Review: Skycamefalling - 10.21

artist: skycamefalling album: 10.21 label: ferret records released: 12/5/00 by: eduardo moutinho This CD has been out for a while, and it has garnered a lot of critical acclaim. I got a hold of it a few weeks ago, and I’ve been listening to it on a regular basis. So I’d like to put my two cents in about it. Skycamefalling is one of the most well-known melodic hardcore bands out there. 10.21 is their most recent release, and it’s a relatively decent album. From the get go, the album begins with an instrumental piece. This is a popular trend that almost everyone in the genre likes to jump into. The track is forgettable, and fails to add the element of poignancy that was intended. There’s another instrumental track on the album that is okay, but it’s also nothing special. As the album really begins, with the song “With Paper Wings,” it’s easy to see the musical style of this band. They have a hard-edged style, with aggressive guitars and vocals. There’s very little singing on this album. There are no hints of melodic breakdowns whatsoever in this band’s music. That’s not necessarily a bad thing, but it makes the music seem more repetitive. The band has a hit-you-in-the-head style that works for a while, but leaves you yearning for a bit more substance. There are very good songs on this album that show off the talent of this band. “Porcelain Heart Promises” starts off with a ferocious tempo, which is really well-done. I especially like the way it starts off immediately after the second instrumental piece. There is a well-done segue here, where it goes from almost silence to chaos. The structure of the song is interesting. It stands out among the other songs on the album. “The Nothing” and “An Ocean Apart” are songs that are a little more “epic” in their nature. They’re both a little longer in length, and feature the best musicality on the album. “The Nothing” is regarded by many as the best track on this album. It’s a bit more diverse than the other offerings, and is definitely a good listen. “An Ocean Apart” ends the record, with a hard-hitting, crunchy, sort of song that has a very interesting pause of silence in the middle. The song basically heads into the stretch run, fades out for four minutes, and fades back in. It’s really strange, but actually pretty cool. And get this, the song’s length is ten minutes and twenty-one seconds. How clever… To be blatantly honest, this album didn’t really do it for me. I like skycamfalling. I do. They’re not a bad band at all. Having a kick ass name doesn’t hurt… But I didn’t see why Lambgoat liked this album so much, along with other critics. The band has a really distinct sound, that I find to be a tad unexciting after a few listens. The stronger songs on this album are still good, and they find spots on my playlist once in a while. This is by no means a bad album, but it’s not that innovative, and it could have been a lot better. favorite song: “porcelain heart promises” rating: 78%/100% listen to skycamefalling

Review: Funeral for a Friend - Seven Ways to Scream Your Name

artist: funeral for a friend album: seven ways to scream your name label: ferret records released: 10/21/03 by: eduardo moutinho One of the most effective means of conducting any kind of business is to go by the motto “the ‘flavor of the month’ sells.” The Welsh band Funeral for a Friend seems to have caught onto this slogan in their recent Ferret release, Seven Ways to Scream Your Name. Honestly, if I would have listened to this record about six months ago, I would have given up on it immediately. Thankfully, I’ve gotten to a state that has allowed me to come back to this kind of straightforward emocore derivation. Those who are craving new and original music are in for a disappointment, and those who want to listen to challenging music should stop reading this review right now. Funeral for a Friend knows how to manipulate what is currently popular into something that slides nicely into the “semi-mainstream” musical segment of our scene. But wait just a second, this isn’t entirely bad. Sometimes it’s good to listen to something that fits a successful formula; that is, if it’s done correctly. Honestly, these guys are good at what they do. The music exhibited on Seven Ways to Scream Your Name is a mixture of aggressive emocore mixed with some pop rock and punk. The singer is energetic, and he uses his vocals to scream and sing effectively. In addition, the musicality is quite solid with the guitars leading the way. There are a variety of catchy mini-solos thrown throughout the songs along with a series of rhythmic verses. It’s easy to get into the music on frequent occasions. Percussion is average but also solid, and the drummer adds in some rather mediocre background screaming vocals throughout the tracks. I was reminded of Atreyu’s singer and his awful screaming, so in this regard, the music was affected negatively. When closely listening to this record, I realized that its simplicity is one of the strong points. I can get into the music without having to think, and sometimes, that is all I really need and want. The production value is crisp, leading to a tightly fabricated and polished product. I can stick this in my car stereo and just go. Interestingly enough, I was tempted to listen to this record after downloading a promotional mp3 of the song “This Year’s Most Open Heartbreak” off the Ferret website. The song is one of the most extremely catchy pieces that I have recently encountered. In the end, it turns out to be the best song on the record. Songs like “Kiss and Make Up (All Bets Are Off)” and “Escape Artists Will Never Die” are also worth listening to. The rest of the album is decent, but the tracks all too frequently become victims of musical clichés seen in the genre, as stated above. Nevertheless, Seven Ways to Scream Your Name is still a nice compilation, and it’s refreshing to see something new coming from Wales. I’ve only been recently privy to Princess Diana and Ryan Giggs. favorite song: “this year's most open heartbreak" rating: 80%/100% listen to funeral for a friend

Review: Down to Nothing - Save it for the Birds

artist: down to nothing album: save it for the birds label: thorp records released: 2003 by: rob tatum Maybe it’s just me, but I really cannot grasp how a band can be pleased with songs that are better measured in seconds than minutes. It really irritates me. Anyway, Richmond’s Down to Nothing is a fast-paced, East Coast straight edge band. Easily compared to the likes of Champion, In My Eyes, or numerous East Coast bands, the band struggles to establish a sound of their own on this album. Perhaps the band set out to sound like the aforementioned bands, and if not, they accomplished it. I give the band credit for creating energetic hardcore and standing up for the things they believe in. That’s the best part about music in general, but unfortunately that’s how I feel about Save it for the Birds, generic. The musicianship is very basic, as blast beats and power-chords reign supreme. This isn’t my genre, it never has been, it never will be. The band does nothing for me. If you like this style, Down to Nothing pulls it off pretty well, but there’s nothing special here. favorite song: "who are you to say" rating: 66%/100% listen to down to nothing

Review: Radio Berlin - Glass

artist: radio berlin album: glass label: action driver released: 2003 by: rob tatum I can honestly say the Glass is a nice change of pace. Radio Berlin implements some interesting elements into a blend of spacey, dancy rock. The four piece uses many electronic instruments to develop a very unique sound. Glass could easily be compared to a release from the Cure, Radiohead, Q and Not U, and a handful of others. There is such a vast range of sounds incorporated in the eight songs, that is nearly impossible to pinpoint the sound. The vocals are slow tempoed and remind me of Pink Floyd at times. Then again, they also remind me of Robert Smith from the Cure at other times. The diversity of the album takes the listener on a very interesting journey. Slow, dark songs are followed by upbeat, dancy songs. Ordinarily this roller coaster method doesn’t appeal to me, but Glass managed to keep this critic entertained throughout. Fans of a diverse, yet uncompromising sound will thoroughly enjoy this release. Radio Berlin touches on such a wide range of sounds, that it is easy to get into the songs. If I had to categorize Glass as anything, it’s flat out rock, and I think it’s quite good. favorite song: "aftermath" rating: 85%/100% listen to radio berlin

Review: Emmanuel 7 - Machines in Routine

artist: emmanuel 7 album: machines in routine label: thorp records released: 2003 by: rob tatum Connecticut’s Emmanuel 7 is one of those bands that leave the listener perplexed at first listen. Mixing hardcore with strong doses of metal and grind along with a little bit of melody, the band generates a heavy barrage on the senses. Once the band’s sound starts to sink in, it is a little easier to analyze the various components of the music. One of the first things that I picked up on was the single guitar. At times the band’s music reminds me of Coalesce (i.e. the single guitar), and yet there are instances when Emmanuel 7 struggles with extremely muddy distortion and bland beats. The vocal range of singer Darrell Tauro is exhibited on tracks such as “Chamomile” but he struggles to really make an impact with his singing. The deep, overpowering vocals that appear on the majority of the tracks begin to be a little monotone as it coincides with the music. I was generally impressed by the musicianship; however, the grind parts don’t fit certain songs and really take away from the overall flow the album. Machines in Routine exhibits a wide range of musical styles and abilities, but I really think that Emmanuel 7 is trying to do too much with too little. This might appeal to fans of older Cave In and Coalesce, but Machines in Routine is a too diverse to make any direct comparisons. favorite song: "chamomile" rating: 83%/100% listen to emmanuel 7

Review: Dead Water Drowning - Self-Titled EP

artist:dead water drowning album: self-titled EP label: black market activities released: 2003 by: rob tatum Falling somewhere between Meshuggah and Between the Buried and Me, New Hampshire’s Dead Water Drowning assaults listeners with a barrage of metal and grind paralleled by few. Blistering break downs are accompanied by technical riffs and are followed by thundering grind attacks. The most impressive part of Dead Water Drowning is the use of a single guitar player. While the musicianship may not be the most technical, it is rare to see a metalcore or grindcore band using only one guitarist. That may explain why the band is searching for a second guitarist, but on this recording, the band only uses one guitar The vocals are very similar to Between the Buried and Me or At the Gates. Very powerful growls pound from vocalist Nate Johnson. I really enjoyed his lyrics on this release. Here’s an excerpt from the song “Bliss from a Dead Embrace,” ‘Took everything I had to give and then you gave up. It’s probably not as bad as it seems. I am just stuck in my own worst dreams. The ones where you rip my heart from my chest.’ This EP exhibits a very solid sound. The five songs are filled with a ton of power and energy. If this band adds a second guitarist, things can only go up for them. Look for this band to cement themselves as a force in the metal/grind core community. favorite song: "bliss from a dead embrace" rating: 84%/100% listen to dead water drowning

Review: Narcissus - Crave and Collapse

artist: narcissus album: save it for the birds label: abacus recordings released: 2003 by: rob tatum Narcissus’s third full length, Crave and Collapse, is a compelling release that may elevate the band to the forefront of the post hardcore genre. While the concept of combining hardcore and emo is nothing new, the combination must be perfect to give a band any chance of making themselves known. Narcissus appears to have tackled the task with ease. Crave and Collapse demonstrates a well developed sense of creativity and melody that the majority of post hardcore bands lack. The Ohio four piece uses solid musicianship as the backbone of this release. All aspects of the release are well arranged. The songs on Crave and Collapse possess an energy that is usually missing from post hardcore releases. The vocals, both singing and screaming, are very in tune with the music. My favorite part of this album is that nothing is overdone. There’s just the right amount of hardcore to appease hardcore fans and just enough emo to appease emo fans. It’s almost a symbiotic relationship. Fans of Under the Radar era Grade, Thursday, and A Static Lullaby will instantly love this album. I know I did. favorite song: "rush" rating: 89%/100% listen to narcissus

Review: Calico System - The Duplicated Memory

artist: calico system album: the duplicated memory label: eulogy recordings released: 2003 by: rob tatum The whole concept of throwing genres into a blender can definitely produce some interesting sounding bands. Calico System certainly fits that scenario. At times the band sounds like a poppy, radio-friendly monster and then tears into a heavy, melodic assault. The band exhibits some similarities to a heavier Boys Night Out, or older Keepsake, but Calico System is a much better listen then both of those. The first time I listened to The Duplicated Memory, I wasn’t sure what to think. Vocalist Mark Owens exhibits a vast range of both singing and screaming. I initially thought that the band must have two singers, but that is not the case. Musically the band creates power and melody, but doesn’t over emphasize anything. The musicianship is amazing. The drumming and bass-playing, which at times are overlooked, make a huge impact on this album. The guitar work is very solid, especially changing from the poppy parts to the heavy ones. Mark’s lyrics are very heartfelt and focus primarily on love gone wrong. At first, I would have called The Duplicated Memory just average, but with each listen I have realized how amazing this album really is. Calico System has created a very enjoyable release and I encourage anyone who is a fan of melodic hardcore to give this a listen (at least a couple of times). It may not be genre defining, but it shows that a band can successfully interweave genres without sounding manufactured or overproduced. favorite song: "girl named vegas" rating: 89%/100% listen to calico system

Review: Thursday - War All The Time

artist: thursday album: war all the time label: island records released: 9/16/03 by: eduardo moutinho To say that I eagerly anticipated Thursday’s new album, War All the Time, would be a gross understatement. I’ve been salivating over this release like a famished coyote needing to eat to survive. The two teaser tracks, along with a live track I heard Thursday play at their last show in Boulder, fueled my hunger even more. So when the stores opened on Tuesday, September 16th, 2003, I ran and snatched a copy of the record for myself. My coyote spirit found a carcass to indulge upon. I don’t mean to go out on a limb here, but let me just say, this may be the best album I have ever heard. Period. Yes, I speak blasphemous words against hopesfall and the lot, but I stand by the words firmly. This album is fucking wicked. And yes, I also realize that I just compromised my journalistic integrity by (gasp) writing out an expletive in a piece of writing. Eh, Rolling Stone editors aren’t the only ones allowed to do it. Why is this album so good you ask? Well, I’ll tell you. Firstly, this is one of those albums I have talked about earlier, where every single track is spectacular. You can play this record from start to finish without ever having to skip around. Each track tells its own story, with exceptional lyrics and equally fantastic musicality. You will come away with at least eight or nine “favorite songs” having trouble picking out what is truly best. In the end, it hits you like a bag of lead: the whole damn thing is incredible. Like Poison the Well, Glassjaw, and Thrice, this is Thursday’s debut release on a major record label. While this may not sit well with many folks, there is absolutely no reason to fret. The sound that Thursday shaped into one of the most emulated new forms of rock is present and elevated to infinitely new levels of sonic mastery and majesty in War All the Time. The charmingly raw sound is still the foundation, and the band builds upon their layered melodies and vocal structures throughout the record. Some tracks are complex and engaging, while others stripped-down and simple. In the end, everything comes together into a beautiful compilation. The instrumentation on this record is amazing. The guitars, bass, and drums are simply sensational. Songs like “Asleep in the Chapel,” “Marches and Maneuvers,” “Signals over the Air,” “Between Rupture and Rapture,” and “Steps Ascending” have wondrous melodies, one layered on top of the other, forming organized chaos. I found myself listening to these tracks repeatedly, sometimes listening to the same track many times over. They’re so impressive. The guitarists are making a statement, with their constant breaks, changes, and use of different sounds and techniques. I’ve never heard such effective, albeit subtle, usage of harmonics. The bass is integral in the transitions, which really shows how tight these guys are. Drums are exceptional, as they have always been. I’m amazed, just plain amazed. Vocals are really well done, and extremely emotional, which is expected from Thursday. As I said before, the lyrics are wonderful. The writing is so clever and profound. Just listening to “For the Workforce Drowning” is enough proof of how clever Geoff Rickly really is. I think his vocals round out the rawness of the music perfectly. He sings as if he’s pouring his soul out to the listener. And if you’ve seen him live, you know that is exactly what he is doing. The backup vocals done by the members are even more evident than they were in Full Collapse. Each individual scream is distinctive and gives even more character to the music. There really is no need to further elaborate on the vocals here, as their proficiency is a given. I’ve mentioned some tracks already, yet I’ve left a few out. This album is indeed a complete work. Thursday tried to make this release more intimate, and it shows with tracks like “This Song Brought to You by a Falling Bomb,” which is a somber piano and voice number. The title track, “War All the Time” is pure emotion. There are slower, more vulnerable-sounding, tracks here, and it’s a welcomed addition as it adds balance and variety to the songs altogether. I guess you can say that this is a sign of maturity on the part of Thursday. I’m not going to end this review by writing a huge conclusion commanding you to buy this release and to devote the next few months of your life to it. I think what I have written so far speaks for itself. What I will say though, is that this release is special. I was hoping for something comparable to Full Collapse, and what I got completely surpassed it. This band is untouchable. favorite song: "steps ascending" and "between rupture and rapture" (tie) rating: 100%/100% listen to thursday

Review: The Kinison - Self-Titled EP

artist: the kinison album: self-titled EP label: fearless records released: 2003 by: rob tatum Up and coming bands are always a fun listen for someone that gets tired of listening to the same music over and over. Combining elements of post hardcore, screamo, and even pop, The Kinison dabs a little from a variety of genres. Certain aspects of the music remind me a lot of another Fearless band, At the Drive-In, but unfortunately for The Kinison, there’s only one At the Drive-In. As I mentioned above, there are aspects of the music that are striking similar to other bands, but at the same time, the band does manage to establish a solid sound. Each of the five songs has its own feel which keeps the EP from running together. A number of the songs are quite poppy and the screaming seems a little out of place, but at other times, it fits perfectly. I can tell from this EP that once this band can find itself a niche, they should be something to reckon with. The vocals are at times eerily reminiscent of Cedric (ATDI), but the screams do enough to offset it. My only complaint is that the singing/screaming combo is starting to become overdone, and it seems like every day that there is a new post hardcore band attempting the same thing. That of course is no fault of The Kinison, but by the time the band really begins to establish themselves, their sound may have been overplayed. However, for the time being, this EP is a good start for the band. favorite song: "the way i used to be" rating: 78%/100% listen to the kinison