Lorien is a relatively new rock band that formed in Nashville. Their debut record Esque hit stores back in February and for me it’s been the surprise hit of the year. I had never heard of Lorien until one night this summer when I flipped on the local college station (which I can rarely bring myself to do anymore) and heard today’s song. I was immediately hooked by back and forth male and female vocals courtesy of Kaleb Jones and Cara Pollack. When I got home, I checked out their Myspace and liked what I heard and made an impulse buy of the album. Easily the best money I’ve blindly spent on music this year. Esque is a great album through and through. From the dance rock of “Sowing Bad Seeds” to the melodramatic, piano heavy “Do the Regret,” Lorien deliver on every level. While the record is mostly guitar driven there are plenty of keyboard and string flourishes to keep the mix interesting. There are many gems on Esque and I think Lorien is a band that you should start liking now, because they could get huge soon.
Thrice have come a long way in their 10 years together. What started out as a hardcore band playing heavy songs at breakneck speed with plenty of double kick drum has morphed into a band that borrows from all subgenres of rock to create something really unique. Frontman Dustin Kensrue has grown increasingly confident in his vocal ability with each release, trading the screaming delivery of albums past for a more rootsy, gravelly vocal style when needed. That’s not to say he can’t still growl with the best of them. That was evident on the Fire disc of Thrice’s four part Alchemy Index project released in 2007 and 2008. The scope of that project was so broad that Thrice felt the need to become more focused for their next release. So they opted to self produce their new record and record it in their practice space turned studio with guitarist Teppei Teranishi behind the boards. The result is the 10 song Beggars, an album that showcases all of the things Thrice have learned to do well together. While touching on a lot of areas explored in the softer moments of The Alchemy Index, Beggars is still a very heavy record. The guitars hit with a distinct crunch and the overall sound is more organic and raw and less polished. The album was originally set for an October release but was pushed up due to an unforeseen leak of the record. It was released digitally in early August and the physical version will be in stores tomorrow. The CD version will include b-sides and remixes as well as a cover of The Beatles’ “Helter Skelter” that I am very curious to hear. I honestly expected Thrice to wait a bit longer after The Alchemy Index to make another record but they’ve proved that they didn’t need an extra time to create something great. I haven’t fully been able to soak this one up as much as I would’ve liked. However, if I had to pick a standout track it would today’s song. “Doublespeak” features an interesting piano lines as well as one of the best hooks on the record. I recommend checking out Beggars and definitely get the CD version for all of the bonus material.
Derek Webb has never been a stranger to controversy. The former member of Christian folk group Caedmon’s Call incited the ire of some Christian book stores in 2003 and they even refused to carry his solo debut She Must and Shall Go Free because one song contained the word “whore.” Nevermind that they sold Bibles that contained the same word, but I digress. Webb continued to be honest however, always saying the things that most were afraid to. He tackled legalism and materialism on 2005’s Mockingbird and his 2007 album The Ringing Bell made a bit of a political statement with “A Savior On Capitol Hill.” So it wasn’t entirely unheard of this spring when Webb informed his fans via his twitter and website that he was having issues with his record label about the release of his latest album Stockholm Syndrome. The information that Webb offered up was cryptic and fans were left wondering what it was all about. Slowly, fans began deciphering the codes embedded in the messages and found their way to secret websites with mp3s and even more cryptic videos with Morse code. There was even an elaborate nationwide scavenger hunt. I won’t go into all the details, but it was quite entertaining. Webb had taken it to the next level and the buzz about Stockholm Syndrome was growing. But being the skeptic that I am, I wondered if there was actually ever any “trouble with the label” or if this was all just some clever marketing ploy. Well it turns out that the label did in fact have a problem with the record. More specifically a single track entitled “What Matters More” which actually contains profanity while dealing with the difficult subject of how the Church at large treats the gay community. It’s a tough subject and one that definitely needs addressing. It could be debated ad nauseum whether or not it was necessary for Webb to curse to get his point across, so we won’t even get into that. In the end, the label and Webb made a compromise. Webb would be allowed to sell the original version of the record containing “What Matters More” on his website, but all commercial versions released to retailers would not contain the track. The album was released digitally in July and just saw a physical release earlier this month. The record itself is the most unique of Webb’s career. With the help of Caedmon’s bandmate and programming mastermind Josh Moore, Webb delves into the electronic side of his music. A side that was only briefly introduced on his One/Zero Remix album. There are samples and drum loops galore along with some really funky bass lines. One thing you won’t find much of is Webb’s signature acoustic guitar. It only shows up a couple of times and even when it does, it’s not in the forefront. The album is solid lyrically and lot of the songs have a depth to them that takes a few listens to get the full picture. Today’s song is where the album gets its title from and is a great tune about how we end up loving and pledging allegiance to things that hold us captive. You also can’t help but want to dance a little at the end. Luckily, you don’t have to take my word for it. The whole album is streaming right now at derekwebb.com. So check it out and see for yourself. That’s also the only place to purchase the full un-edited version of the record.
Mute Math have been wowing audiences with their brand of electro rock for quite a few years now. The New Orleans foursome put on a fierce live show and gained a wider audience a couple years ago when their single “Typical” became a hit, largely due to the incredible video. Fans have been anxiously waiting for nearly 3 years for a new record from Mute Math and in August that finally became a reality. Armistice is the result of endless tweaking and retweaking by the band to get everything just like they wanted. In fact the word is that they actually scrapped an entire album’s worth of material and restarted from scratch. Interestingly, the result isn’t too much of a far cry from their self titled debut, albeit the band sounds much tighter and more comfortable in their own skin this time around. There’s a good mix of high energy songs like opener “The Nerve” and more introspective tunes like “Pins and Needles” and “Lost Year.” There are also a lot more keys this time around. They’re never overbearing though, rather they are interwoven in the songs and tie them together. A standout track would have to be “Electrify,” a high energy love song with rapid fire vocal delivery from front man Paul Meany and a chorus that sticks with you. Today’s song is the title track and it features some outstanding percussion from drummer Darren King and some nice horns courtesy of New Orleans’ own Rebirth Brass Band. It also probably has the best hook on the record. Armistice is an excellent sophomore album from one the most original bands out there today. Even if you weren’t into them before, you should take a chance on this. And if you get the chance to see them live, don’t miss it.
Taking Back Sunday have been a favorite of mine for seven years since they broke onto the scene with Tell All Your Friends, an album that would become the blueprint for tons of emo wannnabe bands. Despite all the attempts by plenty of dudes with sideways haircuts, no one ever quite captured that same sound. Even TBS themselves weren’t content to stay in the same place and they continued to evolve with 2004’s Where You Want to Be and moved a little more into the mainstream with 2006’s Louder Now. In that time, Taking Back Sunday has been through 3 guitarists and as a result their sound has somewhat changed. Their newest record New Again lives up to its name by sounding like a band that is refreshed and looking forward and not backward. The energy is kept high throughout the record especially on the title track and first single “Sink Into Me.” New guitarist Matt Fazzi lends some secondary vocals like TBS’s previous guitarists were known to do, but he’s not nearly as prominent, meaning front man Adam Lazarra’s signature wail carries most of the weight. Lyrically, Lazarra is probably more straightforward than he’s been in the past, touching on things like drug abuse, his failed engagement and the band’s split with former guitarist Fred Maschinero. For the most part, the hooks are still there and the album only stumbles in a few places, such as the mostly forgettable ballad “Where My Mouth Is.” Today’s song is fitting for Labor Day, as it’s about the end of the summer and all the feelings that go along with that. On the whole, New Again may not be as great as the Taking Back Sunday of old, but it’s still a very solid record with plenty to like.
mewithoutYou have always been a pretty polarizing band. From first the first listen of their 2002 debut [A-->B] Life, it’s clear that they march to a slightly different drummer. The most distinctive thing about mewithoutYou early on was front man Aaron Weiss’ vocal approach of half speaking/half yelling his lyrics. Imagine intense spoken word poetry set to heavy guitars. The band progressed this sound on their sophomore effort Catch for Us the Foxes, becoming a little more accessible with the addition of memorable melodies here and there. Even so, mewithoutYou were still in a league of their own. No band was or is currently doing anything like that. Their 2006 record Brother, Sister was more along the lines of Foxes, but furthered their experimentation with the addition of a few instruments. Weiss even saw fit to actually sing on a few tracks and it wasn’t half bad. It furthered solidified them as one of the most original bands in the scene. Many were anticipating the release of mewithoutYou’s fourth full length, wondering whether it would be a maturation of the sound they had come to love or if it would be a reinvention of sorts. The band fueled more speculation by choosing to work with producer Dan Smith, best known for his work with neo-folk favorites Danielson and Sufjan Stevens. The result is the verbosely titled It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright. The title as well as many lyrical themes come from the teachings of former Philadelphia based Sufi mystic Bawa Muhaiyaddeen which is interesting considering the fact that mewithoutYou had always embraced heavily Christian themes on their previous records. Lyrically, the record is still quite spiritual and has Christian themes throughout, however it seems much more vaguely defined and more about love and God’s creation in general instead of Christianity per se. Musically, mewithoutYou step out on many limbs to which they have previously not ventured. Gone is the notion of two guitars, bass and drums making up an entire song and instead the band has expanded their sound with all sorts of horns as well as wind and stringed instruments. This record is without a doubt a total departure from the mewithoutYou of the past. Weiss’ signature vocal style is all but gone and replaced with a more timid singing style, save for “Bullet To Binary (Pt. Two)” which is a lyrical call back to “Bullet To Binary” from [A-->B] Life. Personally this record has been difficult for me to get into. I have always been a fan of bands reinventing themselves and not making the same record twice, but I feel like mewithoutYou took the concept a little far with It’s All Crazy!.... The album is still quite good but it lacks the originality of their previous efforts in that it sounds like what a lot of indie bands are doing these days as opposed to the fresh sound that mewithoutYou had created all on their own. That being said, the record is not without bright spots. Today’s song is the lead off track and is less of a departure than some, except maybe for the keyboards. Weiss even rattles off some Arabic as he did on a few tracks from Brother, Sister. mewithoutYou are still a great band, but I just think this record will be one that will divide some long time fans.
Paper Route are innovative electro-pop band from Nashville that quickly became one of my favorite new artists last year. Their EP Are We All Forgotten was in constant rotation for me for the latter half of 2008. I was eagerly awaiting the day they would finally release their first full length record. At the end of April the wait was over and Paper Route delivered in a big way with Absence, a diverse collection of 12 songs that find the young band at their strongest. The vocal combination of keyboardist/percussionist J.T. Daly and guitarist Andy Smith is seamless and works incredibly well with the music. Lyrically, Absence focuses heavily on failed relationships and can at times be overwrought with emotion, but I think that at least makes Paper Route honest. There’s also a distinct spiritual element to some songs such as “Are We All Forgotten” and the epic closer “Dance On Our Graves,” in which Daly sings “Will I know it when I see it? Will I know it when you’re here?” and is then accompanied by a beautiful string and drum breakdown which is the perfect close to the record. Musically, the album ranges from piano heavy tracks like the opener “Enemy Among Us” to the more hip hop-esque “Gutter.” There’s truly something for everyone here. In my opinion, Paper Route are at their best when combining all of these elements, such as on the heavier lead single “Carousel” which also features a good deal of electronics and is high energy with a catchy piano line throughout. Today’s song was one that stood out the first time I heard it when I saw the band live about a month before Absence released. I recognized it immediately after hearing it on the record and found myself singing along before the end. “Wish” is a great example of everything Paper Route does well, from the excellent dual vocals to the meshing of guitar rock and electronics, it’s just a fantastic song.
Jon Foreman is a name you probably recognize by now. He’s made his name in the last 15 years as the front man of San Diego Christian rockers Switchfoot. I’ve been a Switchfoot fan for years, but I was a little late to the party when it came to getting in on Foreman’s recent solo ventures. Beginning in the Fall of 2007, Foreman ambitiously released four EPs, one for each of the four seasons and titled them Fall, Winter, Spring and Summer. The music and lyrics of each of the EPs somewhat mirror the mood of the season of the disc on which they’re included. Each of the EPs find Foreman far more stripped down than anything he’s done in the past with Switchfoot. The songs rely heavily on the acoustic guitar but also include all manner of stringed instruments and even a few keys and horns here and there. All four EPs are worth checking out but Foreman simplified things a bit for the casual fan and released Limbs and Branches, comprising choice cuts from each of the EPs as well as two new songs. Today’s song is one of my favorites of the whole collection and is basically a paraphrase of the Lord’s Prayer. It’s a simple reminder that no matter how out of control we may feel about our lives, God’s love is strong and that is enough.
Superdrag are a band that are considered by some be one of the original purveyors of power pop, an extra catchy brand of rock and roll. The band saw some success in this genre with their 1996 debut Regretfully Yours. I’m actually a tad embarrassed to say that I was ignorant of Superdrag’s existence until just a few years ago when I came across today’s song on an online list of favorite 90s songs. I was somewhat familiar with front man John Davis, having played a track from his 2005 self titled solo debut on college radio, but I was unaware of his roots. I checked out this song and blown away by it’s catchiness and wondered how I had missed it before. I especially love the line “look at me, I can write a melody, but I can’t expect a soul to care.” The band released a few more records before going on hiatus in 2003. They recently reunited to release Industry Giants on their own label earlier this year. I haven’t checked out any of that, but I find myself going back to this song every now and then when I need about three minutes of fun.
fun. is the new project of former Format singer Nate Ruess. The Format were one of my favorites in their time, but sadly called it quits after just two amazing records. I was excited to hear that Ruess was again working on music, this time with the help of Steel Train guitarist Jack Antonoff and former Anathallo multi-instrumentalist Andrew Dost. The band just finished up their debut full length entitled Aim and Ignite and it’s due for an August release. They are currently on tour supporting Manchester Orchestra and I had the good fortune of getting to see them last week. fun. put on an amazing high energy show with excellent musicianship and harmonies galore and it certainly whet my appetite for the new record. They even threw in a few Format songs just for good measure and they were amazing. Today’s song was excellent live, as Ruess taught the crowd the incredibly catchy chorus before they began and everyone was singing along by the song’s end. The band put this song up for free download a few months back and have since taken it down but it can be streamed on their myspace page. I usually don’t post songs from records that aren’t already out but I wanted to give you the jump on this one so you can be ready for Aim and Ignite when it comes out in a couple months. Trust me, you’re gonna want a copy after you hear this.
The Decemberists are an excellent indie rock band from Portland, OR and one of few indie bands in recent years who have managed to make the jump to a major label without compromising their sound. In 2006 they released The Crane Wife, an album full of story songs that musically ran the gamut from folk to prog rock and lyrically encompassed everything from a Civil War era love song to the Japanese folk tale on which the three part title track was based. The literary lyrical leanings of front man Colin Meloy have taken even further flight with The Decemberists’ recently released The Hazards of Love which can best be described prog rock musical theater. Throughout 17 tracks including preludes, interludes and reprises, Meloy weaves the story of doomed lovers William and Margaret and the evil Rake and the Queen that try to foil them. You make think this all sounds like pretty heady stuff and you’d be right, but the Decemberists have a way of making it all work. The band turned up the distortion a great deal on this record with songs like “A Bower Scene” as well as today’s tune, but that’s not to say they’ve forgetten their folksy side. There is a seamless transition between nearly every track, giving the listener the sense of one giant song. Several riffs and melodies are repeated throughout the record in different songs giving it a pretty consistent theme. Since the songs work so well together, some of them just seem odd outside of their original context, which could hinder the accessibility factor of The Hazards of Love, but long time Decemberists fans won’t be disappointed. Though this record can be a tad eccentric in places, it’s filled with solid songwriting throughout and that is evident in today’s song. The excellent portrayal of The Queen comes from Shara Worden of the band My Brightest Diamond. Her voice plays well against Meloy’s and coupled with an outstanding guitar riff, it gives the song a great classic rock feel. I can’t say that everyone would like this album, but if it’s approached with an open mind, there are some really great songs to be found here.
The Decemberists - "The Wanting Comes In Waves/Repaid"
Jars of Clay have consistently put out excellent music ever since their self titled debut came out nearly 15 years ago. “Flood” was of course their big hit and one of the first times a “contemporary Christian” band crossed over to the pop charts. Many casual fans may have written them off as a one hit wonder after that, but they’ve continued to release quality albums again and again. One thing that I’ve always loved about this band is their ability to change their sound completely from album to album and yet still sound like themselves. On 2002’s The Eleventh Hour, they delved into a more straightforward rock sound than they had before and then turned the tables one year later, releasing the heavily acoustic Who We Are Instead. Each was great in its own right, marked by front man Dan Haseltine’s unique voice and lyrical deftness. The band made a huge stride forward in 2006 with Good Monsters, an album that found them more guitar heavy than ever with songs like “Work” and “Dead Man (Carry Me).” That album was excellent and when looked at in retrospect, one can see that it laid the groundwork for what would be The Long Fall Back To Earth, the latest album from Jars of Clay. The band are at the top of their game here on their poppiest record to date. There is a thread of 80s influence that runs throughout The Long Fall, from Charlie Lowell’s keyboards to the chorus and delay effects on the guitars from Steve Mason and Matt Odmark. Lyrically, the songs deal more with relationships than on previous Jars efforts where the focus is usually in relation to God. That’s not to say that Jars are heading away from their Christian roots. After all, God did create human relationships too and they are worthy subject matter. “Closer” is a great love song that really wouldn’t be out of place on pop radio right now. Other highlights include “Boys (Lesson One)”, a song from a father to a son and “There Might Be a Light,” a plea to an unrequited love interest. Today’s song is a standout for me because of its great lyrics and catchy melodies. It’s a little slow to start, but the payoff is worth the wait. The beauty of The Long Fall Back To Earth is that long time Jars of Clay fans will not be disappointed, but even if you haven’t liked them much in the past, there is enough difference in the sound of this record to make it worth a shot. Check it out and see for yourself.
I created this blog to introduce you to new music. I'm not going to make any more promises about how often you'll see posts here. Take what you can get. Some of the artists may be familiar to you, others may not. I encourage you explore each artist further. Click on the artist's name to get more information about them. Click on the album art for purchase information. Click on the play button to listen for yourself. Enjoy.
Lorien is a relatively new rock band that formed in Nashville. Their debut record Esque hit stores back in February and for me it’s been the surprise hit of the year. I had never heard of Lorien until one night this summer when I flipped on the local college station (which I can rarely bring myself to do anymore) and heard today’s song. I was immediately hooked by back and forth male and female vocals courtesy of Kaleb Jones and Cara Pollack. When I got home, I checked out their Myspace and liked what I heard and made an impulse buy of the album. Easily the best money I’ve blindly spent on music this year. Esque is a great album through and through. From the dance rock of “Sowing Bad Seeds” to the melodramatic, piano heavy “Do the Regret,” Lorien deliver on every level. While the record is mostly guitar driven there are plenty of keyboard and string flourishes to keep the mix interesting. There are many gems on Esque and I think Lorien is a band that you should start liking now, because they could get huge soon.
