting long, flowing hair straight out of a Guns N’ Roses video.  They were a little pop/dancier than their look let on, but it was definitely enjoyable.  Not a small number of hips were swaying to this heavy-bass dance rock with clean tenor vocals.  Songs like “Sweat My Love” even got some real dancing going on in pockets of girl groups.  Showing off their ballad skills, they played “The Last Night” which got some cell phone swaying to “This is the last night we’ll dance, the time has gone so fast so just put all your breath in me.”  A pretty decent guitar solo shredded up the song and chorus resumed.

    With fun and straightforward music, they were great showmen and commanded the crowd with every song, even though it seemed as though everyone was seeing them for the first time.

    Polaris at Noon…Oh, man.  Really, your pop-rock was pretty decent.  I mean, no less enjoyable than what’s getting radio play these days.  And if I had heard you first on your Myspace, I think I really could have been into you.  But live, your vocals sound untrained and uncontrolled.  For your age, I have to give you guys credit.  Judging solely on your vocals I would say you weren’t far out of high school.  And musically, what you have goin’ on is pretty great.  On the intro to songs like “misfire,” although lyrically uninteresting are musically entertaining.  So keep up with those vocal exercises and I’ll come see you in a year or so.

    Oooo finally we get into the nitty gritty of the night!

    Co-headliner National Product was up next and they blew me away.  Having never listened to them before, I half expected them to be another All Time Low or The Main, but these guys really brought the heat!

    “Medicated” is definitely radio single worthy with spunky pop-punk melodies and bright pop-rock vocals. But this band is not a one trick horse. They busted out some acoustic, some screamy goodness, some alt rock and some great solos. Their influence is as diverse as their list their favorite albums: AFI’s Black Sails in the Sunset, Fleetwood Mac’s Rumors, and Maroon 5′s Songs about Jane. Great performers, great musicians, great set.

    Last to perform was 1997.  This band I first heard on a random compilation with Driver Side Impact and their single “Garden of Eden” invoked music-tingles in all the right places.  By the end of their set, I had decided that I had just entered into a little 1997 romance.  This band: guitars, keys, drums, male and female vocals had just the right amount of “umph” and “awh.”  This indie power-pop quintet had an undeniable chemistry that pervaded the music and all of the venue.  “Waters Edge” starts with heavy distorted guitar and lightens into what sounds like a playful xylophone and then continues to dance between the two throughout the song.  A battle between the airy male vocals of Kevin Thomas, bright and in-your-face vocals of bassist Nick Coleman creates a perfect balance.  The song breaks down into perfectly harmonized “do dos” followed by a heavily distorted guitar solo.  Many of the songs utilize this strategy of soft versus bright, heavy versus light and it’s a formula for perfection.

    Arthi Meeri, temporary female vocals, was a poor substitute for former singer Alida Marroni if only because I could hardly hear her.  When I could hear her, her smooth soprano falsetto blended in but didn’t add much to the balance.  On the album, the sometimes airy sometimes bright and passionate vocals of Alida are the third layer of flawlessness.

    Although the crowd had shrunken sizably since National Product left the stage, those who remained were awestruck and completely consumed with the music stage presents of these five (myself included).  Most of the crowd seemed to know every word.  That, to me, is a sign of something good.

    This night at The Knitting Factory was definitely a successful one.  The bands who I wasn’t completely in love with still surpassed my expectations and I came away craving at least two CDs. (I’ve yet to buy either, but I definitely will).  You should too.

    Many more photos available in the National Product/1997 Album


  4. War Stories’ Self-Titled Album

    October 14, 2008 by A2S

    War Stories released their self-titled album on August 19th and, after contemplating it for a while, I haven’t really come to any definite conclusions.  There are a couple of options here.  The first is that War Stories, members Evan, Reid, Eric, and Adam are trying to be innovative.  Sometimes trying something new isn’t always understood.  This is possible.  The alternative possibility is that this band wasn’t intending to try something new, but somehow missed the mark on doing what everyone else is doing.  The third and most likely option is that War Stories set out to try to do what everyone else is doing in a more innovative way and somehow their miss-mash of conventional and creative came out like bread without yeast—flat.

    War Stories performs simplistic guitar melodies reminiscent of eighties pop rock.  That’s nothing terrible.  What makes this band hard to tolerate and almost comical is the vocals.  The vocals drag through each song in a deep wandering melody.  Lead vocals Evan clings to each note as if he’s being dragged along the bass clef violently by the rest of his band mates.  The lyrics don’t help him out much.  The redundancy of the lyrics in each song makes you check your CD player to make sure it’s not skipping.  “Lion” repeats “lion” what seems like hundreds of times in a sagging, gargling voice.

    So here’s what I say to War Stories: thumbs up.  Nice try on a good effort.  But sorry, guys, no kudos.


  5. The Friday Night Boys – That’s What She Said

    October 11, 2008 by J-Man

    I had never heard of The Friday Night Boys before being handed this album to review.  I walked into it with absolutely no expectations at all.  I didn’t even know what genre I was about to get in my ears.  Journey with me through “That’s What She Said,” TFNB’s new EP.

    Track 1 – Chasing A Rock Star

    We are greeted with a bouncy drum beat and a happy guitar intro.  Have we heard this song before?  Yes and no.  We have never heard this song in particular, but we have listened to Pop Punk before, so we have heard this intro before.  That’s ok though, you either like Pop Punk or you don’t (if you don’t, stop listening RIGHT NOW).  I do, so I listen on.  WHOA!  Shortest verse ever!  Twenty seconds into the song and we’ve already reached the chorus.  I’m bobbing my head, this music is super catchy, but these lyrics are inane.

    Chorus:

    “Chasing a rock star

    But where will you go?

    You’re chasing him too far

    The way you move so slow

    You swear you’re innocent

    But I know that you’ll regret

    Chasing a rock star now…

    Get over yourself”

    Ok, juvenile lyrics, super catchy music, song made up of mostly chorus.  I assume I’ll hear this on the radio tomorrow. Let’s see what else we’ve got.

    Track 2 – That’s What She Said

    Keyboard intro…  There is no keyboard in this band.  Drum machine drums…  Doesn’t this band have a drummer?   This makes me frown.  There’s a serious trend nowadays of over-produced music (too many vocal effects, hyper-sampled everything, instruments showing up on CDs that are non existent on stage).  It makes for great sounding CD’s, but it’s a pet peeve of mine.  I like listening to an album and knowing that this band can deliver the same sound live.  Anyway… moving on.  My brain goes into full “Pop Punk” mode and I’m not even listening to the lyrics anymore.  What was that!?  I rewind the track back to 2:30 to confirm that, indeed, there was a guitar sweep in that transition.  It was brief, but it woke me back up.  It’s followed by what I believe might be the 15th chorus in the song and a fade out.

    Track 3 – Celebrity Life

    Oh!  The guitar is doing more things.  The lyrics haven’t gotten any more intelligent, but this yet another catchy bouncy song that has me bobbing my head.  The guitar fills throughout have me smiling.  !!!!!  GUITAR SOLO!  An awesome one!  Where did that come from?  Now I’m paying attention again.  Enough to catch the last chorus about the girl who would do anything to get famous… Whoops.

    Track 4 – High School

    This title worries me.  My brain is threatening to tune out the lyrics again.

    End of chorus:

    “I guess graduating changes nothing at all…”

    Brain turn off.

    Guitar solo.

    Brain turn on.

    I don’t know if maybe I just haven’t been paying attention in the past, but I am not used to shredding solos in my Pop Punk.  I think this may actually be evidence of Guitar Hero affecting the way our music is made.  That is genuinely awesome.  What’s he singing about?  Oh, life being just like high school.  Next track please.

    Track 5 – Thursday Night Pregame

    Backstreet boys vocal harmony intro.  I’m smiling again.  The drummer mixes it up some with his beat in this song.  Is that some double pedal work I hear?  Again, my heads bobbing and I have no idea what he’s singing about.  This song “whoas” to a close, and I’m done with my Friday Night Boys experience.

    Final thoughts?  I’m absolutely and completely torn.  On the one hand, I like them.  I’ll be putting them on my Zune and listening in the future.  On the other hand, when my friends make fun of me for listening to music aimed at 14 year old girls… I’m not going to be able to argue.  If you are looking for deep, meaningful lyrics; this album is not for you.  If you are a fan of sing-a-long choruses and catchy music, littered with some genuinely surprising guitar work, give The Friday Night Boys a moment of your time.


  6. Plain White T’s Big Bad World

    October 10, 2008 by Colleen

    Plain White Ts’ most recent album, Big Bad World, is a big beautiful success. The album balances mellow songs such as “Rainy Day,” with more foot-tapping and head-nodding tunes that come with such songs as “That Girl,” a personal favorite.

    The album combines eclectic styles of music that keep your ears wanting more.  These styles include rock ballads heard in “Serious Mistake”, acoustics, resembling John Mayer heard in “1,2,3,4,” ragtime in  “I Really Want You,” which instantly grabs your attention with harmonica, and Latin beats, heard repeatedly throughout “Serious Mistake.”  The album showcases Plain White T’s ability to transform as this album emphasizes their innovation, more so than their previous album, Every Second Counts.  It introduces various styles, rather than relying on a constant collaboration of instruments to create fast-paced songs that lose uniqueness.

    The album goes in a different direction from the constant hyper energy of songs heard in Plain White T’s previous albums as it incorporates a more diverse array of styles. This album feeds off of the success of “Hey There Delilah” which balanced lyrics and instrumentals, exactly what Big Bad World does in addition to fusing different musical arrangements into each track.