Strong Songwriting, Rock Sensibility
354490
Don't let the strange cover of this album dissuade you...

For fans of Crooked Still, the long wait for the beginning of Aoife O'Donovan's solo career is finally over; and it does not disappoint. Although the style is much more rock-influenced than Aoife's previous work, the same distinct voice and song-writing still shine through. This album is certainly not for people looking for a re-hash of Crooked Still. The old-timey string and banjo accompaniment with acoustic focus are now replaced by a more polished sound complete with electric guitars and drums. Still, Aoife's songs still have the same melancholy sentimental tone drenched in folk and Americana influences. Fans of Patty Griffin, Ruth Moody, Neko Case and Gillian Welch will love this album. However, not for bluegrass purists.
3547483
US band PERFECT BEINGS is a fairly new player on the progressive rock scene, the initial start of what ended up as a new band took place in 2012, recordings for their first album commenced in 2013, and their acclaimed debut album that was the result of those sessions appeared in 2014. Just over one year later they released their second studio production, simply named "II", through My Sonic Temple.

What was a striking feature about the debut album by this band was the manner in which they managed to create accessible songs within a progressive rock context, creating material that had the ingredients needed to spawn interest also beyond a progressive rock interested audience, in essence creating a contemporary version of what one might describe as the art rock bands of the 70's. Just one year later it would appear that Perfect Beings is a band in rapid development in many areas.

Initially this album continues very much in the manner of their first one. The compositions are accessible but sophisticated, with subtle details and arrangements more elaborate than what you initially hear the order of the day, and with the stellar vocals of Ryan Hurtgen arguably adding an even more powerful, emotional drive to the material than what was the case first time around. The songs play out in a melodic and compelling manner, mainly using subtle effects rather than more dramatic ones to maintain tension and interest, always with a focus and aim at crafting and exploring sophisticated yet accessible material that, by and large, can be described within an art rock context just as much as a progressive rock one, for those who consider those as separate expressions.

This album develops however, and for me fifth track Volcanic Streams, which is my personal highlight on this production, strikes me as a transitional cut. The instrumental opening half of this song, revolving around a striking, compelling and achingly familiar sounding piano motif with a liberal amount of psychedelic-tinged details surrounding it as this section develops, is one that showcase a band willing and capable to add more challenging details to their material as well, and combining this first half with a gentler, striking and highly accessible second phase containing the vocal passages afterwards is a stroke of true brilliance in my book. The following track The Yard showcase that this is a band that know their way around some jazz-oriented details as well, including those in a song with a bit more of an art pop focus, while the following piece Go is a creation that opens up as a synth pop tune not too far removed from the likes of Tears For Fears, with a slight topping of Frankie Goes To Hollywood in the more intense parts of the song, and then takes a sudden left turn into rather more challenging and psychedelic-tinged landscapes, before returning to the synth pop oriented parts again.

Descriptions of a similar nature can be given to the remaining songs on this album as well, with compositions that alternates between one or more compelling and arguably broader appealing sequences, and then pairs them off or develops them into material of a somewhat more challenging nature. Radiohead was a band that came to mind in terms of this general approach at times, albeit in terms of approach and not all that much in terms of style and expression I should add.

Personally I regard Perfect Being's second album as a quality creation. Arguably a production that won't have quite as much of a broad appeal as their debut, but also one that showcase a band developing their style. They maintain a focus on and a foundation in accessible and rather broadly appealing songs within a progressive rock context, but on this occasion with a somewhat stronger focus on challenging details and sophisticated elements.

My rating: 82/100
2956990
The other reviews that mention this albums production quality have spoken the truth.  It is well produced, vocals are not overly loud and the sonic quality of the guitars comes through on the digital mp3's.

If you like Staind or other hard rock, post-grunge bands you will LOVE this album.  Jesse's voice at times sounds amazingly like Aaron Lewis from Staind.  The hard melodic riffs mixed with the pretty vocals make for a nice contrast.  If you like hard rock with good vocals than you will like 10 Years.

Not a 5?  Just because I enjoy the harder tracks and there are quite the number of ballads on this album.

Overall this album is very listenable, but I do find myself clicking past the slower tracks.

Check out some of the harder songs like "11:00am" which has almost a metalcore quality.  Or "Actions & Motives" which also has punk sensibilities.

Overall a great cross-over album and fans of several styles can find something to like from this band.
2327110
I'm normally not into this style of rock (i listen to much heavier stuff), but right off the bat the first track "Thursday Night" caught my ear. They've got some really thick guitars that can get heavy, but the real emotional pull is from the vocals. The singer has a real control over his emotions portrayed in his voice. Its like a soothing cry for help.
  I've been hearing them on the radio lately with that song Dear Claudia - take it or leave it - i think its one of the weakest songs on the record, but i'm sure other people would love it. it is catchy, thats for sure, but i like the rest of the album so much more. If you get a chance to listen to "Drama Kids" before you buy it, make sure you check out the last 3 tracks - those are my favorites. Theres this one that has this wierd little groove, almost like a waltz or something. its suprising that it works so well as a melodic rock song.
  overall, SouthFM is one of the most promising modern rock bands i've heard in a long time. they have a lot of versatility and depth. and they write great songs - rather than just a great chorus, the whole song is really good.
395090
On a first listening of Ryan Adams' Gold and even subsequent listenings, striking influences are apparent - Van Morrison, Lou Reed, Neil Young, The Rolling Stones, Johnny Cash, etc.  Remarkably, even with those obvious influences, Adams manages to create a sound and style of his own.  Even more remarkable are the lyrics.  Presented subtlely and with nuance, they are strong and poetic.  Adams attacks subjects of our modern world, making timelss themes relevant to our time.  As a representative of Lost Highway Records, Adams fits right in with heavyweight lyricists, Lucinda Williams and Ron Sexsmith.
The lyrics are supported by fairly traditional rock instrumentation:  acousitc and electric guitar, bass, drums, and piano and a few others mixed in.  The band moves smoothly between the changes in Adams' songs, hitting nice grooves and maneuvering builds quitely effectively.
Placing an upside down American flag as the backdrop to the "pop-looking" Adams, the cover is a great summation of the Americana and pop culture represented on this CD.  The impression is much in the vein of a young Elvis Presely or James Dean - cool, sexy, and rebellious.  Just as the photo is a rich expression of popular Americana, so is Gold.
4408127
The debut album by this rather obscure and erratic band is quite good, showing lots of promise. Many have commented on Mary Fahl's voice, but I'll highlight the music and lyrics. The songwriting is top-notch. The music is rich and layered; the lyrics thoughtful and interesting. The melodies are visual and rather enchanting. Of course, Mary's voice has lots of emotion and deepness to it, complimenting the music.

As others have mentioned, there are no poor songs on this; nothing to skip over. Taking it all it, it's no surprise of the many 5-star ratings.

Standout songs include: Bury My Lovely, A Lonely Voice, Return to Me, Take Me As I Am, and Be My Hero (which also is the most rocking of the collection).

The music is similar to their second album (Falling Farther In), though that album is a bit rockier. This one is more consistently strong in the songwriting category though. Buy both!
2051689
Delta Spirit continues their trend towards a more driven, heavier sound,  but their singer/songwriter  Matt Vasquez keeps it grounded with heartfelt works that are both shadowy and uplifting.  The album starts off with a brooding, building, amazing work called "Push It", and then launches right into an addictive rock song called "From Now On" that is instantly memorable.  The title song propels the middle of the album to new heights with its fantastic chorus teamed with delicate rock instrumentals.  The album has an almost Floydian ending with "Interlude" then "War Machine" and the wonderfully intimate,  dark love song titled "The Wreck".  The way this band melds rock and a  dose of Northern Soul and folk with innovative drumming and musical arrangements continues to stun me. Add  humanizing singing and lyrics that swing from existential journeys to simple storytelling, from hard relationships to good times,  and i continue to see many of the elements of musical greatness swirl around this band.
4326609
Let's forget the Springsteen, Westerberg, etc... references for a minute and take the band for what they are at the moment, not what they may become. What I hear is a solid rock (not punk) band with a better than average songwriter who happens to write very catchy,(Anthemic) and ultimately enjoyable tunes. Not a bad combination, but let's not annoint them quite yet. I'll keep spinning (and digging) this one and hope the next one ups the ante a bit. The potential is there, let's see if they can deliver.
3611147
It really amazes me how most people and critics would rate this record lower than Nervous Night and consider it a weaker effort. I am actually a rock fan and not much into pop music, that is probably why. To me this is an awesome rock record by great composers and musicians, lacking that 80's cheap poppy sound of their previous record, a much more mature work all the way. Songwriting here is simply great and lyrics are so clever, especially when compared to most successful music of the time... well... all times really. I can't see how this is an uneven record either. All songs are quite catchy but well crafted and meaningful at the same time, and the band experiment with different styles and tempo, all perfectly played, resulting in a very entertaining record from start to finish. Weird how they did not make it real big
4726796
I decided to check out this album basically on a whim. Never really payed much attention to the single on the radio, but I noticed some strong reviews for it, so I went out and bought it. I wasn't dissapointed. This is a very interesting and promising band, and its a very strong debut.

Comparisons are bound to be made about the lead singers voice, and while he does sound like other famous artists, I find his singing to be very strong and unique in its own right. All the songs on the album are very well done, and they are brimming with emotion and feeling. The only complaint you could really lay against this album is that it does sound like other bands that have come out in the past few years. While that may be true to a certain extent, all music is influenced by some other form of music in one way or another. And Evans blue just makes this kind of music very well. One thing I like is that each song adds something a little different or unique to it, so it never feels like more of the same.

Overall, I'm very glad I picked this album up, i'd highly recommend it for hard rock/alt fans. I look forward to see where this band goes from here.
4953455
At first glance, Linkin Park may look like your average rock-rap band.  However, they aren't.  The whole album is full of twists and experimentation, and they put a new meaning to the genre.  The songs are melodic, the rapping is actually good (especially A Place For My Head) and the lyrics are interesting, thoughtful and creative.  One of the best parts of the band is, however, DJ Joseph Hahn.  The turntable elements in most of the songs are fantastic and groundbreaking, and his solo track, the eclectic Cure For The Itch, is one of my favorite songs on the disc.  However, the best song on the CD is In The End.  It's got a haunting piano solo that weaves it's way through some amazing rap hooks before finally going into the breathtaking surge of a chorus.  Other standouts include the A Place For My Head and Crawling.  The latter blends synth pop verses with an onslaught of metal for the chorus, while A Place For My Head is introduced by a fast paced acoustic guitar solo and the launches into some of the best rapping I've heard (at least from a rock band).  If you're tired of the run of the mill rock acts out today, Linkin Park brings a new spark of creativity, experimentalism and I hate to say it, but fun to the genre.  Hybrid Theory is a must have.
3096001
Like the Strokes' first two efforts, "First Impressions of Earth" is a treasure that avails its gifts upon the third or fourth listen rather than immediate fructose for the ear. Guitarist Nick Valensi continues his impressive trajectory into the stratosphere of modern-rock technical masters with some fearsome and adventurous lead work - while complements Albert Hammond's Christmas-time chiming chords - and we are treated to the usual slightly off-kilter but rock-solid (and ever-hardening) studio consistency from bassist Nikolai Fraiture and the requisite drum machine-styled rattle from Fab Moretti. The songwriting has been urged up a notch in beauty and quality, and there are some great `70s AM-radio major scale resolutions and particularly phenomenal codas for the tracks. Many songs at first contact appear to be slow and calculated, but they reveal themselves to be just as artful as we have come to expect from the Strokes. Unlike those of their many college-rock imitators, the Strokes' new songs are all sophisticated without being museum pieces; the album consists of 14 living and breathing reptiles that will soon render extinct Franz Ferdinand, The Killers and the other Nu-Wavers. New producer David Kahne has somehow retained much of the band's NYC art-rock aesthetic while adding a welcome veneer of studio polish. Singer Julian Casablancas appears to have been successfully challenged to sing without his walkie-talkie-thru-a-payphone effect and brings out some towering performances that elbow their way up to the front of the mix.

"Juice Box" throbs with its nimble Munsters-theme bass line before giving way to traditional sneery Strokesian sections, a la "Is This It" cleaned up with a mop.

"You Only Live Once" sounds like the second part of a "Room On Fire" double-A side, replete with Cars-styled vocals and guitars.

"Heart In A Cage" rages into being with cascading scales from Valensi, and Casablancas' usual sense of lyrical frustration.

"Razor Blade" swaggers in with its lazy reggae beat, suggesting an even more tuneful sequel to "When It Started" from "Is This It." A fine candidate for the second single after "Juicebox."

"On the Other Side" is a stripped and tripped haunter with a soulful, meandering Sam Cooke chorus that will delight fans of "Under Control" from "Room On Fire."

"Vision of Division" rollicks in with rocking chords that suggest Gomez or Blur.

"Ask Me Anything is a grower" - the usual enigmatic lyrical fare from Julian (read: "Don't be a coconut, God is trying to talk to you") backed by an interesting Mellotron-sounding loop from Valensi in the background. "I've got nothing to say" lament gets a tad stale after the first dozen incantations.

"Electricityscape" is another dark-to-lit puzzler.

"Killing Lies" has the drone of a DVD menu left on by your lazy and asleep roommate, but has that cute video-game affectation that endears us to the Postal Service and Beck's Gameboy remixes.

"Fear of Sleep" feels like it was written with its title afflicting the author, but it really takes off with its "You're no fun" coda.

"15 Minutes" is another slow-burner that goes on for about as long as its title (or so it seems), but displays some nice twinkling arpeggios from the guitars and a NYC subway-paced ending.

"Ize of the World" kicks off with a metal meltdown like "Take It Or Leave It" and "The End Has No End" (from their first two albums, respectively) and then pushes and shoves its way into some friendly and messy CBGBs rock chords and the requisite catchy melodies. In fact, it would be comfortably nestled somewhere in the second half of either of their first two albums. Sounds like Albert stumbling thru the solo.

"Evening Sun" starts off with some old-fashioned Hammond - downstroking rhythm guitar - and hammering hi-hat from Moretti, all with a bit of the Nintendo chord changes we heard on "Killing Lies."

"Red Light" is an uncharacteristically cheerful romp that closes out the album.
1975306
I do like Tegan and Sara's songwriting skills. Voice-wise, they don't do so well; Sara's voice tends to be the worse one with its screechy undertones versus Tegan's usually calm sounding voice, though they can sing since Sara proves it when singing in one part of "Speak Slow". I have no idea why they usually don't sing that well.
Highlighting my favorites: "I Bet It Stung" is unusual in its mix of mostly music and few words; it surprisingly works out quite well. The slower and steadily paced "Where Does the Good Go" has its simplicity and an indescribable quality that makes it great. "Walking With A Ghost" is the amazing first single that got me to buy this album; its rock with fast starts and stops that make it instantly catchy. The catchy second single "Speak Slow" I loved before it became the second single; it strangely has similar qualities to "Walking With A Ghost" at the same time being distinctly different. "Wake Up Exhausted" has a nice fairytale quality to it, even though I'm not into fairytales, that makes it charming though it's still rock. "I Can't Take It" is a classic closer; slow paced and mellow it's good enough it doesn't need to rush.
2644257
A band that has achieved great success, with music style and song writing. This songs reflects good feeling and strong emotional connection.
3120306
Most folks who will stumble across this CD will either be a fan of 7M3 from back when they first released American Standard or wondering what happened to the band that wrote "Cumbersome" and "Water's Edge." Needless to say, this is an album that is for both of those folks alike.

I'll not lie and pretend to be someone I'm not or pretend to be a casual fan. I've been a fan since their first album, but I've been listening to the buzz about this album, and ever since pre-ordering it and receiving it in the mail the other day, it hasn't left my iPod or iTunes. It's an album that's just honestly that good.

Twelve solid tracks that mostly mimic the varying nature of their sophomore release, Rock Crown, the tracks blended somewhere between rock and acoustic feels. My fan-boy nature aside, this album struck me at first listen. I really didn't know what to think of it. I didn't like the flow from song-to-song, and I had to play it again. And on the second listen, I started to get it. I really saw the sonic landscape and it made perfect sense. This album isn't an album that you'll put in for instant gratification--no, not first listen at all--but this is an album that you'll put on to let grow with you. This is what an album should be and could be if more bands focused on their arts--strong collections of songs that you don't want to skip over when you come to them because they don't make sense to listen to in any other order; strong collections of songs that tell stories.

From the first single, "Last Kiss," calling out for remembering love gone by, with other rockers like fan-favorite "Was A Ghost," the rock on this album shines. Distorted guitars rip through, and the lyrics are sparkling above in every sense of form. Softer acoustic tracks like "Things I Stole" and "Hammer & a Stone" throw up the mix and help provide calmer elements to the album. The longing calming nature also is helped out by two songs that border along country sounds, "Upside Down" and "Dreaming Against Me." And long time live show favorites like "Break The Spell," "Strangely at Home Here," and "Dead Days in the Kitchen" receive sparkling live treatments here, shining through with beautifully imagined studio recordings. This album is a treat once you break through the first listen.

This album has been anticipated by fans and casual listeners for about half a year, and all across the country on Sirius radio and other outlets, the vibe behind this album has been very positive. I've been hearing radio reviews where the DJs have been surprised even at the songs. Some of the best songs of their career, this is not an album to pass up. If you even barely liked "Cumbersome" and "Water's Edge" and wondered what happened to those guys, seriously check out this album. I don't think you'll be disappointed.
4870004
The 1982 release of "Signals" by Rush was a departure from their heavier, harder rocking 1970s material.  The songs are leaner, with most in the five minute range and the longest at 6:22.  The sound is less guitar-centered, with Geddy Lee assuming a strong front-man presence with lots of keyboards and melodic basslines.  This does not mean that guitarist Alex Lifeson and drummer Neil Peart are left out.  Hardly, there's plenty of great instrumentalism by all three band members.  Peart's lyrics show growing maturity, with more focus on societal themes.
The sound also featured more polyrhythms and a "white reggae" approach used by "Zenyatta Mondatta" and "Ghost in the Machine" period Police.
I had just turned seventeen when this was released, and "Subdivisions" had a big influence on what I was going through at the time.  There are many lines I could relate to, in my own life and that of my friends.  "Nowhere is the dreamer of the misfit so alone."  "Some will sell their dreams for small desires, or lose the race to rats, get caught in ticking traps..."  A great take on teenage ennui.  The song has a keyboard intro and cool drum rhythm that changes tempo as the momentum builds.  The "subdivisions" voiceover is silly, but I like the overall melody.
"The Analog Kid" has some blistering guitar and bass work, along with Neil's usual rapid-fire drumming.  This fits the spirit of youth portrayed in the lyrics, dreamy and romantic and full of hope.  There is a nice counterbalance of stress as well.  Lifeson's guitar solo simply cooks!
"Chemistry" is full of relationship metaphors, but to be honest, there's no real appealing melody or rhythm here.  Not one of my favorite Rush tunes.
Then there's "Digital Man," and from the drum intro to the powerful bass and guitar line, this is an awesome song.  Probably one of Geddy Lee's best bass performances in the studio.  This has a cool reggae feel, with nice chord work by Lifeson, stutter-step beats by Peart, and lyrics of a man on the edge.  Where the "Analog Kid" was young and positive, the "Digital Man" is more jaded and cast in shadow.  Both songs make excellent bookends for a later song on the disk.
"The Weapon" is Part II of Fear, which started with "Witch Hunt" on "Moving Pictures."  I like the pounding drum beat, the twisting guitar and key lines, and the lyrical melody.  "And the things that we fear, are a weapon to be held against us."  This is fear within us.
"New World Man" is the middle of "Analog Kid" and "Digital Man."  This person is a study in contrasts, a world of gray and full of contradictions, which makes him interesting.  "He's got a problem with his poisons, but you know he'll find a cure, he's cleaning up his systems, to keep his nature pure."  This could be about a person or a country, or a continent.  It shifts all the time.  The music is upbeat, with more cool bass work from Geddy Lee.
A song of fading physical ability, lost dreams and diminished capacity follows on "Losing It" with a Hemingway-like character.  I like the electric violin solo.
"Countdown" falls in with "Chemistry" as lacking an interesting melody or rhythm.  A friend once called this "a long, boring song."  The song is about the launch of the space shuttle, and while the sound effects are evocative, like a movie soundtrack with some martial drumming, the song is kind of flat.  How about this cliche, "excitement so think - you could cut it with a knife."  One would expect better from Neil Peart.
For better or worse, this was the direction Rush was to pursue during the 1980s.  Credit to those who experiment and explore change.  I also like the humorous play with the cover picture and subdivision plan on the back of the booklet.  Rush always had clever liner notes as well.
4694491
James LaBrie's excellent solo project shows that he's more than just a phenomenally talented singer, but he's a solid songwriter as well. With Dream Theater, LaBrie's songwriting is rather undervalued among his virtuoso peers, but here you really see what he's made of.
LaBrie sounds excellent, visceral and strong and confident, far better than Dream Theater's Falling Into Infinity, which was released not-so-long before this. His emotional expression is also impeccable, which is one of the reasons I love Dream Theater so much. Nowhere is this more evident than on the nondescript ballads. Mullmuzzler's trips into the tunnel of love may have been awfully banal had the vocals not brought them up a few notches.
The impassioned opener "His Voice" shows the album's principal feel: melodic metal/rock with a progressive leaning. There's some great quirky moments, like the Zappa-esque "Beelzebubba," with its use of brass, and the audacious "As a Man Thinks," which features melody shifts aplenty, bombastic vocals, and thoughtful lyrics. The sentimental rocker "Guardian Angel" and the mini-epic "Shores of Avalon" are also highlights. Each song offers something different thanks to considerable variety and tight musicianship. Overall, a great disc for James LaBrie fans.