Mitch
04/24/06, 12:06 PM
In 1895, HG Wells wrote what would become one of his best known novels--The Time Machine. While The Time Machine is about a man who creates a machine to travel through time and visit the future, it shows that society has always been seeking a way to create such a thing for the purpose of either visiting the future or going back in time. While nothing of the sort has yet been created, an equivalent to a time machine has always been around: art. You can pick up any work of art and be taken back to the event or time period it reflects. Or, for the sake of this review, listening to an album can very well make you close your eyes and remember past years, such is the case of the nostalgic, upcoming Transition release, Get There.
When I listened to the first song on the album, The Ataris immediately raced throughout my mind. At this thought, more than the normal amount of serotonin was released into my bloodstream and I opened up AIM and messaged quite a few people: “I just found 2006’s So Long, Astoria!” While the excitement has since then died down, Get There is still a record that takes me back to the glory days of pop-punk, when New Found Glory, Blink 182, and The Atari’s had everyone on the palm of their hands.
The songs follow the simple pop-punk formula, not unlike Hit the Lights, with catchy verses leading into explosive (for the most part) choruses. “Down At the Harbor” showcases exactly what I mean, with an unexpected chorus that sends chills up my spine every time I hear it. “The Issue,” which in my opinion is one of the weaker songs on the album, sports a bridge reminiscent of a softer Emanuel, and a Terminal-esque chorus. The song just feels out of place following the first two. Thankfully, “Winter,” redeems it with a Blink 182/NFG feel featuring guest vocals from producer Mike Herrera (am I deaf or does he sound oddly like Mark Hoppus?). Lasting roughly only two and a half minutes, it packs a punch which is sure to get you singing right along while tapping your foot along with the beat. “Air We Breathe” lightens things up with mellow vocals which are complemented with a chorus that reminds me of Day’s Away. From that song through the end of the album, it seems as if Transition didn’t really know where they wanted to go with the direction of the songs—not to say that’s a bad thing. It feels as if every other song switches from more of a softer pop-rock feel to straight up “windows down” pop-punk. I find myself confusing two of the songs with each other, which is a definite weakness but luckily it’s kept to a minimum. The album ends with “Tune In,” which fails to hold my attention to the closing minute—this is a song that would have been better fit in the middle of the record.
Get There is an album that I can’t help but relate it to a time machine, taking me back to the days where fun pop-punk was the only thing escaping from the dark insides of my headphones. I just wish this band expanded their horizon and formula a bit more instead of making an album that sounds strikingly similar to their influences. Needless to say, this is an album not without some faults, but for those people who want nothing else to do but drive around in the spring sun blasting a solid and catchy CD should definitely check this one out.
When I listened to the first song on the album, The Ataris immediately raced throughout my mind. At this thought, more than the normal amount of serotonin was released into my bloodstream and I opened up AIM and messaged quite a few people: “I just found 2006’s So Long, Astoria!” While the excitement has since then died down, Get There is still a record that takes me back to the glory days of pop-punk, when New Found Glory, Blink 182, and The Atari’s had everyone on the palm of their hands.
The songs follow the simple pop-punk formula, not unlike Hit the Lights, with catchy verses leading into explosive (for the most part) choruses. “Down At the Harbor” showcases exactly what I mean, with an unexpected chorus that sends chills up my spine every time I hear it. “The Issue,” which in my opinion is one of the weaker songs on the album, sports a bridge reminiscent of a softer Emanuel, and a Terminal-esque chorus. The song just feels out of place following the first two. Thankfully, “Winter,” redeems it with a Blink 182/NFG feel featuring guest vocals from producer Mike Herrera (am I deaf or does he sound oddly like Mark Hoppus?). Lasting roughly only two and a half minutes, it packs a punch which is sure to get you singing right along while tapping your foot along with the beat. “Air We Breathe” lightens things up with mellow vocals which are complemented with a chorus that reminds me of Day’s Away. From that song through the end of the album, it seems as if Transition didn’t really know where they wanted to go with the direction of the songs—not to say that’s a bad thing. It feels as if every other song switches from more of a softer pop-rock feel to straight up “windows down” pop-punk. I find myself confusing two of the songs with each other, which is a definite weakness but luckily it’s kept to a minimum. The album ends with “Tune In,” which fails to hold my attention to the closing minute—this is a song that would have been better fit in the middle of the record.
Get There is an album that I can’t help but relate it to a time machine, taking me back to the days where fun pop-punk was the only thing escaping from the dark insides of my headphones. I just wish this band expanded their horizon and formula a bit more instead of making an album that sounds strikingly similar to their influences. Needless to say, this is an album not without some faults, but for those people who want nothing else to do but drive around in the spring sun blasting a solid and catchy CD should definitely check this one out.