A Vegas Marriage is a three band from Staten Island consisting of Matthew Pelli on vocals/bass, Justin Imperatrice on guitar, and Vincent Rizzo on drums. They recently released their self-titled EP on September 20.
A Vegas Marriage kicks open their EP with the pounding sounds of "Don't You Ever." I couldn't think of a more perfect way to start the album. The driving guitars, steady pulse, and the accompanying drum beat light a fire in the listener. The vocal performance of this track is reminiscent to Dave Grohl as far as style, and the way it is sung, more so at the end.
"The Outside," is more melodic all around. It is a good change of pace from the first track, but still has the same feel and root as the previous. Call me crazy, but there is something about this song that makes me think of a Western themed music video with saloons and everything. Maybe keep that in mind guys…
"Breakthrough" is the slow ballad of the EP. It has a very 90s STP, Pearl Jam type feel, especially vocally. The vocalist has a great voice, and this is a track that really helps him showcase it. The harmonies add superb layers, and the guitar solo over the bridge fits so well.Towards the end of the track the song picks up and the vocals get belted out; nice touch.
The next track, "Something to See," dives right back into the heavier rock elements of AVM. This is probably the most rocking song on the album, as the vocals are stretched and the guitars are crunchier. I enjoyed a lot of the background vocals in this song, "ah-ahs" were a good touch behind the singing.
"Freight Train" again brings out some of the twang from "The Outside," and feels like some sort of epic train chase, hence the name. It is hard not to imagine the scene of events playing out in your head as this song plays through. Again, just another solid song, with a little more classic rock sensibilities than the others.
To close off the EP is, "Presence." The song opens up with strummed acoustic guitar work with light airy vocals. The chanted background vocals work well for this song and add more depth and dynamic to the song. Mid way through the song, and out bursts the electric guitar over the acoustic. It is a perfect spot and well executed until the end.
I agree with the acoustic jam closing out the album because it stands out from the rest of the tracks. A lot of bands choose to go with the power and energy to close out an album, but "Presence" does exactly what it is called, creates a presence to send AVM out.
All in all this EP is great! I have not seen A Vegas Marriage in a few years, and this EP shows me exactly what I've been missing as well as how much they have grown. The band takes an already well established sound and manages to put their own twist to it. One moment they sound like Jet, at other times they are as aggressive as the Foo Fighters, and the next minute they rock out like Queens of the Stone Age. The band's next two shows are at the Cup on December 6th, and the 21st at Scout Hall.
The Atlicic are a local Staten Island indie/alternative band comprised of three guys and a girl. Indie/alternative is being modest as the band rocks through a number of well played genres throughout this six song EP, Over the Atlantic.
Ricky Boyance - Lead Guitar
Emilee Barrett - Rhythm Guitar/Vocals
Jason Seelal - Bass/Lead Vocals
Justin Caputo - Drums
Leading off the EP, "Intro" has an ominous feel and a great build up that seems to be coming to a head as it flows right into the next track.
"Can't Breathe," picks up right where the intro left off and hits the listener with a steady pulse of bass, tom hits, and intricate guitar work. It is a bit mellow but has a Incubus like feel to it both musically and vocally. From the jump, listening to this song prepares the listener for what is sure to be a short punch in the face of music.
"Let Me Go" rips right in with a super fast paced metal-esque riff, before settling into a more progressive/post hardcore part. The chorus then comes in suddenly, and its really punky. I am honestly having a hard time deciding what this song is as far as genre, because "really dope" does not cover it. This song does a great job at mixing up multiple influences.
Whatever Makes You Smile" brings the band back to halt, and layers on an Incubus Light Grenades style of music. The nice "Woo's" add a nice layer over the already great chorus. This song takes elements of every song on the EP and kind of jumbles them together into a solid mixture of what the band is.
Next up is "So Long" has a calming almost pop like beginning unto it transforms into a full out pop-punk fest off open high hats and fast riffs. This song would fit nicely on one of Yellowcard's albums post Ocean Avenue. "So Long" would make for a great radio single, and I could definitely see it as a sort of summer jam anthem.
Closing out the EP is "Running On Batteries." I love this song! The guitars and tone are excellent. The bass and drums really drive the song along, and the vocals are just so catchy. The chorus is fantastic, and honestly, I want to keep playing this track over and over. What an excellent way to close out the EP.
Over the Atlantic is very very impressive. It seems every album I review this year becomes my new favorite, but this one has a different feel to it. It has lasting power, and I can't wait to see what else these guys and gal come up with.
Check them out on November 9th as they release their EP along with Backslashes and Bad Ideas. Follow them on Twitter and Facebook.
Local Staten Island band, Backslashes and Bad Ideas, are gearing up to release their second EP, There's No Place Like Home, off of Harbor Records, November 9.
The band is:
Nick DePalo - Vocals/Guitar Josh Crono - Vocals/Guitar Ricky Abolt - Vocals/Guitar Nick Colella - Bass Ed Mone - Drums
With the musical stylings of post Tell All Your Friends, Taking Back Sunday and early Brand New, B&BI make the music of mid 2000s teenagers "mix CDs," but with updated flare for 2014.
"North By Noreaster" is a great intro instrumental track. It features nice acoustic guitar work, and a happy feel good bass line that eases the listener into what is sure to be something fantastic.
"Defend Josh's Life Choices," speak of the Devil, it's an ex-Taking Back Sunday member on a track! Fred Mascherino, former guitarist and secondary vocalist of TBS, makes an appearance on this track and fits perfectly.
I am throughly impressed with this song for several reasons. 1) The song rocks. 2) B&BI have Fred "I've gotta bad feeling about this" on a track! 3) I prefer DePalo's vocal performance on this, and think he outshines the feature. Kudos Nick!
The next track is, "No Matter What Happens, Don't Ask Who." The opening is pretty cool because it is kind of mellow, but punky at the same time. Mone's double bass gallop throughout the song is most welcome, as is the guitars that weave in and out seamlessly.
This track has several different parts to it with the real highlight coming in the bridge over some guitar shredding and dual vocals. "Conditions" follows, and is a perfect example of everything that is on this album. Depalo's smooth, calm vocals contrast nicely with Crono's more heavy and raspy background vocals…Then, just as you're ready to get to the end of the song, enter the female vocals!
The ending of the song is pretty awesome, three vocals going on, three distinct guitars going on, really strong start, and and even better ending to the song.
Following in vein of the last track, "Southern Tea" is an acoustic track that in its own way feels like a stripped down single reminiscent on something from Pop Goes Punk. I would love to hear this song with the full band just to gauge it. However, it is great as is!
Closing out the EP is "Wearing Thin." Shout out to Staten Island in this song! This is probably the most aggressive song of the album, and actually my favorite as well. Depalo and Crono showoff the throaty sing songy rasp scream, which makes this track all sorts of awesome.
During the bridge Depalo speaks over a small musical break before gang vocals burst onto the scene and bring the EP home.
Backslashes again does a phenomenal job on this EP. Their sound has matured and evolved as well since the last release. The addition of the third guitar is evident as well. The drums are great, the strings are good all around, and the vocals stand up and stand out. The dual smack of DePalo's low with Crono's highs add a perfect dichotomy that this band needs. The boys of Backslashes are making moves, and if their first EP was a step in the right direction, this one is a leap onto the highway. Keep up the good work fellas!
Pick up There's No Place Like Home November 9 at the Atlicic and Backslashes and Bad Ideas EP release show. See B&BI's last review for their EP, Nothing Left to Give.
Signal For Pilot is a band like I have never heard before, and upon checking them out, you'll probably agree too! The band considers themselves to be, Alternative Rock/Indie Electro-Pop Core, but I'm sure you can find your own mix of sounds in their too. Their newest release Man Eating Shark, is an excellent foray into a musical journey from these Long Island rockers.
The band consists of:
Chris 'Jaws'- Drums, Percussion, Vocals
Patrick Flanagan- Guitar, Vocals, Electronics
Scotty 'Tru' Truelson- Keyboards, Synth, Vocals
Keith Smith- Bass, Vocals
The album opens up with "Dangerous Waters," and from the get go I like what I am hearing. The song is super catchy and poppy, and has a good blend of synthy effected chords with heavy guitar riffs. I really love the synth at the end of this song! This song is definitely a single.
"Nosferatu" is for lack of a better word, a cool track. Musically, it feels themed, all most theater like as it is telling a story. Plus, who doesn't love an ode to old vampires with the name! The solo section over the pulsing bass drum hits into a softer bridge is superbly done.
The next track, "Mr. Parole," sounds like if My Chemical Romance and Family Force 5 had a baby. The verses and vocal style are really punky reminiscent of old MCR. The electronic sounds and hi energy vocals of the chorus and ending cover a totally different spectrum. This song is very mature in the way it blends together sonically. This is my favorite so far.
"Hot Chicks and Aliens" follows in the same vein of the previous song and kicks up the music a notch, and tones done the hi-paced energy. This is more of a straight up rock song and anthem, and could definitely hear this on the radio playing alongside anyone out there.
"Eerie Sounds of an East Coast Wreck" starts off with a burp…yes you read that right! This is a fun pirates/sailors anthem that talks about life on the sea. It features gang vocals that would make you feel like you are on the galley of the boat with them. I have never heard anything quite like this and have it be a serious song among the others. To clarify, I mean serious as in, the song is not a joke, it is very well done. It includes cannon sound effects, so what's not to love.
The next song brings the album back off the water on onto land for, "Surface and Back." The tone of the album switches right off the funny loving party song to perhaps the darkest of tunes on this record. The synth is gone in favor of a haunting piano over precise guitar riffs and intense vocal harmonies.
"Better Late Than Never," is a soft piano ballad that showcases the vocal flare of the lead single. Midway through the song it starts to build. Other instruments lightly playing are introduced and a number of harmonies begin to repeat and assemble in the foreground. This song is extremely well done and gives the listener a sense of intimacy as they enter into the lyrics themselves.
"No One Was There" picks right back up with crunchier guitars and has a Taking Back Sunday circa Louder Now feel to it. It has a good vibe, and motion to it, and then it hits you unexpectedly with some dub-step! This is the first time such an electronic breakdown was featured on the album. The fadeaway vocals at the end of the song back into the music are awesome!
Following the previous track is, "Uniform," which now brings me a Used comparison, but completely original. The music is very precise and again, almost singlehandedly paints the picture on its own. Included is a roaring, climbing guitar solo. The almost chanted like harmonization of the final chorus is a nice touch as well.
Closing out the album is "Collide-a-Scope," and say hello a more involved sound then the rest of of the album. This song is definitely mainstream, and has an aggressive alternative chorus over their electric infused rock. Also most noticeable in this song is the drums. The drummer sounds like he went all in and had serious fun on this one. It is a perfect finish to an album, "I don't want to say goodbye."
Overall this is a fantastic first entry to music for Signal For Pilot. Man Eating Shark nailed it on every front and contained no filler songs. Their unique blend of rock/electronic/punky-grunge is among the most diverse sounds I have ever heard. The band can be linked to so many others. First thoughts are Family Force 5, Chronic Future (without rap), Panic! At the Disco, and too many more yet they take these styles and make them completely original. The best part is most of the album is themed to water, and regardless of the song subject material, they all fit well together.
Look out for Signal For Pilot and their Man Eating Shark!
The EP opens with pulsing drums in a rhythmic almost march with "You, Me, & the Sound." Very catchy and a great opener. The piano and light guitars in the background are killer, and really fill the song up nicely. Musically mixed and layered well. Excellent start.
"All the Pretty Things," starts off very melodically, and has more of an upbeat punkier 30 Seconds to Mars feel about it. I can't put my finger on what exactly I am hearing here to make me feel that way, all I know is that two songs in, I hear two tracks that would be great singles.
Next up is "The Stage." This is the ballad of the album. I really love what they did musically in this song. The bass work, the light synth, and almost haunting guitar chords before the song picks up more than half way through are beautiful. The dual vocals and harmonies along with the aggressive instrumentals to close out the song are killer.
"The Science Apart," is a mid tempo offering that sounds like what it is, the closing song of the album. It's a solid sendoff that mixes some elements of the previous three tracks into it. It sort of ends the story of the EP, and brings closure to "The Sound."
The Sound EP is a meticulously recorded four song record that plays great start to finish. The singer has a great tonal quality to his voice, and the music is on point the whole way through. My favorite is the superb work on the keys, that really brighten and fill out all of the songs. Each song has a standout moment for the whole band. The first song is the drums, the vocals in the second track, and the guitar work in the last track.
It is hard to categorize Face the King because they blend so many different sounds together. My guess would be they fall more on the progressive/experimental side. To compare them, I get hints of Moving Mountains, Muse, 30 Seconds to Mars, and vocally Red Jumpsuit Apparatus...as you can see, a wide range, but that's just me! Overall great EP, one of the best I've reviewed this year! Can't wait to hear more.
Kanye West is an artist known for taking risks and pushing the boundaries of hip-hop. In his latest album Yeezus,
Kanye once again proves his ability to draw listeners out of their
comfort zone and into his world. The entire album consists of 10 songs
and runs for a total of approximately 41 minutes. Right from the start,
the listener is subjected to heavy, distorted synths which sound angry
and unpredictable as if Kanye is prepping us for the tone of his album.
The
instrumentation however, fits well with the subject matter of the album
as well as Kanye’s current state of mind. In the tracks “Black
Skinhead” and “New Slaves,” quite possibly his angriest songs on the
album, he expresses his frustration with the criticism he receives from
media as well as how blacks are portrayed in the eyes of Middle America.
Aside
from speaking on his criticisms, Kanye also criticizes other rappers
and challenges them to stop portraying stereotypical images of black
males. He bashes artists to create their own style and art as opposed to
copying one another. Perhaps Kanye sees himself as the only hip-hop
artist pushing the playing field to another level, thus justifying his
braggadocio persona and ego as we hear in “I Am A God.”
After
the first four songs on the album where Kanye observes the world around
him, he spends the majority of the rest of Yeezus reflecting on his own
life, mainly his longing for a meaningful relationship. Starting from
“Hold My Liquor,” Kanye takes us on a journey of his failed
relationships and empty sexcapades up till he finally finds solace in
“Bound 2.”
Fans of classic Kanye will find little of what they are used to in Yeezus. Although his raps are nowhere near the days of The College Dropout and Late Registration, the production hooks the listener. Yeezus
is experimental compared to the other hip-hop releases of 2013. Listen
to it with an open mind in the context of Kanye’s current stage in life.
Comparing it to his previous albums will only set you up for
disappointment.
She Said Fire, a contemporary four piece rock band based right here in NYC, released anEP called Boom on April 9th of this year.
With Joshua Hawksley on vocals, Peter Strzelecki on guitar, Chris Moss on bass, and the latest addition of Christina Vitucci on drums, the band soon began their recording at producer Mike Watts's VuDu Studios after their enthusiastic response to their EP, To Whom It May Concern.
This is their first discography and also their first single, "Funhouse," under the name She Said Fire, who were formerly named The August Infinity.
The title of the EP really explains the gist of it, "boom." SSF takes different genres of music andmakes them work well together. As a contemporary rock band, they take poplike elements aswell as post hardcore elements creating the sound of She Said Fire and making it as explosiveas ever.
I saw an acoustic performance of theirs at the Full Cup on Staten Island about a monthago and thought they were weird. Joshua had this incredible voice and he was moving around inhis seat like he couldn't contain himself, they were also doing the screams from their songsacoustically which is something I've never experienced before.
Their single "Funhouse" was the hard hitter of the album, giving off a funky laid back sound almost a little seductive. Heavy wah pedals drive the song into the upbeat ska rock feel of thechorus. Then right after that is the soothing ballad of "Better Ways", with a slow but powerfulbeat and heartfelt vocals (making this my favorite song on the EP.)
She Said Fire is the first EP I've been able to enjoy in a while. I highly recommend it and if theymake it to a venue near you, check them out! They love interacting with the audience and talkingto fans.
Staten Island alternative rock band Four Nights Gone are trying to take themselves to the next level. Successfully completing a tour and stacking up on their social networks, these guys entered the studio for their second EP, Resilience, which is being released on June 11th.
The EP opens up with "J. Buck," which is definitely the radio single of this record. It just might be the best and most catchy FNG song to date. Damian's vocals shine through on this track and the instrumentals are very solid too. Lots of great layering and little intricacies if you listen closely. The screaming is a good touch as well, and a change of pace.
"Broken Wings," starts off with heavy guitars, yet has a mello feel until the chorus, where it picks up. The chorus has a big feel to it, and fits perfectly within the song. There's a nice little build in the bridge that leads into a solo part before rounding out into a final chorus. That's probably the heaviest FNG gets instrument-wise, well done.
The next track is "The Scars Remain." It starts off slowly with heavily effected guitars before going crunchy at the chorus. The dueling guitar work adds a nice feel to the track, and the softer background vocals add depth to the verses. They released this track as their first single, I feel this more of a secondary single than a lead, but nonetheless, a great track.
"Monster" starts off slow with light instrumentals and very subtle electronic sounds mixed in, giving it a Linkin Park type feel musically before it changes up at the chorus. The standout in this song is the drum work by Lobes. The patterns are tight and consistent and he does a good job keeping rhythm on the toms. The choir hums at the end of the song is a great touch as well.
The last track is "The One Who Knocks." Do I see a "Breaking Bad" reference in this song...which as I type this sentence I hear Damian sing, "Breaking Bad, going mad with all this power he has." Touche FNG, touche. Listen to the words and basically hear the plot of the show. You should send it to AMC before the show ends!
TV references aside, the song is quite good and introduces some more screaming it. There's a major key change at the end that flows seamlessly, and the lyrics are among the best penned for the band.
All in all, Resilience is a major upgrade on their last EP in my opinion. Gone are all the little mistakes, the rookie recording experiments and such, this EP is for real. The sound is better, the quality and music is better, and the lyrics are more mature. Although not much time has passed since the last recording, the results are much better. Vocally, there is a major improvement as well. Everything is on point, and done well. I'm impressed guys. This EP has a much stronger commercial feel to it and is good for anyone who enjoys 3 Days Grace, Breaking Benjamin, and good alternative.
The Almost is back after four years with their third release, Fear Outside Our Bones, which will be out June 11th.
The
Almost recorded this album in five days in a small room better known as
Nashville's Omni Studios were they were going to approach this album in
a completely different fashion.
After listening to this album, I
was pleasantly surprised. A lot of the songs off this release are very
slow. It may take a little getting used to for fans that were very big
into their previous albums, Monster, Monster (2009) and Southern Weather
(2007), which have a generally more upbeat vibe. One of my favorite
aspects about this release is that they generally went for something
different. In my personal opinion, it’s very commendable when musicians
challenge themselves and don’t end up being a one trick pony.
For
those who pick up this album in June, you will instantly be able to
tell after listening to the first few songs that some of the
inspirations come from blues and southern rock. Being that I’m more
attracted to upbeat tempos and intricate drum patterns, “I Won’t Let Go”
is my favorite song off this release. Aaron Gillespie sings with so
much soul and passion on that particular track. It was actually the only
song that I played more than three times while going through the
album. The title track “Fear Inside Our Bones” also stands out to me.
It possesses such a vintage vibe especially in the intro leading up in
the chorus. I love how it picks up in the chorus. The patterns
throughout the song flow exceptionally. I feel the point of any song is
to be able to sing along and the chorus combine with the message is very
strong.
My final thoughts to the fans of The Almost, it’s worth listening to Fear Outside Our Bones
from beginning to end. You’ll be able to appreciate how the album
starts off very bluesy and becomes more progressive. The element of
southern rock is contained in every song, but it’s expressed in so many
varieties that it’s enjoyable.
Back in 2011, New Jersey punk rockers A Criminal Risk released their debut record, The Art of Dropping Names. The album, although short, is packed full of riffs and choruses that will undoubtedly ingrain themselves in your brain.
Reminiscent of early blink-182, “Brooklyn” and “Heartless Romantic” work the listener into a frenzy with the drummer stealing the show and driving the band forward at a relentless pace, right into the title track. “The Art of Dropping Names” proves to be much different than the last two tracks, with more of a focus on vocals rather than infectious guitar riffs. With an old-school edge to his voice, the singer belts out the lyrics with power that had not been seen yet in full.
These three tracks, along with the solid “Sarah Sanity,” prove to be the high points of the album. The others, although catchy and enjoyable, don't seem to be quite as memorable. “Stand Alone,” the ballad of the album, is heartfelt, but at five minutes in length, only serves to slow the record down.
Every record has its speed-bumps, but the overall momentum and hooks that highlight the The Art of Dropping Names are enough to convince me that this band is not to be taken lightly. They proved that again recently, with the release of their new single “311.” With a more refined instrumental sound and aggressive vocals, A Criminal Risk demonstrate that they do not plan on taking the “pop” approach to punk. They will do it their way, and nothing is more punk than that.
Backfire simply put is a rock band, but if you listen deeper and uncover the layers of their music you'll discover hints of classic rock, 80s metal, and new alternative.
Consisting of Vincent Lane (vocals), Andrew Ahne (guitar), John White (guitar), Carl Giacalone (bass/vocals), and Jay Nichols (drums), they just released their first EP, Prisoner of War.
The EP opens up with "Prisoner of War" which calmly transitions into fast paced metal guitars reminiscent of an 80s metal band. Lane is telling a story about not giving up and pushing on. About two and half minutes into the song, a nice instrumental section complete with solo and dueling guitars and a quick drum fill fit nicely into the last chorus.
"One O'Clock"comes in soft then switches to blaring guitars and heavy tones. The effect on the opening vocals are very good and the chorus is tight. Again, more guitar solos and more metal! Solid start so far.
"Regret" is probably the catchiest song on the demo and has my personal favorite chorus. "My regret is what kills me, my regret is undaunted..."as gang vocals chime in. I'm also really digging the harmonic "woah-o's" at the end. It adds a little dynamic and diversity to the music.
The next track, "Trifling Whore," slows things down a bit and is more of a ballad in the beginning. The meaning of the song is pretty self-explanatory and yet has an epic vibe to it. The song shows great maturity in the band as they are able to mesh their signature sound along with something slightly different.
"The Few, the Proud, the Forgotten" sounds like it is the most single worthy track on the EP. It has a little bit of something for everyone and a strong chorus. It has a climatic build towards the end that has Lane belting out the finals words of the song.
Overall the Prisoner of War EP is a solid first effort for the boys of Backfire. They take familiar sounds and make it their own. Lane has a great almost classic type of voice. The guitarists Ahne and White shine most with steady and consistent riff work throughout. Be on the lookout for these guys!
When It Counts is a local Staten Island pop/punk band consisting of Will Gallagher (vocals), Nick Trivolis (guitar/vocals), Jonathan Cutrona (guitar/vocals), Andrew Maino (bass/vocals), and Mike Maldarelli (drums).
Formerly known as Falling With Style, they released their debut EP, The Same Old Story in February of this year.
Listen to the EP below:
The EP kicks off with "Moving Up." Right away I know the sound, pop-punk, fast bass/snare hits, with quick guitar work mixed with some chugging. It picks up a little toward the end with a quick gang vocal and a slight breakdown. Good start!
"Hey Lance" uses more gang vocals and has a singlesque feel to it. I can envision a behind the scenes/live footage type music video where you see the band through various stages of playing and creating music.
"Ignorance" is a little heavier as far as guitar tone, but has the same punky speed as the other songs. I like the small musical break about 1:10 in. It acts as a place holder to change pace in the song. The song flows as one continual piece of music with no distinct chorus, verse, or bridge. It's a nice feel in a short burst.
The longest song on the EP, "Late to Your Own Bonfire" really showcases what the band has to offer as far as diversity. The track features great harmonies and back and fourth vocals. The build toward the end where it slows down and then builds again is nicely done.
Closing out the album is "Take a Breath." This is probably the most musically dynamic track on the EP. It has a couple of instrumental parts that serve well between vocal parts. I love the almost classic music drop, gang vocal fade out to close. It was executed perfectly.
Overall When It Counts does a good job in their debut. They take a style that is well worn and add something fresh while reminding the listener of the early 2000s with bands like New Found Glory, MxPx, and early Brand New. Look at for these guys, the punk scene just got more crowded.
First off, I would like like to say, welcome back boys! I was hoping it wasn't the end for FH, and thank God it isn't. I've had the privilege of playing shows and being friends with these guys, and I can honestly say they are one of the most talented, humble, and well respected local bands on Staten Island.
Behold, Figurehead's TheWatermelon EP...oh wait, shhhhh, you're not supposed to hear it yet, so I will kindly describe it for you...
Kick starting the ep is "Where is Your Self Control?" I love Sanbeg's drum fills that follow the guitar riffs in the opening. Immediately I noticed how crisp Taranto's vocals, dubs, and harmonies were. For a home studio recording everything is leveled nicely and yet still has that garageband luster.
"Serotonin" follows, and slows everything down. Very good guitar and bass work here. Scarsella effortlessly flows on this track. There's a great guitar solo further on in the song that is a perfect blend of chaos and melody, well done.
The next track, "Incense" Taranto pulls out his best Dave Grohl impression (sorry Chris), and pretty much vocally destroys this song. Everything about this song scream 90s grunge a la Foo Fighters or even early Incubus and Radiohead. However, the best parts of this song start just before the three minute mark, when Taranto aggressively attacks/yells the chorus leading into yet another chaotic yet organized instrumental bridge. I like what they did in the mix as well, panning the instruments back and fourth so you are being hit with different sounds on both the left and the right. It gives the listener a very cool, or disorienting feel.
"Accept the Change" sees Taranto bust out the screeching aggressive vocals like the previous song. The track is consistently on the heavier side and features Figurehead's signature instrumental rock out/breakdown, but this time it fades out into the next track, where we are brought back down in tempo.
"In Some Other World" lightens up the mood from the two heavier tracks before. It's just such a smooth and chilled out tune that it makes you vibe out without even thinking about it. The bass and drums keep the tempo, and the guitar is so relaxed. More than any other track this feels like and Incubus jam. The name of the song is perfect because you feel as if you are transported somewhere care free.
Overall, a very solid return to music for Figurehead. TheWatermelon EP manages to put some of the best works on the band on wax and create something very well done and yet contain the right amount of Do-It-Yourself. Alternative/Grunge/Punk in the way Figurehead does it might not be "in" anymore or right now, but they don't care and create passionate and simply put, "good music." So if you are into Foo Fighters, Nirvana, and a sprinkle of Green Day and Incubus, then this is the band for you. Keep rocking my friends and I'll see you all on March 23rd for the EP release show.
INTERVIEW With Chris Taranto (Vocals/Guitar)
Why is Figurehead back together and how did it happen?
Getting back together was really organic and fast. I was listening to
some things we had recorded and I was playing with some other really
talented musicians and I asked Joe if he wanted to record again. One
thing led to another and then I offered to play shows while Mike was
home for winter break and bam, we were a band again. We never really had
to ask or say to each, so this means we're a band again? It just was.
Did getting back together spark a greater fire in you guys as a band, and how has this resurgence affected your music?
I think we still have the same fire as when we left in May. We've
always fired on all cylinders, right from day one. I think we are a lot
more focused now. We hammered out the EP in about two weeks and are
slowly starting to branch out and play new places (Sullivan Hall, New
Paltz, etc.). We're writing again already, too. It's like nothing
changed other than our focus.
How did the process of the Watermelon EP pan out, and what were some of the challenges in recording it?
This EP took about a year and change to make. We actually recorded it
(minus "Incense") a year ago. But we never mixed the entire thing and it
just sat around; hence our lack of focus in the past. When we got back
together, Mike proposed that since we had some better equipment and more
knowledge of recording we should just re-record the EP and add
"Incense" to the tracklisting. Then we had more difficulties, always
technical ones with the recording program. It would randomly stop
recording while I was doing guitar tracking on "Accept the Change," so
we had to piece the guitar tracks together. And the worst was mixing
"Where's Your Self Control?" because the program deleted the bass drum
towards the end of the song and we had no idea where it went. It was so
f**king aggravating. We had to make Mike play just a bass drum to fix
that.
Why watermelon?
We've had this inside joke for quite a while concerning someone
most people know and said person has possibly had sexual intercourse
with a watermelon. We're cruel people.
Tell us a little bit about the upcoming EP release show.
We've got this amazing EP show coming up on March 23rd. It's taking
place at the NYC Arts Cypher Center, located on Broad Street in Staten
Island. We've got all of our friends playing (Paraiso, A Work in
Progress, Process of Fusion, Strays, and Diet) and it's only $5 to get
in. We're really trying to push for a community of musicians with this
show. All of the bands are splitting the cost of the venue (which I am
so grateful for, no one had any problems with helping us out) and all of
the funds go back to the bands from the door. No splitting with
promoters or anyone else. Hopefully we get a lot of people to come out
to the show and we'll try to book things like this more often and maybe
branch out to other venues, as well.
How have the fans taken to Mike's new haircut, and has he lost some of his musical power?
I don't know how the fans have taken to Mike's new haircut, but we
inside the band think it was quite a good decision. At first Joe and I were really skeptical and were like "NOOO, DON'T DO IT!" but Mike
actually looks really good. He's becoming a hipster up there at Oneonta. (Haha) Not really. And no, he's no Sampson. He's actually gotten even
better since he went to college, which is saying something cause he's a
tremendous drummer, the best I've ever played with. I tried to start
another band while we were away and I couldn't find a drummer like him.
How would sum up Figurehead in one sentence to a complete stranger?
I would say that we're one of the most honest, hardworking, punk rock bands on the scene.
What does the future hold for the band?
I wish I could give you a clear answer, but I honestly don't know (haha).
The future depends on me. If I feel creative, we'll do a lot and we'll
be very active. If I feel like I don't want to be doing something, we
won't do it. I am a pain to work with, I don't know how they put up with
me. But right now we've got a lot of things planned and a lot of music
to start working on. I have about 16 demos ready to go, so only time
will tell.
Is there anything you'd like to say or leave the fans with?
I would like to thank all of the fans and friends who've been so open to
our return. They've done a great job at supporting us in Brooklyn and
Manhattan and I really, really, really hope to see you at the release
show and hopefully you guys and gals dig the EP. It's gonna be a lot of
fun, it's just up to you to show up. Thank you, the band loves you.
Almost Here is a Staten Island based hardcore/metal band who recently just released their first EP, Royalty. I hadn't heard of them until they reached out to me through email, and I'm glad they did.
Royalty opens up with a soft piano and synth driven instrumental track called, "Don't be Alarmed; This is a Kindness."The melodic "non-hardcore" intro track has also been seen in local bands such as: Heroes and Relics; both very good hardcore bands.
From there the listener is blasted by guitars from the right as "Dig Your Own Grave" opens with panning guitars. This song reminds me of classic Comeback Kid, with a punkier style of music mixed with yelled vocals, but also had it's own dimension in deep screams. The song ends with an even heavier burst of double bass and duel guitars then it started with.
"Rip Out My Heart" comes in with a calm, as vocalist Johnny sings over pretty guitar parts. After the song switches into intense screaming, the chorus gets very punk heavy, kind of an unexpected surprise. It was a solid switch. After the second chorus the songs sort of changes entirely and sticks with the punk-hardcore sounds until the end.
"Four Nineteen" has singing in the beginning just like the track before and then heads into probably the best musical part of the album. There's a lot of dynamic between the musicians going back and fourth. This is definitely my favorite track on the album because of the level of musicianship in the song, everything blends perfectly.
Overall, Almost Home did a great job on the Royalty EP. Technically the album only has three full songs on it, we need more! They are off to the right track and the actual recording quality is killer.
Finally the wait is over! Hard rock band Spoken is back, and they are bringing the noise with their newest release, Illusion.
Prior to Illusion, which will be released on February 12th, Spoken hadn't released an album since their self-titled in 2007. However, that time gap hasn't been all idol time, the band has been working on the album since 2010.
"We've always been a band that tours nonstop, and we live in three different states. Writing music is sometimes difficult with that equation. There's been a little time between records, but we've never slowed down as far as being a band. You can expect better songwriting on the new record. We approached this record differently than we have the other records. We did the new record with Jasen Rauch, (Brian HEAD Welch, Disciple, RED, and more)," said singer Matt Baird in a previous interview on here.
'Illusion' Cover
Spoken has always been a band that has varied in styles musically. Their first couple of albums were rap/metal reminiscent of Rage Against the Machine, while their next few were more post hardcore before naturally maturing to a refined metal sound. Illusion takes the best of their previous formulas and infuses it with poppier hooks and catchier choruses.
Illusion kicks off with powerful guitars on "Stand Alone." The verses are yelled as Baird is forcing them through a controlled and synchronized scream to go with the music. The chorus then switches to more of a melodic section before he flips it back to screaming.
"Beneath the Surface" starts off very much like the first track; with dual guitars blazing and screaming vocals. Following the same formula as "Stand Alone," the chorus features sung vocals. There's a cool little underwater effect placed throughout the song that adds just the right amount of filter 'beneath the surface.'
The next track in "Don't Go." Heavy guitars open up, but the verses are more of an aggressive singing. The chorus is layered with strong melodies, "Close your eyes and remember me the way I was before...Just stay with me and we can weather the storm," powerful lyrics.
"Through it All All" is the first song on the album that switches gears and also their first single. It's a bit mid-tempo and has a nice blend of guitar work and what sounds like subtle piano or guitar. It positive with a message with the hook proclaiming, "Though our hearts have been broken, we've been burned by the flame/We will rise from the ashes again!"
"More Than You Know" showcases a poppier side of Spoken. The vocals are a bit whispery at times, and again are layered with fantastic harmonies. Overall it's just a solid song touching upon the subjects of self worth and self admittance.
Flowing perfectly from the last track, "Remember the Day" has a soft tone but a big feel. The recording itself has a grand quality, heavy guitars and booming vocals. Spoken does a superb job in capturing a "rock ballad" with this one.
Bang, que the noise, "Shadow Over Me" adds the jolt back into the album after the two-track lull. Adversely, this song is the first time where Baird screams over the chorus and sings the verse. The bridge into the drop out/outro is nicely done as well.
To sum up the song "Accuser" simply... it's heavy. Everything about the song is gut punchingly heavy and it's awesome, especially the metal breakdown part towards the end!
"Take Everything"is a track that could probably be another single because it has a very commercial sound, and a clear relatable focus. "My heart is yours for the taking," could be about a girl or in the case of Spoken's Christian roots, a reference to the forgiveness of God.
"Tonight" slows it back up and is about feeling alive and making a declaration of change and using one moment, 'Tonight,' to transform and "leave it all behind." A great message of encouragement in an easy package.
Next up is the softest track on the album, "Calm the Storm." Again, another powerful song with an inspirational chorus. "Be the hope when the world is crashing down/Come wrap your arms around me/Calm the storm inside me." The song is a cry out to God for his comforting touch to get through any situation.
The title track, "Illusion," finishes up the album with a burst of energy just like in the beginning. Back is the screaming, back is the harmonic melodies, and on come the gritty guitars. "Illusion" matches "Stand Alone" musically as it follows similar guitar patterns, and even starts the same with the faded in sound. The song ends with Baird's chanting as guitar feedback overcomes it.
Through and through, this album is a great welcome back for Spoken. The production is great, the vocals are on point, and the heaviness is brutal with some solid standard rock tracks sprinkled in. Illusion takes the listener through ups and downs as far as sonically, with bouts of heaviness, ballads, and midtempo coming in clusters. Spoken has certainly evolved through the years and with this latest transformation, they are going the right way.
Love and Death's Between Here & Lost is an inspiring foray into the world of former Korn member Brian "Head" Welch's mind and past demons as he transitions into a Christian. The message conveyed through the album is about finding a way through being stuck between complacency and misdirection.
The album opens fittingly with the lyrics, "Wake up sleepy wide awake!" as Welch screams of not giving up on "The Abandoning." This song has a killer melodic chorus with lots of harmonic layers. A great start to the album.
The second track is a cover of Devo's "Whip It." However, that's where the similarities end; this version is amped up with crunchy guitars and grungy vocals. Love and Death truly made this song their own; not to mention a guest vocal appearance by Spoken's Matt Baird.
"Watching the Bottom Fall" is about falling for the same lies and promises we make to ourselves and yet still expecting to have a different result. The bridge into the last chorus has a nice flow to it as it changes up slightly.
This song is very personal and deep for Welch as reflects over a death in his life and while the song is mostly heavy the chorus mellows out more into a heartfelt angst free cry of sorts. "By the Way" is LaD's version of a rock ballad.
"Meltdown" opens with brutal guitars into Welch's signature deep songy whisper that he so often uses on verses which then leads into a growling mini breakdown before the chorus. Later on into the song it completely drops out into a chanting and soft bridge before kicking the adrenaline back in.
"Disaster" focuses on the Welch's inner turmoil with God as he feels sometimes he is left to fend for himself. He's not blaming God, but rather asking Him why He allows periods of loneliness to occur. Some of the highlights of this song is the instrumentation. The drums are great and the cool effected guitar riff over the chorus fits perfectly.
Next up is "I W8 4 U" featuring Mattie Montgomery of For Today. He contributes some heavy screams to the track as he blasts lines "Tell me you lost it, tell me you lost it." It makes the song feel like it's up in your face, a very nice touch.
"Fading Away" goes back into the theme of lies and encourages all those who fall for them to "Lie down and let go" before they fade away.
"Paralyzed" opens up with synthy guitar sounds reminiscent of the work he used to do in Korn. It's easy to see why this song was chosen as a single. It's one of the more catchier tunes on the album, and would appeal to a good spectrum of rock fans as it has multiple changing styles to it.
"Chemicals," which was also selected as a single and had an EP of the same name may very well be the best track on the album. It's crazy to hear how Welch gets his voice so low on parts like, "You're the killer and I'm the kisser." The song rings out almost as if it were an anthem for what the band stands for.
The final song on the album is, "Bruises." Everything about "Bruises" is powerful and hauntingly beautiful. The keys and light guitar work compliment Welch's mellowed out soft singing. It picks up for a little bit within the last minute of the song but never enters into the realm of brutality like the other tracks. The best part of this song are the lyrics. "Show us how to live/How do we forgive...Show us how to die/How to give our lives/Living sacrifice."
Overall Between Here & Lost tells a story of a broken man looking for a change. "This record was birthed from trials, tribulations, pain, suffering,
anxiety, depression, and drama. However, we came out on top and the end
result is a very real, raw & honest record," Welch said to antiMusic.com. With that being said, the album encompasses everything we'd expect, awesome nu metal heaviness with a positive message and amazing musicianship. Love and Death is just scratching the surface of their musical journey, and I can't wait to see what's next.
Hailing from Wells, Maine, Cam Groves released his album, Hope Something Cool Happens (2011). As a side note, I booked Cam Groves at the Full Cup December 2012 along with Spose, Educated Advocates, and Kristina Kentigan. I decided to buy an album from each artist to review and this is what I bought.
After listening to the first song on this album, I was instantly hooked into listening to more because of the humorous originality of Cam Groves. That first song is “Stand Still.” I can always respect when an artist perfectly explains his/her life with no exaggeration. It’s hard for rappers these days to be honest with themselves in their music. Cam Groves does the opposite and his substance is relatable to the working, middle class trying to catch a break and have fun.
One of the coolest tracks on this album is “Studio Beat-Box.” It’s rare nowadays to have beat-box on a track in a 21st century. It definitely shows the type of Hip-Hop that he’s influenced by. As far as flow, I feel like it’s one of his best tracks on the album. The multi-syllables match together concisely.
The last song, “You Can’t Stop Me” is my favorite off this album. Regina Lucchese really purifies the hook and convinces you to pay attention to the verses that Cam Groves raps. It’s a very motivating and simple song not to mention how relatable it is for everyone. The song is about perseverance. His humor is incorporated smoothly in this and there’s nothing too outlandish that would turn a listener off on this song.
Fairday Skyline is a local Staten Island band consisting of:
Kyle Blaine Corman - Vocals
Matt Kessler - Guitar
Patrick Granton - Guitar/ Backing Vocals
Michael Koltosky - Bass/ Backing Vocals
Manny Mavrakis - Drums/ Screams
I know a couple of the members of this band very well from them being members of various other S.I bands. Glad they found a home together in a band that seems to be going places.
Their EP, My Empire, which to my understanding has not been released (SNEAK PEEK!), is the first studio compilation by Fairday Skyline, so here we go!
The album opens up with an instrumental called "With Glad Tidings." I really like the track, it's almost like the score for the intro of a film and is kind of ominous as it goes into the first track. A perfect intro that leads right into the ripping chords of "Waiting For Someone."
"Waiting For Someone" is a solid start to the album. Kyle's harmonies over the chorus are great and are complimented nicely with Manny's screams. The track has just enough instrumentation in it and features a gritty instrumental part into a softer lull before picking up into the final chorus.
Artwork by Nick Pisani
Next up is "Who Decides," and I'm deciding it's the catchiest song on the EP (sorry, I had to). The chorus is almost like an anthem to adolescence and the whole music scene. It's an awesome story to paint a picture in song, as we all know somebody that can relate. This would be the most worthy radio single on the album. Just like the first track, there's a slower bridge that leads into an almost break down like rendition of the chorus.
"Spreading the Disease" feels like a heavy acoustic song in the beginning, if that makes sense. Mike's bass-line throughout the song is great, and the music is the most dynamic on the album. There's a lot of nice guitar and drum parts. Overall, just a really good song that has something for everyone whether they are looking to just jam or vibe out. Also, around the 3:50 mark there's a pretty cool humming bridge which allows Kyle to get in at showing his talents off.
The following track kind of feels like a throwback in music to me. "Down to Earth" has an interesting sound that I can't put my finger on. At times the guitars and their tuning remind me of something out of the early 90s or even 80s but the vocalization is more dare I say Senses Fail-ish Alternative/Nu Metal like Shinedown. I'm very confused but in a good way, nice job guys! And finally the song displays some of Manny's deep growls!
The last track, "Maynard Fights Fan," is the most different on My Empire. The verse kicks in with an almost jazzy like guitar part interlaced with Kyle's singing and Manny's screams. It's very cool to say the least. We also see the bands catchphrase come in during the chorus, "We Are Terrifying." The second verse is musically like the first, but a lot heavier. Guitarists Matt and Patrick do a splendid job on this song going back in fourth between sounds and the song becomes almost genre bending. The heaviest part of the EP comes at the end of this song, providing a great way to go out.
Fairday Skyline has a signature sound and way they create songs. They seem always have an intro to the song that changes as the vocals come in, and they have a quieted down bridge and/or solo instrument section. The production and instrumentation is great. Kyle's vocals are well done and well layered. Manny's screams are on point and piercing. My only complaint is that he be featured more, but that's my preference for heavier stuff. A great first effort by the band, I encourage you all to get yourself a copy of My Empire!
