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Dirty Sweet – American Spiritual May 13, 2010

Filed under: CD Reviews,Music Swap,New Music — NVMP @ 6:47 PM
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TNT thinks: Consider yourselves warned- Dirty Sweet’s American Spiritual is extremely catchy and highly addictive.  I’m in love with this album because I grew up with Southern rock and they have vibes that remind me of Tiger Army, only less punky.  There are also some great, chilling guitar solos.  The titles of each track are brilliant, “Rest Sniper, Rest” and “Star-Spangled Glamour” and “Crimson Calvary”, genius.  These are all amazing songs that I suggest you check out.  I also love “Please Beware” (the lyric ‘please beware, I’m going crazy’ I relate to on a daily basis’.  New TNT anthem?) and “Rest Sniper, Rest.”  When I’m listening to this album, I imagine myself driving down a long open road.  So you can bet your dirty sweet ass I’ll be packing this album on my next road trip.

H-Toof thinks: Dirty Sweet brings us some enjoyable Southern cock rock on their second studio album, American SpiritualAmerican Spiritual is like a rock canvas splattered with everything from gospel, country and blues to R&B and heavy metal.  The album plays like a chronicle of problems facing our country today, and takes aim at warmongering politicians and our celebrity-obsessed news media.  Overall, American Spiritual is a strong, varied rock album that both new and old fans will enjoy.

Check out Dirty Sweet’s video for “Marionette”

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This Addiction Leaves Alkaline Fans Fiending for the Past April 27, 2010

Filed under: CD Reviews — NVMP @ 1:49 AM
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By Alexander “Stigz” Castiglione

The 2010 release of This Addiction by Alkaline Trio will not have you hooked.  It will not have you fiending.  It will not have you tweaked out and hitting the repeat button like a lab rat on speed.  And no, it won’t have you tearing out your hair looking for it when you misplace it.

As a massive fan of their earlier work, having to say this…hurts me.

Any true Alkaline fan will tell you that despite this three-piece ensemble usually using the same chords and progressions, they still manage to come up with hauntingly simple tracks with the most poetically disturbing (and often relatable) lyrics.  But with This Addiction…they better find something else to hook us, because the dosage on this album is weak.

Don’t get me wrong though, if you are a lyrically based music fan, you’ll love this album.  Flipping through the liner notes and reading the lyrics, I was super-stoked to put this CD on and rock out.  Then I hit play, and it was downhill from there.

In their previous release, Agony and Irony, they started to get more lyrical and not the unpolished, grimy, almost spoken word meter they had to their earlier work.  Either they hooked up with a vocal coach, or they just worked on their vocals more because a more sing-song type style emerged in this album.  There are a few songs on Agony and Irony that I love, and the CD is pretty damn good now that I think about it.  The true judgment of an album is the question:  “do I ever need to hit ‘next track’ because I can’t stand a song?”  If the answer is no, the album is good.  If you hit “repeat all” the album is great.  And if you burn out buttons on your I-pod, the album is amazing.   However, there are only two or three songs on This Addiction I really enjoy.  The rest I simply tolerate.

“Dorothy” and “American Scream” are about as close as you’re going to get on this album if you vibe with me and love their earlier work.  If you love the classic tracks I do, like “Private Eye,” “Armageddon,” “Radio,” “Stupid Kid,” ”Cooking Wine,” or “Queen of Pain,” this album will royally piss you off.  Consider yourself warned.

I’ll say it again: I love this band.  They are in my Top 5, and it depresses me to have to say this.

But I have to.  If you’re reading this, I got to be honest with you:  Some songs on this release  confused me as a listener and slightly agitated as a fan.  Songs like “Dine, Dine My Darling” make no sense given their earlier work and “Off the Map” is way too catchy in a bad and commercialized way; this scares the shit out of me.  Alkaline Trio was always one of those rare musical gems that few people knew about, and the ones that did were rabid fans.

From a lyrical sense, strictly the words they use, this album is in line with their previous work: Absolute poetry for a disillusioned and distracted generation.  But the delivery and chord progressions and overall composition leaves a devout fan wanting more old and less new.  This Addiction will not have you strung out in any sense, and if anything will make you want to drink and try to figure out “What the fuck were they thinking.”

Two months later, I’m still on the fence about some tracks.  “Eating Me Alive,” has classic elements that I totally dig, but there are some symphonic, lush, orchestral elements that confuse my ears.  “This Addiction,” the title track, also rubs me the wrong way.  It sounds like Alkaline Trio, but it doesn’t sound like Alkaline Trio.  Excuse the tautology, but it’s the best way to describe it.  There are several points on this album that evoke that same emotion.  It’s like listening to one of my favorite bands in an alternate universe that is worryingly different yet strikingly the same.

In short, if you’ve loved Alkaline Trio way before Agony and Irony, I’d bet you wouldn’t dig this.  If you’re not too familiar with them, check it out-you may like it.  I’d recommend tracks that I mentioned like “American Scream” or “Dorothy,” if you like things a little edgier.  If you like something catchy and moderately upbeat check out “Off The Map.”

And if by the off-chance Matt Skiba or anybody else in Alkaline Trio is reading this: Please, please, please – can we get back to how you sounded on Remains, Crimson, and Good Mourning? Or dare I ask put us back in the hospital with an album like From Here to Infirmary or Maybe I’ll Catch Fire?  I’ll settle for covers that kick ass; like the bands take on Berlin’s “The Metro” or “Bye, Bye Love.”  Can we get more songs like “Warbrain” and “This Could Be Love?”  Can you rock out like “Donner Party (all night long)” or “Tuck Me In” for the love of all things holy?  Can you rebroadcast jams like “Radio”?  And all I want for Christmas is more tunes like “We’ve Had Enough” that I can use as a soundtrack for heavy drinking.  Please.

 

Klone Reviews New Sevendust – Cold Day Memory April 14, 2010

SevendustCold Day Memory


Review by: Klone

With the opening track “Splinter” starting off like a runaway freight train, my initial thought is “What train is this, and who’s driving?”  For a few seconds I thought it was Avenged Sevenfold. (Isn’t it ironic that both band names include the word “seven”?  Don’t you think?)  You know the old-school Sevendust fan in me wanted so badly to be falling all over myself and gushing pure rock enjoyment…but alas, I did not.  That’s not to say that the disc doesn’t begin with a valiant effort, but for my money, the disc begins like so many others; others that showed promise but failed to deliver.  You all know what I mean, right?  I’m sure there’s a band out there that you took a chance on, maybe some “new” band that had a sick hit on the radio or caught your attention on a movie soundtrack, only to find that they’re nothing special.  Now imagine that feeling when you’ve picked up the latest release by a band you actually remember being awesome.  Yup…it sucks.  Now, before I get too far, let me say that all hope is not lost before it’s even gained.  Any Sevendust fan knows that you can’t judge the buffet before it’s served.  A new Sevendust CD is like an un-tapped mine…it’s all about finding the hidden gems among the rough patches.

Sevendust albums have always seemed to me like a collection of song ideas that need a lot of work, with a handful of finished, truly kick-ass songs interspersed.  Cold Day Memory, the group’s eighth studio album, starts off as no exception to this trend, but quickly picks-up.  Once you get through the first two tracks in the line-up, something changes.  The sound becomes more developed, the songs become more engaging, and suddenly you feel like you’re listening to a different CD than you were when you first popped it into your player.  Could this disc mark one of those maturing moments in the band’s continuing evolution?  Have song structure and melody made their way into the permanent Sevendust mix?  Certainly the disc is more pleasantly surprising the deeper in you get, which in itself is one of the biggest improvements over their earlier offerings. (more…)

 

Morningwood- Diamonds & Studs October 26, 2009

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Review by Daniel Petrino

     Morningwood’s sophomore album is more than just some kick-ass chick rock, it’s some kick-ass-punk-pop-new-wavey-rock that overflows with seductive sass and salacious personality. From Chantal Claret’s gently whispered, ‘I’ll fuck you up’ on “Bipolar Bear” to the “Hollaback Girl” drumbeat on “That’s My Tune”, Diamonds & Studs is a kickass album that won’t disappoint Morningwood fans or fans of rock in general. 

     “Best of Me” sets the mood for the album with its aggressive vocals matched by equally aggressive guitar hooks. Most of the songs stand on their own two feet while still maintaining the distinctive Morningwood sound of bouncing bass beats, heavy guitars and some well-used synth. I say ‘most of’ because some tracks sound like slight variations on each other, though all are heavily beat-driven rock songs at their core. “Three’s A Crowd”‘s soft, innocent chanting of “We’ll be getting it on, getting it on,” throughout the song is insistent and sweet, evoking memories of high school make-out sessions in front of the television.

     The taunting, teasing undertone in Claret’s voice makes each and every song uniquely hers, while at the same time being cute and seductive. The album tackles everything from being a teenager to lamenting an addiction to an ex-lover to rocking out with your girlfriends to your favorite song. Diamonds & Studs is a party from start to finish, and anyone who loves fast guitar beats and catchy hooks will find a lot to love in this album.

 Rating: 4 out of 5 Stars

Yay!: Best of Me, Killer Life, Three’s A Crowd, That’s My Tune, Bipolar Bear

Nay!: Hot Tonight, How You Know It’s Love, Teenage  

 

Octahedron October 8, 2009

 

marsh-volta-octahedron-cover-art    

 

I was at my house recently, smoking a joint, and I thought that I would give Octahedron, the new Mars Volta, a listen.  I was a little iffy, given the fact that I did not enjoy their last record The Bedlam in Goliath too much; it didn’t really sound like the good ol’ Mars Volta to me.  They did not seem to put as much energy into the record like they have done with De Loused and Frances the Mute.

     So I downloaded the record (legally of course)  and to my surprise, I loved every single track.  ” Since We’ve Been Wrong” is one of the greatest tracks that the band has produced in a very long time.  During the course of the record, you kind of have the sense that it was a one shot recording because the tracks seem to cross fade into one another so perfectly.  Octahedron is like Voltas earlier work, you either immerse yourself into it hard or you let the frantic crazy guitar riffs and chaos surround you.

     It’s hard to tell what the underlining meaning of this record is.  With every Mars Volta album, what the lyrics are about and what interpretation the songs may have are always up for discussion.  I would definitely tell any Mars Volta fan to pick this up or download; just give it a listen and prepare to get your mind blown away!

– Duffy

 

Rock Comes Home To Roost August 10, 2009

Filed under: CD Reviews — NVMP @ 11:32 PM
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Alexisonfire
Old Crows, Young Cardinals  Alexisonfire_-_Old_Crows_-_Young_Cardinals_(2009)

By Alexander Castiglione, Stigz

 

     Alexisonfire’s new release, Old Crows/Young Cardinals, is everything you’d expect from –the quintet of Canadian post hardcore rockers.
The opening, and quasi title track, “Old Crows”, foreshadows the rest of the album.  Lyrically that is.  With a chorus like “we are not the kids we used to be”, this track hints where you are about to go musically: A trip on a record, which shows growth as a band, and mental growth in the lyrical content.  “Young Cardinals”, the second track and remaining half of the albums title, shows how the band maintains their aggressive progressions and biting vocals, however, the bars laid down by George Petite and Wade MacNeil are nothing short of noteworthy.
Excuse the pun.

     Most of the tracks on this record will have your speakers earning their keep and may be responsible for a speeding ticket or two.  Tracks like “Sons of Privilege” and “Born and Raised” have some driving riffs tearing though the song which are perfect for a long road trip to nowhere at high speed.  The lyrical content in this album really does show their growth as a band, and as human beings, as there are a lot of existentialist themes and prevalent comments about society in general, once you get beneath the rocking vibe of the entire album. 

     However, they do slow things down, and let the pipes of the main vocalist shine through.  In a downbeat borderline-ballad flow that runs through a few tracks, like “The Northern” and “Midnight Regulation”, you can attest to growth in the sense of vocals and delivery.  However, the final track “Burial” truly is a credit to their ability as a band, and this closing track, is a tightly composed downbeat groove with an intimate feel.  Usually I wouldn’t be into a slow jam, but coming from a band that rips it up as much as they do, I find the fact that they can lay down a ballad not only competently, but extremely well, something to be noted.  

     Don’t get it twisted, it’s still the Alexisonfire that breaths flames from the stereo, however, this record truly shows their growth, and is another big step from their last album, Crisis.  If you dig Alexisonfire, you’ll love this new album, Old Crows/Young Cardinals.  If you don’t know who they are, give them a listen. Then pass the torch to the next person looking for some good tunes.

 

Would You, Could You, Dig Fleet Foxes? July 7, 2009

Filed under: CD Reviews — NVMP @ 3:01 AM
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by Rachael

There is nothing modern about Fleet Foxes.  Their self-titled debut is
an already-classic collection of Medieval gems that evoke that
mythological historical America that never really existed.  The album
could be subtitled “Songs About Mountains.”

“White Winter Hymnal” has the most immediate hook of the bunch; it’s
almost too easy to never have been written before.  “Tiger Mountain
Peasant Song” is ancient and haunting, while “Quiet Houses” is a silly
shout-fest that unravels into a hippie jam.  It’s fantastic.  “Your
Protector” appears on the tail end of the record and, after so much
simple prettiness, its urgency is a shocker.  Like the others, its
lyrics are vague and irrelevant.  It’s got a killer chorus and a
bleeding vocal.  It’s followed by a lovely song about birds and
another one about mountains.  Do these guys have electricity?