Band: The Summer Set
Album: Everything’s Fine
Release Date: July 19, 2011
Rating: 5/5

Tracklisting

1. About A Girl
2. When We Were Young
3. Someone Like You
4. Back To The Start
5. Must Be The Music
6. Thick As Thieves
7. Mannequin
8. Mona Lisa
9. Begin Again
10. Love To You
11. Don’t Let Me Go

It’s very rare that I give any band with a sound similar to The Summer Set’s anything over a 3 or 4 as an overall rating. It all tends to sound like the same songs over and over again, and it had begun to get old. But something about The Summer Set has always caught my ears. I went into this album already a fan of this band, ready to hear something similar to their previous release, Love Like This. I knew of the single, “Someone Like You”, that had been on heavy rotation and I was looking at the album as though it was going to be a ton of “Someone Like You”s over and over again. I could not have been any more wrong.

The album starts with a song that, if you’ve been following the band, is a bit familiar as they’ve played clips of it in videos about the album before. “About A Girl” isn’t anything fast like “Chelsea” was to open the album and almost instantly proves their maturity from the last album to this one. It’s a beautiful, melodic, slow song that draws the listener in perfectly. It prepares the past fans for a completely new and evolved band, while still letting new fans in on what they’ve always been about in a mature way. The second song, “When We Were Young”, may just be my favorite on the album. It’s upbeat, fun, and made me want to sing-a-long with it before I even knew all the lyrics. It’s a wonderful blend of youth and heartache that makes me want to drive around in this summer heat with the windows down and this song blasting.

“Someone Like You” is an upbeat, poppy, and perfect single for the band to have released first. It’s an easy song to get stuck in your head and will have you singing it for hours after listening to it, as proven by my coworkers this past week. “Back To The Start” brings the listener back into the slow-tempo that had been prevalent previously, but still maintains the interest of the listener. I think my favorite song on this album however has to be “Must Be The Music”. It’s fun, carefree, and a great song to party to with your friends. The lyrics are simple and easy to relate to, making me want to sing every word and bop my head along to the beat. It’s catchy, much like their song off Love Like This called “The Boys You Do (Get Back At You)”, and makes me want to dance, which I don’t get out of much music nowadays.

“Thick As Thieves” is the song that fits but stands out from the rest of the album at the same time. It’s use of the acoustic and electric threw me off at first, and almost made me want to skip it because I’ve heard enough acoustic island-esque songs, but something about this song made me stay and I’m glad. It progresses into a creative and well-written song that uses a wide array of instruments in an up-tempo song that has a wonderful way of saying “I Love You” without straight out saying it. And a breakdown of gang vocals and clapping? My weakness in music!

“Mannequin” and “Mona Lisa” are a perfect break from the happy-music that got you ready to dance around carelessly. While “Mannequin” has a more dance-able beat than “Mona Lisa”, I feel like it’s still different enough that it is a break from the rest of the album. “Mona Lisa”, however, is the type of song that will make any girl swoon. It’s cute and lovely, easily making a girl want to blush and smile. In fact, I would say it’s almost impossible not to smile while listening to this song. With lyrics like “Cause I’ve never loved anything like I love you. I’d go and catch the moon and I’d drag it down to you, but I know that you’d be brighter anyway..” it’s nearly impossible to not aww at this song and fall in love with it.

The song that follows, “Begin Again”, brings the listener back into the danceable pop-music that The Summer Set has always been known for. It’s a fun song and definitely akin to their first album with it’s beat and lyrics. The perfect track to take the title from, most definitely. “Love To You” brings back the acoustic sound, while still staying upbeat and the love-themed lyrics that The Summer Set are known for. It’s a wonderful way to lead into the beautiful closing track “Don’t Let Me Go”. The song “Don’t Let Me Go” reminds me of something you would hear on the Top 40 radio right between a Taylor Swift and OneRepublic song. It’s use of piano is absolutely wonderful and the song is just so beautiful it’s hard to not fall in love with it.

But that seems to be the thing about this album, it’s a really easy to love album. I would go as far to say it’s nessecary to own for the summer. You see, the last time I felt this way about an album I was listening to Ryan Adam’s “Heartbreaker” for the first time on my first day of college. I know it’s considered blasphemous to compare anyone to this man’s work, but this album makes me feel the same way that one did. It’s a beautiful and wonderful feeling, having an album sit with you for hours after you listen to it and wanting to share it with everyone you know. If they play their cards right, I truly believe this could be The Summer Set’s “From Under the Cork Tree” [Fall Out Boy] or “Fearless” [Taylor Swift].

If you haven’t yet, pre-order their album via their website or pick it up in stores on July 19. Make sure you check them out on the Friday is Forever tour with We The Kings, The Downtown Fiction, and Hot Chelle Rae. Dates can be found here.

Posted by No One Stays At The Top Forever 11 July 27 Permalink

Album Review: Taking Back Sunday – Taking Back Sunday

Track Listing:

1. El Paso
2. Faith (When I Let You Down)
3. Best Places to be a Mom
4. Sad Savior
5. Who Are You Anyway?
6. Money (Let It Go)
7. This Is All Now
8. It Doesn’t Feel a Thing Like Falling
9. Since You’re Gone
10. You Got Me
11. Call Me in the Morning

While I can’t say that I’m Taking Back Sunday’s biggest fan, I can say that I broke off from their music at (what’s now) a very ironic time. Getting into this type of music in the early 2000s, along with all my comrades, I had a copy of their iconic debut album Tell All Your Friends. That was the last time I paid much attention to what they were putting out, as I was consumed by their rivalry with Brand New and picked my side. And then Straylight Run was born and I picked sides again, this time between Nolan and Lazzara. But that was almost a decade ago and, along with the newly reunited Taking Back Sunday, I’ve grown up and moved on. It’s about the music now, not the drama.

Like I said, the last time I really paid attention to what TBS was doing was almost a decade ago, but I knew better than to go into this album thinking it was going to be Tell All Your Friends 2. I’ve read mixed reviews and I think that’s where a lot of the authors got lost. If Adam Lazzara came out singing about lipstick on collars I would’ve been seriously disappointed. This reunion didn’t mean a continuation, it meant a rebirth, and that’s what they’ve accomplished with this album. They’re the same people but they’re almost a new band. Reunited and it feels so good.

“El Paso” kicks off the album powerfully, with Lazzara and Nolan alternating with their raw screams. This opener is a clear indication that we’re not dealing with a recycled unit anymore. If you’re still looking for a Tell All Your Friends b-side after this, you’re probably a lost cause. The album keeps on with this power surge until track four (and my personal favorite, but I’m not sure if that’s important), “Sad Savior.” Eddie Reyes’s funky guitar work along with Lazzara’s unmistakable vocals (I’m not sure where he got the accent from but I’m diggin’ it) carry not only this song, but the entire album. And you can’t forget Nolan in the background. How good does it feel to hear them together again?

After “Sad Savior” takes us on a slight detour, Taking Back Sunday picks up right where it left off. We’re given pure rock ‘n’ roll until the very end. Amidst this rock fest, “Since You’re Gone” makes itself a tune worth mentioning. It starts off with a very brief piano intro, then gradually builds on top of itself until you hear Lazzara screaming ‘COME BACK!’ throughout the chorus. The follow-up track, “You Got Me,” doesn’t bow out quietly, either. It’s just as energetic as the rest of the album even if it is second-to-last.

The closing track, “Call Me in the Morning,” really makes this album special. It’s bare-boned Taking Back Sunday, with very light instrumentation and a lot of Lazzara/Nolan vocals. Even though I’ve already said this: it’s so incredible to hear them bounce off one another again. This is the kind of song you can have on repeat for hours and never get tired of it.

I can’t say I’ve followed TBS throughout their career, I can say I’m impressed with this album. For someone who took a (very long) break from their music and picked up where they left off almost ten years ago, I’m glad to see they’ve matured into the musicians they are now. Maybe it’s because of the time gap or maybe it’s because these five individuals were meant to make music together all along, I don’t know. All I know is Taking Back Sunday is proof that, to quote Marilyn Monroe, “sometimes good things fall apart so that better things can fall together.”

Wow, I never thought I’d do that in a review.

Posted by why dont u guys make out As well:)??? 2 July 18 Permalink

Album Review: Manchester Orchestra - Simple Math

I spent a long time listening to this before sitting down to write this review. Since I’m a part-time asshole I downloaded the leak long before May 10th, the actual release date. Did I feel bad about it? Kind of, but I like to know what I’m getting into because I’m cheap and don’t have money to go tossing around on albums I’m not even going to like. I should’ve known better, though. I should’ve known that Manchester Orchestra aren’t capable of putting out anything I’m going to dislike. Does that make me biased? Probably, but since I run a site that focuses on this sort of thing I’ve got to be honest.

I wasn’t the only person who got the album early. I’ve read plenty of reviews of this album and they were, for the most part, split evenly between lovers and haters. The pessimists say the band is going through an identity crisis, that they don’t know who they are and lost what made them so popular to begin with. On the flip side, the supporters of this album are stoked on this new direction. However, I couldn’t help but notice all the mentions of Brand New’s Deja Entendu. Are the comparisons warranted? I don’t think so, but I can understand why they happen.

The album kicks off with “Deer”, a seemingly out of place tune for an album opener. It’s slow-paced and honest, packed with Andy Hull’s unmistakable vocals. However, that doesn’t last long, as track number two, “Mighty”, is properly named. It’s a seemingly more aggressive song than we’ve seen from Manchester Orchestra before. There are no breakdowns and no callings for mosh pits, but it’s something new for them. Robert McDowell’s guitars are heavier and the vocals have more angst. And when the song hits the three-minute mark, you’ve really got something special.

“Pensacola” is another unforgettable track. When the gang vocals kick in, you’ll know why. This is the song you’ll have stuck in your head for days after listening. Hey, it could be worse. It’s a great track to jam along to with some friends and I can only imagine how fun it’d be to sing along to live. (Unfortunately for me, I missed my chance last Saturday. I’m still bitter about it.) Raise your hand if you’ve also randomly broken out into “ALCOHOL, DIRTY MALLS, PENSACOLA, FLORIDA BARS!”

The seemingly most-hyped song on the album has been “Virgin”, and for good reason. It’s nothing short of haunting and almost underlines the new direction the band seems to be going in. Is this a problem? Not for me. Andy Hull’s vocals make this song, just like they made “I Can Feel a Hot One”. If they were any different, even an octave higher or lower, it just wouldn’t work. The band writes songs that are made for them and them only. That’s what makes their music so special. “Virgin” is a perfect example of that.

The title track is what you should focus on if you’re going to skip the other nine songs. From the instant it starts playing, you’re slapped in the face with everything that’s right with music today. Forget the scene shit you’re all listening to. “Simple Math” is a perfect example that real, genuine music is out there. Sometimes we’ve got to dig for it, but when we find it, it’s worth it. The instrumentals are perfect, the vocals are perfect, and the lyrics are perfect. You feel this song. You feel every word that’s sung, every chord that’s strummed, every emotion this song conveys.

Honestly, I could go on for days about this album. As for you, you’ll either love it or hate it. I’ve seen it rake in new fans and I’ve seen it push away old ones. Either way, if you haven’t given it a spin yet, I would highly recommend doing so. Keep in mind that Manchester Orchestra have only been at this for six years. They’ve got all the time in the world to find their sound and come into it. Personally, I’m just thankful we’re allowed to come along for the ride.

Key tracks: Mighty, Pensacola, April Fool, Virgin, Simple Math.

Posted by why dont u guys make out As well:)??? 17 May 12 Permalink

Panic! At The Disco - Vices & Virtues

Release Date: March 22, 2011
Rating: 5/5

Track Listing 

1. The Ballad of Mona Lisa
2. Let’s Kill Tonight
3. Hurricane
4. Memories
5. Trade Mistakes
6. Ready To Go (Get Me Out Of My Mind)
7. Always
8. The Calendar
9. Sarah Smiles
10. Nearly Witches (Ever Since We Met)

Something about Panic! At The Disco has always stuck with me. Whether it’s the odd live shows they’ve put on in the past or the unique experimental sounds they’ve produced, they’ve always been able to draw me into their music. This album is no different. In fact, if anything, this album has got me hooked faster than their previous releases, A Fever You Can’t Sweat Out and Pretty. Odd.

I have to admit, going into the album for a first listen I was hesitant. Having assumed the band no longer existed, after a near disappearance from the music scene over the past year, I didn’t know what to expect going into the first listen of this album. I knew what Ross and Walker, both ex-members of the band, had put out just didn’t cater to my taste as much as I believed it would but I feared the same of this. However, after one listen through I was proved to be infinitely wrong and I’m ashamed to ever say I even doubted it. You see, with this album Panic! At The Disco reclaims my love with their use of electronic instrumentals and a wide array of rather odd instruments. I’ve come to describe it as a more mature version of their first release I fell in love with so many years ago, A Fever You Can’t Sweat Out.

From the first track, “The Ballad of Mona Lisa”, to the final you have the familiar strong and assertive sound you would come to expect of this band. It kicks off with their, in my opinion, most powerful track on the album. “The Ballad of Mona Lisa” draws you in with a soft piano, only to be replaced with a heavy percussion and the familiar vocals every previous fan knows too well. The chorus is loud, brash, and cocky with a hint of a seductive tone that allows for a listener to become completely engaged and prepare themselves for the rest of the album.

When the second track, “Lets Kill Tonight”, kicks in with it’s synthesizers and odd sound, it brings back a sense of the old Panic! At The Disco (pre-Pretty. Odd) but with a more mature sound. However, as you continue through the various electronic-based tracks and come across the soft acoustic sounds of “Always”, a reminder of the sounds of Pretty. Odd kicks in. It’s beautiful and simplistic composition, with it’s soft tones and inclusion of just a hint of percussion (though softer and more bell focused) that keep you smiling and singing along.

However as you continue on, back into the more fast tempoed beats of “The Calendar”, you have another catchy and sing-a-long worth song. The thing about the album is you couldn’t have known what to expect, with Ross doing most of the previous writing lyrically. However, Urie proves he has the ability to keep them afloat with his writing as well, as shown in “The Calendar”. “The world may call it a second chance/But when I came back it was more of a relapse/Anticipation’s on the other line/And obsession called while you were out…” The lyrics are biting, witty, and keep the listener entertained and drawn in.

Overall, the album highly impressed me. It explored instruments I never expected, like the accordion and xylophone, while still sounding like something I could put on no matter what the mood. I can honestly say there isn’t a song on this album that I can bare to even consider skipping, and that’s rare for me.

Pick the album up at Best Buy or Target this week for only $7.99 or purchase it on iTunes! Panic! At The Disco are currently preparing to head out on a full US tour with label mates fun. and the band Foxy Shazam.

Recommended Tracks: ”Sarah Smiles”, “Always”, “Nearly Witches”, “The Ballad of Mona Lisa”, and “Hurricane”

Posted by No One Stays At The Top Forever 24 March 10 Permalink

Album Review: I See Stars - The End of the World Party

Track Listing:

1. The End of the World Party
2. Over It
3. Still Not Quite Enough
4. Wonderland
5. Home For the Weekend
6. It Will Be Up (High School Never Ends)
7. Upside Down
8. The Common Hours II
9. Where I Let You Down (Numb)
10. Glow
11. Pop Rock and Roll

I don’t think I “get it.”

Somehow I missed the memo that all you had to do was sing over a dubstep beat and add some drums to become famous. Can’t sing well? Don’t worry about it — that’s what autotune is for. If you’re at least semi-attractive and in a band with your brother, talent is irrelevant. Then again, I just may not “get it.”

I used to be a fan of I See Stars. I say fan in the sense that I admitted that in public. (I know, scary right?) I used to think Devin Oliver had a good voice and that this band had potential. I used to watch their sets at Warped Tour and wonder why Devin couldn’t sing live. I used to not be musically illiterate, but things change. So has my opinion of I See Stars, a six-piece from Michigan who try to throw everything but the kitchen sink into their music. If we’re being honest, I’d rather listen to the kitchen sink.

The End of the World Party is an album that’s going to frustrate the hell out of you if you aren’t a fan of this band because the people who are will find absolutely nothing wrong with it. They won’t think the vocals are too autotuned and they won’t think the whole sound is completely generic. They’ll praise Devin’s vocals, which get increasingly more girly with everything they release, and they won’t think the screams are completely horrid. If you aren’t a fan of this band, however, you might see this album for what it really is: a sophomore slump at its finest.

I went into this album having only heard the title track. Figuring they couldn’t have released the best song from the album already, I decided to download it (as long as it’s free, who cares what it sounds like?) and give it a spin. Now I’m really confused. If someone could explain to me what “Home for the Weekend” is all about, I’d really appreciate it. I thought they were XSYNTHC0REX BRO! Is this a pop song? But no, it’s okay — there’s autotune and drums. Alas, it’s still an I See Stars record!

Okay, now I’m just being an asshole. But can you honestly blame me when bands can release records like this and get paid for it? If they ditched the synth and tried to be a real band, I’d probably really enjoy them. They’re talented. Well, I think they’re talented. It’s hard to tell when their music is buried beneath a million layers of shit. And they should ditch their screamer, too. He’s really bad.

As I said before, if you’re a fan of this band, you probably think they can do no wrong. You also probably think Devin Oliver is going to leave his girlfriend and fall madly in love with you. Or, at the very least, you think you’ll be able to seduce him the next time he’s in your town. Let’s face it: this album is shit and Devin is never going to sleep with you.

If you’re thinking about getting this album, download the free version. If you pre-ordered this, I’m sorry you wasted your money.

Posted by why dont u guys make out As well:)??? 15 February 6 Permalink

Album Review: Mod Sun - In Mod We Trust EP

Track Listing:

1. Paradisity
2. No Girlfriend (Millyun)
3. Need That
4. Time to Celebrate
5. Undressing America

Mod Sun is an artist that automatically earned my respect for doing something different. Yeah, he’s the former Four Letter Lie drummer-turned-rapper but that doesn’t mean much in the grand scheme of things. He’s doing what he loves to do and is doing it right. And I’m not talking about being talented or having the sickest rhymes in the world — I’m talking about being positive, inspirational, and uplifting. You may not think raps about smoking weed are positive, but look beyond that. Look at songs like “Need That” or “Undressing America” and you’ll see that Mod Sun is a breath of fresh air for those who think hip-hop is going to hell in hand basket.

On his latest release, In Mod We Trust, you’ll find a little bit of everything. There’s a new version of an old favorite (“No Girlfriend”) and, for those of you who’ve been with Mod since How to Make a Mod Sun, you’ll recognize bits and pieces from “Time to Celebrate” immediately. You’ll also be happy to see that “Need That” made the cut. But what makes this EP different from his last few releases? Let me tell you.

For those of you who don’t know, Mod Sun made an appearance on Jimmy Fallon last night (well, his name did). He has also spent the last 20 months (that’s 1 year and 8 months for those of you who think it’s too early in the morning for math) basically exploding. He could’ve released a radio-friendly EP to guarantee that his explosion never really dies out, but he didn’t. He made sure In Mod We Trust is classic Mod. There’s nothing shockingly different about it. That isn’t to say it’s boring and generic — no Mod Sun release can be defined by those two words.

Oh yeah, did I mention it reached #1 on the iTunes hip-hop charts? Because it did. Did I also mention that all of his music is self-released because he isn’t signed? Because it is.

But let’s get down to business: the EP content. Like I said earlier, there’s a new version of “No Girlfriend” that’ll have you up and shaking your ass; “Time to Celebrate” is a must-listen for those of you who loved “Party in the USA (Mikey’s House)” from How to Make a Mod Sun; “Need That” was released as a single but you’d already knew that if you bought it off iTunes, and “Paradisity” has been floating around for a while now. Now that we’ve established that 4 of 5 songs on the EP are golden, let’s focus on “Undressing America.” This is a song that falls into the positive, inspirational, and uplifting categories that Mod Sun’s music so consistently fits into. If you’ve loved Mod’s stuff up to this point, you’re guaranteed to love this one as well.

In closing, this a five song EP that I’ve managed to write more than one hefty paragraph about. That should tell you something. Even though it’s short, it’s packed with substance, and you can’t ask for much more than that. So sit back, burn one, and enjoy Mod Sun’s music — because it  won’t be long until you can’t choose to ignore it.

*If you’re a huge fan of Mod’s and want to help spread the word about him, check out the official street team on Facebook. I’m a member and we’re really trying to recruit!

Posted by why dont u guys make out As well:)??? 15 February 9 Permalink

Silverstein - Transitions EP

Tracklisting:

1. Sacrifice
2. Darling Harbour
3. Dancing On My Grave
4. Replace You
5. Wish (Nine Inch Nails cover)

I went into this EP swearing I wouldn’t like it. At one point I even said to myself, “This is going to be a huge waste of time.” I must admit that I gave up hope for Silverstein after the release of Discovering the Waterfront. I liked that album but had no interest in checking out anything they released afterwards. While browsing Facebook, I saw someone’s status update talking about how good Transitions was. Me, not even knowing they’d released an EP, decided to check it out. Like I said, I didn’t have high hopes. I was sure it’d be a solid release but I was also sure I wasn’t going to be impressed.

Let me say this now: I’m an idiot. I should know better than to judge an album by the ones that came before it. From the opening chord of “Sacrifice,” I was hooked. Packed into one song was everything I used to love about Silverstein. Take those emotions and jam them into “Dancing On My Grave” as well and you have an EP that I’m more than satisfied with. Both songs contain some slick guitar work from Neil Boshart and Josh Bradford and also some of the sickest riffs I’ve heard in a long time. It always amazes me that bands who’ve been around for such long periods of time can still find a way to be original. Even on the band’s cover of “Wish” by Nine Inch Nails, they incorporate something of their own into the song, and it’s not like Nine Inch Nails covers are something new.

“Darling Harbour” is the one song on the EP that kind of bummed me out. Call me a metalhead, call me what you will, but I couldn’t get into the song because of how pop-punkish it came off as. It’s Silverstein through and through, though, and I can’t expect them to be screaming at me all the time. I’ll call it “ADTR Syndrome.” It’s strategically placed on the album between the two heavy hitters, providing you with more of a “calm between storms” feeling. “Replace You” will bring back memories of when you had their acoustic version of “Heroine” on repeat after your girlfriend broke up with you back in high school. After so long, the fact that I can still pick out frontman Shane Told’s voice in a crowd of whiny kids with dumb haircuts comforts me.

In all, there’s nothing about this EP that I don’t like. Even after taking a break from Silverstein and their tunes for some years, nothing has really changed. Transitions is only 15 minutes long, but it’s packed with everything you know and love about the band. They have face melters, acoustic crooners, and awesome covers. They’re a veteran band who know exactly what they’re doing. This makes me wish their upcoming tour was coming closer to me. But, on the bright side, they’ve got an upcoming full-length I can look forward to instead.

Posted by why dont u guys make out As well:)??? 2 January 3 Permalink

Album Review: Mod Sun - Health, Wealth, Success & Happiness

Tracklisting:

1. Art
2. Tye Dye The Night
3. Highly Motivated
4. Pass It My Way (feat. Pat Brown)
5. Become My Life (feat. Jonny Craig)
6. Bars Of The Sun
7. Australia/New Zealand
8. Got To Be There (feat. Meta)
9. Where Were You?
10. I Do It (feat. Big Has)
11. Time To Celebrate

Music should inspire you. It should evoke some sort of emotion, whether it be positive or negative. Regardless of what it makes you feel, it should, essentially, make you feel something. My personal preference is music that inspires me to want to be a better person or sparks some sort of optimism/positivity. Even though it’s a genre that I don’t usually dip into, Mod Sun’s music does something for me. That something is giving me a new perspective.

I started listening to Mod over the summer when I found out he’d be on Jonny Craig’s solo tour. I’d heard a lot about him but hadn’t checked out his tunes until then—I was shocked. Nowadays people are so used to rap or hip hop music falling into stereotypes, molds. Mod Sun breaks all of them. His music is uplifting and beyond inspirational (which is clearly evident on his collaboration with Craig, “Become My Life”) and I’m not so sure I was prepared for that. This started a love affair I have yet to regret.

With the release of his latest mixtape, Health, Wealth, Success & Happiness, I went into it not knowing what to expect. He’d just gotten off a major tour with The Summer Set and seemed to gain a slew of exposure along the way. So was this new mixtape going to be more commercial-friendly? I worried about this underneath all the excitement I was feeling. The moment I heard the opening track, “Art”, I knew my worrying had been in vain. Mod Sun has always been consistent, among other things.

As you go through the mixtape, you’ll notice a lot of things. One of those things is that you can relate to these songs more than you thought you would. It isn’t everyday you listen to a rap song and come away feeling good about life. Take these lyrics for example: “No matter the amount of negativity you’re presented with, five minutes from now could be your best moment.” Take this sense of optimism and spread it across numerous mixtapes and EPs and you have Mod Sun.

If you’re too big of a Negative Nancy to listen to an entire mixtape full of happiness, don’t fret. On HWS&H, there’s something for everyone. Especially those of you who love to party. “Pass It My Way” is one of these songs. Featuring Pat Brown (ex-Sing It Loud), it’s a party anthem at best. It’s slow-paced and fun—perfect for winding down the night. “Where Were You?” is another. It opens with a sample from “Champagne Supernova” by Oasis, and any track that samples a song such as that gets automatic kudos from me. Whether they actually count for anything is yet to be determined.

Overall, this is a mixtape I love an immense amount. It’s eleven songs of good vibes, and that’s what Mod Sun’s all about. You know this from his music and you know this the second you meet him. If you’re still on the fence about him, I urge you to give him a chance. You may just come away from it with a new perspective on life—and you’ll be +1 in the friend department, because Mod Sun doesn’t have a fanbase, he has a friendbase.

Posted by why dont u guys make out As well:)??? 29 December 8 Permalink

Album Review: The Chariot - Long Live

Tracklisting:

1. Evan Perks
2. The Audience
3. Calvin Makenzie
4. The City
5. Andy Sundwall
6. The Earth
7. David De La Hoz
8. The Heavens
9. Robert Rios
10. The King

Going into this album I hadn’t a clue what The Chariot was all about. It wasn’t until it was released and I kept hearing about how incredible it was that I decided to check them out. I’m now living in shame and fully regret not listening to them sooner. Not only is Josh Scogin now one of my favorite vocalists, he’s also on top of my list of favorite lyricists. Regardless, there’s more to The Chariot than just their frontman. With some bands that’s not the case—the rest of the band just sit back and let it happen. But this is a band that requires a contribution from each member, and they deliver without a single disappointment.

The album kicks off with “Evan Perks,” a song characterized by Scogin’s raw vocals and heavy-hitting drums. While effectively laying the foundation for the rest of the album, it also succeeded in scaring the life out of my cat once the vocals kicked in: a sure sign of a great album. Consider this song somewhat of an intro. At only 1:36 long, most of the song consists of Scogin repeatedly screaming, “Disappointed, I know you are!” Most of the songs on Long Live follow this pattern. Only 3/10 of the songs on the album are longer than three minutes, but what they lack in length they make up for in absolutely perfect metalcore. (I haven’t a fucking clue what “mathcore” is so I will refer to this band as metalcore until someone persuades me otherwise.)

If you’re looking for a standout star or two on the album, look no further than “David De La Hoz” and “The Heavens”. If you’ve been following this album since its release, you already know that a video was filmed (in one take, may I add) for the former of the two songs I mentioned. Aside from the depth it contains, what separates this song alone from the rest of the genre is what it includes, and that’s a harp and spoken-word poetry by Dan Smith of Listener. Let’s get real: how many times do you see a harp featured on metalcore? Or, really, anything other than an Enya album? When it comes to “The Heavens”, I don’t think there’s much I need to do to convince you that this is one of the best songs on the album. It’s only 2:12, but like I said before, none of these songs lose depth because of their lack of length.

I stated in the opener that Josh Scogin has solidified himself as one of my favorite lyricists. When the list contains acts such as Jesse Lacey and John Lennon, one could assume it’s not an easy place to be with such company. However, the first time I listened to this album I kept thinking about how relevant a lot of the lyrics were and how beautifully written they were.

If you’re looking for more than just great lyrics—maybe a song to mosh the fuck out to—I present you with “Robert Rios”. I missed my opportunity to see this band a few weeks ago but I sure hope they played this song. And “The City” too, because that’s another song I can envision tearing apart venues and leaving no survivors. And at the second-longest song on the album, that’s quite alright with me.

In conclusion, if you had the same mindset as me and planned on skipping over this album, don’t. I repeat: do not make the biggest mistake of your life by not listening to this. This has been a great year for music; on more than one occasion I was sure I’d found my album of the year, but those assumptions were all false. The album of the year was released on November 23rd, 2010, and it goes by the name of Long Live. Long live The Chariot and the damn near perfect metalcore they make.

Posted by why dont u guys make out As well:)??? 16 December Permalink