Ben Moody – “All For This” (2009) June 29, 2009
Posted by rawkfistmusic in 2009, Ben Moody.3 comments
Written by Andrew Hart
Ben Moody. The name is no doubt familiar to those of us acquainted with the saga of Evanescence and their super-successful album Fallen. Moody was the guitarist and one of the main writers of the band at that time, and is often attributed to much of the band’s success. His strength as a songwriter could have always been disputed of course, since he shared those credentials with a one Amy Lee. Now however, Moody attempts to establish himself as a strong solo act with his self-sufficient debut All For This, ironically released shortly before he joined another band (but that’s another story for another time).
First things first, this is not the male version of Evanescence, or really anything close. All For This is instead exactly what one could expect from a man who’s last name is Moody. It’s a downtrodden, emotional affair with plenty of depressing moments to bring even the cheeriest of man down. There’s a lot of angst and passion in Moody’s words, which are as strong as they’ve ever been. The opening track “Perfect” is just about what it claims as well, opening with a bit of bongo and piano action and swinging you right into Moody’s world. He’s not the best singer in the world, nor is he the greatest player of any instrument, but Moody is a crafter of emotion, as is evidenced by the strange power emanating from the line “I’m not guilty just convicted, more than you I love my living hell.” “Perfect” is an astonishingly good song that serves as the ideal intro to the disc.
The strongest points of the album are all packed in with that opener as well. “The Way We Are” is very similar in tone to most atypical rock ballads but it again shines thanks to Moody’s great lyrics. The track also has a very uplifting sound to it’s chorus to differentiate it from the precursor track, allowing you to easily notice the song shift despite similar themes. “Hold Me Down” follows up with a very chilling intro sound that pulls you right in, and then hits you with a brooding and dark verse. The best is yet to come though, and it’s name is “10.22.” Why it goes by this moniker is unknown to me, but try not to get whipped into the pure tragic words of this song. The sound is pure bone-chilling emotion, and Moody’s angsty voice perfectly executes the chorus which begs “Tell me again your fucked up excuses, dying fighting a life of abuse, when fame is your game you say I’m to blame, but you know.” Words don’t do it justice, you must listen to this song.
The standouts stop there however, and maybe that’s where Moody’s biggest flaw is. After his one trick becomes obvious, he’s sorely lacking elsewhere. I credit him greatly for his expert use of the bongo drums, pianos, and other unconventional rock instruments, but his limited ability to shift tempo and sing diversely is ultimately his downfall. Many of the tracks will still pull you in with the heavy emotions and strong song-writing, but it’s amazing how old the album gets once you’ve been through it once or twice. The musical quality is high, but the tracks lack a lot of replay value, outside of the chosen few such as “Perfect” and “10.22.”
Fans of Moody’s previous work may not be thrilled with his debut solo effort. It’s dark, it’s angry, it’s depressing, and yet it remains oddly soothing. Despite few standout moments, Moody’s work is a great chill-out disc that’ll really stick some ambience wherever necessary. Still, it’s not very hard rocking at any moment in time, and will bore those looking for a good hook. Those with patience and the ability to listen closely will find a lot of interesting stuff on All For This and will be rewarded with a pretty solid disc. It’s not revolutionary, it’s not perfect, but it’s damn enjoyable for a few good listens, especially if you’re feeling a little angsty yourself.
7.5 out of 10 – Download “10.22″
Ben Moody is | Ben Moody – Vocals, Guitar, Bass, Drum, Piano | Hana Pestle – Backing Vocals
Evans Blue – “Evans Blue” (2009) June 19, 2009
Posted by rawkfistmusic in 2009, Evans Blue.8 comments
Written by Andrew Hart
Losing a lead singer might as well be losing your head if you’re a band trying to make it in the rock music biz. Just ask Fuel, who suddenly saw the spotlight shifted away from them unmistakably quick following the departure of frontman Brett Scallions. Their album with new guy Toryn Green may have been a really good album, but it’s quite a feat to try and win back the legions of fans that leave with your old singer. Evans Blue now faces the same dilemma, a good year following Kevin Matisyn’s ugly takeoff, the band tries to pick off where they left off with a one Dan Chandler. The result, much like Fuel before them, is surprisingly delightful.
Evans Blue has tweaked their sound just a tad in the wake of 2007′s The Pursuit Begins When This Portrayal of Life Ends, opting to soak up the more typical sounds of modern rock, and coming out sounding a whole hell of a lot like Breaking Benjamin. Vocalist Dan Chandler has a lot to do with this, taking away the unique but far from perfect Matisyn, and replacing him with a powerful hard rock voice. Chandler commands songs in ways that Matisyn never could, and this is one big improvement noticeable on the new self-titled album from Evans Blue. Tracks like “Buried Alive” and “The Future In The End” have some crazy hooks thanks to Chandler’s awesome use of his range. “The Future In The End” may be the most vintage Evans Blue song as well, featuring an opening hook that sounds like it’s straight from the aforementioned ’07 release.
Of course with losing Matisyn, Evans Blue had to quickly come to grips with something everyone knew they’d be missing, and that’s the previous vocalist’s collection of intricate wordplay and lyrical mastery. The Evans Blue of old was renowned for these lyrics unlike anything in modern rock, and sadly with the new guy in tow, the band has left behind this era. Those who were swallowed up by Matisyn’s wordplay will find themselves deeply disappointed in tracks like “Sick Of It” which are about as generic as they come lyrically. Most of the album is still better than expected in this category though, and those who had trouble coming to grips with Matisyn’s lyrics may find themselves pretty happy with the more easy-to-translate words.
Evans Blue’s biggest strength now though, no question, is Chandler’s ability to grip a song and run with it. Nearly every track is pushed to it’s potential by his excellent pipes, very reminiscent of Breaking Benjamin’s Ben Burnley at times. The whole band has moments where they sound like either Evans Blue of the first two albums, or Breaking Benjamin, and these are fantastic influences. “Who We Are” for example, sounds very much instrumentally like Evans Blue. It opens with the kind of unique instrumentation the band has whipped out previous, but Chandler pulls the song off and makes it sound like a Breaking Benjamin ballad. In fact, just listen to the chorus and tell me he doesn’t sound just like Burnley.
These may be the biggest strengths and weaknesses of Evans Blue’s attempt to recover from this devastating blow. They never sound entirely original, and many of the songs blend together the first few times you tackle the album. However, all in all, it’s a good album if you repress all previous knowledge of the band and just take it as some kickass new music. “Buried Alive” and “Can’t Go On” especially stand out as fantastic and infectious rock tracks that could do well on radio, or just on your iPod. This is a good album from a band with something to prove, and prove it they did. Evans Blue is going to be fine, and Dan Chandler is going to rock your world.
8 out of 10 – Download “Can’t Go On”
Evans Blue is | Dan Chandler – Vocals | Parker Lauzon – Guitar | Vlad Tanaskovic – Guitar | Joe Pitter – Bass | Davis Howard – Drums
Echovalve – “Echovalve EP” (2009) June 9, 2009
Posted by rawkfistmusic in 2009, Echovalve.2 comments
Written by Andrew Hart
With one relatively standard debut album behind them, Atlanta’s Echovalve has no doubt been hard at work refining their sound and preparing for a stellar sophomore effort. In between full projects, it seems the aforementioned band has made it their goal to prove how much they’ve improved and upgraded the sound of the band, which is why the rock music world has been blessed with a three song gem from the three piece Georgians. The self-titled EP is short and sweet (much like this review), but will have you coming back for more again and again.
Starting things off is the newest single from the boys of Echovalve, and rightfully so. “Because of You” is an explosive rock anthem that belongs on the radio this very second, and at the very least will be spinning in your head for days on end. It’s easily the most straightforward track of the release and therefore is the easiest to get into right off the bat. The frantic pacing of the song creates an addictive atmosphere, combined with a perfect arrangement of vocal and instrumental switch-off on the chorus. “Because of You” is one of the strongest tracks of the year, even throwing in a short and awesome guitar solo. “Intoxicating” is much unlike it’s predecessor in that it’s unconventional and will take multiple listens to break ground. The soft intro is misleading in the case of this track, it picks up considerably though does not have near the hard rock vibe of “Because of You.” Both are catchy and interesting, but each in its own way.
The seriously-we’re-already-at-the-finale song “Too Late” is different from the two before it, rounding out a surprisingly diverse three pack. This song grips you with it’s softer tone on the verses, only to pull you into an emotional powerhouse of a chorus, largely pushed along by some strong vocal showing. By the end of this closer you’ll be begging for more, and rightfully so. While nothing unique at any of their given positions, all of the members of Echovalve are good at what they do, and they have demonstrated an ability to put together a catchy arrangement of music that’ll have you spinning this trio over and over and over.
While not one to hand out perfect scores to full albums of ten or more, it’s much easier to deem Echovalve’s self-titled EP perfect for what it is. It’s an EP, a relatively standard one at just three tracks, but each track within the EP is a unique ride that ends in the same drug-like addiction. Anyone who can listen through all three songs without being immediately compelled to one is out of their mind, and anyone who listens multiple times and can’t find even more to enjoy can safely join the other guy. For what this is, it’s an absolutely perfect collection, a fantastic showcase of an up-and-coming band with a few big statements to make.
5 out of 5 – Download “Because of You”
Echovalve is | Mathiew Nevitt – Vocals | Jay Langston – Guitar | Ryan Myers – Bass
Madina Lake – “Attics To Eden” (2009) May 25, 2009
Posted by rawkfistmusic in 2009, Madina Lake.Tags: Madina Lake
1 comment so far
Written by Andrew Hart
Writing a concept album is one thing. It’s difficult to craft an entire disc worth of material centered on one theme, generally a more obscure one than typical rock themes like sex, drugs, and rock n’ roll. I have an utmost respect for bands like Our Lady Peace, Nine Inch Nails, Sixx:A.M., and other bands that have concocted full albums dedicated to important ideas and concepts. What’s even crazier however is what I will now refer to as a “concept discography.” While Coheed and Cambria has become well-known for telling one great big tale with their albums, right behind them is Madina Lake, a Chicago band with a newly released second album telling the story of a 1950′s fictional town and their missing person problem.
The aforementioned album, Attics To Eden, starts off stronger than so many albums have lately, with four incredible tracks to kickstart an interesting listen. Leading off is “Never Take Us Alive,” an absolute thunderstorm of a blistering drumming and great singing. The chorus prominently features jumps to and from falsetto from frontman Nathan Leone along with some rousing gang vocals soon afterward. It’s as infectious as anything you’ve ever heard and is the perfect idea for a first single (which it is). Following up is “Let’s Get Outta Here,” a song that is entirely different in tone and personality but uses the same dynamics to create an outstanding track with unlimited sing-along potential. This theme carries on through the next two, which as mentioned are part of a great starting four. “Legends” has a darker sound and idea, with a chorus that screams “Let’s burn this town, right to the ground, like every legend before us,” but it’s still going to be stuck in your head for days.
Madina Lake starts to trip after that fourth track however (the fast-paced “Criminals”), and it begins to feel like an entirely different album in terms of song writing. The central idea of the disc remains very much the same, chronicling the journey of Adalia to a land called Eden, but the idea isn’t intriguing enough to carry relatively mundane tracks beyond the first listen or two. The lyrics are good, better than most bands in fact, but unless you enjoy fairy tales a lot more than most rock listeners, it’s doubtful you’ll find this album extraordinary because of it. Back on to the songwriting though, after that fourth track the songs get remarkably less memorable. “Through The Pain” attempts to recapture the magic but really just falls flat for it’s entire three and a half minute lifespan, and most of the other tracks are even more boring in terms of sound.
It’s worth pointing out there is a certain bit of redemption towards the album’s end. “Welcome To Oblivion” is the best song with growth potential on the disc, one that will get a little better with each listen, but it’s sadly book-ended by mediocre tracks. You get the standout songs back with “Statistics” which has an interesting beat and addictive chorus that will bring you back to that feeling the first few songs gave you. “Lila, The Divine Game” is an instrumental that ends the album on a bit of a creepy note and has a great ambiance to leave on, but like many tracks before it lacks the proper memorability.
Madina Lake is a strong band in concept. The vocals shine throughout the album with a unique blend of gang vocals and great pitch fluctuation from the frontman. Also, the drumming is fast and entertaining throughout the album, and there’s some fairly neat guitar work as well. The band just seems inconsistent throughout Attics To Eden. Many songs will be trapped in your head for days, while the rest will fall by the wayside. This is one of those albums you’d likely only put about half of on your music player, but sadly at that point you lose the story the album tells. All in all, this is a solid listen with enough intriguing lyrics to make the first few spins interesting, but like many concept albums, ultimately falls flat with only a few standouts.
6.5 out of 10 – Download “Never Take Us Alive”
Madina Lake is | Nathan Leone – Vocals | Mateo Camargo – Guitar, Backing Vocals | Matthew Leone – Bass, Backing Vocals | Dan Torelli – Drums
Green Day – “21st Century Breakdown” (2009) May 18, 2009
Posted by rawkfistmusic in 2009, Green Day.Tags: 21st Century Breakdown, Green Day
1 comment so far
Written by Andrew Hart
Alright loyal readers, I am about to break the cardinal rule of journalism and reveal a personal bias instead of using this space to tell you who Green Day is. You know who Green Day is, let’s move past it. Instead, allow me to reveal that I do not like Green Day, in fact I never have. I’ve heard Dookie and Warning and American Idiot, all of the classics essentially, and only one or two of the singles have ever appealed to me. Obviously I’m not the right guy for the task of reviewing their new album, 21st Century Breakdown then, am I? Actually I am, and the reason I told you all that it to make this message all the more clear. I love this album.
Maybe it’s my newfound appreciation for music or something, but this album just works, in almost every way. The flow of 21st Century Breakdown is unprecedented. There is no obscenely long 5-songs-in-one track like American Idiot had, this seems more like an album confident that each of it’s 18 tracks can stand alone, and they do. The title track is varied and hook-laden the entire way. It’s the most diverse track on the album and covers a ton of ground in it’s five minute lifespan. It’s something of a teaser of things to come. There are many styles to be found on this disc though, from the highly infectious and repetitive “Know Your Enemy” to the slow crooner “21 Guns” to the crescendo powered “Before The Lobotomy.” The entire album is bound to something for everyone, but it’s doubtful you’ll get attached to just one or two of the tracks.
It’s almost frightening how it happens too. One second you’ll be singing along to “Know Your Enemy” (which you’ll have memorized after two listens) and then suddenly you’re dropped into the slow, piano-fueled “Viva La Gloria.” Just as you get swept up it’s it magical tone, it picks business back up and it’s like your on those first few tracks all over again. It’s a major uptempo swing that doesn’t break the song, but actually makes it better. Green Day must know it works too, because they pull the same trick with the following “Before The Lobotomy”. It’s at that point where the album really picks up business too. The next 12 songs will rock you like a hurricane, it’s pratically a whole album by itself. “Murder City” is toe-tappingly good with a strong vocal performance, “Christian’s Inferno” is an entirely different experience thanks to distortion heavy verses, and “21 Guns” will bring a tear to your eye based on the sound alone, I could care less if the lyrical material cracks you or not.
However, as wonderful as that middle span of the album is, for once having a lot of tracks is a problem. Grading 21st Century Breakdown as a whole is tough because if it was say 13-15 songs instead of 18 it would be damn close to flawless. However, “Know Your Enemy” as infectious as it is gets old awfully quickly. On top of that, “American Eulogy” repeats the sin of too much repetition and will become a must skip in later listens, a shame since it follows the wonderful “21 Guns”. The intro track seems totally uncalled for as well, but at that point I’m pretty much just nitpicking. It’s an achievement enough that out of 18 songs only 2 or 3 are below average, but the remainder of the album is excellent and flows remarkably.
Green Day has really carved up a masterpiece with this album. The flow is excellent, the lyrics, while still political at times, are never overwhelming, and the band still really knows how to write a hook. The band has clearly taken a lot of inspiration from artists like The Who or dare I say The Beatles, in concocting a wonderful cohesive album with winners around every turn. The criticisms are few and far-between, and because of that this should go down as Green Day’s defining work. There’s something here for casual Green Day fans and hardcore fans. Hell, even I liked it, that should be enough to convince you right there.
9.5 out of 10 – Download “21st Century Breakdown”
Green Day is | Billie Joe Armstrong – Vocals, Guitar, Piano | Mike Dirnt – Bass, Backing Vocals | Tré Cool – Drums
Decyfer Down – “Crash” (2009) May 9, 2009
Posted by rawkfistmusic in 2009, Decyfer Down.Tags: Decyfer Down
add a comment
Written by Andrew Hart
Stop right there, I know what you’re thinking. There’s a lot of injustices in this world, and one of the worst is having to review a singer taking over a band from another singer. There’s always the inevitable comparisons to the guy before him, and many always say the original can never be topped. It’s silly really, to judge a band so heavily based on their previous sound. Still, this is the dilemma I now face with Decyfer Down’s Crash running in my MP3 player now. The Christian rockers from North Carolina recently replaced Caleb Oliver with TJ Harris, formerly of Fighting Instinct. The good news for Decyfer Down fans is I can guarantee this is completely unbiased towards either singer, since this is my first time ever hearing Decyfer Down.
As far as first impressions go, the first few tracks of Crash are outstanding. The title track is a great explosive album opener and pretty much tells you what you’re in for. “Crash” is nothing but a power-hungry rock song with big hooks and some solid contribution from Harris. His vocals are crisp and ranged, and while they wouldn’t stand out from a lot of rock singers, he’s got a voice that can carry a band. This is more evident in “Fading”, the third track and major standout. The chorus of this track guarantees attention will be paid, by dropping the tempo of the song just before, then thrusting into a passionate vocal blast from Harris. You’ll be singing this one by the end of the first spin.
“Best I Can” is another favorite. The lyrics would make anyone’s pity party complete with words like “I don’t live a perfect life, but god knows I’m trying the best I can.” The tone of the song is tragic, and Harris really packs in the emotion of every word. It’s a better track for it too, and stands out with each listen despite being one of the softer songs on the album. Decyfer Down cracks the whip though and the rock n’ roll train resumes with “Ride With Me” with is a 100% adrenaline-fueled anthem. If you’re looking for good solid rock, Decyfer Down definitely has the medicine you need.
As it is however, Decyfer Down is fairly carbon copy throughout Crash. There are exceptions for sure, however. “Wasting Away” has an emotional peak of a chorus, and the previously mentioned “Fading” and “Best I Can” do their part to diversify the album, but all in all most of the stuff sounds like music you’d hear on the Myspace of 90% of today’s bands. “Over My Head” and “Moving On” get totally lost in the late-album shuffle in short because they are completely lacking of any extraordinary effort. The case with these kinds of songs is something found frequently throughout the album, and that’s a general lack of instrumental diversity. Most of the fretwork and drumming sounds very standard, and I never find myself hooked on a particular riff. Throughout much of the album, it’s the powerful voice of Harris mixed with song tempos that drives the good songs.
Who am I to overly criticize a band for sounding good though, right? Decyfer Down has a great thing going with Crash. Many of the songs have some solid hooks that will have you humming tunes in your head for ages, creativity be damned. A casual music listener will find a lot to like in Decyfer Down’s uptempo songs and strong arrangements. Nitpickers may find a few things to hate on here and there, but all in all Crash is a solid effort that should be rewarded with a good number of listens.
7.5 out of 10 – Download “Wasting Away”
Decyfer Down is | TJ Harris – Vocals, Bass | Brandon Mills – Guitar | Chris Clonts – Guitar | Josh Oliver – Drums
Marianas Trench – “Masterpiece Theatre” (2009) April 28, 2009
Posted by rawkfistmusic in 2009, Marianas Trench.4 comments
Written by Andrew Hart
Admittedly, I’ve never been shocked to find I absolutely adored an album from a genre in which I would normally find such an album. It’s hard to be astounded by the quality of albums from Shinedown or Breaking Benjamin when, quite frankly, that’s the music I most enjoy. Mind you however, it’s not my agenda to discriminate albums based on genre, and thank the heavens for it too. If I did, I may never have delved into Masterpiece Theatre, the sophomore release of the Canadian foursome known as Marianas Trench. And that would have been a tremendous shame.
I know what you’re thinking as you rev up Masterpiece Theatre for it’s opening spin. The title track (part 1 of it anyway, I’ll get to that) sets you down in a theater with the warm up of an orchestra playing into your ears, before all sound dies off and leaves you with a Capella group vocals. This lasts for several seconds, and the unconventional voices may make the traditional rock listener feel a bit uncomfortable. Do not fret, the ears adjust, and they adjust well.
Frontman Josh Ramsey takes over the song with an explosive and ridiculously catchy chorus, and you quickly get wrapped up in the elaborate work known as “Masterpiece Theatre I”. There are three parts to the title track which take place at the beginning, middle, and end of the album, and provide the backbone of the entire album. The recurring lyrics and tunes never wear thin, but instead have you singing along by halfway through part 2. It sounds crazy, but even though it is in concept the same song three times, it’s still fresh and different all three times, and repeated listens will hold true to this form.
Enough of the title tracks, what of the rest? Well, if you enjoyed that first bit, you’re in for one hell of a ride. Introducing “All To Myself”, a shoulder bumping jam that may be among the catchiest on a very catchy album. Try your damnedest, you’ll never get the chorus out of your head, thanks in part to the fantastic pacing of the song and the quickly growing appeal of Ramsey’s vocals. There’s an unconventional sound there, but there’s no doubt that the man is talented, and the varying tones and ranges of his voice provide enough of an experience in itself.
“Cross My Heart” keeps the train moving as a finger-snapping, toe-tapping, power pop rocker with a genuinely upbeat pace. That’s a lot of description for a song for sure, but it deserves it all and so much more. As I write this review I’m still wrapped up in this song as it blasts into my ears at full volume. Excuse any typos that may occur throughout this review because of this very problem. It’s just so damn hard to focus with this kind of infectiousness everywhere I tune my music player.
Crash back to Earth for a bit, since we must, and feel free to experience “Beside You” which adds harmonization to a wonderfully slow track. “Good To You” however serves as the album’s biggest ballad, with plenty of thanks going to guest vocalist Kate Voegele. It’s heartfelt and passionate at every turn, and I dare you not to get caught up in the emotion of both Ramsey and Voegele as they belt out this number. Other songs like “Celebrity Status” and “Sing Sing” go along well with the theme of previous tracks in daring the listener to avoid dancing.
Honestly, the majority of this album is nothing more than powerful pop rock, but I find it hard to believe anyone could fail to enjoy it. The songwriting here is brilliant, as not a single song will fail to grip the listener, and the lyrics are far and away better than the typical rock mold. On top of that, there’s plenty of backup vocal support to add even more upbeat fun to the fantastic singing dynamic, and instrumentally there is a ton to be heard, especially on the drumming front. Truth be told, every time I’ve listened to Masterpiece Theatre I’ve attempted to find a flaw or two in the disc. After hitting double digits in listens, I’ve concluded that mid-album piece “Acadia” is fairly average. Yes, average. It’s not bad, it’s just not brilliant, and it’s probably the only thing here that isn’t.
9.5 out of 10 – Download “All To Myself”
Marianas Trench is | Josh Ramsey – Lead Vocals, Rhythm Guitar | Matt Webb – Lead Guitar, Backing Vocals, Piano | Mike Ayley – Bass, Backing Vocals | Ian Casselman – Drums, Backing Vocals
Lacuna Coil – “Shallow Life” (2009) April 23, 2009
Posted by rawkfistmusic in 2009, Lacuna Coil.add a comment
Written by Andrew Hart
Considering I just ranted on the lack of female fronted rock bands in the world I think I’ll spare the world that opening paragraph and instead delve into the career of Lacuna Coil. Breaking out of Italy in 2002 with Comalies and the powerful singles “Heaven’s A Lie” and “Swamped”, the male/female-fronted band has gained nothing but critical acclaim for their superb instrumentation, vocal harmonies, and unique mixes. The gothic rock scene has been pulled to the forefront thanks to highly influential band, which now tries to put another notch in their belt with their first concept album. The disc Shallow Life focuses on the aspects of, well, shallow lives, and living better without superficiality. But enough on that, the music is what’s really important here, and quite frankly, it’s lackluster.
Of course you wouldn’t believe me if all you heard was “I Survive” a brilliant opener that’s really the only catchy song on the album. And it is catchy. Driven by a chorus led by the low, scratchy vocals of Andrea Ferro, and led by some great technical drumming and support from female lead Cristina Scabbia, “I Survive” is an out of the ballpark hit. Needless to say however, there’s not much else on the album that stacks up to this strong opener, and Ferro’s growling voice and its relatively small range quickly begins to grate moreso than other Lacuna Coil albums.
In fact, it feels like Lacuna Coil is pushing Ferro onto the listener more than before. At one point, Scabbia and Ferro were used together frequently, with Scabbia getting most of the spotlight. Songs like “Closer” on Karmacode were amazing because of Scabbia leading the charge and Ferro providing vocals only on the backdrop of the song. Together the duo sound amazing, but alone, as Ferro often is on Shallow Life, his weaknesses are exposed. “The Maze” and “I Won’t Tell You” are both promising songs that really let down because of the limited ability of Ferro. “I Survive” is one of the few songs showing off the dual style, the other being the first single “Spellbound”.
There are still bright spots despite the constant annoyance of Ferro. “Wide Awake” and “Not Enough” are slowed down ballads that highlight Scabbia’s range and ability more than anything and both pay dividends. “Wide Awake” is even more so memorable thanks to a great backing arrangement and an escalating tone that keeps the entire song interesting. The title track at the album’s end is also brilliant thanks to some atmospheric distortion and great vocals from Scabbia. It’s sad that these slow songs take a hit in instrumentation though, as the drumwork of Cristiano Mozzati is one of the album’s biggest highlights. His style is never flashy, but there’s plenty of great fills and variation to carry great beats through songs, making it almost better to listen to the drumming than Ferro. The fretwork isn’t half-bad either, but none of the riffs are catchy enough to drive a whole song.
Lacuna Coil has a lot of talent as demonstrated by past albums, and when in harmony, the dual-vocal system makes for one of the best sounds in rock. However Ferro’s major takeover in the last two albums have done more harm than good and take focus away from the better aspects of the band. The lyrics and other instruments are solid, and Scabbia could work wonders alone as well. Ferro is not the only problem, the other is simply that the songwriting is not catchy or memorable, making for a rather boring listen. Still, it’s no coincidence that the best tracks on the album feature little to no involvement by Ferro, and for Lacuna Coil to get back on the right track, the next album may want to tone down his part significantly.
5 out of 10 – Download “I Survive”
Lacuna Coil is | Cristina Scabbia – Vocals | Andrea Ferro – Vocals | Marco Coti Zelati – Bass | Cristiano Migliore – Guitars | Marco Biazzi – Guitars | Cristiano Mozzati – Drums
The Veer Union – “Against The Grain” (2009) April 14, 2009
Posted by rawkfistmusic in 2009, The Veer Union.1 comment so far
Written by Andrew Hart
For all of it’s strengths, surprises, disappointments, and memorable songs, 2009 to this point is seriously lacking some fresh blood in the rock music scene. Fear not though, The Veer Union is on the case, bringing the wave of hard rock back to the airwaves and dropping their major label debut, Against The Grain. The five-some has already begun to take the nation by storm with lead-off single “Seasons” swimming in radio play and becoming the official theme song of WWE’s newest big event. The attention is deserved too, as several of the members already have musical experience, working with everyone from Tommy Lee to Forty Foot Echo. The experience shows in Against The Grain.
The opening trifecta of songs is probably the strongest showing on the album, starting with the straightforward and explosive “Seasons” before transitioning to hook-laden “Youth of Yesterday” and the emotionally driven “Over Me.” “Seasons” is a great choice as far as singles are concerned, led by a powerful vocal performance and a fantastic recurring riff. “Youth of Yesterday” commands attention with the instrumental cutaway that builds the chorus higher than the previous song. “Over Me” begins to show off the multiple dimensions of vocal use, using a distant and distorted vocal line to burst into the chorus at full force. All three songs will be jammed in your mind for ages, thanks to their addictive choruses, which quickly become the recurring theme of Against The Grain.
From there, the album’s biggest weakness becomes apparent but barely bothersome. Many of The Veer Union’s tracks will feel blended together and far too similar the first few times through, but each track will make a name for itself with repeated listens. Whether it’s the low intro and commanding outro of “Darker Side of Me”, the hard-hitting “Your Love Kills Me”, or slow building album closer “What Have We Done”, it will become obvious soon that each song has it’s own personality and distinctions. Really the biggest faults are the so and so power ballads “I’m Sorry” and “Breathing In”. Each has a decent amount of hooks, but neither fully commits to the emotion of the song, leaving both feeling rather dull and skipable.
The Veer Union meshes remarkably well time and time again though. Frontman Crispin Earl has the perfect sounding voice for the band, a real hard rock tone with grunge twang. The backup vocals match each song perfectly, and nearly every track has an inventive and catchy riff on guitar or bass, so props are due to Schraeder, Roots and Fiddler for that. The drums while not as consistant, are still more than addictive enough on songs like “Final Moment” and “Youth of Yesterday” and are never boring. Lyrically, The Veer Union is fairly standard, but the emotion of the songs brings forth what the lyrics don’t necessarily address.
Against The Grain is a promising break into the mainstream for The Veer Union, who deserves credit for a rock album that grows more and more with each listen. Those who take the time to sit back and listen will constantly find subtle nuances about their craft, like the affinity for instrument cutaways to give the vocals and lyrics a second or two to shine. It’s that kind of technique that creates great hooks and memorable tunes, and that’s evidently something that The Veer Union has a firm grasp on, as Against The Grain is an album you’ll keep coming back to time and time again.
8.5 out of 10 – Download “Over Me”
The Veer Union is | Crispin Earl – Vocals | Eric Schraeder – Guitar, Backing Vocals | James Fiddler – Guitar | Mark Roots – Bass | Neil Beaton – Drums
Papa Roach – “Metamorphosis” (2009) April 8, 2009
Posted by rawkfistmusic in 2009, Papa Roach.5 comments
Written by Andrew Hart
In 2000 Papa Roach burst onto the scene with Infest, an album that quickly thrust them into the rap-rock revolution. 2002′s Lovehatetragedy was Papa Roach’s way of proving they had staying power. With 2004′s Getting Away With Murder, the band established their ability to evolve to a more straight rock sound. In 2006, they put out their most complete work, the addictive and attention-grabbing The Paramour Sessions. So what does Papa Roach prove with their 2009 release Metamorphosis? Sometimes, everyone is due for a disappointment.
Don’t get me wrong, Metamorphosis starts off promisingly with “Change or Die” (following a meaningless intro track), a hard rocking battle cry that swings to the beat of “Alive N’ Out of Control” or “Blood (Empty Promises)” before it. It’s modern Papa Roach at it’s finest, full of overpowering guitar and the hard-edged trademark vocals of Jacoby Shaddix. It follows up with one of the lead-off singles, the frighteningly catchy “Hollywood Whore,” which lives to throw cheap shots at Paris Hilton or anyone who floats in that same boat. Aside from Jacoby’s odd cackling of “Don’t let the door hit you where the good lord split you honey,” the track is wonderfully executed, and doesn’t lose much from this cheesy misstep. Where does Papa Roach go wrong then, after starting off so promisingly? The simple answer: everywhere else.
“I Almost Told You That I Loved You” is the first sign of imminent danger, it’s written like a Buckcherry b-side without any of the hooks the aforementioned use to tote their signature style of raunchy rock. Instead, you’re met with mind-numbing, not-even-close-to-standout guitar the entire song, and the chorus couldn’t be less catchy if it was covered in butter sauce. The other big single “Lifeline” feels very watered down, and while less of a lyrical offender than it’s predecessor, is still very easy to bypass without a second thought. Had I not already heard the song several times on radio prior to the album’s release, I’d never have taken a moment to step out and listen, aside from a fairly decent riff that carries the song as far as it could possibly hope to. “Had Enough” has a promising sound but the wheels come off in the chorus, and other songs such as “March Out Of Darkness” and “Into The Light” are simply not noticeable.
It’s clear by this point in the album that Papa Roach has done something wrong. None of the songs stand out anymore. There’s no hidden gems on the album like Getting Away With Murder’s “Stop Looking Start Seeing” or “No More Secrets” from Paramour Sessions. Instead, once you surpass the promising beginning, Metamorphosis has literally nothing worth hearing until it’s way too little too late. The album’s closer “State of Emergency” is a breath of fresh air thanks to it’s simple instrumentation and an explosive chorus that will grip you the very first time you hear it. I can’t be sure you’ll make it to that point on most listens though, not with boring wannabe ballads like “Nights of Love” or “Carry Me”.
There’s no one to blame but the entirety of Papa Roach for this mess. Shaddix sounds as good vocally as he ever has, and the instrumentation of the band is roughly the same as it’s been the last few albums. The songwriting is the biggest thing to call out, as none of the song have the cohesion of previous endeavors, and most feel like jam sessions as opposed to organized music. There are no hooks to support the relatively carbon copy lyrics, which may have been the only thing holding Papa Roach above the others of the hard rock scene.
It’s hard to say one way or another if Papa Roach’s writing has really gotten worse, or if perhaps their style is finally beginning to wear thin nearly a decade into the careers. It seems, however, the group needs to pull a page out of this below average album’s playbook. As Shaddix screams out early in the album, “You’ve gotta change or die,” I can’t help but thinking he was staring into the group’s future. Simply put, if Papa Roach doesn’t continue their trademark evolutions and settle for what they’ve offered on Metamorphosis, they won’t make it another decade. They’ll be lucky to make it through another album.
4.5 out of 10 – Download “Change or Die”
Papa Roach is | Jacoby Shaddix – Vocals | Jerry Horton – Guitar, Backing Vocals | Tobin Esperace – Bass, Backing Vocals | Tony Palermo – Drums, Backing Vocals
