Album Review: Various Artists- Punk Goes Pop 5

Greetings, children. Donald here. Look, I'm not going to sugar-coat this: I hate the Punk Goes series. Sure, there are usually a couple good covers on every release, but when you consider the fact that it's only a tool for Fearless Records to pretend that record labels are still relevant in today's industry, and half the time it's just a bunch of artists covering the biggest pop hits of the year to gain a few fans the cheap, uncreative way, the series just doesn't have legs to stand. Think about it: there's a reason bands like Brand New, Circa Survive, The Gaslight Anthem, Underoath, and bands who pride themselves on artistic integrity have never contributed to the series. Even bands like A Day to Remember, Bayside, and The Devil Wears Prada have done one cover, realized it was a joke, haven't been back since. Hell, on Punk Goes Pop 5, Craig Owens couldn't even get the rest of Chiodos to help him with his cover of Coldplay's "Paradise." I know what you're thinking: it's something bands do for fun, and it's not meant to be taken this seriously. That's fine. It just gives me an excuse to not take my review of this mess seriously. However, given how especially bad some of these covers are, I knew I didn't want to suffer alone. So, for the first time in Keep Calm  and Carry On history, Craig and I are co-authoring an album review. Only problem (for me) is, Craig hated this so much that he didn't want to waste his words on it (he actually said that, out loud), so he decided to use .gifs to describe his feelings for each track. So, for better or for worse, here's our review of Puke-uh, I mean, Punk Goes Pop 5.

Bruno Mars' "Grenade," as performed by Memphis May Fire

Donald's Take: Memphis May Fire look to keep the momentum going from a solid showing at this summer's Warped Tour by offering up their take on this Bruno Mars mega-hit. While they sure sound angrier than Bruno Mars's emotionally-charged original, they don't come anywhere close to sounding better.

Craig's take:

Fun.'s "Some Nights", as performed by Like Moths to Flames
Donald's Take: I don't even know who I'm more mad at: Like Moths to Flames for even attempting to cover this incredible song (one of the best of 2012), or Fueled By Ramen Records for actually letting LMTF take a hack at it. This is literally one of the worst things I've ever heard.

Craig's take:

Carly Rae Jepsen's "Call Me Maybe," as performed by Upon This Dawning
Donald's take: Carly Rae Jepsen's summer anthem gets a screamo makeover, loaded with more autotune, breakdowns, and some extra profanity. It's as bad as you think it is.

Craig's take:

Gotye's "Somebody That I Used to Know," as performed by Mayday Parade ft. Vic Fuentes
Donald's take: Every time Fearless does one of these, Mayday Parade is a band you can pencil in to be on it. That being said, their cover of Gotye's unexpected phenomenon is surprisingly solid, as the band successfully apply their pop-rock stylings to the song. The band take a HUGE creative risk by enlisting Vic Fuentes to do Kimbra's part, but it pays big dividends, as Fuentes's nasally croon comes across wonderfully. Everyone was probably expecting Mayday Parade to enlist Cassadee Pope, Tay Jardine, or Sierra Kusterbeck to do the part, but to see them do something from left field and actually have it pay off almost makes this whole thing worthwhile.

Craig's take:

The Wanted's "Glad You Came," as performed by We Came As Romans
Donald's take: I think this is my favorite of the .gifs that Craig found, so I'll let it speak for itself.

Craig's take:

Michael Jackson's "Billie Jean," as performed by Breathe Carolina
Donald's take: I really can't even believe a band like Breathe Carolina had the audacity to cover the King of Pop. Poor taste from a poor band.

Craig's take:

Rihanna's "We Found Love," as performed by Forever The Sickest Kids
Donald's take: This is a song that Forever the Sickest Kids could have knocked out of the park, but between the hype man banter and the screams (yes, a Forever the Sickest Kids song that has screaming in it), it goes right back to the pool of mediocrity with the rest of the songs.

Craig's take:

Justin Beiber's "Boyfriend," as performed by Issues
Donald's take: Chances are, this is the first you've heard of Issues, the new project of Tyler Carter and Michael Bolm, the outcasted co-vocalists formerly in Woe, Is Me. If you listen close enough, you'll probably come to the conclusion that not a lot has changed, which means that the awful band Woe, Is Me has caused the birth of Issues, who are well on their way to being another awful band. And in these circumstances, we all lose. Especially the Biebs.

Craig's take:

Cyndi Lauper's "Girls Just Wanna Have Fun," as performed by The Maine ft. Adam Lazzara
Donald's take: After their most recent full-length Pioneer dropped, people were introduced to The Maine as a band in the process of reinventing themselves. Their cover of "Girls Just Want to Have Fun," a song they probably ripped off on an earlier album (remember "Girls Do What they Want"?), but this creative take on the track is the best one you'll hear on Punk Goes Pop 5. The band's improvements have been made note of by Lazzara, who was kind enough to lend his vocals to the track, and when he harmonizes with John O' Callaghan, it's something special. The Maine have pleasantly surprised everyone with this cover. Kudos.

Craig's take:

 Maroon 5's "Payphone," as performed by Crown The Empire
Donald's take: The first band with a generic (verb) the (noun) nickname produces a generic screamo cover of a generic pop hit. This all feels so... redundant.

Craig's take:

Coldplay's "Paradise," as performed by Craig Owens
Donald's take: I'm a pretty jaded dude, but I somehow found a way to have some hope for Craig Owens's cover of "Paradise." He  had the voice for it, and it's a pretty good song. There's just something missing here, though. The cover itself is pretty straightforward, which is fine, but there's something left to be desired.

Craig's take:

G.O.O.D Music's "Mercy," as performed by The Word Alive
Donald's take: The Word Alive have attempted to cover a Kanye song before (they did "Heartless" on Punk Goes Pop 3), and that was bad. This one's worse, and I didn't even think that was possible.

Craig's take:

Gym Class Heroes' "Ass Back Home," as performed by Secrets
Donald's take: Aren't Gym Class Heroes an indie band? Shouldn't they be safe from these horrors? Guess not. You're not going to believe this, but this one's really bad, too.

Craig's take:

The Bottom Line, Donald's take: In a series of releases that has become known for being substance-less, Puke Goes Pop 5 stands out as a simple cash grab by a label that's only trying to push the current "it" scene bands. If you really want to listen to the whole thing, be my guest, but I'm telling you right now, the only three covers worth listening to are The Maine's cover of "Girls Just Want to Have Fun," Mayday Parade's cover of "Somebody that I Used to Know," and Craig Owens's cover of "Paradise," in that order. You've been warned.

The Bottom Line, Craig's take:

Recommended if you rock: Root canals, people who end 9 out of 10 sentences with the word "bro," bands who label themselves "punk" but totally aren't, walking through the rain without an umbrella, and destroying the integrity of the few good pop songs there have been this year.

Album Review: Bayside: Covers, Volume One

Cover songs sure do take a beating nowadays. What was once a way for a band to pay homage to the artists that influenced them has become, more or less, a cash-grabbing, attention-begging method for the flavors of the month in metalcore to hack their way through the most overplayed Top 40 radio hits. While Bayside are a little guilty of that (their cover of Sean Kingston's "Beautiful Girls" on Punk Goes Pop 2), they've certainly built up a reputation with their cult-like following as a band who makes music for no other reason than to bring people together, and with what will hopefully be the first in a series of many more covers EPs, Bayside are giving their fans an intimate look at what music inspired them to be a band.

Covers-Volume 1 begins with a cover of The Ronnettes' "Be My Baby," which is an interesting selection for the band, considering the original version of the song was done with female vocals. However, Anthony Raneri shows off his ever-improving vocal range on the track, and each chorus is more infectious than the one that came before it. Elvis Costello's "Oliver's Army" is up next, and if you didn't know any better, the song would fit right in between "Howard" and "Have Fun Storming the Castle" on the band's 2008 effort Shudder. The band go even further from the path they've beaten down for themselves on their cover of Del Shannon's "Runaway," featuring Raneri's most challenging vocal performance, and the vocal melodies are something new to the fray for the entire band as well. The band finally take a swing at another rock band's track by covering Van Morrison's "Wild Night," and the vocal melodies are at their best on the track. Jack O' Shea really gets a chance to shine on "Wild Night," as his guitar work is once again top-notch throughout the EP.

Covers- Volume One culminates with one of the best covers you'll ever hear, as Bayside tackle Billy Joel's "Movin' Out (Anthony's Song)." While there's a little bit of unintentional humor in the selection of the track (Anthony Raneri singing "Anthony's Song"?), there's nothing funny about this hard-rocking cover that could have easily been a b-side or bonus track for Bayside's landmark 2011 effort Killing Time. Easily the artist most hallowed that Bayside chose to cover, the band does Joel some serious justice, adapting the track into their own while still paying homage to how good the original is.

Covers have taken a beating recently, thanks to the current and past Fearless and Rise Records rosters, but if there was any band that could release a series of covers that doesn't come off as a gimmick, it's Bayside, and with Covers- Volume One, they do just that. Each track sounds like the band wrote them, and while they chose to cover songs that many of their younger fans won't recognize, you don't need to listen to the originals to be able to enjoy Bayside's unique takes on each one.

The Bottom Line: It's Bayside. If you've liked something from them before, this set of five covers will not disappoint. So, what are you waiting for?
Recommended if you rock: New Found Glory's From the Screen to Your Stereo, Tokyo Police Club's Ten Days. Ten Covers. Ten Years., and, uh, Bayside.

Album Review: The Swellers- Running Out of Places to Go (EP)

The Swellers are only two full-lengths into their career, but their path thus far has been as interesting as any band that's been around for much longer than they have. Signing with Fueled By Ramen Records to release their debut Ups and Downsizing, the band were instantly on everyone's radar as the next pop-punk band to break through into the mainstream. They had the backing of a great label with a sterling track record (it was Fueled By Ramen that brought us the likes of Fall Out Boy and Paramore), and an album filled with anthems like "Fire Away," "Dirt," and "2009." However, their follow-up Good for Me failed to meet the expectations set for the band, and their relationship with Fueled By Ramen ended. Now label-less, the band have emerged with an EP titled Running Out of Places to Go, and provides the perfect soundtrack for their situation: a band at a crossroads.

Running Out of Places to Go, put simply, is exactly what you'd expect to hear from The Swellers: fast-paced tracks with catchy choruses that find frontman Nick Deiner adding his signature yell over the band's punk-leaning rock tracks. However, the band's current standing without a label to call home seems to have added an even higher sense of passion and urgency than what the band have showed in the past, which is certainly saying something. "Hands" begins with drummer Jon Deiner opening the EP with an interesting stick-tapping routine, and starts off a little slower than the rest of the tracks. The track bursts open by the time the first chorus begins, and the gang vocals accent Nick Deiner's vocals perfectly towards the end of the song. Up next is "Let Me In," which opens in grand style before breaking into a blistering set of verses. "Get up, and don't waste my time," Nick Deiner sings in the chorus, speaking of getting over a recent break-up. Nick shows fear in being alone, but his lyrics add a hint of optimism, which accents the soaring guitars he and Ryan Collins add to the song.

Nick Deiner's vocals open up "Bad for Me," another song that seems to be about the breakup featured in "Let Me In." Where "Let Me In" shows optimism in moving forward, "Bad for Me" shows the band venting a little more anger about the situation. "Making Waves" is the fastest track of the EP, clocking in just above two and a half minutes, and picks up the energy to its peak. Jon Deiner and bassist Anto Boros power the track, and Nick Deiner comes off angry as ever on the track as well. The EP closes with a title track, which slows down the pace significantly from "Making Waves," but rather than sucking the energy out of the EP, "Running Out of Places to Go" proves to be the most emotional Swellers track yet. The title track builds on what the band did on all the tracks prior to it, and sends the EP out in a blaze of glory.

While Running Out of Places to Go is likely a stop-gap between full-lengths for The Swellers, the band still find a way to accomplish something great on it: they've translated the energy that they've become known for to a new level of emotion due to their current situation as a band to create songs that not only provide a snapshot of where the band's at, but where they're hopefully headed. They may never be selling out arenas like a few of the bands they once shared a spot on Fueled By Ramen Records, but there's reason to believe that The Swellers still have their best work ahead of them.

The Bottom Line: The Swellers give us a taste of what's to come, and it ends up being really, really good. If you're a fan of the band, you'll love Running Out of Places to Go, even if it makes the wait for the band's next full-length a little more unbearable.
Recommended if you rock: Four Year Strong, Make Do and Mend

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Album Review: Coheed & Cambria- The Afterman: Ascension

They've written albums that spanned multiple universes. They've toured the world. They've made a 4-part live DVD spanning what was their entire career at the time, complete with a documentary and some of the best songs modern rock has seen in the last decade. They've gone from an indie label to a major label, and were actually able to stick around that major label for more than an album (think about it, how many other bands can say that?). They've captivated the minds, hearts, skin, and souls of countless crowds of fans across the globe. But if there's one thing Coheed & Cambria has never done, it's compromise their unique artisitic vision. Even if some think Year of the Black Rainbow was a misstep, but for what the band wanted to do with the end of the saga of The Amory Wars, it was the epic, stadium-ready ending to a career-spanning story that only their minds could have even conceived. Now, Coheed & Cambria are in a state of near-reinvention: they've got a new double-album coming out that they've chosen to self-release, and given the varying levels of disappointment Black Rainbow and No World for Tomorrow were received with, the band's career may be in the balance of what they've been able to come up with in the newest installment of The Amory Wars, the journey of The Afterman.

The Afterman: Ascension is the first of the two-album set, and though it only contains nine songs, they are some of the best Coheed has come up with since Good Apollo, I'm Burning Star IV, Vol. I. Beginning as Coheed's albums often do, with an instrumental scene-setter, we are introduced to the Afterman, an explorer who appears to be investigating the keywork after the Amory Wars have ended. His journeys lead him to enter the lives of four people, the first of which is "Domino the Destitute," who is the subject of the nearly eight-minute proclamation from Coheed & Cambria that they've gone back to what people loved about them in first place: monstrous guitars thrown in with Claudio Sanchez's unmistakable voice and storytelling method of lyrical content, wrapped neatly into tracks that seem pleasantly neverending. "Domino The Destitute," "Holly Wood the Cracked," "Vic the Butcher," and "Evagria the Faithful" make up the four "Entity Extractions," which are an interesting twist in Sanchez's story, as he writes from the perspectives of people other than Coheed and Cambria. These multiple perspectives are Sanchez's greatest experiment, and they never come across as fake; in all actuality, they help him purvey the emotions that drive the meanings of the songs with even more clarity, and show a depth to the story that seemed a little lacking on Year of the Black Rainbow. The Key Entity tracks are reminiscent of the Willing Well tracks from Good Apollo I, and even the Velorium Camper tracks from In Keeping Secrets of Silent Earth: 3, but because of the change of pace Sanchez provides on Ascension, there's a lot more weight to this particular series of tracks that come to define the album.

Musically, as always Coheed & Cambria are peerless. The guitar tandem of Sanchez and Travis Stever has always been the band's musical highlight, and they live up to their reputation yet again. However, the musicianship received a welcome addition in bassist Zach Cooper, who is replacing original bassist Mic Todd, who was removed from the band for less than amicable reasons, and an unlikely reintroduction of the band's original drummer Josh Eppard, who left the band prior to No World for Tomorrow. Eppard and Cooper are faced with the dubious task of backing up the storied guitar tandem of Sanchez and Stever, especially considering it's their first release working with one another, but the two work cohesively together, as Eppard's drumming harkens back to In Keeping Secrets, which fans of "old Coheed" will love, while Cooper powers each track by not overdoing anything, and finding his way to cooperate and complement the chemistry that had already been established between the rest of the band members. Cooper's effort is one of the most commendable this year, as he entered a situation riddled with controversy and rather than adding to it, he simply let his music do the talking, and helped Coheed re-establish themselves as one of the most forward-thinking bands on earth.

Though the Key Entity tracks are the highlights of the album, the tracks they are littered between add great depth to the beginning of the saga of The Afterman. "The Afterman" features a somber opening with Sanchez crooning over a great guitar riff and Eppard's drumming, before the string arrangement arrives and ends up adding a new layer to the song. "Mothers of Men" starts off with a riff that would have fit in perfectly on No World for Tomorrow, and "Goodnight, Fair Lady," evokes a similar reminder to Good Apollo I. These tracks don't feel like lazy re-hashings, though, but expansions on where the band has come from in order to show where they want to be. The gloss and more straight-up rock feel that Year of the Black Rainbow was lined with has been combined with what made Coheed's previous releases so special, and the result is an album that feels expansive, validating, and all-encompassing.

The Bottom Line: There is something on The Afterman: Ascension that any fan of Coheed & Cambria will enjoy. Though there are only nine songs, they all do a wonderful job in building on one another, which creates even more anticipation for The Afterman: Descention, which is due out next February.
Recommended if you rock: I honestly don't think there is any band I can list here other than Coheed & Cambria.

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Album Review: All Time Low- Don't Panic

I don't know. You don't know. No one knows, really. No one will ever be able to offer any sort of explanation as to why All Time Low aren't currently topping the Top 40 radio charts. No one will understand why Dirty Work, compared to the rest of the band's work, as so devoid of the charisma and likability the band have built such a strong following with over years. All Time Low themselves probably don't know how things went so awry so quickly during their stint on Interscope Records. But this is not a review that is meant to dwell on the past. Rather, it's about returning to form, and building off of what made All Time Low the most endearing band in pop-rock. Back on Hopeless Records, All Time Low went back to the basics, and have emerged with the biggest redemption album they could have possibly made. Don't Panic, the All Time Low you know and love is back, and they sound bigger than ever.

Don't Panic opens with the band's latest anthem "The Reckless and the Brave," a three-plus minute proclamation that the band have emerged from the ashes of a mishandled situation. "The Reckless and the Brave" is the arena-ready track that Dirty Work was lacking (because, let's be honest, "I Feel Like Dancin'" was just not up to snuff), and starts off Don't Panic perfectly. Following that is "Backseat Serenade," which harks back to the band's themes of growing up and having feelings change that lined their often-heralded EP The Party Scene, with the gloss that made Nothing Personal so irresistible. "If these Sheets were States" is the perfect partner for "Backseat Serenade," building on its predecessor wonderfully, while adding even more flair to the band's arsenal. "Somewhere in Neverland" soars, showing Alex Gaskarth's musings on the threat of leading a normal 9-to-5 life while creating yet another catchy chorus.

All Time Low branch out to their friends much more than we're used to seeing from them on Don't Panic, as they feature Cassadee Pope (on "Backseat Serenade"), Bayside frontman Anthony Raneri ("So Long, Soldier") and, most surprising of all, former Acceptance frontman Jason Vena ("Outlines"). While Pope and Raneri's features are mainly for harmonies, their fingerprints are all over the tracks they're featured on, as "Backseat Serenade" has the pop sensibilities that Pope was known for when she was with Hey Monday, and "So Long, Soldier" benefits from Raneri's punk background, as it is the most fast-paced track on Don't Panic. Vena's presence on "Outlines," however, proves not only to be the highlight of All Time Low's collaborations on the album, but the top track on the album. The track was the only co-write on Don't Panic (for reference, Dirty Work was littered with them, and we all know how that worked out), and Vena's vocals are not only a welcome addition, but they hark back to the days when Acceptance were poised to (and should have) become the biggest band in the world. Alas, we must settle for "Outlines," for now, which is fine, because it's one of All Time Low's best songs of their career.

After "Outlines" is the only lull of the entire twelve-song stretch, as "Thanks to You" is faced with dubious task of backing up the album's brightest gem, and "For Baltimore" feels like a Nothing Personal B-side. However, "Paint You Wings"picks the pace up wonderfully, and the band's recovery on the back end of Don't Panic is almost as impressive as the album itself, a bounce-back the band, and pop-rock as a genre, sorely needed. "So Long, and Thanks for the Booze," with it's final tongue-in-cheek stab at Interscope, as Gaskarth lets it all out to dry, shouting "You've got to let me be me!" If Don't Panic was any indication, he's absolutely right.

As an album, Don't Panic will not overwhelm you with musical prowess. The songs are straightforward, the structures mostly the same, and there's nothing you haven't heard a worse version of before. That said, there's always been something inherently lovable about All Time Low, and even though they veered off the path they paved for themselves with Dirty Work, All Time Low have righted the ship in a big way. What's best about Don't Panic is that the band recorded the album on their own time, with their own money, and without the backing of a label; they just did what they know they do best, and they've never sounded better.

The Bottom Line: Long live the reckless and the brave: All Time Low are back, with the definitive album of their career.
Recommended if you rock: Mayday Parade's A Lesson in Romantics, Yellowcard's Paper Walls, anything you liked from All Time Low except Dirty Work.

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Album Review: Title Fight- Floral Green

Hailing from Kingston, PA, Title Fight have been turning heads from basement shows to the Vans Warped Tour for nearly a decade. However, only recently have the band been able to make some room for themselves in the scene. That being said, they sure know how to make up for lost time. After 2011's Shed, the band are back with their second full-length in as many years, and their sophomore release on SideOneDummy records. After such a long road to get to where they are now, there's still no signs of Title Fight slowing down, and the stunning new album Floral Green is proof of that.

Floral Green begins with the raucous opening riffs of "Numb, but I Still Feel It," before Ned Russin comes in with his voice that just sounds so emotional. "Numb, but I Still Feel It" shows Russin using a lighter side of his vocals, as his signature bellowing howl takes a backseat to a more refined croon on the track. Russin's vocals dominate the album, which some fans may be disappointed to hear, considering guitarist Jamie Rhoden's past vocal contributions. While Russin dominates the vocals, however, Rhoden and fellow guitarist Shane Moran turn in an exceptional collective guitar performance. Floral Green feels like a huge leap forward for the band, and most of that is due to the more somber, powerful guitar tones, as references by "Head in the Ceiling Fan" and album closer "In-Between," which are far departures from the band's previous fast-paced work.

Russin's lyrics take an even more personal turn on Floral Green, as the band's punk music leanings provide an interesting backdrop for Russin's emo-tinged lyrics. "Leaf" and "Secret Society" are two lyrical highlights, with the latter also being Russin's best work on the bass. However, to say certain songs are highlights over others takes away from how complete of an album this is. From start to finish, Title Fight are at the top of their game, and each song brings something new to the table, or a refined and improved version of what you've come to expect from the band. The standout tracks are there in the form of "Leaf," "In-Between," and "Head in the Ceiling Fan," sure, but the rest of the tracks aren't far from the top of the list either, making Floral Green one of those albums that everyone has a different favorite song from. It's albums like this that stick with people; albums that you can put on your iPod, or in your car, or in your stereo at home, and not have to worry about skipping the "throwaway tracks," because there aren't any. The album builds upon itself so well, that skipping any song is like missing part of a story. That's where Title Fight have truly succeeded: they've made one of the most complete, consistent albums of 2012.

The Bottom Line: While there isn't a big standout track like "Symmetry" or "27," Floral Green shows Title Fight letting their flag fly, and the result is a consistent album that will either be remembered as their best work, or the album that began the band's rise to super-stardom.
Recommended if you rock: Brand New's Daisy, Make Do and Mend's End Measured Mile, the songs Balance and Composure did on their split with Tiger's Jaw.

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Album Review: Gallows- (Self-Titled)

Replacing a frontman is never a simple task. Replacing a frontman as noticeable and as infamous as Frank Carter was when he was in Gallows is nearly impossible. However, sometimes fate has things paved out for us before we even know what's about to happen. Case in point: Gallows's new self-titled album. After Carter's departure from the band, and on the heels of the lukewarm reception to Grey Britain, many feared that the bell had tolled from the band. That is, until screamo staple Alexisonfire broke up, leaving the punk-minded Wade McNeill without a creative outlet. In one of the most improbable occasions of "right-place, right-time," Gallows 2.0 was formed, but how does it compare?

Gallows begins with a female speaker eerily drudging the opener "Victim Culture" along, before McNeill enters the fray, and the band explodes into a fast-paced, driving punk song. "Everybody Loves You (When You're Dead)" opens with an arena-ready guitar solo, and McNeill's sludgy, dark growl powers the track alongside brilliant guitar work. "Last June" begins with drummer Lee Barratt pounding the kit, and the unrelenting track is intensified each time Barratt changes pace. 

McNeill relaxes his voice at the beginning of "Outsider Art," and when he goes back into his growl, the band is waiting for him, providing gang vocals that help the track stand out as one of the album's signature tracks. The darkly-toned beginning of "Austere" makes way for yet another blistering track for McNeill to yell over. There's no shortage of darkness in Gallows, as McNeill paints himself as a jaded, broken man in nearly every song, but he plays the part very well, and his vocal delivery is one of the biggest improvements from Grey Britain. It's obvious to point to the shift between McNeill's bark and Carter's, but it seems McNeill's arrival has revitalized the band, who come off more energetic and precise than ever. "Odessa" is a driving anthem, and "Cult of Mary" is another treat, featuring the eerie reading of a prayer by a young child. 

Still, Gallows leaves the listener with a little bit more to be desired. While the album is certainly an improvement on the band's previous work, it's very clear this band has the potential to rise to the level of bands like The Chariot and McNeill's old band, who found ways to push the boundaries of what people define as post-hardcore, punk/hardcore, and metalcore. At face value, this album is a straightforward romp through McNeill's field of anger, and the tracks are a tornado through that field, leaving nothing but darkness and destruction in its wake. With this self-titled effort, it's clear that Gallows have survived Frank Carter's departure. The only question that now remains is, how high can they climb from here?

The Bottom Line: The album is a sonic departure from Orchestra of Wolves and Grey Britain, but there's plenty of highs in Gallows to get your head bobbing and your mind steaming with McNeill's anger. After the ending breakdown of "Cross of Lorraine" pummels your eardrums, it's clear that Gallows has a new emphasis on creating the heaviest punk/hardcore songs this side of the Pond.

Recommended if you Rock: letlive.'s Fake History, The Chariot's Long Live, Every Time I Die's Gutter Phenomenon

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Making sense of the mess: The 2012 MTV Video Music Awards

Before I even begin my attempt to decipher and predict what will happen at the MTV Video Music Awards, I'm going to give you some time to think to yourself any "MTV doesn't even play music videos" jokes you can come up with. Go on, see what you can come up with. This post will be here waiting for you when you're done.

All better? Good. The point of that was simple: the entire premise of these Video Music Awards is flawed. Not because the music video isn't a valuable form of entertainment (every year we get about a dozen or so videos that convince me to keep enduring the awful ones), but because they are being aired on a network that has exactly 0 hours per week dedicated to playing music videos (they do, however, have at least two shows that glorify people who willingly give themselves nicknames like "JWoww," "The Situation," and "Snooki"). Throw in the fact that Youtube has basically ended the era of the music video as a revenue stream for an artist, and you begin to understand the the VMAs are essentially a glorified press event for the "in" artists of the year. Still, there's something very endearing about an artist that can craft a music video that captures a person's full, undivided attention, especially in this day and age. With that, let's take a look at what we're working with this year.

Most "Share-Worthy" Video
One Direction- "What Makes You Beautiful"
Justin Bieber- "Boyfriend"
Beyonce- "Countdown"
Carly Rae Jepson- "Call Me Maybe"
Gotye- "Somebody that I Used to Know"




The Story: Honestly, I have no idea what this award is for. Apparently, the video in this category that gets the most "shares" (tweets, Facebook statuses, etc.) will be the winner. Though fan voting decides most of the awards, it seems this one is the award that will be almost completely decided by the fans of the artists. One Direction are this year's big teen sensation, but there's always Bieber's Beliebers, and it cannot be overstated how big a hit "Call Me Maybe" was.
The Winner: I'll take the heartthrobs in a landslide. They're winning as of my writing this, and the margin seems to be growing. And just like that, One Direction have won more VMAs than fellow boy band The Wanted.
Best Pop Video
fun.- "We are Young (feat. Janelle Monae)"
Justin Bieber- "Boyfriend"
Maroon 5- "Payphone (feat. Wiz Khalifa)"
One Direction- "What Makes You Beautiful"
Rihanna- "We Found Love (feat. Calvin Harris)"




The Story: Hey, look at that: another Bieber nomination! While I've despised him for what feels like a decade (it's probably just jealousy), I will admit Bieber's done some serious maturing over the last 18 months or so. So much, in fact, that I wouldn't mind seeing him sweep the awards this year. But my heart belongs to fun., and the unexpected breakout they scored with "We are Young" and its raucous video in slow-motion was one of the best this year.
The Winner: Nate Ruess: 1, Justin Bieber: 0. "We are Young" takes home Best Pop Video.
Best Rock Video

The Black Keys- "Lonely Boy"
Coldplay- "Paradise"
Imagine Dragons- "It's Time"
Jack White- "Sixteen Saltines"
Linkin Park- "Burn it Down"


The Story: There was a time where a mere nomination in the Best Rock Video category would guarantee a Linkin Park victory. That time has long since passed. The same can be said for Jack White and Coldplay, whose releases last year were largely overlooked despite past success in the Top 40. That leaves the latest band to inherent the "Last Hope for Rock and Roll" title, and one of the worst band names I've ever heard. I'll let you figure out which is which.
The Winner: The Black Keys. Seriously, what were the band names Imagine Dragons didn't pick when they were starting out? Did they come up with worse names that that? Is that even possible? Anyway, the "Lonely Boy" video was a viral smash, and the best video rock music has to offer this year. (Side note: I have no idea why fun. wasn't nominated in this category, they would have won it easily if  "We are Young" or "Some Nights" was nominated.)
Best Hip-Hop Video
Childish Gambino- "Heartbeat"
Drake- "HYFR (feat. Lil Wayne)"
Kanye West- "Mercy (feat. Big Sean, Pusha T, and 2 Chainz)"
Nicki Minaj- "Beez in the Trap (feat. 2 Chainz)"
The Throne- "Paris"

The Story: 2 Chainz is a ridiculous human being, but he must be doing something right. Thanks to Kanye West adding him to the GOOD Music roster, he's now the hottest up-and-coming rapper in the game and, along with West, has a 40% chance to win a VMA for a song he's featured on. Drake and Childish Gambino somehow found their way onto this list, but they won't be factors. "Mercy" has the distinct advantage of being released earlier this summer, and may be fresh enough in the minds of voters to steal the award. Nicki Minaj has also had a big year, and it may be her time after losing the Best New Artist award last year.
The Winner: There are a lot of rappers looking to get to the top, but unfortunately for them, The Throne is occupied, and "Paris" was a cultural phenomenon this year. The video, which features a trippy presentation of Kanye and Jay-Z performing the song live, is innovative and loud, and none of the other videos in this category come close to doing that.
Best Female Video
Beyonce- "Love on Top"
Katy Perry- "Part of Me"
Nicki Minaj- "Starships"
Rihanna- "We Found Love (feat. Calvin Harris)"
Selena Gomez and the Scene- "Love You Like a Love Song"



The Story: It was really nice of MTV to give Bieber's girlfriend Selena Gomez a throwaway nomination so people can stop asking "What song does she sing?" when they show her next to Justin on-air. She won't win, but it's a cute gesture. Beyonce's second video to be nominated this year was overshadowed by the birth of her daughter Blue Ivy, and her lack of a Moonman (seriously, that's what the award is) will reflect that. Nicki Minaj went from hip-hop buzz artist to bonifide pop star in 2012, and "Starships" is her assertion of that, and one of the anthems of this past summer. You can never count out Katy Perry, who led the field in Moonmen last year, either.
The Winner: I want to pick "We Found Love" here, because it's the only Rihanna song I've liked since "Umbrella" (yes, it's been that long since she's done a song that sounded different from all her others), but I think this is where Nicki breaks through and wins. "Starships" is nothing more than a straight-up pop banger, and the video reflects that. Simple, flashy, and loud, the video is actually a great reflection of the artist who sings it.

Best Male Video
Chris Brown- "Turn up the Music"
Drake- "Take Care (feat. Rihanna)"
Frank Ocean- "Swim Good"
Justin Bieber- "Boyfriend"
Usher- "Climax"



The Story: Well, this is awkward. Chris Brown was arrested for his violence against Rihanna, and now that he's on the road to forgiveness, he can't even escape her in the Best Male Video category. What's worse, Rihanna's teamed up with Drake, the man Brown apparently fought (and lost) with at a night club over, you guessed it, Rihanna. It's still an uphill battle you're fighting, Breezy. Bieber's nominated again, which makes him the odds-on favorite, which is a little awkward considering he's going up against his mentor, Usher. Frank Ocean's there, too, but if he wins an award Thursday night, it won't be this one.
The Winner: It's a copout pick, but I'm taking the Biebs. It's too difficult to pick against him at these things, and I've already done it twice, so it'd be wise to take him here and hopefully cut my losses.
Best Electronic Dance Music Video
Avicii- "Levels"
Calvin Harris- "Feel so Close"
Duck Sauce- "Big Bad Wolf"
Martin Solvieg- "The Night Out"
Skrillex- "First of the Year (Equinox)"


The Story: This is what it's come to. The EDM movement is now so inavoidable, it has its own VMA category. The heavy hitters here are Avicii and Sonny Moore, former lead singer of From First to Last (that never gets old). Martin Solvieg scored a big hit last year with "Hello," but "The Night Out" wasn't anywhere near as successful, so he's a non-factor. Calvin Harris is a dark horse, and Duck Sauce is too, I guess, but in the end, there's only one way this can go.
The Winner: "Levels" is too massive a hit to not be recognized by at least one award show. You can argue that Avicii's smash is what brought the EDM movement to the forefront of music this year, for better or worse, so it's time that he get his due. Plus, it's hard for me to pick Skrillex when this video exists. Yep, that's Skrillex singing those lyrics. Scary monsters, indeed.
Best Video with a Message
Demi Lovato- "Skyscraper"
Gym Class Heroes- "The Fighter (feat. Ryan Tedder)"
Kelly Clarkson- "Dark Side"
K'Naan- "Is Anybody Out There? (feat. Nelly Furtado)"
Lil Wayne- "How to Love"
Rise Against- "Ballad of Hollis Brown"


The Story: At this point, MTV needs to just call this the Rise Against Award. This is the second year that the Best Video with a Message category has existed, and Rise Against has had a video nominated both years (last year was for their monumental effort in conjunction with the It Gets Better campaign for their song "Make It Stop (September's Children)"). This year features a few songs from artists that have almost no message to their music at all, namely Lil Wayne and Gym Class Heroes. K'Naan's entry is a peculiar but welcome one, and Kelly Clarkson's entry is interesting as well, and the presence of all these stars puts Rise Against off the map for an award they should have won last year (but lost to Lady Gaga).
The Winner: After battling self-harm, anorexia, and countless other issues, no one deserves this award more than Demi Lovato. "Skyscraper" was her most important song of her career, and she should be rewarded for her courage and perseverance.
Best New Artist



Carly Rae Jepsen- "Call Me Maybe"
Frank Ocean- "Swim Good"
fun.- "We are Young (feat. Janelle Monae)"
One Direction- "What Makes You Beautiful"
The Wanted- "Glad You Came"

The Story: If you're as big a fan of Some Nights as we are at Keep Calm, you're pulling hard for fun. to take home as many awards as they can, including the always interesting Best New Artist award. That being said, the band have their work cut out for them here. The Wanted and One Direction seem to be the new generation's band boy craze, and those kinds of fans are the kind that can tilt the voting scale. Carly Rae Jepsen's "Call Me Maybe" is the one song that may have been bigger than "We are Young" this year, and stands a great chance. Plus, Frank Ocean's very public reveal of his sexuality has made him a lightningrod for conversation this year, and after fellow Odd Future member Tyler, the Creator stole Best New Artist last year, can OF go back-to-back years causing chaos at the polls?
The Winner: I'm going to let personal bias take over here and go with fun. in a close race over Carly Rae, which would break their tie with the field and make them the leading Moonman winners thus far.

Video of the Year
Drake- "Take Care (feat. Rihanna)"
Gotye- "Somebody that I Used to Know (feat. Kimbra)"
Katy Perry- "Wide Awake"
MIA- "Bad Girls"
Rihanna- "We Found Love (feat. Calvin Harris)"

The Story: To make things even worse for Chris Brown this year (as if being convicted of domestic abuse can get any worse), Rihanna has a 2 in 5 chance to win Video of the Year. While "Take Care" and "We Found Love" didn't seem to have the kind of buzz you'd expect to have a Video of the Year, neither did MIA, who I'm honestly shocked to see on this list. Katy Perry's second song nominated is a lot like "Part of Me" in that they seem like they were both taken from her diary after Russell Brand filed for divorce from their marraige, and like I said earlier, it's hard to count her out of these things. This is another award I'm surprise fun. wasn't nominated for, but we'll have to make do with these five.
The Winner: Gotye should win this, and there isn't really an argument for any of the other videos he's up against. "Somebody that I Used to Know" is the odds-on favorite for the biggest surprise hit of the year in 2012, and the video's stunning simplicity (and nakedness!) make it a perfect compliment to the creative masterpiece that the song is. In a year where no one will dominate the awards, why can't Gotye rise above Drake, Katy, and Rihanna?






I know this seems trivial to do, but the VMAs are usually good for a few moments you can chat about with your friends over coffee the next morning, the performances are usually pretty good, and you never know what Kanye might do if he shows up. Plus, to quote fun.'s "Some Nights":

 "...you wouldn't believe, the most amazing things, they can come from some terrible nights." 

Happy watching, and feel free to criticize my picks in the comments!

Album Review: Circa Survive- Violent Waves

Circa Survive's Blue Sky Noise was an important moment in the band's career for many reasons: it was the band's debut on a major label, and as the band admitted during interviews, there was a time that the band thought the album was never going to be finished, and the band were going to call it quits. However, the band never faltered, and released the best album of their career. Still, with the music industry in the state of decay we all know it to be in, the band found themselves stuck in a difficult situation to navigate: they were just coming off of their most well-rounded release of their careers, sold out nearly every date of a headlining tour, and still hadn't done enough to impress Atlantic Records enough for the label to keep the band. Without a label to call home, Circa Survive decided to make yet another important decision for their immediate future, and possibly the rest of their careers as musicians: seemingly still at the top of their game, Circa Survive have cut ties with any and all record labels, and self-released their new album Violent Waves.

Bands have begun to self-release albums for a myriad of reasons in the recent years: some do it as a last-gasp effort to remain relevant in the scene, others do it to explore side projects in between the touring/recording cycles of their full-time bands, and the rest probably do it because they haven't been picked up by a label at all yet. So why would Circa Survive, on the heels of their definitive album, choose to go the route of the self-release? If Violent Waves is any indication of the band's thought process, the answer is simple: Circa Survive's uncompromising vision is too unique and multi-faceted to be contained, influenced, or altered by anyone, even themselves. Violent Waves is a self-released, self-produced epic that takes the listener on a journey through the band's most creative album ever. 

Opening boldly with the seven-minute "Birth of the Economic Hit Man," Violent Waves turns any expectations you'd have for it on its head immediately. Anthony Green's voice has always been the trademark of the band's work, but "Hit Man" shows the band behind Green building upon each other for a solid 40 seconds before he sings a note. The chorus of "Hit Man" finds Green thinking back on his own opinions on life, singing "We've become everything we criticize... nothing is sacred," soaring over Brendan Ekstrom and Colin Frangicetto's elaborate and pummeling guitars. Drummer Steve Clifford, often overlooked for his contributions, drives the song's second verse home, while Nick Beard provides the bass lines that drive the song into the upper echelon of some of Circa Survive's best songs. It's no wonder that "Birth of the Economic Hit Man" the working title of "Epic" when they were recording Violent Waves, because that's exactly how it feels, and it's only the beginning. 

Up next is "Sharp Practice," a song that finds the band analyzing the way in which music is so readily accessible to the masses in today's internet-driven scene, telling the listener, "It's up to you to make sense of it." The track is one of the faster on the album, and moves quickly into "Suitcase," which provides a stark contrast to its predecessor. The song builds slowly, relying on Beard and Clifford to drive the track, and Anthony Green's croon doesn't ever reach his higher register, but the song keeps building and building into a track that is one of Circa's slower songs, but one of their most gripping. 

"Suitcase" also features a new wrinkle, featuring vocals from Rachel Minton from Zolof the Rock and Roll Destroyer (a former Anthony Green project), and she accents Green wonderfully through the second verse. In addition to Minton's additions, Circa Survive enlist another infamous frontman on Violent Waves, and one listen to "The Lottery" will prove that the guest spot is one of the best in recent memory. The chorus features Greens patented high-pitched notes, which are complimented perfectly by the sweeping vocals of none other than Geoff Rickly of Thursday. "The Lottery" shines with "Birth of the Economic Hit Man" as the highlights of Violent Waves, as the former features the album's best guitar work, and the welcomed (albeit unexpected) addition of Rickly sets it apart in a class all its own. 

When compared to the urgency and energy of Blue Sky Noise, Violent Waves is a much slower album, focusing more on precision and flow as opposed to the loud, boisterous anthems like "Glass Arrows" or "Imaginary Enemy" that made Blue Sky Noise such an instant success with fans. Violent Waves is an album that takes its time a little more, and eventually wins over listeners with its depth. Tracks like "My Only Friend" and "Brother Song" seem like they would have fit in perfectly on the band's debut full-length debut Juturna, but now that the band have developed so much since then, they are able to capture the indie stylings of Juturna with the accessibility of Blue Sky Noise to give fans the clearest portrait of the band they want to be to date. Picking up the pace with "Bird Sounds," there's still plenty of songs that will remind listeners of Blue Sky Noise, and those who were fond of the transitions between tracks will be enamored with the transitions of Violent Waves. 

There has always been something so endearing about Circa Survive. Their passion for their craft is only matched by their talent, and the fact that they've come to a point in their careers where they not only have the resolve to withstand being dropped from a label, but the confidence in liberating themselves of any label to release Violent Waves is something that the scene sorely needs. Maybe labels really are becoming obsolete, maybe they aren't. But if there's anything that Circa Survive have proved with their latest effort, it's that passion and vision are more important ingredients for creating great music than money and a record label could ever be. 

The Bottom Line: While Violent Waves doesn't quite stand up to Blue Sky Noise as Circa Survive's best album, it stakes its claim as the band's most important release. Rather than a last-ditch effort to stay relevant, this album proves that Circa Survive aren't going anywhere.

Recommended if you rock: Circa Survive, Coheed and Cambria's Good Apollo, I'm Burning Star IV, Vol. 1: From Fear through the Eyes of Madness, Thursday's No Devolucion, sticking it to the man. 

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Album Review: Sparks the Rescue- Sparks the Rescue (EP)

What made Sparks the Rescue's Fearless Records debut full-length Eyes to the Sun so successful was its simplicity. It wasn't so much that the songs had simple structures, lyrics, or rhyme patterns, but there was an overall sense that the album came very easy to the band. It was the exact style of music they wanted to play, and they did it very, very well (as evidenced by "We Love Like Vampires" and "My Heart Radio"). There was an energy to the songs that translated well to the band's now dangerous live performances (seriously), and the band emerged alongside labelmates Mayday Parade and Every Avenue as the next set of pop-rock bands to play to a few more thousand people than they were used to. When it came time to create a follow-up album, however, the band's offering (in the form of Worst Thing I've been Cursed With) failed to build on the momentum, the band found themselves without a label. Pressing onward, the band launched a KickStarter in hopes to self-fund what became the EP that is the subject of this very review. After a successful campaign, was the band able to set aside their previous issues and continue to move forward?

After the EP's intro builds into lead single "Disaster," two things become very apparent: one, that Sparks the Rescue recaptured the energy of Eyes to the Sun  in a big way, and two, they still have the chance to be the next great pop-rock band. The band's soaring guitar tandem of Toby McAllister and Mike Naran have always been a staple on their best songs, but Sparks the Rescue shows the duo finding a way to tighten their strings even more, and sound even bigger than they ever have. "Disaster" is frontman Alex Roy's exorcism of an old fling, and his anger shows as the band reaches back to the screams that were once present on the band's earlier (and pre-Fearless) EPs. Up next is "Water Your Heart (Safe, Sound, and Buried)", in which Roy plays a teacher attempting to show a girl how to guard her heart, as McAllister tells her to keep it "Safe, sound and buried." The track is driven along by the band's new bassist David Pait, who provides the perfect pace for the track. Speaking of additions, the band's new drummer Dylan Taylor proves to be the perfect selection behind the kit, as he adds his own talent and creativity to Naran's and McAllister's guitars seamlessly.

Roy explores a relationship facing trust issues in "Last Chance for Romance," a much more light-hearted track than the two songs that come before it, though Roy stays just as melancholy. Roy's delivery of the chorus, most importantly on the line "We're both afraid to love," is one of the best he's delivered for the band, while Naran and McAllister power the verses. "Burn All My Clothes" explodes from the beginning, and competes with "Disaster" for the fastest song on the EP, and Roy returns to the jilted lover role he's come to play so well. "Dream. Catch. Her." is the biggest sonic endeavor for the band, with an almost-ambient opening sequence, making way for Roy's croon before the chorus takes off beautifully. EP-closer "Phoenix" begins acoustically before it builds into a sweeping ending, reminiscent of Eyes to the Sun's "Hello Mexico," and though the song doesn't feel like the proper ending to the EP, it's yet another assertion that Sparks the Rescue are as talented and creative as they've ever been.

The Bottom Line: Though Worst Thing I've Been Cursed With had its missteps, Sparks the Rescue's self-titled EP is a sterling reminder that there are very few (if any) pop-rock bands who are as talented as they are, and if they keep making songs like these, there's no telling how far they can go.

Recommended if you Rock: Sparks the Rescue's Eyes to the Sun, Hit the Lights's Invicta, Mayday Parade

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Album Review: Yellowcard- Southern Air

It feels like just last year I was writing about how Yellowcard had returned from their hiatus with an album packed to the brim with energy that rivaled their previous releases, including the unexpected smash hit Ocean Avenue. And that's because I did. After coming back from hiatus to release When You;re Through Thinking, Say Yes and its subsequent acoustic rendition, Yellowcard scooped up a headlining spot on 2012's Warped Tour, returning to the Main Stage. And just before braving the summer heat, the band finished up their third full-length album release in two years, Southern Air. The album didn't come without reservations, however: violinist Sean Mackin was diagnosed with cancer earlier this year, and with Southern Air being released so shortly after Through Thinking, have they exhausted themselves to simply churn out another album to stay relevant?

The better question you should ask yourself is this: why would you expect anything other than greatness from Yellowcard? Southern Air is yet another example of why Yellowcard is one of the best pop-rock bands of this generation. Leading off with "Awakening," an ode to a lost love, Ryan Key's voice begins low as he croons the song's chorus, and then the band explodes into one of the faster songs of the album. Southern Air keeps a brisk pace throughout, including tracks like "Sleep in the Snow," the album's title track, and the anthemic "Always Summer." The pacing is faster than When You're Through Thinking, an album that focused more on the instrumentals, while Southern Air shows a deeper focus on Key's lyrics and songwriting. Of course, there are plenty of opportunities for the band's musicianship to shine, as evidenced by Sean Mackin's perfectly placed solo in "Always Summer," Ryan Mendez's elaborate solo on "Rivertown Blues," and it's all backed wonderfully (yet again) by famed drummer LP.

As stated earlier though, much of the focus on Southern Air will be on Key's songwriting, and that's because it's the best it's ever been. After a mature offering on Through Thinking, Key's vocals feel more light-hearted this time around, but that's not an indication of lost meaning. In fact, "Ten" will likely become known by fans as one of the band's most emotionally jarring songs, and shows Key dealing with a deeply personal issue that's left for the listener to find meaning in. Aside from "Ten," many of the songs find Key dealing with lost love, including "Always Summer," "A Vicious Kind," and "Sleep in the Snow."

Another interesting twist on Southern Air has been the collaborations that the band employed during the recording process. "Here I am Alive" was co-written with Patrick Stump (formerly of Fall Out Boy), and finds Key recalling the time when Yellowcard was on top of the world, and "Here I am Alive" serves as his middle finger to all the detractors who doubted Yellowcard would return to form. The song is one of two on Southern Air that features We are the In Crowd vocalist Tay Jardine, and on the other, "Telescope," she isn't alone. The track also features All Time Low's Alex Gaskarth and Hey Monday's Cassadee Pope as well, and the harmonies provided prove to be one of the many highlights of the album.

Put simply, the summer of 2012 may prove to be the summer of Yellowcard. The band's return from hiatus has been constantly productive and impactful, and the band may have reached yet another peak with the release of Southern Air. After When You're Through Thinking, Say Yes, it would have been fine for the band to tour off of it and their hallowed back catalogue, but instead, the band returned to the studio and have delivered what may be their best album since Ocean Avenue.

The Bottom Line: There's nothing left I can say about Southern Air that will convince you to listen to this album. If you like the band, you'll love the album.

Recommended if You Rock: Yellowcard's Paper Walls, Jack's Mannequin's Everything in Transit, going to the beach, sand castles, bonfires, other things found in summer.

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Album Review: The Gaslight Anthem- Handwritten

The Gaslight Anthem have come a long way from the steamy punk shows in people's basements they built their name around. From the gritty Sink or Swim to the timeless The '59 Sound and the polarizing American Slang, the band's rise to the cusp of rock and roll super-stardom (if it still exists) has been well-documented and heralded by fans of any of the genres the band draws its inspiration from. But when American Slang failed to create as much hype and buzz as The '59 Sound did, Brian Fallon found himself at a crossroads. The singer-songwriter felt the weight of the expectations that have defined the band for a while now. Expectations can kill bands, and when people have been calling you "The next Bruce Springsteen" or "The next great rock and roll band," for the last few years, it bears a certain weight and pressure to perform, and that pressure can be crippling.  But it begs the questions: what if The Gaslight Anthem knew exactly what they were doing all along? What if it's all been leading up to this? What if The Gaslight Anthem not only lived up to the colossal expectations they're under, but surpassed them?

Handwritten, the fourth album from The Gaslight Anthem (and their major-label debut, released through Mercury records), begins with "45," the most energetic song anyone's heard from the band to date. Powered by Brian Fallon's raw, emotional vocal delivery and excellent backing drums from Benny Horowitz. The raucous opener leads right into the title track of the album, which would have been just as good a choice to open the album. The title track's soaring chorus is every bit as good as the one fans likely know by heart in "45," with almost the same intense level of emotion. Fallon's voice has gone under a great deal of improvement on Handwritten, most notably on "45" and "Too Much Blood," but that's not to say the rest of The Gaslight Anthem don't put in memorable performances; in fact, Handwritten shows the rest of the men behind Fallon shining brighter than they ever have. 

Lead guitarist Alex Rosamilia's solos have been somewhat absent from much of The Gaslight Anthem's work up to this point, but you can consider Handwritten his coming out party. Rosamilia breaks open tracks like "Mulholland Drive" and "Desire." Bassist Alex Levine powers "Too Much Blood," the main track he dominates, and he sets the mood for the blistering "Howl," a two-minute track that rivals "45" for the most energetic song on the album. The always underrated Benny Horowitz is sterling yet again, as he finds a way to shine even when the band slows things down on "Mae" and "Keepsake," and picks up the pace wonderfully on "Desire." 

However, most will agree that any review of The Gaslight Anthem's work will boil down to what Brian Fallon has up his sleeve this time, and on Handwritten, he's never been better. From tracks that feature his bark, like "45" and "Keepsake," to the inevitable slower song The Gaslight Anthem have perfected, "National Anthem," in which Fallon's croon is accompanied only by an acoustic guitar. "Biloxi Parish" and "Handwritten" are sure-fire crowd favorites, as both feature some of Fallon's best choruses. While many of the songs deal with love lost, Fallon finds a way to tell these stories in a way that only he can, and those stories always come out fresh. One of the stories on Handwritten features Fallon's most ambitious songwriting venture yet. On "Here Comes My Man," Fallon steps out of his own shoes and steps into those of a woman's, telling the story of a woman who is trapped in love by a man who doesn't see her the same way. Fallon's risk pays off in a huge way, as "Here Comes My Man" is one of the most unique and emotional song's you'll hear from The Gaslight Anthem, or any band. 

If you haven't figured it out yet from what you just read, Handwritten sees The Gaslight Anthem put everything that's made them one of the great American rock bands from the last decade into one landmark effort. From the energy of Sink or Swim to the timeless feeling of The '59 Sound, and the creativity that they showed on American Slang, Handwritten puts everything together, and the band have delivered what will become known as their definitive release. And what's most impressive about the album is that every note, every line, every idea for this album was written by hand. In a world that becomes more and more reliant on smartphones, tablets, and laptop computers, the fact that The Gaslight Anthem neglected to use any and every piece of technology at their disposal makes Handwritten not only one of the most unique albums of the new milennium, but one of its most important.

The Bottom Line: If you've been a fan of The Gaslight Anthem since Sink or Swim or are somehow just finding out about them now, one listen through Handwritten will lead you to conclude that this is the exact sound the band wanted to create, and they've never sounded better. Already four albums into a career that looks to be headed for world domination, it's time we stopped calling The Gaslight Anthem "the next______," and it's about time we start hoping to find the next band that has the potential to make songs as good as The Gaslight Anthem.

Recommended if you rock: Brand New's Deja Entendu, Fall Out Boy's Take This to Your Grave, Jimmy Eat World's Futures

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Album Review: The Early November- In Currents

Bands come and bands go. In an ever-changing music world, the only constant is change. Trends blow up and die down, stars are born and flicker back into the blackness they emerged from just as quickly. Case in point, The Early November: the band put out The Mother, The Mechanic, The Path, an ambitious, triple-disc effort that shook the emo scene upon its release, and yet their light flickered afterwards. Sure, the band's members continued on making music (Joe Marro joined Hellogoodbye, and Ace Enders released music under his own name and his ex-side project, I can Make a Mess Like Nobody's Business), but the unfinished business of The Early November defined the band's indefinite hiatus for years. Now, armed with the backing of Rise Records and a bit of that youthful ambition they always had, The Early November is back, and they've never sounded better.

The Early November's new album In Currents, begins with "A Stain on the Carpet," a slower song that finds the band easing themselves back into form. The songs is lead by Enders's signature croon, and begins to build into a soaring chorus, and it becomes evident that the band didn't reunite simply for nostalgia's sake. They've got a few things left to say, and they found some great ways to say them. "Frayed In Doubt" brings back Enders's yells and bellows, and moves much quicker than "A Stain in the Carpet," and the two bring about a great contrast to start the album. The two tracks are overshadowed, however, by the album's third and best track, who shares its name with the album. "In Currents" (the song) features the best chorus on In Currents (the album), and possibly the band's career. Enders powers the song with his patented emotional delivery, and through just three songs, he's turned in one of the best vocal performances of the year.

If The Mother, The Mechanic, The Path taught the world anything about The Early November, it's that the band is never afraid to spread its creative wings and soar above any other band they're put in the same sentence with. In Currents continues that trend even though The Early November went roughly six years between Currents and Mother/Mechanic/Path. In short, there's something on this album for everyone. The acoustic-driven "Digital Age" finds the band combating the overproduced muck music's become riddled with these days, while "Close to You" is a driving, aggressive track that shows off the edge the band still has, and features excellent drumming from Jeff Kummer.

What is perhaps the best part of In Currents is its versatility. Through your first listen of the album, it is nearly impossible to predict what the band will do next, and the last few tracks are a perfect example of that. From a raucous, rock-n-roll number ("Guilt and Swell") to a moody acoustic track ("That's Not Your Real Name"), to the two tracks that will address the band's reunion best, "Like a Kid" (where Enders proclaims "I feel like a kid again" in the chorus) and "The Smell of This Place," which feels like a song lamenting lost love, but still looking back on those memories fondly, with Enders crooning "It's all been worth it, yeah, it's all be worth it" to trail the song out. Whether he's singing about the band's breakup or the end of one of his own relationships isn't so clear, but it doesn't really matter. Regardless of what they mean exactly, The Early November make their point a well-argued one throughout.

After the one-two punch of "Wearing the Tie" and "Call of the Bells" draw the album to a close, there's something about the title track of In Currents that stands out as the album's calling card. "Life is an ocean, and it flows like this so you get what you ask for," Enders explains in the chorus. And it's true, after all. Life is an ocean of emotions, and the ebbs and flows of good times and bad make us who we are. Though The Early November's reunion seemed impossible for a few years, In Currents provides physical proof that you never do know where life's currents will take you. And an album that teaches you life lessons is an album well-made.

The Bottom Line: Just like Yellowcard did last year with When You're Through Thinking, Say Yes, The Early November have come back from their hiatus to create some of the best songs of their career. They may have been overlooked a little before their hiatus, but there's no excuse for missing out on The Early November now.

Recommended if you rock: Yellowcard's When You're Through Thinking, Say Yes, Taking Back Sunday's Taking Back Sunday, The Starting Line's Direction

Get behind it! 'Like' The Early November on Facebook and/or Follow them on Twitter!

Album Review: Misser- Every Day I Tell Myself I'm Going to be a Better Person

(Click here to purchase the album)

In 2011, the pop-punk revival took place, with This Time Next Year's Drop Out of Life calling fans' memories back to the time when New Found Glory ruled the summer, while Transit's Listen & Forgive (number one on Keep Calm's "Best Albums of 2011" list!) saw the band take a turn towards the early days of emo with less aggression than Keep This to Yourself had, but much more meaning. In 2012, with both bands touring extensively to support said albums, Guitarist/vocalists Brad Wiseman and Tim Landers (of TTNY and Transit, respectively) found some down time together to put out their side-project's debut full-length release Every Day I Tell Myself I'm Going to be a Better Person. With two respected up-and-coming bands, the backing of new powerhouse label Rise Records, and what may end up being one of the longest album titles of the year (or more?), there's certainly enough buzz going around about Misser. After listening to all thirteen tracks, it becomes clear that the band deliver one of the most powerful albums of the year.

Acoustic opener "Permanently" starts off like a night after drinking. "Feels like I'm permanently hung over," Wiseman and Landers sing, and the song slowly goes along, trying to find its bearings. "Permanently" makes way for "Time Capsules," which kick-starts the album, and Every Day establishes itself as an album that can go in any direction at any point. "Time Capsules" transitions in and out of quiet and loud moments, with a great chorus tucked into it all. "Bridges" finds Landers opening the track, singing "Been burning bridges faster  than paper," as Wiseman comes in after to complete the line. Much of Every Day finds both men switching between lead vocals (a la Four Year Strong), which makes sense, as they are both the more course, aggressive voice in their respective main bands. However, what makes the album so surprising vocally is when Wiseman and Landers harmonize, which is pulled off wonderfully, thanks to the range Landers began to show on Listen & Forgive. As "Time Capsules" ends with Wiseman and Landers switching the parts they sang in the beginning, "Weightless" begins raucously, and continues the same pace as one of the faster songs on the album. Lyrically, Misser provide a great mood throughout Every Day, looking back at what's happened up to this point, and beginning to question what's going on around them. "I'm Really Starting to Hope the World Ends in 2012" begins to show the frustration with the cookie-cutter pop "music" out there today (a line like "I'm so sick of the songs on the radio"), and they also take aim at the state of television as well ("I'm so sick of the stupid f****** TV shows"). Full of jabs at the entertainment industry, the song comes out as a bit of a campfire sign along for anyone feeling angsty. 

"Reconnect This" is another fast(er) song, which begins the second half of the album with a much quicker punch than the first half. However, that pace quickly slows, making way for "Stay Asleep," a nostalgic look at a relationship falling apart, which stands out as one of the most emotionally charged songs on the album. Landers and Wiseman trade lines in each verse before harmonizing the song's chorus. If a more heart-wrenching song has been written this  year, I haven't heard it yet. 

"Bad News" picks up the pace that significantly dropped off after "Stay Asleep," while "She Didn't Turn Out to be that Cool" discusses the pitfalls of a long-distance relationship, namely the lack of emotion relayed over text messages or the Internet. "Can I come over?" Landers and Wiseman sing, "I'm too tired of phone lines and computer screens." "I'm Sick?" is the album's only true hiccup, with lyrics that should have been written by a bunch of teenagers, not two dudes who have released a combined five full-lengths before this one. "Sanity" provides one last acoustic-driven song, and "The Waits" follows the same themes of "She Didn't Turn Out to be the Cool," with both Landers and Wiseman both singing "I hope like Hell you mean it when you say that I'm worth the wait."

"She Didn't Turn Out to be that Cool" also has the album's best one-liner: "I can't waste any more time wasting time." On Every Day I Tell Myself I'm Going to be a Better Person, Landers and Wiseman don't waste any time, words, or anything else, and the result is one of the most honest, heartfelt albums of the year. With so many side-projects coming in and out of existence, Misser proves on Every Day that they have enough talent and sincerity to be one of the projects people will want to have round for a long time. 

The Bottom Line: If you're a fan of This Time Next Year or Transit, there's plenty from both bands you'll recognize and enjoy from Misser. You may want to have some tissues handy, though, because Misser sure know how to tug and those heart strings. While Every Day I Tell Myself I'm Going to be a Better Person is certainly a great motto to have, it may also be one of the best albums of 2012.

Recommended if you rock: Transit's Listen & Forgive and This Time Next Year's Drop Out of Life(duh), Into It. Over It.'s Proper, what Four Year Strong would have sounded like if In Some Way, Shape, or Form was good.

Get behind it: Follow Misser on Twitter and/or check out their Facebook page.