The spill was both bigger and closer than imagined — five times larger than first estimated, with the leading edge just three miles from the Louisiana shore. Authorities said it could reach the Mississippi River delta by Thursday night.

Government officials said the blown-out well 40 miles offshore is spewing five times as much oil into the water as originally estimated — about 5,000 barrels, or 200,000 gallons, a day. At that rate, the spill could easily eclipse the worst oil spill in U.S. history — the 11 million gallons that leaked from the grounded tanker Exxon Valdez in Alaska’s Prince William Sound in 1989 — in the three months it could take to drill a relief well and plug the gushing well 5,000 feet underwater on the sea floor. Ultimately, the spill could grow much larger than the Valdez because Gulf of Mexico wells typically hold many times more oil than a single tanker.

I missed the first band, Girl vs Ghost, due to my train being delayed and that bummed me out a bit. They’re a female fronted rock band from Ballarat that have a lot of potential, so keep an eye on them. If you like VersaEmerge, you’ll probably really enjoy them.

First band I saw for the day was Secrets In Scale who also happened to open for Closure In Moscow at their show back in January at Plastic. These guys were great last time, and this time they were even better. They opened with an interesting monkey song, with a special appearance from Chris DeCinque of Closure In Moscow, that basically involved making monkey noises over instrumental music, and the crowd weren’t really sure if it was meant to be funny or a weird experimental thing. At the end of the song however, the Secrets In Scale singer thanked us for letting them do that song because it’s heaps of fun for them. It was also great to see Matthew Wright, best known as the singer of now disbanded The Getaway Plan, who was playing bass. I don’t know if he’s a permanent member or just playing a one off show with Secrets In Scale, but it was great to see him back in “the scene” regardless. As a trio, Secrets In Scale sound was very full and their songs were solid, everything sounded perfect. Their songs are not only great, but also extremely interesting to watch and listen because there’s so much going on and so much to look out for. They remind me a lot of The Fall Of Troy. This band is extremely talented and I can’t wait to hear an album from them but for now you can download their EP for free from here.

Next band on the bill, Skye Harbour, were a lot different to what I was expecting. Whatever I was expecting, it was not electro-pop. These guys write electro-pop songs with bass lines that melted the heart of the bassist in me and piano parts that remind me of movies from the 80’s. Their songs were well structured and each song stood well on its own. I was really, really impressed and am definitely seeing them whenever I can. Not that everyone else wasn’t fun, but these guys were definitely the party band on the bill. They had a good energy and the crowd was definitely into it. The vocalist has a great tonality to his voice, I would love to see him extend his range more though. There was a key change or two in their songs, and they were [...]]]> This show was the first all ages show that Closure In Moscow have played since being back in Melbourne, and it was no surprise that it sold out. Organised by The Push, a non-profit entertainment organisation that focuses on events for young people, the gig took place in Melbourne’s ACDC Lane. And despite some light rain, that didn’t stop everyone from having a good time.

I missed the first band, Girl vs Ghost, due to my train being delayed and that bummed me out a bit. They’re a female fronted rock band from Ballarat that have a lot of potential, so keep an eye on them. If you like VersaEmerge, you’ll probably really enjoy them.

First band I saw for the day was Secrets In Scale who also happened to open for Closure In Moscow at their show back in January at Plastic. These guys were great last time, and this time they were even better. They opened with an interesting monkey song, with a special appearance from Chris DeCinque of Closure In Moscow, that basically involved making monkey noises over instrumental music, and the crowd weren’t really sure if it was meant to be funny or a weird experimental thing. At the end of the song however, the Secrets In Scale singer thanked us for letting them do that song because it’s heaps of fun for them. It was also great to see Matthew Wright, best known as the singer of now disbanded The Getaway Plan, who was playing bass. I don’t know if he’s a permanent member or just playing a one off show with Secrets In Scale, but it was great to see him back in “the scene” regardless. As a trio, Secrets In Scale sound was very full and their songs were solid, everything sounded perfect. Their songs are not only great, but also extremely interesting to watch and listen because there’s so much going on and so much to look out for. They remind me a lot of The Fall Of Troy. This band is extremely talented and I can’t wait to hear an album from them but for now you can download their EP for free from here.

Next band on the bill, Skye Harbour, were a lot different to what I was expecting. Whatever I was expecting, it was not electro-pop. These guys write electro-pop songs with bass lines that melted the heart of the bassist in me and piano parts that remind me of movies from the 80’s. Their songs were well structured and each song stood well on its own. I was really, really impressed and am definitely seeing them whenever I can. Not that everyone else wasn’t fun, but these guys were definitely the party band on the bill. They had a good energy and the crowd was definitely into it. The vocalist has a great tonality to his voice, I would love to see him extend his range more though. There was a key change or two in their songs, and they were used well to add variety to their songs. Skye Harbour are a band definitely a band worth checking out, so lurk their myspace and listen to a few songs.

And the band that everyone was so eagerly waiting for, Closure In Moscow. They burst into their set with “Vanguard” and the hectic song set the crowd off. This song was very tight and a great opener. Notably absent was bassist Brad Kimber, who singer Chris DeCinque later announced had been arrested for “war crimes”. Filling in on bass for Closure was the singer of Secrets in Scale. I think he did a great job covering the bass parts and had a great vibe with the band. Another song off their debut album First Temple and then it was time for some old songs. First up was “We Want Guarantees Not Hunger Pains” and no matter how many times I see this song live, I’m always mesmerised by drummer Beau McKee. He continues to be the standout musician in the band for me. Beau is also extremely fun to watch when he’s playing because he makes the funniest faces. On “Here’s To Entropy” the call-and-respond like chorus between Chris and guitarist/vocalist Manny Zennelli were as great as ever. “Breathing Underwater” got a great response from the crowd as they went mad, dancing around and singing along. Closure In Moscow then ended their 9 song set with “Sweet#Hart” and left the crowd wanting more. The crowd demanded and encore and I think the band wanted to give them one, but talking to Manny after the show, he explained that the were playing without Brad on bass and that even though he was a great, the Secrets In Scale singer didn’t know any of the other Closure songs on bass. I was pretty disappointed the last time I saw Closure, but this time they were much much better. The songs were a lot tighter and everything sounded more right. There were a few songs in the middle of the set however, where I felt like Chris was a little pitchy with his vocals. But you could be forgiven if you didn’t notice it because you were so distracted by Chris’ stage antics. Chris transforms into a different person in stage and today was no different. He danced like he was being shot at, continuously ate at his mic chord and licked and grinded the pole that held the tent up. I felt a bit violated being that close to the stage. Manny’s performance was a lot better than the last time I saw him. He was pretty much pitch perfect on his parts and nailed the guitar lines. Guitarist Michael Barrett was nicely tucked away in his corner and was just a mess of hair for most of the set. He seems content to do what he does and lets Chris and Manny entertain the crowd, but I wished to see a little more of him during the show. Overall, Closure gave a great performance and I can’t wait to see them on their national tour before they head back to the States for a stint on the Vans Warped Tour.

SETLIST:
Vanguard
Night At The Spleen
We Want Guarantees
Here’s To Entropy
Kissing Cousins
Breathing Underwater
Reindeer Age
Prog Intro
Sweethart

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It’s always possible to have too much of a good thing. A lot of bands can produce good albums as duos or trios, decent albums with four or five members, and discordant, odd sounding albums with a serious attention span problem with any more than six members. Enter River City Extension, an eight member band from New Jersey. I got my ears and mind ready for eclectic cacophony, a crazy mix of too many instruments that did not know quite how to work together. As it turns out, the same way you shouldn’t judge a book by its cover, you shouldn’t judge a band by the number of members. Not only is River City Extension an incredibly tight group of musicians who do in fact know how to give each instrument a fitting place, they do it better than a lot of bands with half the instruments. Feast your ears on this great debut album from a band I hope to see much more from. Comes out May 11 via XOXO Records

THE UNMISTAKABLE MAN I’m not a big fan of instrumental tracks on albums, but this song, musically, draws me in with the beautiful duet of cello and horns, and it sounds sort of ominous with the announcement of the bombing of Pearl Harbor in the background. It sets up an oddly depressing mood but it perfectly leads in to the next song.

FRIENDS & FAMILY I love the seamless transition from the previous song, it’s quite well done. The song starts off with just an acoustic guitar and the vocals, which have just the perfect amount of edge to the voice, especially on the louder parts. The drums and horns come in together and the song slightly speeds up, adding an instant build up. The lyrics of this song are amazingly easy to relate to and I know we’ve all been in this state of thought before, or maybe are currently. It’s a pretty fun sounding song about a serious topic and it instantly drew me into the record and made me want more.

SOMETHING SALTY, SOMETHING SWEET Starts off with a very fun acoustic sound with a light amount of cello before the entire band comes in and keeps the fun going with a great drum beat and horns. This is certainly a standout track, one that will get stuck in your head for at least a few days. This song makes me want to see River City Extension at a house show, I bet it’s just a bunch of fun. I love the end of the song with the multiple vocal layers, it adds a nice element to the mix. The ending cello brings the energy down ever so slightly for the next song.

SOUTH FOR THE WINTER This song brings about a change of pace, starting with slow acoustic guitar and mellow vocals. The feedback noises create a slight buzz of anticipation, foreshadowing the blast of energy that comes from seemingly out of nowhere. “Sometimes all I want is a job and a [...]]]>

It’s always possible to have too much of a good thing. A lot of bands can produce good albums as duos or trios, decent albums with four or five members, and discordant, odd sounding albums with a serious attention span problem with any more than six members. Enter River City Extension, an eight member band from New Jersey. I got my ears and mind ready for eclectic cacophony, a crazy mix of too many instruments that did not know quite how to work together. As it turns out, the same way you shouldn’t judge a book by its cover, you shouldn’t judge a band by the number of members. Not only is River City Extension an incredibly tight group of musicians who do in fact know how to give each instrument a fitting place, they do it better than a lot of bands with half the instruments. Feast your ears on this great debut album from a band I hope to see much more from.
Comes out May 11 via XOXO Records

THE UNMISTAKABLE MAN
I’m not a big fan of instrumental tracks on albums, but this song, musically, draws me in with the beautiful duet of cello and horns, and it sounds sort of ominous with the announcement of the bombing of Pearl Harbor in the background. It sets up an oddly depressing mood but it perfectly leads in to the next song.

FRIENDS & FAMILY
I love the seamless transition from the previous song, it’s quite well done. The song starts off with just an acoustic guitar and the vocals, which have just the perfect amount of edge to the voice, especially on the louder parts. The drums and horns come in together and the song slightly speeds up, adding an instant build up. The lyrics of this song are amazingly easy to relate to and I know we’ve all been in this state of thought before, or maybe are currently. It’s a pretty fun sounding song about a serious topic and it instantly drew me into the record and made me want more.

SOMETHING SALTY, SOMETHING SWEET
Starts off with a very fun acoustic sound with a light amount of cello before the entire band comes in and keeps the fun going with a great drum beat and horns. This is certainly a standout track, one that will get stuck in your head for at least a few days. This song makes me want to see River City Extension at a house show, I bet it’s just a bunch of fun. I love the end of the song with the multiple vocal layers, it adds a nice element to the mix. The ending cello brings the energy down ever so slightly for the next song.

SOUTH FOR THE WINTER
This song brings about a change of pace, starting with slow acoustic guitar and mellow vocals. The feedback noises create a slight buzz of anticipation, foreshadowing the blast of energy that comes from seemingly out of nowhere. “Sometimes all I want is a job and a god and a wife.” I feel like those lyrics are really sophisticated coming from people in their twenties, and that’s a thought that continues for the entire album. These guys are how old? Really? It feels like they haven’t been playing together long enough to play this well together. After a close listen with headphones I realized that in the beginning there is a faint drumbeat, almost like a heartbeat, which I think is a really nice subtle touch. There’s a point where it quiets back down and for a second I think the song is over until it jumps back into the energetic piece of the song, remaining there until it leaves just the vocals, ending the song with beautiful harmonies.

OUR NEW INTELLIGENCE
This shows off the eight-piece’s ability to be wonderfully cohesive and have a stripped down sound, even with all of those instruments in the mix. Each instrument has its place, nothing is overdone. It starts off with clapping in a beat that will certainly end up stuck in your head, then comes an equally catchy acoustic guitar. The multiple vocals on this song are really special. About halfway through, it gets a bit of a split personality and made me wonder if I had somehow not realized that the song had changed. The middle part of the song sounds like something out of either a pirate movie or saloon scene in an old western. Then it transforms into just piano, vocals and drums before it goes right back to the beginning of the song with twice the intensity.

IF I STILL OWN A BIBLE
I love the lyrics of this song, I just wish I liked the music a bit more. It starts of really slow and takes over a minute to sort of fake a build up that doesn’t happen until the song is almost over, and even then, it’s very short and noisy and fades right back into nothing but the acoustic guitar and feedback noise that doesn’t belong in the song.

ADRIANNE

There’s a big need for energy after the previous track, and it’s definitely found in the loud drum introduction that kicks off the song and the slide guitar and horns that follow. My favorite element of the song is how the vocals show off the edge in his voice, as he yells a bit more than he does in any other song, and that’s a feature that I really love about the vocalist. This song is also a great example of the way they have easily incorporated horns into rock/folk songs, where most songs with horns, the horns seem to intrude. I think my favorite part of the song is the middle where everything is acoustic and the vocals are the most prominent element.

MEXICO
This song is a great example of how River City Extension manage to stick out as something different in a sea of sameness. The horns here certainly create a Latin type of feeling. What I’m guessing is a djembe (type of drum) adds a great layer of sound and adds to the Latin atmosphere. I love the steady rhythm and faster pace of this song.

TOO TIRED TO DRINK
This is another song where the vocals have a lot of edge to them, which I love. It also has some of the best lyrics on the album, presented with just the right amount of angst behind them. Once the very busy intro is over, the verses don’t have much going on. A little thing that bothers me about this song, and mac users beware, that ‘new mail’ sound is IN the song, your computer is not lying about new mail. You have no idea how many times I checked my dock before I realized that it happened at the same parts of the song every time.

HOLY CROSS
This is another song with brilliant lyrics whose music doesn’t allow me to fully love it. The saloon piano sound’s repetition starts to get old really fast. I do like the “ba ba da ba ba”s at the end of the song, and the way that a few vocal layers intertwine. The ending spoken sample makes it end like nothing else on the album and I appreciate that.

TODAY, I FEEL LIKE I’M EVOLVING
“Today I feel like I’m evolving, taking two stairs at a time. Learning to love you and to keep you as a staple in my mind. Well, I never met a woman so afraid she’d never grow out of a girl.” This is the first slow song on the album that pulls its weight as a slow song. It’s got the sentimental sounding lyrics, acoustic guitar, soft snare, cello, banjo, and harmonious gang vocals. It’s a slow song filled with content, not a song lacking content to the point that it becomes slow. Even as a softer song it’s one of the best on the album and one of the songs that stick out on first listen.

LETTER TO LAINIE
Although  don’t like the piano, it sets up a great vocal melody. At this point, do I sound like a broken record when I say I like their lyrics? Sorry, but their lyrics are definitely their strong suit. I normally think banjos sound cheesy, but it sounds amazing in this song, almost like a banjo was invented for “Letter To Lainie.” This is probably the best song for singing along to other than “Today, I Feel Like I’m Evolving.” Some of the elements of this song sound really old timey, like the saloon piano sound and the horns. I’d love to know who their direct influences are, because I have a feeling that they’re all effortlessly incorporated in River City Extension’s own sound.

WAITING IN THE AIRPORT
I wonder why this is the last song on the album…it’s not a very strong ending and the song isn’t memorable to me at all, and after the first listen, I don’t want to listen to it again.

Basically: This album had a lot of potential to be a 5/5 album, but a few of the songs lacked energy but weren’t slow enough to be counted as “slow songs,” so they ended up feeling like something was missing. It’s not that the songs are bad, it’s just that, I guess when you have eight members capable of creating this really big sound and it doesn’t happen, it feels empty. The faster and more energetic songs on this album have a style that I would love to hear more of in the music world today, but, I’ll just wait until River City Extension’s next album because I have a feeling that currently, they’re the best at what they do.

Best track: “Our New Intelligence.”

The first thing I want to say before I talk about the music is that I’ve always enjoyed MGMT’s carefree style of both performing and their general manner, and this feeling certainly comes through in the packaging of Congratulations. I purchased the Limited Edition, and the coolest thing about this album case is that it has a scratch off cover, that’s right, a scratch off cover, and soon after getting it home (but after I had put the CD on of course) I found myself scratching away to reveal the image underneath. It was a strangely rewarding little activity, and I think it really reflects the fun and childish nature of MGMT.

Now, onto the main attraction, the music. If you’re just coming off Oracular Spectacular, you’re not going to love the album straight away. Sure, there are songs such as “Flash Delirium” and Congratulations that certainly have the same feel and mood as some of the songs of O.S, but I’ve noticed MGMT has gone for a more reserved approach, not to say that there aren’t some very adventurous songs, I just feel as though MGMT has found what their sound should be, and they’re not groping for a style as I felt they were on O.S. Though you can be thankful, MGMT has found the perfect blend between their dancing, electronic songs, and their acoustic/rock tracks.

One issue with some of the songs on the album is that I don’t feel as though they are fully realised or acted upon. Some tracks really hit a high and then are suddenly cut sort, only for the next song to begin, which will momentarily disappoint, sometimes leaving you feeling a bit unsatisfied with songs. Luckily, the next track is sure to be delectable, so you’re quickly reassured that yes, you are enjoying this music a lot.

MGMT’s Congratulations is something that can only be decided on after one full, uninterrupted listening. But I’m sure that you will find that Congratulations is not just an album, it is a gift, one from Ben, Andrew, Matt, James and Will. It’s a gift of what they have to offer, which is a beautiful blend of sporadic, almost meaningless lyrics, soothing guitars, echoing harmonic voices and alarming keyboards and synth. It’s something to call by MGMT’s name. This is what MGMT wants us to think [...]]]> When MGMT released their first studio album, Oracular Spectacular, back in 2008, they basically placed themselves on the the Indie/Alternative map as a go to band for great dance (“Electric Feel”, “Kids”), ballad-y acoustic (“Pieces of What”, “Weekend Wars”) and just totally weird, eclectic tunes (“4th Dimensional Transition”). I myself loved the album, and MGMT has been a favourite of mine ever since, so when I heard that they were working on their second album, I’m sure you can imagine my excitement. It was a tough wait, but finally Congratulations is upon us.

The first thing I want to say before I talk about the music is that I’ve always enjoyed MGMT’s carefree style of both performing and their general manner, and this feeling certainly comes through in the packaging of Congratulations. I purchased the Limited Edition, and the coolest thing about this album case is that it has a scratch off cover, that’s right, a scratch off cover, and soon after getting it home (but after I had put the CD on of course) I found myself scratching away to reveal the image underneath. It was a strangely rewarding little activity, and I think it really reflects the fun and childish nature of MGMT.

Now, onto the main attraction, the music. If you’re just coming off Oracular Spectacular, you’re not going to love the album straight away. Sure, there are songs such as “Flash Delirium” and Congratulations that certainly have the same feel and mood as some of the songs of O.S, but I’ve noticed MGMT has gone for a more reserved approach, not to say that there aren’t some very adventurous songs, I just feel as though MGMT has found what their sound should be, and they’re not groping for a style as I felt they were on O.S. Though you can be thankful, MGMT has found the perfect blend between their dancing, electronic songs, and their acoustic/rock tracks.

One issue with some of the songs on the album is that I don’t feel as though they are fully realised or acted upon. Some tracks really hit a high and then are suddenly cut sort, only for the next song to begin, which will momentarily disappoint, sometimes leaving you feeling a bit unsatisfied with songs. Luckily, the next track is sure to be delectable, so you’re quickly reassured that yes, you are enjoying this music a lot.

MGMT’s Congratulations is something that can only be decided on after one full, uninterrupted listening. But I’m sure that you will find that Congratulations is not just an album, it is a gift, one from Ben, Andrew, Matt, James and Will. It’s a gift of what they have to offer, which is a beautiful blend of sporadic, almost meaningless lyrics, soothing guitars, echoing harmonic voices and alarming keyboards and synth. It’s something to call by MGMT’s name. This is what MGMT wants us to think of them.

“Strange Terrain” “Strange Terrain” is a powerful and appropriate opening track for the album, which is filled with great little lyrical analogies and, of course, Anthony Green’s tremendous vocal abilities which are evident throughout the song. I think the song is one of the more ‘catchy’ ones on the album, with quite a simple progression and structure throughout. It kind of avoids having any extreme experimental edge, yet it has enough to make it not sound like a pop song. It is quite a safe song, but hey, it works, and that’s what matters in the end.

“Get Out” This song has a great groove throughout the verses and is in a sense harder than the previous track “Strange Terrain”. This song illustrates some of the better guitar work on the album, with little solo breaks bursting out every so often, hinting at more of a progressive and experimental style to the track. I think this is one of the more energetic songs on the album which achieves a hard yet groovy sound, while still keeping it approachable to people who dislike heavier styles of music.

“Glass Arrows” I really love the guitar at the start of this song, and as soon as I heard it, I had high hopes for this track and it did not disappoint. The song has a chorus that will stick with you while you continue to listen to the rest of the song. The vocal work on this track is great, however I think that this is one of the songs where the actual music outdoes Green’s vocals. I’m not saying his vocals aren’t good on this track, they are awesome, however I think this is a shining example of the talent of the instrumentalists within the band.

“I Felt Free” I think this song is similar to “Strange Terrain” in the sense of safety. It is not too experimental or progressive, which could bring about new fans. Simply, this song would be a great single in promoting the band and unleashing them upon a new audience. By the end, Green’s voice seems to shine over the music and makes the track seem much more colourful than it was at the beginning.

“Imaginary Enemy” “Imaginary Enemy” [...]]]> The third album from Circa Survive can be seen as their big chance to show that they can do it better than other progressive rock bands. For me, I have always thought Circa Survive were great but not awesome. They have released some standout songs, however they always manage to somehow get lost while my iPod fills up with new music. The few extremely memorable tracks like “The Difference Between Medicine & Poison Is In The Dose” surface somewhat now and then, but few others do. I really think that this album has defined Circa Survive as one of the best at what they produce, and I don’t think I will be losing them within the thousands of songs on my iPod again any time soon.

“Strange Terrain”
“Strange Terrain” is a powerful and appropriate opening track for the album, which is filled with great little lyrical analogies and, of course, Anthony Green’s tremendous vocal abilities which are evident throughout the song. I think the song is one of the more ‘catchy’ ones on the album, with quite a simple progression and structure throughout. It kind of avoids having any extreme experimental edge, yet it has enough to make it not sound like a pop song. It is quite a safe song, but hey, it works, and that’s what matters in the end.

“Get Out”
This song has a great groove throughout the verses and is in a sense harder than the previous track “Strange Terrain”. This song illustrates some of the better guitar work on the album, with little solo breaks bursting out every so often, hinting at more of a progressive and experimental style to the track. I think this is one of the more energetic songs on the album which achieves a hard yet groovy sound, while still keeping it approachable to people who dislike heavier styles of music.

“Glass Arrows”
I really love the guitar at the start of this song, and as soon as I heard it, I had high hopes for this track and it did not disappoint. The song has a chorus that will stick with you while you continue to listen to the rest of the song. The vocal work on this track is great, however I think that this is one of the songs where the actual music outdoes Green’s vocals. I’m not saying his vocals aren’t good on this track, they are awesome, however I think this is a shining example of the talent of the instrumentalists within the band.

“I Felt Free”
I think this song is similar to “Strange Terrain” in the sense of safety. It is not too experimental or progressive, which could bring about new fans. Simply, this song would be a great single in promoting the band and unleashing them upon a new audience. By the end, Green’s voice seems to shine over the music and makes the track seem much more colourful than it was at the beginning.

“Imaginary Enemy”
“Imaginary Enemy” is the second single from the album, and I think is a good choice as the second single. It is a good mix of their musical styles which produces a song that I would call progressive pop, because it’s much like the ‘safer’ songs on the album but is a bit harder and more experimental, especially with help from the guitar work (especially in the solo, about three quarters of the way through). The song finishes with a great little ambient piano bit and leads extremely well into the next track.

“Through The Desert Alone”
I think this is the best build up and start off to any of the songs off the album. The ambient sound from the last song which crosses over slowly builds and builds, until it bursts out with amazing vocals and catchy muted guitar riffs followed by a duel of riffs which sounds amazing. The chorus is brilliant and memorable. The brilliance continues to grow for the duration of the track, which includes a heavy (for lack of a better word) breakdown, which is extremely well done, and is a great end to the first half of the album. This is definitely my favourite song, because it combines all the right elements and is presented in a way that is outstanding.

“Frozen Creek”
A change in pace, this story of a lonely house with a pebble driveway, starts with a very calm chord progression which is accompanied with extremely well executed vocals from Green. The ballad’s chorus is really beautiful, especially the melodies of the guitars and vocal which intertwine in a way where none are drowned out, and all are equal. I think this is another one of my favourites on the album, which is almost the complete opposite of my other favourite track “Through The Desert Alone”.

“Fever Dreams”
One of the more true experimental songs on the album, “Fever Dreams” brings us a delayed guitar, joined with a fast chord progression from an acoustic guitar, and an almost tribal sounding drum beat. With all this going on the vocals manage to flow alongside it in a really cool way. I have to say this song is one of the more interesting songs on the album, due to it being so diverse. I think it’s a great example of some of Circa Survive’s more experimental work.

“Spirit Of The Stairwell”
This is the token slow and sad song on the album and in a sense more of a ballad than the track “Frozen Creek”, featuring, pretty much the acoustic guitar and the vocals, along with a few parts of electric guitar (which mainly is used as an ambience element). It’s quite a sweet song, and is probably the most relaxing track. It doesn’t try to be anything it isn’t by having some grand build up to a big load of irrelevance. It stays true to itself which is what I like about it.

“The Longest Mile”
This is a really cool song, another one of my favourites. It has a more typical Circa Survive sound like some of the songs off their second album “On Letting Go”. It is one of the faster paced songs, which has really cool sounding drums, especially at the beginning of the song. The vocals however are the highlight on this track, which again demonstrate Green’s ability as a vocalist. I like the uplifting sense of the song, where the message is really nailed home by the end.

“Compendium”
I think that this track is a perfect ‘intro’ almost to the final song on the album. It starts off really quite beautifully and then is filled with space noises and a faster pace, which is beautiful in a different sense. The production on the track is really well done, and as I said before sets the scene nicely for the album closer.

“Dyed In The Wool”
The song to me seems like it should be in the soundtrack of an independent film, about teenage love and filled with dark comedy. You know the kind of films I’m talking about. I think “Dyed In The Wool” brings the album to an end awesomely, it basically leaves you feeling happy and reassured of the beautiful things in life.

Basically: All in all I think that the album starts well, but by about half way through it just excels into a truly awesome example of progressive music. I like how there is a good mix of slow and fast, and experimental and safe, because having only one specific style of music on the album would not make it a Circa Survive album. Although many people were unsure of what the album was going to sound like, or were unsure in which direction they were going to take with it, I think that many people will (after a few listens) really begin to dig this awesome effort from Circa Survive.

BEST TRACK: “Through The Desert Alone”

My overall verdict of Kevin was that he was unbelievable adorable, and even when he was swearing he still seemed sweet. He had a very tight band (that included Vinnie Accardi of Brand New on guitar) but the lighting clearly indicated that it was “the Kevin Devine show.” My only regret is that I wasn’t more acquainted with Kevin’s music and could have appreciated his set more if I was more familiar with the material. He seemed very grateful to be playing to such a large audience, and very humbled for this opportunity. I’m very stoked to have had the chance to see Kevin Devine live and I would jump at the chance to see him again.

The room buzzed with excitement as we waited for Brand New to grace the stage. There were a few false starts when the lights were dimmed and the crowd cheered, only to be greeted with another song being played over the PA. This happened about three times, so I wonder if the lighting guys were just toying with the crowd because they knew they could. But the moment finally arrived when the show had to start, and Brand New exploded into their set with “Sink.” Jesse’s scream was spine tingling and [...]]]> Firstly, I’d like to say that I should not be allowed to review my favourite band. I grew up listening to Brand New, so all of their songs are attached to specific memories and moments in my life. I’ve been told that I can gush about this as much as I want, but I’ll try to be as objective as possible. So with that aside, this show was AH-MA-ZING! Everything about the night was perfect; the venue, the crowd, the support band, the headliner. I think Brand New sold out (or came close to selling out) every show on this tour, something that neither of their last two headlining tours managed.

Kevin Devine opened the night and I was very impressed with his performance. He opened with some solid songs that captivated the audience. What I noticed was that he had great articulation, and I could actually make out what he was singing. However, as the night went on and people anticipated Brand New hitting the stage more and more, I think some people lost their interest in Kevin’s performance. Some spark was added into Kevin’s set when he decided to do a Nirvana cover and Jesse Lacey of Brand New joined him on stage, and that kind of reengaged people in Kevin’s performance. During the louder moments of his songs, Kevin thrashed around stage like a madman; I honestly can’t tell how he’s able to keep time while moving like that.  However, I found that the quieter moments of songs where it was just Kevin and his guitar with no or little support from the band, were his stronger moments. He definitely mellowed out the crowd and got the vibe of the night going. He interacted well with the crowd and people received him well.

My overall verdict of Kevin was that he was unbelievable adorable, and even when he was swearing he still seemed sweet. He had a very tight band (that included Vinnie Accardi of Brand New on guitar) but the lighting clearly indicated that it was “the Kevin Devine show.” My only regret is that I wasn’t more acquainted with Kevin’s music and could have appreciated his set more if I was more familiar with the material. He seemed very grateful to be playing to such a large audience, and very humbled for this opportunity. I’m very stoked to have had the chance to see Kevin Devine live and I would jump at the chance to see him again.

The room buzzed with excitement as we waited for Brand New to grace the stage. There were a few false starts when the lights were dimmed and the crowd cheered, only to be greeted with another song being played over the PA. This happened about three times, so I wonder if the lighting guys were just toying with the crowd because they knew they could. But the moment finally arrived when the show had to start, and Brand New exploded into their set with “Sink.” Jesse’s scream was spine tingling and I could feel shivers going through me. I was surprised that they didn’t open with “Vices” using the opera-esque introduction and all, but that was right up next (minus the intro though) and then was followed by “Gasoline” and “In A Jar.” It’s a well known fact that when writing Daisy, Brand New concentrated on writing songs to be played live, and these songs did not disappoint. There was an additional percussionist playing floor toms with Brian on “Sink” and that added a great depth to the song. Watching the synchronicity of the two drummers was amazing.

I never realised how much screaming there was on the songs from Daisy and after the first four songs, I just wanted to hear Jesse sing, rather than scream. My prayers were answered as Brand New launched in “Sowing Season.” Jesse plays with the vocal melody beautifully, which keeps the audience on their toes.
After six songs from their last two albums, it was time for a few classics. As the opening chords of “Okay I Believe You, But My Tommy Gun Don’t” were played, the crowd went nuts, and the sing along was HUGE. As mentioned before, this tour on the back of Daisy sold out in almost every city, a feat none of their previous tours had managed, so I was expecting most of the crowd to be mostly there for Daisy songs and was very surprised with the crowd reaction to songs off Deja Entendu and Your Favourite Weapon.

As “Mix Tape”, “Shower Scene” and “Jude Law and a Semester Abroad” were played, I felt the 14-year old-girl in me freaking out and memories of being angry in a very fast-punk-music kind of way came swarming back to me. It was great to experience these songs live, but there was also a sense of hilarity to see Brand New play such fast and angry songs. In a sense, it seemed like they were too old and mature to play songs with lines such as “…I hope the next boy that you kiss has something terribly contagious on his lips…” Just when you would think that the sing along couldn’t get any louder, Brand New burst into “Seventy Times 7” and the room went insane, everyone trying to sing louder than the person next to them while dancing around with their friends. The lights were also used well to add to the show, especially during these faster songs. The flashing lights were synched with the music and it added an extra layer to the performance.

Following this interlude of older songs, Brand New reverted back to tracks off The Devil And God Are Raging Inside Me and Daisy, a more familiar Brand New sound. By this stage of the night, where I’d been past the stages of excitement and downright hysteria,  I found myself taking more notice of each musician on stage. Each had their own separate elements that captured my unwavering attention, until I had to snap myself out of the haze-like stare to take in the whole picture, rather than just one particular performer. Jesse thrashed around like a madman, similar to Kevin Devine, and the same thing can be said about Jesse that was said about Kevin, I have no idea how they manage to keep time. At least with Vinnie there’s a sense of timing and rhythm. It also seemed like Jesse was losing his voice, so he reverted to doing more screaming/shouting rather than singing, and I would have liked it better if he’d actually spent more time singing rather than shouting at every chance he got.

Speaking of Vinnie, he falls into the category of “guitarists who can actually nail their guitar lines live.” He doesn’t play around with his guitar lines and change them up, he just plays the already perfect lines that are on the recordings. Brian Lane’s drumming sounds HUGE in a live setting, it is much more dominant. The additional percussionist playing a range of percussion instruments including floor toms and hand percussion, added more detail and flair to the songs. I remember the last time I saw Brand New in 2007, I was up against the barrier right in front of bassist Garrett Tierney, and I remember thinking how amazing he was. Three years later and he’s still one of the best bass player’s I’ve seen live. Not only does he have great lines that are played perfectly live, you can also hear him. I guess that’s partially kudos to whoever is mixing the sound. And he seems to play his bass lines so effortlessly as well. I especially like that the bass lines are creative and have an actual melodic structure and form to them, and not just the dominant or tonic to support the chord.

Jesse closed the night by playing two songs by himself – “Limousine” and “Play Crack The Sky.” I hadn’t looked up the setlist before the show, but some of my friends had, so I’d asked them if the two songs I really wanted to see (“Jude Law” and “Limousine”) were on the setlist and they’d told me that the latter wasn’t, so I was not expecting them to play it. All Jesse had done was sing the first word (“K, …”) and I lost it. I was so psyched, I think I might have scared the people around me. The stripped down version of the traditionally full band song was beautiful and even without the support of the band, Jesse built and maintained the intensity of the song superbly. The night ended with crowd pleaser “Play Crack The Sky” and included a special appearance from Kevin Devine singing the harmonies. While coming onstage, there was some sort of technical difficulty or Kevin tripped over a lead or something, but the sound cut out for a couple of minutes, and Jesse joked with the crowd that Kevin had just killed the mood that Brand New had spent the last two hours building up. It was nice to see Jesse joking around with both the crowd and Kevin, and you can tell from the interaction that they were good friends. The 19 song long, almost two hour show couldn’t have ended in a better way.

It’s been a while since I have been to show that was straight up rock music (everyone I see these days seem to have tons of breakdowns and synths in their music, not that there’s anything wrong with that) and there could not have been a better band to see to get reacquainted with the genre. My only criticism is why wasn’t “The Quiet Things That No One Ever Knows” or “Millstone” in the set?! But other than that, no major criticism, the show was mind blowing. I left The Palace on a high, and from the buzz in the lobby, it seemed like everyone else did too.

SETLIST:
Sink
Vices
Gasoline
In A Jar
Sowing Season (Yeah)
Archers
Tommy Gun
Sic Transit
Mix Tape
Shower Scene
Jude Law
Seventy Times 7
Jesus
You Won’t Know
Degausser
You Stole
At The Bottom
———–
Limousine
Play Crack The Sky

Sally Seltmann shouldn’t really need an introduction, but here it is. You know that song in the iPod commercial that we all looked up and downloaded immediately? The one by Feist called “1,2,3,4”? Sally Seltmann co-wrote it. But the awesomeness of that song really pales in comparison to Sally Seltmann’s first debut album under her own name, Heart That’s Pounding. Now, that’s my introduction and that’s all I am going to say before I jump right into the forty-eight minute sonic journey of joy that is Heart That’s Pounding. Heart That’s Pounding will be available on April 6th!

“HARMONY TO MY HEARTBEAT” Immediately, I noticed Sally’s angelic voice. The prominent British accent makes it sound even more beautiful for some reason. There is a very nice, subtle beat that lets her voice and the rich piano shine. Something that I found in this song that continues throughout the rest of the album is very inspiring lyrics. Sally uses her voice as a backing instrument, intertwining harmonies with the rest of the music. She just might end my odd long running aversion to female singers. No, I don’t have any clue why most girl singers make me want to turn off whatever is playing. Yes, I know why Sally Seltmann doesn’t have that effect: well, it’s probably because her voice is amazing? Just a guess.

“SET ME FREE” I love the piano driven melody. For some reason this feels reminiscent of Queen. It’s a very lighthearted song and I can definitely imagine this playing during 1970s movie summers filled with bike rides and lemonade. Oh, hand claps, how I love thee. During the chorus, a lot of the instruments sound like it could have been part of “Singing In The Rain.”

“ON THE BORDERLINE” A very upbeat yet sad beginning. This song contains some words of wisdom that everyone could do well to follow. If it weren’t for the lyrics I wouldn’t like this song…musically it is forgettable, lyrically it is brilliant and I just can’t help but sing along. “Get yourself up, get yourself out of bed, this is a new day, this a new day today” Who hasn’t needed to give themselves that pep talk? Sally takes something that everyone goes through and says it so simply and beautifully.

“BOOK SONG” The introduction of this song sounds like an instrumental backing piece in an indie movie. This is probably my least favorite and least interesting song on the album. I’ll just leave you to listen to it on your own.

“DREAM ABOUT CHANGING” This is certainly a standout track. It’s my favorite so far and it will be a great song to sing and clap along to live. Lovely steady beat made by both drums and clapping, making this song one of the most energetic on the album. I wish there were more songs like this on the album but I guess the rarity makes it even more special.

“HEART THAT’S POUNDING” Not the song I would have chosen as a title track. It’s very slow but has a nice piano [...]]]>

Sally Seltmann shouldn’t really need an introduction, but here it is. You know that song in the iPod commercial that we all looked up and downloaded immediately? The one by Feist called “1,2,3,4”? Sally Seltmann co-wrote it. But the awesomeness of that song really pales in comparison to Sally Seltmann’s first debut album under her own name, Heart That’s Pounding. Now, that’s my introduction and that’s all I am going to say before I jump right into the forty-eight minute sonic journey of joy that is Heart That’s Pounding.
Heart That’s Pounding will be available on April 6th!

“HARMONY TO MY HEARTBEAT”
Immediately, I noticed Sally’s angelic voice. The prominent British accent makes it sound even more beautiful for some reason. There is a very nice, subtle beat that lets her voice and the rich piano shine. Something that I found in this song that continues throughout the rest of the album is very inspiring lyrics. Sally uses her voice as a backing instrument, intertwining harmonies with the rest of the music. She just might end my odd long running aversion to female singers. No, I don’t have any clue why most girl singers make me want to turn off whatever is playing. Yes, I know why Sally Seltmann doesn’t have that effect: well, it’s probably because her voice is amazing? Just a guess.

“SET ME FREE”
I love the piano driven melody. For some reason this feels reminiscent of Queen. It’s a very lighthearted song and I can definitely imagine this playing during 1970s movie summers filled with bike rides and lemonade. Oh, hand claps, how I love thee. During the chorus, a lot of the instruments sound like it could have been part of “Singing In The Rain.”

“ON THE BORDERLINE”
A very upbeat yet sad beginning. This song contains some words of wisdom that everyone could do well to follow. If it weren’t for the lyrics I wouldn’t like this song…musically it is forgettable, lyrically it is brilliant and I just can’t help but sing along. “Get yourself up, get yourself out of bed, this is a new day, this a new day today” Who hasn’t needed to give themselves that pep talk? Sally takes something that everyone goes through and says it so simply and beautifully.

“BOOK SONG”
The introduction of this song sounds like an instrumental backing piece in an indie movie. This is probably my least favorite and least interesting song on the album. I’ll just leave you to listen to it on your own.

“DREAM ABOUT CHANGING”
This is certainly a standout track. It’s my favorite so far and it will be a great song to sing and clap along to live. Lovely steady beat made by both drums and clapping, making this song one of the most energetic on the album. I wish there were more songs like this on the album but I guess the rarity makes it even more special.

“HEART THAT’S POUNDING”
Not the song I would have chosen as a title track. It’s very slow but has a nice piano melody. I like the verses a lot more than the chorus of this song, but “what’s the use in loving if you’re not loving like you think you’re gonna die if you don’t see a loved one?” is a brilliant part of the lyrics that really make me like this song. This song gets more and more theatrical sounding as it goes on, which is really cool to hear.

“I TOSSED A COIN”
One of the most beautiful vocal melodies on the album! “I wear my heart on my sleeve, I used to lose it on the breeze,” I love this song. This is my favorite slower song on the album and the vocals just could not be more beautiful and vulnerable sounding. “Shoo-be-doo-bop,” I feel like I’m at a Sadie Hawkins dance from the 50s, or at the very least, watching an episode of Cold Case having to do with one of the dances.

“HAPPY”
I’m not really liking the sound of the keyboard sound on this one, but I do like the melody. This song is a great example of how Sally uses her voice as a backing instrument as well. I don’t like the pauses as the chorus approaches. I love the ending, though, “I just want to be happy,” is such a haunting part of the song.

“THE TRUTH”
This is also sort of forgettable so I will just leave you to it as well.

“SENTIMENTAL SEEKER”
I don’t like the piano sound on this song, but it has a very pleasant melody. I feel like the verses are a little bit long, but I really like the “sentimental seeker” vocals and the way they work with that part of the song, and that part also has some lovely harmonies.

“5 STARS”
Almost makes me want to give this album 5 pluses, just to work with the name of this song…subliminal song naming? Once again, I love the way the piano and Sally’s vocals work together, and it’s another great example of how Sally uses her voice for so much more than simply singing. There are some male harmonies on this song that add another layer that I wasn’t expecting but was pleasantly surprised about.

“DARK BLUE ANGEL”
I love the acoustic guitar sound of the beginning, and I love how this is a guitar driven melody that still incorporates beautiful piano. This song is the perfect ending because it has a lot of elements from the songs that came before it, but maintains its own sound. This is a close runner-up for best track, except that the synth toward the end is completely unnecessary. I still love the male harmonies, and this song makes me wish Sally Seltmann had released two albums at once.

BASICALLY: Sally Seltmann has the voice of an angel and the music to keep it modern and interesting.
BEST TRACK: “Dream About Changing” or “I Tossed A Coin.”

Here are a couple of questions we get a lot: Can I add my photo to the Human.Artist. section? No. We have way too many that didn’t sell. Hopefully we’ll be able to do another one soon, so keep in touch.

Why Red Cross? They provide medical care and clean water, which we believe are important.

Didn’t everyone already donate to Haiti? Not everyone. A lot of people did but once the initial wave of donations are done and there is no more money going towards helping them, that is when extra money is needed most.

If you didn’t hear about Human. Artist. or you want to take another look, please check out all the prints we have for [...]]]> Hey everyone, we just wanted to thank everyone who bought a print from our Human. Artist. section. We just donated everything we made, and here is our proof. Feel free to click the image to see it bigger. I blacked out my address and credit card number. There are still a ton of prints available and all the proceeds go straight to the Red Cross to benefit Haiti.

Here are a couple of questions we get a lot:
Can I add my photo to the Human.Artist. section?
No. We have way too many that didn’t sell. Hopefully we’ll be able to do another one soon, so keep in touch.

Why Red Cross?
They provide medical care and clean water, which we believe are important.

Didn’t everyone already donate to Haiti?
Not everyone. A lot of people did but once the initial wave of donations are done and there is no more money going towards helping them, that is when extra money is needed most.

If you didn’t hear about Human. Artist. or you want to take another look, please check out all the prints we have for sale!

Before I even heard a note off of Change In The Neon Light, comparisons like The Cure mixed with Interpol made me scoff. Yeah right! To begin with, 90% of the time, when I hear comparisons about a band, they are wrong. Most comparisons fall short of expectations, regardless of who is being named, but The Cure, Interpol? It just isn’t possible. Who is going to live up to that reputation? I almost didn’t want to listen to this album because I was dreading disappointment, but then I listened, and I got my answer: Veil Veil Vanish. They live up to that reputation and even hold their own. Had I heard this on the radio with no introduction, I would have thought that The Cure put out a new, less slit-your-wrists-y album. (Now, since most of The Cure’s discography was well before my time, the only Cure comparison I can go off of is Disintegration, which I grew up listening to.)

“CHANGE IN THE NEON LIGHT” “Change in the Neon Light” definitely starts off like a track off of The Cure’s Disintegration with its airy synths and thumping bass line. There is a simple guitar riff that helps add a solid and interesting pattern to the ebb and flow of the synths. I was immediately taken aback by singer Keven Tecon’s voice…it’s very distinct and sounds a lot like a more powerful, less whiny Robert Smith. Nothing in this song really takes center stage, every element works together as a complete unit, and when the vocals come in the song flows very well and sounds almost as if it is trying to move you along. By far, the best part of the song is around 3:29, when the slow and quiet allows a darker, more prominent guitar to come in and give the feeling of a build-up, making you anticipate what is about to come.

“ANTHEM FOR A DOOMED YOUTH” Still feeling the buzz of anticipation created by “Change in the Neon Light,” the lighthearted opening of “Anthem for a Doomed Youth” takes you in a more cheerful direction than you expected to go without letting you down. Then, in comes the distorted bass that helps make this a stand out track. I love the use of noise here and there, not overdone or bothersome….it’s just right for that ethereal (ugh, I hate using that word) feel. Add in some “oh oh oh”s and hand claps and you’ve got a formula to be one of my favorite songs. The clapping in this song really sounds more like an extension of the drums and not cheesy like they can sound in some times. The acoustic sounding guitar during the chorus really adds another layer to the song that you didn’t even realize was needed but can’t imagine it not being there. The vocals on this song are flawless and great to sing along to.

“EXILE CITY” This song is sort of forgettable to me. I do like the introduction and I love the music, but [...]]]>

Before I even heard a note off of Change In The Neon Light, comparisons like The Cure mixed with Interpol made me scoff. Yeah right! To begin with, 90% of the time, when I hear comparisons about a band, they are wrong. Most comparisons fall short of expectations, regardless of who is being named, but The Cure, Interpol? It just isn’t possible. Who is going to live up to that reputation? I almost didn’t want to listen to this album because I was dreading disappointment, but then I listened, and I got my answer: Veil Veil Vanish. They live up to that reputation and even hold their own. Had I heard this on the radio with no introduction, I would have thought that The Cure put out a new, less slit-your-wrists-y album. (Now, since most of The Cure’s discography was well before my time, the only Cure comparison I can go off of is Disintegration, which I grew up listening to.)

“CHANGE IN THE NEON LIGHT”
“Change in the Neon Light” definitely starts off like a track off of The Cure’s Disintegration with its airy synths and thumping bass line. There is a simple guitar riff that helps add a solid and interesting pattern to the ebb and flow of the synths. I was immediately taken aback by singer Keven Tecon’s voice…it’s very distinct and sounds a lot like a more powerful, less whiny Robert Smith. Nothing in this song really takes center stage, every element works together as a complete unit, and when the vocals come in the song flows very well and sounds almost as if it is trying to move you along. By far, the best part of the song is around 3:29, when the slow and quiet allows a darker, more prominent guitar to come in and give the feeling of a build-up, making you anticipate what is about to come.

“ANTHEM FOR A DOOMED YOUTH”
Still feeling the buzz of anticipation created by “Change in the Neon Light,” the lighthearted opening of “Anthem for a Doomed Youth” takes you in a more cheerful direction than you expected to go without letting you down. Then, in comes the distorted bass that helps make this a stand out track. I love the use of noise here and there, not overdone or bothersome….it’s just right for that ethereal (ugh, I hate using that word) feel. Add in some “oh oh oh”s and hand claps and you’ve got a formula to be one of my favorite songs. The clapping in this song really sounds more like an extension of the drums and not cheesy like they can sound in some times. The acoustic sounding guitar during the chorus really adds another layer to the song that you didn’t even realize was needed but can’t imagine it not being there. The vocals on this song are flawless and great to sing along to.

“EXILE CITY”
This song is sort of forgettable to me. I do like the introduction and I love the music, but the vocals just don’t stick in my head. If I hum this song later during the day, it’s the catchy guitar hook and not the vocals. I think if it were a bit shorter I would enjoy it more. I really like this one, it’s just nowhere near their full potential in my opinion. I like the faster pace of this song, and it really sounds like Robert Smith is singing with a different band.

“MODERN LUST”
The introduction of this song really amps up anticipation, and once again, Veil Veil Vanish doesn’t disappoint. The drums on this song immediately make it stand out. “Don’t think you get to go” gets stuck in my head constantly. Out of all of the songs on the album, “Modern Lust” is the one I want to (and do) put on repeat. I don’t know what else to say about this song… the synths are great, the drums are great, the vocals are great, the guitar is great, the bass is great….it’s definitely the best track on the album.

“PHARMACEUTICAL PARTY PLATFORM”
Starting out very reminiscent of Disintegration, this song ends up being a bit darker sounding than the rest. I think it’s the vocals (they sound like they’re longing for something) coupled with the really minimalist guitar that add to making it sound darker. The vocals on this song are some of the best on the album, and I absolutely love the synths on this song. The vocals on this song definitely make it one of my favorite tracks on the album, but the verses outshine the chorus. This song gets better as it goes along, so by the end I am really loving it every time.

“SECOND HAND DAYLIGHT”
The drums keep this song interesting, although it’s not one of the most enjoyable songs on the album. It has a fun beat but all the backing instruments kind of seem muddled like they’re fighting for attention during the vocals. I do like the vocal harmonies and the lyrics of this song, and during the chorus the instruments all seem to find their place and work very well together. The chorus, “it’s too late…” gets stuck in my head a lot, but it doesn’t seem to fit with the rest of the song…I can never place what song is stuck in my head when it happens.

“THIS IS VIOLET”
Starts out very dark and heavy sounding, much louder than the rest of the album. Once the introduction moves into the verse, it’s not as dark, heavy, or loud, but it is a lot faster paced than the rest of the album and I can’t understand any of the words. The guitar during the chorus is very frantic but fitting, and this song really flows from one pattern to the next, unlike a few of the songs that could use a bit of work on the transitions.

“DETACHMENT”
The intro of this song is kind of deceiving to me and it doesn’t fit in with the rest of the song. I really love the introduction but don’t quite enjoy the rest of it. The introduction gives way to a beat that I didn’t see coming at all, and I don’t really like it when music throws me off. The chorus and the introduction go together well, but the verses just don’t fit.

“WILDERNESS”
This song doesn’t have a very strong start but I definitely love how it progresses. The guitar on this song is simply brilliant and I love how laid back this song is.

BASICALLY: If you like The Cure, there’s a giant chance that you will like Veil Veil Vanish. It’s an entire album of mostly stand out tracks, and it’s a ridiculously refreshing style these days.

BEST TRACK: Modern Lust.

When I first got my hands on Auternus’ new album, Changing Seasons, I looked over the artwork and I knew instantly that Auternus would be another band looking to impress upon everyone that they are another embodiment of extreme; I expected… well, lyrics, for one thing. I expected heavy, driven, intricate guitar work, crushing drums, and to be screamed, or growled at. I was actually looking forward to it, despite myself; I was ready to rock out with… ahem. Pardon me.

I was disappointed. In our society, we are told to cut the fat. Don’t have two, when you’ll be fine with one. If you have more than you need, give it away, don’t waste it. These teach us one thing: if it’s not needed, leave it out. Auternus embodies this teaching. They don’t need lyrics, don’t need to beat their audiences over the head with a musical riot, they don’t even need your undivided attention. Instead, their music fades into the background, and out of focus, it lets you concentrate on whatever it is you need to do, such as clean the kitchen, or write an album review. When normally I would write this in silence, I am currently enveloped in their impressive ten-minute song “Chase the Sparrow.” When I tried to turn it off to work, it felt like they reached out to me, saying ‘it’s okay, do your thing, we’ll just hang around.’ Changing Seasons doesn’t seem to mind if you walk away for a moment; it just wants you to know it’ll be there for you when you get back.

To give your undivided attention to Auternus’ album seems almost to defeat the purpose for the majority of its duration. “Slow Motion,” does a terrific job of being instantly memorable, driving just enough to set the pace for the rest of the album and still make you really- to be honest- want to do something to occupy your mind. It is most certainly one of the heavier songs on the album, the guitar work shows off a grind-whine that doesn’t at all sound as bad as those words would portray; it fits quite nicely with the haunting, and later, the determined-sounding vocals that I still do not understand after many times listening to it.

The second track, and the first of the seasons, is short, really short. It clocks just under a minute and a half, and is honestly not so much a song, as a multi-layered sound that does nothing more than vibrate, and in the end, fizzle away into nothing. If you need something to meditate to, put the next few tracks on repeat. To its credit, it is a great transition into the next track, “Summer,” of which, there isn’t much to say except that if you are sitting cross-legged, doing some deep breathing, and introverted thinking, put it on, it’s great for that.

You will probably notice that the tracks are not exactly laid out as they are in the album, that’s okay. Just go with [...]]]>

When I first got my hands on Auternus’ new album, Changing Seasons, I looked over the artwork and I knew instantly that Auternus would be another band looking to impress upon everyone that they are another embodiment of extreme; I expected… well, lyrics, for one thing. I expected heavy, driven, intricate guitar work, crushing drums, and to be screamed, or growled at. I was actually looking forward to it, despite myself; I was ready to rock out with… ahem. Pardon me.

I was disappointed.

In our society, we are told to cut the fat. Don’t have two, when you’ll be fine with one. If you have more than you need, give it away, don’t waste it. These teach us one thing: if it’s not needed, leave it out. Auternus embodies this teaching. They don’t need lyrics, don’t need to beat their audiences over the head with a musical riot, they don’t even need your undivided attention. Instead, their music fades into the background, and out of focus, it lets you concentrate on whatever it is you need to do, such as clean the kitchen, or write an album review. When normally I would write this in silence, I am currently enveloped in their impressive ten-minute song “Chase the Sparrow.” When I tried to turn it off to work, it felt like they reached out to me, saying ‘it’s okay, do your thing, we’ll just hang around.’ Changing Seasons doesn’t seem to mind if you walk away for a moment; it just wants you to know it’ll be there for you when you get back.

To give your undivided attention to Auternus’ album seems almost to defeat the purpose for the majority of its duration. “Slow Motion,” does a terrific job of being instantly memorable, driving just enough to set the pace for the rest of the album and still make you really- to be honest- want to do something to occupy your mind. It is most certainly one of the heavier songs on the album, the guitar work shows off a grind-whine that doesn’t at all sound as bad as those words would portray; it fits quite nicely with the haunting, and later, the determined-sounding vocals that I still do not understand after many times listening to it.

The second track, and the first of the seasons, is short, really short. It clocks just under a minute and a half, and is honestly not so much a song, as a multi-layered sound that does nothing more than vibrate, and in the end, fizzle away into nothing. If you need something to meditate to, put the next few tracks on repeat. To its credit, it is a great transition into the next track, “Summer,” of which, there isn’t much to say except that if you are sitting cross-legged, doing some deep breathing, and introverted thinking, put it on, it’s great for that.

You will probably notice that the tracks are not exactly laid out as they are in the album, that’s okay. Just go with it, there is method here, cats and kittens.

Next up is “Somber Victory”.  At first, it doesn’t feel as though this song is going anywhere, much like I’m sure this review feels to you. For half of the song, it doesn’t go anywhere, it’s comfortable there, and keeps on exactly how it wants to until very nearly halfway through, very melodic, very repetitive, but not so much that you notice it. As I told you, halfway through the song, Auternus turns up the intensity bit by bit. At first, it’s simply a change in pace, it’s very easy, but strikes you masterfully, just as it should. From there, “Somber Victory” slowly cranks the dial to the right, encouraging you to scrub that last-night’s-dinner pan just that much harder, and you can’t help but obey. This track masterfully cranks up the intensity of the album, and still maintains the ambience of the work.

The beginning of spring hurts your ears in much the same way the biting cold does outside, in the beginning of real spring, although I deal with early springtime much more eagerly than I do with this song. If I have one real complaint about this album, it is this track. It will leave a ringing in your ears if listened to with any volume whatsoever. You’ve been warned.

I’ll finish the seasons, and finish the review with the ten-minute epic, if you all don’t mind? Good.

“Winter,” the best season of them all is simply one more song to meditate to, it starts out with what sounds like panpipes, and maintains a charming minimalist approach throughout.

Chase the Sparrow. Stop reading this, and just listen to it. I won’t even write anything about it to allow you time to do so. Just close your eyes and let your imagination go nuts on this one. You’ll thank me in just over ten minutes…….

See?

To tie up the Changing Seasons experience into a nice and tidy little package, it’s like an Enya album that speaks to my inner angry white guy.

I will close with a word to Auternus. Thank you for “disappointing” me, it’s been a pleasure.