The Used frontman Bert McCracken has been called many things. Hard-working is one of them. The follow-up to 2004's In Love and Death was released this year. Lies For the Liars is the third album from the Used, and, as they say, third time's the charm.
The Used - Lies For the Liars
****1/2
Orem, Utah natives the Used return with their newest effort, Lies For the Liars. The horror house soundtrack sports all of the band's strange tastes and musical showmanship. The album's first single, "The Bird and the Worm," features flawless music with spot-on, note-for-note vocals. Its rocking rhythm sets the creative bar high for the Used. The opener, "The Ripper," is laden with effects so thick it destroys the word "original." Tracks like "Paralyzed" and "With Me Tonight" demonstrate Broadway-type beats via shred guitars, while tunes like "Hospital" and "Liar Liar (Burn in Hell)" suggest rock and metal influences. The incredible "Wake the Dead" is the perfect theme to Dawn of the Dead, with absolutely stunning guest vocals courtesy of Monique Powell. Her short due with McCracken could slice steel razorblades in perfect half. "Paralyzed" recalls the Used's roots in punk, as does the anthemic chorus of "The Ripper." McCracken's screams are used sparingly in most songs, save the harder rock beats. "Pretty Handsome Awkward" is a fluid rocker that will dominate iPods for months to come, blending the awesome guitars of Quinn Allman with McCracken's own perfect vocals. The slower tunes "Find a Way" and "Smother Me" don't suit the Used's I-don't-give-a-damn personality. Wait for a couple minutes at the end of "Smother Me" to hear the hilarious hidden rap track, "Quesadilla." At the time of recording, the Used had no drummer because of founding member Branden Steineckert's leave in September 2006, and hired session drummer Dean Butterworth to work on the album, who definitely deserves kudos for pounding the skins so brutally and ariculately (Butterworth is currently gigging with Good Charlotte). The Used later recruited Dan Whitesides formerly of New Transit Glory. This is definitely a hit from the guys of the Used. Buh-bye everybuddy!
Ian
Sunday, August 19, 2007
Tuesday, August 7, 2007
...So We Have to Tell Them
South Wales' resident hardcore rockers, Funeral For a Friend, made their major-label debut with Hours, a record I have neglected to hear out of possibility to purchase. Meaning: I can't find it to buy it. Anyway, FFAF's second major label album on Atlantic Records released this year, Tales Don't Tell Themselves. This nautical-themed album focuses on a man named David who washes up on shore. It goes through the main troubles of sailors at sea. Whilst listening, remember that FFAF means what they say very literally. No metaphors about life - well, maybe a few - but it is what it is, a record about a man lost at sea and shipwrecked.
Funeral For a Friend - Tales Don't Tell Themselves
****
The band kicks off the album with the electronica-opening, radio-prepared, catchy single, "Into Oblivion (Reunion)." It's a very good album opener, and if you take first impressions seriously, you'll want to listen to the rest of the album. The next tune is just as awesome, if not more so, "The Great Wide Open," a catchy watery anthem with an incredibly catchy beat and a kicking chorus to match. Three good songs in a row: Too good to be true? Wrong! "The Diary" is an incredibly melodious hit, although slower in tempo than the first two beats. "On a Wire" recalls Muse's "Starlight" antics, but this album is reminiscent of that one song. It is definitely one of the disappointments, but it stands on its own alright. Then, we come to "All Hands On Deck," which is a two-part micro epic in which Part 1 blends into Part 2. "Part 1: Raise The Sail" is one of the best songs on the album, with an arena-ready chorus and an orchestra closing the song, with classical instruments guiding the way for the violin-like guitar playing. Frontman Matt Davies' vocals blend smoothly in, giving this the best closer of a song I've ever heard. "Part 2: Open Water" is a bit watered-down (haha!) than its significant other, but stands well enough on its own with a good beat. "Out of Reach" is my personal favorite, a hard rock anthem with freaking awesome harmonies - I'd safely say it is one of, if not the best song on the album. "One For the Road," "Walk Away," and "The Sweetest Wave" close out the album. "One For the Road" is a slower song that doesn't fit FFAF's standards well, and Davies' vocals sound strained. "Walk Away" is a catchy ballad with an amazing music video to boot. "The Sweetest Wave," the tenth and last track, is orchestra-ready with soft vocals and wraps up at almost six and a half minutes. So buy this ASAP, but beware of the great whites trying to nab at it before you get an attempt at salvage. Bye, everybuddy!
Ian
Funeral For a Friend - Tales Don't Tell Themselves
****
The band kicks off the album with the electronica-opening, radio-prepared, catchy single, "Into Oblivion (Reunion)." It's a very good album opener, and if you take first impressions seriously, you'll want to listen to the rest of the album. The next tune is just as awesome, if not more so, "The Great Wide Open," a catchy watery anthem with an incredibly catchy beat and a kicking chorus to match. Three good songs in a row: Too good to be true? Wrong! "The Diary" is an incredibly melodious hit, although slower in tempo than the first two beats. "On a Wire" recalls Muse's "Starlight" antics, but this album is reminiscent of that one song. It is definitely one of the disappointments, but it stands on its own alright. Then, we come to "All Hands On Deck," which is a two-part micro epic in which Part 1 blends into Part 2. "Part 1: Raise The Sail" is one of the best songs on the album, with an arena-ready chorus and an orchestra closing the song, with classical instruments guiding the way for the violin-like guitar playing. Frontman Matt Davies' vocals blend smoothly in, giving this the best closer of a song I've ever heard. "Part 2: Open Water" is a bit watered-down (haha!) than its significant other, but stands well enough on its own with a good beat. "Out of Reach" is my personal favorite, a hard rock anthem with freaking awesome harmonies - I'd safely say it is one of, if not the best song on the album. "One For the Road," "Walk Away," and "The Sweetest Wave" close out the album. "One For the Road" is a slower song that doesn't fit FFAF's standards well, and Davies' vocals sound strained. "Walk Away" is a catchy ballad with an amazing music video to boot. "The Sweetest Wave," the tenth and last track, is orchestra-ready with soft vocals and wraps up at almost six and a half minutes. So buy this ASAP, but beware of the great whites trying to nab at it before you get an attempt at salvage. Bye, everybuddy!
Ian
Tuesday, July 24, 2007
Want to know the difference between medicine and poison?
Some classify them as prog-punk, others as post-hardcore, and others don't know what the crap to make out of 'em. Can you guess? Incredibly talented frontman Anthony Green belonged to Saosin and the Sound of Animals Fighting? What's he up to now? Leading Circa Survive, a new -prog-punk-post-hardcore band. Their 2005 debut, Juturna, made them known. Now their sophomore effort, On Letting Go, is raising eyebrows - and, unless I've missed something, Green's voice. Here's a review on it. It's been haunting my Walkman for the past several hours and couple of days.
Circa Survive - On Letting Go
****
This five-piece may not be familiar. Weird band names, weirder song names, weird music...but all in a prog-punk way, eh? Circa's new album is intended for kids who've never heard prog-punk. It certainly works. The disc opens with the awesome "Living Together." Now, remember, the song names don't match the song's contents. The haunting chorus blends spine-chilling guitar work, thanks to Brendan Ekstrom and Colin Frangicetto, with Green's absolutely ghostly falsetto vocals, to create a memorable opener. The next couple of tunes, "In the Morning and Amazing..." and "The Greatest Lie" showcase what is perhaps Circa's edge: otherworldly lyrics, unhumanly high vocals, and seamless music to accompany them. The next song is the best, but we'll get to it last. "Semi Constructive Criticism" is typical Circa, and there is an album title namesake which is also typical Circa, as is the rest of the album. The disappointments come in the form of "Kicking Your Crosses Down," a view from an athiest, something Circa tried but failed at, and "Mandala," with impossible lyrics and beats. The true nugget of gold in the silver is "The Difference Between Medicine and Poison Is in the Dose," a flawless song with incredible instruments backing up seamless vocals thanks to Green. I recommend this for something new. That's all fer now. Buhbye, evurybuddy!
Ian
Circa Survive - On Letting Go
****
This five-piece may not be familiar. Weird band names, weirder song names, weird music...but all in a prog-punk way, eh? Circa's new album is intended for kids who've never heard prog-punk. It certainly works. The disc opens with the awesome "Living Together." Now, remember, the song names don't match the song's contents. The haunting chorus blends spine-chilling guitar work, thanks to Brendan Ekstrom and Colin Frangicetto, with Green's absolutely ghostly falsetto vocals, to create a memorable opener. The next couple of tunes, "In the Morning and Amazing..." and "The Greatest Lie" showcase what is perhaps Circa's edge: otherworldly lyrics, unhumanly high vocals, and seamless music to accompany them. The next song is the best, but we'll get to it last. "Semi Constructive Criticism" is typical Circa, and there is an album title namesake which is also typical Circa, as is the rest of the album. The disappointments come in the form of "Kicking Your Crosses Down," a view from an athiest, something Circa tried but failed at, and "Mandala," with impossible lyrics and beats. The true nugget of gold in the silver is "The Difference Between Medicine and Poison Is in the Dose," a flawless song with incredible instruments backing up seamless vocals thanks to Green. I recommend this for something new. That's all fer now. Buhbye, evurybuddy!
Ian
Thursday, July 19, 2007
Welcome to the Music blog! I call it music because, although not necessarily contained to the art, is the centerpieced focus of the blog. The address is emolistenings because it brings class to depression. Today we will start off with some reviews, expanded for non-emo listeners. For all you MySpacers, add me. My space is http://myspace.com/magicutopia. Here go the reviews. Oh, by the way, here's a key:
* = Crap is high-class compared to this.
** = Doesn't deserve plagiarism.
*** = If you like the genre, go on, splurge for it.
**** = Worthy of any collection.
***** = Buy now! Listen much! Be addicted!
Finger Eleven - Them vs. You vs. Me
****1/2
Canadian quintet Finger Eleven were made a hit in the States with their mellow single "One Thing." Now, Them vs. You vs. Me gives us a further insight into F11's eclectic taste. The album has already spawned a red hot single with tons of radio time, "Paralyzer." This unbelievably catchy song mixes infectious beats with frontman Scott Anderson's raspy vocals. Throughout the album, though, Anderson's vocals evolve enormously. The styles on the album stray from the "Paralyzer" style. "Falling On" is an amazing rock-pop hybrid with an amazing concept and melodic guitar hooks. Then comes "So-So Suicide," an undoubtedly rock-hardcore blend with a catchy hook and perfect guitar backup. What's more, "Sense of a Spark" mixes in, another memorable rock beat. The rock doesn't stop; "Lost My Way" is a powerfully sung hard rock ballad with catchy beats and infectious rhythms. If any tracks are worthy of the word 'ballad', however, it would be "I'll Keep Your Memory Vague" and "Window Song." Both tunes are emotionally sung. Two pop-rock songs, "Talking to the Walls" and "Gather and Give" follow. "Walls" is well versed and the vocals are excellent. "Gather" feels like a Christian contemporary song, and could be one. It's just as good, and I like it. "Easy Life," a rhetorical song about today's - well, easy life - that drives the record home. Get this one. 'Bye fer now, evurybuddy!
Ian
* = Crap is high-class compared to this.
** = Doesn't deserve plagiarism.
*** = If you like the genre, go on, splurge for it.
**** = Worthy of any collection.
***** = Buy now! Listen much! Be addicted!
Finger Eleven - Them vs. You vs. Me
****1/2
Canadian quintet Finger Eleven were made a hit in the States with their mellow single "One Thing." Now, Them vs. You vs. Me gives us a further insight into F11's eclectic taste. The album has already spawned a red hot single with tons of radio time, "Paralyzer." This unbelievably catchy song mixes infectious beats with frontman Scott Anderson's raspy vocals. Throughout the album, though, Anderson's vocals evolve enormously. The styles on the album stray from the "Paralyzer" style. "Falling On" is an amazing rock-pop hybrid with an amazing concept and melodic guitar hooks. Then comes "So-So Suicide," an undoubtedly rock-hardcore blend with a catchy hook and perfect guitar backup. What's more, "Sense of a Spark" mixes in, another memorable rock beat. The rock doesn't stop; "Lost My Way" is a powerfully sung hard rock ballad with catchy beats and infectious rhythms. If any tracks are worthy of the word 'ballad', however, it would be "I'll Keep Your Memory Vague" and "Window Song." Both tunes are emotionally sung. Two pop-rock songs, "Talking to the Walls" and "Gather and Give" follow. "Walls" is well versed and the vocals are excellent. "Gather" feels like a Christian contemporary song, and could be one. It's just as good, and I like it. "Easy Life," a rhetorical song about today's - well, easy life - that drives the record home. Get this one. 'Bye fer now, evurybuddy!
Ian
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