David Crowder Band - "We Won't Be Quiet" (2007)

I’ve stated before that a lot of what is considered “praise and worship” music these days just doesn’t do it for me. There’s seems to be a formula that’s followed to a “t” and many of the lyrics are recycled and clichéd. Plus the music isn’t very interesting. I love Chris Tomlin, I’ve attended camps that he led worship at, I think he writes great songs. But even he’s gotten to a point where his songs all sound relatively the same. David Crowder Band is a group that normally is the exception to the rule. DCB are one the most ambitious bands period, not just “Christian” bands or “praise and worship” bands, but any band. Their 2005 album A Collision will in my mind go down as their defining work. It’s an amazingly eclectic mix of what’s become commonplace praise and worship, but it’s all infused with a mix of electronics, strings, synthesizers and various other instruments. There’s even a little bluegrass thrown in for good measure. A Collision had 21 tracks, several of which were interludes and instrumental pieces that connected all of the tracks and brought everything together. I still listen to A Collision from time to time and I had been looking forward to their new release, Remedy, for quite a while. I was a little surprised to see that that Remedy consists of only ten tracks. Even on the band’s albums prior to A Collision, they had employed the use of intro tracks and interludes, so it was strange to see that omitted from the new record. The mainstream music world had to take notice of David Crowder Band this week as Remedy has been in the top ten albums on iTunes since its release on Tuesday. The album peaked at No. 3, slightly edging over Kanye West’s Graduation for a short period of time. The album itself is a lot more toned down with the exception of today’s track, which I would consider the lone “rocker.” That’s not to say the album is bad. “Can You Feel It” has a great electronic beat and almost feels like a club track at times. “Never Let Go” is a great piano ballad and the title track is also exceptional. Remedy also includes a studio version of “Everything Glorious” which fans will know from the compilation Passion: Everything Glorious. That CD came out in early 2006, so the song has been around for a while. Even though the studio version has a few little tweaks that make it different from the live version, this song still feels old to me because I’ve already heard it several times. I wouldn’t say I’m disappointed in Remedy because it’s still an excellent collection of songs, but I feel a little shortchanged because there are only ten tracks. This album hints at greatness but falls just a bit short of what it could have been. Even though today’s track gets a boost from “The Motor City Madman” Mr. Ted Nugent on lead guitar, it still seems like it could have been bigger, clocking in at just over two minutes. David Crowder Band is still one of the most original bands out today and they make amazing music that glorifies God. So if you’re an iTunes user, I suggest you help out the band and keep them in the top ten. Remedy is worth the price.


David Crowder Band - "We Won't Be Quiet"

Taking Back Sunday - "Brooklyn" (2006)

You can say what you want about Taking Back Sunday, but they write great songs. Not to mention the fact that a lot of today’s “screamo” and “emo” groups are just trying to recreate the greatness of TBS’s debut Tell All Your Friends, and their not doing it well. Truthfully, if Tell All Your Friends came out now, I probably wouldn’t like it. Sure it’s a little juvenile and immature, but at 18 so was I, so I dug it. The back and forth vocals of Adam Lazzara and John Nolan, was something that hadn’t been done in this way before. Their voices matched so well, it was hard to tell who was singing what at times. But every line was like a hook. When Nolan left the band in 2003 I was worried that their next album wouldn’t be up to snuff, but when I got my hands on Where You Want To Be in the summer of 2004, my worries were gone. Nolan had been sufficiently replaced by former Breaking Pangea front man Fred Mascherino, whose voice was also a great compliment to Lazzara’s. With this album, TBS saw a spike in popularity, due to the success of the first single “A Decade Under the Influence.” Suddenly the kind of music TBS was making was very popular and copycat bands were signed to record labels coast to coast. In April of last year TBS released their third album Louder Now, and while I liked it, it didn’t excite me like the previous two records. Maybe you can chalk that up to being older, but it seems like Taking Back Sunday just kind of stuck with what worked and didn’t venture out to any unknown territory. That’s not entirely bad, because their formula is a good one and they still wrote some good songs, but it just seemed a little off. In my opinion, we could have done without the re-recorded version of “Error: Operator,” (the original appeared on the Fantastic 4 soundtrack.) That song was ok as a soundtrack song, but it didn’t belong on the album. Unfortunately, today’s song didn’t make the final cut. I think “Brooklyn” is actually better than at least three songs on Louder Now and I’m baffled as to why it was left off. In fact it would have made an excellent single. The chorus is great, the overall sound is a little more pop and less punk, but in a good way. At least TBS included it on the iTunes version of the album. It also surfaced as a b-side on the UK single for “Twenty-Twenty Surgery.” Those are the two places to find it, but you may also find it floating around on the web somewhere. For now, just listen to it and wonder with me why it didn’t make the record.


Taking Back Sunday - "Brooklyn"

Big Wreck - "That Song" (1997)

Big Wreck were a great Canadian band from the late 90s that flew mostly under the radar in the U.S. Their 1997 debut In Loving Memory Of… yielded a few top ten hits in Canada, most notably “The Oaf” an excellent song with a standout guitar line. Today’s song was also one that saw some success. The song itself is an ode to another song, but we don’t know what song. It’s better that way, because I think lots of people have certain songs that remind them moments in their lives and that’s what “That Song” is about. The opening line of the song goes “So I always get nostalgic with that song, but in my room it’s forced, it has to be in some car across the street.” I think that’s ironic because this song makes me nostalgic. I also love the huge chorus and rocking bridge. The band split earlier this decade but singer Ian Thornley, went on to form a band named Thornley. Their debut album Come Again came out in 2004 and is worth checking out, but they have a more modern rock edge to them, with Thornley’s voice sounding a little like Chris Cornell at times. So I listen to this song from time to time, but like the song says it’s best if it’s “in some car across the street.”


Big Wreck - "That Song"

Wheat - "Don't I Hold You" (1999)

Wheat are a band that have been around since the mid 90s but I didn’t hear of them until 2003 when their third album Per Second, Per Second, Per Second…Every Second hit college radio. It had some excellent tracks such as “I Met a Girl” and “Breathe.” I dug it, but never bought it or looked into it much more. Then in 2005 I saw the excellent Cameron Crowe movie Elizabethtown, which features today’s song on its equally excellent soundtrack. “Don’t I Hold You” originally appeared on Wheat’s 1999 sophomore album Hope and Adams, and I probably wouldn’t have heard it if not for Elizabethtown. You can tell that the band has an affinity for extremely long album titles; their fourth album released earlier this year is titled Every Day I Said a Prayer for Kathy and Made a One Inch Square. I haven’t heard anything from this album nor have I heard anything else from Hope and Adams, but I can tell you that the Elizabethtown soundtrack is a good bet and probably the easiest place to find today’s song.


Wheat - "Don't I Hold You"

Future of Forestry - "Open Wide" (2007)

Future of Forestry are one of those rare bands that can create worshipful music and still manage to rock. Now I know that worship is not supposed to be about “rocking” per se, but seriously some of today’s worship music makes me want to go to sleep, especially when the lyrics are less than inspiring. That is not the case on Twilight, Future of Forestry’s outstanding debut. This album is full of songs that are lyrically deep and poignant and praise God but aren’t the standard praise songs we’ve all been singing for the past fifteen years. The band was formed from former members of the band Something Like Silas, who’ve I’ve never actually heard, but are probably worth looking into if Twilight is any indication of these guys’ talent. Lead singer Eric Owyoung has stated in interviews that a lot of these songs were borne out of his frustration about his recent divorce. Knowing that brings new light to songs like “Thinking of You” and “If You Find Her.” You can hear him talk more about this, as well as some acoustic performances on this edition of the Relevant Podcast. The band’s sound is kind of atmospheric, with the guitars sounding a little U2-ish, and the record sounds big and epic, which I’m sure is due at least in part to the excellent production skills of Ken Andrews. The great thing about Twilight is the how each song is entirely hopeful. Sure he’s been through hard times, as we all have, but Owyoung reminds to look to God in those times. I think we could all use that reminder.


Future of Forestry - "Open Wide"

Shiny Toy Guns - "You Are the One" (2006)

I first heard of Shiny Toy Guns last year when I saw that they would be on tour with Anberlin, who I greatly enjoy. I checked out their single “Le Disko” and wasn’t sold at first. I like the strong female lead vocals from Carah Faye Charnow, but something about the “techno-ness” turned me off a bit. The second song I heard from Shiny Toy Guns was today’s song and I was a little surprised to hear the back and forth vocals from Charnow and other lead singer Chad Petree. This song has a great hook that will stay with you and is decidedly less techno that “Le Disko.” I like the synth and the guitar tones that really bring back the 80s, but in a good way. A lot of bands are employing synthesizers these days and much of it feels trite, but Shiny Toy Guns aren’t ripping off your favorite bands from twenty years ago, their just being influenced by them. The rest of their debut We Are Pilots is mostly dominated by Petree’s vocals, which are outstanding, while Charnow chimes in here and there. I eventually grew to really like “Le Disko” despite my first impressions. I think “You Are the One” is the best example of what the band sounds like throughout most of the record, a record you should definitely check out.


Shiny Toy Guns - "You Are the One"

The Juliana Theory - "Is Patience Still Waiting?" (2000)

The Juliana Theory were one of the first bands on Tooth & Nail Records to really make a name for themselves. Keep in mind this was before Tooth & Nail were as big as they are now and before the advent of sites like Myspace and PureVolume.com. There debut Understand This Is a Dream came out in 1998 and they followed up in 2000 with, in my opinion, their best record Emotion Is Dead. I had heard of the band but didn’t actually hear them until late 2002 when I downloaded some tracks from Emotion. It’s a great mix of rocking tracks, mixed with some keys and electronic elements. Brett Detar’s voice is at it’s best on this record. The Juliana Theory released their third album Love in 2003. It rocked a little harder than Emotion, and had some great songs but mostly fell short of their previous greatness. This was probably partly due to the fact that they recorded it for Epic Records, a major label who undoubtedly wanted some radio hits. When the hits didn’t come, the band parted ways and eventually signed to Abacus Recordings where they released their final album Deadbeat Sweetheartbeat in 2005. I thought Deadbeat was a great collection of tracks and it seemed like new life for a band that had had its ups and downs. Just months after its release, the band announced online that they would be breaking up. I was a little disappointed, but maybe the band had run its course. I’m sure some of the members haven’t completely walked away from music and I expect to eventually hear something new from them. Tooth & Nail released a “best of” entitled A Small Noise, which collects the best tracks from their first two albums and an EP. That would be a good if you’ve never heard the band I guess, but I suggest you just pick up Emotion Is Dead. Today’s song is probably my favorite from the album. I mostly love the bridge with the awesome solo and the screaming in the background. Very nice.


The Juliana Theory - "Is Patience Still Waiting?"

Sanctus Real - "Say It Loud" (2003)

Sanctus Real is a great Christian band I discovered about five years ago. Now I know that some people immediately turn their brain off when they hear that a band is a “Christian” band, but Sanctus Real is worth being heard. I first heard today’s song on a sampler CD from a Christian book store in the summer of 2002. I really dug this track and was anticipating their debut, Say It Loud, but it didn’t actually come out until the spring of 2003. When I was finally able to get my hands on it, I wasn’t disappointed. It’s a great album of rocking songs with a positive, Christ-centered message. Sanctus Real seem very genuine, not like their trying to make a Christian version of popular secular music. Truthfully I think it’s sad that Sanctus Real limit themselves to only the Christian market. Their songs could easily make it on mainstream radio and then they would have a whole new audience on their hands. They’ve release two other records since Say It Loud, both of which are great, but I still seem to prefer this one. So even if you have an aversion to “Christian” bands, I think you should listen to Sanctus Real and let them change your mind.


Sanctus Real - "Say It Loud"

Hey Mercedes - "Roulette Systems" (2004)

Hey Mercedes is a band I really didn’t learn much about until after they were pretty much over. The band was actually born out of the break up of influential 90s emo act Braid. The first song I heard from them a few years back was “Our Weekend Starts On Wednesday” from their debut Every Night Fireworks and later re-recorded for The Weekend EP. It’s a two and a half minute slice of excellent pop punk that had some pretty clever lyrics. I didn’t hear from them again until their 2003 album Loses Control. The first song on that record was the excellent “Quality Revenge At Last,” an extremely catchy tune that is quite verbose and uses some witty wordplay involving some suburbs of Chicago, the area the band is from. In 2004 I picked up the Vagrant Records sampler Another Year on the Streets, Vol. 3 because it had some rare tracks from some of my favorite bands like The Get Up Kids and Dashboard Confessional, but it also included today’s song. This is probably my favorite Hey Mercedes tune. It doesn’t really even have a strong hook, but I think the guitars sound amazing. It was re-released as the lead track of what would be the band’s final release the Unorchestrated EP. This CD also includes some b-sides and a live version of the title track (the original studio version is on Loses Control.) If you can find a copy of Another Year On the Streets, Vol. 3, I would suggest getting it. In addition to the rare tracks it also includes a DVD of great videos including the video for “Quality Revenge At Last.” Hey Mercedes is a band worth checking out even though they’re no longer around.


Hey Mercedes - "Roulette Systems"

Lifehouse - "Disarray" (2007)

You may not believe me, but I was onto Lifehouse before anyone else. OK maybe not anyone, but I was pretty close. I got their debut No Name Face for Christmas in 2000. I loved that CD and it became the soundtrack to the second half of my junior year of high school. They had a great pop sound but also rocked which was cool. Plus Jason Wade’s lyrics dealt a lot with trying to figure things out for yourself and that resonated with me at sixteen. Eventually everyone else found out about the band I thought only I knew and their hit single “Hanging By a Moment” went on to become the most played song on the radio in 2001. They followed up in 2002 with Stanley Climbfall, a great collection of tracks that seemed to rock a little harder than their previous work. The single “Spin” was great and saw a little airplay but it was no “Hanging By a Moment” and Lifehouse kind of faded out for a while. After some lineup changes, they came back strong with their self-titled third album in spring of 2005. It yielded probably their next biggest radio hit “You and Me” which could be construed as cheesy, but it’s a great pop song that is destined to be played at weddings for years to come. I liked Lifehouse, but I didn’t really listen to it as much as I did the other albums. I guess my musical tastes changed somewhat over those years. It’s still a really good album. Now Lifehouse have released their fourth album Who We Are. I think this one harkens back to No Name Face a little bit, with first single “First Time” re-capturing a little of the magic “Hanging By a Moment.” They also turn up the amps a little more on this as can be heard on today’s song, the album’s opener. Another bonus for fans that have dug around and found Lifehouse rarities online, is the re-recording of the track “Storm.” This song was originally released on a CD called Diff’s Lucky Day, back when Lifehouse were known as Blyss. “Storm” was always one of my favorites of those old songs and it’s great to hear a new version of it. All in all, Who We Are is a solid album of pop-rock songs that don’t disappoint. As long as Lifehouse are making music, I’ll be paying attention.

Lifehouse - Disarray

Straylight Run - "Buttoned Down" (2007)

By now, most people who keep up with current music have heard the story of Straylight Run. The band started in 2003 when John Nolan, then guitarist and backup vocalist for Taking Back Sunday, left the band, taking with him bassist Shaun Cooper. Much ado was made online about the reasons behind the dissolution of TBS, but I think in the end it just came down to the fact that Nolan wanted to go in a different direction musically. Now four years later, Taking Back Sunday have released two successful albums which are great in their own right, and Nolan has been able to explore his musical freedoms as front man of Straylight Run. On their 2004 self-titled debut Straylight Run seemed to be making a conscious effort not to sound like TBS and they didn’t. That album was full of driving piano rock ballads like “Existentialism On Prom Night,” which had a great melody and insightful lyrics. On their 2005 EP Prepare To Be Wrong, Straylight Run released a somewhat mismatched collection of songs, ranging from slow, dreamy ballads (“I Don’t Want This Anymore”) to hard driving rock unlike anything they had done before (“Hands In the Sky”). Given the range of the EP it was hard to know what to expect from their sophomore effort The Needles The Space. I know this album has gotten a lot of praise in some media outlets and in the user reviews on Amazon, but I feel like Straylight Run just tried a little too hard on this record to be some kind of indie sensation. I think they threw in random odd instruments just for the sake of weirdness. The piano that dominated Straylight Run, is mostly absent or buried in the mix. Also, while I think Michelle Nolan has an excellent voice, Straylight Run are at their best when her brother is doing the singing. She just has too much of a presence on this record for my taste. Now all of this isn’t to say that The Needles The Space is a total loss. There are a few bright spots. “Soon We’ll Be Living In the Future” is the lead single and probably the catchiest song on the record. It’s based heavily around the acoustic guitar and various percussion instruments. I think today’s song makes the best use of John and Michelle’s voices together. He sings lead and she backs him up quite well. This song is mostly acoustic guitar and it has a strong hook. I’m not saying don’t buy The Needles The Space, I’m just saying don’t expect it to sound like their previous work. I consider this album to be Straylight Run exploring their possibilities as a band. Maybe next time around they’ll be a little more focused, but whatever the case I’ll still be listening in to see what they come up with.


Straylight Run - "Buttoned Down"

Charlotte Martin - "Stromata" (2006)

As I was trying to decide what song to post today, I realized that I’ve yet to feature a female artist. There’s no reasoning behind that, I guess I just don’t listen to many female artists. However I would be remiss to not put up some songs by some great emerging female artists that don’t suck (i.e. Fergie). Enter Charlotte Martin. She’s a excellent pianist and writes some great atmospheric piano rock in the vein of Tori Amos. Her latest album Stromata is out on Dinosaur Fight Records, a label she co-owns and runs with her husband Ken Andrews, who I’ve featured before. Today’s song is of course the title track from that album. I haven’t had a chance to listen to this album very much, but what I’ve heard is impressive. There are lots of electronic elements in the songs that give it a kind of spacey feel. It’s definitely more than just piano and vocals. An interesting side note for anyone who’s ever heard Mae’s The Everglow, Charlotte Martin is the voice on the prologue and epilogue tracks. Charlotte Martin is definitely an artist you should know and the first of hopefully more female artists I’ll feature here.


Charlotte Martin - "Stromata"

Manchester Orchestra - "Wolves at Night" (2006)

To me, the name Manchester Orchestra conjures images of mustachioed English gentlemen in three-piece suits playing stringed instruments and smoking pipes. In reality, Manchester Orchestra is just a group of five guys from Atlanta that make good music. I just purchased their oddly titled debut full length, I’m Like a Virgin Losing a Child. I had been seeing the name of this band on various music sites and reading their name in various magazines but had yet to actually hear them until a couple of weeks ago when I saw them perform this song on Letterman. I was intrigued by the performance and I also heard “Wolves At Night” a few times on the local college radio station. It’s been a while since I bought an album from a new band only having heard one song, but I’m now about halfway through my first listen and I don’t think I’m going to regret it. This album is full of excellent indie rock songs that meld together elements of some of my favorite bands. I was looking for more info on the band and came across this interview, in which singer Andy Hull talks about some of his influences being Death Cab for Cutie, Neutral Milk Hotel, and yesterday’s band Built To Spill. You can tell the influence of all three of those bands throughout this album. I also can’t help but notice that Hull’s voice somewhat resembles Nate Ruess of The Format. The interview also expounds on the meaning of the album title and it actually makes a good point. From what I can tell so far, there are a lot of spiritual elements weaved into the lyrics. I always enjoy when bands have something more to say than the standard boy-girl love songs. I think this is the best song to start off the album with and a great introduction to a band I’m sure I’ll be listening to for a while.

Manchester Orchestra - "Wolves at Night"

Built To Spill - "The Plan" (1999)

Built To Spill are a band that have been around since the early 90s but I only got into early last year. In April of 2006 they released their sixth studio album You In Reverse. I was working in college radio at the time and to get music directors geared up for the release, the label sent a promo CD that contained tracks spanning Built To Spill’s entire career. I guess they felt that people needed to be reminded about the band since it had been five years since their previous release Ancient Melodies of the Future. I listened to the sampler and was greatly intrigued by what I heard. As I listened, I realized that a lot of the music that had been flooding college radio airwaves the previous decade had been at least in part inspired by Built To Spill. Dough Martsch’s voice is kind of a high pitched nasal croon, and I know that sounds like it would be annoying, but it’s really not. Just listen and you’ll realize that you’ve heard it imitated at least once by one of today’s flash in the pan indie bands. Built To Spill could in some senses be considered a jam band. Lots of songs almost reach the ten minute mark and a couple on their live album hit twenty. Even so, the music never gets boring. I would have to say that 1999’s Keep It Like a Secret is the band’s most straightforward effort. “The Plan” is the song that kicks off the album and it does a great job of getting your attention and leaving you wanting more of the great album that follows.

Built To Spill - "The Plan"

Switchfoot - "Let That Be Enough" (1999)

Before Switchfoot hit it big in 2003 with the monster single “Meant To Live,” they had quietly released three fantastic albums and had been building a loyal fan base. I was first acquainted with them after hearing their third album Learning To Breathe. I was impressed with the quirky pop rock style and insightful and clever lyrics of Jon Foreman. I went backwards from there, discovering New Way To Be Human after my brother picked it up. I think if you’re a true music fan, you have at least once come across a song that speaks exactly what you’re feeling at a certain moment in your life. The lyrics ring so true, it’s like you could’ve written it. This song is like that for me. It talks about being content with what God has given you, despite feeling like nothing is going to work out. The chorus goes like this: Let me know that You hear me/Let me know Your touch/Let me know that You love me/And let that be enough. I know that it should be enough just to know that God loves me and has given me the gift of life, but it’s a constant struggle to remind myself that’s all I need. This song reminds me that I’m not the only person who’s ever felt this way.

Switchfoot - "Let That Be Enough"

Howie Day - "Bunnies" (2003)

Howie Day is a singer-songwriter who, in my opinion, could be so much more than he is. Don’t get me wrong I think he’s great, but he hasn’t reached his potential. I was first introduced to his music in 2002 when I heard his debut album Australia, a collection of ten amazing tracks that showcased his excellent voice and ability to craft memorable melodies. In 2003 he released The Madrigals EP, which was a small collection of a few new songs and different versions of old ones, but the real draw to this package is the live material. The EP comes with a DVD of Day playing four songs live at the Bowery Ballroom in New York. The DVD alone would be worth the price. It’s really cool to see him work like this. Day’s setup is simple: his voice, his guitar, and a set of effects pedals for each. He starts tapping out a backbeat on the body of the guitar, then he loops it and adds a guitar line, then a bass line and so on. Before long, you get the feeling there is a huge band accompanying him, but it’s still just him on the stage. Unfortunately only two of the four recordings are found on the audio CD, but if you're savvy, there are ways to rip the audio of the other two. After being wowed by Madrigals, I was of course ready to see what Day would deliver with his sophomore record Stop All the World Now. Unfortunately I was disappointed. Stop is not a bad album by any means, but it falls short of the mark he set with Madrigals. It’s just more or less straightforward adult contemporary which is not exactly my cup of tea. I was also disappointed that when he played on talk shows while promoting the album, he did so with a full band backing him instead of the way he did on the EP. He did see some success at radio and VH1 played his video for “Collide” a lot. He seems to have been laying low recently. Hopefully he’s working on something new that is better than his last full length. Keep in mind as you listen to “Bunnies” that this is just one guy. I really think he should record his next album like this.

Howie Day - "Bunnies"

Caroline's Spine - "Wallflower" (1997)

Caroline’s Spine are a great band from the 90s that you might not remember. The released a string of independent records from ’93-’96 and then in 1997 came out with their major label debut Monsoon. This album is pretty much a collection of the best tracks from those independent records. In 1999 they released their proper debut, Attention Please. This was the first album of theirs that I heard. It’s great 90s rock in the vein of early Foo Fighters, Better Than Ezra, some Gin Blossoms. They didn’t see great commercial success and were subsequently dropped from Hollywood Records. They’ve released a few more indie albums earlier this decade. Today’s song is one I first found when I was looking around on the old Napster, and came across an acoustic version of it. The acoustic version is all I had ever known until I finally picked up Monsoon some time last year. I was surprised to hear how much this song rocks out because I was accustomed to the acoustic version, but I think the album version is quite excellent. According to the band’s Wikipedia entry, singer/songwriter Jimmy Newquist is the only remaining founding member and is supposedly releasing a new album on Sony sometime next year.


Caroline's Spine - "Wallflower"

The Fold - "Beside You Now" (2007)

The Fold are a band that actually sound like a lot of other bands. There’s no denying their pop-punk style is pretty commonplace these days. That being said, I still like them better than a lot of other bands in that scene and I really can’t put my finger on why. Their 2006 debut This Too Shall Pass was full of songs with incredibly catchy choruses and an excellent balance of pop and rock. Their 2007 follow-up Secrets Keep You Sick follows in the same direction, with maybe a little more emphasis on the pop. There is an added element of some electronic drums on this record that somewhat expands The Fold’s sound. Even if you don’t really dig this kind of music you have to admit that they write catchy songs and they’re the kind you can sing along to while you’re driving with the windows rolled down. There’s an interesting story behind today’s song. Last year during the writing process, singer Daniel Castady’s mother was diagnosed with cancer and passed away shortly thereafter. This definitely affected the lyrics of some of the songs on the record but most notably in today’s song. Castady said in an interview that he wrote “Beside You Now” from the point of view of his father, trying to imagine what it would be like to lose someone you spent your life with. Now you would think that would make for an incredibly sad song, and it is to some degree, but there’s also an element of hope found in it. Plus, the programmed drums give it an excellent 80s feel. You have to love that.

The Fold - "Beside You Now"

Action Reaction - "March On" (2006)

Action Reaction is the new band of former Further Seems Forever vocalist Jason Gleason. Gleason manned the mic of FSF’s 2003 release How To Start a Fire, and while I like all three of FSF’s singers, I have to say that Gleason was my favorite. It just seemed that his voice fit the music the best. I’ll give you something from Further Seems Forever at a later date, but today I’m digging Action Reaction’s debut 3 Is the Magic Number. Gleason formed the band with his wife, Crissie Verhagen who used to front the band Element 101. They added former Element 101 bassist Salvatore Ciaravino and the group was set. 3 Is the Magic Number is full of great experimental rock songs. Gleason’s voice is still strong, but he didn’t do the easy thing and make a straightforward emo album. There are a lot of different elements on this disc. This is probably the song that best encapsulates what Action Reaction is all about.

Action Reaction - "March On"

Feeder - "Pushing the Senses" (2005)

Feeder is another one of those British bands that are inexplicably not huge in the U.S. They write great songs that rival U.K. counterparts Coldplay and Snow Patrol, but are not that well known. Some might remember their song “High” from the soundtrack of the movie Can’t Hardly Wait. That song originally appeared on their 1997 debut Polythene. Since then they’ve released four albums, only two of which were released in the States. I had heard “High” back in the day and it remained somewhere in my subconscious, but I didn’t really get into Feeder until I heard their 2003 album Comfort In Sound. Last year they released a greatest hits album called The Singles which is a great introduction if you’re not familiar with them. Their last studio record, Pushing the Senses, came out in the U.K. in 2005 and it’s by far my favorite. It’s succinct at only ten songs, but they make every one count. Feeder has all the great elements of Brit-Pop without the pretentiousness of Coldplay. They also show they are not afraid to rock, such as on today’s song, the title track from Pushing the Senses.

Feeder - "Pushing the Senses"

Dredg - "Bug Eyes" (2005)

My introduction to Dredg came in 2001 when I saw them open for Alien Ant Farm at a nearby university. I was psyched to AAF and was also looking forward to the second band Pressure 4-5, whose album I had recently purchased. I remember there being a room full of dudes who were ready to mosh and get crazy and they were all dumbfounded when Dredg took the stage. They were experimental to say the least. I thought it was kind of cool and I would probably enjoy it more now, but at the time I didn’t really know what to think. More than anything else I remember the lead singer playing a steel guitar using a screwdriver as a bow. Four years later, they released their third record Catch Without Arms and this time I was thoroughly impressed. Still quite experimental but much more accessible, Catch Without Arms has plenty of great modern rock songs. My favorite is definitely today’s song, which has a great building intro and exceptional melody.

Dredg - "Bug Eyes"

Dustin Kensrue - "I Believe" (2007)

Dustin Kensrue (pronounced kenz-roo) has a pretty cool day job as the lead singer of Thrice. I love his work in that band so when I heard last year that he would be releasing a solo record I was interested to see what he would turn out. On Please Come Home, Kensrue took a departure from the experimental rock that Thrice play and released an album of excellent alt country tunes. Kensrue has always had kind of a gravelly voice and it fits well with this type of music where he is mostly only accompanied by acoustic guitar and sometimes harmonica. The eight songs here have obvious inspiration from artists like Johnny Cash and Ryan Adams, but none of them sound like rip offs. Kensrue has always written about his faith. In fact, Thrice’s last record Vheissu had more Christian themes than a lot of so called Christian rock. On today’s song Kensrue is quite open about his Christian faith, hence the title. I think it’s refreshing to see an artist who doesn’t try to play off his or her faith so they can appeal to a wider audience or not alienate anyone. Kensrue simply puts it out there, saying here’s what I think and believe. Thrice have just completed a new record entitled The Alchemy Index, which is actually a collection of four EPs named for the basic elements: Fire, Water, Earth and Air. Volume 1 which includes Fire and Water will be released in October, with Volume 2 to follow next spring. You can check out information about that album here, but for now enjoy Kensrue going solo and doing it well.

Dustin Kensrue - "I Believe"

The Shins - "Sea Legs" (2007)

The Shins are one of those bands that initially didn’t get into, just because they seemed like an indie fad. I had heard a little from their 2003 album Chutes Too Narrow and I didn’t like it too much. James Mercer’s voice kind of annoyed me and I more or less wrote them off. Then in 2004 Garden State came out and The Shins kind of blew up. The movie featured two songs from their first record Oh, Inverted World, most notably “New Slang,” which according to Natalie Portman’s character will “change your life.” I kind of dug that song but I still wasn’t really a fan until I heard “Phantom Limb” from their latest album Wincing the Night Away. For some reason I really liked it even though it’s not that different from The Shins previous work. Maybe my tastes changed a little in that couple of years. Whatever the case, Wincing the Night Away is a record full of pop songs that are just weird enough to not breakout in the mainstream. “Sea Legs” stands out because of it’s chilled out rhythm mixed with strings which create a song that, to borrow a word from my parent’s generation, can be described as “groovy.” You’ll see what I mean.

The Shins - "Sea Legs"

Copeland - "Careful Now" (2006)

Copeland are an excellent band from Florida that have a way of changing themselves on each album. Their debut, 2003’s Beneath Medicine Tree, was a great collection of pop rock songs with sensitive lyrics sung by Aaron Marsh. Sure it was emo, but done well. Copeland added elements of piano, strings and keyboards on 2005’s In Motion, but still managed to rock harder than before on songs like “No One Really Wins” and “Love Is a Fast Song.” They wasted no time getting back in the studio and released Eat, Sleep, Repeat last fall. After anticipating its release I was a little surprised at what I heard. Aside from Marsh’s unmistakable voice, I wouldn’t have known it was Copeland. The distorted guitars were gone and were replaced with piano and electronic drums. I wasn’t impressed right off and frankly I missed the old sound, but as I listened more I realized that this the type of music that Copeland are the best at making. The band signed with Columbia Records earlier this year and Eat, Sleep, Repeat was going to get major distribution, but due to label restructuring it kind of got forgotten and now Copeland are anticipating being dropped by the label. That’s really a shame but I’m sure that wherever they land, Copeland will continue to write excellent pop rock like this song.

Copeland - "Careful Now"

Modest Mouse - "Little Motel" (2007)

Modest Mouse are a band I first heard back around 2000 when my brother picked up The Moon and Antarctica, their third album and major label debut. “3^rd Planet” was the first single from that album and I was intrigued by singer Isaac Brock’s off-kilter pop sensibility. I didn’t delve much further into that album, but I was interested to hear what Modest Mouse had cooked up in 2004 with Good News for People Who Love Bad News. The results, as I’m sure you’re aware, were phenomenal. The lead single “Float On” saw airplay on mainstream radio across the nation as well as MTV and it introduced Modest Mouse to a whole new audience. They followed up with the strong second single “Ocean Breathes Salty.” Despite these two pop gems, Modest Mouse didn’t abandon the kind of music they had made all along and I was personally surprised that they became such a widespread hit. Earlier this year the band released We Were Dead Before the Ship Even Sank. Fitting with the title, the album is full of nautical imagery and it finds Modest Mouse not taking the easy road, with “Dashboard” being the only song that I think could be considered a hit. However they have delivered an album full of unique rock songs that take a bit to grow on you but eventually hit the mark. One of the most notable differences is the addition of former Smiths guitarist Johnny Marr. Marr’s guitar style leaves its mark on tracks like “Missed the Boat,” “Spitting Venom,” and especially today’s song “Little Motel.” You could call this Modest Mouse’s attempt at a ballad and they pull it off quite well with shimmering guitars and great lyrics from Brock. It’s something you wouldn’t quite expect from one of rock’s most unique bands.

Modest Mouse - "Little Motel"

Jimmy Eat World - "23" (2004)

Jimmy Eat World are easily one of my favorite bands. I first heard them in 2001 when my brother bought Bleed American. I have to admit I didn't take to them entirely at first. Then again, that was back when I considered Hoobastank acceptable music. After my initial ignorance, I fell in love with that record. Most people probably remember it for the single "The Middle," but truthfully that is my least favorite song on the album. Please note that if you're looking to buy that album now (which you should), it has been retitled Jimmy Eat World. Which makes no sense to me, but I don't run a record label. After that I went back and discovered their 1999 sophomore record Clarity and was once again blown away. In 2004 Jimmy Eat World came back with the fourth studio record entitled Futures. They slowed the tempo down a little on this one and lyrics are a bit more introspective but there are some real rockers in there as well. I'm actually such a nerd that I got the Japanese version of Futures on eBay so I could have all the exclusive tracks. It's been three years and Jimmy Eat World are finally releasing a new album called Chase This Light. It will be out in October and you can hear a clip of the first single "Big Casino" here. I'll probably showcase a track from that when I get my hands on it, but today's song comes from Futures and is really the only song I could play today. Today is my 23rd birthday and this track, the album's epic closer, is a great song about turning 23. So listen and hopefully you'll enjoy it as much as I do.


Jimmy Eat World - "23"

Iron and Wine - "Upward Over the Mountain" (2002)

Iron and Wine are another one of those one-man bands, this time the man being Sam Beam. I first heard Iron and Wine when I heard their 2004 album Our Endless Numbered Days. The band's sound is very stripped down, mostly only utilizing an acoustic guitar and Beam's faintly above a whisper voice. Iron and Wine are also noted for having covered The Postal Service track "Such Great Heights," which was later featured on the amazingly successful soundtrack to Garden State. I first heard today's song when I found a cool acoustic set and interview done by Brand New's Jesse Lacey. He opened the set with this song and I was intrigued and sought out the original version. This song, coming from Iron and Wine's 2002 debut The Creek Drank the Cradle, is a perfect introduction to Beam's brand of acoustic folk rock. Beam recorded the record himself at home and this song contains a great raw energy. I especially love the slide guitar solo. Iron and Wine will be releasing their third record, The Shepherd's Dog, later this month and I'm sure it will be full of great songs in the same vein. Even if you don't appreciate Beam's music, I think you have to admit that he rocks one of the greatest beards in modern history.



Iron and Wine - "Upward Over the Mountain"

Death Cab for Cutie - "Summer Skin" (2005)

Death Cab for Cutie are a band I initially shied away from because of their name. I think at one point I thought they were a metal band or something. Nevertheless, when I heard "Title & Registration" from their 2003 release Transatlanticism, I felt dumb for having not checked them out sooner. Ben Gibbard's vocal and lyrical style is in a league of its own. His lyrics can be witty and thought provoking and he has knack for using the exact right words to tell his story. Longtime fans of the band were no doubt ready to cry "sellout" when Death Cab signed to Atlantic for the 2005 album Plans, but they had no reason to be disappointed when the band turned out one of the best records of the year. There are some real gems on Plans and they cross the spectrum from toe tapping pop songs, to acoustic, to piano driven ballads. I chose today's song based on it's title and theme. "Summer Skin" is about summer coming to a close and saying goodbye to a seasonal romance. Labor Day is generally considered the ending point of summer and while I do enjoy the fall, its always a little sad to see another summer go.


Death Cab for Cutie - "Summer Skin"

As Cities Burn - "Clouds" (2007)

As Cities Burn are a band from my home state of Louisiana. Yes, the name of the band is incredibly emo. I know this but I refuse to let it affect the music, because the music is actually quite good. On their 2005 debut, Son I Loved You At Your Darkest, As Cities Burn were essentially a different band. Almost every track on that record had a heavy emphasis on screaming, with varying results. In 2006 the band announced they would breaking up at the end of the summer because lead vocalist TJ Bonnette would be leaving the band. On what was to be their farewell tour, the band got an overwhelming response from fans who asked them not to break up. They took that advice and have now released their sophomore album Come Now Sleep. On this album, guitarist (and brother of ex-singer TJ) Cody Bonnette takes over the lead vocals. He sang on a few tracks on the first album but here he finds his niche. The guitar work on Come Now Sleep is fantastic. As Cities Burn have achieved a sound that is truly their own with the guitar tones on this record. The lyrics are pretty heavy this time around, with lots references to spiritual struggle. I think that honesty is what makes this a great album. Today's song is not the catchiest or even my favorite song on the album, but it is the most original. "Clouds" starts with actual street recordings done by members of the band. They asked random people to share their thoughts on God and parts of the responses are weaved throughout the song. The lyrics deal with how we view God and how we can never truly understand His greatness. I see it as a call to refrain from trying to make God what we want Him to be and try to better see who He really is.


As Cities Burn - "Clouds"

The Working Title - "Thoughts On Love's Mishaps" (2003)

The Working Title are an excellent band who broke onto the scene in 2003 with their debut EP Everyone Here Is Wrong. It was a collection of seven great songs that showed lots of potential. Singer Joel Hamilton shows great range on this CD, stretching his voice to great heights on songs like “Something She Said.” The band went on to release their first full length album About Face in 2006 on Universal Records. That record built upon Everyone Here Is Wrong , including some re-workings of songs from that EP as well as delivering some great new songs that probably should’ve been radio hits. The band’s Myspace page now lists them as being unsigned, so they’ve apparently been dropped from the label. Despite this they continue to tour and work on new music. Today’s song is where the EP gets its title. I still consider this their best song overall, using acoustic guitars as well some cool effects and still rocking out heavily at the end.

The Working Title - "Thoughts On Love's Mishaps"