Profile: Followed by Ghosts

photo via the band's official site

Origin: Waverly, IA, United States
Genre: post-rock, instrumental, math rock

Followed by Ghosts was a band who quit last June to tackle other projects, but earlier this year, they announced that they're back at it. Still, cancelling their summer tour (save for one show) wasn't an entirely positive start. The good news is that they're taking the time to work on a third album. I do believe the band writes as a collective, considering the prolifically close debut and sophomore releases.

The Entire City Was Silent
July 10th, 2008

"Hymn of Twilight": I checked this earlier album out upon hearing (and loving) Dear Monsters, Followed by Ghosts's second release, so forgive my slight bias towards the latter. As far as diversity goes, The City is on top, but as exhibited in the sudden dynamic change at 3:15, not quite so polished. There's a difference between being raw and being in need of improved (or more often than not, additional time in) production. Unfortuantely, it was painful enough to turn my speakers down a couple notches.

"A Mirthful Experience": This album was allegedly recorded in various churches, which I don't doubt. In fact, it explains some of the balance and imbalance. Of all the times I've personally performed in churches, there was maybe once where the acoustics were decent. Generally, they're interesting and best reserved for live shows, in my opinion. Just like generic show venues where no matter how trustworthy your camera is, it never picks up clear, exact tones. Back to the song, I applaud drummer David Maixner's use of mallets and a marching snare in the midsection.

"Recording first album"; via Facebook

"Clear Blue Sky": One of the band's more popular pieces alongside "A New Dawn", comprised of that relentless mid-song acceleration, a spotlight on percussion, and constant instrumental changes. There's always something new to focus your ears on.

"Manifest Destiny": I suppose this hushed hastening is Followed by Ghosts's trademark. I'll stop complaining (however, I wrote up the tracks on Dear Monsters first, so there might be more there). Beyond the infamous you-know-what, "Manifest Destiny" is a short, sweet track, clocking in at 1:38. It's too quick to think about, so just enjoy it.

"City of Noise": Only slightly contradictory with the album title, I suppose this thoughtful track adds depth to the meaning of such a phrase. There are the shimmers of streetlights; jaywalkers rushing to hail twilight taxis; the occasional late night police/EMS sirens; a shattered glass bottle thrown out the window here and there; and the scheduled changing of traffic lights, though the intersection is empty. The rhythmic return of daylight commences at the 7 minute mark.

"A New Dawn": I'm not surprised that the favourite amongst fans, critics, and post-rock enthusiasts is "A New Dawn". The only song which employs traditional, unaltered piano, sandwiched between fuzzy screeching guitar and excessive crash cymbal.

photo via Facebook

"The Entire City Was Silent": Track opens with voices; some tinkering, then full piano; doors opening and shutting. Gorgeous string and vocal arrangements. Brilliant harmonies and a steady beat kept by something I can't name- sounds like a beeping button. I can't help but think this is perfect for those melodramatic movie/commercial monologues- a tip for you filmmakers. But it's pretty on it's own, too.

Purchase this album digitally on iTunes or via CD Baby.

Dear Monsters, Be Patient
October 22nd, 2007

"5:52 am": This hasn't been the only occasion I've been enticed and mislead by an opening track (proof). For the first 30 seconds, Dear Monsters, Be Patient is one of those bizarre-not-calming "Sounds of Nature" discs- I know, because there's a Morning on the Farm somewhere in the house. The remaining span is pretty in a Madonna's "Ray of Light" -vox way, but excruciatingly repetitive with its psyche buildups. Congratulations, boys, you have awoken the sleeping baby; now let us smoothly merge into track no. 2.

"Dear Monsters,": The atmosphere tenses in fuzzy dissonance before resuming another ostinato that subsequently leads into a more traditional guitar opening. My sarcasm in these paragraphs is wasted; rather, I've loved it so far. Especially now with the return of marching snare drum. Parallel rhythms create a tad much unity, but only for a short 0:12 at the end.

"Riga": Starting with unconventional tones and intervals may have lost listeners, but the ones that stuck around know that "Riga" is nothing usual. There's a gypsy feel to the main theme and I want to say there's horn instrumentation. Nah, it's probably just pedal or heavy effects. Or no, better yet, it's a melodica! Another gapless transition.

"Showdown At High Noon": Maixner took his kit out into the Sahara desert. His bandmates followed. The wind howls like coyotes at night. But the guitars are serenading the sun. Okay, winds pick up at 3:21; it's a sandstorm. 4:00 sees an increasingly frenzied run for cover.

"Discussion Among Men": Appropriately, this must be the ensuing calm after the storm. There's a lonesome quality to the melody, and the distant echo of percussion doesn't waver or strengthen until a third of the way through. Even then, it's mellow and complementary. The final third is in a quicker tempo, similar to "Showdown". I have to criticize the manner in which Followed by Ghosts execute these changes, though- they'd be less sloppy-sounding at a more gradual incline. It's like playing a slide note at the speed right now.

"All Is Lost": Another lovely, quiet, downtempo melody. The entire album possesses an entrapped energy, only made obvious in short spurts. Fading to nothingness at around 2 minutes makes this my least favourite track on the album. Instead of providing interest, I find it an uneventful lull in the music. The last minute is a chime-filled lullaby with string-like phrases that are about to break into a techno-"Ave Maria" anytime now. Naw, I'm just playing with you.



"Be Patient": The second title track is blessedly percussion-driven, something I'd like to have heard more of, along with anthemic, headbob-allowing guitars. Borrowed straight out of a pop punk bible, no doubt. But to no one's surprise by now, the track is a symphony, sectioned off into movements. Sleigh bells kill the rocking second movement at 3:00, then disappear into the buildup towards the third movement: a grand all-encompassing, busy wall of sound. Then it breaks into a canter at 5:23, easily identified as the liveliest part of Dear Monsters, Be Patient. Yet another one of those accelerated racecar finishes. Ooh, followed by birds! They've come full circle.

Purchase this album digitally on iTunes or via CD Baby.

photo via Facebook

They draw upon more classical techniques (whether they know it or not) than most instrumental rock groups. LIYL Explosions In The Sky, This Will Destroy You. Development is inevitable, but this next album had better be good. Y'all brought this one upon yourselves by cancelling dates!

Followed by Ghosts is Daniel Payne and Mitchell Avery (guitars), Jordan Bancroft-Smithe (bass), David Maixner (drums).

EDIT- I just received an email from David, explaining the tour cancellation. Here's what he and the band had to say about it.

Canceling tour was a very hard decision. This year was extremely hard to get any responses out of venues, promoters, or even bands. It was quite odd. So it goes without a label or management.

Fortunately, we are using the time off work to complete our album. Let me tell you, we are really excited about this one. It's a bit different, but we're totally psyched.

And Then Adversity Persists (1998)

I have several confessions to make before I begin:

I'm sixteen.

I have an exam in an hour.

I am notorious for tagging along with Mommy on shopping trips and spending hours sifting through the electronics department of the local Zellers or Shoppers Drug Mart.

It's a huge, efficient waste of time, but I've found gems like Guilty by Association (2004, State of Shock), the following, and the no-longer printed Stutterfly debut for less than $6.

(c) 1998 DeMuzik Entertainment

Genre: industrial, synth rock, electronic, alternative

"... And Then": The intro piece begins with generic synth, a sci-fi movie sort of sound, layered beneath warped speech.

"Adversity Persists": Is actually very strong, once again a soundtrack to an action movie (choc full of fast black cars, spies, and mindblowing gadgets). The vocals are reminiscent of a breathy, calm Trent Reznor. "Fantasize, I think I know your name", John B. Simon (under the moniker, Seven Theory Nine) screeches in a whisper.

"Eternal For Now": There's no coincidence And Then Adversity Persists was constructed during the peak of industrial in the mid-90s. If this track weren't so successful in replicating NIN sounds, I'd write Simon off as a wannabe. However, in addition to the progressive, spacial atmosphere lifted from the Cleveland scene, "EFN" possesses a glorious bridge section. The vocals shoot an octave at about 3:20, followed by an impressive interlude. And he's clever enough to end it on that high note, without bringing the chorus back for another round.

"Last Candle": Upon a :45 minute modified bass-riff of an intro,

Say, what you wanna say, to me. To me.
Do, what you wanna do, to me. To me.

Filthy syncopation ensues. My god, do I adore that bass ostinato- it's not even complex, just effective in paving the groundwork for Despereaux. Brings back the voice from "... And Then" briefly.

"Under Down Under": The intro, which is strangely ingenious. Otherwise, this minimalist movement is casually underwhelming down under at first listen. There's a soaring string melody, ending prematurely at 4:00, where the remaining minute-and-a-half is heavily rhythmic, but nothing more. "Weird".

"The Burden of Truth": Familiar sounding mid-section siren. Perfect ambiance vibe for our spy-action flick/much-anticipated stoner party. Its one lyric is slightly destructive/destracting, though.

"Sustained By Her": Another good riff provides melodic interest halfway through the album. This track is much more rock-orientated, calling to mind Moist, Deftones, Tool, etc. Minus any screaming, of course. It's open to discussion whether this is a love song or a drug song. Beautifully dissonant piano ending.

"Sad But True" (mp3*): One of my personal favourites. "Sad But True" has a windblown sort-of theme. It's difficult to describe, but take a listen yourself. Simon's poetics, though taking the backburner in this project, are first-rate.

[Flash 9 is required to listen to audio.]
"Subsequent Behavior": Straight from the liner notes,

I love that thing I love that thing I love that thing you do why don't you do it to me? do it to me.

"Numb": Lyrically, there is a connection between this track and "Last Candle". Artistically, the highlight is Simon's photography subject. (My scanner isn't working, so here's a blurry photo instead.)

An iron? Really?

"Bet You Can't Say That Again": I feel as if the buildup on "BYCSTA" is slightly off-tempo. Although it's probably intentional, it's unaffecting all the same... my ears are simply not in agreement.

"Easy Damage" (mp3*): For a record that is already heavily rhythm- based, this percussive track takes it to a new level. The stops, scratches, and fluctuating dynamics are golden, not to mention the exceptional opening verse and its fourth line repeated throughout.

Delivering our shit into a new age
Delivering our shit into a new age
Like children defecating in the shrine
There's no such thing as easy damage
Thank you

"Comfortable Sorrow": In contrast to its predecessor, "Comfortable Sorrow" is toned down melancholy with those same throaty vocals as on "Adversity Persists". I think this is about as tame as Simon gets. Surprisingly, there's a symphonic Eastern-pop sound to match the acoustic strumming and downbeat rimshots. Nonetheless, its absurd misplacement wins the "most-alluring" title. Who knew, eh?

"Until Hope": Dino Pacifici, an ambient musician from Montreal, contributes to this 10:22 composition of dripping-tap torture turned metallic bliss. (The only entirely instrumental tune.) Canada represent.

*currently seeking to authorize the distribution of these mp3 files. If the owner of their rights would like to see them removed, please contact me immediately.

I'm also currently in the process of finding some of Simon's more recent undertakings. From dancehall interludes ("Under Down Under") to rock infusions ("Adversity Persists", "Sustained By Her") its synthwave finale ("Until Hope"), And Then Adversity Persists really is something.

LIYL Nine Inch Nails, Depeche Mode.

Brighton's Mirrors release debut album

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Release date: February 27th, 2011
Genre: electronic, alternative rock, synthpop

Isn't it nice to know that Lights and Offerings was created in a hippie camp? "Completely self-contained and locked away in a room full of sleeping bags, old synths and supplies of food and other consumables dropped off by their label, [Mirrors] recorded the album in a month during early Summer 2010." The band's hometown launch was last night.

"Fear Of Drowning": An ostinato to start, catchy in breif but neither happy nor sad. Synth and whale noises/"Helena Bonham Carter in Fight Club" moans soon layer with percussive elements. The repititious loops are not very exciting until after the bridge, where the things pick up.

"Look At Me": Overpowering electronic accompaniment destroys this song. However, to their credit, there are some fantastic motifs and stand-out moments weaved into the dusty (not quite murky) ambience.

"Into The Heart": There are some seriously eerie parallels between this number and Mobile's "Dusting Down The Stars". Unintentional, of course; I doubt either's heard of the other. In contrast to both the previous songs and its coincidental soul sister, "Into The Heart" is much more energetic and danceable. A predictable crowd pleaser.

"Write Through The Night": Being a nocturnal writer and all, I really like the lyrical concept. The fact that it's minimal background goes perferctly with James New's showcased melodic vocals.

"Ways To An End": I feel as if I've just discovered a younger, less murky Depeche Mode.

"Hide And Seek": Another early single, like "Ways To An End", the song takes on the sound of a lover's ballad... you know, as much of a ballad as one can probably force upon these guys. The words suggest themes of self-discovery. The synthesizer is, well, the synth is happy.

"Somewhere Strange": This is one of those pieces that place its listener in a euphoric state- which at this stage on this record, you should already be in.

"Something On Your Mind": Brutal and honest, the lyrics in the second verse complain: (I find "can" considerably tragic and relatable)

Living all your dreams to fall behind
Didn't you say,
"You can (can't?) make it without ever even trying"?

And while these things can go brilliantly either way, the repeated line of "there's something on your mind" is positively brilliant here.

"Searching In The Wilderness": Jumping right into the jive creates a smooth contrast with the preceding track. Compared to the highlights of the album, I don't find this track anything remarkable.

"Secrets": Waoh-waoh; the 10 minute and a half finale is slow progressing. A work of art, I strongly believe, with electronic spasms echoing guitar anthems on a fluttery base. If one's to win you over, it'll be "Secrets". Annoyingly enough, the magnificence is specifically "Album Only" on iTunes, where the record label is asking an inflated $1.29 for every other track. The solution? Buy a physical disc.

Lights And Offerings is a very fun album that I'm happy to have been notified about in advance. Post-punk and goth tendencies reveal appropriate influences, but depth of that level is not achieved. I'm grateful to have taken a fancy to "Ways To An End" prior to sampling the album, else I would've given up after the first two tracks. Front loaded, it is not.

Part of me expects to hear beats like "Into The Heart" and "Somewhere Strange" when at an obscure indie club, part of me would disown the idea and use them in a film' and vice versa. I marvel at the group's confidence in their isolative recording methods. Now's time to consider where their artistic concepts was conceived.

photo from Mirrors on Facebook

Detroit, MI's Dre Carlan debuts solo work

visit his bandcamp

Release date: January 28th, 2011
Genre: acoustic, alternative rock

"Whatever Happened, Happened": Begins with a short, spoken announcement- "what is freedom? What would we have to be like to have free will?"- it's a provocatove opening, given you allow your ears to hear it. Vocals enter at 0:30, a hint of monotous drone which I can't confirm to be intentional. Accompaniment swtches between tangy guitars, and sparkly chimes. It's a pretty arrangement a la Mark Kozelek's Sun Kil Moon or the Nashville duo Strays Don't Sleep. Sweet lyrics on a fading repeat make the closing particularly amiable.

"Rewaking to Realize": The continuous strumming guitar is made interesting by distributing volume balance in an unpredictable pattern and the vocal harmonies are lovely. Dre Carlan isn't of any particular talent, but that of putting together an awfully good track. Without percussion, there's a vulnerability to his sound; his voice holds a meloancholic tragedy- almost as if he were mourning a loss of relationship, thought, or possession.

"The Ash It Rained": At this point, I'm undecided whether the amateurish vocals tamper with the overall effect or are actually a blessing in diguise. If there's one thing to be warned against, it's to not expect much from the execution of the vocals. .DC I is stripped down, exposed, especially "The Ash" with an abrupt ending.

"Cosmonaut (At the Drive In)": Carlan's really pulled out all the stops on this one. Hands down the prettiest song on a very short, but pretty EP.

I applaud Dre Carlan for his refreshing tone, very well-thought out and recorded with minimal equipment. The first of a hopeful series of releases, .DC I is far from a solid package; at the same time, it's also far from the commercialized, refined sugar we're fed everywhere we turn our ears. If you're looking to add depth to your library, I strongly recommend it.

Crash Parallel's Sunset In Reverse

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Release date: February 8th, 2011
Genre: alternative rock

Well, so much for being busy. Beautiful local music is such an inspiring thing, much more exciting than any science concept or law case. I warn you, the length of this upcoming review is exceptional. But the album is deserving.

"Wake Up": Oh, lord; it's 2008 all over again- Tim Edwards's voice has not changed at all. The opening lyric starts with "so", so predictable. I wish the track had a stronger sense of tonic to stabilize the chorus, but besides that, I find it reminiscent of Three Days Grace's closing track- "Life Starts Now". Only lyrically, of course- calling for the listener to "wake up, for the very first time to something special" because "it's the first day of the rest of your life". By the way, Rob Benanzon? You're presence has been severely appreciated.

"Fight Through It All": I'm sure that it seems wish-washy and generic at first, but up close, this song is not thoughtless at all. A little bland and uneventful, perhaps, but it succeeds at all the adult alternative brilliance that is Crash Parallel. I don't know of many other bands who can take a theme such as inevitable death without sounding like an adolescent strain of emo.

"Disappear": Like World We Know, the unity of Sunset In Reverse is obvious; I mean, it's almost essay-like. The percussive stubbornness enforced by Jon Fedorson is a welcome new feature, albeit obnoxious at times. I honestly can't tell if Edwards's sings has own chorus harmonies, but I'm a fan of whoever does sing them. Although I was previously unclear of this, these guys are 100% aggressive piano rock. (On the other hand, I suppose you could also call it passive mainstream rock.)

"See Right Through Me": Unfortunately, there's another Canadian band with a great track of the same title- they're called Mobile. Unfortunate, because I tend to compare songs of the same name. This was disastrous in 2007 for Hedley, who'd just released "Never Too Late", thus removing any chance I could've had with them and their scratchy, commercialized... stuff. Now, the Mississaugan "See Right Through Me" is considerably more repetitive and cheesy than the Montreal "See Right Through Me", but it's not bad. It carries a natural catchy sweetness, and I wouldn't have imagined some of the vocal phrases, but hey- they went there.

"Want You More": Haha, this track- I remember it (and its appalling artwork). What can I say, it's got a funky lilt to it that is new from the (now) quintet. Country is still a far stretch, but the influences are definitely noticeable. Just smile; I know you can't help it, either.

"Still Won't Let You Go": Another vocal opening; the distinctive characteristic of many piano-rock styles is that the accompaniment is merely an accompaniment. There are not stand-out instrumental cadenzas, no addictive bass line. (Ooh, exception: "Mountain Man" by Crash Kings? Yes.) This characteristic also renders an album disengaging after about 15 minutes, so the tentative, soul-scouring falsetto on this track is an instrument I've latched onto to provide some variety.

"In My Bones": A little forced, but I'm liking it. Despite the simplicity, there's a little more oomph in the drumbeat and bass. A guitar ostinato can be heard (I think, or at least imagined) throughout the choruses, getting a little spotlight at the end of each.

"In Your Eyes": Poetic relationship between the two song titles, huh? Edwards's ventures into soft vocals on this one, as well. I've decided to like them as they don't hold that slight, recognizable flatness off his regular tone. Dan Saitua's got a nice guitar riff going on in this one, too... shame it's not more frequent. The song sure is long enough for it- "In Your Eyes" nears five minutes, the longest on the album.

"Changing The Weather": I've already talked about this lead single, because it's been out for over a year now. It never got much- if any- airplay, which I hope it does upon this release. Re-release it, for heaven's sake. It's listenable, very radio friendly, and would break into the pop accounts in a similar fashion to Vancouverite State Of Shock's "Money Honey" did back in 2007.

"All Around": This, apparently, was also released early on in the production of Sunset In Reverse, though I believe it was also removed early on from iTunes and other music sites. So this is the first time for me hearing it for more than 30 seconds. I can see why they changed their mind about it, as well; overall, "All Around" is all-around sound. (Actually, it sound like it could be from the "Love, Actually" movie.) But there are definitely better single choices on the album that represent the band and their music better. This would've been misleading, in my opinion, because it 's different from a lot of their other material and there isn't a demand for diversity, there's need for a good return single.

"Is Everything Alright": I wonder what the lyrical inspiration for the song was; I imagine there may have been an injured relative/significant other/friend. I'll comment briefly on the detached, staccato bridge; I think that's been the most contrasting moment in the entirety of Sunset In Reverse. They chord progression on keyboard is detached throughout, but it's most noticeable when joined by the vocals.

"Sunset In Reverse": Crash Parallel just rip themselves off? I got momentarily confused before concluding- it's a good chorus; the instrumental accompaniment is entirely different; and who cares if it's similar melodic theme? If I had to choose one from the last album, that would be it. And, we finally get that guitar solo finish we've been waiting so patiently for. And fuck, we want more of it. No pressure, dears, but a note for your next release.

From left: Dan Saitua, Jon Fedorson, Tim Edwards, Gary Rugala. Not pictured: Rob Bezanson. Photo by Claudia Matteau of Live N' Loud.

Adelaide, Australia's Brazen Kids Of York

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Release date: February 25th, 2010
Genre: alternative rock/pop, indie

"Sleepy Disco": From the start, you can tell it'll be a good one; Brazen Kids Of York are the real thing. The We Live Forever EP doesn't sound the slightest bit like a mediocre home production. The bassline of "Sleepy Disco" is glorious, coupled with controlled, upbeat percussion. Vocals are very British Sea Power-esque.

"Crybaby": Is that a woodblock at 0:04? I'm in love. The song makes me think of an impromptu setup at the end of a pier on a hot, sunny day. Clever lyrics state: "lighter than a feather, thicker than your leather" and "I televise my issues on a box of tissues, my little box of tissues". Apart from the lyrical theme that supresses such, "Crybaby" would make a great beach party tune.

"Thieves": A catchy opening, which I'm sure is present on every song. Cute; they've used Ben Lim's nothing-crazy-spectular vocals extremely well and in the right design, thank goodness. (There are so many groups where this is not the case- cough, Paramore.) The tradic cadence is a nice closing.

"We're Young": "... and we don't have a lot of time." I generally prefer when every line begins with something other than "and", but they break out of it after the first verse. I think this song is as much of a melodic ballad we'll receive from BKY at this time. It's at a slower tempo, featuring a confused computer-generated sound at 2:30. Nonetheless, it makes for variety and only seems out of place momentarily.

"In Cold, In Mould": I have to say, of the six tracks on We Live Forever, "In Cold, In Mould" is my personal least favourite. And I still find it fantastic. Specifically, this song is stripped down and serious (almost). I'm going to compliment the accompaniment. Again. They don't overpower, but they don't hold back in an unstylistic way. (The EP's title lyric was borrowed from this track.)

"We Don't Know Our Names": Immediate favourite. Beautiful keys on this devastatingly short outro.

We Live Forever is absolutely worth more than what it can be downloaded for- uh... nothing. But do the Kids a favour- spread the word. Now go check them out; you won't regret it! LIYL French Miami, Los Campesinos!, Born Ruffians.

Ben Lim (left), Andrew Begley. Not pictured: Jack Alexander (guitars).

Welcome to the Masquerade

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Release date: September 8th, 2009
Genre: hard rock, alternative metal

I've always been a big fan of Thousand Foot Krutch. Joel Bruyere, Steve Augustine and Trevor McNevan are true veterans when it comes to Christian rock; I wouldn't be surprised if they were one of Tooth & Nail's best and longest investments. I know every song, music video and album I've bought from them are.

"The Invitation": Nothing special about this intro track, but at least it follows suit with the musical style of the rest of the disc.

I'm not afraid
I'm not ashamed
I'm not to blame
Welcome to the masquerade.

"Welcome to the Masquerade": Let the insistent rhyming begin- McNevan and Ben Burnley (of Breaking Benjamin) share an interesting songwriting trait in that obvious technique of short, short phrases. While it does sound forced, it doesn't sound bad.

"Fire It Up": Nickelback-esque. Not in a derogatory manner, but simply because of the rock-anthem guitar. Released to mainstream radio, appropriately from the lack of straightfoward meaning in its lyrics. Catchy, though.

"Bring Me To Life": Another commercialized rock song, although "BMTL" returns to TFK's nu metal roots. While Welcome to the Masquerade was meant to stray away from pop; it doesn't quite sound as though the band has achieved that. They're moving in the right direction, specifically in the vocally forced bridge. The chorus really softens the entire song, making it radio-friendly.

"E is for Extinction": This is my favourite song on the album. Light, falsetto vocals at the start and a cyclic riff add depth. The tone is set at 30 seconds in, where the rock-garden sound is abruptly interrupted. Still going nowhere stylistically, the riff is probably the only reason I'm drawn to this song.

"Watching Over Me": A slower ballad, exposing McNevan immediately. The change is substantial when comparing this track to "Breathe You In", another ballad, from 2005's The Art of Breaking. His tone is that much more mature, less whiny and pitchy, and Augustine's drumming is to be praised as well.

"The Part That Hurts The Most (Is Me)": An easy-to-relate song, about what seems to be a dysfunctional relationship. Whether it is a literal conflict of person vs. person, a religious, metaphor, or person vs. society is left to interpretation. Strangely, I don't find that there is a distinguishing "this is TFK" ring.

"Scream": Between this track and Tokio Hotel's of the same name, I prefer the latter.

"Look Away": A sweet ballad, in which for the first time, Thousand Foot Krutch sound like a pop-punk-boy-band. The piano interludes are gorgeous, along with the string arrangement, and one has to forgive them. Look ma, my favourite pop-punk-boy-band song isn't even by a pop-punk-boy-band.

"Forward Motion": Symphonic sounding and pretty much rock solid. This album is really just making me visualize boulders and stones. If the guitar on this track were given a little more light, it'd truly be huge and epic.

"Outta Control": What this release is lacking? Rawness. There's no grittyness like there's been in the past, only the occasional refined, rock-sugary Chad Kroeger scream. Does refined rock sugar even exist?

"Smack Down": I don't like this song. Maybe it's a girl thing, but this song is overly macho from the start before it suddenly drops into a "We Will Rock You" clap. In my opinion, bass presence is scarce throughout the entire album.

"Already Home": I complimented them on the string earlier, but the opening of this is a little too much. It sounds like an orchestral piece. Pretty, but not ideal... the phrase holds true for all of Welcome to the Masquerade. I suggest listening thoroughly before you buy.

Swim At Your Own Risk EP

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Release date: December 28th, 2010
Genre: alternative rock, pop punk

"This Love": For a self-proclaimed high school pop punk band, there is a surprisingly distinct glam-rock ingredient to the group. From the start to finish of this EP, Say Silence experiences an unfortunate gravitation towards generic pop punk. While "The Ride" is good, it doesn't render nearly as unique as "This Love" or "Caged In".

"Caged In": This was the first song I heard by the Maryland fivesome. The funky, metallic guitar and slower tempo make it my personal favourite on the self-produced release.

"Be Careful What You Wish For": Although the accompanying bass and drumline are at a frenzied speed, they don't distract from a wonderful opening and pleasant vocals. The bridge employs an interesting use of (presumably) computer-generated effects.

"Tonight": There's some use of echo effect on this track, which I've never been a fan of. Otherwise it's as sweet as vocalist Kenny Clarkson's genre-specific whine can get. The guitar refrains get a little repetitive but are well executed nonetheless.

"The Ride": Resilient crash and ride cymbals force the vocals into a rather insignificant state through the verse. The line "thrust into a cluster of vivid imagination" is the only that stands out and the entire song has a vibe similar to Good Charlotte. The highlight is definitely the instrumental interlude during which the sparkly cymbals diminish to a basic, feel-good rhythm.

Exposé: Apostate's "Seaborne" EP



Origin: Prague, Czech Republic
Genre: progressive metal

I listen to a wide variety of eccentric music. At the same time, though, my repertoire is full of Vertical Horizon and Lady GaGa amongst others. Light-hearted indie is my recluse, but when it comes to heavier genres, certain pieces will trigger an instant connection. Released last Tuesday, I know Apostate won't be for everyone.

buy on iTunes

"Paragraph": The introduction begins appropriately with the sound of waves, as the EP is entitled Seaborne. I don't usually analyze minute-long overtures, but this was the track that ultimately turned my decision in favour of the group. It reminds me of In Flames older string arrangements, a distinct feature of many melodic metal bands. The transition into the raging guitar of "Omit The Words" is flawless.

"Omit The Words": The one thing European metal does best is the use of the English language. Any accents are extinguished in the duration of prolonged screams; the vocals are left sounding refined and sophisticated. Very little strain is apparent.

Take a moment to cherish something
that you always had felt, but never appreciated.
Were you too afraid of losing "independence"?

"False Footsteps": (A wonderfully angsty "who's your god now?") For an unsigned production, all five tracks are very clean and exhibit great musicianship. Both Alex and Nikki's guitars are perched cautiously atop a confident, unwavering drum line.

"Numbers Are Going Down": This ridiculous, straight-to-business opening is a head-on collision. Although the vocals on this track are the hardest to decipher, Anton has sacrificed no metal mentality in order to keep his vocals unfazed in comparison to other bands in the same genre.

"Raised On the Blood of Heroes": Taking it back a notch, I still wish there was a little more electric bass presence. "ROtBoH" explores different components of the accompaniment, while being no less impressive than the others. Personally, that sudden switch at 3:43 is the highlight of the entire EP. It leads into a powerful, choral, shout-sequence and concludes with a repeating chord on the keys.

Only the second entire album ever purchased by me on iTunes, there is little to criticize. I see a whole lot of potential in these five- Alex, Anton, Fedor, Nikki, Vlady (I can't seem to find full names), and if you happen to be in Prague this upcoming weekend, their release party is at the Chapeau Rouge.

visit their MySpace / follow them on Twitter

This is a post about two silly musicians.

Dan Auerbach (left) and Patrick Carney.

Origin: Akron, OH, United States
Genre: alternative rock, blues, roots

What is it about these guys that make them so lovable? Brothers is not my idea of a good album and yet, it is. It's funny, original, and paints smiles on sad faces.

Until the adorable "Tighten Up" music video (yes, I'm aware of the original version), I didn't think much of them. I thought the album art was boring and that they were some kind of straight-rock type group. Well, thank God for alternative radio- for introducing me to this phenomenon of The Black Keys.



buy on iTunes

Brothers May 18th, 2010

recommended tracks

"Everlasting Light": Usually I would advise against clapping, but it works in this track. Instead of being ear-splitting or distracting (okay, it's a little distracting when you focus on it), Auerbach's vocals are accompanied in a similarily obnoxious manner. Add in the rhythmic "shh"s... you've got yourself a solid opening track! Basically, "Everlasting Light" is obnoxious and that's why I love it.

"Tighten Up": The lead single of the album is one of my least favourites lyrically, but catchy. Insistent tambourine and an engaging guitar riff are the culprits here; not to mention that whenever I hear this song, I think of the video.

"She's Long Gone": Soulfully executed, she is.

"The Only One": There's a sense of spaciness which contributes to the fantastical mood of this song. It's a soother of consonant melodies injected with a couple interesting progressions. Whether intentional or not, the lyrics almost seem to be whispering, "you're the holy one".

"Sinister Kid": Two vocal styles are employed through the album. A falsetto-like airy tone and the nonchalant head-bopping chorus. Featured in these 3+ minutes are the former. Really, this was the song that made me reconsider the cover art.

The Illusion of Progress

buy on iTunes

Release date: August 19th, 2008
Genre: alternative rock

The release that was deemed the worst effort we've seen from Staind has its ups and downs. A bad effort? I didn't find it so. Is it the illusion of progress? No, the band's sound is progressing- just not in the way their fans thought ideal.

"This Is It": Starts the album off strong, with fairly provocative lyrics. "Here we are; there's nowhere else to go..." They're really thrown at the listener in a rough, gritty manner. One of my favourites, long as I don't tire of Aaron Lewis's overly strained phrases.

"The Way I Am": I'm in love with the intro to this song, especially after the opening track. We're reintroduced to the familiar voice and annunciation. While the guitar riffs are heavy, the other components to the song maintain an uplifting motion that lingers through the entire album. In contrast, the accompaniment cuts away at the bridge leaving the vocals vulnerable and exposed.

"Believe": When this single first came out, it was a friend who introduced the video to me. I can recall trying my best to adopt the sweetness that wasn't meant for this post-grunge destruction. A few weeks went by before it grew on me, but it did and that's what counts.

"Save Me": Taking on a much slower tempo than its predecessors, drummer Jon Wysocki's executes his part tastefully while being strictly controlled- you can sense it. Somehow he always turns simple rhythms into a work of art. I adore Lewis's soft falsetto towards the end between his frequent "for the fuck of it"'s.

"All I Want": So far I haven't noticed this lack of heavy rock, but this would be it if I had to pick one track. "All I Want" is severe; it could easily have been written and recorded by any straight-rock band. There's no subtle darkness or other defining Staind characteristics to be found.

"Pardon Me": I'm not a fan of the echoing vocals here- it falls short of syncopation and there is too much delay to be in time. 5:03 minutes of staying unchecked in my library.

"Lost Along The Way": A nice guitar melody to begin with, setting itself by repetitions. The accompaniment plays as an equal to the vocals, even at the bright chorus. (What enlightening lyrics, too.) Actually, I might say that the lead guitar is highlighted in the latter half of the song. A solid keystone to hold down the fort.

"Break Away": Why does this track remind me of Linkin Park? Oh, must be the spontaneous drops and the metallic transitions along with a ripping Chester Bennington pre-chorus. No, I'm not kidding- if asked to represent the band, do not choose this track. Otherwise, it's pretty cool.

"Tangled Up In You": This acoustic piece is so unexpectedly beautiful; I was not aware that they had it in them. Thank you, for contradicting everything Staind I enjoy and adding some welcome interest to that limited collection.

"Raining Again": I'm a little disappointed in the chorus. Just when we thought they were taking a new direction, the melodic theme takes an illegal U-turn right back towards generic ground. Oh, and what's that confused riff doing at the one-minute mark? It sounds suspiciously Breaking Benjamin-like.

"Rainy Day Parade": Apparently the memo about similar song titles on the same album was disregarded. However, this beats the absent originality in "Raining Again".

"The Corner": I was waiting for the riffs to enter, but they never did. For a moment of panic, I thought of country music. The rhythmic drumbeat saved me but that choir(?!) isn't helping.

"Nothing Left To Say": This entire album has a fair balance of grunge and classic components and a few quieter ballads. The fault is the same as past releases (or any post-grunge for that matter). The nature of such classification dictates raw angst and sacrifices refined emotion. "We've taken what's been given and we throw it all away."


The band is currently working on a 7th title. (official site)

California's Secret Freelance: Signal Hill

If you've followed this blog long enough, you'll have noticed my weakness towards well-produced instrumental tracks. The genre is enchanting, vulnerable, and fascinatingly human. Admittedly, I've wondered about the type of atmosphere at live concert; it wouldn't be much more than a chillout, would it?

(from left: Dave Masters, Brian Vasallo, Tim Cooper, Rishi Arora)

Origin: Los Angeles, CA, United States
Genre: instrumental, indie, post-rock

Seven years young, the current lineup Signal Hill was conceived during a M83 show. (You have to expect something good from that type of inspiration.) They've released two EPs, a full-length album, and a collection of live recordings since then, as well as working on their own separate projects.

(buy on iTunes)

self-titled EP
February 10th, 2007

"Standby, Sir": Tim Cooper's light, strategic syncopated drum rhythms steal the spotlight. There is no turning from the close-minded root canal of that guitar pitch and atmospheric suspended cymbal seems to have become a defining characteristic of the group's music. It can be a little overwhelming on occasion, but personally? I'm not complaining. "Standby, Sir" will either give you one hell of a headache or a soothing ambient background.

"Los Federales": Once again, I'm loving the drumming techniques employed here. Its melody gives off the essence of joy, while an underlying harmony suggests otherwise. Very clean guitar is the feature of the song and the countermelody is wonderful. Around 2:30 comes the variety at a much needed time. The bridge might just make this my favourite of the bunch, before it reverts to the main idea.

"Celadon": A soft, friendly track with no obvious destination. Conjunct, melodic themes are presented in consistently rising and falling dynamics. Think waves. Not the ideal track to listen to with a friend, unless that friend can tolerate a multitude of musical styles. I'm not a fan of the fade out at the end.

"A Series of Trills": Beginning with bird sounds, I'm afraid that they've lost me on this piece. I mean, if you're into nature's music, by all means, but- it is nearly half a minute before significant musicality develops. Animal produced effects have just yet to impress me.

"This New Year's Absence": I got lost in this one (in a good way, of course). The introduction is sparse, with flowy electric vibratos. Gradual drums enter at the one minute mark. The repetition and continuous suspended cymbal make for a haunting effect. A progressive-sounding track that loops beautifully. However, the speed of this progression is rather limited.

"California Is Too Long": Further dissonant harmonies in the start are a noticeable change from the general constant sound this EP has provided its listener with. "CITL" has been the most promoted song of the six.

(buy on iTunes)

More After We're Gone
June 9th, 2009

"The Dead Vineyard": I adore the exposition of this track and how the different layers add to it instead of diverging. A strong harmonic unity is created, following the repeated theme which doesn't change until well into the song. Even then, it is a variation on the starting theme with a more hollow, inward sound. The texture thickens eventually and concludes abruptly with a sudden dispersement.

"Intelligentsiya": An interesting accent is deployed on the offbeat without delay. The interesting part is that it seems to be misplaced. But this is instrumental post-rock, so we'll disregard and learn to embrace the absurdity. At 2:45, the lowest pitches I've heard in Signal Hill's recordings sound. (I'm definitely embracing those.) Finished with a powerful, percussive ending.

"Luna Park": For some reason, the title puts this track instantly on the upper side of impressions. The track itself? Not so much. The first minute or so holds little excitement. The first well-stated theme is at 1:30, punctuated with resounding chimes. The great thing is that all of their songs have the potential to act as a bridge to any classic rock piece, but they're full-length or longer!

"Men Before Them": One of the few that fall under three minutes, "MBT" seems to be a transition piece. I swear I heard voices, too... yes, there's distorted speaking/whispering in the second half.

"Floruit": I'd like to praise Brian Vasallo's keyboard playing, although sometimes I really can't tell if it's keyboard effects or heavily-modified guitar. Some heavier riffs are used midway through; I was almost expecting melodic screaming to ensue. Another surprise is the intensity drop just after the halfway mark, followed by- quite literally- a three minute fade.

"Stunning Clarity": Self-explanatory via the title. Charming and sweet. Sometimes a little shrill in comparison to their other tracks.

"Men Before Us": I won't go about assuming that this song and "Men Before Them" relate in any way, but if they do, there is very little obvious correlation. What I can imagine is combining the two to create a woven polyrhythm.

"Eternal Return": A slower, short melodic movement. Although clocking in at just over two minutes, it's taken a mind of its on during such time and cannot be considered a transition.

"Llangollen": Possessing very little thematic direction, this stretch of songs are the fillers to me. The buildup that occurs in latter portion is dramatized by the overall softness, but becomes redundant as a result of its slack pace.

"Afternoon Lull": Enters as a continuation of "Llangollen" and has a morning feel. A soundtrack for dawn. That wasn't quite long enough, but good while it lasted.

"A Secret Society": Oh, the intro is quiet; I almost missed the entire first minute. It's quiet, but spectacularly moody. I think I can safely name this my favourite part of the album. The offbeat rhythm adds colour and interest to the continuous upper notes. 2:55 and 3:30 see slight changes and slice this flow. Fifteen seconds later after each disruption, it's as if nothing ever happened. The entering guitar riff near the end is relatively divine. So, yeah- appropriate title there.

"Our Sisters": Deep tones and faster escalations make for a breathtaking outro to a time-consuming album. More After We're Gone is definitely worth what you paid for it.

buy on iTunes

Distance
July 20th, 2010

"Freelance Forest": There is less progress (considering less time has passed) between MAWG and this Distance EP, but an immediate difference is the prominent bass line in the opening song. They are a definite improvement to the general effect and vibe of Signal Hill's music, absolutely gorgeous, and ought to be exposed more. Where have those low tones been this entire time?

"Paper Airplanes": Okay, this track is definitely guilty of borrowing from "The Dead Vineyard". The opening themes are distinctly similar, albeit equally effective. There's the bass again at 1:40 in a repetitive, driving motion, giving a rest from the repetivity. The ending is much better than what we've previously heard.

"Wintersea": This is transparently keyboard. While I said there is less progress in sound and style, I'm sensing a large growth in the mixing stage. It was clean before, but now even more so between parts. The rawness has been sacrificed, but that's to be expected.

"Spirited From The City": Vibrant tones, so much so that they almost sound like wind instruments?

"California Is Too Long - Alternate": Little change from original.

all photos from Signal Hill; visit the official site

Wave of Popular Feeling

150 copies of this record were made; try eBay?

Release date: unknown, 1995
Genre: rock, punk, alternative
Now known as: Three Days Grace

These are the days before Barry Stock, when the mysterious Phil Crowe and Joe Grant were around. This record was also released prior to Trevor McNevan's association with the band. A few years ago, the album was nowhere to be found, but these tracks have since made their way onto YouTube.

"Stare": Allegedly the third single of the album, the song that comes to mind is Green Day's "When I Come Around". This isn't a bad thing, as the two are completely different and great compositions in their own right. This song happens to be the toned-down mellow song that can be found in every band's repertoire.

"In The Sand": Three Days Grace is one of those bands that would not suffer from recording their actual backing vocalists. If I'm not mistaken, Neil Sanderson does provide parts in the studio, but they're no longer as obvious as what can be heard on this track. Brad always sounds fantastic in live performance's of "Pain" as well.

"Weatherman": A powerful, driven song. There is a repetitive snap cycle of dynamics throughout the verses, while the chorus sounds uncharacteristically joyful.

"Chronic": Another very classic rock-sounding song. Their characteristic minimalized song structure is a noticeable change from these grungier days. They've taken on the "neo-grunge" as defined by fellow musicians, Nickelback.

"Eddie": The most radio-friendly song on the album, I can understand it being the lead single. I wonder who this Eddie is? Not his son, of course. It must've made for a fantastic acoustic performance back in the day.

"Snatch": I really love the opening. The first line kills the track, though- "All I see is legs"? Really? If they were going for that strip club imagery, I don't think they succeeded. If they were going for that amused look on my face, they got it. Funny guys, they are.

"Wave of Popular Feeling": The title track has an immediate punk feel to it; the Nirvana influence is obvious. (Adam will like to know that theEdge recently played commercials with "The Good Life" clipped between "Closer" and "Smells Like Teen Spirit".)

"S.O.B.": Lyrics on this song seem ad-libbed; they're so unlike TDG that they make me suspect other lyricists contributed.

"Posion Ivy": I trust you- I trust you and your potential. The climbing bridge is the highlight of this song. It's quite contagious, you could crash a party to it.

"On This Flight": This is the part of the album where the songs sound very similar to one another. As a filler, it's catchy but doesn't stand out like anything special. I like the distant guitar sound.

"Greedy Room": The one thing that hasn't particularly impressed me is the songwriting. Did William Golding's Lord of the Flies play into this? A good progression from those dead end lyrics, though; one thing the band is praised for is being straightforward and relatable.

The production is (expected to be) a step down; the echo is heavy on the vocals and the mixing could've been smoother. Some pretty sick riffs are employed in the album, recorded by the two previously mentioned guitarists that are no longer with the band. Favourite track? "Wave of Popular Feeling".

"Chrysalis" by Daedalean Complex

[Flash 9 is required to listen to audio.]
Origin: Quebec, QC, Canada
Genre: goth, industrial, metal

This underground act has undergone many lineup changes, but remains to be one of the country's most recognized cult-metal groups. I came across them around May, downloaded their first album off their site, and took an instant liking.

art by Herr Nox (download the debut)

"Deus Ex": An atmospheric intro that really screams potential.

"...Machina": Although I'm not a big fan of the distortion on vocals, they make for a neat effect.

"Far Beyond": The guitar riff is wonderful- creepy, memorable, and a perfect companion to the hollow screams on the offbeat. I can't get over how simple the melody is, because the effectiveness really shines through; four minutes of familiarity with no tiredness.

"Chrysalis": And I'm in love. From the guitar intro to the throaty growls of "we are", it's a great, light piece. While owning dark tones, there is no overwhelming, indecipherable noise; Herr Nox's vocals just will make you "lose control".

"Cut'N'Bleed": This song starts of like any generic rock song with a basic drum beat. Actually, most of their songs do, the guitar and vocals take the listener by surprise. (In this case, it's a good surprise.) The buildups are clever and the production is exquisite, especially for a lesser-known band like DC.

"Sea of Lust": Beginning with a string line gives it a whole other feel. Not before long, a bass line creeps in, and you'd expect full-blown drums. They enter with the vocals, which are tame in contrast to the rest of the album. The instrumentals take a well-deserved front stage.

"Virtual Faith": The cyclic intro/outro is one of my favourite parts of the album; it's a very gritty, straightforward piece.

"Under a Rain of Ashes": Toning it down again with some interesting effects to conclude.

(official site)

Angels & Airwaves: Love

Track-by-track reviews are great for me because it usually means that I have to listen through an album at least twice, familiarizing abandoned tracks. I download a lot of music that artists put out for free: a) it's free and b) I'm introduced to lesser known bands. Somehow I managed to neglect this album- by a group I actually listened to- until now, half a year later.

download this album

Release date: February 14th, 2010
Genre: progressive rock, space rock

Although the least known, Love is easily my favourite of Angels & Airwaves' three albums. It's the most progressive, a decent stride from the alternative punk they used to release. Oddly, I was never a fan of Blink-182 and had no idea Matt Wachter had left 30 Seconds To Mars three years ago when I bought a few tracks off I-Empire; those realizations came after.

"Et Ducit Mundum Per Luce": (latin) "and he leads the world by light". Starts the album off with a symphonic sequence built around a very simple chord progression. The set and other instruments join in, creating a natural anticipation of a solid final chord, but the listener is left with a single ending note.

"The Flight of Apollo": One of those driving, in-your-face songs- probably the heaviest on the album. Somehow DeLonge manages to make it sound mellow, still.

"Young London": A very upbeat song; it's got the adolescent party vibe that reminds me of Boys Like Girls.

"Shove": I love the lyrics on this track:

she said, show me the world that's inside your head...
tell me the secrets of life and death...
cause sometimes it comes with a shove

The final minute of the song is an instrumental transition to the next; with muffled, indecipherable vocals around 6-minute mark.

"Epic Holiday": To be honest, I'm concerned with the use of the word "epic". I love this (slang) term, but it sounds lame in the song. Especially after saying "let's start a riot" and "life's just a game". Makes for a very amateur piece that I wouldn't expect from the group.

"Hallucinations": This was my immediate favourite; mostly for the line that asks "do you believe in hallucinations". The drumming is exquisite there going into the chorus, riddled with poly rhythms and syncopation.

"The Moon-Atomic (...Fragments and Fictions)": I'm a big fan of the beginning of this, it's really sweet as the harmonies layer. There's is one unison melody, and the accompaniment is based around it. I generally wouldn't like that, but its soft nature makes the song an exception. My favourite part of the entire album is the transitional ending.

"Clever Love": I haven't mentioned the obscurity of Tom DeLonge's vocals yet, have I? It's the reason I started listening to AVA. It's not an accent or lisp, but he just naturally has a unique way of annotating words. Their song "Secret Crowds" from I-Empire really showcases this. His singing "desire" is like a drug, haha.

"Soul Survivor (...2012)": For future reference, theVibeGirl and apocalyptic space rock songs are basically the same thing. Besides the intro, this is the shortest song on the album, and incorporates melodic ideas from almost every other track.

"Letters to God, Part II": Flies by me every time; I don't know what happens when this plays, because I don't remember a single lyric or the melody line.

"Some Origins of Fire": I'm really enjoying the percussion on this album, and "SOoF" is the best for it. The syncopated rhyming interesting, as well. Props to A. Williard.

(from left to right: David Kennedy, Tom DeLonge, Atom Willard, Matt Wachter)

Exposé: Mobile

(from left to right: Frank Williamson, Dominic Viola, Mat Joly, Martin Lavallée, Christian Brais)

Previous name: Moonraker
Origin: Montreal, QC, Canada
Genre: alternative rock

I first heard this five-piece band on the radio 4 years ago. They had “Montreal Calling” and “Out of My Head” as singles, and were receiving considerable airplay due to the Canadian Broadcasting Act. (I’m so happy this piece of legislation is in place!) By the time “See Right Through Me” was playing, I knew I had to get the CD.

It was one of my best music-related investments that year, especially when compared to the somewhat disappointing Sam’s Town. Apparently a very good live band as well, Mobile has always amazed me with each song. They’re pop enough to be played on Virgin99.9, but rock enough for theEdge, not to mention ridiculously catchy.

Tomorrow Starts Today
(buy CAN/US on iTunes)
"Hands Tied": My favourite song by the band, simply for the innovative rhythm and percussive… err, noise prominent at the beginning that continues throughout the piece. Another thing I love about their music is the lyrics- they barely make sense until you think about them. The chorus of the track is a repeated pitch upon which “walk, walk, straight up ahead” is sung, while the bridge is reminiscent of The Edge’s guitar riffs, and makes good use of a seemingly large variety of instruments. Something about Mat Joly throaty, echoing yells really gets me in this piece.

"New York Minute": The vocals start right off the top, and the trend of attention-grabbing rhythms appears again, with a sing-a-long chorus. The drumming is quite exquisite as well; nothing particularly off-beat, polyrhythmic or overpowering, but it does change throughout very appropriately.

"Out of My Head": This is probably the song most of us have heard, the familiar “come on over” preceded by the Finger Eleven like riff. (I say Finger Eleven because everyone’s heard their song, “Paralyzer”). The echoing vocals seem to be another trait of Mobile. The lyrics are genius- “your eyes, deny me like the sun on a night sky movie screen”.

"Montreal Calling": An indie drive to it, my favourite part is the intro where the drums suddenly cut to a dial tone and the overlapping round-style pre chorus.

"See Right Through Me": I love a good piano intro, and this one definitely has it. Sometimes I find that Hamelin is pounding the unnecessary hell out of those drums, but without the syncopation, the song would sound empty and uncharacteristic.

"Lookin' Out": With the same circular vibrato as many of their other songs, the guitars and piano are the only reasons I still regularly listen to the song.

"Scars": It’s been dusting up my library. Just not as fantastic as their other stuff; all the while adding a whole new tone to their music. I definitely recommended this if you like The Killers (and are looking for similar music; because hell, I love The Killers- I just like Mobile Mobile, not so much Killers Mobile).

"Dusting Down the Stars": Man, I forgot how long this album was. Did I mention that it was as good investment? DDTS is the first ballad on the CD, showcasing Mat’s semi-falsetto which is notable and remarkably honest sounding, in my opinion. “… why are we born to fade away?”

"Tomorrow Starts Today": The title track has been recorded with one of those “fuzzy stripped" mics (very professional term, I know- I’m talking about the type of mic Adam Gontier uses at the being of “Pain”). Giving the vocals a whole different feeling and toning them down, has made Dominic Viola’s bass line more prominent and there is a bit of dance-synth in the bridge. Overall, it’s a hopeful sounding piece.

"How Can I Be Saved?”: Starting out like many pop-punk tracks we’ve been hearing as of late, the entire track stays upbeat, featuring a ridiculously repetitive yet catchy melodic idea. It’s the perfect recipe for a pop rock song.

"Lovedrug": A mellow love song without a definite description of the “you”; I like it.

"Bleeding Words": I almost wish the intro of acoustic guitar and synthesizer was just a loop. Screw the vocals for once, those instrumentals are beautiful.

Two years later, upon the release of a follow-up sophomore album, I glanced their way but obviously didn’t make enough eye contact. Then I found it at the library the other day. (I give kudos to our local branches for supporting Musicana Canadiana). Here I am, listening to the album thoroughly from beginning to end for the first time.

Tales From The City
(buy on iTunes)
"Daylight Breaks": Half this song is the very gradual crescendo of an intro. I was about to give up on it, but then the drums came in. (I’m a little upset that Pierre-Marc Hamelin left not long after this album- good luck to him in law studies. The new guy is Martin Lavallée. I could’ve sworn I’d heard his name before, but after 2 hours of meticulous web-scouring, I found not a trace of another band he’d previously been in). Anyways, "Daylight" was apparently written well before recording even their debut album, and is on its way to overtaking “Hands Tied” for the title of “my favourite song by Mobile”.

"Mother": This one’s another favourite of the album- because it’s in the minor key. Written in dedication to Christian’s mother, I’m suspecting.

"Hit the Floor #7": Starts off strong, but eventually becomes a little uninteresting. It has an indie vibe and some funk, so if you like that, they’ll probably keep your attention with this track. Once again, I can’t get enough of the drumming. I don’t see an obvious reason in calling it “#7”, but whatever tickles their fancy.

"The Killer": The first (and seemingly only) single, I blame this song for turning me away from this album at the time of release. Whether or not it turned other away as well is up to debate, but I strongly believe this was not the best choice to promote the album; it still obtains that raw-processed Mobile sound, but not in the conventional way of “Out Of My Head” or “See Right Through Me”. I don’t think I heard this frequented on pop radio, and I definitely didn’t hear it on the rock stations.

"No Tomorrow": Now this one I like. Some interesting affects are added to the vocals, and it almost reminds me of Marilyn Manson. A dark tone, haunting lyrics, near-abusive guitar and an underlying falsetto help out. I love contrast, and this definitely contradicts the only other title containing the word “Tomorrow” (from their previous album).

"Gravity": Realized that I’ve forgotten to mention the guitarists in the group. Well, meet Christian Brais (who also does the keys) and Frank Williamson. I will be awfully surprised if U2 isn’t an influence for the band. I barely hear the Joly’s vocals in this piece, and it’s not because their being muffled under the other instruments; the accompaniment is just that great.

"Slow Motion Car Crash": A bit of awkward shouting in this song, but once again, I think it’s the instrumentals that made me listen to it more than twice. At least the shouting’s different, and in general Mobile-style, it’s echo-ey(; love).

"Sweet Light": Whoa, I wasn’t expecting that- another complete 180- who replaced hopeful band with dark, gloomy ensemble? I think I could grow on it! Good use of mallet percussion and vocalisation at the beginning.

"Live to Find": This track is just pleasing all-around. The truthfulness of the lyric: “we all live to find something we could die for”; the trilling riffs; the constant use of hi-hat.

"All Is Forgiven (Parts I-II-III)": Sort of a concept song.
(visit their Myspace)

(top photo and this photo from Christian Brais)