http://www.absolutepunk.net Discuss and review albums. en Wed, 16 May 2012 15:43:08 GMT vBulletin 30 http://images.absolutepunk.net/images/misc_new/rss.jpg http://www.absolutepunk.net http://www.absolutepunk.net/showthread.php?t=2747902 Tue, 15 May 2012 08:36:28 GMT mewithoutYou – Ten Stories
Release Date: May 15, 2012
Record Label: Self-Released

Aaron Weiss' imagination has always been rich, but he may have outdone himself this time on his band's (mewithoutYou) latest album. Free from the label constrains of Tooth & Nail, mewithoutYou set out to tackle the concept album, something that excited many fans considering Weiss' vivid and colorful lyricism. But I'd supposed very few, if any, were expecting Weiss and company to portray their eccentric sound through the viewpoint of talking bears, elephants, and more (oh my!). No, this isn't the sequel to The Wizard of Oz, but it is definitely the focal point of mewithoutYou's Ten Stories, arguably their strongest album yet.

There is no doubt that Ten Stories will be the greatest album ever written about talking circus animals surviving a train crash in 19th century Montana. All kidding aside, the lyrical themes presented throughout the eleven tracks are painted with a thick coat of metaphors and vague subtleties. Ten Stories is full of allegories and fables, continuing the trend they started on their last release t’s all crazy! it’s all false! it’s all a dream! it’s alright, only this time they mix in some of the aggression that was present on Brother, Sister.

The album kicks off with the frantic “February 1878,” the sorta-sequel to “January 1979.” The distorted chords and quivering tambourine will set older fans down memory lane. The stop and go vocal pattern of Aaron Weiss' shouts and whispers is a welcomed guest, as it's been a long three years since we've heard his cries of self-loathing and self-inspection. But instead of being so on-the-nose with his lyrics, he explores the usual mwY themes (faith, truth, doubt, misery, life, death, etc.) through the eyes of the album's main characters – the circus animals – giving off the sense that this could be a true collection of fables.

And that's what makes Ten Stories so exciting. Yes, some of the musicianship is similar to album's past, but the way it's presented and executed is a first for the band. The Philly quartet has never sounded so at ease with their craft on this album compared to the rest of their critically-acclaimed discography. They've grown into their sound, realizing they don't necessary have to be loud to be heavy. “Grist for the Malady Mill” manages to be the album's catchiest tune while maintaining a gritty guitar chord amongst the hypnotic chorus. The delicacy of “East Enders Wives” will resonate with you long after you've listened to the album, while “Cardiff Giant” is an exuberant number; resulting in a “shout towards the heavens” style of breakdown. mewithoutYou proves early in Ten Stories that they can switch between genres and tempo changes with ease while keeping the thematic elements cohesive.

This continues with the dramatic “Elephant in the Dock and the soothing nature of “Aubergine.” All of this sets up the album highlight, “Fox's Dream of the Log Flume.” The aggressive track wouldn't sound out of place on Catch For Us The Foxes, as Weiss' signature frenzied cries pace the track. But the difference between the band then and the band now is how they take something so familiar and turn it into something fresh. “Fox's Dream” features beautiful contrast between guest vocalist Hayley Williams' timid vocals and Weiss' crazed yells before disassembling the song into a simple acoustic duet between the two.

I'm not going to dive too deep into Weiss' lyrical content, as one should interpret them in their own way. But I will mention that the nature of the album's theme allows for some playful lyricism at times, which is evident on the upbeat “Fiji Mermaid.” Heavy on the death metaphors, it features an infectious chorus as well as a few puns to air out any self-indulgence the song might've had. But these instances are few and far between on Ten Stories, as the band's fifth studio album features some of their darkest material. The soft horns on “Bear's Vision of St. Agnes” slowly segues into something much more grand, fashioning the penultimate track into some sort of grim beauty.

It's not all despair on Ten Stories however, as “All Circles” closes the album on a triumphant note. Entirely built around the lyric “All circles presuppose they'll end where they begin/But only in their leaving can they ever come back around;” Rickie Mazzotta's drumming gets louder and louder as Williams shows up once again to complement Weiss vocally, ending the album at an exorbitant zenith.

While mewithoutYou is still as ambiguous as ever with their music, they've never been as creative and daring as they are on Ten Stories. Aaron Weiss continues to prove that he has an unique way with words that very few lyricists can match, as he is cleverly vague while maintaining an intimacy with listeners. We benefit as listeners and overall fans of music whenever there's a new mewithoutYou release, as they continue to write music that inspires as much as it challenges.

8.5/10

Additional Information

Track Listing:
1. February 1878
2. Grist for the Malady Mill
3. East Enders Wives
4. Cardiff Giant
5. Elephant in the Dock
6. Aubergine
7. Fox's Dream of the Log Flume (featuring Hayley Williams)
8. Nine Stories
9. Fiji Mermaid
10. Bear's Vision of St. Agnes
11. All Circles
Produced by: Daniel Smith

mewithoutYou is:
Aaron Weiss – lead vocals, acoustic guitar, accordion, trumpet, keyboards, percussion
Michael Weiss – guitar, keyboards, vocals
Rickie Mazzotta – drums
Greg Jehanian – bass guitar, vocals

Official AP.net Profile; Official Website; Official Facebook Page; Official Twitter Account

]]> Album Reviews Drew Beringer http://www.absolutepunk.net/showthread.php?t=2747902 http://www.absolutepunk.net/showthread.php?t=2747562 Tue, 15 May 2012 02:42:26 GMT *The Orphan, The Poet* – An Exercise in Form EP Record Label: None Release Date: May 15, 2012 If The Orphan, The Poet’s preceding EPs have proved anything, it’s that the band is blossoming with talent. Well, what better to cement this fact than to exhibit their sound in an intimate, stripped down... The Orphan, The Poet – An Exercise in Form EP
Record Label: None
Release Date: May 15, 2012

If The Orphan, The Poet’s preceding EPs have proved anything, it’s that the band is blossoming with talent. Well, what better to cement this fact than to exhibit their sound in an intimate, stripped down atmosphere with an acoustic EP, An Exercise in Form.

Harkening the feel of Deas Vail and even Copeland’s Eat Sleep Repeat-era, the acoustic version of “Sleeping Giants” heightens the skill of vocalist David Eselgroth, with tender female vocals definitely mirroring that of Mindy White’s time in Lydia. More upbeat, “Water Seeker” accents the suave guitar plucking of Eselgroth and Jared Snavely, while the older “To Those Called Icarus” conveys the growth of the band over merely a couple of years.

As expected, the acoustic rendition of “Invincible” is just gorgeous. From the cold opening piano keys to the isolated vocal performance, this track is without question the best piece of music The Orphan, The Poet have every written. Physically chilling and emotionally stirring, all elements of the track – the meek vocal delivery, haunting strings, and omnipresent keys – add to the puzzle to create a true masterpiece.

Clearly, The Orphan, The Poet know what they are doing. Releasing two stellar EPs and now a lovley acoustic EP, the guys aren’t in any mood to slow down. This EP is an exercise in beauty, and here’s to hoping to a full length from The Orphan, The Poet later this year. Until then, turn out the lights and put on “Invincible” and just let everything go – because that’s what this EP does.

8/10

Recommended If You Like

Thrice’s The Alchemy Index, Vol. III & IV: Air And Earth; Copeland’s Eat Sleep Repeat; Lydia; Deas Vail

Additional Information

Track Listing:
1. Sleeping Giants (Acoustic)
2. Water Seeker (Acoustic)
3. To Those Called Icarus (Acoustic)
4. Invincible (Acoustic)

The Orphan, The Poet are:
David Eselgroth – Vocals, Guitar
Jared Snavely – Guitar
Jake Floyd – Bass
Drew Ihle – Drums

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]]> Album Reviews Ryan Gardner http://www.absolutepunk.net/showthread.php?t=2747562 http://www.absolutepunk.net/showthread.php?t=2747552 Tue, 15 May 2012 02:36:12 GMT *Above the Underground* – Autumns EP Record Label: Lazy Bear Records Release Date: May 18, 2012 Only being a band for three years, Above the Underground will definitely be on your radar this year. Being one of the most prominent bands on the new UK pop-punk label Lazy Bear Records, the boys have... Above the Underground – Autumns EP
Record Label: Lazy Bear Records
Release Date: May 18, 2012

Only being a band for three years, Above the Underground will definitely be on your radar this year. Being one of the most prominent bands on the new UK pop-punk label Lazy Bear Records, the boys have already toured with Set Your Goals, All Or Nothing, and A Loss For Words following release of their second EP, The Fight We Won. Sure enough, they continue to fight on with Autumns, proving the reason why they are already on the UK pop-punk map.

Produced by Matty O’Grady, who has worked with You Me At Six previously, Autumns is fresh, catchy, and inviting. “Under The Weather” will be the most underrated pop-punk jam of the year, having the energy of early You Me At Six and likeability of late A Loss For Words. Having three vocalists makes the track huge and demanding, with each singer adding a different layer to the single.

Addictive opener “Anchors” shows off the chemistry of the three vocalists, with Four Year Strong style gang vocals dominating the hooks. The more mid-tempo closer “MMIX” may remind listeners of The Swellers as Kirkman rides guitar riffs, repeating “Stay young” as the irresistibly impressive EP comes to an end.

For those of us that just can’t get enough of pop-punk, Above the Underground have all we need to continue to quench our thirst. Albeit not terribly original, Autumns mixes exceptionally well with the breezy summer air. Crisp production and infectious vocal harmonies make the six tracks shine, while the chemistry of the young musicians creates hook after hook.

7.5/10

Recommended If You Like

A Loss For Words; You Me At Six; The Swellers

Additional Information

Track Listing:
1. Anchors
2. For All It’s Worth
3. Under The Weather
4. Lights
5. Close Your Eyes & Drive
6. MMIX

Above The Underground are:
Will Kirkman – Vocals, Guitar
Al Kirman – Guitar, Vocals
Nick Barlow – Bass, Vocals
Brandon Icely – Drums

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]]> Album Reviews Ryan Gardner http://www.absolutepunk.net/showthread.php?t=2747552 http://www.absolutepunk.net/showthread.php?t=2746492 Mon, 14 May 2012 14:43:20 GMT Bad Veins - The Mess We've Made
Record Label: Modern Outsider Records
Release Date: April 24, 2012

Cincinnati duo Bad Veins made quite a splash in the blogosphere with their self-titled debut album, landing on many Top 10 lists in 2009. And yet for all the hype about their studio efforts, the group still gets heaps of attention for their eccentric stage setup, which includes a reel-to-reel machine, a bedside table, an old telephone and a megaphone. But stripping away all that and just focusing on the music, Bad Veins is a first-rate indie pop band, writing some of the bubbliest songs the state of Ohio has ever seen.

On their sophomore effort The Mess We've Made, vocalist and principal songwriter Benjamin Davis sets the tone almost immediately: This album is most definitely a break-up record. Opener "Don't Run," which ostensibly serves as the title track, is a soaring, sugary pop smash that's equally as potent, if not more so, than anything the duo wrote on the self-titled. "Don't Run," is followed by the equally strong "Nursery Rhyme," a layered affair that's also probably one of the band's strongest to date.

As a whole, The Mess We've Made is a more sweeping and majestic album ("Chasing" and "Doubt" for example). But for all its arena-ready moments, there's a good dose of simple, understated gems ("I Turn Around,","Kindness."). Bad Veins' strength is vocalist Davis, whose timbre and utterances have a way of making each song sound sincere and authentic. His yearning and pleading is easy to relate to and one gets the feeling his songs actually stem from real life experiences.

The album's track listing though is hard to figure out. For example "Kindness," seems an appropriate way to close out the album, but is succeeded by the horn-laden "Not Like You." Similarly, the uber-catchy "Dancing on TV," is placed towards the end of the album and not towards the front. Instead, the tepid "If Then," is pushed towards the front for reasons unknown. While "If Then," is a good song, it draws much of its strength from violins and the verses and in turn, leaves the listener wanting more.

Whereas the self-titled was freewheeling and devil may care, The Mess We've Made feels safe and somewhat boring. That is to say, three years ago, with little pressure on them, the band wrote a record without caring what people think and made it a rousing success. This time around it feels like Bad Veins were more interested in catering to the masses. The end result: An effort that teeters more towards sophomore slump than Top 10 list. Let's hope album three is a lot more promising.

Recommended If You Like

The Killers, Neon Trees, Frightened Rabbit, Mason Proper, et al.

Find Them Here

www.badveins.net

]]> Album Reviews Gregory Robson http://www.absolutepunk.net/showthread.php?t=2746492 http://www.absolutepunk.net/showthread.php?t=2746442 Mon, 14 May 2012 14:18:57 GMT *Night Verses* - Out Of The Sky Record Label: Self-Released Release Date: May 15, 2012 Supply and demand isn’t a concept outlined in Band 101. Oversaturating your market with a catalog of filler is just as dangerous as the Saosin-esque starvation caused from infrequently releasing music – neither... Night Verses - Out Of The Sky
Record Label: Self-Released
Release Date: May 15, 2012

Supply and demand isn’t a concept outlined in Band 101. Oversaturating your market with a catalog of filler is just as dangerous as the Saosin-esque starvation caused from infrequently releasing music – neither sin is acceptable, and both can derail a band before the train leaves the station. By melding the best traits from EPs and full-lengths into one release, Night Verses has given the world a satisfying taste while creating a craving for more.

Modern EPs generally range from five-to-seven tracks, yet Out Of The Sky’s 18 minutes span only four songs. This smattering appears small on the surface, though the depth of each intertwined track adds a value most LPs only dream of. These aren’t four cuts thrown together – each song serves a purpose, creating dynamics in a small package without sacrificing feel or resolve.

A mathy guitar climb in opener “From The Shadows Where I’m Low” builds into the first heavy-hitting chorus while also creating a tangible rise for is successor, “To The Ends Of The Earth.” The former’s methodical aggression contrasts the full throttle approach to that second track, showing the aforementioned dynamics only minutes into the release. A smooth descent into the mid-tempo “Be Happy With Yourself, I’m Staying Here In Hell” quickly upswings into the best sing-along chorus on Out Of The Sky, providing a springboard for the big finale. Even here it’s clear that Night Verses is a special band – the complexity and cohesiveness in their brand of heavy prog/post-rock is unrivaled, and meant to be played very, very loud.

Everything culminates with a boom via closer “I’ve Lost My Way Back Down,” the explosive and obvious single. You might as well crank the volume from the initial riff, because when this track climaxes, you won’t be able to help yourself from screaming along. It’s a surefire crowd-pleaser that completes the mini-epic in a substantial way while begging for repeat listens. Again, the united sound must be called to attention; each member is individually monstrous in their own area of expertise, but the impressiveness comes from their ability to mesh into something bigger. No instrument or melody stands alone, and every note works in unison, in favor of their immense signature sound.

Whether you consider Out Of The Sky a simple introduction, a bold statement, or a landmark release in its own right, Night Verses have fiendishly released a thoroughly addictive EP that will make many believers. Enjoy what we have been given, and stay anxious for more from a band poised to make major waves.

Additional Information

Download the EP for free on May 15, 2012, via their official website.

Tracklisting
1. From The Shadows Where I'm Low
2. To The Ends Of The Earth
3. Be Happy With Yourself, I'm Staying Here In Hell
4. I've Lost My Way Back Down

]]> Album Reviews Jack Appleby http://www.absolutepunk.net/showthread.php?t=2746442 http://www.absolutepunk.net/showthread.php?t=2744212 Fri, 11 May 2012 17:33:53 GMT *Mixtapes* - Somewhere In Trinsic EP Release Date: May 8, 2012 Record Label: Animal Style Records Simply put, Mixtapes’ Somewhere In Trinsic EP is a very accurate teaser for the band’s upcoming debut full-length, Even On the Worst Nights. This is obvious enough for one reason, that the title track... Mixtapes - Somewhere In Trinsic EP
Release Date: May 8, 2012
Record Label: Animal Style Records

Simply put, Mixtapes’ Somewhere In Trinsic EP is a very accurate teaser for the band’s upcoming debut full-length, Even On the Worst Nights. This is obvious enough for one reason, that the title track from that LP is the first song on this EP. “Even On the Worst Nights” is a mid-tempo song, actually one of the slowest ones on the full-length, but still manages to be a fairly good representation of what fans should be expecting. Ryan Rockwell and Maura Weaver complement each other in the vocal department, accompanied by fairly simple pop-punk/pop-rock musicianship.

The chorus of “We just don’t surrender / It’s hard to talk about it when you don’t remember / And I think that even on the worst nights / It tends to be all right,” plays out as a fairly typical chorus from the band. As we’ve seen on numerous EPs and split releases before this one, Mixtapes does a good job of remaining catchy enough to keep our attention, and on this track, demonstrates its usually hopeful brand of lyricism as well. Rockwell has talked at length in interviews about his personal life and the trials that led to Mixtapes’ origin, and hopeful lyrics like these have managed to invade the band’s songs over its entire career. Although the musicianship might seem happy-go-lucky, the lyricism sometimes reveals a lot more about the band’s personal life. “All the Mistakes We Made (Are Gonna Lead To All the Important Things We’re Gonna Do” is built oddly similar to “Even On the Worst Nights.” For this reason, it’s easy enough to write off as a B-side, but really stacks up just fine to the rest of the band’s catalog.

The closing “P.E.T.S.O.U.N.D.S.” is carried by Weaver’s lead vocals and is a nicely uptempo way to end the EP. “Driving home, I found new beginnings,” Weaver sings, again as Mixtapes provides a taste of hopefulness. If Somewhere In Trinsic were just another short EP or Mixtapes’ side of a split, it would be adequate enough, but in fact it’s just a precursor for Even On the Worst Nights, and it’s obvious that the band has made sure to leave its best work for that.

Disclaimer for the score: It really does seem trivial to score a three-song EP featuring one song that is going to be on a full-length in a month and a half and two songs that are best described as B-sides, but have at it...

7/10

Recommended If You Like

Fairly simple pop-punk/pop-rock, male/female vocal tradeoffs

Links

AP.net Profile
Purchase this 7"

]]> Album Reviews Thomas Nassiff http://www.absolutepunk.net/showthread.php?t=2744212 http://www.absolutepunk.net/showthread.php?t=2742832 Thu, 10 May 2012 17:14:14 GMT *Jowls* - Cursed Record Label: Doghouse Records Release Date: May 2012 Tucked away in the semi-bustling city of Grand Rapids, MI – a city I have always enjoyed but never seem to spend enough time in – Jowls is not a band to be taken lightly. Though they get described in terms akin to Pg. 99 and... Jowls - Cursed
Record Label: Doghouse Records
Release Date: May 2012

Tucked away in the semi-bustling city of Grand Rapids, MI – a city I have always enjoyed but never seem to spend enough time in – Jowls is not a band to be taken lightly. Though they get described in terms akin to Pg. 99 and Circle Takes The Square, the brash, groove-leaning aural attack of Jowls’ Doghouse Records debut EP Cursed hints at a number of bands. Yet, beneath the tidal wave of pounding guitars and pummeling percussion, the stark melodies and ever-present churning-like songwriting create suspension-like experiences at one moment – then weave with furor and purpose at the next. Cursed is a promising EP with its exploring, screamo-hinting timbre on full-tilt from start to finish, showing a band that while certainly with its strengths is still finding its own voice in a much reviving genre.

While never too abrasive or guilty of making terrible decisions of when to pull back the reins, Cursed shows a band well in tune with their songwriting abilities and their desire to turn that into something that is more of an experience than just another album. Droning guitars and in-your-face vocals burst forth on opener “Ruins”, with the mid-tempo rhythms sinking deeper and deeper into your head as the band pounds out chord after chord. The idea of the track, like most good ideas, is fairly simple with a few twists and turns to keep things interesting – including noticeable bass lines and strong drumming. The following number “Shamewalker” starts much less abrasively but follows a similar rhythmic pattern twisted into a different time signature for a familiar yet slightly different progression. Perhaps dwelling a bit too long before going full-force, the track adds heavier guitar lines and shrilling vocals once it does pick up. Ditching the introduction rhythms for something much more up-tempo, the flurries of drums steal the spotlight from the noodling guitars and shots of emotive screaming. Musically, we can hear Jowls straying from the grooves and really settling into something with a bit more substance and texture, making Cursed better off.

“Monotoned” stands out as well, as the grungy melodies give this track a unique feel on the EP considering the very post-hardcore leanings of this band. Yet, the rhythmic twisting of the track again yields a much more interesting section in the ending of this track when the grooves and melody meet for something just as attention grabbing even though the tempo has dropped. The most consistent track of the bunch, strange enough as it is also the shortest, is “Sway Slow”. Forward thinking at some points and ridiculously catchy at others, it is a perfect meeting for almost everything Jowls tries to do on Cursed whether it is musically, texturally or structurally. The final two numbers seem more like further explorations into the identity of this band, with “Indian Giver” running the gamut from breakneck tempos to click-based slow jams and ender “Long Winded” feeling like a continuation of ideas already heard but tweaked just a bit. It isn’t difficult for me to suggest these guys are still finding their footing as this EP gets repetitive plays, but more often than not the steps seem to be more sideways than backwards.

While not the strongest throughout, there are some really promising moments for Jowls on this EP. I would not be surprised to see this band pop up more and more as the year goes on, especially considering the caliber of acts Grand Rapids seems more than able to foster and support as bands regardless of genre spread their artistic wings.

Check It!

Pre-Order
Stream "Ruins"

]]> Album Reviews Jason Gardner http://www.absolutepunk.net/showthread.php?t=2742832 http://www.absolutepunk.net/showthread.php?t=2742772 Thu, 10 May 2012 16:28:06 GMT *Trioscapes* - Separate Realities Record Label: Metal Blade Release Date: May 8, 2012 Come with me on a journey through time and space. It’s a tag similar to the one that opens the strangely peculiar Brit-com The Mighty Boosh. And while the Boosh didn’t quite achieve as well when it made its... Trioscapes - Separate Realities
Record Label: Metal Blade
Release Date: May 8, 2012

Come with me on a journey through time and space.

It’s a tag similar to the one that opens the strangely peculiar Brit-com The Mighty Boosh. And while the Boosh didn’t quite achieve as well when it made its journey to America via Adult Swim, Metal Blade metal-jazzers Trioscapes sound as if they’ll fare much better as far as getting us to embrace their weirdness. The jest is appropriate though considering the often odd nature of Trioscapes' sound is apparent regardless of the reference point. Dipping through humming jazz, distorted saxophones and off-kilter drumming, the noodling and grooving of the purely instrumental Separate Realities is a hefty serving of Zappaian orchestration with a focus on the quirks and motifs of these particular pieces. It’s a bit of a challenge to pick and choose throughout, but as a whole, Separate Realities submerges us effortlessly into a realm of thick, unescapable melodies and thoughtful plays on rhythm and time. It isn’t an album everyone is going to be able to enjoy on the same level, but it will most than likely speak to those with a leniency to forward-thinking instrumentals and math-rock aficionados.

In the six tracks of Separate Realities, the trio – sonically consisting of drums, bass guitar, saxophone and flute, both of which are occasionally tonally manipulated – takes on a mixture of time-bending arrangements felt more as a groove-founded listen than something that moves in standard songwriting structures. “Blast Off” lives up to its name, setting the pace and mission of Trioscapes’ sound with a flurry of sax rips and technical drum licks. The introduction to the track flashes the band’s strength right off the back – coming together for groove-heavy sections that display cohesiveness as opposed to spotlighting instruments in the wake of a down-played rhythmic section. It is a bit difficult to think of these tracks in verses and choruses, but the repetition of certain motifs in Trioscapes’ arsenal is what makes these tracks stick – and “Blast Off” is a prime example of that. The nearly twice as long title track takes a moment to get going, but in the wake of a strange introduction that preempts the spacey tones seeping throughout this track, a buzzed out bass helps push the track into the nearly psychedelic territory and allowing it to not get lost in the solo-esqe nature of the saxophone on this one. The xylophone is a nice touch and break up point for the song, reasserting the Zappa tone of this band while almost bringing the track back down to Earth in the process.

“Curse of the Ninth” summons the jazz flute, again pushing the laid-back nature despite relentlessly busy drumming in the background. While certainly not always right in step with the melodic grooving, the drumming only reinforces the ability of this trio to with and alongside each other in the melodic and timing structures in the songwriting process. Impressive? Yes. Necessarily memorable? Not as much. As far as curveballs might go though, closer “Gemini’s Descent” arguably stands out the most in this collection of unpredictable numbers. Tribal, yet delicate percussion, whimsical melodies and a near mechanical groove make this slow burner an easy one to literally just get lost in – and not in a bad way. Further keeping us guessing, the nearly unseen switch to the normal instrumentation of the band seems a bit bare in its execution despite the interesting dueling grooves that weave back and forth between matching and complimenting. The fine line of musicianship versus accessibility is certainly challenged repetitively on Separate Realities though, and more often than not the band keeps things from getting too out of hand when soloing or riffing off of one another.

As far as perhaps bringing jazz or orchestrally approached songwriting to a crowd not as keen or aware of its influence on bands, Trioscapes succeeds on a plane of not only trying to push our conceptual envelope, but their own as well. It isn’t suddenly recognized throughout or perhaps as consistent as hoped for, but Separate Realities challenges and disregards any notion of normal as far as most would be concerned. Yet even as it is not quite understood or attached to, the merit of the musicianship stands out that much more. This is a record you will get lost in – for better or for worse.

Recommended If You Like

Frank Zappa, a toned-down Rush, or perhaps jazz in general

Check It!

Website

]]> Album Reviews Jason Gardner http://www.absolutepunk.net/showthread.php?t=2742772 http://www.absolutepunk.net/showthread.php?t=2738892 Tue, 08 May 2012 04:10:26 GMT B.o.B - Strange Clouds
Record Label: Atlantic Records
Release Date: May 1st, 2012

Bobby Ray Simmons isn't worried about proving to anyone who he is anymore. In fact, over the past couple of years, Bobby Ray, better known as B.o.B, has become one of the country's biggest pop superstars. With songs in his arsenal that included Bruno Mars and Eminem, his success was pretty much inevitable. The debut album, B.o.B Presents: The Adventures of Bobby Ray (2010), went on to sell over 500,000 copies with its singles exceeding over 8 million in sales.

However, what really cemented him into the limelight was the quadruple-platinum smash, "Airplanes," featuring Paramore's Hayley Williams. The song was unavoidable, and even when its buzz died down, B.o.B's didn't. That fall, he dropped the critically acclaimed mixtape, No Genre, as well as another the following year, E.P.I.C.; the mixtapes showed a promising direction for B.o.B's follow-up to Adventures. The result, Strange Clouds, will easily rake in the awards like its predecessor, but hardly for the reasons that made B.o.B worth being excited about to begin with.

Album opener "Bombs Away" starts off brilliantly with a Morgan Freeman intro, but that's all the track has going for it as it fails to capitalize on its beginning with any sort of similar excitement. Even the record's first single and title song strays away from what B.o.B normally offers with its awkward dubstep elements, a boring chorus, and a forced Lil Wayne cameo.

Strange Clouds continues to take more risks with Nicki Minaj bringing her batshit insanity in the worst ways to the frantic upbeat "Out of My Mind," but Taylor Swift comes in with the knockout on the mid-tempo ballad "Both of Us" -- a track that will easily crush the success of "Airplanes" on the charts. Additionally, other flaws exist within the record vocally as they don't feel nearly as explosive as they have in the past. The one constant that B.o.B has managed to maintain on not only this album, but throughout his entire career, is the production. Dr. Luke, Cirkut, and Ryan Tedder are among the plethora of producers that lay down their touch on select numbers, and it's a nice distraction when the songs don't live up to its highest substance. The only problem is ... that occurs way too often.

The flow of Strange Clouds tends to vary between songs that are helping make the album great ("So Good," "Arena," "So Hard to Breathe"), and then the ones that keep pushing it down the route of a sophomore slump ("Ray Bands," "Just a Sign," "Play for Keeps"). Right when there's about to be a trend of some consistency, it ends up falling short. The charm within 2010's Adventures took place in the fact that whatever B.o.B was doing on it -- whether it was a ballad, club banger, or just blending a bunch of genres in one -- it seemed to be done effortlessly. With Strange Clouds, the vision just seems blurry, and hopefully he can recapture the magic on a future record.


6/10

Additional Information

Track Listing
01) Bombs Away (feat. Morgan Freeman)
02) Ray Bands
03) So Hard to Breathe
04) Both of Us (feat. Taylor Swift)
05) Strange Clouds (feat. Lil Wayne)
06) So Good
07) Play for Keeps
08) Arena (feat. Chris Brown & T.I.)
09) Out of My Mind (feat. Nicki Minaj)
10) Never Let You Go (feat. Ryan Tedder)
11) Chandelier (feat. Lauriana Mae)
12) Circles
13) Just a Sign (feat. Playboy Tre)
14) Castles (feat. Trey Songz)
15) Where Are You (B.o.B vs. Bobby Ray)
Produced by: B.o.B, Jamieson Jones, Sean Garrett, Dr. Luke, Cirkut, Ryan Tedder, Valentino Khan, Nard & B, Billboard, Noel Zancanella, Frequency, Super Water Symphony, Mynority, Kutta, Kool Kojak

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