Tag Archive: Rock


September 11th, 2001 was a pretty low point in our nation’s history. It took us a long time to come back from over 3000 dead in a single day, but believe it or not some good came out of the catastrophe in the coming weeks. Americans found themselves more united than they had been in previous years, and that perseverance provided inspiration for some stirring post-tragedy music. (Though if you count “Where Were You When The World Stopped Turning” by Alan Jackson among them, you’re a disappointment to your species.)

The Rising by Bruce SpringsteenThe Rising was among the music released, and it served as a new turning point in Bruce Springsteen’s career. The man was deeply affected by the tragedy of 9/11, and recorded this 2002 album with the intent of capturing the emotions that he and others like him had felt after the grisly event. The album goes through numerous emotions, from fury (The quiet, but intense “Nothing Man”) to hope for the future, (The uplifting “Waitin’ On A Sunny Day”) to an overwhelming sense of loss. (The somber “Into The Fire”, which has gone on to be one of the most enduring songs of the aftermath.)

What set The Rising apart from many other albums influenced by the events of 9/11, is despite the tone, it remains unconfrontational. Springsteen thinks nothing of revenge, (I’m looking at you, Toby Keith.) instead encouraging to rise above the animosity felt after the events, and come together. No song best encapsulates this message better than 7th track, “Worlds Apart”, which features Islamic Qawwali music as backing. A symbolic gesture, backed up by Springsteen’s powerful rock sound.

More than being a powerful post-9/11 album, is marked several milestones in Springsteen’s career. Before releasing The Rising, he hadn’t released an album of new material since 1995s The Ghost of Tom Joad, and it had been even longer since his last collaboration with his famous backing group, the E Street Band. (The last album of original material they’d made together was 1992s Human Touch.) The Rising not only brought Springsteen and the E Street Band back together writing material, but it became a widespread success for them, becoming their bestselling album since 1987s Tunnel of Love.

It revitalized Springsteen’s career, and to this day the tracks of The Rising stand as some of Springsteen’s most powerful, and most poignant of all his works.

The Highlights:

Bruce Springsteen And The E Street Band Playing LiveThe opening track “Lonesome Day”, which serves as a powerful, hard-rocking, yet elegant introduction of things to come. Guitars, violins, and saxophones blare in unison as the Boss declares: “It’ll be okay…if I can just get through this Lonesome Day.”

The album’s mighty closer “My City Of Ruins”, a song originally written about Asbury Park, but now resonates more deeply with New York, largely because of Springsteen’s powerful performance of it which opened the America: A Tribute To Heroes telethon. An extremely sad song, made glorious by Springsteen’s call to rise from the ashes like a phoenix.

Cut Your Noose by Vendetta RedVendetta Red is one of those bands that doesn’t dive into a sub-genre pool. Rather, they test the waters of a few and then wade around knee-deep in them. Cut Your Noose is a good example of this; they occasionally taste of screamo, but Zach Davidson doesn’t want all his lyric writing talent to go to waste, and they don’t have enough heavy riffs to be considered hard rock. They just weren’t considering your ability to sort them when they make their music, but that’s the way it should be done, and this EP is a great example of that artistic freedom.

“Three Chord Valentine” opens the EP, and if you only listened to the first verse, you may mistake them for the most troubled emo band you’ve ever heard. The lyrics get more mentally stable as the song goes on, however, and the chord progression makes for a catchy rock track. It’s the cleanest mix on the EP, too; all the tracks afterwards suffer from that limited-studio-time sound.

“Por Vida” is one of the two tracks that can be considered early versions of the song, as they were recorded again for later albums. The track is less impressive overall in comparison to the first one, but it may be the favorite track of screamo fans as far as this EP goes.

Drum Diving at Vendetta Red's Last ShowAnother track that was recorded again on a later release, “All Cried Out” has riffs that sound similar to “Three Chord Valentine”. It suffers from an almost annoying introduction that consists of only vocals and only a bit of guitar. Luckily, the rest of the song loses the vocal tone and gains instrument layers.

“The White Nightmare” is an unusual track for the band because none of their albums have a fully acoustic track, or even a song that comes close to how this one sounds. The song seems to only have three layers: main vocals, acoustic guitar, and backing/alternate vocals. On top of that, the guitar playing is rather unique. I doubt I’ll ever find anything that sounds like that with the interesting lyrics to go with it.

The problem with Vendetta Red is that their material can be pretty hard to find. Odds are you won’t hear any of these songs unless you ask the right person. Part of the reason why this is the case is that they broke up in 2006, but three of the original members went on to form Sirens Sister, so if you like the music and want to see them live, not all hope is lost… If you can make it to the Seattle area.

hello-the-capesThe synthesizer-rock combo is nothing new to the music scene, so you’d expect the bands that try their hand at it in this point of time wouldn’t come off as awkward. The Capes constantly blend catchy with annoying in Hello. All was well in the mix until the synthesizers and effects were added; not all of it was bad, but a considerable amount was.

the-capes-say-helloSome of their songs were more effect laden, like “Francophile“, which suffered from quality-hindering voice effects and the occasional digital “Wah, wah” voice. I can see this song either being a favorite or least favorite, depending on if this type of music is what you can enjoy frequently. Other songs weren’t composed with a bad synth track, but in songs like “Stately Homes”, the synthesizer in the mix was overpowering.

It wasn’t that they didn’t know how to use electronic sounds in music, though. They mixed “Carly (Goddess of Death)” and “First Base” very well, keeping the synthesizer notable when needed and not dropping the guitar off the mix radar.

the-capes-helloAnother notable characteristic most of the songs has was a very tinny guitar sound, similar to that of many Franz Ferdinand songs. They did use a variety of guitar tones, but the sound only made the song more catchy and hard to listen to; catchy in the way they played it, annoying in the note progression.

The most notable and pleasing song on the album was the final track, “Sun Roof“, where they didn’t try too hard to be catchy, overwork the synth, or use any fast-paced lyrics which barely caught my attention. It was soothing, slow, and a great way to finish an album. I only wish they had tried that with more of their songs.

The guitar playing was decent, and the vocals didn’t stand out in any way. The Capes aren’t bad musicians, it just didn’t work out on this record.

triad-coverI knew Triad was going to be unusual before I even heard it. It had six songs on it; two from each band. The cover looked interesting, too, consisting of a nice blend of grays and reds, and it was mirrored down the middle. The CD was entirely black, but had a textured design on it.

red-sparowesThe Red Sparowes have the first and last track on this compilation. They have longer song titles than Fall Out Boy, but at least they’re not corny. “Alone And Unaware, The Landscape Was Transformed In Front of Our Eyes” and “Buildings Began To Stretch Wide Across the Sky, and the Air Filled With a Reddish Glow” were both live tracks, but you could hardly tell because they were mixed without an audience track (and since they have no vocalist, they didn’t have a microphone to capture even the slightest bit of audience sound). They are the most progressive songs from the set, and offer the listener quite the musical journey.

battle-of-miceThe second and third songs were by Battle of Mice, a female fronted alternative, progressive, heavy rock band. The songs “Sleep & Dream” and “The Lamb & The Labrador” are both studio tracks, but are listed as edits; probably shorter versions of the tracks found on the album. Both songs feature some unusual dark lyrics, vocals, and interesting drum patterns. There is a nice variety of guitar tones that really round off the songs well, and could not be pulled off by many bands.

made-out-of-babiesMade Out Of Babies has the same lead singer as Battle of Mice, but there were some considerable differences. “Proud To Drown” and “Gunt” still have the flavor of Julie Christmas’s unique vocal styles, but the band uses less guitar effects. There are occasional backing vocals and a little more distortion on the guitars than Battle of Mice.

It was a good set of songs overall. At times it would get droning, but due to the lack of repetition in the songs, you wouldn’t hear the same dull part in the song again. It reminded me of The Mars Volta at times, but these bands have surely made musical innovations of their own. Triad offers a collection of dark progressive rock samples that doesn’t confront you to too many bands at once and could introduce someone to the sub-genre without overwhelming them.

Written by Steve

met-a-man-on-top-of-the-hillThe Midway State, like many bands before them, released an EP with a sampling of what to expect from their upcoming album. Met A Man On Top Of The Hill is their first official studio produced release, offering that glimpse into their music. There are four songs on the EP, and the title track would be the only song on that EP to not be released later on their 2008 album Holes. The song “A Million Fireflies” would undergo a title change when released on the album.

midway-state-bandThe songs on both the EP and the album are a refreshing new take on popular piano rock. The lyrics from the EP’s four songs are emotional, and each song has a different theme. While their peer bands are singing songs about how their relationship ended, The Midway State tackles the less approached route: Nathan Ferraro, the band’s lead vocalist and piano player, sings about being with someone at their potential death bed, or chancing upon someone that just happens to know how to help him, or the character he represents in the song. The vocals are not what you’d typically get from a rock band, but they compliment the sound and lyrical content quite well.

the-midway-state-bandThey have done quite well with their lyrical content, but Met A Man On Top Of The Hill‘s tracks have exceptional instrumental sections with varying emphasis on certain instruments, depending on the feel of the given song. The variety of playing styles the band used is sure to keep you listening for a long time, and it prevents the EP from being something that you’ll delete from your computer in a month.

Although most of the Met A Man On Top Of The Hill EP ended up on Holes, the song set works well as a whole, and the title track isn’t like anything that ended up on Holes. Definitely something that both fans of pop and indie label music could appreciate.

Written by Steve

brand-new-eyes-cropped-album-coverAs “Careful”, the opening track to Brand New Eyes played, I braced for another Paramore style album; an album full of young female pop vocals that sell a sub-par pop-rock band’s studio tracks. Throughout their career, their album material has mostly just bored me. Their B-sides and some demos have been the only thing that have kept me coming back when they put some new music out.

The next two songs didn’t improve my opinion of the band’s creativity, but Hayley Williams certainly improved her songwriting and singing. For example, there’s an anger in the vocals that hasn’t been heard from her before, and it’s not just coating the entire song; it comes in at the right points, which tells me she’s writing songs with more emotion now.

paramore-performing“Brick By Boring Brick” and “Turn It Off” actually had more experimenting in the instrumental tracks than I had expected to hear at this point. It was refreshing to hear that, sort of. They were clinging on to their distortion-driven riffs, and that has always plagued their songs. “The Only Exception” was a first as far as songs on Paramore albums go; a fully acoustic track. It sounded very nice and like something they should do with their music more often.

“Feeling Sorry” brought an end to the instrumentally creative cluster of the album. “Looking Up” was another average fan pleaser song, and although “Where the Lines Overlap” had some chimes or some high synthesized notes that accented the song well, it just wasn’t enough to break away from the “average Paramore sound”.

hayley-williams-of-paramoreThe last two songs on the album, “Misguided Ghosts” and “All I Wanted”, were quite a surprising way to end the album. They are almost what I had been hoping the band would produce for quite a while now. “Misguided Ghosts” has some excellent acoustic guitar playing, and “All I wanted” had some amazing vocals coupled with guitar work that had some nice tone to it, and it steadily grew as the song progressed; something I don’t recall them ever trying out until this song.

Overall, it probably won’t be getting Paramore any new fans that hated them before this album, but it’s a step in the right direction for the band. Their music is starting to mature, and it looks like their fans will have a band to grow up with.

Their B-sides for this album mostly consist of acoustic versions of songs on the album. “Decode”, however, was an original song, and it had a better guitar tone than all the songs on the album; that sort of “hiding the more experimental music” seems to be typical of Paramore. Most of the tracks were more musically diverse when recorded as an acoustic version, and they seem to have much more replay value. The band seemed to have spent more time on this album’s acoustic tracks than on previous albums. They still retained the structure of their originals, and possibly even the tempo and some vocal tracks. They probably could have thrown in a demo or two like they did for the MVI version of Riot!, but five studio acoustic tracks is quite a feat for most bands. It’s a decent set of tracks.

Written by Almightyseancore

Oh great, another indie rock supergroup, with a self titled album, no less. The band consists of Conor Oberst (Bright Eyes/Desaparecidos/Mystic Valley Band), Jim James (My Morning Jacket), M. Ward (M. Ward/She And Him) and Mike Mogis (Bright Byes, and lots of production work, including The Gloria Record, and most Saddle-Creek bands). From the name of the band and it’s infamous members, you’re bound to assume the obvious basics; lots of acoustic instruments and sad songs, but this album really isn’t anything like that.

The music isn’t exactly folk, either. Most of the songs are up beat and played with electric guitars, invoking lots of mellow energy and optimism. Hell, the opening track uses a dance beat instead of a rhythm section! The song structures are great, and it’s a great listen, but i don’t see myself picking this album up very often. It feels more of a novelty project that is designed to be nice little appetizer for fans waiting for other records by the core members “real” projects, though it is interesting to hear all these guys working together as a team.

Most of the upbeat stuff comes from Jim James. He brings along a Grateful Dead type feel of guitar playing and melody. Conor Oberst seems to get most of the spot light, 4 songs all to himself during the first half of the album, but only one during the second half. Conor’s songs are a lot like the stuff he did with Mystic Valley Band, very country-ish, with a “Travelin’ Prophet” type lyrical theme. His song writing is full of southern-desert-Americana type lyrics, like a story you’d hear in a 1920s saloon. There’s also a few songs on this album where band members all share vocal parts, like “Baby Boomer”, which has a really catchy down beat that I caught myself tapping my foot to while driving to work yesterday.

The only thing that really bugged me about this record is that it’s obviously a fan pleaser, none of the members are really doing anything outside of their norm, aside from the people they are working with (and conor/m. ward/ and Mike Mogus all worked together on the last Bright Eyes album anyway, so…) there really should have been more genre experimentation, but that wouldn’t have fit their name very well, would it? All in all it really is a fun album full of music that isn’t bad, but isn’t great, and even though they are going on tour for this record, i don’t see them making a second one.

My final feelings on this album… It’s good, but it’s nothing you’ll nerd out on or obsess over.