Appreciating The Evolution of Incubus – Concert Countdown

Posted on August 1, 2012 by Ryan Kantor

It’s despicable, it’s wrong, and it’s gutless… that I haven’t seen either of my favorite bands live in concert. Of course, that will change this month, when I Incubus perform on August 19, in Atlanta, as part of the Honda Civic Tour. To get myself pumped for a concert, I always like to listen through their discography in the couple of weeks preceding the show. For the upcoming Incubus concert, that means listening to Incubus’s older work (which I’m less familiar with) and seeing if what I’ve heard countless times–”I really like the old Incubus stuff”– is agreeable.

Released way back in 1995, Incubus’s first studio album, Fungus Amongus is reminiscent of some early Red Hot Chili Pepper albums (my other favorite band). As such, Brandon Boyd has explicitly credited the Chili Peppers as being a key influence for his band. Listening through the album, the funk stood out more so than other genres, but the jazz, rap, and heavy metal were also present and worked nicely together in “Deep Inside.” I fully intend to deep dive this album and get the whole Incubus picture before the concert.

S.C.I.E.N.C.E. is certainly very different from their most recent album, If Not Now, When?. Considering S.C.I.E.N.C.E. came out nearly a decade and a half prior, it’s not too surprising to see a band grow and evolve a good deal over that time. The blend of techno, jazz, and metal is pretty obvious and makes me think of the concept coined by Linkin Park, “Hybrid Theory”–bringing together an eclectic group of talented musicians with different styles and tastes to create a sound that is more powerful than any singular genre in the music. It certainly makes the pairing of Linkin Park and Incubus in the Honda Civic Tour seem fitting. Sailing Catamarans Is Every Nautical Captain’s Ecstacy is a pretty funny acronym too.

So, after looking at their entire discography chronologically and holistically, I can understand why some may only like their older music, because it markedly different from the smoother softer sound that appeared on Light Grenades and became more pervasive on If Not Now, When?. While different, I love both styles and respect the band’s evolution

What pre-Make Yourself song is your favorite? What must I listen to before I see them live?

Here are some of the Incubus songs I hope to hear live from the latter albums I know and love them for, starting with my favorite, Make Yourself, and progressing in chronological order.

Make Yourself (1999)
Top Tracks:

“The Warmth”
“Clean”
“Stellar”
“When It Comes”
“Drive”

Morning View (2001)
Top Tracks:

“Under My Umbrella”
“Wish you Were Here”
“Circles”

A Crow Left of the Murder (2004)
Top Tracks:

“Megalomaniac”
“A Crow Left Of A Murder”
“Beware! Criminal”

Light Grenades (2006)
Top Tracks:

“Dig”
“Anna Molly”
“Love Hurts”

If Not Now, When? (2011)
Top Tracks:

“Promises, Promises”
“Adolescents”
“If Not Now, When?”

As always, please subscribe to this blog by clicking the “Follow” button at the top of the right sidebar. If you don’t have a WordPress account, you’ll have to enter your email address. You can share your opinions in the comment section below or by tweeting to @Ryan_Kantor. Thanks for reading!

Living Things by Linkin Park – Album Review

Posted on June 25, 2012 by Ryan Kantor

In my previous blog post about Living Things and its lead single “Burn It Down,” I discussed how the new album would supposedly be an ode to the albums that made Linkin Park famous (i.e., Hybrid Theory and Meteora), and how the single had a new musical element–electronica–that I haven’t heard from Linkin Park before. I was very hopeful and excited for the new album’s release (6/26/2012) and interested to hear if this electronic sound would be the theme of the album.

After listening through the album’s 12 tracks, it’s clear the electronica element made a big stamp on the album, but the ode to the “nu metal” of Linkin Park’s heyday was a bit overstated. Read below for my song by song breakdown.

1. “Lost In The Echo” opens with some very cool electronic and bass sounds that get you primed for what you’re going to hear in the rest of the album. They work well with Chester Bennington’s smooth melodic chorus and Shinoda’s rapping. Bennington brings the intensity at the 2:16 mark in one of the album’s better tracks.
7.5/10

2. “In My Remains” certainly has the aspect of the electronica I’ve discussed, but there is so much more than that in this track. Smooth verses with a more intense chorus mark the song, before it transitions into an “interlude” (I use the term interlude here loosely) of repetitious, droning lyrics:

“like an army, falling one by one by one”

Although I could do without the “interlude,” the electronic sounding intro is great, Chester’s vocals are spot on, and the drums standout as especially excellent. This is probably my favorite song on the album.
8/10

3. “Burn It Down” is of course the album’s lead single and really highlighted the direction this album would take. If you didn’t grow sick of it after hearing it a million times during the NBA postseason, I imagine you will enjoy it. It lacks the classic Linkin Park intensity, but still makes for a strong track and fitting single.
7.5/10

4. “Lies Greed Misery” – After a promising beginning to the album, Mike Shonoda takes over, handling the majority of the vocals in this (rap/hip-hop) song, and well… listening to it in order to review it made my headache come back.
2/10

5. “I’ll Be Gone” gets the album back on the right track after “Lies Greed Misery.” Chester Bennington’s vocals carry the track as he combines smooth verses with a powerful chorus.
7/10

6. “Castle of Glass” is one of the album’s more mellow songs, but that doesn’t stop it from being an enjoyable tune.
6.5/10

7. “Victimized” - At only 1:51 seconds long, this track seems like one loud scream with some electronic sounds and rap lines mixed in. I like the creativity of a short intense song between two of the album’s softer songs, but execution is lacking.
3/10

8. “Roads Untraveled” is one of the album’s softer songs. It is made unique by a high-pitched bell sound leading the intro and then present throughout.
5/10

9. “Skin to Bone” - You really have to listen to this one to fully understand where I’m coming from when I say it is somewhat muddled with electronic sounds, thumping, and other headache-inducing sounds. I’ll take it over some of the bland, blah that was on Minutes To Midnight, but that doesn’t make it good.
5/10

10. “Until It Breaks” - Shinoda’s rapping in this song is excruciatingly unenjoyable. He takes the lead in this song in a big way, rapping through first two-thirds of the track. Chester then takes over singing very softly for the final minute and change.
3.5/10

11. “Tinfoil” is finally a move back to some real rock ‘n roll after a couple weak songs. The vocal delivery seems a little unfamiliar from Linkin Park, but not necessarily in a bad way. It’s a shade repetitive, but it is the best song on the second half of the album.
6.5/10

12. “Powerless” is a nice tune, but ironically, is somewhat…powerless. It could be epic in a live show, but the studio version doesn’t evoke a lot of emotion (at least from me). Nonetheless, as I said, it is a nice song and worth listening to.
6.5/10

Before I started writing this review, I thought it would be scathing and end in a sub-five overall rating, but as I listened through each track over-and-over I found that there were quite a few decent, if not outright solid tracks.

The problem is that the album lacks a great song. Even a so-so album will often have one or two great songs that influence your opinion of the entire album upward.

I’ll admit, that much like my friend going into the movie Prometheus, my expectations were too high. I was hopeful for something as good or even better than Hybrid Theory/Meteora and that probably wasn’t fair. I’m tempted to say this is their best album since those early albums, however it doesn’t have a track as strong as “No More Sorrow” (Minutes to Midnight) or “Waiting For The End” (A Thousand Suns). I like “In My Remains” a lot, but I hesitate to call it truly great, and an album without a single great song isn’t that good.

Living Things 6/10

What is your favorite track on the track on the new album? Share your thoughts in the comments below.

Ratings are subject to change. As always, please subscribe to this blog by clicking the “Follow” button at the top of the right sidebar. If you don’t have a WordPress account, you’ll have to enter your email address. You can share your opinions in the comment section below or by tweeting to @Ryan_Kantor. Thanks for reading!

Life Will Write The Words by The Rocket Summer – Album Review

Posted on June 8, 2012 by Ryan Kantor

After his tour with Switchfoot, Bryce Avary released his newest album, Life Will Write The Words. My last post in the music category was a review of one of those shows with Switchfoot, and as such it is only appropriate that I give his newest album a review as well. Rather than linking each individual song to a YouTube video, I included the full album in one place, which can be heard here.

Enjoy the review. Please share my blog and the album with you friends, and of course, give each song a few listens before casting judgment.

1. “Run And Don’t Stop“ is the album’s lead single and was played on The Rocket Summer’s tour with Switchfoot. This track strikes me as the one with the most classic Rocket Summer sound to it. To that end, it risks blending in the rest of his work, but is held up by some of his best guitar work including solos at the 2:17 and 3:09 marks and its highly metaphorical lyrics, which I’m still working on deciphering. Some of my favorite lyrics are the opening lines:

“A desert rain is falling
A southern cold in July.”

and this mind bender:

“The tree bearing apple now bears a lime…”

7/10

2. ”Revival“ is another album single that was played on the Switchfoot tour. It’s a very catchy track with great contrasts between the soft piano at parts, passionate vocal delivery (even a faded scream around the 3:06 mark), and vowel utterances that are the trademark of the song (you know, like a modern-day version of shooby do wop).
7.5/10

3. ”Prove It” seems to be about a very specific situation Bryce Avary experienced with a woman holding a grudge from long ago. Despite the guitar solo at the 2:34 mark, the song is bit too poppy and a let down after the first two tracks.
5.5/10

4. “Old Love “ is a tribute to the very notion of selfless love, and a solid track, but the vocal delivery is just slightly off from some of the stronger tracks.
6/10

5. “200,000“ is one of the album’s pre-release singles. After an awkwardly choppy piano intro it settles into smooth verses and a passion filled chorus that makes “200,000″ one of the best song on the album. The lyrics,

“There are not one, but two hundred thousand miles on my car. To be with I’ve driven far, but I loved you that much”

ring loudly in this anthem of love, likely written to his high school sweetheart–now wife–Tara. If not for the (intentionally) choppy piano work at parts of the song I’d be tempted to give it a higher rating, but as is, I feel comfortable stopping just short of giving it an excellent score.
8/10

6. “Just For A Moment Forget Who You Are“ asks the listener to forget for a moment who they think they are, and remember that they were made in an image of greatness. While that notion is something worth some mental mastication, the song doesn’t blow one away and is just another quality song on the album.
6.5/10

7. “Circa ’46″ is somewhat similar to “200,000″ in it’s intentionally choppy piano work (this time overlayed with snapping fingers), but otherwise very different. After the similar start, “Circa ’46″ delivers the lyrics for which the album is named:

“Life will write the words, but you choose your own melody.”

Unfortunately, it incorporates the worst parts of “200,000″ without the passionate chorus or the smooth melodies. Nonetheless, it is still a good track.
7/10

8. “Underrated” is a fun and enjoyable tune that should resonate with many listeners who feel underrated or unappreciated. It is light, but upbeat and an overall good track.
7.5/10

9. “Soldiers” is the album’s first attempt at an acoustic ballad, and it is somewhat mediocre. It pales in comparison to the best songs of the album. Maybe additional listens and delving into the lyrics will “open my eyes,” or more aptly, my ears. It is one of Avary’s favorite tracks on the album though.
5/10

10. “The Rescuing Type” is another fun an enjoyable tune, much like “underrated.” It is upbeat and thoughtful. “Be the rescuing type. Be reckless, be bright.” It doesn’t stand out as one of the album’s better songs, but it is solid nonetheless.
6/10

11. “Scrap Book” is a second effort at a piano ballad. The stellar piano work carries the song, and the last 50 seconds introduce the electric guitar into the mix
5.5/10

12. “Ashes Made of Spades,“ Hallelujah! Track 12 is the best song on the album both for its guitar work and its lyrical content.

“Standing in the streams without a branch to rescue me and pull me from the tormenting. Will I die here in the water? I closed my eyes so I could see then there grew a tree out of my belief.”

I think it is somewhat clear what this metaphor is describing, but I’ll let you arrive to the conclusion on your own (If you haven’t figured it out yet, I asked him in person at a concert in Charlotte and his answer is here).

Rarely does an artist save the best for last. Not only that, but the best part of the entire album starts almost exactly halfway through the song around the 2:25 point, when the intensity really picks up. The album ends with Bryce Avary screaming “Oh My Light!” with all the passion that built up throughout the song and then a nice guitar outro.
9.5/10

Life Will Write The Words 7.5/10

Overall, the album lived up to my expectations. This was the first self-produced album for Bryce Avary after leaving his record label to explore more creative freedom. Strong lyrical content is the hallmark of the album, so I tried to include some interesting snippets that I hope you enjoyed.

Thanks for reading! As always, please subscribe to this blog by clicking the “Follow” button at the top of the right sidebar. If you don’t have a WordPress account, you’ll have to enter your email address. You can share your opinions in the comment section below or by tweeting to @Ryan_Kantor.

Amaryllis by Shinedown – Album Review

Posted on March 29, 2012 by Ryan Kantor

Two months ago I previewed the release of Shinedown’s first studio album since their 2008 release of The Sound of Madness. More than three years after its release, Amaryllis is here and while some of their oldest fans may be disappointed in the band’s evolution, I welcome it. Below is song-by-song breakdown and an overall score for the album. Enjoy, and please leave your thoughts.

Amaryllis offers some interesting album art. If you'll notice, the border of the circle is made of clasping arms, alluding to one of the album's tracks, "Unity."

1. “Adrenaline” starts with a fast stop-and-go guitar riff. With prominent drum work, a fast pace, and heavy guitar work, Shinedown could have made this the lead single if they wanted to entice their core fans. 6/10

2. “Bully” was the track the first single from the new album. The lyrics are pretty self-explicated, obviously condemning childhood bullying. Towards the end of the song a collection of children’s voices backup Brent Smith in his final run through the chorus. Overall, a good song, a good single, but not mind-blowing. 7/10

3. The title track, “Amaryllis,” opens with a clean sound and generally lacks the metal/hard rock style that is was Shinedown’s hallmark. While this may not satisfy purist headbangers that long for the raw sound of Shinedown’s early work, I was impressed with this track, as it reminds me of the band’s biggest hit, “Second Chance.” 8/10

4. “Unity” starts with a great piano intro that moves flawlessly into the electric guitar. The chorus is catchy, despite using the cliché line “put your hands in the air” a little too often. According to Songfacts.com, lead singer Brent Smith explained that “It’s about loving your brothers and sisters. We’re all in this together and we should be building each other up instead of tearing each other down!” It was one of the album’s pre-release singles. 8/10

5. After Amaryllis and Unity, “Enemies” picks up the pace with a fast guitar riff and loud vocals. Much of the guitar work coincides with the vocal delivery which makes for nice synergy, but overall the song doesn’t standout and could come from any band in the genre. 6.5/10

6. Like some of the other tracks, “I’m Not Alright” starts with a soft intro, but sounds that is wildly unlike other Shinedown songs. With a Irish folk flavor, this track has a poppy chorus and very interesting string sounds. While this isn’t what I’m looking for when I turn on Shinedown, I can’t deny that it was an enjoyable song. 8/10

7. “Nowhere Kids” is one of the more forgettable tracks on the album. It is very upbeat, but that only makes it blend in more. They develop a somewhat catchy hook in the chorus with Brent Smith’s delivery of the lyrics “No one needs you after all,” but even so it doesn’t have any particular element that is especially enjoyable. Overall, a very average track. 5/10

8. “Miracle” gives Brent Smith a great opportunity to showcase his talent. The vocals take center stage in this song, and with a vocalist like Brent Smith that is a positive. 7.5/10

9. “I’ll Follow You” breaks any and all expectations for a Shinedown song. Shinedown included a touching piano track on their last album with “Call Me,” but this track goes for a louder, more rousing, f0lksy, and intense sound while still keeping it slow and piano based. It certainly makes for an interesting song, even if not as strong as their last “Call Me” from The Sound of Madness. 6.5/10

10. “For My Sake” opens with great guitar work leading into Brent Smith vocals, building to a great chorus. 7/10

11. “My Name (Wearing Me Out)” is one of the weaker tracks on the album. Forced cursing, a lack of novelty, and lyrics that don’t resonate bring this track down. The biggest problem is it sounds like every other song in the mish-mash of Three Days Grace, Three Doors Down, Puddle of Mudd, etc. 5.5/10

12. “Through the Ghost” There’s nothing wrong with this track, it’s just a little boring. There are some cool bell sounds in the background and the acoustic guitar is spot on, but it doesn’t do anything special for me. 5.5/10

Amaryllis was not what I was expecting, but because I prefer alternative rock to heavy metal/rock, I was pleased with the evolution of the band and direction of this album. The title track, “Unity,” and “I’m Not Alright” were standouts. This album surpassed my expectations, but will probably disappoint fans of Shinedown’s earlier work who prefer a heavier more metal type sound. In all, I grade the album: 7/10

For a dissenting opinion, check out this negative Nancy’s blog.

Rating are subject to change…if I change my mind. As always, please subscribe to this blog by clicking the “Follow” button at the top of the right sidebar. If you don’t have a WordPress account, you’ll have to enter your email address. You can share your opinions in the comment section below or by tweeting to @Ryan_Kantor. Thanks for reading!

People and Things by Jack’s Mannequin – Album Review

Posted on November 7, 2011 by Ryan Kantor

Jack’s Mannequin released their third studio album on October 4th, 2011. Titled People and Things, the band’s third album follows Everything in Transit, and The Glass Passenger, which peaked at number eight on the Billboard 200. Lead singer Andrew McMahon explains the album:

“I consider ‘People and Things’ a relationship record. My goal with many of the songs was to strip away the flowery language and sentiment attached to newer love and replace it with starker, less blinded language about more binding love. In the time following the last Jack’s album the people in my world were moving in together, getting married, trying to find quote unquote ‘real jobs’ and reconciling new lives that looked a lot less like youth than some of us cared for. Marriage is a bit of a beast to tackle in a pop record but when I wrote ‘My Racing Thoughts,’ it became clear how powerful and loaded a subject this kind of love is and somewhere in that moment I began to lock into the broad concept for the writing sessions to come.”

What are your thoughts on the album art?

Here’s a unique album trailer on YouTube, definitely worth checking out!
Now for a song by song breakdown. Be sure to share your favorites.

1. “My Racing Thoughts“ The debut single off the new album, “My Racing Thoughts” features a beautifully simple piano melody, but is actually somewhat average for the album’s debut single. Nothing really stands out about the track beyond the piano melody. 6/10

2. “Release Me“ starts off with a great intro that really defines what “piano rock” is all about, and was the standout track the first time I listened through the album. The guitar work in the background around the 2:45 mark is simply stellar. The harmony that closes the track is a great touch. Standout track! 8/10

3. “Television” immediately made me thing of U2. I imagine it is somewhat intentional, but I’m reminded of “I Still Haven’t Found What I’m Looking For,” a #1 hit on the music charts U2 released in 1987. Now it doesn’t sound at all like the Disturbed cover of “I Still Haven’t Found What I’m Looking For,” which is pretty fantastic. “Television” for what it lacks in uniqueness is a very solid song that most people should enjoy. 6.5/10

4. “Amy, I” is one of three songs on the album in which Matt Thiessen of Relient K contributed. The song gradually works its way into a chorus where McMahon uses nature imagery to explain a relationship, some pretty interesting lyrics:

Another long winter trying to fight this freeze
Waiting but the cold’s got a hold on me
Hold on to me
So hold on to me

Amy, I
I never felt this kind of cold before

A very good song with well done lyrics and nice guitar work.
7/10

5. “Hey Hey Hey (We’re All Gonna Die)” starts off with McMahon belching out slow lyrics in front of piano and violin, making an effort to sound epic, but coming up short. The vocal delivery wasn’t my cup of tea. 4.5/10

6. “People, Running” has a very Jack’s Mannequin sound to it. It seems to be about the minuteness of our lives, but is a little boring until the 2:37 mark when the pace picks up, hitting it’s highlight at the 2:52 mark with some nifty guitar work. Rarely is guitar the highlight of a Jack’s Mannequin song. Unsurprisingly, there’s a nice piano hook that will get the tune stuck in your head. 6/10

7. “Amelia Jean” is a s nice smooth song that is great for what it is. It doesn’t stand out, and you won’t immediately search this track out on the CD, but when it comes on you’ll always enjoy it without realizing how much. It was actually originally written for the previous album, The Glass Passenger. 7/10

8. “Platform Fire” has some “stodgy” vocals that didn’t work for me. The piano work is nice throughout and the guitar work at the 2:20 mark stands out. 6.5/10

9. “Hostage” is one of the more interesting songs on the album. It’s about those people in your life who you may not see for a while, but you immediately connect when you see them, regardless of how long it’s been. It’s a “banner track” on the album. There are great videos on YouTube with McMahon explaining each song. They’re worth checking out. 7.5/10

10. “Restless Dream” is a nice attempt at a soothing acoustic ballad, but it ends up being boring and the weakest song on the album. 4/10

11. “Casting Lines” was originally written for a television show, but when it wasn’t selected for the show the demo was re-recorded for People and Things. It’s about being part of family, and (in my opinion) how family is always there for you regardless of the path you take through life. While the lyrics are pretty cool, the music is a little bland in parts. 6.5/10

People and Things, overall the album is solid, but not quite as good as The Glass Passenger, and definitely not as good Everything in Transit. Many of the tracks lacked intensity and a catchy hook, but a few stood out–”Release Me,” “Hostage,” and “Amy I.” The overall album gets a 6.5/10

These ratings would probably drastically change if I listened for a few more weeks and really came to appreciate them before writing the review, especially since the lyrics seem pretty deep and may take a while to understand. I’ll try to resist going back and editing, as I just did to my past review of “I’m With You” from the Red Hot Chili Peppers, which deserved more than the 7.5 I originally gave it. There as some bonus tracks as well, but I’ll leave those for you to discover. I hope you liked the review and enjoy the album. If you’d like the album for yourself, check out this blog.

I’m With You – A Review of The Red Hot Chili Peppers’ New Album

Posted on August 29, 2011 by Ryan Kantor

The Red Hot Chili Peppers’ long awaited tenth studio album is finally here, 5 years after Stadium Arcadium’s 2006 release. In their newest album, the band has brought back some of their pre-Californication funkiness, something for which long time fans may have been longing. The 14 track album features some interesting album art (below), and marks the maturation of the band, while staying true to their roots (details in the “Ethiopia” section). My thoughts on each song and the full album are below. Be sure to comment and share your favorite songs off the new album.

1. “Monarchy of Roses” kicks off the album with Anthony Kiedis’s electronically twisted voice in a track that infuses distorted effects with an almost “poppy” chorus. Overall, a very good song that mixes two contrasting sounds. “Monarchy of Roses” isn’t great, but is a quality song with a great final 55 seconds. 7.5/10

2. “Factory of Faith” combines funky verses with a smooth melodic chorus, and ties them together with guitar solos and musical interludes. The interlude at the 2:30 mark is fantastic, and the outro is tactfully used as a way to show off new guitarist Josh Klinghoffer. There are also some subtle niceties in the background such as electronic sounds and the riff from the outro woven in towards the start of the song. Overall, I think fans of the old funky Chili Peppers will love the verses and fans of the newer more melodic Chili Peppers will love chorus. Being a fan of the post-funk Chili Peppers myself, I find the chorus great and the verses acceptable. 7.5/10

3. The album’s emotional ballad “Brendan’s Death Song,” is tribute to a lost friend. Brendan Mullen was the owner of a small punk rock club in LA, and played a large role in the Red Hot Chili Peppers growth in the early stages of their careers. He passed away on the first day of rehearsals for the new album. When the band got the news they immediately began jamming and forming what would become “Brendan’s Death Song.” “Guitarist Josh Klinghoffer described the song as being part acoustic mourning, part galloping hard-rock send-off.” Kiedis described his favorite part of the song being the bridge, which is much darker and there is a feeling of falling into the unknown abyss of dying. 8/10

4. “Ethiopia” is a reference to Flea and Klinghoffer’s trip to Africa prior to recording, and is about the bands spiritual growth from drugs and alcohol to mediation. Here’s another song that brings back the old funky Red Hot Chili Peppers in the verses. Unfortunately, the verses are not anything to write home about and bring down a song that has a very good chorus and nice musical interlude around the 2:24 mark. 5.5/10

5. “Annie Wants a Baby” features some unique guitar work and interesting metaphorical lyrics such as the stanza below:

Drinking sunshine,
She likes the taste of it.
She had a goldmine,
But then she wasted it away.

The song doesn’t have much of a hook and won’t be the one to get stuck in head, but it’s certainly an enjoyable tune. 6.5/10

6. “Look Around” brings back the fun party sound from songs like “On Mercury.” Anthony Keidis gives us a familiar line when he utters “move it ah gotta get ya, wanna getcha” around the 2:45 mark. As a commenter informed me via e-mail, it is very similar to the bridge of “By The Way.” A simple, but catchy chorus and well written rhymes in the verses make this a fun and highly enjoyable song. I predict this will be the biggest hit on the album.
Note: “Look Around” has been played during the broadcasts of a good many sporting events on ESPN. 9/10

7. The album’s single, “The Adventures of Rain Dance Maggie,” released a few weeks before the album, marked a move back to the funkiness of the 80′s Red Hot Chili Peppers. Flea lays down a consistent and prominent bass line adding a distinctive element of funk. The funky verses are in my opinion the weak part of the song, but the chorus is very good and much different from the verses. If you like the old funky Chili Peppers you’ll really love this track. 7.5/10

8. “Did I Let You Know” uses a trumpet solo from Flea and Klinghoffer on backup vocals for a unique twist. While the song isn’t particularly memorable, it’s a nice tune and works well on the album. 6/10

9. “Goodbye Hooray” may be the most “classic Red Hot Chili Peppers” sounding song on the album. Josh Klinghoffer ends the song with a extremely fast guitar solo, being sure to make his mark on the new album. 6.5/10

10. “Happiness Loves Company” starts a great trend within the album with Josh Klinghoffer on the keyboard. I love the song title which puts a spin on the expession “misery loves company.” At points the lyrics can get a bit abstract and hard to interpret, but this stanza is my favorite:

Make time for love and your happiness.
The mothers of invention are the best.
We all learn and struggle with some loneliness.
A tender mess for everyone I guess.

It’s a happy upbeat song, that really hits the mark. Also, kudos to Chad Smith for his work on this track! (Hyperlink contains special gift.) 8/10

11. “Police Station” wins the award for being the most beautiful loving song on the album. They added a nice touch with the keyboard and despite this song being relatively slow and soft, the guitar work is fantastic. The keyboard bridge at the 3:00 mark works extremely well. Keidis beautifully delivers the well written lyrics which seem to be about a lost love and the turns her life have taken. 9/10

12. “Even You, Brutus?” also takes advantage of one of the most beautiful musical instruments in rock today, the keyboard, and integrates it beautifully. There’s also somewhat of a rap/hip-hop sound in verses, however they make it work so that it adds intensity to the early part of the song. “Even You Brutus” is about betrayal, and the chorus artfully draws on a piece of Shakespearean literature from the play Julius Ceasar, where Ceasar’s best friend, Brutus, betrays and murders him. Overall, a interesting and unique song from the Red Hot Chili Peppers, showing off some versatility using the keyboard and making a rap/hip-hop sound work better than any rapper could dream to. 9.5/10

13. “Meet Me at the Corner” is one of the softest songs on the album, and employs Josh Klinghofferon backup vocals more extensively than in any other track. His singing style may be effeminate, but it fits in with this soft track. Overall the song is somewhat boring until it picks up at the 3:00 mark, however the last minute and twenty seconds are amazing. 6.5/10

14. I can’t imagine “Dance, Dance, Dance” is about much more than sex, but the lyrics are poetic. The music is a little on the poppy side, but doesn’t miss the mark by too much. 5/10

As you can see, I really liked the songs that featured Josh Kilinghoffer on the keyboard, as did John Lewis of Uncut Magazine. The album had much more of a funk style than Stadium Arcadium, which was somewhat unexpected before the band released the single “The Adventures of Rain Dance Maggie,” although I probably should have seen it coming even before that given the working title for album–Dr. Johnny Skinz’s Disproportionately Rambunctious Polar Express Machine-head. Luckily Klinghoffer suggested the title “I’m With You,” and the band decided to go with it rather than use the working title or a title track, the later of which they’ve done on every album since 1989′s Mother’s Milk. The album is gapless so the intro to some songs may sound strange, because the intros to some songs (e.g., “Look Around”) are really the outros from the previous track.

According to Flea, “life and death is a major theme of the album,” a theme which is most obvious in “Brendan’s Death Song.” They finally blended their old funky style with their newer more alternative rock stylings to perfection, hopefully pleasing their old school and new school fans. Overall I had extremely (probably even unrealistically) high expectations for the album, and while it didn’t quite meet those expectations, it was still a very good album from arguably the greatest band of the last 20 years.

Album: I’m With You 8/10

Note: I originally gave the album a 7.5, but after two months of listening I had to go back and upgrade it to an eight, giving more points to “Monarchy of Roses,” “Factory of Faith,” and “Look Around.”

If Not Now, When? – A Review of Incubus’s New Album

Posted on July 12, 2011 by Ryan Kantor

After a long wait between albums Incubus gave their fans a new album to pour over. Incubus’s new album, If Not Now, When? hit shelves on on July 12th, 2011, and offers a much different sound than previous albums. Much like Linkin Park, in their most recent album, A Thousand Suns, Incubus offers softer, smoother, less aggressive tunes than we’ve come to expect. Let’s break it down by the track.

Adolescents: The album’s lead single, “Adolescents,” was a radio hit as fans anxiously awaited the release of Incubus’s first full-length album in years. “Adolescents” gives you a pretty good idea of what you can expect from the rest of the album–smooth melodies, soft instrumentals, and abstract lyrics. It marks a change in style from what I would describe as somewhat aggressive and loud to a smoother and softer style. Nonetheless, this song rocks! On the surface level it is about feeling overwhelmed, but on a deeper level it’s a commentary on our overall culture. 8/10

If Not Now, When?: Another in the new softer Incubus style, this one goes for slow and epic, “If Not Now, When?” is one a long (over 5 minutes), soft, smooth, almost epic song with beautiful peaks and valleys. It was originally meant to be an high-energy rock song, but it evolved into a beautiful ballad, one in which lead vocalist, Brandon Boyd, shows off his ability to hold a note in a few spots. 8/10

Promises, Promises: You may have heard this one, as it was the album’s second single. It’s one of my favorites, and for good reason. Great lyrics, my favorite line being, “let me be the rabbit in your hat,” make it more than just a catchy tune. The song tells the story of a young girl, who after so many failed attempts at love, has armored herself against the pain of intimacy by only engaging in surface affairs. The keyboard in the background also adds a nice element. 9/10

Friends and Lovers: This may be the most amiable song Incubus has written. It marks a far departure from the aggression in songs like “Pardon Me” and “When it Comes” (both from the album Make Yourself). It lacks that catchy “hook,” but still makes for an enjoyable tune. 7/10

Thieves: Initially I didn’t care for this song. Early impressions of songs are generally surface level (which may be why poppy songs lacking depth seems to get popular really quickly and then disappear), and to be frank, the provocative lyrics that seem to poke fun of “God fearing white Americans” turned me off. This one is a grower though, after a couple listens I became a fan. Even though I haven’t dug into the deep meaning of this one yet, the delivery and instrumentals are more than solid. 6/10

Isadore: “Erika and her Isadore”…”I won’t rest until the world knows the name Isadore” what the heck is “Isadore”? A name? Some sort of gift? I’m not totally sure, but this track, with its use of the acoustic guitar, is one of the best on the album. Vocals and guitar work flow well together making a standout track. 8.5/10

Original: This tribute to a particular woman’s beautiful uniqueness makes for an interesting song. “Your mind, it is original. Girl, you are the Original.” A slow yet dynamic tune, this one took a few listens for me to appreciate, especially as it is a departure from the Incubus we’re used to. 6.5/10

Defiance: An acoustic track, this is a great listen, one where the lead singer flaunts his talent. As impressive as it may be, this one doesn’t stick with you and makes for a very solid, but not outstanding song. 6.5/10

In The Company of Wolves: The longest song on the album, it’s hard to give a sufficient statement and rating on this song. Dynamic, in that the entire feel of the song quickly, but smoothly shifts from uplifting, almost in a gospel-ish way into a long, strange, abstract, instrumental interlude, to what seems like a totally different song, “In the Company of Wolves” is the most experimental song on the album. 4.5/10

Switchblade: A throwback to the Incubus style we’re used to, “Switchblade,” is easily the most aggressive song on the album. Relating a woman to a switchblade, the metaphor is striking the music does it justice. Probably Boyd’s weakest song from a purely delivery standpoint as this track doesn’t call for the long drawn out notes he hits so beautifully in the other tracks, but it does make for a great change of pace from the rest of the album and features some stellar work on the drums. 6.5/10

Tomorrow’s Food: A strange and slow song, this track is the album’s low point. Inspired by an American Philosopher’s quote; “”No epoch is finally privileged. We are all tomorrow’s food. The process continues. And spirit is found in the process itself, not in any particular epoch, or time, or place,” the song is written from the heart, but without a whole lot of lyrics, it seems like this song is one long and mediocre interlude. 2.5/10

Over the album is very enjoyable, despite not being what you’d expect from Incubus. It gets my recommendation. You can order here.
Album: If Not Now, When? 7/10

Album Review: Alter Bridge – AB III

Posted on November 14, 2010 by Tommy D

Three years after their explosive release of Blackbird, a time period which saw a Creed reunion and lead singer Myles Kennedy performing vocals for Slash, the hard rock and alternative metal band Alter Bridge finally got back into the studio. The resulting product was AB III, a loose concept album that displays some new elements of this incredibly underrated band while simultaneously reminding hardcore fans of the group they have come to know and love.

Musically and lyrically, the structure and subtleties of Alter Bridge songs set them apart from most other rock artists. When you add Myles Kennedy’s top-notch vocals (arguably the best in modern rock) and Mark Tremonti’s absurd skills on the guitar, you have something truly special. Let’s not forget to mention drummer Scott Phillips and bassist Brian Marshall, who add the necessary ingredients to the band to make it an unstoppable machine.

Getting back to the album specifically, much of AB III expresses the notion of struggling with faith, and it has some of Alter Bridge’s darkest songs to date. Nevertheless, there are still songs that will remind fans of the classic AB sound. The variation of song styles, as well as the fact that there are 14 tracks in all (and 16 if you include the two U.S. bonus tracks), gives listeners a great idea of just how dynamic Alter Bridge really is.

The best elements of the album are Kennedy’s vocals and Tremonti’s guitar work. Kennedy, who is also an accomplished guitar player in his own right, adds some of his own licks to the CD, and even performs the solo in “Isolation.” While AB III probably has less “riffage” than its predecessor, Blackbird, its musical balance is superb. And don’t worry–songs like “Isolation”, “Still Remains” and “I Know It Hurts” offer some great, signature Tremonti riffs.

Now, let’s take a look at AB III track-by-track:

1. Slip to the Void: The perfect album opener, as it lets listeners know that they’re in for something a little different this time around. The song begins with a deep, haunting keyboard pattern and a vocal delivery from Kennedy the likes of which we haven’t heard before. For the first 1:30, it is slow and eerie, but then Tremonti makes his presence felt with a heavy transitional riff that effectively changes the track’s dynamic to one of heaviness and desperation. The themes of becoming lost and struggling with faith are made fairly clear throughout the song, with lyrics such as, “Left to face this alone, left to die with nothing you can own.” Pretty dark stuff. Definitely one of AB III‘s most memorable songs. 10/10

2. Isolation: The album’s first single and a great choice for it. Thematically, “Isolation” picks up right where “Slip to the Void” left off. The line, “Sever ties from all you know” implicitly references the first line in “Slip to the Void” following its transition into heaviness (“Sever the ties…”). What makes this a great single for Alter Bridge, however, is that it shows both their heavy side and their ability to create memorable melodies. The main riff of the track is very intense and will make head-bangers happy. The chorus, namely Kennedy’s vocal line of, “Isolation, it brings you to the end, until you love again” is extremely captivating, and while the song is mostly dark thematically, the line “until you love again” conveys an idea of hope in the face of difficult times. A great hard-rock song, this track will grab listeners immediately, and it will only grow from there. 10/10

3. Ghost of Days Gone By: The feel of this song at the outset and through its chorus is classic Alter Bridge. There is an elegant guitar pattern, and Myles shows off his range by going low in the verses before going higher in the choruses. What makes this song really unique, though, is its bridge. The tone suddenly becomes VERY dark, making this one of the CD’s most progressive tracks. The sound effects used in the beginning part of the bridge remind me of The Who’s “Won’t Get Fooled Again”, and then a heavy guitar riff comes in, along with Kennedy’s desperate line of, “I don’t want to die!”. A very solid and intriguing track. 9/10

4. All Hope Is Gone: The title indicates another very happy song (not really). The opening guitar riff is mid-paced and sets the melody for much of the song. “All Hope Is Gone” took a few listens to grow on me, but I really like it now, and the bridge is just amazing. The heavy guitar breakdown, accompanied by some echo-like vocals from Kennedy, is followed by a signature Tremonti solo. 9/10

5. Still Remains: This is one of the most metal-like songs on the album, thanks to its awesomely heavy guitar work. The introductory guitar melody sounds much like the very end of the previous track, which makes me wonder if that was done intentionally, as the flow between the tracks is perfect. The transition into the main song riff is extremely well done, with some Middle-Eastern sounding vocal sounds from Kennedy, and some great drum work by Scott Phillips that made me think of an old AB hit, “Metalingus.” The stop-start metal riff is one of the main highlights of this song, as well as the chorus, and the speed-metal riff in the bridge. One of my favorite tracks on AB III. 10/10

6. Make It Right: A great rock song that is quintessential Alter Bridge. It has all the elements – a good intro (arpeggiated guitar work from Tremonti), a good chorus, a great bridge, and a great solo at the end. This track also has a more positive vibe than much of the rest of the album, and is thus a good change of pace. 9/10

7. Wonderful Life: A solid power ballad that has single written all over it. This song is still growing on me, but the chorus is slow and captivating, and Kennedy’s vocals are just brilliant throughout, as his emotion truly shines through. The bridge is awesome as well (I’ve said that a lot thus far, haven’t I?). A very good song, but not one of my absolute favorites. There is still room for growth, however. 8/10

8. I Know It Hurts: AB effectively changes the pace right back into faster-paced rock with this “I Know It Hurts.” It opens with some great “riffage” from Tremonti, and then goes into a more subdued yet still thoroughly captivating verse, before it picks up again in the chorus. Also, once again, AB makes their money in the interlude, which is tremendous once again. 9.5/10

9. Show Me A Sign: This track is one of the CD’s true highlights, and possibly my favorite one on the record. Definitely the darkest, moodiest song AB III has to offer, and it is a true departure for Alter Bridge. Kennedy’s cry of “Show me a sign, give me meaning” sounds hauntingly desperate and is powerful enough to send chills down your spine. Then, around the 4:00 mark, Kennedy’s vocals become incredibly deep, dark, and creepy. Clocking in at 5:57, “Show Me A Sign” is the longest track on the album, and has an epic feel throughout. I liked it a lot when I first heard it, but I have since come to appreciate it even more and I consider it one of Alter Bridge’s masterpieces, ranking just below “Blackbird” (they might never top that). 10/10

10. Fallout: This song struck me when I first heard it, mainly due to its catchy chorus. The guitar work in the bridge and through to the end of the song is particularly good. Just a very solid song through and through. 9/10

11. Breathe Again: Not a bad song by any means, but probably the weakest one on the CD. I believe Mark Tremonti even said that this was the one song he felt could have been omitted from the record, but the band decided to include it anyway. The chord progression in the verses is very similar to that of a previous Alter Bridge song off Blackbird, “Before Tomorrow Comes.” The bridge is the best part of this song (surprise, surprise), as Kennedy’s vocal work is again superb. 6.5/10

12. Coeur D’Alene: This song is seemingly about the city in Idaho (which is not far from Spokane, Washington, where Myles Kennedy grew up), and is a good, solid rocker. The guitar riff is fairly intense, and the juxtaposition of the subdued verses and the loud chorus makes for a nice effect. The interlude also adds a neat element to the song, with a memorable vocal melody that is catchy yet actually somewhat eerie. 8.5/10

13. Life Must Go On: When I first heard the intro to this song, I was reminded of Creed (Oh no! I made the forbidden comparison!), but then Myles Kennedy started singing and I remembered just how superior Alter Bridge is. This song falls more into the power ballad category, and I wouldn’t be surprised if it (and/or “Wonderful Life”) became a single. 8/10

14. Words Darker Than Their Wings: The band released this song as a free MP3 download about a month before AB III came out, and I loved it immediately. The perfect album closer, it features vocals from both Kennedy and Tremonti, creating a conversation of sorts about faith. Tremonti proves that he’s quite a capable singer in his own right. The song is almost perfect; the arpeggiated intro grabs you immediately, and the alternating lead vocals in the verses are unique and thus keep you interested. The chorus is of course very captivating, but the part of the song that gives me chills every time I hear it is the interlude, where Myles yells, “Go, never to ask why…”. Then there’s the end of the song, where Kennedy’s voice reaches a stupidly high pitch. I doubt there are many people on the planet who can do what he does as a vocalist. 10/10

U.S. Bonus Tracks:

15. Zero: A good hard rock song that has grown on me with a few listens. I really like Myles’ voice in the verses, as well as Brian Marshall on bass in that section. 8.5/10

16. Home: This song grabbed me immediately. At 3:30, it is short for an Alter Bridge song, but the chorus is just awesome, and Kennedy’s melodic lines in the bridge are incredibly captivating. It must have been tough to exclude this track (and “Zero”) from the record. 9.5/10

In summation, Alter Bridge has released another outstanding album, but they are so talented that it’s become an expectation at this point. It’s too difficult to give an exact comparison of AB III to either of Alter Bridge’s previous releases (2007′s Blackbird and 2004′s One Day Remains) in terms of quality, but it certainly stands tall. The darker material on this record shows us yet another side of this dynamic band. It’s a shame they’re not more appreciated (I feel they are way better than Creed but they don’t get near that amount of attention), because they are truly one of the most talented rock acts out there.

Tommy’s overall score for AB III: 9/10

Album Review: Rooney - “Eureka”

Posted on September 2, 2010 by Ryan Kantor

Crazy intense hard rock band, Disturbed, is not the typical type of band I’d like, but man they are talented. Their guitar work is impressive. I am looking forward to listening to the rest of their new album, Asylum. So far I’ve listened to the title track, “Asylum” (with the instrumental intro they call “Remnants”) which was very cool and the single from the album, “Another Way to Die” which wasn’t so cool. ”Another Way to Die” is about the global warming, pretty lame.

In this new era of digital music, it’s rare that I (or anyone) actually buys a physical CD, but this summer I bought three. Two of them were old Something Corporate CDs (Leaving Through the Window and North) and were very good. The other was Rooney’s new Album, Eureka, which came out on June 8th and was supported with a summer tour. They played with Black Gold (awesome live performance) and The Young Veins (markedly weak live performance), and I was lucky enough to see them in Atlanta.

I’ll keep this brief, share a little about Rooney’s new album, and hopefully I can just get one person to stop listening to rap or even worse…whatever Justin Bieber‘s noise is!

Eureka opens with “Holdin’ On,” which is far and away my favorite song on the album. It has the classic Rooney sing along feel with great guitar work and of course Rob Schwartzman’s great voice.

An aspect of the song I really like, is how they reference a personally tough experience the band members went through, as they felt trapped and bullied by their former record company (Eureka is self-produced). At least that’s how I interpret these lyrics:

And my mother said, “You’re theirs to your dead,
To them, it’s just another meal.”
Now I’m fat with regret, I’m placing my bet on me.

Track #2 is the album single, “Can’t Get Enough.” It’s extremely catchy, which I assume is why it is the single, but it is awfully poppy. It’s a very good sounding song, but it lacks emotion and doesn’t have rock elements that make “Holdin’ On” so great.

Stars and Stripes, Track #8, represents a different sound for Rooney, but the more I listen to it the more I like it. It is a keyboard based song, and keyboarder Louie Stephens truly shines. When they played it live in Atlanta, they extended the song giving everyone a long solo, and it was amazing. It definitely has some political commentary too. My favorite line is this reference to the national debt:

What have we gained at the end of the day?
Just a bill that we can’t pay.

As beachy and happy as Rooney sounds, a lot of their lyrics are rather dark or mean (e.g., I wake up in so much spit and sweat, it is not normal from “I’m Shakin’”). That said, Track #10, “You’re What I’m Looking For,” is a nice love song with positive lyrics and an enjoyable sound.

Track #11, “Not in My House,” has a great classic rock feel, but I’ll leave it at that. I’ll let you make your own judgements on the rest of the tracks. I’ve listed each song below and linked them to a YouTube video with the song.

Enjoy!

Eureka

Holdin’ On