Album Review - Handwritten by The Gaslight Anthem

Link to my original post:

http://www.sputnikmusic.com/review/51874/The-Gaslight-Anthem-Handwritten/

Handwritten combines the charm of Gaslight’s humble beginnings with an arena-filling production and musical direction.

The Gaslight Anthem’s fourth LP Handwritten is a natural progression for a band whose rise to the mainstream is nothing short of meteoric. The Jersey four-piece went from playing fifteen minute sets as an opener for punk shows to having Bruce Springsteen sing their songs in packed arenas in one mere album cycle. 

And that’s precisely what Handwritten is - a reflection of their rise to success. With super producer Brendan O’Brian (whose modest resume includes Bob Dylan, Pearl Jam and Bruce Springsteen) behind the booth, Gaslight has never sounded so…big. Handwritten is less punk anthem circa The ‘59 Sound and more what “American Slang” strove to be though ultimately fell short of. While this IS a legitimate cause for concern about the band jeopardizing their overwhelming charm and sincerity in exchange for a major label makeover, it is very far from the truth. 

It’s the complete opposite, in fact. For how high profile this record is, it is still a Gaslight record through-and-through. Singer Brian Fallon puts it best: “We were definitely trying to make sure the person who was on the other end of the speakers knew we were talking to them”. And there is not a single contrivance on “Handwritten”, from the sing-along-of-the-year “45” to the heartfelt “National Anthem” and everything in between there is a real sense that every track is organic, which really lends itself to the theme of the album. Its ability to simultaneously sound so big yet retain all the charm from their humble beginnings is undoubtedly the record’s strong suit. Give it a spin.

@8 months ago with 1 note
#the gaslight anthem #handwritten #rock #album review #The '59 Sound #Senor and the Queen #american slang #punk #rock n roll #brian fallon #alex rosamilia #alex levine #ian perkins #album 

Album Review - Mean Everything to Nothing by Manchester Orchestra

The whole is indeed greater than the sum of its parts.

MO’s third full-length release is a confusing one until given a fully fleshed-out, detailed listen. “Mean Everything To Nothing” is the album title, and when taken out of that context it is but a grammatically incorrect fragment of a sentence. It is clearly missing the Subject, a vital component to any thought. Who, or what means everything to nothing? It’s intriguing and thought provoking. And therein lies the genius of the LP: It’s mysterious. Luckily singer Andy Hull explores the meaning behind the title through his lyrics, eventually allowing the mysterious phrase to blossom into a full thought-a moment of enlightenment for the listener when heard for the first time. It would be a crime to have such a potentially fulfilling and interesting theme go to waste if the music was not held to the same standards. 


A beautifully crafted idea with intelligent lyricism cannot stand alone unless the music behind it is just as beautiful. MO’s sound is cohesive, and anything but monotonous. Shifting from catchy riffs such as the one heard throughout standout album opener “The Only One” to the unexpectedly badass riff of “Pride” that wouldn’t sound out of place in a Spaghetti Western flick; Mean Everything to Nothing has outstanding and varied guitar work. As far as the instrumentals go, the lead guitarist Robert Mcdowell and drummer Jeremiah Edmond are the strongest players. The latter displays some of his best work in the album opener. 


And then of course there are songs of the quintessential MO style in “Everything to Nothing” and “I Can Feel a Hot One”. Reminiscent of the highlights of their previous LP, the gentler, more depressing songs are where the band absolutely shines. Additionally Manchester Orchestra completely avoids a common problem that comes along with having a reasonably varied set of songs: fluidity and pacing. There are no abrupt endings to be found, and each song feels like the perfect build-up to what comes next. Nailing the aspect of arrangement within the album makes for a more immersive and overall enthralling listen. 


But when it comes to albums that are considered “classics”, such high regard is only accredited to some intangible feature that transcends the standards of most other albums. In other words it’s a “spark”, whether that means a well-crafted theme coming full circle, or brilliance in an artistic vision being perfectly realized. Mean Everything to Nothing’s rating rests in the arms of the former. The album title plants a seed that, at the final two songs flourishes and reveals itself to be something as fulfilling as one could hope for in music. It’s a moment of realization and understanding for the listener that makes the fifty-three minute run time of the album more than worth the listen.

@9 months ago
#Manchester Orchestra #Review #Rock #ALbum Review #Music #Andy Hull #Shake it out #I can Feel a Hot One #Mean Everything to Nothing 

Album Review: The North Stands For Nothing by While She Sleeps

Link to my original post: http://www.sputnikmusic.com/review/47922/While-She-Sleeps-The-North-Stands-For-Nothing/

This is Hardcore music devoid of all the stigmas that bands like Bring Me The Horizon attached to it over the years- Ironically both bands are from the same hometown.

What do Def Leppard, Bring Me The Horizon and The Arctic Monkeys all have in common? Not much except the fact that they all hail from Sheffield, ‘The Steel City’ in England; A city well known for its production of steel over a number of years. However, the hardened and passionate reputation of the city’s steelworkers does not seem to translate well to the super-famous, and at times over-the-top bands mentioned above. Such a blaring inconsistency does nothing but prevent people from expecting a band like While She Sleeps to come from the same place. But WSS is strikingly representative of the place from which they came, and they have something to say. 

While She Sleep’s debut album entitled The North Stands For Nothing is a hard-hitting, relentless hardcore album with a bare bones mindset when it comes to instrumentation (no electronics or overproduction to be found here). In fact, the band only ever lets up for the few piano driven interludes throughout. They provide necessary buildup as well as the just as necessary low points to accompany the aggressive highs of the album. This creates more of an experience as opposed to a mere collection of songs. 

When it comes to song structure and instrumentation, WSS proves solid throughout, though with no real standout moments. It is refreshing not to see the overused verse-chorus-breakdown song structure, and in that respect WSS keeps it varied and interesting. Additionally, the arguably copious amount of breakdowns in the album is balanced out by a catchy guitar riff or unexpected shift. The drums however do not stand out whatsoever and don’t add much flavor to the sound of the band. Rarely does the album fall into monotony though, it is kept afloat by the solid instrumentation as well as the fitting vocal delivery. 
The vocals prove to be the spark that allows TNSFN to make sense. The potentially lame line “I’m proud of the demon in me” is made absolutely believable when delivered by Lawrence Taylor’s impassioned voice. The fact that he sounds as if he truly means what he’s saying adds to the sincerity of the album as a whole. The lyrics are well written and seem to follow a loose political/geographical theme. Regardless the lyrics are undoubtedly intelligent and inspired. 

The North Stands For Nothing by While She Sleeps is able to transcend both the stigmas of genre in which the band is grouped as well as the reputations of fellow bands from Sheffield. WSS is truly representative of the Steel City ethic and accurately turns its history into a sonic assault of sensible anger sans any lame lyrics or unnecessary decisions. The North Stands for Nothing, though with its faults in instrumentation, proves to be a strong album with lasting replay value and a lot of potential for future releases. Give it a spin.

(Source: marcsnotdead)

@1 year ago
#Album Review #While She Sleeps #The North Stands For Nothing 

Album Review - “Gallows” by Gallows

This review was originally posted here:

http://www.sputnikmusic.com/review/51849/Gallows-Gallows/

“Gallows” does not skip a beat.

“In us we trust!” Gallows gang-shouts on the first track of their self-titled album. This is the battle cry of a band collectively spitting in the face of adversity. Upon the departure of their charismatic and beloved front man Frank Carter in late 2011 and the acquisition of ex-Alexisonfire guitarist/vocalist Wade MacNeil, there’s been much concern and doubt as to whether Gallows is still…well, Gallows. With only a very brief teaser of an EP to go by, nobody’s opinion of the “new” Gallows would fully solidify until there was a more substantial amount of content by which to judge them. 

Now that the new record is finally here, it is pretty safe to say that the opinionated, ever-pissed-off and confident Gallows of old remains in tact and more focused than ever before. Each and every song has enough variety to distinguish itself from the other ten on the record while being aware enough not to outstay it’s welcome. This results in some seriously aggressive, to-the-point songs and avoiding filler material altogether. 

The standout tracks on “Gallows” do have something in common, however. They each have a powerful moment amidst the per-usual catchy assault of anger that instills a unique feeling while listening. The quasi-preachy intro to lead single “Outsider Art”, the absolutely haunting English infant voice chanting “crucify Christ” amongst other things on “Cult of Mary” and the crushing breakdown at the end of “Nations/Never Enough” are the most pertinent examples of that on the record. These moments allow “Gallows” to briefly transcend the boundaries of an ordinary punk record experience.

And so the verdict is in: Gallows is more cohesive and focused than ever, with a sense of ambition and optimism towards the future of their career with Mr. MacNeil. The self titled record does more than uphold the standards of a Gallows album, it surpasses them. In Gallows We Trust.

@8 months ago with 2 notes
#Gallows #self-titled #wade macneil #frank carter #Grey Britain #Orchestra Of Wolves #Punk #Hardcore Punk #Album Review #Hardcore #Last June #Outsider Art 

Album Review: Only Boundaries by Balance and Composure

Link to my original post: http://www.sputnikmusic.com/review/47987/Balance-And-Composure-Only-Boundaries/

Served best with a sinking feeling on a long sleepless night.

Allow me to preface this review with a warning: this EP is sad. I mean sad…like the kind of sadness that is so brooding that it becomes inevitably relatable. Coincidentally, the genius of Only Boundaries lies in that fact.

“I gave up long ago” is the first line of Balance & Composure’s sophomore EP, and in being the first line it perfectly foreshadows the lyrical content of what’s to come. Lyrically, the music is intelligent in its use of metaphors to portray the loose theme of lost love. There are also some really exceptional lyrics such as those in “What’s Wrong With Everything”:

You call yourself a cowboy,
But you just can’t let things go.
You sold your soul to a woman
Who left you for her heavenly home.

However, Balance & Composure is a band in which the whole song is far greater than the sum of its parts. The strong lyrics coming together in unison with the eruption at the end of a slow burning section of build up can send shivers down your spine. Though there is nothing particularly groundbreaking or extravagant about Only Boundaries, the consistency and synergy throughout the EP works in the bands favor. It gives B&C their ‘edge’ and prevents the music from getting boring. 

The first and last songs in Only Boundaries are the obvious highlight. Both lyrically and musically, these two songs are the strongest. That is not to say, however, that the remaining two songs are bad. They are solid and serve their purpose, but just do not live up to how strong the other songs are. 

All in all, this short-and-sweet nugget of depression is well worth its eighteen minute run time. It’s an emotional ride similar to the experience of listening to Brand New for the first time. A must listen.

(Source: marcsnotdead)

@1 year ago
#Album Review #Balance and Compusure #Only Boundaries