Album Review:: Watching the Sky | Sheppard

So, full disclosure: I didn’t even know this album was coming. And that was such a treat, because I’ve been wanting more from this band for a while. I was a big fan of 2015’s Bombs Away, and their set in Albany when they rolled through town a year or two ago was a blast. So, when I heard Sheppard were finally back for their follow-up, I was eager to see where these last three years have brought them.

The angelic, calm introduction “Watching the Sky” begins the album on a build, dropping directly into “Coming Home” after a brief minute-long instrumental. Early on, it seems like during this gap between albums, the six-piece perfected their layered, swirling-vocals brand of pop, and Exhibit A shows its face immediately. Following right on its heels is “Keep Me Crazy,” another top pick, with George Sheppard carrying the weight. Sister/co-vocalist Amy takes the reins on “Love Me Now,” a swaying, swooning example of the success that Sheppard’s multi-vocalist formula can create.

Watching the Sky has its patches of clouds. There are things that I’m probably just nitpicking (and I’ll admit I am), that aren’t quite negatives, but could be better. “We Belong” is good, and it only reaches “good.” The pre-chorus of “now that we’ve lit this fire / we’ve got to fan the flame” has the potential for a huge note, but instead gets held in-check. Like I said, still good, it just could have hit a peak. Amy’s strong vocals on “Live For You”  reinforce this notion, proving she can deliver. Here, however, a powerful vocal performance can’t fully recover from the cringeworthy lyrics  – “Are we really breaking up / Wasn’t I enough for you / I gave my very best / But I failed every test you put me through.” It salvages itself, for the most part, but the first impression is a wince.

“Choke” is catchy and “It’s been a little while since you even said a word / if you never get to first then you’ll never get to third” is a great line but the track feels like Macarena 2.0 and I can’t shake that comparison. Sorry. And I swear, I’ll get back to more positives very soon, but I there’s one more moment I need to mention and if you’ve heard the album you know exactly what it is. “Edge Of the Night” is an upbeat, funky dancealong. And then out of nowhere, it drops into an almost comically deep-voiced chorus that is too sexy for itself. And yet, here I am again, convincing myself that it doesn’t not work? It’s wild and unexpected and confusing and I’d be lying if I said it wasn’t at least fun. Plus, if you imagine Amy Sheppard as the one bellowing along, it makes it much better.

As promised, there’s more here to be appreciated. After the lukewarm “Live For You,” “Sorry” is the perfect reset; a wall-shaking power ballad with some of George’s best contribution on the record. Saving the best for [near] last, “Castaways” makes a late appearance and a lasting impact; a track so perfect for summer you’ll wish it were longer than just three months. Last, “I Was Lost” is a culmination of everything Sheppard can do well and know they do well. Starting gentle, it builds and adds elements throughout, with both Sheppards’ voices bouncing off one another as it gains momentum before a soaring conclusion.

After a week of play-throughs, I was torn. Still kind of am, if we’re being honest. On one hand, I told myself Watching the Sky doesn’t really do a whole lot of anything drastically new, so I should be bummed, right? But on the other, that’s not to say it’s all just more of the same here. Where they have found their best success – bold, bright, infectious pop music, these aspects are more refined and expanded on than ever. So where it might seem similar to things you’ve heard, it’s a better version of that. Like I said, I’m torn. So I’ll say this: some moments fizzle and some lyrics fall flat here and there, but all in all, Watching the Sky is a fun, energetic celebration that has the band showcasing great improvements and big steps forward.

Release Date: June 8th, 2018
Rating: 3.33/5
Run Time:

Check Out: “Castaways,” “Keep Me Crazy,” “Sorry”
For Fans Of: Bleachers, MisterWives, Gin Wigmore

Track Listing:
1. Watching the Sky
2. Coming Home
3. Keep Me Crazy
4. Love Me Now
5. We Belong
6. Edge of the Night
7. Live for You
8. Sorry
9. Choke
10. Call Me Up
11. Hometown
12. Castaways
13. Ride the Wave
14. I Was Lost

Album Review: Here We Go Love | The English Beat

The English Beat have returned to the scene with their first album since 1982’s Special Beat Service. A lot has happened since then, much less in the short span between their 1980 debut I Just Can’t Stop It and 1981’s Wha’ppen? which denoted a departure in sound from their ska influences towards Caribbean and Roots Reggae. The English Beat is known for taking fun and sunny tropical arrangements with subject matters that are dark, frank and cerebral. With the release of Here We Go Love, a title that indicates optimism, we dive into lyrics that are even more unsettling with an undercurrent of dread. This would seem appropriate, given the current political climate, and it would seem Dave Wakeling has decided, with decades of observation under his belt, that this would be the time to release a new album.

Here We Go Love is a collection of songs that have the same frantic energy and frenzy of their debut album. The album still has a familiar feel, with melodies that are reminiscent of their two tone ska days but with a modern kick utilizing lyrics that pertain to the today’s climate (lyrics that may be categorized as dark, confused, questioning, and pessimistic). In other words, it’s a natural progression in the band’s sound over the last few decades, a progression which we had not heard until now, where it was built up to a loud crescendo in the form of this release. The songs still retain the bright, Calypso-infused feel, but lyrically, Dave goes into the paranoia, fear, and corruption of the 21st century.

The album opens up with “How Can You Stand There,” a catchy organ opens up before going into a steady, rhythmic ska beat. The track explodes with upbeat energy while the lyrics draws on themes of taking action at a time of despair. The production on the album is superb, making use of the clarity of each instrument- like an 80’s production with an extra sheen. The lyrics here are intelligent and expressive, drawing upon themes of a tumultuous time within the last few years. The tunes are catchy, as to be expected, and the rhythm section is thumping, fast, and driving.

“The One and the Only,” a surprisingly cynical song, has a lovely piano solo in the middle of the song that breaks up a song about an unlikeable man. The song deals with themes of blame and finger pointing and, according to Wakeling, examines “the Donald Trump in all of us. The cutting condemnation of leaders and situations leads to multiple use of expletives scattered throughout the album, which juxtaposes with the cheery, happy-go-lucky melody and upbeat instrumentation. The song, “Here We Go Love,” has a carefree attitude, yet questions the logic of that attitude- “sick and tired, mad as fuck, that much lying can’t stand up,” Wakeling surfs through a pulsating drumming section and background vocals while simultaneously proclaiming, here is what I want to say, take it or leave it.

The album becomes a musical rollercoaster as the the music and themes become two separate entities, yet there are moments of earnest happiness. “The Love You Give” starts off with an excellent guitar lick and, as a change of pace, has optimistically romantic lyrics that may be jarring yet provide reprieve from the darkness. “Every Time You Told Me” has a danceable, grooving background chorus – “I told you I told you I told you” that I found to be irresistible. Every song here has a strong hook that keeps the album moving at a breathy pace, despite a runtime of almost an hour.

Here We Go Love is a very clever album, one that may not reveal its sophistication upon an initial listen. You’ll find yourself moving to the music, but a close listen will reveal the lyrics of a dark time and coming to terms with it through a bright, splattered burst of Ska, Reggae, Dub, Latin and other tropical influences. The vocals throughout are very strong- I was reminded of Elvis Costello, but backed with even more swagger. The band still retains its edge while creating grooves. They leave no stones unturned, and while the songs themselves may be too heavy under lesser hands, they present it in the from of clear-eyed, rhythmic tunes that instead become healing.

Release Date: June 15, 2018
Rating: 4/5

Track listing:
1. how can you stand there?
2. the one and the only
3. redemption time
4. if killing worked
5. here we go love
6. never die
7. the love you give
8. you really oughtta know
9. you’re stuck
10. every time you told me
11. dem call it ska
12. drive her away
13. be there for you

Album Review:: Saved | Now, Now

It’s been 6 long years since Now, Now released their emo indie album Threads, that gave us the contagious taste of aggressive strumming and vocals filled with ethereal emotional tension. With years to write and produce the follow up, there comes pressure to deliver the perfect album of originality, newness, and pleasing the masses. Though Now, Now already teased us a year in advance with “SGL” that left us anticipating more. The first single only showed a glimpse of Saved–some slow ease into the departure of the familiar gritty sounds of guitar and the first introductions of an indie pop beat.

It’s not an easy feat to switch music stylings, unless you’re Taylor Swift of course. Though Now, Now saw an opening with Saved. With the introduction of the new softer acoustic tones and upbeat synths, Saved is a more subdued emo that focuses more on moody upbeat melodies. It’s more trendy indie pop. Tracks like “MJ”, which pays tribute to the King of Pop, and “Yours” showcases this new direction with electric melodies at the forefront. Though, not songs you’d want to dance to if you listen closely, which creates a bit of confusion. Instead we enter a new realm of taking serious lyrics of love and creating a new feeling of melancholy around it.

However, the duo behind Now, Now have not completely ditched their emo roots that brought their claim to fame. Dalager’s unique and lazy alto vocals float heavy melancholic lyrics about lovers through songs like “Can’t Help Myself” and “Window.” You’ll find yourself coming to terms with a road trip album with songs like “Drive,” which is a personal favorite of mine. Emotional tension delivers strong in the midst of synths, drum machines, and vocals as smoke in a smoke filled room. We see this in the title track, “Saved,” where as the tempo builds, so does the electric drum beats and echoed vocals. Meanwhile, “AZ” will entice older fans to revisit and unravel the layered vocals of Dalager’s the synth lead guitar solos.

Now, Now delivers a solid album that maybe older fans weren’t expecting, but it gives the band much needed space to shape their own style and fill an cross between of indie pop and emo music that doesn’t overlap often. I hope to take Saved on solo road trip into the horizon one of these days.

Release Date: May 5th, 2018
Rating: 3.5/5
Runtime: ~45 minutes

Track listing:
1. SGL
2. MJ
3. Can’t Help Myself
4. AZ
5. Window
6. Holy Water
7. Yours
8. Saved
9. Knowme
10. Drive
11. Set It Free
12. POWDER

Review :: Senses Fail – If There Is Light, It Will Find You

Having passed the midway point of their second decade, it sounds foolish to say Senses Fail may have found out who they want to be, or better yet, who they are.

Going from being pioneers* of the screamo scene during the mid and late-2000’s, then shifting to more of a hardcore act for 2013 and 2015’s Renancer and Pull the Thorns From Your Heart, they’ve never been an act afraid of approaching new territories. With that, a decent chunk, if not most or all, of the credit goes to Buddy Nielsen, the only remaining member from the initial lineup.

To fully appreciate the glow of If There is Light…, I had to revisit the grit of Pull the Thorns From Your Heart. Where the intensity of “The Three Marks of Existence”  from Pull the Thorns… punches your skull in, the opener here, “Double Cross,” grabs you by the collar and pulls you in close; less of a circle pit, more of a crowd surf. It makes good use of one of the handful of instances of screamed vocals on the album, showcasing the album’s range early on – hooks, heaviness, and plenty of heart.

Review:: Underworld | Tonight Alive

“I have to walk the path in front of me because I’m not one for following.”

Though it isn’t a lead single, or even the first great track on Underworld, Tonight Alive’s upcoming fourth studio album, “The Other” encapsulates everything the Australian [now-] four-piece attempts and achieves with their latest endeavor – confidence in times of doubt, light through the dark, a personality standing out from the crowd and finding strength when you’re feeling stranded.

“Book of Love” kicks things off, and it sure does kick. Where most would choose to focus on Jenna MacDougall’s powerhouse vocals (and don’t worry, we have plenty of time for that), the instrumentation on the opener is a highlight – Hardy’s guitar work is quick and staggered, while Matt Best’s pulsing drumming builds and builds in the background before crashing into the forefront for the first chorus.

To jump back to the aforementioned first great track, “Temple” is Underworld’s second track, and Tonight Alive’s first real statement song on the album. The track carries a holier-and-heavier-than-thou attitude, with McDougall’s final pleading of the chorus “If my body is a temple, tell me why it hurts like hell?” hitting the hardest.

The heavier sound on Underworld doesn’t mean there is less heart or that there isn’t a softer side to the album; “For You” plays like a callback to Yellowcard’s “Only One,” while “Looking for Heaven” is a gorgeous piano ballad that lets McDougall fly.

With all that being said, Tonight Alive still manage to flex their purely pop muscles quite nicely here. “Last Light” is soft, soaring ‘90s powerpop. “Just For You” features what could be my favorite moment on the album – a simple “la, la, la-la-la” bridge that is perfectly tongue-in-cheek, and it has extra room to be as such because it’s so playfully bubblegum that it could rot your teeth.

Of the two features on the album, which both jump out on paper for different reasons – “a duet with Lynn Gunn? Oh, word!” “A duet with Corey Taylor? Oh, word?” – neither quite lives up to the expectations headed in. “Disappear,” which pairs two of the most prominent, powerful female vocalists in the scene, had the potential to blow the casing off of your speakers. While it’s still a good track, it doesn’t quite reach up to great.

On the other hand, the latter, finale “My Underworld,” gives each performer an equal chance to shine, coupling McDougall’s grace with Taylor’s grit. A surprise, certainly, but a pleasant one to bring the album to its close.

When asked about the record, McDougall considered Underworld a “reflection of the ugly parts of her,” the pieces she said she “wasn’t ready to see until now.” We all have our demons and our faults and our doubts, and if it takes these “ugly” pieces to build something beautiful, then taking a look is worth it.

Release Date: January 12, 2018
Rating: 4/5
Run Time: ~48 minutes
Check Out: “Just For Now,” “The Other,” “”Waiting for the End”

 

Track Listing:
1. Book Of Love
2. Temple
3. Disappear (Feat. Lynn Gunn)
4. The Other
5. In My Dreams
6. For You
7. Crack My Heart
8. Just For Now
9. Burning On
10. Waiting For The End
11. Last Light
12. Looking For Heaven
13. My Underworld  (Feat. Corey Taylor)

Review:: Somewhere In Between | Vérité

Poking around online while in the process of getting started here, I wanted to see what some other people were saying and if it matched how I feel. While the results were a bit sparse, the briefest review I found was also the most helpful; five short words, encapsulating not only the buzz surrounding Vérité but also a perfect summary of what Somewhere in Between offers.

“I can die happy now.”

With the exception of blockbuster movies and the Stanley Cup Finals, summer is the worst of the four seasons – it’s a thousand degrees, football is still months away, there are bugs everywhere – it’s awful. But, along with the exceptions above, there is one more key redeeming factor that comes to mind – pop music always hits a peak midyear.

Now with a trio of EPs on her resumé and a successful cover going viral, Vérité (born Kelsey Byrne) is here to not only show what she has to offer with her debut full-length, but prove that she can keep pace with the summer’s brightest starlets.

Review:: Listen To The River | The Collection

Whatever the craft, whether you are a musician, a writer, an artist, actor, athlete, anything whatsoever (artistic or not, really), making a strong impact is something to be desired. And while impact is one thing, legacy and lasting value are what separate the sudden fads from the reveled and remembered.

Now in the process of building on the foundation that was their debut, 2014’s stellar Ars Moriendi, North Carolinian mini-community The Collection have returned with Listen to the River, a second exploration into the struggles and stumbles that lead us to where we’re heading.

Vocalist/lyricist David Wimbish describes the album as a way of “reexamining and reorienting” a sunken sense of faith, courage, and spirituality while, alongside ex-wife and vocalist/multi-instrumentalist Mira, “processing the divorce and recontextualizing the relationship.” With the collision of these two struggles, River’s songs were a way to approach both simultaneously. Within the first moment of the album, Wimbish croons “Oh, there was sorrow in every word / Oh, how it longed to be heard. / But for the first time, I am not speaking / I am just listening until I can hear you / On my own.”

Where the first single “You Taste Like Wine” keeps things joyous and bright with horns and keys dancing, followed by the snap-along “Mama,” we hear the first and few instances of upbeat tempos. Each track is worthy of praise (and I’ll try to remember to circle back to them) but what follows is the first true standout Listen to the River offers us.

The booming drums that lead into “Birds,” each beat louder and heavier than that which preceded it, build their way to something huge. The combination of the echoing percussion, ethereal backing instrumentals, and Wimbish’s tender-at-times vocals culminates in a chilling anthem of dealing with uncertainty. As it draws to a close, he bellows “They say ‘You ask too many questions / You start too many fires / You dream of resurrection / But you’re too scared to die.’ ” Initially perceived as a criticism, its effect changes when Wimbish no longer has to sing it alone, joined by the support of vocals behind him. By the time its last round is sung, this notion of disapproval and self-doubt transforms into one of potential and oneness and optimism.

A bit later, there’s a slight feeling of nostalgia for the group’s previous album. Ars Moriendi, featured a trio of songs titled “The Younger One,” “The Middle One,” and “The Doubtful One,” each One a four-to-five-minute storybook. Here, we are introduced to “The Older One,” who “finds light in the darkest of rooms, sun in the smallest of moons … taught movement can be safe.” Whether fictional character or autobiographical pseudonym, these moral dichotomies  presented by “The Older One” show the protagonist’s change, growth, and maturation.

Much like The Younger and Middle Ones, a drop around halfway through breaks the song in two. The gentle fall and rebuild throughout the final hundred seconds or so are both placed and performed perfectly – muffled vocals fading away, making room for a soft, haunting piano exitlude. The change in direction is sudden, though not unexpected from The Collection. Where the final minute is nothing more than simple pianowork, the conclusion feels like the tapes kept rolling because there was just a bit more story to be told.

Listen to the River comes to a close with “The Listener,” and it is a perfect example of what makes The Collection such a special group. The song itself is, bear with me, admittedly lackluster at times. But with that said, by taking full advantage of their size and range and the weapons at their disposal, they buff and shine a simple piece of sea glass into a souvenir.

As mentioned before, this album was written as a way of processing and dealing. And with that comes questions. If there are meanings to be searched for or answers hoping to be found, “No Maps of the Past” contains the questions – “where did all of our time go?” “How did I used to hold you before you knew that you needed it?” “If everything always feels new, then what if nothing is?” It may seem hyperbolic to say each word is as important as the next, but in this instance, the song as a whole is more powerful than it would be dissected into lines. Throughout, the song maintains a perfect balance of strength and delicacy, shelter and vulnerability, wretch and reconciliation. In the end, it presents what the group set out to achieve – the creation of something, hoping to honor the past while accepting the present.

So, to circle back to my initial point, what do we have here – just a strong first impact or a lasting value?
For The Collection, it isn’t a this-or-that; the answer is just yes.
Three summers ago, Ars Moriendi hit my life like a lightning bolt. It was an album that sang to me every word that I couldn’t myself conjure.
And now, once again able to find the bright and the beautiful within the dark and despaired, Listen to the River is a testament in learning you can hold onto the past without it holding you down, and that you must allow yourself to let things go where they go, let things happen as they happen, let the currents carry you where they will.

Release Date: March 24th, 2017
Rating: 4.75/5
Run Time: ~45 minutes
Check Out: “No Maps of the Past,” “Birds,” “Mama”

Track listing:
1. ”Threshing Floor”
2. “You Taste Like Wine”
3. “Mama”
4. “Birds”
5. “No Maps of the Past”
6. “Siddhartha (My Light Was a Ghost)”
7. “Sing of the Moon”
8. “So Many People”
9. “The Older One”
10. “The Alchemy of Awe”
11. “The Listener”

Review:: Clashes | Brodka

Descending from the country of Poland, Brodka (Monika Brodka) broke out into the music world after winning the third season of Polish Pop Idol in 2004. Having already released three previously acclaimed albums, Clashes is her first album released in English; while studying classical music as a child, Brodka also listened to death metal and grunge bands which significantly influences her sound. Haunting and dramatic instrumentals accompany her delicate vocals throughout the entirety of the album, nailing the juxtaposition of uniting dark and soft elements.

Her strong orchestral and avant-garde approach to music is what differentiates herself among current pop artists and the genre as a whole. Her vocal style is similar to the likes of Lana Del Rey and Radiation City possessing a romantic, whimsical voice that seamlessly slows from one range to the next. This is one of those albums you must be in the mood for to truly appreciate her point of view and musical elements where sinister, melancholy sounds meets chaotic alternative.

Review:: Reskinned | Larkin Poe

I’m a music fan.

That’s such an understatement, and an obvious statement at that. But I’ll explain.
There are some people who don’t really like music as much as they have a music taste. We all have the one friend who will refuse to listen to anything outside of the one or two genres they enjoy. I personally will give anything a shot – good music is good music.
Anyway, back to the point: I’ve never been hugely into the southern rock/alt-country/grassroots rock ‘n’ roll genre, but that’s not to say I’m opposed to giving it a shot. Enter Larkin Poe, stage right.

Atlanta sisters Rebecca and Megan Lovell return on Reskinned, a rock star’s pop album.

Review:: Damage With Care | Moving Units

Moving Units proved to be ahead of their time marrying dance music and punk since 2002; the vocals glorifying this unique union. Now with their fourth album Damage With Care out, the band has found a home with their catchy electronica-like tunes with guitars and drums turning rock shows into dance parties.

It’s a winning formula of indie vocals, EDM, and low-key rock melodies that’s found throughout their latest album that is sure to keep all types of fans coming back for more – whether it’s at Coachella or at an underground club. The album’s opener “Hyatt Girls” kicks off with explosive catchy tunes and the singe of indie-punk energy that is familiar with longtime fans. The song is the highlight that’s able to turn the craziest mosh pit into
the emo kid’s version of a dance party.

The energy mellows down through the rest of the tracks and is heavily influenced by indie-pop notes. The listener is carried into a journey of very similar songs that work together like a story.  Low key synth beats with the shrill thrums of guitar in “War on the Floor” and “Teacher” create consistent beats to keep any beach party going til’ dawn. “Fragile Magic” has a futuristic sound that’s a bit edgier contrary to the name while the album closes with “House of Dolls,” a more disco-like song not signaling the finality but asking for one more time and maybe for another replay.

Moving Units is all about the art of bringing some dance to the rock aspect.  Every song is only one piece of a very solid album begging to be played over and over again.  The melodies on Damage With Care are enough to get your feet moving and head shaking, but the eerie vocals bring an unexpected element that really brings together contrasted interests. It’s hard to pick just any song to single out that shines above the rest.

Release Date: April 8th, 2016
Run Time: ~33 minutes
Rating: 3.5/5

Track listing:
1. Hyatt Girls
2. Opposite of Rhyming
3. Wishful Thinking
4. American Infantile
5. I Don’t Mind
6. Fragile Magic
7. Going Out
8. War on the Floor
9. Teacher
10. House of Dolls