Redux: The Ataris, "End is Forever"

Almost everyone I know who's met Kris Roe, the singer and guitarist for The Ataris, have told me he's kind of a douchebag. Actually, that's an understatement. I've definitely heard from one person that he's the biggest douchebag from Indiana and a former roommate tell me that he's a fucking asshole. And I can kind of see that, but the two times that I've spoken to him he was polite, so I have nothing ill to say about him on that level.

The Ataris are probably one of my favorite sophomoric pop-punk bands from the 90s, particuarly their watershed album, "Blue Skies, Broken Hearts...Next 12 Exits," which served to be my personal soundtrack for the latter part of my high school years.

In my freshman year of college, they released "End is Forever," which was their "serious" album of sorts. There were still some fast pop songs and most of the songs about love were boiled down to a middle school-level, but songs like "Fast Times at Drop Out High" which covers the topic of an adopted child (a lost brother Roe later found out about) and "Road Signs and Rock Songs," which addresses the polarizing effects of being a band on tour and being away from the ones you love. Through these weighty themes, and for better or worse, The Ataris started branching out as a mature band (for lack of a better term).

It's interesting that The Ataris were pretty much castigated because of this (and moreso over subsequent releases, "So Long, Astoria" and "Welcome the Night") in 2000, yet other contemporaries like Sum 41, Blink 182, New Found Glory, and Alkaline Trio followed this pattern in the years to come and while they were not without their critics, they didn't seem to get hit as hard as The Ataris did.

In the last few years, The Ataris sort of fell apart on the weight of their own "vision" (releasing an indie rock album for a crowd of teenagers who know you for a Don Henley cover will do that) with Roe doing solo acoustic tours of "Blue Skies..." and selling off his possessions via eBay. Though the band has always pretty much been Roe, many longtime collaborators, like John Collura, Mike Davenport and Chris Knapp, have been shown the door. A new version of the band has a new record coming out soon, promising to recapture the "End is Forever"-era, so it'll be interesting how this all pans out for them.

"Summer Wind Was Always Our Song"

Review: Silverstein, "A Shipwreck in the Sand"

Silverstein
“A Shipwreck in the Sand”
(Victory)

Long running Canadian screamo outfit, Silverstein, is still churning out records like it’s nobody’s business and their latest album, “A Shipwreck in the Sand,” is supposedly decidedly different. Supposedly.

Like the erstwhile other Canadian screamo band, Boys Night Out, Silverstein’s newest album is a concept record based around some story or another. While I’ve never shied away from concept albums (“Winners Never Quit” and “In the Aeroplane Over the Sea” being among my favorites) it’s a harder pill to swallow from a pop-punk band.

Not to say that “Shipwreck” is a bad album. It is probably Silverstein’s most polarizing record, in as much as the heavy parts are pretty heavy and the delicate parts are very delicate. But make no mistake, Silverstein do what they do best, which is to write and perform catchy songs with intricate guitar parts.

As much crap as I’ll get for saying this, there’s a consistency in Silverstein’s overall songwriting and this album is no different. Concept record or not, they have a formula in writing songs that are fairly easy to digest and while I can’t say that this is their best album, it is, in essence, a Silverstein album.

Review: Ace Enders & a Million Different People, "When I Hit the Ground"

Ace Enders & a Million Different People
“When I Hit the Ground”
(Vagrant)

First of all, has Drive Thru rendered themselves to the point where they have do these joint releases with Vagrant? What did the Reines siblings do (or not do) exactly? In either case, bravo for Rich Egan.

Through the albums he’s done with the Early November and I Can Make a Mess Like Nobody’s Business, Ace Enders has proved himself to be a rather a prolific and eclectic songwriter. If you’re in the mood for some pop-punk or some country-tinged indie rock, Enders has probably written a song that you’ve liked at one time or another. Personally, I thought he was going to continue the folk-y feel of “I Can Make a Mess…” with his latest solo release, “When I Hit the Ground.”

Taking a cue from 90’s balladeers like Goo Goo Dolls and Third Eye Blind, “When I Hit the Ground” is a more radio-ready pop-friendly rock record. Not to take anything away from Enders and company. In fact, this might be his most consistent work to date.

Through songs like “Sweeter Light,” “Bring Back Love,” and “When I Hit the Ground,” Enders captures modern heartbreak in a way that this album should resonate with teeny bopper kids who are graduating from Plain White T’s to sardonic hipsters.

Review: Fireworks, "All I Have to Offer is my Own Confusion"

Fireworks
"All I Have to Offer is my Own Confusion"
(Triple Crown/WMG)

The first entry in the "best pop-punk album" category 2009. This is almost all hits.

Redux: Saves the Day, “In Reverie”

I’ve essentially owned “In Reverie” three times. I found it years ago, shortly after it was released, at the $.99 bin at Underdawg Records in lower Queen Anne. I listened to it and found a few tracks to be pretty decent, but not enough to keep my attention, or to really keep the CD. I sold it soon afterwards and went along my merry way.

When Saves the Day released “Bug Sessions Vol. 1,” the acoustic version of “In My Waking Life” blew me away and I suddenly regretted parting with my copy of the album from which it came from. Like all great music fans, I found a copy online and downloaded it and fell in love with the album. Not too long ago, I found it for $3 at a Half-Price Books and snatched it up with the quickness.

In many ways, it’s a natural progression from “Stay What You Are” – Chris Conley’s lyrics are still biting, clever and delicate. The polished production is very much in the favor of the album and “In Reverie’s” big rock sound is an accurate of a time when Saves the Day was playing arenas with the likes of Green Day, Blink 182 and Weezer.

Unfortunately, the record tanked for a variety of reasons and the band went into a hiatus for a couple of years before releasing anything new.

This kind of slump from a critically and commercially successful record is something that’s seen often but it’s been happening to several bands like Fall Out Boy and Plain White T’s (who, surprisingly, released the ridiculously catchy “Big Bad World” in 2008). But if they can follow the sample that Saves the Day put forth, it’s that a few years to regroup can lead to some pretty amazing music.

[Related videos]

"She"

"Anywhere with You" (Live on Jimmy Kimmel)

"Wednesday the Third"

Review: Two Tongues, “Two Tongues”

Two Tongues
“Self-Titled”
(Vagrant)

On paper the combination of Say Anything maestro Max Bemis and genre stalwart/Saves the Day frontman Chris Conley is a great idea. Recently, the pair collaborated for a project called Two Tongues (along for the ride, Bemis and Conley are jointed by S.A. drummer Coby Linder and STD guitarist Dave Soloway taking the bass duties).

For the most part, “Two Tongues” is enjoyable. The album starts off pretty strong with Bemis and Conley trading much of the vocal duties. The first two tracks, “Crawl” and “If I Could Make you Do Things” are remarkably good and could be very big radio hits. Midway, however, the album falters and the novelty of a Say Anything-meets-Saves the Day superband gets rather stale.

At the end of the day, there’s really only about an EPs worth of excellent material, but if this project is ever sequelized, it will be interesting to see where Bemis and Conley will go with it.

Special V-Day Video: MxPx, "Want Ad"

No matter how many crappy albums they put out, the first four MxPx albums (as well as "Let it Happen") will always have a special place in my heart. Enjoy.

Video: This Time Next Year, "Hearts and Arrows" (Live)

I was a little reluctant to hear a band called "This Time Next Year" because (not by coincidence) it's the title of The Movielife's best album. It would be like if Oasis decided to call themselves Sgt. Pepper's Lonely Hearts Club Band or Rubber Soul. Still, my friends Ilene and Mike encouraged me to check them out and I'm glad I did. Their EP, "A Place For You," is easily one of the most enjoyable pop-punk records I've heard in quite some time and their last recording, "The Longest Way Home" features a really great cover of Kid Dynamite's "3 O'Clock." Recently, the band signed to Equal Vision Records which will hopefully get these kids the recognition they deserve.

Review: Fall Out Boy, "Folie a Deux"

Fall Out Boy

“Folie a Deux”

(Island Def Jam)

I think it’s safe to write off any hope that the FOBs will ever return to their brash pop-punk roots of “Take This to Your Grave.” With each and every album, from the imitable farce “Evening Out with Your Girlfriend” to this new monolith, “Folie a Deux,” Fall Out Boy grows leaps and bounds, which is oftentimes too distracting to suggest any consistency in regards to songwriting.

With this new record, Patrick Stump and company continue on their journey of becoming a larger-than-life pop band; dare I say, the Beatles for the Hot Topic set. This isn’t hyperbole, either; it’s fucking fact. That being said, I believe that I may be too cynical to accept “Folie a Deux” and its aggressive online marketing campaign (see: Citizens For Our Betterment) as anything else but a publicity stunt in the form of a pop record.

The album’s lead single, “I Don’t Care,” is a direct descendent of Rihanna’s “S.O.S.,” which in itself benefited from a well-placed Soft Cell sample. The rest of the record is typical overproduced fanfare and is a natural extension of “Infinity On High.”

If anything, “Folie a Deux,” is pleasurable for fans who discovered the FOBs within the last three years and do not suffer from living life in a sardonic manner. For the rest of us who like to “up the punx,” as it were, we’ll stick to waiting around for a much better Chicago band called the Lawrence Arms.

FBR Signs Paramore Rip Off Band! Paramore Busy Counting $$$ to Care

Isn't a little early for Paramore to have their own tribute band? Not for Floridians VersaEmerge, whose Microsoft-sounding name has earned them the honor of being signed to Paramore's label, Fueled by Ramen, who've been making money hand-over-fist by releasing audio abortions by the likes of equally poorly named bands like Cute is What We Aim For and Panic at the Disco.

I guess if I was in a band with Nicole Richie's little sister, I'd be pretty stoked too. But this kind of reminds me of when Drive Thru was the shit and then all their good bands either jumped ship or broke up and all they had left in the end was HelloGoodbye and that kid from the Early November.

Since Vinnie F. exited FBR, the quality of their bands have just taken the biggest nose dive since Amy Winehouse had a mirror and nose candy in front of her.

As a little pop-punk kid myself, I've always liked the releases on Fueled by Ramen like Jimmy Eat World's "EP," Home Grown's "EP Phone Home," Kane Hodder's re-release of their LP and The AKA's "White Doves and Smoking Guns." But this VersaEmerge shit? You guys can keep that one.

I guess with the rest of the record industry declining because they can't stop signing and promoting shitty bands and "artists" (yeah, 30h3 -- or whatever the fuck your name is -- I'm looking at you), FBR's best bet is to strike the Paramore iron while Hayley Williams' hair is still on fire, I mean, hot.

I've never been the biggest Paramore fan (or a fan at all) but even I think it's pretty tacky that FBR sign a band that sounds EXACTLY like their best selling band while they're still associated with the label (unlike Drive Thru who signed a billion screamo bands in the wake of Finch getting upstreamed to Geffen). And this is the only time that I'll ever admit this but...

Hayley > Nicole Richie's little sister from VistaStupidName

I guess Vinnie had the right idea by taking all his good bands and helping them find labels elsewhere and his new label, Paper & Plastik, an imprint that focuses on vinyl and digital relases, seems to follow where it's actually viable for record companies to stay afloat. I suppose in a few months FBR and their wranglers will actually be fueled by ramen. Or Cup O Noodles.

Riverdales Announce New Album! Screeching Weasel Fans Rejoice!

In light of the last post, a band that has broken up in the past, but reunited and has since taken long breaks in between records, The Riverdales, have announced that they're releasing a new record. So sez the Org:

"In his latest podcast, Ben Weasel has confirmed that he will be once again teaming up with Dan Vapid to record a new record as the Riverdales. The band, formed in the 90s by members of Screeching Weasel released a 1995's Riverdales and 1997's Storm The Streets before splitting up. They reunited in 2003 to release Phase Three.

The band has not yet named a drummer for the forthcoming album, but plans are for a release in 2009 with some live shows to follow."

The Ramones-inspired band is just one of the many reunions to occur (mostly of bands that I have given a shit about in the past), which leads me to believe that I should probably just start a reunion blog.

Anyway, I love Ben Weasel as a song writer and this reunion is one that is obviously not for the money, since very few people gave a shit about the Riverdales when they were semi-popular anyway.

[Related Video]
The Riverdales, "Back to You (Live)"

Come Widdit: A Loss for Words

A Loss for Words
From: Boston
Sounds Like: A campfire singalongs with the hXc crowd

I had the opportunity to see Boston upstarts A Loss for Words last week when they opened for Four Year Strong's current headlining run. Personally, it's difficult to sell me on a pop-punk band these days. They all seem to have some gimmick, which is typically highlighted by disgustingly designed bright t-shirts. For every five bands that seem like they're full of shit, there's a band like A Loss for Words, who thrive off of the kind of honesty and earnest aesthetic that has created longtime careers for third and fourth wave pop-punk bands like New Found Glory, Alkaline Trio and Lawrence Arms.

Taking a cue from likeminded bands such as Fireworks and First to Leave, A Loss for Words have their feet planted in the hardcore-cum-pop-punk, as showcased by former genre stalwarts like Lifetime and Gorilla Biscuits. And this was just their live show.

The EP that I picked up, "Webster Lake," reminded me of stuff that the Ataris used to do when they were good. The five track acoustic EP is just a smattering of the band's potential. To get the full effect, you have to watch them engage with the crowd and you can see that they're feeling what they're singing about.

This is a band that you don't want to miss out on.

[Related Links]
A Loss for Words -- MySpace
A Loss for Words, "Hot Hand in a Dice Game"

Come Widdit: One Small Step for Landmines

One Small Step for Landmines
Location: Florida
Sounds Like: Breaking Pangaea meets Power-Pop (Wait, weren't they a power-pop band to begin with?)

I first heard of this band earlier this year when I was interviewing Jim Ward from Sleepercar/Sparta and I was looking at the band's sparse merch table and there was a smattering of items, including CDs from bands on Ward's Civil Defense League imprint. I thought, "One Small Step for Landmines? That's a pretty cool name." Then I continued to chat up Ward.

I didn't really get around to listening to this band until I was listening to Sleepercar on Myspace and I remember this Landmine band. The image on their Myspace was of this skinny kid who looked like a regular Orgcore dude. What I heard was some pretty well played, peppy power-pop.

As far as the Breaking Pangaea comparison goes, like the Philly-based band, One Small Step for Landmines has some really intricate guitar and bass parts and it's pretty obvious that these guys have a mathematical mind with it comes to writing songs, as opposed to throwing out hooks, breakdowns and choruses everywhichway.

I don't know of too many pop bands like these guys, but they're a real gem and I highly recommend their debut self-titled album to counteract the brooding mood that fall usually brings.

[Related Links]
One Small Step for Landmines on Purevolume

i love the get up kids. apparently, they're reuniting and i'll probably watch them, but i don't think this revisit to the past will eclipse the way i felt the first time i saw them play back in 1999. as hard as you try, you can't be 18 forever.

Summer Jams Video Series: The Rocking Horse Winner, "Miss You"

Before Hayley Williams paramore'd her way into the hearts of teenage America, Florida's Rocking Horse Winner were continuing the tradition of power-pop female fronted bands like That Dog and (latter era) Save Ferris with their sacchrine-induced romantic jams. Though the band has since disbanded, you can find their sophomore album, "Horizon," at most stores, and sadly, in the used section.

Summer Jams Video Series: Less Than Jake, "All My Best Friends Are Metalheads"

I figure I'm going to catch a ton of shit for posting this, but fuck it, this song is awesome.

Review: Alkaline Trio, "Agony & Irony"

Alkaline Trio
“Agony & Irony”
(Epic)

Highlighted by their recent appearance by everyone’s favorite fictitious reality sitcom, “The Hills,” the Alkaline Trio backlash couldn’t be any stronger. How many Orgcore kids could this band lose with the following atrocities:

Signing to a major
Showing up on a vapid television show
Getting a signature Nike sneaker

Yet for all that bullshit, it really comes down to the music and Alkaline Trio have made another solid record. The thing about these (mostly) Chicago natives is that they’re pretty consistent when it comes to making albums. They seldom disappoint because they’re notorious for essentially writing the same songs over again.

That’s not to take anything away from Matt Skiba, Dan Andriano or Derek Grant as songwriters; shit, Lagwagon, 7 Seconds and The Ramones were made to be legends off of writing the same tunes for every record.

“Agony & Irony” is extremely catchy and just as grand as their last studio effort, “Crimson.” “Calling All Skeletons” and “Love Love, Kiss Kiss” are going to be the summer’s best pop-punk songs.

There’s nothing spectacular about this album, but it is comforting that no matter how hard kids think these dudes are selling out, they can still manage to piece together a listenable album.

Bonus Vid: Ak3's Shoe Commercial

Summer Jam Video Series: Fenix TX, "All My Fault"

The first time I heard this song was actually in the fall of 1999 (or was it '98?). In any event, it gets summer jam status because the following summer, James and I went to see Blink, Bad Religion and Fenix TX. No more had they barely strummed their guitars before we found ourselves engulfed in a sea of white girls and their boyfriends. I'm surprised we made it out alive.

Review: 2*Sweet, "Sleep Without Dreams"

2*Sweet
“Sleep Without Dreams”
(C. Walrus)

Last week, I chatted it up with Justin Pence, 2*Sweet’s singer, for an upcoming feature in the next issue of Redefine. In the interview, Pence mentioned that labels weren’t necessarily knocking on their door; “It takes people a while to stomach us and we’ve come to grips with that,” said Pence. And it’s true, unfortunately. The reality is that 2*Sweet’s amalgam of hardcore, pop, metal and punk has the potential to be a giant clusterfuck, but it walks away as its own epic rock genre.

“Sleep Without Dreams,” the band’s full-length debut, is chock full of great pop jams such as “Rested Eyes Tell No Lies,” “Miss You,” and “Bury Me in the Lovers’ Graveyard,” as well as some heavier songs like “Friends Till the Weekend” and “Dateless for Armageddon.” There’s even a 90’s style quiet-storm song in “Tarantula Perfume.”

The album is driven by Pence’s operatic vocal range and vivid lyrical imagery, which can best be compared to other great musical storytellers like Nas and Eric Clapton. Yet at the same time, it’s Pence’s schizophrenic vocal choices that make the album a little harder to swallow. But if you’re able to get around that, then you’d be in for a treat of an album. It’s possible that “Sleep Without Dreams” is a major contender for the best album of the year – it’s just up to the kids to jump on it now before 2*Sweet starts playing stadiums.

New Found Glory/International Superheroes of Hardcore, "Tip of the Iceberg/Takin' It Ova"

New Found Glory/International Superheroes of Hardcore

"Tip of the Iceberg/Takin' It Ova" (Double Split EP)

(Bridge 9)

I rarely inhabit the B9 message board these days, though I imagine it must have been quite the shitstorm when the label announced they were going to release a New Found Glory EP. Still, we shouldn't forget these Floridians got their start in the HxC scene thanks to guitarist Chad Gilbert's role as a one-time vocalist for Shai Hulud.

This "split" EP is really an extended NFG record of outtakes. The International Superheroes of Hardcore is NFG doing goofy hardcore songs, not unlike Good Clean Fun. With that said, I can't really talk too much trash about this record.

Unlike their last studio album, "Coming Home," New Found Glory goes back to basics with three new songs and three covers. Their new songs are an attempt at their "It's All About the Girls/Nothing Gold Can Stay"-era tracks that are more punk than pop. Unlike MxPx's attempt to recapture the "Punk Rawk Show" proverbial lightning in a bottle, NFG's are a little bit more earnest. Though over the last few years, they've explored their pop side, there have always been a strong presence of their punk side, so it's not really a major change, outside of the fact that huge hooks are missing. The cover songs, on the other hand, are okay. I don't think Shelter, Gorilla Biscuit or Lifetime fans will be too pissed, but they are easily forgettable.

For the International Superheroes of Hardcore side, I will say that these songs are ridiculous...and in a good way, of course. Unabashedly tongue-in-cheek, "Takin' It Ova," is the real treat on this double disc EP. In "Fashion Show," Gilbert belts out in the intro, "There's no wardrobe in hardcore, despite what you think/I mean look at us, we wear capes." The mental image alone makes this a worthwhile purchase. Luckily songs like "Screamo's Gotta Go" and "Hardcore Hokey Pokey" could probably fool a couple dudes in Bane shirts into taking these tracks seriously.

This is a pretty solid release, overall, though I'd recommend it for kids who are really into New Found Glory or Good Clean Fun, otherwise, the joke will pretty much just go over your head and you'll be beating yourself up for spending $12 on a glorified parody album. I wonder how long it will take before this review ends up on a thread?