Hello? Is this thing on? December 28, 2009
Posted by rawkfistmusic in Uncategorized.1 comment so far
So news time kids, good stuff this time.
Rawkfist Music will be reopening it’s doors sometime in the next few days with brand new reviews, and will return to full time reviewing of stuff. Why is this? Well, I’m going to get to that. Until then, just know that new reviews are on the way, big end of the year stuff I missed like Breaking Benjamin and Three Days Grace, as well as little bands I picked up by the names of Plan Three and A Broken Silence. Look forward to all of that and more, as Rawkfist Music makes it’s big return to the internet.
Also, if for any reason you want to treasure one of the non-review posts forever, I’d save it now, as most of the podcast and other related posts will be deleted sometime in the next few days. Other changes are going to be made as well.
OH! And the nominees of the 2009 RMAs will be announced soon. Rejoice.
Thanks, Andrew
Adelitas Way – “Adelitas Way” (2009) August 16, 2009
Posted by rawkfistmusic in 2009, Adelitas Way.add a comment
Written by Andrew Hart
Promising new acts continue to burst onto the scene in 2009, continuing with Las Vegas rockers Adelitas Way. True to the heritage of their hometown, Adelitas Way is all about putting on a show and blowing away their audience, as they’re happy to make apparent on their self-titled debut. Strong hooks lead the charge through much of the album, propelled forward by vocalist Rick DeJesus, who stretches his vocal cords most prominently on album opener and first single “Invincible.” Popular already thanks to the affiliation to WWE Superstars, “Invincible” has all the makings of a rock and roll smash, with it’s undeniable prescence and nonstop pace. This trend rocks continually through songs like “Scream” and “My Derailment,” though both remain strong in their own ways thanks to notable choruses and great pacing. The latter in particular is notable or these reasons.
The softer side of Adelitas Way is exposed a few times throughout to distribute the weight of the disc a bit. “Closer To You” is atmospheric and emotional, standing as one of the most noteworthy cuts on the album. The same cannot be said of it’s late-album sibling, the aptly titled “Brother.” Though lyrically “Brother” is one of the better tracks from Adelitas Way, it’s sadly remiss of anything else. The pacing of the song doesn’t fit the emotional baggage of the theme, and it makes this closing track a downer for all the wrong reasons. Still, “Brother” is one of the few misses on an album full of gems like the intense “So What If You Go” and the ethereal “All Falls Down.”
While some of these tracks showcase the lyrical potential of Adelitas Way, tracks like “Scream” and “Dirty Little Thing” seem to lower the bar the band has set for themselves. Although strong in instrumental quality and hook, the band jumps on the cock rock bandwagon a little too comfortably with lyrics like “I like it when we’re up against the wall.” While I’ve never been one to crucify a band for hopping on the party traditions of old school rock and roll, a band with as much potential as Adelitas Way seems to be squandering chances on pleasing an album-wanting audience. There’s no denying the hooks of each cut on this disc though, and the debut album from Adelitas Way will offer up plenty of replay on your MP3 player to whet your rock appetite.
8 out of 10 – Download “Closer To You”
Adelitas Way is | Rick DeJesus – Vocals | Chris Iorio – Lead Guitar, Backing Vocals | Keith Wallen – Rhythm Guitar, Backing Vocals | Derek Johnston – Bass, Backing Vocals | Trevor Stafford – Drums, Backing Vocals
Sick Puppies – “Tri-Polar” (2009) August 6, 2009
Posted by rawkfistmusic in 2009, Sick Puppies.Tags: Sick Puppies, Tri-Polar
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Written by Andrew Hart
Nothing will get you attention like an Australian accent, an attractive bass player that tears the house down, and a bunch of free hugs. What band could possibly have all three? How about a band of three, calling themselves Sick Puppies, who roar into 2009 with a sophomore effort that’s catching on like wildfire. After their 2007 single “All The Same” roared throughout the world thanks to the “Free Hugs” campaign, the australian threesome have stormed into the current year with songs like “War” used to promote the Street Fighter IV video game, and “You’re Going Down” being used in professional wrestling. The newly acquired tough guy persona is a big shift in persona, but how well does it work with a band known for interesting lyrics and relatable subject matter?
Well the aforementioned songs are certainly a trip, that’s for sure. Though shallow and anything but chivalrous, “War” and “You’re Going Down” are visceral and addictive from the drop of a hat. Flooded with rough, angry vocals and unstoppable instrumentals, these two singles and their counterpart “I Hate You” are quick standouts on an album that takes a lot of listens to fully grip. Once you slip past these easily accessible anthems, you’re suddenly swimming in subject matter that brings you back to Sick Puppies’ debut effort. “Riptide” is an odd song from this batch with it’s big change in tone from verse to chorus, but it still stands out as a strong and relatable track. Just about the biggest standout is “Don’t Walk Away” which is also one of the biggest changes in sound. Toned down and acoustic for great portions of the song, “Don’t Walk Away” is a big change from tracks like “War”, but it’s soaring and catchy chorus will have you coming back time and again.
Tri-Polar, as the album is called, is not without faults. Many of the songs blend into each other too well like the period from “So What I Lied” to “Maybe”, a stretch that contains four songs. While each is fine on it’s own merits, none really stand out on a straight listen of the disc, especially the bland “Maybe.” “Odd One” is also a poor song overall, lacking any sort of memorability. On top of these issues, tracks like “War” and “You’re Going Down” may be addictive and fun, but their shallow lyrics are a major step down from many of the songs on the Puppies’ 2007 debut. Many of the stronger lyrical songs are the least accessible ones, and thus it takes many spins to figure out Tri-Polar. While there is a decent amount of material to enjoy on this album, there is also a lot that wouldn’t be missed, which makes for an erratic experience.
6 out of 10 – Download “Don’t Walk Away”
Sick Puppies is | Shimon Moore – Vocals, Guitar | Emma Anzai – Bass, Backing Vocals | Mark Goodwin – Drums
Our Lady Peace – “Burn Burn” (2009) July 21, 2009
Posted by rawkfistmusic in 2009, Our Lady Peace.Tags: Burn Burn, Our Lady Peace
1 comment so far
Written by Andrew Hart
It’s been a long time since the latest effort from Canadian four-piece Our Lady Peace. Way back in 2005, Our Lady Peace continued their endeavor to add as much variety to their career as possible with the mellowed-out Healthy In Paranoid Times, adding to a collection that has seen everything from grunge influence to falsetto-laced concept albums. In the time since 2005, the band has postponed their seventh studio album with two greatest hits collection and a solo album from lead singer Raine Maida, but at last the time has come for some new music from the band in the form of a disc called Burn Burn. At a mere 10 tracks, Burn Burn has a lot to live up to in a short amount of time, but per usual, Our Lady Peace does not disappoint.
Lead single and kickoff track “All You Did Was Save My Life” is easily the most accessible and radio-ready of any track on the CD. Uptempo and unrelenting, it’s one of the most rocking tracks Our Lady Peace has written in recent memory, and while certainly not as catchy as most stuff one would hear on the radio, it’s got all the makings of a song to be lodged in your mind for days. The rest of the disc is quick to depart from this theme, and quickly create a new one, revisiting the old days. While “All You Did Was Save My Life” is certainly a throwback to the hard-rocking days of early Our Lady Peace, the next track “Dreamland” is quick to invoke the name of the more recent, toned-down incarnation of the band. Much of the CD is focused on sounding more streamlined and it succeeds with this with tracks such as the two aforementioned as well as “Never Get Over You” and “White Flags.”
It’s certainly not the last of the Our Lady Peace throwbacks though. “Monkey Brains” is about as vintage as you’ll ever hear from this band, a song with a quirky sound and strange lyrical content that sounds like it would have fit happily in with the sounds of the band’s earlier work Happiness…. The tempo shift in mid-track even pulls directly from the influence of that album’s “Stealing Babies.” Those who miss the days when Raine pulled out that signature falsetto will get a small bit of fanservice as well, as he shows it off briefly, for the first time in nine years, on the album’s closer “Paper Moon.” Most of the album dwells on sounding like the more mainstream works of Our Lady Peace, but each track seems reminiscent of various parts of the band’s career, making this disc an excellent retrospect for fans.
Taking a moment to assess the band, they all seem as in sync as they’ve ever been. Maida as always turns in a great vocal performance, singing all over the board with various tempos and tones and even ringing out that falsetto briefly. The music is so well written however, that all the other members of the band have moments to shine despite the overall mellow atmosphere of the disc. Guitarist Steve Mazur gets to turn in some memorable riffs on tracks like “Escape Artist” and drummer Jeremy Taggart continues to impress with his sheer talent behind a kit. A great technical drummer, Taggart impresses not with speed, but with variety throughout all of Burn Burn. Our Lady Peace has for years been a fantastic all-around band and this album certainly continues that trend.
At a mere ten tracks, and run time of just over thirty-eight minutes, the biggest fault of Burn Burn’s may be it’s short stay. And, while still interesting and a great retrospective, the album does not feature the kind of creativity of past Our Lady Peace efforts. The same band that once wrote an entire concept album based on robots and machines is now writing straightforward ballads like “Never Get Over You.” While of course, this change has been happening for a few years now, it’s still a disappointment. Many of the songs retain some of that creativiy however, and Maida is still a fantastic songwriter when he can play off these cliches well. There’s plenty of that genius songwriting of old too, with lines like “This whole world has gone crazy, God’s got a little lazy,” from “White Flags.” All things said, Burn Burn is another fantastic showing from Our Lady Peace, and one which will be even more rewarding for longtime fans of the band. For old fans and new however, this album will serve as a great disc sure to please plenty of alternative rock fans.
9 out of 10 – Download “Escape Artist”
Our Lady Peace is | Raine Maida – Lead Vocals | Steve Mazur – Guitar, Backing Vocals | Duncan Coutts – Bass, Backing Vocals | Jeremy Taggart – Drums
Daughtry – “Leave This Town” (2009) July 11, 2009
Posted by rawkfistmusic in 2009, Daughtry.Tags: Chris Daughtry, Daughtry, Leave This Town
1 comment so far
Written by Andrew Hart
Okay, I’ll admit it, I have been known from time to time to give into the satanic cult that is American Idol. The reason for this of course being that once in a great while, an act like Chris Daughtry will pop up and remind me just how totally awesome someone can be. See, despite not winning American Idol that year (instead Taylor Hicks won), Daughtry put some people together and in very Bon Jovi-esque fashion formed a band based on his namesake and went on to sell a bajillion records with their debut album. Now, an excruciating two years later for those of us who fell in love with aforemention debut, Chris and Co. return with Leave This Town, and attempt to duplicate all that magic of 2007.
I’d love to start this off by saying “You Don’t Belong” is every bit as good of a disc opener as the 2007 smash “It’s Not Over” but quite frankly, it’s not. What it is however, is an explosive rock radio hit waiting to happen. The opening riff is more intense than anything on the debut, and leans far more to hard rock than this band has dared to tread before. This is actually a pretty common trend too, and Chris wasn’t lying when he claimed at one point this was going to be a harder record. “Every Time You Turn Around” and “Ghost of Me” are both bombastic hard rockers that definitely flow in the same vein of harder songs of the genre. Powered by Chris Daughtry’s incredible voice, one built from the ground up for this kind of music, the hooks are heavier than ever, and most importantly, much catchier.
The album’s not all eardrum explosions however. Obviously drawing from the formula that created the song-so-good-it’s-freaking-everywhere known as “Home”, there are plenty of awesome ballads to round out Leave This Town. Leadoff single “No Suprise” is arguably the weakest, which is saying something since it’s still pretty good. Really it’s biggest flaw is there’s no obvious hook, a rare moment for this album. For it’s flaw however, the others step up. “Life After You” is a major standout four songs in, and “Open Up Your Eyes” is an awesome blend of ballad and rocker much as “Breakdown” was on the previous album. While songs of this nature don’t stand out as much as the heavier songs, they’ll be getting your attention just as much as the others after a few listens, again with a lot of thanks to Daughtry’s vocal power.
The two tracks that really need to get addressed are “What I Meant To Say” and “Call Your Name”. The former is one of those hard-hitting slobberknocker tracks I’ve already mentioned thousands of times in four paragraphs, but it pulls it off brilliantly. It’s a song of epic F-U proportions, driven by the line “I know I said I’m sorry but that’s not what I meant to say.” You know those moments when you just really hate someone or something that happened and you need a song to blow at the guy next to you in traffic. This is that song. Getting back to “Call Your Name”, we find a totally different song from anything on the album. Demonstrating Chris’s voice and songwriting abilities better than anything better than recent memory, “Call Your Name” is one of those brilliant escalator songs, one that gets bigger and better as it goes. Kicking off with some light falsetto and instrumentation, and ending with a crash of guitars and drums, “Call Your Name” is an epic ending to Leave This Town, and a track sure to leave a lasting memory.
So where does Daughtry go wrong? My thoughts are this, Daughtry goes wrong without Daughtry. There’s a reason this band bears Chris’ name, and that’s because it would be lacking without. The instrumentation throughout the album is never stellar or all that ear-grabbing, but instead most of the disc is driven forward by Daughtry’s amazing vocal prowess. I hate to throw so much of this band out the window, but I’d be lying if I said that his voice isn’t priority numero uno for this project. The lyrics and song structure are strong enough, so all in Leave This Town is really good music. I can’t take much away from it for it’s flaws, because as long as Chris is part of the band, these guys are the real deal, and have once again crafted a CD full of addictive radio rock sure to please casual and hardcore listeners alike. Don’t doubt it, Daughtry is no one-album wonder, but is in it for the long haul.
9 out of 10 – Download “Call Your Name”
Daughtry is | Chris Daughtry – Vocals, Rhythm Guitar | Josh Steely – Lead Guitar | Brian Craddock – Rhythm Guitar | Josh Paul – Bass, Backing Vocals | Joey Barnes – Drums
Hypnogaja – “Truth Decay” (2009) July 8, 2009
Posted by rawkfistmusic in 2009, Hypnogaja.Tags: Hypnogaja, Truth Decay
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Written by Jake Sparkman
From the opening of “Dark Star”, with its moody, dark, slowly progressing chords and post-production, to the calm, refreshing, slightly epic feel of “Cellar Door” it occurs to you that Hypnogaja, if they play their cards right, could find themselves playing right-hand man to bands like Korn, Atreyu and even (probably) Linkin Park within the next couple of years.
If you don’t know who Hypnogaja is, don’t get this CD quite yet. Go hunt down the song they did for The Looking Glass Wars soundtrack, entitled (dutifully enough), “Looking Glass”. If ever there were a quentisential Hypnogaja song, that would be it. Find it now, I’ll wait. No, seriously, listen to it then come back and keep reading.
…
Got it? Good. Now we’re on the same level here. Whether you liked it or not, at least now you can understand where I’m coming from when I say that Hypnogaja is all over the fucking place. Soft, almost savory and sultry piano coupled with distortion I haven’t heard since…Metallica.
Lyrically speaking, this is far from something to write home about. These guys don’t know much about subtlty, but maybe that’s a good thing? In a musical world where emphasis is put on great lyrics (let’s just bar Pop from this whole discussion, ok?) and deep meaning, it’s sort of refreshing (I think) to be able to listen to something without feeling obliated to sit down and try to figure out what the hell they mean when they say, “When it’s too dark to find our way home/It’s alright, because we’ve still got light”. They mean exactly what they say, to hell with continuity issues.
While we’re speaking about the bad, let me bring up “Worship Me (I’m On TV)”. I feel about this song much as I do about System of a Down’s “Radio/Video”. While “Worship Me” has a little much lyrical substance and musical variance, the only parts of it that you remember are the chorus. It’s a fairly lackluster affair that leaves you yawning and heading for the skip button after you’ve heard it once or twice. Which is good, because it’s followed by “Things Will Never Be The Same”, which is probably one of the strongest tracks on the record. But more on that in a moment.
While “Kill The Humans” has a very clear and vibrant message of “Hey, fuckers, stop polluting and killing our only home. You’re all a pile of dicks”, and can get relatively tiresome if listened to over and over and over and over and over and over and over again, it redeems itself by putting to use that wonderful piano/vocal/acoustic ability that I will forever remember Hypnogaja for. As catchy and beautiful as the song is, please don’t follow instructions. Mostly because once people see you start trying to talk to this sick, dying Mother of Nature, an end will be put to you before you have a chance to accomplish anything. No one likes to see failed plots of destruction, they’re the stuff of bad comic book villains.
“Things Will Never Be The same” reminds one heavily of the airy days of yore. Back when the airwaves were flooded with songs of redemption and the future. Back when nobody cared about anything, threw caution to the wind and just rocked out. Everyone knew the world was changing, and (yes, I am so going to do this) they all knew that, “From here on out/Things will never be the same”.
This brings me to another point of sadness. The arrangement of the tracks on Truth Decay is far too haphazard. It gets you all pumped up and excited, then presents with a lovely melody and fully expects your moods to swing and float around like a pubescent girls’. It detracts from the whole experience which, in my book, is a BIG no-no. At the very least they could’ve switched “Cellar Door” and “Dark Star: End Transmission”. “Cellar Door” is a perfectly acceptable closing song, mind you, but “End Transmission” would’ve brought the whole thing full circle. I am TOTALLY game at ANY POINT for bringing things full circle.
Oh yeah, the good parts! I almost forgot about those.
One of the other things I love about these guys is their (sometimes) new perspective on their song subjects. While one band might produce a song chronicaling the rise and fall of a relationship, Hypnogaja takes it blunty. See: “Apocalyptic Love Song”. Almost laughable in its conceptual ludicrousity, it strikes an oddly tight chord for unknown reasons. Well, for me anyway. Don’t freak out if you listen to the song and go “Ok? Where’s this big emotional breakthrough I’m supposed to be having? This is bullshit, I’m never going to www.rawkfistmusic.com ever again.” Not all of us have such close emotional bonds to music.
Also, who stops reading a site because of one bad occurrence? What kind of a dumbass are you?
While there are still a few songs on Truth Decay that I didn’t cover in this review, this was not because I deemed them unworthy. Far from it, as 85% of the songs on here are solid rock songs at their very core, and can only grow from there. Hypnogaja might not be ready for the big time just yet, but they’re damn close. This CD is by far their best and I suggest you go find it (after having listened to “Looking Glass” you cheating fucker). Dare I say that Truth Decay might be Hypnotizingly good. Eh? *nudge* Eh!?
8.5 out of 10 – Download “Dark Star”
Hypnogaja is | Jason Arnold – Vocals | Jean-Yves Ducornet – Guitar | Bryan Farrar – Bass | Adrian Barnardo – Drums | Mark Donikian – Keyboards
Killswitch Engage – “Killswitch Engage” (2009) July 5, 2009
Posted by rawkfistmusic in 2009, Killswitch Engage.2 comments
Written by Andrew Hart
Killswitch Engage is practically a household name by now, following the success of singles like “The End of Heartache” and “My Curse” as well as a cover of Dio’s “Holy Diver,” the metal quintet out of Massachusetts has broken into the mainstream and quickly become one of the most respected bands in the biz. Needless to say, their 2009 self-titled release (their second by the way) has been highly anticipated by fans of both metal and straight up rock, and with good reason. With their mix of powerful melodic vocals on top of well-placed screams, and intense instrumentals from all other parties, Killswitch Engage is looking to put themselves on top of the metal world with their fifth studio album. The funny thing is, they just might be up to it.
The biggest standout on a first listen for anyone on this disc will be the leadoff single “Starting Over.” It’s easily the choice for a single to keep the band on the map too, relying on a strong vocal hook and a catchy but simple riff. Much of the band’s work relies on faster riffs but “Starting Over” merely falls back on a great and varied one. This works for the song too, much as it did for “My Curse,” in providing a hard-hitting but instantly accessible hit. “Starting Over” may just be the strongest work on this release, but it’s far from a one horse race. While no other song immediately springs to mind in the same category, the opener “Never Again” is an excellent way to prepare for an hour long headbang session. Starting with some signature metal screaming, the chorus evolves into an absolute anthem and a drum beat perfect to break your neck to.
Let me delve into a couple more of the gems on this self-titled album. “Reckoning” is similar to “Never Again” in almost every way by creating an atmosphere of straight-up intense metal, which isn’t a bad thing by all means. Fans will instantly embrace these two tracks as songs that you’ll have blaring in your car to piss off your neighbors anytime you’re flying past. “Take Me Away” is breakneck and over as quickly as it ends, but try not to get pulled into it’s incredibly speedy intro followed by an addicting chorus. “This Is Goodbye” is another one that’ll be sure to have you hitting the repeat button, a fantastic ending track that begins far away before pulling in slowly and blowing you away with one of the strongest choruses on the disc. By the time it’s over you’ll be ready for round two with Killswitch Engage, or if you’re like me, rounds three, four, and so on.
One track I feel needs a little bit of special attention is the mid-disc “The Return.” At one point I considered this one of the weakest moments on the album, a track full of wasted potential as I saw it. It’s chorus doesn’t blow the song open like the slow-building preliminary verse would have you believe, and not once is there a real solid hook in the song. I soon realized however, that “The Return” is not a song to choose as a single, but is instead a slow-cooking metal ballad of sorts, one intended to show passion and incredible emotion. Vocalist Howard Jones pulls it off brilliantly too, the entire second verse is an emotional plea in tone, and chills will run up your spine as the drumming intensifies leading into the final minute of the song. “The Return” may still have been able to pull off certain moments better, but there’s no doubt in my mind it’s one of the strongest songs on the disc now, if not of the year.
If I’m complaining, which I am obligated to do at least briefly, it is that Killswitch Engage is not immediately accessible to fans of radio rock, and the CD may be grating for those not tolerant of non-stop shredding. It’s not a horribly varied effort on Killswitch’s part, which is to be expected from a band who’s so good at what they do right now. More tracks like “The Return” could have strengthened this disc overall, or just more tracks in general as the album clocks in at only 11 tracks and under 39 minutes. It’s short and loud, so fans hoping for anything more may leave disappointed. This, however, may be the most complete effort from Killswitch yet, and is a fantastic step for the melodic metalcore genre. Don’t hesitate to give it a spin or two, even if you don’t think you’re a metalhead.
9 out of 10 – Download “The Return”
Killswitch Engage is | Howard Jones – Vocals | Adam Dutkiewicz – Guitar, Backing Vocals | Joel Stroetzel – Guitar | Mike D’Antonio – Bass | Justin Foley – Drums
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.4 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
