Sorry about the lack of correspondence, I just recently moved into a new apartment and it has taken me a few days to get everything situated.
Another big issue is the lack of anticipated releases in the last few weeks. Everything for the rest of the year is going to becoming out in the fall and so the last few weeks have been somewhat lackluster. Having said that, there will be reviews and articles written about a few new releases including Set Your Goals' "Burning At Both Ends", and Portugal The Man's "In The Mountain In The Cloud".
But before any of that, a friend (and bandmate) of mine and I are going to attend the Council Bluffs, IA stop on the Warped Tour. It's been awhile since my last time attending a show (All Time Low/Hey Monday/Yellowcard to be exact), so I anticipate a fun time. We will try and take pictures and come back with stories. Excited to get to see Set Your Goals again, extremely excited to see The Dangerous Summer play new material live, and finally brimming with excitement to see The Wonder Years kill it again. This may be a trip that makes me go broke, but it's one that is much needed.
Wednesday, August 3, 2011
Sunday, July 17, 2011
New Music: Blink 182 - "Up All Night"
Expect a new article coming soon, including a review of the new Damnwells album, No One Listens To The Band Anymore.
In the mean time, here is the new single from Blink 182. Any album details are still unknown, but the first hint of new music is very encouraging. Clearly a departure from their previous style, it will be interesting to see what this album sounds like.
Blink 182 - "Up All Night"
In the mean time, here is the new single from Blink 182. Any album details are still unknown, but the first hint of new music is very encouraging. Clearly a departure from their previous style, it will be interesting to see what this album sounds like.
Blink 182 - "Up All Night"
Friday, July 8, 2011
The Dangerous Summer - War Paint
For years the build-up happened, waiting for a group of high school kids to release their first full-length album. First came There Is No Such Thing As Science, that brought the record deal from Hopeless Records. Soon the band re-released the EP If You Could Only Keep Me Alive, featuring a few new songs. With graduation just around the corner the band began recording that first full-length. Eventually the record was released and what was born was 2009's success story, Reach For The Sun. Now with fans around the world the band had expectations to live up to. After two years and multiple hardships to overcome, finally came the hype-filled locomotive that we now know as War Paint. The band I speak of, of course, is The Dangerous Summer.
The Dangerous Summer - War Paint
Like an atom bomb dropped from a jet airliner, the record starts blasting chords and rhythms into your brain. Mixing accent guitar riffs with the rhythm, the guitars make a mixture that complement each other and shoot into a spiritual sonic atmosphere. The lyrics set the standard for what will be sung throughout the entire album. A swift blend of philosophical ideas with the interpersonal relationships we all deal with on a daily basis. The title track, "War Paint", is a compression of the overall impression of the record. Catchy choruses, intelligent lyrics, infectious guitars, intoxicating rhythms, and the desire to not stop listening. The ability to tear down the song and build it back up is exercised more than once on this track, and each time it is done perfectly.
The first single on the album, "Work In Progress", starts with a riff that carries on throughout the song. Nearly the entire duration of the track involves building off of the riff, slowly with layer after layer of guitars, bass, drums, and vocals. The payoff comes in the choruses, where the band summons their creative powers and like a Zord, the cohesive sound is much more powerful than divided. Eventually the song appears to have burned itself out, but the vocals still power through the final fade out, screaming lines from the chorus. Next we have one of my favorites off the record, "No One's Gonna Need You More". Starting off with upbeat drums and a whisking rhythm that keeps the song moving at near dance-track speeds. The vocals themselves have an infectious rhythm to them, making it that much easier to sing along. The guitars never really come to the forefront, instead opting for a complementary role to the rhythm section, which is a refreshing change to the band's usual pace. The song finishes with a build-up that eventually dips back down into the chorus, never breaking the locomotive of drums and bass that powered the song from the start.
The next song was released as a single nearly a year ago, but was re-recorded for the new album. "Good Things" starts with less of an intro than it initially had and gets right into the opening verse. Working off the initial recording of the song, the choruses have become much more epic, and have become much more of a complete band experience. This song acts as a counter-point of hope and prosperity to "Work In Progress"'s message of depression and anguish. Next we have "Siren", the supreme song in a lyrical sense. The guitar riff acts as siren and stays constant throughout nearly the entire song. The choruses are uplifting and powerful, but they are nothing compared to the final verse. Working as an ultimate letter of longing love, the final verse is what you would have if you were to empty a person's soul onto sheet music. Not even then, however, would you be able to reproduce the passion you feel circulate up until the final note.
While on their tour with Sparks The Rescue and The Graduate, The Dangerous Summer debuted the next track "Everyone Left". In a strange turn of events, this track features guitars working in pure rhythm with drums doing the accenting notes. Again, the song seems to be constantly building and absolutely never content with the direction it's headed. With cohesive choruses built on catchy vocal melodies, the rest of the band seems to be accent pieces to the words being sang. With the lyrics that we hear, that is perfectly fine. The closest thing to a typical pop-punk song on the record comes up with "Miscommunication". The guitars shine with a punk rhythm, and escalate to inertia in stereo during the choruses. That's where the gem of the song is found, in the chorus. Up beat and lifting melodies, rhythms, riffs, vocals, all of it combine to make a powerful blast of energy and joy.
One of the more unique songs on the record, "I Should Leave Right Now", involves an interesting guitar riff that combines a rhythm guitar approach but finishing the riff with lead sensibilities. In the choruses the riff finishes without the final lead notes, and stays in the rhythm section. The further into the song you get the more it becomes evident that it's almost as if the guitars are a back-up singer, giving the lead vocals more depth and an echo effect. If there were ever a "weak" song out of the bunch I would choose "Parachute". It's not even that it's not as good as the other songs, it's just that it is much more of a formula song. The blueprint to this track has been heard before, but The Dangerous Summer just seems to do it better than it has been done before. It seems to be the feeling that this is the next song that they wrote after "Good Things", because there are a lot of similarities between the two, with "Parachute" having a much more pop-punk chorus, and "Good Things" a more alternative chorus.
"In My Room" starts out as one of the slower songs on the record, with just a guitar and vocals. It may be a little accent, but the vocal rhythm at the beginning of when the band comes in and near the beginning of the second verse, is a prime example of what makes The Dangerous Summer great. Not being content with just singing the lines, the vocals are used as another instrument with how they are sang. Overall, this song is more enticing than most on the record. The mood of the entire song seems to be melancholy, but the guitars and drums seem to be pushing the song to an up-lifting mood. The album closer "Waves" is a great showcase of how far the band has come. From high school to this very moment, each member of the band is at the top of their game. The maturity level is off the charts from where it was at in the youth stages of the band, no more than the lyrics. The lyrics in the chorus are some of the finest I have ever heard, let alone heard from any band among The Dangerous Summer's peers. Every instrument works into a cohesive vision of a song that soars like a phoenix through the sonic atmosphere right up until the final note where we see the bird fly off into the sunset. One of the finest album closers in the genre, of the year, and of ever.
Throughout music there has been great bands that burst onto the scene with a fine debut album they have worked their entire lives to make. After touring on that record, it's time to get right back into the studio and record a follow-up. Many bands have fallen victim to the sophomore slump and many more will in the future. Many bands also get too high of expectations for a follow-up to a fantastic debut and end up in a fan whiplash. A record like this shatters and surpasses every expectation, as well as bending the sophomore slump over and making that its bitch. The Dangerous Summer have taken every life changing or molding event they have gone through and used it to create the best album they've done as well as the best album of the year.
Once in a great while a record comes along that strikes you at just the right time, maybe that's what happened to me the first time I heard this record. Listen after listen, however, I can't seem to stop playing each song over again. Songs that I wasn't keen on in the beginning have grown on me and shown the strength of the entire album. Not only is this a near lock for album of the year, but this is the kind of record I will show to my children. Sometimes words just can't express the feeling that you get when listening to a record, I could have easily just reviewed this by saying "You just have to listen to it", but anything less than "Life changing album" wouldn't do War Paint justice.
Recommended If You Like: The Dangerous Summer - Reach For The Sun, The Starting Line - Say It Like You Mean It, Yellowcard - Ocean Avenue
Verdict: 10 / 10
The Dangerous Summer - War Paint
Like an atom bomb dropped from a jet airliner, the record starts blasting chords and rhythms into your brain. Mixing accent guitar riffs with the rhythm, the guitars make a mixture that complement each other and shoot into a spiritual sonic atmosphere. The lyrics set the standard for what will be sung throughout the entire album. A swift blend of philosophical ideas with the interpersonal relationships we all deal with on a daily basis. The title track, "War Paint", is a compression of the overall impression of the record. Catchy choruses, intelligent lyrics, infectious guitars, intoxicating rhythms, and the desire to not stop listening. The ability to tear down the song and build it back up is exercised more than once on this track, and each time it is done perfectly.
The first single on the album, "Work In Progress", starts with a riff that carries on throughout the song. Nearly the entire duration of the track involves building off of the riff, slowly with layer after layer of guitars, bass, drums, and vocals. The payoff comes in the choruses, where the band summons their creative powers and like a Zord, the cohesive sound is much more powerful than divided. Eventually the song appears to have burned itself out, but the vocals still power through the final fade out, screaming lines from the chorus. Next we have one of my favorites off the record, "No One's Gonna Need You More". Starting off with upbeat drums and a whisking rhythm that keeps the song moving at near dance-track speeds. The vocals themselves have an infectious rhythm to them, making it that much easier to sing along. The guitars never really come to the forefront, instead opting for a complementary role to the rhythm section, which is a refreshing change to the band's usual pace. The song finishes with a build-up that eventually dips back down into the chorus, never breaking the locomotive of drums and bass that powered the song from the start.
The next song was released as a single nearly a year ago, but was re-recorded for the new album. "Good Things" starts with less of an intro than it initially had and gets right into the opening verse. Working off the initial recording of the song, the choruses have become much more epic, and have become much more of a complete band experience. This song acts as a counter-point of hope and prosperity to "Work In Progress"'s message of depression and anguish. Next we have "Siren", the supreme song in a lyrical sense. The guitar riff acts as siren and stays constant throughout nearly the entire song. The choruses are uplifting and powerful, but they are nothing compared to the final verse. Working as an ultimate letter of longing love, the final verse is what you would have if you were to empty a person's soul onto sheet music. Not even then, however, would you be able to reproduce the passion you feel circulate up until the final note.While on their tour with Sparks The Rescue and The Graduate, The Dangerous Summer debuted the next track "Everyone Left". In a strange turn of events, this track features guitars working in pure rhythm with drums doing the accenting notes. Again, the song seems to be constantly building and absolutely never content with the direction it's headed. With cohesive choruses built on catchy vocal melodies, the rest of the band seems to be accent pieces to the words being sang. With the lyrics that we hear, that is perfectly fine. The closest thing to a typical pop-punk song on the record comes up with "Miscommunication". The guitars shine with a punk rhythm, and escalate to inertia in stereo during the choruses. That's where the gem of the song is found, in the chorus. Up beat and lifting melodies, rhythms, riffs, vocals, all of it combine to make a powerful blast of energy and joy.
One of the more unique songs on the record, "I Should Leave Right Now", involves an interesting guitar riff that combines a rhythm guitar approach but finishing the riff with lead sensibilities. In the choruses the riff finishes without the final lead notes, and stays in the rhythm section. The further into the song you get the more it becomes evident that it's almost as if the guitars are a back-up singer, giving the lead vocals more depth and an echo effect. If there were ever a "weak" song out of the bunch I would choose "Parachute". It's not even that it's not as good as the other songs, it's just that it is much more of a formula song. The blueprint to this track has been heard before, but The Dangerous Summer just seems to do it better than it has been done before. It seems to be the feeling that this is the next song that they wrote after "Good Things", because there are a lot of similarities between the two, with "Parachute" having a much more pop-punk chorus, and "Good Things" a more alternative chorus.
"In My Room" starts out as one of the slower songs on the record, with just a guitar and vocals. It may be a little accent, but the vocal rhythm at the beginning of when the band comes in and near the beginning of the second verse, is a prime example of what makes The Dangerous Summer great. Not being content with just singing the lines, the vocals are used as another instrument with how they are sang. Overall, this song is more enticing than most on the record. The mood of the entire song seems to be melancholy, but the guitars and drums seem to be pushing the song to an up-lifting mood. The album closer "Waves" is a great showcase of how far the band has come. From high school to this very moment, each member of the band is at the top of their game. The maturity level is off the charts from where it was at in the youth stages of the band, no more than the lyrics. The lyrics in the chorus are some of the finest I have ever heard, let alone heard from any band among The Dangerous Summer's peers. Every instrument works into a cohesive vision of a song that soars like a phoenix through the sonic atmosphere right up until the final note where we see the bird fly off into the sunset. One of the finest album closers in the genre, of the year, and of ever.Throughout music there has been great bands that burst onto the scene with a fine debut album they have worked their entire lives to make. After touring on that record, it's time to get right back into the studio and record a follow-up. Many bands have fallen victim to the sophomore slump and many more will in the future. Many bands also get too high of expectations for a follow-up to a fantastic debut and end up in a fan whiplash. A record like this shatters and surpasses every expectation, as well as bending the sophomore slump over and making that its bitch. The Dangerous Summer have taken every life changing or molding event they have gone through and used it to create the best album they've done as well as the best album of the year.
Once in a great while a record comes along that strikes you at just the right time, maybe that's what happened to me the first time I heard this record. Listen after listen, however, I can't seem to stop playing each song over again. Songs that I wasn't keen on in the beginning have grown on me and shown the strength of the entire album. Not only is this a near lock for album of the year, but this is the kind of record I will show to my children. Sometimes words just can't express the feeling that you get when listening to a record, I could have easily just reviewed this by saying "You just have to listen to it", but anything less than "Life changing album" wouldn't do War Paint justice.
Recommended If You Like: The Dangerous Summer - Reach For The Sun, The Starting Line - Say It Like You Mean It, Yellowcard - Ocean Avenue
Verdict: 10 / 10
Wednesday, July 6, 2011
SYMAL Update and Anticipations
Just as a quick update, I was not able to post any new articles for the last week because I was away from my computer doing some relaxing work with friends. Now that I'm back in Lincoln and ready to expand my love for music, it's time to get some stuff done.
Coming up soon we'll have a review of the highly anticipated follow-up to Reach For The Sun,The Dangerous Summer's 2009 success, War Paint. The band released the first single off the album a few weeks ago and it has surpassed every expectation. You can go listen to "Work In Progress" right here.
A few records that have been spinning on my record player recently have been: Set Your Goals' Burning At Both Ends, a pop-punk record that grows into a more mature sound than their previous efforts and retains the catchy choruses that have been a landmark for their sound. Another record is The Swellers' most recent release Good For Me, Harnessing a vintage vibe with their powering guitars and rhythms, the songs never stop hitting the mark.
Hope you guys have a lot of fun and I'll try and get another review up soon.
Coming up soon we'll have a review of the highly anticipated follow-up to Reach For The Sun,The Dangerous Summer's 2009 success, War Paint. The band released the first single off the album a few weeks ago and it has surpassed every expectation. You can go listen to "Work In Progress" right here.
A few records that have been spinning on my record player recently have been: Set Your Goals' Burning At Both Ends, a pop-punk record that grows into a more mature sound than their previous efforts and retains the catchy choruses that have been a landmark for their sound. Another record is The Swellers' most recent release Good For Me, Harnessing a vintage vibe with their powering guitars and rhythms, the songs never stop hitting the mark.
Hope you guys have a lot of fun and I'll try and get another review up soon.
Saturday, June 11, 2011
The Wonder Years - Suburbia, I've Given You All And Now I'm Nothing
Bursting into the stratosphere with The Upsides just last year, The Wonder Years have become one of the new pop-punk sound bands that I really enjoy. Bringing a fun vibe with hardcore sensibilities, it's really difficult to not be affected or find enjoyment in this band at all. That sound has been altered on their new record, Suburbia, I've Given You All And Now I'm Nothing.
The Wonder Years - Suburbia, I've Given You All And Now I'm Nothing
Starting off on a sound clip, the album opener "Came Out Swinging", carries the torch that The Upsides carried before it. Bigger guitars and personal vocals propel this song to move and materialize through the breakdowns. This song is a great representation of what The Wonder Years has become. A dynamic enigma that isn't tied down by genres, but is still one of the best pop-punk bands out there. After the opener, there is "Woke Up Older", which on first listen doesn't seem like an important song, but upon second glances grows and becomes a song that you will inevitably listen to with the windows down this summer.
Next we have "Local Man Ruins Everything". This track is one of the most evident cases of the band maturing. Starting with bigger riffs and giant choruses, this hard hitting song has single-handedly takes us from "I'm not sad anymore" to "I'm just a fucked up kid", one of my favorites on the album. "Suburbia" is next and acts as an interlude, and comes off as a slower and more personable version of "Dynamite Shovel", which appeared on The Upsides. "My Life As A Pigeon" is another great track. At a point before the second chorus, frontman "Soupy" Campbell delivers a vicious verse about dealing with people. The entire song is an ode to self-sacrifice for the betterment of other people, which is played off all too well by the vocals.
"Summer In PA" isn't a fast paced, relentless punk attack, but has the makings for it in the guitars and drums. Instead the song stays at a steady chug, complimenting the subject matter of spending time with friends during late summer nights. Later in the song there is even a giant group vocal performance, bringing the "friend element" to a cemented position in the song. "I Won't Say The Lord's Prayer" is where the real change in the band can be heard. It starts off as a very slow and personal song with only occasional and short lived full band parts, but it grows into a full band confessional with full band dynamics. If the maturity of this band ever need to be traced, this would be put at the forefront. On the next track, "Coffee Eyes", is fast paced and heavy in the verses, but slows and becomes very melodic in the chorus, instead of having faster and heavy choruses like what has shown up on many other Wonder Years songs.
A swift change in mood occurs as soon as "I've Given You All" starts in with its acoustic guitars. Uncharacteristic war veteran references in the lyrics bring somewhat of a surreal feel to the sub-two minute track to people who are used to the older Wonder Years sound. "Don't Let Me Cave In" resurrects the mood from previous releases and brings the chugging rhythms that have made so many fans mosh before. The chorus feels like a sonic success story, with the lyrics complimenting that feeling. Following up is "You Made Me Want To Be A Saint", which fires on all cylinders for an entire minute-and-a-half. Rhythmic guitars, heavy drums, and chugging bass keeps this song flowing like a smooth locomotive. It's a heavy song but doesn't falter where big songs have previously been seen fallen apart.
"Hoodie Weather" comes off as a question to society and what has gotten so many people down. The feeling of being confined in the winter comes across loud and clear when this track is on play. With the power of the guitars, the vocals begin to build and start to sound as if they are asking for more people to sing along. Finishing off the album is "And Now I'm Nothing", a five minute adventure through everything that the band has touched on in their tenure. Without doubt, this is the Wonder Years song that you need to hear. Wrapping their entire history, growth, maturity, power, personality, and emotion together in a song that explodes with bass drums and power chords. Any triumphant comeback story could splice this track into the final montage. A wise man once said "It's not how you start, it's how you finish", you will be hard pressed to find a finer complimenting finish to a record than this one.
After first listen, I had my doubts about this record. I highly enjoyed The Upsides and the one-stop sound that the record had. On Suburbia, I've Given You All And Now I'm Nothing" the sound varies and becomes a much more dynamic album than anything this band has done before. In terms of Brand New, this record really is The Wonder Years' version of Deja Entendu and their time to become something more than just another band. This record proves the lasting value of The Wonder Years and abolishes the obstacles that have faced them. Start to finish this record is a success story in both spirit and stereo.
Recommended If You Like: Brand New - Deja Entendu, The Wonder Years - The Upsides, Set Your Goals - Mutiny
Verdict: 9.5 / 10
The Wonder Years - Suburbia, I've Given You All And Now I'm Nothing
Starting off on a sound clip, the album opener "Came Out Swinging", carries the torch that The Upsides carried before it. Bigger guitars and personal vocals propel this song to move and materialize through the breakdowns. This song is a great representation of what The Wonder Years has become. A dynamic enigma that isn't tied down by genres, but is still one of the best pop-punk bands out there. After the opener, there is "Woke Up Older", which on first listen doesn't seem like an important song, but upon second glances grows and becomes a song that you will inevitably listen to with the windows down this summer.
Next we have "Local Man Ruins Everything". This track is one of the most evident cases of the band maturing. Starting with bigger riffs and giant choruses, this hard hitting song has single-handedly takes us from "I'm not sad anymore" to "I'm just a fucked up kid", one of my favorites on the album. "Suburbia" is next and acts as an interlude, and comes off as a slower and more personable version of "Dynamite Shovel", which appeared on The Upsides. "My Life As A Pigeon" is another great track. At a point before the second chorus, frontman "Soupy" Campbell delivers a vicious verse about dealing with people. The entire song is an ode to self-sacrifice for the betterment of other people, which is played off all too well by the vocals.
"Summer In PA" isn't a fast paced, relentless punk attack, but has the makings for it in the guitars and drums. Instead the song stays at a steady chug, complimenting the subject matter of spending time with friends during late summer nights. Later in the song there is even a giant group vocal performance, bringing the "friend element" to a cemented position in the song. "I Won't Say The Lord's Prayer" is where the real change in the band can be heard. It starts off as a very slow and personal song with only occasional and short lived full band parts, but it grows into a full band confessional with full band dynamics. If the maturity of this band ever need to be traced, this would be put at the forefront. On the next track, "Coffee Eyes", is fast paced and heavy in the verses, but slows and becomes very melodic in the chorus, instead of having faster and heavy choruses like what has shown up on many other Wonder Years songs.A swift change in mood occurs as soon as "I've Given You All" starts in with its acoustic guitars. Uncharacteristic war veteran references in the lyrics bring somewhat of a surreal feel to the sub-two minute track to people who are used to the older Wonder Years sound. "Don't Let Me Cave In" resurrects the mood from previous releases and brings the chugging rhythms that have made so many fans mosh before. The chorus feels like a sonic success story, with the lyrics complimenting that feeling. Following up is "You Made Me Want To Be A Saint", which fires on all cylinders for an entire minute-and-a-half. Rhythmic guitars, heavy drums, and chugging bass keeps this song flowing like a smooth locomotive. It's a heavy song but doesn't falter where big songs have previously been seen fallen apart.
"Hoodie Weather" comes off as a question to society and what has gotten so many people down. The feeling of being confined in the winter comes across loud and clear when this track is on play. With the power of the guitars, the vocals begin to build and start to sound as if they are asking for more people to sing along. Finishing off the album is "And Now I'm Nothing", a five minute adventure through everything that the band has touched on in their tenure. Without doubt, this is the Wonder Years song that you need to hear. Wrapping their entire history, growth, maturity, power, personality, and emotion together in a song that explodes with bass drums and power chords. Any triumphant comeback story could splice this track into the final montage. A wise man once said "It's not how you start, it's how you finish", you will be hard pressed to find a finer complimenting finish to a record than this one.
After first listen, I had my doubts about this record. I highly enjoyed The Upsides and the one-stop sound that the record had. On Suburbia, I've Given You All And Now I'm Nothing" the sound varies and becomes a much more dynamic album than anything this band has done before. In terms of Brand New, this record really is The Wonder Years' version of Deja Entendu and their time to become something more than just another band. This record proves the lasting value of The Wonder Years and abolishes the obstacles that have faced them. Start to finish this record is a success story in both spirit and stereo.
Recommended If You Like: Brand New - Deja Entendu, The Wonder Years - The Upsides, Set Your Goals - Mutiny
Verdict: 9.5 / 10
Tuesday, June 7, 2011
In Anticipation...
Sorry for the lack of reviews or articles recently, work has kept me busy. I do have a lot planned in the near future, including reviews of: Lady Gaga, Death Cab For Cutie, The Wonder Years, and Bayside. As well as an article documenting All Time Low. So a lot to look forward to and hopefully enough to keep you excited.
Thank you again for keeping tabs on the site and I'll reward you with more articles.
Thank you again for keeping tabs on the site and I'll reward you with more articles.
Sunday, May 22, 2011
Manchester Orchestra - Simple Math
Welcome back everyone, it's good to have you here. SYMAL is back with the reliable opinion and verdict on everything that is music, but with an emphasis in alternative/indie/punk genres. I will be taking this slightly more seriously because I want this to be a good platform for me when it comes to making a living. Hopefully one day I will be writing for publications, but until then, this is where you'll see the beginning of a star writer.
So here we begin again.
Manchester Orchestra - Simple Math
In the beginning, Manchester Orchestra played alternative rock that was soaked in southern rock mentalities. A sweet mix of twang-filled guitars, snares, and vocals that boarder on whiny, but never become irritating. After just one album the band developed a more straight forward rock sound that nearly ditched their southern inheritance in favor for a deeper chamber of rock. Their album Mean Everything To Nothing still lingers in my brain and has cemented a spot in my heart as one of my favorite albums I grew up with.
After just two years, the follow-up record was released and now we have Simple Math. A record that takes the best parts of METN and mixes them into the same formula that they used to create their debut record, I'm Like A Virgin Losing A Child. At first listen, this was a bittersweet record for me. There wasn't a lot there that kept me listening to METN that is clearly visible when you sit listening to the new record. Different, heartfelt, and dynamic; that's what this record can be summarized as. Enough with summarization, let's take a closer look at this new record.
One constant on all the Manchester Orchestra records, is the healthy dose of mellow paced songs that nearly exclusively features frontman Andy Hull. Simple Math starts out with one of those slower songs and it sets the early tone for the record. "Deer" is drenched in autobiographical aura and never escapes more than Hull with a guitar and a backing orchestra. As with most ManO songs, the lyrics are very sentimental and hold a great weight to them that can be felt with every syllable spoke. The manner in which Andy Hull utters these words comes across as a letter to his darling and you feel deeply blessed to be able to overhear this cross-country phone call. This track is nothing unlike ManO has ever done before, but there is still a very pleasing element as soon as you hear it and it never escapes as long as the track lasts.
After a sweet and genuine track, the record picks up with a gut wrenching guitar riff and it feels as if the skies are darkening. "Mighty" is that song that conjures up a storm in the verses and every facet of the track to only build up into a pure jolt of energy in the triumphant verse after the breakdown. Gang vocals, backing orchestra, it culminates into what you hear as the song fades into an ending. At first glance, this track was a great stand-out to me. After hearing the album a few more times, I still believe it is one of the better tracks on the album. Next up there's "Pensacola", which screams of Virgin-era Manchester. As soon as it hits the speakers you feel like this song is best represented by driving down a highway with nothing but fields and irrigation pipes surrounding you. Telecaster guitar twangs, Hull's letter-to-paper mentality of the lyrics and vocals, and the hard bass drum combined with the deep snare make for a good ol' time rock song.
"April Fool" starts out with the lyrics and takes off from there to a track that shows glimpses of METN. Using only heavy guitars and quick shifts in tempo, this track stands out as a trademark on this record. The album continues to grow with "Pale Black Eye", a subtle track that shines its own way. As a stand alone song, this track doesn't stand out, but in the context of the album, this is where the tide turns. This is the point where the album becomes dynamic and much like a film that hits a plot twist, this record takes a turn.
The record hits full tilt on the next track "Virgin", the best song on the album. Never before have I heard such a dynamic song be spun into a four minute weave. Starting out with chimes and rings, a voice calls out, and that voice gets interrupted as a simple, yet ominous guitar riff kicks in. The sound of young children echo the line: "We built this house with our hands / and our time / and our blood". Repeating, over and over, that echo becomes monumental. The guitars, the drums, the keyboards, the vocals, all of them synchronize to build this song up into a behemoth of entanglement. Never becoming a typhoon of sound, every piece is layered perfectly to create an epic track that needs to be heard to be believed.
After that roller coaster comes the title track and just as much of a dynamic song. The difference between "Virgin" and "Simple Math" is elementary. As "Vigin" was pieced together by the guitar and drum aesthetic, "Simple Math" holds its building blocks in the keyboards and vocals. Just a simple guitar strum until the chorus, this song stays level and mellow but culminates at the three minute mark. The first song that was released from this album, I believed that if the entire album was along the same strand as this song, it would be a masterpiece. My expectations were met with a different style of a record, but my enjoyment hasn't subsided. After the dynamics before it, "Leave It Alone" stays in the soft hemisphere and relies much more on Andy Hull's ability to croon with his unique higher-pitched smoker's voice. Just as with other songs on this record, "Leave It Alone" is much more about being a complimentary piece to other songs, than to stand out by itself; there's something to be said for that.
Another one of the stand out tracks on this album is "Apprehension". There's a strange 90's alternative vibe to this song, as if Manchester is playing in a karaoke time machine. Tight drumming and simple guitars propel this song along and build an easy-going atmosphere to the track as a whole. Granted, the vocals have that bite to it, but the music behind the voice never evolves into what the vocals would indicate. If there's any negativity to this song at all, it's that it seems out of place. Among dynamic tracks and softer songs of single guitars and vocals, this track is the middle ground and plays well into that fit. I'll chalk it up to track sequencing, because the song by itself is enjoyable. The finale, "Leaky Breaks", starts out as something out of an old Dukes Of Hazzard episode. The longest track on the album, this song uses every second to milk out the melancholy southern tone that Manchester has always seemed to possess, but was the muscle they never flexed. This is a song that won't get a lot of praise, but I find it to be one of the most reassuring tracks on the record.
Overall, this record is very enjoyable and stands out as one of the top albums of the year so far. Granted, I may be biased because of my allegiance to the band, but I would recommend this record to a lot of people. The appeal to a broad audience is there. Simply an autobiography set to music, Simple Math hits every curve and hill with ease and keeps you guessing through every verse or chorus. At first, I greeted this album with hostility; now I gladly welcome it into my stereo and sing its praises.
Recommended If You Like: Thrice - Beggers, Manchester Orchestra - I'm Like A Virgin Losing A Child, The Allman Brothers Band - Idlewild South
Verdict: 9.5 / 10
So here we begin again.
Manchester Orchestra - Simple Math
In the beginning, Manchester Orchestra played alternative rock that was soaked in southern rock mentalities. A sweet mix of twang-filled guitars, snares, and vocals that boarder on whiny, but never become irritating. After just one album the band developed a more straight forward rock sound that nearly ditched their southern inheritance in favor for a deeper chamber of rock. Their album Mean Everything To Nothing still lingers in my brain and has cemented a spot in my heart as one of my favorite albums I grew up with.
After just two years, the follow-up record was released and now we have Simple Math. A record that takes the best parts of METN and mixes them into the same formula that they used to create their debut record, I'm Like A Virgin Losing A Child. At first listen, this was a bittersweet record for me. There wasn't a lot there that kept me listening to METN that is clearly visible when you sit listening to the new record. Different, heartfelt, and dynamic; that's what this record can be summarized as. Enough with summarization, let's take a closer look at this new record.
One constant on all the Manchester Orchestra records, is the healthy dose of mellow paced songs that nearly exclusively features frontman Andy Hull. Simple Math starts out with one of those slower songs and it sets the early tone for the record. "Deer" is drenched in autobiographical aura and never escapes more than Hull with a guitar and a backing orchestra. As with most ManO songs, the lyrics are very sentimental and hold a great weight to them that can be felt with every syllable spoke. The manner in which Andy Hull utters these words comes across as a letter to his darling and you feel deeply blessed to be able to overhear this cross-country phone call. This track is nothing unlike ManO has ever done before, but there is still a very pleasing element as soon as you hear it and it never escapes as long as the track lasts.After a sweet and genuine track, the record picks up with a gut wrenching guitar riff and it feels as if the skies are darkening. "Mighty" is that song that conjures up a storm in the verses and every facet of the track to only build up into a pure jolt of energy in the triumphant verse after the breakdown. Gang vocals, backing orchestra, it culminates into what you hear as the song fades into an ending. At first glance, this track was a great stand-out to me. After hearing the album a few more times, I still believe it is one of the better tracks on the album. Next up there's "Pensacola", which screams of Virgin-era Manchester. As soon as it hits the speakers you feel like this song is best represented by driving down a highway with nothing but fields and irrigation pipes surrounding you. Telecaster guitar twangs, Hull's letter-to-paper mentality of the lyrics and vocals, and the hard bass drum combined with the deep snare make for a good ol' time rock song.
"April Fool" starts out with the lyrics and takes off from there to a track that shows glimpses of METN. Using only heavy guitars and quick shifts in tempo, this track stands out as a trademark on this record. The album continues to grow with "Pale Black Eye", a subtle track that shines its own way. As a stand alone song, this track doesn't stand out, but in the context of the album, this is where the tide turns. This is the point where the album becomes dynamic and much like a film that hits a plot twist, this record takes a turn.
The record hits full tilt on the next track "Virgin", the best song on the album. Never before have I heard such a dynamic song be spun into a four minute weave. Starting out with chimes and rings, a voice calls out, and that voice gets interrupted as a simple, yet ominous guitar riff kicks in. The sound of young children echo the line: "We built this house with our hands / and our time / and our blood". Repeating, over and over, that echo becomes monumental. The guitars, the drums, the keyboards, the vocals, all of them synchronize to build this song up into a behemoth of entanglement. Never becoming a typhoon of sound, every piece is layered perfectly to create an epic track that needs to be heard to be believed.
After that roller coaster comes the title track and just as much of a dynamic song. The difference between "Virgin" and "Simple Math" is elementary. As "Vigin" was pieced together by the guitar and drum aesthetic, "Simple Math" holds its building blocks in the keyboards and vocals. Just a simple guitar strum until the chorus, this song stays level and mellow but culminates at the three minute mark. The first song that was released from this album, I believed that if the entire album was along the same strand as this song, it would be a masterpiece. My expectations were met with a different style of a record, but my enjoyment hasn't subsided. After the dynamics before it, "Leave It Alone" stays in the soft hemisphere and relies much more on Andy Hull's ability to croon with his unique higher-pitched smoker's voice. Just as with other songs on this record, "Leave It Alone" is much more about being a complimentary piece to other songs, than to stand out by itself; there's something to be said for that.
Another one of the stand out tracks on this album is "Apprehension". There's a strange 90's alternative vibe to this song, as if Manchester is playing in a karaoke time machine. Tight drumming and simple guitars propel this song along and build an easy-going atmosphere to the track as a whole. Granted, the vocals have that bite to it, but the music behind the voice never evolves into what the vocals would indicate. If there's any negativity to this song at all, it's that it seems out of place. Among dynamic tracks and softer songs of single guitars and vocals, this track is the middle ground and plays well into that fit. I'll chalk it up to track sequencing, because the song by itself is enjoyable. The finale, "Leaky Breaks", starts out as something out of an old Dukes Of Hazzard episode. The longest track on the album, this song uses every second to milk out the melancholy southern tone that Manchester has always seemed to possess, but was the muscle they never flexed. This is a song that won't get a lot of praise, but I find it to be one of the most reassuring tracks on the record.
Overall, this record is very enjoyable and stands out as one of the top albums of the year so far. Granted, I may be biased because of my allegiance to the band, but I would recommend this record to a lot of people. The appeal to a broad audience is there. Simply an autobiography set to music, Simple Math hits every curve and hill with ease and keeps you guessing through every verse or chorus. At first, I greeted this album with hostility; now I gladly welcome it into my stereo and sing its praises.
Recommended If You Like: Thrice - Beggers, Manchester Orchestra - I'm Like A Virgin Losing A Child, The Allman Brothers Band - Idlewild South
Verdict: 9.5 / 10
Subscribe to:
Posts (Atom)