"I'm Just A Face For Every Picture, A Smile For Your Scrapbooks"

All Time Low
"So Wrong, It’s Right" Review (3/5)

So the Maryland pop act is back with their newest efforts since last July’s Put Up or Shut Up EP. All Time Low has grown in popularity, taking over tours and magazines one day at a time. Alternative Press has even given the group a spot in Alt’s “Bands You Need to Know in '07”. After an album and two EPs, All Time Low releases their third album So Wrong, It’s Right on September 25^th via Hopeless Records. Producer Matt Squire has taken the reins on this disc. Matt has produced albums which have hit Billboard charts in the past, but this could be a different story.

At first glance, the wild neon colors and buildings in the background make the album art look like a page out of a Mae CD booklet. It’s nothing too different from their last EP, but the art concept gives the album a party feel. The intro track, “This Is How We Do” is energetic with constant chanting in its chorus. The song is based on the old school pop-punk blueprint including a guitar fading bass solo in the second verse. It makes the old Drive-Thru fans proud. The following track “Let It Roll” takes a page out of their The Party Scene LP. The high octave guitar intro and lyrics reminiscing the days of any suburban kids youth, would make anyone want to re-live their house party days.

The first few tracks of the album are infectious and keep up in its fast feet tapping fashion. Every chorus melody is original but its lyrics could be argued a rip-off. It seems like a lot of these lyrical ideas could have been easily taken from a Cartel song or an early The Academy Is track. “Holly (Would You Turn Me On)” is an example of good melody with bad lyrical content. By the time “Dear Maria, Count Me In” hits the speakers, one could exhale safely. “Holly” sort of sinks the albums moral a bit, but “The Beach” is a pain to get through, such a Laguna Beach song (no pun intended). “Dear Maria…” is catchy and gives faith back into the album. By this time, the album is midway complete.

The rest of the album is enjoyable. Sadly, each track after “Shameless” requires multiple listens. Their last EP would never ask its listeners to replay a song in order to begin catching on. That was a disappointment. Alex Gaskarth’s yelling and Jack Barakat’s back up vocals carry the rest of this album. These two guys make All Time Low. The best track on the second half of this album would be “Vegas”. And that’s not saying much.

If Hit The Lights were still around, they would have definitely taken New Found Glory’s place in the pop world. And All Time Low? Well after Cartel’s bubble was popped, revealing that crappy album. All Time Low might be able to give the bubble boys a run for their money. It’ll come down to how well this album is marketed. Put Up or Shut Up easily stood on its own as a great record only having seven songs. So Wrong, It’s Right has twelve songs and doesn’t even add up to the energy on Put Up or Shut Up. A word to the wise: iTunes has the ability to purchase songs separately. That would be a wise decision.

"God Damn These Fragile Lungs"

Boys Night Out
"Boys Night Out" Review (3.5/5)

So the Canadian sensation has returned to grace listeners with yet another tail of Broken Bones and Bloody Kisses; well without any real influence from Broken Bones and Bloody Kisses. Boys Night Out has ditched their loud hardcore ways for a more melodic sound. It all started with the concept album, Trainwreck. The LP was the most different material the band has ever made. Fans and critics both ranted and raved but the overall outcome was Trainwreck had a good concept with melody good enough to do The Charleston to. Trainwreck was successful and profitable. This time around, Boys Night Out kept the formula which gave them some mainstream creditability while keeping most of the scene happy. Their latest Self-Titled effort is meant to continue the elegance of their almost scene ballroom melody while not bringing a concept along to divert from the music. This did give the band more freedom, but the severing of their restrictions really didn’t do anything for them.

Many people were afraid the tracks on Boys Night Out's digital EP, Fifty Million People Can't Be Wrong was going to set the tone of the next album; well it didn’t. Their Self-Titled is pretty much Trainwreck b-sides. Although many of the tracks share similar theme, there is really no conscious narrative. The songs off this album break into a few different categories. Tracks such as “Let Me Be Your Swear Word” have a pop feel with a constant leading bass line melody. The vocals as well as the back-up chanting in the chorus seem like some tools The Higher used on their latest album. “Hey, Thanks” is another pop track with another fist pumping chant, “We may suffer together, but we all die alone.” Also found on this track is some synth action. Although keyboardist Kara Dupuy departed the band after one album and a few national tours, the songs aren’t affected at all and “Hey, Thanks” seems to be the only track on the CD with any keyboards which would easily be manipulated and mimicked by guitar at their live shows.

If anyone has kept an eye on these guys, then it’s understood that their first single off this album is called, “Swift and Unforgiving.” Personally, for a single, there are better tracks. Although, this is the only track which lets every member in Boys Night Out shine. Since their drummer for Trainwreck, Brian Southall departed to join up with The Receiving End of Sirens, Boys Night Out reunited with their original drummer Ben Arseneau from Broken Bones and Bloody Kisses and on “Swift and Unforgiving”, Ben takes his set apart. “Swift and Unforgiving” seems to be the smoothest compilation between Make Yourself Sick and Trainwreck. The bass and some guitar work show some old-school BNO style while the lyrics are pretty much new fangled Trainwreck. The melodies are the perfect blend of both places.

The slowest song off this album, “Fall For The Drinker” seems very haunting a some points. Lead singer Connor Lovat-Fraser really uses his vocal melody to carry this track. Without his touch, this song would have never worked out as well as it does. Jeff Davis does an awesome job as usual through this song as well as on this whole record. Davis took a bit more responsibility on this record and it shows his growth as a singer. For the most part, the Self-Titled really doesn't show any real growth musically or lyrically. The topic on most the Self-Titled is drugs and alcohol which does show some sort of change. They seem to keep a little distance from their last batch of topics from Trainwreck: insanity and love.

Boys Night Out has continued to keep up with their new sound much like Circa Survive seems to be doing. The trend here seems to be, “if it ain’t broke; don’t fix it.” Like many drugs, this album takes a few times before the addiction starts to kick in. And although the beginning tracks of the album hold no contest against the middle and end of this disc, the overall album is one to keep you preoccupied. Sadly, without that cunning concept, a good amount of the tracks will fall to the back of the mind. Don’t expect this to do better than Trainwreck because the concept of the album was stronger than the songs themselves. This Self-Titled effort is the songs themselves without the concept. Not as effective.

"I'm Back To Sqaure One, Maybe Negative Fifteen"

Cruiserweight
"The Push and Pull" Review (2.5/5)

For those who aren’t familiar with Cruiserweight, they’re basically a Zolof and The Rock And Roll Destroyer without keyboards. This group has spent some time in the bottom of the racks of many CD bins. Today though is the day they attempt to break out by rehashing what they’ve already done and promoting it as brand new material. Their new CD, The Push and PullFirst Day of School showcases all the songs off their last 2 EP’s made in 1999 and This Will Undoubtedly Come out Wrong released in 2002. There really isn’t much difference between the re-released songs and the originals. Also their label, Heinous Records (Doghouse Records will be picking up the band for their upcoming LP) have decided to call all these EP songs, “unreleased demos.” This all looks to be a ploy for kids to buy a CD which has been in stores for years just for 2 new songs and an acoustic track.

The songs are enjoyable though. Almost every track is a rush of pop melodies behind a sharp, feminine voice. Songs like “All This Negativity” give a sort of punk rock feel with all the palm muting going on. A few of the songs on this disc have horrible quality, even for a song which is supposed to be a demo. “Quit” sounds like they recorded it in the same bathroom Kris Roe recorded “Heaven is Falling” in. A lot of the later stuff sounds pretty catchy and smart. Punk-pop has been rehashed so much, it has to be entertaining or it’ll get boring. Cruiserweight’s later stuff will at the minimum get your feet tapping.

The second part of this compilation disc is very primitive stuff. The quality sort of falls back and the songs aren’t as good. It’s really no wonder why the track list has First Day of School towards the end. If people listen to the first few tracks, it just might make them buy it and hold on to it long enough till they get home and realize they made a mistake. A few songs from that neck of the CD are enjoyable though. “J. Blue” has a decent guitar riff even if the vocals are so monotone; it sounds like Microsoft Sam is singing this stuff. “Trophy Girl” is alright too, the chorus is what will probably keep people from switching to the next song.

There really isn’t any way to get through this whole CD. Heinous Records is smart for re-selling all these songs that have been out for years. When there’s a drought, make your own rain. There is absolutely no reason to buy this disc when you can go to your local store and buy both EPs for less than this album. Also if you’re interested in the new songs, if they aren’t on myspace yet it’ll be a few weeks and they’ll appear. The best recommendation is to wait for the new LP to release. This isn’t even worth your itunes gift card.

"Plagiarized Those Lines Until My Hands Would Bleed"

The Stranger's Six
“A Date with Daylight” Review (4/5)

So glam rock really isn’t as dead as people say. Apparently on the West Coast, a band is about to release its reins onto a more national scale. The Stranger's Six is a 5-piece rock group hailing from San Diego, California. Though they haven’t seemed to have gotten the memo of the missing sixth member, they’ve managed to rely on their dark, relentless lyrics and finger dancing fret board moves to make up for that mistake. The Stranger's Six or “The Sixx” as they prefer to be called has a sound taking from all aspects of the rock spectrum including sounds from the recently extinguished Matchbook Romance and Victory’s sales palsy victim, Action Action. Their sophomore release, A Date with Daylight is something sort of ironic. An album equipped with dark tales and haunting melodies and the title of this cemetery drive mix is A Date with Daylight. Even with the oxymoron of an album title, the music is well worth the listen.

It’s surprising that with a band of this sound, there isn’t some sort of keyboard or any synth abuse at all. The Sixx managed to construct a sort of dramatic glam rock without having space sounds in the background. Every track has its’ own catchy beat with every guitar riff. Songs like “Love Letter” give a nice Midwestern rock feel with the constant guitar licks in the verses and bridges of the track. There are also times when even the most simplest melody is just as catchy as the most complex riff you can find. The track “Back to the Start” is a sure example of it, the riffs are so simple but so upbeat, it makes for fun dancing music. As stated before, they manage to take on a sort of dark feel not only using their lyrics, but with their guitar work. “Echo” is sung in such a low tone compared to a good amount of the CD. The guitars are a grip to the neck with the echo of the guitars. The Sixx seems to be full of irony.

Lead vocalist, Aaron Thompson seems to reinvent his tone of voice on a lot of the tracks. On each song, another vocalist comes to mind. It’s refreshing to hear a Nikola Sarcevic (of Millencolin) tone on “Skin Your Teeth” or an Andrew Jordan (of Matchbook Romance) tone on the single, “Echo.” Don’t enter this album expecting cheap compilation disc though, just a warning. The lyrics are really enjoyable; the tales of lost love and sleepless nights describe their possible drama filled lives in Cali. They do have a sort of positive track; “One Step Closer” is an upbeat story of coming out of things alive and a better person. There is optimism on this album, it’s just a bit harder to find than jealousy, revenge, and disgust.

This constant saying of The Sixx being the “new” punk rock maybe farfetched but that shouldn’t stop anyone from taking a listen. Also, don’t let the name dropping discourage embracing the album with a whole heart. Every song on A Date with Daylight is a trip which won’t be forgotten. Since it seems they’re pretty much limited to California shows probably due to their lack of funds. Once they hit the East Coast, The Stranger's Six will most definitely explode into a super band. It would be wise to take in the band and enjoy them before the scene hype gets to them.

Avalanche Takes Apart The Ozone

I Am The Avalanche plays to a packed crowd along with Four Year Strong, Fireworks, For The Horizon, and Rodeia for the final Ozone show of the spring semester at Oswego State.

A caravan of buses and cars was the scene outside Hewitt Union for the last show in the Ozone till September. Thanks to WNYO, I Am The Avalanche took some time off from their pre-recording process to play an intimate campus show. Opening for the group was Rodeia, SUNY Oswego’s own For The Horizon, Fireworks, and the crowd warmer of the night, Four Years Strong.

Hailing from New York City, I Am The Avalanche is the reminisce of defunct group, The Movielife. After The Movielife went their separate ways in 2003, two groups were born: I Am The Avalanche and Nightmare Of You. I Am The Avalanche released their debut Self-Titled effort via Drive-Thru Records. Touring across the country, they’ve managed to successfully spread their dance punk rock sound. Similar to what would be the birth-child of Head Automatica and Audio Karate, I Am The Avalanche made the Ozone the place to be after a tired Oswego rocked out to OAR and Ludo at the Campus Center this past Sunday.

The opening band from Florida, Rodeia played their hearts out to a apathetic crowd. The audience managed to bob their heads for most of the set but no one was really too impressed. For those who were obviously rocking out to the band, they knew the newly released songs off their month old EP Till We Have Faces. The band played songs such as “A False Sense Of Security,” and their constant drag of a song titled “I Once Rehearsed Conversation.” The song sounded like a conversation one would want to tune out of.

For The Horizon came on second; a band made up of mostly students from SUNY Oswego. After playing to a sold out crowd alongside Bayside and The Starting Line, they’re returned with their second Oswego State appearance. They began the set with their instrumental song, an enjoyable introduction to an anticipated set. The rest of the performance belonged to Brett Walts string talent and ability to occasionally work the sound board during the set when he felt something wasn’t right. For The Horizon played well. The issue with their performance was with Mike on Bass giving his back to the crowd and the lack of stage presence John Long had. He was not able to move the crowd an inch dispute his clean vocals and powered growls. John’s hat also hid his face from the audience severing any connection between him and the audience. For The Horizon wrapped up their set with the song “What A Lovely Solution” and gracefully bowed out.

With the stage warm and the next band prepared. Fireworks lead vocalist, David Pest approached the stage in an energetic fashion. With his gut splurging from his pants, as he moves from one side of the stage to the other, he furiously battled with his pants to keep from falling to the floor. Fireworks came out very strong with guitarist Chris Mojan hopping around the stage playing song off the We Are Everywhere EP including “From Mountain Movers, to Lazy Losers,” “Cardellini,” and “The Midnight Society.” Their cheap tricks, such as dedicating songs to inanimate objects and TV stars did not go over with the audience as well as Fireworks was expecting. For the most part, the instruments were played very well but David could not reach most of the high notes, especially towards the end. Also he kept cupping his hand over the microphone, making his voice sound muffled over the PA system. The crowd could barely put words together, let alone sentences. Drummer Tymm Rengers had a few spills on the drums, missing symbol crashes and tempo speeds but he recovered pretty quickly for the most part.

After two hours of head nodding, the crowd was ready to get loose with Four Years Strong taking the stage. Without hesitation the group began with a series of breakdowns which as they put it melted faces. They played songs off their demo disc including two new songs which will be on the new album, “Bada Bing! Wit A Pipe!” and “Heroes Get Remembered” found on the bands myspace. The crowd responded well to the Mass natives though Jake Massucco’s snare drum was acting up. Once the group finished the set, he maliciously stabbed his snare drum several times then sighing in relief.

The crowd sort of diminished a bit when I Am The Avalanche took the stage but that had no effect on the response the crowd gave the band. Playing most of the songs off their debut disc, song included: “Dead And Gone,” “New Disaster,” and their new single “Murderous.” The crowd could not stop singing along to every word. In-between songs, lead singer Vinnie Caruana gave guitar tuning lessons demonstrating what guitarist Brandon Swanson was doing when he was dropping D. The bands antics were funny and acceptable as their ability to perform. Vinnie even shared a story behind his song “My Second Restraining Order.” The fans responded respectable for his story afterwards going crazy for the song. I Am The Avalanche also played three new songs which were all either tentatively titled or untitled. Afterwards, the band hung around their merchandise table signing posters and talking with fans.

For the final show in the Ozone, it was a fun night which is hoped to be topped in the fall with the newly elected show director, Shawn Axtell of WNYO. He was seen a few times behind the scenes greeting band members and aiding in a successful show that night. With finals approaching fast, everyone is certainly looking forward to return with a fresh new list of bands playing in the far corner of The Union.

~The Oswegonian: Arts & Entertainment

"Tell Me Anything, But Don't Tell Me That It's Over"

A Hero From A Thousand Paces
“Mistakes” Review (2/5)

A Hero From A Thousand Paces is a striving band. They’ve made the best of playing the mom and pop venues. From their hometown in New Jersey to touching the outskirts of Central New York and Pennsylvania, A Hero are making sure they make their presence known one town at a time. The group has recently begun touring in support of their debut album, Mistakes. The new album is meant to be a compilation of emotional stories of lost love and scars. From their live performances, one would expect an upbeat album with non-stop melody to sing along to. That in itself was a mistake.

There really is nothing special about this album, and the blame could possibly be put on the production. The quality seems raw and monotone. Though the songs show variety, they really aren’t worth listening to because they aren’t entertaining. The first thing which would make anyone want to put this CD down is the vocals. In their live shows, lead singer Mark Fray is great. His voice projects throughout the audience and makes the songs much more powerful. On Mistakes, his voice drags on and sounds horse after a while. A perfect example is the chorus of “With Closed Fists.” Even the little effect he tries to put on in the first verse is horrible. The only excuse has to be the production.

The lyrics have a hit or miss effect. You have very meaningful songs like “Philadelphia” which would get more play than the entire CD itself. The imagery used on the song is sincere and true. The first track off the album is a total miss. “Bold and The Beautiful” gives off an annoying “Lifestyle of The Rich and Famous” vibe. A handful of songs in the middle of the album are pretty much the only source for any musical entertainment. In sequence: “It’s Not Over,” “A Hand Written Apology,” and “Philadelphia” are the only tracks which have the whole package as songs. If A Hero sold the 3 songs as an EP or sampler, it’d probably sell more.

The instruments are exempt for most of the bashing this album is receiving. The guitars have proven to pick up slack where other aspects of the songs/album lack. Though it’s nowhere near enough to make this album good, it was a nice try. The variety falls under the guitarist’s ability to switch up the electric and acoustic sounds and still make the melody appealing. The keyboard is definitely a plus since the album needs every little angle to appeal to their listeners.

It’s a good thing Jose Lopez left this band when he did for Houston Calls. This pop-punk blended with emo is not worth the money. Your best bet is buying the tracks separately or watching the group live. This album isn’t even worth the bonus acoustic disc. It looks like A Hero From A Thousand Paces and their debut CD Mistakes will have to stick around the mom and pop venues for a bit longer than expected.

"The Devils Out Of Town So I'm Filling In"

American Diary
“The Brightest Colors” EP Review (4/5)

American Diary is a Maryland based pop-punk band with nothing new brought to the table. That’s what makes them amazing. With all these new pop rock bands trying to reinvent an already successful genre with garbage, American Diary takes what was done before them and resurrects the dead trend. The Brightest Colors EP is similar to that of The Starting Line’s Say It Like You Mean It or Sugarcult’s Start Static. The only problem is the disc is only 7 tracks long at a whopping 23 minutes. American Diary definitely brings color into this mundane, commercialized genre.

This EP definitely has the stain power needed to hold listeners till a new album arrives. The constant loops of the lead guitar combined with the high harmony of the pop vocals gives the band a similar sound Hit The Lights is conjuring now a day. The first track, “The Goodbye Celebration” sums up all the tools used for the rest of the disc. The first song sets the tone for the rest of the CD. The evergy never falls from the first note. The track “Liberationtoxication” is a perfect example of the old-school pop-punk sound. The song has the upbeat verses with the sing-along chorus and witty lyrics.

One smart tool American Diary uses is taking the aspect of stereo to the fullest. When listened through headphones, one ear takes in the lead guitar while the other listens to the rhythm guitarist. A neat trick used by Metallica which in this case made the EP more entertaining to listen to through those big Sony headphones.

The lyrics are creative, with practical situations. Pop-punk bands don’t usually stray from the girl issues. “I Love You I Like You” sounds like one of the most meaningful songs on the EP. The song is a light rhythmic melody about a “summer tease.” This track sounds similar to something October Fall would write melody wise. The last song, “Heart Attack Pact” is the weakest song off the disc though it’s still very well done. This track has the most creativity. The fast paced guitar riffs and the manic yell on the chorus, it sounds like a much better version of a Bowling For Soup song. The end chanting on the last few seconds of the track is the perfect ending to an awesome CD.

The Brightest Colors EP is a must have for those love pop-punk and not that new-school Simple Plan crap. The best song off the disc must be “Life With Out Living.” The track is addicting and can fit comfortably on repeat. This independent band should have no problem being signed once their EP gets off the ground. It’s surely a new beginning for the group, especially since playing alongside Jacks Mannequin.

"Most Of All, It's Built To Last"

Melee
"Devils And Angels" Review (3/5)

The constant growth of Orange County’s Melee has been a steady one since their move to Warner Brothers from their break on Sub-City Records. Devils and Angels is their first shot at mainstream stardom, putting their album up for listen through various online outlets. The initial sound is a blend of light, stringy melodies with echo vocals. This sort of style was made popular by such bands like the defunct Further Seems Forever.

Most of the tracks off this album are catchy and upbeat. Devils and Angels also seems to be influenced by Elton John with the constant pop piano. In songs such as, “Can't Hold On” and “Love Carries On,” the instruments seem to flow together dispute the same rubric sound being outputted through the speakers. A steady drum beat behind a light piano melody, constant palm muting and the occasional lead guitar riff. This album is entertaining, but this could have a similar effect to the last 30 Seconds to Mars disc, a strong album which has no stamina.

The most pleasurable aspect of this album besides the light melodies is the way the vocals work with the lyrics. Chris Cron makes his voice flow along to the instruments with his light voice. Songs such as “Drive Away” or “Built To Last” prove his soft, make-out vocals repeat worthy. “Frequently Baby” and “Biggest Mistake” shows his ability to carry notes while not sounding like something out of American Idol. The occasional chants throughout this album make for a good time in a live setting too while leaving room to make any of these tracks acoustic worthy.

Melee has a good amount of catchy tunes. The last tracks sort of fall flat, but it could be that 10 tracks in, one can get bored of the light melodies and piano. The band even managed to incorporate a cover song of Hall And Oates’ “You Make My Dreams” as the last song of the album. This does not only prove that once again one can never go wrong with a 80s cover, but that the bands falls into the influence of light, fun, old-school pop. Devils and Angels is a great album in moderation.

"A Home That You Left To Find Your Own"

The Canvas Waiting
“In Search of Beginnings” EP Review (2.5/5)

The Canvas Waiting has been playing music together since 2003. Using emotional lyrics with their echoed vocals, they’ve added themselves to the list of late 90s emo sounds like Further Seems Forever. The In Search of Beginnings EP is their debut record. This EP is also available on a limited edition disc with four extra acoustic tracks. The extra tracks are not even able to push this record into any new territory. It seems as if everything on record was done once before.

The most noticeable item on this album is the melodic guitars, everything else sort of fades into the background. “Carousel Ride” and “These Familiar Arms” are filled with those loopy guitars and head arm swaying pianos. Understand, every track sounds familiar and rehashed by some other rock band with a bleeding heart. The best track off this disc is “These Familiar Arms.” There are more musical transitions in that one song than on the whole record.

“Opener” sounds like an Armor For Sleep song with The Juliana Theory vocals. It’s the second best track off this EP. The lyrics are mediocre but the one liners scattered throughout this record can compete with the type of phrases Taking Back Sunday uses. They make sure to incorporate the slow song titled, “In Search of Beginnings.” On this song, the lyrics, “some days are hard, others are harder” and “looking into your eyes make me look smaller.” There is no originality in those words whatsoever. The Canvas Waiting manages to give off good words. On that same song, they sing, “Everywhere that you go there’s a home that you left to find your own.” It shows that even though they can destroy a song with their words, they can give it some sort of recognition with those one liners.

The acoustic demos after the last song “Sincerely Yours” makes for a break in the album. Violins fill the tracks in a southern country fashion. Alongside the acoustic guitar, it sounds good. On these newly added songs, the vocals give some similarities to an amateur The Early November. These tracks do continue the poor lyrical trend without falter. By the end of the last acoustic track (if you make it that far), you’ll get so full of this EP that you won’t want to hear it again.

This Tokyo Rose, The Juliana Theory blend is no match for the better music in the world. With all those one liners, they should either make one really good song. Or sell them to other restless emo bands looking to fill the perfect song with the perfect line. The Canvas Waiting seems to waste their talent with their slushy writing ability and unoriginal sound. The most experienced cry babies wouldn’t tolerate this record. It would be better to buy a song or two off I-tunes.

"The Demand To Be Loved Is The Greatest Arrogance"

The Ataris
"Welcome The Night" Review (4/5)

It’s been a long road for Kris Roe and The Ataris. Their new album, “Welcome The Night” is living proof of one man’s struggle for survival. Since their breakthrough disc, “So Long, Astoria” in 2003, the band has underwent many member changes including a new direction of music. Produced by Nick Launay (Girls Against Boys, INXS), “Welcome The Night” was very different from their last record. The new albums sound was so unfamiliar; The Ataris purposely wrote a few mainstream-friendly songs so not to alienate their pop fan-base. This new album gives a low-cut indie vibe similar to My Bloody Valentine while giving listeners strands of what was once an up-tempo rock band. The change is not as bad as it sounds. The music is so emotionally charged, you’ll forget there was such a thing as, “San Dimas High School Football Rules.”

On this album, you can definitely tell which songs were made solely for the radio. Tracks such as, “Not Capable of Love” are the upbeat, feet tapping Ataris song which almost sounds like a “So Long, Astoria” b-side. Thankfully this album isn’t as rehashed as that song. Most of the tracks off this new album give off an earthly feel. The elongated melodies on some tracks seem like the songs are trying to escape some sort of metaphorical weight. “Secret Handshakes” play on similar guitar melodies done by Circa Survive and As Cities Burn while the vocals give a Jets To Brazil vibe. Expect a break between fans who like this album and fans that don’t.

“Welcome The Night” was even threatened by Columbia Records. Their label at the time was afraid of the direction The Ataris had taken and in a last resort of control, the label continued to delay the album for two years. The band decided to sever ties with the major label and created a new home, Isola Recordings under Sanctuary Records. From there the album finally came to a set release date of February 20th. Kris Roe wrote basically all the lyrics to this new album. Drawing ideas from a reoccurring dream he once had. In the song “Far From the Last, Last Call,” the story of Roe’s overdose on PCP unfolds and how he comes to terms with himself. Songs such as “When All Else Fails It Fails” and “Act V, Scene IV: And So It Ends Like It Begins” touch on his love life and experiences he’s faced. He’s even drawn concept from the classic play Romeo & Juliet in the last track.

“Welcome The Night” is attractive in the sense that the music is diverse to an extent. Not diverse in a crazy tribal sort of way, but in an early tape demo way. The mellow tone of these songs calls for a deeper listen, but you’re able to scratch the surface and still have a good time. With the rumor of this album being the last Ataris record, it’s acceptable that they might end this their own way. Hopefully the five un-mastered tracks which were removed from the album find its way to CD Singles since they are enjoyable to listen to as well. The Ataris may have created a more ambiguous sound than more of their recent fans are used to, but with age comes maturity. “Welcome The Night” is defiantly a mature record.

"Twenty Bucks Says You'll Remember Me, When You See Me On Your TV Screen"

A Day To Remember
"For Those Who Have Heart" Review (Revised) (3.5/5)

Straight out of the Ocala underground, A Day To Remember brings an It Dies Today aggression with a melodic euphoric tone. This bands first release through Victory Records is hoping to give the troubled label a mainstream bounce-back since the fall in popularity of such bands like Hawthorne Heights. Their new album titled, “For Those Who Have Heart” is A Day To Remember’s second album. “And Her Name Was Treason” was the band’s debut through Indianola Records back in 2005. The debut managed to sell about 8,000 records independently.“For Those Who Have Heart” plans to surpass the mark, and sell enough records to quite possibly push them into the lime light for 2007.

This album is strategically targeted at the breakdown driven, double-bass “scene” fanatics. Their catchy vocals and fluid harmony makes them a bit above average in a totally generic genre. They’ve managed to incorporate Comeback Kid-like chanting along with the bands growls and light singing. Their echo effects on the chorus of “Here´s To The Past” is enjoyable. For most of the melody on the albums choruses, they are addictive and could easily be mistaken for a track off of Eighteen Visions latest project. The upbeat choruses are no match for their breakdowns though. Every track off “For Those Who Have Heart” has a breakdown except for the traditional ballad song, “The Price We Pay.” The most exceptional breakdown on this album can be found on “I Heard It´s The Softest Thing Ever,” but they’ve managed to conjure up a weak breakdown. “The Plot To Bomb The Panhandle” has the MTV2, alternative rock breakdown which will make some people unhappy. The rest of that song is nice though, especially with the fast paced vocals. It’s poppy, but a great beat to dance to.

A Day To Remember has written songs based on experience. One could relate to such songs on an emotional level. “Monument,” one of the most stand-out tracks off this record deals with the doubts of making it as a band. They didn’t need head-scratching metaphors to show how they really felt. On this new record, they tell it like it is. Most bands that perform under this style of music tend to over exaggerate the content of the situation on their lyrics. On “Show Em’ The Ropes” when you hear, “Just hold your breath / to make sure you won’t wake up again” that would be the most cliché lyric they’ve written on this LP.

This band is a part of the new Victory Records. If you haven’t liked the changes the label has made in the recent years, then approach this album with caution. It seems like A Day To Remember is set to blow up all over places like Fuse and MTV. Their record is too catchy and upbeat to stay dormant and ignored. They have been touring with very aggressive bands like The Devil Wears Prada and Calico System, so it’ll be interesting to see how diverse the growing fan base will become.

"I'm A Gentalmen And You're A Liar"

A Day To Remember
"For Those Who Have Heart" Review (4.5/5)

A Day To Remember is Victory’s answer to the fall of Hawthorne Heights. Straight out of the Ocala underground, these strapping young lads bring forth a catchy twist to the seriously aggressive hardcore genre. “For Those Who Have Heart” brings sick, heart pounding guitar and drum tactics with melodic vocal melodies and top-of-your-lung growls. Just to think A Day To Remember started from scratch as they played to 40 kids a night. They also managed to sell 8,000 records off their make-shift CD, “And Her Name Was Treason” through Indianola Records. A Day To Remember could quite possibly be the new face of post hardcore in 2007.

“For Those Who Have Heart” is simply a blood rush when listened through headphones. The double bass action immediately catches attention and the guitars assure an enjoyable experience. The breakdowns are insane; almost every track has some sort of head banging rhythm on this album. They even managed to incorporate a ballad track, “The Price We Pay.” One problem I had with the album was the intro song, “Fast Forward To 2012.” Even though it set the mood for the CD, the lyrics and whole initial sound was really cliché.

Overall the lyrics are amazing, equipped with witty metaphors and songs ranging from “I love you” to “fuck you,” the band was very creative in making sure that not only were the lyrics going to be great, but it were going to be sung in such a manner to be catchy and hardcore. The occasional chants leave spots for the crowd to lend their vocal abilities and the growl at every breakdown is sure to leave everyone in frenzy.

A Day To Remember has great harmony on this album. “Speak Of The Devil” is a perfect example of a song done correctly with beautiful melody and intense growls. The least attractive song has to be the ballad song since every other track is a gut wrenching, but I can understand why it was needed. Even the hardest band needs to prove they can pull a Guns And Roses and show a softer side. After touring alongside bands like The Devil Wears Prada and Calico System, they’re gaining respect and winning over fans at every venue. A Day To Remember is revving up to show everyone who the real leader of new music really is. Don’t be surprised if you see them on fuse either, taking the place of Victory’s newest “big thing.”

"Till You See The Liar In The Glass"

Eyes Set to Kill
"When Silence Is Broken The Night Is Torn" Review (3.5/5)

Eyes Set to Kill is a post-hardcore band hailing from Phoenix, Arizona. Their melodic guitars and almost constant double bass pedal action is fronted by a female vocalist with light tones similar to Hayley Williams. Even though she barely holds a growl on this record, their keyboardist handles the screaming as well as his piano solos. This band is definitely unisex with three boys and three girls playing awesome music together.

Their debut album, “When Silence Is Broken the Night Is Torn” has a total of nine tracks with one being a piano interlude. Though the playing time is similar to Atreyu’s new album, it would be much more fruitful to choose Eyes Set to Kill since the album is accompanied with a DVD. There isn’t much originality on this record besides the fact that there’s a girl singer leading a band with a sound similar to Emery, but they seem to pull it off effectively. Lead singer, Lindsey Vogt has a soothing voice which makes the music more malleable. The only problem surrounding her voice is when she hits the high notes; she adds an effect to her voice where it almost sounds like it cracks. From the first track, it can be almost unbearable, but looking past that effect she adds the overall tone of the songs isn’t bad.

Alexia Rodriguez is an amazing lead guitarist. This whole album paints an awesome picture of her work. On this new album, she makes good use of her guitar licks playing better than some of the mainstream Hawthorne Heights sound-alikes. The music is complimented by great lyrical crafting. It’s highly recommended that after you listen to this album go back and listen with the lyrics booklet. The concepts aren’t anything new but they give the music its’ life after the breakdowns just aren’t enough anymore. “Liar in The Glass” and “Pure White Lace” are good examples of their lyrical craftsmanship.

With the West Coast post-hardcore scene spreading beyond its borders, it’s good to see that rookie good bands actually still exist. Eyes Set to Kill keeping a Paramore attitude with an Escape The Fate sound. These boys and girls are going to bleed onto the mainstream with, “When Silence Is Broken the Night Is Torn.” Their light and dark vocals leading their orchestra of hardcore-filled influences will break them out in time.

"Tear Down This Wall"

Farewell To Words
“Tear Down This Wall” EP Review (3/5)

Lately the lines between metal and hardcore have been blurred, leaving bands to leap back and forth between the musical genres. Farewell To Words is another example of a band flirting with different aspects of music. Their latest EP, “Tear Down This Wall” is a dynamic blend of Lamb of God metal with Most Precious Blood hardcore. This CD poses as a neutral beginning for the Germen group. These five tracks are well put together, but do not add anything more to the musical genres which might stray people away from the EP.

Very few bands are able to create something unique from Metal or something more outspoken than the rest from Hardcore. Farewell To Words uses catchy vocal melodies and high octave guitar licks to try to overcome this predicament. While it is entertaining, overtime the EP will begin to drag. The double bass pedals are mostly used during the intros and breakdowns of every track revealing a pattern and once you are able to predict how the CD will go, your excitement and expectations will probably diminish. I’m not saying the tracks are not worth listening to, I’m saying after time you’ll just put this CD aside and choose not to pick it up for a long time.

The vocals are broken up into two vocalists: a man and a woman. The only thing that really sparks my interest in the band is the way they play off each other’s words. They both sing and scream, and at times it’s like they finish off each other’s sentences. It’s like they’re a couple (cute). They pull off the duel vocals very well, and their creative singing/screaming ability adds variety to the music. The lyrics are okay. Metal lyrics can be very boring and repetitive, but these guys try to put some emotion in their work which is good. But even Farewell To Words use those “shadow” metaphors and those “severed soul” clichés.

Farewell To Words could do better given an established producer and a major label budget. At the moment, they’re EP will probably be a distant memory after a few months. The elements to a good album are there, hopefully after touring and once they start preparing for an LP. They can find themselves and become just as good as any other Metal or Hardcore band in the states. Until then, we can listen to “Tear Down This Wall” for a bit, then never pick it up again.

"That's How You Lost My Trust"

The Higher
"On Fire" Review (3/5)

It’s been a long and treacherous road for this born-again band. After contemplating hiatus and recent label changes, The Higher have decided to change the direction of the band to better suit their personalities. So they made an electronic pop-rock album. For those who aren’t familiar with the fearsome five-some, they’re debut album; “Histrionics” struck listeners back in 2005 creating a small webzine buzz which eventually faded out. People such as me, never lost interest in the band, but the general fan base did shrink after time. Now they’ve returned, but this album will not push them any further. “On Fire” is definitely nothing new, though the album is catchy. But catchy isn’t enough.

The electronics to rock ratio is pretty much even. They’ve certainly made it a point to incorporate keyboards in every track. At some points on the album, the songs become more electronic than rock putting this CD smack in the middle of the pop genre. The guitars and drum set are on the album though, but you just need to listen close enough to distinguish the instruments. The loopy guitar and keyboard sounds removed any edge the band had and the remake of the tracks, “Rock My Body,” “Histrionics,” and Patrick Stumps remix of “Pace Yourself” off their “Histrionics” CD transformed all these songs into little techno dance tracks.

Seth Trotter, lead singer of The Higher made it a point to incorporate pop into the vocals as well. The way he uses his voice sounds something similar to The Rocket Summer, creating a nice melody, but after a while it begins to get annoying. The lyrics have stayed neutral through “On Fire” except for the track; “Can Anyone Really Love Young” which can lead anyone to believe that Lou Pearlman could have masterminded this album. “On Fire” might be too pop for their original fans, but could attract a bigger, younger audience.

Regardless of the direction The Higher chose in creating “On Fire,” at times it all comes down to politics. Being on Epitaph with a pop record isn’t going to help them grow anymore than releasing “Histrionics” on Fiddler. Epitaph may be a bigger indie label with an exceptional history in the recent years, but Hellogoodbye already took the electronic pop-rock spot in the mainstream. This album will land them right next to June, struggling to make it off an LP which didn’t have enough starting-gate push or stain power.

“It’s Time To Rock And Suck”

Atreyu
“A Death-Grip On Yesterday” Review (2/5)

There seems to be a problem somewhere, I didn’t recall Atreyu making gothic pop songs. I understand it’s a brutal way of portraying the same band that created “Suicide Notes and Butterfly Kisses” back in 2002, but could the popularity and mainstream grasp given Atreyu a blasé and apathetic approach to this album? Even when they were beginning to breakthrough onto the Fuse and MTV platform with their conceptual 2004 album, “The Curse,” they still managed to keep a certain edge which was still catchy and yet showed meaning. “A Death-Grip On Yesterday” is a constant dance beat with no rhythm, one big jam session glossed into a record. They’ve showed no improvement, actually putting them in a recession with the nine songs they’ve thrown together.

With the album spanning the amount of time of a primetime sitcom, 32 minutes is over before it begins. The constant screaming is what made the group famous, the ability to lash out with their singing/screaming combination made Atreyu unique amongst the other core bands of yesterday and today. Sadly, that wasn’t enough to push this album as neither was the cursing. Being able to throw in “bullshit” or “fuck” in tracks to fill-in for what should be actual lyrical material didn’t heighten the albums aggression at all. It just seems like the label wanted to keep the parental advisory sticker on the band to continue their bad boy, rock and roll image.

A possible reasoning of the bands recent musical decline could fall on the hands of producer, Josh Abraham. He’s been credited for such artists as Staind, Limp Bizkit, and Courtney Love. Having taken on bands not so similar to Atreyu, it could be why this album is so terrible. Maybe Josh Abraham didn’t know how to approach a band with a sort of energy and pointed all the energy in the opposite direction.

The instruments were refurbished guitar riffs, probably from unfinished songs and riffs they were fooling around with between “The Crimson” and pre-production of “A Death-Grip…” One could call this sort of issue, “The City of Evil Effect.” Where a band gets a taste of the spotlight and alters their music into mush. Atreyu has become the epitome of every struggling band. If they don’t make an effort to improve themselves on their next album, they could be looking at hiatus, or even worse: a continuation of circulating this monstrosity nationally, on-tour. There is no real reason to buy this record when the best song off the album is played in regular rotation on the radio.

“Baby, You Are Not The Sun”

Brand New
"The Devil And God Are Raging Inside Me" Review (4.5 / 5)

Originating from an era when bands like Taking Back Sunday and Finch traded their suburban homes for their mothers’ mini-vans, it’s interesting to see the distance every band that ascended from the early 2000’s have traveled to reach their significant present situation. Brand New has taken the biggest successful and most unorthodox leap forward from their 2001, “Your Favorite Weapon” onto their most compelling project to date, “The Devil and God Are Raging inside Me.” The album title coming from a conversation Jesse Lacey had with a friend who’s diagnosed with schizophrenia. The band has had many problems in the recent years and dispute uncertainty of where the band was headed as well as the leaked acoustic demos, Jesse Lacey and his majestic band-mates pushed on surpassing their highly praised “Deja Entendu” album released in 2003.

This album is definitely no cake walk. Taking retrospect into religion, life, death, and human psychologies, Brand New was able to create such lyrics which creates storylines in our minds and forces us to analyze every character we come across on this album. Songs such as “Not The Sun” paints an image of a sadness and longing for that someone special who refuses to take on the role. Another track, “Jesus Christ” dives into the sins of men and women, singing questions of uncertainty alongside every note. I hate to say it, but you really aren’t going to find any songs of happiness and good times had by all. Each song has its own tragic tale or quest for a resolution from depression. Conor Oberst tears couldn’t compete with this album even if it tried.

With so much controversy surrounding the “The Devil and God Are Raging inside Me” and small occasions to actually get these questions answered, it’s hard to get any true facts written in stone. One thing the band did express is the fact that they produced the album and worked the website with very little label help. Throughout the album, you can actually hear producer, Mike Sapone ask how the album is going. But with the way the instruments take on a life of its’ own is something beautiful. You rarely hear a bands mature and solidify themselves as musicians like Brand New has. And sweetly ending with the acoustic serenade titled, “Handcuffs;” it was a perfect resolution to such an engaging album, bringing the listener back to earth in a silent resurrection.

I can’t express how impressed I am with Jesse Lacey’s lyrical ability to write all these songs except for the song he didn’t write, “Handcuffs.” I feel he’s grown the most out of everyone in the band. With this few found formula of musical ability mixed with their familiar sensation which got them noticed, they are able to uphold the praise and smash any ideas of Brand New going south. But with Brand New raising the bar and breaking through the success they’ve had with “Deja Entendu,” can the Long Island quartet strike lightening thrice on the same euphoric sound? And if so, when?

“With Skin You’ll Win”

11 bands that got me through 2006

With all the stuff to break though this year, eleven albums have made the cut. These aren’t the “best albums of 06” or any of that nonsense. Just CDs that helped me survive the year 2006. Why eleven you ask? Simply because I rather have odd numbers when everyone has even, and because a band was forgotten amongst the listing excitement! (I’ll never tell). So without further a due, you may now enter 2007… with a list of awesome bands, memorable mentions, and crap, crap, crap!

11. Angels and Airwaves
“We Don’t Need To Whisper”

~”How did I let her inside? We're dripping in sweet and feeling alright. Her lips were the last thing touched tonight; your best friend is not your girlfriend. It hurts” – “It Hurts”

This definitely should be the album astronauts listen to. With all the crazy synth sounds, and manipulating vocal effects; if you aren’t sleeping to this CD, then you’re airborne. Lead singer, Tom Delonge promised, “The best album ever” and even though he was far from it. Tom was able to bring several styles of music from different time periods to surpass his ex-band mates new project Plus 44 conceptually. “We Don’t Need To Whisper” brings a calm melodic vibe while bringing the listener an understanding for each track. Some may say each track sounds the same; you need to look past the constant space sounds. A recommended track is “Do It for Me Now.”

10. Saosin
“Self-Titled”

~”They're saying something that makes the fire glow. Savor something that no one needs to know. They all think everything is gold.” – “Sleepers”

There’s a lot of positive and negative buzz about this band. If we were to pretend the “Translating The Name” EP was never released, this album would probably be as well known as Rufio’s “1985” disc. But the fact is Anthony Green was a part of Saosin at one point in the timeline which made them golden, or to be more accurate: silver. Saosin’s self-titled LP has many great parts but as a whole, the CD is definitely not strong enough to carry the band, especially with the reputation they’ve held and the amount of time it’s taken them to release the album (a million years). There’s nothing wrong with their hard guitars and good, clean vocals, but overall the album has weak stain power. The LP does show some sort of promise though; if Saosin is able to keep future songs and instrumentals from leaking onto the internet, and they can keep growing on-tour. They’ll be able to put this album behind them. A recommended track would be “Sleepers”

9. The Early November

“The Mother, The Mechanic, The Path”

~”Well if every moment always counts for something, then we lost this running around. All these settings never change for better.” – “The One That You Hated”

3CDs is a lot of plastic, but if it’s to aid in creating such an awesome album, then so be it. The Early November was able to make a whole story and a backdrop into 3 CDs. Basically, the full story is on Disc 3, while the elements in creating this story are scattered among Disc 1 & 2. You’ve got your hard stuff and soft acoustic songs all around this triple disc and a good amount of all these songs are catchy. The Early November didn’t change much from “The Rooms Too Cold,” staying true to what made them noticeable but in continuing, made them better. You definitely should listen to “Driving South” off Disc 2.

8. AFI
“Decemberunderground”

~”This is the fall; this is the long way down. And our lives look smaller now, and our lives look so small.” – “Summer Shudder”

We all should have seen this coming. The way AFI covered “Head Like A Hole” for the GTA soundtrack, you could tell all those electronic effects weren’t just for a bonus track off a compilation CD. “Decemberunderground” is a beautifully constructed melody of guitar, bass, drums, and electronica. The AFI sound is still incorporated with trippy lyrics and “Sing The Sorrow” vocals, but the change is definitely noticeable. It really doesn’t matter because they’re far from that balance they had in “The Art of Drowning” so everything after this CD was simply different from their original sound. This new album is the cousin of “Sing The Sorrow” on some small dose of cocaine. It’s not a disappointment; it’ll keep any AFI fan happy except for any old-school “Very Proud of Ya” fans. You guys have been pissed for quite a while. I really enjoy a good dance to “Love Like Winter.”

7. Park
“Building A Better _____”

~”I'll set traps in your bed timed to explode. Make certain no one ever knows that I was with you once; never to be again.” – “Who Is Aliandra?”

Park has been around for quite some time, but sadly they don’t make any waves in the mainstream world. Their emotional lyrics and melodic guitars prove to withstand time because you can put this album down and a few months later pick it up as if it were brand new again. This album is definitely a pick-me-up if you’re feeling down and in an “I hate girls” phase. The best aspect of this album is the lyrics; you will not be let down with the catchy verses and choruses they put out. A recommended track is “The Trophy Wife.”

6. The Classic Crime
“Albatross”

~”I have come to the realization that life is more than what I have accomplished, and life is more than the realization that we have accomplished nothing at all.” – “Who Needs Air”

I understand Solid State bands usually fall in-between the seats of the music industry, but The Classic Crime is definitely a band worth listening to. With their melodic guitars, and crazy lyrics relating to stuff you’d hear on the Discovery Channel, it’s an interesting listen. Try to listen to the album once and then start listening to a few tracks you like and don’t like. Soon you’ll love the whole album. A good song to listen to is “All the Memories.”

5. Hit The Lights
“This Is A Stickup... Don't Make It A Murder”

~”But tonight I'll wait until I know you're fast asleep, to poison you with memories of you and me. I pray you die slowly so I can be the last thing you see.” – [Untitled] Bonus Track

Since New Found Glory’s new CD was a piece of shit, we’re in need of that insecure pop-punk that made us listeners feel something for catchy guitars and sing-along choruses, Hit The Lights hit the scene with their debut album and follow-up to their smash EP that luckily continued the musical style. Make sure to pick this album up if you’re interested in listening to the future of good pop-punk. I recommend the track “These Backs Are Made For Stabbing.”

4. Taking Back Sunday
“Louder Now”

~”I cannot make those mistakes, no. Sometimes I swear I can see straight through you, just concentrate, control. But would you do it again?” – “Error Operator”

A classic band that continues to age and even though they’re far from “Tell All Your Friends,” they’re a lot closer to solidifying their distinct sound. On this album, it sounds like the band has let go of a lot of their insecurities that’s haunted them throughout “Where You Want To Be.” The band is obviously getting older and though it isn’t quite the excuse for the vague, yet distinct change in their albums; how could you top a classic when it’s your first album? You honestly can’t. “Louder Now” and “Where You Want To Be” hold many similarities, but the sound is much more mature. If they continue to flirt with this boundary they’ve created, while looking into the past on their next album, they will definitely top their last two albums hands down. My favorite track off this album is “My Blue Heaven.”

3. Brand New
“The Devil and God Are Raging Inside Me”

~”Well don't be that joke that I told and told 'til it got old. Don't be that hand 'round my throat so I can breathe. Say you're my friend but why won't you be my family?” – “Not The Sun”

Brand New made their carriers on this trippy, indie-like music and if it hasn’t failed them yet, why stop? These guys simply brought the same style with a new concept, religion and of course more love stories. “The Devil and God Are Raging Inside Me” is a perfect blend of calm acoustics with loud wailing guitars and intriguing, conceptual lyrics. It’s no wonder why you got bands like Thrice and Midtown trying to mimic this band.

2. Spitalfield
“Better Than Knowing Where You Are”

~”Into your eyes I've fallen even farther. I don't think I can hold back any longer. The only thing that matters now is this could be perfect.” – “The Only Thing That Matters”

This band is my best kept secret. Spitalfield is an awesome rock group with the total package. Warm lyrics, awesome bass lines, and melodic guitars, these guys make albums straight from the heart. I also recommend looking into their older albums if you enjoy this CD. A recommended track is “Curtain Call.”

1. Cute Is What We Aim For
“The Same Old Blood Rush With A New Touch”

~”I've got the gift of one liners, and you've got the curse of curves. And with this gift, I compose words, and the question that comes forward. Are you perspiring from the irony? Or sweating to these lyrics?” – “Curse of Curves”

Cute Is What We Aim For came out of nowhere and gave music listeners a great album with all kinds of influences and feelings together. Each track is a different situation and no two tracks sound the same and every song has a catchy key signature which is separated from the next. It’s insane to think that these guys are barely out of High School. Taking a little sound from The Rocket Summer while incorporating their own experiences and dramas into their lyrics, Cute pulls off some of the great songs to get you through any emotional situation. My favorite tracks are “Curse of Curves” and “Lyrical Lies.”

Shout-outs to:

Saves the Day-Sound the Alarm (Finally, they’re back to their roots! Thank you ex-Glassjaw bassist.)

Thursday-A City By The Light Divided (They continue to put out solid stuff. Kudos!)

Alexisonfire-Crisis (Much better than “Watch Out,” they did something right.)

Roses Are Red-What Became Of Me (Nice album even though it was much softer. Well done.)

Quietdrive-When All That's Left Is You (It’s a nice poppy album but some tracks are better than others.)

Belanova-Dulce Beat (Awesome Spanish record with Rock influences. Absolutely love it.)

Escape The Fate-Dying Is Your Latest Fashion (Number 12 on my list. The album was produced better than Saosin’s S/T)

Pretty Disappointing:

She Wants Revenge-She Wants Revenge (Crap! Why are you getting ANY play?)

Secondsmile-Walk in to the Light and Reach for the Sky (Who told them to change their style and suck?)

A Change Of Pace-Prepare For The Masses (Capable of so much better.)

Anti-Flag-For Blood And Empire (Could you release a “best of” and disappear already?)

Atreyu-A Death-Grip On Yesterday (It must of taken 3 weeks to write this trash. Nine tracks and all you have to show for it is, “It’s time to rock and roll”? Come on guys…)

"Oh The Webs We Weave"

Artist Evaluation: "Escape The Fate"

Heart pumping, western rock group Escape The Fate; with their extensive imagery in lyrics and melodic sound.

If the thought of Las Vegas brought spaghetti westerns and gambling to ones’ mind, then there’s a problem. Escape The Fate seems to be the hottest thing out of the West since the childhood game Cowboys and Indians. Escape The Fate has proven that failure is not an option, gaining fans not only in their local Vegas scene, but ranking respect and creditably all along the East coast as well.

In one of their interviews, when asked singer Ronnie Radke what he’s looking to accomplish with performing alongside his band mates he says, “We’re gonna be that change in music. I have a vision.”

He goes on explaining the fun factors in his performances, “I want people to have fun, put their fists in the air.” Escape The Fate isn’t looking to disappoint, they’re looking to impress. Since joining up with Epitaph Records back in early spring, the band has taken on a new persona selling out shows at Game Works in Nevada and playing shows alongside groups like My Chemical Romance and Bullet for My Valentine.

After unleashing the first few songs to the public, they titled the compilation of tracks, “There Is No Sympathy for the Dead” and set out on tour playing all across the left half of the United States. Soon they started showing up on web-based magazines and thousands of music fanatics’ blogs.

Eventually, they were asked to join the Warped Tour 2006 line-up with only an EP released. People were eager for more and venue managers have not seen this sort of hunger since bands like the outstanding fret board shredders, Saosin would play at their stages.

This band is smart; they took 5 songs and left these tracks to marinate in the ears of people interested in a new taste with the same old-school flavor. “There Is No Sympathy for the Dead” EP is a burst of emotion and surprise. Released on May 23rd, each track had a certain element which made the song amazing. Whether it would be a certain length of a gut wrenching guitar solo or a catchy chorus with a two-stepping dance beat; every listener will come out of this EP with their own personal track number and playback time.

Each track has its meaning of self-destruction and escaping their own fate, which was to conform to the traditions living in Las Vegas may have. The song lyrics on this EP are significant; they also take time to decode.

Their debut album released on September 26th, “Dying Is Your Latest Fashion” is a bit easier to configure. With eleven tracks including “Situations”, “Friends and Alibis”, and “Not Good Enough for Truth in Cliché,’ these pounding double bass pedals and speedy guitar picking it’s no wonder why harder bands like Atreyu and Eighteen Visions looking to step up their talent. The vocals are solely based on the singing and screaming combo which made From First to Last famous. Backed by clever key signatures and the occasional growling of grindcore vocals, it keeps listeners happy.

For those who are into the softer, more straightforward lyrical tracks. Escape The Fate’s last song, “The Day I Left the Womb” is an acoustic tribute to the broken family he sings to forget.

“You're much to busy, to even find the time, so use your chemicals and take this to your grave. The boys you left are men you didn't raise.”

Escape The Fate is currently gearing up for the Saints and Sinners Tour on October 28th bands The Number Twelve Looks Like You and This Is Hell . After that, they continue touring in support of their new album hitting several places in California and Arizona, and Utah. Dispute several issues facing the band including the temporary discharge of their lead singer Ronnie, they still continue their daily routine of winning fans online and on-stage. It’s undoubtedly an uphill battle that over the course of a few months has leveled its’ playing field.

In agreement to what Ronnie once said, “We’re gonna be the biggest thing… So huge, I know it.”