Hailing from the Bay Area, in California, Troubled Coast has started off the year with a bang in hardcore music. After two decent EPs and a passable full length, Letters, the group has proven their worth with their latest release, and first on Pure Noise Records, I’ve Been Thinking About Leaving You. The EP features a traditional hardcore sound, while bringing many different elements into their vocal approaches.

I’ve Been Thinking About Leaving You starts off with “Patient Hands,” an adequate introduction to Troubled Coast, for those unfamiliar with the band. The song shows off the band’s modern day hardcore sound, while also displaying the group’s clean vocals, an aspect that is not often used in like-sounding bands such as Defeater and Touché Amoré. “Patient Hands” also greatly benefits from guest vocals, courtesy of Matt Vincent (from labelmates The American Scene), whose voice adds a great contrast to the group’s harsh vocals. “I’m Still A Loner, Dottie” provides a more spoken, rather than screamed, approach to the vocals, while remaining heavy musically, a style that works greatly in Troubled Coast’s favor. On “La Jetee,” the clean vocals come across too forced. While Mile’s scream/yell sounds fantastic, and the opening bass line is one of the musical highlights on the EP, the track is by far the weakest link on I’ve Been Thinking About Leaving You. The EP’s six minute closer, “The First Night of the New World,” expands on the spoken style of “I’m Still A Loner, Dottie,” overtop of the strongest musicianship the group has presented, to date, led by Troubled Coast’s powerful guitar work.

Fans of the latest wave of hardcore bands will surely find something to appreciate in Troubled Coast. Whether it is the aggressive musicianship or the desperate sound in the multiple voices heard on the EP, Troubled Coast has proven their place in their scene with this release. After I’ve Been Thinking About Leaving You, it’s hard to deny that Troubled Coast will be one of the most talked about new comers in the hardcore scene this year.

Tracklist:

1. Patient Hands
2. I’m Still A Loner, Dottie
3. La Jetee
4. The First Night of the New World

Rating: 7.5/10

Before getting to this list I just wanted to give Brandon Hrywkiw a huge shout out as I basically handed over to him the music section of IATT and he did a great job keeping it updated. Here is his list of his favorite albums of 2011. Some absolute killer picks on there.

1. Touché Amoré – Parting The Sea Between Brightness and Me
2. The Wonder Years – Suburbia I’ve Given You All and Now I’m Nothing
3. The Story So Far – Under Soil and Dirt
4. Dikembe – Chicago Bowls
5. Childish Gambino – Camp
6. La Dispute – Wildlife
7. Go Radio – Lucky Street
8. Bayside - Killing Time
9. The Dangerous Summer – War Paint
10. Pianos Become The Teeth – The Lack Long After

Mixtapes

After three consistent EPs released in 2011, these pop-punk new comers are currently in the studio recording their first proper full length. Although the label, release date, and album title have yet to be released, there is already a lot of buzz surrounding this release. By the end of 2012, expect these 4 guys (and gal)

In the meantime check out: Maps and Companions

Make Do and Mend

Make Do and Mend released one of the best albums in 2010 with their first full length End Measured Mile. After experimenting with acoustic guitars on their 2011 EP, Part and Parcel, Make Do and Mend will be back to their hardcore punk sound on their Rise Records debut. Expected to be released this summer, this yet-to-be titled follow up gives fans of the new wave of Rise Records signings something to look forward to.

In the meantime check out: End Measured Mile

Silverstein

Silverstein has been around for over ten years. During these ten years, the group has perfected their sound over the course of five albums. This year, these Canucks are throwing that out the window for their release, Short Songs. The record will be comprised of twelve new tracks, and twelve covers of old school punk and hardcore songs. With each track coming in at less than 90 seconds, there is no doubt that Silverstein is going for one of the most innovative releases in their genre. Short Songs is set for release on February 7th, on Hopeless Records.

In the meantime check out: A Shipwreck in The Sand

Daylight

Although Daylight just released their latest EP on January 3rd, the group has plans to release their debut full length on Run For Cover records later this year. The band’s latest offering has shown a transition from a Title Fight-esque sound, to something more similar to Balance and Composure. After four EPs, there is no doubt that fans are eagerly anticipating a full length record from Daylight.

In the meantime check out: The Difference in Good and Bad Dreams

Such Gold

One of the latest additions to Razor and Tie records, Such Gold meshes both pop-punk and hardcore, creating a sound quite similar to The Movielife. The band is two EPs and two splits deep into their discography, and if their four 2011 tracks are any indication of what their debut full length will sound like, Such Gold will be at the top of their scene before 2012 is over. This still untitled release is due out April 10th, wia Razor & Tie.

In the meantime check out: Split with Into It. Over It.

Xerxes

With bands like Touché Amoré, Defeater, and Former Thieves having released full lengths in 2011, Xerxes will be filling the void that those bands have left. These recent No Sleep records signees have a lot of buzz surrounding their first full length. The hardcore scene best be looking out for Xerxes in 2012, because if the bands previous output is any indication, Our Home is a Deathbed will be one of the most destructive releases of 2012. Our Home is a Deathbed will be out March 13th, via No Sleep Records.

In the meantime check out: Twins

Bring Me The Horizon

Bring Me The Horizon gained a lot of fans with their 2010 full length, There is A Heaven, Believe Me I’ve Seen It. There Is a Hell, Let’s Keep It A Secret. As one of the most improved bands from their 2006 debut, the next logical progression will likely make Bring Me The Horizon one of the biggest and best bands in the metal genre. Bring Me The Horizon’s upcoming album is expected sometime this fall/winter.

In the meantime check out: There Is A Heaven, Believe Me I’ve Seen It. There Is A Hell, Let’s Keep It A Secret.

Dikembe

Dikembe released the best EP of 2011. Hands down. With that said, there is a lot of anticipation behind their upcoming album, Broad Shoulders, both from myself and their ever-growing fanbase. Besides a few tracks, not much has been released about Broad Shoulders, but if Chicago Bowls is any indication, this album will end up on many top ten lists come this time next year. Broad Shoulders is expected in early 2012, via Tiny Engines.

In the meantime check out: Chicago Bowls

Say Anything

After mixed reception for their self-titled release in 2009, fans might be sceptical about Say Anything’s upcoming album, Anarchy, My Dear. But after the release of the first single, Burn a Miracle, many fans are back on the Say Anything bandwagon. The track has the same feel to it as the group’s double album, In Defense of The Genre. Anarchy, My Dear is expected to be released in the spring, via Equal Vision records.

In the meantime check out: In Defense of The Genre

The Story So Far

After creating one of the best pop-punk albums of 2011, the Story So Far are already in the studio again. Their 2011 full length, Under Soil and Dirt, received much praise from online forums and reviews alike. No further information has been released on the upcoming release, but fans of the genre eagerly await to hear what the group has in store for the follow up to one of the most buzzed about albums of 2011.

In the meantime check out: Under Soil and Dirt

When rumors were floating around earlier this year about a possible Such Gold and A Loss For Words split record, the pop punk community got collectively excited. As months went by, many were unsure as to if this split was still ago, but once it was officially announced in September, all these woes were put to rest. For a record that had much anticipation, neither band lets their listeners down.

The first half of the split is delivered by Such Gold. “Scoreboard” and “Backyard” continue with the sound that Such Gold has developed over the last few years, with their EPs and split record with Into It. Over It. “Scoreboard” is reminiscent of “Minstrels,” from the aforementioned split, but instead using sports as a reference to the music scene, instead of the royal hierarchy. The song employs everything one would expect from Such Gold: gang vocals, catchy chorus, background yells, and heartfelt lyrics. Everything is tighter on these two track than on any of the band’s past material, but the tracks ultimately fall short in comparison to those on their split from earlier this year.

A Loss From Words, still coming off the steam of their October release, No Sanctuary,” provide two tracks that show their importance in the current pop punk scene. Both songs are an extension of the vast improvements the group displayed on No Sanctuary, with Matty Arsenault’s vocals shining brighter than any other vocalist’s in their scene. Both songs demonstrate A Loss For Words’ catchy, nostalgic feeling greatly, with “America Needs a New Sweetheart” being the standout on the split. If A Loss for Words continues to write songs like those they released this year, the group is guaranteed to become one of the front runners in the pop punk scene, come this time next year.

Such Gold and A Loss For Words have created a split where both bands complement each other perfectly. A Loss For Words’ upbeat style contrasts with Such Gold’s hardcore influenced brand of pop punk in a way that few other splits demonstrate. With one band having released one of the best pop punk albums of 2011, and the other poised to do the same in 2012, these two groups are set to dominate the current wave of pop punk before 2013.

Tracklist:
Side A (Such Gold):
Scoreboard
Backyard

Side B (A Loss For Words):
America Needs A New Sweetheart
Thomas vs. Luongo

Let’s face it, being in a band is hard work. From the struggles of promoting your music, booking gigs, growing a fan base, dealing with broken-down vans, equipment, relationships, etc about the only thing harder for a band is making money. To make matters worse everyone from club owners, record labels, merch companies and online storefronts taking their cut there can sometime be nothing left. Luckily Storenvy has stepped up to the plate to help bands sell their merchandise online, completely FREE. And yes we mean free. Hopefully putting a few more dollars in the pockets of hard working bands.

So why should your band have a Storenvy storefront?

1. Completely Customizable Storefront

Storenvy allows bands the ability to setup a completely customized storefront.  Immediately after signing up you have access to making your storefront look exactly how you want it to. From custom headers, background, colors, and fonts basically everything on you storefront can be changed to fit your brands image and look. For those of you with HMTL/CSS coding skills the sky is the limit as you can completely customize your site top to bottom.

2. Quick and Painless Setup

Literally if you can check email you will be able to setup an online store in no time. When Storenvy was created the goal was to make setting up a custom store as quick and painless as humanly possible. With just a few clicks you can upload a picture of your band to the header, change the background color or image and just have fun messing around with all the color schemes that are possible. None of this requires any knowledge of how to setup a website or storefront.

3. Features

• Unlimited amount of products
• Up to five images per product
• Incredibly easy inventory tracking
• Friendly admin panel
• Ability to offer discount codes to customers
• Easily link to your Twitter & Facebook pages

4. Facebook Store

With just a few clicks you put a store right on your Facebook page! After all why make your fans work to buy your products, bring your products to where your fans already are! Setting up a storefront on your Facebook page has never been easier.

Storenvy also prides itself on being a “social marketplace”. When you sign up for a store your products are also automatically added to the Storenvy marketplace. 15% of all sales on Storenvy occur directly through customers browsing through all the awesome products and stores on the Storenvy Marketplace page. The result is even more possible customers checking out your band and of course your products. More eyes equals more sales!

5. Free!

All these features are great but what makes it a no-brainer for bands to use this is that the service is COMPLETELY FREE! Part of the beauty of Storenvy being free is that you can sign up and try it out without any risk!

Storenvy makes opening an online store as quick and painless as possible so you can get back to what’s important — melting faces.

Check out some bands that already have great stores on Storenvy:

-Meg & Dia
-Showbread
-Weaver at the Loom
-Backseat Goodbye
-Life In Your Way
-The Narrative

Split records are a great thing. For the bands, it is a great way to work even closer with your fellow bands, while for fans, it is a great way to familiarize yourself with a band that one of your favourite bands thought were good enough to work with. 2011 has already been a great year for split record, with bands like Such Gold, I Call Fives, La Dispute, and more all putting out splits. As the year comes closer to its end, we are treated to another split, this time from Handguns of Harrisburg, PA, and Forever Came Calling, from Twentynine Palms, CA. Each band has contributed three songs each, and this split is sure to get these up and coming pop-punk acts’ names out there.

On Handguns half of the split, the group picks up right where they left off on Don’t Bite Your Tongue. What you’ll find are catchy pop punk tunes that you can’t help but sing along with the second time around. Between the three tracks, vocalist Taylor Eby sings at least one line that anyone listening can relate to. The minute-and-a-half long “Swallowing Knives” will surely become a fan favorite at the band’s live shows. With its fast paced musicianship and angsty lyrics, there is no way the song won’t set the crowd off.

Forever Came Calling, a band I was previously unfamiliar with, nailed their half of the split. Coming in at just over 5 minutes, their three tracks mesh incredibly well. Playing a faster brand of pop-punk than Handguns, it is expected that their songs be faster, shorter, and more aggressive. The 52 second “Contrition” works as the perfect transition between “Knott Sky Or Luckie?” and “Front Porch Sunrise.” It is once the listener hits “Front Porch Sunrise” that they are treated the highlight of both sides of this split. Led in by vocalist/guitarist Joe Candelaria’s vocals, the track matches the catchiness of Handguns’ three tracks, while infusing it with the more aggressive nature of the band’s own music. There is no way that kids won’t be screaming “What’s it like to be happy, honestly happy, and say all the things that you know that you’re thinking,” back at Candelaria in a live setting.

Handguns and Forever Came Calling have put out an excellent piece of work together. Every song seems designed to get a crowd pumped up in a live setting. I can say with certainty that Handguns released some of their best work on their half of the split, while Forever Came Calling got me interested enough to go back and check out their previous work. Both bands accomplished something great with their new tracks, and hopefully this is just a taste of what is coming next from each band.

Tracklist:

Side A
1. Smoke and Mirrors
2. Swallowing Knives
3. Where Are You?

Side B
1. Knott Sky or Luckie?
2. Contrition
3. Front Porch Sunrise

It is likely that you have not heard much about Lifestory:Monlogue, unless you come from the scene where the band has been working incredibly hard for the last six years. Over those six years, the band has released a handful of EPs, but now, Lifestory:Monologue is finally here with their full length record, Drag Your White Fur – Make It Grey. Combining elements of post-hardcore, experimental, indie, and ambience all together into one record, Drag Your White Fur – Make It Grey is sure to impress a lot of people.

The album opens up with “Drag Your White Fur,” a slow, peaceful track lead by Bassist / Vocalist Jay Reid’s vocals. The track leads into “Make It Grey,” which explodes at the 1:13 mark, flowing into the first appearance of vocalist Richard Nuttall’s sing-speak style vocals, backed by the predominant use of keyboards, provided by Zac Tenwesteneind.

“Thornberry” and “The Sound That Love Makes” will be remembered by fans from Lifestory:Monologue’s Thornberry EP, released earlier this year. “Thornberry” is another slower track, which puts emphasis on Jason Gormley and Mike Short’s quaint guitar work, as Reid and Nuttall trade off vocals throughout the track. “The Sound That Love Makes” comes in with pounding drums, courtesy of Brett Banks, as the two guitarists provide intricate guitar work over top. The sombre lyrics “Oh loneliness, oh loneliness. I never thought you’d exist in a fashion such as this,” add to the dark nature of the song, as Nuttall and Reid sing over top of each other.

Sandwiched between the two older tracks is “Finger Painted Notes.” Nuttall’s speech like delivery of the verses allows the poetic lyrics to shine the best they do throughout the entirety of Drag Your White Fur – Make It Grey. Lyrics like “Do words composed in illegible scratch lack depth?” are littered throughout the track, making the listener ponder Nuttall’s thoughts, even after the track is over.

As the album closes off, the listener gets treated to “Stations.” Reid’s bass line is as prominent as ever throughout the track. Paired with Nuttall’s distinct vocals and Banks’ drumming, the track has a very calming feeling. The band uses their guitar work, in the second half of the track, to really show off the ambient aspect of their music. At the very end of the album comes “Lessons.” Nuttall’s voice feels as harsh as ever, which suits the song perfectly, as it is one of the heaviest to date. Dark lyrics like “There is a cancer deep inside me growing with each and every storm,” makes the song hit harder than almost any other in the group’s discography. The band leaves the listener with “The end is near and I’m sorry dear, it’s not long for me here,” as the last line, making them sit there and think over what they just listened to.

There are many bands out there with lots of talent, and others with an unending amount of emotion poured into their music, but it is rare to find both these qualities, at their best, in one band. Fortunately, with Drag Your White Fur – Make It Grey, Lifestory:Monologue has displayed that they have equal amounts of talent and emotion. This album will leave many speechless, simply thinking about many of the thoughts that come up through it. There is no denying that Lifestory:Monologue have released one of the most impressive album to come out in 2011, and hopefully this will be the album that gets their name out there.

Drag Your White Fur – Make It Grey is available November 8th. Pre-orders for digital, vinyl, and CD are available now, via the group’s bandcamp: http://lifestorymonologue.bandcamp.com/

Tracklist:

1. Drag Your White Fur
2. Make It Grey
3. Thornberry
4. Finger Painted Notes
5. The Sound That Love Makes
6. Candles
7. Teratoma
8. Between The Rocks
9. Stations
10. Lessons

Rating: 9/10

When Abington, Massachusetts’ A Loss For Words released their last album, The Kids Can’t Lose, in 2009, there seemed to be a split reaction. Some praised the record, and caused the band’s fanbase to grow quite a bit. Others said that the record was just another generic pop-punk record, with nothing to make it stand out from the pack. With No Sanctuary, the group’s Rise Records debut, A Loss For Words have returned with a more versatile record, which will definitely shut some of their naysayers down.

Tracks like “Honeymoon Eyes,” “The Hammer Falls,” and “The Lost Cause I Used To Be” sound like beefed up versions of tracks off The Kids Can’t Lose. They stay true to the band’s pop-punk style, but just sound bigger, ultimately resulting in better tracks. “The Hammer Falls” features overly catchy “oooh” behind Matty Arsenault’s vocals, making the track nearly irresistible. As the rest of the band provides gang vocals on “The Lost Cause I Used To Be,” the group shows that this time around, their use of gang vocals are much more tasteful, and far less over used.

“No Sanctuary” lets A Loss For Words show off their hardcore roots, being lead in with the most aggressive vocal performance in the band’s discography, backed by Jack Mchugh’s intense, speeding drums. Like most hardcore based tracks, the only complaint with the title track is that it runs too short. “JMR” is another fast paced track, working perfectly off the leftover steam from “No Sanctuary.”

On “Jetsetter,” the guys slow it down for a ballad-like track. Those still reeling from Valencia’s recent break-up will certainly enjoy this track, as it provides a similar vibe to that given off by Valencia’s last record, Dancing With A Ghost.

With the closing track, A Loss For Words present the listeners with their best performance to date. The re-recorded, full band version of “Wrightsville Beach” is a treat for both newcomers and old fans who remember the track in its original, acoustic incarnation. The incredibly catchy chorus, the perfect usage of gang vocals, the fast paced musicianship, the delightful vocals. Everything about the track shows exactly what A Loss For Words is about. As far as closing tracks go, this may be the best one to come out of 2011.

No Sanctuary is one of the biggest improvements in a discography that someone could want. There is more versatility than before. The tracks can be differentiated from one another much better than on the groups older work. Not to mention, Arsenault’s R&B style vocals shine greatly throughout the album, even more than they have on A Loss For Words’ previous work. There is no doubt that these five gentlemen are doing their scene justice, and No Sanctuary is proof of that.

Tracklist:
1. Honeymoon Eyes
2. Pray For Rain
3. Pirouette
4. Raining Excuses
5. The Hammers Fall
6. The Lost Cause I Used To Be
7. No Sanctuary
8. JMR
9. Jetsetter
10. Finite
11. Wrightsville Beach

Standout Tracks: Wrightsville Beach, No Sanctuary, Honeymoon Eyes

For Fans Of: Fireworks, Man Overboard, a non-synthy, non-breakdowny version of Four Year Strong

Rating: 8.5/10

At this point in time, you may not be familiar with Hamilton, Ontario’s Counterparts. The band recently signed to Victory Records, but before that, they were a staple in the local Ontario hardcore scene. Their debut album, Prophets, was a hit among their fans, and was praised by others who heard it, outside of their local scene. Skip ahead almost two years later, Counterparts are back with their sophomore album, The Current Will Carry Us.

The Current Will Carry Us opens up with a slow guitar riff, leading into the vocalist Brendan Murphy’s terrorizing screams. From the opening track, “The Disconnect,” it is obvious that The Current Will Carry Us is not a rehash of Prophets. While the band’s previous material was praised because of their positive lyrics, when Murphy’s yells “I fucking hate the world, I fucking hate myself, and I swore I’d never fucking feel like this,” it is obvious that this is not the same, positive thinking album. Ryan Juntilla’s drums provide the backing force behind “MMVII,” as the pounding, aggressive nature of his kit keeps the listeners blood pumping.

On “Optimist,” Murphy exclaims “We will turn our hatred into something to be proud of,” letting listeners know that even though Counterparts is not the positive band they were before, the 5 five of them are still proud of what they are doing. The album’s first single “Jumping Ship” is lead in by a combination of distortion and the guitar work of both Alex Re and Jesse Doreen. Murphy lays down some of his most memorable lyrics to date on “Jumping Ship,” with lines like “I’ve watched everyone around me jump ship / and I hope they’re left to sink,” and “I’ve watched days become months, become years / and I’ve lost faith in progression” are shouted with unmatched emotion throughout the track.

“Pedestals” opens up with the most upbeat guitar riff that that Re and Doreen have ever provided for the group. As the track draws to a close, Eric Bazinet’s bass line is as prevalent as ever, and adds to eerie ambiance that the listeners are left with, after Murphy finished screaming “all my heroes have failed me.” At the album’s end comes “Reflection,” the slowest track on The Current Will Carry Us. Murphy’s voice, backed by the slowed down musicianship of the rest of the band, makes for the most emotionally draining performance Counterparts has made, to date.

Counterparts may not be revolutionizing melodic hardcore, by they are damn well doing the style justice. The Current Will Carry Us is sure to be remembered as one of the best heavy albums to be released in 2011. Whether it is to honest lyrics, melodic musicianship, aggressive vocals, or the breakdowns, there is something that almost anyone can enjoy on this album. If I have one thing to say about The Current Will Carry Us, it is that it makes me proud to be a Canadian.

The Current Will Carry Us is available on October 25th, via Victory Records.

Tracklist:

1. The Disconnect
2. I Am No One
3. The Constant
4. MMVII
5. Optimist
6. Jumping Ship
7. Pedestal
8. Thank God
9. Uncertainty
10. Sinking
11. Reflection

For Fans of: Comeback Kid,

Key Tracks: Jumping Ship, Pedestal, Reflection, The Disconnect

Rating: 8.5/10

On October 4th, we received a new album from another one of Rise’s new signees, deemed the “WTF” signing. This time around, the new album was Boston, Massachusetts’ Transit. After two full-lengths and a couple EPs, Transit decided to switch up their sound for 2011. While their older material was fairly standard pop-punk, their most recent works have leaned much more to an emo sound, or “post-pop-punk”, a term coined by some on online forums. The first tastes of this sound came from Indoor Voices, and the Record Store Day 7”, Promise Nothing. Now Transit are back with their third full length, Listen & Forgive, and a full dosage of their new found identity.

From the very first moments of the opening track, “You Can’t Miss It (It’s Everywhere)”, it is obvious that Transit are no longer a pop-punk band. “Long Lost Friends”, the first single from the album, is the best piece of music Transit has released so far. With Joe Boynton’s angsty lyrics, and the rest of the groups new found musicianship, the track is the perfect representation of the “new” Transit. “All Your Heart” shines due to a guest spot from Fall Out Boy vocalist turned pop solo act, Patrick Stump. As Joe B. calls out music critics for their “cynicism”, the listener can’t help but sing along to one of the catchiest choruses the band has written. Not to mention the wonderful treat that it is to hear Stump sing over rock music once again.

Some listeners may remember “Cutting Corners” from the studio session videos leading up to the release of Listen & Forgive. The previously heard second of the track teased at what is one of the most essential tracks from the album. More of Joe B.’s great lyrics, matched with the semi-acoustic nature of the song make for a pleasant listen. As the album approaches its end, we are treated to a re-recording of “1978”, the original version being from Something Left Behind. Although the new version doesn’t have the aggression heard in its original form, the re-recording work perfectly on Listen & Forgive, and ultimately sounds much better than that from Something Left Behind.

It is very obvious that Transit took some different influences on Listen & Forgive than they did on previous albums. Guitarists Tim Landers and Torre Cioffi’s American Football inspired guitar work make Joe B.’s vocals fit into Transit’s music more than they ever have before. Sure we will all remember song like “Please, Head North” and “Stay Home”, but Listen & Forgive will be Transit’s defining album, without a doubt.

Listen & Forgive is available now via Rise Records.

Tracklist:
1. You Can’t Miss It (It’s Everywhere)
2. Long Lost Friends
3. Listen & Forgive
4. All My Heart (Feat. Patrick Stump)
5. Asleep At The Wheel
6. Cutting Corners
7. Skipping Stone
8. I Think I Know You
9. Don’t Make A Sound
10. 1978
11. Over Your Head
12. The Answer Comes In Time (Physical Copies only)

Rating: 9.3/10

If you are in the Orlando area this looks to be a can’t miss festival! It’s called Orlando Calling and is being put together by Festival Republic which is the same promoter that puts on some of the largest festivals in the UK such as Reading, Leeds, Glastonbury, and Latitudes.

Some of the announced artists playing include The Killers, The Raconteurs, The Roots, Kid Cudi, OAR, Parachute, Iron & Wine, States, Less Than Jake, Lucero, Quiet Company and many more.

The festival will be taking place November 12th and 13th in Downtown Orlando, FL with tickets on sale NOW! There are several ticket options from weekend tickets, day tickets, VIP, packages and more so make sure to check out the TICKETS page for all info.

From the looks of their Facebook page with over 10,000 fans already this festival is shaping up to be something pretty spectacular. Speaking of Facebook you can like them at: www.facebook.com/orlandocalling and follow them on Twitter at: @orlandocalling

If anyone goes and wants to do a show review for IAMTHETREND, please let me know!

As the release date for La Dispute’s sophomore album, Wildlife, was approaching, I was almost dreading having to write a review for the record. It is nearly impossible to put what this album is into words. Almost three years after their debut full length, Somewhere at the Bottom of the River Between Vega and Altair, La Dispute have returned with what is arguably the best album of 2011. Normally I would go through an album, mention the songs that are great, and those that are not, but with Wildlife, a review of that fashion would drag on far too long. Instead, I will divide this review into two sections: musicianship and vocals/lyrics.

Musically, Wildlife is a powerful force. As the opening number, “a Departure”, begins, the twangy sounding guitars lead into a more conventional guitar riff, backed by La Dispute’s impressive percussion section, brought to us by Brad Vanger Lugt. The opening guitar line that plays throughout “St. Paul Missionary Baptist Church Blues” sounds catchier than most of La Dispute’s work. Although it is mainly the same riff throughout the entire track, it never seems repetitive or boring. The consistent build ups in “a Letter” sounds suspenseful with each one, and between each build up, the guitar work of Chad Sterenberg and Kevin Whittemore shines greatly. As the epic “King Park” reaches its last two minutes, Vanger Lugt’s shows off his chops once again, as his pounding drums add the greatest element to musical side of the track. To close off the musicianship section, Adam Vass ‘ bass lines provide an integral part in Wildlife. Although the bass may go unnoticed from time to time, Vass’ contribution to tracks like “a Letter” are one of the main reasons why the track stands out. Along with all the great musicianship, La Dispute has added small noises in the background of many tracks, which adds an additional element to the already fantastic music. Whether it is the chirping sound in “a Poem”, the wooden noise maker in “King Park”, or the high pitched whistling noise in “Edward Benz, 27 Times.”

On the other side of La Dispute is vocalist/lyricist Jordan Dreyer. Vocally, his performance is what a fan of the band would expect. His sing-speak method of vocal delivery works wonders to accompany his lyrics, while his screaming abilities come in handy during the more intense moments of Wildlife. The biggest improvement to Dreyer’s vocals on the bands sophomore record would be his control. While at times on Somewhere…. Dreyer’s vocals would come across as overly schizophrenic or melodramatic, this time around, the vocalist has found the perfect balance. There are still moments where that schizophrenic quality kicks in, but the moments where it does happen on Wildlife are used in a more advantages way than on the group’s debut.

As far as lyrics go, Wildlife has some of the best we’ve seen this year. While La Dispute’s debut contained mostly lyrics about heartbreak and relationships, Wildlife focuses more on a narrative direction, with Dreyer writing from the outside. Many of the lyrics on Wildlife could be enjoyed as a short story or poem, not only as the words to a song. The greatest examples of Dreyer’s incredible lyricism would be on the back-to-back-to-back combination of “King Park”, “Edward Benz, 27 Times”, and “I See Everything.” In 2011, there are very few other lyrics that can evoke as much emotion as those three tracks.

With Wildlife, La Dispute have topped all their previous work, and then some. The lyrics and vocals have improved tenfold from the group’s debut. The musicianship is great and complements Dreyer’s style perfectly. The levels of emotion that can be felt while listening to Wildlife, with the lyrics right in front of you, is something very rare in this time. La Dispute have released the most intense, most impressive, and most emotional record of 2011.

Wildlife is available October 4th, via No Sleep Records.

Tracklist:

1. a Departure

2. Harder Harmonies

3. St. Paul’s Missionary Baptist Church Blues

4. Edit Your Hometown

5. a Letter

6. Safe In the Forest/Love Song For Poor Michigan

7. The Most Beautiful Bitter Fruit

8. a Poem

9. King Park

10. Edward Benz, 27 Times

11. I See Everything

12. a Broken Jar

13. all our bruised bodies and the whole heart shrinks

14. You and I In Unison

Standout Tracks: King Park, Edward Benz, 27 Times, I See Everything

Rating: 10/10

(guest article by: Emmalee)
I recently had the amazing opportunity to talk with Josh of A Day To Remember to discuss some of the more recent events happening with the band. Such as their most recent music video for All Signs Point to Lauderdale, feedback on What Separates Me From You, and who he would eat. Check it out!

What was it like shooting the video for All Signs Point to Lauderdale? How did you come up with the idea for it?

Josh: I think it was our management that really helped come up with the idea and it was fun. It was super easy, we were on tour and we flew out to L.A., we shot the video in a single day. It was really hot, but it was a lot of fun, there wasn’t any performance parts, so it went by really quick. Sometimes they didn’t need us to do anything so we just sat around.

It was at a real high school, right? How did you get that many kids to come out for the video?

Josh: Yeah, it was at a real school which was really crazy. We just sent out an all-call type of thing, anyone who wants to come out, and they all did.

Did you know the kid that played the antagonist in the video?

Josh: Actually, a couple of the bullies were actual actors.

A little while back you released What Separates Me From You, how has the feedback been on it thus far?

Josh: I’d say awesome. Our shows are bigger than they have ever been, so I would think if you didn’t like a band you wouldn’t come out and see them. I think it’s awesome, we’re proud of it, and kids seem to be liking it, so I think it’s good.

How do you deal with the accusations of selling out?

Josh: We don’t really take ourselves to seriously at all, like if you let like any little thing that anybody says get to you you’re focused on that and not what you’re trying to do. We’re trying to just have fun writing music and write the music that we want to write and listen to. If you think that’s us selling out, go listen to another band, I don’t care.

I heard the song 2nd Sucks is about Brian Calzini, is there any truth to that?

Josh: That is absolutely not true, Brian is a friend of ours.

You guys are often labeled as ton of different genres, what would you label yourselves as?

Josh: When people ask I just say that we’re a rock band, I don’t have some kind of catchy, cool thing to call us. We’re a mix of like hardcore and pop punk, so you can call it whatever you want, but at the end of the day that’s all it is.

A few months ago you played on Jimmy Kimmel, what was that like? Were your fans supportive of it?

Josh: It was awesome, it was our first television, like real talk show appearance, so it was crazy; we had so many people watching. A lot of people who know what we do are like “cool, you’re in a band,” but they don’t know like the level that it’s at when they can turn their T.V. on and see us on it, it kind of shocked a lot of people, so it was cool. Yeah, they loved it. A lot of kids actually got to come be in the audience, so that was cool. I mean there’s always going to be the select group of people that are like “You’re my favorite band, I don’t want you to be on this.” Doing that stuff just opens you up to so many more people. I just want to play o whoever wants to listen to it, whether that’s ten kids or ten million. You might lose a little small percentage of fans, but the amount of people you make is well worth it.

What do you think is the worst trend in today’s music?

Josh: Just like unoriginality. I think a lot of people see a band that they think is cool, then they think that’s the only way you can get big. People’s mindsets are in a different place than it was. I’m going to speak for my band, but we never thought this would be big. Ever. We just played music that we wanted to play throughout all of the years of us being a band you can look and people talked shit about what we were doing forever, even up until today. We didn’t care, we just kept doing it. A lot of bands will try to sound like a band they think is big. Even bands will try to like mock what we’re doing and that’s cool if that’s what you want to play, but just try to do what you want to do regardless if it’s original or not, don’t do it based on “I want to get to big.” That’s stupid.

If you could choose any three people, from any time period, who would you eat and how would you cook them?

Josh: God… I’m going to take an easy way out, but if you ask anybody it’s the honest to God truth, I’m not a vegetarian, but I am really weird about eating meat in general, like I don’t like to eat hamburgers and stuff, so I would probably just starve to death. I probably wouldn’t eat anyone, that’s not interesting. I’m trying to think of who would taste good.

Well it’s all about how you cook them.

Josh: True. Seasoning and all that.

If you’re going to cook someone you have to go all out.

Josh: Right, right. I don’t know, who would you eat?

I would probably eat Buddy Wakefield because he is a fantastic poet, Edgar Allan Poe because he was an amazing author, and probably William James because he is a huge inspiration. I really like pulled pork, so I’d probably do that to one of them, maybe some grilling, and I’m a big fan of stir fry.

Josh: You’re much more creative with this answer than I am. I probably honestly would just starve, I’m weird about meat.

I’d like to send out a huge thank you to Josh from A Day To Remember for taking the time to sit down and chat with me. Make sure to check out the latest ADTR video All Signs Point to Lauderdale HERE.

It has barely been a year since Man Overboard’s debut full length, Real Talk, but the New Jersey quintet are back with their self-titled follow up. Being one of the first “WTF” Rise Records signings, some were definitely weary about how their next record would sound. Well, the fans need not worry anymore, because Man Overboard hasn’t changed at all. The group is still making their brand of pop-punk, and shows why they are one of the currently leaders in the scene.

Opening track, “Rare”, sounds awkward during the verses, but as soon as the first chorus slides in, all those woes are gone. The band proved on Real Talk that they know how to start an album, and with “Rare” they’ve shown that they can do it again. “Dead End Dreams”, the album’s first released track, start off with some gang vocals and acoustic guitars, before bursting into one of Man Overboard’s classic sing alongs. As a piece of the record, the track works great, but does not represent the album enough to have warranted being the first track released.

The album truly shines it it’s second half though. “Headstone” is backed by pounding drums and aggressive guitars. Pairing the musicianship with the angry lyrics “My life will be a rock on your headstone / begging you to never rise again” show the more aggressive side to Man Overboard. Another one of the first tracks released, “Spunn”, is one of the catchiest tracks on the album, while featuring a slight appearance of keyboards/piano, something relatively new for the band. “Picture Perfect” starts off with just a guitar/vocal combination, which Man Overboard makes sound great. As Zac Eisenstein sings “He said, ‘I miss you so much’ / She said, ‘I miss you too’…”, we hear a new level of emotion, even though the lyrics are some of the most cliché. The album’s closer, “Atlas”, is Man Overboard’s best song to date. Both vocalists shine the more than any previous track released before. The song doesn’t follow the standard Man Overboard formula, but doesn’t stray so far from their signature sound. If “Atlas” is any sign of what Man Overboard has to offer in the future, then everyone is in for something special.

Not everything is great on Man Overboard though. “Not the First” sounded slightly better as an acoustic track, which was available to those who preordered the album, three weeks before the album’s release. “Teleport” sounds like an average track off of Real Talk, not to mention, it’s pairing with “Rare” makes the track sound all the less impressive.

The biggest improvement between Real Talk and Man Overboard is the production. While certain tracks would have sounded mediocre, their production sets them ahead of many of the bands older tracks. Tracks like “Spunn” and “Punishment” greatly benefit from the improved production, as the tracks sound almost like songs off Real Talk.

Sure the lyrics are cliché, and yeah, they didn’t show much progression, but Man Overboard released a better album. The album should not disappoint any fan of the band, as it sounds like the perfect follow up to Real Talk. The album is without a doubt a pop-punk gem, and will certainly be remembered up there with many of the other great albums this year.

Man Overboard is available now, on CD, LP, and Digital Download, via Rise Records.

Tracklist:
1. Rare

2. Teleport

3. Voted Most Likely

4. Dead End Dreams

5. Something’s Weird

6. Punishment

7. Not The First

8. Headstone

9. Spunn

10. Picture Perfect

11. Night Feelings

12. Atlas

Standout Tracks: Rare, Spunn, Atlas, Picture Perfect

For Fans Of: Fireworks, Handguns, The Wonder Years

Rating: 8/10

A label’s 50th release is a big deal. There are a fair amount of independent labels that don’t make it to this milestone. Luckily, Run For Cover records did make it to this point, and they certainly are celebrating it with a stellar release. For their 50th release, the label decided to put together a compilation of 12 artists, who all contributed new or unreleased material, that represent and help shape the label.

The compilation opens up with a track off of the latest Polar Bear Club release, Clash Battle Guilt Pride. The track, entitled “Killin’ It” is way above anything off the group’s 2009 record, Chasing Hamburg. Led by vocalist Jimmy Stadt’s gruff vocals, the song truly set’s the release up properly.

Following “Killin’ It” is a contribution from Balance & Composure, who deliver one of their best offerings to date, “Seahorses”. While the song is not a departure from the sound created on their debut record, Separation, it certainly shows progression. Although the song would have fit into the tracklisting of Separation perfectly, it works to much better standing on its own. If anything, “Seahorses” shows that Balance & Composure will be able to write the appropriate follow up to Separation, when the time comes.

Tigers Jaw delivers quite the punch with “Distress Signal”. The song features a great balance between the male and female dynamic, which has not been showcased this much on past releases. Their style of indie punk proves their spot on the label’s roster is well deserved. Following Tigers Jaw is another one of RFC’s current artists, Hostage Calm. The group furthers their indie-pop-punk-Beach Boys sound that was shown on their 7” from August of this year. The song doesn’t do anything different from the 7” tracks, but is much more enjoyable.

Daylight display a sound similar to Polar Bear Club and Make Do and Mend on “Cursed”, rather than the more Title Fight influence displayed on their Dispirit EP from last year. The song is a very strong track, but with the fantastic tracks from their sound-a-likes on the compilation, it might easily get overlooked.

After the impressive EP Daytrader released earlier this year, it is no surprise they contributed one of the strongest tracks on Mixed Signals. “Texts and Tomes” shows the same style as Last Days of Rome displayed just on metaphorical steroids. The vocals, the musicianship, everything is better. If the band can keep up with all the great music they have released this year, there is no doubt they will soon be on the front lines of the genre.

Following “Texts and Tomes” comes the strongest track on the record. Make Do and Mend follow up their incredible 2010 release, End Measured Mile, with “Coats”. This band is truly doing the current wave of punk rock justice. The music is aggressive, the vocals are passionate, there really are no complaints with this band, this track in particular. It may be a bold statement, but Make Do and Mend have released their best song to date on this compilation.

As the album comes to a close, the listener gets treated to a new track from one of RFC’s newest signees. The Tower and The Fool’s addition to the album, entitled “Die Alone” is the progression one would have expected, and wished for, after listening to their debut EP. Though the demise of vocalist Alex Correia’s band Therefore I Am let many upset, his current folk rock stylings with The Tower and The Fool are much more suited for his voice.

Although there is so much good on Mixed Signals, there is a fair amount of boring. Though the unmentioned tracks are by no means terrible, their placement on the album causes them to be outshined by all the stellar contributions throughout Mixed Signals.

If you are a fan of any band on their release, or even the label itself, there is no reason not to check Mixed Signals out. Many bands have contributed some of their best material to date. Plus, there is a hidden track that is to die for. There is really no downfall to checking this compilation out, you may even find your new favourite band.

Tracklist:

Polar Bear Club – Killin’ It

Balance & Composure – Seahorses

Tigers Jaw – Distress Signal

Hostage Calm – The M Word

The Menzingers – Irish Goodbyes

CSTVT – Bassett St.

Daylight – Cursed

End Of A Year Defense Family – I’ve Got An Idea…

Daytrader – Texts and Tomes

Make Do and Mend – Coats

The Tower and The Fool – Die Alone

The World Is A Beautiful Place and I Am No Longer Afraid To Die – To The Janitor, to The King

Rating: 8.5/10

On Proper (you can see that Weiss names his albums very literally), Weiss displays a great amount of versatility. The album features a large amount of full band tracks, which, while not something new Into It. Over It., the style has not been as used on his previous work. The opening combination of “Embracing Facts” and “Discretion & Depressing People” will introduce the listener to exactly what they will get throughout the album. Most tracks are more “rockers” than some of Weiss’ previous work with IIOI, but he sounds better than ever. “Write It Right” allows Evan’s vocals to shine, over top of another musically fast paced track.

Although, not everything on Proper is so full of energy. “No Good Before Noon” is the first appearance of the quieter, more reserved sound that some may be more familiar with. Coming in at under two minutes, it doesn’t slow that album’s pace down, but just works as a bit of a breather. “Midnight: Carroll Street” blends both the faster, full band elements, as well as the slower side of Proper, to create what is ultimately the strongest track on the record. Closing the album off is the duo of “P R O P E R” and “The Frames That Used To Greet Me”. The two tracks work great together to summarize what Proper is about. The former track is the best demonstration of Into It. Over It.’s full band, fast paced tracks to date. The latter is a striped down, acoustic track that perfectly represents the softer side of Proper.

Throughout the album, it is Evan Weiss’ vocals that shine the brightest. His unique vocals work great over both styles of music he created on Proper, best demonstrated on both closing numbers. Weiss has definitely created something great with Proper. The album will most likely end up on a few End of the Year lists, and will probably end up as one of the most universally praised albums this year. With so many songs released as Into It. Over It., some might worry that Weiss may not be able to work in a proper full length setting. Let those people listen to Proper, and surely they will realize they were mistaken.

Proper will be available on September 27th via No Sleep records. Pre-order the CD or LP on the No Sleep Webstore.

Tracklist:
1. Embracing Facts
2. Discretion & Depressing People
3. Fortunate Friends
4. No Good Before Noon
5. Write It Right
6. Midnight: Carroll Street
7. Connectict Steps
8. Staring At The Ceiling
9. An Evening With Ramsey Beyer
10. Where Your Nights Often End
11. P R O P E R
12. The Frames That Used To Greet Me

Rating: 8/10

Chances are very high that you have never heard a band that sounds exactly like Chicago’s So Many Ways. Upon first listen, they may just sound like another hardcore/pop-punk cross over band in the same vein as Such Gold or early Four Year Strong. But if one were to listen to the group’s latest, self-titled EP, they would notice something all those bands don’t do. So Many Ways can shred like a metal band.

The release starts with a 38 second demonstration of So Many Ways’ metal influence. The first full track, “I’ve Made A Huge Mistake”, starts off sounding like a Such Gold track, but ends with a raging guitar solo, rarely ever seen in pop-punk. “Sleep Mask” runs a little lengthy for a song of the genre and due to this becomes boring halfway through the track. The band shows off their hardcore influence in “Murf’s Little Hints”. Coming in at under 2 minutes, the track is sure to get the crowd’s blood pumping and open up the pits. At points, the track even becomes reminiscent of label mates Bayonet.

“37 Chambers” does nothing to stand out on the album, but still remains an enjoyable track, mostly due to the band’s metal influence. Coming to its end, the EP’s strongest track “Oak Island” shows what this band is about. The vocals are strong, whether they are clean or gruff. The guitar work is impressive for a band of this genre, and being backed by the pounding drums just enhances the sound. All in all, this song best sums up So Many Ways. All their influences shine brightly, while not overpowering each other. The EP closes with “Dirtfoot”, another under 2 minute track that shows off their hardcore influence.

So Many Ways have really made something interesting with their self-titled EP. It’s both equally aggressive and catchy, while demonstrating influences that are not often present in either pop-punk or hardcore. There is a mass amount of appeal to So Many Ways, for many of different crowds. It would be no surprise if this group blows up in the near future.

So Many Ways is available now via Mightier Than Sword Records.

Tracklist:

1. Take It To the Limit

2. I’ve Made A Huge Mistake

3. Sleep Mask

4. Murf’s Little Hints

5. 37 Chambers

6. Oak Island

7. Dirtfoot

For Fans Of: Kid Liberty, Such Gold, Four Year Strong

Rating: 7.5/10

This is the best song La Dispute has released thus far. That’s a pretty bold statement to make, especially after the band’s splits with Koji and Touché Amoré, but it’s the truth. After the release of the first track from Wildlife, “Harder Harmonies”, it became well aware that La Dispute were going out to top Somewhere At the Bottom of the River Between Vega and Altair, their 2008, critically acclaimed debut full length.

While at times on Vega and Altair, vocalist Jordan Dreyer’s vocals seemed a little too melodramatic; Dreyer has found the perfect medium on “The Most Beautiful Bitter Fruit”. The schizophrenic vocal style is still there, but Dreyer has more control this time around, knowing when to use his scream, and when to use his spoken word style of singing.

Musically, this song is what you would expect. It is aggressive, but still contains the artistic element that back Dreyer’s poetic lyrics perfectly. Similar to vocals, the heavy to artistic ratio is well balanced on “The Most Beautiful Bitter Fruit”.

If this song doesn’t get people excited for Wildlife, then those people are a lost cause. If the group can keep up this perfect balance in their music throughout the album, Wildlife will surely end up in a vast amount of End of the Year lists.

Pre-orders are available now for Wildlife in No Sleep Records’ webstore. Wildlife will be out October 4th.

Up until last year, it appeared that Dayton, Ohio’s Hawthorne Heights were on an unstoppable downward spiral. With each album they released, people became less and less interested. But, after the release of Skeletons, many fans had restored faith in the band, and they actually gathered some new fans with their new direction. Then came their newest release Hate. While many people are raving about the release, it’s really not that impressive. After the comeback that was Skeletons, I expected much more.

Hate opens with a one minutes, fourteen seconds intro, “There Was a Kid (Part 1)”, that is all around boring and unimpressive. Vocalist JT Woodruff trades his signature vocals in for a more spoken word approach, which leads to a whine as the song closes. Luckily, his voice returns to form for the remaining eight tracks. The most apparent thing with the new EP is the return of the screaming. Sure it wasn’t absent on the previous full length, but it is now back with the full force from their first two albums. While older fans will rejoice at this fact, it was the lack of screaming that made Skeletons the far superior release.

“Is This What You Wanted?” and “Divided” are pretty standard tracks, as far as the EP goes. Screaming, over pseudo- aggressive music, accompanied by Woodruff’s voice, which sound like background vocals on the latter track. The title track is an improvement over its preceding tracks, but with lyrics like “I hate my job and I hate my life / I hate every fucking thing in this world / I swear to god if I had a knife / I’d cut my heart out and give it to her”, the song is almost unlistenable.

“Stay Awake/Stay Alive” blends both the sound off Skeletons and the group’s older work, and actually leads to one of the better songs on the release. The group does not abuse the screaming, and let Woodruff’s vocals shine for one of the first times on Hate. “Oceans”, another standout song, features a more ambient sound, lead by Woodruff’s vocals. The song, once again, features the band’s rediscovered screaming, but this time around works in the songs favour. The EP ends with “Passengers” which features some of the best lyrics from the album.

Hate is really a bittersweet release. The return to the more aggressive sound is great in theory, but the end product doesn’t come out as great as expected. Also, the inclusion of the synthesizer in the background of some tracks will put off some listeners. Sure the release has its share of mediocre tracks, but the songs that are good should be placed in high-regard, like older favorites.

Rating: 3/5
Hate is available now on iTunes.

Tracklist:
1. There Was A Kid (Part 1)
2. Is This What You Wanted?
3. Divided
4. Hate
5. Wasted In NYC
6. Stay Awake/Stay Alive
7. Oceans
8. Four White Walls
9. Passengers

Standout Tracks: Oceans, Stay Awake/Stay Alive, Passengers

Upon first listen Oh, Manhattan’s Spiritual Warfare might grab the average listener as a run of the mill post-hardcore album. The breakdowns are there, the screams are there, the gang vocals even make an appearance. And while you couldn’t be faulted for making that assumption based on the presence of these post-hardcore staples, you’d be missing exactly what it is that makes this album great.

While the heavy elements of your average post-hardcore album are there, it’s the spaces in between those elements that distinguishes Spiritual Warfare. Guitarists Kodi Gray and Chris Branton do exceptional jobs of creating atmospheres in the songs that make this album stand head and shoulders above their peers. Take track two. “The World Ends with You” for example. The opening moments of the song might fool you, but after the initial post-hardcoreisms of the song, the soaring vocal melodies and ambient guitars surprise the listener with something fresh in a scene too focused on the “br00tality” of every song.

While the lyrics are at times a bit cliched such as in songs like “The Anti Da Vinci,” the words are penned with a surprising subtlety. Vocalist Hance Alligood crafts his lyrics expertly and intelligently (any David Lynch fan will appreciate Guilty Blessings, Pt II) to fit the mellowness of the slowed down, atmospheric interludes as well as the crushing breakdowns that are sure to follow. Track seven “To the Gallows” (my personal favorite) is a good example, with Alligood crooning “there is comfort right in the eye of a hurricane” in the songs clean beginning and screaming with all his might “one, two, step left, right, left to the gallows!” at its annihilating end.

The album as a whole stands out from its contemporaries because of its ease of transition between ambient, high-pitched guitars to its head banging breakdowns. While some bands make the transition painfully and abruptly by interjecting a sad synth/dance part, Oh, Manhattan does it with a skill that is missing in the scene today. Songs such as “Face of Another” or “Ian Curtis” illustrate this perfectly.

As much as I wanted to find fault with a younger post-hardcore band, it was very difficult after listening to this album straight through. The melody is as captivating as the heaviness is exciting, and the best part: they know how to make them flow seamlessly together. For a band like Oh, Manhattan, an album like Spiritual Warfare is an exciting pedestal that will bring them to new heights and, I’m confident, be a big step in them realizing their obvious potential.

HARDCORE. That’s the word that comes to mind when listening to A Shattered Hope’s debut EP See You at the Grammy’s. The first track, “A Man’s Loss”, sets the tone for the rest of the EP with a hard hitting punch to the ears. The perfectly mixed guitars and double bass drum work is reminiscent of a band of veterans, not from such new-comers to the scene.

“I’m Rich, You’re Dead” continues the assault with the same distorted guitars and even more distorted vocals that the listener will hear through the entire record. A tempo change in the song helps the song stand out from others but does sound contrived. An overall review of the album suggests A Shattered Hope has the making of being a name in the hardcore and screamo community but nothing sticks out of being out of the ordinary. The unintelligible screaming will turn off many listeners but the guitar riffs may keep them around a little longer. When the band breaks from screaming and sings a couple of bars, the vocals and lyrics shine through and make you want to keep listening. With less melody and guitar solos than bands such as The Damned Things, A Shattered Hope still rocks hard and lets it all hang out.

This writer looks forward to hearing more from this up and coming San Diego outfit.

Rating: 3/5

For Fans of: The Damned Things, Every Time I Die
Key Tracks: “A Man’s Loss”, “Thanks for the Coffin”

Upon first listen, it is extremely evident that Sainthood Reps’ new album Monoculture is not going to be for everyone. Filled with distorted vocals and guitar, it creates a unique sound that not many bands are doing these days. Due mostly to these aspects, some will praise the album, while others may say it is just a rehashing of Brand New’s Daisy.

Sainthood Reps show their strength on the heavier, harder sounding tracks such as “Monoculture” and “Animal Glue”. These two songs are the finest pieces you will find on Monoculture, and the latter is actually one of the most impressive songs this year. It’s vocalist Francesco Montesanto’s vocals that make those songs what they are, as he shows off how strong of a voice he has on the more “rock” sounding tracks.

It’s easy to see why many would praise Sainthood Reps for their slower, more atmospheric tracks like “reactor, reactor, reactor, REACTOR!” and “Hunter”, but for me it just brings down the energy. Sure the songs would be cool to listen while driving around late at night, but the can also be a downer if you are expecting more high energy songs like “No/Survival”. That’s not to say that these tracks aren’t great, because they are. But these are the songs that make this album less universally enjoyable.

As a whole album, Monoculture works. Out of context though, certain songs lack, while others shine brightly. Overall, Sainthood Reps have released an enjoyable album, but the timing for the release doesn’t feel right. Had this album been a mid to late Fall release, it atmosphere the album creates would have worked better with the weather, probably creating an all around more enjoyable listen.

Tracklist:

1. Monoculture
2. DINGUS
3. Telemarketeer
4. Animal Glue
5. Hunter
6. No/Survival
7. Hotfoot
8. Holiday Makers
9. reactor, reactor, reactor, REACTOR!
10. Widow

Standout Tracks: Animal Glue, Monoculture, No/Survival

For Fans Of: Balance & Composure, Brand New – Daisy

Rating: 7.5/10