Which Brand New Album Is Their Finest?

There's always the question of which album is a band's best. No matter of personal preference, the question is always doomed to come up. There is always going to be that debut album fan base that will think that nothing can top the first demos that the band ever did. Then there's going to be the new fans that think the evolution of the band into the new realm is the best thing they've ever done. Of course in the middle, there are people who believe in a fine middle ground. So how do we figure this out? By dissecting these albums to every movement and every note and making fact. Let the probing begin.

Your Favorite Weapon (2001)

It's almost a distant accord from the rest of their discography, but this record is where it all started. The legacy of Brand New started with this very record (if you don't count it as starting with Taking Back Sunday). All of that youth and angst shows in spades on this record and the Morissey influence is clearly visible. The mostly pessimistic, sometimes morbid, lyrics are spotlighted throughout the record. This record features more power chords and straight forward pop-punk, more along the lines of punk than pop, than their other records. Also, Your Favorite Weapon features less of guitarist Vin Accardi on vocals than their later albums. So what does this all mean? Is the more fast paced, in your face sound of this record less impressive when stacked up against the more diverse recordings on the rest of their albums? Let's take a much closer look.

The album starts off with two straight forward pop-punk songs that don't hold back punches. "The Shower Scene" and "Jude Law And A Semester Abroad" speak well lyrically, but lack maturity in their sonic cohesiveness. It takes talent to keep songs like "The Shower Scene" to stay tight on beat live, and the band pulls it off, but it just seems like a better version of what we've always heard. "Jude Law" features more maturity in toning back the sound in some places, but still executes the pure power chord philosophy. After two minutes in, the songs changes in sequence and we hear a fuller band sound than previously. "Sudden Death In California" is a more dialed back song with the choruses being the only parts of the song where the band starts in the powerful pop-punk sound. The guitar hook in this song is a well executed riff and it's the first time that we hear more than just power chords. Next up we have the much more personal "Mix-Tape". This song hardly ever gets to be a full band affair, as it seems like Jesse Lacey speaking some of the best lyrics on the record with Vin Accardi echoing nearly every word, but not coming to the forefront of the song. Unlike the the previous tracks, when this song features the entire band, they peel the power and volume back to create a much more intimate sound, exactly what a song of this nature demands.

"Failure By Design" is the next song that starts out as a much more paced song in the verses. All of that subtle, dialed back tone, sets up for the more straight forward choruses. The chorus features more background vocals than the other songs and you can tell that in production the vocal track was brought to the forefront of this track. There is also a slight breakdown on this track, that shows the maturity level to do more than just beat the listener senseless. "Last Chance To Lose Your Keys" and "Logan To Government Center" are both songs that kind of lull in the middle. "Last Chance" gets somewhat repetitive with the lyrics and doesn't evolve enough sonically to stand out on the album. "Logan" is a more mellow sound with the guitars and the drums not over-compensating. This is definitely not a bad thing, it's just that this track also suffers from a repetitive lull in the song and doesn't seem to separate itself. The last half does have a breakdown and starts to change its sound, but it goes right back to being repetitive.

The most broken down, closest to acoustic, in the blunt of the album is "The No Seatbelt Song". This song is both well wrote and great sonically. There isn't any guitar hook, sweet breakdown, or fancy fills, this song is just a man with his electric guitar speaking out to a girl. The drums do come in halfway through, but the song doesn't kick in or pick up tempo at all. It took awhile for me to appreciate this song, but after it grew on me, this song stands out as a great achievement on this record. The mood doesn't last long, "Seventy Times 7" kicks in next and becomes full-on sonic assault. This is well executed, because this is by far the most maniacal song on the album and is lyrically uneasy. After the initial musical murder, the song falls into a breakdown where it truly shines. If you hear this song all the way through and feel good about yourself, then there is something wrong. That song is followed up by "Secondary", which feels a lot like "Sudden Death In California". There is nothing that really stands out on this track that is different from the others, but when you listen to the last half of the song, you realize how much of a full band recording it is. Near the end of the song, it starts to sound like a Beach Boys b-side, which is different from the rest of the album.

Next up we have "Magazines", which goes with the old 'stutter start formula'. It's still straight forward pop-punk with heavy guitars, but the lyrics are also near their top notch on this track. Lacey's sincere singing guides the majority of the song, setting it apart from most of its competition. In the breakdown, and after it are where the song sound the finest. The lyrics sound so perfect for the mood of the song and they finish strongly with background vocals. The last track of the album is the acoustic ballad "Soco Amaretto Lime". This is the quintessential song about growing up in a small town with nothing better to do than watching the world change in front of your eyes. Lyrically, it's perfect. There is no other way to describe it. The tone of acoustic guitars match the mood of the vocals beyond any competition. Three and a half minutes into the song the background vocals come in with a different, but just as beautiful set of lyrics. This is easily one of the most crowning achievements Brand New has ever done.

So what do we take away from Your Favorite Weapon? It's a fantastic pop-punk record that does seem to shy away from being dynamic. It's a mostly hit album with only a few missing parts. Near the middle the album hits a skid, not of bad songs, but of songs that don't stand up to the rest of the tracks on the album. Songs like "Mix-Tape", "Seventy Times 7", and "Soco Amaretto Lime" stand the test of time and stand out as some of their finest achievements yet.

Deja Entendu (2003)

Just as a sort of disclaimer, this album started out as not only my favorite Brand New album, but one of my favorites ever. So taking a rational look at this record again in context with the other Brand New albums is both new for you and me. This record came two years after their debut, the band's shortest stint between records. Clearly after touring tirelessly on their debut, we see a change in sound and mood with this album. So what's really different about this album? We dissect every song to find out.

The album starts off with a much different staple than their previous album with "Tautou". It's a very mellow intro song that features only two different lyrics from Lacey. Evolving throughout the minute and forty-three seconds of the song, it signals how much different this album is going to be than its previous predecessor. The tone of the song sounds very surreal, and somewhat somber compared to what we're used to. It fades out and drops right into the next song, "Sic Transit Gloria...Glory Fades". This track immediately shows the evolution of the band in just those two years. Instead of chord-laden pop-punk, the bass drops into a riff and the band grooves through the verses. When the chorus kicks in the band bursts into a sonic explosion, including furious vocals from Lacey and Accardi with lyrics speaking of the mental and physical tolls of a sexual relationship. The pre-chorus features some great multi-vocal parts between the two, something that will be showcased only a few more times on this album. The song keeps moving around the musical spectrum, which keeps you listening, something that their debut neglected to do at some points. Next up we have "I Will Play My Game Beneath The Spin Light". What starts out as an acoustic song is quickly picked up complimenting drums and electric guitars. The song never loses its acoustic mood, but the other instruments just layer on top throughout the song to help it evolve.

If you are looking for a lyrical masterpiece, look no further than the following somber electric guitar driven "Okay, I Believe You, But My Tommy Gun Don't". Lacey speaks his perfect lyrics masterfully with his precision guitar tone to match just as perfectly. The full band picks up but then drops back off to lay way for drummer Brian Lane to add to Lacey's electric guitar. Not long after, the full band sound comes in adding to the intensity of the song. This track glides through dynamics seamlessly and is still one of the best songs lyrically I have heard in the last two decades. Following that we have the lead-off single, "The Quiet Things That No One Ever Knows". This track is driven throughout by different guitar riffs and hooks. Lead by a steady rhythm in the verses, this song is masterfully dual vocal-ed and riff accented in the chorus. The song also stages a much longer breakdown in it than most of the other songs on the album, but it progressively works its way up to the ending chorus. A fine example of the dynamics the band possesses. Then Jesse Lacey stands tall with "The Boy Who Blocked His Own Shot". An acoustic song that, much like "Spin Light", isn't just Lacey playing. The drums are toned down and effective, the bass is quiet but noticeable, and the electric guitars aren't overpowering, instead performing an almost slide guitar technique. The lyrics get especially good in the back half of the song, where the song hits its climax.

"Jaws Theme Swimming" is the next track, that starts out with a sweet bass-electric guitar dual riff that stays there throughout the entire song. Even in the chorus, the mood stays the same but, but the electric guitar keeps up with its riff and the the accenting electric guitar does some theatrics. Unlike some of the other songs on the record, this track doesn't feature a breakdown, it actually builds up to a culmination then falls down to the ending. The electric guitar also stays solo with a few chords to introduce "Me .vs. Maradona .vs. Elvis". The mood stays sort of somber with lyrics to match, having Lacey speak of destroying a woman methodically. It isn't until three and a half minutes in that the rest of the band comes in on the song, and initially they just compliment the guitar. Soon after they get in the groove of the song, it builds up to a fitting climax of Accardi's screaming background vocals on choice words of Lacey's singing with just a hint of arrogance. Brain Lane's drumming comes to the spotlight for the first time with the track "Guernica". A song that is about Lacey's struggles when his grandfather succumbed to lung cancer, this song is a marriage between the drums and vocals for the majority of the song. During the chorus you can find an almost metal-style driving electric guitar. Lacey's vocals on this track also scream true to the sincerity aspect, reminding you of the subject matter.

After that we have the seven minute opus that is "Good To Know That If I Ever Need Attention All I Have To Do Is Die". It's a song that doesn't really kick in until certain moments of the chorus, which lulls into and out of different riffs and rhythm. Lacey's lyrics are the most adventurous on this track. He writes a dual storyline with one being a reflection of a storyteller's life and the other being about the story he is writing. The song builds and moves but gets repetitive at points and lacks any powerful moments that you would come to expect from a seven minute song. Then there's the album's closer, "Play Crack The Sky". This is a pure acoustic song that Lacey constantly plays on the road, and with good reason. Lyrically, this song is about as good as they come. Lacey goes solo on the majority of this track with both guitar and vocals, which comes front and center in consideration two minutes into the song. After that, Accardi joins in on vocals, complimenting Lacey's voice perfectly. The two perform dual vocals in the back half of the song, which sound like a prime example of how dual harmonies are suppose to sound like.

So now that we have analyzed Deja Entendu, what conclusions can we draw? This album is more adventurous, dynamic, and full of musicianship than their debut album. It is much more of a dialed-back, less volume heavy record. It also has become a cult classic record, going gold nearly four years after its initial release. This was obviously a step-forward in the band's career, with very few dark spots on the record. Some of the songs are somewhat similar to other ones on the album, with only a few that don't stand out in full from the rest of the record. Deja Entendu means "already heard" in French. This is entertaining to me because I think of how long we're going to have to wait until we hear something this good again.

The Devil And God Are Raging Inside Me (2006)

At first glance, this album is already much darker, deeper and heavier than any of their previous albums. The majority of Brand New fanatics claim their favorite album is this one, so it looks like there is a lot to look at on this record. Imagine that you were waiting for this band's major label debut, a wide assortment of demos leaked, forcing the band back into seclusion to complete a new record. After three years waiting, you heard this. With such a vastly different sound than its predecessors, critics have called it their version of Radiohead's The Bends. Looking into this album, the comparisons don't stick out, but are visible.

The album starts off with Lacey's vocals and his guitar chords strumming out. Slowly it builds with Accardi's guitar, then the full band kicks in with the first chorus. It comes as somewhat of a shock, because with that first chorus, Lacey just screams the lyric: "Yeah!". After the build-up, the band dulls back down into a groove until it fires back into the chorus. The song keeps the mood of the chorus, but doesn't stay at such an intense volume. The song then eases to the end with Lacey still speaking his words. The second track, "Millstone", stays a lull throughout with Lacey's vocals being the peaking point. The backing vocals that compliment Lacey singing sound really nice layered on top of the drums. Lyrically the song is about disappointment and allowing it to happen, so the tone of simply accenting guitars with the dual vocals and drums match it almost perfectly. The follow-up, "Jesus Christ", is a fine track. The guitar riff, the drum beat, the dual vocals, the lyrics, all of it compliment each other for a deep mood that matches the material. The song speaks as if Lacey is having a direct conversation with Jesus while also thinking to himself what will happen when he's gone. It builds up to a point, but it never becomes a fast-paced song. This track keeps true to its mellow beginnings, knows its mood, and doesn't try to go out of it.

The next thing you hear is guitar strumming and complimenting guitars. Then the drums kick in and we are introduced to "Degausser". Lacey speaks softly through the verses with Accardi joining in for the pre-chorus. The full band kicks in to a swift, guitar riff powered chorus, that features Lacey yelling his vocals. The song keeps this up-and-down formula throughout, keeping the dynamics intact. After the second chorus we hit a breakdown, with Lacey going solo, playing his guitar and singing. The song fades out with Lacey singing and the guitar still strumming until the end. The intro to "Limousine" starts out with an acoustic guitar and Lacey singing a haunting story which continues for almost two minutes until the band comes in and orchestrates an interlude until the the music dies down again to acoustic guitar and drums with Lacey's vocals again. This song is about a little girl who died in a car wreck at the hands of a drunk driver, they were driving a limousine. The grim details are unveiled in the song and in its morbid nature a sense of beauty unveils and the song builds up to that until it's nearly an entire orchestra playing at its climax. For nearly eight minutes this song takes you on a roller coaster ride that gets stale in its predictable build-up, but pays off in the end.

After that, the next thing you hear is a very haunting guitar riff. Surreal in its sonic nature, the riff lingers in the air and creeps into your skin. After a half minute of the repeating riff, Lacey comes in with lyrics that haunt almost as much as the riff and the tone matches it. The drums subtly come in to match the tempo and match the mood. The riff tampers out and we are left with the drums, but a noise that builds up to the huge climax of the song that triggers every nerve in the body and blasts the blood with adrenaline. After two verses in the climax the song tamps down a little bit, but then guides into an instrumental jam. We finally hear the riff again fade the song out. After the fade out, we hear a strange sound that transitions into "Welcome To Bangkok", which besides from Jesse Lacey's unrecognizable voice at the beginning, is entirely instrumental. The track builds up slightly, but the track never seems to grow into itself. Granted it is an instrumental, but the track lacks the intensity or subtlety that the other shining songs have. Transitioning to the next track we have "Not The Sun". The track starts off with a bass lick that continues throughout the song and gives us a hint of the pace of the song. The song builds to the chorus, tears itself down, and then throws the chorus in our faces again. But after that we have a slowed down, more melodic sound. Lacey begins to sing clearly with the backing vocals complimenting him perfectly. The song goes onto another chorus before it smooths itself to an ending.

When it comes to acoustic openings, the one on "Luca" seems to stand out. The song stays at a steady dose of acoustic and bass guitars with a guiding drum. Lacey's lyrics are on a typically high pedestal with this track, and rightfully so. The song breaks down to purely an acoustic guitar with Accardi and Lacey singing, until Lacey unleashes a blood curdling scream and the band joins in for an orchestrated jam that fades into the sunset. Next up is "Untitled", which features a strange vocal track on it set to dual guitars. If this track was placed earlier on the track listing, it would have a greater impact, but in its placement, this track just seems dull and out of place. The song itself is both strange and interesting, but the placement of it is questionable. That leads us into "Archers", which is where drummer Brian Lane goes off. The vocals are notably brought to the forefront in the chorus and the guitars have an interesting riff in the verses. This track is the most straight forward rock song that you'll have on this album. Sonically the song flows really well, and for being a straight-forward rock song, it still holds that weird mystic to it, something seldom done in today's world. In the end we slow it down with the mostly acoustic "Handcuffs". Lacey's lyrics are showcased in this song, while he slowly becomes backed by his fellow guitars. Violins come in eventually and an entire orchestra comes in. After that the drums come in, but subtly for a small bit until the song dies back to it's intro. It's a neat track that reminds us what Jesse Lacey can do with an acoustic guitar and his lyrics.

In hind sight, this album is by far the most adventurous the band has ever put out, which deserves a lot of recognition. The album is much more hit than miss, but when it misses it is noticeable. There isn't any straight acoustic songs, which seem to be the strong suit of Lacey & Co., but there are glimmers of the stripped down sound that they specialize in. More instruments are brought into this record and it adds another layer of complexity to their sound. Every song sounds like an union, just layer after layer of sequenced sound.

Daisy (2009)

When Daisy was released in September of 2009, it was met with much criticism. Nobody could have foreseen the direction that the band was going to go in with this new record. You could tell from the natural evolution of the band that the sound was going to be different from what it was like on the album before, but this was miles difference between records. But is that difference for the better? We go in closer to find out.

The first thing we hear is a needle being put on a record. An opera singer comes in, being accompanied by a piano. After nearly a minute and a half, it's as if the band says that they've had enough and a blitz of sound comes through the stereo, signaling that "Vices" has kicked in. Both Lacey and Accardi scream for the majority of the verses along with the slamming bass and drums, and distorted guitars. The chorus is a much more guitar driven clip with pure singing from Lacey, but it doesn't last for long. The song sinks and shines with only about two minutes of the actual song, clearly different from anything that they have ever done before. Different, but time will tell if it's better. The following track is a much more slowed down song, titled "Bed". It consists of bass and drum grooves with the guitar interlude. Lyrically, the song is still Lacey-quality, but the vocals don't seem to fit right in a few places other than the chorus. There is a separate part near the end of the song where it starts to somewhat pick up, but the band just coils back down into the groove, with Accardi's guitar easing us to the end.

We return to the louder touches of the spectrum with "At The Bottom". The song starts out slow with a guitar riff, but then builds up with drums, then after a few measures another guitar, and by the time the pre-chorus arrives the entire band is playing. Once the chorus kicks in, the song starts to show a clinic in how to write a song. The build from the start to chorus is textbook in this song. Combine that with the actual sound of the band and lyrical power, and you have a recipe for dynamite. The song continues to build itself from verse to chorus until it fades off. As soon as the next track starts, we hear drums and guitar. "Gasoline" is as pure of a Morissey song that Moz never wrote. It hits constantly and keeps the throttle down with a pounding beat. It dials back for a few seconds before it explodes for another chorus. The track fades out with radio noise that just seems out of place. Not only because it doesn't fit with the song, but the song's abrupt ending is perfect. It is a very rocky ending to a good song. Next is the more mellow, "You Stole". This is just about the tip of the lyrical iceberg for this album. Lacey speaks about the evils of a woman, while staying mellow. It's a simple drum beat with guitar and bass, while Lacey simply seems to be speaking into the microphone. There is a building instrumental section that dies down for another verse, then goes back to that instrumental section. The bigger instrumental parts seem somewhat out of place, but they still easily work into the song.

Then there's the instrumental "Be Gone". The only words spoken are the interrupted and cut out vocals of Lacey, to the point that you can't clearly make out any of his words. The track does feature neat guitar work from Vin Accardi, which is played throughout the song. Again, this track seems somewhat out of place considering where it is in the track listing. It's a great sounding track, just merely misplaced. The album picks back up with the blistering song, "Sink". Between the dual guitar and drum intro, you can tell once the song starts that this is track is going to become an avalanche of sound. The song features screaming in the pre-chorus and chorus, but simple singing in the verse. Accardi screams while Lacey attaches his scowl onto it for intensity. The lyrics talk about a woman who has done wrong and corrupted the storyteller, the morbid mood of which matches the intensity of the song. This song somewhat summarizes how intense parts of this band's sound can be, and it's one of the finest of those moments. Next we have "Bought A Bride", which starts out with both electric and bass guitar riffs and eventually gets picked up by a great drum beat from Lane. The song never gets out of its realm, but also doesn't drone in one dimension. It soars with interesting guitar theatrics and interesting subject matter from Lacey. Vocally, this track is stellar, something we haven't seen from the duo of Lacey/Accardi in some time.

An older man's voice speaking kicks off the next track "Daisy", which is the most depressingly beautiful song Lacey has ever wrote. Lyrically, this song is the strongest on the album, speaking of such elegant self-criticism. All of the metaphors that Lacey speaks of comes with a sweet subtle guitar and an accompanying orchestra. The initial verse repeats itself with a bass guitar, and the song picks up into a neat groove. This is easily a spotlight track on the album, and a noteworthy accomplishment in the careers of Brand New. That track is followed up by the very bass guitar driven "In A Jar". This track starts out promising and stays interesting with the blend of guitars and drums, then kicks into an explosion of sound with Lacey's vocals taking a backseat, despite him still singing. After the first minute and few spare seconds, the song just seems to repeat itself. There is a small break in the back half of the track, but it's only matched by an instrumental part that becomes the chorus. It's not a bad song, but just loses the fire towards the end. The album closer is "Noro". When you hear the opening notes, you get a sinking feeling in your stomach and it creeps up on you. Lacey's vocals are drenched in a very anxious and wondering tone. The song evolves throughout, showcasing background singing of Lacey simply saying 'I'm on my way out'. Those words ring throughout the entire song, and it becomes very surreal. When hearing the song, it holds its own, but those words still haunt in the song. When listening, it's as if that's the only thing you hear, which is slightly haunting.

The album hits points untouched by any other song in the band's catalog when it comes to the realm of intensity, and the album is matched with heavy-low songs. It seems like the band has lived different lives now than what they did nearly ten years ago. It's been nearly a decade of influence by Brand New and there are so many different sounds the band has embraced, and for some of us that's hard to believe. So which is their best album? That question is a matter of opinion of taste. So I'll boil it down for all of you.

Your Favorite Weapon Is Their Best If...: You like straight forward pop-punk that doesn't hold back. It's not their most consistent record, but every song is a heart on the sleeve track that holds much nostalgia. Aggressive in some places, subtle in others, this album is a staple in time and a signal to the beginning, but their angst and maturity show more than their musicianship.

Deja Entendu Is Their Best If...: You enjoy the mix of acoustic tracks with dynamic alternative songs laced with sincere and brilliant lyrics. This album has a few missteps, but they are kept to a minimum. Full a more mellow sound than their other albums, this record shines with its ability to move from solo acoustic to band with the most lyrical honesty the band has played.

The Devil And God Are Raging Inside Me Is Their Best If...: You prefer the dynamics of sing to scream and soft to heavy formula more than the conventional sound. This record falters in some places, but simply in sequencing and in even fewer places, staleness. This record features the band's most courageous and bold lyrics, complimented by the not overpowering sound of the band.

Daisy Is Their Best If...: You most enjoy the heavier side of the band. Screaming lyrics and raw instruments, this album is a powerhouse of sound. In some places the album seems to falter because of that, but for the most part the record shies away from the rest of the discography with its heavier sound. Also, if you like more Accardi in your drink, this album is your choice, featuring nearly an even split of Lacey/Accardi.

Eyes peeled

Big plans. Working on an argumentative article to help you out choose which album is the best by a certain band. So stay tuned.

The Forecast - The Forecast

It was the summer of 2005 and times were considerably simpler. There was no pressing health care debate, there were no terrorist threats being made every day, and I just graduated the 8th grade. Being a 14 year-old, soon to be 15, living in southern Nebraska you can feel a sense of boredom and longing for something to grab onto to set yourself away from the rest of the world around you. For me, that something was music. And being a young kid in the mid-west, I was shunned for enjoying bands like Hot Water Music, Jawbreaker, and The Promise Ring. But then I heard a new band and I suddenly didn't give a thought to what other people were saying. That band was The Forecast and my life hasn't been the same since.

When I first heard them I immediately fell in love with them. The guitars, the tempo, the drums, the dual vocals, all of it was hooked into me very deep. The first album I heard from them was Late Night Conversations which I still listen to this day with a sense of accomplishment for finding this band. Never once did I question what I was doing with my life when I listened to that record. It didn't last long though, the band soon released their follow-up In The Shadow Of Two Gunmen, and I found a new album to listen to constantly. Nearly four years after it was released I still listen to this record with the same wide grin that I wore the day I bought it. To this day, I claim that it was the greatest purchase I have ever made. And people, I bought The Get Up Kids' Four Minute Mile on vinyl for $3.

Months turned into years and I grew nervous to think that The Forecast was never going to come to Nebraska to play a show. Then I saw that they would be playing in Kearney, but alas, family issues kept me from attending that show and I still haven't recovered from missing it. At that point I haven't heard any new happenings from the band so I wanted to know what they were doing. It was at that time their new EP Alive For The First Time was released and despite being only five songs deep, the record was still a constant listen for me. As a HUGE Tom Petty fan, The Forecast's cover of "You Wreck Me" dominates Taking Back Sunday's cover and rivals Tom Petty's original for my favorite version. However, it left me thirsty for more. That's where this year's release The Forecast comes in. I was anticipating this release with every bone in my body for four years. So how is it, you ask? Well, that's what the review is for.

The Forecast - The Forecast (2010)
Every record needs a great lead off track. It's so important to get that first song across to let people know of what they are in for, or have an introduction into the album. This record has the later. Less than a minute in length, the acoustic track "Losers" features soft vocals from guitarist/vocalist Dustin Addis. When I first heard this track, I can't explain why, but it reminded me of my deceased grandfather who I spent a lot of time with when I was first listening to this band. That might be why I let out a few tears the first time I heard this song.

Right after the subtle acoustic sounds of "Losers" the album kicks into "Illinois". Tony Peck's drums start the song off, but the guitars soar soon after. The verses aren't slowed down, but the wall of sound subsides for the vocals, and the mood that Addis creates with his words gets you ready for the chorus to kick things off. Once you hit the chorus we are reintroduced to bassist Shannon Burns, who joins in with vocals. The harmony that Dustin and Shannon create together soars above any competing vocal duo. They compliment each other so well that at that point it seems like destiny that they are in the same band. The song keeps going from the softer verses to the anthemic chorus until you hit the breakdown where Addis plays lead vocal and is complimented by guitarist Matthew Webb with the backing vocals. The song ends with the three vocalists doing their parts of vocals and it sounds simply enchanting.

Up next is the song "Lost At Sea" which saw air time on MySpace before the album was released. This track kicks off with a guitar and Addis' vocals. Then Burns' bass drop kicks the rest of the band off during the verses while they do a somewhat start-and-stop number during the chorus. This sound keeps the song steady, but not repetitive. Notice Peck's drumming on this track. He utilizes a stutter beat drum that compliments the song perfectly. Vocally, the first 2/3 of this song features primarily Addis, but we hit a point where in between his vocals, Burns has harmonic vocals. Then the song slows down in the last minute or so and Shannon comes center stage. In that last minute you hear Burns singing but Addis adds in his vocals that compliment Shannon's for a perfect ending to the song.

The fourth track, and one of my favorites off the album, is "I'll Set You Free". Peck kicks in with an opening drum beat and the guitars follow suit with sweet chords that set the tone for the track. The band sonically backs off for the opening verse, which features some of the best lyrics that The Forecast has ever penned. When Addis sings: "The first cut's the deepest / When the trust is gone you know I'm the first to run / But I said forever / But I'll stick to my guns." It's like he's either singing it to you, or you would be singing it to someone else. But it's when the band kicks into the chorus that you get the intense sense of ease with everything around you. Sonically and vocally, the chorus lifts you, which is a trait not seen in music anymore. The song then indulges into another verse-chorus which hits just as hard as the one before it. Then the song breaks out into a different spectrum with Burns and Addis joining into a pleading dual vocal before the repeat of choruses to end the song. Just at the ending though you hear Addis singing the chorus but then Shannon breaks off into complimentary vocals that gives any harmony enthusiast goosebumps.

If there was ever a "weak track" on this record, it would be the following track, "So Wrong". After the band equally kicks in with the intro, they calm down again for Addis on the vocals who is complimented by Burns after every line. The chorus works the same way, but with Burns doing her sweet moan to lead the vocal charge. In a soaring, dual vocal performance after the second chorus, the song hits its climax. The song ends with another chorus and the track ends with a simple fade out of Addis' voice. The song that seems like it needed to be on this record, and it's not out of place, but on an album full of platinum this song shines gold.

The next track is "Kisses", a song in which Addis sings of shunning a past relationship. This is one of the songs that everyone can easily identify with, which makes it that much more powerful. It leads off with Peck's drums layered under the guitars and then the vocals again at the forefront. Burns' vocals can be heard highlighting certain lyrics to start off the song, which can be especially found on the pre-chorus. The chorus features a great drum track by Peck, Addis' powerful vocals, and Burns' complimenting background vocals. Halfway through Burns comes to center stage to lead in the vocals, doing a short repeating verse before the chorus kicks in again. That is followed by a bridge of more aggressive vocals from Addis before the closing chorus.

"Snake Charmer" is the next song, which is a much more mellow song. It is also the track where Burns' bass work can be heard best. The bass riff on this song matches the very 'snake charmer-esqe' vibe that this song possesses. Addis sings the verses and Burns joins him in the choruses where they both match for a great harmony to suit the near somber tone of the song. Addis then fits in lyrics as the song breaks down. The last minute of the song is almost like a blend of slide guitar, the basic guitar riff, and the bass riff. All of which make for a very somber western tone. This is the longest track that the band has ever put out, and not a second was made with filler.

The next track is Shannon's. I say that because while Dustin adds in his vocals, this is basically a pure Shannon sang track, and I think that it works the best that way. "If I'm Not Mistaken" is a dialog vocal song (much like "West Coast" was from Gunmen) where Shannon dominates with her high vocal work. The chorus features a neat riff of guitars but are also absent of Addis vocals. After the verse-verse-chorus-verse-chorus format, the song indulges into a break between choruses with, of course, Shannon doing vocals. The ending lyrics that Burns is heard singing gives a sense of closure on the song, which is the perfect way to end it. Who would have thought that "Say what you want to say" could have been sang so powerfully?

Guitars, complimenting bass, and a triple bass drum beat guides us into "Heads Will Roll". Addis and Burns match each other on the opening verses before the song builds into the chorus which features Addis in the spotlight but with occasional backing vocals from Burns. After the first chorus, Addis takes over the second verse which leads well into the second chorus. After the second chorus is where this song truly shines. Burns sings her side of the story, but is matched by an intense croon of Addis. The recipe repeats and you feel deeply that Addis is screaming for all he's worth. Fittingly, the song ends with the audience feeling as if they have done wrong.

Opening with guitars, "Life's A Garden, Dig It" is the track that Addis and Burns share vocal duties for nearly the entire song. The second verse is where they separate, but then in the pre-chorus the two rejoin each other. Just like the title implies, during their vocals in the chorus, you get that deep sense of optimism, which leads into the break down. Once the break down comes, Webb has the harmonic vocals and Burns is absent. In this part you get the sense that Addis is singing directly to someone, which isn't very far fetched at all. The lyrics that he speaks are so subtle and heartfelt that you can't help but sing along with them in the car or wherever you're listening to it.

The ultimate note of optimism on this album is "A Better Man". This track starts off with a driving bass line by Burns which is complimented by a short guitar riff repeated. This driving rhythm comes across in the verse when Addis takes his roll as singing for a generation. This all fades into the chorus which is as anthemic and optimistic as music can get. Burns adds her vocal strength during the chorus, accenting the most important lyrical parts. After a short second verse, the chorus kicks back in and you find yourself singing along easily. The track breaks down and Addis sings: "I'll take the blame to myself / Because it was me and no one else who poured the salt into your wounds / I never thought you'd run away / At least not to him I pray / Just for the day I won't lay down / My debt's been paid". The band silences for the last line and then kicks in for another chorus as the song fades out with us hearing Addis and Burns singing "I never said I lost control".

Closing out the album is "Double On The Rocks". A heavy guitar riff starts off the track, but its Addis' vocals that seem heavier during the verse. When Addis sings the verse, it hits you deeply. The lyrics are amazingly personal and powerful, which grab you and don't let go. This builds up into the chorus where Burns adds in her vocals to make for a sweet harmony, just like the rest of the album. The second verse matches the first one in intensity and with every listen it becomes that much more personal. The second verse also builds off the verse that came before it, building up to the section after it. Burns stands up and screams her side of what's going on, Addis then states his side, only to be overpowered by Burns right after him. Then they build all those vocal showcases into a repeating chorus to end the song.

When The Beatles ended an album, the last song was always the question mark. After you heard the last track of a Beatles album you would always wonder "when is the next album coming out so we can figure out how they are going to top this?". There was always that sense of mystic surrounding their closing tracks. "Good Night", "A Day In The Life", "The End", all of those songs had a sense of closure to the record, but also leading you to want the next record to see if they could build off of it. That's the exact feeling that you get when you hear the band cut out at the end of the track to where you can hear Addis solo singing "And I'm over this!"

Recommended Tracks: "Losers", "I'll Set You Free", "Kisses"

Recommended If You Like: Tom Petty & The Heartbreakers, Saves The Day, The Graduate

Verdict: 9/10

State of SYMAL

Just as a state of the site, it won't be fully up and running again for awhile, but I'll try to leave little nifty pieces to keep you guys tided over. Expect the first album review of The Forecast's new self-titled album to be up sometime tonight or early tomorrow.

Late Night News

We got some news for ya. It will be the last for awhile because I'm going on tour with a band until monday. So hope you enjoy, I know I will.

From First To Last have now parted ways with guitarist Travis Richtar. A statement from the band can be found on their MySpace page.

The Rockstart Mayhem Festival has added their line-ups. You can go to their website and check out the bands, trust me, you're going to want to.

Senses Fail have released new word on their upcoming album.

A large amounts of congratulations goes out to Vampire Weekend for earning the #1 spot on Billboard's charts. It is only the 12th independently distributed album to reach #1.

Metal legends Cannibal Corpse have posted a new music video. So you should go check that out.

Blackhawks Win News

Sorry it's been so long, but here's your news bitch.

Coldplay are being sued again, this time for songs including "Yellow" and "Clocks". You can check it out right here.

Former Misfits drummer Brian Keats has passed away do to liver cancer. Rest in peace sweet prince.

Fall Out Boy guitarist Joe Trohman will be doing his own radio show on FriendsOrEnemies.com.

Lady Gaga had to cancel some shows due to exhaustion. The full story of which can be read here.

R&B Singer Teddy Pendergrass has died after his battle with colon cancer. The full details can be found here.

Get Some News

It's about time to give you a heads up in the world of music news.

According to a tweet by frontman Stephen Christian, Anberlin have been recording their next album.

Underground music icon Jay Reatard has died at the age of 29.

The Warped Tour has announced another 26 bands that will be appearing at this years installment. You can check all of the bands and the dates they will be playing out at their website.

The Los Angeles Times has announced that there will be a new collection of Johnny Cash songs. More information can be found here.

A new animated feature about The Beatles, entitled Yellow Submarine, has found who will voice act all of the Beatles. Some of them you may recognize. Check them out here.

Bassist Shavo has hinted at a reunion for System Of A Down via tweet. I just came.

Back In Black News

Back in the big city of Lincoln, so now I'm ready to bring you the news all over again. Let's do this.

There is now word of an unreleased Hendrix album that contains covers as well as unreleased originals. That album is planned for a release on March 8th.

Classic 80's and 90's band Swans have announced that they will be releasing a new album and going on tour in support of that album via MySpace Blog

It has come across the wire that Michael Jackson's doctor, Dr. Conrad Murray, could very likely be seeing manslaughter charges in the near future for Jackson's death. So the local news affiliate reported.

This past weekend we celebrated the 75th birthday of rock and roll icon Elvis Presley. His impact on music is seen every single day.

Metal act Drowning Pool have released a new song for streaming. You can listen to the new tune right here.

Good News Everyone!

Hey there internetland. We don't have a lot of time, nor do I want to be awake for awhile, so this is where we stand:

Warner Music has effectively dropped UK hard punk act Gallows. This comes a year after they signed a £1m record deal.

We have now been confirmed the bands that will be playing at the Hoodwink East festival. For those of you who don't know that's a festival, sponsored by Bamboozle, that has Bamboozle bands play cover sets of a certain band. Some of the prominent matches are All The Day Holiday playing the music of Sunny Day Real Estate, The Summer Set playing the music of Taylor Swift, and Valencia playing Foo Fighters tunes.

Despite all of the bands this man has started, Jack White looks to record a solo record, possibly this year. That and more with an interview of him done by NME.

There have been 33 more confirmed bands for both Bamboozle festivals, go ahead and check that out at their website.

Here's a big shocker people: Michael Jackson reportedly wanted Lady Gaga to perform with him on many of his 'This Is It' tour dates. Everything you want to know is here, but everything you need to know was just announced to you.

"Love-Metal" pioneers H.I.M. have released their video for "Heartkiller". You can check said video out right here.

Prog-metal act Porcupine Tree have posted tour dates for a short U.S. Tour. All of the venues and dates can be found here.

National Championship News

With the BCS National Championship game tonight, there's some things we have to take care of before we take the field.

Chicago dance-punk band The Audition have posted a video teaser for their upcoming album, Great Danger.

Vampire Weekend recently performed their song "Cousins" on the Tonight Show with David Letterman. You can check out video of that performance right here.

RHCP bassist Flea has started making affordable quality bass guitars, according to recent reports.

Joining Taylor Swift, Beyonce, Lady Antebellum, and The Black Eyed Peas performing at the Grammys will be Green Day, Dave Matthews Band, and Lady Gaga. A full report from the Grammys on all confirmed performers can be found here.

To close out the sales of 2009, Taylor Swift sold the most units for her album Fearless which was released in 2008. Check out the confirmation right neah!

The Bamboozle festival have announced a few more bands playing at both east and west coast dates. Check out a full list of bands here.

The much anticipated American Carnage Tour involving Megadeth, Slayer, and Testament has been postponed until the summer. Reason being Slayer bassist/vocalist Tom Araya will be undergoing back surgery. Full statement can be found here.

Metal act Suicide Silence will be playing at the NAMM convention the day before they play at the benefit show for Deftones bassist Chi Cheng. Supporters can be found at this location.

Metal royalty Rammstein have confirmed Combrichrist as the supporting act for their upcoming tour. Dates can be found at the site given, none of them are United States friendly, though.

Pre-Blizzard News

There's a few things on TV right now and in Nebraska we are just shy of a blizzard. So here's a few snowflakes worth of news to report to you.

Recent news has reported that Katy Perry is now engaged to comedian Russell Brand. Granted they do look like a cute couple, but I am not satisfied with this.

Crime In Stereo have released the album artwork to their new album I Was Trying To Describe You To Someone, which is due out February 23rd.

The song that Mark Hoppus and Pete Wentz collaborated on will apparently appear on the Alice In Wonderland Soundtrack.

In some very small news, it looks like Morrissey has fired his agent. His agent's life-expectancy is about to 3 months.

You can go check out and order your choice package for Alkaline Trio's new album, This Addiction right here.

It looks like the musical version of Green Day's "American Idiot" will hit Broadway on April 20th.

Vegas Masquerades bassist Matt Dixon has been submitted into the hospital for 2nd and 3rd degree burns he suffered while saving his nephew from a house fire.

Today marks the 30th Anniversary of The Clash's iconic album, London Calling.

Atreyu drummer Brandon Saller is going to be performing his first solo show on the 14th. He will be supported by a backing band consisting of members of Good Charlotte, Aquabats, and Dead Country. You can check out some songs and tour dates of his on his MySpace page.

You can go on over to Rolling Stone's website to check a great interview with Jack White. Again, not a fan of the site, but this is a great interview.

It was recently revealed that Courtney Love will be ressurecting Hole. I just wish that Courtney would learn to shut hers.

At this year's SXSW festival you can check out a new documentary on famous Motorhead leader Lemmy Kilmeister. The documentary, simply titled Lemmy, has a preview that you can see here.

Yoko Ono plans to release a memoir about her life with John Lennon. She recently discussed the prospects of penning the book and reflected back on her life.

Ready For Wrastlin' News

It's a big wrestling day, so we want to know who's watching. But before that, here's some news circulating the music world.

Canadian punk band Silverstein have officially left Victory Records. This news comes in the form of an interview with the band.

Michigan punk band The Swellers have released an old b-side entitled "Montreal Screwjob" on their AlbsolutePunk.net profile in celebration of the return of Bret Hart to the ring tonight. Hurray!

Blink 182 have now announced a few new European tour dates. Who knows when we're going to see the new material we were promised.

Indie and acoustic brainchild Kevin Devine has released two new sets of lyrics on his Facebook page. Great lyricist, so please check it out.

There is a new Michael Jackson song that has hit the web. You can check out that song right here. The song appears to have surfaced from the Michael Jackson fan site, and don't worry about the length, it is only a 90 second snippet.

New developments have come across the line that Josh Klinghoffer has become the new guitarist for the Red Hot Chili Peppers. Klinghoffer has previously collaborated with Beck, Gnarls Barkley, The Butthole Surfers, as well as former Chili Peppers guitarist John Frusciante and being a touring musician for the Chili Peppers ove the last three years.

A new tribute disc to David Bowie is in the works. According to a recent report some of the artists include Duran Duran, MGMT, and John Frusciante.

London metal outfit Voodoo Six has released new music that you can listen to right here.

Blast From The Past: Spitalfield

So this is what it's like when four members of four different hardcore bands form a band and a sound all their own. Deep in the heart of Chicago, Illinois, a small movement occurred in 1998 that allowed those four hardcore members to join each other under one banner. Guitarist/vocalist Mark Rose and drummer J.D. Romero started to write alt-indie hits that conveyed more emotional issues than what they had been writing in the hardcore scene. However, they took that alt-indie mood and added pop emphasis with the intimacy of hardcore. Rose was quoted in an early interview that the band drew influences from Texas In The Reason and Braid. The two soon recruited Dan Lowder as another guitarist and a year later T.J. Minich joined the group on bass and the circle was completed. Before a jam session together, Rose approached the band with a band name. The name Spitalfields was the village that Jack The Ripper was raised in. So they decided to drop the last 's' and become Spitalfield.

It took little time to gain a devote following in their hometown, which can be contributed to their energetic and visceral live shows. In their first year together, the band opened up for bands like Jurassic 5, Thursday, Rise Against, Brand New, The Movielife, and Hey Mercedes just to name a few. Their devote following started to spread the word and the band gained a massive amount of new fans. After recording a few demos in 2000, the band finally released The Cloak and Dagger Club EP in 2002. The sound quality wasn't ideal, but the record summed up all that energy and the great songwriting potential that the band showcased. The EP was enough to garner attention of larger labels than the label that released it. In January 2003, the band signed to Victory Records and almost immediately after that went into the studio to record what turned out to be their debut full-length, Remember Right Now. Producer Sean O'Keefe headed the album after working with the likes of Motion City Soundtrack and Fall Out Boy and helped capture the sound that Spitalfield had been striving for.

The band toured on their debut album for nearly two years straight, spreading their heartfelt songs across the land and developing a devote following. After supporting acts like The Early November and Sugarcult, Victory wanted a new album. So almost three years after their debut, Spitalfield released Stop Doing Bad Things that held more melodic anthems and brought bands like Foo Fighters and Jimmy Eat World to mind. Minich decided to leave the band shortly after releasing that record, and the guys soon found a replacement in bassist T.J. Milici. That summer Spitalfield hit the Warped Tour, but were forced to drop off near its end when Lowder suddenly announced he'd be leaving the band. The group wasted little time in finding a replacement for Lowder and eventually enlisted Jeff Meilander as a touring guitarist. The three remaining troop went on to stay a three-piece and released Better Than Knowing Where You Are in 2006. The group toured for not quite a year on that record until they decided to go their separate ways.

What everyone who performed in Spitalfield achieved while the band was a cohesive unit is unparalleled by their peers. They didn't achieve stardom, they didn't make a dozen records, and they didn't make a lot of money. What they did do however, was leave behind one of the most loyal fan bases the underground world has ever seen, some fantastic memories of their energetic live shows, and three albums that are as enjoyable to listen to now as they ever were. The group's hardcore background is very much present on every record and combines that with melodic harmonies as well as alt-indie stylings. Each and every album is filled to the brim with heartfelt lyrics, anthemic choruses, and are sonically energetic.

With the rise of Mark Rose's solo work, there has been some mumblings of a reunion. But Rose's latest music has become a mixture of pop and blues. However, on certain occasions you will hear him play Spitalfield songs during his live sets. The loyal following has never stopped hoping and pushing for a reunion, but each member has their own projects and the prospect of a reunion seems out of contention at the moment. Just listening to their albums takes you down memory lane to the days of hoping that they would come to a town near you so that you could witness their live shows. Unlike other bands, Spitalfield never relied on anything else at their shows other than the instruments they possessed and the hearts in the band members that made them play with the intensity that they did. If you got the chance to see this band live, then you saw one of the treasures that very few in the scene truly appreciated.

Recommended Listens:
"I Love The Way She Said L.A."
"The Only Thing That Matters"
"Those Days You Felt Alive"
"Restraining Order Blues"
"Five Days And Counting"

Recommended If You Like:
Taking Back Sunday
Armor For Sleep
The Promise Ring
Senses Fail
Thursday

Small Bits Of News

Sorry for the delayed news. Here's what we're looking at today.

It looks like Owl City's "Fireflies" will be on the next installment of Kidz Bop. On the bright side, the song can't get worse.

There has been some speculation that Manchester Orchestra's new album is going to be called Let Go Of Your Sorrowful Groaning. This comes from a serious of mysterious tweets by the band.

Up and coming prog rockers Circa Survive have released a new 7" with all proceeds going to help a band friend. This is the first installment into releasing their discography on vinyl.

There is now a video up of Eddie Vedder paying tribute to Bruce Springsteen at the tribute concert for The Boss. The video can be seen here. Others that paid respect to Bruce were Melissa Etheridge, John Mellancamp, Ben Harper, and Sting.

Radio host Eddie Trunk has confirmed that metal legends Iron Maiden have completed eight songs for their upcoming album. The statement from Trunk can be found here. The upcoming full-length will be the 15th album by the metal pioneers.

New developments have announced that metal act In This Moment will be entering the studio next month to record an album planned to be released in the fall. Written statements from the band can be found here

First News Of 2010

It's finally here, 2010 seems to show great promise, because we have a few news stories that have just broke through to make January 1st something to remember.

According to a recent tweet by Chris Cornell the legendary grunge band Soundgarden are officially reuniting after 12 years of being in limbo. Let's hear it for the Knights of the Soundtable!

New Found Glory guitarist Chad Gilbert is going to be releasing some solo material this year according to a tweet. He has been the guitarist and backing vocalist for NFG since he left Shai Hulud as their frontman.

According to a tweet by Travis Barker, it seems like there will also be new Transplant music in 2010.

Some very complicated stuff have happened around the identity of hard party master Andrew W.K. Go to check out the complicated and intriguing story here.