Sêan Reid Portfolio

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

Album Review: Four Year Strong - In Some Way, Shape Or Form

Tue, 08 Nov 2011 21:08:58 +0000

Posted on Under The Gun Review on Tuesday, November 8 2011.

Excuse me while I start this review with a bold statement. You know this whole Pop Punk resurgence that’s been growing over the last 18 months or so? Well it’s going to end. I don’t know when, but like all trends, they eventually come down in terms of popularity. Sure, Pop Punk won’t die but the current height of its popularity isn’t going to last forever.

You know what else? Four Year Strong know this too. Their latest record, In Some Way, Shape, Or Form is, on the surface, a turning point for the band. Now performing as a four-piece; due to the decision to remove Josh Lyford and his synth keyboards from the mix. It was a move that received mixed opinion from fans, and more importantly, was a clear indication of the band evolving.

In Some Way, Shape, Or Form is certainly a different record. On first listen, it is evident that the heard-hitting “easycore” sound has been swapped for a more accessible, and dare I say it, “radio-friendly” rock. But for long time fans shouldn’t worry too much, there are still plenty of favourable hooks and heavy riffs; lead off single, “Just Drive” is a prime example of this. Its catchy chorus will quickly be in your head which makes the track, as a whole, an early highlight. Although lyrically it is somewhat weak and simple, which is more than likely why it’s been chosen as a single.

While the bands sound has changed, it is something not quite evident early on. “The Infected” is a blistering riff-filled number with Dan O’Connor and Alan Day’s back-and-forth vocal work bringing a sense of familiarity to the new Four Year Strong.

However after the stomping “The Security Of The Familiar, The Tranquility Of Repetition ,“ the quartet show the aforementioned accessible sound. “Stuck In The Middle“ isn’t quite the Four Year Strong we know. Don’t get me wrong, it’s a well-paced number and has a half-decent structure but with it’s straight-up anthemic rock sound, it doesn’t quite pull off for the Massachusetts group.

Later on “Falling On You” and “Heaven Wasn’t Built To Hold Me” lean towards the “radio rock” sound. The latter comes off as a hard-hitting Rise Against-like number with its weakly structured “woahs” marking out the chorus, and along with its heavy driven guitars, it all sounds too familiar.

The former is a punchy, anthemic track with good harmonies and strong guitar riffs but despite this, the lyrical style and structure does not have a lasting impact, and on the whole is rather weak.

Later on tracks like “Bring On The World” and “Fight The Future” fail to rescue the record. While they have their favourable characteristics but lack definition. “Bring On The World” has a heavy, powerful riffs that nicely dominate alongside Jake Massuco’s pounding drums and “Fight The Future” has a semi-decent chorus but overall fails to impress.

From “In Some Way, Shape, Or Form,” Four Year Strong can take both positives and negatives. The positives are that it is clear they have the capability of writing good, riff-heavy rock songs, that don’t have to rely on Pop Punk breakdowns or gang vocals (although “Fairweather Fan” does heavily lean towards this style.) However the negatives show that, although they have the potential to be a bigger band (in terms of popularity) and have the songs to do so, In Some Way, Shape, Or Form lacks definition and longevity.

As a result of this, the more favourable moments tend to suffer and after a few listens, it comes off a messy record which doesn’t quite flow thoroughly, and ultimately stand out moments like “Just Drive” and “Falling On You,” falter from the lack of variety this record craves for but is never given.

In the bands discography, this is their weakest release to date but as I said earlier on in this review, Four Year Strong are at (or are heading towards) a crossroads in their career. The departure from the now all too familiar heavy Pop Punk is a daring move, and is one that isn’t going to be welcomed by all. Nevertheless, In Some Way, Shape, Or Form is a turning point and certainly a change in direction for a band, who are looking at the wider picture and realising this Pop Punk wave isn’t going to last forever. It is a record that indicates ambition and musical growth, however it is clear that the new Four Year Strong isn’t quite yet the finished product. If they’re to carry on in this direction, you have to hope that future releases have more definition and leave a more of an impression.

SCORE: 6/10

Album Review: Pianos Become The Teeth - The Lack Long After

Mon, 07 Nov 2011 22:02:00 +0000

Posted on Under The Gun Review on Saturday November 5th 2011.

With their previous release, Old Pride, Baltimore’s Pianos Become The Teeth created one of the best (but forgotten) records of 2010. Now as the band head into 2012, the follow-up, The Lack Long After doesn’t quite have the same zest and longevity as their last release.

On Old Pride, the quintet showcased a compelling blend of post-hardcore, screamo and (in places) post-rock. With The Lack Long After lean more towards the post-hardcore side yet they subtly keep that textured sound that made the band appealing first time around.

“I’ll Be Damned” kicks the record off at full steam with ferocious drums and messy guitars complimenting Kyle Durfey’s chaotic-yet-structured screams. It’s a style that connects together well; for the band and the listener, whilst the more melodic approach at the tracks conclusion reassures the possibility of Pianos Become The Teeth being an all-out screamo outfit.

From the early stages of The Lack Long After, the bands production has improved and therefore gives them a more concise and well-rounded sound. On “Good Times,” a somewhat delicate opening builds up to a passionate chorus that is filled heavy driving guitars and an emotionally charged vocals from Durfey, something that is consistent throughout, and as “Shared Bodies“ shows, the band are equally passionate and emotionally invested in what they do, as the track sounds (semi-)apocalyptic with heavy, over-powering guitars, blistering drums and frantic vocals.

Next up is “Such Confidence,” a compelling, brittle number that nicely builds up to a powerful and natural pay-off that plain and simply works and feels right. Vocally Durfey is intense and fiery, whilst the band musically are powerful, structured and dynamic.

“Liquid Courage” follows on and seeps into a soft, compelling but sharp number with David Haik’s drum work become the centre piece momentarily before the band as a whole burst into the driving number that is “Spine.” Although on the surface it sounds like your usual post-hardcore/screamo track, the bands sensible approach towards structure, along with the tighter production, gives the track more appeal and overall attention.

By this point, it is clear Pianos Become The Teeth are more than confident in their abilities and with “Sunsetting” they are able to keep up the fierce momentum that carries this record along from start to finish. With its sliding and screeching guitars serving as a backdrop to Haik’s blistering drum work and Durfey’s familiar but suitable aggressive vocals.

Although The Lack Long After doesn’t quite have the same lasting impact as its predecessor, there are moments that are equally potent and satisfying, and thankfully Pianos Become The Teeth produce one of their finest moments to date with the closing “I’ll Get By,” A light, atmospheric opening breezily gives way to twinkling guitars that helpless draw you in. Whilst Durfey, as always, is emotionally invested lyrically; “Such a light body, such a quiet gait leaving behind the weight of the world.” Further on he contributes in the intriguing and infatuating line of “I want you to know, I’m learning patience against my will./I want you to know, I’ll get by, always barely scraping with hust a hunger, with just a heart apart.“ When mixed up with the bands radiant but powerful sound, it brings some form of intense beauty to what Pianos Become The Teeth do; potent, dynamic and (at times) inspiring.

Where The Lack Long After suffers for immediacy is made by the bands overall momentum and musical growth. Because underneath the heavy drums and screaming vocals, is a band who are lyrically intriguing and passionate about their craft and the songs they produce. Emotionally powerful, both in terms of sound and lyrics.

SCORE: 8/10

Interview: Squid The Whale

Tue, 01 Nov 2011 20:07:51 +0000

Posted on Play Crack The Sky Music on Tuesday, November 1st 2011.

Detroit, Michigan’s Squid The Whale are slowly making a name for themselves as their brand progressive pop rock. Having recently release their first music video for The Greatest Way, and completing a US tour with Bright and Early, the quartet have been gathering momentum, something than begun with the release of their debut EP; New War, a four-song onslaught of passionate and adrenaline-fueled rock that has been compared to the likes of The Audition and Gatsby’s American Dream.

With a sensible blend of logical structures and highly-favourable hooks, New War sets the benchmark high for Squid The Whale. However with a strong DIY approach, it is reassuring to know they are more than likely to keep their feet on the ground, as it is evident that the Detroit group have the potential to go far.

PCTS Music Editor, Sean Reid recently spoke to guitarist Brandon Kubiac about the reaction to New War, the Detroit music scene, being DIY and more.

How has the feedback been to ‘New War’?

It’s been good. So far it seems people are enjoying it and there isn’t an age barrier at the same time. Pretty excited about that since I don’t want us to be drawn by a certain group of people.

For those who are unfamiliar with the band and the EP. How would describe ‘New War’ to new listeners?

It’s a raw, passionate, and full of angst.

You’ve been compared to bands like The Audition and Forgive Durden. How do you feel about this?

It feels good since both bands are obviously good at what they do considering the following they’ve gained over the years. I am a huge fan of Forgive Durden so it’s definitely a compliment. At the same time, I don’t see the comparison, but I’m just one opinion.

Lately you’ve been on tour with Bright & Early. How has the tour been going?

It’s been the jazziest of jazzed tours so far. They are all very talented dudes and to top it off they are awesome to be around. Usually it’s hard to get along with every member of every band but that hasn’t been the case for this tour.

The tour with Bright & Early is being sponsored by two music websites/webzines. How important is it for a band like yourself to take advantage of sites like these?

I think it’s important for any band big or small to take advantage of anything at their fingertips. There isn’t a reason why a band shouldn’t take free publicity.

I get the impression that you have a strong belief in being DIY. How beneficial and important is this for a band like Squid the Whale?

Being able to do everything for free or close to is very important for any band. Musicians don’t get paid so if you’re always flipping coin for things to get done you’re going to be in a bad spot eventually. Thankfully were a power ranger type of group and when our forces combine we can handle any task we need to accomplish. We all just have an awesome drive to make this work which I think is more important than anything. You can always become a better musician but if you are lazy and have no drive you’re not going to go anywhere, in music or life.

You’re based out of Detroit, Michigan. On the whole how would you describe the music scene there?

I would say it’s pretty awesome. Detroit just makes great bands for some reason and I’m really proud to be from here and experience the next chapter in the Detroit scene.

Are there any up and coming bands we should be on the lookout for?

I would check out Mike Mains & the Branches, Wilson, American Opera, Undesirable People, Wolves and Machines, Hawk and Son, and SpringBreak. There are definitely others but I have a terrible memory.

As we head towards 2012, what does Squid the Whale have planned in the pipleline?

We plan on touring as much as possible, writing our full length, and just being in peoples faces as much as possible. In a good way.

Are there any final words you’d like to say to close the interview?

Be sure to check out our YouTube channel for our music video of “The Greatest Way.” We took some horrible falls in that video for your entertainment and fake fighting actually hurts more than real fighting. Also thanks a million for all the support and help we’ve had within the last year. It really means a lot, more than I could ever say.

New War by Squid The Whale is available now on Bandcamp.

Squid The Whale: Official Website|Facebook|Twitter|Tumblr|Bandcamp

Album Review: A Loss For Words - No Sanctuary

Thu, 27 Oct 2011 19:57:00 +0100

Posted on UnderTheGunReview.net on October 27th, 2011.

It has probably been said time and time again but 2011 has been the glorious return of Pop Punk. With notable releases from familiar bands like New Found Glory, Set Your Goals, Man Overboard, Tranist, This Time Next Year, The Wonder Years and to a lesser extent, Blink-182. On top of that, there has been numerous promising releases from up and coming bands like Turnover, Citizen, Time Spent, Handguns and Last Call.

So with the genre’s popularity being at it’s highest in some years, where does Boston’s A Loss For Words fit into the scheme of things? On face value No Sanctuary, the bands sophomore full-length, ticks all the right Pop Punk boxes but doesn’t quite have the immediate impact some had hoped for.

From the start “Honeymoon Eyes” and “Pray For Rain” has that all too familiar thriving, upbeat punchy Pop Punk sound which works well early on but both tracks do not have a lasting impact, although it’s clear that vocalist Matt Arsenault is more than capable to stand out from the crowd, as his vocals throughout bring more definition to the record.

“Pirouette” comes off as an early highlight, as the neat structuring of Arsenault’s sincere vocals in the verse, nicely give way to a bold chorus that bounces along with plenty of adrenaline and the energetic bridge with feel-good sing-along moment tops the track off.

By the time you reach “The Hammers Fall,” you can’t help but feel you’ve unfortunately heard it all before. Whilst A Loss For Words have the instantly favourable hooks and harmonies, tracks like the latter and ‘Raining Excuses’ fail to truly grab your attention and come off as your typical circa 2011 Pop Punk.

By no means is this A Loss For Words’ fault. It’s evident that they have talent throughout; Lee Preston’s drumwork keeps the tempo going from start to finish, and both Nevada Smith and Marc Dangora showcase strong and precise guitar playing (see “The Lost Cause I Used to Be”).

The title track is somewhat of an exit stylistically, as it comes off as an aggressive yet melodic number that somewhat shows the bands willingness to try something different and not constrain themselves to Pop Punk clichés. In addition “No Sanctuary” can be considered as a turning point, as tracks like “JMR” and “Finite” are thoroughly strong. The former is a chugging, vibrant number with bright yet simple chorus that ideally suits Arsenault’s voice, while the latter is another example to emphasis the vocal work of Arsenault, as the steady tempo of ‘Finite’ compliments the sincere tone and harmonious delivery.

On top of that, the slow, ballad-like “Jetsetter” shows Arsenault’s confident vocals in a (very) strong light, as his voice demands attention and takes centre stage as the band’s sound take a natural progression towards a full band finale.

In conclusion, No Sanctuary is somewhat a difficult record to summarise. Whilst it has all the favourable characteristics that a good Pop Punk record needs. There are moments; perhaps too many moments, where A Loss For Words seem stuck in the genre and come off as slightly predictable. Whilst musically and especially vocally, the band are highly strong, it could be considered that this; along with a handful of stand out tracks, is what saves ‘No Sanctuary’ from being a complete write-off.

Whilst it may not be the Pop Punk record of the year, and if the market hadn’t become so crowded over the past twelve months, it maybe a better record. Nevertheless it is evident that No Sanctuary is just the next step towards bigger things for A Loss For Words, as it’s clear they have talent and (in places) the songs to head in the right direction.

SCORE: 7/10

Album Review: Run For Cover - Mixed Signals

Thu, 20 Oct 2011 20:13:02 +0100

Posted on Play Crack The Sky Music on October 20th, 2011.

In 2011, label samplers/compilations are more or less the norm. However Run For Cover Records have taken a more sensible route with ‘Mixed Signals.’ Whilst some labels just sporadically throw out free samplers, RFC have taken the time and effort to treat this as a legitimate release. This is just one reason this compilation has credibility, and that’s not before you’ve delved into it.

Although it’s a Run For Cover compilation, it’s not a release made up of bands who are part of the label. Instead the label has produced a mixture of familiar and emerging bands from the current progressive punk/post-hardcore scenes, all of which make their mark on this twelve track compilation. Polar Bear Club kick things off with Killin’ It, a dense, stomping hardcore punk number that showcases the bands blend of pop-punk-esq melodies and aggressive hardcore well, whilst Balance and Composure continue the momentum they had with this year’s Separation with Seahorses, a delicate alt-rock track that dwindles in the verse before bursting through familiar radiance in the chorus. It’s a style and sound that fits the band well.&lt;a href=”http://runforcoverrecords.bandcamp.com/album/mixed-signals” _mce_href=”http://runforcoverrecords.bandcamp.com/album/mixed-signals”&gt;Mixed Signals by Run For Cover Records&lt;/a&gt;

On Distress Signals, Tigers Jaw bring an upbeat yet mellow sound that goes along a nice pace, with vocalist Adam McIlwee and Brianna Collins combining neat harmonies together in the chorus which makes the track stand out early on.

Next up is Hostage Calm, and much like last year’s self-titled album, The ‘M’ Word comes off as summery 60’s pop-influenced number. It’s bright and sensibly structured. Whereas The Menzingers are your straight-up punk band on Irish Goodbyes; a lively track with driving guitars and catchy chorus.

Following on is CSTVT and Bassett St., a mellow and twinkling alt-rock number with a strong chorus and good guitar parts.

Unfortunately Daylight’s Cursed fails to make much of an impression. In the context of this compilation, their brand of heavy post-hardcore rock sounds slightly too familiar and does not leave a lasting impression.

End of a Year Self Defense Family put the compilation back on track with I’ve Got An Idea…, a relaxing duet featuring Caroline Corrigan, who brings a soothing tone that compliments the bands guitar work and also plays off Patrick Kindlon’s vocals well.

Daytrader’s Texts and Tomes comes across a throwback to early 2000’s alt-rock/post-hardcore bands like Further Seems Forever and Hey Mercedes; a mixture of driving, aggressive guitars and harmonious and memorable choruses that have a lasting impression.

Next up is Coats by Make Do and Mend, a fiery punk rock, Hot Water Music-like number with fierce guitars, raw and passionate vocals. If you’re familiar with the bands work, you know what to expect.

One of my personal highlights on this release is The Tower and The Fool and their light, country-esq track, Die Alone. Slighty upbeat but equally ballad-like, The Tower and The Fool lyrically draw you in with a story of heartbreak, whilst musically the bands guitars twang and somewhat carry the track home but perhaps more importantly, combine brilliantly well with Alex Correia’s vocals.

The World Is A Beautiful Place And I Am No Longer Afraid To Die bring the compilation to a conclusion with a short acoustic folk number; To the Janitor the King, with its twinkling guitars and overall relaxing approach. It’s a satisfying conclusion that does not exceed itself.

With Mixed Signals, it is evident why labels like Run For Cover, No Sleep, Topshelf, etc continue to be noticed and supported thoroughly, as from start to finish this compilation showcases talented bands that deserve to be noticed. Like old Vagrant Records samplers and Atticus Clothing compilations before it, I’m sure Mixed Signals and future similar compilations, will prove to be influential in the coming years and have a distinctive impact. It’s a credit to Run For Cover (and other labels) for supporting emerging bands and giving them the opportunity to grow with compilations like this.

On the whole, Mixed Signals sensibly showcases a strong batch of bands that needs to be heard, even if there are some you are unfamiliar with. It’s a worthwhile purchase that potentially has a lasting impact.

4.5/5

Mixed Signals by Run For Cover Records is available now.

Purchase on CD, Vinyl, and Bandcamp.

Run For Cover Records links: Official Site|Online Store|Facebook|Tumblr|Twitter

Interview: Bright and Early

Mon, 17 Oct 2011 19:37:17 +0100

Posted on Play Crack The Sky Music on October 17th, 2011.

With the release of their new EP (Getting Through It) imminent, Play Crack The Sky Music recently caught up with Bright and Early vocalist and guitarist John Browne (JB) to discuss the EP, joining up with Pacific Ridge Records, their cover of an Alkaline Trio classic and how they’re not accepted in the Pop-Punk scene.

To begin with can you introduce yourself and your role in Bright and Early?

My name is JB. I write the bulk of the songs, and I sing and play guitar.

Your new EP, Getting Through It is the follow up to last year’s Louder Than Words EP. How has the band changed and developed with this new release?

That’s a tough question to answer. We’ve been through a lot of life changes and learned a lot in the past year. The band has changed in mindset, sound, goals, lineup, and just the entire overall direction. We still and will always keep our recordings as real and true to our natural sound as we can get them. We plan on going more of a rock and roll direction. We just want to riff out and be catchy. I don’t know if you’ve heard, but the new cool thing is to be anti-pop-punk.

Since that last release, you’ve played shows with the likes of Punchline and I Call Fives. Have playing with those bands influenced this new EP in anyway?

Maybe. It’s hard to say. I feel like my writing is influenced by everything in my life. Steve (Soboslai) from Punchline has definitely influenced me in a few productive ways. He’s got his shit together. He made us all want to get more on the ball. He creates opportunities for people and thats a great thing.

The new EP sounds more structured than previous releases. Was this something you had planned on doing from the start?

Sort of. The idea was to more or less involve a few different stages of breaking up. So I guess yeah. The songs themselves tell this push and pull, love/hate type of bipolar relationship story. The other guys feel what I feel. I’m lucky to be able to play with dynamic musicians, who always want to further themselves. It makes it easy to change. We are always evolving as a band. We’ll always try to change and do something different.

&lt;a href=”http://pacificridgerecords.bandcamp.com/album/getting-through-it” _mce_href=”http://pacificridgerecords.bandcamp.com/album/getting-through-it”&gt;Getting Through It by Bright and Early&lt;/a&gt;

You’re releasing the new EP through Pacific Ridge Records. How did you join up with that label?

We were approached by Pac Ridge for the Alkaline Trio compilation and we just seemed to get along well. We are a “keep things simple” kind of band. Pacific Ridge offered to support us in what we do, in the way that we felt that we needed for this EP. Its a small self-recorded EP and we hope that it will open more opportunites for us. We hope to tour a lot more and do bigger records. One step at a time!

You recorded a cover of ‘Stupid Kid’ by Alkaline Trio for a recent true album. Why did you choose that track?

We all wanted to do one that was upbeat. Out of all the songs that were left, that was the one that best fit our band. I wish we could’ve done Queen of Pain.

Recently you’ve been on tour with Squid The Whale. Have how those shows been going?

They’ve been pretty good. We have been having a shit ton of fun. We’ve been playing these games as if we’re little kids. We’ve got dudes on this tour ranging from age 19 to 28, and we’re all proning.

How has the reaction been to the new songs?

We honestly haven’t had a single bit of negative feedback. Everyone seems to be loving it. Each song is different than the other. Each song is meant to represent a different feeling or group of feelings. One moment its despair, then anger, then happiness, etc… I think that helps to keep it interesting.

With the Pop Punk genre going through a resurgence, what makes Bright and Early stand out from the crowd?

We’re not really in that crowd. We haven’t been accepted well by the pop-punk scene. You know how it is. If you don’t get down with the trends, then you aren’t IN with the trend either. We’re the dorks who don’t fit in but thats kind of ok with us. We’ll fit in wherever we end up connecting with other people because thats life. Everyone fits in somewhere.

We do love I Call Fives and The Wonder Years, but we haven’t really gotten to meet many of the other bands. There are too many politics and popularity contests. We just want to play music and get in front of people everywhere.

What else can we expect from Bright and Early over the next 12 months?

A split, maybe some random singles, a full length, and lots of touring. We also really hope to step it up and get out there with some other hard working bands. When you tour with other bands who are capable of booking and promoting, everyone wins.

Is there anything else you’d like to finish the interview?

We just hope that everyone picks up our new EP and gives it a good listen! We all put a lot of work into this, and we feel that it’s important for people to know that we couldn’t have done it all on our own. It’s important for you to tell a friend about us or help get the word out in pretty much any other way. Thank you!

Getting Through It by Bright and Early is available now on Pacific Ridge Records.

Bright and Early links: Facebook|Twitter|Youtube|Purevolume|Tumblr

Interview: Time Spent

Thu, 06 Oct 2011 20:06:00 +0100

Posted on Play Crack The Sky Music on Thursday, October 6th 2011.

Hailing from Dublin, Ireland, Time Spent are five-piece pop-punk band featuring members of Starters, Home Star Runner, Young Wolves and Anderson Mesa.

Formed together by a love for the pop-punk genre and inspired by more recent bands such as The Wonder Years, The Story So Far, and Turnover, Time Spent recently released a free four-track demo that greatly showcases the bands tight, upbeat and fun sound. Tracks like Open Books and Absent Friends have urgency and are easy to relate to lyrically.

PCTS Music recently caught up with bassist and vocalist Seán Reid to discuss how the band formed, how their other bands have influenced Time Spent, the new demo, the Dublin music scene and more.

How did Time Spent get together? I understand you have played in other Irish/Dublin-based (cancel where appropriate) bands before.

Yeah, we all grew up playing gigs around Dublin in different bands, so we all knew each other pretty well before Time Spent came together. I’ve know Iano (Kelly - singer) since I was like 16, he sent me a text saying he wanted to start a band and if I wanted to play bass. Then me and Anthony (Kelly - drummer) are in another band (We’re Wolves) together already. So it was pretty cool we where all good friends, or at least knew of each other, before the band even came together.

When you joined together, did you have idea how you wanted Time Spent to sound like?

I suppose we all knew we wanted it to be a pop-punk/emo band, but for us to put our own spin on it. There was no real specific direction as such, we all just came into the practice room and put our ideas together and just tried to write some cool songs.

What bands have influenced the way Time Spent have turned out?

Well pop-punk has always been a massive influence on me since I was around 13. Like a lot of people, I found it was easy to identify with. So bands of that genre really influenced us. Me, Iano and Rob (Flynn - guitarist) where really into the new Story So Far album while writing our songs and we all are massive fans of the Turnover EP. So I guess we all got influenced from different bands and styles within the pop-punk genre.

&amp;amp;amp;amp;amp;amp;amp;lt;a href=”http://timespent.bandcamp.com/album/demo-2011” _mce_href=”http://timespent.bandcamp.com/album/demo-2011”&amp;amp;amp;amp;amp;amp;amp;gt;Demo 2011 by Time Spent&amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;gt;

Has the experience from your other bands contributed to the sound of Time Spent?

Yeah I definitely think so. It was great from a song-writing point of view; everybody bringing their own experiences from different bands they’ve been in, and adding it the song-writing process. It helped make the band fun to be in. There was always a really fun aspect about writing the songs.

How does Time Spent differ from your other bands?

My other band (We’re Wolves) make a more heavier approach to pop-punk. We’re just two different bands really. In Time Spent, it’s also my first time singing in a band as well. That’s been such a fun experience so far, I really enjoyed recording vocals and singing live.

You’ve recently released a four-track demo. How did it come together and what has the feedback been like?

The funny thing is that the demo is literally the first four songs we wrote as a band. The songs came together really quickly, which was awesome because it felt very natural. Within the first month of the band being together, we were ready to record. We’re all really happy with the job Ciaran Parnell (proudcer, guitarist/singer in Starters) done on it and how it came out.

People seem to be into it as well. We got to play with Living With Lions and played Demented Fest in Dublin as well, and people seem to like the songs.

I get the impression that Time Spent is an example of how close and strong the Irish pop-punk scene is. Would you agree?

Well, I think not only in the pop-punk scene, but with the scene in general. It’s cool when I go to a show in Dublin and you see a pop-punk band and a metal band on the same bill. They’re my favourite kind of shows. But, everybody in the scene over here are pretty close and through it, I’ve met some of the coolest people I know and friends for life. Its definitely a very close community.

Has the Demented Promotion group and the Lockdown club night helped this?

The work Mackel and the rest of Demented do is great. They get really cool touring bands over, for example they’re putting on the Man Overboard/Story So Far gig in Dublin in February, and ran the Such Gold and Starters UK and European shows, and local bands get the chance to play the shows as well. I guess people have made friends through coming to those gigs, which is so awesome.

What other Irish bands should we be checking out?

I’m really enjoying a cool band called Driveway at the moment, they remind me of Sunny Day Real Estate. Definitely check out Starters and Jody Has A Hitlist too.

My friends just recently started a band called Boardwalk and their first show was great, look out for their first release.

Away from the pop-punk side of things there’s an absolutely awesome metal band called Red Enemy from around here, their latest EP is so good. Overhead, The Albatross are an incredible instrumental band. It’s really uplifting stuff and amazing live. I would advise people to check them out as well.

This country has some really amazing bands and I hope that in the future, they will get recognized more. I think it’s incredible for such a small country to produce such great bands like these.

What’s next for Time Spent? New material? More shows?

At the moment, we’re working on a few tracks for a split EP we want to do. We have one song written that is really different from the songs on the demo. We hope to have the songs recorded in a month or so. After that we just want to play more shows, and hopefully try hit the UK at the end of the year or early next year.

Are any final words you’d like to say to close the interview?

Go download our demo for free on Bandcamp and come see us at a show soon.

Time Spent: Facebook|Twitter|Bandcamp

Album Review: Blink-182 - Neighborhoods

Tue, 04 Oct 2011 19:39:15 +0100

Posted on RockLouder.co.uk on September 30th, 2011.

>Comeback albums are often approached with a sense of caution and scepticism, and for pop-punk legends Blink-182, it’s no different.‘Neighborhoods’ is the trio’s first album in eight years and the first since their reformation in 2009. Whilst some fans may want the band to return to their classic sound; fast-paced, humourous pop-punk songs, for the band themselves, ‘Neighborhoods’ is a case of progression and picking up where 2003’s ‘Untitled’ effort left off. ‘Ghost on the Dance Floor’ opens up the album in an upbeat fashion with distinctive drum work from Travis Barker, whilst Tom Delonge equally distinguishable voice gives the impression that the band never went away. Musically, it sets the foundation of Blink-182 being just a band, not a punk band or a pop-punk band.

Throughout they take a confident approach, both in terms of style and structure, as they explore and experiment with each song. Lead off single, ‘Up All Night’ is punchy yet lyrical sombre number with dwindling guitars and the familiar and comforting vocal combination of Delonge and bassist Mark Hoppus. Whereas ‘Snake Charmer’ contains a long introduction, atmospheric verses and a thriving Delonge led chorus. For those who are familiar with his other band, Angels and Airwaves, the use of spacy, experimental guitars and extended intros are the norm, but for a Blink-182 record it’s unusual, and at first you can’t help but feel a little uneasy about it.

Nevertheless as the record moves along, it becomes clear this a band that are refreshed and are confident in their ability. ‘After Midnight’ is one of several highlights with its brash, anthemic chorus that has a strong feel-good factor, and subtle use of lyrical sincerity. Another highlight is the astonishing, somewhat breathtaking interlude/intro to ‘Heart’s All Gone;’ a slow, cathartic approach that builds up that bursts into the main track; a frantic and fast explosion with Hoppus leading the way on vocals but it has be said that Barker’s drum work thoroughly deserves to be highlighted.

Although it seems the band have, to an extent, abandon their pop-punk origins, there are plenty of upbeat moments here to enjoy; ‘Wishing Well’ has a playful “La da da da da” hook that will easily get stuck in your head. ‘This Is Home’ is equally as fun and upbeat, with Delonge taking lead on vocals and providing neat guitar work simultaneously, whilst ‘Natives’ is one of the stand out tracks as it’s thriving energy, strong structure and hook-y chorus is a brilliant combination and certainly has plenty of longevity.

The initial ten tracks on ‘Neighborhoods’ showcase a band who are willing to change and move forward in their sound and overall approach, and the four additional tracks on the deluxe edition enhance this. ‘MH 4.18.2011’ is another upbeat number with an impressive blend of harmonies, and ‘Even If She Falls’ ends the record on a high note with its steady tempo and bright chorus, as unfortunately ‘Love is Dangerous’ comes off as sounding far too much like an Angels and Airwaves song. ‘Fighting The Gravity’, meanwhile, is a discomforting yet atmospheric prog rock number that doesn’t leave much of a lasting impact.

On the whole, ‘Neighborhoods’ is a strong record and better than expected. Any scepticism that fans may have had quickly disappears, as Blink-182 have sensibly moved in the right direction, one towards musical and lyrical maturity. This isn’t the band’s best work, but there’s enough evidence to show the potential is there. There are some disjointed moments; the occasional over-use of spacey, grand effects are something the band could do with less of, and given time, they’ll hopefully iron out these nuisances to create a solid body of work that will top off their return.

4/5

Album Review: Rob Lynch - Rob Lynch EP

Tue, 04 Oct 2011 19:27:53 +0100

Posted on Play Crack The Sky Music on Tuesday October 4th, 2011.

Like many others in his field, Londoner Rob Lynch has ditched his former moniker of Lost On Campus infavour of his own name. Though there might be a change of name, thankfully Lynch still provides harmonious, sincere acoustic pop numbers by the dozen.

This self-titled effort sees Lynch picking up where he left off with previous releases. As always, he has the ability to write simple yet intriging pop songs that quickly win you over. ‘Hawking’ sensibly mixes sincere lyrics with an upbeat tempo, whilst ‘Souls’ is a more calmer affair but Lynch keeps that passionate lyrical approach, whist a subtle organ complimentary plays underneath.

The equally calming ‘Plans’ follows on with its sweet harmonies and ballad-like structure. Lynch’s superior song-writing brilliantly draws you in, and is combined well with his honest and sincere voice. Whilst former MiMi Soya vocalist, Hero Baldwin adds a sweet female voice to the track.

‘Sleeping’ is Lynch at his most poppiest with its upbeat tempo and overall feel-good approach. It is a track that sounds more livlier than others, with its handclaps and occasional string stabs. Nevertheless Lynch still has that lyrical maturity that has remained throughout, as he sings “to every lie I that I wrote and every word I spoke, I ask to you what’s a boy like me to do?”

The EP closes on the highest of high notes with ‘My Friends and I.’ Neatly produced and brilliantly written, you can’t help but feel good about this track. Its radiant approach and simple but anthemic-like structure will easily win you over. The combination of sweet strings, light keys, catchy tempo and Lynch’s passionate voice comes off well and the pay off comes in the form of the line “my friends and I, we live for tonight”. So simple yet it’s impact shows exactly what Rob Lynch is all about; fun acoustic pop that blends superbly well with sincere lyrics that are easily to relate to.

This EP is a huge step towards bigger things, something which Lynch has deserved for a long time.

4.5/5

Rob Lynch EP by Rob Lynch is available now through Walnut Tree Records.

Purchase on iTunes.

Rob Lynch links: Facebook|Twitter|Bandcamp