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I was excited to hear that We The Kings was releasing another album after hearing Heaven Can Wait several weeks before. Heaven Can Wait is the third track on the album, and certainly one of my favourites. The chorus teeters around the same romantic plots as vintage We The Kings would have it, but there is definitely a more upbeat approach to what is being sung. Even from the lyrics, listeners will notice the hopeful and positive aspects that are embedded within the track. More importantly the sound embodies this feeling, with a melody that feels somewhat Christmas-like fused with typical pop rock instrumentals. I would go so far as to say the melody has hints of the old school UK pop scene, and this gears it toward meaningful music, with a little a pizzazz.

While I wish I could say the rest of the album was as high in quality as the leaked track, the rest of the tracks are unfortunately not as consistent. Mind you there are several songs worth buzzing about, and nothing on the album is particularly bad. The Story Of Your Life follows Heaven Can Wait, and is another excellent song on the album. Besides the pretty lyrics, the winning factor is perhaps the vocal melody throughout. The verse is sung in such a low-key point of view, and it’s oddly very catchy. Continue through the song, listeners will find a slightly more enthused bridge, and finally ending with a typical dramatic chorus. The progression of vocals, while not executed in some sort of amazing artistic way, is perfectly suited for this kind of a song. While it’s nothing that can’t and hasn’t been done before, I thought it was simply composed, and perfectly performed. Good flow and a nice presence pays dividends in a track such as this, nothing really over the top, but undeniably catchy.

While geared toward the hopeless romantics, there are evidently other approaches of style in this album. Rain Falls Down is a rather sad and emotional version of We The Kings. The lyrics are heartfelt, somewhat artsy and elegant to say the least. More so it incorporates a harder set of instrumentals for the chorus, giving off a sense of sincerity and an overall passionate vibe. The lone sad track on the album, while I like it, I’m glad they stuck with the happier styling’s for the other tracks.

In-N-Out is another different kind of track with its overly fun melody. Using what sounds like a ukulele, and perhaps synthesized keys (the first time I’ve heard something like this from WTK), the verse is absolutely pretty and upbeat. The chorus sways from the verse with a more standard sound, but otherwise there are certainly elements that aren’t usual of We The Kings. An attractive pop rock track, there is a much larger emphasis on the pop than most other tracks.

Interestingly enough We The Kings featured Demi Lovato in We’ll Be A Dream, which I thought worked out pretty well. While it’s an unusual mix, simply because of her affiliation with Disney, she undeniably has a great voice. The track is emotional and developed well for a duet; it’s a great piece focusing on a sweet theme.

Smile Kid is a great album that could have been better and could have been worst. Considering the lack of quality music that’s been plaguing 09, it is definitely a treat to hear. I’m glad that it came later in the year, as to end off with a nice bang. I’ll be writing the year end post for pop rock albums, and I’m expecting to see this one on the list.

Check out their Myspace for more info.

We The Kings – Heaven Can Wait

We The Kings – The Story Of Your Life

Had you asked me where I thought Forever The Sickest Kids placed on my top bands list last year, it would have been somewhere near the top. However since their emphatic start with the release of their debut, they have slowly shied out of the limelight and out of sight. As a fan I’ve been waiting anxiously for new material, news, or anything really; with the quiet release of The Weekend: Friday, FTSK may have to get comfortable as they fall from the top. Mind you, I have not been overly impressed with very many albums this year, aside from Owl City and Paramore. Lights and A Rocket to the Moon also brought good music to my ears, but compared to last year, 2009 has mostly been a dud.

But enough of my bitter thoughts with this years music, there is still a lot of good to be heard from The Weekend: Friday. I am after all speaking about FTSK, and they are great at putting a lot of energy and creativity into their performances. Do or Die, the very first track, was actually impressive and a very capable song in its own right. The melody was perfectly composed, with great use of synths, guitar and the works. Ultimately, it’s the perfect example of a power pop track, with all the lovable antics that made FTSK so famous in the first place. Do or Die makes use of a perfectly timed and catchy hook that engages listeners, even if it’s almost sickeningly pop. It is also upbeat and fun at an optimal level and this is the kind of material that I like to hear from this group of guys.

Tough Love follows up with a similar style, but it’s not nearly as upbeat, energetic, or creative. Still a song that’s satisfactory, it does attempt a decently catchy chorus and tries for a high profile melody. The problem I had with the track is its meager attempt at substance or meaning, something FTSK tends to steer clear of. The theme of tough love, felt a little childish and a tad redundant, especially in such a heavily saturated market. However, FTSK follows up with She Likes, a much better attempt at something meaningful and a very good track. I thought it had great upbeat flow, but there was definitely a romantic plot and presence that gave the song a meaningful touch.

The EP is mostly a compilation of these kinds of track, some not so hot, others quite good. However there are some creative songs that I think deserve mention. Firstly, Hip Hop Check has the kind of verse reminiscent of old FTSK, fast paced, energetic and infectiously upbeat. The melody on the other hand maximizes on this energy, and throws the whole track into a whirlwind of eclectic liveliness. The other notable song is Hawkbot, which attempts some funky hip-hop and includes a lot of mainstream elements. I thought Hawkbot was pretty courageous, and is similar to something 3Oh3 might release. A very creative track to say the least, it was a good way to end off the EP.

While I was not overly impressed with the EP, there were definitely some tracks that I enjoyed quite a bit. Forever The Sickest Kids will need to do a little more in order to get back into tip top shape, and I’m excited to see if they capitalize on the positive aspects of this EP. From the creativity in Hawkbot to the upbeat role of Do Or Die, all the elements are in place for another great album, as long as they work hard for it.

Check out their Myspace for more info.

Forever The Sickest Kids – Do Or Die

Forever The Sickest Kids – Hawkbot

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

Owl City – Fireflies

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.

Lights – Saviour

Lights – Lions!

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.

A Rocket To The Moon – Mr. Right

A Rocket To The Moon – Dakota