Oh John Nolan. I want to like you so badly. I'm super glad that you're back in Taking Back Sunday, because that's badass, but wow. Honey. Um.
I've had Height in my car for a while now, and I've only listened to part of it. But since I was stuck in traffic for a solid hour yesterday, I decided "why the hell not give this a listen, since I'm just sitting here!" So I did.
It's... strange. Nolan doesn't seem to have the ability to keep his voice from going super gratingly nasal on occasion, which is a blower because otherwise he's got a pretty nice voice. But his solo album is like the bastard love child of Straylight Run's The Needles, The Space and Brand New's The Devil And God Are Raging Inside Me. The bastard love child that nobody wants to claim.
The first track, "'Til It's Done To Death" is weirdly electronic, and sets the tone for the rest of the album. It's all pretty weird, and it's strange to say that his cover of Primitive Radio Gods's "Standing Outside A Broken Phone Booth With Money In My Hand" is hands down the best track on the album.
Instead of getting this, you should pick up Live At Looney Tunes CDs, which is a live acoustic album (which you can get here at ThinkIndie for five bucks) to hear the good songs without the electronica weirdness, the cover, and a bunch of in-between song banter that involves the other dudes in Taking Back Sunday heckling him.
-julieann
Showing posts with label album. Show all posts
Showing posts with label album. Show all posts
Friday, July 30, 2010
Wednesday, March 24, 2010
First Listen: Paramore - "brand new eyes"
lanie: it is really hard to appreciate the epicness of paramore on a first listen, can I just say that?
julieann: yeah, probably this is a bad plan
lanie: it's not like you can't appreciate them but their singalong quality is a huge part of why they're awesome
julieann: truefax
julieann: mentally i'm prepared to turn this whole thing into a plethora of eisley jokes, just like the brand new review.
lanie: noooo
julieann: think of how much stuff we listen to that lends itself to a lot of eisley jokes.
Track One: Careful
I don't like the repetition of "more" in this. I think mostly, I have issue with with the way it breaks into what's pretty much two distinct words. I hate that in singing. It makes me crazy. Otherwise not a bad track, but that one little annoying thing is putting me off. It's whatever. - Julieann
This track is par for the Paramore course. I love when Hayley sounds angry -- and she does, but this song is just here. Not a great pick for a first track. Not everything can be the most epic song ever, but I was hoping for something a little more impressive. - Lanie
Track Two: Ignorance
This is actually the first review ever posted on this blog. View it here.
http://loseyourcred.blogspot.com/2009/07/first-listen-paramores-new-single.html
Track Three: Playing God
The title didn't really hold up to what I expected, which was blasphemy. I like this track. Hayley Williams is pissed. Better watch your fingers boys, because she's about to break those suckers off. And then Lanie gave me a Taking Back Sunday earworm. She's a whore. - Julieann
There's a line about pointing someone's finger into a mirror that was a little cheesy and kind of ruined the end of the chorus for me. It was better than hearing about the three fingers pointed back at oneself when pointing fingers but still. It's a good mid tempo jam and I can't find much fault with it. - Lanie
Track Four: Brick By Boring Brick
So I'd heard this one before, because I think it rolled through on my iPod or something since it's been lurking on the internet a while. I don't know what that says about the song that I listened to it then couldn't remember it, but probably nothing good. Then I heard the "ba da ba da ba ba da" shit and remembered why I didn't enjoy this track in the first place. Also, I want someone to explain to me what "bury the castle" is supposed to refer to. Hatchets, yes. Castles? Not so much. - Julieann
I'm not sure where I'd heard this one before either, but I knew that I liked it. Something about the ending freaked me out a little but it was decent enough. - Lanie
Track Five: Turn It Off
I'm not sure if this track is too religious or what. I get icky when God is brought into things, you know. Cranky-like.
lanie: I'm not sure it's literal more than it is just using religious imagery to discuss losing faith in someone...or something like that
julieann: that's a lot of expectation in a band who prosletyzes on stage
As someone who has seen The Almost, Paramore is almost not religious at all. I do get cranky as well when religion is brought into music because it forces people to choose sides rather than bringing them together, so I wish this track didn't involve that. It was, otherwise, a nice song about losing your faith in someone, I feel like. - Lanie
Track Six: The Only Exception
This song sounds like another song to me, but I'm not sure what. But holy shit, is Williams ever going to regret this song later in life when she grows out of being "omg in love!" with her boyfriend after two weeks of dating. - Julieann
julieann: i like this one the least so far.
julieann: i hate this chorus, omg
julieann: it's so ... lackluster?
julieann: SAD? PATHETIC?
julieann: ABOUT CHAD GILBERT AND THEREFORE GROSS?
It's so weird when young people sing about love, especially the kind of thing you could dance to at a wedding. It's so bittersweet. Of course you want other people to be happy but the other half of you is screaming "oh honey, no" because when that breakup comes, crap like this will be soooo embarrassing. No one wants to end up like Taylor Swift, singing through tears at your asshole ex in the front row of some award show. One good thing about growing up will be that she will be able to better hit a really low note that she doesn't quite get in this song, if it's not too awkward to sing later on. ...Also the chorus was really repetitive and a little annoying. So maybe it won't be so bad to leave this one in the past. - Lanie
Track Seven: Feeling Sorry
This song sounds like "For A Pessimist I'm Pretty Optimistic," which, boo recycling your own stuff, but yay not recycling other people's stuff? (I'm looking at you, All Time Low.) I can't understand most of what she's saying, though. But hey, her voice sounds good! It's getting better with age. Which is good. That means she's less shrill. - Julieann
Hayley uses some of her vocal power in this song, not so much of her range but that's ok. Just one is enough. The girl's got a lot of talent. If she wasn't so outstanding, though, I'm not sure there would be much to this track. - Lanie
Track Eight: Looking Up
This would've benefited from Williams not throwing in some "woah oh oh oh" bullshit. But hey. And then the song went on too long. It was just too much. I threw up my arms in defeat and asked for a beer. So sue me, I'm old. - Julieann
Oh my god. If you need to get up off your ass, listen to this song. At the time we played this, I had to be on a flight in 8 hours and still hadn't packed...and had to review the rest of this album. It made me too tense to enjoy it. It was too much! I couldn't take it! And yes, we felt so old. - Lanie
Track Nine: Where The Lines Overlap
So, there's some repeat lines I don't like. Have I mentioned I don't like repetition yet? This is a bizarre phenomenon because I listen to Taking Back Sunday fucking religiously. They're the exception to the STOP REPEATING THAT SHIT SO MUCH rule. Them and Brand New. But since Daisy sucked, Brand New don't count. I digress. The bridge of this track doesn't really sound like Williams, but fortunately, this is another track where you can hear what her voice is going to sound like when she's a bit older, and her voice is fully matured. And that voice is awesome. - Julieann
This song kind of ran into the track before it. They were similar, not in a terrible way, but in a way that makes Paramore seem like their range as a band is even smaller than it already is. I wish they'd separated these. Otherwise, I'm not sure I have many complaints. - Lanie
Track Ten: Misguided Ghosts
julieann: take your bet on whether this is a ballad or not
lanie: ugh I don't want to
lanie: I hope not
julieann: BALLAD
julieann: I WIN
So... I just... don't like this track. It's weak, and the ending is a total blower. The track ends with "they echo in circles" and then ... that's it. REALLY? YOU'RE GONNA LEAVE IT ON THAT, WILLIAMS? - Julieann
This song almost put me to sleep. - Lanie
Track Eleven: All I Wanted
I like a nice rock ballad from Paramore. Not the sappy, Plain White T's (or as a friend of mine calls them, Plain White Crap) style mopey garbage that was "The Only Exception." This song blew my face off. This song inspired me to burn a copy of this for my car, and listen to this track in my car at (the volume usually reserved for songs like "Helena" and "Everything Must Go", which is to say - really fucking loud). Hayley Williams sounds fucking incredible on this track. The solid power of her voice over the dead space going into the last chorus? Both times I've listened to this track since this first listen, it's given me chills. - Julieann
So how about I almost cried at the end of this song when it's just Hayley's voice all by itself? I definitely got chills. Even though she had already hit that high note in the song already, the silence made it feel even higher and more powerful than it had been already. This song is gorgeous. The CD should end here, leave the kids wanting more. Instead, there's Decode (which we've already reviewed), but I guess that's fair. Kids should not have to buy some awful movie soundtrack to get one of their songs. - Lanie
julieann: yeah, probably this is a bad plan
lanie: it's not like you can't appreciate them but their singalong quality is a huge part of why they're awesome
julieann: truefax
julieann: mentally i'm prepared to turn this whole thing into a plethora of eisley jokes, just like the brand new review.
lanie: noooo
julieann: think of how much stuff we listen to that lends itself to a lot of eisley jokes.
Track One: Careful
I don't like the repetition of "more" in this. I think mostly, I have issue with with the way it breaks into what's pretty much two distinct words. I hate that in singing. It makes me crazy. Otherwise not a bad track, but that one little annoying thing is putting me off. It's whatever. - Julieann
This track is par for the Paramore course. I love when Hayley sounds angry -- and she does, but this song is just here. Not a great pick for a first track. Not everything can be the most epic song ever, but I was hoping for something a little more impressive. - Lanie
Track Two: Ignorance
This is actually the first review ever posted on this blog. View it here.
http://loseyourcred.blogspot.com/2009/07/first-listen-paramores-new-single.html
Track Three: Playing God
The title didn't really hold up to what I expected, which was blasphemy. I like this track. Hayley Williams is pissed. Better watch your fingers boys, because she's about to break those suckers off. And then Lanie gave me a Taking Back Sunday earworm. She's a whore. - Julieann
There's a line about pointing someone's finger into a mirror that was a little cheesy and kind of ruined the end of the chorus for me. It was better than hearing about the three fingers pointed back at oneself when pointing fingers but still. It's a good mid tempo jam and I can't find much fault with it. - Lanie
Track Four: Brick By Boring Brick
So I'd heard this one before, because I think it rolled through on my iPod or something since it's been lurking on the internet a while. I don't know what that says about the song that I listened to it then couldn't remember it, but probably nothing good. Then I heard the "ba da ba da ba ba da" shit and remembered why I didn't enjoy this track in the first place. Also, I want someone to explain to me what "bury the castle" is supposed to refer to. Hatchets, yes. Castles? Not so much. - Julieann
I'm not sure where I'd heard this one before either, but I knew that I liked it. Something about the ending freaked me out a little but it was decent enough. - Lanie
Track Five: Turn It Off
I'm not sure if this track is too religious or what. I get icky when God is brought into things, you know. Cranky-like.
lanie: I'm not sure it's literal more than it is just using religious imagery to discuss losing faith in someone...or something like that
julieann: that's a lot of expectation in a band who prosletyzes on stage
As someone who has seen The Almost, Paramore is almost not religious at all. I do get cranky as well when religion is brought into music because it forces people to choose sides rather than bringing them together, so I wish this track didn't involve that. It was, otherwise, a nice song about losing your faith in someone, I feel like. - Lanie
Track Six: The Only Exception
This song sounds like another song to me, but I'm not sure what. But holy shit, is Williams ever going to regret this song later in life when she grows out of being "omg in love!" with her boyfriend after two weeks of dating. - Julieann
julieann: i like this one the least so far.
julieann: i hate this chorus, omg
julieann: it's so ... lackluster?
julieann: SAD? PATHETIC?
julieann: ABOUT CHAD GILBERT AND THEREFORE GROSS?
It's so weird when young people sing about love, especially the kind of thing you could dance to at a wedding. It's so bittersweet. Of course you want other people to be happy but the other half of you is screaming "oh honey, no" because when that breakup comes, crap like this will be soooo embarrassing. No one wants to end up like Taylor Swift, singing through tears at your asshole ex in the front row of some award show. One good thing about growing up will be that she will be able to better hit a really low note that she doesn't quite get in this song, if it's not too awkward to sing later on. ...Also the chorus was really repetitive and a little annoying. So maybe it won't be so bad to leave this one in the past. - Lanie
Track Seven: Feeling Sorry
This song sounds like "For A Pessimist I'm Pretty Optimistic," which, boo recycling your own stuff, but yay not recycling other people's stuff? (I'm looking at you, All Time Low.) I can't understand most of what she's saying, though. But hey, her voice sounds good! It's getting better with age. Which is good. That means she's less shrill. - Julieann
Hayley uses some of her vocal power in this song, not so much of her range but that's ok. Just one is enough. The girl's got a lot of talent. If she wasn't so outstanding, though, I'm not sure there would be much to this track. - Lanie
Track Eight: Looking Up
This would've benefited from Williams not throwing in some "woah oh oh oh" bullshit. But hey. And then the song went on too long. It was just too much. I threw up my arms in defeat and asked for a beer. So sue me, I'm old. - Julieann
Oh my god. If you need to get up off your ass, listen to this song. At the time we played this, I had to be on a flight in 8 hours and still hadn't packed...and had to review the rest of this album. It made me too tense to enjoy it. It was too much! I couldn't take it! And yes, we felt so old. - Lanie
Track Nine: Where The Lines Overlap
So, there's some repeat lines I don't like. Have I mentioned I don't like repetition yet? This is a bizarre phenomenon because I listen to Taking Back Sunday fucking religiously. They're the exception to the STOP REPEATING THAT SHIT SO MUCH rule. Them and Brand New. But since Daisy sucked, Brand New don't count. I digress. The bridge of this track doesn't really sound like Williams, but fortunately, this is another track where you can hear what her voice is going to sound like when she's a bit older, and her voice is fully matured. And that voice is awesome. - Julieann
This song kind of ran into the track before it. They were similar, not in a terrible way, but in a way that makes Paramore seem like their range as a band is even smaller than it already is. I wish they'd separated these. Otherwise, I'm not sure I have many complaints. - Lanie
Track Ten: Misguided Ghosts
julieann: take your bet on whether this is a ballad or not
lanie: ugh I don't want to
lanie: I hope not
julieann: BALLAD
julieann: I WIN
So... I just... don't like this track. It's weak, and the ending is a total blower. The track ends with "they echo in circles" and then ... that's it. REALLY? YOU'RE GONNA LEAVE IT ON THAT, WILLIAMS? - Julieann
This song almost put me to sleep. - Lanie
Track Eleven: All I Wanted
I like a nice rock ballad from Paramore. Not the sappy, Plain White T's (or as a friend of mine calls them, Plain White Crap) style mopey garbage that was "The Only Exception." This song blew my face off. This song inspired me to burn a copy of this for my car, and listen to this track in my car at (the volume usually reserved for songs like "Helena" and "Everything Must Go", which is to say - really fucking loud). Hayley Williams sounds fucking incredible on this track. The solid power of her voice over the dead space going into the last chorus? Both times I've listened to this track since this first listen, it's given me chills. - Julieann
So how about I almost cried at the end of this song when it's just Hayley's voice all by itself? I definitely got chills. Even though she had already hit that high note in the song already, the silence made it feel even higher and more powerful than it had been already. This song is gorgeous. The CD should end here, leave the kids wanting more. Instead, there's Decode (which we've already reviewed), but I guess that's fair. Kids should not have to buy some awful movie soundtrack to get one of their songs. - Lanie
Friday, March 19, 2010
First Listen: The Academy Is... - "Lost in Pacific Time EP"
Track One: I'm Yours Tonight
The first thing I said to Lanie when we started this listen was that if this EP sucked, I was going to be super pissed that I paid the $5 to download it. I was pleasantly surprised by at least this song, and decided that I could definitely say at least this track was better than anything on Fast Times at Barrington High, which I liked, especially in comparison to Santi, which I loathed. This song gave me total warm fuzzies inside, because it's so power-ballad-y and William Beckett is kind of made for power ballads from the top of his head to his Steven Tyler mouth to his toes. - Julieann
Like I said to Julieann, it's like they cracked the power ballad code and now TAI finally know what they're doing, after their past stumbles lead them astray. They're a band really built to do a power ballad and they seemed to be denying themselves. Sure, it's a retro thing to do, but if you can do it awesomely, why the hell not?! - Lanie
Track Two: Days Like Masquerades
This track's a little bit of a backslide from the first one. It's not as good, but it's still better than anything on Santi, and with TAI that's pretty much a win. I kind of hope they play it when we see them live November 1, because I feel like I could really dance around like an asshole to this one and it would be better that way. - Julieann
Eh! - Lanie
Track Three: Sputter
THIS IS THE ONE WITH ANDREW MCMAHON. And you can tell, because it sounds like a Jack's Mannequin song even though you can't really hear McMahon's backing vocals hardly at all. I like the echo-y quality they have when you can hear them, though. This track basically sounds like McMahon did everything on it but sing lead vocal. McMahon's inclusion, though, means this song has a totally unfair advantage in me liking it. Cheating, Beckett, cheating. - Julieann
McMahon's fingerprints are all over this song, in the phrasing, in the melody. It's like they're doing a cover of a Jack's Mannequin song. Which is fine but it's not what I thought we were here for! - Lanie
Track Four: New York (Saint In The City)
This song is boring and sounds like it was something that got cut from Fast Times at Barrington High. And, like much of Fast Times, it doesn't make me want to dance, and it doesn't excite me. It's just there. Definitely the low point of this EP. - Julieann
See review for Days Like Masquerades. - Lanie
Track Five: In The Rearview
When I see the title of this song, I start singing Midwest Kings's "Rearview," which is dumb, because they're exactly nothing alike other than referencing rearview mirrors. Whateverrr. This song pretty much rocks as hard as I think the Academy Is... are able to rock. It's a lot more guitar heavy than their stuff usually is, and I spent most of the track imagining scarves tied around mic stands while Beckett stomped around on stage. - Julieann
I was less stoked on this song than Julieann was, but I didn't hate it. - Lanie
Conclusion:
Basically, it's a decent little EP. Track four is kind of a throwaway, and track two isn't far behind. Tracks three and five are decent, and track one's a solid little tune. At least two of these songs are probably going to go into heavy rotation on my iPod ("Sputter" and "I'm Yours Tonight," and maybe "In The Rearview"). Good job, TAI. It's not Santi. - Julieann
Months later, I have not asked Julieann to send me this EP. Our computers are about 10 feet apart. Just saying. If you're a die-hard TAI fan, go for it, get it. Likewise if you are in love with Andrew McMahon, you won't be disappointed. It's a few more tracks to add to the list, but I find it hard to care too deeply about any of them. -Lanie
The first thing I said to Lanie when we started this listen was that if this EP sucked, I was going to be super pissed that I paid the $5 to download it. I was pleasantly surprised by at least this song, and decided that I could definitely say at least this track was better than anything on Fast Times at Barrington High, which I liked, especially in comparison to Santi, which I loathed. This song gave me total warm fuzzies inside, because it's so power-ballad-y and William Beckett is kind of made for power ballads from the top of his head to his Steven Tyler mouth to his toes. - Julieann
Like I said to Julieann, it's like they cracked the power ballad code and now TAI finally know what they're doing, after their past stumbles lead them astray. They're a band really built to do a power ballad and they seemed to be denying themselves. Sure, it's a retro thing to do, but if you can do it awesomely, why the hell not?! - Lanie
Track Two: Days Like Masquerades
This track's a little bit of a backslide from the first one. It's not as good, but it's still better than anything on Santi, and with TAI that's pretty much a win. I kind of hope they play it when we see them live November 1, because I feel like I could really dance around like an asshole to this one and it would be better that way. - Julieann
Eh! - Lanie
Track Three: Sputter
THIS IS THE ONE WITH ANDREW MCMAHON. And you can tell, because it sounds like a Jack's Mannequin song even though you can't really hear McMahon's backing vocals hardly at all. I like the echo-y quality they have when you can hear them, though. This track basically sounds like McMahon did everything on it but sing lead vocal. McMahon's inclusion, though, means this song has a totally unfair advantage in me liking it. Cheating, Beckett, cheating. - Julieann
McMahon's fingerprints are all over this song, in the phrasing, in the melody. It's like they're doing a cover of a Jack's Mannequin song. Which is fine but it's not what I thought we were here for! - Lanie
Track Four: New York (Saint In The City)
This song is boring and sounds like it was something that got cut from Fast Times at Barrington High. And, like much of Fast Times, it doesn't make me want to dance, and it doesn't excite me. It's just there. Definitely the low point of this EP. - Julieann
See review for Days Like Masquerades. - Lanie
Track Five: In The Rearview
When I see the title of this song, I start singing Midwest Kings's "Rearview," which is dumb, because they're exactly nothing alike other than referencing rearview mirrors. Whateverrr. This song pretty much rocks as hard as I think the Academy Is... are able to rock. It's a lot more guitar heavy than their stuff usually is, and I spent most of the track imagining scarves tied around mic stands while Beckett stomped around on stage. - Julieann
I was less stoked on this song than Julieann was, but I didn't hate it. - Lanie
Conclusion:
Basically, it's a decent little EP. Track four is kind of a throwaway, and track two isn't far behind. Tracks three and five are decent, and track one's a solid little tune. At least two of these songs are probably going to go into heavy rotation on my iPod ("Sputter" and "I'm Yours Tonight," and maybe "In The Rearview"). Good job, TAI. It's not Santi. - Julieann
Months later, I have not asked Julieann to send me this EP. Our computers are about 10 feet apart. Just saying. If you're a die-hard TAI fan, go for it, get it. Likewise if you are in love with Andrew McMahon, you won't be disappointed. It's a few more tracks to add to the list, but I find it hard to care too deeply about any of them. -Lanie
Wednesday, October 07, 2009
Taking Back Sunday: Live At Bamboozle '09
me: last night i didn't go to sleep productively
me: because i forgot about adam's amusement over rubano saying seaboard
me: so i laid there and rewound it and snickered for a good twenty minutes
me: i think i have an illness, frankly.
lanie: lmao I think you do too
me: i wonder if they have AA for this?
me: i need a support group, and possibly bi-weekly meetings
Three Reasons I Am Sad That Taking Back Sunday: Live At Bamboozle '09 Is Audio Only:
1) Mic swinging.
2) Climbing scaffolding.
3) Matt Fazzi is scorching hot - IDK if this is a thing you were aware of. No stop looking at Matt Rubano. I said Matt Fazzi. He's the dude on the left. Who plays the guitar. No, not bass. That's just bass. Fazzi.
The Only Reason I Am Glad That Taking Back Sunday: Live At Bamboozle '09 Is Audio Only:
1) The more filming there is, the higher the potential that Lanie and I would actually BE ON IT. We were on the barricade at this particular show and probably only lucked out that we weren't in the live video for "New Again" by virtue of a) it being pretty dark by this point and b) us being tucked in a corner.
Also, thanks Demi Lovato for pretty much clearing that crowd after your set and allowing us free reign to get to the barricade. I love you just for that. Also you're super pretty in person.
I digress.
So, Taking Back Sunday, Live At Bamboozle '09. It was raining. It was cold. Adam Lazzara thinks that he is an old-school (possibly Southern Baptist - I know these things, they were my brethren before I was old enough to be agnostic/athiest) preacher. Some of the banter is still there! (Actually, most of the banter may be in there - Bamboozle was a long time ago, then we saw No Doubt and drove back to D.C. from Jersey all in the same night THEN got up and went to work the next day. Yeah. Suck on that.)
No, Taking Back Sunday aren't as good live as they are on the album. Believe it or not - most bands are like this. Just be glad that Lazzara isn't doing his weird "HEY! PUBERTY!" thing that he was doing the last time I saw them live (and doing it on purpose, no less), all right? I mean, it's not that bad, and I've definitely heard live recordings of bands that aren't even this good, but it's. It's Taking Back Sunday. If you're going to see them to get what the album sounds like, then, I don't know.
Maybe you're doing it wrong.
Anyway, it's not a full set, and the bit where Lazzara threw part of Beyonce's "Single Ladies" into the breakdown of one of the songs (I think it may have been "You're So Last Summer," but don't hold me to that - I've seen him do that three times and I still can't remember what song he did it during, just that he used to throw the Killers' "When You Were Young" into "Divine Intervention" - which there's video of on my youtube account - I'm digressing again) is gone entirely. I'm sure that's something to do with rights, so whatever. It's not that great. It just is what it is.
Anyway, if you don't like Taking Back Sunday, this won't be the album that converts you. If you like them, you'll probably enjoy it. It's nothing new, but it's fun!
Highlights: "Seaboard," talking about how much it was raining and cold, and "cursing." I think Taking Back Sunday have a swear-jar or something. It's weird.
Lowlights: "Carpathia" sounds like crap. I'm sorry, it just does. Also, short festival set = no "Everything Must Go." Boo. :(
- Julieann
me: because i forgot about adam's amusement over rubano saying seaboard
me: so i laid there and rewound it and snickered for a good twenty minutes
me: i think i have an illness, frankly.
lanie: lmao I think you do too
me: i wonder if they have AA for this?
me: i need a support group, and possibly bi-weekly meetings
Three Reasons I Am Sad That Taking Back Sunday: Live At Bamboozle '09 Is Audio Only:
1) Mic swinging.
2) Climbing scaffolding.
3) Matt Fazzi is scorching hot - IDK if this is a thing you were aware of. No stop looking at Matt Rubano. I said Matt Fazzi. He's the dude on the left. Who plays the guitar. No, not bass. That's just bass. Fazzi.
The Only Reason I Am Glad That Taking Back Sunday: Live At Bamboozle '09 Is Audio Only:
1) The more filming there is, the higher the potential that Lanie and I would actually BE ON IT. We were on the barricade at this particular show and probably only lucked out that we weren't in the live video for "New Again" by virtue of a) it being pretty dark by this point and b) us being tucked in a corner.
Also, thanks Demi Lovato for pretty much clearing that crowd after your set and allowing us free reign to get to the barricade. I love you just for that. Also you're super pretty in person.
I digress.
So, Taking Back Sunday, Live At Bamboozle '09. It was raining. It was cold. Adam Lazzara thinks that he is an old-school (possibly Southern Baptist - I know these things, they were my brethren before I was old enough to be agnostic/athiest) preacher. Some of the banter is still there! (Actually, most of the banter may be in there - Bamboozle was a long time ago, then we saw No Doubt and drove back to D.C. from Jersey all in the same night THEN got up and went to work the next day. Yeah. Suck on that.)
No, Taking Back Sunday aren't as good live as they are on the album. Believe it or not - most bands are like this. Just be glad that Lazzara isn't doing his weird "HEY! PUBERTY!" thing that he was doing the last time I saw them live (and doing it on purpose, no less), all right? I mean, it's not that bad, and I've definitely heard live recordings of bands that aren't even this good, but it's. It's Taking Back Sunday. If you're going to see them to get what the album sounds like, then, I don't know.
Maybe you're doing it wrong.
Anyway, it's not a full set, and the bit where Lazzara threw part of Beyonce's "Single Ladies" into the breakdown of one of the songs (I think it may have been "You're So Last Summer," but don't hold me to that - I've seen him do that three times and I still can't remember what song he did it during, just that he used to throw the Killers' "When You Were Young" into "Divine Intervention" - which there's video of on my youtube account - I'm digressing again) is gone entirely. I'm sure that's something to do with rights, so whatever. It's not that great. It just is what it is.
Anyway, if you don't like Taking Back Sunday, this won't be the album that converts you. If you like them, you'll probably enjoy it. It's nothing new, but it's fun!
Highlights: "Seaboard," talking about how much it was raining and cold, and "cursing." I think Taking Back Sunday have a swear-jar or something. It's weird.
Lowlights: "Carpathia" sounds like crap. I'm sorry, it just does. Also, short festival set = no "Everything Must Go." Boo. :(
- Julieann
Monday, September 21, 2009
Saosin - "In Search of Solid Ground"
I like that the second this CD starts, you know that it’s Saosin. I like that they have a recognizable sound – I don’t like it when you hear something and you’re like, wtf is this? Then you realize that it’s a band that you really like… except it doesn’t sound like them at all.
Anyway, one thing I have to say about Saosin is that I know a lot of people who think they’re great dudes. I don’t know, because the time I saw them I didn’t stick around to meet any of them. Whatevs. Armor For Sleep was their opener, my bad. But they do put on a pretty enjoyable show, I’m not gonna lie.
I also appreciate that they’re fronted by Cove Reber now instead of Anthony Green (of Circa Survive) because I definitely prefer Reber’s voice to Green’s.
One thing that I don’t like about this CD is that sometimes the lyrics don’t really make that much sense. That’s the only real nitpick that I have with this CD. Other than the really long ending at the end of the track “On My Own,” that is. I hate that, and it’s one thing that I really wish wasn’t on the CD.
Saosin does a really killer ballad-type song. What got me into them was hearing “You’re Not Alone” from their first CD when I’d listen to Sirius Radio (Alt Nation FTW!) at work on Saturdays. So naturally, I gravitate toward tracks like “The Alarming Sound of a Still Small Voice” and “Fireflies (Light Messengers)” on this album. Actually, “Fireflies (Light Messengers)” is my favorite track on the disc, hands down. I love this vibe from Saosin.
I wish I’d been able to do a track-by-track first listen of this, and to give a better feel, but I bought it pretty late at night (at Target, which was almost a tragedy because we couldn’t FIND the damn thing and I was getting frustrated), ripped it to my computer, then took it in my car to listen to on the way to/from work the next morning.
On the whole, I can see how a lot of people wouldn’t like it, because there’s not much of a progression from the first CD, other than there’s more solidity to the sound. They haven’t changed a lot, and I’m pretty sure that I’m fine with that. I’m getting what I go to Saosin for.
It’s a good thing.
Anyway, one thing I have to say about Saosin is that I know a lot of people who think they’re great dudes. I don’t know, because the time I saw them I didn’t stick around to meet any of them. Whatevs. Armor For Sleep was their opener, my bad. But they do put on a pretty enjoyable show, I’m not gonna lie.
I also appreciate that they’re fronted by Cove Reber now instead of Anthony Green (of Circa Survive) because I definitely prefer Reber’s voice to Green’s.
One thing that I don’t like about this CD is that sometimes the lyrics don’t really make that much sense. That’s the only real nitpick that I have with this CD. Other than the really long ending at the end of the track “On My Own,” that is. I hate that, and it’s one thing that I really wish wasn’t on the CD.
Saosin does a really killer ballad-type song. What got me into them was hearing “You’re Not Alone” from their first CD when I’d listen to Sirius Radio (Alt Nation FTW!) at work on Saturdays. So naturally, I gravitate toward tracks like “The Alarming Sound of a Still Small Voice” and “Fireflies (Light Messengers)” on this album. Actually, “Fireflies (Light Messengers)” is my favorite track on the disc, hands down. I love this vibe from Saosin.
I wish I’d been able to do a track-by-track first listen of this, and to give a better feel, but I bought it pretty late at night (at Target, which was almost a tragedy because we couldn’t FIND the damn thing and I was getting frustrated), ripped it to my computer, then took it in my car to listen to on the way to/from work the next morning.
On the whole, I can see how a lot of people wouldn’t like it, because there’s not much of a progression from the first CD, other than there’s more solidity to the sound. They haven’t changed a lot, and I’m pretty sure that I’m fine with that. I’m getting what I go to Saosin for.
It’s a good thing.
Wednesday, September 09, 2009
First Listen: Brand New - "Daisy"
Track One: Vices
This album did not get off to a good start for me. Any time the album opener makes you go "what the fuck?" and say something along the lines of "this band has never made me want to kill myself before but I think I'll make an exception today" is not a good sign. In fact, I kind of feel like it set the tone for how I felt about most of the rest of the album. This song went from the terrible choir solo to unrepentant screaming, and the guitar riff sounded like he lifted it straight from Taking Back Sunday's "Bike Scene," which he very well may have done, because that's how we roll in the Long Island scene. I'm not digging the full-on hardcore feel of this song. Too much screaming, can't understand the lyrics. - Julieann
I want to ditto the above. I'm not sure how you review what you completely don't understand. I don't think this would get better with time. - Lanie
Track Two: Bed
I spent most of this track actually watching my cat be very confused by the steam coming from a pot on the stove. Like, seriously. But at least this was the Brand New we all know and love. Except for they're apparently taking their lyrical cues from The Spill Canvas, because these lyrics are some weird shit. This song sounds pretty much like the latter half of The Devil and God Are Raging Inside Me, which is where the stuff I skip lives. - Julieann
This track is vastly better than the one before it, not that it would take much. - Lanie
lanie: I don't hate this. I mean, as far as repetition goes, this is how you do it. We've listened to a lot of bands do it worse lately, I feel like.
julieann: brand new are really good at the repetition thing. see example: limousine
lanie: mmm yes
lanie: I wish the drums were a little heavier
lanie: It's the kind of thing I could lose my shit to, live.
julieann: i feel like they're putting enough words into it to make the repetition worthwhile. it's not like at the end of the young veins' "change" where they're just yelling a word over and over.
julieann: yeah, i could dig this live. in fact, that track that's more hardcore would probably be good live, but only by virtue of getting to watch jesse lacey be crazy
Track Three: At The Bottom
This is the lead single for this album, so I've already heard it a couple of times and it's had a little bit of time to grow on me. And admittedly, it has done so, but it wasn't an off-the-bat "holy shit I love this song," like I felt about (still feel about!) "Sowing Season (Yeah)" from The Devil and God are Raging Inside Me. Alternative Press's review of Daisy mentions that this song is like "Jesus Christ"'s (from TDAG) evil twin. They're not wrong. - Julieann
There is something about Jesse Lacey's voice or tone in this song that's vaguely reminiscent of Michael Stipe. It was seriously weird but that didn't make for a bad song, altogether. Other than that, it's typical Brand New. - Lanie
Track Four: Gasoline
I hated everything about this track right from the start. Like, seriously, there was nothing good about the strangely off-beat percussion, because the bass was not landing at the same time as the kick, and so it was just murdering my soul. Once there was some guitar to cover that up, it got a little better. Then there were 45 seconds of what kind of sounded like EVP. It sucked. - Julieann
There is so much religious imagery in all of these lyrics, I don't even know what to do with it. - Lanie
Track Five: You Stole
I kind of like this song in the way where I appreciate Brand New for being as boring as they are sometimes. But I listened to this song on my headphones after the initial listen for this review, and I actually like it less now. This was actually my favorite part of doing the review, because at some point it devolved into Lanie serenading me with Glassjaw, and then the both of us making crass jokes about Brand New and Taking Back Sunday. Whatever, we make our own fun, because clearly Brand New are not going to make it for us. - Julieann
The title is kind of apropos, considering that the chord progression was really close to that of Ape Dos Mil by Glassjaw. I would rather be listening to that than Brand New but I'll come back to that later. - Lanie
Track Six: Be Gone
The first thing I said about this track was literally "OH MY GOD THEY'RE BON JOVI." Lawlz. I think that's all I really have to say about that. This track was absolute shit. I honestly reached a point where I probably would bottle Jesse Lacey if I was ever subjected to this bullshit in person. Sing or get out of the studio, asshole, this shit isn't cute. - Julieann
You know how when you're little and you realize that speaking into a fan will produce a mechanical wah-wah sound to everything that you say? Would you like to hear this sound musically rendered by Brand New? Well do I have the track for you! - Lanie
Track Seven: Sink
This track starts out with screaming! YAY! Except not, and the startle I received from this nearly made me wet myself. I hate you right now, Jesse Lacey. I can't understand a single lyric in this song, and that is the reason I do not like hardcore. I also realized at this point that I'd unchecked (in iTunes) all but two songs on this album so far. Not a good sign. - Julieann
This is honestly where I gave up on my First Listen experience for this album. It was so chaotic, I wondered if I was going deaf or had suddenly turned 90 years old or something. It was all just a bunch of noise, children. I am over here, still shaking my cane, just in case you were curious. - Lanie
Track Eight: Bought A Bride
Before we even started reviewing this song, we had to take a moment to make some jokes at the Dupree sisters' expense. That usually happens anytime women are mentioned in conjunction with Brand New/Taking Back Sunday/Say Anything/New Found Glory. You see where this is going, I'm sure. Crass jokes aside, I could actually see rocking out to this song in a live way. I actualfax like this track. Genuinely! (Shocking, I know, considering my feelings toward the rest of the album.) However, I won't be rocking out to it live, at least on this next tour, because they're playing Sonar, AKA the Worst Venue In Baltimore*. - Julieann
* I don't know that it's actually the worst venue in Baltimore. It is, however, the worst venue I've been to anywhere ever, and that encompasses a lot of venues and some pretty bad experiences.
lanie: I can see enjoying several of these songs later, probably more live than any other way but on first listen, it's so...cacophonous.
julieann: i feel like brand new has always been a little cacophonous, but this is just... taking it to a level where it becomes less enjoyable.
julieann: but i definitely like this track best of what we've heard so far.
julieann: and i will admit that at the bottom did grow on me, so maybe i do just need to give the rest of this time. but i don't want to, is the problem
lanie: which makes me feel really old to say but at first, it's all just noise until you work for the melody. why should I have to work for it? why's there so much craziness, guys? we've heard feedback before, we've heard loud guitars before. it's not new and it's not exciting.
julieann: it's like going to a show at sonar, and we all know that's no fun.
julieann: i'm pretty seriously into pop punk, man. i'm not working to make your music good. you're supposed to do that for me.
Track Nine: Daisy
Woo, hymnal references! I know I needed to be taken back to my childhood days in the country Baptist church in which I was raised/most of my dead family has had their funerals. Awesomesauce. I am unimpressed, Jesse Lacey. I got really into this, and all of a sudden there were bird noises. I hate bird noises. And then there were little kids singing! It was like a sudden mashup of HORRIBLE THINGS. They do, however, do the one thing that I really enjoy from Brand New: plopping the melody over some really killer percussion. I like this song. Well, most of it. But I feel like I like it in the way where I like 3OH!3's "Don't Trust Me," where it'd be a great song if only it didn't have that stupid Hellen Keller part. - Julieann
Track Ten: In A Jar
I hate it. I hate the lyrics. Lanie mentions she feels like we're in the 90s, and I realize that listening to this song is a little bit like listening to Live's "Lightning Crashes," where it'd be a good song if only it made sense. Only less pleasant and with more screaming - Julieann
Track Eleven: Noro
The beginning of this track reminds me of Final Fantasy. Which is cool, I guess, because I really dig Final Fantasy. One thing I hate about Jesse Lacey is that sometimes he does this thing where he sounds like he's about to burst into tears. And man, I'm pretty emo, but you need to find your balls, Mr. Lacey. I enjoyed the percussion in this track, though. But just when I thought it was over and there'd just be an outro of static... the woman from the first track started to sing again. I howled with pain as she went sharp. - Julieann
Conclusion:
Four keepers out of 11 (and only 3 after I gave "You Stole" another listen). Poor showing, Brand New. Considering how much I loved The Devil and God Are Raging Inside Me, this is disappointing indeed. - Julieann
Brand New is not an easy band to love, but they grow on you, not unlike mildew in your shower. And you hate cleaning. You want to keep them in your arsenal, you know? Bands you loved that refuse to pump out pop-punk song one after another. You admire them for that. What you have to grapple with is that evolution. Just like Lacey ENDLESSLY grapples with the concepts of marriage and religion, maybe you're dealing with different things. Maybe you don't want to hear children mid-song (Daisy) or endless distortion (see...most of the above). The thing is, they've been growing all along, and you were stuck with whatever they put out last. Live, it's so much less disturbing. I'd even venture to say that they're a great live band. Something gets lost under so many musical layers and the production. Lyrically, I'm not sure. It was hard to make out a lot of the lyrics because there was so much else going on. This album might be a grower but on first listen, it's just overwhelming...and not in a good way. - Lanie
julieann: and now we listen to sic transit gloria because it's the next song in the listing and... have a moment of silence for how great brand new used to be?
This album did not get off to a good start for me. Any time the album opener makes you go "what the fuck?" and say something along the lines of "this band has never made me want to kill myself before but I think I'll make an exception today" is not a good sign. In fact, I kind of feel like it set the tone for how I felt about most of the rest of the album. This song went from the terrible choir solo to unrepentant screaming, and the guitar riff sounded like he lifted it straight from Taking Back Sunday's "Bike Scene," which he very well may have done, because that's how we roll in the Long Island scene. I'm not digging the full-on hardcore feel of this song. Too much screaming, can't understand the lyrics. - Julieann
I want to ditto the above. I'm not sure how you review what you completely don't understand. I don't think this would get better with time. - Lanie
Track Two: Bed
I spent most of this track actually watching my cat be very confused by the steam coming from a pot on the stove. Like, seriously. But at least this was the Brand New we all know and love. Except for they're apparently taking their lyrical cues from The Spill Canvas, because these lyrics are some weird shit. This song sounds pretty much like the latter half of The Devil and God Are Raging Inside Me, which is where the stuff I skip lives. - Julieann
This track is vastly better than the one before it, not that it would take much. - Lanie
lanie: I don't hate this. I mean, as far as repetition goes, this is how you do it. We've listened to a lot of bands do it worse lately, I feel like.
julieann: brand new are really good at the repetition thing. see example: limousine
lanie: mmm yes
lanie: I wish the drums were a little heavier
lanie: It's the kind of thing I could lose my shit to, live.
julieann: i feel like they're putting enough words into it to make the repetition worthwhile. it's not like at the end of the young veins' "change" where they're just yelling a word over and over.
julieann: yeah, i could dig this live. in fact, that track that's more hardcore would probably be good live, but only by virtue of getting to watch jesse lacey be crazy
Track Three: At The Bottom
This is the lead single for this album, so I've already heard it a couple of times and it's had a little bit of time to grow on me. And admittedly, it has done so, but it wasn't an off-the-bat "holy shit I love this song," like I felt about (still feel about!) "Sowing Season (Yeah)" from The Devil and God are Raging Inside Me. Alternative Press's review of Daisy mentions that this song is like "Jesus Christ"'s (from TDAG) evil twin. They're not wrong. - Julieann
There is something about Jesse Lacey's voice or tone in this song that's vaguely reminiscent of Michael Stipe. It was seriously weird but that didn't make for a bad song, altogether. Other than that, it's typical Brand New. - Lanie
Track Four: Gasoline
I hated everything about this track right from the start. Like, seriously, there was nothing good about the strangely off-beat percussion, because the bass was not landing at the same time as the kick, and so it was just murdering my soul. Once there was some guitar to cover that up, it got a little better. Then there were 45 seconds of what kind of sounded like EVP. It sucked. - Julieann
There is so much religious imagery in all of these lyrics, I don't even know what to do with it. - Lanie
Track Five: You Stole
I kind of like this song in the way where I appreciate Brand New for being as boring as they are sometimes. But I listened to this song on my headphones after the initial listen for this review, and I actually like it less now. This was actually my favorite part of doing the review, because at some point it devolved into Lanie serenading me with Glassjaw, and then the both of us making crass jokes about Brand New and Taking Back Sunday. Whatever, we make our own fun, because clearly Brand New are not going to make it for us. - Julieann
The title is kind of apropos, considering that the chord progression was really close to that of Ape Dos Mil by Glassjaw. I would rather be listening to that than Brand New but I'll come back to that later. - Lanie
Track Six: Be Gone
The first thing I said about this track was literally "OH MY GOD THEY'RE BON JOVI." Lawlz. I think that's all I really have to say about that. This track was absolute shit. I honestly reached a point where I probably would bottle Jesse Lacey if I was ever subjected to this bullshit in person. Sing or get out of the studio, asshole, this shit isn't cute. - Julieann
You know how when you're little and you realize that speaking into a fan will produce a mechanical wah-wah sound to everything that you say? Would you like to hear this sound musically rendered by Brand New? Well do I have the track for you! - Lanie
Track Seven: Sink
This track starts out with screaming! YAY! Except not, and the startle I received from this nearly made me wet myself. I hate you right now, Jesse Lacey. I can't understand a single lyric in this song, and that is the reason I do not like hardcore. I also realized at this point that I'd unchecked (in iTunes) all but two songs on this album so far. Not a good sign. - Julieann
This is honestly where I gave up on my First Listen experience for this album. It was so chaotic, I wondered if I was going deaf or had suddenly turned 90 years old or something. It was all just a bunch of noise, children. I am over here, still shaking my cane, just in case you were curious. - Lanie
Track Eight: Bought A Bride
Before we even started reviewing this song, we had to take a moment to make some jokes at the Dupree sisters' expense. That usually happens anytime women are mentioned in conjunction with Brand New/Taking Back Sunday/Say Anything/New Found Glory. You see where this is going, I'm sure. Crass jokes aside, I could actually see rocking out to this song in a live way. I actualfax like this track. Genuinely! (Shocking, I know, considering my feelings toward the rest of the album.) However, I won't be rocking out to it live, at least on this next tour, because they're playing Sonar, AKA the Worst Venue In Baltimore*. - Julieann
* I don't know that it's actually the worst venue in Baltimore. It is, however, the worst venue I've been to anywhere ever, and that encompasses a lot of venues and some pretty bad experiences.
lanie: I can see enjoying several of these songs later, probably more live than any other way but on first listen, it's so...cacophonous.
julieann: i feel like brand new has always been a little cacophonous, but this is just... taking it to a level where it becomes less enjoyable.
julieann: but i definitely like this track best of what we've heard so far.
julieann: and i will admit that at the bottom did grow on me, so maybe i do just need to give the rest of this time. but i don't want to, is the problem
lanie: which makes me feel really old to say but at first, it's all just noise until you work for the melody. why should I have to work for it? why's there so much craziness, guys? we've heard feedback before, we've heard loud guitars before. it's not new and it's not exciting.
julieann: it's like going to a show at sonar, and we all know that's no fun.
julieann: i'm pretty seriously into pop punk, man. i'm not working to make your music good. you're supposed to do that for me.
Track Nine: Daisy
Woo, hymnal references! I know I needed to be taken back to my childhood days in the country Baptist church in which I was raised/most of my dead family has had their funerals. Awesomesauce. I am unimpressed, Jesse Lacey. I got really into this, and all of a sudden there were bird noises. I hate bird noises. And then there were little kids singing! It was like a sudden mashup of HORRIBLE THINGS. They do, however, do the one thing that I really enjoy from Brand New: plopping the melody over some really killer percussion. I like this song. Well, most of it. But I feel like I like it in the way where I like 3OH!3's "Don't Trust Me," where it'd be a great song if only it didn't have that stupid Hellen Keller part. - Julieann
Track Ten: In A Jar
I hate it. I hate the lyrics. Lanie mentions she feels like we're in the 90s, and I realize that listening to this song is a little bit like listening to Live's "Lightning Crashes," where it'd be a good song if only it made sense. Only less pleasant and with more screaming - Julieann
Track Eleven: Noro
The beginning of this track reminds me of Final Fantasy. Which is cool, I guess, because I really dig Final Fantasy. One thing I hate about Jesse Lacey is that sometimes he does this thing where he sounds like he's about to burst into tears. And man, I'm pretty emo, but you need to find your balls, Mr. Lacey. I enjoyed the percussion in this track, though. But just when I thought it was over and there'd just be an outro of static... the woman from the first track started to sing again. I howled with pain as she went sharp. - Julieann
Conclusion:
Four keepers out of 11 (and only 3 after I gave "You Stole" another listen). Poor showing, Brand New. Considering how much I loved The Devil and God Are Raging Inside Me, this is disappointing indeed. - Julieann
Brand New is not an easy band to love, but they grow on you, not unlike mildew in your shower. And you hate cleaning. You want to keep them in your arsenal, you know? Bands you loved that refuse to pump out pop-punk song one after another. You admire them for that. What you have to grapple with is that evolution. Just like Lacey ENDLESSLY grapples with the concepts of marriage and religion, maybe you're dealing with different things. Maybe you don't want to hear children mid-song (Daisy) or endless distortion (see...most of the above). The thing is, they've been growing all along, and you were stuck with whatever they put out last. Live, it's so much less disturbing. I'd even venture to say that they're a great live band. Something gets lost under so many musical layers and the production. Lyrically, I'm not sure. It was hard to make out a lot of the lyrics because there was so much else going on. This album might be a grower but on first listen, it's just overwhelming...and not in a good way. - Lanie
julieann: and now we listen to sic transit gloria because it's the next song in the listing and... have a moment of silence for how great brand new used to be?
Friday, July 17, 2009
First Listen: All Time Low - "Nothing Personal"
A First Listen review of All Time Low’s new album, Nothing Personal, released July 7, 2009.
I liked the chorus of this song through until the point where he said the words “break your little heart” with no backing music. I’m not into the cliché lyrics with no support. I think the problem with All Time Low is that they’re nothing special. Like, if I heard this on the radio, I’d probably stop and listen, but I wouldn’t otherwise seek it out. Also, I feel like it ended rather abruptly. – JulieAnn
Remember the first time you ever heard Sk8er Boi? This was exactly like that. That's all I've got. Except for the part where I was sad that I actually found myself reminiscing about Sk8er Boi. And then the part just now where I had to type it. – Lanie
Track Three: Damned If I Do Ya (Damned If I Don’t)
I have to admit that I listened to this song through the first chorus when the single first dropped. But I couldn’t manage to make myself go any farther than that. Parts of the track sounds like Butch Walker, and other parts of the track sound like Bowling For Soup. Also, for some reason, Gaskarth gets a country twang in some parts. I don’t understand why – They’re from Baltimore. Baltimore’s the ghetto, not the country. (Err, sorry if you dig Baltimore, but I was there a couple weeks ago – it was seedy. Deal.) Actually, I was kind of into the track until they said the actual title in the chorus. That was a turn off for me, but I feel like the track could actually grow on me if I gave it a few listens. – JulieAnn
This was the first track that actually sounded like something and showed a little character. It had a build to it. It started somewhere, it grew bigger, it had some levels to it. I'd give this track another couple of listens. I wouldn't be surprised if Butch Walker had a hand in writing this one, as well as producing the track. – Lanie
Track Four: Lost In Stereo
The beginning of this song sounded so much like “Everything is Alright” by Motion City Soundtrack that I actually started singing it. Does this band have their own sound at all? I think I could be more into them if more of their stuff sounded like this track, though. I think this one’s a keeper. – JulieAnn
Not knowing the Motion City Soundtrack song (or band) at all, I thought this was the first track that had an original sound to it. Like "oh, this is what this band's about" but having never heard any of their other stuff apart from the three previous songs, I guess I shouldn't say that. It had a cool sound to it. I'd definitely give this one another listen. – Lanie
Track Five: Stella
I yelled “STELLAAAAAAAAA” and then we had a debate over whether or not that was from A Streetcar Named Desire. (It is, and Brando rips his shirt. There’s a Simpsons version too, with Marge as Stella.) Then I heard the chorus, about how he only loves her when he’s drunk or something like that, and I thought, damn, is this supposed to be a shout-out to Streetcar? Anyway, the entire sentiment of this song is so typical for this band. They put off this sleazeball persona, including telling (mostly teenage) girls to take off their tops/show their genitals. They’re everything Saint Gerard Way hates in a band. – JulieAnn
This song made me roll my eyes. – Lanie
Track Six: Sick Little Games
The beginning line reminded me of the beginning line of Jack’s Mannequin’s “Kill The Messenger,” which is fine, because that’s what I wake up to every morning. I like the chorus, but the weird bridge thing needs to go. I also really hate the “wooOOOooOOO” thing in the background. – JulieAnn
That's really all I have to say about that. No, that's not true. I just wish I had understood this song at all. When people whine about celebrity, it's hard to sympathize but there is a way to do it. You can satirize it, turn it up and laugh about it...there are just so many other ways to make the topic relevant to people who will never experience that. "Wah wah wah, I'm going to run away from my terrible problems of everyone loving me and having too much money! Don't look at me! But don't stop giving me your money..." – Lanie
Track Seven: Hello Brooklyn
I actually really liked this song. I mean, it’s not going to take over from the “get drunk let’s get fucked up” song [“California” by Hollywood Undead] as my party song, but it could hang around on my iPod and I’d probably listen if it came up in the shuffle. You know, in the afternoon, on a Friday. It kind of gives me the same vibe as The Ataris’ So Long Astoria (err, while being a much inferior song/album), where I want to drive around in late September and October with my windows down. I really didn’t like the city name-drop thing. I mean, I don’t mind a little city drop, but this was just way too much. Too much travel! Also he said “’Frisco”, so major point deduction on that one. – JulieAnn
Obvious city pandering! Other than that and the cheesy "party at the end of the world" line, there's not a lot to dislike about this track. It's just there in the way that a lot of the other tracks were just there, but it's not obnoxious about it. I could definitely stand listening to this another couple of times. – Lanie
Track Eight: Walls
Why do all of All Time Low’s songs sound like something else? I didn’t like the verse to this, and I liked the chorus right until I figured out that it kind of sounded like “Check Yes Juliet” by We The Kings, which I’ve already stated I’d rather be listening to. – JulieAnn
Everything I like about this band seems to come from outside influences, I swear. I did enjoy the chorus but the above exchange just made me laugh. – Lanie
Track Nine: Too Much
It was just Too Much to hope that this would be a Spice Girls cover. Unfortunately, it’s not the Spice Girls, and it sounds like they wish they were The Secret Handshake, who do this sort of electronic dance-pop, and do it much better. The song suffers from a serious lack of lyrics. I know it’s called “Too Much” but repeating “Too Much” too much makes me want to stab you in the face (too much). – JulieAnn
I spent half this song playing bits of the Spice Girl's song of the same name in little blurbs at Julie. Therefore, I feel like it would be unfair to try to pretend I have any kind of opinion about this song. – Lanie
Track Ten: Keep The Change, You Filthy Animal
I told Lanie that the only thing I could think of after seeing the title of this song was Macaulay Culkin. Also, like my friend Rat said he was once, they are just one long pop culture reference. Also I’m not sure what the song has to do with the title. That’s disappointing. At least with Schism! At the Disco use lines from movies as song titles, they make them relate. I could only understand every other word, and after Lanie gave me the lyrics, I was like ugh, now I wish I couldn’t. I am too far removed from high school to relate to this song at all. I was unamused. – JulieAnn
We spent half this song trying to figure out what this guy was talking about. Who was talking about him behind his back? And to whom? It was all some twisted tale that I'm not sure made sense. I can't remember liking it or hating it, so I'm going to assume that it was generic. – Lanie
Track Eleven: A Party Song (The Walk of Shame)
The very beginning of this song sounds like the one Movielife song that I like, but only the opening guitar riff. [Note: that particular song is “Jamestown,” which I only remembered after a lot of thought.] I feel like they’ve already done the “ohOH” thing once on this CD, but maybe I’m mistaken. Also he uses the line “dark side of the dance floor” which makes me laugh and I can’t take them any kind of seriously as musicians at all. Although, I am a little impressed that he’s actually the one who seems to be taking the walk of shame. I think the little girls that love this band can’t see past how cute Alex Gaskarth and Jack Barakat are to how completely crap these lyrics are. – JulieAnn
I was over this album at this point, looking up the lyrics online and reading them. The music was similar to everything else we'd already heard. – Lanie
Track Twelve: Therapy
One of the first lines in this song said something about “tongue like a nightmare” and I was done. The entire song sounds kind of reminiscent of Green Day’s slower stuff, say from American Idiot or 21st Century Breakdown. The very sort of monotone verses with the great big high notes in the chorus which, incidentally, Alex Gaskarth can’t actually hit. Tough for him, really. – JulieAnn
Yeah, this reminded me of a lot of when punk musicians try to play slow songs. I didn't love it. – Lanie
Final Thoughts
I could probably enjoy a couple of tracks off this album, but on the whole I like this CD a lot less than the first one, because there wasn’t a single track on this disc that I absolutely loved. Musically, it’s probably a better album than So Wrong, It’s Right, but there’s nothing that really captures me. Although, I can say I’ll probably give it another listen, most likely in the car, which So Wrong, It’s Right didn’t get. (Except for “Remembering Sunday,” which I listen to a lot.) I feel like it will be better in the car than in my living room while I’m sitting at the computer. On the whole, though, it’s forgettable, and suffers from a lack of Juliet Simms. But, uh, Nothing Personal. – JulieAnn
I've never listened to these guys before so I wasn't sure what I'd be in for. It turns out, I wasn't in for a whole lot. Before abandoning the album, I'd listen to it another couple of times to see if anything caught hold but I can only call it decent. Hopefully, these guys can blame it on the sophmore slump, when they look back. It doesn't make me want to immediately go out and buy their first to see if it was better but it wouldn't make me run screaming if they put out a third. – Lanie
Lanie: Having never listened to ATL makes me a blank slate yay
Julieann: Yeah, well, I hate Alex Gaskarth! Let me get that off my chest.
Track One: Weightless
All Time Low played this song on the Believers Never Die, Part Deux, tour when they were opening for Fall Out Boy. When I heard it initially, I thought it wasn’t a bad song. Unfortunately, since it was at the show and I’d never heard it before, I couldn’t understand the words. I don’t like it better now that I can. With this listen, I can say that I enjoyed the chuggy guitar bits that were between the choruses and the verses and at the end of the song, but I wish there was more of that part in the song. It kind of sounds like they stole it from Fall Out Boy, though. – JulieAnn
My first impression was that this band really admires Simple Plan which would be all well and good except that Simple Plan is some of the most generic pop-"punk" out there. I noticed a good drum bit in the middle and only focused on the drums from there out. I couldn't pick out anything noteworthy about this song in any way. – Lanie
After this point, there was a break of approximately ten minutes where we replayed the end of “Weightless” over and over while we tried to ascertain which Fall Out Boy song it was that it sounded exactly like. The conclusion? The end of “Weightless” is the exact same as the ending as Fall Out Boy’s “Thriller.” Only without Jay-Z. So it’s obviously a step down.
Track Two: Break Your Little Heart
Julieann: I wish I were listening to We The Kings.
Lanie: Sk8er Boi!
I liked the chorus of this song through until the point where he said the words “break your little heart” with no backing music. I’m not into the cliché lyrics with no support. I think the problem with All Time Low is that they’re nothing special. Like, if I heard this on the radio, I’d probably stop and listen, but I wouldn’t otherwise seek it out. Also, I feel like it ended rather abruptly. – JulieAnn
Remember the first time you ever heard Sk8er Boi? This was exactly like that. That's all I've got. Except for the part where I was sad that I actually found myself reminiscing about Sk8er Boi. And then the part just now where I had to type it. – Lanie
Track Three: Damned If I Do Ya (Damned If I Don’t)
I have to admit that I listened to this song through the first chorus when the single first dropped. But I couldn’t manage to make myself go any farther than that. Parts of the track sounds like Butch Walker, and other parts of the track sound like Bowling For Soup. Also, for some reason, Gaskarth gets a country twang in some parts. I don’t understand why – They’re from Baltimore. Baltimore’s the ghetto, not the country. (Err, sorry if you dig Baltimore, but I was there a couple weeks ago – it was seedy. Deal.) Actually, I was kind of into the track until they said the actual title in the chorus. That was a turn off for me, but I feel like the track could actually grow on me if I gave it a few listens. – JulieAnn
This was the first track that actually sounded like something and showed a little character. It had a build to it. It started somewhere, it grew bigger, it had some levels to it. I'd give this track another couple of listens. I wouldn't be surprised if Butch Walker had a hand in writing this one, as well as producing the track. – Lanie
Track Four: Lost In Stereo
The beginning of this song sounded so much like “Everything is Alright” by Motion City Soundtrack that I actually started singing it. Does this band have their own sound at all? I think I could be more into them if more of their stuff sounded like this track, though. I think this one’s a keeper. – JulieAnn
Not knowing the Motion City Soundtrack song (or band) at all, I thought this was the first track that had an original sound to it. Like "oh, this is what this band's about" but having never heard any of their other stuff apart from the three previous songs, I guess I shouldn't say that. It had a cool sound to it. I'd definitely give this one another listen. – Lanie
Track Five: Stella
I yelled “STELLAAAAAAAAA” and then we had a debate over whether or not that was from A Streetcar Named Desire. (It is, and Brando rips his shirt. There’s a Simpsons version too, with Marge as Stella.) Then I heard the chorus, about how he only loves her when he’s drunk or something like that, and I thought, damn, is this supposed to be a shout-out to Streetcar? Anyway, the entire sentiment of this song is so typical for this band. They put off this sleazeball persona, including telling (mostly teenage) girls to take off their tops/show their genitals. They’re everything Saint Gerard Way hates in a band. – JulieAnn
This song made me roll my eyes. – Lanie
Track Six: Sick Little Games
The beginning line reminded me of the beginning line of Jack’s Mannequin’s “Kill The Messenger,” which is fine, because that’s what I wake up to every morning. I like the chorus, but the weird bridge thing needs to go. I also really hate the “wooOOOooOOO” thing in the background. – JulieAnn
Lanie: you know that's going to be the one stuck in your head though
Lanie: it's already repeating in mine
Lanie: EARWORM AHHH
That's really all I have to say about that. No, that's not true. I just wish I had understood this song at all. When people whine about celebrity, it's hard to sympathize but there is a way to do it. You can satirize it, turn it up and laugh about it...there are just so many other ways to make the topic relevant to people who will never experience that. "Wah wah wah, I'm going to run away from my terrible problems of everyone loving me and having too much money! Don't look at me! But don't stop giving me your money..." – Lanie
Track Seven: Hello Brooklyn
I actually really liked this song. I mean, it’s not going to take over from the “get drunk let’s get fucked up” song [“California” by Hollywood Undead] as my party song, but it could hang around on my iPod and I’d probably listen if it came up in the shuffle. You know, in the afternoon, on a Friday. It kind of gives me the same vibe as The Ataris’ So Long Astoria (err, while being a much inferior song/album), where I want to drive around in late September and October with my windows down. I really didn’t like the city name-drop thing. I mean, I don’t mind a little city drop, but this was just way too much. Too much travel! Also he said “’Frisco”, so major point deduction on that one. – JulieAnn
Obvious city pandering! Other than that and the cheesy "party at the end of the world" line, there's not a lot to dislike about this track. It's just there in the way that a lot of the other tracks were just there, but it's not obnoxious about it. I could definitely stand listening to this another couple of times. – Lanie
Track Eight: Walls
Why do all of All Time Low’s songs sound like something else? I didn’t like the verse to this, and I liked the chorus right until I figured out that it kind of sounded like “Check Yes Juliet” by We The Kings, which I’ve already stated I’d rather be listening to. – JulieAnn
JulieAnn: i told you i'd rather be listening to... he just said "i was young and horny"
Lanie: NO WAY.
JulieAnn: he did. did you hear it?
JulieAnn: you know what the problem is? we're too old for bands that need to use the lyric "i was young and horny"
Everything I like about this band seems to come from outside influences, I swear. I did enjoy the chorus but the above exchange just made me laugh. – Lanie
Track Nine: Too Much
It was just Too Much to hope that this would be a Spice Girls cover. Unfortunately, it’s not the Spice Girls, and it sounds like they wish they were The Secret Handshake, who do this sort of electronic dance-pop, and do it much better. The song suffers from a serious lack of lyrics. I know it’s called “Too Much” but repeating “Too Much” too much makes me want to stab you in the face (too much). – JulieAnn
Lanie: this is sad that I wish I was listening to the spice girls.
JulieAnn: i wish i was listening to the secret handshake. ilu, luis dubuc
I spent half this song playing bits of the Spice Girl's song of the same name in little blurbs at Julie. Therefore, I feel like it would be unfair to try to pretend I have any kind of opinion about this song. – Lanie
Lanie: I'm so glad that's over so much so much so much so much so much so much so much so much so much so much so much so much so much so much
JulieAnn: fuck you.
JulieAnn: i almost spit out my ice cream
Track Ten: Keep The Change, You Filthy Animal
JulieAnn: KEEP THE CHANGE, YOU FILTHY ANIMAL
Lanie: is the next song "angels with dirty faces?"
JulieAnn: you're laughing, but that's really the title of this song
Lanie: OH IT'S THAT STRAIGHTFORWARD, OK
I told Lanie that the only thing I could think of after seeing the title of this song was Macaulay Culkin. Also, like my friend Rat said he was once, they are just one long pop culture reference. Also I’m not sure what the song has to do with the title. That’s disappointing. At least with Schism! At the Disco use lines from movies as song titles, they make them relate. I could only understand every other word, and after Lanie gave me the lyrics, I was like ugh, now I wish I couldn’t. I am too far removed from high school to relate to this song at all. I was unamused. – JulieAnn
We spent half this song trying to figure out what this guy was talking about. Who was talking about him behind his back? And to whom? It was all some twisted tale that I'm not sure made sense. I can't remember liking it or hating it, so I'm going to assume that it was generic. – Lanie
Track Eleven: A Party Song (The Walk of Shame)
The very beginning of this song sounds like the one Movielife song that I like, but only the opening guitar riff. [Note: that particular song is “Jamestown,” which I only remembered after a lot of thought.] I feel like they’ve already done the “ohOH” thing once on this CD, but maybe I’m mistaken. Also he uses the line “dark side of the dance floor” which makes me laugh and I can’t take them any kind of seriously as musicians at all. Although, I am a little impressed that he’s actually the one who seems to be taking the walk of shame. I think the little girls that love this band can’t see past how cute Alex Gaskarth and Jack Barakat are to how completely crap these lyrics are. – JulieAnn
I was over this album at this point, looking up the lyrics online and reading them. The music was similar to everything else we'd already heard. – Lanie
Track Twelve: Therapy
One of the first lines in this song said something about “tongue like a nightmare” and I was done. The entire song sounds kind of reminiscent of Green Day’s slower stuff, say from American Idiot or 21st Century Breakdown. The very sort of monotone verses with the great big high notes in the chorus which, incidentally, Alex Gaskarth can’t actually hit. Tough for him, really. – JulieAnn
Yeah, this reminded me of a lot of when punk musicians try to play slow songs. I didn't love it. – Lanie
[Phantom Planet’s “California” starts playing.]
Lanie: CALIFORNIA CALIFORNIA!
Lanie: HERE WE COOOOOOOOOME
JulieAnn: lmfao THAT WAS NOT A COVER i went out of the "nothing personal" search [on iTunes]
Final Thoughts
I could probably enjoy a couple of tracks off this album, but on the whole I like this CD a lot less than the first one, because there wasn’t a single track on this disc that I absolutely loved. Musically, it’s probably a better album than So Wrong, It’s Right, but there’s nothing that really captures me. Although, I can say I’ll probably give it another listen, most likely in the car, which So Wrong, It’s Right didn’t get. (Except for “Remembering Sunday,” which I listen to a lot.) I feel like it will be better in the car than in my living room while I’m sitting at the computer. On the whole, though, it’s forgettable, and suffers from a lack of Juliet Simms. But, uh, Nothing Personal. – JulieAnn
I've never listened to these guys before so I wasn't sure what I'd be in for. It turns out, I wasn't in for a whole lot. Before abandoning the album, I'd listen to it another couple of times to see if anything caught hold but I can only call it decent. Hopefully, these guys can blame it on the sophmore slump, when they look back. It doesn't make me want to immediately go out and buy their first to see if it was better but it wouldn't make me run screaming if they put out a third. – Lanie
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