Driven Far Off

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Forever Changed – Chapters

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Forever Changed

Artist: Forever Changed
Album: Chapters
Label: Floodgate
Purchase: Amazon
Release Date: May 23, 2006

Overall: 9.0
Music: 9.2
Lyrics: 8.6
Production: 8.8

It nearly killed me to write this review. Caught in a dichotomy between overwhelming hope and fathomless sadness, I thought Chapters would be the end of me. Even before hearing the first chords of the title track, I knew this would be the last Forever Changed album Iâ┚¬Ã¢”ž¢d ever review, and that knowledge had a profound effect on how I was listening to the songs. I didn’t think being objective was a possibility, until I realized it never could be, not with this band. As someone under the gun of years of Forever Changed affection, I was expecting Chapters to be the precedent farewell album–bittersweet ballads and a commemorative collection of all the good years. Instead, what I received was a heart attack of hope. In places where I was anticipating closure, I found more door openings, and that irony is the sort of paradox that has always personified my relationship with Forever Changed.

If fans are expecting another polished, foot-tapper like The Need To Feel Alive, they are sorely mistaken. Chapters is as progressive and experimental as its title suggests. Consider how Forever Changed’s music has always built on its stability, and now progressive has a new meaning. Gone are the formulaic, homophonic approaches, and in its place a heightened level of musicianship that captures the raw atmosphere of a live performance and the understanding that instruments can stand alone even while playing together.

For the first time in a Forever Changed release an instrumental intro greets the listener in muted keyboard fashion. Soon, Nathan’s drumming kicks in like an army recruitment beat. Being a Christian band, Forever Changed waste no time in making this evident as “Never Look Down” is a ministry outreach if there ever was. Even with a gorgeous guitar solo and piano bridge catapulting the track into gear, listener may still wonder what happened to the slick production that once permeated the Forever Changed sound. I will remark on the non-James-Paul-Wisner-ness of this record. Produced by Moments In Graceâ┚¬Ã¢”ž¢s Jeremy Griffith, youâ┚¬Ã¢”ž¢ll key into his â┚¬Ã…”ambience is everythingâ┚¬? style by the third track. Where The Need To Feel Alive thrived on its cavity-inducing sugar coat, Chapters is like a much needed drink, comforting in an entirely different way.

Take for example “All I Need” with its sonic-pop introduction and laidback bass tags. I’ve never heard that kind of spacey feel to a Forever Changed song before. However, once it settles in, I find it fitting nicely, especially as a post-chorus transition. This leads me to what could easily be Forever Changed’s most singable song EVER. What can I say about “Runaway” that isn’t captured in the moment of me singing “You just runaway” at 9 o’clock on a Saturday morning while serving breakfast in my school’s cafeteria? At the risk of sounding completely absurd after that remark, I swear to you, “Runaway” is the kind of tune you walk away whistling. Your inner beatbox will play out the sizzling guitar riffs and choral harmonies on their own accord once you get started. And Iâ┚¬Ã¢”ž¢m speaking from experience here.

Contrary to its title, “The Disconnect,” is assembled solidly. With Nathan’s drumming striding in a tight, controlled rhythm, tempo changes are as seamless as Ben’s intricate guitar work. “It’s Too Late,” on the other hand, is Dan’s jam. Behind the keys, he administers his own flavor of poison, while vocally hitting notes that could melt the iceberg that sank the Titanic. That iceberg is massive, but it’s not at colossal as “No Way Out.” I have major beef with this song. I don’t understand how I’m supposed to say goodbye to a band when they write choruses as painfully heartening as “No way out, are you running out of dreams. No way out, are you learning how to need,” and then have what sounds like an entire church choir sing its strains as a closing melody. It sent chills down my spine.

“Cradle Eyes” is like a child’s lullaby–mellow, moving, and humble. Its unadorned piano melody and acoustic whispering really remind you of what it feels like to be human, to be part of a connection in a network of infinity. Dan’s voice is the perfect combination of primal emotion and jaded honesty, so as not to make this the proverbial ballad. Despite its quietness, its silences speak volumes. However, you won’t go away from this record feeling small because “Letting Go Of You” promises to unleash a monolith of hope. Slowing building into a tidal wave of ambient swirls, vocal color, and lyrical triumph, the listener is besieged with reasons to keep faith in the toughest of times.

Chapters is not an album that will immediately wrest your ears to attention like The Need To Feel Alive. But what it lacks in pop, it makes up in power. They say accessible is overrated, and I tend to waver in the opposition. However, if it is possible to tame the accessible without compromising the appeal, I’m all for the direction change. With multiple listens, the beauty in Chapters comes into fruition, and in the case of Forever Changed, beauty is never one thing. The lyrics, the inspiration, the passion, the melodies, and most importantly the soul are what radiate life into Chapters.

Go get this album. Go to a farewell show. Order it online. Whatever you do, don’t miss out on your chance to be Forever Changed.

Track Listing:
01 Chapters
02 Never Look Down
03 Starting To Sink
04 All I Need
05 Runaway
06 Time Will Change
07 The Disconnect
08 It’s Too Late
09 Refusal
10 No Way Out
11 Cradle Eyes
12 Letting Go Of You

Standout Tracks:
“Runaway,” “The Disconnect,” “No Way Out,” “Letting Go Of You”

Rookie Of The Year – The Goodnight Moon

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Rookie of the Year

Artist: Rookie Of The Year
Album: The Goodnight Moon
Label: One Eleven Records
Purchase: Smart Punk
Release Date: April 11, 2006

Overall: 8.3
Music: 8.2
Lyrics: 8.0
Production: 8.4

Rookie of the Year; it would be easy to write them off as just another acoustic band, put their cd at the bottom of the pile and forget about them…that is, if you don’t listen to it first. The band, originally started as a solo project, has now released its full band debut, ‘The Goodnight Moon.’ Currently touring with acts like Hit The Lights, Dave Melillo and many other notables, they are steadily building a substantial fanbase and it’s easy to figure out why.

Releasing single tracks up until the release date as well as a full preview of the album built my excitement for this record from the first time I heard the demos. After an intro track, ROTY chose the perfect lead off song in ‘Poison Like Your Own.’ Brightly toned electric guitars hover above a slightly produced acoustic, Ryan and Mike’s vocals complement each other with impeccable precision.

‘Silhouettes’ follows with a slower but balancing pace, but If I had one complaint about this record it is evident in this track. I am a big fan of drums, I feel like the drums fade into the background of this record and never effectively push the music. Putting that aside, let’s fast forward to track six, ‘Pop Destroyed The Scene.’

I told the band this myself, this track sounds exactly like it belongs on the Backstreet Boys most recent album. Response? ‘Great! I love the Backstreet Boys.’ Well, I won’t lie, I do too just as I do this song! It is perfectly produced as a straightforward soundtrack to summer pop song. The chorus sticks in my head, the bridge borders LFO-style rap, and the melodies you’ll sing out loud for days. This song epitomizes my opinion of this record.

While there is always room for improvement, Rookie Of The Year has constructed a CD that will stay in my car all summer long. They have all the assets to be one of the next big bands in the pop-rock scene. The wait for this record was well worth it, pick it up as soon as you can.

Track Listing
1. The Goodnight Moon
2. Poison Like Your Own
3. Silhouettes (All Eyes Above)
4. Sign of Her Glory
5. Liars and Battlelines
6. Pop Destroyed the Scene
7. The Blue Roses
8. Life, Fall Fast Now
9. Set The Sails, Red Beret
10. The Weekend
11. Enjoy This Drive
12. Having To Let Go

David Melillo – Talk Is Cheap

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David Melillo

Artist: David Melillo
Album: Talk Is Cheap EP
Label: Drive-Thru Records
Purchase: Smart Punk
Release Date: April 18, 2006

Overall: 8.8
Music: 8.5
Lyrics: 8.9
Production: 8.6

The long awaited debut from Florida’s David Melillo is finally out via an online relase through Drive Thru Records and mtvU. “Talk Is Cheap” is a completely free, downloadable EP(the hard-copy store release will have an extra song.) Drive Thru did this twice before with hit(Hellogoodbye) and miss(Jenoah) results. I’ll just say that if you do not download this EP, you’re going to be missing out.

“Sam’s Song” opens the album. This tune has been available on purevolume and myspace for a while, and is my favorite song on here. It’s Dave and a guitar. That’s really all you need. Seeing this song performed live is an experience. This kid’s voice is spectaular.

“Vatican Roulette” starts off with a funky drum beat to be followed up by a full band onslaught of guitar and synth. The lyrics stand out here with a coming of age tale and a chorus so catchy that Fall Out Boy would be jealous. The song is reminiscent of old Starting Line without the pop-punkiness.

I’m putting “Knights of the Island Counter” up there with “It Was a Summer…(Baby Steps)” by October Fall in the category of songs I’ll be listening to this summer with my windows down. It’s nice to hear a song about drinking that’s not totally depressing(Don’t get me wrong. Some lyrics here are completely honest and full of regret.), even if the singer is still underage.

“This Is 2005” slows things down a lot, and while it’s still a great song, it’s the only one I don’t thoroughly enjoy listening to. It just drags the momentum of the EP down. Dave’s voice still sticks out here, and like I said, it’s still a great song.

“Morris County Blues” picks things back up and closes the album out with an insanely fast chorus that totally shows off Dave’s lyrical abilities. The song is explosive and everything you could want from a release like this.

David Melillo may only be 17, but most songwriters that are double his age wish they could write songs this good. I can’t wait for a full length. It’s no wonder Drive-Thru signed him. If this is a shape of more solid releases to come from Drive-Thru this year, I think Fueled By Ramen might have some competition.

Track Listing
1. Sam’s Song
2. Vatican Roulette
3. Knights of the Island Counter
4. This Is 2005
5. Morris County Blues
6. For the Sake of Remembering

Anti-Flag – For Blood And Emprie

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Anti-Flag

Artist: Anti-Flag
Album: For Blood And Empire
Label: RCA / A-F Records
Purchase: Smart Punk
Release Date: March 21, 2006

Overall: 7.6
Music: 7.4
Lyrics: 7.8
Production: 7.8

For a band to sing about the government, war, politics and all that ho-ha, you would think it would be hard to capture the ears of most people. Anti-Flag have been making anti-goverment music for years and are now finally releasing their first major label record. So how has this changed there sound if at all? Well for one thing you can tell this is a major label release with its somewhat cleaned up polished sound. However this is still Anti-Flag and they are still singing about the topics they care about, and it’s not like they don’t have anything to sing about with all of the events that have happened in the past few years with the war in Iraq and George W. Bush.

Opening the album is “I’d Tell You But…” where we hear that nice punk rock beat filled with shout along lyrics like “Your bullets cut into my flesh. Your cluster bombs ripped me to shreds.” As far as the bands sound goes, they stick to their punk rock roots but they covered some of these songs with a sugar coating (possibly to help them go mainstream?). Something like this I don’t think would ever really fly for being played on the radio or MTV. I do agree that there message is intended to only inform people of their thoughts on the government, war, and other political thoughts. On “This Is The End (For You My Friend)” the band moves more towards a song about American life. I particularly like the line “On and on – we sing our sons – On and on – your wars wage on and On and on – we’ll sing our songs for more.” Its statement is along the lines of that no matter what is happening at any given time the voice of one person could make a world of difference. “One Trillion Dollars” starts out with a nice soft acoustic guitar part before going into the line “Whoa… Fuck the world, a lot of people gotta die tonight. Woah… Fuck the world, fuck ’em all!!!” Money won’t get you everything I believe is the main point of this song. Its beat is catchy and is a nice slow down for being half way through the album. As far as the wrest of the album goes “Cities Burn” has a great up-beat sound and with “Depleted Uranium Is A War Crime”, you can about guess what that song is about.

Anti-Flag have made another album thats incased in that punk-rock beat that is know for its influence on being a message carrier. I know I may have covered their message a little more then their music on this review but this is one of the main reasons this band stands out especially in todays crowded market. If your a previous Anti-Flag fan your thoughts may be mixed on this album, however their message is still for the better and their sound helps bring that message to people who will hopefully listen and make a difference.

Track Listing
1. I’d Tell You But…
2. The Press Corpse
3. Emigre
4. The Project For A New American Century
5. Hymn For The Dead
6. This Is The End (For You My Friend)
7. 1 Trillion Dollars
8. State Funeral
9. Confessions Of An Economic Hit Man
10. War Sucks, Let’s Party!
11. The W.T.O. Kills Farmers
12. Cities Burn
13. Depleted Uranium Is A War Crime

Standout Tracks
“The Press Corpse”, “One Trillion Dollars”, “Cities Burn”

Punchline – 37 Everywhere

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Punchline

Artist: Punchline
Album: 37 Everywhere
Label: Fueled By Ramen
Purchase: Smart Punk
Release Date: April 11, 2006

Overall: 8.2
Music: 8.9
Lyrics: 8.3
Production: 8.1

I’m that kid. What kid? The Chattanooga kid. You might not know what that means if you don’t keep up with Punchline. This band only sold 3 CDs in Chattanooga, TN. Two of those CDs were bought by me. I went on a promotional campaign, holding a sign on the side of the road with the words “Buy A Punchline CD!” scribbled on it. I even converted teachers to Punchkids. That’s how much I love this band.

“Rewind” was a pop-punk EP that was so different than anything of that style I had ever heard. The songs were long, raw, catchy, and had a different tone to them than say, New Found Glory. “Action” was even better. Punchline had refined their sound, shortened their songs, and if they could “shine” in my ears, they would.

So how excited was I for “37 Everywhere?” Very.

Punchline’s sound has matured, but it’s still fun. With the addition of input from new guitarist Greg Wood, the songwriting has only been added to. I was worried about how Greg would do in Paul’s stead, but I’m worried no more.

The arena ready guitar opening of “Flashlight” sounds like tough guy punk rock, but when complemented by the voice of Steve Soboslai, we’re reminded that these guys have melody in mind when writing their music. The song also features Anthony of Bayside who just adds to the charm of this song.

“Don’t Try This At Home” keeps things going with lyrics about growing up and an upbeat chorus. The song includes a guitar solo, that while short and sweet, makes you wonder if that was a Punchline song you just listened to.

“The Getaway” hops around the field, going from slow, to rocking, back to slow, etc.

“Green Light” is Punchline playing fast, fun, and thoughtful.

“Caller 10” has lyrics that play out like a movie with an unhappy ending, but isn’t that essentially life? Relating to this song is something I can do best.

Slowing the album down is “For the Second Time.” It’s a song about loss, and a Punchline song has never really made me relatively sad, but this one has the ability to do that. Then again, I’m a pretty cheesey dude.

Ah, “The Fake, The Snake, And The Birthday Cake.” This is my favorite song on the album. The lyrics really shine here. “You’re only hip as in hypocrite, and critically unacclaimed.” I love Steve’s voice on songs like this. He gets a little angry and it adds a lot of flare to the song. There’s also classic Punchline harmonies involved.

“How Could You” and “Wars Will Always Happen” are two fast, driving songs that keep the momentum up.

The bassline in “They Are Strong Hands” is sick. Eat your heart out “Dance, Dance.”

“Exactly” closes the album out with Greg and Steve trading vocal duty back and forth for a round. The song sounds like an upbeat, more rocking version of something your parents could enjoy.

One thing that’s always made Punchline stand out among the other 439274 million pop punk bands in the world is their music. They seem to pay more attention to their song arrangements and think out their instruments capabilities a lot more than most bands. By not following the same three chord structures in every song and changing up the tempo and styles in their songs, the band keeps things fresh.

I love Steve’s voice. I wish there were way more harmonies on this disc, though. That’s one thing that got me hooked on this band.

The album art is so much fun to look at, too. I want posters of it.

Overall, Punchline have made an album to be proud of. They’ve always stood above the crowd, and to be as underrated as they are, it’s not fair. Please check this album out, as well as their other work. Also check out their blogs if you get a chance. These guys always have fun stuff to read.

Tracklisting
1. Flashlight
2. Don’t Try This At Home
3. The Getaway
4. Green Light
5. Caller 10
6. For The Second Time
7. The Fake, The Snake, And The Birthday Cake
8. How Could You
9. Wars Will Always Happen
10. They Are Strong Hands
11. Exactly

Skylines – Identity

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Skylines

Artist: Skylines
Album: Identity
Label: Blood & Ink
Purchase: Smart Punk
Release Date: February 28, 2006

Overall: 8.9
Music: 8.8
Lyrics: 9.5
Production: 9.0

Walk around town with your goal set on finding one of the best known local bands of Richmond, VA. You gaze at the locals, question them, and youâ┚¬Ã¢”ž¢ll soon discover that there is one band that is repetitively mentioned. Skylines was formed in 2003 and has quickly build up a fan base that has been growing ever since it begun. Skylinesâ┚¬Ã¢”ž¢ first full length with Blood & Ink Records is entitled â┚¬Ã…”Identityâ┚¬? and it perfectly captures what this Richmond native band is all about. Heavy breakdowns, brutal screams, serenading singing, pounding drums. This record showcases the best of Skylines and it is quickly becoming a favorite amongst fans.

The record begins with the brutal screams of vocalist Nate Stone mixed in with pounding drums. Fifteen seconds into the song, you find yourself wondering why it took so long for Skylines to record a full length. The singing is perfectly synchronized with the rest of the song and serves as a quick, relaxing intermission point from Skylinesâ┚¬Ã¢”ž¢ intensity. Skylines presents a record that gives everyone a taste of the beginning of a band that is going to go further than a teenage boy on prom night.

â┚¬Ã…”Identityâ┚¬? is intensely driven record that will raise you towards your feet in a fit of pure adrenaline , push you towards the ground, and give a helping hand to bring you up again. The lyrics are organized with perfect word structure, yet manages to leave the meaning up for grabs for the imagination. Skylines delivers brutal breakdowns that will make you wish you were enrolled in a local fight club.

Every moment I listen to this record, a smile emerges from my face. Skylines is one of those bands that gives me every reason to be proud to be living in Richmond. This record was highly anticipated since the first time fans caught a glimpse of Skylines’ high energized shows. The only downside to this record is the fact that none of the songs cross the three minute mark (except for one). If only more songs crossed the three minute mark, we could all have more of the incredible uprising band that has become Skylines.

Track Listing:
1. Pseudo-Funeral Teleconference
2. Pugilist’s Lament, The
3. Title Belt Return Policy
4. Annihilation
5. Liars and Saints
6. G.H.O.S.T.
7. Forgiveness
8. Veir Heroicus Subliminus
9. Statis Newsflash
10. Mouth Like Gravestones

Standout Tracks:
– Pseudo-Funeral Teleconference
– Title Belt Return Policy
– Liars And Saints
– G.H.O.S.T.
– Statis Newsflash

Men, Women, and Children – Men, Women, and Children

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Men, Women, and Children

Artist: Men, Women, and Children
Album: Men, Women, and Children
Label: Warner Brothers Records
Purchase: Smart Punk
Release Date: March 21, 2006

Overall: 8.8
Music: 8.7
Lyrics: 8.5
Production: 9.0

Who woulda thought that Glassjaw members would produce Head Automatica? It’s a total 180 in sound. Even more insane is that former Glassjaw guitarist Todd Weinstock would help to form Men, Women, and Children, an even dancier, more ambitious group than HA. Known for an insane live show with an even more insane light setup, Men, Women, and Children make you want to buy a disco ball, pop your collar, and have the party of a lifetime…in your car. Yeah, I like to blast this album with my windows down. I’m sure it’d be even more fun in a room full of drunk people, too.

“Dance In My Blood” starts off with guitars that fool you right before the funk kicks in. “You don’t need a reason to get out on the dance floor!” sings vocalist TJ Penzone. Well, too bad that I’ve been given one. What a way to open an album.

The chorus of “Lightning Strikes Twice In New York” is simple, but insanely catchy. It’s definitely worthy of a sing-a-long.

“Photosynthesis” slows things down with a funk beat only to be followed up by “Who Found Mr. Fabulous?”, another fast, ubeat track that will have you trying to impress the ladies(or gents) with your dance moves.

“Messy” and “At Night I Like To Fight” are two more funk-driven tracks, the latter of which makes me think of the movie “The Warriors.”

The album is more of the same dance/funk/disco influenced songs that I could go over track by track, but I’ll just say they’re all so much fun to listen to.

Described as “sexy” by Lostprophets’ mouthpiece Ian Watkins, Men, Women, and Children’s debut is just that. Throw a party, spin this record, and enjoy the night.

Tracklisting
1. Dance In My Blood
2. Lightning Strikes Twice In New York
3. Photosynthesis
4. Who Found Mr. Fabulous?
5. Messy
6. At Night I Like To Fight
7. Monkey Monkee Men
8. Time For The Future (Bang Bang)
9. The Name Of The Train Is The Hurricane
10. Celebration!
11. Sell Your Money
12. Vowels

From First To Last – Heroine

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Artist: From First To Last
Album: Heroine
Label: Epitaph
Purchase: Smart Punk
Release Date: March 21, 2006

Overall: 8.0
Music: 9.0
Lyrics: 7.6
Production: 8.7

From First to Last. So much can be said about this band with only one EP, and as of now, two LPs under their belt. Each disc’s sound has changed drastically. Most of the change from 2003’s “Aesthetic” to 2004’s “Dear Diary, My Teen Angst Has a Bodycount” can be attributed to the change in vocalists between the albums. Originally auditioning for a role as the band’s new guitarist, sixteen year old Sonny Moore turned out to be what the band was looking for in a frontman. Not quite a man yet, Sonny has endured brutal criticism from the scene police, and praise from the kids that love this band. You’ve got to hand it to him, though. A joke and parody of itself, “Dear Diary…” featured vocals comparable to The Used’s Bert McCracken, and lyrics so full of cliches that Hollywood could have enough material for a new teen-aimed drama. The band knew what they were doing in writing that album, and they’re back to give a big middle finger to the naysayers.

Just as “Dear Diary…” was released to mixed reviews, “Heroine” has been receiving several different opinions. This band could have very easily written “Dear Diary… Pt. II”, but instead took a different approach. Some of this could be attributed to producer Ross Robinson, who is known for helping to put Korn on the map. Actually, this album isn’t too far from the nu-metal sound that Robinson helped perfect in the mid to late nineties. Ironically enough, Limp Bizkit’s Wes Borland provides the bass lines on this album.

“Mothersound” opens the album with a shitton of vibrato in Sonny’s voice. This is my biggest complaint on this whole disc. When it’s not present, Sonny’s vocals have been honed so much. I loved this kid’s voice on “Dear Diary…” and it’s still strong here. The song takes a stab at everyone that wrote this band off as another “screamo” trend band, with lyrics like, “I have done this for the sound. Have done this for the sake of you. The sake of me; And you can mark my fucking words: “We aren’t a mock-supposed to be” We’re here to rouse the rabble,” in the chorus.

The first single, “The Latest Plague” is a faster track that once again takes a stab at everyone that shit-talks this band.

“…And We All Have A Hell” is the creepy, erotic older brother of Clay Aiken’s “Invisible.” Stalkerish, perverse lyrics..yeah. I can see it.(/Joke) Oddly enough, I love this song. I don’t know if I should feel weird about that.

We finally get a taste of the above average screaming of guitarist Travis Richter in “Afterbirth.” Lyrically and melody-wise, I really don’t like the song too much. The music is top-notch, though.

The chorus of “World War Me” has me to believe that Sonny’s been blasting Fall Out Boy’s “Of All the Gin Joints In the World” too much. The song’s still pretty solid, though.

“Shame Shame”, which is set to be the second single from the album(although I don’t know why) is like “Afterbirth.” I just don’t really dig the lyrics and vocal melody. The music is still great, though.

I hope “The Crows Are Coming For Us” never comes up on my shuffle in the middle of the night. The second verse is just downright creepy sounding.

“The Levy” is a strong track that has that vibrato in it again. It’s not going to ruin it for me, though. The song blazes along and then cuts off to a quiet whisper, only to pick back up again.

“Waves Goodbye” has Matt Good and Sonny going back and forth with repeated lines, slow, soft, and actually pretty. The song has an electronic part from middle to end that makes this slow jam an enjoyable change of pace for the album.

“Waltz Moore” has Sonny addressing his problems with himself and the people who feel so bad about themselves that they like to hide behind screen names and take stabs at him. Keep shit talking this kid, because he’s probably having way more fun than you are.

“Heroine,” the album’s title track, closes the disc off and makes you wonder if that was really From First To Last you just listened to for the past 40+ minutes.

Lyrically, this album is way better than “Dear Diary…” Although it’s nothing too deep, it stands apart from most of the crap we’re being fed these days.

I can’t say enough about the musical progression of this band. Derek Bloom once again proves why he’s one of the best drummers in this scene. Matt and Travis have constructed guitar parts that range from intricate to heavy to “What the Hell was that noise?” If Alt. Press doesn’t put them in their guitar special for their work on this album, something is wrong.

One last thing I’d like to address is the band’s image. They get so much shit for the way they dress, their makeup, whatever people complain about. Honestly, though. Could you see this band live, playing this music in polo shirts and Hollister jeans? I really don’t think so. Get over it. It’s marketing.

From First To Last have delivered a dark, heavy album that’s light years away from their previous effort. They’re still going to get shit talk, but it’s probably from people whose band can’t make music that’s anywhere near the league these boys are in. It’s only going to get better with time.

Tracklisting
1. Mothersound
2. The Latest Plague
3. …And We All Have A Hell
4. Afterbirth
5. World War Me
6. Shame Shame
7. The Crows Are Coming For Us
8. The Levy
9. Waves Goodbye
10. Waltz Moore
11. Heroine

Vaya – I Am The Caveman

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Vaya

Artist: Vaya
Album: I Am The Caveman
Label: Unsigned
Purchase: Vaya Website
Release Date: January 16, 2006

Overall: 6.9
Music: 6.8
Lyrics: 7.8
Production: 7.2

Hailing from the City of Atlanta, Vaya’s second EP covers some of the typical indie rock style with a splash of something special on top of a few songs. I Am The Caveman was recorded with Matt Goldman (Underoath, Anberlin) in Atlanta during 2005.

Opening the EP is my favorite track titled “Nebula.” Its back and forth guitars and its almost euro style bounce leads into a fast catchy guitar part. I love the bass and breakdown of the guitars that happens towards the end of the song. This song would be great to hear and see live. Lyrically Vaya keep things moving with lyrics about girls, life, and love. Songs like “Diamond Girls” are a bit more mellow but still retain that indie sound.

I think Vaya could be a lot more then this EP brings them out to be. “Nebula” is hands down a great song and other then that the other songs don’t do them justice besides maybe the lyrics. I hope the band finds their right spot because they know what they are doing and it would be great to hear more from them in the future!

Track Listing
1. Nebula
2. Elvis Is Dead
3. Diamond Girls
4. Upside Down
5. Feign
6. Sixth Day Mark
7. Empty Suits

Standout Tracks
“Nebula”

Atreyu – A Deathgrip on Yesterday

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Atreyu

Artist: Atreyu
Album: A Deathgrip on Yesterday
Label: Victory Records
Purchase: Smart Punk
Release Date: March 28, 2006

Overall: 7.4
Music: 8.0
Lyrics: 6.0
Production: 8.3

Atreyu are back, and to the dismay of many fans, “A Deathgrip On Yesterday” is not “Suicide Notes and Butterfly Kisses Pt. II” that they have been waiting for. It is, however, reminiscent of it. It has all the pissed off lines of “Suicide Notes..” while keeping the musical style of “The Curse.” Clocking in at a little over 30 minutes and having nine tracks is bound to upset some people. Don’t ask me what they were thinking, because I don’t know.

“Creature” opens the album with the signature Atreyu sound; Metal tinged guitars that evolve into jock rock chord progressions, and the dueling vocals of Alex Varkatzas and drummer Brandon Saller. Lyrically, this song is closer to “Suicide Notes..” as there are no Vampire references flooding your ears.

“Shameful” starts off showcasing Saller’s melodic presence as Alex serves as backup this time. Brandon’s voice has only gotten better over the past three records. If there was no screaming, this would be a straight up rock song as opposed to the “metalcore/hardcore/post-hardcore/whatever” label people have tagged this band with.

“Our Sick Story” is more of the classic Atreyu formula. Screamed verses with explosive melodic/scream-tinged choruses. Plus, there’s a guitar solo to boot!(Doesn’t compare to “Lipgloss and Black’s”, though.)

“The Theft” is a real oddity. You’ve never heard a song like this from Atreyu before. It’s a fucking ballad! I’m sorry, but that was my initial reaction to the song. You’re honestly going to be like, “What the Hell?” when you hear this. Don’t get me wrong, though. The song isn’t bad. Alex actually sings here. I don’t know why this dude hates his melodic voice. It’s pretty good on here. It definitely sounds like he’s worked with it, though.

“We Stand Up” will help you remember that you’re listening to Atreyu. It’s fast, heavy, and one of my favorite tracks on the album.

“Ex’s and Oh’s” is the “Drink Your Problems Away” anthem. I could easily get drunk to this song and have a ton of fun with it, even though it’s not a happy song by any means. Hell, it sounds like the band may have been drunk when they wrote it.

“Your Private War” is weak, basic Atreyu filler. Skip it.

“My Fork In the Road” is lyrically weak, but the music more than makes up for it. Despite the basic lyrics, the song is enjoyable.

“Untitled (Finale)” is another strong track musically, but the lyrics leave a lot to be desired. This is also not the best way to end this album.

With an even balance of high and low points, Atreyu still haven’t found the right spot. They seem to still be toying around with their sound, but this album seemed rushed, writing wise. Lyrically, I’m not impressed. Another, more focused, concept album could be what this band needs.

Track Listing
1. Creature
2. Shameful
3. Our Sick Story (Thus Far)
4. The Theft
5. We Stand Up
6. Ex’s and Oh’s
7. Your Private War
8. My Fork In the Road
9. Untitled (Finale)