As Cities Burn - Hell or High Water

For the last few years or so, it seems like every band that signs to Rise or Ferret, and other semi-underground labels, releases two or three of the same record, fills out their contract, and disappears. Every album sounds the same, but the artwork’s nice and their clothes are pretty cool so people will download it, listen to it a few times, rave about it online, and then forget just as fast when someone decides to combine rap and screamed vocals. Then there are bands like As Cities Burn.

Consistent reinvention may be an oxymoron, but it can still be accomplished. For the last four years, As Cities Burn have been doing just that. 2005 saw the release of Son, I Loved You At Your Darkest, and while it was nothing significantly different, it was a solid post-hardcore album that put the band on the map. Following the departure of primary vocalist T.J. Bonnette, and a few minor member changes, Come Now, Sleep showed the band to have much more versatility. Hell or High Water, the band’s third album, and first fittingly released entirely through Tooth & Nail Records, and not Solid State, continues to exhibit just how far a band can come in just a few years time.

Right out of the gates (not counting the pregap hidden track), “’84 Sheepdog” comes out fighting, without question the closest thing to anything from the band’s first album you might ever hear from them again, even featuring former vocalist T.J. Bonnette. While this song by no means sets the tempo for the remainder of Hell or High Water, it’s still not out of place. What follows though, is much more focused. Songs like “Errand Rum” and “Into the Sea” create a much more consistent atmosphere. A balance between exhibiting passion and keeping the noise under control is reached quite nicely.

“Lady Blue” could very well be my favorite from this record. The percussion break in the middle sounds like it was recorded in a bar in southern Louisiana. Rhythm and raw emotion are also common themes throughout most of the album. Still, diversity shines through. No two songs are easily confused on Hell or High Water, as evidenced by “Pirate Blues,” a very straightforward four-chord rocker, complete with some of my favorite lyrics on the record; and its follower, “Capo,” which sounds like it was intended to invoke dancing à la hipster clubs. It even features a poppy driving bass line and what sounds like a drum machine. It’s not one of my favorite tracks, but it shows just how capable the band is.

If you plan on purchasing Hell or High Water, and have no retailer preference, I’d like to recommend the iTunes version, for one reason: “Gates.” It’s the iTunes exclusive bonus track, and if you’re previously an As Cities Burn fan, you may recognize it as the outro to the majority of their live sets. Along with “Lady Blue,” “Pirate Blues,” and “’84 Sheepdog,” it’s definitely a standout on the record. While it’s not fantastic, only due to duration (technically only nine songs) and lack of a cohesive purpose, Hell or High Water is nonetheless a very solid release. Musically an eight, vocally a seven, lyrically an eight-and-a-half, and production-wise an eight, the album as a whole is an eight out of ten, I’d give it several chances if at first you don’t feel it.

http://www.myspace.com/ascitiesburn

If you leave this town, I would follow you right out.

(June 20th, 2009 Millvale, PA - Mr. Small's)

Some shows I go to, I anticipate for months ahead of time (see: Kevin Devine and the Get Up Kids). Others, well, even going is a last second decision. Such was the case with the Ace Enders & a Million Different People show at Mr. Small's. I almost didn't go. I'll come out and say it, it wasn't my favorite show or anything, but I am glad I went.

The Dangerous Summer was the first band to play, to my dismay (you'll know why soon), and quite possibly the deciding factor in my attendance. Hailing from Maryland, The Dangerous Summer play what initially sounds like generic pop-'punk,' but upon further inspection, they prove to be much more genuine and introspective than most of their peers. The first time I heard them I was reminded of Kenny Vasoli (of The Starting Line, and yeah, Person L) vocally. I didn't even realize their primary vocalist is also the bass player. The parallels continue. The Starting Line's influence is also pretty noticeable, which is, by no means, a bad thing. But I digress. The entire setlist was, as expected, cuts from their debut full length, Reach For the Sun, and I was certainly pleased. They sounded great, and seemed quite pleased, even though turnout seemed a bit disappointing to me at least. Expect to see them coming to a city near you with bigger and bigger acts. They're climbing the ladder, and earning every rung.

set list:
Surfaced
Symmetry
The Permanent Rain
Weathered
Where I Want to Be
Never Feel Alone

Following TDS was My Favorite Highway, the only band on the bill I wasn't even a little bit familiar with, and apparently with reason. I was not even a bit impressed by their live set. The vocalist/pianist seemed almost pretentious with his stage presence. They sounded alright, his vocals were spot on, but if I wanted that, I'd listen to the recordings. Not much else to say, they don't exactly stick in my mind.

Probably the only reason I even considered going to this show in the first place, Person L was Ace's direct support, contrary to the other time I've seen them, second of four opening for Chiodos (needless to say, the crowd was a little better tonight, and by now a crowd had actually developed). Person L is Kenny Vasoli (formerly of the aforementioned Starting Line)'s new project, in which he explores pretty much every sonic possibility imaginable in 2009. It's quite impressive, there's a lot of different things going on in every song. One minute you're watching Drive Like Jehu Jr., the next Radiohead and blink-182's (somewhat deformed) lovechild. But tonight things were a bit different. Person L was short two of it's five members, one a victim of the economy, another of a back injury. Upon finding this out, I was a little hesitant to get excited for anything particularly stunning, and thus, was quite impressed. At first the setlist was a little disappointing, it consisted of mostly new songs I wasn't familiar with, but in retrospect, I feel a little priveleged to have heard that number of songs from The Positives (the band's debut full length) long before studio versions have been heard by, as far as I know, anyone. Also, "Seven Nation Army" was a nice treat. The songs from the new album sounded fantastic, even as a trio as opposed to a quintet.

set list:
I Sing the Body Electric
Sit Tight
Stay Calm
Help Yourself
Storms (Kenny solo)
New Sensation
Seven Nation Army (White Stripes cover)
Goodness Gracious

If I was the kind of person to do such a thing, I would've probably left at this point. Even though it was a Saturday night, I was tired, and not all that excited for Ace's set. Still, I like to get my money's worth, and ever since I left a Thrice show early in 2007, I like to see every band that I can. So, I stuck it out. I was glad I did, for sure. Ace sounds fantastic, and the backing band he's been playing with (including Serge, who used to play bass in The Early November alongside Ace) sounded great as well. I'm not a super fan or anything, and I managed to enjoy it, so if you are a fan of Ace's, I'd definitely recommend seeing him at least once. My only (fairly cliche) complaint would be the lack of Early November material, and there was no encore. The no encore thing was likely due to the somewhat poor turnout, a surprise for a Saturday night. Also, I have to say, Ace is a great guy, if you go see him, take a minute and shake his hand.

set list:
Rain
Body Like Mind
I Want to Hear You Sad (The Early November)
Reintroduction
Take the Money & Run
The Only Thing I Have (The Sign)
Gods (new song)
Sweeter Light
Emergency
When I Hit the Ground
Decoration (The Early November)
Reaction
The Best Happiness Money Can Buy (I Can Make A Mess)
Where Do We Go From Here
Bring Back Love

Breathe in easily, like you might never breathe again.

(June 4th, 2009 Pittsburgh, PA - Altar Bar)

If you were to look at my last.fm page, you could safely assume that Kevin Devine is my favorite artist, and I wouldn't argue with you. Truth be told, I don't even know how much of a point there is to writing this review. If I haven't already convinced you to check him out, you're a lost cause. The man is a genius. Following in the footsteps of Elliott Smith, Jeff Magnum, and the likes of, he takes introspective, simple songs, and adds his own emotional flavor that takes them to a whole new level. Since I've been listening to him, I've seen him all but one time he's been through Pittsburgh. Unfortunately, that only makes two times (I'm behind the bandwagon, what can I say), but I've yet to be even slightly disappointed. When I read he'd be coming to town in support of his new full length, Brother's Blood (my review of which can be found here), it was already my top priorty, even though the show fell smack dab in the middle of finals week (and as I later discovered, the eve of Game 4 of the Penguins v. Red Wings Stanley Cup Final). Nothing was keeping me from seeing this show though.

As usual there was a local opener. I never find myself particularly excited for this aspect of a show, so it's hard to disappoint me. The Sunflower Spectacle, a seven-piece (yes, seven-piece) band out of Johnstown, Pennsylvania, didn't disappoint, but by no means impressed me either. Musically, they certainly weren't the most intriguing thing I've ever heard, but their energy made up for what their sound lacked. If the Lonely Hearts Club band listened to more Sonic Youth, I think Sunflower is what would've happened. Still, I felt like a kid in church listening to the sermon who already has himself convinced that there's no such thing as God. I could appreciate what they were doing, but I can't say I was particularly captivated. The brutal abuse of several rather pricey, beautiful instruments didn't help their cause either.

Once they finished, Brian Bonz and The Dot Hongs were to take the stage. Again, I had no idea what to expect, but was significantly more pleased with what I was hearing almost immediately. The first song they played was Brian solo, and right as the song was building up, Evgeni Malkin scored the first goal of the game, and the whole room erupted. Suddenly, the air was a lot lighter. Everyone was laughing and smiling, and Brian was playing the soundtrack to our good mood. After that first song, the rest of his band came up. The Dot Hongs are almost exactly the same as Kevin Devine's Goddamn Band, the differences aren't even notable, and as I've said before, and I will say again, the Goddamn Band is pretty damn good. Brian's vocals sounded great, and the band was super tight. I wish I was more familiar with the material. At one point, Kevin came up and sang with Brian for a cover of a song that was on the X-Files soundtrack. All in all, the set was nothing short of wonderful, very upbeat, and it sounded excellent.

As much as I was looking forward to Kevin's set, I could wait because Miniature Tigers were next. I felt somewhat privileged, if I'm not the only, I'm one of the only people who has seen them every time they've been to Pittsburgh, even if that's only twice (a recollection of the first here). Being more familiar with their music this time, along with a surprising number of attendees, this time was even more enjoyable than last. The band was having a great time throughout their set, but playing their colorful mixture of indie-folk and pop, how could you not? The three new songs that were played displayed a more layered songwriting style than contained on their debut album, Tell It to the Volcano. Based on what Charlie Brand, the band's chief songwriter told me, we've still got a wait on our hands, but when their sophomore effort drops, expect to be pleased. The entire set was solid, the highlight probably being "Cannibal Queen." For the finale, they invited several members of the audience up to assist with singing and various percussion parts, and Kevin, Brian, and company invited themselves up as well. By the end of the song the stage was crowded with people having a ball. It was all very enjoyable to watch. If you're ever in the mood for a fun, lighthearted night with a mustache- and sweater-clad indie quartet, go see the Mini T's.

set list:
Last Night's Fake Blood
New Song 1 (There's a Japanese Woman Who Lives in my Closet)
Dino Damage
The Wolf
New Song 2
New Song 3
Tell It to The Volcano
Cannibal Queen

It wasn't terribly long before Kevin Devine took the stage, no one behind him, and nothing but an acoustic guitar in hand. "Brooklyn Boy" came first, and as I whistled the bridge, he and I made eye contact and laughed. We all laughed. It was a rather blissful moment. Following "Brooklyn Boy," the whole band joined Kevin for "Cotton Crush," "Carnival" (which was preceded by several lines from Colour Revolt's "Moses of the South," one of my personal favorite moments from the set), and several more cuts from Kevin's last three albums. During "Hand of God," Mike Strandberg, The Goddamn Band's (phenomenal) guitarist broke a string, so Kevin announced they would take an acoustic break from the planned set list, so I asked for "Lord, I Know We Don't Talk." This was, hands down, the best thing that happened all night. About two-thirds of the way through the song, he shut off his guitar and backed off the back, so he was essentially playing completely unplugged to a room with several hundred people inside, and every single one of them was listening. Following that, the band came back (Mike playing one of Miniature Tigers' guitars), and my two personal favorite full-band songs were played, back-to-back, "Longer That I'm Out Here" and "Me and My Friends." Still, the highlight of the night was, without question, Kevin playing solo acoustic. "All of Everything, Erased" grows on me every single time I hear it, and "People Are So Fickle" was a very welcome surprise, especially acoustic. The full band came back and finished off the set with a somewhat-reborn "You Are the Daybreak" and of course "Just Stay," and then came back for an 'encore,' the somewhat-expected, but nonetheless brilliant closer "Brother's Blood." I don't really have many words for this show, I think my 50+ year-old dad put it best when he said "we go to a lot of shows, but Kevin's always the best." Kevin Devine really is the best. If he's anywhere within an hour of you, just go. It's always worth it.

set list:
*Brooklyn Boy
Cotton Crush
Carnival
Another Bag of Bones
No Time Flat
You're Trailing Yourself
Go Haunt Someone Else
Hand of God
*Lord, I Know We Don't Talk
Longer That I'm Out Here
Me and My Friends
Buried By the Buzz
I Could Be With Anyone
Yr Husband
*All of Everything, Erased
*You'll Only End Up Joining Them
*People Are So Fickle
You Are the Daybreak
Just Stay
Brother's Blood

*Kevin solo acoustic