It’s no secret that the band members love touring and recording both, equally- that is apparent in their exuberant smiles onstage and ridiculous excitement in the studio. They don’t tire of the cycle, a common trend with artists that are pushed to create, create, create and tour, tour, tour in a limited amount of time.

Rock N’ Roll Romance, however, is a bit of a hit and miss for a minority of their fans, myself included. Since the July premiere of lead single, “Have a Nice Day” (check out their lawn party music video, also premiered yesterday), I’ve progressively lost interest. Then came the mid-August announcement that the album was to be pushed back a month.

Nonetheless, the album sounds like an accomplishment. Such a fact cannot be denied- the guitar solos are glitzier, the rhythms are distinct, and Cameron Melnyk’s vocals are a lighter embodiment of that West Coast crunch (think Theory of a Deadman, The Veer Union). Despite complaints, it’s no “poppier” than its predecessor- remember the chart-topping chorus of “Money Honey”?

The lyrical theme of the album is a continuation of Life, Love & Lies, but with more sex, drugs, and glam. Apparent from their previous efforts, State of Shock excel at ballads, and fans will be gifted with “Innocent Girl”, “Mary Goes ‘Round”, “Last Call” and “Used to Be” this time round. “Wish I Woulda Wowed U” catches their audience with an anthemic swing. Although a little too layered at times, the gang vocals are well executed overall. Dirtying it up with fast, catchy hooks in “Gone N’Done N’ Did It”, then slowing it down before ending on a high note for the title track; the Romance feels whole.

upcoming tour dates
physical album and merch
digital on iTunes

State of Shock is Cameron Melnyk (vocals), Alison Toews (bass), Jesse Wainwright and Simon Clow (guitars), John Philippon (drums).

No, Austra’s premature success was brought on by an equally Canadian-American indie crowd whose only deceit can be found in their over-indulgence of obscure acts for purposes of boosting one’s self-image. While Canada may have had a week’s advance on Feel It Break, fans on the southside of the border wouldn’t have anticipated the release any less than their northern neighbours if they had not been given a headstart. (Sincerest apologies to you Brits and continental Europeans; I’m simply not up-to-date about events on the other side of the pond.)

The opening track, “Darken Her Horse”, begins with an abrupt vocal entry, an opportunity for lead vocalist Katie Stelmanis to establish her presence immediately. An isolated, reverberating chord is joined by other sparse, repetitive effects as the accompaniment layers into the chorus. Here the vocals become choral and warmer than before, comparatively speaking. To call Austra a warm-sounding group is quite impossible. Equally inappropriate is to allot the bridge “soaring harmonies”, but despite their dark tone, such is achieved. For these reasons, the band can expect a decent level of respect from their fans and casual listeners alike.

The second track- and second single- has a lighter, more-sparkly intro. (Mind you, we’re still talking on the more solemn side of the spectrum.) Minimalist lyrics are vague, wary of the departure of a significant other and perhaps the arrival of another… significant other? Five-finger scales commence on “The Future” to a subdued, determinate percussive beat and become the recurring theme on the 4-minute track, with a similar atmosphere to its predecessor. The end harmonies are slightly dissonant, producing an eerie finish and putting an end to the subtle optimism for the next track.

“Beat and the Pulse”, the lead single, and its webbed/winged dancers (video NSFW) were a huge hit from their premiere, over three months ago. Still up to debate is the trio’s musical style, which has been labelled anything from goth pop to witch house. There is a definitive New Wave element to their atmospheric backdrops, while Stelmanis’s previous operatic vocal training is a key contributor to the sustained haunting effect present in her singing (source). As far as comparisons go, in my limited experience with this musical genre, I am tempted to say How to Destroy Angels on the industrial extreme and Zola Jesus, leaning towards the pop side. Austra is a wonderful gem for anyone who enjoys gothic, Dark Wave subgenres or has an affinity towards deeper, more soulful pop.

Mid-album tracks, “Spellwork” and “The Villain” delve into stronger beats and a bit of jangle, reminiscent of Depeche Mode in the late ‘80s. Along with bubbly-accusatory “Hate Crime”, the former also sacrifices a little vocal sensitivity for raw feeling. Very post-grunge. In contrast, “The Choke” brings out insistent piano accompaniments, showcasing versatility and a softer, more emotional vocal line. Returning to “The Villain”, for I must praise it further, especially the bass line. Apart from sporadic hi-hat and ride cymbal, bassist Dorian Wolf provides the only driving rhythm until Maya Postepski’s entry with the rest of the kit.

“Shoot The Water”’s moving accompaniment answers the call for much-needed variety at this point in the album. Stylistically, it is the outsider, with uptempo piano accompaniment, in the manner of soundtrack music to a locomotive scene in a silent movie. (Which, frankly, is too many words to describe a simple thematic idea, but it was too visually charming a description to avoid.) The track is this way until the end, unlike previous songs with segmented movements.

Feel It Break is concluded with two tracks, one titled “The Noise”, the other “The Beast”. The former employs conversing vocals, at least in pitch and what seem to be electronically modified handclaps. The latter is piano-driven from the start, once again in that locomotive style. Stelmanis’s vocals in this finale are astonishing and stronger than ever; almost like a vocal bugle call of sorts (here I’m thinking “The Last Post” or “Taps”). Nice chordal end, but shortly after there is a wisp of piano. Maybe it’s a “to be continued” or a clumsy hand on the keyboard… eh, maybe it’s an inside joke. Nonetheless, it’s a heart-stopper, one of the standout tracks, which include “Beat and the Pulse”, “The Choke”, “The Villain”, and “Shoot The Water”- oh, I’m fully aware that accounts for half the album.

Track list

01 Darken Her Horse
02 Lose It
03 The Future
04 Beat and the Pulse
05 Spellwork
06 The Choke
07 Hate Crime
08 The Villain
09 Shoot The Water
10 The Noise
11 The Beast

Purchase this album digitally on iTunes or via Domino Records.

Tour dates

The trio visits Lee’s Palace in Toronto on Thursday night (the 19th), before swinging into the Northeast States (CHI, NYC, BOS). They return to Quebec/Ontario for three more shows as follows before embarking on a June-July European tour:

May 26th – Montreal @ Il Motore
May 27th – Ottawa @ Ritual Nightclub
May 28th – Waterloo @ Starlight Social Club
All dates here.

Austra is: Katie Stelmanis (vocals, keys), Maya Postepski (percussion), and Dorian Wolf (bass); live additions: Ryan Wonsiak (keys), Romy and Sari Lightman (backing vocals). Official site.

Californian alternative rock outfit, I Am Empire released their second studio album today on prominent Seattle label Tooth and Nail. Kings borrows techniques from the wave of arena rock that has mounted charts recently; the sounds of My Chemical Romance, 30 Seconds To Mars, and Kings of Leon. It’s a shame they’re not better known.

“Heart Attack” is explosive and catchy, featuring some intricate guitar work from Andrew Stanton, while immediate fan favourite, “Saints & Sinners”, possesses all the makings of a scream punk hit a la Alexisonfire, only fresher. The chorus attacks, “How can you be a saint when you’re a sinner like me?” atop riveting vibrato chords. The next two “&” songs complete the trilogy on a lighter, funkier note.

Two original songs that brought them to media attention in 2008, “The Elevator” and “You’re A Fake” have been rereleased, encasing the two ballads of the album, besides the closing lullaby, “It’s Not Fair”. Contrast is present, at a level slightly above what would normally be expected for a band of similar style.

But it is their new lead single, “Brain Damage”, with its epic “We are the sons and daughters” chorus and amusingly memorable hand motions that contagiously accumulated upwards of 10,000 hits on YouTube. (Twice the number Tooth and Nail videos regularly get- and in the last five days, as well.) Austin Lyons, you’re an eccentric one, but undeniably adorable. The video itself is nothing much; a straight 2:41 minutes of the band performing in a… forest? See for yourself.

The five-piece were an instant hit in their hometown of San Jose, gaining the attention of major radio stations, magazines, and Myspace surfers. But it’s no wonder they were popular from the start. A definite roots rock influence can be heard, masked over by (this can’t be stressed enough) impressive guitar for such a young group. Their next steps will be developing a more distinctive sound for a listener to identify- “yes, this is I Am Empire”.

Track list
01 Brain Damage
02 Heart Attack
03 Saints & Sinners
04 Hammers & Anvils
05 Love & Despair
06 To The Moon
07 The Elevator
08 Dig You Out
09 Take Me Away
10 You’re A Fake
11 Foxhole
12 It’s Not Fair

Purchase this album digitally on iTunes or via Tooth and Nail.

I Am Empire is Austin Lyons (vocals), Andrew Stanton (lead guitar), Joshua Case (bass/vocals), Dan Otis (rhythm guitar), and Eric Martin (drums). More info / Myspace.

The Wild one may be short but provides some great tracks and a sound that may have not been so present in the past. The band has definitely matured and the new EP has some great highlights. I would say my favorite track off the album would be the title track “Wild One” and it is the one that differs most from their past in a good way. Ned Bower actually takes on the lead vocals for the track and it provides a jazzier sound to the track that we normally haven’t heard.
My other favorite track that really portrays the sound the band has come to be known as is the opener to the EP “Suckceed” which has a great introduction that seems to be sang by the whole band.

If the work on this EP is anything like what their next full length album will bring later this year, this band will definitely be regaining the following they had before and adding a great amount of new fans to their roster!

Possibly sounds like: Wild Sweet Orange, Augustana
Out of 10: 9/10
Track Listing:

1.Suckweed
2.I Don’t Understand
3.Wild One
4.The Days Keep Going By

I thought that they could have opened up the album stronger, but as I listened to the remainder of the record, I realized each track had its own specific highlights. The second track, “A Lifeless Ordinary”, showcases the improvement of Justin Pierre’s vocals as well as guitar riffs, and both tracks “Disappear” and “Delirium” included captivating choruses. As “Pulp Fiction” arrives, you’ll be brought back into the 90’s pop-era with a similar sound to The New Radical’s hit “You Get What You Give”. And when “Hysteria” comes through, you’ll take a step forward to the sounds of their former albums. Furthermore, they also embrace features that are comparable to other artists, for example the track “Stand Too Close” includes the similar sounds to the band Sherwood with their easy-listening-pop, driven by simple acoustic guitars and very catchy clap line. In addition, the track “@!#?@!” shows an older, bouncy, pop-punk root like the vintage style of the bands Green Day, New Found Glory and coincidentally Blink 182. This record was saving the best for last with “The Weakends”, including mesmerizing features such as brilliant guitar riffs, a rigid set of lyrics that captures your attention, and a snare that adds a great punch to the track.

My Dinosaur Life doesn’t reach perfection, but what I love most about this band is they don’t write what’s currently hot. However, their passion and belief in themselves drives them enough to continuously write a good record. I feel as if the album itself may have been slightly rushed, due to the fact that they only spent a year creating, working, and producing this album which will be released January 19, 2010. Motion City Soundtrack will enjoy a successful release as fans eagerly await to hear what they have created, and for what’s in store for the next chapter.

-Shannah Lauren

My Dinosaur Life Track Listing:

1.     Worker Bee
2.     A Lifeless Ordinary (Need A Little Help)
3.     Her Words Destroyed My Planet
4.     Disappear
5.     Delirium
6.     History Lesson
7.     Stand Too Close
8.     Pulp Fiction
9.     @!#?@!
10.  Hysteria
11.  Skin And Bones
12.  The Weakends

Check out Motion City Soundtrack on tour w/ Weezer:
January 18, 2010: West Babylon, NY (Looney Tunes In-Store)
January 19, 2010: Boston, MA (Newbury Comics Instore)
January 20, 2010: Fords, NJ (Vintage Vinyl Instore)
January 21, 2010: Aurora, IL (Best Buy Instore Performance & Signing)
January 22, 2010: Bloomington, MN (Best Buy)
January 23, 2010: Minneapolis, MN (First Avenue)
January 25, 2010: Grand Rapids, MI (The Intersection)
January 26, 2010: Cincinnati, OH (Bogarts)
January 27, 2010: Cleveland, OH (House of Blues)
January 29, 2010: Pontiac, MI (Clutch Cargo’s)
January 31, 2010: Pittsburg, PA (Mr. Small’s Theater)
February 01, 2010: Towson, MD (Recher Theater)
February 03, 2010: New York, NY (The Fillmore at Irving Plaza)
February 04, 2010: Hartford, CT (Webster Theater)
February 06, 2010: Charlotte, NC (Tremont Hall)
February 08, 2010: Atlanta, GA (Masquerade)
February 10, 2010: Dallas, TX (The Prophet Bar)
February 11, 2010: Austin, TX (Emo’s)
February 12, 2010: Tucson, AZ (Rialto Theatre)
February 14, 2010: W. Hollywood, CA (House of Blues)
February 15, 2010: Anaheim, CA (House of Blues)
February 16, 2010: San Francisco, CA (Regency Ballroom)
February 20, 2010: Brisbane, Australia (Brisbane Soundwave Festival – RNA Showgrounds)
February 21, 2010: Sydney, Australia (Sydney Soundwave Festival – Eastern Creek Raceway)
February 26, 2010: Melbourne, Australia (Melbourne Soundwave Festival – Melbourne Showgrounds)
February 27, 2010: Adelaide, South Australia (Adelaide Soundwave Festival – Bonython Park Oval)
March 01, 2010: Perth, Australia (Perth Soundway Festival – Steel Blue Oval)
March 04, 2010: Tokyo, Japan (Akasaka Blitz)
March 07, 2010: Nagoya, Japan (Club Quattro)
March 08, 2010: Osaka, Japan (Big Cat)
March 23, 2010: Leeds, UK (The Cockpit)
March 24, 2010: Oxford, UK (O2 Academy)
March 26, 2010: London, UK (Electric Ballroom)
March 27, 2010: Manchester, UK (Academy 2 @ Manchester University)
March 28, 2010: Birmingham, UK (O2 Academy 2)
March 30, 2010: Glasgow, UK (Oran Mor)

You Me At Six has many unique qualities but when it came to Hold Me Down, I believe that a lot of the tracks sounded quite similar, and only a few have grabbed my attention. Although the album is very good, I feel their ultimate musical ability is yet to be achieved. Overall, Hold Me Down is a great record with a similar sound to the likes of The Audition and Dear And The Headlights, combined. This being said, I believe that this record will not only hold onto the fans they have established to date, but widen their admiring horizons. Keep your eyes peeled for these boys, as they have just completed their trek on the AP Fall Ball Tour and will be making the rounds on Warped Tour 2010.
Band Members:

• Josh Franceschi- lead vocals
• Max Helyer – rhythm guitar
• Chris Miller – lead guitar
• Matt Barnes – bass guitar
• Dan Flint – drums

Best tracks: Underdog, Stay With Me, Liquid Confidence

For fans of: Mayday Parade, The Audition, Dear And The Headlights

As Tall As Lions has given off a more percussion atmospheric vibe of different sorts and styles of rock. Opening the record with one of the best tracks “Circles”, carrying echoing hand-claps, and a dreamy guitar line. Distorted, yet melodic. You can feel the tears and sweat in how hard they worked on this track, “Circles” has come alive. Though, the track “Duermete” was the most breathtaking with its gentle touch, swirling synths, bass and muted trumpet. Once the intro has passed, the guitars gradually enter and then drums. With Daniel Nigro’s flirtatious charming vocals along the track and the slow build up, this track can be quite familiar to Sigur Ros’s techniques. Once “The Narrow” comes on, this gives you a different taste of ATAL by spicing up the album with a dose of Jazz fighting against Pop-Rock.

One of the most obvious elements of As Tall as Lions are their usage of textured and layered vocals, creating each track to have it’s own personality. For example, since lead vocalist Nigro’s managed to charm with background vocals for this album, allowing bassist Julio Tavarez to shine on the title track and “Duermete,” and guitarist Sean Fitzgerald to showcase his pipes on “Sleepyhead”. Experimenting with different instruments was just to top the record off, making the rhythm section carry an undeniable force.

For a record that could just be the Album of the Year, making #88 on the Billboard Top 200, You Can’t Take It With You almost didn’t even get produced. As Tall As Lions had faced a rock in a hard place after near-break ups, shifting three different producers, and scrambled different last minute changes. This may have been a blessing or a curse, bittersweet as they say. Could it have made them weak in the end? Or could it have possibly created their passion and desire for You Can’t Take It With You.

Although this record is currently one of my favorites, it may not grab everyone’s attention. Many As Tall As Lions fans were hoping that they would keep the direction they were going in with their last record Into The Flood, believing that only a few tracks off this new album can hold their attention with their manipulating time signatures. As for the others, they are impressed with what As Tall As Lions can pull off. They can fit different styles, different techniques, and yet keep their special touch. You Can’t Take It With You can’t win everyone’s heart, but it will for the ones who have the time, patience and repeated listens.

Overall: 8.5

Release date: August 10th 2009

Label: Triple Crown Recordings

Best Tracks: Circles, Duermete, Sleepy Head, and The Narrow.

Ben Gibbard has successfully captured this vision. He seems to be able to capture our emotions in everything he does, perhaps because we see a little bit of ourselves in him. His work with Death Cab has lyrics that touch us personally due to the fact that they’re so relatable. The hopeless romantic in us all doesn’t feel so alone listening to his music, and a sense of hope is gained, knowing that we’re not alone in the way we feel. And he married Zooey Deschanel, which immediately took him from relatable to enviable. Yet we just can’t hate Gibbard, there’s something about him that just makes him that much like-able.

In his new album with Jay Farrar, which is used as the score for the documentary film “One Fast Move or I’m Gone: Kerouac’s Big Sur,” Ben Gibbard takes us for a ride. A departure from the typical Ben Gibbard sound, but likeable nonetheless, One Fast Move showcases Gibbard and Farrar creating an alt-country/indie-folk album yet maintaining the some elements that have made their previous creations accessible. This album starts with a purely acoustic upbeat song about the California zephyr, with Gibbard on vocals. The album continues with “Low Life Kingdom,” with Farrar on vocals and a more country-tinged sound to it, with soft drum fills and southern twang, “I’m gonna die in full despair/wake up where the atmosphere is dearer/maybe close to heaven,”. It continues with Ben Gibbard and Jay Farrar trading off on vocals on each song, each with a somewhat different sound, but all maintaining the country/folk-ish sound that makes the album cohesive.

All in all, this album is a treat for Ben Gibbard fans and indie folk/alt-country fans alike, blending the two in a way that can be appreciated by both sides. The album of course has its stand out tracks, those for me being “California Zephyr,” “San Francisco,” and the title track “One Fast Move or I’m Gone”. However, the entire album runs really well together, and creates a good album to just relax and listen to. Or maybe, take a drive down the coastline, windows down, wind blowing through your hair. Make that vision a reality.

-Jeremy Froncek

Overall Rating: 8.7

RIYL: Death Cab for Cutie, Ryan Adams, Bob Dylan, Whiskeytown, Conor Oberst (solo material)

Light, dark, sorrow, happiness, love, heartbreak, are all shared in Davey Havok’s words. Starting off the record with “Torch Song”, which I thought was a brilliant track for an intro to a record, carries a catchy chorus, and the classic heart throbbing lyrics, which is no surprise when talking about AFI: “I’d tear out my eyes for you, my dear/anything to see everything that you do”. The next song that grabbed my attention was “I Am Trying Very Hard To Be Here”, bringing back hints of the band’s former selves, with an original southern rock feel brought to the record. Though, once you listen to “Okay, I Feel Better Now”, starting off with a calm build-up, then breaking in the alluring and mesmerizing chorus, you realize this is may just be the best of the record.

Being their 8^th studio album with new producers, Crash Love has a neat, tight presentation. In other words, they played it rather safe. Tracks like “Too Shy to Scream”, “Veronica Sawyer Smokes” and “Medicate” prove that point, with a radio-friendly commercial feel. They may be taking the risk of losing the original AFI, and turning into what is more acceptable in today’s popular music society, but we won’t know if they will follow this direction until the next record is produced. That being said, this risk may turn away former AFI fans, and may also bring along new ones.

Although this record is a blast from the past since the band was formed back in 1991, it is a lot different than Decemberunderground and Sing The Sorrow. Then again, if you are a die-hard AFI fan, you would know change is evident, having noticed they have the ability to make every album carry a different flavour, which you don’t find in many bands nowadays.

Overall, Crash Love does have its standout moments, but is played safely. Despite the fact that a few of the tracks have created a good record rather than an incredible one, it still has the ability to not play predictable. Crash Love is the ideal of a deep guitar-driven radio “hit”, which in the end may fit AFI nicely. Once the 9^th studio album comes along, I personally would like to see them carry on the positive direction they brought in this album, but also bring back the former AFI style. All we can do now is wait and see what they have in store for us next.

Rating: 6/10

AFI is:

Davey Havok – lead vocals

Jade Puget – guitars

Hunter Burgan – bass

Adam Carson – drums

Best Tracks?  “Okay, I Feel Better Now”, “Torch Song” and “I’m Trying Very Hard To Be Here”

The album is introducted with one of the tracks they recently released on their MySpace, titled “Kids In Love”. The song carries you away with the infectious drum beats, just as the guitar riffs can make you literally dream of two kids falling in love. This is no surprise to Mayday Parade’s former album, but I was ready to hear something that stood out from the rest. Once I had listened to the next track, “Anywhere But Here”, that’s exactly what I got, and it was just the beginning. I felt as if it was very “Ohio Is For Lovers”, but obviously without the screaming, cutting wrists or blacking eyes. Overall, way better.

An intro, in my eyes, is one of the most important parts of a track, and once I approached “The Silence”, I was sold. The song breaks it in with guitar solos worthy of a stint in Guitar Hero (which I may have caught myself air-playing along to). Then kicks in the solid classic vocals of Derek Sanders, deeper than ever. The chorus has taken over, and this is what I call perfection.

Can you feel the transformation? Can you hear the charts calling? I sure can, and they deserve it. Anywhere But Here may just be the most awaited Mayday Parade album yet. It’s been two years since their last album release, and the fans are ready for what’s to come. Though there is already a conflict about the change of style from former Mayday fans, not accepting that it’s still the same old band, they should appreciate the thrilling new twist. I believe that it shows a lot about them as a band, not following what everyone wants or expects, but writing music the way they want it, and that’s what a lot of bands are afraid of nowadays.

Another reason why I love this album is the variety of music you have to choose from. They supported not only the new version of Mayday, but also a bit of the old as well. Throwing in an acoustic called “I Swear This Time I Mean It”, reminding you of their former softer tracks such as “Three Cheers for Five Years”. Though it will never sound the same as before without Jason Lancaster’s vocals, who was a former vocalist and left the band in 2007, shortly after the A Lesson in Romantics album recording was completed. Although Lancaster did a good job, I believe that Sanders sounded incredible on his own in Anywhere But Here.

I can only tell you my open opinion about the new record, but if you can accept Mayday Parade’s new skin also, and an incredible album full of brilliant lyrics, vocals and air guitar sessions, I’d highly suggest getting this record yourself when released in stores on October 6th, 2009.

Overall Rating: 9/10

Mayday Parade is:

Derek Sanders – lead vocals, keyboard
Jeremy Lenzo – bass guitar, vocals
Alex Garcia – lead guitar
Brooks Betts – rhythm guitar
Jake Bundrick – drums, backing vocals

Best Tracks: “The Silence” , “If You Can’t Live Without Me Why Aren’t You Dead?”, “Get Up”, “I Swear This Time I Mean It”.