positivexposure

Top Button, Bottom Shelf // Banquets

-sweetavalanche — Wed, 22 Feb 2012 10:00:00 -0800

How annoying are incredibly overrated records? There is nothing worse than hearing an album which you know for sure is nothing special and then jumping online to see an avalanche of hype, right? Wrong. Spare a thought for those bands missing out. While overrated records are certainly annoying, nothing frustrates me more than falling in love with a record that gets not nearly enough attention and praise as it should. Introducing Top Button, Bottom Shelf by Banquets.

After 2010’s Nothing Is Fucked Here and This Is Our Concern Dude, Banquets gifted us with a well rounded split with Mayflower which can be seen as a little teaser to their full length, released just a month later. After a substantial amount of impressive releases in a short amount of time, it would be forgiven for the average Banquets fan to question why the band isn’t at bigger heights. The recognition is there – just not the hype.

“377” serves as an introduction to the 10 track release from the New Jersey quartet. Over a string of time-keeping guitars, vocalist Travis Omilian sings, “You’ll never smile, you’ll never be right/ I hope you’re searching, while I found some spite/ I’m better now that we don’t speak”, lyrical content which despite the comforting warmth it is sung with, adds a little contrasting bitterness.

On each release, Banquets presents certain echoes of The Loved Ones and Carpenter which are not lost on their debut full length. Despite the similarities they convey, Banquets have their own unique style of lyricism – witty and snarky with a side of humour to assure you there are no strings attached. What you see is what you get.

“Forever Bender” precisely exposes their blunt way with words: “I pissed in your garden, now nothing’s going to grow/ Aren’t we all poets? Yeah, I know./ I collect what I can remember, in a box because I’m getting old.“ Throw in some catchy hooks and pub-style sing alongs courtesy of some gang vocals and here stands one of the records strongest tracks.

Several references to family members occur in “Sound Of Money” and “Best Night Of The Night”, like that of The Gaslight Anthem, however Omilian opts for Mom and Dad rather than Mamma and Papa. “Unforgiven V” begins with a 30 second riff which is of striking similarity to that of New Found Glory’s “2’s & 3’s”. Stand out track, “Sometimes A Wolf” doesn’t appear until the album’s near end, showcasing Banquets’ best and catchiest track, possibly to date.

Top Button, Bottom Shelf is a prime example of modern day punk rock. However, on Facebook, Banquets don’t list “punk-rock” as their genre but instead, “Fucking Famous”. Perhaps that’s exactly what they should be.

Thurrock International Film Festival 2012

sarahn12 — Tue, 21 Feb 2012 01:00:05 -0800

From 24 -30 June 2012 the Thurrock International Film Festival will take place at Thameside Theatre in Grays, Essex. It is the exciting new venture of Natalie Williams and Benjamin Scarsbrook, two film studies graduates interested in bringing their area’s filmmaking related history to the forefront, as well as allowing a wonderful opportunity for amateur and professional filmmakers alike to have their films screened and showcased publicly. Here, Positivexposure speaks to Natalie and Benjamin about the festival and what to expect during the week-long event:

How did the idea of a film festival in Thurrock first come about?
We graduated from university in film studies, and for part of our final year we had to organise the exhibition of our graduate films. All we had to do was book a room in the college and screen the films, but we saw an opportunity to take the idea further. This ended with us hosting a one-day film festival in Carmarthen, Wales that was on local radio, in all the local newspapers, and was featured on national TV (S4C’s flagship show, Wedi 7). When we got back to Thurrock, we realised there wasn’t an opportunity for a filmmaker in the borough to showcase their talent in any way. So instead of waiting for someone else to come along and arrange something, we decided to take matters into our own hands and organise it ourselves.

What do you hope your festival will bring to or add to the area?
Thurrock already has a rich history of filmmaking, either by playing host to film productions (Batman Begins, Who Framed Roger Rabbit? and 28 Days Later) or producing filmmakers themselves (Mick Jackson, Ian Abercrombie, Russell Brand and Phil Davis). We want the people of Thurrock to be proud of this as well as give local filmmakers the chance to show off their talent. Ideally, we want to create some kind of network of filmmakers in the local area as at the moment, again, there is little chance to meet one another.

Who is on your judging panel?
So far we have actors Jason Flemyng (Lock, Stock, X-Men: First Class, Benjamin Button), Phil Davis (Alien 3, Vera Drake, Quadrophenia) and Pauline Quirke (Emmerdale, founder of the Pauline Quirke Academies) as well as renowned stunt and movement choreographer, Terry Notary (Avatar, X-Men, The Hobbit, Rise of the Apes). We are in talks with many more well-known names and hope to announce several more additions to our judging panel in the coming months.

What kinds of events are included in the festival?
There will be screenings of submitted films as well as special screenings of commercial films (titles of those films will be announced soon); there will be workshops for school children and the public run by local A-Level film students, as well as talks and an evening with film critic Barry Norman. The festival will close with an awards ceremony where the best submitted film in each category will receive an award. There will also be awards for Best in Festival, Audience Choice, Best Performance, Best Editing, and Best Direction.

Are there prizes for winning films? What are they?
Each winner will receive a trophy and a certificate, and some of the awards will receive extra prizes that have been donated by Stop Motion Pro and Grass Valley.

What is your favourite genre that is included in the festival?
Our categories are fiction, documentary, animation, student, experimental, music video, under 16, international, and foreign language. It’s hard to pick a favourite out of those; it will all depend on the films we get.

What are you most looking forward to during the festival?
Possibly the awards ceremony when everyone is gathered together. It will be nice to have all the filmmakers in one room all talking to each other, swapping stories and ideas – that’s our aim.

Do you have future goals for the festival? If so, what are they?
We hope that it will be an annual event and eventually we want to be able to pass the torch to the next generation to run with a long lasting legacy of creative filmmaking excellence in Thurrock. We want to build on our success each year and help the festival grow from one year to the next.

Why should people choose to visit this film festival in particular?
We are the newest international film festival in the United Kingdom and as such we promise to provide a program of events that will have something on offer for any film fan, young or old.

How much do festival tickets cost?
Tickets are £3 an event or you can buy a festival pass for £28 and go to everything! Tickets will be on sale soon through the Thameside Theatre Box Office (tel: 0845-300-5264). The previously mentioned evening with Barry Norman is ticketed separately.

Who should be contacted with questions regarding the festival?
Any questions can be emailed to us at info@thurrockfilm.co.uk

Do you have a film you’re interested in submitting? You can find the submission information here. You can also visit the Thurrock International Film Festival website for more information.

Singles EP // Ghost Robot Ninja Bear

-sweetavalanche — Sun, 19 Feb 2012 12:00:05 -0800

Ghost Robot Ninja Bear is Oscar Albis Rodriguez and friends - in the live spectrum that is. Recorded, Rodriguez can be dubbed a one man band. The Singles EP is a little sample of the variety and depth he is capable of.

This four track release begins with a hard hitting guitar riff setting the trend for many to come, both intricate and catchy, which follow in the next 12 and a half minutes. At times, Rodriguez is joined on stage for such captivating hooks by Rachel Rubino (Bridge and Tunnel), among others. However, when listening at home or in your car, the only assistance had was that of several producers including, Ali Hassan (engineer for Bouncing Souls and The Loved Ones). “One Pedal To Another” introduces Rodriguez’s gruff, yet polished vocals, applying to the genre overlap of indie/punk rock.

“Blood The Tango” shows a punchier side of Ghost Robot Ninja Bear that will certainly leave one foot tapping and humming the melodic yet slightly post-hardcore influenced track. “Staring At The Clocks” gives a pop-punk element to the EP, displaying Rodriguez’s flowing diversity in what is the strongest track on the EP.

Leaving a grungy impression in contrast to the previous track, “Carousel” reminds the listener as the release nears finish that no two songs sound the same, especially when surprising growls are used half way through the track.

The Singles EP is refreshing in the sense that it’s comforting to hear a release that differs from song to song, avoiding staleness, the trap that many bands in the genre subconsciously fall into while creating, even on an EP. Creativity is not lost.

All That We Know // Larry and His Flask

monsteroflove — Thu, 16 Feb 2012 12:00:00 -0800

It’s a common misconception that stability and reliability are the safest and most rewarding qualities that we should strive for in our lives. The promise of an inviting bed and a hot meal at the end of the day are comforting ideals, things all people deserve. But to really feel something, to endure the surprise and adrenaline of the unexpected keeps us on our toes. In this way, Larry and His Flask bring refreshing flavor with their music. Where the industry is lacking individuality, unique musical texture, and something to proudly blast on the car radio, Larry more than picks up the slack.

All That We Know could easily be described a frenzied, fast-paced, multi-faceted balancing act of genres sewn together with precise musicianship that is “finger-pickin’ good.” Moving from roots in classic country to bluegrass infused with vocals not unlike Sublime’s Bradley Nowell providing pure melodic hooks, Larry and His Flask have accomplished what many more weathered acts would probably fail at: creating a record that transitions fluidly from one song to the next without becoming sloppy and disconnected in the process.

“Land of the F(R)Ee” opens up like something Johnny and the Devil would have battled to down in Georgia, with banjos and head-spinning picking parts supporting the lyrics “I see the blood-red dust on his soul. His tired boots are as black as coal,” but by the time “Manifest Destiny” begins with trumpets blaring, we’ve come full circle back into a place of rhythm, Mardi Gras, and more banjo-picking to boot (but still managing to round out the track with rag time style piano cued up to an old Dudley Do-Right film).

Not only are Larry and His Flask innovative in their sound, marrying genres to create a lovechild the oldest, dirtiest, bluesiest musicians would appreciate, but their affinity for combining full and inviting vocals with endearing lyrics makes for a truly pleasurable listening experience from start to finish. Larry and His Flask have a knapsack brimming with stories to tell about dusty barren lands and dark and twisted protagonists; any pursuer of pure and awesome music would find an ally here. In the words of Larry himself, “No beauty, no love, no life.”

By Way Of Introduction // The American Scene

-sweetavalanche — Wed, 15 Feb 2012 12:00:06 -0800

Sick of The Dangerous Summer and their high school drama? Listen to The American Scene. They’re frequently compared, but unlike their peers, The American Scene haven’t incorporated all of that alcohol induced, internet fuelled garbage; Instead they have focused on their comforting blend of indie rock/ pop punk. This is what we call “music” - the important stuff which believe it or not matters, despite the evil threats of appearance and avoidable drama many bands class as a higher priority.

The American Scene doesn’t need an association like that to be as confident and solid as their group is though. The settled quintet from Berkeley, CA are poised and self-assured in what they do, and rightly so. The music The American Scene gives to us is significantly more forward-thinking than their peers.

The band’s debut on Pure Noise Records, By Way Of Introduction, deals with the idea of distance, both physical and emotional. The album kicks off with the title track which serves as a promising introduction to a record that flows with optimism. Seamlessly rolling into “Did You Hear About Your Friends In California?” The American Scene present punchy, catchy riffs whilst keeping a soothing element courtesy of vocalist Matthew Vincent.

Vincent’s vocals are reminiscent of the respected Kenny Vasoli (The Starting Line, Person L) and indeed, AJ Perdomo (The Dangerous Summer) in tracks such as “Home” and “Marty McFly, Nostradamus, and I” which contributes an uncontrollable foot tapping and sing along combination to a record that is incredibly polished for such a young band. Like many songs on the album the track is easily relatable, recalling stories experienced when growing up such as, “Well, I remember being good at looking to the future/ But, I’m always burying my heart in places apart/ From where I lay my head.”

On a record that’s enjoyable from start to finish, highlight tracks surface near the end of the album in “Killed Off in the Second Act“ and “Another World Beater” which are also the most catchy in the half hour of reassuring bliss. The latter track sports one of the most memorable and upbeat choruses. The harmonies and call-and-response work of Vincent and guitarist and back up vocalist David Taylor soundly complement the fullness of three guitarists. Ending the album is “A Million Minutes in the Making,” the punchiest track, perfectly tying together guitars and drums in timely precision.

By Way Of Introduction is a debut album that any young band in the scene would and should be more than pleased to begin a discography of full lengths with. Despite comparisons and similarities, The American Scene are unique. Further listens of this record since commencing this review only make me realise more how unfair it is to even mention The Dangerous Summer altogether. The American Scene are in their own scene, and it’s pretty exceptional.

Hot Lights EP // Viper Creek Club

katylester — Wed, 25 Jan 2012 12:00:06 -0800

Hot Lights opens with a jarring and somehow symphonic bang. It is complete with an entire strings section and horns, a deep, grimy back beat, and a sky-scraping voice anxiously vociferating lyrics to its listener. The new EP starts off with “Because I Know”, a song that lets the audience know what Viper Creek Club is all about.

Though the group is heavily influenced by hip-hop, it seems much less apparent on their forthcoming 6-song EP than it has in their previous albums, Letters and Viperlust. Rather than resonating earthy beats and gritty rhymes, Hot Lights takes inspiration from electro-indie superstars like Phantogram and Justice, while vocals by Seattleite Mat Wisner echo a post-scene masters like Taking Back Sunday and more currently, 3OH!3.

Based around a city’s party scene most of the tracks on Hot Lights are upbeat and dancy; however, it closes on a rather somber note with “In The Living Room.” This song is the one that speaks to me most, perhaps because it gives listeners a taste of Wisner’s true artistic abilities; as opposed to featuring more repeating, thumping beats and overarching clichés, this song reveals Viper Creek Club’s atrophied love life and ambivalence toward what the future holds. Ending the EP on this note is perhaps one of the best choices Viper Creek Club made during production of this project. It shows us that the duo has much more talent than shirts-off-slam-drunk-party boys, and that in fact there is a deeper meaning to the music they make; perhaps more importantly, there is a greater artistic ability.

Overall, Viper Creek Club’s electro-pop, funky-disco-dance-your-ass-off sound is cohesive throughout the album, with the voice samples exceptionally well (“Count It Out”), and purposely ambiguous yet simple lyrics like “This is what is good/ Your skin on mine in the living room” will abide with listeners and keep them looking out for Viper Creek Club. Hot Lights drops February 14th. Buy it and dance, dance some more, mellow out in the end and then start it again.

Hope is for People // Mixtapes

monsteroflove — Thu, 12 Jan 2012 11:27:23 -0800

Cincinnati’s Mixtapes provides snippets of adolescence and angst in the form of compressed guitar riffs, direct lyrics, and modest dual vocals. The simplicity of their eleven minute EP Hope is for People is like a snapshot of youth, with the title track acting as its anthem, chanting, “Let’s cut the bullshit and get to living.” This theme continues through the rest of the EP’s six song tracklist, making it easy to listen to a few times through before the melodies and simple guitar parts begin to blur together loudly and passive aggressively in an altogether effective manner. The very forthcoming approach employed by Mixtapes is an echo of punk rock predecessors Blink 182 with a little sprinkle of vocals reminiscent of Kimya Dawson on top. The acoustic track “Where I Live” takes a softer turn, ending the album on a somewhat peppier note. If you aren’t the kind who enjoys rough vocals and uncomplicated lyrics, Mixtapes may not be the band for you. But if, like me, you’re looking to forget adulthood for a few blissful moments and remember simpler times through simple songs, look to Mixtapes to guide your way.

Split // Balance and Composure & Tigers Jaw

-sweetavalanche — Tue, 03 Jan 2012 12:00:06 -0800

Picking favourites, whether it’s picking your preferred pet, sibling or Spicegirl (how good was Sporty Spice?), it’s something we all do but deep down tend to feel a bit remorseful about. When it comes to split releases I usually sway towards one side with a wave of guilt. This split is no different, but thankfully Balance and Composure and Tigers Jaw have weighed in almost equally, so I don’t feel too bad this time around.

The pair from Pennsylvania have each showcased their take on (excuse me as I dive into dangerous genre classifying waters) modern DIY emo/indie rock, with their own personal influences. Despite their differences each band employs clear passion via quite a dark and almost eerie feeling.

The Doylestown five piece Balance and Composure lunge into the octet with a section of chilling rhythm to serve as an introduction for vocalist Jonathon Simmons on the track “Kaleidoscope”. Simmons, one of three guitarists, sings with such grit and aggression, yet his ability to transfer to soothing, smooth tones is done in such an unbroken manner. There is an incredible amount of words in the English language but none suitable enough to describe the track we know as “Burden”. The five minute foot stomping track explores phenomenal chilling lows and forceful louds, although I never realised the track was so long until now, over a year since its release.

Complementing the triple attack of guitars, Simmons sings from the heart with guiltless resentment. “Heat, do you feel heat? / Cuz I’m creeping up the side of your bed and onto the sheets / Burn, won’t you let it burn? / You destroyed so many lives and now it’s your turn. / And weep, I hope to God you weep. / You could dig away at your heart but it’s far too deep”. Despite not quite revealing the burden he carries, the imagery and description Simmons employs allows one to make meaning for themselves, adding another element of depth to the song. “Twenty Four” is a clear indication of Simmons’ vocal ability, from sweet low melodies, to yelled hardcore/punk influenced elements. “Rope” is the perfect end to Balance and Composure’s contribution to the split, ending with a bang and demonstrating their fine musicianship. Three guitars can at times result in songs falling apart and feeling messy or incomplete, but the quintet achieves this with clarity and precision. Nearing the end of the track, drummer Bailey Van Ellis keeps these guitars in time, creating a pristine finish.

Tigers Jaw’s involvement on the 12” is almost a wind down from the four intense tracks they follow. Starting strong with “Lodging,” it’s clear to see the Scranton native five piece sit in the indie rock category more comfortably and appropriately than Balance and Composure – they’re more ‘easy listening’ than their brothers from Doylestown. “Jet Alone” sports the simple repetition of witty lyrics, “I want to walk all over you like a floorboard / And I want to lie like a politician / And I want to do the things your friends do / Yeah I want to be just like them.”, which accompanies intricate and relatively clean guitars. The longest of Tigers Jaw’s tracks “Danielson” features a steady drum track courtesy of Pat Brier, reminiscent of the bands’ self titled release. “Dent” finishes the split with subconscious head bobs and big sing-a-longs as duel vocalists McIlwee and Ben Walsh plea “You swore that everything was fine” with passion.

Whilst each song is rich with raw passion, Balance and Composure hit home with me and leave a longer lasting impact. Each track differs from one another on this record, however there are less diverse elements in Tigers Jaw’s tracks. It’s difficult to fault this split and therefore is my favourite split release of all time. Well done Pennsylvania.

Compact Disc // SWTHRT

darjeeling-limited — Sun, 01 Jan 2012 11:00:05 -0800

“Doubt and thou shalt be corrected.”

That’s perhaps not the greatest philosophy to believe in when you’re a person who outwardly advocates positivity, but you’d be surprised at how often these words have crossed my mind these days. I’ve found myself in chance situations where something that is seemingly doubtful works out for the better and the discovery of SWTHRT’s Compact Disc is a prime example.

I think you can always get a sense of a band from the name and while I still don’t understand the cryptic meaning behind SWTHRT’s moniker, the first time around it gave me a bad feeling. However, once I actually took a turn to listen to the album, I was pleasantly to the point of unnervingly surprised.

SWTHRT have got that great echoing vibration to their music which is definitely reminiscent of bands like The Cure, Joy Division and to a further extent, The Velvet Underground. So right off the bat, you’re on the money if that’s your sound of preference. The hypnotic, continuous beats and ‘glitter raindrops on roses’ effect of the twanging synth guitar is not actually an uncommon thing seen in the realms of alternative music today. The Horrors strayed from their incessant skinny-jeaned screeching to do something like it on their album Primary Colours, yet I will come right out and say that SWTHRT do it better.

The advantage SWTHRT have over a band under such reverence as The Horrors is you don’t actually spend much time trying to decipher SWTHRT’s garbled, nonsensical vocals. The vox become the very central nucleus of the instrumental orchestration, as they should be. It’s not a message screeching over some beautifully arranged music, but rather the very heart of said beautifully arranged music. The effect is soothing, overall - for your best example, see “Boys With Problems” and “I Am In Misery”.

As Compact Disc progresses as an entire record, it definitely becomes more of an abstractional art piece. The instruments seem to blur further into each other, apart from the drums which run strong with the most outward and consistent of sounds. The first weakness I spotted with it was the arrangement of songs seemed to be almost jerkily put together. The first four tracks seem to be one large similar block until “So Dumb”, which is number four, breaks out and puts a rough stop to the progression.

However, what redeems this disorganization is track number five, “Maggie Valley”. It’s an ethereal tune dipped deep in sentimentality, complete with tapping tambourines not unlike something Moe Tucker of the Velvets would use. Vocal free and fancy free, it has the whimsy of an essential album’s ice breaker.

From then on, the tracks just seem to get better and better. “Aloha Y’all” sounds like Beefheart being played backwards in the Valley of the Dead - creepy, trippy and entirely enticing.

My personal favourite track is “Terror Dread”, merely because the beginning sounds like the theme to a whacked out film noir - say, Noseferatu by Dario Argento. The vocals come to the fore in this track, making it the perfect combination of winning suspense and spine-tingling distortion.

All of that being said, I must return to my original point of the similarity between SWTHRT and bands like The Cure. Initially, that’s exactly what you think and that may make you believe you’re setting yourself up for the fall of yet another Robert Smith coverband, but I implore you to listen on. SWTHRT may keep a very constant style throughout the album but upon multiple listens, they appear as clear chameleons that shift slightly to fit the new enviornment of each song.

By the way, keep an eye out for the closing track “Sunroof” - it’s a killer.

Our Future Selves // Shuteye Unison

darjeeling-limited — Sat, 31 Dec 2011 13:00:05 -0800

Shuteye Unison open like The Stooges would.

The opening of Our Future Selves is brash and bratty and sets one up for something they are ultimately not expecting - whether that’s a good or a bad thing is still a mystery to me. First off, I liked it. The second time around, I liked it even more. “Be Kimball” would be that Stooges-esque opener. It sounds and feels like a punchy punk standard should, in that it catches attention but differentiates itself with timid vocals hummed with a voice like velvet.

Track number two (“Our Future Selves”) is where it all changes. From punk we find an ambience of delicacy that sounds like an entirely different band altogether - except for those lovely vocals. Lovely is the only way they can be described overall. Not in a prim way, not in a posing way. Just in a simplistic, wholesome manner in that they are sweet to listen to against the backdrop of entrancing guitars and marching drums.

As the album moves along, different moods are dropped upon you. You’ve got the standards of happiness and potential anger but through that confused mess of buzzing vocals and defiant guitar arranged in satisfying disarray; as a listener you reach into the depths of implied loneliness and implied ecstasy. Everything is up to interpretation.

However, the outstanding downfall is that some tracks leave a little too much interpreting to be done. This is particularly the case with the longer lasting, slower burning songs. A reasonable four minute average of a song leaves a taste in a listeners mouth, but the garble that drags on from six to seven minutes soon turns that taste sour. It feels like far too much, far too soon. Needless to say that shorter is sweeter when it comes to Shuteye Unison - they’re not a band that needs to dally around overwrought tracks that go on for far too long.

But before you even reach the fifth track of the album, you transcend the boundaries from excitement to melancholy mourning and back again. Any better known band and this would be a cause of annoyance for me, personally, because of its inconsistency. However, Shuteye Unison seem to do it with an acute awareness for their progression. As a band, they steer a course with a keen eye on a certain destination. Unfortunately, I’m not perceptive enough to figure out just what such a destination is (hypnotic world domination, maybe?), but I appreciate being invited along on the journey.

SARGENT HOUSE: FREE Contract Advice. No More Signing Deals that Get Your Band Screwed

idontneedtime — Fri, 30 Dec 2011 17:50:50 -0800

SARGENT HOUSE: FREE Contract Advice. No More Signing Deals that Get Your Band Screwed:

sargenthouse:

I am setting up a FREE advice email for any bands out there that have been sent a written contract to sign by a label, booking agent, marketing firm, label scout, manager - whatever. I’m begging all bands to NEVER just sign without first getting some real advice and understanding of what it…

Any bands about to sign a contract should check this out. It’s an incredibly gracious thing for Sargent House to be offering!

Top 10 of 2011: Hailey Hill's Picks

-sweetavalanche — Thu, 29 Dec 2011 13:11:21 -0800

Maybe you’ve noticed, maybe you haven’t… Positivexposure was, for the most part, in hibernation in 2011. But taking a break from sharing music doesn’t mean taking a break from discovering and taking it in! If you’ve been following Hailey’s reviews this year, this list will not surprise you, but you may discover some albums you missed this year.

#10 England Keep My Bones // Frank Turner
I have much respect for Frank Turner, who is an excellent song writer and an intelligent person. England Keep My Bones would have to be my favourite release of his. Turner is sincere and honest, as always, which is a quality I respect in people and music. “If Ever I Stray” is my favourite Turner song at the current moment; very relatable, catchy and blends acoustic and full band moments superbly.

My pick: “If Ever I Stray”.

#9 Parting the Sea Between Brightness and Me // Touché Amore
Short, fast, loud, passionate and honest. No song reaches the 2:30 mark on Parting the Sea Between Brightness and Me, giving the term “short and sweet” a clear definition.

My pick: “Pathfinder”.

#8 Radiosurgery // New Found Glory
New Found Glory have produced what I think is their catchiest record yet. Although it lacks the heaviness of last release Not Without A Fight, Radiosurgery is classic New Found Glory; a band who cannot do a thing wrong.

My pick: “Summer Fling, Don’t Mean a Thing”.

#7 Winter Forever // Seahaven
I’m quite a lazy person. I try not to be when it comes to checking out new bands but with an influx of potentially brilliant new bands it’s hard to keep up. Due to my behaviour, I didn’t give Seahaven’s last release enough of a shot. Thankfully, I showed a bit more initiative when it came to Winter Forever because from start to finish I was given 10 tracks of brilliance which I have listened to at least once a day since its release. Very underrated.

My pick: “Save Me”.

#6 Listen and Forgive // Transit
Transit have mellowed out a little on their first release on Rise Records but the passion and talent is still there, just fine tuned. Having the vocalist from my all time favourite band, Patrick Stump feature on the track “All Your Heart” was a perfect shock and an undeniable stand out song for me.

My pick: “All Your Heart”.

#5 Under Soil and Dirt // The Story So Far
This full length is such a progression from The Story So Far’s previous releases in every respect. I’m yet to show it to someone who hasn’t been blown away. It’s honest and angry and most importantly for pop-punk, incredibly catchy. Perfect modern day pop-punk. (You can see my review of Under Soil and Dirt here).

My pick: “High Regard”.

#4 Heartbound // Dream On, Dreamer
I wasn’t too happy with many Australian releases this year apart from Skyway’s full length and releases from The Smith Street Band and The Getaway Plan. My favourite however, was the debut full length from Dream on, Dreamer. It’s everything I thought it would be; heartfelt, eloquent and simply better than every single band in their scene. The use of synth binding songs together rather than an annoying 30 second blast in each song is also to be noted as a huge positive. The six piece are excellent people who deserve the very best so I’m incredibly excited for them to be playing all over the world, only two years on from playing in very small and average venues around Melbourne.

My pick: “For What You Believe in”.

#3 Separation // Balance & Composure
Throughout the year I’ve struggled to string words together about this album. As we near the end of 2011 I’ve still only reached a one word description: flawless. Balance & Composure have always been a melodic and raw, yet polished band. This trend is continued on Separation. The use of three guitars still works incredibly well, especially in the live spectrum. Best live band of 2011 for me. “I Tore You Apart in My Head” can be grouped in the category Fireworks’ “the Wild Bunch” falls in.

My pick: “I Tore You Apart in My Head”.

#2 Gospel // Fireworks
Fireworks took a different direction in comparison to their last full length All I Have to Offer is My Own Confusion but Gospel is simply a step up in every respect. “The Wild Bunch” would have to be one of my favourite songs of the year, if not ever. The Detroit five piece have clearly taken influence from their entire combined CD collections and mixed it together with classic Fireworks to produce one of the most unique pop-punk records in 2011. I’d happily place Gospel in a genre of its own though.

My pick: “The Wild Bunch”.

#1 Suburbia I’ve Given You All and Now I’m Nothing // The Wonder Years
I’ve probably never had such high expectations for a record in my life. The Wonder Years not only met, but exceeded them. Suburbia follows on from last release, The Upsides, but in a, for lack of a better word, matured manner. Musicianship and lyricism are perfect. The lack of editing on Soupy’s vocals was an excellent idea. Fantastic concept album. (You can see my review of Suburbia here.)

My pick: “And Now I’m Nothing”.

So, dear readers, how does your personal list compare?

Raccoon Valley Recordings // The Heat Tape

darjeeling-limited — Wed, 28 Dec 2011 12:01:06 -0800

From what little knowledge I have of punk, I have determined that it’s a genre riddled with hits and misses. Fortunately though, I believe there have been more hits than there have misses. From the outset, I understand that it’s quite a political music - it carries a clear message, sometimes poignant, rather than just vomiting up a lot of waffle about rebellion and anarchy. However, as we all know simply from being people, having someone’s opinion wailed at you through stereo speakers can get rather tired. That’s when the trickiest formula comes to fruition; to have a band that plays not only great punk rock, but is loose on the politics too. This area is best occupied by bands like The Ramones and Iggy & the Stooges who have that magic combination of being darkly fun yet still driven by that raw power (pun intended). It’s a hard game to match up to, and it’s been attempted many times. Many people overshoot the balance completely; but then a collective from Illinois named The Heat Tape arrived to show them how it’s done.

Their debut opens with a track entitled “Spend It”, and it sounds exactly the way you’d expect it to sound - or, rather, exactly the way you’d want it to sound. The drums play out classically, an incessant adrenaline beat that shows no signs of giving up. The guitars screech and wail before folding into a steady rhythm. The vocals are scratchy and monotonous at times, and that sets up the blueprint for the entire LP. And while these might sound like negative features, they are absolutely not. They draw up the character of the band into this very glorious, very tangible domestic chaos.

However, the tone does shift before it becomes too same-y. The eleventh track, “Crackin’ Up”, is a slow-burner, possibly the punk rock ballad of the album. Very lazy drums accompany vocals that are quite Adam Green-esque in tone and lyric. It’s a track that slowly gathers pace and momentum before it transforms before one’s eyes into a most radiant leather-clad swan that keeps pecking at you to start a mosh pit.

The album’s best and brightest track is, without a doubt it’s coda, “Idle Man”; simply because it’s the most exciting of the bunch. The song seems to just throw everything to hell as guitars flame and drums incinerate in this great raging fire of pounding mania. Compared to it, the rest of the album seems like one giant teaser to this gargantuan finale that’s just so exciting and galvanic, you should be imprisoned if you sit still during it.

Granted, I sat still because I had to analyse it critically but I’m exempt.

The Heat Tape’s debut Raccoon Valley Recordings can only be described as a wholesomely good punk album. They draw classic influence, but not so much as to be lumped in with The Ramones Revisited. They’re repetitive, but only in that their tunes worm their way into your head and stay there without annoyance. They’re scuzzy, but that’s all part of the art.

They’re genuine, they’re messy and they’re not trying to sell you anything.

That’s a combination that make them wholly loveable.

Under Soil and Dirt // The Story So Far

-sweetavalanche — Tue, 27 Dec 2011 10:00:00 -0800

Many hailed The Story So Far’s debut full length as pop-punk record of the year, ahead of genre heavyweights New Found Glory and The Wonder Years. For anyone, let alone a band who only recently graduated high school, this call would have been quite the compliment. A big call it may be, but with just one listen praises like this can rightfully and understandably be thrown around.

Under Soil and Dirt opens with “States and Mind”, a 50 second predominately instrumental piece which instantly showcases the progress since previous releases. The track flows into “Roam”, a highly addictive three minutes with an infectious chorus. “Quicksand” was our first introduction to Under Soil and Dirt which the band released prior to the album. It was a perfect indication of what was to come: pure pop-punk, nothing cheesy, no overload of gang vocals or trendy break downs. The Story So Far is everything you love about classic pop-punk with a modern spin.

The musicianship, which can be noted on “Swords and Pens” along with the outstanding “High Regard”, is clearly improved on this record. The latter features a crucial hook from guitarist Kellen Geyer and an initial drawcard to the band for me: honesty and aggression. Parker Cannon blatantly says with a sting, “F*** an apology I’m not sorry for anything/ I’ve been holding back my apathy for far too long/ You don’t deserve what you haven’t earned/ And your place in my heart has just grown so small.” I don’t know about you, but when I come across someone honest and straightforward I do my best to keep them close, so this is an attribute of the band that I certainly value. The Story So Far is honest. I’m going to keep them close and keep returning to these 11 tracks. Because of this, “High Regard” is one of my personal favourites. Entrenched in one of the most powerful choruses of the record is, “I’d like to think that you’re worth my time/ But you embody everything that I hate.” Angry enough for you?

If not, “Daughters” should suffice. The lyrical content is passionately hostile from start to finish despite being a little more low key than preceding tracks. Drummer Ryan Torf takes the reins on the re-recorded “Mt. Diablo”, a track that has been significantly revamped and lifted since its first inductions on 2010’s split with Maker. The song sports lyrics that are much more ruthless and heartfelt than many typical heavy bands in today’s industry such as, “Do you look yourself straight in the eyes/ And think about who you let between your thighs/ Cut the s**t/ Be real with me/ You’re the only one I ever f****** judge”.

“Placeholder” takes things down a notch yet again, but like every track on Under Soil and Dirt, it’s genuine, showing some of the best lyrics on the record. “Closure” finishes the record by picking things up again for a firm and thought out closer.

Some guy on my Facebook feed said Under Soil and Dirt was the best pop-punk release of the last decade. His status got many more likes than the annoying kids who state obvious weather patterns and complain about having cat hair on their jeans. I also value his valid statement. He got a ‘like’ from me. Under Soil and Dirt is definitely up there. If The Story So Far have produced a record this flawless at such a young age, then it’s almost overwhelming to think of the heights they could potentially reach on their next release.

Man Overboard // Man Overboard

-sweetavalanche — Wed, 19 Oct 2011 13:59:00 -0700

Plenty has taken place in the Man Overboard camp as of late. In the fourteen months since debut full length Real Talk was released, the New Jersey outfit experienced line-up changes, signed a deal with major record label Rise Records, and toured with some of the most recognisable bands in the genre (New Found Glory, The Wonder Years, Fireworks) at home and abroad. Despite these undoubtedly influential developments, Man Overboard’s latest self-titled release thankfully hasn’t steered the band’s sound off track to any kind of unfamiliar territory.

Lyrically, the twelve track record is considerably more mature, but like previous material the subject matter is still based on relationships and girls. In combination with this, Man Overboard haven’t lost their ability to write memorable songs. The catchy tracks are as captivating as ever to ensure sing-a-longs become second nature. Opening track “Rare” sports a distinctive pop-punk drum beat which is a clear indication that Man Overboard hasn’t greatly changed and therefore gives peace of mind to their hoards of fans. Both “Rare” and “Something’s Weird” are hard-hitting and reminiscent of older Blink-182 and New Found Glory whose chief lyricist Steve Klein produced the record.

The duel vocal duties of Nik Bruzzese and Zac Eiesenstein still work superbly. In tracks such as “Voted Most Likely” and “Picture Perfect,” the call-and-response style used is typical of 2010’s Real Talk. Lyrics used in the first the two tracks, “I try to understand / how you could be so normal / and I could be so awkward” present themes that most teens would easily relate to (or so Tumblr tells me). Opening with gang vocals, the first two lines of “Dead End Dreams” detail the catchy, girl-focused subject that Man Overboard consistently master – in just six seconds in this case.

The catchiest of tracks, however, are embedded in the second half of the album in “Punishment,” “Headstone,” and “Night Feelings.” “Headstone” shows off a string of infectious gang vocals, while the latter is one of the most passionate and dominant tracks on the album and features a chorus which is cemented in the mind with a single listen.

Closing track “Atlas” is not your typical Man Overboard track. It almost goes against everything I’ve said about the band’s lack of change since Real Talk. Although not drastically different to the last full length, the song breaks the mould. It’s vocally weighted by Eiesenstein, doesn’t mention girls, relationships, or break ups, and is lyrically repetitive. However, “Atlas” is one of the highlights on the thirty-four minute long album. The tune is a reflection of life which again can be related to by many. Eiesenstein sings, “I stare out of my window / And I look at my neighbors / And take notes on being normal” and “Maybe I’ll learn how to talk to people”. It wouldn’t be a Man Overboard record without a reference to weed, and so, “I could talk and be nice / or light up a joint” is included.

Man Overboard have stayed accurate to how we’ve always regarded them, continuing to defend pop punk the way they know best. With a more polished sound, matured lyrics, and the same formula used, the five-piece has presented an album which old and new fans should be equally thrilled with.

Manchester Orchestra at Bristol 02 Academy, October 2011.

aintnoabacus — Thu, 06 Oct 2011 08:12:00 -0700

Manchester Orchestra at Bristol 02 Academy, October 2011.

Of Gold // Bars of Gold

darjeeling-limited — Fri, 23 Sep 2011 13:47:48 -0700

A gentle orchestral score is what sweeps you into the intro track of Bars of Gold’s LP, which is quite bravely named Of Gold. Ambitiously titled? You could say that, but once a charming melody of electronic keys begin exploding like Pop Rocks over the grand instrumental, you can’t help but feel a little warmer about their pre-perceived assertiveness. The aforementioned opening track is called “Boss Level,” and at first listen it sounded a little goofy, but I think that’s what gives it such a great character.

“Heaven Has a Heater” follows, which is an altogether more vibrant and energetic track. It employs a whole world of bashing, breaking and guitar-shredding, but doesn’t really deviate from the standards you’d expect to hear on a punk album such as this. As far as tracks go, it pales in comparison to the track that succeeds it.

“Birds” is such a track, which begins with oddball acoustic that’s got a really visceral, folky, elemental feel to it that I adored. Something you would expect to be at odds with the tense twanging of Bars of Gold’s harder sound moulds in harmoniously and produces just the right witches’ brew you would want from a band like this. Of all, it’s the clear standout track on the album as it creates a real physical excitement as the tempo slowly gathers momentum in the depths of your eardrums.

I find that the weaker tracks lay among those that are slower paced, as instead of smouldering in a complimentary fashion to their more upbeat counterparts, they wane. They sound misplaced and seem to drag on for far too long, like an unwanted interval in a glorious rock riot. In terms of hit and miss, they unfortunately miss.

The sheer strength of Of Gold is found most obviously in “Birds,” “Up Up Up” and “Doctors & Lawyers”. The latter has the most amazing Rapture-esque feel to it that shoves you right down into a dirty, sweaty, overcrowded club in someplace like deep dark Detroit, leaving you thrashing in the energized ecstacy the song brings you from the opening chords to the concluding ones. It’s interspersed with calmer moments, moments for catching your breath in the mosh pit, making it a perfect dance track.

Wrapping it up, Of Gold is an awesome effort. Sheer, pure, raw to the very best of it’s ability but it’s got a couple of blind spots in the slower tracks which is only natural for a band of this nature. They’re best in high octane mode, right off the cannon and ready to explode. I would love to see how Bars of Gold handle some slower-burning tracks with a little bit of read and review. What would be the best thing they could do there is keep it as short and to the point as possible, since they’re such an on-the-button band the majority of the time. Keeping it snarling and snappy is key, and they’ve proved they are more than capable. On to platinum futures!

Beetlejuice! Beetlejuice! Beetlejuice! // Campaign

-sweetavalanche — Thu, 22 Sep 2011 13:12:29 -0700

Beetlejuice! Beetlejuice! Beetlejuice!, the most recent EP from Atlanta’s Campaign simply conveys what I like to call, ‘the lot’. The five piece reach out and sample the best elements of several genres and thoughtfully place them together for a fun, passion-filled EP that finishes all too soon.

Opener “Old Haunts” gives us an excellent taste of Campaign’s ultimate melodic punk/hardcore based combination. Vocally we’re given a scoop of raspy tones to accompany the sound that Campaign master so well. An inclusive shot of gang vocals and some woah-ohs along with a stint of cheery hand claps add a little pop-punk to the mix. Not joining in with the claps is near impossible and fighting the urge to shout, ‘Old records / cheap wine!’ proves difficult.

“Old Thrills” is rawer, louder and more fast paced, really complimenting the vocal side of Campaign. In just under 2 minutes the fist pumping, foot stomping steady drum beat is well cemented in the mind.

This heavier song is book ended by second upbeat song on the EP, “Old Blues”. Its chorus is able to get a bit of grooving going on, especially with the return of some woah-ohs and claps in its chorus which can be dubbed as the crucial seasoning for a catchy upbeat Campaign tune. The duel in your face vocals in this track, as well as in EP closer “Old Mess” can be likened to those of Alexisonfire and the general melodic hardcore/punk sound to current leader of the genre, Make Do and Mend, as well as the influential Hot Water Music, who undoubtedly had a great impact on Campaign.

“Old Mess” is perhaps the most unique track on the EP and a wise closer to four tracks which convey a bunch of guys purely enjoying what they’re creating. Campaign appear to be making the music they love and want to listen to themselves, and after listening to this, there’s a good chance you’ll love it too. Pick up a copy for free here.

Don't Want To Build Coffins No More

otisthefish — Mon, 19 Sep 2011 21:17:00 -0700

Many times have I purchased an album on the strength of a single song I heard on the radio, only to find that it was the only song I liked on the collection; as if the artist had said, “Let’s try something different with this one,” struck gold, but then did not follow the vein. This time, as a listener, I decided to do something different. Rather than buying the album, I went to see The Mumlers at the Echo, who I had only liked because of the song “Coffin Factory”.

Spoiler alert: I was not disappointed. “Coffin Factory” is still probably my favorite song and now I know it also serves as a fair representative of their overall sound, which is some mystical blend of The Shins and Screamin’ Jay Hawkins. Not so much the “screaming” part as the darkness that his music presents.

I had initially scoffed at the idea, asserted by frontman Will Sprott, that he tries not to repeat himself musically. During the performance each song flowed together so smoothly, it could have been one song (barring the obligatory stage banter). But now that I’ve had a chance to dig into their repertoire — many full songs are available to stream at themumlers.com — each song shimmers with its own individuality and uniqueness. The band is lucky to have two Jacks-of-all-trades in their line up. John played the saxophone, Felix played a Euphonium, and they both traded off between lead guitar, tambourine, and a set of vibrophones. Felix went so far as to play his euphonium and tambourine at the same time

Like

A

Pimp.

And he was a pimp in Los Angeles, at the Echo, which is a pretty swanky little place. The backdrop of the stage is a series of fluorescent looking white panels, upon which colored lights are projected. And of course (I always laugh when I see this, though it is incredibly common) there are a pair of disco balls hanging from the ceiling, spinning at varying speeds. Looking up from the stage at the little fractals of light moving around the walls made me feel as if I was in some dark fifties ballroom dream. It all seems to speak of zombies…

The video for “Coffin Factory” portrays Will Sprott with long hair obscuring his face. While standing in the audience, watching band members set up, I was waiting to see when he would come out when I spotted a thin, scruffy looking fellow in a trucker hat — a cleaned up Rob Zombie, if you will — tossing cables around and giving directions, but this turned out to be their moonlighting bass player, Ed Masuga. He has a solo project, a nice collection of contemporary blues/folk songs somewhat reminiscent of The Devil Makes Three, if they wrote prettier music.

I am a fan.

Will Sprott is now sporting a short, school-boyish haircut which rather matches his personality. The thing about many of the acts I see these days is that I haven’t really got any idea how big their following is, or how the size of their following affects their collective egos. That being said, all of the people I spoke to in the Mumlers were more than pleasant and incredibly humble in regards to their abundant talent. They were touring alongside Two Gallants and opened for them (if you don’t count the local acts), but I would not be surprised to see them headlining their own tour soon. Actually, I think they would provide a nice contrast to a more virulent band, like Man Man, or Streetlight Manifesto.

In other words, I will be purchasing an album soon.

Photo: Mario Guel

What is the stay positive foundation interview? A lot of people are keen to read. Thanks

idontneedtime — Tue, 30 Aug 2011 18:47:00 -0700

I bet! We love Stay Positive! The interview will be published in our next issue which we have been hitting some snags on publishing. We will update you guys about the next issue when we know more.

If we can’t get the issue out somewhat soon we will just have to publish everything on our site, so just stay tuned :)