06th Jan2010

NW Reviews: Matthew Price – Stranded

by nickwan

I’m a big sucker for the singer-songwriter, trying to write those home-hitting songs that are big on meaning and not-so-high on the meaningless. Take Matthew Price for example. There are no pseudo-love stories about fictional people and guest vocals from other popular artists. Also, there are no far-reaching stories about big issue things like the war or some worldly disaster. Matthew Price is best described by his album title, Stranded. Salem, Oregon’s own Price speaks mostly about himself in this album, in situations and stories that would be forefront to a bonfire on a beach or a back yard patio party. But does it match up with other singer-songwriters out there?

The big thing that is hard to overlook is the saturation of this particular scene. Much like most genres that come in and out throughout the years, the singer-songwriter scene has been flourishing for a while. But with the recent success of people like Jason Mraz and Jack Johnson, the beach-time feel good hits are slowly being converted from Matthew Price-type meaningful songs into pre-written pop machine-type music. Beasts in different colors right? Separating the more meaningful singer-songwriters from the singer-not-so-songwriters is a hard task when the music is very similar, but proves easier when it seems that the artist is definitely one of the only people working for themselves. Matthew Price isn’t signed and probably books his own shows. His tours, when he has the time off to do them, are probably consisting of himself and his car and enough cash to get to the next town. Matthew Price’s album isn’t about turning over the big bucks quick. Stranded is an album about listening to a real story from a real person, and it definitely shows.

The album itself tackles one “big city” issue, and that’s the questioning song of “One Hit Wonder”. He talks almost freely about how many people, just like him, write all this music and never get seen or heard. Of course, there is a whole other side to that industry that I could talk about for days, but that’s for another article. “One Hit Wonder” is a song more about him, yet again, and how he isn’t like these other superstar-songwriters. And that furthers the idea of his entire album, Stranded. It’s Matthew Price, a guitar, and (I guess) a bicycle against all these other people who are seemingly getting their shout in a crowd out before the crowd gets broken up. Is this album just another shout in the crowd though?

Truth. Production and quality obviously was meticulous, with much kudos to Rob Stroup for doing a stellar job mixing and mastering up and down and all around this album. Aside from the production quality being a complete 10-out-of-10, this album is way straightforward. Metaphors, the handful of them, are short with a lot of real-stuff lyrics to paint a picture mentally. Practically storytelling with a soundtrack, Price spares no expense when expressing his tales. This is definitely a breath of fresh air when music lately has been filled with similes and metaphors.

This is his first album, which he calls an EP release, so there is much more to hear from him definitely… but although the album itself is great musically and lyrically, what separates him from the rest? This is definitely some of the most real stuff I’ve heard sung in a while, but the beauty in this album really is buried under that shadow cast by Jack Johnson and Jason Mraz. Somewhere down the line, Matthew Price will either add something to his get-up that does create enough fissure to maybe break through to that next tier, but between now and that time I fear that Matthew Price, amongst his honest lyrics about his own life, might feel that he’s okay with the music that matches his stories. Matthew Price has the lyrics and a good set of vocal cords to belt a good tune, it’s just the lack of a more fascinating musical arrangement that could potentially be holding him back from his own “One Hit Wonder” fantasy.

In the end, I really can’t take away from the musicianship of this album. Although Matthew Price is stranded like many of the up and coming singer-songwriters, at least he’s stranded with good musicians around him. Some albums this year aren’t so lucky to be stranded with the people they have been stranded with (see Baggy Time). Also, for a good vent and nice replacement for your guilty singer-popwriters pleasures, Matthew Price is a great place to start. Plus, it’s really nice to hear a great production from a smaller studio. So, for a small town studio and a small town storyteller, this album gets a good rating from me. Can’t wait for the next installment.

Relay

05th Jan2010

NW Reviews: Baggy Time – Your Private Part Touched My Heart

by nickwan

Get the album here for free!

Hello 2010. This is the biggest surprise of the new decade. This is the album of the new decade. This is the best album of the foreverade. Why? WHY?! I’ll tell you why.

First off, this album begins exactly how most albums I would turn off immediately begin: a horrible mic and the poorest of mixing and mastering (if you could even say there was any editing or mixing) mixed with maybe the worst music in the world. If you know me at all, which almost all of you do, my own personal attempts at this kind of music pale in almost all comparisons. All. This girl who has warped my mind aurally. And although this album won’t see the light of an album of the year award from me, it will definitely occupy it’s own “wtf” award.

Some songs of note: Manager. About a crappy manager. Not interested in that? Maybe you’re interested in the dance jam called “Don’t Dance Yet”. Not hardcore enough for you? “I’m Your Motha” is the most gangster of songs I’ve ever heard. It sucks to be your mother are the lyrics to the sing-along outro for that one. And if you don’t think you’re into any of those topics at all, there are another THIRTY songs ranging from the obvious sex-prone and sex-oriented to songs about outer space. I’ve listened to this album twice so far, which bring my total up to sixty songs of Baggy Time recorded in time forever, and there is only one statement to state for this album: this is the best album of all time.

The entire album. If you aren’t already listening to this album, via illegal or (some how) legal means, what are you doing with the rest of your life?

I need a .flac version of this. It’s necessary that I rip this album in FLAC quality. It’s that good.

Now, for those of you who have obtained this album, I know you agree with this entire review already. How could there be a bad thing to say about the greatest album of all time? No one can compete with this album. No one. Not Radiohead. Not Wesley Willis. Not even Family Force 5. This album is a three-headed beast of Radiohead, Wesley Willis, and Family Force 5, with the body of Brooklyn and the feet of pilgrims. Why pilgrims? Because this album is pioneering a new future. To a new decade, audiophiles.

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20th Nov2009

Brand New – Daisy

by Adam Haynes

brand_new-daisy

Brand New is perhaps best known for being everyone’s favorite band to either love or love to have. The Long Island group’s fourth studio album, Daisy, manages to bring the divisiveness to a whole new level.

The contrast between “soft and slow” and “loud and fast” that Brand New has made a staple of their songwriting style takes on a whole new life in Daisy. Individual tracks play out as those portions dynamic components for the album instead of each track possessing those traits internally.  The “fast and heavy” tracks, most notably the album’s opener, “Vices”, are relentless in their determination to show off just how much noise the boys of Brand New can make.  The slower tracks, such as “Bed”, present a conscious break from the pop punk choruses of the past.

The album feels much weaker lyrically than past albums, especially when compared to their 2006 album, “The Devil and God are Raging Inside Me”.  The rhyme schemes often come off as simplistic and uninspired.  Despite is lyrically weakness their are a few poetic bright spots on the album (e.g. “Gasoline”, “You Stole”, and the albums title track, “Daisy”).


11th Nov2009

NW Reviews: Them Crooked Vultures – S/T

by nickwan

Them Crooked Vultures are one of those way too exciting bands. Angels and Airwaves was the last “supergroup” of mostly mainstream stars to form a band. Every so often you got that random Long Island duo-tour from Jesse Lacey and Kevin Devine or Lacey and John Nolan, and that sold out every show as well. But nothing sells a show out like “Led Zeppelin”. And when you have John Paul Jones, Dave Grohl on the drums and vocals, and Josh Homme on vocals and the guitar, I do believe that you have yourself that way-too-exciting supergroup that has yet to release an album. Until today.

TCV released a full stream of their album today. After many listens, I’ve concluded a few things about this self titled adventure. First off, their live shows (via YouTube) might be confusing to understand what the hell is going on since there is so much pushing around during these tapings, but for the most part… the album sounds better than what we’ve heard through live bootlegs. Second, I feel slightly bad for John Paul Jones. I don’t know where JPJ’s input falls into during the songwriting process, but sadly they could have gone with any bassist.

Something that definitely is nice: this isn’t Queens of the Stone Age 2.0. It’s a lot more throwback rock and roll. Songs like “New Fang” and the first track, “No One Loves Me & Neither Do I” are realms of Homme (front man of the legendary QOTSA) that I have never heard before. This might be the doings of JPJ’s Zep influence possibly. Dave Grohl definitely has his drumming role fit to a T as his meshes with this kind of music almost flawlessly. Everyone has their showcasing on this album, and it isn’t cocky like you would think. Well, maybe on “New Fang” it might be. But there are no drawn out solos or rhythmic patterns or oversized bass or drums on any of the songs. Good writing, for the most part.

The pros: good music! Vocals really compliment each other, Homme with Grohl. JPJ hasn’t lost touch and is just as fast as he was in his “Black Dog” days. He even has some weird organ “No Quarter” sounding stuff on this album.

The cons: it isn’t that music-changing album Homme and Grohl attested to. Yes, it is something different… but it isn’t something we haven’t heard. We definitely haven’t heard anything like this from them, but the taste of QOTSA is still there — despite the strong effort from JPJ’s strong presence at times.

The verdict: it’s definitely a good album. It’s really fun actually. Songs like “Elephants” are so great and make you wonder where this kind of music went? Well, Sonoma County readers, this kind of music is all over the place… and “the place” is called The Fox 101.7. This is just dug up and revitalized chump rock from the late 70s. In some chasm somewhere, I’m sure you can find this album pieced together from B-sides of Zeppelin, Motorhead, and Jimi Hendrix. But could these guys drive that tough-guy no-frills rock and roll back into the veins of the rock scene? Not with this album. But it’s definitely a great album, and possibly better than An Horse’s attempt. Seeing how they were once the leaders on my “indie rock music” board, I will give TCV a nomination. Congrats, supergroup. Tinted Windows, eat your mmbop hearts out.

goodalbumalbumoftheyearnominee

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19th Oct2009

Tegan & Sara – Sainthood

by nickwan
Tegan & Sara - Sainthood

Tegan & Sara - Sainthood

I usually don’t do a full track-by-track review of an album… but The Quins are possibly my favorite artists out right now.

This album is loud. In almost every way. Volume (particularly bass) and tone of the band/album. The lyrics are still Tegan and Sara-ish, as well as the vocal melodies. The songs themselves are getting way more into the feel of both sisters, and it shows through each song.

The first track, “Arrow”, is a Sara song and definitely shows the weird songwriting ability Sara has been said to have. The following two songs are more on the side of pop-rock/indie-pop. Of course, these two songs are Tegan songs, who is noted for writing the more pop-punk sounding songs between them two.

Did the Quins deliver on a band-sounding album? Definitely. The album is almost void of solo songs. Whatever Chris Walla (producer of The Con) and Howard Redekopp (producer of So Jealous) did to become a two-headed monster, please do this for every band you touch. Production wise, the product is amazing. It’s definitely heavy on “The Con” type sound if you ask me, but that band vibe I believe is the workings of Redekopp.

The hits of the album: Don’t Rush, Alligator, Sentimental Tune

The not-so-hits: Northshore. I think the “one-off pop punk song” thing Tegan seems to force on each album is getting a little worn.

Tegan and Sara definitely delivered a good album. But can it really top Owen or David Bazan at the moment? It’s hard to say… and because it’s hard to say, it might not be #1 this year… but it’s definitely a contender.

goodalbumalbumoftheyearnominee

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16th Sep2009

Owen – New Leaves

by nickwan

Not only has Mike Kinsella brought lists of confusion to those who want to play his songs since he rarely ever plays in standard tuning, but does it in such a way that makes you think “damn… this doesn’t sound like it’s that hard”. When it comes to simple sounding music, Mike Kinsella in his “Owen” persona takes the cake. The layers of instruments, the simple use of distortion, and yes… the weird time signatures that pop in and out of the record, make his new album New Leaves his best album to date, and a contender for album of the year.

Mike Kinsella is no guitarist by design. Originally the drummer for influential Chicago indie band Cap’n Jazz, Mike Kinsella found his way to the guitar in his own studio outfit dubbed American Football. A few years pass, and Owen is created. His first album being completely different from his next albums, this newest album is the most “kick back” to his older upbeat sound. New Leaves takes the intricacies of At Home With… and the indie-pop sound of I do perceive. and fuses the two into this new creation.

The Polyvinyl site (Mike’s label) officially states that this album was recorded over the course of two years, with three producers other than Mike to help him with the noise. Unlike At Home With…, New Leaves doesn’t set out with the intent to be that “at home” feeling album. Although, as usual, Kinsella brings the notion of an “at home” feel not for one entire song but rather in and out of songs — never once does this album encounter just a solo attempt with guitar and vocals as his previous albums have showcased in at least one song.

Something that definitely is a kick back to I do perceive and those songs would be the electric guitars. Although they sparsely appear throughout his discography, I do perceive had the bulk of the electric vibe to it. This album, New Leaves, definitely brings that attitude and feel back. Songs like “Never Been Born” and “The Only Child of Aergia” showcase this brilliantly. As for the more At Home With… flavor, “Ugly on the Inside” is the best earthy-acoustic sound produced on this album, with reminiscence of “Sad Waltzes of Pietro Crespi” off of At Home With… Although, some people might be surprised to hear that “Good Friends, Bad Habits” is not the original acoustic demo he posted on his MySpace page a few months ago. On the contrary, it doesn’t sound like it at all… however, if you ever get a chance to see Mike live, you will be surprised usually to hear what the acoustic versions of most of his songs sound like.

The pros for this album: Mike Kinsella is not afraid to go back and revisit those old sounds he once created. Many artists today feel like tampering with older stuff is almost on a level of unoriginality. Mike Kinsella uses his predefined sound as more of a base rather than a complete rip off to start his album. I would definitely say it is most different from other albums he has put out. Another pro is that there isn’t any of those “Owen-esque” bridges or outros that last half of the length of the song (e.g. “Bad News” and most of his first album, self-titled). Some people might not think that’s a pro, but I am a firm believer of a studio vs live sound… and the infinite outro is definitely an on-stage-only execution.

The cons for this album… when will you ever actually hear any of these songs? Much less, with a band? I know he played with a band in promotion of this album ONCE in his hometown of CHICAGO… but unfortunately, the last time I flew out to Chicago for a show with Mike Kinsella was when he put together a Fugazi cover band and right after one song downtown Chicago had a black out. Sweet flight over, bro. Mike Kinsella is a father first, also. Touring for him is seldom and usually to the east coast. Plus, he usually never headlines… so his sets are anywhere from 20 to 30 minutes long. Another con, going along with the live sound theme, is the idea that all these songs not only have band components to them but they are practically integral. With the past albums, and most pronounced with At Home With…, Mike Kinsella used a backing band in the studio only to make the (usually acoustic) guitar and vocals more accentuated.  Rather, this newest album has a lot of bass guitar and piano that become the main rhythm or most memorable lead to the songs where they are featured. To be honest, the first time I saw him play “Bad News”  I honestly thought to myself “holy shit, he’s playing the rhythm and lead at the same time…” so, with that in mind, it’s possible he surprises us with his guitar madness yet again.

In the race for album of the year, this album is my personal favorite of the year. The five most memorable albums thus far have been: Owen – New Leaves, David Bazan – Curse Your Branches, fun. – Aim and Ignite, Brand New – Daisy, and Ace Enders & a Million Different People – When I Hit the Ground . The next most exciting album for me to hear will be Tegan and Sara’s new album Sainthood along with AFI’s upcoming album Crash Love. It’s always possible that Glassjaw might throw a new album out there… but who’s to say? Far is expected to have an album out for sale before the year end as well, so there is definitely plenty of music to look forward to still… it’ll just be hard to top this album.

This album doesn’t officially come out until September 22nd, but if you were lucky and got the pre-order then it’s been at your doorstep since yesterday at the earliest.

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01st Sep2009

David Bazan – Curse Your Branches

by nickwan

After extensively touring throughout the US, Canada, UK, and Australia for the past 3+ years, Bazan has crawled his way back into the studio to put out his first full-length LP, Curse Your Branches. Released today, Bazan’s consistancy for his Seattle-bred sound is only furthered by these 38 minutes of indie love. Never leaving the realm that he pioneered with Pedro the Lion years ago, Bazan only expanded the amount of instruments he could play and has implimented them all into this record, blending his sound he gathered from his Headphones project and the singer/songwriter style he also garnished in 2006 with his EP, Fewer Moving Parts. It’s hard to find much wrong with David Bazan, from his live show to this newest release, and maybe that is what is his biggest enemy… consistancy.

Years ago, coming up in the late 90′s, the term “slow-core” started popping up. This was used to describe bands who weren’t part of the alternative rock scene (composed of bands like The Smashing Pumpkins, Soundgarden, etc), nor were they moving along with the indie bands of the time (i.e. Jimmy Eat World, The Get Up Kids, etc). This music was a lot slower and a lot more… sigh… sad and depressing. Some classic pioneers other than Pedro the Lion of this unfortunate labelling of a genre would be, in no particular order, Carrissa’s Wierd (Seattle), early Death Cab for Cutie (Seattle), Elliott Smith (Portland), Rocky Votolato (Seattle), and to a somewhat further extent The Red House Painters (San Francisco). This music, slowcore, is nothing more but glorified slow songs that are pretty easy to get intimate with on an aural level. Usually not the most technically difficult music, the arrangement usually matches the root meaning of the song, as the song itself is mostly in form of a story of some sort. It’s not very common for a slowcore song to have little to no meaning.

Now, there are tons and tons of bands taking influence from these artists. We’ve seen what slowcore-electronica could become (e.g. The Postal Service, Headphones). That electro-style has been popular for the past decade and has yet to stop inflitrating every nook and cranny of the rock world. We’ve heard the gamut of bands the mainstream consider “emo”, from the very well known Dashboard Confessional to the very unrecognized Jeremy Enigk, this music has subtly stretched further than most of these artists have realized.

Coming back to this album, David Bazan has not sacraficed anything of his own style for this album. And this should stand as a testament to this music he has helped build; this album could just be the quintessential slowcore album. Three albums in this genre have really struck me as “impossible” or “too good”, Pedro the Lion’s Achilles’ Heel, Pedro the Lion’s Options, and Death Cab for Cutie’s The Photo Album. Curse Your Branches is close to topping at least one of those albums for me.

The album, song for song, is too consistant in the sound in my own honest opinion. This does two things for the record: 1) it solidifies it’s stance in the scene this music will be promoted towards and 2) fails to bring about any change for Bazan in terms of style or music in general. For someone who isn’t very into this type of music, or is trying to get into this type of music, it would be very easy to mistake the discography of Bazan’s work, from Pedro the Lion to now, as all the same band. Very unfortunately for Bazan, all three entities he has played under are very different. But not different enough. This, again, plays into holding his own style… however, how many times can you sing the same song differently? Minus the Bear suffered from that bug with their past two releases… there is only so many songs about having sex, beaches, and drinking one person can write until each song is the same. How many songs about questioning God, break ups, make ups, and the music industry can Bazan write?

The most dissenting songs from Bazan’s style are “Please, Baby, Please”, “When We Fall”, and “Bearing Witness”. Both songs have this beach-campfire vibe about them. I’d say Bazan has never wrote a song like this before, but for some reason… it doesn’t sound different from what he’s done before. It’s different enough for this album to stick out though. Also, whoever is the new bassist(s) for this album, you’re doing one hell of a job.

Two songs that I would consider “the best” of the album, “Heavy Breath” and “Curse Your Branches”. These songs really tie together every single thing Bazan is about. Synthesizers, acoustic guitars, electric guitars, a full band attitude, and a very vocally driven performance via lyrics in song. It’s hard to believe that any other people were playing instruments on these two songs since everything about these songs SCREAM “Bazanbazanbazan”.

Between my two favorite releases this year, Ace Enders and fun., David Bazan is close to topping the unofficial charts. This album is way lo-fi when it comes to production, probably not hitting on much other than mixing and mastering. The personnel on this record isn’t much more than Bazan, a few familiar friends, and the will to make the most perfect slowcore music right now.

This album is definitely a breath of fresh air in a place where the scene has been swooped on by musical-rock (fun., Forgive Durden, Say Anything), as well as… well, that other indie rock (Ace Enders, The Gaslight Anthem, Black Kids, Brand New etc). The next breath of fresh air could possibly be from one of my all-time favorite artist, Owen New Leaves. But that’s not until the 22nd.

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30th Aug2009

This week in review: August 23rd – 29th

by nickwan
Brand News Daisy... do you have it yet?

Brand New's "Daisy"... do you have it yet?

Trying to start something a little more… standard for this blog. Some news gossip, some leak watches, some studio updates… we’ll see. Anyway… some stuff that is indienews-worthy:

-Brand New’s newest album Daisy has been reported to have leaked three weeks prior to it’s actual release. On a side note, the once-popular forum Brand New UK, http://forum.brandnewuk.co.uk/, has just sent out a mass email to it’s 500 members asking to come back to the “newly designed forum” as well as informing that Daisy has actually leaked… whether or not it’s over on that forum is hard to say. But it has leaked.

-AFI released a track listing of their upcoming album Crash Love a few weeks ago, and now including an extra six songs on a bonus disc that they announced this week. They are on tour in the US starting October 2nd.

Sainthood album art... ooo Sara with makeup...

"Sainthood" album art... ooo Sara with makeup...

-Tegan and Sara released their track listing for their upcoming album Sainthood as well as album art. Emy Storey isn’t doing the album art from what it seems… To add some more flavor to Tegan and Sara updates, they are playing two shows in LA and NYC on Oct. 25th and 30th, respectively. Hopefully SF is in the mix for that too so I can see them play their new songs…

NFGs recent set list... 25 songs...

NFG's recent set list... 25 songs...

-New Found Glory has been bringing back some of the ISHC into their Europe shows as of late. This is in addition to their 20+ song set lists. The Euro HC kids are creaming themselves for this.

-Fun Fun Fun Fest, in Austin, TX from Nov. 7 – 8, is in it’s 4th year of “festing” and their line up would please all HC and indie kids alike, with headliners like Gorilla Biscuits, Ratatat, Danzig, Pharcyde, and Jesus Lizard, the FFFF could possibly trump the monster that is Bamboozle if this thing gets any bigger.

-My favorite band, The Get Up Kids, released a trailer of their upcoming re-release of Something to Write Home About as well as their STWHA DVD. Ryan Pope has a rocking quote about STWHA in this trailer…

-Fenix Tx reunited and is slotted for an album soon.

-DJ AM died. RIP.

’til next Sunday. Part of this post is tagged for relay.

26th Jul2009

Jonsi & Alex – Riceboy Sleeps

by nickwan

Riceboy Sleeps, a visual and aural experience from Jonsi (of Sigur Ros fame) and Alex (of Jonsi’s boyfriend fame). This review is completely about the release “Riceboy Sleeps” and nothing about the visual art whatsoever. But if the art is anything like the music, then fans will be in for a very special treat.

The album is nothing shy of what you would expect from Jonsi of Sigur Ros. It’s every instrumental piece you’ve heard on Sigur Ros’ albums except slightly twisted. Some might consider this musical venture as a little more “out there” or even more “experimental” but to the casual listener of Sigur Ros, this is just another ambient album for people who like ambient music.

There is no real way to give a song-by-song analysis of this album. Every song bleeds into each other. There are definitely different emotions emoted through each song, and you will feel those if you really listen to this album, but there is no “track one shows a strong opening for this album” or “track four is where it loses steam”. You either can listen to this entire CD or you can’t. And with nine songs averaging between 5 and 10 minutes per song, there’s a lot to listen to.

I wish this was packaged with something to look at; preferably a DVD, but more realistically a slide show or something. This music really isn’t lacking anything on the music side of things, but is definitely missing that piece to it that allows someone to get lost in something. That last sentence might be a little confusing. What I mean is that you might want to get creative with this CD. A nice bike ride would complete this album. Maybe a walk? Laying on the beach with the tide as a backtrack to the entire album? Or even simply just getting on your favorite sneak-photo website (flickr probably would work) and look up some fan photos of the art from Jonsi and Alex. Something more than this album can offer will complete this album. Even as I listen to it and write this review the music is amplifying my want to really make this review better.

This album is most for people who want to delve into more Sigur Ros or more instrumental music. It’s almost symphonic. It’s definitely wordless, so don’t think you’ll find some sing-a-longs on this one. There are a few bands and artists out there right now who are doing the mixed media collaboration of music and art in harmony. Aside from Jonsi & Alex, NYC duo The Books also has a similar taste in visual entwined ambient music, playing with a very prominent visual stage performance to accompany their music. On the other side of the spectrum, mixed media artist Chris Jehly (http://chrisjehly.blogspot.com/) is always stating that music is what drives his artistic passion. Also, to plug Jehly, don’t be fooled by his “mixed-media” tag… everything he does is by hand. No digital enhancements at all. None. Which makes the idea of him doing one of his murals live to the backtrack of a live band even more exciting to see. Much like how Riceboy Sleeps would be even more exciting to see live with a projector of who knows what showing the inspirations of each song.

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16th Jul2009

Skies on Fire – 2009

by nickwan

Skies on Fire - 2009

It’s been a few years and these New Jersey natives are still together. Pretty good when Eddie Cuddy, lead singer/guitarist, is peacing out for college in the fall. Much more importantly, these kids aren’t in college and they are blowing a lot of their competition out of the water.

The album is five songs and not shy of a definite departure from their first demo they put out,entitled So Far, So Good, which came out a Summer ago. The biggest difference: the mood. Leaving the realm of angsty aggressive indie rock into the realm of indie rock mixed with indie pop, SOF is doing one of two things at the moment: either really putting their heart into their instruments or faking it really really really well.

Another big departure from the last demo, production quality. The singers aren’t being shafted on vocal tracks this time, and it shows. On So Far, So Good you could hear the rushed recording that accompanied the instruments. This new venture seems like a lot more time went in to this album, inside and outside of the studio. Also, the more prominent use of some sort of click track seems like it’s helping too. On the first album, there were a lot of tiny production errors. Summed together with post-production errors and a rushed recording session, you can see how things could get some what messy despite their best efforts. This new demo is really flourishing in what kind of studio band SOF can be.

The biggest similarities to other bands that come off the top of my head are a local band and one of my favorite bands: You, Me & Iowa and The Get Up Kids. It’s pretty clear if you compare YMI’s latest album, called The Adventures of You, Me & Iowa, and this demo what kind of slot SOF might fall into. As for TGUK, one of my favorite bands ever, something YMI doesn’t have is two singers, like Matt Pryor and Jim Suptic are to TGUK. The big thing that this does for SOF is that diversity in their music won’t just have to come from how they make their music sounds but from the shared singing duties they could potentially utilize.

The five songs on this CD are solid for the most part, but the only thing that is driving me into a “wtf” state is the identity crisis shown on the CD. When I talk about diversity on a CD I don’t mean how many different genres you can cram in before every single radio station can play a song off your newest release. Consistency in the sound is maybe the thing lacking on this album… but that doesn’t take away from the music. It’s still good music. The first song “Out of the Grey” shows off this indie pop side of SOF pretty clearly with the first half of the song. No distorted guitarist, keyboards, a lot of indie pop stuff that the scene is creaming over right now. Then the second half of the song is this heavy jamb from whoknowswhere. Unexpected, yes. Unwarrented? I’m not so sure. But that does set the stage for the rest of the album. The second song “Tail Light at a Distance” is the most throwback to SOF’s older songs. Crunchy with dah-dah-dah’s and singalong choruses written to be sung along to. I’d be pissed if the entire CD sounded like this song, but I’d also be pissed if they shunned what they did so well a year ago. “Good Enough”, the third track, is where we see a singer change. This is a slower jam that some might call the scenester nu-ballad that every single band ends up writing. Complete with sappy-sad lyrics and a volume fade out into the sunset. “Photography” is a song where endless solos aren’t just saved for the live show anymore. It’s got this east coast vibe to it, but after sitting through 5 minutes and 36 seconds of that last song I have to admit I wasn’t really in the mood for another slow jam, despite my love for swing/jazz snare beats. From 3:30 to 4:33 is a cheese filled solo from a decade these kids weren’t born in. Then from 4:33 to 5:19 (which is the end of the song) you have some vocals and soloing over that. Endless. At least until the song itself ended. The only two songs that were similar were “Good Enough” and “Photography”, and knowing Eddie Cuddy I really don’t think he’d like it too much if that was the kind of sound his band produced for a full length CD. As for the last song on the album, “Winter”, this is the shortest and maybe the most New Jersey of all the songs on here. Once again loud and heavy, it’s got this “Cat Scratch Fever” vibe to it that makes you think “are we going down to the shore?”. Not trying to knock it, but to end the CD on that track really seals the deal for the identity crisis, and I don’t mean Thrice’s album (or their current state as a band).

The pros: for each song, awesome solid songs produced and recorded great. Great vocals to boot, which is hard to find from a few high schoolers.

The cons: I’m never a fan of going to a show and being confused as to what the next song will sound like. Some bands can do it, but those bands usually walk a fine line between doing it well and ruining themselves. This line is much finer for a band whose pond is quite small. So the personality disorder is definitely my own personal con to this album. The other con would be two similar sounding slow songs right after each other. There isn’t much room for error in track listing a demo CD, and it seems that if there was an area that lacked anything it was the track listing. The first song has a slow jam to it for the most part, the second song is definitely a pick-me-up to the album. To keep the integrity of the album currently, I might suggest listening to the album in this order: Out of the Grey, Tail Lights at a Distance, Photography, Winter, Good Enough. However, if I were to listen to this CD/decide the tracklisting… I would make Tail Light at a Distance the LAST song on the CD. Maybe it might sound better if it were Out of the Grey, Photography, Winter, Good Enough, and Tail Lights last? Still, two slow jams…. but maybe catching them early is better than leaving two songs that are 5:30 a piece right after each other. Who knows.

Aside from the second half of this review, of me railing the album of it’s faults, I do believe that overall I like it. Out of 5, I’d give it 3.5/5. It might have been higher if there were one or two more songs on this demo, preferably one more fast song and an acoustic song. Also, it would have been a lot lower if the Photography solo was any longer.

This has been tagged for relay. If you want to download this album, I would suggest heading towards the SOF myspace website: www.myspace.com/skiesonfirenj

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