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

Kevin Devine - Brother's Blood

Here’s the thing about Kevin Devine: he writes amazing songs, but he has yet to churn out that one amazing album, his Deja Entendu, if you will. While I won’t say Brother’s Blood is that, it’s most definitely a step in the right direction. Its is complete with good songs start-to-finish, but is also a cohesive work in and of itself. It cannot be lumped into one specific genre either; it dances between soft acoustic numbers, emotionally charged anthems, and straightforward rockers. Sometimes it’s great, but it’s always good.

I can’t find anything I don’t like about Brother’s Blood. There isn’t a track that stands out in a bad way; there isn’t a moment where I find myself disgusted. It continually satisfies. Still, whether or not this is even Devine’s best album could be debated. He seems to be stuck in a rut – while writing good albums isn’t a bad rut to be stuck in, he needs that career defining moment to come. But again, he continually shows progress. Make the Clocks Move proved he could be one of the better songwriters in the scene. Split the Country, Split the Street showed he could rock with the best of them. Put Your Ghost to Rest was the album that should have put him on a pedestal, and Brother’s Blood is the record that shows he wasn’t lost in the shuffle. Unfortunately, that’s not how it worked, but that’s exactly how it sounds.

The thing that always stood out about Kevin Devine, to me at least, was the softer songs he wrote. Songs like “Lord, I Know We Don’t Talk,” “A Billion Bees,” and of course “Ballgame,” don’t just fit a mood, they make a mood. With the release of Brother’s Blood, “All of Everything, Erased,” “It’s Only Your Life,” and “Tomorrow’s Just Too Late” (the latter of which features Jesse Lacey of Brand New) can all be added to that collection. Of course, Kevin’s not a one trick pony. Just when you think all he can do is write brooding lonely acoustic ballads, he plugs in and you find yourself losing your voice.

Anyone who saw Kevin Devine and the Goddamn Band with Manchester Orchestra will be familiar with the rousing versions of “Carnival” and “Another Bag of Bones” that appear on this record. Both songs were originally released as acoustic demos on Kevin’s Myspace (like all but one song on this record), but were drastically reworked to include the Goddamn Band, like all but three of the demos that appear on Brother’s Blood. The only song that was not previously released as a demo was the title track, probably the single strongest song on the album, clocking in at almost eight minutes, every second of which rocks with intensity never illustrated by Devine & co. on a recording until now.

Every track on Brother’s Blood deserves to be mentioned though. “Hand of God” is possibly the strongest song lyrically, but musically gets a tad monotonous. Still, it is much improved from the original demo. “Fever Moon” is a very relaxed, down-tempo, almost Latin flavored jam that never seems to build up to anything, but is perfect for a dimly lit night in a humid southern state. “I Could Be With Anyone” is an ideal choice for the album’s first single, but “Yr Husband” would fit just as well, both are standard power-chord rockers, both are very lyrically strong. For that matter, Brother’s Blood’s biggest sell is probably its lyrics. Devine continues to grow as a songwriter with each release.

All in all, I believe Brother’s Blood will prove to be one of the stronger releases of 2009, and should be expected to appear on many end of the year lists on the positive end of the spectrum. My only complaint is it still isn’t that album – the one that we’re all waiting for from Kevin Devine, the one that we all know he has in him. But that should take nothing away from this release. Front-to-back it’s an unquestionably solid record, worthy of any praise that it receives, and will surely take any critiquing in stride, but has to be listened to in order to be judged. It’s sure to make fans of Devine very happy, and hopefully will draw many more in. Musically, vocally, lyrically, production-wise, overall this record is a nine-out-of-ten: it needs to be heard.

http://www.myspace.com/kevindevine

P.O.S. - Never Better

“Sorry I took so long” are the first words you hear from Stefon Alexander, more commonly known as hip-hop anomaly P.O.S., on his latest album Never Better. Well, while it’s been three years since his fourth album Audition, it’s immediately clear it was well worth the wait. “Let It Rattle” kicks the album off in a straightforward way, but P.O.S.’ rhymes are incredibly fluent over such a simple beat. In fact, the whole album is fashioned in a similar manner, no where is it overdone, but every word, every beat finds a way to strike you as the listener.

If you don’t already know, P.O.S. is not your typical rapper. In fact, he’d probably be more comfortable at a punk rock show circa 1989 than on the same bill as the Kanye’s and Wayne’s of the mainstream hip hop scene. His raps – no, lyrics – are best described as thought-provoking, heavy, and sometimes even almost splendid. Lines like: “And we all save face in the face of our friends, and we all bend backwards to make amends, and we all take chances that change us” (from “Goodbye”) set the tone of the album: undeniable optimism in the face of fear.

The truth is I can’t find a song on Never Better that I don’t like. There are standouts, including “Goodbye,” “Optimist,” and the all too brief “Savion Glover,” but there aren’t any songs that I would – or have skipped when listening front-to-back. This is the first album to be released so far this year that I’m still listening to very regularly.

The further I find myself into Never Better, the better it gets. Even now as I sit here and attempt to write this review, I’d rather just listen to it. The production is flawless, thanks to both P.O.S. and fellow Doomtree member Lazerbeak. Paper Tiger is worth noting as well for his production on “Low Light Low Life,” which features Doomtree collective members Sims, Cecil Otter, and Dessa, and is probably my personal favorite song on Never Better.

The strongest aspect of P.O.S.’ music however is in his words. The content and the delivery, he’s more a modern troubadour than a rapper. Many hip hop artists today utilize vulgarity to an unprecedented extent, which there is nothing wrong with, when it’s in ‘good’ taste. But as I listen to my copy of Never Better, I still don’t know if I have the uncensored or clean version. P.O.S.’ vocabulary is unbelievable, but he could get along with your grandmother while just as well maintaining the same abrasiveness exhibited on his albums.

However, if you’re looking for the next big thing, the next rapper to take number one on TRL or whatever garbage MTV is running nowadays, P.O.S. is not your man. Never Better is not standard hip-hop. It’s something different that has to be appreciated for just that. Don’t expect to see it on any “Best Rap Albums of 2009” lists, but is it too early to say one of the “Best Albums of 2009?” No, and as of right now, it’s certainly on my list. Musically Never Better is a seven-and-a-half, vocally an eight, production-wise a nine, but overall I can honestly say I believe this record is a nine out of ten: definitely tell your friends about P.O.S.

http://www.myspace.com/pos

New Found Glory - Not Without a Fight

I’d like to start this review with total honesty: up until several weeks ago, I knew NOTHING of New Found Glory short of “Catalyst, you insist to pull me down…” I only heard “My Friends Over You” a month or so ago. So I feel as though I’ve approached Not Without A Fight from a very unbiased standpoint. What a perfect way to do it too.

I think it’s safe to say I was missing out in not listening to New Found Glory all these years. Downloading this album lead me to download everything they’ve released prior to, without even listening to it. I couldn’t be happier with that decision. I’ve been stuck on Sticks & Stones whenever I’m not listening to this new one. Which should speak to all the old school NFG fans: this album is unquestionably a return to form for the band. They sound like the adolescent pop-punkers that they were so long ago all over again.

Compromises are made in order to reach that point, yes. Musically, there’s nothing special about this release in comparison with anything else that will come out this year. They’re all more well-rounded musicians than they were back in the day, but they certainly won’t blow your mind. Lyrically nothing stands out either, most of the songs actually come off as almost pretentiously immature, but that doesn’t significantly take away from the enjoyability (that’s not a word, I know) of Not Without a Fight.

Something about songs like “47” and “I’ll Never Love Again” really takes me by surprise. For the most part, the record feels really genuine. This is so odd because it’s also quite a blast into the past, something that usually fails horribly when attempted by other bands. The stand out from the album in my opinion is probably “Listen to Your Friends,” something I’m a little ashamed to say because it’s the lead off single. But it is a great song, definitely a stand out within their entire catalog at this point. A few others worth noting are certainly “47,” “Right Where We Left Off” which starts the album off on an almost hardcore note, and “Such a Mess.” But there are still songs like “Tangled Up” (which subtly features Hayley from Paramore *melts*), which I actually couldn’t stand upon initial listens, but with a few more it really grew on me. The thing about Not Without a Fight that tells me that it’s actually a really great album is the fact that I can skip around and listen to the songs individually and enjoy it, OR I can listen front-to-back, and still get the same satisfaction.

With this album, I have a little bit of faith restored in the pop-punk genre. As of late, things have gotten very cut-and-dry, and save for a few bands, I feel as though pop-punk is on its death bed. New Found Glory was not one of those bands until I heard this record. This is not the same synthesizer, handclap, and autotune heavy album that every other pop band can be expected to release this year. I only hope former fans of the band will accept this album, despite the mediocre previous two. Musically and vocally Not Without a Fight is a seven, vocally a six, but Mark Hoppus’ production is outstanding - by no means raw, but without being over-produced - he gets a nine. This is a great record from a band I never thought was all that great at all: Nine out of ten, definitely tell your friends about this one.

http://www.myspace.com/newfoundglory

Two Tongues - Self-Titled LP

Chris Conley and Max Bemis… TOGETHER? This is a pop rock wet dream to me. Saves the Day and Say Anything have both held their place in my heart as a favorite band at some point, so when I heard Two Tongues was really going to happen, I couldn’t have been more excited. Well… maybe my expectations were a tad high.

Sure, there’s no denying the fact that Chris and Max are both insanely talented singers and songwriters. So naturally, you would think they would mesh. Well, even though this album is by no means “bad,” I certainly can’t help but feel a little gypped. The songs just lack a genuine feeling. I hate myself for even saying that. Max and Chris’ vocals sound great together, but the songs don’t instill any emotion at all in my mind, very much unlike Saves the Day and Say Anything.

However, with repeated listens, I’ve found that this is actually a really solid pop rock album. It is, by no means Through Being Cool or …Is A Real Boy, but even STD or SA can't be expected to make another one of those. There are numerous songs in this record (“Tremors,” “Wowee Zowee,” and “Crawl” just to name a few) that I would pick over anything off of Saves the Day or Say Anything’s respective most recent records. It’s a much-welcomed return to form for both songwriters after turning out second-rate albums, and instills hope for both Daybreak and Say Anything (both bands plan on releasing new music this year).

With every listen I like this album a little bit more. Maybe it’s got something to do with the screamo bender I was on when it leaked, and accordingly the pop rock moods I’ve had lately. But regardless, it’s a legitimate release, worthy of at least being given a chance. You very well could find something to love, especially if you’re a fan of either or both contributing bands. I’d give it a seven out of ten musically, lyrically a six (at best), vocally an eight-and-a-half, and production-wise a nine. Overall, this is a seven out of ten star record: Listen to it front-to-back.

http://www.myspace.com/twotonguesrock

Thursday - Common Existence

It’s no secret that Thursday’s last album, A City by the Light Divided, was a disappointment to many fans of the band. The choice to put Dave Friddmann at the helm was an odd one, and it ultimately showed upon final release. So, when Thursday announced that Friddmann would be producing the band’s fifth full length, fans were wary. Well, there’s no need to be frightened Thursday fans. Their upcoming full length, due out February 17th on Epitaph is sure to make you happy, whether you’re stuck on Full Collapse or you appreciated ACBTLD for what it was. Everyone’s sure to be happy with Common Existence.

Right out of the gate, the boys come out swinging with “Resuscitation of a Dead Man,” the lead off song and the first single from the album. A sense of urgency is immediately felt, very similar to Geoff’s recent collaboration with Daryl Palumbo from glassJAw, United Nations. A great vocal contribution from Tim McIlrath of Rise Against rounds out the track that can now be heard on Thursday’s Myspace. The second track, “Last Call,” is a standout upon first listen, and doesn’t fade at all with the fourth or fifth. It’s a plea for change, and it hits close to home with many of us. “As He Climbed the Dark Mountain” is taken untouched from the band’s recent split with envy, but is much more enjoyable in Common Existence’s context. “Friends in the Armed Forces” has been touted by several reviews as one of the better tracks, and I certainly couldn’t argue with that. Another song very fitting for our times, relevant to many of us, Geoff seems to wail with a youthful vigor he's to have grown into as the years have gone by.

A brief (and rather boring) demo of “Time’s Arrow,” then known as “A Sketch For Time’s Arrow,” can be heard on Kill the House Lights. When I first heard “Sketch,” I was both interested and cautious to see what Thursday would do with an acoustic number, and they did not disappoint. Just when it seems like the songs dragging, it picks itself up and hurls itself at you, and you can’t help but get lost in it.

The last three songs are where Thursday prove they're still alive and kicking, and are not dinosaurs in the scene, but elders that demand respect, and show they can still earn it. “Subway Funeral” doesn’t really catch your attention until the chorus, with an interesting synth-ish hook provided by Andrew Everding, who really makes his presence known in a good way on this album, whereas on ACBTLD, the keys felt very forced in places. Where the song really gets intense is at about the 2:27 mark. I won’t tell you what happens, but you need to hear it. “Love Has Led Us Astray” has a tough act to follow, but steps right up to the plate, and knocks one out of the park. The song takes it’s time to build up to a breathless outro, wherein the chorus is repeated over a driving rhythm that wasn’t present at all for the first couple minutes of the song.

The unquestionable standout from the record though, is without a doubt “You Were the Cancer.” A slow synth build up may go as far as to bore the listeners, in a very similar fashion as Circa Survive’s epic closer “Your Friends Are Gone,” but soon enough the song will change your mind. That’s when it drops, and Geoff screams like he’s never been heard, or at least not since “How Long is the Night.” Trust me, this is one song you want to hear in 2009. This ranks up there with the best album closers in recent years, and if anybody’s tough to beat, it’s Thursday. But they may have topped themselves here. Even as I listen now, I have the urge to assume the fetal position on top of a full stack of speakers with a microphone, screaming the words at about the 3:30 mark. The song gets played out, instruments are, by the sound of it, broken, and the feedback fades, and you can’t help but feel the album was a little too short. But, clocking in at a little less than 45 minutes, the only album it doesn’t top in length is A City by the Light Divided. And Common Existence certainly competes with every Thursday album in quality. An eight out of ten musically and vocally, lyrically eight-and-a-half, and production-wise seven-and-a-half. Overall an eight out of ten: Give it numerous chances.

http://www.myspace.com/thursday