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  1. Lily Allen’s new album It’s Not Me, It’s You

    February 22, 2009 by Steph

    In Lily Allen’s new album It’s Not Me, It’s You, she samples more genres than an F.Y.E. She opens the first track like a cross between “Pretty. Odd.” and Kill Bill, “Not Fair” starts off like a Western, “22” like a church organ, and “Never Gonna Happen” sounds like a polka! Playing around with a keyboard and a drum machine, almost every song has a dance beat to get you in the groove. Her clean yet jazzy vocals contrast beautifully with the staccato of the keys.

    Lily’s got a biting, sarcastic tone and she’s not aiming to write an epic poem with her lyrics, but her simplicity and straightforwardness are what make the songs so alluring. From “The Fear” about the Hollywood scene and “Fuck You” about prejudice and hatred to “Who’d Have Known” about liking someone and “Not Fair” about selfishness in the bedroom, Allen sings about the things we can relate to.

    The album It’s Not Me, It’s You sounds like what would happen if Amy Winehouse and Kate Nash fused and made music with Daft Punk and The Postal Service. I guarantee you’ll like it.


  2. Crash Coordinates Interviewed

    January 12, 2009 by Steph

    Crash Coordinates is the epitome of the self-made hardworking rock band and four of the five members were kind enough to sit down for an interview with me last week (Kevin, the bassist, was unfortunately unavailable). After working out some kinks with Stickam (not the most effective website in the world) we managed to talk about where the band’s come from and where it’s going.

    Each of the guys—Chris Kalla (vocals,guitar), Chris Wahl (lead guitar, vocals), Jon Stoddard (drums), Kevin Williams(bass) and Vincent Liou (keyboards, percussion) have been playing music from a young age. Vincent got the earliest start on the piano at age 5 and learned bass and clarinet before finishing high school. Wahl told this lavish story about his days in the Stradivarius school of music, which I was almost fooled by. (In reality, he was jealous of a friend who learned how to play Michael Jackson songs in 7thgrade). The five are all passionate about music, and it shows.

    The two Chris’ started the band in2006 with a few other musicians and the other three joined along the way, with the recent addition of Kevin from Chicago. All of them came from different scenes—Wahl was in a pop band, Jon was in a ska band, Kevin is the metal head, Vincent“listens to crazy stuff,” and Kalla was in a hardcore band Blue Wall Audience throughout high school. They each have their own repertoire of musical influences including Muse, Radiohead, 311,Minus the Bear, Explosions in the Sky, Metallica, and Coheed and Cambria. Out of this fusion of influences and a huge amount of ambition, Crash Coordinates has created a really unique sound.

    Jon put into words what makes CC so interesting:

    When we all got together we wanted to do something that wasn’t in a specific genre. What I liked about, what I still like about the band the most is that we can take pretty much any genre of music and throw a Crash Coordinates spin on it so we can take a pop song and we can make it Crash Coordinates with awesome tapping and different beats and Chris Kalla’s unique melody lines or we can take a dark song, a metal song, and do whatever we want to it. I think the thing really that influences us to write music that we do is that we wanted to take the things that work in music that’s already around and put a unique spin on it to create something new.

    Wahl added that they’re always searching for a “cooler way to play things” and love it when people appreciate them for trying something new and mixing it up. Not going for the same old format.

    Like a lot of bands, Myspace has been a huge help in building a fan base. They’re constantly (and personally!) responding to messages, comments,and adding more friends. They even do web cam chats with anyone who wants to log in (I caught one of their appearances and they decided to sing whatever anyone typed. It was hysterical). They’re the guys that do a ton of shows and hand out a ton of fliers. A truly self-made band, with the help of a handful of friends they released their album Ansible and managed to get distribution deals with a bunch of major stores and online retailers like Best Buy and iTunes.

    .. ..

    This album is obviously the product of musical ingenuity as each song has a unique style with an experimental ambiance and dark lyrics stringing each together. There were so many styles throughout the album from which I heard hints of Matchbook Romance, Thrice, The Mars Volta, Chiodos, and even an intro on “Pompeii” that reminded me of Mozart’s Requiem. This album is intense awesomeness.

    Having shared the stage with some great bands like Bleed the Dream and A Cursive Memory, they are definitely ready to hit the road. They’re trying to build a good fan base and keeping their eyes out for tour opportunities in a couple of months and until then they’ll be playing weekend shows and working on their new EP. Not all of the songs are written but we can expect a format a little different from their full-length. Unlike Ansible whose songs were diverse and all over the map, the new4-song EP to be released in late spring/early summer will be more straight forward with a consistent feel. They guys assure me “It’s gonna be really good.” “Yeah, it’ll sound awesome.

    With that promise, a quick plug for their awesome sponsors Vitamin Water and Red Bull, and the hopes of some new stuff coming out on their Myspace in the coming weeks, we parted cyber ways. Crash Coordinates is a definitely a band worthy of your ears and your support. Their ideas are ambitious and their music unique and creative, but not overly complex. Be sure to keep your eyes out for their things to come and if you haven’t heard Ansible, be sure and give it a listen!

    photos used with permission


  3. New Year, New Artist–Erin McCarley

    December 31, 2008 by Steph

    Start the new year off with an exceptional new artist!

    If you’re not in the habit of downloading iTunes’ single of the week, this week there’s good reason.  The song is “Pony (It’s OK)” by Erin McCarley from her break through album Love, Save the Empty.  It’s been a while since I’ve been this impressed by any single song.  McCarley’s voice is smooth and strong and her vocals soar over twinkling piano melodies and creative percussion.  I haven’t downloaded the album yet, but if it’s anything like “Pony (It’s OK)” then it’ll be worth the $7.99.

    Well?  Get on it already!

    Stay Saavy,
    Steph@A2S


  4. Fall Out Boy’s new album Folie á Deux

    December 13, 2008 by Steph

    Folie á Deux came in a big box to my door yesterday and I’ve been listening to it non-stop trying to decide what I think.  My expectations were low and I had even decided I was dead-set against one of the already-released songs.  Whether you’re a long-time fan, a used-to-be fan, or have never been a fan at all, I hope this makes sense to you.

    If you’re anything like me, you were crossing your fingers for Fall Out Boy’s new album Folie á Deux to be at least a little bit more Take-This-to-Your-Grave than Infinity on High.  Not to degrade Infinity on High, because I think it has it’s own value and has grown on me over the last two years, but I miss the quartet’s pop-punk roots.  Well, if pop-punk is what you’re looking for, this is not your album.  And we are only shown time and time again that music can only progress, not regress for these guys.  It makes perfect sense that the boys have chosen to migrate into new genres and experiment with new sounds.  So lets for a minute pretend that we’ve never heard the epic-ness that is Take This To Your Grave and look at the album for what it is on it’s own.


    It sounds like dance rock with eighties pop rock and blues influence and dashes of Hot Fuss and Pretty. Odd.  Even saying this, I think it’s nearly impossible to genre-ize this album except to say it’s Fall Out Boys invented brand of pop rock.  The album opens with Patrick’s smooth vocals with a church-organ-like melody of the synth on “Disloyal Order Of Water Buffaloes.”  They progress into guitar melody and drop the famous echoing bass drum beat and move the song into verse, bridge, and chorus of

    “Boycott love. Detox to just to re-tox.

    And I promise you anything but

    Another shot at life and

    Perfect boys with their perfect lies.

    No one here wants to hear you sing about tragedy.”

    This song reminds me of Infinity On High’s b-side “G.I.N.A.S.F.S.” which may be why it’s my favorite song on the album.  It sets the tone for the album as well—big beats, Patrick’s always pitch-perfect sweet vocals, and cold lyrics.

    The album moves into the single “I Don’t Care” (which most definitely gets my vote for best music video of 2008).  It’s very 80s rock, littered with “oh!”s, a jazzy interlude and electronic harmonic wanderings.  “She’s My Winona” has a crisp drum intro and a catchier chorus than the freecreditreport.com commercial jingles.  “Amercia’s Sweethearts,” a track previewed on their mixtape released this October, tells the story of young Hollywood.  Pete and Ashlee, maybe?

    Other standouts include the ballad “What a Catch, Donnie” which closes with  Elvis Costello singing part of the melody and a handful of guest artists singing lyrics to Fall Out Boy singles.  “Tiffany Blews” and “w.a.m.s.” open like hip hop tracks and continue on as an interesting brand of dance rock.  “20 Dollar Nose Bleed” pays homage to big band along with Panic at the Disco with a catchy beat and horns.  They end the track with a disturbing monologue from Pete, in the mold of “Get Busy Living or Get Busy Dying” of From Under the Cork Tree.

    The album closes with “West Coast Smoker” reportedly named after their tour manager in a throw-your-hands-up-and-sing-along rock track with a dance beat, , screaming, and shouts of “Oh hell yes!”

    On it’s own, this album brings the energy, the creativity, and the passion that I would expect from anything Fall Out Boy.  Always true to their dark and cold lyrics, Folie á Deux is much less self-reflective and self-deprecating than previous Fall Out Boy releases, it seems.  From this album, you can expect something dancier and poppier than ever before.  Some of you will love it.  Some of you will despise it.  Some of you have already made up your decision before the record is even released.  Here’s the deal:  If you’re a fan, you probably still will be.  If you’re not, you definitely won’t be swayed to their side.  Personally, I’d say it ties for third with Infinity on High in the ranking of the guys’ albums, but then again, somehow each album seems to grow on me.  Give it a shot. You may be pleasantly surprised.

    Happy holidays to you all and lovely listening.

    Steph@A2S


  5. Hardcore Heaven

    December 12, 2008 by Steph

    It would be ridiculous for me to sit here and try to describe how amazing the show at the Knitting Factory was. Deemed “Hardcore Heaven” by Alternative Press Magazine, it was nothing less. Conveniently, two amazing tours converged at the Knitting Factory in Los Angeles and to celebrate, the divider separating Main stage from Front stage was opened allowing us to pass through. While a band was playing on one stage, the next was preparing for their set in the other room. Hardly a lull in the excitement and seven bands in four hours, this night was pretty much the epitome of a great show.

    A loss for words was the first band with as much energy as a pack of wild banshees on Red Bull. Their harmonies were spot-on and they reminded me a bit of New Found Glory with their pop punk essence. Near the closing of his set, the lead singer called out something to the effect of “all the other bands with millions of dollars, I miss moshing. I’m not a rockstar and I never will be.” I guess it depends on what side of the “sell-out”/making money fence you lie on, but I don’t see much of a problem with supporting yourself doing something you love.


    We wandered over to the other stage and Broadway Calls was on next. Hints of an Alkaline Trio style with old New Found Glory/Yellowcard pop-punk surged from the stage. Against-Me vocals and heavy guitar riffs meshed and created a fusion of old punk and pop punk with hardcore break downs. They weren’t much for performing and they only talked to the crowd once but I can’t fault them much for that with how exciting their music was. Some lyrics that caught my attention: “War on drugs, war on you, lets pray, I’m up for anything.”

    This Is Hell played next—fast as fuck dominating the double bass. Their constant scream-like yells encouraged tons of hardcore dancing and massive crowd shout-alongs. A favorite was The Polygraph _____. These dudes are badass and could bring up the fists of the most mellow of scenesters.

    Polar Bear Club entertained the crowd with fun, wandering guitar riffs and heavy fast drums. These kids are more that just the typical hardcore band. Their yelling vocals remind me of Against Me singing intense lyrics like “by midnight my house is ablaze, we fucked up…” The crowd was crazy about these kids and there’s no doubt about the reason why.

    By the time I am the Avalanche took the stage, more girls littered the crowd. This band was rock with heavy bass and some songs even hinted at a dance beat, but the lead singer had the rapper attitude. They played songs from their self-titled album released last March like “New Disaster” and “I Took a Beating”, introducing one song saying, “this song’s about my restraining order.” Interesting… A little eclectic and more interesting than your average pop-punk-rock band, these guys knew how to rock the stage.


    Crime in Stereo was up second to last and I was anxious to see Four Year Strong. This quintet from New York rocked fun guitar riff melodies and jammed out fast as f*ck snare beats in songs like “XXXX.” A little hardcore and a little punk teamed up in this band to provide us with some ass-kicking, throw-some-fists jams.


    FINALLY! Four Year Strong took the stage after a long night of anticipation. They played a plethora of songs off their 2007 release Rise or Die Trying including “Men Are From Mars, Women Are From Hell” “Prepare to Be Digitally Manipulated” and a personal favorite “Catastrophe.” They also covered Suicide File and busted out “Your Song” from their demo. Probably one of the best live bands touring right now, they’re a perfect mix of
    rowdy stage-dive music and sing-along worthiness. Pitch perfect vocals are teamed with heavy bass beats, and hardcore guitar melodies littered with synth. Kids were running around, climbing all over each other, and diving off the stage all set, ending with half the crowd on stage yelling with the
    band. If you have a chance to see any band in 2009 (or the rest of 2008, for that matter), make it Four Year Strong.

    Stay Saavy,
    Steph

    Many many more photos in our “Hardcore Heaven” album on our Myspace


  6. Best Albums of 2008

    December 12, 2008 by Steph

    Okay, so we all have different tastes in music and there was NO WAY I thought we could come together to make a complete list for you.  Instead, I decided that each of us should make a list for you of our top five albums of 2008.

    Apparently our tastes converged because we have a few in common.  Our collective favorites were:

    Jack’s Mannequin’s The Glass Passenger

    Fall Out Boy’s Folie a Deux

    Forever the Sickest Kids’ Underdog Alma Mater

    And here are our top picks:

    Kristyn (writer):

    1. Fall Out Boy’s Folie a Deux
    2. Valencia’s We All Need A Reason To Believe
    3. Jack’s Mannequin’s The Glass Passenger
    4. John Mayer Trio’s Where The Light Is (Live)
    5. James Morrison’s Songs For You, Truths For Me

    Aimee (photographer):

    1. The Matches’ A Band in Hope
    2. The Cab’s Whisper War
    3. Jack’s Mannequin’s The Glass Passenger
    4. Sing It Loud’s Come Around
    5. Simple Plan’s Simple Plan

    Steph (writer):

    1. Panic at the Disco’s Pretty. Odd.
    2. Jack’s Mannequin’s The Glass Passanger
    3. Forever the Sickest Kids’ Underdog Alma Mater
    4. Ingrid Michaelson’s Be OK
    5. Joshua Radin’s Unclear Sky EP

    Catharine (photographer):

    1. Fall Out Boy – Folie A Deux
    2. Taylor Swift – Fearless
    3. Panic At The Disco – Pretty. Odd.
    4. Demi Lovato – Don’t Forget
    5. Metro Station – Metro Station

    Justin (writer):

    1. Disturbed – Indestructible
    2. Mindless Self Indulgence – If
    3. Kanye West – 808s and Heartache (having to put this on here makes me want to punch myself)
    4. Hollywood Undead – Swan Songs
    5. Flight of the Conchords – Flight of the Conchords

    Cassie (writer):

    1. Fall Out Boy – Folie a deux (even if just for the hype surrounding it)

    2. The Academy Is… – Fast Times at Barrington High

    3. ADELE – 19

    4. Charlotte Sometimes – Waves and the Both of Us

    5. Forever the Sickest Kids – Underdog Alma Mater


    Brianna (writer):

    1. Jason Mraz – We Sing, We Dance, We Steal Things
    2. Gavin DeGraw – Gavin DeGraw
    3. Jack’s Mannequin – The Glass Passenger
    4. The Hush Sound – Goodbye Blues

    5. David Cook – David Cook & David Archuleta – David Archuleta


  7. The Involuntary Movement Tour

    December 1, 2008 by Steph

    I arrived to the House of Blues in San Diego slightly nauseated and feeling sick. It was either the tail end of food poisoning or the stomach flu – either way, I hadn’t eaten in two days and I couldn’t stand thinking about food. But I also couldn’t stand the thought of missing the Involuntary Movement Tour. So I toughed it out and got up to the front for one of the best tours ever.

    First up was a band called School Yard Heroes. Their sound was unique but also somewhat familiar. It had a vague No Doubt-y feel to it, but was a little darker pop rock. The singer seemed to have channeled all of the Amanda Palmer (of the Dresden Dolls) that she could manage, running out on stage in black, torn up fishnets and a cut up black dress that looked like it was a ball gown before someone hacked at it with a pair of scissors. The energy on stage, from the band, was mediocre. The guitar player attempted to engage the crowd by pointing a few times, and lead singer tried her best to serenade a few people in the front row. Their song arsenal was full of drum heavy songs like “Cemetary Girl,” which was, as the lead singer said, a song about the end of the world, when women rise and take over. They closed their set after four songs – they had failed really to catch my interest enough to buy a CD or visit their merch table. You may, however, become a fan if you are into the whole horror-pop, macabre genre.

    The next band on was The Status, a four piece pop outfit from Atlanta, Georgia. When these four boys came on stage, I had to giggle a little on the inside. They are the same kind of essential pop punk, fun music that I love as a little guilty pleasure, when I get tired of sounding elitist and listening to indie music. This wonder band was brought into the scene by Bayside’s Anthony Raneri, and has also garnered the attention and support of Taking Back Sunday’s Adam Lazzarra. Their set was full of energetic, pop punk – something you just might want to jump around to. The messages of their songs were all positive, about growth and change, about never giving up on your dreams. In the middle of the set, they played their single, “So This Is Progress,” which features Anthony from Bayside – he came out during his part in the second verse and the crowd went crazy. The band played one more song and then bid the crowd farewell. I have to admit that their sound is very generic, and nothing I’ve never heard before, but something about them made me want to buy their CD – they were gracious on stage, thanking the crowd at every chance, smiling during songs and doing their best to engage the crowd, and that’s what impressed me most.

    The third band was a personal favorite of mine – Valencia. It was hard to come at this set objectively because I love them so much! It seemed like a good portion of the crowd was there in support of this band too, judging from the roar when they ran on stage, one by one to some “introduction” music.  After that, the set was strictly Valencia energy. Frontman Shane Henderson runs around on stage, shaking his head and belting out lyrics like nobody’s business. Guitarists JD Perry and Brendan Walters always do their best to pump up the crowd and interact, and bassist George C (I won’t torture you with his last name) leaned into the crowd frequently to sing along in the faces of fans. They played songs from the new album, like “All At Once,” “Holiday,” and “Where Did You Go,” as well as old jams like “The Space Between” and “Three Thousand Miles.” As always, their set was full of energy and emotion – these five guys really leave everything out on the stage when they perform.

    The fourth band was the highly anticipated band The Matches. This was the first time that I was going to see this band with their newest bassist. They kicked off their set with “Their City,” and the crowd was privy to lead singer Shawn’s somewhat eerie movements on stage, as well as guitarist Jon’s spastic, yet still entertaining dance moves. After that, they played other tracks like “Point Me Toward the Morning,” and “We Are One,” always with their quirky energy that leaves you thinking, “What drugs are they on?” They closed their set with “Papercut Skin,” as they usually do. Overall, their set was good – this band has amazing stage chemistry. Something about their weirdness just works.

    The last band was, of course, Bayside. The crowd went nuts when they took the stage. I was a bit weary, because I had heard on their previous headlining tour that they played a very short set – if they were to do that this night, it would have surely incited a riot. But not to fear – the band ended up playing nineteen songs and left the crowd pleased. They opened up with “Boy,” and covered all of their popular songs including “The Walking Wounded,” “Carry On,” and “Duality.” The crowd was full of energy and the band seemed to be feeding off of this – Anthony jumped around on stage when he wasn’t glued to his mic and Jack and Nick, the guitarist and bassist, respectively, did their part to “rock out” as well. I really enjoyed their set – but from afar, because the crowd was wildly jumping around and my fragile stomach just couldn’t handle it that night. The band closed with “Devotion and Desire,” and then left the stage leaving the crowd sweaty, tired, and satisfied.
    -Kristyn


  8. Rock Band Live Tour in Los Angeles

    October 28, 2008 by Steph

    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


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

    October 17, 2008 by Steph

    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