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.
The Gaslight Anthem are a rock band from New Brunswick, NJ. It would be hard for any classic rock fan to listen to them and not hear a lot of influence from their fellow New Jersey native Bruce Springsteen. That’s not to say they’re trying to emulate The Boss, but it’s safe to say he’s probably a staple in their record collections. What I’m about to say may not make any sense but try to follow me when I say that The Gaslight Anthem bring to mind blue collar rock and roll. Front man Brian Fallon has a gravel and earnestness in his voice that makes me think he just got off his shift at the factory and now he’s playing his songs in a dive bar because it’s what he truly loves. The '59 Sound has a definite older sound to it but it’s hard to place it in any one decade or era. There is definitely some 50s and 60s influence as the title would indicate, but that’s not entirely it. Any fans of the Killers will also see a resemblance of Fallon’s vocals to those of Brandon Flowers. The album is full of gems throughout but today’s song is one of my favorites.
There are few bands that I absolutely geek out for. There are some that I feel the need to own every last EP, import single, and compilation track to truly have everything that band has ever done. Even though they are a relatively young band with only two full length records under their belt, Manchester Orchestra has become and will forever be one of those bands for me. I first became acquainted with them nearly two years ago after witnessing them play “Wolves at Night” on Letterman . (There is actually good music on TV sometimes.) Shortly thereafter I fell in love with their debut I’m Like a Virgin Losing a Child. There was rarely a week for the next year that I didn’t listen to it in its entirety. Last fall when they posted the “I Can Feel a Hot One” from their Let My Pride Be What’s Left Behind EP, I probably listened to it 10 times a day. I may be coming off a little obsessive, but there’s just something about this band that grabbed from moment one and I haven’t been able stop listening. Needless to say, their sophomore album Mean Everything To Nothing was at the top of my most anticipated list. When April 21 finally rolled around I was ready to be blown away and Manchester Orchestra did not disappoint me. Right out of the gate, “The Only One” brings more raw energy and distortion than any of their previous work and you know you’re in for a ride. As lead singer/guitarist/lyricist Andy Hull proclaims “I am the only one that thinks I’m going crazy and I don’t know what to do,” you can’t help but believe him. This record is undeniably epic and that is quite evident in the dynamic shift in the last two minutes of “Shake It Out.” The first single “I’ve Got Friends” is excellently punctuated by a memorable piano line courtesy of Chris Freeman and one of the strongest songs lyrically, with lines like “The dirtier the sound the best I breathe, I tried to do it all for you it didn’t do anything for me.” In a scene that has so long been lyrically hung up on the dissolution of relationships and the same old “boy pining for girl” whining, Andy Hull is putting everyone to shame with honest lyrics about friendships, pride, abuse, wrestling with God and everything in between. Today’s song is the perfect album closer and does a great job of summing up everything you just experienced beforehand. “The River” is Hull’s desperate plea of repentance as he sings “Oh God I need it, I was wrong again. Take me to the river and make me clean again.” The last verse is a paraphrase of old hymn “Come Thou Fount” where Hull speaks of being prone to wander as he sings “I’m gonna leave you the first chance I get.” That’s the kind of lyrical honesty that isn’t often found even in “Christian” music. Musically, Mean Everything To Nothing is very much a rock record and should put to rest any claims that Manchster Orchestra were ever “emo.” They show influences of everyone from Nirvana (“In My Teeth”) to Pinkerton era Weezer (“My Friend Marcus.”) Still there are several songs that can only be seen as Manchester Orchestra tunes. They have truly solidified their sound on this album and in my opinion it should be considered among the best records of the decade and one that will define their career. I haven’t been able to stop listening. You need to start.
Val Emmich is a talented singer songwriter from New Jersey. I was first introduced to him in 2004 while working in college radio. I played “Privacy Attracts a Crowd” from his major label debut Slow Down Kid. Emmich recorded another album entitled Sunlight Searchparty in 2006 after splitting ways with Epic Records. His latest effort is entitled Little Daggers and it takes its name from a lyric in today’s song. I first heard “Get On With It” playing over the loudspeaker at a store in a mall this past December. It was immediately catchy and I was honestly singing along before the song ended. I remembered the lyrics and used good old Google to figure out that it was Emmich. Once I looked at the album cover for Little Daggers, something seemed familiar about him. I realized that he had guest starred on an episode of one of my favorite shows 30 Rock as Tina Fey’s much too young love interest. He’s also been on a few episodes of Ugly Betty. This is the only song I have heard from Little Daggers, but it is an excellent slice of pop rock with a great hook and clever lyrics.
It’s been six years since Mae released their debut album Destination: Beautiful on Tooth & Nail. I’ve been hooked on them ever since hearing “Summertime” all those years ago. Since that time Mae has released two other records. In my meaningless opinion, their sophomore release The Everglow will go down as one of the top ten albums of this decade. It’s nearly flawless in execution, with each song perfectly placed in sequence and balancing equal parts rock and pop. Mae had a slight misstep in 2007 with their third album and major label debut, Singularity. It was their first album for Capitol Records and the band went for more of a radio ready rock sound. It was by no means a bad album, but it fell short of the greatness that longtime Mae fans knew they were capable of. Shortly after the release of Singularity, the band parted ways with two of its founding members, bassist Mark Padgett and keyboardist Rob Sweitzer. In 2008, Mae split with Capitol and are now forging ahead as three piece with no label and a new direction. At the end of last year the band self released a DVD documenting the five year anniversary of the release of Destination: Beautiful along with a new recording of “Embers and Envelopes.” The band also announced an ambitious plan: to release one new song every month of 2009 and allow fans to pay what they want, with all proceeds going to charity. Since January 1st, the band has raised over $12,000 for Habitat for Humanity to benefit a family from their area of Virginia. The current project is just the beginning. The band plans to fund other endeavors as the year progresses. You can read all about their plans here. In addition to releasing the songs online one at time, Mae plans to release 3 EPs throughout the year. They will be titled (M)orning, (A)fternoon, and (E)vening, each containing four songs. It’s an ambitious and unique way to go about getting music directly to fans, without label interference. As for the music, I must say I’ve been impressed with the two songs Mae has released so far. The first song, “The House That Fire Built” harkens back to elements of the old Mae that were missing on Singularity. Lyrically the song is one of their most hopeful, all about starting over again and being better than before. “Boomerang” was their release for February and while it is guitar heavy, it’s also one of their more pop oriented tracks with great melodies and even a little saxophone in the breakdown, but not in a bad way at all. Both songs can be downloaded at whatismae.com. In the changing landscape of the music industry, Mae are making their own way and proving that a band that has worked hard to build a loyal fan base and continues to release quality music can make it without a label. They are kicking off their spring tour in April, so be sure to catch them if they come near you. You won’t be disappointed.
Audrye Sessions are a great new band from the Bay Area of California but upon first listen they could easily be mistaken for the next British buzz band. Front man Ryan Karazija’s voice sometimes recalls Matthew Bellamy of Muse or even Thom Yorke of Radiohead. Their debut self titled album is a collection of songs written over the first few years of the band’s existence, some which originally appeared on their self released CD Braille. The band’s sound is mostly guitar driven with some keys and pop elements showing through on songs like “Relentless” and “New Year’s Day.” They also know how to bring the rock on songs like “Julianna” and “The Paper Face.” As much new music as I come across, there are actually very few new bands that I listen to more than once and keep coming back to. Audrye Sessions are the most pleasant surprise so far of 2009. The band are gearing up to head out on tour with one of my other favorites, Manchester Orchestra, which should be an amazing show. Today’s song is the album’s lead off track and a pretty great example of what to expect from Audrye Sessions. For the stellar price of $5.99 on Amazon, there is no excuse to not own this album.
Mute Math are one of the more innovative and original rock bands playing these days. The four-piece from New Orleans has been wowing crowds with their unique brand of electronic pop rock since 2003 when they released their debut EP Reset. The band released their self titled full length debut in 2006 on their own label, Teleprompt Records. The band rose to prominence when the video for the second single “Typical” garnered airplay on MTV and Fuse and led to the band making the rounds on the late night talk shows. Their national popularity continued to grow as they brought their energetic live show to thousands at festivals such as Bonaroo and Lollapalooza as well as Warped Tour and their hometown Voodoo Music Festival. Mute Math has been working on their sophomore record for nearly two years now and have finally announced a tentative release of August this year. Today’s song is the title track from the recently released four track Spotlight EP. The song was originally featured on the soundtrack to the movie Twilight back in November. The EP is rounded out with a new b-side as well as an instrumental demo and a remix of “Spotlight.” The song is great and if it’s any indication of what Mute Math are cooking up for LP2, August can’t come soon enough.
Two Tongues is new super group of sorts comprising members of Say Anything and Saves the Day. It all started when Say Anything front man Max Bemis and Saves the Day singer Chris Conley teamed up for a cover of Bob Dylan’s “The Man in Me” for a tribute album. Out of that collaboration a friendship was born and subsequently the two decided to write and record an album together. The band is rounded out by Say Anything drummer Coby Linder and recently departed Saves the Day guitarist Dave Soloway on bass. On their self-titled debut, Two Tongues have crafted an album of exceptionally tight and catchy rock songs that draw from the strengths of both songwriters. Bemis and Conley trade off vocals on most tracks, taking turns at the forefront. The songs themselves are similar to those found on Say Anything’s debut …Is a Real Boy and are somewhat reminiscent of Saves the Day’s seminal 2001 album Stay What You Are. Both songwriters have a knack for being quite dark lyrically, sometimes even bordering on the disturbing. However, the lyrical content of Two Tongues never veers too far in that direction. The songs mainly deal with relationships and in some cases, such as on “Wowee Zowee,” the friendship between the two. One of the most interesting things to keep in mind when listening is that Bemis has stated several times that Saves the Day are his favorite band and a major influence on his own songwriting. I’m guessing it was a huge thrill for him to be able to write a record with Conley. My only complaint about the record is that it is quite concise. The 13 tracks clock in at just over half an hour, with fewer than half breaking the three minute mark. I suppose that’s alright considering that’s the type of songs the duo write, but it kind of makes it feel like it goes by too quickly. Today’s song is the album opener and one of the stronger tracks in my opinion, although there are no duds. Bemis and Conley continue to stay busy with their day jobs. Saves the Day plan to release Daybreak sometime in 2009 while Say Anything are prepping a self titled disc to also hit stores by the end of the year. I look forward to both of those records, but until then I will continue to enjoy Two Tongues and hope that this won’t be the last collaboration we hear from Bemis and Conley.
So it would appear that I am all talk when I say that I'm going to keep this blog going. I had planned on trying to do it every day in February but you see how well that worked out. I had been doing the third week of every month but that's just too spread out. So I've come up with a solution that I think I'll be able to stick to. I'll be posting new songs every Tuesday, Thursday, and Saturday. Hopefully I won't be too lazy to come up with 12 songs a month. At this point I pretty much have to do it to prove to myself that I'm not that lazy. So there you have it, new posts starting Tuesday. Stay tuned.
First Wave Hello were an alternative/electro rock band from San Diego. I first became aware of them in spring of 2007 when I saw them open for Ken Andrews. Opening bands are sometimes hit or miss but I had a feeling these guys would be good considering that they were also acting as the backing for Andrews on the entire tour. If he trusted them enough to do that, I figured they had to be at least decent. The band powered through about five original songs that blew away the small crowd that was more than receptive to their electronica laced brand of alternative rock. After the show I picked up a copy of their debut full length The Lord and Its Penguin, which was mixed by Andrews. Today’s song was the standout track for me both on the record and in the live setting. It mixes some excellent keyboard sounds and atmospherics with driving guitars and a melody that stays with you. The band released one more album called God Bless, Devil You in 2007 and are currently on indefinite hiatus according to their Myspace page.
Anberlin has been a favorite band of mine ever since their debut Blueprints for the Black Market in 2003. Since then they’ve release three other great full lengths, the latest of which being their major label debut New Surrender. There was a lot of speculation as to whether Anberlin would “sell out” and make a crappy radio rock record that didn’t stay true to the sound that got them where they are. Well all those fears can be put to rest after one listen to New Surrender. I won’t lie, there is something different about the production this time around as the band opted to go with Neal Avron instead Aaron Sprinkle behind the board. It’s not necessarily a bad thing, just different. The songs are just as catchy and rocking as ever with several guitar solos that immediately let you know you’re hearing Anberlin. I got to see them live the same week the record came out and I’m not exaggerating when I say it was one of the best shows I’ve ever seen. The band were in top form and energetic throughout the entire set that included old favorites as well as several new tracks. Front man Stephen Christian was genuinely grateful for the enthusiasm of the crowd as he gushed “This is amazing,” between nearly every song. Today’s song is one of the last on the album and is a great mid tempo song with some really inspirational lyrics. Anberlin are one of the hardest working bands in the scene and are truly nice guys who enjoy what they do. Seeing firsthand the joy they get out of it makes their albums all the more enjoyable for me.
Punch Brothers is the latest project of Nickel Creek vocalist/mandolin player Chris Thile. Thile has surrounded himself with an accomplished set of talented musicians they play music much in the same vein as that of Nickel Creek. The band has been together since the recording of Thile’s 2006 solo album How To Grow a Woman From the Ground. They later renamed themselves Punch Brothers and released their debut album Punch in February of 2008. The centerpiece of the record is a four movement suite entitled “The Blind Leaving the Blind,” Thile’s most ambitious work to date clocking in at over 40 minutes. I had the pleasure of seeing Punch Brothers live in concert this weekend and it was quite an enjoyable experience. The band had an amazing presence in the intimate setting with probably fewer than 500 attendees, all of whom were wowed by musicianship of the group. Punch Brothers put on a truly great show complete with onstage banter and anecdotal humor. The highlight of the night for me was their performance of today’s song. “I Know You Know” is a track I haven’t been able to stop listening to. The odd thing is that it was only included on the iTunes version of Punch as a bonus track. I would say it’s worth it to go ahead and get the iTunes version even if only for this song, not to mention the rest of the album is great as well. Punch Brothers are continuing to tour and are intending to record another album sometime in the near future. As long as Thile’s involved, I’ll be there.
Tegan and Sara Quin are a twin sister team that have been releasing records for ten years now. The Canadian duo’s first album Under Feet Like Ours came out in 1999 when they were only 19. They gained notoriety in the States following the release of their 2004 album So Jealous, which featured the popular single “Walking With a Ghost.” The song was later covered by the White Stripes for an EP of the same name. Tegan and Sara’s quirky indie rock style is defined by their largely acoustic based arrangements with both sisters trading off on vocals. Today’s song is the title track from their 2007 album The Con which they co-produced along with Death Cab for Cutie guitarist/producer extraordinaire Chris Walla. Tegan and Sara are currently working on an as yet untitled album expected to be released this fall.
The Academy Is... have been on my radar since their excellent 2005 debut Almost Here showcased their ability to write incredibly catchy pop rock songs. They changed direction somewhat in 2007 with their sophomore album Santi which employed a more straightforward rock sound but was still quite good. I was thrown off by their new sound at first but eventually grew to like it and I looked forward to hearing more from them in that vein. I was surprised last August to walk into the music store and see Fast Times at Barrington High sitting on the shelf. I wasn’t even aware they were coming out with a new record, but I of course purchased it nonetheless. The Academy Is… took it back to high school in more ways than one on this record. Gone are the retro guitar tones found on Santi. Fast Times is unapologetically poppy and feels much more like Almost Here. You would think that would be good, but there is just something too polished about this record. A lot of the songs sound similar and make The Academy Is… blend in with the nameless and faceless thousands of emo bands out there today. That being said, Fast Times isn’t a lost cause and it works well as windows down driving music to bob your head to. “His Girl Friday” is a pretty clever song with some interesting synth lines thrown in for good measure.
I’ve been a fan of Snow Patrol ever since hearing “Spitting Games” from their 2004 breakout album Final Straw. Since that time this band from the U.K. has seemed poised to take over the world on the strength of their ubiquitous hit “Chasing Cars” from their 2006 album Eyes Open. That album was huge commercial success, selling over 3 million copies worldwide. Pretty much every track on Eyes Open was phenomenal so Snow Patrol had a lot to live up to with the follow up album. They released their fifth studio album A Hundred Million Suns last October. I was a little unsure when I heard the first single “Take Back the City.” Don’t get me wrong, it’s a good song, but it just didn’t grab me the way Snow Patrol has in the past. It eventually grew on me and I was looking forward to the new record. It’s hard to place why, but A Hundred Million Suns has yet to make a huge impression on me. I mean the songs are good, but for the most part they’re just there. Several songs employ the same repetitive strumming pattern that worked so well on “Open Your Eyes” from Eyes Open, but here it just feels redundant. There are however some interesting tracks such as the epic three part closer “The Lightning Strike,” clocking in at over 16 minutes. Today’s song is the first on the record and is a great example of Snow Patrol on top of their game. A Hundred Million Suns is by no means a bad record, it’s just a mediocre one for a band that is capable of much more.
Matthew Sweet is an alternative rocker who has been perfecting his brand of power pop for about as long as I’ve been alive. Sweet started out in the early 80s in the same Athens, GA music scene that gave birth to R.E.M. and the B-52s. His big break came in 1991 with the release of his album Girlfriend, featuring the single of the same name that eventually reached #4 on the Billboard Modern Rock chart. A newer generation was exposed to Sweet as “Girlfriend” was featured as a playable track on Guitar Hero II. Today’s song comes from Sweet’s fifth studio album 100% Fun and was his biggest hit, topping out at #2 on the Modern Rock chart. I first became acquainted with Matthew Sweet while working in college radio. There is just an undeniable catchiness to this song and it got stuck in my head. From the guitar lick to the melody and the clever, self deprecating lyrics, it’s the blueprint for a power-pop hit. Matthew Sweet has continued to make records. He collaborated with Susanna Hoffs of the Bangles for a covers album entitled Under the Covers, Vol. 1 in 2006. Last year he released his tenth proper solo album, Sunshine Lies. I really haven’t kept up with his current music but “Sick of Myself” remains a standard for me when it comes to good clean fun.
Kings of Leon are a band I’ve featured before, so I’ll spare you the back story. The band of three brothers and one cousin didn’t waste any time after 2007’s Because of the Times, following up quickly in September of last year with their fourth full length Only By the Night. I had always liked Kings of Leon somewhat passively but after seeing them perform two songs from Only by the Night on Saturday Night Live, I started paying closer attention. The album’s first single “Sex on Fire” has done well at radio and it’s no wonder why. It’s one of their catchiest songs and Caleb Followill’s distinctive wail is at its best. The one that really caught my ear however was “Use Somebody” an anthem of sorts featuring echoing backup vocals that remind me a lot of M83 at times. “Revelry” is a slow burner and one of the more bluesy tracks they’ve done. Kings of Leon have come a long way since 2005’s Aha Shake Heartbreak and at times it might be hard to believe this is the same band. That is no way a bad thing however because I think they are just maturing as song writers and taking their fans along for the ride. This album is solid from start to finish. Kings of Leon still retain that Southern groove that they’ve always had but this is probably their least Southern sounding release. Today’s song is the album opener with some interesting guitar effects and pounding drums that give it an eerie feeling that fits well with the lyrics. With Only By the Night, Kings of Leon have cemented their place among the rock elite in today’s current scene.
Pilot Speed are a rock band hailing from Canada who seem to be constantly surrounded by change. The band released their first record Caught By the Window in 2003 under the name Pilate. I became aware of that record in the spring of 2006 while working in college radio. At the time, I didn’t realize the album was nearly three years old. When I think about it now, I suppose the label decided to promote Caught By the Window in the U.S. at that time because the band were preparing to release their sophomore album Self Control for Life’s Speed in April 2006 in Canada. In July of 2006, Pilate announced they would be changing their name to Pilot Speed due to legal issues. The band signed with Wind-Up Records in the U.S. and their sophomore album was re-released in the U.S. under the new name Into the West. The re-release featured re-recorded versions of two songs from Caught By the Window, one of which is today’s song. “Alright” was featured in last year’s Kevin Bacon vehicle Death Sentence, which I didn’t see but was told that this song is the only reason to watch the movie. I figured I’d just go ahead and save you the trouble and let you hear it here. “Alright” begins with a lightly strummed acoustic and some piano and develops into a wall of sound with an excellent crescendo. The vocals are at times reminiscent of Augustana and it musically resembles a lot of British rock. Pilot Speed are currently working on their third proper full length with should be out sometime this year.
Robbie Seay Band are one of the few Christian bands I actually listen to outside of a worship setting. That may sound bad but honestly, most modern worship music just isn’t my cup of tea. That’s not to say there’s no merit in it, I guess it’s just a matter of preference. That being said, Robbie Seay Band are a worship band, leading most Sundays at Ecclesia in Houston, where Robbie’s brother Chris is the pastor. I first became acquainted with Robbie Seay Band after the worship band at my church began playing “Song of Hope” from their 2007 album Give Yourself Away. My interest was piqued and I would find myself singing that song all the time. After hearing them play today’s song, I knew I needed to own this record. “Shine Your Light On Us” is an amazing song with a great melody and a truly great worship song. I was not disappointed with the rest of the album either with standout tracks such as the hard driving opener “Rise” and the hopeful “Love Wins.” In fact, the entire record is hopeful and while it is worship music, it distinguishes itself by not falling into the trap of a million repeated choruses and repetitive chord progressions. RSB are talented musicians and I will continue to look forward to what they have to offer in the future.
Fleet Foxes are the latest buzz band to release an album on Sub Pop Records, the trendsetting label based in Seattle. Fleet Foxes self titled debut was released last summer and the band’s popularity has continued to increase ever since, due in part to the success of their first single “White Winter Hymnal,” a brief piece of indie pop gold. Fleet Foxes sound like a mixture of their labelmates Iron & Wine and Band of Horses, as well a little My Morning Jacket. The entire record is very folk oriented and has a distinct older feel to it. It’s almost as if they got in time machine and recorded it in the 70s. Even the cover art looks old. I like Fleet Foxes but to be perfectly honest there is nothing really outstanding about this record. I know that they ended up on about a thousand critics top ten lists last year and the songs are great, but they have a way of blending together with very little distinguishing song to song. It is however a great album to put on when going for a drive. It’s quite relaxing. My first exposure to Fleet Foxes came when I saw them perform today’s song on Letterman. I didn’t catch the beginning of the performance and I was trying to figure out who it was the whole time. When the bridge kicked in about halfway through the song, I was hooked. I later found out it was them and then got lucky and found the album for $5.00 on Amazon.com. Definitely money well spent even if I’m not totally blown away by the record.
The Myriad are one of the more innovative bands on the Christian music scene these days. Now I know some people already just turned their brains off when I said “Christian music scene,” but please hear me out. They’re not the average Christian rock band what with having the most played video on MTV2 last May as well as having a song featured on Rock Band. The Myriad have a pretty epic sound that reminds me a lot of Muse and a little bit of Lovedrug. The band has been releasing EPs since 2002 and their debut full length You Can’t Trust a Ladder dropped in 2005. The Myriad signed with Koch Records and prepared to release the follow up, With Arrows, With Poise last May. The result is an excellent collection of rock songs that are at times ethereal and at others danceworthy. They had a minor hit on the Christian charts with “A Thousand Winters Melting” which is the most poppy and hopeful song on the record. Today’s tune is probably the heaviest and in my opinion the catchiest song on the record. Just try to keep yourself from singing along before it’s over. The Myriad are a promising young band and I see no reason why they couldn’t be huge in the future. Just jump on the bandwagon now so you can say you knew them when.
One new song everyday until I get tired of doing it again. 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.
