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Against Me! – New Wave

August 3, 2007 By A. Renteria Leave a Comment

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Artist: Against Me!
Album: New Wave
Label: Sire Records
Purchase: Smart Punk
Release Date: July 10, 2007

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

Against Me! is one of folk-punk finniest bands out there today. Fronted by Gabel for almost a decade now, Against Me! New Wave is not a renovation of their usual sound —given the fact that this is their major label debut.

New Wave is stimulating. That is one way of putting it. This album may not be totally new, but it’s Against Me! at their best. One thing that’s new from Against Me! on this album is that they have a summer romance song featuring Tegan from the Tegan and Sara on “Borne on the FM Waves of the Heart”. The song is actually quite good, but a little to long, you will find yourself dragging slowly to the very end. One thing that you are sure to find on New Wave are their political/culture charging lyrics their known to sing about. From their single “White People for Peace” to title track “New Wave” they have a way making their songs sound not too preachy while still getting a message out. The album I think is awesome from start to finish. When I listen to it, I hear progression as songwriters not sellout music as some of their fans may think. If people say they lost their passion, they must have not listened to the songs. The record is great and I advise new and old fans to pick up a copy.

Track Listing
1. New Wave
2. Up the Cuts
3. Trash Unreal
4. White People for Peace
5. Stop!
6. Borne on the FM Waves of the Heart
7. Piss and Vinegar
8. American Abroad
9. Animal
10. The Ocean

Filed Under: Album, Reviews Tagged With: Against Me, New-Wave, Sire-Records

Tokyo Rose – The Promise in Compromise

July 30, 2007 By A. Renteria 4 Comments

The Promise in Compromise

Artist: Tokyo Rose
Album: The Promise in Compromise
Label: Sidecho Records
Purchase: Smart Punk
Release Date: July 31, 2007

Overall: 7.0
Music: 7.0
Lyrics: 7.0
Production: 8.0

Tokyo Rose’s new album The Promise in Compromise begins with an upbeat lively sound and you instantly know this New Jersey based pop-rock band made an album different from what you’re used to hearing from Tokyo Rose. Although it’s more upbeat, you still get that feel that what you’re listening to is Tokyo Rose. The first two tracks the vocals, sung by Ryan Dominguez will win you over and will make you feel like singing along — that’s a good sign.

By track three, I begin to feel comfortable with the melodies, but “We Can Be Best Friends Tonight, But Tomorrow I’ll Be…” is probably the catchiest song I’ve heard from Tokyo Rose and probably the reason why it’s their first single. The melodies, once familiar, would probably get stuck in your head. This song is poppy stuff though, comparable to The Higher.

Track 5, “Right as Rain,” slows it down a bit — but still keeps the album steady during the chorus.

“611 Life Lesson” the next song, jumps back to the upbeat sound touching on the subject which every pop-rock band has a song for, relationship problems. “There’s only so much more that a boy could take of this…there’s got to be a price to pay when you walk away.”

The next two tracks, “Can I Change Your Mind” and “Swimming with Sharks” are good and “Swimming with Sharks” is one of my favorite tracks. The music is fun; I’d like to be a car driving in the sun listening to this. I’m also sure their shows will be great.

Skipping to the second to the last track “I won’t Say It” reminds me of their sound on their previous two albums.

Overall, I think this is a fine collection of pop rock. Catchy melodies, delicate production, a soft touch. There isn’t enough power to really drive these songs into my head after only one round with the album, but I think this could grow into an enjoyable record.

Track Listing
1. Less Than Four
2. The Promise in Compromise
3. We Can Be Best Friends Tonight, But Tomorrow I’ll Be…
4. A Pound of Silver Is Worth Its Weight in Blood
5. Right As Rain
6. 611 Life Lesson
7. Can I Change Your Mind?
8. Swimming with the Sharks
9. Call It What You Like, Just Leave Us Out Of It
10. I Won’t Say
11. Seconds Before The Crash

Filed Under: Album, Reviews Tagged With: Sidecho, Tokyo-Rose

Yellowcard – Paper Walls

July 25, 2007 By Adam Weidman Leave a Comment

Yellowcard

Artist: Yellowcard
Album: Paper Walls
Label: Capitol Records
Purchase: InterPunk
Release Date: July 17th, 2007

Overall: 8.0
Music: 8.5
Lyrics: 7.0
Production: 7.5

Don’t call it a comeback… or maybe you can. With 2003’s smash hit Ocean Avenue catapulting Yellowcard into the mainstream culture. It’s follow up, last years Lights and Sounds, which fell upon deaf ears and eventually was chalked up as a commercial failure. This in turn subsequently took the band out of the spotlight and back to the drawing board. Not even 10 months after the release of Lights and Sounds Yellowcard headed back to the studio to begin writing their next record. What emerged from those sessions was the captivatingly titled Paper Walls, a narrative opus of raw emotion, hope, healing and self-discovery. The record showcases the group at their absolute best, with a thorough display of energy, passion and force on each song.

Paper Walls begins with the blistering track “The Takedown” which will immediately induce head-bobbing even in the most fickle of music fans. The song makes for a solid opener, although the sometimes muddled guitars leave a little more to be desired. The first taste we received of Paper Walls was “Fighting” and I feel that it represents the band perfectly at this point in time. Being the definition of polished pop-punk it is truly my favorite song on the record. Where “Shrink the World” keeps things up-tempo and completely heartfelt with the reiterating statement of “if I could then I’d shrink the world tonight so that I would find you and me inside.” I believe the standout track to be the intensely personal and introspective “Keeper” where the melody is rich and entrancing. The potential is definitely there for this song to be a big hit in the second half of ’07. The first single “Light Up the Sky” which brings forth the resurgence of that familiar Yellowcard sound by way of expert violinist Sean Mackin. As his musicianship remains prevalent in the overall sound and should appease those who felt he was underutilized on Lights and Sounds. The acoustic-laced ballad “Shadows and Regrets” reflects heavily upon the passing of a close friend. The sad overtones strangely enough happen to serve as a platform as some of the group’s best work. The breakneck pacing of “Five Becomes Four” simply proves the band can still write a genuine rapid punk rock song that as always features their signature Yellowcard flair. On “Afraid” Ryan Key continues to lament and open up as he questions “what if I can’t get out? what if I don’t want to be saved?” and states “this is me afraid.” Unexpectedly Paper Walls comes to a halt with the song “Dear Bobbie” an ode to Key’s grandparents and their love. Featuring audio recordings of his grandfather reading excerpts of love letters to his wife. The subtle string arrangement mixed with the acoustic guitar creates a perfect tone. The song as a whole can only be described as beautiful, and the admiration only continues to carry on with “You and Me and One Spotlight.” As the end of the album nears “Cut Me, Mick” which pays homage to the film Rocky; highlights the drumming of the one and only Longineu Parsons. The title track closes out the record with precise fashion; as a sole acoustic guitar is backed by an all female choir. Then abruptly the group breaks into the anthemic jaunt. For me everything is simply summed up with the abstract yet prophetic line “let’s take what hurts and write it all down on these paper walls in this empty house and when our ink runs out we’ll burn it to the ground.”

As the music is fading from the speakers I am left to reflect upon what I just listened to. I admit to never being the biggest Yellowcard fan, but with Paper Walls the band has won me over. It may take some time but with songs of this caliber Yellowcard can undoubtedly breakdown the walls and reclaim that which has eluded them. Whether it can be defined as a “comeback album” or not the only concrete fact is that Paper Walls is purely a great record.

Track List
1. The Takedown
2. Fighting
3. Shrink the World
4. Keeper
5. Light Up the Sky
6. Shadows and Regrets
7. Five Becomes Four
8. Afraid
9. Date Line (I Am Gone)
10. Dear Bobbie
11. You and Me and One Spotlight
12. Cut Me, Mick
13. Paper Walls

Filed Under: Album, Reviews Tagged With: capitol-records, yellowcard

The Starting Line – Direction

July 18, 2007 By Tyler Hayes 1 Comment

The Starting Line Direction

Artist: The Starting Line
Album: Direction
Label: Virgin
Purchase: Smart Punk
Release Date: July 31st, 2007

Overall: 7.5
Music: 7.0
Lyrics: 7.0
Production: 8.0

I guess 2007 is the year of redemption and come back. With several bands finding their way back to the styles that gave them their original fame. The Starting Line is the latest to (excuse the pun) find their direction.

The starting line don’t play copy cat with their previous work they simply build off it and focus their sound to something that is mature and unique to them. “Direction” the title track off the record leads off the record with heavy guitars and harder vocals than is typical for the band but lines up with all other tracks on the record. Harder music and thicker melody seem to be the tone the band stuck to while writing the latest effort. “Are You Alone” is the third track deep on the record and right from the beginning has a slower and darker feel to it with the chorus begging the question “are you alone”? “Island” is vastly different with an upbeat feel to it that makes it a perfect summer song.

The album as a whole has a self reflecting theme to it. Songs like “I Could Be Wrong” and “Somebody’s Gonna Miss Us” being the most obvious with the songs being about the bands touring and how people will miss them when one day they aren’t a band anymore. The best stand out lyric has to be in the song “Somebody’s Gonna Miss Us” when Kenny sings “…If you can’t relate and refuse to sing along then maybe I can interest in some other song [a little something like] all that she wants is another baby”.

Starting Line fans will thoroughly enjoy this album and it will be in your top 10 for the year. Others of us who aren’t die hard Stating Line fans will definitely enjoy this record but my feeling is that it feels to short and it seems to not have a very long replay value.

Tracklisting
1. Direction
2. 21
3. Are You Alone
4. Island
5. Hurry
6. Something Left to Give
7. Birds
8. Way With Words
9. I Could Be Wrong
10. Somebody’s Gonna Miss Us
11. Need To Love
12. What You Want

Filed Under: Album, Reviews Tagged With: The Starting Line

Mayday Parade – A Lesson in Romantics

July 18, 2007 By Adam Weidman 1 Comment

Mayday Parade

Artist: Mayday Parade
Album: A Lesson in Romantics
Label: Fearless Records
Purchase: InterPunk
Release Date: July 10th, 2007

Overall: 8.0
Music: 8.5
Lyrics: 7.5
Production: 8.0

With the summer heat blasting outside and thousands of concertgoers flocking to Warped Tour it’s truly peak season for pop-punk. It’s funny to think that it was just a year ago that Mayday Parade spent their summer with backpacks full of CD’s and iPod’s firmly in hand. As they walked up and down the lines of kids waiting to enter the esteemed summertime concert series. The band would sell CD’s to anyone who would stop and take a listen. By the conclusion of the 2006 Vans Warped Tour Mayday Parade made 10,000 new fans without playing a single show. Shortly after, California based Fearless Records took notice of the group and quickly signed them. Tales Told By Dead Friends was re-released in November of ’06 and to date has sold over 20,000 copies. After months on the road it was time to record their first full length record. Entirely prepared with an arsenal of fresh songs and a pair of top tier producers at the helm, Mayday Parade took to the studio.

The result is A Lesson in Romantics, featuring an abundance of perfectly punctuated pop-punk gems. Leading off with the cover “Jamie All Over” which was originally preformed by Kid Named Chicago, but Mayday Parade has certainly taken the song and made it their own. “Black Cat” compared to previous work displays an altered sound, that highlights fantastic guitar work; culminating in a breakdown that defines shredding. The song “When I Get Home, You’re So Dead” is a redo and originally found on their debut EP Tales Told By Dead Friends, the new version provides a new dynamic with a powerful feel; not to mention a much better recording quality. On “Jersey” the lyrical content shines through “Cause Jersey just got colder and I’ll have you know I’m scared to death. That everything that you had said to me was just a lie until you left.” The album charts a different course with “If You Wanted a Song Written About You, All You Had to Do Was Ask” as mid-tempo bass line creates the perfect flow for the track. Where “Miserable at Best” is piano infused ballad at it’s best, with the vocals resonating back and forth “But I guess that I can live without you. But without you I’ll be miserable at best.” Following, Romantics picks back up to speed with a good amount of hooks and solid drums as well as flawless form fitting vocals. The title of “I’d Hate to Be You When People Find Out What This Song Is About” is a bit too generic for my taste but the musicianship is anything but. At this point I personally feel that the CD loses a bit of momentum, but the track “Champagne’s for Celebrating (I’ll Have a Martini)” brings everything back around. A Lesson in Romantics comes to a close with “You Be the Anchor That Keeps My Feet on the Ground, I’ll Be the Wings That Keep Your Heart in the Clouds” where you can feel all the emotion pouring out of the instruments and onto the record.

It’s safe to say that Mayday Parade has all around stepped it up with this album, illustrating their maturity and growth. The lyrics are quite reflective and the music can only be described as strong, while at the same time that irresistible catchiness remains. With exceptional and visually intriguing artwork, A Lesson in Romantics may just be the complete package. Being one that can provide the soundtrack to these mid-summer memories.

Standout Track
Jamie All Over

Track List
1. Jamie All Over
2. Black Cat
3. When I Get Home, You’re So Dead
4. Jersey
5. If You Wanted a Song Written About You, All You Had to Do Was Ask
6. Miserable at Best
7. Walk on Water or Drown
8. Ocean and Atlantic
9. I’d Hate to Be You When People Find Out What This Song Is About
10. Take This to Heart
11. Champagne’s for Celebrating (I’ll Have a Martini)
12. You Be the Anchor That Keeps My Feet on the Ground, I’ll Be the Wings That Keep Your Heart in the Clouds

Filed Under: Album, Reviews Tagged With: Fearless Records, Mayday Parade

Sound The Alarm – Stay Inside

July 17, 2007 By Bryce Jacobson Leave a Comment

Sound The Alarm

Artist: Sound The Alarm
Album: Stay Inside
Label: Geffen
Purchase: InterPunk
Release Date: July 17, 2007

Overall: 7.5
Music: 8.0
Lyrics: 7.5
Production: 8.0

Pop rock has been one of the faster moving genres these past few years but what about that 90’s pop rock that use to be on every radio station back in the day? Sound The Alarm’s first full length debuts with tracks like “Picture Perfect”, and “Stay Inside” that ring of that 90’s pop rock sound made popular by bands like Third Eye Blind and Stroke 9. Other tracks like “Suffocating”, and “If I Told You” are the perfect fit for todays pop rock fans. “Closer”, the opening track on the album is one that sucks you in with it’s catchy guitar riffs and sing along lyrics. “Suffocating” is perhaps my favorite track along side “Stay Inside” both of which pour out everything Sound The Alarm are good at (catchy riffs, sing along lyrics, classic pop rock sound).

When it comes to summer albums its always good to mix something like Stay Inside in with your mix of other pop rock and cruising albums. The band shows a lot of talent for being young and you should expect to hear a lot more about them in the future.

Track Listing
1. Closer
2. Picture Perfect
3. Suffocating
4. Stay Inside
5. Until We Collide
6. Fact Or Fiction
7. Telling Lies
8. If I Told You
9. Count On Me
10. Something New
11. Blame It All On Me
12. Fight For…

Filed Under: Album, Reviews Tagged With: Sound-The-Alarm

Good Charlotte – Good Morning Revival

July 11, 2007 By Andrea Hubbell 2 Comments

Good Charlotte

Artist: Good Charlotte
Album: Good Morning Revival
Label: Epic Records
Purchase: Smart Punk
Release Date: March 27th, 2007

Overall: 7.0
Music: 5.0
Lyrics: 8.0
Production: 8.5

Frankly, Good Charlotte’s fourth and most recent album, “Good Morning Revival” disappointed me, not just as a critic, but a fan. Like many other listener’s of the Waldorf, MD based band, I began listening to Good Charlotte in 2002, when their second and perhaps most popular CD, “The Young and the Hopeless” was released. Their second album appealed to many because of the broad range of relatable topics it covered, its good vocals and great harmonies, and mainstream heavily guitar-incorporated sound. Their first album, although less notable on the popularity front and perhaps less well-formed, started that appealing trend, that continued until their third album, “The Chronicles of Life and Death” was released in 2004. There were many likeable songs on this album, most notably including three popular singles off of the album: “I Just Wanna Live”, “Predictable”, and “We Believe”. Although it seemed that on their third album, there were many mediocre songs that could have been cut out of the album to adjust the focus to some better quality tracks, I found “The Chronicles of Life and Death” mostly likeable.

Good Charlotte’s “Good Morning Revival” just does not seem to be up to par in comparison to their previous albums. Perhaps GC was trying too hard to top their other albums—something that, admittedly, would be difficult to do. Or perhaps the band was trying to follow a trend that seems to have come about with many alternative bands, and change their style, something that is perfectly understandable. I just did not feel that their new, generally more techno-like, modern sound and more raw vocals was carried out in the best way possible. Many of their songs had a tune that I just couldn’t seem to find likeable, although there were, as there are in most albums, a few exceptions. “The River”, “Something Else”, and “Broken Hearts Parade” had tunes, vocals, instrumentals, and overall sound that I could certainly appreciate.

The themes that Good Charlotte focused on in this album within their lyrics also changed from topics ranging from suicide to love life to difficult family life to something entirely different. Something that this album certainly seemed to focus on was the fakeness of people and the upper-class society, although GC continued to have songs remarking upon, like most bands, love and heartache. The lyrics were, although perhaps predictable, of good taste and message, and not at all something people wouldn’t appreciate.

It stills remains, however, that overall I felt this album wasn’t of the high quality that I, among other fans, have come to expect from Good Charlotte. It wouldn’t be on my list of album recommendations; however, that is not to say that others may feel differently about this album and the band’s progression, or, perhaps, lack of progression.

Filed Under: Album, Reviews Tagged With: Good Charlotte

The Junior Varsity – Cinematographic

July 3, 2007 By Adam Weidman Leave a Comment

The Junior Varsity

Artist: The Junior Varsity
Album: Cinematographic
Label: Victory Records
Purchase: Smart Punk
Release Date: June 19th, 2007

Overall: 7.5
Music: 8.0
Lyrics: 7.5
Production: 7.0

Back in May I was lucky enough to get a preview of Cinematographic as The Junior Varsity took to a corner of a neglected gymnasium in a sleepy college town and played a string of tracks from their latest release. The record showcases a great deal of all around growth for the group. Much has transpired in the years between 2005’s Wide Eyed and the present, they have seemingly taken it all in and let it all back out with Cinematographic. A dozen well-crafted tunes comprise the disc, ranging from spacey/eerie tones to more straightforward hard-hitting rock. Thus securely placing The Junior Varsity as one of the top alternative bands in the indie scene today.

As the record begins a subdued and indistinct guitar plays; following a few bars it subsequently rings out until all of the instruments come in. This serves to set the tone for “I Went Blind” a song that is both sonically corpulent and precisely paced. The first single from the record, “The SKY!” produces vivid imagery that is painted with each line delivered by vocalist, Asa Dawson. Reflection appears to be the basis behind “Wunderdrug” as the lyrics evoke a tale of youthful escapades, from building igloos to climbing trees in suburban Illinois. I can safely say that “St. Louis” is my favorite song, I really enjoy the line “well how could I grow tired of being useless/when the more I work, the more I lose it/this could be the life inside of you.” Unfortunately “The Greatest” falls short of being just that. However it’s more than made up for, as the the social conscience of modern living is taken to task on the compelling and textured track “The Importance of Being Important.” Flowing impeccably into the instrumental “Memory Made Easy” which features a beautiful acoustic guitar backed by a charming string arrangement. On the song “Try to Define” I feel that the band virtually channeled Jimmy Eat World, as it is so skillfully arranged and layered.

Overall Cinematographic is a relative change for the group, but the title track is a genuine departure. Highlighting Nick Dodson on saxophone, the song remains low key and allows the lyrical content to provide the largest impact. Showcasing shades of a familiar sound “Lungs” is a welcome addition, but becomes slightly unsettling to the ears as the chorus hits. The album comes to a close with “Under the Radar” delivering powerful lines such as it’s all wrong again and now it all comes back to you/you’ve got to find a new meaning, a higher view.” Marvelously charged and brilliantly vibrant, Cinematographic plays out like a sonic film, scene by scene and song by song. With prevalent themes of the afterlife, struggles with power and those that hold it, not to mention the unnecessary items that take control of our lives. In this summer heat, The Junior Varsity has not only given us all something to listen to but to think about as well.

Track List
1. I Went Blind
2. The SKY!
3. Wunderdrug
4. St. Louis
5. The Greatest
6. The Importance of Being Important
7. Memory Made Easy
8. Try to Define
9. Cinematographic
10. Lungs
11. Lifted
12. Under the Radar

Filed Under: Album, Reviews Tagged With: the-junior-varsity, Victory Records

Honda Civic Tour – June 4th, 2007

June 21, 2007 By Andrea Hubbell 1 Comment

At the beginning of the month at the renowned venue Merriweather Post Pavilion one of the most highly anticipated musical events in the DC area so far this year occurred. On June 4th, 2007, the artists featured in this year’s Honda Civic Tour, an annual tour generally featuring rock-genre bands, performed in Columbia, Maryland. This year’s lineup featured The Academy Is…, Cobra Starship, +44, and Paul Wall, with the headlining act of the recently famed band Fall Out Boy: a diverse artist selection that certainly attracted a diverse, not to mention large, crowd.

As would be expected, an incredible amount of fans and concert attendees arrived early, greatly anticipating that evening’s show. This excitement was somewhat forgotten when the tour buses pulled up, and gaggles of fans also predictably rushed to the gates to screech at those exiting the vans. Mark Hoppus of +44 attracted a lot of screaming and swooning as he appeared from the highly noticeable, cartoon-covered +44 tour bus, although he seemed not to notice, and ignored the excited fans. Paul Wall, however, chose not to ignore the fans as he, a few hours before the show, left the venue, being driven in a car presumably to the hotel the bands were staying at. As fans (mainly girls) surrounded his ride, he waved and, of course, flashed his “grillz” at those squealing to him. To the fans that were waiting expectantly at the gates where the tour buses were in view, it was a disappointment that no members of Fall Out Boy appeared, although Victoria Asher from Cobra Starship was spotted briefly. Others remained at their places in line, clearly hoping to, when the gates were to open at five, manage to snag the places with the best view. Many a fan was not only sporting band merch, but also maybe a sign or a homemade T-shirt conveying individual messages to Pete Wentz: a tribute to his birthday the following day.

Although perhaps an hour before the show, heavy rain began to soak those waiting for the show who hadn’t brought umbrellas and jackets, and Cobra Starship, who were going to see the fans before the show weren’t able to appear, no one’s spirits were dampened. Maybe that was because around this time, wristbands for the pit and seating were being handed out, and excitement was definitely building.

Finally, at approximately five (the show started early presumably because of the amount of opening artists), the gates opened, and, ignoring the mud and heavy rain, concert attendees streamed inside, racing each other for the most elite spaces. Members of Fall Out Boy’s fan club were allowed in five minutes early, so many front row spaces in the large, maximum-packed pit were already consumed when the majority of the crowd rushed in. Pushing and shoving, after the first few minutes when everyone got settled in the crowd, was not at all a problem; mostly everyone seemed to be practicing concert courtesy, and few moshed throughout the performances (those who caused a fuss being lifted out by concert security). However, crowd surfing, once the performances began, was a definite trend, and few were dropped until they reached the barrier.

It took some time, however, for the first performers to begin, due to the rainwater streaming off the canvas shielding the pit down into the pit and in front of the barrier. Cords and equipment had to be relocated, obviously so the water wouldn’t damage anything or electrocute anyone. Soon enough the rain settled, as did those located on the lawn, and the show began, each artist or band throughout the show being well received.

Opening the show was Cobra Starship, the up and coming band whose musical style has been described by frontman Gabe Saporta as “punk-rock Justin Timberlake”. Whatever their genre was, the performance of the unique-sounding Cobra Starship was incredibly well liked by the crowd, many of who had never heard the band prior to that evening. Gabe Saporta had great stage presence. His gift for singing and lyric-writing meshes with the unique sound of the very talented instrumentalists (Alex Suarez on bass, Victoria Asher on keytar, Ryland Blackinton on guitar, and Nate Novarro on drums) to create music that, when performed, if this show was any example, triggers a lot of excitement and an equal amount of dancing and singing. The best received and most well known song that Cobra Starship performed was “(Bring It) Snakes on a Plane”. Something that may have and probably contributed to this was the fact that, during this song, both frontman of The Academy IS… William Beckett (who does vocals for the chorus in this song) and Paul Wall (who filled in for Travie of Gym Class Heroes, who typically does the rapping in “(Bring It) Snakes on a Plane”) made appearances.

Next in the lineup was rapper Paul Wall, accompanied by another rapper and keyboarder. His performance was probably the least well-received, but that is not in any manner a strike against him, since he was performing in front of an audience with, based on the styles of the majority of the artists they chose to see this evening, more of a rock-genre taste in music. He, like Gabe Saporta, had good stage presence. Members of the audience were certainly pleased when he distributed a number of free grillz.

Paul Wall’s grillz were not the only free merchandise to be distributed. Between performances, various activities occurred onstage, including free clothing and other merchandise being shot at the audience through a large gun-like contraption.

Following Paul Wall was an uprising band from Chicago known as The Academy Is… . William Beckett followed his first brief performance with an equally crowd-satisfying one, his one of a kind voice as pleasing as the sound of the generally mellow instrumentals produced by his equally talented fellow band members. The crowd was especially interested in TAI’s performance of “Slow Down”, “We’ve Got A Big Mess on Our Hands”, and “The Phrase that Pays”—three popular singles of theirs.

By the time +44 got onstage, the crowd, perhaps growing weary of standing, was beginning to get antsy in anticipation of Fall Out Boy’s performance. However, +44 successfully recaptured the audience’s attention for the time in which they were onstage, playing a number of songs that the crowd both knew and enjoyed. Some numbers that were particularly crowd-pleasing including “Your Heart Stops Beating”, “Baby Come On”, and “Dammit”. That particular song was not in fact by +44, but by Blink 182, the renowned former band including two of +44’s band members, drummer Travis Barker and frontman Mark Hoppus. Victoria Asher of Cobra Starship made a surprise appearance for the song “Make You Smile”, a popular +44 song including female vocalist Carol Heller, which Asher carried out fantastically.

Although all of the acts prior to the headlining act were very much so enjoyed, many in the audience were in huge anticipation of the appearance and performance of Fall Out Boy. Fans grew impatient at the long stretch of time between +44 and Fall Out Boy’s performances, during which a large structure was being assembled. This mystery structure detailed a tall platform on which Andy Hurley’s drum set was located, and plenty of room for the other band members to stand at different points in the show, with a ramp-like addition stretching down from the platform to the stage (used most often by frontman Patrick Stump). On either side of the construction were two opaque capsule-like structures comprised of what appeared to be a glass-like material. Audience members looked for any visible sign of the band with no luck, and when they finally did appear, their entrance was to everyone’s surprise—as, instead of simply walking onstage as one might think they would, Joe Trohman and Pete Wentz literally popped onstage. Patrick Stump and Andy Hurley appeared suddenly as well, although not with as big of a bang as Trohman and Wentz—who burst out of the two capsules and onto the platform, Trohman on the left side of the stage and Wentz on the right.

It is probably needless to say that Fall Out Boy’s performance was a huge hit with the audience, as it can be assumed that a lot of those comprising the audience came to Merriweather Post Pavilion mainly for their performance. Stump’s voice matched the sound conveyed on their three full-length albums—a unique voice that, while it rarely enunciates words clearly, is nonpareil in tone quality. Surprisingly, Fall Out Boy’s lead singer was not the band member that spoke and encouraged the audience, as seems to be the norm, but instead Pete Wentz tackled this role, to the enjoyment of some huge Pete Wentz fans in the crowd. If this weren’t enough to please the audience, Joe Trohman certainly contributed to captivating the audience by never failing to jump, spin, or a combination of the two, something that would be, as one might think, difficult to do while playing a guitar. Not only this, but the screen behind the stage, which, up until Fall Out Boy’s performance, had remained blank, was constantly filled, whether by FOB music videos or other clever visuals.

Fall Out Boy played a refreshing variety of all of their biggest hits and best sounding songs from all three of their albums, even their first and least well-known album, “Take this to Your Grave”. Their performance was very unpredictable, as they proved throughout their encore, during which Joe Trohman and Pete Wentz left the main stage (through those mysterious capsules) and reappeared at the back of the audience, by the lawn (to the happiness of those further back). Andy Hurley was also relocated, but only to the front of the stage, where he continued playing the drums. In addition to these surprise relocations, pyrotechnics was part of Fall Out Boy’s show, and the appearance of fire made their encore’s quality superb.

All in all, each of the artists performed incredibly well, and each of the performances were a pleasure to watch. Those who share my opinion of the quality of those on the Honda Civic Tour will be pleased to know about some upcoming tours announced that evening. In August, The Academy Is… and Cobra Starship will be touring together in Australia and Japan, for those of you willing to travel! The Academy Is… will be following their Australian/Japanese tour with a fall tour with Armor for Sleep. And finally, Fall Out Boy has announced their own fall tour with Gym Class Heroes. I recommend that if given the chance, you attend one (or all) of these shows!

Filed Under: Reviews, Show Tagged With: +44, Cobra Starship, Fall Out Boy, Honda Civic Tour, Paul-Wall, The Academy Is...

Cauterize – Disguises

June 20, 2007 By Chloe 11 Comments

cauterize

Artist: Cauterize
Album: Disguises
Label: High4Records
Purchase: Kill the 8
Release Date: June 12, 2007

Overall: 7.0
Music: 7.5
Lyrics: 7.0
Production: 7.0

This pop rock band just released it’s 3rd album, Disguises, on June 12th, 2007 to some very anxious fans. The album opens with “Love in The Attic” which begins with a steely drum/guitar solo. I rolled my eyes at the expectation of another average rock song, but was happily surprised when the vocals chimed in. Lead vocalist Jesse Smith’s smooth yet powerful voice was actually a perfect match for the song, giving it everything that it lacked. Had he added anymore emotion to his voice, the song would have been too overpowered with vocals and intstrumentals. The 2nd song “Closer”, however, strayed away from the preconceived “pop” genre, flashing a fuller rock sound, but straining his voice in the middle.

By the proceeding song “Don’t Stop Now”, Cauterize slowly gets back to their pop beginning and even has momentary acoustic vocals paired with melodic backings. Strangely, I enjoyed the next 2 songs, “Minor Key Symphony” and “Dare to Scream”, because they begin traveling towards a soft rock and consistent sound. Upon review of the album, it seemed to me that the band refused to stick with one genre in their songs and instead introduced a vast variety among the tracks.

This little skipping game continues throughout the rest of the CD, with an adequate amount of heavier songs splashed with the refreshing handful of mellow tunes. “Paper Wings” and “Porcelain” stand out on the album as being the most acoustic and slow of all the tracks, and render me quite favorable towards the difference in sound.

Someone had told me the Cauterize had been riding on the edge of pre-famosity for quite a while, yet they never managed to reach the upper level for some reason. After listening to the songs numerously, I realized why.

This band does not really have a distinguishable overall sound.

The fan pool is seemingly split when some adore the slow melodies and others love the heavier rock. As many times as I listened to the entire album, I did not feel anything emotionally, which I think is due to unoriginality in some of their songs. Don’t get me wrong you hardxcore Cauterize fans, some songs were extremely heartfelt, but for the most part I felt like I was listening to same old fluff. The few stand out tracks provided an interest hook for listeners, but the rest of the album overall seemed to reach no true depth. If they choose a concrete genre and apply it to all of their songs I am sure we would see them rise up through the ranks quicker. While they already have an unquestionably grand fan base, their potential should surely earn them more.

Track Listing:
1. Love In The Attic
2. Closer
3. Don’t Stop Now
4. Minor Key Symphony
5. Dare You To Scream
6. The Devil In Lace
7. Porcelain
8. Wake To The Sun
9. Slivers
10. Tremble
11. Miracles Or Medicine
12. Paper Wings

Filed Under: Album, Reviews Tagged With: Cauterize, disguises, high4records

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