post eight: rise against - appeal to reason cd review

Rise Against is political punk rock. Now that we got that out of the way, they are one of the best at what they do. For the past seven years, Rise Against have made a name for themselves by consistently making overall quality albums. Though there are those who will say that the “older stuff was better”, most who have been listening to them since the beginning will agree that even with major label backing they have stuck to their sound and their beliefs. Regardless of their “not-so-mainstream” sound, the bands popularity has kept growing. Two years after their highest selling album Rise Against has released Appeal to Reason.

The first song “Collapse” takes the position of their other album openers and is a fast-paced track that takes charge of the album. Coincidentally, it’s one of the better songs on the album. The beginning of the album certainly has its high points as songs like “Long Forgotten Son” and “Kotov Syndrome” are two of the albums best tracks with a certain high energy that can only be matched by Rise Against. While the single “Re-Education (Through Labor)” ruins the flow of this, the album quickly the album quickly resurfaces with tracks such as “From Heads University” that matches the pace of the song “Dancing For Rain” off the album Siren Song For a Counter Culture. Perhaps a curveball in the album, the song “Hero of War” is an acoustic only track that resembles their hit “Swing Life Away”. While others may criticize it, the track simply works and is fairly thought provoking. The album quickly picks back up with tracks like “Savior” and “Hairline Fracture” which are both extremely strong album enders. The last song “Whereabouts Unknown” is one of the weaker songs to end on as nothing really happens and it doesn’t leave you wanting more.

Despite the weak ending, Appeal to Reason is still one of the better albums that has been released in 2008. The album proves that Rise Against still have what it takes to be one of the biggest bands in their genre and that as long as they keep doing what they are doing, they will be just fine. While this may not be the best Rise Against album, it’s still a great listen and an album any fan of the band will want in their collection It’s one you should pick up if you like bands like Alkaline Trio and Crime In Stereo.

post seven: the killers - day & age cd review

The Killers-- the ostentatious and ambitious Las Vegas quartet with enough bravado for the whole music scene follows up their second album Sam's Town, with Day and Age. Fan's of the debut Hot Fuss got hot and heavy when hearing Brandon Flowers and crew had traded in their synth for more guitar and an Americana/Springsteen-esque style. Day and Age is a rebuttal to all those who gave up on The Killers after their departure from new wave. Their latest effort has all the flare and pomp that Hot Fuss contained, and Flowers once again returns to the synth which had treated him so well in the beginning of his career.

The album opens up with the chiming of bells and kicks into full gear with a heavy dose of sax in "Losing Touch." The albums first single "Human" is driven with an aggressive electronic drum beat and chorus which digs deeper and deeper into the brain with each additional listen. "Spaceman" contains the more memorable hook of the album, which unlike "Human", immediately sticks. Despite harping on the fact that Day and Age is more similar to Hot Fuss than Sam’s Town, the theme of Sam’s Town isn’t completely lost, and remnants of Americana are shown in "Dustland Fairytale", a song that closes with a dramatic and epic conclusion.

Flowers displays his vocal virtuosity in both "This Is Your Life" and "I Can’t Stay". "This Is Your Life" is an emotional and uplifting tale of perseverance with Flowers channeling his inner Bono. "I Can’t Stay" shows that while Flowers vocals may be flawed, he is in complete control and purveys every feeling that’s required.

"Goodnight, Travel Well" goes the cliche route of trying to deliver an epic and melodramatic conclusion to an album. At first it appears they fail miserably-- that is until the song hits its crescendo and delivers an emotional and moving finale.

Day and Age sounds like Hot Fuss taken off the dance floor and into the concert hall. Day and Age lacks the killer hooks of "Mr. Brightside" but delivers in aspects Hot Fuss was missing. The emotional bonds are stronger, and as a whole the album is tighter. My biggest fear is wearing out this album with so many continuous listens that I may no longer consider it as one of the best albums released in 2008.

post six: some videos by the killers that i'm loving

so if there is anything you ever need to know about alicia katrina fuentes is that i am the biggest killers fan known to man-kind. so right now i'm going to post a bunch of videos the killers have done lately, just cause i love them, so in enjoy!

the killers - human (live on jools)


the killers - human

post five: anathallo - canopy glow cd review

Anathallo has been a band I’ve followed for quite some time. I remember seeing them in an Elk’s Club in the way eastern desert territory of southern California opening for a band who were, at the time, relatively small (Chiodos). Since the captivating show, I’ve been continually impressed with the band’s sense of subtle melody and unstoppable attention to dynamics and rhythm. Their first real full length, “Floating World,” was released and few heads turned—even on their tour featuring several sold out shows with The Format, it seems people by and large just aren’t taking notice to the band.

Even I, a pretty avid fan, found myself occasionally listening to “Floating World” with, generally, little attention. Many of the tracks were largely forgettable and while the two “singles” were triumphant and perhaps my ideal mix of mathy indie and pop (Hoodwink, A Great Wind…) many of the songs seemed to get a little too far off the map for me to willingly hone in.

On “Canopy Glow,” released on the highly prominent indie Anticon, the band is noticeably more focused—and decidedly darker. From the ominous cover art to the mysterious and eerie dynamics of every song, “Canopy Glow” is a giant step in the right direction. The songs contain the feel the band has been going for from day one--vocal rhythms, hand claps, and such--but the songs are quite hookier and quite more memorable than ever before. Lyrically, the band has made a significant step towards a more thematic approach. “Canopy Glow” follows the commonly used theme of death, but the songs are more exciting and lively, brought to life by vivid imagery (“Cafetorium”). There’s still plenty of sparse, desolate songs that encapsulate a feeling of pure loneliness, though (see “Noni’s Field”).

Vocally, the album is much more focused—it’s a lot more rocking on the guitars as well. It seems the band has their former style still equipped, but has moved towards a more focused overall sound. The vocal harmonies between the two singers are reminiscent of an almost Beach Boys meets The Anniversary vibe, and it’s very diggable.

By and large, “Canopy Glow” is one of my late night anthem records of the year, as its dark, encapsulating mystery and more focused vocal work is at once inviting, familiar, memorable, and insanely interesting. I strongly recommend everyone finally gets on the bandwagon with this band.

post four: dear and the headlights - drunk like bible times cd review

Awhile back, I stumbled across a band who recorded a debut with famed Bob Hoag (The Format, The Bled, Tickertape Parade, and Limbeck). I think it became pretty obvious as time passed that I was going to become a big fan of these guys; their mix of folk and rock combined with raw melodies was infectious and sounded more honest than most.

And so, here we are only a year and some change since the debut was released (though I had acquired it many months before then and it had been completed well before). The second I caught wind “Drunk Like Bible Times” was on its way, I perked up and anxiously awaited the opportunity to hear a song. Deep down, I hoped it would follow suit with their prior album—and when I saw them live recently, the new songs seemed to be heading down a different route. The songs while invariably catchy and reminiscent of their initial material, were a little more aggressive and noisy. I personally was an avid fan of the more intimate songs; “Paper Bag,” for example, had a sort of heartfelt drive that I longed for.

“Drunk Like Bible Times” follows suit with some of the more aggressive natured songs on the last album like “Grace” and “Skinned Knees and Gapped Teeth,” and strays from the more anthem driven songs like (ironically and, yes, confusing I know) “Grace” and “Run In The Front.” There’s a lot of quickly spoken lyrics, myriad technical guitar licks, and an (overall) more complex sound on “Drunk Like Bible Times.” Undeniably, the band has grown much since then—and their live show indicates an increasingly confident band.

That’s probably the word I’m looking for—confident. “Carl Solomon Blues” delivers a powerful sense of angst vocally, and combine with Circa-Survive-esque guitar swooning to unveil a sense of orchestrated chaos. “If Not For My Glasses,” parallel to their debut album’s “Grace,” is a steadying rock jam filled with soaring choruses and piano-led vocal lines that is as catchy as any song the band has ever written. That’s not to say the band has moved from the intimate acoustics: “Flowers For My Brain” unveils a slow waltz that is beautiful and compassionate; “Parallel Lines” clearly and completely exhibits the singer’s familiar fragility. Still, the band’s matured sound is perhaps exemplified in the closing track “I Know,” quite possibly the best one on the record—a song that brilliantly escalates into an eventual array of shouted passion.

Without question, “Drunk Like Bible Times” is in my top five favorite records of the year. I love the way Dear And The Headlights’ always seems to hit home with a sense of gentle honesty—not to mention the way the band successfully orchestrates a mix between folk, rock, and catchy pop. Whether or not this record is ‘better’ than their debut is a question best left unanswered—I simply consider it a perfect continuation of a band who are quickly mastering the art of pure introspective genius through music.

post three: amazing electronic acts out now in video form

Cut Copy - Lights & Music (Live on Carson Daily)




Hadouken! - That Boy That Girl



Walter Meego - Forever


Crystal Castles - Crimewave

post two: audrye sessions show review

Audrye Sessions and Wild Sweet Orange have spent the month of October sharing shows. With a few more shows left on the schedule, their tour will be capped of a showcase at CMJ with both bands, Margot And The Nuclear So And So’s, Love As Laughter, and Cory Chisel.

Tuesday, October 14, brought Audrey Sessions back to their home in the San Francisco Bay Area for a show at Great American Music Hall with Wild Sweet Orange and Poor Bailey. The Oakland band was celebrating the release of their self-titled EP.

This evening belonged to Audrye Sessions. As the opening chords of “Turn Me Off” cut through the now full audience, the Oakland band blasted their way through an energetic set. The band’s sound grabbed the audience, held them by the shoulders and shuck them to each beat.

The Bay Area band mixes Britpop with an experimental, melodic indie rock sound. Lead singer Ryan Karazija sites the Beatles, Radiohead, Oasis, and Sigur Ros among his influences. Those bands can be heard in the layered sound of Audrye Sessions. The normal four-piece band was accompanied by as many as 4 additional musicians during the set. Multiple guitars, keyboards, trombone, cello, and violin added to the already diverse music.

Throughout the set, they played all four tracks of their self-titled EP, which was officially released the same day. The EP has a bombastic sound, but the band’s live performance was full of subtleties and bulging dynamics. Their EP is a tease of the band’s upcoming full-length album, but this live show suggested that the early 2009 release will be both a powerful and emotive record.

stand out tracks: "new year's day," "restless," and "julianna."
record label: black seal
genre: indie/brit pop influence
website: myspace link