Driven Far Off

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Boys Like Girls – Boys Like Girls

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Boys Like Girls

Artist: Boys Like Girls
Album: Boys Like Girls
Label: Red Ink / Columbia
Purchase: Smart Punk
Release Date: August 22, 2006

Overall: 9.3
Music: 9.5
Lyrics: 9.2
Production: 9.5

Every year, one band tends to stick out to me more than others. Last year, it was Paramore. This year, it’s Boston’s Boys Like Girls. If pure, hook-filled, melodic, pop music is your thing, then BLG’s self-titled debut is right up your alley.

I can’t stress enough how every track on this album has the potential to be a hit single.
From the opening three songs “The Great Escape,” “Five Minutes to Midnight,” and the first single “Hero/Heroine,” this album screams “next big thing.” The rest of the disc is hook after hook of sugarcoated goodness. Following the tradition of The Academy Is…, Paramore, theAudition, and Hit the Lights, Boys Like Girls are my new favorite sing a long band.

Martin’s voice has a ridiculously varied range. It’s showcased on every song on the album. John, Paul, and Bryan back him up, bringing on some of the best music I’ve heard in this genre since every high school kid with a guitar listened to one pop-punk song and said, “I can do that.”

Lyrically, the songs tackle issues like taking on life head-on, relationships, and making the best of things. If you’re ever feeling down, this album will help perk up your attitude.

This is the Matt Squire production I knew and loved. That other album must have been a fluke.

With a great live show, and an excellent debut under their belts, Boys Like Girls are standing on the edge of being this year’s Panic! or Fall Out Boy, practically begging for mainstream success. If you’re not too much of a snob to admit you like ridiculously poppy music, pick this album up.

Track Listing
1. The Great Escape
2. Five Minutes To Midnight
3. Hero/Heroine
4. On Top Of The World
5. Thunder
6. Me, You, And My Medication
7. Up Against A Wall
8. Dance Hall Drug
9. Learning To Fall
10. Heels Over Head
11. Broken Man
12. Holiday

Brand New – Fight Off Your Demons (The Demos)

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Brand NewԚ 

Artist: Brand New
Album: Fight Off Your Demons (Demos)
Label: N/A
Purchase: N/A
Release Date: N/A (Surfaced Jan. 06)

Overall: 9.3
Music: 9.0
Lyrics: 9.5
Production: Because these are demos, I’ve chosen not to review the production value

FYI:

The ‘album’ I am reviewing is the collection of nine demos that Brand New leaked onto the internet in January, entitled ‘Fight Off Your Demons’. There is much speculation surrounding the demos, including which ones will be included on the new album. You can’t purchase these demos, but they are available for download all over the internet, so you can probably just google it.

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In some of his most lyrically poignant songs to date, lead singer Jesse Lacey seems to take on a few personas as we travel through the nine demos. I’m going to critique each song individually:

Untitled 1 – This is my very favourite demo so far. The opening lyric is absolutely beautiful (Well I wrote your name & burned it/To see the colour of the flame/Well it burned out the whole spectrum/As if you were everything/Mine just burned gold/A normal flame/I am not anything), and the rest of the lyrics don’t disappoint. The music is acoustic & understated, but very complimentary to the soft vocals. The overall tone is poignantly dismayed, and very fitting. The song comes across as very bittersweet, from start to finish when the song closes with “Something dies when you grow older/But you do the best you can/I am glad/I am glad…/You found a good man.”

Untitled 2 – This demo is probably the one that most surprised me. I am well aware of Lacey’s fondness of Morrissey & The Smiths (just listen to Mix Tape, and you’ll know for yourself), but at first listen, I was sort of confused. Was I listening to Brand New, or was I listening to Brand New covering The Smiths? Everything from the intricate lyrics (She was just seventeen/Pious & pretty with a deadly disease/And the weight of the world on her prosthetic shoulder), to the somewhat Morrissey-esque emulated British accent that Lacey sings with, to the anthemic chorus (And so three cheers for my morose & grieving pals/And now let’s hear it for the tears that I’ve welled up/We’ve come too far to have to give it all up now/We live lives that are rich & blessed/And we’ll burn for how we’ve transgressed) just reeks of The Smiths. It’s not neccessarily a bad thing – The Smiths are one of my favourite bands – but there comes a point when emulation becomes creepy. Luckily Brand New are just outside of the grey area on this track (which, consequently, will grow on you – I can’t stop listening).

Untitled 3 – This song starts off sounding a little more like Brand New, though the lyrics seem very forced for the first few lines (So the air’s getting colder/And the news keeps us scared/I still wrestle this summer from the bones of our tired, blistered hands), as though Lacey couldn’t think of anything to open the song, but then they ease into a smooth eloquent flow, yet again. The chorus of the song is catchy, but redundant. A few key lines in this track add great dimension to the lyrics, and it’s anti-war sentiment (‘I’ll be dead before you put a gun in my brother’s hand’).

Untitled 4 – Opens with a very 80s synth vibe, I had no idea what to expect from this track. It has a definite influence from The Smiths, but not overwhelmingly so like Untitled 2. Once the chorus kicks in, you want to sing along. It’s a very up-beat, and happy song, which is rare for Brand New, so it’s a very welcome change of pace. The lyrics are great (I’m happy to admit that maybe I am a little depressed/Cause I’m missing you to death), and Lacey’s vocals are appropriately understated. Just the use of the word posthumously is reminiscent of Morrissey’s style in some ways, and the Van Gogh anecdote is a great touch.

Untitled 5 – This demo starts off very interestingly with an almost celtic sound. As it progresses, it has a great development. The lyrics are seemingly unique and unlike anything else Brand New has done. My favourite part of this song is by far the chorus in which Lacey sings ‘Maybe we will tear you up/Take what you love/ And burn it down/Burn it down/What you swear to build/We swear to come/And burn it down/Burn it down’. Not only the lyrics, but the distinction of the vocal is moving.

Untitled 6 – The song begins with a simple acoustic guitar line, before a beautiful opening vocal comes in: ‘Well I lost my taste for the company of airports & cars/We flew through the year & avoided the dust & the rock’. It’s striking and fitting to the music. This song is again unlike any other that Brand New has released. The vocal layering in the chorus is striking, especially for a demo, and is seemingly very well composed. The music, overall, is haunting and will stick with you long after you finish listening to the song.

Untitled 7 – This song starts off with a very 80s pop sound. The piano is simple, yet striking. The lyrics are great: ‘Well take it easy/Tigers in the cage/Pacing on our pads, and waiting/For the time to come in reverie./Our lazy bones ache for our dowry./Canâ┚¬Ã¢”ž¢t hold on to the thrill./So I hope you find your will to follow through./What weâ┚¬Ã¢”ž¢ve invented, I am now ending./Hold on to who you love./We are tryinâ┚¬Ã¢”ž¢ to blow like dust since we were young./ What weâ┚¬Ã¢”ž¢ve invented, I am now ending.’ Though the piano is very repetitive, it is not annoyingly poignant.Untitled 8 – This song revels in its simplicity and sad lyrics. The general lyrical message is hard to grasp, though. Several vignettes lend to a general lyrical theme, but fail to come together in a culmination. I can’t say the song is bad, though – I can’t say any Brand New song is bad as of yet.

Untitled 9 – The final demo track is one of my favourite. A lyric very appropriate to Jesse Lacey is ‘Please pose my skeletal remains./Give them a working pen/And I will live forever.’ Overall, the song is demure and understated but most definitely worth a listen.
Overall, these demos are beyond the realm of what I thought Brand New was capable of achieving on their third release. If the final recording (speculated to include only one or two of these demos) is anywhere near the creative level of these demos, it’s sure to be one of the best albums released in 2006 (or 2007 should delays continue). It’s a much anticipated album (due out on Interscope), and I can’t imagine it will disappoint.

Nights Like These – The Faithless

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Nights Like These

Artist: Nights Like These
Album: The Faithless
Label: Victory Records
Purchase: Smart Punk
Release Date: June 13, 2006

Overall: 4.0
Music: 4.5
Lyrics: 4.0
Production: 4.0

Just another â┚¬Ã…”hardâ┚¬? band thrown into the Victory Records melting pot. Iâ┚¬Ã¢”ž¢m not a big fan of this CD at all. The longest itself being around 5:05 while the other songs range from a little over a minute to three minutes they donâ┚¬Ã¢”ž¢t give you enough time between to let the wax melt out of your ears. One song meshes directly into the other leaving you there either hearing the same thing or being thrown completely for a loop. The breakdowns are about the only thing that leave you satisfied and the fact that there is no high pitch screaming or screeching.â┚¬Ã…”We Were Meant To Ruinâ┚¬? and the back of melody music was a nice touch. If youâ┚¬Ã¢”ž¢re a fan of heavy and deep growling throughout an entire CD. As much as I dislike the CD, I have a feeling these guys will be maturing within the next few years and will hopefully add a bit of diversity to the next CD.

Track Listing
1. Storming Valhalla
2. Head Of Medusa
3. Destroy The Stairs
4. Scavenger’s Daughter
5. Memento Mori
6. Ghost Town Rituals
7. Symphony For the Plague
8. Bury The Messenger
9. We Were Meant For Ruin
10. Eternal Tempest
11. Let The Waters Overtake Us

Bullets And Octane – In The Mouth of The Young

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Bullets And Octane

Artist: Bullets And Octane
Album: In The Mouth of The Young
Label: RCA
Purchase: Smart Punk
Release Date: April 11, 2006

Overall: 8.0
Music: 7.8
Lyrics: 8.0
Production: 8.0

Gene’s gritty vocals along with the rest of the bands hard hitting drums, executed bass lines, and amazing guitar playing make for the rest of the CD to be a down in the dirt straight up rock and roll album. “Going Blind,” “My Disease,” “I Ain’t Your Savior,” and “Save Me Sorrow” are a hard kick in the face while “Last Mistake” and “Cancer California” take the notch down just a bit. If you’re looking for great guitar riffs check out “Queen Mirage” and “All Hail Halo.” In the mood for something along the lines of a ballad then take a listen to “Bathroom Floor” and by the end of the cd they’re waiting to be back in your face with “Mine Now” which is just as intense as the opening song. This album leaves no fan left unpleased, but left wanting more and more. This album isn’t just great to listen while you’re at home, in your car, or wherever you may be but the entire band executes it perfectly on stage with just as much energy being put off through your speakers.

Track Listing:
1. Going Blind
2. My Disease
3. Save Me Sorrow
4. I Ain’t Your Savior
5. Cancer California
6. Last Mistake
7. Signed In Alcohol
8. Queen Mirage
9. Caving In
10. Bathroom Floor
11. All Hail Halo
12. Mine Now

Between The Buried And Me – The Anatomy Of

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Between The Buried And Me

Artist: Between The Buried And Me
Album: The Anatomy Of
Label: Victory Records
Purchase: Smart Punk
Release Date: June 13, 2006

Overall: 7.0
Lyrics: 7.4
Music: 7.0
Production: 6.8

The first thing that surprised me about this album after putting it in and giving it a listen was the fact that all of these songs were covers. Most would ask why do a cover album when you can put out another great original album. For me, “The Anatomy Of” showed off just how versatile Giles’ voice can get. His voice mimicks originals so well on some of these covers that you could swear it was the original singer. However, some people are put off the fact that why listen to something so just like the other when you’ve heard it before anyway. By putting this album out Between The Buried And Me are introducing their fans to older bands, older songs, and just wear some of these styles of music were introduced. For fans who have listened to the original songs and bands, well you’re in for a treat. This album is packed with vocal twists, acoustics, soulful singing, hardcore choruses, and an all around unoriginal original sound.

Tracklisting
1. Blackened (Metallica)
2. Kickstart My Heart (Motley Crue)
3. Day I Tried To Live (Soundgarden)
4. Bicycle Race (Queen)
5. Three Of A Perfect Pair (King Crimson)
6. Us And Them (Pink Floyd)
7. Geek U.S.A. (Smashing Pumpkins)
8. Forced March (Earth Crisis)
9. Territory (Sepultura)
10. Change (Blind Melon)
11. Malpractice (Faith No More)
12. Little 15 (Depeche Mode)
13. Cemetery Gates (Pantera)
14. Colorblind (Counting Crows) – Bonus Track

Show Review: Brand New F. Colour Revolt

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Brand New

Show Review: Brand New, feat. Colour Revolt
Venue: Kool Haus (Capacity: 2000), Toronto, Ontario
July 22nd, 2006

Let it be hereby known that the best four minutes of my entire nineteen-year existence were spent in the middle of the Kool Haus in Toronto, Ontario belting out the words â┚¬Ã‹Å“gave up my body & bed, all for an empty hotel; wasting words on lower cases & capitalsâ┚¬Ã¢”ž¢ at the top of my lungs surrounded by 2000 other Brand New fans. That, in and of itself, made this one of my top 5 concerts of all time. Now, here is the REAL review of the show:
We got to the concert about a half hour before doors opened. The line-up was already wrapped four blocks around the building. These were dedicated kids. Being the jerk that I am, and having paid my dues in free labour for the music industry, we went inside the venue and put up a bunch of promo posters, thus having primo choice of standing spot. We didnâ┚¬Ã¢”ž¢t punk the good spots â┚¬Ã¢â‚¬Å“ we left those for the kids waiting outside all day, and instead stood just in front of the mixing board, in the centre of the room. The band Colour Revolt was doing their soundcheck at this point, and there were about 10 people in the room, including Jesse Lacey, and two other members of Brand New (it must be noted at this time that I do consider Brand New to be one of my top 3 favourite bands of all time, yet I still canâ┚¬Ã¢”ž¢t recognize all of its members). Anyhow, after watching the band soundcheck and admiring Jesse Lacey from afar (Iâ┚¬Ã¢”ž¢m much too shy to approach him, or any member of most bands, for the record), the doors were open.

We waited for an hour â┚¬Ã¢â‚¬Å“ which was not fun. Then, Colour Revolt took to the stage. After the show, I spoke to a random guy who seemed to know them and found that they are presently unsigned, working off a distribution deal with Interscope records (undoubtedly struck up around the same time that Brand New made the move to Interscope). Their style was very much Coldplay for me, with a bit more of a screaming touch. I enjoyed their set, but found it to be too long for an opening band. They had some amp problems, but to cover for it, the guitarist took it upon himself to lead the crowd in a rousing rendition of â┚¬Ã‹Å“Oh Canadaâ┚¬Ã¢”ž¢. He knew all the words, and being from Mississippi, this was no easy feat. When their set was finally over, I cannot say it wasnâ┚¬Ã¢”ž¢t a welcome finish. Good music, good guys, but an overly long set due to illness from the 2nd opening band.

Brand New opened with Tatou. I was sort of expecting this â┚¬Ã¢â‚¬Å“ itâ┚¬Ã¢”ž¢s definitely just that type of â┚¬Ã‹Å“introductionâ┚¬Ã¢”ž¢ song. I had been waiting to see Brand New do this shit live since I was in the tenth grade, and I was nervous that they would disappoint. They did not.

After Tatou, Jesse seemed to have a few monitoring problems, resulting in a couple off-key notes. He was adjusting his earpiece and playing guitar and trying to sing in-key, all at the same time. By the third song, however, all seemed to be fixed because he was back in key, and singing strongly. I cannot remember the whole set list. I wish I could. I wish I had every second of this show engraved into my brain forever, but I donâ┚¬Ã¢”ž¢t. They played some great songs â┚¬Ã¢â‚¬Å“ The Quiet Things That No One Ever Knows (my personal favourite long before it was released as a single); Play Crack the Sky; Tatou; Guernica; Seventy Times 7; Sic Transit Gloria; The Boy who Blocked his Own Shot; and many more.

It took a fair amount of time for them to delve into material from the first album, but the first song they sang from it (Shower Scene) was phenomenal. This concert is difficult for me to write about because I am continuously tempted to write shit like this:

This concert was fucking AMAZING. WOW! Like when Jesse did that acoustic song, didnâ┚¬Ã¢”ž¢t you love it!? How fucking great was it when he played Guernica!? His voice sounds great live, I was hoping it wouldnâ┚¬Ã¢”ž¢t be bad, and it wasnâ┚¬Ã¢”ž¢t! Iâ┚¬Ã¢”ž¢m so glad they didnâ┚¬Ã¢”ž¢t fuck up the harmonies on â┚¬Ã‹Å“The Quiet Thingsâ┚¬Ã¢”ž¢! WOW! It was just so phenomenalâ┚¬Ã‚¦

No one reading a concert review needs to read crap like that, but it seems that the amazing concert that took place tonight scrambled all of my brain functionality. All I can say is this: You need to see Brand New in concert if you havenâ┚¬Ã¢”ž¢t yet. It should be one of those cardinal things that you absolutely must do before dying. A right of passage into the world of amazing music. Though the rest of the band often took a backseat in the spotlight to Lacey, they are what truly made the show.

Honestly, I promise to revise this review when my brain returns to normal and I can function as a normal human being. I guess you could say Brand New truly blew my mind. We tried to invite Jesseâ┚¬Ã¢”ž¢s little brother out for wonton soup, at the request of Jesse while on stage (â┚¬Ã…”Someone take my little brother out â┚¬Ã¢â‚¬Å“ he has until 3am, so show him a good time. I keep saying this, but no one actually does. They just take pictures with him instead.â┚¬?), but we feared our social credibility would be ruined by the fact that instead of going to get high and drunk with the rest of the Brand New fans from the show, we were, in fact, going out for wonton soup.

Thatâ┚¬Ã¢”ž¢s allâ┚¬Ã‚¦ for now.

The Hush Sound – Like Vines

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The Hush Sound

Artist: The Hush Sound
Album: Like Vines
Label: Decaydance / Fueled By Ramen
Purchase: Smart Punk
Release Date: June 6, 2006

Overall: 9.0
Music: 9.0
Lyrics: 8.5
Production: 9.5

“Like Vines” is the bands first CD “So Sudden,” but with Patrick Stump and Sean O’Keefe on production. With that being said I must say I thought This record was going to turn The Hush Sound into something they are not and taint the bands very original sound, but this record was the best of both worlds. The Hush Sounds originality is still there and always will be, but now with a pinch of Stumps Mainstream hooks , and a dash of Sean O’keefe’s sound board Skills. The piano is worked very well into this CD and is not over produced but kept the way it should be. In my eyes this album shines brightest when both male and female vocals are used in the same song. I love the way “Like Vines” flows every track from male voice to female voice, but theres nothing like “Don’t Wake Me Up,” “Wine Red,” or the end of “What Went Wrong.” Bob and Greta’s solo tracks are also very good, with “You Are The Moon” by Greta being my favorite track on the whole cd.(I get this Willi Wonka vibe from it.) The lyrics I still question… I dig how they are different and not about what everyone else is talking about, but on the other hand it is almost too many happy things to throw in one cd… I mean “magnolia’s, tangerines, vines,skies,and moons” are awesome cause its different, nowadays, but they could have done a lot better on the lyrical aspect. The music is simple but complex which is what I love about the Hush Sound, they are such a chill band but you give them a hot second and they will rock your socks off. If you were a fan of The Hush Sound before you still will be , and if you don’t know who this chicago based band is then go pick up “Like Vines,” it will surely make you smile, maybe too much!

Track Listing
1. We Intertwined
2. A Dark Congregation
3.Sweet Tangerine
4. Lions Roar
5. Lighthouse
6. Don’t Wake Me Up
7. Where We Went Wrong
8. Magnolia
9. Wine Red
10. Out Through the Curtain
11. You are the Moon

Standout Tracks
“A Dark Congregation”, “You are the Moon”, “Don’t Wake Me Up”

Underoath – Define The Great Line

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Underoath

Artist: Underoath
Album: Define The Great Line
Label: Tooth & Nail / Solid State
Purchase: Smart Punk
Release Date: June 20, 2006

Overall: 10
Music: 10
Lyrics: 10
Production: 10

Bands are criticized by their musical captivity on their records, their live performance and stage presence, and their overall interaction with their fans (the most important group of people in the music industry). There are some bands that excel only two of the three with excellence, then there are others that only focus on perfecting one and leave the others blank. It is rare to find a band that is outstanding on recordings, intensely driven with stage presence, and sincerely devoted to their fans. When it comes down to thinking of such a band, there is only one that comes to mind that has captivated each essence with perfection.

Underoath was started when the members were in high school and they just wanted to start a band to pursue their love for music and faith. The music in the beginning was heavy, filled with guitar work and destructive vocals by ex vocalist, Dallas Taylor. The band throughout the years has evolved into one of the most respected rock band that is also changing the way we view music. Underoath has stated that they never make a record twice; they enter the record studio with an open mind and set themselves up with no limitations. Never has a statement been so true then with Underoathâ┚¬Ã¢”ž¢s last record release, Define the Great Line.

Define the Great Line is Underoathâ┚¬Ã¢”ž¢s finest works and can easily be considered one of the greatest records ever to grace human beingsâ┚¬Ã¢”ž¢ ears. In a quick summary, the record is an eleven song compilation of their other records added with a new sound never heard before. The record has the guitar works and overall brutal sound from Cries of the Past and Act of Depression. The record has the instrumental aspects and keyboard usage of The Changing of Times. Lastly, the record has the catchy parts of the song that fans can sing back to the band from Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Underoath has also managed to bring something new to the table with their ability to experiment and see music with no limitations.

This epic record begins with â┚¬Ã…”In Regards to Myselfâ┚¬?, which sets the listener to what is to come from Define the Great Line. The song begins with the sound of an old fashioned projector being turned on. The projector is interrupted by a catchy guitar part and is joined by the highly impressive screams of Spencer Chamberlain. Throughout the song the listener will begin noticing the heavy yet synchronized guitar work that is an improvement from Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Spencer vocals have also improved and the listener is able to notice is wide rage from highs, deeps, and mids. As the song is only getting heavier, drummer and vocalist, Aaron Gillespie breaks free and sings in with a catchy chorus that is overtaken by Spencer, than once again sung by Aaron. The song continues with its heavy essence until it slows down and you hear the perfectly sounding singing of Gillespie. â┚¬Ã…”In Regards to Myselfâ┚¬? is a perfect way to open up the record. It sets the listener up for intensity of the record, the catchy singing of the record, and the honestly written lyrics. With such lines as â┚¬Ã…”What are you afraid of?â┚¬? and â┚¬Ã…”Pull yourself togetherâ┚¬?, it is obvious that Underoath is set with a message to showcase to the world.

â┚¬Ã…”A Moment Suspended in Timeâ┚¬? has less heavy guitar work and brings the listener back to the sound of Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. The singing and screaming is equally used throughout the track. The song has its slow parts that you can sing along to and it also has its energy boosting moments. Overall, itâ┚¬Ã¢”ž¢s a great song that showcases Underoathâ┚¬Ã¢”ž¢s talent and experimentation with the keyboard.

â┚¬Ã…”There Could Be Nothing After Thisâ┚¬? starts out with Spencer with a faint scream with a repetitive guitar rhythm behind him. The song is broken into full force after Spencer says â┚¬Ã…”You want to see me disappear, well so do I.â┚¬? Afterwards there is a catchy, dancing type beat with Spencer screaming in the background. The chorus is split between Gillespie and Chamberlain and catchy like any other Underoath chorus. The song stops 30 seconds before the actual song ends and a soft instrumental begins with the soft sounding, non-distortion guitar and piano keys. Overall, a great song that is slightly progressive from TOCS.

â┚¬Ã…”Ever So Invitingâ┚¬? begins with the hard hitting screams of Spencer Chamberlain with honest lyrics to go along with it. The beginning of this song is filled with catchy singing, keyboard, and more of an upbeat feeling to the essence of the song. The keyboard is strongly used in this song and gives the song an overall upbeat feeling that is not only catchy, but uplifting. This song clearly shows the improvement of vocals from Aaron Gillespie, which isnâ┚¬Ã¢”ž¢t really needed, being that his vocals are some of the best in the music industry already.

â┚¬Ã…”Salmarnirâ┚¬? is the first song Underoath released to the public from Define the Great Line, and an interesting song it was to release first. Itâ┚¬Ã¢”ž¢s slow, and mostly instrumental until you hear spoken word in Russian (at least it sounds Russian). This song is relaxing and serves as an intermission from Underoathâ┚¬Ã¢”ž¢s energy driven songs filled with every aspect that is the band. It gives off an uplifting essence and leaves the listener reflecting on their thoughts.

â┚¬Ã…”Returning Empty Handedâ┚¬? begins with a constant drum roll but is broken by Spencer Chamberlainâ┚¬Ã¢”ž¢s screams. It is easy to see that this song is going to be on the heavy side. The guitar work is outstanding and fast paced and something never seen in Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Spencer showcases once again his amazing wide range vocal ability. The song is slowed down and singing sets up only to be pushed aside by screaming. This song is beautifully written and makes the listener realize how impressive this record is so far.

â┚¬Ã…”Casting Such a Thin Shadowâ┚¬? starts off instrumental, soft and relaxing for the beginning three minutes and forty seconds. The music builds up along with a faint scream from Spencer. This song has more of an epic feeling with the less intense fast paced music but with the brutal screams still echoing inside your ears.

â┚¬Ã…”Moving For The Sake of Movingâ┚¬? starts off faced paced from the beginning and starts off with a mixture of screaming and singing. The song possesses of all the elements of their last two records. The catchy singing, the keyboard beats, the sincere screaming, the beautifully written lyrics.

â┚¬Ã…”Writing on the Wallsâ┚¬? begins with singing from Aaron Gillespie backed up by keyboard beat. Itâ┚¬Ã¢”ž¢s easy to figure out why this was Underoathâ┚¬Ã¢”ž¢s first single. This song is the most from Define The Great Line that sounds like their odd stuff from Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Overall, a great track that balances every aspect that Underoath has to offer, which is a lot.

â┚¬Ã…”Everyone Looks So Good From Hereâ┚¬? is possibly one of the heaviest tracks on the record, filled with fast paced guitar work, pounding drum beats, keyboard beats, and a breakdown that is rarely seen in Underoath. Itâ┚¬Ã¢”ž¢s a short song, but one of the most brutal and guts wrenching.

â┚¬Ã…”To Whom It May Concernâ┚¬? is the last song on the record and it begins instrumental with everything from drums, guitars, and piano. Afterwards, there is chanting sounding singing that is uplifting and hopeful with lyrics such as â┚¬Ã…”So hold your head up high, and know, itâ┚¬Ã¢”ž¢s not the end of the roadâ┚¬?. This part of the song is motivating, inspiring, and enough to have chills running up your spine. The singing stops, the instrumental slows down, and the screaming and heavy aspect of Underoath breaks free. Itâ┚¬Ã¢”ž¢s not as fast paced as the other songs but the heaviness is still there and the intensity and still echoing your ear drums. The screaming is stopped with the last lines screamed â┚¬Ã…”Itâ┚¬Ã¢”ž¢s not the end of the road for youâ┚¬?. The instrumental part from the beginning enters and so does the chant singing more uplifting lyrics, such as â┚¬Ã…”At the end of the road, youâ┚¬Ã¢”ž¢ll find what you are looking forâ┚¬?. This is a perfect way to the end the record. It consists of everything Underoath has brought to the table with this record and it is also one of the most hopeful songs you will ever hear.

Define The Great Line is a record that isnâ┚¬Ã¢”ž¢t made up of eleven singles but made up of eleven songs that compliment each other and only when you listen to the record as a whole, will you begin to understand everything. This is such an epic record that after listening to it twenty times, you still want to listen to it another twenty times. This is one of those records that will never get old. The record is about life and the struggles we face but also how we manage to pull ourselves through the struggles and know that there is always hope for us. From the first track to the last, you are strapped in for a journey that will leave you a different person in the end. The vocals can be taken away from every song on this record and the record will still be outstanding.

Underoathâ┚¬Ã¢”ž¢s Define The Great Line is one of the most beautifully created and talent showcasing records ever released. This record is everything everyone made it out to be and so much more. If this record isnâ┚¬Ã¢”ž¢t already in your CD collection than I highly suggest you go out and by it. You will find yourself listening to it constantly and finding truth and hope in the lyrics. Congratulations Underoath, you have created the record of the century.

Track Listing:
1. In Regards to Myself
2. A Moment Suspended in Time
3. There Could Be Nothing After This
4. You’re Ever So Inviting
5. Salmarnir
6. Returning Empty Handed
7. Casting Such a Thin Shadow
8. Moving for the Sake of Motion
9. Writing on the Walls
10. Everyone Looks So Good From Here
11. To Whom It May Concern

Show Review: Dashboard Confessional, City & Colour, etc.

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Dashboard Confessional

Dashboard Confessional w/ special guests City & Colour and John Ralston
June 30th, 2006
Molson Amphitheatre, Toronto, ON

First things first: NOT the ideal venue for this show. This music deserves to be coddled. To be listened to in a sound acoustic environment with great reverberation. Not a place with concrete walls.

However, the show was popular and therefor, it was held at a larger venue.

John Ralston, a player in Dashboard, took to the stage first. To be entirely honest, I think there were perhaps fifteen people in the entire place that noticed he was on the stage. No lights, no introduction. In my opinion, he has definite talent. He just needs to grasp this talent and project it more fully. Sure, he was the opening act, and the production was understated in an inappropriate venue, but I still feel he could have done more to be noticed. Overall, decent songs, good live performance, but lacking any wow factor.

City & Colour went on next – vocalist/guitarist Dallas Green, accompanied by cousin Nick (sorry, I don’t know his last name! Green, possibly?) on keys, and friend Casey Baker (lead singer of the band Sleeper Set Sail) on guitar. Again I must state that this was a less than appropriate venue. I’ve had the experience of seeing Dallas twice before in intimate bar settings, and it became my understanding that he was easily distracted while performing. Because of this, I did notice the high number of people wandering around, talking, and just all around not paying attention during his set, and found myself wondering if he were getting upset. If he was, he sure didn’t show it.

His performances are always great – strictly because of the overall quality of his vocals, and his playing – but tonight was not his best. He sang his songs, and did a good job, but failed to fully engross the crowd – which he certainly has the talent to do. Again, I’d like to lay blame on the environment. Overall, I’d say his set was well-received but lacked the intimacy it meritted.

Finally Dashboard Confessional hit the stage. The vocals and performance were great. Not only did Chris Carrabba seem into it, but the entire band seemed to be having a great time performing. They played a nice mix of older hits, and new songs, to keep happy older and newer fans alike. Saving their two biggest for the double encore (Hands Down & Vindicated), the only true (and somewhat irrelevant) complaint I have is Carrabba’s on-stage attire: a white t-shirt with tight cream coloured pants doesn’t flatter anyone – especially under the influence of heavy stage lighting. The energy was high, the dynamic was great, and though the sound was alright, the charisma more than made up for it.

Show Review: S.C.E.N.E. Festival – St. Catharines, ON

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Date: July 9th, 2006
Location: Downtown, St. Catharines, Ontario
Line-up: (120 bands – see lineup at bottom of post)

Review:

I had the pleasure of attending the S.C.E.N.E. music festival in St. Catharines, Ontario, this past Sunday. While it was my first SCENE, I had high hopes as I had heard good things about the festival from years past.

Major highlights of the show: City & Colour and Alexisonfire both put on great shows, as per usual. The Black Lungs were incredibly entertaining. Ken Reaume’s acoustic songs were perfect for the setting in which he played. Sail Boats Are White have an INSANE amount of energy. Johnny Truant packed the venue like I’d never before seen, and did not disappoint.

Disappointments of the show: Crowded venues prevented from truly enjoying the music, because you were constantly dealing with pushing, and sweating. I missed two of my favourite acts due to venues that were at capacity, so it may be important to re-evaluate who should play where, to ensure as many people as possible can see their favourite bands.

The great thing about SCENE is its concept. There are 120 bands, a whole bunch of venues, and a main market where all the merch and big shows go down. If you’re one of the first however many to arrive, you get a free festival CD. The customizable schedule, and easy to read maps make it easy to navigate, even for out-of-towners such as myself. I was also pretty surprised at the quality of most of the venues. Not one dive bar in sight! For a smaller place, the bars seemed great!

The staff of the show were like none other. We had a minor ticket fiasco upon arrival, and though I didn’t get her name, the woman in the red shirt that seemed to be in charge took great care of us. Instead of brushing us off, she apologized profusely and even went so far as to get us each a free autographed City & Colour t-shirt, and some Alexisonfire pins. Definitely above and beyond the call of duty. The security and venue staff were all very friendly and able to help when seeking venues, etc.

As far as bands go, there were only a few disappointments. While I obviously didn’t get to see all 120 bands, the few I did make it to see were exceptional.

City & Colour had yet another stellar performance. The one drawback lay with whomever was mixing the sound on this set. There was far too much bottom end, which completely drew my attention away from the guitar and keys, as well as the soft vocals. It would have been nice if the problem had been corrected but unfortunately it continued throughout the set, at no fault of the performers. There was also a fair amount of feedback, and as Dallas Green put it, ‘a thunder storm in my monitor’. (www.myspace.com/dallasgreen)

After City & Colour, we went to check out The Black Lungs. This band is simple: Wade (from Alexisonfire), and Sammi Bogdanski (on keys). While Wade carried the show through his guitar, vocals, and on-stage banter, Sammi’s piano skills did not go unnoticed. The bar was packed for this set, and I loved the venue, but was fairly upset when a group of people at the back took to cheering for the World Cup over paying attention to the set. It was nothing less than rude, and even Wade brought that to light several times. Regardless, the music was great. (www.myspace.com/dirtyblacklungs)

After the Black Lungs, we tried to get into a venue to see Casey Baker (lead singer of Sleeper Set Sail). Unfortunately, the venue was at capacity long before we arrived – much to our disappointment. Luckily, I have seen Casey’s set before. While often awkward on stage, his songs fortunately compensate. He’s definitely worth checking out. (www.myspace.com/caseybakermusic)

After Casey, we managed to work our way into the Johnny Truant set. PHENOMENAL. These guys are THE next big thing in metal. Recent album release, great stage presence, and tight music. Although the venue was INSANELY hot and overpacked, it was well worth it to catch just a few of their songs. (www.myspace.com/johnnytruant)

Post-Johnny Truant, we made our way back to the Market Square. We were tired, and there were too many bands left to choose from, so we decided to chill and see what was going on at the main stage. Much to our pleasure, we caught some freestyling from Bukue One. Though not the biggest hip-hop fan, I have to say he was great. He stayed on with Del Tha Funky Homosapien, and while it’s my understanding that Del is the more popular of the two, I have to that Bukue was the one with the ‘wow factor’.

An unlively performance by Magneta Lane followed. While the girls sounded great live, the constant look of boredom on the bass players’ face simply made it look like they weren’t enjoying themselves. How can fans enjoy themselves when the musicians aren’t even into it?

After them, Alexisonfire took to the stage. Energetic, lively, and loud – they were polar opposites to the Magneta Lane set. Always great live performers, the guys didn’t disappoint. They played a mix of older songs, as well as three off their upcoming album ‘Crisis’. The only disappointing part of the set was the general disregard for others that came from the crowd. Lead singer George made a point of telling everyone to help each other out, but the crowd was overly rough to the point that those of us standing farther away were even getting trampled unnecessarily. It was a great preview of the new album, though, and that more than made up for the beating I took.

Next we wandered off to see A Northern Chorus – another chill band I’ve had the pleasure of seeing live before. Good thing – their WAY TOO SMALL venue was at capacity. This is definitely a band that should have been given somewhere bigger and more prominent to play, and it was sorely disappointing that so many missed their set.

We checked out a few songs by Sailboats are White – whom I can be blunt about. The music is amazing; the vocals leave something to be desired. I’m not usually one to misunderstand music, but this concept leaves me out in left field. I just downright don’t understand the appeal. But hey, to each his own.

Following them was Ken Reaume. My first time seeing him live, and he didn’t let me down. Soft-spoken and quiet, the music was relaxing and well-played. Though because his set was not well-attended, many missed out on some great songs.

Though we wanted to stick around for Raising the Fawn, we had a two hour drive before us, and work in the morning. So sadly, I missed them as well, but I am trying to catch a set sometime in the near future.

Overall, SCENE was draining and entertaining. A long day, but definitely worth the money (only $25! HOLY CRAP!) and the time. One of the best indie festivals I’ve been to.

Band listing:
11 Minutes Away
4 Barrell
A Minute Till Midnight
A Northern Chorus
Alexisonfire
Andy Moog & The Sausage Party
Arise & Ruin
Attack In Black
Baptised In Blood
Black Lungs
Boys Night Out
Brett Friesen & The Great Lakes
Bronx Cheerleader
Cadence Weapon
Cain And Abel
Casey Baker
Ceremonial Snips
Cities In Dust
City And Colour
Clothes Make The Man
Crush Luther
Damn 13
Dance Yourself To Death
Dead Letter Dept.
Del Asher
Del Opener
Del Tha Funky Homosapien
Die Driving
Die Mannequin
Disgruntled Employees
Dodger
Doris Day
Eden Ants
Erick Von Erick & The Raving Psycho’s
Everlea
Everything Was Perfect
F.Y.I.
Femme Generation
Fever Out!
Fucked Up
Fuzz Bug
G Spot Unit
Groovy Food
Hardcore Warrior
Holiday
Hostage Life
Inferis
Ion Dissonance
Jamie Hunter
Jay Maillard
Jesse T. Reid
Johnny Truant
Keep It Up
Ken Reaume
Kendra Ford
Kover
Las Tarantulas
Late Fallen
Levee
Magneta Lane
Marco Defelice
Mark Vida
Matinee Slim
Maximum RNR
Means
Meesh
Million Dollar Marxist
Momentus
New World Son
No Buddhas In Texas
Overfiend
Policies And Procedures
Public
Rad Affair
Ragni
Raising The Fawn
Rammer
Random Projectors
Romeo Liqour Store
Rosesdead
Rum Runner
Ruth’s Hat
Sail Boats Are White
Scandalnavia
Screamin’ Black Cadillacs
Shade
Shock Nagasaki
Sights Unseen
Siren Street Shutdown
Skullkrusher
Sleep The Season
Slute
Soap Opera Coma
Socialight
St. Alvia Cartel
Starlit Lounge
Summer Of 92
Surplus sons
The Anti-Q’s
The Artist Life
The Audio Visuals
The Bang Theory
The Bob Heath and the Staggering Drunks
The Cheap Suits
The Creepshow
The End
The Februarys
The Flatliners
The Gorgeous
The Infinite Machine
The Junction
The Mahones
The Matadors
The Minatures
The New Cities
The Perms
The Reason
The Regards
The Ride Theory
The Satelite State
The Stick Up
The Terminal Wally’s
The Video Dead
TheCauseâ┚¬Ã‚¦IfAnything
Throck Morton
Tokyo Police Club
Trigger Incident
Truth And Rights
Two Knives
Vanmarines
We Want Barrabas
Word People