Author Archive
Response to Pitchfork – Owl City
The article I’m responding to can be found here.
First and foremost, Pitchfork is a website with success that I cannot and will not degrade; they have earned every bit of their popularity. My reviews may never amount to anything close to what Pitchfork puts out on a daily basis, but the curious difference that let’s me sleep at night, is knowing I will never put out a review like the one in question. It’s almost sickening to see such blatant hate recycled, reused and distributed in a one page review. I still believe anyone who spends time writing articles about ‘bad’ music, as opposed to music they may actually enjoy, is certainly missing out in life (I know AWmusic.ca is guilty of this too). That said, I can full well understand criticism, take it, and learn from it, but the author who wrote the article on Owl City’s Fireflies, is simply a hater at best.
Beyond the two or three lines where the author does tackle some critical issues he has with the song itself, I find myself reading a fan’s guide to Ben Gibbard’s success more than anything else. Mind you, I was a fan of Death Cab and The Postal Service long before I heard of Owl City, and I will continue to be a fan of both. But what the author fails to do in this review is take Ben Gibbard’s crotch out of his oral cavity (as politely as I could state it). The whole Owl City sounds like The Postal Service argument is redundant and certainly about as productive as beating a dead horse. I find it ironic that the author says “But I doubt Ben Gibbard is losing sleep over Owl City’s Adam Young,” so why are you? While I don’t expect a response back, it’d probably be somewhere along the lines of ‘I’m not’ in which case that’s fine. I guess that article you wrote for a major music publication took you all of 10 minutes, right?
My other major gripe, besides the whole avoiding content and writing hate just so you can cash in on that very same artists popularity (get over it, Owl City is popular beyond belief), is the fact that he continues to imply Owl City completely ripped off The Postal Service. What strikes me odd is if Owl City can blatantly copy The Postal Service, and The Postal Service is amazing (which they are), then in theory Owl City’s music, all bias aside, should be at least half way decent. I cannot deny the obvious resemblance between the music, but their similarities are what make me fans of both bands.
Whether Owl City is a one time gimmick remains to be seen, or whether the author in question was on to something (I highly doubt he was). I just find it ridiculous that Pitchfork would publish such a demeaning article, and I’m SURE they didn’t know his chart-topping hit would give them hundreds of thousands of hits (sarcasm). Perhaps my response has more to do with ethics than with music altogether, but I don’t think its right to bash a guy, while looking for hits from his rather large fan base, if that was indeed their intention. I think music culture has gotten too much about being high and mighty, and less about enjoyment and fulfillment, even I find myself sitting here writing a negative response to a negative article.
In the end, Owl City is experiencing success few people will ever imagine, and perhaps writing this was a waste of my own time. Ironic isn’t it?
Check out his Myspace for more on Owl City.
And for my review of his album Ocean Eyes
Lights – The Listening
The Listening is the debut album for one of Canada’s budding young artists, Lights. Valerie Poxleitner as she is formally named is no new face to the media. Her songs have caught the attention of the masses, and her singles are constant chart toppers. I became familiar with Lights after hearing her self-titled EP, and was instantly hooked. Her knack for catchy music and originally themed tracks were something to be admired. I was especially impressed with her ability to sequence her own melodies, which I find to be the secret behind her success.
The Listening is comprised of twelve tracks, and a couple of bonuses, note that four of the tracks have already been released through her EP. Probably the biggest gripe I had with the album, was the recycling of music, otherwise I thought it was great and very fluid. The best aspect of Lights is her eccentric style, which happens to be present in every song and fittingly so. Her dream-like gimmick, gives off a sense of euphoria and care-freeness that doesn’t come across as pretentious. Instead her relaxed attitude speaks for itself, in an album that definitely has both talent and natural instinct.
Saviour is the first track, and one of her current singles from The Listening. It has her distinguished melody, which is often played simply but sounds emotional and extravagant. It’s the perfect compliment to her soft and subtle vocals, which while may not be extremely talented, work well within the confines of her range. Her sweet voice is the second most important element, next to her hypnotic melodies, that truly work to grab the attention of listeners. However, as with most music, their individual efforts are not enough, and the combination of dreamy vocals and entrancing melodies further solidifies her originality and artistic prowess. Besides her space-like style, her originality is also portrayed through her themes and lyrics. Saviour is a romantic track with clever metaphors and not the typical kind of happy-go-lucky song. Instead listeners are treated to the hopeful, passionate kind of feelings that are hardly seen when it comes to love songs.
I already covered tracks like Drive My Soul, Ice, and February Air in my review of Lights’ EP, which all happen to share the same elated approach. The new tracks on this album also express the same style, but some are more upbeat while others are more hopeful and sombre. Two of my favourite tracks, happen to be one after the other; Face Up and Lions! Face Up is a very mellow song that has a positive message and a hopeful sound. The lyrics combined with the overall attitude of the song makes this track very noteworthy and worthwhile. Similarly Lions! has a great message, and utilises clever lyrics. Lions! is a surreal track with an overall beautiful touch, and if it doesn’t hit home, then I’m not sure what will. I think the innocence and great attitude of Lights is what got to me the most, and that is a combination of her sound, words and ideology.
The Listening is a great album, with great themes, and a consistent style. With the album alone I can tell exactly what Lights is all about and this allows me to further appreciate her music. While she may not be the most talented artist out there, she is certainly one of the most genuine, and that is a likeable quality. Pleasant music from an even nicer person, if there’s one thing Lights preserves, it’s innocence and a kind soul.
Check out her Myspace for more info.
A Rocket To The Moon – On Your Side
Before the release of On Your Side, A Rocket To The Moon was a promising band on the verge of mainstream success. Their old sound from the Summer 07 EP was innovative and the more recent tracks from Greetings From… were a tasteful mainstream change, so now the question is where does On Your Side fall? The first full-length album from ARTTM should have been something special, much like bands that have preceded them (The Maine comes to mind). Unfortunately while it was a good album, it was neither special, nor will it rocket them to a level they haven’t already achieved. To their credit, Nick and his new brigade did try a lot of new and creative styles, ranging from classic pop to country-like tracks. However nothing about the album screams classic A Rocket To The Moon, as if they were still in the infant levels of their music. I cannot tell you what A Rocket To The Moon represents, because while their tracks are fun and entertaining, they don’t possess a common entity, and that’s the problem.
But if I did not have so much faith in A Rocket To The Moon, I would say On Your Side is certainly a worth while listen and a very pleasant one as well. A lot of the track s put emphasis on cute, quirky themes, and as long as you have the stomach for it, the tracks can be more than entertaining, meaningful almost. With track titles like Mr. Right, She’s Killing Me, and Like We Used To, there’s no question as to what the album submerses itself in. But it should be known there is certainly nothing wrong with the individual efforts of the songs themselves. Mr. Right for example is a fantastic pop track wrapped neatly within the confines of alternative instrumentals. The elegant use of acoustic guitar alongside the atypical instruments such as keys, bass and drums cause a rush of pretty feelings. A song that’s pleasantly themed and awful hard to hate on, it’s hopeful and cheesy in a good way. Clever and catchy hooks cap the track, but overall it has a great home style feel, and that’s definitely a plus.
Life Of The Party is another fun pop track, but leans further towards the pop spectrum. It’s clearly more aggressive, but only in comparison. Otherwise, it’s a good-natured track, a little immature in style, but graciously fun. I think this track was really a toss up for me, while entertaining; it did not have the ARTTM ‘swagger’ so to speak, cliché as it may be. What’s left is a cheesy fun song, good at times, just not all the time. Then there’s a track like Sometimes, which seems almost experimental. Sometimes has clever lyrics and I would go so far to say that it’s catchy, but the basis of the track is groovy funk. Considering the dramatic change in vocal style and melody, it just doesn’t really fit the image of the band. A very intriguing listen that’s for sure, and a serious side of ARTTM that is seldom seen, but this is where the album gets confusing for me. As an individual track I thought it was good, very creative, and if not done by ARTTM, I would have enjoyed it even more.
Finally there’s Baby Blue Eyes, which nearly borders the country genre. That said, the track does have the same themes and messages that ARTTM seems to be going for, only it’s performed to a slow, country-inspired ballad. Again as an individual track I thought it was good, heartfelt, and moving to say the least. A Rocket To The Moon has a knack for hitting the soft spot, however simple or hashed their themes may be. This is a talent that I believe in, and it’s definitely their strong suit when it comes to their music. My only gripe seem to be with the inconsistency of the music, and no clear direction for the album. I’m not normally very critical of albums, but I’m bias towards ARTTM because I’ve heard them since the beginning. The original rendition of Fear Of Flying still impresses me till this day.
It seems like ARTTM is consistently changing, improving and trying new things. They definitely did so for On Your Side, and while this is a good thing for an EP, I think a full length album should be a little more consistent. As an album, the tracks together did not work for me, the tracks as individuals, however, did. If I think of this album as a compilation of great tracks by ARTTM, then it more than surpassed what I expected. Nonetheless the talent is still there, the creative juices are definitely flowing, and maybe A Rocket To The Moon just needs a little more time before they grow into a unified style.
Check out their Myspace for more info.
Paramore – Brand New Eyes
Perhaps one of the more profound bands under the Fueled By Ramen umbrella, Paramore has quickly grown into a household name amongst listeners around the world. Having had significant radio and video play, the face of Hayley Williams has been instilled upon millions of viewers. More recently, their single ‘Decode’ has been featured in the box-office hit, Twilight. So Paramore need not the introduction because most average pop-rock fans will have already heard of them. Personally, Paramore has been a favourite of mine for quite sometime. The unique vocals and melodramatic storylines lend a hand in capturing my attention, time and time again. I thought both their previous albums, ‘All We Know Is Falling’ and ‘Riot!’, were seemingly differently, yet powerful. While their themes might not hit home with all fans, it’s their exquisite ability to turn music into an emotion that is powerful. To play in such a way that’s not overly aggressive, but far from being shy with their talents. There’s definitely a sense of attitude when it comes to Paramore, and that’s what makes them special.
Brand New Eyes is the third studio album, and given their positive history, there was much buzz over its release. Having had the opportunity to hear it in full, many times over, I can say that Paramore is still alive and well. While it may not outshine the previous two LPs, it was certainly not a drop in quality. From the very first track you can hear the dark and serious undertones that ellipse the album. ‘Careful’ has the aggressive melody that is pretty standard of Paramore. This includes grungy and mellow guitar melodies combined with hard hitting drums. But the root of most Paramore songs comes down to Hayley’s performance and her lyrical input. While not discrediting any of the other band mates, Hayleys voice really sets precedent on whether the track will be aggressive, soulful or both. In the case of ‘Careful’ it was definitely both an emotional trek as it was a testy statement to the world. Her passionate vocals told a story, but were aggressive enough to leave an impression. This is in contrast to ‘Ignorance’ which fell more towards the aggressive end of the album.
The third track ‘Playing God’ is where things really get good. From here on out the album continues to grow more original and exciting. While I admit you need to be in the mood to listen to the music, when you are, it’s phenomenal. ‘Playing God’ has a mellow, somewhat tranquil melody and verse for that matter. The verse is like the cool breeze before a storm, and that’s where the aggressive chorus comes into play. Perhaps my favourite chorus of the album, it has clever lyrics and an edgy sound which is very typical of Paramore. It can be a calming listen but it’s also aggressive enough to feel intense emotions and to have a more soulful experience. The melody moves with the flow of vocals, leading to a nice transition from verse to chorus. I think it’s catchy enough to stay relevant, yet original enough to have some emotional attachment, and that is perhaps why I could listen to endlessly.
However, like I said, the album only continues to grow more and more epic as each track finishes. ‘Turn It Off’ is another song which had an inspiring chorus and a message so to speak. Another tale about struggle, Paramore does a great job of translating this feeling into music. ‘The Only Exception’ is another notable track off the album. Extremely mellow in nature, it is like the albums second ballad, but there is still a full ensemble of instrumentals. This is followed by ‘Feeling Sorry’, which to me comes off as the most mainstream ready of all the tracks. It uses the rebellious nature that made them so famous with ‘Riot!’ The album is abundant with tracks that have edgy punch lines, and this is made prominent with Hayley’s aggressive singing style. I can continue to list songs from the album, but they all have the same basic makeup, that isn’t to say they aren’t all quite different. I did find the last two tracks rather bland in comparison with the six or seven preceding it, but there’s really no damage done. Especially considering ‘Misguided Ghosts’ is probably the true ballad of the album, being the single acoustic song. Also as a bonus, they added ‘Decode’ which I’m sure most listeners, fans or not, have heard on the radio or in theatres.
A very memorable album, it’s darker than the usual Paramore, and more matured than I’d ever seen them. ‘Brand New Eyes’, is an aggressive and melodramatic kind of pop rock. Lots of emphasis on rock, and subtle hints of pop make it an album worthy of a listen. I think most fans will enjoy this album, but it may not see the same kind of mainstream success ‘Riot!’ had. ‘Riot!’ was considerably more fast paced and mainstream, whereas ‘Brand New Eyes’ is more of a profound thought provoking album, and for that I applaud them.
Check out their Myspace for more info.
The Academy Is… – Lost In Pacific Time EP
The Academy Is… has always been a band which pumped out quality music, despite having grown and matured at an alarming pace. From Almost Here to Fast Times At Barrington High, all three albums showed great progression and maturation as a band, yet the individual efforts of each album can not be ignored. I’ve enjoyed all three albums many times over, and it’s obvious that The Academy Is… have always strived to improve with each and every release. It’s been a little over a year since their last release, and I was excited to hear what changes they made for Lost In Pacific Time. Upon first listen, it resembles the musical stylings from Fast Times At Barrington High. The EP consists of five alternative pop rock tracks that are serious, melodic and soulful. The nostalgic tendencies of their music make for a creative and modern emo style so to speak. While a far cry from anything remotely emo in the mainstream sense, it is their emotional nature that is admired and adored by fans.
What keeps TAI from falling into a bland and meaningless downbeat state is their knack for heavy and moving melodies. The instrumentals don’t shy away from grungy guitar work, hard hitting drums or tranquil piano melodies. Instead they play a vibrant, albeit, low key beat that fits into the alternative-emo scheme, yet is still aggressive enough for the ever changing rock scene. Much like their third studio album, I can hear the influences of 90’s UK pop bands such as The Cure. Their rock lounge appropriate style, offers a modern take of pop rock with old school influences. Such is the case for their first single off the EP, I’m Yours Tonight. To get the ball rolling, the track starts off with a guitar melody closely resembling The Cure. More so the theme of the track involves romance and love, and generally leans towards the pop aspect of the genre. That said it is still heavy enough to satisfy any rock cravings with its aggressive melodic backbone. William Beckett has always been one of the premier front mans in my mind, putting on calm and captivating performances consistently. His vocal talents are also something to be admired, as he portrays exactly the mood of music that he’s playing. His semi-aggressive and soulful voice is flawlessly passionate from start to finish.
The EP follows the same general formula throughout, but the songs are all individually good. Days Like Masquerades had a very surreal and hopeful theme. With the addition of cleverly placed choir-type backing vocals, the final product was breathtaking to say the least. But skipping to track three, Sputter, this song is very special to me. The track features the guest vocals of one of my idols, Andrew McMahon. Listening to the track I can hear a Jack’s Mannequin-esque vibe when considering the vocal melody and the overall darkness of the song. Sort of a song about struggle, there was still optimistic messages conveyed through the chorus. While I don’t think the song sounds technically as good as some of the others, it was still charming and very expressive. Not to mention I could hardly recognize Andrew McMahon’s role but still a very nice listen.
New York is my favourite track from this EP, and gets me really excited to hear more from TAI. The tragic verse leading into the emotional and somewhat nostalgic chorus gets me every time. Not to mention the title of EP originates from the lyrics in this song. I thought the guitar melody was very retro and euphoric, perfectly complimenting the rest of the track. The songs on this EP always seem to promote a sense of urgency, and an overall climatic approach to music. Such is the case with this track; it feels almost like a musical score for a major motion picture.
The Academy Is… strays away from the genre that it’s classified in, but still remains at the top. There style is something that has yet to be truly replicated, but it still ready for mainstream success. It is their originality and unique talents that have made them so successful. Besides being on a premier label (FBR), they are also well respected by their peers. I’m glad they released Lost In Pacific Time, even though their style is very much similar to Fast Times At Barrington High. It’s an EP that proves their relevancy and further solidifies the quality of their music.
Check out their Myspace for more info.
Sherwood – Qu
I’ve been a fan of Sherwood since seeing them in concert nearly two years ago, and I still remember how down to earth and approachable Dan and Nate were after the show. Since then I’ve continued to proudly don my Sherwood hoodie as if it were skinny jeans, and have since been anxiously awaiting their new album, Qu. Being a writer I do get some perks such as the opportunity to hear their new album in advance, a month before it’s release date. For those waiting until October 13 I can gladly say it is certainly worth the wait. While the length of the album was a bit of a concern, being only 11 tracks long including the intro, I still heard a lot of great and inspiring music.
For those not in the know, Sherwood plays a relaxed brand of alternative pop rock. This five piece band hails from San Luis Obispo, California, and tends to give off the nonchalant vibe expected of Californian natives. You can also see their honesty and good nature from their other endeavors such as The Sherwood Show. However, it is their trademark music that brings to light their personalities and most importantly their skill.
Sherwood’s music always tends to hit home, whether the theme is about friends, love or lost. It is their knack for positively spinning scenarios, which makes their music easily relatable. More so, their relaxed tendencies emit a special aura which engulfs listeners with feelings of elatedness and overall Zen. This was the Sherwood I remembered from A Different Light and Sing But Keep Going. Qu certainly does things a little differently by writing music in the outlook of other human emotions.
Tracks like Hit The Bottom and Not Gonna Love display the vintage Sherwood. These are songs that are deceptively upbeat, despite the content of the lyrics. Not taking into account the pleasant A cappella intro, Qu actually starts off with these two songs, which led me to expect the Sherwood of past. Hit The Bottom and Not Gonna Love have emphasis on catchy chorus lines and upbeat melodies moreso than anything else. Nate’s vocal work is superb as usual, and the band did a great job of incorporating simple but effective melodies. And while the lyrics are seemingly depressing, the tracks are a far cry from this notion. This is why they are considered alternative pop rock, because of their ability to provide undeniably catchy music yet always having substance for the fans.
The general direction of the album changes after the rather upbeat beginning tracks. Maybe This Time is only the fourth track (including the intro), and does not by any means follow the trend. The tone of the guitar work is very mellow and dark, and I don’t often like to describe music with this word, but it’s rather indie. There are glimpses of hopefulness but only in the dramatic sense, and the general nature of the song is sad. Definitely a different style of Sherwood than I’m used to, I thought it was still an awesome and intense listen. What kept me satisfied was the same use of keys and backup vocals that is so prominent in Sherwood songs, but simply played in a different frame of mind.
Some of the tracks that I thought were stellar despite the change in attitude included Around You and What Are You Waiting For. Around You had one of the simplest melodies, but it was a very soothing and intense beat. The vocals were just as simple and refined, however put together they felt complex and pleasant. While the song expresses feelings of struggle, I think the ultimate goal is something slow and comforting, which is how I understood it. Nonetheless the content is stimulating and satisfying. What Are You Waiting For is much more upbeat and seemingly pop. With a clear emphasis on catchy and simple performances, combined it is a clean cut melody. A very classy approach when it comes to alternative pop rock, I think Sherwood definitely aims for music with a lasting appeal.
Qu is most certainly a new outlook on Sherwood, but take that as positive feedback. Qu may have lost some of its fundamentally catchy core, but it made up with an abundance of new perspective on subject matter that could be considered profound on a smaller scale. Certainly an album fans of Sherwood should be excited to hear, others may be let down by the seriousness of the album; I myself found the change invigorating and mentally satisfying. For those that are impressed by indie inspired alternative pop, or pop rock with soul as I’d like to call it, Qu is definitely worth it’s weight in music.
Check out their Myspace for more info.
Friday Night Fever – TGIF!
Friday Night Fever is yet another electronic pop band that thrills audiences with high energy and stellar performances. Their release of TGIF! earlier this summer brought attention to this highly regarded unsigned band. Despite their indie status, they are well on their way to main stream success, with a sound that can rival the very top disco pop bands out there. The band consists of five members from Fort Wayne Indiana and formed through two separate entities, Saving Litchfield and Nothing Less. Their merger brought to the pop scene an electrifying and crowd pleasing band, and they have only since continued to grow as musicians. While I can hardly say that the electronic pop scene is the best place to find soulful music, save for bands like Owl City, I do often find the genre to be memorable at the very least. Friday Night Fever solidifies this notion with dance like melodies and a charming swagger that is unforgettable.
TGIF! is a five track ep that contains a single new track for their previous fans, but everything on this album is new for me. There are a couple of key elements that I think gives this band some clear advantages over others in the genre. Besides the stimulating mix of synthetic sounds and grungy instrumentals, which seem to be a staple in any electronic band, their vocals also add serious flavour to the mix. Friday Night Fever utilises a fast paced vocal style, very similar to that of Forever The Sickest Kids. Besides having a voice that seems natural to pop rock in general, the delivery gives off the kind of charm and energy you want out of a band like this. Oh She’s So Mischievous, their new single, is a great example of this. Without looking for too much out of the track, you still end up getting your worth with what’s available. I personally look for great presence, a charming sound, and to put it bluntly, entertaining music, which this song absolutely reflects. The clever timing of the electronically-produced vocal work, extravagantly orchestrated keys, and hard hitting bass are all little things that combine for an explosive sound.
Oh She’s So Mischievous is followed by Glamour Kills, which happens to be a much more intimate track. The vocals and lyrics are specifically the pieces that add to the emotional aspects of this song, but it is still a far cry from something truly meaningful. While there are definitely some heartfelt aspects to the track, and the pace is considerably slowed to meet these requirements, I still found it more of a “lovey dovey,” track than anything substantial. That said, it still excels as an exciting and catchy tune by most powerpop standards. Using a light dose of electronic funk and the light addition of backup vocals, it mimicked and even achieved in some regard the emotional touch lacking in other tracks.
Undercover Lovers is somewhat of a similar affair, but continues to rely on the heavy electronics. The intro reveals one of the catchiest and inspired melodies I’ve heard from an electropop band. The keys, guitar, bass and drums matched up very well together. The chorus is also one of the most pop-oriented, being undeniably memorable and entertaining. The final two tracks are much more of the same entertaining tracks.
Friday Night Fever is something fresh to the scene, why it has taken me so long to find the EP is a mystery. The composition of their music is always just right, despite it being very forward and heavy in sound. There is a lot to hear from these guys, and it’s never a dull moment during their tracks. While the overall sound of this EP is so devilishly electronic, they also try to incorporate the common themes of love and lust through their vocals and words. Obviously it doesn’t come off as something extremely touching, but it’s more geared towards the teenage soul, a guilty pleasure of mine. So there is a touch of emotion that elates the music, and yet at the same time it’s always amazingly entertaining.
Check out their Myspace for more info.
Boys Like Girls – Love Drunk
If you listen to the radio at all, which I’m sure is not true for a majority of the readers, you might have heard the latest single from Boys Like Girls, Love Drunk. Not surprisingly enough, the next sophomore album from these Boston boys is of the same title and will be released in one week’s time. A couple days ago the kind folks over at Sony Music sent me an advanced copy, which is one of the greatest perks of my job. Opening up the mail to the sight of the new Boys Like Girls album was like Christmas morning for me, and with good reason. Not only was I anticipating a great album, but I’ve been following the track leaks on the internet, which included Love Drunk and Two is Better Than One just to name a few. These few teaser tracks led me to fantasize how good this album could and would be. Upon first listen, I was enamored with the awesome style that BLG has matured into. Definitely a case of better production, and more artistic freedom, these factors all played into how I enjoyed the album.
First and foremost I should say I consider their debut self-titled a top 20 album in the last 5 years. It still get’s a high amount of play on my ipod, despite being two years old (I know, that’s not very old anyways). The main point I’m trying to get across is that it was a solid album, with a great deal of talent, not just potential. Love Drunk on the other hand, managed to improve upon a sound that already felt matured. I guess it’s true when they say you can always get better, which is exactly what BLG did.
Love Drunk features 11 tracks ranging from devilishly pop, to soulfully alternative and everything in between. Interestingly enough, the album begins with what I found to be one of the least likeable songs, Heart Heart Heartbreak. The intro is something different, and while I admire their boldness, it possesses some ill-informed American rock qualities very similar to Bon Jovi. The intro is however not the only glimpses of retro rock, tracks such as The Shot Heard ‘Round The World and Real Thing give off the very same vibe. While I found both the aforementioned tracks to be half way decent, they were not nearly as good as the rest of the album. These tracks had a heavy emphasis on the guitar work; groovy, grungy, and classically rock so to speak, not really my cup of tea. The odd thing about the situation is that all three tracks had very good chorus’ that fell back to their pop rock roots. Heart Heart Heartbreak for example has one of my favourite chorus’s in the entire album and, if not for the verse and guitar melody, it could have been a very good track.
But with the half-decent tracks spoken for, the album only skyrockets from here. Boys Like Girls vastly improved in their bubbly pop tracks, and it is the album’s bread and butter. From Love Drunk to Chemicals Collide, there are several exciting, well produced and catchy tunes. The first thing older fans might notice, is the change in vocals. Martin Johnson has always had a very talented voice in my mind, but it seemed his au natural sound did not fit into the scheme. Instead I noticed a little bit of production work on his voice, OR he simply mastered a higher pitch of vocals than I’m used to. Either way this is not a knock on his vocals, just something different that I noticed. You can really hear the difference in She’s Got a Boyfriend Now, which is one of the top tracks on this album. The melody is a lot more vibrant and exciting than the usual stuff, fitting perfectly into the pop scene. The guitar work is simple yet effective and little additions like the backup vocals keep things energetic and fun. This is really the core of many pop tracks; having so much on your plate to keep the pace fast and entertaining. The line and sinker however, definitely goes to the catchy chorus hooks that seem to be apparent in every track. Boys Like Girls did a great job with the lyrical content, because every chorus on this album is catchy and memorable. The most notable tracks besides She’s Got A Boyfriend Now also include the already mentioned Chemicals Collide and Contagious which are both infectiously catchy.
Finally, there is the very mellow and alternative side of Boys Like Girls, that many will probably remember from their first album. My favourite track from Love Drunk happens to be of this nature, and that happens to be Two Is Better Than One. Not only does this track have the emotional and passionate MJ vocals of old, but it also features Taylor Swift, adding to the solemn atmosphere. This track is perfect from the simple acoustic work, to the feint violin work in the background. In the foreground the focus is simply on the mending of two very opposite, but beautifully meshed voices. With sweet lyrics, a sweet sounding voice in Swift, and an overall pleasant but sad sound, it really hits home for me at least. Tracks similar in nature, that is to say they are mellow, alternative and emotional, include Someone Like You and Go, both of which are fantastic.
Boys Like Girls definitely stepped up with this album, and took some daring moves in order to get there. While it wasn’t all absolutely great, the majority of the album was nothing but fantastic, and that’s a feat for anyone. They really solidified themselves as a huge player in the powerpop scene, and I think success is really the only logical conclusion. Love Drunk is a must listen for fans of the genre.
Check out their Myspace for more info.
Zac Seif – Capos On, Pants Off
Zac Seif resides in Dallas Texas and has quickly grown into quite the full fledged solo artist. Still a relatively local commodity, Zac has yet to make his mark on the mainstream media. Despite this, his release of Capos On, Pants Off was short but impressive. This 4 track ensemble is only a teaser of Seif’s talents, but really it’s a testament to his song writing abilities. It is however a little unfair to call him an absolute solo artist as his MySpace enlists the help of Eric Sauber on the keys. However he is the sole songwriter, guitarist and vocalist, which are the fundamentals of his work.
Zac follows a formula that is quite common in the solo field. I’ve reviewed many artists with similar mellow guitar and vocal performances, but Seif plays things in a different harmony. Artists like Jamestown Story have similar styles, but are intensely focused on the acoustics. Zac on the other hand isn’t afraid to add, while subtle, bits of keys and other sounds to relieve some of the tension. These finishing touches add an exciting flare to his music, and that is one of the key points that differentiate him from the rest. But without a doubt if you’re a fan of Jamestown Story and the like, you will fall head over heals for the gentle musical styling of Zac Seif.
Capos On, Pants Off begins with I Can’t Survive, which is a melodramatic and soulful track. The very first thing I thought was how great of a voice Seif has. He sports a nice natural tone, but can also hit the angelic high notes when need be. His falsettos and general ease of singing is both hypnotic and sincere. Added affects like the synth-producing keys gives the track an orchestral touch. As a result the song comes off certainly as epic, and has a great climatic feel as compared to the soulful theme of other bands. Another vital aspect that enhances the music comes from the lyrics. While considerably sad and slightly emo, the lyrics provide an essence of realism. This leads to a lasting and honest experience.
The second track is perhaps my favourite of the four and it’s called Lately. This song has an intense guitar backbone that provides a fast paced and energetic melody. The track comes off with a lot of excitement and emotion, giving it an aggressive feel. Besides the guitar work which I thought was perfectly played, there are again the background keys that add the finishing touches. The reason this song stands out the most however must be due in part by the chorus. I thought the chorus had nice lyrical content, but was also highly catchy. I was very impressed with this track for its simplicity, yet deep impacting sound.
The Night Life is another fast paced song with more emphasis on the keyboard melody. It’s a fairly exciting track, and has a lot to be admired but it does not have the same climatic command as the previous two. Nonetheless The Night Life does a good job of exemplifying Zac’s great voice in another emotional and fast paced track. While I felt the song lacked the transitions it did have one of the most vibrant melodies of the lot, with its large emphasis on keys and synths. Finally You Almost Had Me ends off the short EP with something a lot chipper and quite upbeat. The change in pace and guitar melody made for a nice and pleasant listen. Definitely the chillest track of the bunch, I thought it was different, a lot more pop, but still classically mellow and simple.
Capos On, Pants Off is an excellent EP especially for the market he’s entering. Unlike the conventional acoustic and soulful vibe he has some very modern hints of keyboards and the like. With a knack for quality production and expert arrangement, his songs don’t get lost after the first listen, and stay memorable. His soulful touch is a nice addition alongside his charming song writing abilities.
Check out his Myspace for more info.
Sherwood – Not Gonna Love EP
It has been quite some time since I’ve heard new material from Sherwood, 2007 to be exact. However with preparations for the release of their third studio album in October, they have begun selling copies of their Not Gonna Love EP during their summer tour dates. Quite an exclusive EP, I finally had the chance to hear it, and while short, it was definitely a taste of the new style Sherwood has embodied. From Sing But Keep Going to A Different Light, I heard a huge change in style from a mellow album to something more energetic and lively. In Not Gonna Love, their approach seems to pay homage to the Sherwood of old, with 3 tracks that are soulful and placid. That said it is still unquestionably a Sherwood of new, with fresh tunes fused with melodramatic themes.
Not Gonna Love is the premise of this EP, and with good reason. The track exhibits a lot of new things that Sherwood has otherwise never attempted. The style is something fresh for them, neither a step up or down in quality, just a change in approach. First and foremost, Nate’s vocals have taken a significant pace change, as he sings to a tranquil tune throughout. Furthermore, the melody is fantastic in this track, something that Sherwood has always done well. Their clean sound has very nice individual performances, but together they mesh into an eclectic portrayal of music. That is to say, I can easily differentiate between each instrumental melody, yet on the grand scale there is still one holistic sound. Specifically the guitar work is nothing but classy, and I liked the added touch of what sounds like a woodwind instrument (potentially just a synth or keys?). Other little elements such as the choir-esqe backup vocals make the song that much more euphoric. I thought the chorus was still true to the theme of the music, yet had a very nice hook to it. This left listeners with a song that’s creative and catchy. I think this track represents a lot of the artistic skills that Sherwood has, and I can hear it more with every listen.
While it’s a bummer to say, the rest of the EP is just ok, nothing terrible but starting off with Not Gonna Love will do that. Around You has another great melody behind it. The guitar and piano work give off the same calming vibe, and is simply epic in sound. The vocals are again super laid back and very dreamy, but the melody didn’t impress me all that much. The entire song is a bit of a downer, but that’s the purpose of the music. I still felt the music was a bit repetitive and could have used more of the creative changeups as heard in Not Gonna Love. A little more excitement would have been nice, but this would certainly have affected the mood of the song. That said, I think Around You accomplished what it set out to do. The final product is a mellow track, passionate at times, and emotional throughout.
Ground Beneath My Feet is another good track, and again tries a lot of new things. The song has a sad feel, but the instrumentals get a whole lot harder and more aggressive. I thought the passion was exhibited though the instrumentals more so than the vocals, and that’s what left me with that larger than life feeling. The vocals remained pretty consistent, a sophisticated and calming voice and talented as well. Obviously this is a Sherwood I wasn’t accustomed to hearing all that much, but I think they managed to take an aggressive melody and make it into something tragic, soulful and mellow.
Sherwood also added an A Capella version of Not Gonna Love, which I was amazed with. Overall I was more than impressed with this short EP, and since all the 3 songs are featured on the coming album, QU, I’m definitely excited to hear the rest of it. While I can already gauge as to where Sherwood has gone with their third LP, I’m still very much interested and hopefully they can surpass their previous two. Although I think I prefer the upbeat songs of A Different Light, Not Gonna Love has still given me a lot to look forward to.
Check out their Myspace for more info.
