I try and go back and listen to the “emo” type bands I used to listen to about ten years ago sometimes when I’m feeling nostalgic and it’s never quite the same. Don’t get me wrong, I still love the bands I did in 2002-2003, but they don’t resonate like they used to. If you experience that same feeling then DAYTRADER’s Twelve Years will be a big album for you. It’s somewhat of a flashback. Everything down to the distinct Sapone production will feel familiar, but these aren’t just rehashed songs from a golden era.

There are three main strengths on this album, and the first is obvious. Tym’s vocals. They’re an emotional ride without too much of the signature emo “whine” that likes to rear it’s ugly head in the genre. The next is his lyrics. In the opening “Deadfriends” he sings “Don’t you ever say we’re destined to be great,” and I think he may have been on to something. The overall writing in tracks like “After-Image” show that not a single stone was left unturned when it came to details, both instrumentally and lyrically.

Yet one of the more subtle triumphs in Twelve Years comes from the rhythm section. Drummer Derrick Flanagin and bassist MikeMascarenas carry a lot of weight in making this album a new authority in the scene. From the first single “Firebreather” to “Struggle With Me”, the track most reminiscent of their debut EP Last Days of Rome, the duo produce fills and biting bass lines that act as a backbone for each track.

I’m willing to bet that this album will be for some people what early Brand New was to me. It will carry a lot of weight with a lot of people, and I’ll admit that it’s secured an early spot on my 2012 AOTY list. Stream the album here: http://www.youtube.com/watch?v=1HQJw3eJEoQ&feature=player_embedded&list=PL205510A030E205A4

RIYL: Jimmy Eat World, Saves The Day, early Brand New

Review by Alisha Kirby

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After having reviewed both Andrea Caccese’s solo EP and his work under the moniker Songs For The Sleepwalkers, I’m sure you’re well acquainted with this cool, somber, acoustic side. Now that he’s teamed up with Dick Pettersson under the name I USED TO BE A SPARROW, we get to see his pleasant side, which comes fully equipped with an electric guitar.

In the band’s single “Life Is Good” we’re quickly introduced to the qualities that make this duo so enjoyable. Pettersson’s vocals soar effortlessly over Caccese’s indie-pop, reverb light riffs. Both of these men can sing though, and they show it off in the percussion driven track “Let Go”, in which they intertwine throughout the song. Still, where the band is strongest is in their atmospheric sensibilities. Tracks like “Hawaii” seem to float over subtly intricate guitars and spacey vocals, while “Lovers on The Moon” has a pulsing acoustic sound.

The strongest track on the album comes in the form of “Moby Dick”. The sad lyrical content is tucked behind layers of melodic guitars and a delivery that seems far more lighthearted than melancholy. Although IUTBAS has multi-tracked guitars in nearly every song, layers both men’s vocals, and occasionally has keys and other sounds added on top of it all, Luke feel very open and free of heavy effects. It’s nice to hear a cheerful Cacesse after all of the dismal tunes he’s released in the past. You can find the album here (pay what you want): http://iusedtobeasparrow.bandcamp.com/

RIYL: spring time, Bon Iver, Coldplay, Arcade Fire

Review by Alisha Kirby

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After releasing two solid EPs it was about time THE TOWER AND THE FOOL released a full length, and it certainly doesn’t disappoint. The addition of new members has fleshed out the band’s sound without changing up their signature alt-country sound. What would normally bother me about this album is that four of the ten tracks (almost half) are just rehashed versions of old songs.

The only exception is “My Heart Is Dead In NYC” (which used to just be called “NYC”). It has been turned into a full band track that incorporates all of the groups skills, including a lead guitar that strengthens the song significantly. However, “Fade Away” and “Breach” sound as though they were just remastered for the most part, and “Die Alone” is the same from XIII. Luckily, these are also three of the strongest tracks in the band’s catalogue, so at least they chose repeat songs well.

As far as the new songs are concerned, it’s obvious that, despite already being good songwriters, they’ve still managed to grow and expand. The opener “Dive Bar” has one line in particular that sets up the theme for the rest of the album, “Maybe you’re pining over something you never even had in the first place/ maybe you fell in love with a feeling and not a girl.”

Other strong tracks include the gentle, almost conversational “How Long”, which questions how long it takes to heal after heartbreak, and the dark, yet uplifting “Scoliosis”, which you can stream here: http://www.absolutepunk.net/artists/showlink.php?l=38652

RIYL: Counting Crows, Wilco, Ryan Adams, Gin Blossoms

Review by Alisha Kirby

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I’ve been in a funk for the last few weeks where I’ve been listening to nothing but sad, droning music. While that’s fine for a short while, eventually you need to listen to something that will brighten things up a bit. DRIVER FRIENDLY’s Bury a Dream is a fantastic place to start. They toe the lyrical line between positive and cheesy in a way that makes you feel warm, fuzzy and understood without all of the cliches.

The group chanting “It’s not death that scares us/It’s the ghosts we cannot see that scares us” in “Ghosts” kicks things off with a familiar riff and polished synths - a combination that shows up a couple more times (notably in “Shark Cave”). Then there’s the tracks that completely contrast the above combination. “Messidona” pulls out the energetic horn section early on, while “Harsh, Harsh, Harsh” builds up with it later.

“Why Don’t You Just Rain For Me?” has just a few lines, “Sing me to sleep with the songs you keep under the bedroom floor/ I will stay awake with every moment that fades/ I will sleep no more.” Yet despite being one of the shortest tracks on the album, it carries a lot of emotional weight in its delivery. It’s almost sung in a matter of fact tone that catches you slightly off guard, and is followed by one of the loudest, fullest instrumental sections on the album.

While the instruments are all great, what helps make this album something you’ll come back to over and over is the lyrics. No matter what your musical taste there’s a chance you can get into Bury a Dream. Stream and pre-order it here: http://driverf.bandcamp.com/

RIYL: The Fold, The Starting Line, The Eastern Sea

Review by Alisha Kirby

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Tis the season for splits. As some bands gear up to release full length albums later this year, and others are just trying to get their name out, you’re going to see a lot of artists teaming up. Count Your Lucky Stars is generally home to the best bands that nobody has ever heard of, so I’ve got high hopes for this EP. This review is going to be slightly different though. Here my impressions on each song as I hear them for the first time:

Side A - DOWSING:

 “That Would Be a Lot of Cool” sounds like a Say Anything song playing from a jukebox. It’s a bit like I imagine Max Bemis singing a song for the Grease soundtrack would sound like. The guitars have more modern punk tones, but combined with the rhythm section have an early 60’s feel.

“Somerset (Alternate Version)” is obviously the calmer side to this band. It’s got some familiar melodies - the ones you’ve heard from late 90’s alt-rock radio - but with less “in your face” instrumentation present in the first track. You can focus on the lyrics with ease, which aren’t incredibly poppy, so they sort of combat the catchy instrumentals.

Side B - PARKER:

“Make It Home Safely” is the type of track that shows sometimes less production is more. It’s energetic. It’s the type of song you’ll shout along to in a car with a group of friends. The vocalist uses his ability to shift from shouts and back a few times which turns out well, and the percussion stands out without being overbearing.

“Eleanor Roosevelt” starts off with a muted guitar and an apologetic lyric before quickly building up into a full band jam with nimble guitars and simple and effective drums. It continues to build until the last second both instrumentally and vocally until it all just suddenly stops. Now you’ll want to repeat all four tracks.

I can’t wait until I can blast this EP from my car when the weather warms up. This is Parker’s debut release, but you can expect a full length later this year from Dowsing. You can stream it below.

RIYL: old Transit, Tigers Jaw, Weakerthans 

Review by Alisha Kirby

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THE FORECAST has always been the little band that could. They’re the type that I feel should be much bigger than they are. Everybody Left picks up right where their self-titled left off. It’s still got the twangy alt-country rock guitars, and it’s still got all of the brutal honesty in the lyrics. The opening title track shows just that. Then you’ve got “Like a Habit”, which is easily the catchiest track on the album. The melody can quickly be compared to half the songs on Third Eye Blind’s album Blue.

What’s been fading from their songs is the back and forth vocals between Dustin Addis and Shannon Burns. While Burns still does back up vocals and sings “Take Me Down” almost solo, very few of the tracks have that half-and-half element that was present in previous releases. “Sing It Out” is one of the only tracks on the album that still has this duo aspect, and it’s one of the strongest tracks. The two don’t seem to be fighting for mic time (which is how their self-titled sounded), and Burns’ delivery doesn’t seem so urgent (as it did listening to In The Shadow of Two Gunmen). It’s more purposeful and calmed - like they shook off the pre-game jitters.

A few more notable points show up in “Skipping Stone” and “Figure It Out”, which are both broken up with some stand out lead riffs in the bridge, and are just well written overall. Now then, I love a good homage to past albums, and the closing “Last Stand” takes the the cake - the entire bakery for that matter. In the final minute and ten seconds it uses previous lyrics and song titles from “And We All Return to Our Roots”, “(May You One Day) Carry Me Home” and “You’re My Needle” (In The Shadow of Two Gunmen), “Whiskey’s Dead You’re Next” (Late Night Conversations), and “I’ll Set You Free” (The Forecast). Just to name a few. The band shows that you can write music that will gain new fans without alienating old ones.

You can stream the album here: http://www.absolutepunk.net/artists/showlink.php?do=showdetails&l=2625

RIYL: The Graduate, Death In The Park, The Swellers

Review by Alisha Kirby

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This is one of the better albums that I would’ve never known about had it not fallen into my lap (or inbox). When I read that they were described simply as “fun”, I assumed they’d be some electro-pop type band with lyrics as deep as a puddle. Then “Technicolor Blues”, with it’s distorted vocals and mellow atmosphere, caught me off guard, and the hilarious visuals and instrumental prowess of “NW Thurman” hooked me.

One of the more notable aspects about this album is present in two of the strongest tracks. “Barstools” is what you would get if you did a mash-up of “The Fool” by Neutral Milk Hotel and “Lions Roar” by the Hush Sound. The evil circus feel of the horns throws the entire track into a frenzy, which continues through the final chorus. Then you have “Light It Up”, which has a huge island instrumental bridge and a single moment of zombie sound effects. The band has a knack for bizarre combinations that works because it feels natural.

Let’s say for a moment though, that you couldn’t care less about the genius of the instrumental arrangements in the album - you just want to get drunk and sing along to some rowdy tracks. You’re in luck. Songs like “Cul-de-sac” and “Day Drink Part 1” are immediately singable all the way through.

The closer, “Day Drink Part 2”, has the same vibe as a movie that sets up a sequel. It’s a mix of anticipation and the feeling of starting fresh as Vela repeats “goodnight, farewell, nostalgia,” over a build up of soaring guitars. Overall, this album was an incredibly pleasant surprise. You can get Weekends April 17, but stream two of the tracks now, here: http://whitman.bandcamp.com/

RIYL: The Tower and The Fool, The Replacements, Third Eye Blind

Review by Alisha Kirby

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Last night, I was one of the few lucky fans who saw REFUSED’s first US performance since 1998. The band called it quits so long ago, most of their fans never even had a chance to really comprehend their definitive album, The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts, in time to ever catch a live performance of the songs. Thankfully the band is back and playing limited shows and festivals this year.

I actually felt nervous before they started their set. For more than 10 years, I’ve considered myself a big fan, but a live show can definitely affect how I feel about a band. I really wanted these reunion shows to feel like they’re being done for the right reasons (not just for money) and be entertaining too. Luckily, all my expectations were met and exceeded.

Refused sounded perfect. They gave the impression that they’ve continued to practice together every week all these years. Although time has passed and they’re an older band now, they still unleash intensity that surpasses bands half their age. The group played with so much heart and it was easy to tell how much fun they were having. I can confidently declare their set as one of the best performances I’ve ever witnessed.

I believe vocalist Dennis Lyxzén said it best, “Refused is not fucking dead.”

More on their history, as well as some great photos from the performance can be found here.

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It’s been a few weeks since this album came out, but now that I’ve had time to let it settle in my mind I’ve realized that this album is perfect for a few things: night time listening, and rainy or cloudy days. Threads almost seems dull at times when you’re out walking across campus in the sun, but turn it on while driving home after dark and the icy, emotional tones of the album take on a whole new face.

After stripping away the distorted vocals of the intro “The Pull”, Dalager’s voice shines in “Prehistoric”. The fuzz guitars in this track provide a sort of atmosphere that lingers into the next few tracks, but credit must also be given to the simple and effective percussion in the album (“Lucie, Too”). Overall, this is the band’s strongest release. The instrumentation is tighter, and their attention to detail is obvious (due in part to Chris Walla’s production perhaps?).

I’ve got two gripes about the album though. The vocal melodies can seem repetitive, almost monotonous at times, if you aren’t in the right mood for the album. Some albums are just like that though, and I’ve accepted it. The thing I noticed right away was the fact that “Dead Oaks” sounds exactly like opening to “Neighbors”. While they’ve grown quite a bit as songwriters, it’s obvious that they’ve stuck to a few more comfortable techniques.

Still, the fact that there’s no real filler in a 12 song album is incredibly refreshing. Choice cuts include: “Wolf”, “Prehistoric”, “Oh. Hi.”, and “Thread”. If you haven’t already, you can check the album out here: http://itunes.apple.com/us/album/threads/id499438810

RIYL: older Now, Now material, Death Cab for Cutie, Tancred

Written by: Alisha Kirby

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I’m usually hesitant to give new artists a chance. It’s obviously not because I dislike new music, but once I fall in love with a new band, I tend to become addicted and do all I can to collect their entire discography. It can be time-consuming and expensive. After enough of my friends spoke highly of I THE MIGHTY, I decided to take the plunge and give them a chance. It was well worth it.

Karma Never Sleeps is their Equal Vision Records debut and the band fits perfectly on that roster. The best way to describe their style is a mixture of CIRCA SURVIVE, SAY ANYTHING and IVORYLINE. The high-end vocal style is similar to Anthony Green’s but not in a copycat way at all. All four members are very talented and contribute well to the overall sound 

The EP’s second song and upcoming single, “Dancing on a Tightrope,” would be my favorite of the six stellar tracks. The tune is catchy and has a great groove. In fact, throughout the album, the band tends to find ways to keep my attention focused while avoiding both redundancy and pretentiousness.

Between the varied lyrical content (track-by-track breakdown can be found here) and the upbeat and catchy songs, I the Mighty should be on everyone’s radar. It doesn’t hurt that the group puts on an energetic live show too. When they record their first full-length album for EVR, it’ll be on my most-wanted list, without a doubt.

Stream the EP here: http://www.youtube.com/playlist?list=PLC52A4D0BAD7DE195

RIYL: Circa Survive, Ivoryline, Say Anything

Review by Greg

A good split album is a tricky thing. You need bands who can compliment one another, and who have a similar target audience. You need bands who can fit that mold without sounding exactly the same. It’s a tough balancing act, but PENTIMENTO and YOUNG ENGLISH have created a solid punk EP of original work and covers of some big names (and no, that doesn’t mean Katy Perry or Adele).

The same brute force found in Pentimento’s debut EP Wrecked, is delivered once again in the vocal department. “L’Espirit De Escalar (The Stairs)” built up into the familiar, angry, raw sound we’ve grown to love from the band. Then you’re dropped into the push and pull feel of “No Apology”, which gives you a chance to take a slight breath in the bridge, but steals it away again in the following track, “The Bridge”. Their final contribution, a cover of Dashboard Confessional’s “The Places You Have Come to Fear The Most” is, dare I say, more enjoyable than the original. The delivery seems to shed an entirely new light on the lyrics themselves.

Now for Young English’s side. Their opener, “Woke Up Under Water” is officially my favorite track from them. It’s also one of their more pop-punk sounding, but it’s the use of intertwined and energetic guitars that make it a stand-out. Where this side of the split really shows strength though, is in the band’s ability to work with the ebbs and flows. “Old Wives Tale” transitions from slow, to a guitar solo, to a highly charged chorus, and back again. They demonstrate total control over their explosiveness. Ending with a raucous rendition of “Tonight, Tonight” by Smashing Pumpkins was a way to end with a bang.

Normally I don’t have much to say about splits, but thisis a fantastic listen. If you haven’t been listening to Pentimento or Young English, there’s no better time to start. Stream the EP here: http://propertyofzack.com/post/19928784328/pentimento-young-english-ep-stream

RIYL: Hot Water Music, Polar Bear Club, Small Brown Bike

Written by: Alisha Kirby

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I had no idea what I was getting into when I downloaded this EP. Of course I read the RIYL, but I love both The Police and The Kinks, so I was hesitant to believe a new band could compare. The opening riff of “Passing Parade” glided flawlessly into a well executed melodic track with raw, but harmonic vocals. This opener sets the bar high, and the following tracks don’t disappoint.

“Live Like the Sixties” is a bit heavier. Even in the moments where simple guitars are intertwining with smooth vocals, this track feels full, almost lush. This makes the minimalist approach of “Stay Alone” quite the transition (by “minimalist” I mean compared to the other four tracks). The songwriting stands out on this one, as you aren’t focused almost solely on the instrumentation. Keeping in mind that this is a three-piece band makes the next track, “Fake Smile” that much more impressive. These guys have obviously worked at creating a full sound.

The beautiful closer “Winter at Faneuil” rounds out this EP quietly, calming everything down. This is a remarkably clean and well produced first release. Tracks don’t get repetitive, but there’s nothing that really jumps out at you. This is a good EP to just throw on and drink a coffee to. Stream the opening track here: http://humaana.bandcamp.com/

RIYL: The Police, Anberlin, Iron and Wine

Written by: Alisha Kirby

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All month, I’m sure you’ve read posts about “South By” and how every band out there “killed it.” I’ll cut to the chase: I saw some great performances by bands that most major sources probably missed. Here are my favorites.

DOOMTREE 

The hip-hop collective played a handful of sets during SXSW and I was fortunate to catch their appearance at the Roxy AUSTINROX Showcase. The set felt like an intimate dance party, especially during POS’ new track. This specific song, with a chorus of “I don’t wanna think about it, I just wanna get down” will not leave my head. I need his new album to be released as soon as possible so I can listen to it nonstop. Between SIMS jumping into the crowd to dance and get crazy and POS climbing on speakers to pump up everyone watching, the show was constantly fun. The only disappointment from their set was that police actually ended it early, due to the 2 a.m. cutoff time.

I THE MIGHTY

This recent addition to Equal Vision Records blew me away. They’re a great fit for fans of Circa Survive, Say Anything and Ivoryline. Despite playing at 1 in the afternoon (early, for SXSW standards), they rocked out with an energy that very few can harness on that little amount of sleep. Their new EP, Karma Never Sleeps, will be available on Tuesday.

STATES

Since Nate Young, of ANBERLIN, recommended this group (ex-LYDIA, COPELAND) last year, I’ve become a big fan of their dance-pop/rock music and looked forward to seeing them live. The PureVolume House and Buzznet hosted one of their many appearances and it made for a great mid-day performance. 

BACK POCKET MEMORY

Keep an eye on this group. I couldn’t get a clear photo of them during the set because they never stood still. Vocalist Chris Pennington climbed on any amp or railing available, and even made his way to the front of the venue to sing for anyone who walked past. Their catchy, upbeat rock music is infectious and their sweaty set at Agave certainly caught everyone’s attention.

THE COMPANY WE KEEP (Photo Credit)

I made a huge effort to get to Kenny Dorham’s Backyard BBQ, the venue hosting THE COMPANY WE KEEP. It’s about a mile away from the main festivities of SXSW, but well worth the walk. Because they are a new band, I was only familiar with their opening song, “Right/Wrong,” but the rest of their material is just as creative and entertaining. I had high expectations, due to the background of this group (current and ex members of Motion City Soundtrack, The Receiving End of Sirens and Misery Signals), and they did not disappoint. 

THE MATERIAL

I’ve seen a few performances from this Los Angeles-based group before, but this was by far their best. Holding only one SXSW appearance this year greatly paid off. The Thirsty Nickel filled with fans, leaving me to barely find room at the front, at the stage. Their set maintained energy and heart the entire time. Their cover of THRICE’s song, “The Weight,” pleased even the die-hard Thrice fans in the room. The Material is constantly on tour or making new music, so make sure to give them a chance if they visit your hometown.

BBQ

Not a band, but a delicious stop on my visit in Austin. Ironworks BBQ has incredible food and is not to be missed.

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Review by Greg

Can it be that summer is almost here? Even if your corner of the world is still buried under feet of snow or you’re hit by thunderstorms every time you leave your house, Someone That’s Not You will trick you into believing things are sunnier if you close your eyes. For 12 minutes this EP will have you thinking the weather is warmer, and that your car windows should be down.

The title track is the epitome of pop-punk: driving percussion, gang vocals, melodic guitars, and a chorus so catchy you’ll be forced to hit repeat a few times. These are clearly ingredients in each of their songs, because as “Backup Plan” follows the opener, you can pinpoint all of the same aspects. That’s not to say that each track sounds the same though. They seem to lean more heavily on one detail each time. In “Backup Plan”, that’s the chorus. After two listens there’s a good chance you’ll be singing every word.

My personal favorites are the last two tracks: the first being an acoustic track that rivals Dropout Year’s “Biggest Fan” and All Time Low’s “Remembering Sunday”. This one boasts the catchiest chorus of all, which says a lot when each chorus on this EP is so damn singable right out of the gate. The closing track is a cover of the classic Third Eye Blind song “How’s It Going to Be”. The song is sped up without losing too much of the passion behind it. This was a well executed cover, and I can’t wait to hear a full-length from them this summer. Stream the EP here.

RIYL: Dropout Year, old All Time Low, Man Overboard

Written by: Alisha Kirby

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When I read the RIYL for this band it included The Postal Service, Of Montreal, fun. and Spice Girls. Did you catch that? If you’re anything like me your first reaction may have been something like, “um…what!?” Now that I’ve listened through the album a couple of times I’ll admit that the Spice Girls bit may have gone over my head. I’m not sure why they were mentioned, but it got my attention.

The opening “I Hope You Like Spider Pellets” is delicate with a minor hip-hop feel. It introduces you to the dual vocals of Lydell and Verrett, who intertwine their voices wonderfully. “Sweet Dew” has a sound I can only describe as whimsical, both in instrumental and lyrical aspects, while the following “Don’t Sweat It” is one of the more guitar driven tracks. While the two would seem to contradict one another’s sound, it’s the diversity that adds a bit of texture to the album as a whole. Songs like “Shit Snow”, which layers angelic effects and track upon track of vocals, and “Anything But You” are prime examples of the attention to detail they’ve shown.

Tongue-in-cheek is clearly not a style these two write in, as demonstrated by the lyrics in both “Substanceless” and “What’s The Occasion?”, that latter of which bluntly claims, “I’d pay you $40 to find a bridge to go step off.” The strongest track, “Her Leitmotif”, is the type of song that will haunt you long after the album has finished - it just has “that” type of melody. You Always Do This is up for name your price here, so go give it a listen: http://mansionclosets.bandcamp.com/

RIYL: The Postal Service, Freelance Whales, fun.

Written by: Alisha Kirby

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