Alright guys, we'd like to put up some new album reviews on GDA.

We're looking for reviews of good punk, rock, etc. type albums. They can be well-known bands or still underground or anywhere in between. The idea of this section will be to help expose people to new kinds of music and really good bands.

If you'd like to do a review, then just write it up and post the review here. Be sure to post the bands name, the album name, and include a link to the band's website if possible. You can check out the reviews we already have posted on GDA to get an idea of how to write it. Please do not write a review for a band that is already on the page. For now we're only accepting one review per band, but hopefully in the future we can do more.

Unlike the last time, we aren't going to approve each review. This time we'll just let you guys write up the review for whatever bands you want and then we'll go over the reviews and pick as many as we can to be posted on the site.

If you have any questions go ahead and post them in this thread.

revised version

The Libertines
Up The Bracket
Rough Trade Records (2002)

By: Elizabeth Harbaugh

For some, the mention of musician Pete Doherty is met with an inquisitive stare, a joke about his heavily publicized drug addictions, or even a response of "wait…didn't he go out with Kate Moss?" For many, however, Pete Doherty was known first and foremost for his astounding work with the British indie rock band The Libertines.
The Libertines, composed of Pete Doherty(vocals/rhythm guitar), Carl Barât (vocals/lead guitar), John Hassall (bass) and Gary Powell (drums), rose to fame with the release of their debut album, Up The Bracket. Renowned especially for its lyrical content, Up The Bracket was the poetic brainchild of the partnership of Doherty and Barât, who are jointly responsible for all songs.
With its flowing lyrics and catchy melodies, Up The Bracket produced singles such as What A Waster, I Get Along, and Up The Bracket, which steadily climbed the charts in the United Kingdom. Songs on the album address topics such as drug use ("You caught me in the middle dazed on the carpet/I was following the lines/that move like more snakes" on I Get Along), the disintegrating friendship between Doherty and Barât ("And it chars my heart to always hear you calling/Calling for the good old days" on The Good Old Days), and the band's own newfound success ("They twist and they shout for/For the boys in the band" on Boys In The Band). There is great variety to the album, all while still staying true to the sound and structure that ultimately defines The Libertines. From soft, gentle ballads such as Radio America to bold, thrashy numbers with a hint of punk to them such as Horrorshow, to instantly infectious tunes like Vertigo, there is something for everyone. Additionally, any rock and roll fan is defied not to at least secretly feel the desire to rock out to Death On The Stairs. Most impressively, whether the song be fast-paced or a ballad, a raw and energetic quality is standard fare in every song on Up The Bracket, and with every listen one pictures a crowded venue, full of jostling fans, wild dancing, and good times.
With Doherty's increasing drug use, he was eventually asked to leave The Libertines and was later barred from performing with the band. The relationship between Doherty and Barât, the magical collaboration that had produced so many great songs fell apart, and it was said by Doherty in a recent interview that he no longer even speaks to Barât. The Libertines formally disbanded and the past members have all gone on to form new bands (Doherty is the singer for Babyshambles, Barât is the singer and lead guitarist for Dirty Pretty Things while Powell plays drums, and Hassall sings and plays guitar for Yeti). A result of turbulent relationships and a history of a band that ended all too soon, Up The Bracket remains a rock and roll testament to the great songwriting and talent of The Libertines.


TRACK LISTING:
1. Vertigo
2. Death On The Stairs
3. Horrorshow
4. Time For Heroes
5. Boys In The Band
6. Radio America
7. Up The Bracket
8. Tell The King
9. Boy Looked at Johnny
10. Begging
11. Good Old Days
12. I Get Along
13. What A Waster
14. Mocking Bird

The Mars Volta - Frances the Mute


Release: March 1, 2005
Label: Gold Standard Laboratories/Universal Records
Producer: Omar Rodriguez-Lopez

Submitted by: Dave Burke

Official Tracklisting:

1. Cygnus...Vismund Cygnus

I: Sarcophagi
II: Umbilical Syllables
III: Facilis Descenus Averni
IV: Con Safo

2. The Widow
3. L'Via L'Viaquez
4. Miranda, That Ghost Just Isn't Holy Anymore

I: Vade Mecum
II: Pour Another Icepick
III: Pisacis (Phra-Men-Ma)
IV: Con Safo

5. Cassandra Gemini

I: Tarantism
II: Plant A Nail in the Navel Stream
III: Faminepulse
IV: Multiple Spouse Wounds
V: Sarcophagi

As appears as mp3:

1. Cygnus...Vismund Cygnus
2. The Widow
3. L'Via L'Viaquez
4. Miranda, That Ghost Just Isn't Holy Anymore
5. Cassandra Gemini I
6. Cassandra Gemini II
7. Cassandra Gemini III
8. Cassandra Gemini IV
9. Cassandra Gemini V
10. Cassandra Gemini VI
11. Cassandra Gemini VII
12. Cassandra Gemini VIII


Frances the Mute is the second full length release from The Mars Volta, and believe me it is a full release. The CD spans over 76 minutes, and had to have the title track cut because the length would have been about 91 minutes. The original way the band planned to release it was as only five tracks, Cygnus....Vismund Cygnus, The Widow, L’Via L’Viaquez, ‘Miranda, That Ghost Just Isn't Holy Anymore,’ and Cassandra Gemini (misspelled Gemenni on the CD inserts). However, due to the fact that it would be considered an EP with only 5 tracks, it was split into 12 tracks. Each song has its own feel to it, and what seems like drawn out instrumentals in every song, actually is refreshing because you get to hear a band experiment with countless layers of intruments. It is not a typical mix of guitar bass and drums, it is also accompanied by additional percussion, piano, trumpets, tenor sax, tuba, cello, trombone, and bass trombone. In fact, over 20 people helped with the various instruments throughout the CD, including Red Hot Chili Peppers’ guitarist John Frusciante on the track L’Via L’Viaquez, even though guitarist Omar Rodriguez-Lopez wrote most of the arrangements.

The entire CD is truly a stand out, but the singles consist of “The Widow” and a shortened version of “L’Via L’Viaquez.” The vocals transfer back and forth from English to Spanish and from Spanish to English. Even though I have no idea what is being said in Spanish, it is certainly enjoyable to listen to. The CD is a lot better if you have time to sit down and pay attention to it and really enjoy all of the instruments that are blended together. The only negative thing I have to say about this album is that a lot of the songs are also long in length, so you really have to have some time to sit down and listen to the songs. However, I strongly recommend you stop reading this review and go grab this album for your listening pleasure.

The Living End - Roll On



The phrase 'punk anthem' brings to mind the sound of simple-but-catchy 4-chord tunes that so adhere to the 2 1/2 minute time limit that you wonder if there's a ticking time-bomb inside the record
studio that will explode if a whole album isn't written and recorded in the time it takes to say 'Green Day'.

Fortunately, and to the benefit of those whose resting heart rates are lower than 300 bpm, we are given The Living End, a band whose idea of punk-anthem is that which takes listeners on a topsy turvy trip of lightening fast guitar solos, rolling basslines and offbeat drum sequences instilled with the type of smart-yet-insirational lyrics the Clash would've been scared to use. 'Roll On' is the punk album that breaks all the rules, but makes it work because of it's unique attitude to structure, lyricism and musicianship.

Starting with the title track, you think you're in familiar territory when you hear the well trodden and overused shouts of '1-2-3-4' and you'd be forgiven for thinking that the song could have been recorded by any 2000-era pop-punk band, but unlike the blink-182s of the world, come the middle-8 you're dealt a guitar solo that fits so well, you wonder why there is no other music quite like this in the world.

This question, however, is answered thoughout the album. Chris Cheney (guitar), Scott Owen (double bass) and Trav Demsey (drums) are such talented musicians who aren't afraid to take risks in the hope of achieving the perfect song. And they are happy to attempt anything to try and make this happen, proven when listening to the musical tangents of 'Riot on Broadway', 'Dirty Man, and 'Read About It', though all contain a certain pop accessibility so you wont feel put-off by the elaborate riffs attempted.

The songs come thick, fast and with a dose of metal, ska and psychadelia. Back-to-back 'Carry Me Home' and 'Don't Shut The Gate' could pass for Metallica meets Wolfmother tracks and are all the better for it, if you don't mind the indulgence of Chris Cheney as he moves about his fretboard with all the speed and precision of Michael Schumacher. How the man sings at the same time as playing pieces that would give Slash a run for his money should be an inspiration to everyone. If classical music were updated with modern instruments and songwriting techniques, this would be the outcome.

You do, however, get a feeling along the path the album takes, with it's frequent and often unexpected twists and turns, that the band had possibly too many ideas and not enough space to fit them all in. You think you're listening to one style of music before you're dragged at a tangent towards a completely genre entirely. It makes for tiring sustained listening, and it is imperative that the album is taken in small doses because of this, otherwise appreciation for the album is clouded by confusion at what the hell you just listened to.

How 'Roll On' went by so unnoticed, at least here in the UK, when released is a disgrace, and while the CD may not have the immediate aural accessibility of 'Dookie' or 'Enema Of The State', the music and lyrics are alot more sophiticated than your run-of-the-mill punk album, providing you discount 'Uncle Harry', which is just a fun track. If you are looking for your next favourite band, and a lesson in good guitar playing, make sure it's The Living End.

1. Roll On
2. Pictures In The Mirror
3. Riot On Broadway
4. Staring At The Light
5. Carry Me Home
6. Don't Shut The Gate
7. Dirty Man
8. Blood On Your Hands
9. Revolution Regained
10. Silent Victory
11. Read About It
12. Killing The Right
13. Astoria Paranoia
14. Uncle Harry

EMI - 2000 - Produced by Nick Launay

Arctic Monkeys
Whatever People Say I Am, That's What I'm Not
Domino Records 2006
www.arcticmonkeys.com


1. The View From The Afternoon
2. I Bet You Look Good On The Dancefloor
3. Fake Tales Of San Francisco
4. Dancing Shoes
5. You Probably Couldn't See For The Lights But You Were Looking Straight At Me
6. Still Take You Home
7. Riot Van
8. Red Light Indecates Doors Are Secured
9. Mardy Bum
10. Perhaps Vampires Is A Bit Strong But...
11. When The Sun Goes Down
12. From Ritz To The Rubble
13. A Certain Romance

By Mike Herriot

Whatever People Say I Am, That's What I'm Not is the debut album by the Arctic Monkeys. What makes this album so special? Well, it's the fastest selling album in UK chart history, selling 363,735 copies in the first week. In the US, it sold 34,000 copies in the first week, making it the second-fastest selling debut indie album ever in America. What is the music like on this record? Amazing. Every track on this album makes you want more of the Arctic Monkeys. Arctic Monkeys used razor-sharp lyrics to create an album for the ages. NME voted "Whatever People Say I Am, That's What I'm Not" the 5th best British Album of all time. The band are huge all over the world because of this album, so, now, you should read my review, go buy the album, and then decide if Arctic Monkeys lived up to the hype!

This album starts of with what you want every album to start off with: A BANG! The View From The Afternoon is a rocking tune telling you what this band is all about. A unique style, intense lyrics, and that they are for real. The track that follows is called I Bet You Look Good On The Dancefloor. This is the song that made it for this band, shooting straight to number one in the UK singles chart. Next up is Fake Tales Of San Francisco. Enigmatic lyrics such as "I'd love to tell you all my problem/You're not from New York City, you're from Rotherham", and references to the band's home town of Sheffield, such as "He talks of San Francisco, he's from Hunter's Bar" gained the band a solid reputation for quirky yet witty songwriting. Dancing Shoes is number 4 on the tracklist. One of my personal faves. Great music to go along with great lyrics. Tracks that follow are You Probably Couldn't See For The Lights But You Were Looking Straight At Me, Still Take You Home, Riot Van, and Red Light Indicates Doors Are Secured. Now, we have reached Mardy Bum, my favourite song on the record. There is just something about this song that all Arctic Monkeys fans love. Awesome guitar, smashing lyrics, great bass, and the drums. Everyone loves drums. Next we have Perhaps Vampires Is a Bit Strong But..., another great tune. The bands second single was When The Sun Goes Down. The song, about prostitution in the Neepsend district of Sheffield, was originally known as "Scummy" and followed debut single "I Bet You Look Good on the Dancefloor" to UK Number One. The album is finished off by two very classy tracks. They are called From The Ritz To The Rubble and A Certain Romace. Both have become favourites at Arctic Monkeys gigs.

Well, did this help you? What kind of a question is that. Of course it helped you. Now you are off to buy Whatever People Say I Am, That's What I'm Not from your local record store. Later, you will find out they released a 5-Track EP called Who The Fuck Are Arctic Monkeys, and you will want to buy that too. You will also want to buy the CD singles, I Bet You Look Good On The Dancefloor and When The Sun Goes Down. You might not find them in the shops anymore, so you might have to buy them online. I will now tell you they are releasing their next single, Leave Before The Lights Come On in August, so you will want that too. Once you listen to the album I have just reviewed, you will become a member of the Arctic Army, trust me!

Taking Back Sunday - Tell All Your Friends
www.takingbacksunday.com




Track List:
You Know How I Do
Bike Scene
Cute With Out The 'E' (Cute From The Team)
There's No 'I' In Team
Great Romances Of The 20th Century
Ghost Man On Third
Timberwolves At New Jersey
The Blue Channel
You're So Last Summer
Head Club


Emo. A word that can mostly be defined by whining, tight pants, and make-up, is not only a lifestyle. It’s a type of music and when I hear the word, I think one band and one album. That is “Tell All Your Friends” by Taking Back Sunday. This ten-track anthem for the myspace generation is a classic. It is one of the few albums I can listen to all the way through. It is an album of perfect songs that consist of lyrics that will be stuck in your head forever. The opening track, ‘You Know How I Do,’ is a perfect example of this. Lines like “So sick of being tired, and also tired of being sick” and “So obviously desperate, So desperately obvious” show you the poetic genius that Taking Back Sunday is. One song in particular, ‘Cute With Out The E (Cut From The Team),’ stands out. It has a dangerously catchy chorus and melody (listen at your own risk), and it uses all of the elements that make Taking Back Sunday unique. The first thing you will notice is the double vocals. At times, the singers will alternate or continue lines, and then other times both will be singing two completely different lines at the same time. The sound of the two voices clashing together will definitely give you complete listening pleasure. This would have the effect it does if it weren’t for the voices of the sings. Adam Lazarra, lead vocals, has way of singing where he cuts his o’s short giving his voice a sort of, err, whining sound. John Nolan, who also plays guitar, voice is usually on the edge of screaming, but not in your death-metal sense. It’s as if he were actually screaming at someone. It gives the sense of actual emotion, hence the term “emo.” This album is album is without a doubt one of my favorite albums of all times, and I highly recommend it to any one who has the slightest interest in modern rock. It definitely will have an impact on rock to come.

Between The Heart and The Synapse
The Receiving End of Sirens
By:T.W. Arrighi


Triple Crown Records

Members:
Brendan Brown- Bass/Vocals
Casey Crescenzo- Guitar/ Keyboards/ Vocals*
Alex Bars- Guitar/ Vocals
Andrew Cook- Drums
Nate Patterson- Guitar

www.thereceivingendofsirens.com

The Receiving End of Sirens, or TREOS, are a band from the Boston area that have created a sound so unique that not even a simple listen could do it justice. The band has undergone many lineup changes over the years including the most recent departure of Casey Crescenzo (The Dear Hunter)*, the lead singer on this Album. Regardless of the members within, TREOS has been able to moph there sound into one capable of rocking your socks off while creating such a maze of thoughtful lyrics mixed with overlaping sounds that everytime you hear it you find something new. Lately the band has been on a non-stop tour binge including stops on the Warped Tour in 2005, The Taste of Chaos Tour in both 2005 and 2006, as well as a headlining tour and a co-headlining tour with Circa Survive.

The album is divided by three intrical instumental peices, aptly named Prolouge, Intermission, and Epilogue. These songs feture Casey's handy work on the computer and on the keyboard to create effects and loops of other songs that create a thought pervoking masterpeice of sounds. The second song on the album, Planning a Prison Break is the band's first single which found its way on to MTV2 multiple times. This song has all the makings of an underground hit. The song busts in out of the Prolouge with a Siren-like guitar solo in which the band later mimicks. Mixed with catchy, and outstanding lyrics, Planning a Prison Break takes you for a hard hitting ride that feels like you are escaping prison.
This pattern of insane experimental hard rock continues throughout the album including the song The War of All Against All. Apropriatly named after a variation of the WWI motto "The War of All To End All", the song is ushered in with a punding drum solo that leads into a guitar entrence that makes you feel like running out of a dark trench into the daylight. The lyrics follow that same motif, equating war to love. When the main drag of the song is over, we enter into an odd rendition of the lyrics "This is the last night in my body" which we hear in Planning a Prison Break. This song is a absolutely phenominal ending to a great song, and serves as a pleasent interlude to the next track.
After Intermission we come to the second single off the album, titled This Armistice. The song is composed of an at times shaky guitar beat and graceful lyrics, eventually leading into a kick in the mouth chorus. This song was a no-brainer to be a single, it has all the makings of a widely liked song with varying and plesant rythms and easily grasped lyrics.
The next three tracks(Boadcast Quality, Flee The Factory, and Dead Man Tell No Talse) are back to the normal crazy experimental hard rock that keeps you guessing throught the whole song. These songs also are unique, much like many of the songs on this album in that they each tell there own short story, just adding to the already noticeable talent of TREOS to create amazing lyrics.
The last true song, Venona, is a song that follows much more of a common rythem heard in most Alt. rock on the east coast. However, TREOS is able to make it just as original as all there other tracks using Casey's amazing skills on keys of all kinds (Pun intended).
The album finaly concluded by Epilogue, a song that again destorts lines from Planning a Prison Break. Make sure to listen to the whole song to catch a choir of robots singing lines from This Armistice.

This album is a must for music fans of all kind. Even if this style of music does not tickle your fancy, the musical intracasy of the album is something that is truely admirable. Although Casey has left there is little doubt in my mind that TREOS will continue to be a rising star in the Alt. rock world and a symbol for all that is inovative. Many people may get lost in how complex there music is, but once the idea is grasped, there music is hard to get off your mind or speakers.



Track Listing:
1) Prologue
2) Planning a Prison Break
3) The Rival Cycle
4) The Evidence
5) The War of All Against All
6) ...Then I Defy You, Stars
7) Intermission
8) This Armistice
9) Broadcast Quality
10) Flee the Factory
11) Dead Men Tell No Tales
12) Veona
13) Epilogue

Panic! At The Disco comes from Las Vegas, Nevada. This Band Has a unique sound that makes you love the band. Panic! At The Disco's song are written by Ryan Ross. The songs he writes are very intamite, they make sense, you can relate to them. The first time you hear the whole album you understand the whole concept of the record. Panic! At The Disco is signed onto a record label called Decaydance Records. Owned By Fall Out Boy's Pete Wentz.

Lead Vocals, Piano, Guitar - Brendon Urie
Vocals, Guitar, Song Writer - Ryan Ross
Bass - Brent Wilson
Drums- Spencer Smithl

Panic! At The Disco-A Fever You Can't Sweat Out (2005)

Over all this whole album is great. You don't hear the same songs on every track. You a variety of things you can hear Jazz, Even Some Beats through out the album. There is alot of narration in this album. My favorite song has to be " Lying is the most fun a girl can have without taking her clothes off". I like because Brendon Urie has great vocals. There is also great guitar parts that go along with the song well. Also on this album there is a song or two that are a little religious i guess. But it is still a good song a colaborates with album well. The last song " Build God, Then We'll Talk " I think reveals themselves more and shows who they are. Again AWSOME vocals. There are also a few other songs like " I Write Sins Not Tragedies " which you may be familiar with. Which also is a great song. The song is a great story if you listen to it. There is also a few slower songs like " Camisado ", " Nails for breakfast, Tacks For snacks".This is a great album to start out with for a new band. One of the best albums & bands out there today. Overall Way Worth Buying.

Track Listing

1. Introduction
2. The Only Difference Between Martyrdom And Suicide Press Conference
3. London Beckond Songs About Money Written By Machines
4. Nails For Breakfast, Tacks For Snacks
5. Camisado
6. It's Time To Dance
7. Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off
8. Intermission
9. But It's Better If You Do
10. I Write Sins Not Tragedies
11. I Constanly Thank God For Esteban
12. There's A Good Reason Why These Table's Are Numbered Honey You Just Haven't Thought Of It Yet
13. Build God, Then We'll Talk

Blood Sugar Sex Magik - Red Hot Chili Peppers (1991)

Members-

Michael Balzary (aka: Flea): Bass
Anthony Kiedis: Vocals
John Frusciante: Guitar
Chad Smith: Drums

This album was a great achievemnt for the RHCP. It features many of their now-famous songs such as: Suck my Kiss, Give it away and Under the bridge. This album really defines what the "true" Red Hot Chili pepper sound is. The combination of all the instrument gives you the funk tone that we know them for. They couldn't have done the album any better. In 2003 this album was ranked in the top 300's in Rolling Stone's top 500 albums list. Any RHCP fan knows the sound I'm talking about when I say "funk." If you haven't been listening to Red Hot Chili Peppers yet, you should pick up this album. It's easy to get into and you'll easily become a fan and be hooked to their music. Yeah, this album is pretty much amazing. Go buy it.

Track List:

1. The Power Of Equality
2. If You Have To Ask
3. Breaking The Girl
4. Funky Monks Listen
5. Suck My Kiss
6. I Could Have Lied
7. Mellowship Slinky In B Major
8. Righteous and the Wicked
9. Give It Away
10. Blood Sugar Sex Magik
11. Under The Bridge
12. Naked In The Rain
13. Apache Rose Peacock
14. The Greeting Song
15. My Lovely Man
16. Sir Psycho Sexy
17. They're Red Hot

Artist: Led Zeppelin
Album: Led Zeppelin IV

The king of all albums, The untitled fourth album by Led Zeppelin. Zoso is also a nickname for this album due to the Lord of The Rings references by the symbols on the cd. Most of us know it has simply Led Zeppelin IV. Led Zeppelin again demonstrates that they make albums where everyone song is outstanding. They are trying out more sounds on this record, example, The mandolin on The Battle of Evermore. Only eight tracks, but in the days of the early 70s, bands didnt need to have 14,15, or 16 songs on albums because back then they made albums that has every song stand out in its own way.

Black Dog- To open the album you hear the lyrics "hey mama, said the way you move, gonna make you sweat, gonna make you groove", and then it goes into the heavy guitar riff performed by Jimmy Page. One of the greatest ways to open an album, it grabs your attention and sets the tone for the rest of the album. Some may think that this song is repetive but it's not at all. This is just a classic track, and one of the greatest songs ever to be recorded.

Rock N' Roll- The drums highlight another classic by Zeppelin. The song is an awesome way to follow up the albums opening track. The lyrics describe the songs title very well and the drums and guitar do a lot of work to make this song a great one. This is a good old fashioned tune used on many movies and commercials.

The Battle of Evermore- This is an example of how Led Zeppelin is trying out new sounds by the madolin guitar. The lyrics and song title have Lord of The Rings references. Robert Plant's voice is amazing in this song, he pushes it at some points and at other points he sings soft. Second slowest song on the album. This is an under-rated track by Zeppelin, it was not played as much as the other tracks on the radio so there for you could say that you couldn't get sick of this song very easily

Stairway To Heaven- Arguably the greatest song ever recorded. The song starts off slow with accoustic guitar and picks up as it progresses. And at about the 4:17 mark of the song the drums come on and Robert Plant changes the tone of his voice and it sounds just awesome. One of the greatest guitar solos in a song, no doubt about it. At the powerful end, the lyric "When all are one and one is all, to be a rock and not to roll" is amazing. This song is hard for words to describe, you have to listen to it before you know the brilliance of this song. Fantastic. Excellent. Immaculate. Any of those words could describe this song.

Misty Mountain Hop- A crazy song loaded with crazy riffs and awesome drums. One of the fastest songs Zeppelin has recorded. The solo immense, it really shows what this album is about, huge riffs that sound like they will pop out your stereo. Robert Plant demonstrates how he can change his voice to fit the mood and tempo of a song. Just a crazy track.

Four Sticks- They got the song title because drummer John Bonham uses four drum sticks. The guitar at the start is highly addictive. The guitar riff is much like the one is Misty Mountain Hop, but more complex. The guitar changes are spectacular. Bonham stand out on this track and many times when Robert Plant plays this in concerts, he makes sure that everyone knows that Bonham is one of if not the greatest drummer to ever exist.

Going To California- The slowest song on the album. They liked playing the song at concerts. The accoustic guitar combined with the excellent voice by Led Zeppelin make up one hell of a song. This song, by the intruments and the voice by Robert Plant is a fan favourite and is one of Led Zeppelin's shortest songs, coming in at over 3 minutes. This is a folk song also. They play this song well. This also sets up the roaring end to the album.

When The Levee Breaks- This song is the perfect way to end this awesome peice of work by Led Zeppelin. A roaring end to the album. The way an album should end. The drums are absolutly brilliant and highlights the song, along with the way Robert Plant sings, with having mellower parts and at some points pushing his voice to make it sound fantastic.

This album is one of the greatest ever made and you have to listen to it. Classic album. This album made Zeppelin the rock Gods that they are. They influence a ton of bands and their music is timeless. Masterpeice. A must hear to say the very least.

10/10

Protest the Hero-Kezia
If you don't like this album you should be kicked out of music. Kezia sort of has a story but not like AI where it progresses throughout the album.It's about a girl named kezia being arested and put to death for an unknown crime. It's divided into 4 parts, the first is the prison priest's point of view, the secound is the prison guard's, the third is Kezia's view and the fourth part is the band's. Although the story shouldn't be taken as just that, every secound word is a metaphor for something political. A lot of the actual story is also left up to the listener.
The lyrics are amazing here's an example-
Heretics and Killers
The music itself is extremely technical they're probably the secound best instrument playing people that I've ever heard. If I say the meaning of a song it's my opinion and not that of Protest the Hero.

No Stars Over Bethlehem-4/5
Great lyrics that extremely hard to remember. It's the prison priest's introduction and about how the church controls far too much and doesn't change with the times.

Heretics and Killers-5/5
Exellent song about organized religion and how if religion is supposed to be spiritually trancsending then there should be less rules to it.

Divinity Within-3/5
It's a great song but nothing really stands out at all.

Bury the Hatchet-5/5
Exellent song, a bit harder then some others. About how military men(or in this case the prison guard) have to kill people fo a living.

Nautical-3.5/5
Great song but isn't quite up to snuff with the rest. On a different album it would get a 5 but the 5's on this are many levels above the average 5.

Blindfolds Aside-5/5
An amazingly good song about how the prison guard and four other soldiers have to execute Kezia, whom the prison guard has gotten to know quite well while she was imprisoned. He knows he that there are four others so even if he doesn't shoot no one will know, but he still wants to show he will be of no part of it by dropping his gun and walking away at the risk of his job. So he has to decide between his job and his morals.

She Who Mars The Skns Of God-4/5
It's not very good until you give the lyrics a good read then it improves quite a bit.

Turn Soonest to the Sea-5/5
Exellent song about sexism and has a great sing-along ending. I actually thought it was kind of funny that "Maybe someday when this bloody skull has dried I'll know our city is in ruins
And the greatest source of pride is a monument of dicks and ribs and gender crowns we wore
Where underneath, a plaque will read, 'No woman is a whore'"
is sung almost like at the end of a Disney movie.

The Divine Suicide of K-4/5
Pretty good song it just doesn't really have the momentum the others did.

A Plateful of Our Dead-5/5
A great conclusion from the band's perspective.

Overall you should definetly buy this.

Papa Roach

The Paramour Sessions

song list:
1. ...To Be Loved
2. Alive(n' our of control)
3. Crash
4. The World Around You
5. Forever
6. I Devise My Own Demise
7. Time is Running Out
8. What Do You Do?
9. My Heart is a Fist
10. No More Secrets
11. Reckless
12. The Fire
13. Roses On My Grave

"I'd say overall it's the most personal band record that we've ever written. It's definatly got a lot of love, it's got a little bit of hate, but it's got a lot of fustration and angst and rage, and also coming in terms with a lot of crazy personal issues with us as far as love goes, you know. So it's definatly a deep record for us, and it sometimes cuts too deep. This new material has a real loud gritty feel to it and our fans are totally loving it." Jacoby Shaddix

That's true. Their first hit single To Be Loved and the first part of the album are good songs to listen to just for fun. Part of the album was touching and deep, especially Roses on my Grave. Jacoby Shaddix (lead vocals) was really into making The Paramour Sessions.

" 'Forever' is one of the songs that really [for us] stepping out of the box. It's really stripped down, but then it's got the mega, super sing-a-long anthem in it. Usually it's obvious which song's the first single, but there's just so much good stuff for us to choose from. I'm excited." Jacoby Shaddix

We fans are really happy with this new record. It's got violence, hate, drugs and rock n' roll which we Papa Roach fans adore from them. They don't follow a trend like other bands today. The Paramour Sessions for Papa Roach hopes to be like American Idiot for Green Day. This was their "comback record" for them. It's not as wonderful as American Idiot but it gets there.

They went out of the ordinary and out of their "comfort zone" for this album. It's so much out of their confort zones that it's hard to reconize sometimes and completly new for them. If you didn't like Papa Roach before, you might be intrested in the Paramour Sessions.

Official Fan Site.
(if you want to look arond on the site, log in as American_Idiot and the password is: green day)

Misfits-Walk Among Us



This album is often acknowledged as one of the greatest punk albums of all time. It is the second Misfits studio LP, and is the first to feature guitarist Doyle Wolfgang Von Frankenstein.

This is probably my favorite of all the Misfits studio albums. It just has a certain essense to it, that other Misfits albums, while remain awesome, just don't have. But hey, all of them are different!

I can't think of a better song to open up the album with, than 20 Eyes. In the beggining, it sounds a bit like My Generation, but you soon know that it is a Misfits creation. Anyways, the song is very catchy. I love it.

The next song is I Turned Into A Martian. This was immediatley one of my favorites off the album. It's really good, and, dammit, I'm bad at explanations. I just really like it.

All Hell Breaks Loose breaks out next. Deffidently a faster track. Pure hardcore goodness is all I've got to say!

Vampira is an interesting one. Not exactly as fun as the first 2 tracks, and it's pretty dark, but I like it.

Nike-A-Go-Go soon comes after. It's a good song, but I like the Collection 2 version better. It seems a little more complete on Collection 2.

Hatebreeders is next. Well, I like it, but, once again, the Collection 2 version is so much better. This version is kinda boring at times, the vocals aren't as good, and it just seems alot more put together on Collection 2.

I accually like this live version of Mommy Can I Go Out and Kill Tonight? better than the studio recording on Earth AD/Wolfsblood. It's faster, I like the vocals more, and it's just alot more energetic live. I looooove it!

Another one of my favorites is Night Of the Living Dead. I really like the "woah"s. I love it! It's alot better than the version on Collection 1!

My favorite track on this album is Skulls. It's so catchy and amazing, I ADORE it! Once again, it's better than the Collection version. Not that the Collection version is bad, but this one contains a few certain parts that make me enjoy it more than the Collection version.

Next is Violent Worl. To tell you the truth, I haven't really taken any intrest n this song. It's still a decent song though.

Devil's Whorehouse starts out kinda boring, but then it gets really catchy, and it's just all uphill from there! I love it!

Astro Zombies is like really good sex. It's amazing from start to finish. This version of Astro Zombies is muuuuuuuch stronger on Walk Among Us than on Collection. It's really good, and it was automatically one of my favorites on the record!

Braineaters is an excellent track to finish off the CD. Though, it feels more perfected on Collection 2. It's just better there, but this is still good.

Wednesday 13 - Fang Bang
September 16, 2006
Chris Beaumont
Genre: Punk rock/rock

Track Listing
1. Morgue Than Words
2. American Werewolves In London
3. My Home Sweet Homicide
4. Faith In The Devil
5. Happily Ever Cadaver
6. Curse Of Me
7. Haddonfield
8. Too Much Blood
9. Till Death Do Us Party
10. Buried With Children
11. Kill You Before You Kill Me
12. Die Sci-Fi Listen Listen
13. Burn The Flames (Bonus Track)





Here is a good example of a little research going a long way. I was going to describe the Wednesday 13 album, which is the first I have heard from him, as sounding like a combination of The Misfits, Murderdolls, and Dope. Now if you are familiar with Wednesday 13, you will probably already see where this is heading. I looked him up and found out he was the frontman for the Murderdolls, which also had a former member of Dope, and now the touring lineup for the current Wednesday 13 tour has another former member of Dope on it. So, in the end, I stand by the description of the sound, but without the rest of this, I would have sounded foolish. Keep reading; I'll probably do it again.

Fang Bang is a flat-out fun album. It has that glam punk rock sound, combined with ghoulishly clever lyrics that combine into something that, while not the greatest thing I have heard, blend into a sound that is a blast, something you can turn up and rock out to. The entire album is catchy; the songs get stuck in your head and stay there, no matter how hard you try to carve them out.

Before you even put the CD in and press play, you should be able to get a good idea of what you are in for. If the album title doesn't clue you in, perhaps song titles like "Morgue Than Words," "My Home Sweet Homicide," and "Buried with Children" should be able to tip you off. The album is laced with Halloween-inspired humor, reminiscent of The Misfits' Famous Monsters album.

Wednesday 13 is the kind of artist that will make a lot of money for Hot Topic. Its over the top goth stylings seem perfectly suited to that mall emo-goth kid scene, and I'm okay with that. This is a band that helps put the fun back into Halloween, the guy knows how to take his image to the hilt in the grand tradition of guys like Alice Cooper and Rob Zombie, could Wednesday 13 be the next shock rock horrorcore icon?

As for the CD itself? "Morgue Than Words" is a high energy kick start and will give you a good taste of what is to come. As for the standout tracks? Well, there is not a lot of variety to the music but I have to admit to being partial to a few tracks. "Home Sweet Homicide" has a good hook while "Faith in the Devil" reminds me of the 1980s rock excesses of bands like Motley Crue, and "Haddonfield" takes me back to the night HE came home. There is no way I could leave "Too Much Blood" out of the mix, with its ode to heavy drinking. Honestly, who am I kidding? This is fun from start to finish, just don't go looking for any great technical displays or any deep philosophical lyrical content, and you'll be fine.

Bottomline. Looking to have fun on a dark and stormy night while cruising the local graveyards? Add a little Wednesday 13 to your iPod alongside the Zombie and Manson tracks. I can only imagine what this guy is like live.

Panic! At the disco are awesome

please dont quote the whole reveiw thanks

Stone Sour - Come what(ever) may released 1st august 2006



Track Listing

1. 30/30-150
2. Come What(ever) May
3. Hell & Consequences
4. sillyworld
5. Made Of Scars
6. Reborn
7. Your God
8. Through Glass
9. Socio
10. 1st Person
11. Cardiff
12. Zzyzx Rd.

*I did not know where to put personal reviews, if there is a better place for this than an admin will move it. Please don't bitch and whine to me.*


My Chemical Romance, no doubt one of the most controversial bands out there right now. They have been on MTV, Fuse, many award shows and events, and had one of the quickest rises to fame. They are flooded by groups of teenies and shit-talkers, and some real fans too who truly enjoy the music.

I am a long time fan since "Bullets", and will admit that I was quite dissapointed with 3 Cheers For Sweet Revenge. It was one of those records great when you first hear it, but it didn't have the same power that the debut album brought to the scene. But maybe just like middle school kids, it was just an akward transition.

The Black Parade no longer shows signs of transition. The sound itself is quite different, and hard to compare to previous sounds. Lyrically it is very dark, but musically shows high and low points. It adds a nice variety. And the title song probably isn't a good representation. It seems to have been designed for the radio and for TV, but not all songs here are, in fact even a few revert back to the raw sound of I Brought You My Bullets, You Brought Me Your Love.

So, I'll go through each song. "The End" is how it begins. And I really would consider it more of an intro than an actual song. It isn't anything that great, but a good way to start the album. "Dead" brings in an upbeat guitar riff, and is reminescent of "Headfirst for Halos". One thing you may notice while listening to these songs is that the music isn't always made to match the lyrics, which sometimes turns out good and sometimes not so much.

The next 2 tracks descend into darkness, with heavier and faster guitar riffs and metal-ish drumbeats. "This is How I Disappear" features a lot of interesting back-up vocals. This record was mixed very well, so it will be interesting to see how My Chemical Romance plays live, when the raw and generic sound of these songs is exposed.

What you'll notice throughout this album is that many of the songs are long, quite a few in the 5 minute range. Though every album so far from this band has been a concept album, but this album almost makes one song, and is very operatic. The band and producers definitely did a good job with the order of the tracks, as it shows the full variety of the record. There's not really much to say about the title track, it was designed to be radio-friendly, and there's nothing quite unique about it, how much the fans like it is a matter of their own individual opinions. "I Don't Love You" really wasn't that impressive, and seems to me to just be a filler song. "House of Wolves", similarly to "Dead" does an excellent job pitting upbeat music against dark lyrics. Cancer, however, was the second song here that dissapointed me. Though clashing emotions may have worked for other tracks, the music really doesn't help the lyrics, which are quite good. It may be the darkest part of the album, but the music steals emotion away from it.

"Mama" and "Sleep" seem to be other filler songs, but these are actually decent. The vocals in "Mama" might remind you of "Prison", and frontman Gerard Way seems to be straining to put out good vocals. He may have done a little too much of that with "Sleep". The chorus is similar to the bridge of "Welcome to the Black Parade", with overpowering vocals.

"Teenagers". The hardcore "MCR-whores" will be talking about this one. I am very sure this will be the next single, and if My Chem is looking for a good hook, they found it. Honestly though, it's nothing more than another radio song, and the lyrics aren't too good...

"Teenagers scare the living shit out of me, they could care less as long as someone don't bleed, so darken your clothes, and strike a violent pose..." I'm sorry, but it's not that good.

"Disenchanted". I love this song, it sounds naturally amazing, and it doesn't seem that MCR made an effort to turn this one into another hook like the previous track. This song was originally titled "Shut up and Play". When they played it live at the show I went to, I thought it was close to perfect, so I was apprehensive about a modified version, but I was wrong. This song is absolutely amazing. It has great lyrics, that seem very sincere, and great instrumentals to back it up. If there was one new song you need to hear, this is the one.

"Famous Last Words" ends the record. Nothing special or amazing about this one. I will say that overall, I am impressed with this effort, and think My Chemical Romance has put out an album definetly worth hearing. (they sure made everyone wait long enough). I'll give this an 8 out of 10.

Rise Against - The Sufferer and the Witness

Released July 4th 2006 on Geffen Records

Tracks:
1. Chamber the Cartridge
2. Injection
3. Ready to Fall
4. Bricks
5. Under the Knife
6. Prayer of the Refugee
7. Drones
8. The Approaching Curve
9. Worth Dying For
10. Behind Closed Doors
11. Roadside
12. The Good Left Undone
13. Survive

Two years after the release of Siren Song of the Counter Culture, Rise Against returns with their fourth studio album. I'll admit that I was slightly apprehensive upon buying it: Siren Song was very slick in comparison with Revolutions Per Minute, and the Unraveling. It was also a bit of a change, as they leaned towards songs that would have decent radio play. With that said, it is with complete satisfaction that I now say this: I am slightly addicted to this one.

Starting off with "Chamber the Cartridge," Rise Against takes off song after song with pure punk fury and suburban rage--the exception, of course, the toned down "Roadside." Speaking of that particular song, it kind of seems out of place on this album, kind of like "Swing Life Away" on Siren Song. Now, that's not to say that it's not a good song, but in an album filled to the brim with fast-paced melodic hardcore tracks, it just doesn't seem to fit.

Musically, it sounds like your typical Rise Against album. Fast. Driven. Melodic. Yet, there is something slightly different about it. Rather than staying with the super slick production of Siren Song, the band seems to retreat back to a style that would be similar to their earlier work--in all honesty, Revolutions Per Minute comes to mind. The songs themselves are well crafted and even have old school Offspring elements-- especially in the choruses and hooks in songs like "Injection" and "Worth Dying For,"--as well as your typical classic hardcore punk influences (a la Black Flag or Minor Threat). Lyrically, it is superb, and extremely poetic as it attacks the current administration (not surprisingly) and touches upon other subjects, such as drugs, life in general, and relationship issues.

There are some instances of filler, but that's to be expected of any CD really. "Worth Dying For," and "Under the Knife" are examples of such tracks. However, the ones that are not, are top notch. The single, "Ready to Fall" delivers a catchy chorus, and well written lyrics. Other songs such as "Prayer of the Refugee" (which, according to my local radio station, is the next single) "Bricks," "Drones," and "Behind Closed Doors" also utilize these elements... although, as is expected, that is not all they have to offer.

My Chemical Romance-The Black Parade

Tracks:
1. The End.
2. Dead!
3. This Is How I Disappear
4. The Sharpest Lives
5. Welcome To The Black Parade
6. I Don't Love You
7. House Of Wolves
8. Cancer
9. Mama
10. Sleep
11. Teenagers
12. Disenchanted
13. Famous Last Words

The sound of the band's softmore effort Three Cheers For Sweet Revenge was a big change in sound from their debut album I Brought You My Bullets You Brought Me Your Love. The Black Parade is an even bigger change in sound, even from their previous release. If you think that this album is just gonna be I'm Not okay being repeated over and over again, then think again. These songs are much darker, much more emotional, and much more epic. There are dark, metallic songs like This Is How I Disappear and The Sharpest Lives. There are epic emotional slower songs like Cancer and Disenchanted. Then there are light, upbeat songs like Dead, Welcome To The Black Parade, and Famous Last Words. Then there's Mama, which is a very weird song, but good nontheless.

I think this is probably my favorite release from the band. The songs are much catchier and appeal to me much more than their previous albums (which are still great). This album has a much diffeent sound than Revenge and Bullets. As Gerard Way has said, its like they became a different band. The only thing about the album that isn't great in my opinion, is that the cover art sucks. And the only song that doesn't get 5 stars from me is Welcome To The Black Parade, which I really loved when I first heard it, but then it got a bit overplayed (I still like it though).

I haven't listened to the album that much yet, so my favorites at this time are This Is How I Dissappear, The Sharpest Lives, Dead, House Of Wolves, Famous Last Words(the best way to end the album), and Disenchanted(probably the most epic track on the record).

Defdidently pick this album up if you get the chance. It's MCR's best to date IMO.

Trivium
The Crusade (2006)
Release date: Oct. 12



Matt Heavy - Vocals/Guitar
Cory Beaulieu - Guitar, Backing vocals
Paolo Gregoletto - Bass, Backing vocals
Travis Smith - Drums

This album gives Trivium a new feel for what we can expect for future albums from Trivium. Their screaming is gone and Matt's voice is really shining. Most Trivium fans may have never noticed his true voice because of his screamo genre. They are in no way and less metal than they were before. Their sound can be related heavily to Metallica. The resemblance is there but the "Trivium" sound still stands out, don't worry. Heres and overview of all the songs on the album:

IGNITION: The opener for the album. One of the better songs on the album. Very cool chorus and heavy vocals with heavier guitar riffs. The chorus shows some lighter vocals but is still addictive.

DETONATION: The opening to this song definatly can be realted to the song title. Once again, a somewhat heavy, more of a medadic riff. Matt's vocals come in and you get the feeling of discomfort almost (In a good way) Matt seems angry and his emotion have come out on the microphone. The chorus is heavy as Matt and Cory belt out "DET! - ON!- A! - TION!" After the chorus is when the guitar fun comes in

ENTRANCE OF THE CONFLAGRATION: This song if the defination of blazing guitar. The verse to this song is pretty melodic and catchy. Trivium realesed 2 singles at the same time and this was on the them. The song starts off with a "Whoaaaa Ohhh" Kind of thing before the guitars kick in.

ANTHEM (We are the fire): The other one of the singles released by Trivium along with EotC. A somewhat speedy, almost punk riff starts the song off. The chorus is pretty cool. The riff from the into returns and the band yells "We are the fire!" in harmony. Pretty catchy. Later in the song comes another "Whoa oh! Whoa oh! Yeah yeah! Yeah Yeah!" thing. I think its pretty cool, some may find it annoying.

UNREPENTANT: A basic riff with some palm mutes and a flanger effect opens the song. I find Matt's voice somewhat lame on this song. Their heavy and all, but they just dont cut it for me for some reason. Not one of the better songs on the album. It is made up for with a face-melting guitar solo.

AND SADNESS WILL SEAR: This is my personal favorite song on the album. It starts off with a somewhat slow but heavy riff. The lyrics come in and aren't very heavy but catchy and melodic. The chorus is what gets me. Matt get a bit heavier with the lyrics. Before the 2nd chorus comes in, Matt sings the bridge parts with personally reminds me alot of Master of Puppets when James H. goes "Master! Master! All the dreams that I've been after.. etc" Very cool. The solo isn't a total shred like most others on the song. More emotion to it. The chorus is repeated one last time before the end. Best song on the album.

BECOMING THE DRAGON: Another fast guitar riff overlapped by a fill played by the second guitarist. Some heavier lyrics than usual. Catchy vocals at times but overall a basic metal song. Later in the song some fast triplets come in which I think is pretty fuckin cool.

TO THE RATS: Begins with probably the fastest riff you'll hear on the record. It also has the heaviest vocals. The verse is very cool when Matt says a line than it is repeated in a low voice in the background. One of the better songs on the album. This song is for you if you like straight up metal. This song has some slight screaming/growling but not too much. The chorus is when the screaming comes in where Matt growls "Feed! Us! To! The! Rats!" If there is any song on this album that resembles Trivium's old style its this.

THIS WORLD CAN'T TEAR US APART: Kind of a more gentle song. Still heavy but has a lighter guitar riff and some pretty melodic lyrics. Not as heavy as most of other songs on this record. This song is still good. I think its cool that it is a kind of easy listening metal song. Its not a ballad or anything but it's just kind of a soothing metal song lol.

TREAD THE FLOODS: High pitched riffs start this song off before the heavier, palm muted riffs follow shortly later. Vocals are pretty normal on this song. Not to heavy not to light. Im not really a big fan on the melody that that lyrics follow for this song. The chorus is very cool. The double bass kicks in a Matt's vocals speed up. Guitar fun to follow the chorus

CONTEMPT BREEDS CONTAMINATION: The riff is somewhat fast and sounds downtuned to my ears. I like Matt's vocals on this song. The double bass keep my foot tapping. The beat slows down for the chorus and has good flow. This song kind of has an Avenged Sevenfold feel to it.

THE RISING: Higher pitched "Jadas Priest" sounding riffs in this song. A small solo is in the beginning. Matt's vocals are heavy and the melody is slowed down a bit. Sounds pretty awesome. The chorus is one of the best on the record. The lyrics go "So raise your voices with me, and sing a song of unity. So raise your hands up with me and hold this moment eternally." I think it's a very catchy song overall. Another good listen on this album.

THE CRUSADE: An 8 minutes instrumental to end the song. Not much to say here. Some medium speed riffs and some double bass triplets early on. Gret solos to follow later in the song. Great way to end an even greater album.

Thats my review of this album and in my opion is a MUST for any metal fans. Overall a great buy and if your into Metallica, Iron Maiden, etc definatly buy or download this. Great record. Its Trivium at this finest.

good album this got it last week

Operation Ivy-Energy



1. Knowledge
2. Sound System
3. Jaded
4. Take Warning
5. The Crowd
6. Bombshell
7. Unity
8. Vulnerability
9. Bankshot
10. One of These Days
11. Gonna Find You
12. Bad Town
13. Smiling
14. Caution
15. Freeze Up
16. Artificial Life
17. Room Without a Window
18. Big City
19. Missionary
20. Junkie's Runnin' Dry
21. Here We Go Again
22. Hoboken
23. Yellin' in My Ear
24. Sleep Long
25. Healthy Body
26. Officer
27. I Got No

First of all, I really like this album. It's solid, it's original, it's punk, it's ska, what more can you ask for?

The album starts out with the infamous Knowledge. It's a pretty good one, but for some reason, I like the live version found on the Lint Rides Again bootleg better. Then it goes into what is probably my favorite on the album, Sound System. This was my first Op. Ivy song, and it deffidently left me wanting more. From there comes Jaded. This song has some amazingly fast verses and a catchy chorus. It's a keeper. Enter, Take Warning. Another one of my favorites. A mid tempo reggae song done very well. Next comes another favorite of mine, The Crowd. This is a classic that will be remembered by all Op.Ivy fans. It has a very good message to it. Read the lyrics to figure it out.
Bombshell, the shortest track on the album; clocking in at 1 minute and 3 seconds. It's kinda like Jaded. Here's Unity! This song has a classic chorus, and it's a song that speaks to many. Vulnerability is a good one. Great guitar riff in the beggining! Next, the instrumental track, Bankshot. Great one! It shows how Op.Ivy can rock out a song with no lyrics to it at all. One Of These Days, well, jessica simpson ruined this song for me. Gonna Find You, this is an intresting song. It talks about how, especially if you're a junior high student(like me), you are always pressured to look like and be like what everybody else wants you to be, and how you want to be different.
Bad Town is another one of my favorites. Great vocals by Tim Armstrong. I'm not such a huge fan of Smiling. Caution is a very good one.
Next comes a couple songs that just sound a bit annoying to me. This is why I must give this album 4 stars instead of 5. But then Room Without a Window comes. This is a nice one. Next comes Big City. Very catchy, very good. A favorite of mine. Missionary is another really fast one. Junkie's Runnin Dry is pretty good. I never really cared for Here we Go Again. Hoboken is a hardcore song. A very good one as well. Another one of my favorites is Yellin In My Ear. It was another one of my first Op.Ivy songs, and I love that freakin riff! I can totally relate to the lyrics. Sleep Long has a rather odd intro. But then it get faster. I gues it's pretty good. Healthy Body is a really good one. But it seems a bit incomplete. The extended version on Seedy is better IMO. Officer is an excellent overlook on how coppers are annoing. I Got No is good, but it doesn't seem like the right song to end the CD with.

I understand that this review wasn't very well written and it is repeditive. But hey,I gave my two cents, and I'm keeping it at that.

Overall, good CD. A tad overrated, but good. It started a whole new genre, so you have to respect it for that.


I highly disagree. Those are two of the best on the CD IMO. But whatever.

THank you all for all of these reviews. I'm going to close this for now while i work on a new system for album reviews. Look foward to that around December.

So no more reviews???

http://youtube.com/watch?v=gg-418HOyaY



Track Listing:

1. Pray For Plagues
2. Tell Slater Not To Wash His Dick
3. For Stevie's Eyes Only
4. Lot Like Vegas
5. Black And Blue
6. Slow Dance
7. Liquor And Love Lost
8. I Used To Make Out With Medusa
9. Fifteen Fathoms Counting
10. Off The Heezay

Track Listing
- Under Pregnant Skies She Comes Alive Like Miss Leviathan
- Dirge Inferno
- Tonight in Flames
- Libertina Grimm
- Byronic Man
- I am the Thorn
- Cemetery and Sundown
- Lovesick for Mina
- The Foetus of a New Day Kicking
- Rise of the Pentagram
- Under Huntress Moon
- Temptation (Heaven 17 cover)

Manic Street Preachers- "The Holy Bible"

This album is honestly one of the best albums I've ever listened to (of course, this is just a matter of opinion). It's the band's third full length album, and was released in 1994; just a few months before lyricist and amatuer guitar Richey Edwards went missing. Richey and bassist Nicky Wire had always shared the lyric writing responsibilities, but Richey had been doing a lot of writing around this time and ended up contributing about 70% of the album's lyrics (which were very poetic in nature). The topics of these lyrics range from the Holocaust to Anorexia, philosophical Nihilism to misanthropy, politics to religion. The music itself is also darker and heavier on this album than on any of their previous albums, and there are also many famous quotes from literature and other forms squeezed into the beginning of almost every track, and on the album's back cover, which has a quote from Octave Mirbeau's novel "Torture Garden". The Manics have always been known for being one of the most intelligent bands of their nature, and this album definatley proves that.

"In every hotel in the world, the only constant is the Holy Bible." ~ Richey Edwards

In Richey's last interview, he explained the reasoning behind the title "The Holy Bible" by explaining that no matter what you believe or choose not to believe, religion is still a staple in modern society. Even if you choose not to believe in any form of religion, religion still effects your everyday life. He also noted that the book "The Holy Bible" is meant to be taken in as the ultimate truth, and these lyrics were what he saw as 'the ultimate truth'.

Track listing:
1- "Yes"
2- "IfWhiteAmericaToldTheTruthForOneDayIt'sWorldWouldFallApart"
3- "Of Walking Abortion"
4- "She Is Suffering"
5- "Archives Of Pain"
6- "Revol"
7- "4st 7lb"
8- "Mausoleum"
9- "Faster"
10- "This Is Yesterday"
11- "Die In The Summertime"
12- "The Intense Humming Of Evil"
13- "P.C.P."

I would recammend this album to everyone. Though, if you live in America, you'll have a hell of a time finding it because it was never released here. I bought my copy on Ebay

MEMBERS:

• Fink
• Van Gough
• The Snoo
• Z
• Captain Underpants
• Balducci

TRACKS:

1. Joe Robot
2. Transistors Gone Wild
3. Reto
4. Supermodel Robots
5. Money Money 2020
6. Spike
7. Love and Money
8. Right Hand-A-Rama
9. Roshambo
10. Hungry Hungry Models
11. Spastic Society
12. X-Ray Hamburger
13. Teenagers From Mars (extra track)
14. Hammer of the Gods (extra track)

BAND: Incubus
CD: Light Grenades
Original Release Date: November 28, 2006
Label: Sony

Light Grenades, Incubus's 6th album, is the perfect blend of songs, going from slow and melodious but yet catchy songs like "Dig" and "Quicksand" to quick fast paced songs like "Light Grenades" and "Pendulous Threads". Its great guitar rifts grab you and hook you in, leaving you wanting for more. "Anna Molly" and "Rogues" for example, have no problem catching your attention and staying in your head for hours so that you have to hear it again. Its catchy rifts, awesome vocals, good bass licks, and agressive drums can't give you anything to complain about. But one thing is for sure, if you are an old Incubus fan, this new album is different you have to keep an open mind, listen to it, and you'll love it. Its sort of like Green Day's American Idiot, which is a different sound than their old stuff compared to Dookie and Insomniac.

Brandon Boyd's vocals are amazing, and is one thing that definetly sets this band apart from all the rest. He doesn't let you down and like he sings in Anna Molly, "Not one of the others could ever compare." Most people would agree that a good song is made of kickass lyrics and a catchy tune, and Light Grenades is no exception. With lyrics like, "Bowing down to disillusion/ Hats off and applause to rogues and evolution." that leave you without much choice than to agree with them. The concept of this album is love, and it in no way takes away from the album, but adds. As the songs progress you notice the character (I guess you can call him a character) is in love with his girlfriend but they fight, they are like "Oil and Water" yet he asks her to give them a chance in "Diamonds and Coal".

There is only one thing I do regret about this album, the fact that it's not longer.
Band Members:
Brandon Boyd- Vocals, Percussion
Michael Einziger- Guitar
Jose Pasillas- Drums
Chris Kilmore- Turntables
Ben Kenney- Bass, Vocals

Tracklisting:

1. Quicksand
2. A Kiss To Send Us Off
3. Dig
4. Anna Molly
5. Love Hurts
6. Light Grenades
7. Earth To Bella (Part 1)
8. Oil And Water
9. Diamonds And Coal
10. Rogues
11. Paper Shoes
12. Pendulous Threads
13. Earth To Bella (Part 2)

Review written by : ME oh ya you want my name right? Ana Martinez

Bright Eyes - Cassadaga
2007 Saddle Creek
www.thisisbrighteyes.com

Since Conor Oberst released his solo album "A COLLECTION OF SONGS WRITTEN AND RECORDED 1995-1997" (1998, Saddle Creek) almost ten years ago, Bright Eyes have evolved from the humble basement project into the unique and seemingly unstoppable Folk/Rock band they are today. Album after album, 27 year-old Conor Oberst displays his ability to write poignant and extremely poetic lyrics. All throughout his career he has been proclaimed as the "next Dylan". This is most evident on their 7th full length release "Cassadaga" which sounds like a wonderful mix between the folk masterpiece "I'm Wide Awake, It's Morning" and the eclectic "Digital Ash in a Digital Urn" (2005, Saddle Creek)

"Cassadaga" is Bright Eyes most focused work to date. Oberst's singing style is far more laid back on this album, straying from the nervous, shakey quality he has been known for from the start. All 13 songs are beautifully arranged with the help of the now permanent member Nate Walcott, and long time band member/producer Mike Mogis. The songs range from the uplifting "Four Winds" to the depressing "No One Would Riot For Less". Most of the lyrics deal with spiritualism, fear and society. Old fans of Conor will not find the personal, emo lyrics they are used to hearing on "LIFTED" or "Fevers and Mirrors", but instead will be greeted with more focused story telling lyrics. This is no reason to turn away from this amazing album, though. "Cassadaga" stands out from the Bright Eyes catalog both musically and lyrically and is a must have for all fans of the Omaha, Nebraska genious.

- Corey Montgomery

I just wrote one about Cassadaga for school this year!

But here's another I did.

Fear Before the March of Flames-The Always Open Mouth



1. "Absolute Future" – 1:06
2. "Drowning the Old Hag" – 2:54
3. "Mouth" – 3:32
4. "Taking Cassandra to the End of the World Party" – 2:44
5. "Ten Seconds in Los Angeles" – 2:20
6. "The Waiting Makes Me Curious" – 4:48
7. "High as a Horse" – 2:37
8. "Dog Sized Bird" – 2:14
9. "Complete and Utter Confusion..." – 2:19
10. "... As a Result of Signals Being Crossed" – 4:02
11. "My (Fucking) Deer Hunter" – 4:11
12. "Lycanthropy" – 3:07
13. "A Brief Tutorial in Bachanalia" – 4:36
14. "A Gift for Fiction" – 2:19
15. "Absolute Past" – 3:07


In our wide world of words, a culture that has become so centered on human interaction, there seems to be an undying adage that will always ring true: talk, while ever abundant, is certainly cheap. This, however, is anything but news to six men hailing from Aurora, Colo. whose recent record release, The Always Open Mouth, ironically spearheads society’s loudmouths with a speculative roar of their own, hoping to open ears and quell voices for an introspective and much-needed respite from the redundancy.
Fear Before the March of Flames, one of music’s most recent incarnations from the technically brazen genre of “mathcore,” is passionately pushing conventions aside and forging forward in new direction to quiet their naysayers and boldly display this recent evolution that is bound to make them stand out from the pack.
After their formation in 2002, Fear Before released their first album, Odd How People Shake, to many interested ears, and the release quickly led to a jump to their current, exclusive label home, Equal Vision Records. Once there, they recorded their sophomore album, Art Damage, and this release marked a noticeable change in the band’s musical trajectory from the melodic and morose to the more angularly intricate, frenetic and dark. However, as their fan base grew and their touring schedule noticeably extended, the boys of Fear Before were once again adept to change, and as they hit the studios to record The Always Open Mouth, they had quite an ample vision in mind.
With the release of this new record, the band indulged in the limitless possibilities of the recording studio, experimenting with an abundance of synthesizer and vocal distortion and adding technical flourishes that add a mysterious allurement to the band’s existing esoteric sound. Their goal to make an unabbreviated and unapologetic opus was certainly accomplished, as the album fluctuates through rich choruses and blunt bursts of guitar-driven energy with the band’s newly acquired, yet off-color sense of poise.
With 15 tracks clocking in at an unhesitating 45 minutes, the albums seems much more expansive than it truly is. Opening with the creepy drawl of “Absolute Future,” Fear Before quickly sets the tone that reads as a darker page in the band’s history. However, as soon as it seems to settle, the domineering charge of “Drowning the Old Hag” whips the album back into position, ready to strike with every powerful chord and each emphatic scream.
Clamoring forward, the album’s first single, “Taking Cassandra to the End of the World Party,” showcases the newer sides of Fear Before, as they experiment with airy, synth-laden verses and edgy interludes that still hold true to their beloved blueprint. Yet, containing even more surprises is “High as a Horse,” a vocally-driven song that loops to a syncopated, bass-filled beat, stopping and starting with explosions of powerful guitar in between. Soon after, back-to-back tracks “Lycanthropy” and “A Brief Tutorial in Bachanalia” wax nostalgic with roaring punches of guttural guitar that are reminiscent of the Art Damage classic, “Should Have Stayed in the Shallows.”
Needless to say, the boys of Fear Before the March of Flames have fearlessly opened a new door to boundless creative opportunities, and as they continue charging forward, one can only foresee their future as bright and, all-too-perfectly, open.

And here's one I wrote for Cursive's Happy Hollow



1. "Opening the Hymnal / Babies" – 2:32
2. "Dorothy At Forty" – 3:02
3. "Big Bang" – 3:56
4. "Bad Sects" – 3:39
5. "Flag and Family" – 2:56
6. "Dorothy Dreams of Tornadoes" – 2:54
7. "Retreat!" – 3:57
8. "The Sunks" – 2:53
9. "At Conception" – 2:57
10. "So-So Gigolo" – 3:43
11. "Bad Science" – 2:40
12. "Into the Fold" – 4:16
13. "Rise Up! Rise Up!" – 3:22
14. "Hymns for the Heathen" – 2:39
15. "No News Is Bad News" (pre-order bonus track) – 2:08


With the problems of the world ever-brewing, it seems hard to believe that any light could be made out of all of the confusion. But, there seems to be hope--or something like it. Although lacking an antidote, it seems that musician extraordinaire Tim Kasher, one of the forefathers of Omaha’s elite Saddle Creek Records, has yet again rounded up his fellow musicians in Cursive and mustered up their strongest ammunition for Happy Hollow, a blazing (and often scathing) album that opens doors to many of today’s most controversial questions and tackles them head-on--all set to a magnificent soundtrack, of course.
After nearly three long years, and another self-indulgent foray with his side project, The Good Life, Kasher returned to the studio with long-time producer Mike Mogis (most famous for his work with Saddle Creek label mates Bright Eyes), and he had quite a vision in mind. After parting ways with cellist Gretta Cohn, who brought a beautiful depth to their previous fan-favorite release, The Ugly Organ, the musician’s aim was to start anew and create another anomaly, but with a new twist. Not only would this disc include a lively horn section (headed up by Saddle Creek alumnus Nate Walcott), but Kasher would abandon his infamous songs of love lost and ill-fated relationships for a new trade. Deciding to kick up some dust and raise some eyebrows, Kasher wrote a roaring socio-political album that would surely open a new door in Cursive’s future. However, the musician had one more trick up his sleeve: every song would be written from the unique perspective of multiple different characters who’s lives intertwine in the imaginary town (and album’s namesake), Happy Hollow. Now, even though Kasher is no stranger to the realm of conceptual albums (see the band’s previous work, Domestica), this was obviously going to be the band’s most daring venture yet.
Like a stubborn force to reckoned with, the album rears to a start with its forceful inception, “Opening the Hymnal/Babies”, a riveting song that comes alive with blasting horns and punches of guitars that reinforce Kasher’s shouts of “Welcome one! Welcome all!” that invite us into the whirlwind that lies ahead. Following soon after comes the racing sounds of the album’s lead single, “Dorothy at 40” that chronicles the broken dreams and mundane existence of one of the many character’s in Kasher’s twisted story. While marked with intricately new instrumentation, it is still filled with the menacingly dark awareness that Cursive fans know and love.
The rest of the album shakes and shifts, from the looming drawl of “Big Bang” to the jazzy and experimental syncopation of “Retreat!”, and again, to the serene and steady rhythm of “Into the Fold” that seems almost too reminiscent of an old Cursive favorite from The Ugly Organ, “Staying Alive”. The album packs a punch in the first few tracks, as the lyrics tear through topics like science, war, and religion, but it almost seems to wear itself out as it comes to an end. However, the disc’s conclusion, “Hymns for the Heathen”, which repeats the blaring melody from the album’s first track, adds a resolved touch to Happy Hollow’s elaborate story.
Although many would argue that this new direction is far from surpassing the band’s former efforts, it is hard to deny the creative risk that went into the writing of Happy Hollow. So as for now, fans can only sit around and wait for Kasher’s next brainchild in hopes that it may lead to even more exciting and intoxicating music in the future.

Billy Talent II (2006) 90%
Billy Talent

www.billytalent.com

This album was, perhaps, a safe bet to sell well. Not much has changed from the first offering (including the title) from the band formerly known as Pezz. That said, it's probably a good thing- here is a collection of 13 from a band who have crafted their own brand of punk and made it their own, with dark undertones in some places but still guaranteed to have you singing along.
The first track I heard from this album (and indeed this band- I was a late starter) was the single Fallen Leaves. It begins with a disjointed guitar piece that, while being very simple, wedges inside your head almost to the point of being irritating. It then launches into a mid-tempo stomper of a track with guitar riffs that are just heavy enough to put across the song's dark message- it is about losing friends to the clutches of drugs- whilst being fun and catchy enough to draw in fans of the softer pop-punk bands such as Blink-182 and Fallout Boy.
Another highlight of the album is the excellent Red Flag- a song that takes ditties such as Green Day's 'Minority' to the next level. Hailing the beginning of a teenage revolution it is fast, fun and an anthem that many of the teenagers of today will adopt. The unique vocals of Benjamin Kowalewicz are underlined by a brilliantly crafted guitar track that will saty with you for a long time.
Also worth listening to are Worker Bees (ignore the faintly ridiculous bassline at the beginning and it will take you into a slow but rousing hymn about the downtrodden masses), Devil In A Midnight Mass (a chilling tale of murder and the crippling guilt that comes with it) and my favourite track, The Navy Song. This is the story of a young man who leaves his sweetheart to fight at sea but is killed. Set in the past, some say the song is a metaphor for the end of a relationship. It begins with Ian D'Sa plucking an eerie melody on his guitar then charges into a full-throttle chanting frenzy, finally relenting after 4 minutes and 30 seconds. "Cut down like lambs at slaughter, good men were left for dead", wails Kowalewicz in his own inimitable voice as he recounts the story. This song is one of the most emotionally intense on the album and does well from it.
In conclusion, this album is worth £10 of any rock or punk fan's money- it may not be different to the first album,, but that's fine by my reckoning as Billy Talent still manage to be an entirely unique-sounding band (with unique-sounding names, some would argue). It is predominantly up-tempo and intense with great lyrics, dealing with drugs, revolution, death, crime, love, suicide and preppy scene kids. Because this album doesn't sound like other bands, it should be equally as appealing for fans from all corners of the rock spectrum. Buy this album, give it a few listens to grow on you, then enjoy it.

Track Listing- Billy Talent II

1. Devil In A Midnight Mass
2. Red Flag
3. This Suffering
4. Worker Bees
5. Pins And Needles
6. Fallen Leaves
7. Where Is The Line?
8. Covered In Cowardice
9. Surrender
10. The Navy Song
11. Perfect World
12. Sympathy
13. Burn The Evidence

No Ca$h - Run Your Pockets


Ever since riot ska/punk band Choking Victim rose from the NYC underground in the late 90's, many bands have taken influence and inspiration from them. One of the first to do so, is No Ca$h. Now, there definitely is difference. No Ca$h really is more of a punk band with some ska breakdowns than a ska band like Choking Victim was. But nevertheless, you can totally tell the influence.

That doesn't take away from how good the album is, and it sure is good. After a rather annoying intro, you are thrown into the extreme energy and intensity this band offers. The songs are fast, mid tempo, wild, meaningful, and sometimes, even beautiful. From the screaming into that is Samurais of the Sea, to the emotion closing number, Run Your Pockets, it sure is a ride. There are some very solid punk songs on this album, with my personal favorites being Life Sucks, Knowledge Is Power, Skate or Die, The Lucky Few, Gasoline, and Run Your Pockets. While there are a few songs that are downright terrible (Homelife is a Drag, Pierce the Gates, and Kill 'em All), and a couple others that are just average, as well as the vocalist Chris getting a bit annoying at times, the great songs really save this album. Recommended to anyone who loves fast, raw punk.
4/5 stars.

1. Samurais of the Sea
2. Life Sucks
3. Wilkes-Booth Style
4. Knowledge is Power
5. Skate of Die
6. Pierce the Gates
7. Homelife is a Drag
8. The Lucky Few
9. Pure Evil
10. A Better Tomorrow
11. Gasoline
12. Run Your Pockets
hidden: Kill 'em All

~currently listening to No World For Tomorrow on MySpace, when finished, will write review and edit it into this post~

Blaqk Audio - Cexcells

Tracklist:

1: Stiff Kittens
2: Between Breaths (An XX Perspective)
3: Snuff On Digital
4: Bitter For Sweet
5: Where Would You Like Them Left?
6: The Fear Of Being Found
7: On A Friday
8: The Love Letter
9: Semiotic Love
10: Cities Of Night
11: Again, Again, and Again
12: Wake Up, Open The Door And Escape To The Sea

10/10

I love this album. I like the beats to the songs and I think Daveys voice sounds really good. I'm not a big fan of Techno music but this album is really good. Anybody who likes AFI would probably like Blaqk Audio. My favorites of the album are Between Breaths, Wake Up Open The Door and Escape To The Sea, Snuff On Digital, On A Friday, and Semiotic Love. I definetly recomend buying this album. I give it 10/10

Sonic Boom Six - The Ruff Guide to Genre Terrorism (2006)



Track listing:

1) Do It Today
2) Apathy Begins at Home
3) All In
4) Piggy in the Middle
5) For Unlawful Carnal Knowledge
6) Northern Skies
7) Bigger than Punk Rock
8) Danger! Danger!
9) Don't Say I Never Warned Ya
10) Shareena
11) A People's History of the Future
12) Until the Sunlight Comes

What do you get if you put punk, ska, hip-hop, reggae and rock in a massive blender? It wouldn’t be unreasonable to expect a cringeworthy musical mess, instead we find the wonderfully crafted Sonic Boom Six, who have four members. I think the mathematics got lost somewhere in the blender.

My experience of listening to this band, has up to this point, been limited to a weakly put together ‘Intro’ and ‘Outro’ track on a Punktastic compilation. But my oh my, how first impressions can be misleading. The album fades in with a noise not unlike feedback, from behind this comes a subtle voice, granting us the small nugget of wisdom; ‘people’s minds get complacent, seems like eighty per cent of the people are fucking asleep. I think the fight against that complacency, is punk rock.’ Okay, you’ve got my attention.

From the moment the guitars kick in, you know this is going to be something special. It’s clear that everything this band have to offer, from the distinct vocal style of lead singer Layla to the songwriting arrangement that blends Sonic Boom Six’s respective styles into something raw, passionate and heartfelt thrust a healthy dose of originality in a scene dominated by haircuts and clichés.

This is a fact the band are not afraid of pointing out in ‘All In’ when we hear bass player Barney commenting with an acute Mancunian twinge on ‘the kids who go to gigs in Halloween costumes’. The lyrical style of this band show a strong belief in the ethics of punk rock, criticisms of consumerism, the police, and let’s not forget punk rock itself in the anthemic ‘Bigger than Punk Rock’.

In short, this band represent everything that is great about music. If you want a band with more balls than a jar of testosterone and more class than a guy with a top hat riding a penny farthing, check out the aptly titled 'Ruff Guide to Genre Terrorism', by Sonic Boom Six.

9/10.

Sum 41- Underclass Hero

Latest offering from Canadian pop-punkers goes down well, but something's missing.

As I walked out of the record shop with this album in my bag, I had a pretty good feeling about it. It's Sum 41, I thought. It's going to be fun, fast, immature, and a great listen. I spent my last months in primary school constantly listening to All Killer No Filler, a quick-paced punk album with songs like In Too Deep, Fat Lip and Motivation that were briliantly crafted to be rotated on MTV, daytime radio and rock stations alike.

Underclass Hero is a different album, with a different aim, and some would say from a different band. The departure of Dave 'Brownsound' Baksh leaves the album lacking in his trademark high-pitched guitar solos and therefore, the album feels a bit one-dimensional. Moreover, 6 years have passed since All Killer No Filler was released, thus giving the band time to grow up, get serious, and marry faux-punk pop starlets.

That said, it isn't without great songs. The highlight is title track and first single, Underclass Hero. An upbeat and melodic intro leads into a sugar-sweet stomper with a sing-along refrain and power chords that will have 12-year olds everywhere swearing at their parents and bulldozing themselves into skinny jeans. Don't take me wrong- this is an excellent song and the reason I bought the album, but it's safe territory for a band who do in fact have a good amount of talent. Track 2, Walking Disaster, cranks things up a notch with a serene piano-laden intro as Deryck Whibley bemoans his unhappy childhood, which leads into a full-blown, quick-tempo, punk-rock anthem. The opening two tracks led me to believe that this was not just a good album, but great.

However, all good things must come to an end, and Whibley and co. peak too soon. There are more good songs, yes, but they're songs that stick firmly to the blueprint of the first two. Count Your Last Blessings and Confusion And Frustration In Modern Times keep the party going nicely but you get the feeling that Whibley, the chief protagonist of this album, has hit a creative block.

For example, the melody in the chorus of Walking Disaster makes a reappearance in more than one other song, which becomes extremely annoying. Whibley obviously favours this particular structure, but it prevents him from using his full potential. The band appear to have run out of ideas, and the album consequently sounds like a collection of re-hashed versions of two or three songs. Underclass Hero, while good, sound like Fat Lip Mk II. Best Of Me is a cringe-worthy apology song, destined for the radio, and is less appealing than cystitis. Avril Lavigne's influence on her husband is clear here and it is entirely unnecessary. Ma Poubelle, written by drummer Stevo, is a strange little song, addressed to his 'mademoiselle' and sung in broken French. It ends swiftly enough, but a smothering guitar track and one and a half minutes more would turn it into a fun, offbeat novelty. Instead, it sits awkwardly amongst a mediocre track list.

Another issue that irritates me here is the lyrics. Whibley has obviously taken time over them and matured his personal writing style, but they have become generic and meaningless, trailing in the wake of Green Day's American Idiot. The title track is full of Armstrong-isms; "We're here to represent/The spit right in the face of the establishment" and "Burning the flag" are two of my favourites. Amongst the obvious commercial appeal of the album and the fact that this is aimed directly at the thriving 'emo-kid' market, the phrase "We won't be bought or sold" smacks of irony. Most gratingly, Whibley goes on to pledge his alleigance to so many different factions that he could be mistaken for a Cold War quadruple-agent. Sum 41 have always been heavily influenced by Green Day, NOFX, Pennywise and other punk bands, but here they have ripped off lyrics and themes to the point that the album barely sounds like them. Indeed, Whibley has rather dissapointingly lost his trademark whiny vocal style, and a casual listener would be hard-pushed to tell the difference between this and any other pop-punk offering from the last 3 years. Political? Maybe, but sales have evidently been placed before principles here.

Overall, this album frustrates me. The potential was there for it to be great- Sum 41 always had a little originality and enough talent to produce fun albums and after the under-appreciated Chuck, the stage was set for a comeback. But, like Blink-182, they have 'matured' and lost a little of their sparkle. Part of me longs for the crude immaturity of 90s punk acts that has all but vanished- Bowling For Soup are the last band to truly be carrying that on. Equally, I like the way that the music has grown up as I have, but I see this album as possibly being Sum 41's swansong. A good, solid album nevertheless, but not living up to expectations. Which is a pity- it could do so much more.

But it doesn't.

Rating- 6/10

Best tracks- Underclass Hero, Walking Disaster, Confusion And Frustration In Modern Times.

Tracklisting:

1. "Underclass Hero" - 3:14
2. "Walking Disaster" - 4:46
3. "Speak Of The Devil" - 3:58
4. "Dear Father" - 3:52
5. "Count Your Last Blessings" - 3:03
6. "Ma Poubelle" - 0:55
7. "March of the Dogs" - 3:09
8. "The Jester" - 2:48
9. "With Me" - 4:51
10. "Pull The Curtain" - 4:18
11. "King Of Contradiction" - 1:40
12. "Best Of Me" - 4:25
13. "Confusion And Frustration In Modern Times" - 3:46
14. "So Long Goodbye" - 3:01

www.sum41.com

I-Empire
Angels & Airwaves

Track Listing:
1. Call to Arms (5:05)
2. Everything's Magic (3:51)
3. Breathe (5:33)
4. Love Like Rockets (4:50)
5. Sirens (4:19)
6. Secret Crowds (5:02)
7. Star of Bethlehem (2:07)
8. True Love (6:08)
9. Lifeline (4:15)
10. Jumping Rooftops (0:44)
11. Rite of Spring (4:22)
12. Heaven (6:22)
Bonus Tracks:
1. Everything's Magic (acoustic) (3:03)
2. Do It For Me Now (acoustic) (3:46)
3. It Hurts (live) (4:20)

The poor response to Angels & Airwaves’ debut album We Don’t Need To Whisper (Geffen, 2006) never fully reached the ears of front man Tom Delonge. The music on their sophomore release I-Empire is still slow and the newer pop-punk parts are very repetitive. What’s worse is the entire illusion of floating through the stars is entirely lost in the quick transition from soulful to guitar-driven, making the initial slow tempos utterly pointless and mind-numbingly boring. Overall the music is like a shot; painful at first, painless in the middle, and a little bit of ache on the way out.

Rather than purchasing or downloading the album, consumers should simply read the lyrics. The concepts are more visionary and important than those in their first album when interpreted correctly. “Love Like Rockets” has the title of a pathetic love song, but the phrase “don’t judge a book by its cover” certainly holds true for it. The most thought-provoking lyric the album has to offer is presented in this song: “Do you feel alive?” It connects the themes Delonge tried to create about rebirth in the last album quite effectively. The most inspiring track is Secret Crowds. It introduces a concept of world peace in less sappy terms. The lyric “spread love like violence” can really strike a nerve on many people, including Delonge whose brother is currently stationed in Iraq. The themes of loving for what it is and living life to the fullest appear again and again on the album.

After two years and two albums, seriousness and mellow music can still seem comical to old fans of Delonge, who was first introduced to the world singing about “All the Small Things” (MCA Records, 1999). However, with love songs that really are as they seem like the first single “Everything’s Magic”, oldies can still feel like they are listening to the same person, which is a top priority for the band that broke up the band of a generation.

In short, I-Empire is by no means album of the year. However, the poor musical quality is a fair trade-off for the thought-provoking lyrics provided in Angels & Airwaves’ second album.

5/10

New Wave

Against Me!



Mainstream punk gets a shot in the arm from Floridian anger merchants

In a scene so saturated with well-coiffed pretty-boys dealing in sugary choruses and typically teenage lyrics about heartbreak/hating your parents/how to get your hair to stay in that awesome fringe, all the while being branded as punk by clueless middle-aged critics and twelve-year-old girls alike, it's easy to lose faith. Enter the fourth offering from Against Me!, guaranteed to wash those cavity-causing hooks thoroughly out of your system.
Don't for one second think that this is some sort of hardcore record, destined for sweaty East Bay dives. Indeed, having left Fat Wreck Chords for Warner sub-group Sire (and enduring a lot of crticism from purists) and enlisting the services of super-producer Butch Vig, Against Me! are perfectly placed to tap the Fueled By Ramen market. Not that this is their prime intention; this record may have the anthemic choruses but is set aside by its aggression, intelligence and general air of rebellion, something missing from the mainstream punk scene for a long while. This is arguably the most important release since Green Day's 2004 offering, American Idiot.
The songs, unquestionably, are first-rate. There are hooks here, yes, but the beefed-up balls-out guitar sound gives them a satisfying kick. In addition, frontman Tom Gabel's unique voice is a welcome change from standard emo croonings. Think Dexter Holland's shouting combined with Chad Kroeger's 3-packs-a-day grit. Genuinely pissed off but brilliantly coherent- these guys are not by any means stupid.
These elements are best combined on tracks like lead single Thrash Unreal- a mid-tempo tale of a girl addicted to heroin with a chorus chant that could have come straight from any Paramore record and screams at you to sing along. The follow up, Stop!, is already garnering airplay on major UK radio stations, and so it should: coming off like an aggro This Ain't A Scene, It's An Arms Race, with decent lyrics and minus the nasal wailing.
There are other gems here, which equally provocative subject matters- White People For Peace storms urgently along, "in response to military aggression", and Gabel laments globalisation and commercial greed in Americans Abroad and Up The Cuts. The scathing dismissal of production-line emo crews is well appreciated in Piss And Vinegar: "I would be lying to you if I did not say so