Dirty on Purpose--Hallelujah Sirens

The sirens emitted by the Brooklyn four-piece Dirty On Purpose fuzz genre lines, and confound any description of them. It’d be easy to pass them off as shoegaze-this or indie-that, and even easier to claim that they’re something like an unholy child of Of Montreal, Yo La Tengo, Headphones, and a bit of U2. That would be foolish though, especially if those band names mean nothing to you. A better way to describe Dirty on Purpose would be to say that they are a perfect blend of shoegaze, indie, pop, and the weirdest dream you’ve ever had.

Dirty on Purpose incorporates brass, pianos, strings, and dreamy vocals masterfully into their songs, along with the standard rock gear. Interestingly, guitars take the back-seat on much of the album, letting the brass, strings, piano, and even bass take the lead. In addition, the guitars usually stay fairly soft and light for the most part, making them the perfect complement to the high and fluffy feeling vocals. Yet when the song falls into the long awaited guitar solo, Dirty on Purpose edges in on shoegazing, employing dreamy effects and masterful guitar playing. "Monument" is a gem of an instrumental song, and could be thrown into the shoegaze bin without a second thought.

"Your Summer Dress" represents the other extreme of the album then, a soft-spoken hopeful melody that feels like summer. Dual vocals meld with overlapping guitar riffs create a warmly beautiful song. "Lake Effect" is soft as well, but is instead drenched in melancholy. Haunting strings wrapped around a subtle piano melody make the song peaceful and reflective, yet sad. A common theme in the lyrics is found here "Better to go far way away / Better to back up your threats than stay / You wanted to go far away."

This theme is found again in the song that truly brings together the softer pieces and the shoegaze influences, "Light Pollution." The lyrics speak again at leaving, going away, "Take the long way home / Take the wrong roads." This reflective and weary style is mixed with shoegaze melodies and heavily warped guitars, wrapping into a style that hints at U2 and pop.

Dirty on Purpose has taken the best of shoegaze, softer indie, and pop and has mixed them all together to create a dreamy, hopeful, melancholy, and just plain brilliant album that defies easy description, and will gain a new one from every listener.

(Published at ComfortComes.com)

Lostprophets--Liberation Transmission

It would be easy to pass these guys off for just another annoying emo band with horrible haircuts, I almost did. In some ways, they are. They do sport the horrible haircuts that look like a muskrat climbed onto their heads to die, and their music mixes pop and punk in an almost formulaic way. Their verses and melodies are very clear cut and easy on the ear, as is vocalist Ian Watkins’ voice. And of course, depressing themes of pain and hurt and all that fun stuff are wrapped in there. All in all, at first glance Lostprophets are a mix of pop, emo, and punk that are ready for the radio.

However, Lostprophets are a step above your everyday emo band. As the Latin on the front of their cover reads, "Nobis, Pro Lemma, Vobis," or, "Us, For Theme, You." Hm, do I sense depth in this album. A turnover of the lyrics finds just that. Recurrent themes of never giving up, inspiration, and motivation are there, along with some of childhood pain, hatred of conformity, and death. Death is most obvious, especially in "4 Am Forever," a slow ballad about the death of a friend. "Why don’t you hear me when I'm calling out to you? / Why don’t you listen when I try to make it through?" Cliché emo, yes, but what is impressive is that themes get stretched across the whole album instead of just remaining in their designated song.

For example, death comes up again in "Rooftops," the masterpiece of the album. "When our time is up / When our lives are done / Will we say we’ve had our fun?" Furthermore, "I have no regrets / If it all ends now / I’m set." Here in this song is where Lostprophets turns it around and saves themselves from being labeled as emo. The motto for the entire album comes out here, "Standing on the rooftops, / Everybody scream your heart out." Sure life may stink and you’ve lost your job and your parents hate you and your friend died and you have a crappy hair cut, but life goes on and do something about it!

This is the most exciting message from Lostprophets. The line "Its not over" is repeated both in "Everyday Combat’ and "Everybody’s Screaming !!!" Themes like this are a welcome change from the down and out, life sucks and its over mentality. They go on even to attack hypocrisy and conformity in "A Town Called Hypocrisy" saying "Cause there’s no pride to be found / When you follow sheep around."

Lostprophets deliver a sad yet motivational message in their appropriately named "Liberation Transmission." Its a breath of fresh air, and deserves the popular attention it will get.

(Published at ComfortComes.com)

Tapes 'N Tapes--The Loon

What band have you listened to lately that can play a country tune, ethnic ballads, blues, swing, ska, and mimic Sonic Youth, Band of Horses, and Franz Ferdinand? Sounds like a hefty load, and Tapes ‘N Tapes album "The Loon" is at first listen. By all fair reasons the collection of tunes should fall apart under the pressure of the diversity of styles, yet after a few listens its plain that Tapes ‘N Tapes comes through a winner.

Tapes ‘N Tapes does a decent job of the straight-ahead indie style in songs like "Just Drums." These songs are bouncy and fast paced, and are predominately drum pieces, which is a common theme in their music. Tempos and rhythms are switched back and forth between choruses and verses, and the all-together effect is one of a quieter and somber Franz Ferdinand. In other songs such as "Manitoba" Tapes ‘N Tapes edges in on soft rock territory conquered by Band of Horses, but manages to maintain their own uniqueness by ending the song with a percussion centered solo that speeds ever faster.

From there things get odd. Ethnic songs and extra instruments are added in "The Illiad" which puts an interesting and different twist on their old game of tempo changes and drum centered melodies. "Insistor" sounds like chase music from a hillbilly flick, yet has impressive lyrics: "So I / Stay here / And fight for lover’s right." Again, as always, the song falls back to quick-paced drums. "Crazy Eights" and "In Houston" edge in on blues and swing styles, while staying indie by throwing in nonsensical guitar solos in the essence of Sonic Youth. Again, odd instruments like chimes are added, and "In Houston" almost loses all instrumentals at one point for pure lyrical nonsense.

Tapes ‘N Tapes is certainly unique. Some of their songs may stick out like a soar thumb, but in a music world filled with covers and copies and thinly-masked reruns, maybe that’s a good thing. Tapes ‘N Tapes does incorporate odd styles of playing in on common indie trends, and that experimentation does deserve recommendation.

(Published at ComfortComes.com)

iLiKETRAiNS--Progress Reform

iLiKETRAiNS has two things that infuriate me. The first is their name, which leads to inevitable cursing when trying to type it out correctly. Most aggravating of all though, is the horrifying vocals that are plastered over an otherwise beautiful album.

The album is full of softly haunting shoegaze-esque guitar licks, steaming into and through symbol crashes and climactic moments of instrumental bliss. ILiKETRAiNS employs the type of pure masterful playing that pits one or two guitars, a drum, a bass, and the listener’s ear together without dance dance beats, annoyingly overabundant effects. Songs like the eight minute "STAiNLESS Steel" (yes there’s that blasted spelling style again) are pure ecstasy to an ear inclined to pure indie guitar solos.

The album loses face when vocalist Dave Martin shows his. He has a deep bass voice that clashes with the airy simplicity of the instrumentals. When his voice is first heard on the opening track "Terra Nova" it is almost laughable. Here we have a stripped down version of My Bloody Valentine, being plastered over by a voice that belongs singing gospel hymns.

Credit is due however for the extremely well done and haunting piece "The Beechin Report" that ends with all instruments stripped away, leaving only Martin’s chanting voice backed by more Martin-styled singers. The listener is shown the talent of the vocalist, but that doesn’t make up for the fact that the same talent has mucked up otherwise brilliant songs.

If you can get past the odd vocals (and the odd spellings) you’ll eat "Progress Reform" right up. As for me, iDONTLiKE.

(Published at ComfortComes.com)

Band Of Horses--Everything All The Time

Seattle two-piece Band of Horses have received a lot of attention for their debut release with Sup Pop, and for fairly good reasons. The album is very soft, haunting, and beautiful. Carefully crafted melodies shape songs that resemble lullabies, and the lone voice of singer Ben Bridwell.

Also, the duo sport more than their share of instruments, including banjo, piano, ebow, and pedal steel. Adding those into the mix, songs become candy for the ear not used to hearing say a banjo in an indie album. Band of Horses melds a country attitude and sound into indie, much in the same way labelmates The Elected and Iron and Wine do.

"Everything All The Time" is a good slow-burner, an album to pop in and chill to. Exquisite and intricate melodies wrap around softly haunting lyrics that live up to the hype of the band. Expect to hear more, both from the band and from the people cheering them on.

(Published at ComfortComes.com)

Withdrawal--The Perfectionist Blacklist

Debuts are tricky things. New bands trying desperately to find their place in the musical world, to gain a larger audience and possibly even pick up a bigger record label. In many cases this makes a band’s first CD jumbled and confusing, touching on a variety of different musical styles, trying to reach out to a variety of different listeners. Withdrawal’s debut album, "The Perfectionist Blacklist", is guilty of this trait.

Rising out of Fullerton, California, the alternative quintet is certainly unique. Their songs all have impressive moments, little climaxes and melodies where the guitars swell and the symbols crash and a chill goes down the listener’s spine. "Oil and Water" is a good example, it begins with a breath-taking guitar solo. Fast, driving, complex, it grabs the listener’s attention. Added in is a fast repeated vocal line, that sounds more like another instrument than someone singing. The song fails to impress however, due to the length and the chorus vocals. The song dives into a slow, somber sonic mush that loses the attention that was gained earlier in the song. In addition, the chorus vocals are delivered in an annoying way, with a whiny fall off after every line. While this is emotion-filled and expressive to be sure, these vocal falloffs lose their effect when they are added to every line.

This is a consistent problem with the album, the band has just added too much. The majority of songs are over four minutes, and do not stay consistent in tempo, volume, or theme. Too much musical wealth has been forced into one song, and the result is a confusing, uninteresting mess. Withdrawal has potential, they just need to find their sound, and stick with it. Songs such as "I, Claudius" and "Oct 23" are worth listening to, but they could be so much better. Withdrawal is unique, has potential, and could be blockbusters if they trim back everything but what is truly necessary.

(Published at ComfortComes.com)

Voxtrot--Mothers, Sisters, Daughters & Wives

Austin is pumping out more than its share of indie successes lately. Sound Team, Cry Blood Apache, Belaire, and now Voxtrot that has just released their second EP, "Mothers, Sisters, Daughters & Wives." The EP is some pretty standard indie rock, incorporating nonstandard rock instruments like a string section and a piano here and there, and even edging in on a jazz combo sound in some songs. The instrumentals are usually secondary to the vocals, but when they come to front such as in the EP’s namesake song, it is bright and bouncy. The majority of the songs are fast-paced and keeps things that way, making them interesting and fun to listen to.

However, what Voxtrot does best is its vocals. Not the lyrics themselves per say, while good they’re not uniquely deep or inspiring, but the rhythm of the vocals is fast paced and wraps itself around the instrumentals. When the guitars peak and things speed up, so do the vocals, and when they slow down to a simple slow-driving bass beat, the vocals get slower and deeper as well. Mostly they’re very fast and winding, if the EP came with lyrics it would have to be at least a dozen pages long for the five songs.

The EP ends on a weak note, the last few songs are slow-burners and repetitive, losing attention gained with the fast-paced roller coaster rides of "Mothers, Sisters, Daughters & Wives" and "Rise Up in the Dirt." While Voxtrot does have a mature and skilled instrumental sound and the lyrics are somewhat interesting, its the rhythm of the vocals that makes them standout in the crowd. Voxtrot is a well-written poem that happens to be backed by skilled artists.

(Published at LosingToday.com)

The Walkmen--A Hundred Miles Off

Rising stars The Walkmen have had a lot on their plate lately. The Washington DC five-some have risen out of former bands such as Jonathon Fire Eater and The Recoys to guest star on the FOX series "The O.C." and being work on their own novel. In addition to all this, the band has finished their third album, "A Hundred Miles Off."

The album is most notable for breaking away from both the band’s and the genre’s standards by using piano, brass, percussion, and other odd instruments in their songs. This can be found nicely blended with standard rock instruments in the opening track "Louisiana" and eerie use of an organ-like keyboard in "All Hands and the Cook."

Waltor Martin’s vocals are the next most notable feature on the album. His Bob Dylan-esque style brings a hauntingly beautiful vintage quality to the album. A chill runs through the listener’s spine during the emotional wails and drones especially in "This Job Is Killing Me." Backing him up are surfer-styled guitars lacing complex, unique, and bouncing drum beats. When all this is blended efficiently with horns and keyboards and tambourines the result is a progressive, clearly defined song rhythm that makes "A Hundred Miles Off" simply a fun, interesting, album to listen to.

If one can accept hearing horns backing surfer guitar riffs and Martin’s strikingly unique vocal ability, "A Hundred Miles Off" will be a gem of a find. The songs are well-crafted, well-balanced, and just plain good. The album, the band, and the future for both look bright and promising.

(Published at ComfortComes.com)

The Sleepover Disaster--The Oceanographer EP

After playing together for 8 years, The Sleepover Disaster has released their second EP, a forerunner to their full length album to be released later this year. Veteran shoegazers from the heart of California, The Sleepover Disaster has effectively blended old and new in "The Oceanographer EP."

The release kicks off with "Hold My Tongue," and immediately we know what we’re dealing with. An odd mix of older material, such as My Bloody Valentine and even slices of distortion and feedback from the grunge era, and newer material that strongly resembles bands like Boy Kill Boy. "Hold My Tongue" is by far the most accessible track on the EP because of this blend of their deeper shoegaze roots and more pop styles.

Beyond that in the record however, its more heavy duty shoegaze. Songs like "Cathedral" and "Oceanographer" remind one strongly of My Bloody Valentine and Catherine Wheel. The Sleepover Disaster has been around for awhile, so it’s no surprise their sound is tight and mature. These guys know what they’re doing, know the sound they want, and pull it off quite well.

For a shoegaze fan, "The Oceanographer EP" will be a gem of a find. For non-shoegazers, this could be the recording that gets you addicted to the psychedelic fun.

(Published at ComfortComes.com)

The High Violets--To Where You Are

After working for almost 3 years on an album, you expect the product to simply blow you away. The High Violets simply do that, whether you’re expecting it or not. These soon-to-be-stars of shoegaze have headlined at The Shoegazer’s Ball for 3 years running, been added 2nd most on CMJ charts, and have been credited for helping the new shoegaze movement. "To Where You Are" is the band’s second album, and lives up to the hype.

Wow. So why’s everyone making such a big deal about The High Violets? Because they exemplify what shoegaze should be. Songs like "Cool Green" have psychedelic dreamy effects to them, added with a touch of distorted guitar, and iced with the truly ethereal voice of Kaitlyn ni Donavan. That can not be stressed enough, her vocals are soft, flowing, angelic, and the perfect touch to an otherwise standard shoegaze band.

This album effectively uses the multitudes of effects that shoegazers are famous for, both in the instruments and in the vocals. The result is a spinning world that’s really not quite of this world. One could easily put The High Violets’ style up with My Bloody Valentine and Cocteau Twins.

Lush instrumental worlds are crafted by The High Violets, in a way that is hard to describe. They create starry worlds that rush and spin and rotate around the sensual vocals. The High Violets live up to the hype and probably deserve more. They could easily be the herald-bearers for a new shoegaze era, and we should hear more of their name in the future.

(Published at ComfortComes.com)

Split Habit--Put Your Money Where Your Mouth Is

Self described Apocalypse Pop rockers Split Habit hail from Chicago. I’m not sure what the "Apocalypse" refers to in their description, but they certainly are pop. They’re a mish-mash of many bands now gracing popular radio stations, and jump from one to the other between songs.

"Ms. Vandersanden" almost sounds like an All American Rejects rip-off. The high-pitched vocals, simple themes, and even simpler instrumentals are quite dull, and have all been done before. The songs all have pretty much the same formula, verse here, chorus there, solo in between.

Split Habit tries to mimic bands like All American Rejects, Motion City Soundtrack, and Jimmy Eat World but just comes off as a bad rip-off. Give them a try if you like these bands, but otherwise steer clear.

(Published at ComfortComes.com)

Sound Team--Movie Monster

After tempting us with two exciting singles, Austin rockers Sound Team have completed their first album, "Movie Monster," and as the name suggests, its a beast. "Your Eyes Are Liars" is the clear blockbuster on the album with its dance club bass beat laced, or rather contrasted, with the raspy voice of lead singer Matt Oliver. The rest of the album continues in much the same way, dance-floor themed fun that resembles fellow artists Clinic and The Walkmen. The lyrics are generally on the edge of emo, self searching and dealing with relationship woes. The instrumentals usually take a back-seat, but are unique (the band has, count ‘em, two keyboards), ambient, and quite delicately spun. While parts of the album slow to a seeming grind, Sound Team has put out a generally good debut, and I wouldn’t be surprised to hear "Your Eyes Are Liars" on the radio. If you like the dance dance path that indie has taken lately, Sound Team will be a gem of a find.

(Written for RockPile Magazine)

Sonic Youth--Rather Ripped

The long awaited new album from the masters of underground rock is here. Everything you might expect from Sonic Youth is here. Complex twisting riffs, the classic guitar strum, artistic and at times confusing lyrics shared by Thurston Moore and Kim Gordon. However, those expecting a radical musical movement out of this album will be disappointed. Those expecting some classic Sonic Youth jams will not be.

The best track on the album from an musical standpoint is "Pink Steam," which is pure instrumentals for 5 out of the 6 total minutes. It is full of the skilled guitar playing Sonic Youth is known for, along with the half laid back feel of the rhythm section. The solos are excellent, adding a touch of distortion there and a touch of fuzz here, showing obvious maturity and musical skill, and creating a pure instrumental gem. Leave this one on repeat.

The entire album has a laid back feel, making it almost dull. "Jams Run Free" is slow moving, uneasy, and laced with Gordon’s stretched voice. "Lights Out" is the same way: slow moving and eerie. Finally there’s "Rats" which is again quieter, but has hints of The Doors, both in the vocals and instrumentals. Odd to hear from Sonic Youth, but odd is what Sonic Youth is about isn’t it?

Don’t come to "Rather Ripped" looking for a roller coaster ride of underground bliss, but late at night when the lights get turned low and you’re recovering from a long day, pop this in. The slow moving songs have a beauty to them, the lyrics are an enigma to unravel, and an ear can easily find a guitar note there, or a vocal croon here that sends shivers down the spine. A slow burner from Sonic Youth, but one that burns well.

(Published at ComfortComes.com)

Sleeping At Last--Keep No Score

Riding off the success of their last album "Ghosts," Chicago rockers Sleeping At Last have opened for Zwan, toured with Switchfoot, Yellowcard, Something Corporate, and The Format, recorded their own music video, and making an appearance on Fuse TV’s "IMX." The end of the "Ghosts" roller coaster was the release of their second album, "Keep No Score."

Sleeping At Last again shows why they stand out in the Chicago music scene. They rely heavily on stringed instruments, piano, and other effects to create orchestral swells, along with the standard rock gear. In addition to this, singer Ryan O’Neal’s voice edges in on one of a gospel singer, reaching impressive full-bodied climaxes and emotional holds. Sleeping At Last uses this to create an emotional canvas, from low songs about death like "Needle & Thread" to uplifting tunes about moving on with life such as "Levels of Light."

The lyrics are well-written, and hold obvious Christian themes. Death is another theme, and the two are coupled well. Heaven is often mentioned, as well as angels and prayer. The songs do not come off as preachy however, it is just the right mix to add religion to the traumatic events Sleeping At Last deals with in their songs.

However, as most of the songs are heavily emotional and tend to be slow-burners, the album is difficult to get through for one looking for more upbeat, pop-like songs. The album is incredibly well-crafted though, it is deep, uplifting, and though-provoking. Sleeping At Last has created their masterpiece, and should expect a roller coaster larger and more exciting than their last.

(Written for RockPile Magazine)

Shade--Forever

Pittsburgh shoegazers Shade are rising fast. Following the success of their first UK single "Keep Them Shouting" released earlier this year, Shade is putting out their new 7" single "Forever."

"Forever" is an interesting song. The song centers around a chorus that pulls back everything except a subtle bass-line. The lyrics are uninteresting as a whole, "Forever, forever / Forever my friend / Forever, forever, forever." The instrumentals are fantastic however. Out of the chorus drives a quick little drum intro that shows enough maturity to add the flair, but hold back and not make it obnoxious. Dual guitars chase each other up and down with quick Sonic Youth-like riffs that by all rights should be more like a sonic mess. Instead, the ear wanders from one part to another, with the varying part only filling interesting background. The result is an interesting and exhilarating song, backed by dance-beat bass, that one finds hard to sit still to. Leave this one on repeat.

Moving on to the B-Side, "You Are The Racer" provides creepy keyboards and a bit more lyrical depth. Comparisons have been made to The Doors and they are not far off. The keyboard is the lead instrument in this song, which is an interesting change. The riff is eerie, and when coupled with the slightly raspy voice of vocalist Matthew Stuart the song carries a feeling of uneasiness. "You Are The Racer" is less-exciting than "Forever" but just as good, and perhaps more mature because of the feeling it conveys through unconventional instruments and a greater depth of vocal ability.

Shade has done more with two songs than some bands do with an entire album. They’ve shown musical maturity, talented playing ability, and potential for the future. If you can’t get your hands on this UK single, check out some of their older stuff at their website (http://www.shaderocks.com/).

(Published at ComfortComes.com)

Rock Kills Kid--Are You Nervous?

Imagine the reincarnation of a young Bono straggling into The Killers recording a record. Rename it all Rock Kills Kids and call the album "Are You Nervous?" and you’ve got a dancin’ good time.

Coming out of California, Rock Kills Kid is based around the vocal talent of Jeff Tucker who is remarkably similar to the mentioned Bono even before one reads the numerous reviews that cite his talents as such. The entire album has that rise-up-and-make-your-voices-heard feel to it, coupled with strong dance themes, such as a hard groovy bass line and ear dazzling effects. "Life’s A Bitch" in particular is hard to sit still to. The lyrics may not hold that much depth "Life is a real bitch / But we keep movin’ on / Life is a real bitch." Inspiration is to be looked for somewhere else, however the instrumentals are a dazzling mixture of electronic effects and standard rock gear. The bass guitar is a big player in the majority of the songs, as most being with a funk bass solo.

The vocals are the most strong though, not because of the words that Tucker is singing, but how he sings. Its just normal enough not to offend the ear, but still holds enough uniqueness to get your attention. Those who love the dance influence on rock and even those who don’t will eat this album up.

(Published at ComfortComes.com)

Radio 4--Enemies Like This

Following the post-punk meets dance movement that has blasted its way out of New York, a small band named after a P.I.L. song has grown and is growing into increasing popularity. "Enemies Like This" is Radio 4’s fourth album release, and provides more of the distorted guitars and heavy bass beats that are perfect for underground stages as well as the dance floor.

The strongest track on the album is the namesake, "Enemies Like This." It is a perfect combination of post-punk and dance. The repeating guitar melody is distorted, fast-paced, and would have no problem finding its way into heavier rock. Wrapped around this however is a bouncy, ever-present yet forgotten bass-line and light, quick drum riffs. Slapped over the top are simple rhythmic vocals that are more pop than anything. The total effect is an interesting mix of indie rock, dance, and pop. While interesting, it is not unique, and reminds one of recent bands such as The Bravery or The Killers. The bassline to "As Far As The Eye Can See" for example is almost a rip-off of the one in The Bravery’s "Public Service Announcement."

Despite this, Radio 4 mixes many different styles and genres in the album, and several can be found in a single song. "All In Control" includes a standard rock-riff guitar, but also features a bass beat similar to tribal drums that are matched by the rhythmic vocal chants The overall effect is a pleasant blend of modern rock and an almost Africa-like tribal groove. "Ascension Street" contains numerous percussion instruments, including steel drums. That’s right, steel drums. The song is strongly rastafarian, and is again a interesting blend of rock using less-common genres.

Radio 4 provides a sophisticated punchy album. Most songs twist with genres and dance beats, all laced with a silly bass line that has at least one listener bouncing in his seat. Mainly though, "Enemies Like This" is just plain fun to listen to. Any fan of rock, or dance, or yes even rastafarian will want to check this album out.

(Published at ComfortComes.com)

Burden of a Day--Pilots and Paper Planes

My my, another punky Christian screamo band. The band, known as Burden of a Day, comes out of Sarasota, Florida and is releasing their debut album, "Pilots and Paper Planes." The band plays with mildly noticeable Christian themes, more noticeable is their playing style modeled after self-described influences such as Mortal Treason, Chasing Victory, Staple, Anam Cara, and Forever Changed.

The description of screamo is a vast understatement for Burden of a Day. Every song includes the same headache-inducing screamed vocals, making any words, or music for that matter, hard to hear. If you like that sort of stuff in your music, I think you’ll be all over Burden of a Day, the vocals at least. The instrumentals are drowned out by the vocals, which is probably a good thing. They are all distorted, and stay distorted, which is dull. The guitar parts stay within the confines of power chords, varying only into quick little single-note runs. The first song on the album "For Tomorrow We Die" hits hard, and even the non-screamo fan is at least impressed by what the band has created. By the third track, you’ve heard "For Tomorrow We Die" three times, under different names. The songs all sound alike, and the album becomes increasingly boring because of it.

Most importantly though, Burden of a Day sounds like every other screamo band. They’re talented no doubt, but not original, and that’s a major downfall. A screamo fan may find some interest in "Pilots and Paper Planes", but for the listener who enjoys actual singing, Burden of a Day is the Christian band that Jesus forgot.

(Published at ComfortComes.com)

Boy Kill Boy--Civilian

The highly anticipated debut album release from the London rockers Boy Kill Boy hits shelves in summer, and is best described as a contemplation of current indie and post-punk rock. The bright and bouncy songs are a mish-mash of the type of sound that most people think of when they hear "indie." The instrumentals and rhythms of the songs are a mix of Franz Ferdinand, The Killers, and The Bravery. Songs such as "Suzie" draw from the choppy vocal rhythm of Fall Out Boy, but sound more like The Killers. Dance beats and extra instruments remind one again of The Bravery and Sound Team.

Boy Kill Boy is very stereotypical in this sense, there was nothing new or unique about the album, just a good mix of indie, post-punk, and dance. The lyrics are simple and typical, mainly about relationships, and not happy ones. The vocals edge in on annoying at times, and some songs are repetitive and boring. Listeners, especially those who like some but not all of the bands that influence Boy Kill Boy, will find some songs that just rub them the wrong way.

Although Boy Kill Boy is simply a puddle of current popular indie rock, they’re good at being a puddle. The album is altogether good and fun to listen to. Their sound is mature and professional, and any fan of indie-meets-punk-meets-dance will find a song or two here that will have them dancing in their seat, drumming on their steering wheel, or banging their head.

(Published at ComfortComes.com)

Boris--Pink

Veteran underground rockers Boris are back with their new album, "Pink." Sticking with their hard-rocking alternative sound, "Pink" delivers a punchy package that’s sure to please old fans and draw new ones.

Boris has been playing the underside of rock since 1996, so there’s no surprise that "Pink" sounds on the most part mature and refined. There are songs however that did not impress, reminding me of a rambling old man, and losing my attention. "Afterburner" for example should be ended half way through, the last two minutes are repetitive, winding, and quite boring. Also, the last thirteen minutes on "Just Abandoned My-Self", a hummer at eighteen minutes, are nothing but feedback. While it got my attention and was certainly very unique, it becomes annoying considering the how incredible the first five minutes were. Also, if you’re looking for good, meaningful vocals and lyrics, look elsewhere. Most of the vocals are distorted and are more like another instrument in the song rather than lyrics.

Enough complaining, because this album is very good. The instrumentals are amazing, reminding me of a mixture of grunge bands like Nirvana or Mudhoney and The Velvet Underground. Songs like "Farewell" have dazey, almost shoegaze-esque styles played with heavy distorted guitars. The songs are very hard-hitting, fast, and energetic. "Pink" includes blazingly fast guitar solos, indistinguishable yet melodic vocals, and a total experience that will have you banging your head. Most impressive is the complexity and many levels of instrumentals. Every time I listened to this album I found a new guitar part, new bass beat, or weird effect that I hadn’t heard before. This level of instrumental maturity made a fan out of me, if only the band would take out the minutes upon minutes of boring and annoying repetition.

(Published at ComfortComes.com)

The Futureheads--News & Tributes

I have to say, these cheeky boys from Sunderland got me. Their new album starts with "Yes No", beginning very quietly, so quiet I cranked my stereo. Ah but that‘s where they get you, the drum beats come in loud and hard, and the guitar joins it suddenly, shaking my walls. So begins "News and Tributes", the sophomoric release by post-punk rockers The Futureheads. "Yes No" continues into a rousing, powerful sonic blast of "YES! / NO!" and is an excellent introduction to the silliness that will follow throughout the album.

"Fallout" is the third track, hitting hard with drumbeat-like guitar chords, backing the imagery-packed lyrics. "After days in the dark / The light broke through / And it was visible to see you." Next comes the single of the album, "Skip To The Last", which is fast paced and easily stuck in one’s head. In quite obvious relationship woes, the lyrics desire to know the end before the beginning, "Skip to the last paragraph / Before we start / See the happy ending / Or the broken heart." With bouncy backing vocals, this song is easily the best on the album.
Other songs are worth mentioning however, for pure post-punk hard hitting instrumentals,

"Return of the Beserker" is a gem. Fast non-relenting guitars supported with hard beating drums create a strong sonic attack, catching you off guard when its all dropped for the naked, solitary guitar solo. "Burnt" is also particularly good, switching to sobering acoustic guitars. Again, the lyrics are bouncy and very pop, "Got burnt, third degree / Never learned my lesson but forgive me please / Nothing lasts forever, nothing is free / Please remember, to let me down gently."

The Futureheads’ strength lies in coupling cheeky pop attitudes with post-punk instrumentals. They get their songs stuck inside your head and do not let go. Insightful and memorable at their best, and silly everywhere else, The Futureheads second album should be a well-welcomed hit for those who enjoyed their debut.

(Published at ComfortComes.com)