http://www.absolutepunk.net Discuss and review albums. en Sat, 21 Nov 2009 07:41:20 GMT vBulletin 30 http://images.absolutepunk.net/images/misc_new/rss.jpg http://www.absolutepunk.net http://www.absolutepunk.net/showthread.php?t=1436712 Fri, 20 Nov 2009 18:33:33 GMT Minimus the Poet - E.S.O.
Record Label: self-released
Release Date: Nov. 3, 2009

When it comes to crafting original music sometimes ambition can be a stumbling block. Take for instance the nine-song LP E.S.O. from Baltimore's Minimus the Poet. From beginning to end this is a creative collection of experimental indie-folk that's both head-scratching and harried, unfocused and unabashed, rewarding and ruminative.

Minimus the Poet is the brainchild of Aaron Wold a musician who writes ambient acoustic folk that seems to head in all the right directions before yielding to an assault of sonic tricks, stacks of superluous drums and layers of unnecessary guitars. The brightest example of this is fourth track "Cross Your Fingers," which seems to throw in everything but the kitchen sink. A far more spartan arrangement could have definitely done the song better justice. The song actually follows a bare bones direction for the first three minutes as Wold sings in a haunting and ethereal manner over a spartan sonic landscape. The entire effort feels wintry and chilly and there's a subtlety at work here that's definitely original.

And then, for no particular reason crashing cymbals and thrashing guitar work leap out of the speakers at the three-minute mark. Certainly the band is going for dramatic effect here but the alarming jump feels incongruous and comes across as sonic histrionics. Now granted every album has its flaws, but the Baltimore trio implements this very same tactic on sixth track "Newborn," which starts acoustic and jangly but by the end becomes thunderous and cluttered. Of course all this would be allowable if the band hadn't charted this same course on album opener "The Winded One," which begins as a plucky, banjo-fueled bluegrass ditty before spitting its way into a din of cymbals, drums and guitars.

Oy. Hasn't the band ever heard the phrase less is more?

Those three headaches aren't the album's only problems. Other throwaways include the jangly, 70s retro vibe of "Et Tu, Babette," which bops along with promise and vitality but collapses under the weight of its own intentions; and the all-too-brief track "MN71 (pulse)," a Brit-rock sendup that has a nice movement and solid vocal command before ending far too soon. Oy. Why!?? Why in the world did the band choose to make such a promising song a gnomic tease?

No, E.S.O. is not a total disaster. In fact there are some triumphant moments, most notably, the sweetly affecting "Paperweights" and the placid album closer "Prelude." Layered over acoustic guitar, organs and bells, "Paperweight," is a chilly, gospel-influenced duet with singer Dana Alexandra that's tortured, desperate and heart-wrenching. The song has the kind of transcendent and timeless quality that could very well find placement in movie soundtracks and is arguably as gorgeous and aching as anything released this year. On a song like this the band's left-of-center vision shines and their inherent potential is clearly visible. The same can be said for the swampy backwoods cut "Crucible on Lake Lanier," with a winning piano line and lyrics that read like a Flannery O"Connor novel. Additionally, "Something's Not Right," is an inspired alt-country rocker with rousing movements, reaching vocals and a straightforward directness that might do well at college radio.

And so for all their stumbles, E.S.O. still offer something hopeful. The group definitely has the talent and assets to do something spectacular and the hallmarks of engaging indie rock are definitely present. The big test going forward will be to see whether or not the band clings to a wash of over-the-top sonic accents.

That seems to be the main problem with E.S.O. While layered vocals, an array of percussion and a liberal use of theremin are all noble endeavors, the devices don't really work if the arrangements are messy and overdone. Being that this band is a passion project and operating on a shoestring budget, one can't exactly knock the band for the poor production. But there have been plenty of projects released to date that have done far more with a lack of funds. Which raises the question, is the music hampered by the band's lofty ambitions? Considering the uneven nature of the work the answer is a resounding yes.

Track Listing

1. The Winded One
2. Et Tu, Babette
3. Something's Not Right *
4. Cross Your Fingers
5. Paperweight *
6. Newborn
7. MN71 (pulse)
8. Crucible on Lake Lanier *
9. Prelude*
*=recommended listening

Minimus the Poet is

Aaron Wold (vocals, guitar, theremin, percussion)
Matt Flanders (bass)
Melissa Thompson (keys, percussion)

Recommended If You Like

Matthew and the Judes, Hoots and Hellmouth, Nightmare of You, O'Death, Andrew Bird, Times New Viking

Find Them Here

Myspace
Website (album is free for download at this link)

]]> Album Reviews Gregory Robson http://www.absolutepunk.net/showthread.php?t=1436712 http://www.absolutepunk.net/showthread.php?t=1436411 Fri, 20 Nov 2009 14:30:39 GMT Camera Can't Lie - Days and Days EP
Record Label: Atlantic Records
Release Date: Oct. 5, 2009

It doesn't take a genius to figure out that the Owatonna, MN band Camera Can't Lie is on the precipice of national stardom. Their five song EP Days and Days, which serves as a precursor to their major-label debut album features production work from Ron Aniello (Lifehouse, Matt Nathanson, Guster) and mixing by Cliff Norrell (Bruce Springsteen, Prince, the Beastie Boys, Van Halen). They also are managed by Grammy-winning producer Stephen Short who knows his way around the spotlight.

On the five-song sampler, the quartet puts the pedal to proverbial medal and offers four hard-charging, air-tight, Lifehouse-like signals. With triumphant choruses, lilting falsetto, and glossy production, the band has all the tools to make a major dent in the months to come. The band's strongest asset may be vocalist Arjes whose powerhouse vocals have the kind of confidence and charisma that points to nothing but years of chart-topping success.

If the EP does have a downside it's that not one of these songs are incredibly original, thought-provoking or intricate. Save for the acoustic lullaby, "Days and Days," in which Arjes sings, "You can break my heart, if it meant that you would never be alone" little about this sampler is groundbreaking. But then again, not everything has to be De-Loused in the Comatorium. Fans of accessible, no frills, by-the-book radio rock will find plenty of reasons to embrace and absorb all that this Minnesota quartet has to offer. And in the end, sometimes that's all that matters.

Track Listing

1. Casualty
2. The One That Got Away
3. Hold Me Down
4. Risk
5. Days and Days

Camera Can't Lie is

Eric Arjes (vocals/guitar)
Josh Bendell (drums)
Kyle Lindsay (bass)

Recommended If You Like

Switchfoot, SafetySuit, Green River Ordinance, Lifehouse

Find Them Here

Myspace
Website

]]> Album Reviews Gregory Robson http://www.absolutepunk.net/showthread.php?t=1436411 http://www.absolutepunk.net/showthread.php?t=1436372 Fri, 20 Nov 2009 13:47:24 GMT *Abel* - The Honest Love EP Record Label: Dreamt Records/Facedown Records Release Date: Sept. 1, 2009 The Poughkeepsie, New York trio Abel have penned arguably one of the most promising five-song EPs released in the last couple years. The only problem is the group writes worship-like ... Abel - The Honest Love EP
Record Label: Dreamt Records/Facedown Records
Release Date: Sept. 1, 2009

The Poughkeepsie, New York trio Abel have penned arguably one of the most promising five-song EPs released in the last couple years. The only problem is the group writes worship-like anthems aimed at a Christian audience.

Take for starters, album closer "The World Sings," in which vocalist Kevin Kniefel sings, "We are cowards, afraid to speak the name of God. And we have murdered with dirty hands. Are simple men unworthy of our crowns? Though I'm trying, I'm not like Christ at all. I'm not like Christ at all." It's a candid reflection and a viewpoint many can relate to, but does it have to be so narrow in its focus? Certainly if the song is written as a prayer, its structure can be left alone, but aside from MercyMe's "I Can Only Imagine," there haven't been many, if any, praise-based songs that have made it to mainstream radio.

When the band doesn't write songs tailor-made for a tabernacle, there's actually some pretty good poetic terrain at work. Take for example opening track "Dressed Like a King," which spins the following assessment, "There's a call to arms, you're a coward at heart, and it shows all around. There's a battle at hand, you're dressed like a king, but gold weighs you down. So throw off your burden and be saved."

Similarly, "Song of Simon," describes Jesus' crucifixion while the title track sings of both the cross and the true love of God. While writing worship-style verses aren't exactly a bad thing it does make it hard for the band to not be pigeonholed, scrutinized or taken as commercially viable. And that very problem is why listening to The Honest Love is so disappointing.

From start to finish, the entire effort is arresting. Fueled by the emotive croon of Kniefel, driving guitars and one of the most promising rhythm sections in all of indie rock, Abel never disappoints. Each of the five songs features layers of shimmering guitarwork, plaintive keys, soaring choruses and airy breakdowns. Equal parts ethereal, hypnotic and consuming, The Honest Love is a calculated and contrite collection that drips with sincerity, passion and precision.

And yet for all its many peaks, the pivotal question remains, will an agnostic find resonance and substance in a work such as this? Can the music alone rise above the spiritual subject matter? Without an answer to any of those questions, Abel might just be another band with an awe-inspiring album rocking out in church basements. Haven't we heard this story before?

Track Listing

1. Dressed Like a King
2. Song of Simon
3. The Honest Love
4. My Melody
5. The World Sings

Recommended If You Like

Coldplay, Cool Hand Luke, Sleeping At Last

Find Them Here

Myspace
Website

]]> Album Reviews Gregory Robson http://www.absolutepunk.net/showthread.php?t=1436372 http://www.absolutepunk.net/showthread.php?t=1429301 Mon, 16 Nov 2009 15:01:32 GMT *John Mayer* - Battle Studies Record Label: Aware/Columbia Release Date: Nov. 17, 2009 These days separating John Mayer the musician from John Mayer the celebrity is quite a chore. Since the release of his major label debut Room for Squares, the New York-based songwriter has had dalliances linked... John Mayer - Battle Studies
Record Label: Aware/Columbia
Release Date: Nov. 17, 2009

These days separating John Mayer the musician from John Mayer the celebrity is quite a chore. Since the release of his major label debut Room for Squares, the New York-based songwriter has had dalliances linked to actress Jennifer Love Hewitt, singer/actress Jessica Simpson, actress Minka Kelly and most notably A-list actor Jennifer Anniston. The latter coupling has kept Mayer at the forefront of the public eye for the better part of the last two years and made him a household name for various tabloids, TV shows and the like.

But his romances alone aren't the only reason Mayer seems to attract a buzz with whatever he does. With a self-deprecating, borderline egocentric manner, the singer has to date, posted an incessant and endless amount of nonsensical tweets and YouTube videos putting him squarely in the heart of the blogosphere. He's also penned various columns for Esquire; and pulled off a much-publicized sartorial atrocity onboard his Mayercraft cruise. To put it simply, he's a long way from his days playing coffeehouses in Atlanta.

As a musician however he has amassed a whopping seven Grammy Awards, all before the age of 33 and has landed considerable success with his three studio albums, all of which have gone two-times platinum or better. So it comes with much hope, excitement and trepidation that Battle Studies is released to the world. From the album artwork to the concise track listing, everything about Battle Studies seems to hearken back to a bygone era. Sure, there's a firm grasp on modern trends, but most of this disc is eerily reminiscent of the singer-songwriter fare from the 1970s.

The album's opening number "Heartbreak Warfare," is arguably the most complete and most engaging song of his career. Referencing a late night fight fueled by red wine and Ambien, it chronicles the difficulties of romance in such an honest and normal manner, as if to prove that despite his celebrity, he truly is just an average guy, with all the same struggles and difficulties as the rest of us. Smoky, gauzy and buttressed by light falsetto, "Heartbreak Warfare," is a powerhouse. In an odd move, a ballad, "All We Ever Do is Say Goodbye," follows and its a sprawling work aided by a somber piano, lilting guitar line and an undeniably crestfallen Mayer, who sings with as much conviction and clarity as any point in his career.

In an effort to lighten the mood, the playful Half of My Heart," appears next and its an ode to the sunny California rock of the 1970s. Beginning with the confession, "I was born in the arms of imaginary friends," the song bounces along in an airy, carefree manner as he wrestles with the idea of giving his whole heart to a woman. Country-pop superstar Taylor Swift dives into the mix at the two minute mark to enhance the chorus and offers some cooing at the song's conclusion. Insofar as tempo, it's one of the album's more upbeat numbers and easily one of the most indelible. A long shelf-life at radio seems to be a foregone conclusion.

Lead single "Who Says," is a cerebral, slightly symphonic meditation about personal freedom and being true to oneself. And while Mayer ardently admits the line "Who says I can't get stoned?" has little to do with marijuana, the confession seems to be more of a public service to save face than a ruminative declaration about life in general. While there is a pronounced maturity in the song's tone, aided mostly by a steely piano and his assured vocal clarity, the song doesn't exactly do much in the way of sophistication. The song seems in part like a cousin to his last single, the Bucket List soundtrack song, “Say,” which of course posits the question, who exactly is John Mayer? Is he a new generation blues man with a penchant for acoustic pop, or is he still that same Atlanta coffeehouse singer/songwriter from the late 90s?

Mayer answers the question exquisitely on "Perfectly Lonely," a song which once again seems firmly rooted in the trappings of the late 70s/early 80s classic pop arrangements. Having gone on record as admitting that the album was going to be incisive, from-the-gut and simplistic, "Perfectly Lonely," is one of the disc's best examples of those ambitions. An organ flourish towards the end helps bolster the argument that Battle Studies begins with five utterly irresistible pop gems.

And then things get a bit muddled.

On the cinematic and creepy "Assassin," he crafts a sexy number with a sensual movement, terrific verses and an inspiring bridge. The only problem is the chorus is too busy and the entire exercise feels a bit heavy-handed. Aided by a blazing guitar solo, it's sonically one of the album's densest and most visceral, but in terms of impact it falls a bit short.

Rather wantonly, he tackles the Robert Johnson blues staple "Crossroads," in a manner not unlike Eric Clapton and Cream, and while drummer/producer Steve Jordan offers some funky drumming and Mayer sets fire to his guitar, the entire effort feels far too self-indulgent and askew. With a running time of less than three minutes it's not exactly a major disappointment, but one would hope the disc would have had something of more substance to counter the lackluster "Assassin."

Thankfully three of the last four efforts on Battle Studies are stirring and resounding works that cement the album as something truly special. The sangfroid "War of My Life," has been described by Mayer as this album's "Gravity" and its smooth, easy-to-please vibe makes for one of his most supple and tender ballads to date. Supported by a warm and rich vocal timbre, "War of My Life," perfectly executes the inherent need for solace, support and security in battling life's maladies.

"Edge of Desire," features circular guitarwork and a layered arrangement as his sultry vocals gives into lust in a rhythmic and dense epic that's confident, passionate and strong. The penultimate offering "Do You Know Me?" is a bit too twee and even with a resonant guitalele it's not exactly one of the album's peaks. Having admitted he wrote the song in an hour, it's proof positive of just how naturally Mayer can write amiable pop melodies. The album rests on the cerebral, "Friends, Lovers or Nothing," a reaching piano ballad that bookends the disc effectively and ties up the entire effort with pointed simplicity, sterling grace and soaring honesty.

Mayer and producing partner Jordan penned the disc in the hopes of making a straightforward album that was bare-bones, authentic and accessible. From start to finish, Battle Studies is exactly that. Now four albums into a much celebrated career, Mayer is indeed writing circles around his competition. Few if any are at his caliber and his Grammy wins are proof of this. Battle Studies extends that argument.

Coherent, concise and intricately crafted, this is an album that is certain to make others try harder and is most definitely an effort that will inspire others further on down the line. Equal parts an extension and a detour from Continuum, the anthology digs a bit deeper, mining difficult emotional territory in a manner that makes for an absolutely resplendent listen. The bar has once again been set and Mayer, even with his larger-than-life celebrity persona, seems well on his way to garnering a couple more Grammys later this winter.

Track Listing

1. Heartbreak Warfare
2. All We Ever Do is Say Goodbye
3. Half of My Heart
4. Who Says?
5. Perfectly Lonely
6. Assassin
7. Crossroads
8. War of My Life
9. Edge of Desire
10. Do You Know Me?
11. Friends, Lovers or Nothing

Recommended If You Like

Hall and Oates, Steely Dan, Tom Petty, Fleetwood Mac

Find Him Here

Myspace
Official Website
Twitter

]]> Album Reviews Gregory Robson http://www.absolutepunk.net/showthread.php?t=1429301 http://www.absolutepunk.net/showthread.php?t=1428682 Mon, 16 Nov 2009 02:34:31 GMT *Forever The Sickest Kids* – The Weekend: Friday EP Record Label: Universal Motown Release Date: November 17, 2009 The problem with a song like “Hawkbot” is that it completely dilutes everything else on The Weekend: Friday. Opener “Do or Die” has the innocence of a confused puppy and “Take It... Forever The Sickest Kids – The Weekend: Friday EP
Record Label: Universal Motown
Release Date: November 17, 2009

The problem with a song like “Hawkbot” is that it completely dilutes everything else on The Weekend: Friday. Opener “Do or Die” has the innocence of a confused puppy and “Take It Slow” finds Forever The Sickest Kids perfecting their f***-the-haters synth-pop. Yes, both songs are unbelievably trite. And yes, both songs have the lyrics of an intoxicated fifth grader, but at least I believe them. “Hawkbot”, and to a minutely lesser extent, “Hip Hop Chick”, are pieces of absolute garbage; insincere attempts to speak to a fad hungry listenership that they created, sort of lost, and now hope to regain. Even though the band apparently spent their major label dough on every pair of Dunks and skinny jeans that some malnourished Filipino kid can eke out, the band’s not-so-valiant cash grab is as silly as it is disrespectful. I’m sure both tracks were “hella dope” (or whatever) to record, but this holiday season I only want one thing: for the band’s fans to cause an angry backlash. Tie these dudes down, shake all the neon out of them, and force them to try harder.

Really that’s all I have to say about The Weekend: Friday. Most of its seven songs ebb in and out of consciousness as misunderstood anthems (“What Do You Want From Me”) or electronic-tinged fist pumpers about - humor me here - love and loss. And I guess if you’re waiting for me to call this EP terrible, then you can go away. It’s far from the worst thing I’ve heard this year. Try as they may to taint their fairly successful formula, Forever The Sickest Kids have figured most of this popular music thing out. A lot of attention has been correctly given to the choruses, and for the most part they end up stuck in your head until somebody way cooler comes along and beats them out of you. The guitars and synths are rarely made to fight for space, as “She Likes (Bittersweet Love)” so deftly proves. Maybe there’s nothing as transparently emotional as “Coffee Break” or “Catastrophe,” but Jonathan Cook’s vocals are produced so loudly that any “heartfelt” songs would just sound out of place. However, one could still identify The Weekend: Friday as a close sibling of Underdog Alma Mater.

So everything is here, and nothing is missing. The two songs feigning at a new direction are glaring failures, kind of like my career on this site. We’ve all tried doing something we’re not equipped for, and the only thing one can hope for is hindsight. I believe Forever The Sickest Kids were solely looking forward when penning such dismally stupid anthems. More than a few radio stations will play the songs, but will the money make up for the salty taste in the back of their mouths?


Recommended If You Like: Every Avenue, Family Force 5, benjamin, Powerspace, franklin

Sanity maintained

www.myspace.com/foreverthesickestkids

]]> Album Reviews Blake Solomon http://www.absolutepunk.net/showthread.php?t=1428682 http://www.absolutepunk.net/showthread.php?t=1425551 Fri, 13 Nov 2009 13:12:26 GMT Graham Isaacson - The Primer EP
Record Label: Authentik Artists
Release Date: Feb. 24 2009 (physical), Oct. 6, 2009 (digital)

Graham Isaacson isn't going to sell hordes of records or make it onto FM airwaves. You probably won't see his face on Fuse or on the cover of Rolling Stone. To that degree, his music is most aptly suited for AAA formats and the likes of Paste Magazine and that's just fine with him. Now five plus years into a career, this under-the-radar troubadour is a rare talent and Portland, ME is lucky to call him their own. Blessed with a gravelly timbre not unlike Tom Waits or Johnny Cash, the 20-something churns out bare-bones singer-songwriter fare with light instrumentation. Album opener "Shot Me at Sunrise," begins with a Van Morrison-like movement and a sultry saxophone.

The valentine "Don't Look Away," asks a lover to "not look away. A man can get lost in those eyes," whereas the husky "Angel Underneath," points to his oaken vocal delivery and his gruff exterior, and the entire exercise feels something akin to John Hiatt. On the gooey "Love Replaces Love," he sings about affection and solace in a tender and amiable way, not unlike Griffin House. "Hot Lovin' Lady." and "Hurts" are also autumnal efforts with a husky confidence that seem to be equal parts haggard and hopeful, with the latter recalling some of the bleaker moments of life, and the former finding redemption in an attractive female.

Hailed by fellow Mainer Ray LaMontagne as possessing songwriting chops that are "pure and true. [They] explore the hopeful, dark and mystical way of love," Isaacson was a runner-up in the vaulted 2006 International Songwriting Music Competition. This is organic, simplistic songwriting fueled by minimalism and honesty. Poignant, candid and touching, Isaacson has both a voice and lyrical acumen that belie his years. He sings songs that seem rooted in a bygone place and a faraway locale: cotton fields, dusty roads, grain combines and late-night whiskey-soaked conversations. And when songs take us to places like that, that's the true mark of something special.

Track Listing

1. Shot Me at Sunrise
2. Don't Look Away
3. Angel Underneath
4. Love Replaces Love
5. Hot Lovin' Lady
6. Hurts

Recommended If You Like

Tom Waits, Johnny Cash, William Elliott Whitmore, John Hiatt, Griffin House, Ray LaMontagne

Find Him Here

Myspace

]]> Album Reviews Gregory Robson http://www.absolutepunk.net/showthread.php?t=1425551 http://www.absolutepunk.net/showthread.php?t=1424712 Fri, 13 Nov 2009 00:37:07 GMT *Man Overboard* – Dahlia EP Record Label: Run For Cover Records Release Date: November 3, 2009 *Man Overboard’s* tagline “Defend Pop Punk” is valiant, but perhaps a bit misleading. It incorrectly references a holding pattern for the New Jersey band. On Dahlia, songs like “Montrose” and “5 Girls... Man Overboard – Dahlia EP
Record Label: Run For Cover Records
Release Date: November 3, 2009

Man Overboard’s tagline “Defend Pop Punk” is valiant, but perhaps a bit misleading. It incorrectly references a holding pattern for the New Jersey band. On Dahlia, songs like “Montrose” and “5 Girls Pizza” transcend the confines of the claustrophobic genre. It’s a record where dainty “Ah Ah Ah’s” smack right into chugging guitars – not what you’d expect from a band so entrenched in keeping a specific methodology alive.

Especially compared to the rougher patches of Hung Up On Nothing, Dahlia rings with a newfound melodicism from the group. This EP marries the catchiness of a slower song like “Disconnect” and the noise of “Dreaming.” The two releases almost work in timeline fashion. Listeners can follow Man Overboard in real time as they find fresher ways to tackle the same problem. “They Don’t Make ‘Em Like They Used To,” for example, rings true as a self-aware “ballad.” It contains an admirable amount of finesse, a quality that makes its boy-finds-self storyline much more relatable: “And I discovered something I should never ignore / I now know what I’m here for.” What didn’t work then works wonderfully now.

And you know, call this whole thing hyperbole because, yeah, Dahlia contains three pop punk songs. But what I’m saying is, shame on me for not realizing the potential of this band and its crusade. Being associated with the young talent of Run For Cover means Man Overboard will be pushed further and further into exciting creative places. With any luck they’ll realize that they have done all they can for pop punk, and the term won’t matter anymore. I’ll fight the urge to rebrand Man Overboard, because my tiny advertising brain is woefully inadequate. However, the time is fast approaching when Man Overboard will outgrow such a stifling commitment.


Recommended If You Like: All Or Nothing, Bangarang!, Race The Sun, elation

haystack blake

www.myspace.com/manoverboardnj

]]> Album Reviews Blake Solomon http://www.absolutepunk.net/showthread.php?t=1424712 http://www.absolutepunk.net/showthread.php?t=1423502 Thu, 12 Nov 2009 11:07:20 GMT House of Heroes - The Christmas Classics - EP
Release Date: November 10, 2009
Record Label: Gotee Records/Mono Vs. Stereo

I hereby delcare November 1st to be the unofficial cutoff for when you are allowed to listen to Christmas music. Anytime before that is just ludicrous and if you're not sick of it by December 26th... well, then, you and the guy behind Manheim Steamroller can live in some kind of Land of Broken Toys, where Christmas comes 365 days a year (at a price - you have to have sturdy hands in order to repair sad toys all day)! It's almost expected that House of Heroes was going to release something for the holiday season, seeing that their "Silent Night" single was such a hit with yuletiders last year (oh, and also because it is their third EP to be released this year alone). For their Christmas Classics EP, the band recorded two new holiday-themed covers to give all us snowmen and snowgirls a little festive joy when we are gift-wrapping or sledding or sitting on Santa's lap.

Normally, "All I Want For Christmas" would be a risky bet to cover. It seems ripe for cover treatment by any Disney star or electro-pop outfit, but House of Heroes actually gives the Mariah Carey cut a new life, retaining its pop core and instead pushing it to be an above-average pop-rock track (listen to how Tim Skipper can hit those high notes better than Mariah at the end). "Silent Night" is rather standard and depending on how you feel about it, this interpretation shouldn't change your mind one way or the other. The final cut, "O Come, O Come Emmanuel" is a distinctive reworking, still very much a spiritual rendition of a classic but with a signature touch by the band.

The most terrific thing about this three-song EP is the lack of gimmicks. Many times, Christmas songs are a chance for bands to tinker with production and experiment with presentation. House of Heroes simply rolls out the merry attitude and delivers an early Christmas gift that is sure to keep all Noels and Noelettes warm and toasty this winter holiday season. Maybe for next year's wish list, we could ask for more of this type of thing in a larger package. Think about it House of Heroes... we'll be good - we promise!

Recommended if You Like

Relient K's Let It Snow, Baby... Let It Reindeer; um... freakin' CHRISTMAS!

Choice Cut

"All I Want For Christmas is You"

Track Listing

1. All I Want For Christmas is You
2. Silent Night
3. O Come, O Come Emmanuel

Band Members

Tim Skipper: vocals/guitar
Jared Rigsby: guitar/vocals
A.J. Babcock: bass/vocals
Colin Rigsby: drums/vocals

Online Vitals

Official Myspace

Purchase

iTunes | Amazon MP3

]]> Album Reviews Chris Fallon http://www.absolutepunk.net/showthread.php?t=1423502 http://www.absolutepunk.net/showthread.php?t=1423501 Thu, 12 Nov 2009 10:36:10 GMT *The Lawrence Arms* - Buttsweat and Tears Release Date: October 27, 2009 Record Label: Fat Wreck Chords Upon first listen to the latest material from the Lawrence Arms (their first new release in almost four years), the casual fan will dismiss the perennial front-runners of the modern punk scene... The Lawrence Arms - Buttsweat and Tears
Release Date: October 27, 2009
Record Label: Fat Wreck Chords

Upon first listen to the latest material from the Lawrence Arms (their first new release in almost four years), the casual fan will dismiss the perennial front-runners of the modern punk scene to be hashing out the same old formula: fast, roughneck, gritty punk rock we've been hearing from the Chicago threesome since 1999. However, that casual fan would be a numbskull and the failure to examine what the Lawrence Arms actually strive to do is an important aspect at determining why they continue to resonate with such a large group of punk enthusiasts. Like their peers, Rise Against and Alkaline Trio, they are growing and exploring what tools they have available to them. While the other two acts continue to flirt with the mainstream, the three Arms boys continue to do this for themselves, trying out new inspired techniques.

The old school fans of their Asian Man Records days may have very well given up on recent releases, perhaps to the broadening of the band's sound, ranging from fiercely raw punk material to slower, alt-country ballads. Then again, if a band can't expand its sound without losing a few elitists, what does it even matter? Not to be an apologist for the band's shortcomings (of which, for the record, there are very few), but the Lawrence Arms are a rare breed of punk rock and with their latest release, their creative peaks seem to be hitting their stride -- and this is after they have given us The Greatest Story Ever Told!

For the aptly-titled Buttsweat and Tears, guitarist Chris McCaughan's gentler vocals take the reigns and lead the way, careening through five songs that show the Larry Arms still have the spirit they've had for a decade, but are maturing as not only musicians -- but as human beings, too. "The Slowest Drink..." is cheerfully dreary material obviously influenced by McCaughan's side project, Sundowner, as is "The Redness in the West" (which is coincidentally sung by Kelly). The two songs are some of the most introspective work the band has recorded and could be in the nominee list for all-time best Larry Arms tracks (which, if you think about it, is funny since the songs are obviously far more alt-country than anything else they have done). Brendan Kelly kicks it off with "Spit Shining Shit," which is surprisingly more tame than one might expect. It's still very much Kelly being his same old self, just more grounded. However, when you reach "Them Angels Been Talkin'," you might be shocked to see a new, vulnerable side to his approach as a vocalist. Perhaps it's been the influence of Josh Caterer (Smoking Popes), whom Kelly played with after the band worked on side projects during the downtime since their last full-length in 2006. Just to compare: "Demons" is another example of this notion, sounding bold and flirting with a Dillinger Four-meets-Lucero sound. Give it up for the third man in this equation though: Neil Hennessey might just be the clutch man in the rotation; he is a well-oiled machine, with his steady hands bringing composure and balance to a far more rhythmic brand of punk for the band.

As a teaser for a future full-length, Buttsweat is the perfect snack to whet your appetite. If it's any indication of what is to be expected from an always-reliable band, then the Lawrence Arms have just raised the bar for any and all copycats and coattail riders. Appears that it's time to catch up, everybody - this may very well be the best EP of the year.

Recommended if You Like

Dillinger Four crashing a Lucero concert, but instead deciding to play alongside them... as the Lawrence Arms.

Choice Cuts

"The Redness in the West," "The Slowest Drink..." and "Them Angels Been Talkin'"

Track Listing

1. Spit Shining Shit
2. The Slowest Drink at the Saddest Bar on the Snowiest Day in the Greatest City
3. Them Angels Been Talkin’
4. Demons
5. The Redness in the West

Band Members

Chris McCaughan: vocals/guitar
Brendan Kelly: vocals/bass
Neil Hennessey: drums

Online Vitals

Official Site | Official Myspace

Purchase

iTunes | Amazon MP3

]]> Album Reviews Chris Fallon http://www.absolutepunk.net/showthread.php?t=1423501 http://www.absolutepunk.net/showthread.php?t=1421461 Wed, 11 Nov 2009 11:48:27 GMT Dashboard Confessional - Alter the Ending
Release Date: November 10, 2009
Record Label: Interscope/Geffen/Vagrant

It's no secret Chris Carrabba is a deeply emotional guy. Ever since he began releasing albums under the pseudonym Dashboard Confessional in 2000, his breathy-vocal ballads with plenty of heartache to spare have won over several crowds (check out his MTV Unplugged special if you don't believe me). After releasing two big-budget, full-band records, Carrabba turned to his old faithful acoustic six-string once more to release the more-refined Shade of Poison Trees, which was not only a return-to-form, but a reminder that when given the ability to showcase his more nuanced side, Carrabba is one talented individual. The man must be a hit at campouts.

With Alter the Ending, Carrabba decided to go back into full-fledged rock band mode, acquiring two pop-rock connoisseurs in producers Butch Walker & Adam Schlesinger (Fountains of Wayne's main songwriter/guitarist) to assist them in creating an eclectic blend of harrowing emotional pop with arena-sized hooks. Whether or not Carrabba wants to be Bono or a coffeehouse Casanova has yet to be determined, because Alter the Ending's biggest drawback is the big production value over pre-determined substance, which hinders the potential of the weight these songs carry. The thematic material at hand is far more mature and gives Carrabba the opportunity to use this canvas as a means to explore a new side to his songwriting tasks. Less romanticized emotional outbursts and more perspective on touchier subjects makes this record blossom -- but everything else it is comprised of tends to clutter its internal message and, above all, the integrity of these tracks.

"Get Me Right" feels strangely out of place, despite it's uplifting intentions, but "Until Morning" captures the true spirit of why Dashboard Confessional can succeed without Carrabba having to fly solo; it's a far more appropriate song for an introduction to an album that settles its point of reference on Carrabba's emotional struggles with his sister's fatal car accident, which left her in a coma, as well as the toll it took on him in the meanwhile - both personally, romantically and professionally. "Everybody Learns From Disaster" provides the type of fare we're accustomed to from Carrabba, however it feels too cliche to provide any true insight or fulfillment. "Belle of the Boulevard" suffers from the same lack of momentum, and it's hushed verses hardly give it any legs to soar as lead single choice. "Blame It On the Changes" uses choral bells over a U2-like production pallet to showcase Carrabba's vocal talent, churning out a bright spot in a foggy first-half.

Once the album turns past the final checkpoint, it really picks up: "Hell On the Throat" is poetic beauty in the vein of Simon & Garfunkel, and "The Motions" is able to concoct a new sound approach for the band and actually work: handclaps and a lead synth riff drizzled over a zippy chorus allows its acoustic counterpart to sound even lovelier; it's like Third Eye Blind jamming with Fountains of Wayne. "No News is Bad News" comforts the listener with its familiarity to older DC material, and displays the perfect balance of honesty and larger-than-life hooks. Ultimately, that's the album real handicap: it's extremely mainstream-friendly, and will appeal to a wide range of popular music fans, but it can't seem to figure out its own identity (the title track alone throws you off on who this band is). Alter the Ending actually finds it's biggest success in a deluxe edition package, which takes the new & heightened DC mentality and sets it in a Places You Have Come to Fear the Most-type environment.

Let me explain to the few of you who are raising your hands in the back of the classroom: the two-disc deluxe edition comes with the same album, but done acoustically, like how Carrabba used to do things (old school, son!). It is here that we find the true heart and soul of this material, and it is here that these songs are able to truly find grace & shine how they were meant to (except "Get Me Right" continues to sound just as awkward). Sadly, this is not the disc that's meant to be heard and it's a shame that these songs feel halted by a tepid pop-rock arrangement. It's all certainly better than many other pop-rock bands, but when you're on the fence about how you want people to hear your songs, it becomes a problem for the source material. "Belle of the Boulevard" experiences a far greater personality as an acoustic number over the album version, and even though there isn't much difference, "Even Now" is the other (better) half to John Mayer's "Your Body is a Wonderland" (sample: "Even now I can smell your skin / to wrap you in a towel/ lay you on the bed and try to love you").

All in all, it's a polarizing record: on one hand, it contains a handful of gems that work with a full-band, amps turned up high ... but also stumbles with distractions from the real genius at hand here, which is Carrabba's ever-evolving subject matter. 98% of the album succeeds best in the bonus "acoustic only" disc, and it's difficult to ignore it -- because it's there! Alter the Ending is certainly not as bombastic as Dusk and Summer wanted to be and it's more grown-up than A Mark, A Mission, A Brand, A Scar, but the band still wants to be a little bigger than what they might suggest. It is essentially in-between all that rubble from way back when, but as frequently as Carrabba wants to dust off his acoustic guitar after plugging it in... it'd sure be nice to know which way he was always leaning toward.

Recommended if You Like

Dashboard Confessional's A Mark, A Mission, A Brand, A Scar; The Fray's How to Save a Life; The Spill Canvas' No Really, I'm Fine

Choice Cuts

"Hell On the Throat," "Until the Morning" and "Even Now"

Track Listing

1. Get Me Right
2. Until Morning
3. Everybody Learns from Disaster
4. Belle of the Boulevard
5. I Know About You
6. Alter the Ending
7. Blame It on the Changes
8. Even Now
9. The Motions
10. No News Is Bad News
11. Water and Bridges
12. Hell on the Throat

Band Members

Chris Carrabba: vocals/guitar
John Lefler: guitar/keyboards
Scott Schoenbeck: bass
Mike Marsh: drums

Online Vitals

Official Site | Official Myspace

Purchase

iTunes (Deluxe) | Amazon MP3 (Deluxe)

]]> Album Reviews Chris Fallon http://www.absolutepunk.net/showthread.php?t=1421461