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.

9:55pm, October 9th. In the Oxford O2 Academy, the atmosphere is electric, as excited fans surge towards the stage. It’s almost time for the headlining act of the Eastpak Antidote Tour, which is travelling across the UK this month featuring Ghost of a Thousand, Four Year Strong, Anti-Flag and, the real reason I’m there: Alexisonfire. After the fast paced, politically charged set of Pennsylvanian punk-rockers Anti-Flag, (which included helping audience members on-stage to sing and dance, bringing the drummer, Pat Theic and his kit down into the pit, and a circle pit which consumed most of the floor) everyone is definitely in the mood. Chants of ‘Alexis! Alexis! Alexis!’ echo around the venue, which, with a capacity of just over 1000, is packed from wall to wall. The stage becomes dark, and the crowd is turbulent as pink and green lights start to flash and music begins to play, marking the imminence of the band’s entrance.

This is the fourth time I am seeing Alexisonfire; the first being almost three years ago, and the latest at the end of August where they played on the main stage at Reading, an 80,000 capacity festival. Though their popularity has climaxed, they continue to play smaller shows, also performing at Reading on a much smaller stage. As a fan, I feel this is incredibly important- the band respect their roots and their fans- playing for them rather than for themselves. Over the last few years their sound has been perfected; George Pettit’s wrenching screams are refined and precise, and Dallas Green’s voice is melodic and fine-tuned. Together they create a beautiful contrast, a cocktail of rough and smooth, light and dark. Alexisonfire have created a unique sound, the balancing of their vocals means their music appeals to more than just post-hardcore fans. Their latest album, ‘Old Crows/Young Cardinals’ is proof of that, peaking at number 2 on the Canadian charts.

Tonight, they step up to the stage and launch into ‘Heading For The Sun’ with confidence and energy. I am pressed against the barrier to the left of the stage, with Green the nearest to me, followed by Pettit and guitarist/back up vocalist Wade McNeil. Bassist Chris Steele doesn’t seem to be able to stay in one place for more than ten seconds, bouncing around the entire stage constantly in a state of wide eyed, frenzied excitement (which, Pettit later jokes is due to him walking past a window earlier and seeing five topless women!). Playing not only songs from ‘Young Cardinals,’ the band stay faithful to old fans by playing material from 2006’s ‘Crisis’ and 2004’s ‘Watch Out!’. Songs from ‘Crisis’ in particular are the high points of the night; they are met with great enthusiasm, prompting roaring sing-alongs.

The band’s energy does not diminish as the minutes wear on, it builds. The heavy bass and layers of intricate guitar, the pounding drums and the angst ridden vocals blast from the speakers, so loud I can feel the sound inside of me, causing my body [...]]]>

9:55pm, October 9th. In the Oxford O2 Academy, the atmosphere is electric, as excited fans surge towards the stage. It’s almost time for the headlining act of the Eastpak Antidote Tour, which is travelling across the UK this month featuring Ghost of a Thousand, Four Year Strong, Anti-Flag and, the real reason I’m there: Alexisonfire. After the fast paced, politically charged set of Pennsylvanian punk-rockers Anti-Flag, (which included helping audience members on-stage to sing and dance, bringing the drummer, Pat Theic and his kit down into the pit, and a circle pit which consumed most of the floor) everyone is definitely in the mood. Chants of ‘Alexis! Alexis! Alexis!’ echo around the venue, which, with a capacity of just over 1000, is packed from wall to wall. The stage becomes dark, and the crowd is turbulent as pink and green lights start to flash and music begins to play, marking the imminence of the band’s entrance.

This is the fourth time I am seeing Alexisonfire; the first being almost three years ago, and the latest at the end of August where they played on the main stage at Reading, an 80,000 capacity festival. Though their popularity has climaxed, they continue to play smaller shows, also performing at Reading on a much smaller stage. As a fan, I feel this is incredibly important- the band respect their roots and their fans- playing for them rather than for themselves. Over the last few years their sound has been perfected; George Pettit’s wrenching screams are refined and precise, and Dallas Green’s voice is melodic and fine-tuned. Together they create a beautiful contrast, a cocktail of rough and smooth, light and dark. Alexisonfire have created a unique sound, the balancing of their vocals means their music appeals to more than just post-hardcore fans. Their latest album, ‘Old Crows/Young Cardinals’ is proof of that, peaking at number 2 on the Canadian charts.

Tonight, they step up to the stage and launch into ‘Heading For The Sun’ with confidence and energy. I am pressed against the barrier to the left of the stage, with Green the nearest to me, followed by Pettit and guitarist/back up vocalist Wade McNeil. Bassist Chris Steele doesn’t seem to be able to stay in one place for more than ten seconds, bouncing around the entire stage constantly in a state of wide eyed, frenzied excitement (which, Pettit later jokes is due to him walking past a window earlier and seeing five topless women!). Playing not only songs from ‘Young Cardinals,’ the band stay faithful to old fans by playing material from 2006’s ‘Crisis’ and 2004’s ‘Watch Out!’. Songs from ‘Crisis’ in particular are the high points of the night; they are met with great enthusiasm, prompting roaring sing-alongs.

The band’s energy does not diminish as the minutes wear on, it builds. The heavy bass and layers of intricate guitar, the pounding drums and the angst ridden vocals blast from the speakers, so loud I can feel the sound inside of me, causing my body to vibrate. The music penetrates the audience, it becomes a sensation- and as the band plays the anthemic ‘We Are the Sound’ I feel like I can interpret the lyrics now- ‘We are the sound/ We have no voice/ We are the sound/ We don’t belong/ So raise up your hands/ And sing along.’ Green has apparently said that this song is a rally call to the youth of today, those who feel they are voiceless and place-less in society. As we raise our hands to the ceiling, the audience becomes one with the band and the music, our individual voices bond together and in these moments, we are the sound.

‘Happiness by the Kilowatt’ (from ‘Watch out!’) is their final song of the night, and the audience goes so wild with cheering the sound is deafening. Pettit performs his infamous ‘bending the microphone stand around neck’ trick, and Steele continues to go rather hilariously crazy. The band has a dynamic that clearly works brilliantly; they interact with each other and the audience, throwing their all into the performances and putting on a show which is nothing short of amazing.

It feels like there are miniature car alarms inside of my ears, but you know what? It was so far beyond worth it.