Sêan Reid Portfolio

Interview: Diamond

Tue, 29 May 2012 21:50:21 +0100

With a mix sensible pop harmonies and driving feelgood guitars, Baltimore alt-rockers Diamond have quietly been building a strong following online with two free digital releases; ‘DMND’ EP and ‘Don’t Lose Your Cool’.

Having written songs by sending material back and forth between Baltimore, Chicago, and Richmond and with the bands sunny upbeat style, Diamond is somewhat of a departure for some of its members; drummer Brendan Yates and guitarist Sam Trapkin are part of Hardcore band Trapped Under Ice, and bassist David Wood is the vocalist for Down to Nothing.

Nevertheless the 90’s-influenced band are heavily involved in the day-to-day business of the band having strong DIY beliefs. From marketing the free releases to the all design aspects of the band, Diamond are taking full control, a trait which is becoming more common place in today’s music industry.

Last week the quartet announced plans to release ‘Don’t Lose Your Cool’ through Black Numbers.

We recently caught up with guitarist Sam Trapkin to discuss ‘Don’t Lose Your Cool’, releasing material for free Bandcamp, the importance of DIY, their influences and more.

Already Heard: Hi Sam You’ve recently announced plans to release ‘Don’t Lose Your Cool’ on vinyl. What can you tell us about it?
Sam Trapkin: We released it ourselves as a free digital download last winter and are just now releasing on vinyl. It has roughly 6 and a half songs, It was recorded by Paul Leavitt in Baltimore, and there’s a dog wearing sunglasses on the cover of it.

AH: In comparison to your first release, how has the band grown on the new record?
Sam: ‘Don’t Lose Your Cool’ has a lot more going on than our first EP. I think it’s a little more multi-dimensional. We thought more about how we played it and sang it too, rather than just perform some songs we wrote.

AH: For those who are unfamiliar with Diamond. How would you describe your sound?
Sam: Some of our bigger influences are Jimmy Eat World, Queens Of The Stone Age, and Weezer. Maybe a little Beach Boys/Beatles thrown in there. I guess you could call it Alternative Rock. But it’s pretty poppy sometimes too.

AH: In the past you’ve released material for free. How influential has this idea been towards Diamond’s growth?
Sam: We’d much rather people check out our band than make a few dollars off iTunes. It kind of just seems like a no brainer. I don’t know why bands just start and think it’s a good idea to start selling their music. No one wants to buy music from a band they’ve never heard of.

AH: Why do you think services like Bandcamp are becoming more commonly used by bands?
Sam: That just kind of seems like the standard right now. It’s kind of a mess though. It’s not like people just use Bandcamp. They usually have it linked up to Facebook. But I wouldn’t say there’s like ONE site that people go to. We use it because it makes it easy for people to download for free.

AH: How important are your DIY beliefs to Diamond’s success?
Sam: I’m not sure what kind of “success” we’ve really experienced yet but we definitely like to be involved in every aspect of the band. It’s not enough for a band to just have good music if everything else sucks. We want people to get a full “Diamond experience” no matter what they see or hear, because we’re the ones that made it. It’s not really DIY for the sake of DIY. We just don’t want our band to suck you know?

AH: By having so much input into all aspects of the band (design, promotion etc). Do you think fans respect you more for it?
Sam: Who knows. I mean, I don’t see any reason why someone wouldn’t appreciate a band being involved in more than just their music. It’s not like bands just make CD’s anymore. Now it’s like people can be as engaged with a band as they want to be. So if you have some butthole making your videos and making your tweets and marketing you, it doesn’t matter if your music is good. Because people don’t even get that far if everything else is bad.

AH: Away from Diamond some of you are involved in hardcore bands (Trapped Under Ice/Down to Nothing). How have fans of those bands responded to Diamond’s sound and style?
Sam: Well, our singer actually isn’t involved in any hardcore bands. But I’d say it’s been generally pretty positive. We obviously don’t sound like a hardcore band by any means, but there are lots of people that listen to hardcore along with other kinds of music too. So if they like it too that’s cool. I’ve never heard anyone say anything mean. Maybe they do in private. That’s fine.

AH: With such a different sound compared to those bands, how did the band come together and what musical influences brought you together?
Sam: We all grew up loving lots of the same kind of bands. And there aren’t a lot of newer rock bands that we really liked that much. So we just wanted to start a band that sounded like what we wanted. Bands like Foo Fighters, Jimmy Eat World, QOTSA, Silverchair, Nirvana, Weezer, Smashing Pumpkins etc. We kind of just wanted to take that and do our own thing.

AH: With the vinyl release can we expect to see Diamond out on the road?
Sam: Yes!!! We’ll have a few shows this summer but we’re looking to go out forreal in the fall time. Can’t wait!

‘Don’t Lose Your Cool’ by Diamond is released on vinyl on June 12th through Black Numbers and is available now digitally on Bandcamp.

Diamond links: Official Website|Facebook|Twitter|Tumblr

Interview: I Can See Mountains

Mon, 23 Apr 2012 20:17:29 +0100

Hailing from Buffalo, New York I Can See Mountains have quietly been making a name for themselves in their short time together. Their latest release ‘Hope You Never Get It’is a bold, thriving collection of indie punk rock that quickly leaves an impression.

With a sound that resembles early Taking Back Sunday and Brand New, the quintet take that rawness and combine it with their influences; Algernon Cadwallader, The Get Up Kids, and Saves The Day. The final result comes from a band who are self-assured with instant hooks and emotive lyrics.

Already Heard caught up with I Can See Mountains to find out about their origins, the new record, being compared to Taking Back Sunday and Brand New, and more.

Already Heard: First of all can you state your name and role in I Can See Mountains?
I Can See Mountains: Robbie Grabowski: Drums
Justin Tartick: Guitar / Vocals
Kevin Hoffman: Vocals
Kyle Kwiatkowski: Bass / Vocals
Matt Cox: Guitar / Vocals

AH: For those have yet to hear, how would you describe your sound?
ICSM: Punk rock with a flare of the emotional side that makes our favorite bands worth listening to. We try to be real and raw in our songs that hopefully carries over into our live performance.

AH: Could you tell us a brief history of the band?
ICSM: The band formed over the summer of 2011, after previous frustrations with other projects and people became too much of a hassle to deal with. We wanted a place where we could bring fresh ideas free from any certain style or sound stipulations and simply jam.

AH: Are there any bands in particular you are influenced by?
ICSM: Bands like Algernon Cadwallader, The Get Up Kids, and Saves The Day have been the major influences for the most part. Algernon Cadwallader showed us that everything does not have to fit to a specific script to strike a chord with an audience.

&lt;a href=”http://icanseemountains.bandcamp.com/album/hope-you-never-get-it” data-mce-href=”http://icanseemountains.bandcamp.com/album/hope-you-never-get-it”&gt;Hope You Never Get It by I Can See Mountains&lt;/a&gt;

AH: Why should people listen to I Can See Mountains?
ICSM: Because we will continue to put our heart and soul on the line every single time we take the stage. We are here to not only be a band but to help our fans, friends, and listeners out in any way they need it.

AH: Your latest record in titled ‘Hope You Never Get It,’ what should new fans know about the record?
ICSM: We recorded our debut EP live at GCR Audio in Buffalo, New York with Jay Zubricky over a three-day period in September 2011. We recorded the entire album live in a giant wooden room owned by Robbie Takac of the Goo Goo Dolls, and I think the opportunity to do it live adds a more personal touch as opposed to recording each track separately.

AH: The record has seen your sound been compared to the earlier releases from Brand New and Taking Back Sunday. What are your thoughts on this?
ICSM: Although it was unintentional we couldn’t be happier to be mentioned alongside bands of that magnitude. We cut our musical teeth on the music of those bands growing up.

AH: How did the record come together? What is it’s influenced by?
ICSM: It’s influenced by the notion that a human being should be doing what they love, or at least striving to reach that point at all times.

AH: You worked with Jay Zubricky on the record. What did he add to the songs on the record?
ICSM: Not only is Jay one of the finest producers on this side of the Mississippi, but he is also a close personal friend and he was not afraid to give us his honest opinion and we feel it really showed throughout the recording.

AH: With New York’s wide cultural history, what is the current state of the punk rock scene in Buffalo?
ICSM: After years spent spouting pop bands and metal projects, the Buffalo punk rock scene is now just finally starting to come together. We feel that there is now a good base of bands in the scene, that are willing to help each other out. We view the scene as a sort of brotherhood, where everyone can come together and enjoy the same things.

AH: With such a positive start to 2012, what does I Can See Mountains have planned in foreseeable future?
ICSM: We plan to play as many shows as possible to as many people as possible. We have plans to take this band to the furthest possible point, and refuse to stop until we get there. We look forward to playing the songs from our album and a few new ones at the upcoming shows, with tentative plans to record somewhere in the middle of the year.

AH: Is there anything else we should know about I Can See Mountains?
ICSM: We’re here for you, whether it be someone to talk to or some life advice when you’re feeling lost, we will always try our best to give back to the people that make this band worth doing. We are always willing to talk.

AH: Do you have any final words to close the interview with?
ICSM: Do what makes you happy and the pieces always seem to fall into place. Keep pressing on and don’t give up. Listen to Young English and Pentimento while you’re at it. Thank you for having us.

‘Hope You Never Get It’ by I Can See Mountains is available now on iTunes.

I Can See Mountains links: Facebook|Tumblr|Bandcamp|Big Cartel

Album Review: No Motiv - Winterlong EP

Mon, 23 Apr 2012 20:15:39 +0100

Eight years is a long time for a band to be away. However California’s No Motiv have returned with a new EP,‘Winterlong’ and after such a lengthy period away, they sound refreshed and hungry as they deliver six alt-rock songs that are well-executed.

‘Beginning From the End’ and ‘Dead as the Day’ carry themselves along with an upbeat tempo and confident vocals from Jeremy Palaszewski.

Their style and approach makes it clear why they shared a label-home with the likes Alkaline Trio, The Get Up Kids and Hot Rod Circuit on Vagrant in the early 2000’s.

For example tracks like ‘In You’ and ‘Once Again Sundays’ have an intense, atmospheric edge, which makes them more compelling and cohesive.

With ‘Winterlong,’ No Motiv have confidentely marked their return, as it proves to be strong collection of bold songs. In addition, we hope it’s a statement of intent with hopefully more material on the way.

4/5

‘Winterlong’ EP by No Motiv is available now on Sound The Siren.

No Motiv links: Official Website|Facebook

Album Review: MxPx - Plans Within Plans

Tue, 20 Mar 2012 20:12:29 +0000

Published in Stencil Magazine: Issue 12 on March 20th 2012.

“Plans Within Plans” is Bremerton, Washington’s MxPx’s ninth studio album and with a career now stretching nearly 20 years, the pop-punk group aren’t showing any signs of slowing down anytime soon, as “Plans Within Plans” is 13 songs of blistering, energetic punk that unfortunately doesn’t dare to step out of its comfort zone.

Nevertheless long-time fans of the band won’t be disappointed as tracks like “Nothing Left” and “Best Of Times” are energetic, punchy numbers with irresistible choruses. Whereas “Stay On Your Feet” and “In The Past” have that thriving, raw punk attitude that the trio have continuously pulled off throughout their career.

Although “Plans Within Plans” combines catchy pop-punk with old-school punk rock, you can’t help but feel the band lack ideas and aren’t willing to challenge themselves, even if the bands come across as sincere and honest in their lyrics. Sure its clear the band are very good at the genre they perform, but by the time you reach later tracks like “Nothing’s Gonna Change” and “When It Comes To You,” you can’t help but wish for a little of variation, even though they have a good energy.

On the whole “Plans Within Plans” is a record that will be appreciated by fans, but for others it may struggle to keep their attention.

2.5/5

Album Review: Sharks - No Gods

Tue, 20 Mar 2012 20:10:48 +0000

Published in Stencil Magazine: Issue 12 on March 20th 2012.

Having spent the best of part of eighteen months touring on and off in both America and the United Kingdom, Leamington Spa’s SHARKS are now set to release their debut full-length “No Gods.” With the record being released by currently popular Rise Records (Man Overboard, Transit, Of Mice and Men, Hot Water Music and more) and being produced by Brian McTernan (Polar Bear Club, Senses Fail, In Fear & Faith, Fireworks and We Are The Ocean,) their somewhat high expectations for “No Gods.”

For fans and critics, it’s a record that thankfully delivers in abundance. “Til The Wonders Rise” sets bar high from the start with sharp, punk rock riffs being combined well with James Mattock’s infectious vocal melodies.

Recent single “Arcane Effigies” is next and keeps up the momentum in a bold manner; pounding drums with an irresistible chorus that plain and simply leaves you hooked. It is something that the quartet showcase throughout “No Gods.”

Their ability to write punk rock-fuelled “pop” songs is nearly immaculate, and does not allow the band to loose its identity. On tracks like “Matthew’s Baby” and “Dawn Soft Light,” the bands style and approach is well-defined; appreciative melodies mixed with edgy, explosive guitars.

Although the “sounds like The Clash” tag may still be thrown in places. On “No Gods,” Sharks have shown they are able to produce a thorough, enjoyable record that is well-written and highlights their best points, giving them more definition thus making it a highly favourable record.

With plenty of life span and longevity, expect to see “No Gods” on a few end of year lists come December.

4.5/5

Album Review: Swound! - Into The Sea

Tue, 20 Mar 2012 20:08:26 +0000

Published in Stencil Magazine: Issue 12 on March 20th 2012.

Nottingham-based band Swound! have quietly been making a name for themselves over the last few years with sporadic EP and single releases, all which have received favourable attention from a number of publications and websites, as well as an appearance on Nickelodeon’s Yo Gabba Gabba. Now in 2012, the quartet are ready to unleash their debut full-length ‘Into The Sea’ on their own label, The Gremlin Corporation.

For those who aren’t familiar with Swound!’s style, expect to hear a mix of feel-good rock that takes its inspiration from Weezer and The Pixies. From the start this is something that is apparent as tracks like ‘Your Kids Are Gonna Love It’ and ‘In My Head,’ back up this fact. Whilst ‘Tokyo’ shows the bands capabilities of producing catchy, guitar-driven songs that have plenty of appeal and satisfying harmonies.

Another influence in Swound!’s arsenal is Nirvana as ‘Everybody Hates Her’ and ‘If Only I Could’ sees grunge-esque guitars being used and gives them a rockier edge.

Although Swound!’s influences are instantly apparent throughout, they certainly don’t lack originality or talent. Tracks like ‘Ghosts’ and ‘When The Spaceship Lands’ are structurally strong with formidable choruses that prove to be enjoyable.

For a début record, ‘Into The Sea’ is an appealing yet promising start. During the later stages you get the impression they’re running out of ideas and a slight change in formula would be welcomed. Nevertheless with a good balance between edgy alt-rock and pop-sensibilities, Swound! have produced a well-rounded record that is more than capable at keeping your attention.

3.5/5

Album Review: Say Anything - Anarchy, My Dear

Fri, 16 Mar 2012 17:38:52 +0000

Posted on UnderTheGunReview.net on March 13th 2012.

Since forming in 2000, the career of Say Anything has been a rollercoaster ride; from the label bidding war following the release ofMenorah/Majora to the well-documented personal troubles of frontman Max Bemis to parting ways with RCA after releasing their 2009 self-titled album.

Now in 2012, Bemis and company have found a new home in Equal Vision Records, and along with it they have found much needed stability, as Anarchy, My Dear sees Say Anything producing a concise record with self-awareness and confidence.

Longtime fans will more than likely quickly fall for Anarchy…. From the start the band showcase that indie rock angst that they have consistently shown throughout numerous releases; ‘Burn A Miracle’ is a thriving punk-fuelled number that is bold and brash, and is an ideal opener.

Throughout Anarchy… there are moments that give the impression this record is …Is A Boy part two. Tracks like ‘Night’s Song’ and ‘Sheep’ contain the same mix of thought-provoking lyrics and hooky guitars that gave the aforementioned record a cult-like status.

One attribute of Say Anything is that they’re always willing to give their records variation, and with tracks like ‘So Good’ and ‘Overbiter,’ this record is no different. The former is a delicate, mellow number with Bemis sounding bright and sincere in his delivery, and Mrs. Bemis (Eisley’s Sherri DuPree) sweetly compliments her husband. Whereas the latter is a bouncy, piano-led track that is Say Anything at perhaps their most pop.

Although Anarchy, My Dear has all the makings of being a great Say Anything record, you can’t help but feel that it’s a record that is too-polished and, in places, is missing that raw edge that made previous efforts compelling. Nevertheless ‘Admit It Again;’ to degree a follow up to ‘Admit It’ (from …Is A Boy), is a stark reminder of how genuine pissed off Max Bemis can be as he takes take-no-prisoners critique on the “hipster” culture and those who have criticised the band, especially online.

By the time you reach the title track, you begin to realise Say Anything have matured. The track is laid back and introspective, and much like the album itself, it’s good but not great.

As a whole, Anarchy, My Dear proves to be a mixture of angst-filled indie rock (‘Burn A Miracle,’ ‘ Admit It Again,’) mellow, self-reflective moments (‘Peace Out’) and thriving guitar-driven, near-pop songs with distinctive hooks (‘Say Anything’ and ‘Sheep’.) Whilst it’s a welcomed variation, the previously mentioned “too-polished” factor somewhat spoils the records momentum. But that doesn’t make ‘Anarchy…’ an altogether bad record; the livelier, aggressive moments are especially favourable, and fans of the band won’t have any complains for the record overall.

Anarchy, My Dear marks a new chapter in Say Anything’s career, one that is older, wiser and with variation.

SCORE: 7/10

Album Review: Pentimento/Young English - Split EP

Fri, 16 Mar 2012 17:35:00 +0000

Posted on UnderTheGunReview.net on March 7th 2012.

With both bands releasing well-received EP’s late last year, New York’s Pentimento and Young English have teamed up to release an eight-track split through Panic Records. For fans of both bands, this split sees them keeping up the momentum previous releases had. While for new fans, it is an ideal introduction.

Buffalo’s Pentimento open up the split with “L’esprit De Escalier (The Stairs),” a raw yet exuberant example of melodic punk rock; Jeramiah Pauly rough vocals combine well with the bands thick guitar riffs and complimentary drum work. Its an edgy, aggressive opener that makes the following track, “No Apology,” sound lighter.

It’s brighter tone and faster tempo give the band the ability to produce an approachable melody. Whereas “To The Bridge” keeps up the momentum with a thriving punk rock tempo and genuine, raw vocals from Pauly. Along with their appreciative, upbeat cover of Dashboard Confessional’s “The Places You Have Come To Fear The Most,” Pentimento are able to leave a valuable impression on their half of the split.

Following on from their “I Hate My Friends” EP, Young English carry themselves well with their brand of Emo Punk. Whilst their latter release seemed to be heavily influenced by the likes of Hot Rod Circuit and The Get Up Kids, this time round tracks like “Woke Up Under Water” and “So Long, Connecticut” give the Orange County, New York group the ability to develop their own identity.

“Woke Up Under Water” is radiant in the chorus with a good hook, and is combined well with the bands lighter, slower melodic approach. Whilst “So Long, Connecticut” takes a near Pop-Punk route, with bold duel vocals and a straight-to-the-point structure making the track quick and easy to digest.

On the other hand, “Old Wives Tale” gives Young English the opportunity to showcase their more “emo” sound; a slow, delicate build-up neatly gives way to a thriving yet slightly predictable full band finale. Nevertheless with distinctive vocals from Chris Pennings and a strong structure, it shows off the band in a good light with a decent amount of variation. Their only downfall is the bands take on The Smashing Pumpkins’ “Tonight, Tonight.” By covering such a well-known song, it’s clear the band struggled to make the track their own. Whilst all the ingredients are there for them to do it, the finish product isn’t quite there.

Nonetheless with this split release, both Pentimento and Young English set themselves up well for their future full-length releases. Throughout their moments that give both bands plenty of promise and opportunity to form their own identity, something which I think is needed in a genre that is quickly becoming filled with copycat bands.

Personally I expect to hear more from both bands in 2012, and if this split is anything to do by, I’m sure whatever future release both have lined up, they will be greeted with expectation and excitement.

SCORE: 7.5/10

Album Review: The Audition - Chapter II

Tue, 28 Feb 2012 21:55:02 +0000

Posted on UnderTheGunReview.net on February 19th 2012.

After parting ways with Victory Records in July 2010, the future for Chicago pop-rockers The Audition was unknown; so much so that some fans were led to believe the band had called it a day. However now in February 2012, the band have returned albeit a slight line-up change; Joe Lussa has re-joined on bass and Jimmy Lopez has replaced the departed Seth Johnson on guitar. Nevertheless Chapter II sees a band that is refreshed and ready to take on the world.

With previous releases I have found The Audition to be slightly hit and miss, but on ‘Chapter II’ the band have produced a set of bold, blistering rock songs that prove to be striking with plenty of longevity.

Although this is a new phase for the band, from the offset the bands sound and approach hasn’t changed as ‘Who Do You Think You Are?’ is a defiant, energetic that gives the EP an immediate kick with superb guitar riffs brilliantly complimenting Danny Stevens’ familiar, powerful vocals.

‘You Make Me Sick’ opens up with a laid back acoustic guitar before driving directly into a steady electric chorus with an instantly catchy chorus, which shows the band haven’t lost their pop sensibilities. The same can be said for ‘EVIL’ which makes good use of the simple yet hooky line of ‘E-V-I-L.’ It’s a trick that nicely mixes dark lyrics with a bright pop-rock sound that fits the bands style well.

By the time you reach ‘Back and Forth,’ its clear the band are in their stride and stylistically the band are in their regular routine. Whilst this may concern some, its a style that the band pull off consistently well and you can’t fault the vocal talent of Stevens at all, whilst Timmy Klepek and Jimmy Lopez give the bands sound a needed rocky edge and depth.

‘You Gotta Believe’ is the weakest of the six tracks on here. The slower tempo and the transitioning between softer and louder moments doesn’t quite have the required affect, which results in the band losing the momentum they had. Thankfully ‘Talkin” puts them back on track with pounding drums and driving guitar riffs once again bringing out the best in Danny Stevens’ vocals. It’s a strong, comfortable track that closes the EP, and leaves the band on a high point.

With shackles of a label released, ‘Chapter II’ has given The Audition a chance to re-evaluate their career and refresh themselves. The finish product is an appreciative, promising release that will be welcomed by long-time fans, and may surprise some past naysayers in places. Whilst it’s nothing exceptional, it is still a promising EP, and at the end of the day it’s good to see a band like The Audition returning and doing it for themselves, and from the sounds of it, they’re very enjoying doing what they do.

‘Chapter II’ proves there is life after labels

Announcement: Play Crack The Sky Music Becomes AlreadyHeard.com

Wed, 15 Feb 2012 21:46:58 +0000

I’m pleased to announce Play Crack The Sky Music has a new name and is now called Already Heard.

Please head on over to AlreadyHeard.com. The full site will be launching in the coming months.

We’re also on Twitter and on Facebook.

Please feel free to contact me at the following address: sean@alreadyheard.com.

Album Review: The Saddest Landscape - After The Lights

Sun, 15 Jan 2012 17:07:30 +0000

Posted on Under The Gun Review on Sunday, January 15th 2012.

On first listen it’s clear why Boston’s The Saddest Landscape are part of the Topshelf Records roster, they have an abrasive post-hardcore sound that doesn’t hold back. It’s also no surprise that their past releases include split EP’s with Pianos Become The Teeth and We Were Skeletons, which should give you a general idea of what to expect with The Saddest Landscape.

Their latest release, ‘After The Lights’ is a blistering 24 minute tour-de-force of frantic post-hardcore screamo that instantly grabs your attention. ‘In Love With The Sound’ opens the record with delicate guitar plucks before bursting through with rolling, pummelling drums and stabbing guitars. It’s a combination that is instantaneous, and with the bands use of aggressive vocals, it adds to the bands overall energy and sets the tempo for what is to follow.

‘This Heals Nothing’ carries on the bands relentless, powerful sound that builds and builds, to a breaking point made up of screeching vocals, pounding drums and frantic guitars. It’s brutal, slightly difficult but very engaging.

‘The Urge For Permanence’ keeps up the momentum with its spazzy guitars, frightening vocals and tons of urgency. Whilst the short moment of quietness is welcomed and gives the track structure, although it’s certainly not completely necessary.

By this point, it’s pretty much evident that this quartet don’t do quiet. It’s not in their vocabulary. Nevertheless ‘When Everything Seemed To Matter’ does offer a soft, textured moment of reflection. In addition, it also shows the bands capability of producing some form of melody to their noise-filled arsenal.

‘The Comfort Of Small Defeats’ subtly stutters along whilst Andy Maddox passionately screams; “Everything is falling apart,” it’s a lyric that suits the bands apocalyptic sound; unyielding and thoroughly intense. Whereas ‘Days Of Punched In’ is equally as fiery and does not hold back with it’s fast stabbing basslines and chaotic guitars. Whilst their uncompromising vocals adds to the bands lively sound, and the additional desperation delivery adds depth to the track, something that is more apparent in the closing track.

‘Desparate Vespers’ is more structured with steady, distinctive drums leading the way until a thriving combination of deafening vocals, pounding drums and soaring guitars bring the track home. It’s bold, brash and noisy but (strangely) euphoric and compelling.

If you’re willing to put any presumptions about the “screamo” genre aside, then you’ll find ‘After The Lights’ a satisfying record that is relentless, lyrically powerful and filled with tons of thriving emotion.

8.5/10

Album Review: Young English - I Hate My Friends

Sun, 15 Jan 2012 13:32:49 +0000

Posted on Play Crack The Sky Music on December 2nd, 2011.

Listening to “Neighbors,” the opening track from Young English’s new EP, “I Hate My Friends,” it is clear that the Orange County, New York band are influenced by post-millennium alt-pop rock bands such as Hot Rod Circuit, Saves The Day and The Get Up Kids. As “Neighbors” is a bright, thriving number that neatly sets the tone for this four-track release.

“Anchors” is next and keeps up the momentum, as Young English show an effective blend of melody and upbeat tempo. Whilst the bands guitar tone hints a mid-90’s emo sound. It’s a sound that is pleasing and highly favourable, and “New England” takes on a similar approach.

Although there are certain influences appearing throughout, Young English are still capable of forming their own identity. For example Chris Pennings’ vocals have distinction and on “I Knew You Once” have a convincing approach and attitude which gives the track that extra needed punch.

With a sensible balance between their influences and own originality, “I Hate My Friends” is a short yet direct EP that shows Young English is positive light. Their approachable, upbeat, straight-to-the-point style is well-executed and gives the band tons of potential.

A highly promising effort with that hit’s all the right spots.

4.5/5

“I Hate My Friends” EP by Young English is released through Panic Records on December 6th.

Young English links: Facebook|Twitter|Purevolume

Feature: Albums of the Year (2011)

Sun, 15 Jan 2012 13:29:06 +0000

Posted on Play Crack The Sky Music in December 2011.

2011 has been another incredible year for music. From stunning debuts to compelling and concise finales, the “alternative” music world has been spoiled by an abundance of superb albums over the past 12 months.

Although there has been more than plenty of notable releases, compiling a list of the 10 best has, as always, proved to be a difficult task. Releases from the likes of Thrice, Into It. Over It., Patrick Stump, New Found Glory, Seahaven, Man Overboard and several others are unfortunate to miss out on our top 10. Nevertheless those releases, along with the following 10 records just show how outstanding 2011 was for music.

10. Foo Fighters - Wasting Light (Listen on Spotify)
After releasing a few less than favorable releases, Dave Grohl and company returned with an almighty blast in 2011 with “Wasting Light.” A straight-up rock album from a band that sound refreshed and reinvigorated. From the opening fiery“Burning Bridges,” to the hooky “Arlandria” to the thrashing “White Limo,” Foo Fighters’ seventh full-length is a consistent and strong record.

9. The Wonder Years - Suburbia I’ve Given You All And Now I’m Nothing (Listen on Spotify)
For many 2011 has belong to one genre, Pop Punk. While there has been numerous and worthwhile releases in the genre, none of them has stood out more than The Wonder Years’ latest record. “Suburbia I’ve Given You All And Now I’m Nothing”defines the bands style and approach; accessible lyrics with instant (mature) pop punk hooks. From the soaring “And Now I’m Nothing” to bold ”Local Man Ruins Everything,” “Suburbia…” has everything a Pop Punk fan wants, and more.

8. Manchester Orchestra - Simple Math (Listen on Spotify)
After producing two stunning records in “I’m Like A Virgin Losing A Child” and“Mean Everything to Nothing,” Manchester Orchestra latest effort, “Simple Math” proved that the Atlanta, Georgia group are one of the most consistent groups today. “Simple Math” is a deep yet rewarding musical and lyrical journey, that has it mixture of warming, delicate moments (see “Deer”) and uplifting, satisfying parts (“Simple Math,”) which inevitably leave you hooked.

7. Great Cynics - Don’t Need Much (Listen on Spotify)
Despite a name change (from Cynics) and the transformation from a solo act to a trio, Great Cynics’ debut full-length turned out to be a sensible record that, fused folk and punk rock together and created an uplifting and honest sound that helplessly wins you over.

6. Basement - I Wish I Could Stay Here (Listen on Spotify)
On their debut full-length, Ipswich five-piece Basement somewhat ditched their Pop Punk style for a more post-hardcore/emo sound that takes its influences from bands like Sunny Day Real Estate and The Promise Ring. The outcome of this change was “I Wish I Could Stay Here,” a thorough, confident record that is well-paced and balances itself between louder, raspy moments and slower, smoother ones. Although the end result is somewhat surprising, it repeatedly leaves you hooked.

5. The Vaccines - What Did You Expect from The Vaccines? (Listen on Spotify)
Written off by some as another over-hyped NME indie band, The Vaccines’ fulfilled their hype and (over-)exposure with “What Did You Expect from The Vaccines?,” a record that on surface is your usual British indie rock record, but in tracks like“Norgaard” and “If You Wanna” are quick jangly guitar gems, that show their influences lean towards 80’s post-punk. Whereas “Wetsuit” and “Family Friend” are slow-burning, compelling tracks that gives the record variation. On the whole The Vaccines’ debut is a straight-forward record, that allows itself to have the right balance between favorable,lively melodies and necessary, engaging somber moments.

4. Thursday - No Devolución (Listen to on Spotify)
Before calling time on their 14 year long career, Thursday delivered an outstanding record in “No Devolución.” Their sixth album built on the expressive basis “Common Existence” provided, and combined it with a brilliantly executed atmospheric and textured sound. With a sensible, well-crafted mixture of light, softer moments (for example “Empty Glass”) and darker, musically thicker parts (“Magnets Caught in a Metal Heart”,) this New Jersey has left us with a highly satisfying record that, at times, leaves us stunned.

3. Bon Iver - Bon Iver (Listen on Spotify)
After receiving wide critical acclaim for their debut record, “For Emma, Forever Ago.” Bon Iver returned with their highly anticipated follow up in 2011. Thankfully“Bon Iver” delivered in abundance, as front man Justin Vernon provides with a potent, delicate record that thrives off its honest, sincere approach and subtle musical ambitiousness. Vernon and company gently take you on a gratifying musical journey, one that flows with much ease and warmly humbles you from start to finish.

2. Balance & Composure - Separation (Listen to on Spotify)
Following on from several acclaimed EP releases, Doylestown, PA’s Balance and Composure surpassed expectations with their debut full-length, “Separation.” A record that is brilliantly crafted and collectively radiant, with lyrical depth that adds to the bands endearing style.

1. The Horrible Crowes - Elsie (Listen on Spotify)
While side-projects at times prove to be indifferent and uninspiring, The Gaslight Anthem’s Brian Fallon (along with guitar tech, Ian Perkins) blew us away with The Horrible Crowes’ highly compelling record, “Elsie.”

From the soothing opening moments of “Last Rites,” to the soulful “Go Tell Everybody,” and beyond, Fallon and Perkins humble, pristine musical approach and lyrical clarity repeatedly leaves you stunned and results in “Elsie” being a perfectly-tuned and accurately-timed record.

Sean Reid (@SeanReid86)(Founder/Senior Editor)

Top 5 EP’s
1. Late In The Playoffs - Everything I Know EP
2. Turnover - Turnover
3. Glassjaw - Coloring Book
4. Diamond - Don’t Lose Your Cool
5. The Tower and The Fool - XIII 7”

Top 3 Record Labels
1. Run For Cover Records
2. No Sleep Records
3. Hang Tight Records

Best Live Show: Jimmy Eat World “Clarity/Bleed American” - HMV Forum, London (22/6/11)

Most Anticipated Album for 2012: Say Anything - Anarchy, My Dear

Album Review: Gallows - Death Is Birth EP

Tue, 06 Dec 2011 19:23:33 +0000

Posted on Under The Gun Review on Tuesday, December 6th 2011.

Earlier this year Frank Carter stunned fans by announcing he was leaving London Hardcore Punk mob, Gallows. Carter stated that the band were in a creative crossroads, and his ideas differed from the others. Shortly after Carter’s announcement, acclaimed Canadian post-hardcore group Alexisonfire disbanded with vocalist George Pettit stating two members had departed, and had ultimately led to the band splitting up. Wade MacNeil was one of those two members (City & Colour’s Dallas Green being the other,) and within days he was announced as Carter’s replacement in Gallows.

So you’re now up to date, how does Gallows version 2.0 sound? Well with Death is Birth coming in at a short 8 minutes, it could be considered to be a difficult task. Nevertheless MacNeil and company make an instant and heavy impact with “Mondo Chaos,” a riff-filled number with clear intentions showing this band are reinvigorated and passionate about what they’re doing. Whilst MacNeil quickly shows he is perfect replacement, as his raw vocals tear through the bands rough, thriving hardcore punk sound. Lyrically the band haven’t lost their way, with MacNeil declaring “Hey! Say fuck the world! I say it’s already fucked!“

“True Colours” is next and proves to a be a short, (36 seconds to be exact) relentless burst of hardcore thrash that doesn’t hold back. A pure aggressive, balls-out sound that ideally works for Gallows. “Hate! Hate! Hate!” keeps up the ferocious tempo with stabbing guitars and McNeil’s assertive and brash vocals being near-perfect fitting combination.

The title track rounds off the EP, and it is the clearest inclinations showing Gallows are back and have no plans to slow down anytime soon. Heavy guitars, roaring, passionate vocals and thriving drum work is what the track, and EP as whole, is all about.

Whilst the departure of Frank Carter, for some, might of meant the end of Gallows. It is clear the band aren’t giving up and are more than ready for what comes next, as Death Is Birth is a short, energetic EP from a band that is enthusiastic and excited about what they do. Although there is a lack of variation but with four songs in the space of just under eight minuets, it understandable and it is obvious the band have no plans to change or adjust anytime soon. Which is probably one minor criticism.

The addition of Wade MacNeil is more than welcome, as it is clear he is more than capable to holding his own and has quickly made his mark. The bands punk rock ethos is still very much intact and with this exciting collection of songs here, 2012 has a lot of potential for Gallows.

SCORE: 7/10

Interview: Lazy Bear Records (Sebastian Simone)

Thu, 01 Dec 2011 19:51:48 +0000

Posted on Play Crack The Sky Music on Thursday, December 1st, 2011.

With their “Definitive Guide to Pop-Punk 2011” compilation being released today, Play Crack The Sky Music recently spoke to Sebastian Simone of UK-based Pop-Punk label, Lazy Bear Records.

“Definitive Guide to Pop-Punk 2011” is Lazy Bear’s first release and will feature tracks from familiar and unknown UK bands such as Paige, Fine Young Firecrackers, Who’s Driving? Bear’s Driving!, Next Stop Atlanta, A Day Overdue, Maycomb and more.

Simone spoke to PCTS Music about how Lazy Bear Records started, how the compilation came together, the label’s clothing line and involvement with the Hauser Bears charity, why Pop-Punk has made a comeback and more.

How did Lazy Bear Records start?
We founded Lazy Bear Records for a final year university project in Spring 2011 on a music management course. Following the founders graduating in June (with 1st class honours just to add!) we decided to carry on the label, which has been functioning as a real venture for almost 4 months now.

You’ve recently announced plans to release a compilation entitled “Lazy Bear’s.” First of all, where did the idea come from?
We wanted our first release as a label to be something that would get some good, great exposure and in order to do that, apart from the resources and capabilities we have, we wanted to get some really enthusiastic bands involved who would not only help expose the label, but also get some well deserved recognition themselves.

We’re really passionate about pop-punk music here at Lazy Bear HQ and we know there’s some awesome talent, particularly here in the UK, so we took this opportunity to basically help push the UK pop-punk scene.

How did the compilation come together?
The compilation took a while to get rolling. As a start-up label our credibility was pretty low and we were getting a lot of ‘maybes’ and ‘who else is involved’ responses, which ultimately slowed down the process a lot. After we got a a few of the bigger bands confirmed, the rest sort of fell into place. Now we’re stoked about the line-up. We’re working with some amazing bands!

Is there any reason the compilation only has UK bands?
We wanted the 2011 compilation, our first release, to be focused on promoting UK bands. Like we said before, we know there’s so many amazing UK artists and we just want to give them some of the recognition they deserved.

The compilation has both familiar and unknown bands, what bands are you especially excited about?
We’re big fans of the pop-punk music scene and had done some extensive research into who we wanted on the compilation. Admittedly, we wanted to keep it to around 13 tracks, but once we had the credibility factor from a few of those familiar bands confirming, the rest flooded in. We’re very excited about Sell Your Sky, these boys are incredibly talented and are going to be doing some awesome things in 2012.

How important is it for lesser-known bands to be part of a compilation like yours?
I’d say it’s crucial! I mean, there’s really nothing to lose, we’re committed to putting in a lot of our efforts into PR, promotion and marketing. We got a little mention in Kerrang! this week which also highlighted some of the bands involved, and we’ll have a more substantial feature in the December issue of Rock Sound too.

This type of coverage allows the smaller bands to get some real solid exposure and of course being associated with the more well known bands is a great way to get your foot in the door, so to speak.

The compilation is being released for free. Do you think this is more beneficial for both the label and bands involved, as it means more exposure?

Absolutely. We hold a very strong opinion that you simply shouldn’t expect people to pay for digital music, it’s too easy to get hold of illegitimately. We’re all for selling unique physical copies, presented in a more ingenuitive way than just a CD in a case and even people paying optionally, but when it comes down to it, we believe for bands of this size and for a label of our size, that releasing this for free is the most encouraging way to share and expose the talent these artists have to offer.

The Pop-Punk genre is one that is very popular at the moment. Why do you think it’s made somewhat of a comeback in recent years?

Bands such as All Time Low have began to push the genre in to the mainstream sphere. Don’t get me wrong, you won’t be hearing independent pop-punk bands on (BBC) Radio 1 every day, but it’s certainly growing. The genre also has a much more dominant presence in the States and Asia; Warped Tour has certainly helped cement the pop-punk genre into the mainstream over in America and the UK is starting to follow their lead, especially with the expansion of the Slam Dunk Festival over the past few years.

The music’s awesome, it’s catchy, can be enjoyed in many subcultures and there’s some great musicians making pop-punk music. There’s obviously different sub-genres of pop-punk and in their own right, they all appeal to a slightly different market, which is really helping roll out the music.

Do you think the popularity of the genre may become a problem in the future? Will it become a genre that is saturated?
Possibly. The lighter orientated pop-punk could become very easily commercialized. On a general level, I don’t think it will ever have the same problem ‘Rock’ has when associating a musical genre. To be honest, every genre could be classed as saturated, there’s so many bands and artists all doing the same thing, but there’s only ever going to be the best and the select few that make it and help push the genre, and we’re here to help find them and be a part of the pop-punk growth in the UK.

Away from the compilation, the label has a clothing company. Tell us about it?
We set up the clothing side properly about a month ago, although it’s been something we’ve wanted to do for a long time. It was set up as we simply wanted to sell clothes that represented the music scene we’re associated with and to help roll out the Lazy Bear brand. At the minute it’s sort of a learning curve. Expect a new line come in the new year including a professional approach down to the tiniest detail! We cant wait for it.

In addition, the label works with Hauser Bears charity. What is this charity and in what way does Lazy Bear help Hauser Bears?
Hauser Bears charity is a bear conservation and welfare charity, they’re helping change the fate of bears worldwide by educating, saving and tackling political issues at the center of the problem.

Lazy Bear currently donates £1 of every T-shirt sale to the charity, so the more people buy, the more we give! Due to distribution rights, we won’t be able to provide the upcoming compilation for free from iTunes, one of the many distribution methods we’re utilizing to get the compilation out there. For this reason, 100% of any purchased individual tracks or compilation sales as a whole will go directly to Hauser Bear Charity.

Going into 2012, what does Lazy Bear have planned. Will you be working with any bands from the compilation again?
We’ve got a hell of a lot planned! We’ll certainly be working very closely with a some of the bands from the compilation, we can’t say just yet, but keep your eyes out! We’ve developed an awesome relationship with some of the bands involved and we share the same ethos towards the music and the future of the industry, so expect some collaborations!

As I mentioned above, we’ll also be improving and expanding Lazy Bear Clothing, so keep your eyes out on that. Head over to our Facebook page and give us a ‘like’ to receive the discount code for 15% off too, not bad eh!

Lastly, we’re having a website re-design. This is being rolled out over the next few months and the intention is to segment the Lazy Bear brand more clearly.

Currently, we’ve got Lazy Bear Records and Lazy Bear Clothing in operation, but we’re finding people are seeing the Clothing side as label merch and that’s not the look we’re going for. Coming with this website re-design is a brand new Lazy Bear service, which we hope will really help out bands, locally and internationally, so keep your eyes out for that too!

Any final words to close the interview?
Keep it lazy!

“Lazy Bear’s Definitive Guide to Pop-Punk 2011” is released on Lazy Bear Records on December 1st.

The compilation includes tracks from:
Kids Can’t Fly, Autumn In Disguise, Sell Your Sky, Paige, Fine Young Firecrackers, Scream Don’t Whisper, Hey! Alaska, Who’s Driving? Bear’s Driving!, The Headstart, As We Climb, A Day Overdue, Highrise, Promise Me Tomorrow, Above The Underground, Better Left Alone, Next Stop Atlanta, Maycomb and These City Lights.

Album Review: O'Brother - Garden Window

Mon, 28 Nov 2011 23:01:46 +0000

Posted on Under The Gun Review in November 2011.

On O’Brother’s last effort, 2009′s The Death of Day EP, the Atlanta, Georgia group produced a mix of layered alt-rock and post-rock, which resulted in a collection well-crafted, emotionally charged songs and on the whole, showed a lot of promise.

Two years on, the bands debut full-length, Garden Window sees the quintet growing and taking a huge step forward, as they take you on an intriguing, hour-long musical journey that goes back and forth from experimental to indie rock to softer, (slightly) ambient moments.

One of the first things you’ll notice on Garden Window is how much darker, intense O’Brother sound. From the opening fuzzy guitar chords of “Malum;” you’re welcomed with a thick, edgier sound that on first listen is discomforting yet compelling. Nevertheless “Malum” gives way to “Lo;” a vibrant, energetic number that takes the fuzzy guitar tone of the opener and combines it with a thriving energetic tempo and suitable melody, which gives it a (slightly) much needed sense of calm.

“Sputnik” keeps up the pace and sees producer Andy Hull (Manchester Orchestra/Right Away! Great Captain) making an appearance on vocals, who along with frontman Tanner Merritt, brings a passionate delivery that blends with the howling, chaotic sound that the rest of the band produces.

One of the issues I have with Garden Window is its tendency to wallow. Tracks like “Poison” and “Easy Talk (Open Your Mouth)” are prolonged and more than outstay there welcome. However in terms as the record as a whole, they bring a soft, compelling sound which, in places, leaves you mesmerized. For examples Merritt’s quivering vocals “Poison!” plain and simply leave you hanging on to every word.

Nevertheless as the fourteen-minute long “Cleanse Me” shows, these slow, slightly over-bearing moments are justified and are rewarded with powerful, satisfying and stunning pay-offs.

Much like “The Death of Day,” O’Brother once again show they have finely-tuned the soft-louder-louder formula, as “Lay Down” shows. The light vocals suitably build up to a heavy explosion of thick guitar riffs and soaring vocals. It’s a technique that appears throughout Garden Window, and whilst for some it maybe a problem, other will understand how powerful and rewarding it can be.

As mentioned earlier, Garden Window is a musical journey, it ebbs and flows between intense, dark moments and atmospheric, lighter parts, and ultimately becomes a record that is somewhat to pick out stand-out moments. The reason for this, is that the record as a whole is the stand out moment. It’s powerful, passionate approach and musical structure makes Garden Window a engaging, dense record. Although the bands stylistic traits may go off point at times, as a whole O’Brother manage to produce the goods and fulfil the potential they had.

If given time, Garden Window can be a coherent, thought-provoking record that truly delivers on it’s potential, and for O’Brother is a rewarding pay off, both musically and as a band.

Album Review: Various - Punk Goes Pop Volume 4

Wed, 23 Nov 2011 19:17:43 +0000

Posted on Play Crack The Sky Music on November 23rd, 2011.

Fearless Records’ “Punk Goes…” series hasn’t always been welcomed with open arms by critics but with this being volume four of it’s “…Goes Pop” collection, it’s clear that fans continue to eat up these compilations that have never really been all that “Punk.”

The money-spinning fourth volume is your usual mix of post-hardcore, screamo, and (accessible) pop-punk bands putting their own spin on a number of radio hits over the last twelve months or so.

As always there is a mix bag, some of the offerings on show are truly disastrous but are expected from the band performing the cover. For example For All Those Sleeping’s take on Taylor Swift’s “You Belong To Me” keeps the bright, feel-good chorus of the original, but unfortunately mix it with horrible electronic swirls and heavy, nasty breakdowns that ruin the chance of the cover becoming passable.

At the other end of the spectrum you have the tracks that shouldn’t work but somehow do. Pierce The Veil’s cover of the breezy “Just the Way You Are” is an early highlight and takes Bruno Mars’ summery pop and transforms it to an upbeat, thriving take and allows the San Diego group to leave their own mark on the track. In addition, you have to give credit to vocalist Vic Fuentes for doing this, as he exceeds and surprises on here.

Like previous “Punk Goes…” releases, their are tracks that scream out for the skip button. Whilst the original version of Katy Perry’s “Last Friday Night (T.G.I.F.)” is a personal guilty pleasure, Woe, is Me’s cover is truly awful and messy. The same can be said for Chunk! No, Captain Chunk!’s version of “We R Who We R” (originally by Ke$ha.) With it’s pounding drums, and heavy guitars, it is slightly expected from this Hardcore/Pop-Punk band.

Don’t get me wrong, there is your fair share of enjoyable tracks here; A Skylit Drive’s “Love the Way You Lie” (Eminem featuring Rihanna), Go Radio’s cover of Adele’s “Rolling In The Deep” and surprisingly, Sleeping With Sirens’ cover of “Fuck You” are all passable and show each band in a strong light.

In addition, Australian female-fronted Pop-Punk band Tonight Alive pull off Mumford & Sons’ “Little Lion Man” brilliantly with soaring, passionate vocals courtesy of Jenna McDougall. Whilst Silverstein’s decision to cover the album version and not the single version of Kanye West’s “Runaway” is interesting but if you ignore the guest vocals from Down with Webster, the Canadian group contribute an admirable take on the eight-minute track.

Love it or hate it, “Punk Goes Pop Vol. 4” is another intriguing collection that holds a mix bag of stand out and avoidable tracks. Fans of the previous installments will more than likely enjoy what is on offer here, whilst those who have given up on the series, will struggle to forgive Fearless for their past mistakes.

Overall the same blueprint has been followed with the same lack of stand out tracks for a faltering compilations series.

3/5

“Punk Goes Pop Volume 4” is available now on Fearless Records.

Punk Goes links: Official Website|Facebook|Twitter

Album Review: Diamond - Don’t Lose Your Cool

Tue, 22 Nov 2011 22:38:00 +0000

Posted on Under The Gun Review on Monday, November 22nd 2011.

One year on from their demo EP, Diamond are back with their second offering; Don’t Lose Your Cool; a seven-track mix of upbeat alt-rock with sensible pop harmonies, something which is an exit for members of this band, as it features members from two Hardcore bands; Down to Nothing and Trapped Under Ice.

Nevertheless Don’t Lose Your Control certainly rectifies the idea that Diamond is a separate project and does not come close in comparing to either of those bands. Much like their previous EP, Don’t Lose Your Control provides summery alt-rock that flows along a steady, feel-good pace.

One band Diamond have been compared to is Weezer and with opening track ,“Sunburn,” its easy to understand why, as their style is one that blends edgy alt-rock with harmonies pop sensibilities. It’s a clever combination that works very well, as their light vocal melodies easily sits well next to the bands driving guitars.

“Fix of Mine” keeps up the momentum, as once again the bands upbeat, punchy approach produces a highly favourable sound, and although it’s a sound that Jimmy Eat World have pulled off time and time again, tracks like “Fix of Mine” and later on “The Feeling” show Diamond are clearly capable of producing consistent alt-pop rock.

With these seven songs there is little variation but with tracks like “Fly Solo;” a summery, hook-filled highlight, you can’t and probably shouldn’t complain. However tracks like “Keep Dreamin’” do hint a slightly heavier Diamond sound, it’s the clean, chorus-driven direction which wins over.

Throughout Don’t Lose Your Control, Diamond showcase a knack for writing well-structured pop-rock songs, that you will more than likely have on repeat for days. Their use of blending gorgeous vocal harmonies works a treat, and in some ways is a world away from their other bands. On top of that, the bands driving guitars add emphasis and provides an edge that some may considered in places.

Nevertheless it is hard to pick fault with Don’t Lose Your Control. It brilliantly combines the pop-sensibilities of Weezer and Jimmy Eat World and adds a slight 90′s emo lyrical approach, thus producing an instantly favourable collection of compelling, well-structured songs that you’ll be listening to again and again.

SCORE: 9.5/10

Album Review: Such Gold/A Loss For Words - Split 7"

Mon, 14 Nov 2011 21:41:00 +0000

Posted on Under The Gun Review on Monday, November 14th 2011.

The thought of two of the best up and coming Pop Punks releasing a split 7-inch with two popular and emerging DIY labels, sounds incredibly exciting. The two bands in question are Rochester, New York’s Such Gold and Boston, Massachusetts’ A Loss For Words. Both are bands that have slowly and firmly been gathering on both sides of the Atlantic for the best part of 18 months.

The four-track split is jointly being released by two of the most well-respected DIY labels at the moment. No Sleep Records is home to the likes of Into It. Over It., Koji, Aficionado, Santah, Touché Amore and more. Whilst Mightier Than Sword Records is better known for re-pressing releases from Blink-182, The Ataris and The Movielife, but it’s roster does have notable name such as Bayonet, Last Call and So Many Ways.

Whereas both Such Gold and A Loss For Words are grouped into the Pop Punk genre, this 7” clearly shows that they each have characteristics which makes them individually stand out.

Such Gold’s first offering is “Scoreboard,” a thriving, energetic piece of harmonious Pop Punk with crunching guitars and fast-paced drums, which gives way to an aggressive, feel-good chorus with the somewhat inevitable gang vocals being thrown in. It’s a strong opener and showcases Such Gold in a good light.

Their second track, “Backyard”keeps up the momentum with pounding drums (courtesy of Devan Bentley) and slicing guitars suitably backing up Ben Kotin’s raw, bold vocals. Like the bands first number, it shows what Such Gold are all about; fast, melodic yet fierce. Although “Backyard” is the weaker of the two offerings, with “Scoreband” having more potential and gives high hopes for the bands forthcoming full-length early next year.

Whilst Such Gold come across as a more (heavy) Pop Punk band, anyone who is familiar with A Loss For Words will tell you they’re more melodic and offer favourable hooks. Because of this, it is no surprise their two contributions are tightly driven by Nevada Smith and Marc Dangora’s stringent guitars and Matt Arsenault smooth, clean vocals.

“America Needs A New Sweetheart” is an upbeat, bright number that goes along a comfortable, enjoyable pace with a bursting chorus that plain and simply works, and is a precise example of how Pop Punk should be. A slick guitar riffs compliments Arsenault’s faultless voice.

AL4W’s second track, “Thomas vs. Luongo” is more of the same; foolproof guitars help benefit Arsenault. Although the track starts off promising, once it settles down it, the track does not have the rewarding pay off you hope for. Instead it ends suddenly and despite it’s good chorus, the over-distorted guitars become a distraction and makes the finish sound slightly messy.

Nevertheless both bands have produced admiral tracks that sum up what each other are about. Such Gold bring the thriving Pop Punk style that is at home in intimate, chaotic shows, and A Loss For Words have the more conventional Pop Punk style, one that with bold chorus that have plenty of lasting appeal.

Like a lot of split EP’s, this will benefit both old and new fans. For new fans it is a suitable introduction and gives a clear indication of what both bands do. Whereas for old fans, the Such Gold will tie them over until their promising full-length; even though I hope it offers more variation. For fans of A Loss For Words, it will make up for the weaker moments of their recent “No Sanctuary,” as their two offerings are more incline to the AL4W that won fans over previously.

Overall it is a worthwhile release for fans of both bands, but it is certainly not a must have. If you’re not a fan of either band, or Pop Punk itself, this is one to avoid.

SCORE: 7/10

Album Review: The Tower and The Fool - XIII

Tue, 08 Nov 2011 21:49:00 +0000

Posted on Play Crack The Sky Music in November 2011.

Before I start this review, I must state that before hearing The Tower and The Fool, I was unfamiliar vocalist Alex Correia’s previous group, Therefore I Am, something I am going to change as soon as possible, because if his voice as superb as it is on these two songs, I’m going to be impressed.

Nonetheless The Tower and The Fool is Correia’s post-Therfore I Am band and XIII is the bands first release since their self-titled mini-album of late 2010.

It’s quite surprising to have two songs to have such a heavy impact. Die Alone was recently featured on Run For Covers’ Mixed Signals compilation and was earmarked as distinctive highlight. Correia’s raw, passionate vocals provide a smooth leadership over gorgeous country-esq guitar lines that unbelievably compliment one another. On top of that, Correia’s lyrical narration intriguingly draws you and along with the twanging guitars and laid back tempo, you can’t help but feel you’re listening to something special.

Track number two, NYC, is a delicate folk-y number with Chris Rosenquest taking over on vocals and provides a gruff-yet-relaxed delivery. Lyrically it is a track which poignant and neatly compliments the twinkling and delicate acoustics, that serve as the backdrop to Rosenquest heartfelt words.

While there are only two songs here, the lasting impression is enormous. As song-writers, Correia and Rosenquest are fully capable of drawing the listener with a soft hand and when combined with suitable instrumentation, the band give off a sense of uniqueness and excitement.

The downfall of this two song release, is that it leaves fans anxious to hear what is next for The Tower and The Fool, but if XIII is anything to go by their potential leads to great expectations.

4.5/5

XIII by The Tower and The Fool is out now on Run For Cover Records.

The Tower and The Fool links: Facebook|Twitter|MySpace