Ride Your Bike -- an amazing new band.

Wow.

Check out this band Ride Your Bike from Fort Collins, CO. I have to shoutout Come Pick Me Up for being on top of this soon-to-be gem.

Band is recently signed to Deep Elm. Their latest, Bad News From the Bar is slated to be released in 2008 on the influential indie.

Influential - well at least the label was influential to me, not sure about anyone else. The Emo Diaries - c'mon - classic shit. I admittedly had to wikipedia Deep Elm's catalog for a refresher (the Jade Tree, Deep Elm, and Saddle Creek catalogs all sort of blend together at some point). Look at this list of bands:

The Appleseed Cast
Benton Falls
Brandston
Last Days of April
Pop Unknown
Planes Mistaken for Stars.
Red Animal War
Sounds Like Violence

Impressive. No way Sounds Like Violence was a huge influence on Consider the Source. Impossible. haha. Check 'em out. And no, I've never sat in my room thinking about that unfulfilled love and listening to Brandston - emo much? And Pop Unknown?! Shit - now that is one amazing Austin band that I wish I had been into more when they were still around.



Recommended listening: "Sticks and Stones"

looking down the barrel of a twelve-gauge, good thing he shot and missed.

we're all taller, with our shoes on if they fit right. those heels make you look ten stories high. i want you to know, you're beautiful, before we die.

Visit Deep Elm!!!

Once

Once, written and directed by Irishman John Carney, is hands down one of the best films to come out this year and, contrary to what the critics may be saying about Atonement, this is the best love story since Titanic. (Ok - not a huge Titanic fan but that is what the critics are saying about Atonement and I guarantee that movie isn't as awesome as Once).

I've haven't seen Once yet - your crazy.

If you love someone or want someone to know you love them, rent Once and tell them "miluji tě."

Once is a modern musical, for all intents and purposes, and tells the story of one-week in the life of a Dublin street musician (Glen Hansard) and beautiful Czech girl (Markéta Irglová) whose paths cross in the most energizing way. Together the two (who are real life lovers and bandmates) make the most incredible music ever, record an album and then.... well that would give it away wouldn't it. Fall in love? The movie was produced on a "shoe-string" budget and is hands down one of the most intimate films I've ever seen. You fall in love with the characters as they fall in love with each other.




That second video is so fucking powerful. Sometimes you gotta lay it all on the line, right? Tell someone you love them or live forever wondering? Picking up the mess you've left behind.

The Frames website.

Once on Wikipedia.

Who's Murdering Mexico's Musicians

Time Magazine recently published an article on their website about the murders of several Mexican musicians, particularly those who specialize in a brand of mexican balladeros called narcocorridos.

Read more about their stories here.

Inevitably I had to seek out some material from the artists in question, just to have a frame of reference. Below is a video from Sergio Gomez, a Mexican immigrant who was living in Chicago killed after a concert in his homestate of Michoacan.

That second tune, by Valentin Elizalde, almost has a rocksteady feel to it - if it was a little more bouncy, maybe?

Love Like Fire

Female-fronted and full of fire, San Francisco’s LoveLikeFire are a refreshing blend of late-90s keyboard-driven indie pop (Vagrant Records style – Koufax, The Get-up Kids, etc.) and uber-hip Williamsburg rock (think Yeah Yeah Yeahs or We Are Scientists). An Ocean in the Air is LoveLikeFire’s latest offering, and shows that this band is not far from indie stardom, so get on board this bandwagon now.



LoveLikeFire come out swinging, literally, with “Unlighted Shadow.” Over lightly swung rhythms and church-worthy organs, vocalist Ann Yu shows off her powerful voice, demanding attention and forcing you to keep listening for the remainder of the album.

Yu’s choice of vocal melodies on “Wish You Dead” are intriguing to say the least, with the track overall recalling the post-Joy Division stylings of The Stills or current critical darlings The National. Part march, part-waltz, “Broken Shapes” is heavy on the chill factor, allowing Yu to truly shine, wearing her vulnerability like a badge of honor.

Driven by a fuzzed out bass and guitarist Ted Parker’s Minus the Bear-ish leads, “SOS” is pure pop poetry, a proclamation to revel in positivity – the type of song that can do no more than make you smile. With the addition of Yuan Zhou’s cello, “Skin and Bones” is LoveLikeFire’s most adventurous undertaking and a complete and total success – more melancholy Brit-rock (Blur, Pulp) than the band's previously pop-driven offerings.

The acoustic “I Will,” while still an interesting listen, dampens much of the high energy indie rock displayed earlier on Ocean, though. But hey – it’s the last track and you can skip it if you feel like it (which is what I do).

Seven songs deep, An Ocean in the Air shows that LoveLikeFire are just a few watts away from true buzzworthy status.

www.myspace.com/lovelikefire

It's a sign ... Dramarama "Anything, Anything"

It must mean SOMETHING. I was listening to my band's cover of "Anything Anything" by Dramarama earlier tonight. Then at roughly 3:45 this morning, still rummaging through the bowels of the internet and watching "120 Minutes" on VH1 classic, I was delighted to hear the opening chords of... "Anything Anything." Coincidence or sign?



Compare it to the original ... tell me what you think.



And this version by The Distance, who, coincidentally, my band had the opportunity to open for earlier this year. Neither band played their versions of this song.

African music

I've just discovered this incredible blog for African music fans. Awesome Tapes from Africa.

This stuff is driving me nuts lately... there's so much remix potential here... these tracks are begging for Westerners hands to drop some psych-noise drums, some Dub Step bounce, some distorted depravity. Those vocals speak to everyone. This site collects tunes from cassette tapes featuring African musicians - cassette is still the preferred medium in Africa, especially Ghana, where many of these tracks come from. Impassioned vocals, polyrhythms that give the drummer in me a big stiffy - there isn't much more I can say about this music.


Moolobali - "Joulaou" .mp3

I mean, seriously that's such a fascinating rhythm, it's hypnotic and spiritual. The direct descent of this performance is John Coltrane's "A Love Supreme." You can't argue with that. The repetitive theme, the impassioned vocals so reminiscent of Coltrane's best performance, a one-on-one conversation with God herself.


Miriam Bagayogo - "Miniyan Ye Koloni Mme" .mp3

Blues anyone? C'mon, this is right up there with Mississippi John Hurt or some Muddy Waters shit. This is African Blues - the third cousin twice removed of American Blues. Can we not say listening to this that American blues is a direct descendent of the same African tradition that birthed this music. Can we also not say then the capoeira and bboying are distant cousins also??

Interesting in searching for more on Miriam Bagayogo, I came across this gentleman, Issa Bagayogo, I assume a descendent> Son, perhaps. Similar to M. Bagayogo's vocal tradition, but with a decidedly "New Age"-ish backing track. This is Patchouli pop, I call it. Only one track to hear, and while Issa proclaims his music to be "Afro-beat" it most certainly is not. What it is, is the type of music that gives "World Music" a bad rap.

Hang on a second while I get something of my chest... cough... excuse me... UM.... THIS GUY HAS A MYSPACE?!? Say what you will open this lovable online community cum monster that Tom has created but Jesus Christ. Issa Bagayogo has a vehicle through which to share his music with the world. You GOTTA give props for that, seriously!

One more...

Souley Kante - "Bi Magni" .mp3

I was unsure if I was going to feature this track for a second, but only a second... well more like 2:30... essentially the midpoint of this jam band inspiring jam track. The bass solo at this point in the session dissects the rhythm with a certain level of insanity. That might not even be a "bass" in the Western sense but some other African bass-like instrument I am at this point unaware of.

And on a final note: I'm really digging this shirt.

Really digging it. Man the information is out there... diamonds are crippling Africa. It's a new form a slavery - we keep the entire continent in a perpetual state of war, because people in constant states of chaos are easier to control. Chaos creates fear and fear creates dictatorships.

Finally, for a laugh:

Ata Kak... ;) ... this guy is huge in Ghana. HUGE.

Sometimes Pop Punk Gets the Best of Me....

As summer ends throughout most of the country, it’s nice to have a record and a band that reminds us of all the great things summers mean – fires on the beach or afternoons on the lake, young love and summer crushes, and anthems that stay with you from May to August, fueling your late night sing-a-longs. The Dangerous Summer not only references the third season by name, but recalls its adventures in lyrics of hope, new beginnings, and those all-too-tough endings.

“Oh God it’s almost summer,” vocalist AJ Perdomo announces on the opening “I Would Stay.” Listening to this record you can’t help but think of high school seniors packing up and leaving town for their first semester of college and the adventures contained therein. No surprise that the four members of this group are of that age group, 17 and 18 year olds who know nothing but hope, whose adventures, stories and tragedies are yet to be written.

“The Permanent Rain” is the anthem for every kid who has ever dreamed of a life on the road, living in a van with your best friends, making music and living in exile, a song for every guitar hero and hopeless romantic to sing along to. Perdomo’s vocals are impassioned and meaningful as he confesses, “I want to make you proud, but I really don’t know how.”

The dual vocals that close “Here We Are After Dark” recall the best moments of Jimmy Eat World – a band that always seemed more mature than their peers, as is the case with this fresh faced foursome. “Home” tells the story of a lover leaving for the west coast, every east coast boy’s nightmare. “Disconnect” is that east coast boy driving “a thousand miles out west” in search of love.

“Of Confidence” closes the record. Perdomo sings, “You're making this a story you hope will never end,” as he relays the tragedy of crushes who become lovers and the awkwardness that ensues. Fading out with the requisite gang vocals, The Dangerous Summer pull out every trick needed to make a classic pop record.

For a Maryland band, The Dangerous Summer certainly knows the sound of California sunshine. Sugary pop in all the best ways, If You Could Only Keep Me Alive breathes life into a stagnant scene. Shocking these youngsters are just that, as they approach the craft of songwriting with a maturity lost on many of their peers. More Third Eyed Blind than Cartel, more Phil Collins than Gerard Way, The Dangerous Summer hit a home run with If You Could Only Keep Me Alive, their Hopeless Records debut.

Albert Ayler Documentary at Alamo Drafthouse

My Name is Albert Ayler is a documentary that needed to be made. Directed by Swedish filmmaker Kasper Collins, the film is a spellbinding look at one of jazz' most misunderstood geniuses. With contributions from drummer Sunny Murray, Mary Parks, Don and Edward Ayler, and a host of Scandinavian musicians influential upon Ayler throughout his career, My Name Is Albert Ayler captures the beauty as well as the turmoil of Ayler’s short and sordid, controversial but significant life.

Loved or hated by peers, critics and jazz audiences of his time, Ayler is today seen as one of the most forward-looking artists in jazz, a true innovator who approached his instrument like none before him and none since. My Name is Albert Ayler does much to evoke sympathy for the artist in question, further advancing the image of Ayler as jazz prophet.

Using interviews conducted with Ayler between 1962 and 1970, Collins allows Ayler himself to narrate his documentary. Ayler’s voice is a shock to hear in that it is soothing, unobtrusive, a striking contrast to the feelings his music might evoke. Sounding like a sage or mystic storyteller, constantly weaving metaphors and mantras into the narrative; the saxophonist sounds clearly in tune with his art, fully aware of the forces and energies that affected his music even as he was constantly struggling with the extremes of adoring praise and biting criticism of his peers.

Sunny Murray, the drummer on Ayler’s Spiritual Unity (ESP, 1964), provides a bulk of the interview commentary on Albert and his life. Don Ayler, older brother who recently passed away, also has much to share about his younger sibling's life, adding illuminating commentary about the effect of Parks and Ayler’s relationship on the saxophonist’s family and friends and expressing his feelings about the Albert's departure from his own band in 1967. Mary Parks agreed to contribute interview material but only via phone rather than in person—apparently, the film suggests, to “enhance the sense of mystery” surrounding her relationship with Ayler.

Just seeing Ayler perform, most of the live footage taken from a Swedish TV performance, is in itself an extraordinary experience. Until now, Ayler had existed as little more than enigmatic voice, heard but never seen. My Name is Albert Ayler changes that for good.

Visit the film's website for more information on future screenings of Kasper Collins’ rare documentary.

Visit Albert Ayler on the web.
Albert Ayler at All About Jazz.

Pianist Steve Lantner

Steve Lantner’s current run of creative output may be below the radar, but the quality of his recordings is off the charts. His debut as bandleader came in 1997 alongside longtime cohort/violist/violinist Mat Maneri in an adventurous set of duets that had Lantner playing both acoustic piano and a synthesizer set ninety degrees apart [Reaching (Leo)]. Lantner furthered his exploration of microtonalities on Voices Lowered (Leo 2001), where he played two pianos tune ¼ pitch apart alongside Joe Maneri and Joe Morris playing electric violins. Notably, the multi-talented Morris’ first recording as a bassist—a debut Lantner prefers to take no credit for—came just one year later on Saying So (Riti, 2002).

A graduate of the Berklee College of Music and subsequent student of Joe Maneri’s at the no-less-esteemed New England Conservatory, Lantner’s What You Can Throw (HatOLOGY, 2007) sees the avant-garde pianist teamed again with drummer Luther Gray and Morris. On it—the Lantner/Gray/Morris trios third together—Lantner and co. perform the works of Anthony Braxton and Ornette Coleman as well as their own tunes, primarily at the suggestion of Hathut founder Werner Uehlinger. “[He] expressed an interest in hearing me play some compositions from musicians I admire,” Lantner says. “I’m really glad that he suggested it, because it got me to do something I wouldn’t have otherwise done.”

This piece is titled An Introduction because Lantner’s story clearly isn’t written yet, with just five records as a bandleader under his belt. Undoubtedly there are plenty of fascinating releases to come. Lantner and I originally spoke in January of 2007, back when What You Can Throw was slated for a spring release by Hathut. With the record put on the back burner by the label so, too, was the interview. Lantner is both engaging and possessing of interesting insights.

All About Jazz: What was the recording process like for What You Can Throw? Did it differ from previous recordings in any way?

Steve Lantner: The biggest difference for this recording was that we did a few things with other peoples’ music, so we had to devote a certain amount of time on those pesky things like not screwing up the head. The most challenging in this regard was Braxton’s “Composition 23J,” just because it’s Braxton.

AAJ: Describe if you can your relationship with Joe Morris, and Joe and Mat Maneri.

SL: Joe is a very good friend, and it is largely through his encouragement that I was able to incorporate all of my musical abilities into my playing. It was my experience playing with the Maneris that, due to their very personal vision, I had to limit myself to fit their sound. Joe Morris’ attitude is, “Play it all.” It’s a much more enjoyable experience as a musician to feel like, if you can play something and you enjoy doing it, it must be valid to your artistry. It makes life that much simpler.

AAJ: With regards to Joe—the guy seems to be the man that everyone wants to work with. In the past couple years he seems to be popping up on all sorts of albums, including a handful of your own records. You’ve been working with him for years—do you take any credit in this resurgence in his popularity?

SL: Joe is one of the hardest working musicians I know, and I have the greatest respect for him. What I love about his bass playing is that it offers nothing but possibilities. He swings like mad, and is always listening and supporting. It is true that his bass recording debut was on my CD Saying So (Riti, 2002), but he’s too fun to play with for me to take any credit for the demand he may enjoy.

What I very much look forward to is a chance to play more with Joe the guitar player. People have been focusing on his recent activity as a bass player, but he has a number of things coming out soon, including the release of a four-CD set of duets with Anthony Braxton that people will definitely want to hear.

AAJ: That sounds amazing. You’ve worked with and without a drummer. You’ve also augmented your classic trio with horns. Paradise Road (Skycap, 2006), with Allan Chase, was my first introduction to your playing. That’s just a superb record. I remember I wrote you were “Like a fast talker eager to make [your] points felt just as much as heard[.] Lantner weaves his topics of conversation in, out and around the loose rhythms.”

As far as working with horns or without, do you have a preference? Do you know going into a recording session what form you want the ensemble to take and what players you want involved?

SL:Every combination of instruments changes my playing to some degree. When I play with a rhythm section, I tend to thin out the texture, so as to allow the sound of the other players to come through. Adding a horn to my trio allows me to shape the music from behind the primary focus. Playing without a rhythm section allows me to use the full range of the piano without the fear of getting in anyone’s way. The way I play in a duo with Allan Chase is very different than how I play with the trio, in that I play a lot more piano.

It usually takes me so long to organize a recording that I tend to know well in advance what instrumentation I’ll be using and what qualities I would like my music to impart. I have now produced two recordings of my trio with Joe Morris and Luther Gray, as well as two with the quartet that includes Allan Chase. While I am happy with all of this work, there is always something I’d like to improve. It is a constant effort to get closer to an unattainable ideal.

To read more, click here or visit AllAboutJazz.com

Arp of the Covenant - S/T

published at www.allaboutjazz.com

Somewhere between electro-jazz and avant-prog-rock rests Minnesota’s ARP of the Covenant. The trio’s self-titled debut marries electronic and acoustic sounds, eschewing categorization, at times proving to be a rather exciting glimpse at what this band is capable of. Other times… not so much.

The band, as its name would suggest, is wholly obsessed with the ARP synthesizer—a 1970s-era analog synthesizer—and, it seems, any other synthesizer, keyboard or laptop; anything electronic capable of sound manipulation. Led by keyboardist and electro-geek Mark Siegenthaler, the trio is rounded out by drummer Nick Ziealinski and bassist Brad Townsend, who also employs the occasionally pitch-shifter or other sonic manipulation voice to further thicken ARP’s electro-acoustic stew.

“Bad Alternator,” powered by Zielinski’s proactive drumming, sounds more like Sacramento’s instrumetal (that’s not a typo folks) trio Hella—one of many amazing projects spawned from the polyrhythmic and tireless wrists of drummer Zach Hill. Zielinski, Townsend and Siegenthaler seem to be in a race with one another; Zielinski is the frontrunner but Siegenthaler does his best to push aside, try to hold back, or trip up the drummer—anything to gain a competitive advantage while Townsend lays back, laughing at the two’s utter tomfoolery.

Such an exciting track, such energy; such a disappointment, then, that “Bad Alternator” is followed by a subdued cover of the Eurythmic’s “Jennifer,” silencing any notion that Arp of the Covenant is going to be a caffeinated workout of a record.

“Jennifer” exposes one of this record’s sonic failings. ARP has an incredible sense of dynamics, switching from progressive sounds, that could push the best PA to its limits, to severely subdued and almost inaudible mood pieces. This reworking of the Eurythmics’ 1983 release isn’t bad, but probably should have been placed deeper into the album. Slow and unmoving, “Jennifer” kills the excitement generated by “Bad Alternator.”

“Arp of the Covenant Theme Song” is a sci-fi movie soundtrack, starring evil robots whose every move is accompanied by the painful cry of Moogs and other organs. “Blow By” is punkified King Crimson, while Depeche Mode’s “Stripped” loses all sense of structure for awhile, becoming thin electro-glitch. Again, moments of this tune are barely audible and, even on a good stereo and/or headphones, require a drastic turn of the volume knob. Despite this, “Stripped” does turn out to be a stellar track, as ARP builds the momentum up again, with Zielinski really letting his drums loose around the keyboardist’s repetitive groove—Benevento-Russo Duo certainly comes to mind here.

The band’s reworking of Sigur Ros’ “Untitled 1” is as thoughtful as the original, though left slightly barer than the composer’s vision.

ARP of the Covenant’s strong dynamic sense helps and hurts them. Slow, shallow moments sometimes lead to waning interest, but you can’t fault a band for having the wherewithal to take on a track like “Untitled 1,” an unheralded gem if there ever was one. This is a band worth checking out, and one capable of much more than what they expose with Arp of the Covenant.

SA Bands

I'm in love with three bands from San Antonio. Here they are.

Sohns
www.myspace.com/wearesohns



I had to double check the names on the lineup to make sure there wasn't a female fronting this band. Converge-y, kinda got a Hydrahead thing going on as well. Loads of Snapcase influence - gotta love that. Sohns have a 3-way split with two other bands on this list and a show at Rock Bottom Bar in San Antonio early next year opening for Planes Mistake for Stars.

The Grasshopper Lies Heavy
www.myspace.com/grasshopperliesheavy



Great album artwork right there. This band has the whole Pelican, Isis, Rosetta instrumetal thing going on. Super fucking epic, drivin by monstrous drumming and Mastadon-like riffage. Brutal and heavy. Got these guys playing in Austin on December 14th and I can't wait to check out this music live. This band is a few big shows and tours away from a big deal and loads of much-deserved national attention.

Make Your Own Maps
www.myspace.com/myom



Make Your Own Maps are akin to Refused, (International) Noise Conspiracy and similar dancey agro-punk bands. The band site everyone from "governments being ridiculous" and Noam Chomsky to the Weather Underground and Anthony Bourdain as influences, but I swear "What It Means to be a Waitress" is the hidden song on Shape of Punk to Come - isn't it?

The Artillery ... or, "A Helping Hand."

I find myself compelled to help out some of the younger bands that I help book shows for by reviewing their CD, writing brief press quotes, bios etc. etc. Press releases. Whatever I can do to help. The Artillery are some good kids, who play a lot of shows, and overall bust their asses for their music. The bands debut CD Fear is In isn't groundbreaking by any stretch, but it is a solid first effort.

So I reviewed it for Decoy....

RIYL: Alesana; The Red Jumpsuit Aparatus; Underoath; Thrice

Fear is In is the debut EP from Austin, TX’s The Artillery. Ok, so they’ll tell you they’re from the suburb of Round Rock (home of Dell Computers) but outside of Austin, who cares? Culled from the same crop as such uber-popular acts as The Red Jumpsuit Apparatus, LoveHateHero, From First to Last and Alesana, The Artillery are one of many bands trying to define their style and not get lost in the big league shuffle. Luckily these boys are young enough that redefinition (and the success contained therein) is still within sight. For now, Fear is In serves as a solid introduction to a band destined for bigger things.

“The Hunt” has a hook that digs in without a second to bear. But all too quickly The Artillery tarnish what shine they showed in those opening salvos by letting vocalist Dean Barry scream his little heart out. With such a sweet voice and strong sense of melody, Barry would do well to put the adolescent screams away and focus on his strength – the ability to belt out a panty-dropping melody.

Case in point: “Make it Reality.” What a classic pop song, written with far more maturity than these 19 year olds should be capable of. One listen to this track and it’s clear that The Artillery is just a few short steps away from radio takeover. “Tall Tale Night” is equally as impressive but at a slower tempo than where The Artillery’s strength lies. It’s the up-tempo, bordering on dancey numbers that allow The Artillery do what they do best – groove.



“Other Side” has hints of Thrice while “The Smell of Death” is prototypical screamo and hopefully a sign of the band’s past and not their future. It’s hard not to write about this band and simply make comparisons to other bands. The fact of the matter is they just haven’t done enough to set themselves apart from the vast number of other bands playing the same youthful and derivative style of pop punk.

Throughout Fear is In there’s a reoccurring theme of determination, strength through struggle, and an unwavering will to overcome all obstacles. “These tears may be made of blood,” Barry laments on “The Tempest.” “But that doesn’t mean give up.” More than just encouraging lyrics, these words double as the band’s personal philosophy, no doubt.

In a town that quickly swallows lesser artists, The Artillery has plenty of hype surrounding them and plenty of drive… driving them – two big things a band needs to make it out of this city alive. Now they just need one more thing every band destined to go places needs – a van.

Oh bands

Tonight I watched a band from Fullerton, CA - yeah I totally gave you a link - get brutal at Red7. Oh these bands - Belay My Last are nothing more than brutal breakdown after brutal breakdown, chug after chug, fuck you after fuck you, pig squeal upon pig squeal. I mean - they're really not that far rem0ved from Slipkont. These kids just sport tight t-shirts, Nike Dunks, and plugged out ears over Halloween masks. I honestly don't see the different. It appeals to the same meat-head, suburban attitude. Meaningless. Completely meaningless.

Fullerton - basically Los Angeles. What these "big city" bands don't understand is, you're ability to draw 500 kids in LA, your ridiculous myspace "friend" collection and the fact Joe Douchebag in Hotlanta said he really wants to see Belay My Last - none of these translates to an actual draw.

I will say this. Belay My Last had some wicked merch:


I mean, come on. Black hoodie with a green and gery skull / cross combo. That's wicked.

There seemed to be some beef going on between Belay My Last and headliner The Demonstration. I can't tell exactly and so I hate to speculate - but something tells me this was a tour put together by an overzealous booking agent and/our record label. At the end of the day, The Demonstration is no different than Austin's owen At All Cost. It seems, much like the Cost gets plenty of grief and shit on the road, The Demonstration are not the most beloved band outside of the North Carolina coast. Dragonforce meets Disturbed meets Drop Dead, Gorgeous, The Demonstration is cliche to the max, a total joke and nothing more than an amalgamation of everything hip in the underground metal scene. Just like a riptide, we'll suck you in - add this to the list of absurdly cliche and overall lame lyricism.

Come on guys - everyone saw straight through everything you do. Give it up. You, my friends, are a prime example of everything that is wrong with myspace and subsequently the internet in general. You shouldn't be on tour? Why?

What the Hell is This?

Working on my second cup of coffee and waiting for some actual work to come in, I've come across this video some douche put together.

Exodus: "Riot Act" Beowulf Remix

Exodus? Fucking metal. Beowulf? Eh... we'll see. I can't watch the previews for this flick and not think of The Polar Express, which begs the questions - is this a kids movie? I think I read this book sophomore year of high school so I'm inclined to think that the movie, like the book, is PG-13 at best.

But fuck - it's got Crispin Glover in it (sort of). That's an automatic A+ in my book. Speaking of Crispin Glover... enjoy...

LIVE! LIVE! LIVE!

The past week - hell that last MONTH - hell the rest of the YEAR - is an insane time for live music in Austin. Typically, established touring bands hit the road in the fall, leaving the summer months to the kiddos getting their feet wet and touring for the first time and/or your package tours (Warped, Ozzfest) and festivals (Coachella, Bonnaroo). Last week was a particularly good one, and I spent Wednesday, Thursday and Friday night at Red 7 soaking up some sounds (jesus that sounded lame...)

Wednesday was the 'Hey It's Not 1995 But Let's Pretend It Is Tour' bringing back female-fronted punk icons The Avengers (ok so they're history is more 70s and 80s era) and queer punks Pansy Division. In all honesty, the only Pansy Division song I am familiar with is the one on the Angus O.S.T. (now THAT was a banger). But my attendance was based solely on the desire to finally see Red 7 dudebro Jared Cannon's ludicrous Oi band Career Criminal (RBC 4 Lyfe!) Needless to say it was the "worst show we've ever played" in bassist (and good friend) Colby Holliday's words and... I believe him.

Thursday things got much better. Two local bands who I do a lot of business with through Giant Steps Productions - Death Got Killed and The Cabaret - opened for one of my new favorite bands Four Year Strong.



This band is absolutely incredible. Super tight kick drums turn otherwise bubble-gum pop songs into hardcore-powerpop anthems. Their stage presence was incredible and the band (and crowd's) energy was relentless. Loads of kids singing along and, due to the presence of all the San Antonio scene kids, who for whatever reason seem to be more true to hardcore tradition than Austin's yuppie-offspring, suburban punks, there was loads of 2-stepping. No bullying into each other and pushing people around in meathead my-machismo-is-bigger-than-your's fashion. Just kids going nuts and leaving it all on the dance floor.



I particularly love Four Year Strong's lyrics. Anthemic gang vocals abound on their debut, Rise or Die Trying. "Heroes Get Remembered" is simply amazing and the breakdown had everyone in the place joining in the sing-a-long: 'sad enough to say that alone I can barely light a match but together we can burn this place down.' It really doesn't get any better than that! I expect a lot of big things from Four Year Strong as the word gets out on them. (Thank me later dudes!)

Victory Records' A Day to Remember headlined this bill. With hoodies that claim A Day to Remember to be "The Heaviest Pop Punk Band on Earth," I had mixed feelings about what to expect. And like my feelings, Remember's set was kinda all over the place. I checked out the track "Monument" prior to the show on their myspace (http://www.myspace.com/adaytoremember) and kinda dug that track - although it was VERY similar to what Four Year Strong do and I'm clearly enamored with that band. Unfortunately the rest of the set wasn't as "poppy" as "Monument," and those boastful hoodies, would leave one to believe. But this band seems to be carrying around backpacks full of scene credibility - Nike Dunks, huge plugs in their ears, and a logo written in the Collegiate font (look it up) - and the kids seemed to love them for this.

Just for kicks, check out the band's cover of Kelly Clarkson's hit "Since You've Been Gone." I don't hide my love for this song - it's one hell of a pop song folks, get over it - and their cover, though less awesome, is still pretty cool.

Friday was a bunch of friends playing at Red 7 again - Closed Eyes Take Lives and The Artillery. Expect a review of The Artillery's debut EP shortly, as I've promised the band I'll help them build some press clips - hey, I do what I can.

Unfortunately band practice is looming, so my thoughts on the Portugal, The Man and Rocky Votalato show at Stubb's (inside) will have to wait. No worries, as tonight finds the girlfriend and I going to see ANOTHER of her favorite bands, Lucero, at Emo's.

Thrice's Latest Does Not Dissapoint

The wait is over, the reviews are in, and I think it is now safe to say that Thrice have exceeded all expectations with The Alchemy Index. Containing hands down their best work to date, The Alchemy Index Vols. I & II: Water & Fire is a refreshing ray of hope in a day and age when few bands have the wherewithal to write and record as adventurous and self-indulgent a record as this. I see now why Atlantic Records wasn’t interested in this monumental effort - there are no singles here, there are no hooks to sing-a-long to (no “It looks deep enough from here / I’m diving…”), nothing for a profit-driven major label to get a dollar-derived hard-on over.



The Fire EP seems to be influenced by a lot of post-hardcore, a lot of Deftones and Quicksand, and artsier stuff from the Hydra Head camp, (Cave In, et al.) Thrice seem to have abandoned the up-tempo, dare I say “punk,” song structure long ago and Fire essentially continues the songwriting trend first hinted at on the controversial Vheissu. Alternative Press called this “post-post-hardcore” and I couldn’t agree more.

“Firebreather” is politically charged and angsty, with the aggression carrying over into “The Messenger.” This could very well be the most aggressive song in Thrice’s catalog. Drum machine driven breakdowns do little to relieve the tension that revolves around Kensrue’s signature growl.

The angular and lyrical guitar work on “The Arsonist” brings to mind Around the Fur. “Burn the Fleet” is mid-tempo post-rock (a la Pelican) but doesn’t seem to showcase the band really stretching out, which is what all the hype surrounding this record has been about. And “The Flame Deluge” is simply epic as fuck.

Overall Fire is interesting, but in the end it is Thrice - we know they can write songs like this so nothing should come as a surprise.

Continuing - if not for the fact that we, well, know this is Thrice, it’d be easy to mistake the Water EP for another band altogether - another Dustin Kensrue solo effort perhaps? One can only assume, however, that since this collection of songs does in fact carry the “Thrice” heading, the other members of Thrice must have contributed to writing these aqueous transmissions in some way. Regardless of how much the remaining members of Thrice participated in the penning of these songs, Water (and no doubt all of The Alchemy Index) is unequivocal proof that Kensrue is coming into his own as a songwriter.

“Digital Sea” is an amalgamation of all things indietronica and hip, sprinkled with Radiohead pretensions and The Postal Service pomp. “Open Water” is as epic and grandiose as the name would imply – imagine floating in a life raft, starring up at a cloudless sky, gently drifting towards the “Lost Continent.” Here a melancholy Kensrue sits solemnly in front of a piano and asks, “Do we really want to know what’s going down?” So profound - clearly Kensrue saves his best lyricism for those solo records.

“Night Diving” clocks in at just over 6 minutes and is completely instrumental. Listening to Illusion of Safety in 2002, I don’t think anyone would have guessed that the same band would write a song like “Diving” some 5 years later, but they have. With its glitchy drums and mumbled vocals, “The Whaler” almost directly references Kid A (doesn’t bite, mimic, or outright emulate… merely “references.”)

In today’s downloadable marketplace, it may have been the smartest decision, economically speaking, for Vagrant Records to release this as two separate LPs. But I can’t help but remember picking up The Smashing Pumpkins' Melancholy and the Infinite Sadness way back when and being blown away by the sheer breadth, range, and diversity of the music contained on this seminal recording. Do Thrice and/or Vagrant not trust kids enough to take The Alchemy Index all in at once?

Either way, the first installment of Thrice’s highly anticipated The Alchemy Index is a monumental achievement.

"Chase This Light" by Jimmy Eat World

This is really upsetting.

The new Jimmy Eat World record is overall disappointing. Thoroughly disappointing. I had the opportunity to see JEW live at Emo's not too long ago, and they played the first single, first track of Chase This Light, "Big Casino." I was impressed then and I was impressed when I heard the song a month or so later on 101x. And I'm still impressed with it.

Too bad the rest of the album is a steaming pile of adult-contemporary shit. Adult - now I realize that yes Jimmy Eat World are growing up. They're not the vulnerable, ever-introspective songwriters who wrote "Table for Glasses" and asked "Can you still feel the butterflies?" I've grown up, too. Doesn't mean I bought a Chevy Tahoe or opened a 401(k) account. This is the epitome of adult alternative - the songs you hear sitting in the waiting room at your dentists office perhaps.

Or as the ever knowledgeable All Music Guide called them "the emo equivalent of Bon Jovi."

So true.... so sad, but still so true. Jesus - I mean plenty of bands that I grew up on have grown up themselves. Look at Chuck Ragan - definitely not writing Hot Water Music anthems anymore, but definitely not going to grace your dentist's radio anytime soon either. Jesus - even if ole Chuck did write a radio anthem or two I wouldn't care, if the songs were good.

"Gotta Be Somebody's Blues" just doesn't even SOUND like Jimmy Eat World. There really isn't anything I can pinpoint as to what separates this record from past JEW releases. For all intents and purposes they follow the same formula that was so successful on Bleed American and Futures - it just feels different. "Always Be" may have been written by Bryan Adams or Richard Marx. Did the songwriters behind Ashlee Simpson's stunning debut pen "Carry You," cause I can't quite tell. Wait... "Here it Goes" ... this was definitely pulled from Richard Marx' back catalog. Christ.

And no. This album will not grow on me. Guarantee it. 26 but I ain't dead. "Suck that lucky feeling right out of me," Jim? No sir - suck the life out of me. That's what your record has done to me. These are the records I always hate covering as a music writer - what can you say about it? There's nothing striking, edgy, even interesting about this.

"It hurts because it should," Jim? Well at least you acknowledge that.

And can we all please acknowledge the fact that the cover of this album clearly looks like a vagina?!



At least THEY know they're pussies.

Downloading the new Coheed and Cambria, Thrice, and Chamillionaire records as I type. Will these be any better. I'll let you know.



I also just read about a new DJ Spooky record called Creation Rebel that is apparently pretty amazing, although it appears to me more of Spooky simply digging through the Trojan Records catalog. Looking for it now.

New Found Glory @ La Zona Rosa

There are plenty of small, punk-rock-to-the-max venues here in Austin (Emos, Red 7, Plush, etc.) to see a wide array of bands ranging from the incredible to the insignificant. I book at most of these clubs, which means I get in for free and more often than not drink for free, so believe me - I've seen both the incredible and the insignificant.

But sometimes you gotta shell out that extra cash and hit up one of the larger venues in town - La Zona Rosa, Stubb's, or the soon-to-be-reopening Austin Music Hall (site of The Cure in '08!!!) The bright light, the (comparatively) clean bathrooms, and incomparable sound systems are worth the price of admission alone. The Fall season in when most established bands hit the road, and the pocket book is feeling a little fat right now, so expect reviews, rants and ramblings about quite a few rock concerts in the coming months.

I was reminded of my introduction to New Found Glory after posting a bulletin from my myspace profile about my plans to attend the NFG show at La Zona Rosa last evening. Amongst the "wish I was goings" and "are you fucking kidding me James'" was a message from an old friend and one-time crush who introduced me to the then-Drive Thru Records band our freshman year of college. She introduced me to a whole new world in fact. I remember sitting outside of a lecture hall waiting for this week's meeting of the Campaign to End the Death Penalty to begin and hearing her use the word "emo." It was the first time I'd heard the term... and sometimes I wish I'd never heard it, but I digress. Needless to say, this friend and I don't talk much anymore but my bulletin reminded her (and me) of bands we once shared - Gameface, Saves the Day and New Found Glory. Heck - throw in some Atari's for good measure.

Despite my desire to see Eulogy band Set Your Goals, Sheila and I arrived moments before Boston's Receiving End of Sirens took the stage (I wonder how that name will go down in the annals or rock music history). A beefy lead singer/bass player, three guitar players and a couple of hair cuts, REOS is your typical Alternative Press buzz band. Nothing special, just the flavor of the month for mall punks and meatheads to agree on. Set Your Goals would have been awesome (shit - their merch alone is about an 8 on the awesomeness scale) but a 6:00 door time is just too early for my 9-5, mass transit riding ass.

Thankfull, New Found Glory were next and not prototypical screamo act Senses Fail. Don't get me wrong - I do in fact own a Senses Fail CD yes and there was once a time when I would have shit for this band, and in reality it was their inclusion on this bill that helped motivate me to buy my girl and I tickets to this show (that and a Saturday morning spent cleaning house and rocking out to NFG's new covers record), but still. I was definitely pleased to know that I didn't have to sit through Senses Fail if I didn't want to.

A word of note right quick on the venue. The NFG/Senses Fail ticket was originally scheduled to appear at Stubb's BBQ. Clearly ticket sales were waining in the weeks leading up to the show (I wouldn't think either band is a particularly good draw these days) and thus the show was moved to the slightly smaller La Zona Rosa. The slow sales were apparent immediately. There clearly wasn't that many people in attendance and this number dropped significantly post-New Found.

Ok, ok. Back to New Found Glory. Great set, great energy. The band is tight as ever. I can't remember exactly but I want to say this is the 3rd time I have seen them (once at long-gone Ariel Theatre in Houston and another show in Austin... I think hahaha... they all run together in time). New Found Glory are touring in support of their independently funded From The Screen To The Stereo Part Two. I believe the record was eventually licensed to Drive Thru Records, the bands home prior to being upgraded to (and later dropped by) parent company MCA. As you could expect, cover songs littered the set. Littered is a bad word choice. "King of Wishful Thinking" is definitely a jam and a half; "The Promise" is cool but Consider the Source do it better (we do!); "Kiss Me," "Iris," "It Ain't Me Babe" ... meh. In addition to the covers there were several choice cuts from 2004's Catalyst and 05's Coming Home. Those records don't suck (at least Catalyst doesn't.. haven't heard Coming Home) but seeing a band bred for sing-a-longs and NOT knowing the words to every song definitely sucks. Don't recall hearing anything from Nothing Gold Can Stay but oh well, not many of these kiddos would have recognized those songs to begin with.

So one thing that struck me and I guess I should have known this but it slipped my mind at the time .. ... ...... hardcore kids LOVE New Found Glory. Integrity t-shirts, Nike basketball shorts and overly stretched ear-lobes reminded me though. Question though: How the FUCK do you mosh to New Found Glory? Beats me, but meatheads'll find a way to mosh to anything and sure enough they did.

I'm too old for this shit - so I moved to the back.

The best thing about waiting for Senses Fail to play (which took FOREVER thanks to their ridiculously budget stage set-up): Hot Water Music's classic Caution blasting over the PA and girlfriend and I having our own personal sing-a-long.. ... .....



I hate this place / But I love these chords / An empty fate just means an even score / The pain this mornin / It filled my head / It's Jameson / It means that I'm not dead...

yet.

shows this weekend

When did the mash-up become the preferred stylistic choice of wanna-be DJs everywhere. Doesn't anyone scratch anymore? Is this really becoming a lost art form - I really thought after the release of Scratch a few years back, there would be some sort of renewed interest in scratching itself. What about crate digging? How is taking two pop songs from different genres and "mashing" them really that awesome? I mean, on the awesomeness scale, it would say it's somewhere between R Kelly and these guys:



Just kidding. My boy Tito is the publicist for these kids. Must be hardwork. Who says boy-bands are dead? ... ... ... well, just about everyone. But don't damn them for trying!

Oh yeah... the point to my ramblings about mash-up DJs. Radioland Murders played a party of Friday for our good friend Mason and his company, The Screamer Company. They publish a art/poetry/randomness magazine bi-monthly. Friday celebrated the release of issue 2, aptly titled, Two. Really good stuff. Looking for me in issue three, hopefully. Working on some new poetry to submit and hopefully Ivan will be contributing art to this one as well (to accompany my poetic musings.) Radioland played a good, toned down set, that "got the party started" in the words of maseman.

In better news:

The Swellers
http://www.myspace.com/theswellers

The Swellers are about as proud of their home state (Michigan) as Texans are of ours. "Michigan - America's High Five" they say. So true. So so true. This band played fast and sugary pop-punk. Somewhere along the lines of Near Miss, Gameface, old New Found Glory. Their guitar player was having so many technical difficulties it was border-line cute. One couldn't help feeling sorry for the kid. First his Marshall head went out (what a bummer - can't imagine how much that'll cost to fix), then his guitar strap came lose mid-song. I was waiting for a string to break or for the guy to just spontaneously combust. Neither occurred.

Joining The Swellers in Austin (Red 7) was Only Crime. "Featuring former members of All, Descendants, Bane and Converge" ... ... what a way to bill oneself. The band did feature Bill Stephenson, former drummer for All and Descendants and the original guitar player from Converge who started Bane, was kicked out of Converge, and continued on with Bane for a few years longer.

Let's just say that in the case of Only Crimes the sum was not as great as the parts. Not nearly.

Also, City of God is the most amazing movie ever. Add it to your Netflix queue immediately.

At All Cost CD Review

At All Cost have spent the last couple years generating more buzz than a cell phone next to a speaker. A revived Combat Records released It’s Time to Decide in 2005 and the band spent the next two years experimenting with new ways to make kids say, “what?” Hard work pays off and a worldwide distribution deal through Century Media makes the wait for Circle of Demons more than worthwhile.

Cost explodes from the opening whistle with the thrashy title-track and doesn’t ease up at any point. “Demons” closes with some signature southern death metal - something akin to Kansas after a night of binging on Jameson and Black Sabbath LPs.

There’s nothing cooler than vocalist Andrew Collins’ synthesized voice crooning “We need to break these chains… gonna get down for the revolution” over wailing guitars and beatdown drums. Collins, criticized for sounding “one dimensional” on Decide, seems to have found his voice on Circle of Demons, exploring a range of different deliveries, using his signature effects processing when necessary but otherwise staying away from the repetitive bark of so many of his peers. “The Message” brings to mind the best of Darkest Hour while “The Wall That Divides” is LA hair metal with teeth – no not teeth, bloody fucking fangs.

While there are certainly more sing-a-long, anthemic choruses, there are just as many brutal breakdowns and double-bass blasts on Circle of Demons - just peep how the band smoothly transitions from electro-pop to Ride the Lightening-era thrash on “Let it Rain Death (Blizzard of Snakes),” all highlighted by a blazing solo from Mike Theobald. “Ride Through the Storm” follows the same formula, a seemless blend of Maiden-esque metal with toe-tapping pop. At All Cost do well to shun the metalcore formula of Unearth, Killswitch and the like, not just breaking the mold but lighting it on fire to hurl at the gates, Molotov cocktail style.

“We Won’t Give In” is equipped with adventurous string orchestration, huge choruses, and a Dragonforce-esque synth solo, all of which segues perfectly into more blistering guitar work from Theobald and Trey Ramirez on “Step One.”

“Lasting Forever” navigates the narrow divide between Daft Punk and Iron Maiden – what? “Eating Lightening Pt III” is the third part of an exchange of ideas between Cost and Pluto Records’ The JonBenet. Closing out Demons, “Drugs” shows AAC at their most adventurous – an album full of songs like this 8 minute exploration would have been fun, but I can learn to be satisfied with what I am given.

Circle of Demons is full of metal anthems that will be the soundtrack to your summer road trip, skinny-jeaned dance party, or teenage revolution. The only metal band that really knows how to make you wanna dance – and not in that silly way 16 year old fat metal kids do at basement shows and warehouse festivals, but actual hip shaking movement – At All Cost live up to the hype on their Century Media debut.

Deathkiller CD Review

With four hi-hat whacks, Deathkiller screams “we are here motherfucker, so listen up.” Sporting a chipped-shoulder aggression and a short fuse burning on both ends, “Take Me to Your Bleeder” opens the debut full-length New England is Sinking with full force. Over the course of 13 songs, the trio of Matt McIntosh, Anthony Realbuto and Christina Chiaramonte, lash out at the system and the status quo, recalling a time when hardcore bands stood for something, or at least stood for more than image and idolatry.

The Connecticut outfit boasts plenty of pedigree – McIntosh lists ‘ex-Hatebreed’ on his resume while drummer Realbuto once banged rhythms with Most Precious Blood. But Deathkiller doesn’t rely on the brutal breakdowns of cliché-ridden metalcore or necessarily resemble either of the aforementioned bands in particular. Instead, New England is Sinking takes the fast cars and tight jeans of classic rock ‘n’ roll and drives full force into the raging pit of American hardcore to produce an unadulterated and uncontainable sound that takes no prisoners. No pretenses, no bad dye-jobs, no ever-increasing friend count, no fashion statements of any sort, Deathkiller are raw and intense – classic hardcore I suppose, in the truest sense imaginable. The only statements this band makes are the subtle suggestions to tear down all you see around you that is phony and full of shit.

“Idle Worship” recalls the best of Rise Against; “Carlos D is in My Top 8” a post-Myspace Black Flag. The title track is the most melodic cut of the bunch – and any song which features the line “if you can’t beat ‘em then destroy them” is a winner in my book. “Man Alone” suggests we take our disillusionment and do something with it while “Dead Art” begs us to lash out in a fury of unbridled emotion – take the pit to the pulpit and turn this mother out.

“Let the Good Times Fold” is quintessential early-90s post-hardcore (think Handsome over Quicksand), which unfortunately a decade later sounds dated. Not to mention that the angsty refrain of “C’mon baby, let the good times fold” is, well, just plain silly. Chiaramonte’s fuzz-happy bass tone grows tiresome around the twenty-minute mark, but maybe that’s more of a musicians personal preference on this end rather than a true criticism of what is all in all a solid record.

On “Untitled” McIntosh begs you to answer has he screams “What do you mean, ‘It’s victory?’” New England is Sinking is victorious: a solid debut that takes a tried and true sound and sticks to it. Nothing is new, so let’s go back to the basics, McIntosh and co. contest – but lets to it harder, faster and truer. With this m.o., Deathkiller makes a statement and makes it loud.

Beware of Safety CD Review

In the wake of quite possibly two of the best instrumental rock albums of the past decade, Beware of Safety’s debut EP It is Curtains does nothing to define itself. Maybe this album would be easier to swallow if it wasn’t released in the same calendar year as Explosions in the Sky’s near perfect All of a Sudden I Miss Everyone and Caspian’s breathtaking The Four Trees. Judged on its own, Curtains is a solid debut, no doubt. It just doesn’t measure up to some of its peers.

In all honesty, using those two bands as a reference point to begin a dissection of Beware of Safety’s It is Curtains really just isn’t fair. The LA-based quartet has far more in common with the likes of The Cancer Conspiracy or even Isis and Pelican.

“Weak Wrist” is Beware of Safety’s best effort, a powerful and angst filled explosion of noise and near-chaos, while “The Difference Between Wind & Rain” will have the same effect on most as those two elements – zzzzzzzzzz. But hey – that ain’t bad, so don’t read it as such.

Instrumental rock songs don’t have to be these slow and arduous expositions that start small and gently build into big rock anthems. (The flipside to this of course are the songs that just don’t go anywhere - up or down). And while it could be said that Beware of Safety have a firm grasp on the beauty of dynamics in songwriting … you kinda have to have that element down as an instrumental rock band ‘cause, well, that’s really all you’ve got going (except for Pelican… they somehow make instrumental rock work having a complete and total lack of dynamic sensibility).

One more thing instrumental bands (all of them) don’t have to do yet somehow find a way to do, is use the same trilled chorus pedal-effected guitar sound – you know, the one the accompanies the build-up on every Explosions in the Sky song! Beware of Safety does it. But so do Caspian and almost every other band in the same vein that I love. Is this a knock? Guess not. Maybe it is the only way to express dynamic emotion on a guitar. Maybe.

Attempting to revive listeners at a gradual pace following the slow hum of “Wind and Rain,” “O’Canada” drags on for six-plus minutes before slipping into the lengthy album closer “To the Roof! Let’s Jump and Fall.” More songs like this one would have made for a better album. The wandering, almost jam-like feel (which I’m sure was how it was written) suits this band perfectly and ultimately saves this album.

The Dangerous Summer CD Review

As summer ends throughout most of the country, it’s nice to have a record and a band that reminds us of all the great things summers mean – fires on the beach or afternoons on the lake, young love and summer crushes, anthems that stay with you from May to August, fueling your late night sing-a-longs. The Dangerous Summer not only references the third season by name, but recalls its adventures in lyrics of hope, new beginnings, and those all-too-tough endings.

“Oh God it’s almost summer,” vocalist AJ Perdomo announces on the opening “I Would Stay.” Listening to this record you can’t help but think of high school seniors packing up and leaving town for their first semester of college and the adventures contained therein. No surprise that the four members of this group are of that age group, 17 and 18 year olds who know nothing but hope, whose adventures, stories and tragedies are yet to be written.

“The Permanent Rain” is the anthem for every kid who’s ever dreamed of a life on the road, living in a van with your best friends, making music and living in exile, a song for every guitar hero and hopeless romantic to sing-a-long to. Perdomo’s vocals are impassioned and meaningful as he confesses, “I want to make you proud, but I really don’t know how.”

The dual vocals that close “Here We Are After Dark” recall the best moments of Jimmy Eat World – a band that always seemed more mature than their peers, as is the case with this fresh-faced foursome. “Home” tells the story of a lover leaving for the West Coast, every East Coast boy’s nightmare. “Disconnect” is that East Coast boy driving “a thousand miles out West” in search of love.

“Of Confidence” closes the record. Perdomo sings “your making this a story you hope will never end” as he relays the tragedy of crushes who become lovers and the awkwardness that ensues. Fading out with requisite gang vocals, The Dangerous Summer pull out every trick needed to make a classic pop record.

For a Maryland band, The Dangerous Summer certainly knows the sound of California sunshine. Sugary pop in all the best ways, If You Could Only Keep Me Alive breathes life into a stagnant scene. Shocking these youngsters are just that, as they approach the craft of songwriting with a maturity lost on many of their peers. More Third Eyed Blind than Cartel, more Phil Collins than Gerard Way, The Dangerous Summer hit a homerun with If You Could Only Keep Me Alive, their Hopeless Records debut.