Driven Far Off

The latest on the indie, alternative, and rock music scene including news, music, contest, interviews, and more. Best described as your favorite place to find new bands.

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”

Videos: Hit The Lights, Boys Like Girls

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Here are the first Driven Far Off videos to hit the website. Check out songs by Hit The Lights and Boys Like Girls below by right clicking and downloading the videos.

Hit The Lights – “309” (iPod Video)
Hit The Lights – “Bodybag” (iPod Video)
Hit The Lights – “Hey Jealousy” (iPod Video)
Hit The Lights – “These Backs Are Made For Stabbing” (iPod Video)
Boys Like Girls – “Learning to Fall” (iPod Video)
Boys Like Girls – “Untitled” (iPod Video)
Boys Like Girls – “The Great Escape” (iPod Video)

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)

Hit The Lights Interview March 25th 2006

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Hit The Lights

I drove down to Atlanta with my friend Nolan and we got to sit down and chat with Hit the Lights for a little while. These dudes are super nice, fun to hang out with, have an amazing album, and an even more amazing live set. Listen to them and show them love.

Trevor: Can I get you guys to state your names and what you do in the band?

Colin: Alright, I’m Colin and I sing.

Nick: I’m Nick. I play guitar and I sing a little bit.

Nate: I’m Nate and I play drums.

Dave Stand-In: I’m Dave and I play bass.
Long story. Send me a PM if you wanna know about it.

(Laughter)

Omar: I’m Omar and I play guitar.

Trevor: You guys formed in 2003. How did you all get together?

Colin: Well..

Nick: Basically, Colin and Omar were in a band called The Goodbye Session. They played around the area, and I had a band called The Summer Departure. We used to play a lot together and we hung out with The Goodbye Session kids nonstop. Eventually, both bands broke up and Colin, Omar, and Dave formed Hit the Lights with our old drummer. They wanted to be a five piece, so they asked me in, and I said fuck no.

(Laughter)

Omar: And then we said, “Please, please, please!” and bought him very many fruit baskets. Then he said yes.

(Laughter)

Nick: I wasn’t doing anything, so I thought, “Why not?” Then later on, we basically lost our drummer and we’re really good friends with Hawthorne Heights. Nate was drum techin’ for them at the time. So they were like, “Hey, we got a dude.” We said, “No.”

(Laughter)

Nate: I sent fruit baskets.

(Laughter)

Nick: Yeah, he sent us lots of fruit baskets.

(Laughter)

Nick: And eventually, we said yes. So that’s it. That’s Hit the Lights in a nutshell.

(Laughter)

Nate: (With peanut in mouth) Oh, a nutshell.

(Laughter)

Trevor: How did you guys decide on your sound? What are some of your influences?

Dave Stand-In: MXPX.

Omar: Yeah, there we go. Thanks Dave.

Colin: Pretty much what you hear, what we sound like, it’s pretty much obvious. I mean, we love Saves the Day, New Found Glory, Blink 182. Any pop-punk bands, we’re a sucker for.

Trevor: Dude, I’m exactly the same way. I did a rough draft of the review for the album last night, and I can definitely tell the New Found Glory influences.

Colin: Yeah, we’re not going to lie about it or beat around the bush.

Omar: We’re not going to be like, “Yeah, this album was heavily influenced by Bjork.”

(Laughter)

Omar: Which, it’s obvious, you know.

Nate: (Sarcastically) We like The Smiths a lot.

Omar: Yeah, we like The Smiths a lot. Charles Mingus affected me in ways that…haha no, no. It’s really there. We’re influenced by the attitude and the feelings of albums like “You Can’t Slow Down,” “Through Being Cool,” and the Blink records and stuff like that. There’s a really exciting vibe, and that’s the stuff we grew up listening to.

Trevor: It’s just stuff that’s fun to listen to.

Omar: It’s stuff that’s fun for us to play, too! It just comes naturally to us. It’s all fun!

Trevor: I’m glad you guys have no shame in admitting that.

Nick: Oh no, not at all.

Colin: Definitely not.

Omar: We do what we like and we like what we do!

(Laughter)

Trevor: How’s the scene in Ohio?

Omar: I don’t know. How is the scene in Ohio?

Nick: It’s not bad.

Omar: It’s getting better in our hometown. A lot of cool bands are coming from around there that are starting to get signed to cool labels and stuff like that. I don’t know. For me, there’s a couple of local bands that never really went anywhere, that I saw. They made me want to play music. For the most part, there isn’t very many bands like us coming out of Ohio.

Trevor: How did you hook up with Triple Crown?

Nick: When we put out that EP, we got a lot of attention from a lot of labels. We talked to a lot of people, and it was really hard to decide on who to go to. They’re all good people. It just seemed like, the way we wanted to go about it, with Triple Crown, they were a reputable label. We respected all the bands on it. I think we didn’t really want to ride the coattails of anyone. We wanted to do it our own way.

Omar: Yeah, we wanted them to give us our own shot. Triple Crown was definitely the label that we could see making sure that that could happen.

Nick: It was really hard, though. You know, you’re in a band your whole life and you want to get signed. Then, when things start happening, you’re like, “This sucks!”

Colin: Yeah, you can’t go to sleep.

Omar: Or you’re like, “I want to go back to school!”

Nick: The thing with Triple Crown for us was: there were no other bands like us, we loved all the bands on that label, and we had a chance to make a name for ourselves.

Omar: Also, the people there are really passionate about what they do, and we grew up listening to a lot of the records that came out on there.

Nate: And they sent us lots of fruit baskets.

(Laughter)

Omar: LOTS of fruit baskets. (Laughing) There’s an on-going theme of fruit baskets.

Trevor: What’s the songwriting process like?

Omar: That’s a whacky one.

Colin: It’s pretty much Nick and Omar coming in with a main idea, sort of. Then we all do our part. It’s really weird. Like, we haven’t really gotten a chance to write with Nate a lot, because he’s kind of a new member. Before him, even with Ryan, I would help out with drum parts, so it’s really mixed around.

Omar: But it works.

Colin: I don’t know how, but it works.

Nick: It’s really equal. I definitely think everyone has an equal say in every song.

Colin: I think we all know what we want, you know what I’m saying? I think we all kind of have the same sound in mind; We know what we like, so it’s really easy that way, too.

Trevor: Do you think there’s an overall theme to the album?

Nick: The new album, I think, may sound a little cocky, but I think we wanted it in a fun way. We wanted to tell people that this is what we do, and you’re allowed to like it. There are so many trash talkers out there now that are into the “artsy stuff.” We just want to let people know that it’s cool to like pop-punk still. I think a lot of our songs are just fun songs and we have fun themes, that way kids aren’t afraid to sing along.

Omar: That, and we don’t take ourselves seriously. We’re not good at this. A song like “Bodybag”…I don’t want people to think we’re macho meathead dudes or that we listen to hardcore and stuff like that. Those themes and things. Who hasn’t been pissed off at somebody enough that they didn’t want to bash their fucking teeth in, you know?

Nick: When you’re saying something in a fun way, it just makes it that much funnier.

Trevor: Have you guys decided on a single yet?

Omar: No, not really. (Laughing) Do you have any suggestions?

Trevor: Do you want me to be honest with you?

Omar: No. (Laughing)

Trevor: Every single song on that album could be a single.

Omar: Sick.

Trevor: I’ve been spinning the album so much since I got my review copy. It’s so catchy.

Omar: Awesome, awesome. (Looking over at Nolan) Do you have anything to say?

Nolan: Well, I sort of want to answer questions.

(Laughter)

Nolan: I’m ready.

Trevor: (Throwing peanuts at Nolan) How are the peanuts?

Omar: The peanuts are delicious!

Nolan: Any type of nuts work for me.

(Laughter)

Trevor: So I guess you guys aren’t doing a video yet. How did you become involved in the Purevolume tour?

Omar: Our booking agent is involved with all the bands on this tour, and he administered his magic and genius on the Purevolume people to sponsor this tour. We’ve been involved with Purevolume, though, since there were like three bands. They’ve really been an important part to kids who know who we are.

Colin: I can’t tell you how many times I’ve said, “Purevolume slash Hit the Lights.” It’s ridiculous.

Trevor: Are there any crazy stories from this tour, so far? You can go ahead and tell the peanut one again, if you want to.

Omar: No, no, no, no!

(Laughter)

Omar: It’s too early man, too early! Baaaad people! I don’t know man. We could talk about the tupperware incident.

Colin: Yeah.

Omar: We’re dirty boys.

Colin: Okay, don’t judge me, first of all.

(Laughter)

Omar: This is not for the squeamish.

Colin: So we were in California, 45 minutes outside of LA. I don’t know where we were exactly. We went to Denny’s after the show and were just eating. I get this meal I never got before. I don’t know what it was called. It was all kinds of stuff. We get back on the road, going back to LA, and it just hits me. Like, the worst..my stomach was just rumbling.

(Laughter)

Colin: Either I’m gonna go in my pants, or I’m gonna go in this tupperware bowl.

(Laughter)

Colin: So I completely take off my pants, ’cause I didn’t want to get anything on my jeans. So I get in like the well part by the van, because that’s where we throw all the trash. So I get in there and I squat. All of the sudden, you can tell on my face, we video taped it, too!

(Laughter)

Colin: So you can tell on my face. It like changes. It’s like my face brightens up. And it smells HORRIBLE. It looks like butterscotch pudding, no lie.

Omar: He fills this tupperware, and the worst part is, there’s still like, cookies and shit, and..poopy.

(Laughter)

Colin: Nick is driving and he’s crying.

Omar: He was gagging and I was riding shotgun.

Nick: I was driving with the window down, and I was dry heaving. The van was like, swerving on the road and stuff.

(Laughter)

Omar: I think the most disgusting part isn’t the fact that he did it, but when you watch the video, is how much amusment there is. Everybody’s laughing.

Colin: It was big and disgusting. So I set it down, and I have to go again. I had to wipe with like, napkins and stuff. It was just so dirty.

Nick: HTLscat.com

(Laughter)

Omar: PooponHittheLights.com

Colin: I don’t think I even showered that night. It was really bad.

Omar: Yeah, that was one thing.

Nick: We got fireworks from a fireworks store. We’ve kind of got this thing like, when you have long drives, you just get bored. When something funny happens, it gets you by for the next two hours. So we’ve been taking random bottles and lighting bottle rockets and putting them in.

Omar: Then trying to see how fast you can close it.

Nick: Yeah.

Colin: Nick’s usually the one who’s doing it and it’s hilarious, because one time, he was in the second bench and I was in the third. I was just kind of watching him, and he sets it in there, and he drops the lid. He picks it up and he drops it again, so he just throws it. Everyone ducks and screams like little girls.

Nate: It blows up and there’s smoke all in the van.

Omar: We were all giggling and ten minutes go by, then we’re like, “Well, let’s do it again!”

(Laughter)

Omar: It’s mainly us just keeping ourselves entertained. We’re not smart kids. We don’t read! We don’t have hobbies.

Trevor: If you guys could set up a dream tour, who all would be on the bill?

Omar: Oh, that’s easy. Can I take this? I don’t want to hurt anybody’s feelings and forget anybody..

Dave Stand-In: You can put them all on there, buddy! It’s the dream tour!

Omar: Dream fest! It’s more like a fest. I’d say it’d be all of our friends bands. Madison, Race the Sun, Just Surrender, Time and Distance, Scenes From a Movie, Every Bridge Burned, The Weakend. Saves the Day.

Colin: Usher would definitely be headlining.

Omar: The best times that we’ve had have been with friends’ bands that we’ve went out with. They may not have been the greatest tours, but they’re crazy fucking times that we’re never going to forget.

Trevor: What’s your opinion on downloading?

Omar: We love it.

Nate: Awesome.

Omar: Yeah, definitely.

Nate: If the album is good enough, kids are going to buy it anyway.

Omar: If kids want to support you, they’ll buy the record.

Colin: We support buying records, too.

Omar: Yeah, I mean, if you wanna buy the record, buy the record. I guess for me, because I’ve been broke for so long, I haven’t been able to buy CDs for a while, so it helps out a kid like me get into new music that I couldn’t get into before. Also, for a band like us, we really don’t see any money from our CD sales, so a kid downloading our record makes them want to see us live. It gives us a reason to be away from home for so long. Is that good?

Trevor: Yep.

(Laughter)

Trevor: That’s about all I’ve got. Do you guys want to add anything else? Like random crap?

Nick: Go Bucks.

Colin: Yeah, go Buckeyes.

Omar: Shout out to my dude Shifty in Cell Block C. Holdin’ it down!

(Laughter)

Colin: I feel really bad for JJ Reddick.

Nick: Oh that’s terrible.

Omar: That’s sad. He cried.

Dave Stand-In: Fruit baskets are great!

Nick: Peanuts are greater.

Omar: Definitely, peanuts are greater.

Nate: If you pre-order our record, you get a fruitbasket.

Trevor: Oh yeah, how many kittens have you guys killed so far?

Omar: Oh dude!

Colin: Next question. Next question.

Omar: We’ve just been wasting them. I’ve got no soul. I’ll chuck the shit out of a kitten.

Hit the Lights do not advocate the killing of kittens. No kittens have been harmed in the pre-order campaign of the album.

Hit the Lights

Hit the Lights – This Is A Stick Up… Don’t Make It A Murder

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Hit The Lights

Artist: Hit The Lights
Album: This Is A Stick Up… Don’t Make It A Murder
Label: Maverick
Purchase: Smart Punk
Release Date: April 11, 2006

Overall: 9.0
Music: 9.0
Lyrics: 8.3
Production: 10

I’m a pretty nostalgic person. I long for my early high school years at times. Pop-punk was the dominant musical choice for me back then. Every time I find a really good pop-punk band, I get a warm feeling inside. I’ll open the windows, (be it indoors or in a car) blast the music, and proceed to rock out.

In the case of Lima, Ohio’s Hit the Lights, I turn the volume up even more than before. “This Is A Stick Up…Don’t Make It A Murder” is reminiscent of old New Found Glory, but also brings to mind current day pop-punk powerhouses from Chicago and Atlanta respectively.

The album opens with a voicemail sample that leads into “The Call Out (You Are the Dishes.)” The song is a statement. This band knows what they want, and their attack plan is to use songs like this to get you to sing along. “We won’t back down,” is their battle cry and you might as well accept the fact that it’s true.

“These Backs Were Made for Stabbing” has a bridge so infectious that you won’t realize the words are coming out of your mouth, too. Colin changes the dynamics of his voice so much in this song, allowing his range to shine through.

The chorus of “309” is begging to be sung along to. Halfway through the song, a line sticks out to me so much. “Like the way that your eyes travel to the floor when you tell a lie.” The way Colin sings this lyric just hits home. I love this song.

“Bodybag” is one of the catchiest tracks on here. It would be an ideal single. The group vocals in the middle of the song are properly placed and while being short, are easy to clap along to.

“Talk Us Down” opens up sounding like Cartel at their finest. Even the lyrical content is similar, such as “Cities never sleep when we’re gone.” While the similarities are there, I can’t help but enjoy this song more than Cartel. Sorry guys.

“Save Your Breath” has all the spiteful lyrics that made Fall Out Boy’s “Take This To Your Grave” a gem. I dare you to try not to play this song on repeat.

“Sincerely Yours” and “100 Times” are right at home on that mix tape you’re thinking about giving to the girl that just broke up with you.

“It’s All the Rage” makes a bold statement with the line “We are exactly what you want to be. Where you’ve been and what you’ve done mean nothing.” Where that may seem cocky from an outsider’s perspective, this band wants people to know that it’s still cool to like FUN music. You don’t just have to like artsy stuff to be cool.

“Speakers Blown” would be another great single. It’s got one of those choruses that sticks with you for a couple of weeks.

After seeing the band perform “Until We Get Caught” live, I realized this song has the ability to rally people together to rock out. Colin demands, “Hands in the air!” and up they go, accompanied by shouts. The song is great on the disc, but you really need to hear it live and see the crowd to get the full effect of its potential.

“Make A Run For It” closes the album with group vocal chants of “We’ve got this down to a science baby.” That they do.

The production on this album is flawless. Anything Matt Squire touches is gold.

While not breaking any new ground musically, Hit the Lights have delivered a debut LP full of everything that made me love this style of music. I haven’t spun an album this much since theAudition’s “Controversy Loves Company” was released.

If for some reason, Cartel don’t become the next pop-punk kings, Hit the Lights are poised to take the throne. The potential of this band is insane. Listen to them, love them, support them, and just have fun listening to them. Thank you Hit the Lights for making an album that I’ll be blasting in my car this summer.

Track Listing
1. The Call Out (You Are the Dishes)
2. These Backs Were Made for Stabbing
3. 309
4. Bodybag
5. Talk Us Down
6. Save Your Breath
7. Sincerely Yours
8. 100 Times
9. It’s All the Rage
10. Speakers Blown
11. Until We Get Caught
12. Make a Run For It

Damone – Out Here All Night

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Damone

Artist: Damone
Album: Out Here All Night
Label: Island / Def Jam
Purchase: iTunes
Release Date: March 21, 2006

Overall: 8.9
Music: 9.0
Lyrics: 8.6
Production: 9.0

Despite all the regally named artists on Island/Def Jam’s roster, the label has been pulling a bullheaded move in failing to properly publicize what could easily be one of their best signed bands. The Boston based rock & rollers released an EP in October of last year to surprisingly little fanfare. This may be from the band’s less-than-stellar 2003 RCA debut From The Attic, but believe me when I say today Damone is a much better band. With their new LP Out Here All Night hitting the Itunes music store two full months before shelving, the band are making a bold statement about the shape of their new sound. Maybe this is Island’s lame way of “testing” out the record on the music community, or maybe Damone just got fed up with the label’s apathetic marketing strategy and took matters into their own hands being anxious get their CD out, either way this means a huge cash-in on the part of Damone fans: new music for the head and the heart.

Named after a character from the 1982 flick “Fast Times at Ridgemont High,” Damone are Noelle, Mike, Dustin, and Vazquez shredding out their edgy brand of melodic metallic rock. Leader singer and guitarist Noelle is the era’s new Joan Jett, less punk and more rock and roll, but a definitive riotgrrl nonetheless. Trading in her punk strain for a straightforward rock tone, Noelle has become the unique element to Damone’s sound, turning what could easily be another male-fronted 80’s hair metal rip-off into a snarling, pop-rooted youth manifesto. The band’s 3:1 male to female ratio works in their favor as what they forego in testosterone vocals, they make up in sizzling, tectonic musicianship.

Behind the kit Dustin Hengst is a drumming machine, regulating the beat in an easygoing canter. Like a seasoned veteran, Hengst knows his place in the band and sticks to it by ornamenting his beats to enhance the band’s dynamic rather than steal the spotlight with tasteless breakdowns. Likewise, Vazquez’s bass parts seal in the quartet’s rhythm section, humming along as the core infrastructure to which Damone’s guitar-driven sound can grow. If I haven’t already made it clear, Out Here All Night is a rock & roll effort if there ever was. Testament to this are songs like “Now Is The Time”, “Get Up And Go,” “Outta My Way,” “What We Came Here For,” and the album’s title track, where Mike’s blistering Van Halen styled-guitar riffs and melodies emblazon the music.

However, before I jump the gun, Out Here All Night does find itself making some lackluster missteps, mostly in the form of slower acoustic ballads like “Wasted Years” that clash with the band’s innate energy. On that same note, punk tunes reminiscent of From The Attic such as “Tonight” somehow fall flat in the face of Damone’s new metal-rock sound. That is not to say these type of songs don’t have an audience. When the mood is right, the dreamy allure of “When You Live” is a heavy-hearted masterpiece of lyrical substance. With Noelle’s voice taking on an innocent, hopeful quality, the track hits home in a way frenzied guitar work never could.

So forget about 2003’s From The Attic or least view it as an axis before enlightenment because Damone deserve to be heard. The way I see it, everyone has three options after reading this review. Buy the Itunes release of Out Here All Night now, wait two months to get a hardcopy at your record store, or in the very least stream a track on purevolume or myspace. Not listening is just simply not an option.

Track Listing:
1. Now Is The Time
2. Out Here All Night
3. What We Came Here For
4. Stabbed In The Heart
5. On Your Speakers
6. Get Up And Go
7. Outta My Way
8. Youâ┚¬Ã¢”ž¢re The One
9. New Change Of Heart
10. When You Live
11. Tonight
12. Wasted Years

Standout Tracks:
“Now Is The Time”, “Out Here All Night”, “Get Up And Go”, “New Change Of Heart”, “When You Live”

Boink – Carpe Diem

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Boink

Artist: Boink
Album: Carpe Diem
Label: Unsigned
Purchase: Smart Punk
Release Date: April 12, 2006

Overall: 7.4
Music: 7.6
Lyrics: 7.2
Production: 7.8

Boink, with a name like that you really don’t know what to expect when it comes to the music. But this indie rock band from Michigan deliver high energy songs filled with indie guitars and sing along lyrics. This new EP entitled Carpe Diem is a great take on some of todays best pop/rock sound. The bands sound can be compared to that of Hit The Lights and even Fall Out Boy.

“Sea of Long Lost Memories” opens the EP with some heavy guitars and bass before moving into a catchy chorus. “Breaking Up Is Smart To Do” is filled with pop hooks and an upbeat melody that will have you dancing before you know it. The bands sound is not distorted or mixed with electronics so it’s just straight up pop/rock with no exceptions. “Lonabelle” covers even more ground with its mix of an upbeat tempo and very crunchy guitars and bass. “The Machine” is one of my favorites on the EP. The songs brings in a very fun and catchy guitar part mixed with a great chorus. This song is where you can hear the resemblance to bands like Hit The Lights and Fall Out Boy. Wrapping up the EP is “Carpe Diem” which starts out with a slower tempo only to bring in the crunchy guitars a bit later. Mixed with some unique bass lines and a faster moving vocal track this song is a great way to end this EP.

I really enjoyed this short but sweet EP. The band has created 5 tracks that can easily make their future a bright one. Again if you are into bands like Hit The Lights and Fall Out Boy or any pop rock in general check these guys out.

Track Listing
1. Sea of Long Lost Memories
2. Breaking Up Is Smart To Do
3. Lonabelle
4. The Machine
5. Carpe Diem

Standout Tracks
“Breaking Up Is Smart To Do”, “Lonabelle”, “The Machine”