After Three Seconds - Genius Loci EP

After Three Seconds are from Southbury, Conneticut in the United States - and to be honest i got no freaking idea where the hell that is because im from Adelaide, SA, AUS. But this doesnt matter coz music travels accross great seas to reach individual's ears right? Well this EP has successfully journeyed it's way to my ears - thank you interwebs.

You'll find a varied offering with this, i can only assume, the bands first foray into recording - and although it is obvious that there is a young group behind the tunes - there is also evidence showing musical maturity and knowledge (of which i have none of). Opener Tunguska immediately grabs hold of the listener with it's upbeat nature and use of jangly piano along with punching guitars - and to be honest there is nothign wrong with the piano playing this role - Pinkly Smooth did this successfully and so do these guys. The track really excells (and grabs my attention) with the piano solo at the breakdown (it's a fuck yeah moment) - it's melodic and powerful and bordering on cheesy...not nightwish cheesy but just enough to make it enjoyable.

Solstice is really where the bands maturity shines - the verses channel Ben Folds Five to perfection - this may not be a positive thing for many of you out there but i'd be lying if i didn't enjoy me some Ben Folds. The track has a semi-adult contemporary indie-pop feel (way too many genres there but who cares) but quickly transitions to a pseudo-metal sounding chorus - and then floating back to the original acoustic lullabye that ushered in the track.

Seven Skeletons Dancing. I have a bone to pick here...no pun intended of coure...I cannot get over how the vocal melody mirrors that of..dare i say it...Avril Lavignes "Complicated". Other than that the track offers a boppy indie number which is catchy as hell - driven by acoustic guitar and once again that piano which is a delightful element of the bands repetoir.

Finally, to end the EP we have a nine-minute romp of prog-rock goodness. Dead Man's Lantern is wisked in with some white noise and footsteps before a solo guitar starts to take hold - reminds me of The Thirty Years War (the band that started the Fall of Troy) - some neat drum work joins in and the song kicks off - shit some cool keyboard just kicked in...why not? I really enjoy the vocals on this one, showcasing the indie-rock tendencies of the band - its 'nice' in a good way.
This song reaks of sexy keyboard in the middle - whoever wrote the music somehow knew that i love that type of keyboard (seriously i know nothing about music i just know that this keyboard tone is whack) - so back to the song - there is some shredding and stop starting and powerful instrumentation which encompases the calm before the storm so to speak - everythign is stripped back to what i can tell is a semi-acoustic guitar accompanied by some thick bass goodiness, enter the piano, the building drums and we are set for the storm...

Is this EP enjoyable? Hell yeah, it's poppy, it's catchy and it has some seiorus rock out moments - if it wasn't for the semi-avril lavigne moment half way through id enjoy it even more - but that's not to say you shouldn't keep an eye on whats to come.

After Three Seconds
Download For Free Here

Silversun Pickups - Swoon

Whats that song...Lazy Eye? Yeah that's it, so spun that a few times with my gf, yeah it's pretty chilled reminds me of Smashing Pumpkins and a bit of young Claudio Sanchez belting out some vocals. This band is Silversun Pickups. Welcome the their world of crunching guitars, thick basslines and childish yet maturely dark lyricism.

I chose to give Swoon a real goer, moreso than their first LP Canavaras. It is certainly dark and disturbing, when you actually listen to it...

Princeton Dictionary defines swoon as to Faint or pass out from weakness - the guitars on this album feel very constricted and repetitive and for htis reason i feel like im gonna pass out halfway through. This band created a certain syndrome called Silversun Pickup Syndrome (SPS) where their songs run 2 minutes to long. Sometimes its a great thing, coz they kick each song from level 8 to 15 on th epower charts - but it does become tiring.

That being said, i should give credit where credit is due in that the string sections bring this album a virtuous texture and added sheen to a very depressing affair. The only happy track is the first one and its all downhill from there - 'how many times do you wanna die? how many ways do you wanna die?" geez man i got issues as it is!

But there are plenty of catchy hooks, denouments and all out rocking on this record which warrants its place on this blog. Please enjoy.

The Dear Hunter - Act III: Life and Death

April 23, 2009
THE LATEST CHAPTER IN THEIR EPIC ROCK OPERA; ´ACT III: LIFE AND DEATH´ DUE OUT JUNE 23 ON TRIPLE CROWN RECORDS; TOUR WITH MEWITHOUTYOU STARTS JUNE 8.

THE DEAR HUNTER will be releasing the third chapter of their rock opera on June 23 via Triple Crown Records. ACT III: LIFE AND DEATH chronicles the latest endeavors of "the boy," now a man, looking (and finding) love, loss and reinvention.

To celebrate the album´s release, THE DEAR HUNTER will hit the road as direct support for Mewithoutyou starting June 8 in Richmond, VA and concluding July 11 in Boston, MA.

ACT III: LIFE AND DEATH was produced by singer/pianist/guitarist/lyricist/multi-instrumentalist Casey Crescenzo and guitarist Andy Wildrick. It was recorded at the band's studio in Providence, Rhode Island, and features a number of guest musicians playing everything from strings and horns to harps and woodwinds. The music for this epic project is once again a joint venture between all the band members—Casey Crescenzo, Andy Wildrick, Erick Serna (guitars), Nick Crescenzo (drums) and Nate Patterson (bass).

One of THE DEAR HUNTER´s biggest fans, Anthony Green of Circa Survive, is one of the first people to hear the finished version of ACT III and is eager to share his thoughts about it with fellow musicians and fans alike:

"When I first heard ACT III (which was only very recently, so it´s still new to me), I had the feeling of being proud of my friend, being proud to hear him outdoing himself once again. It came to me in a time when I was in a ring of self-doubt, and it was incredibly inspiring. One moment you´re drunk at a dangerous gypsy wedding (´Saved´), the next you´re hearing some Freddie Mercury and Janis Joplin lovechild, making you rock and bob your head incessantly, singing ´ohh on the other side´ or ´we have to learn to live a lie or we´re waiting here to die´--so breathtaking--you might be saying, ´oh well he´s just that dude´s buddy and would like anything he did,´ but to that I say, ´f**k you.´ He's threatened to kill me on more than one occasion and if this s**t wasn't important I wouldn't listen to it or feel such an urgent need to pass it along and share. The album makes me want to be a better musician, it also makes me grateful to live in this amazing time in musical history where an artist like Casey should be nurtured like a baby seal that could save all our lives one day with its flippers or nosey."

"Every band wants to say that they are evolving," says Casey Crescenzo about ACT III: LIFE AND DEATH, "and that with each new record they are tapping into a new era for the band--usually spouting off a phrase akin to ´This record is so much more melodic--the heavy parts are heavier, and the soft parts are more serene.´ A record speaks for itself and the only job of the artist is to create and not promote. Having said that, we make no attempts to declare the magnitude of the record from the point of view of the audience. The only thing we can proclaim is how rewarding the creation of the record has been and just how profound the effect of that creativity has been on our lives. As we approach the point of detachment, we hope that this work can translate to the listener."

He continues, "The themes for the record fall slightly darker than previous work. Set in a WWI era, ACT III sets its own course with no direct historical ties, only a loyalty to the emotions of the human spirit, documenting the metamorphoses of a fictional central character as he makes the transition from innocence to impurity. With a great deal of care given to marrying all aspects of an album, ACT III follows these themes within the context of lyrics, music, and tonality."



ACT III is the follow-up to 2007´s ACT II: THE MEANING OF, & ALL THINGS REGARDING MS. LEADING, which was described by Alternative Press as an album that "...goes from haunting and otherworldly (´The Oracles On The Delphi Express´) to utterly fantastic—´The Bitter Suite 1 And 2: Meeting Ms. Leading´ is a chamber indie-pop masterpiece, complete with an instantly memorable piano line and a chorus as big as the song title."

Outburn magazine took it a step further: "ACT I: THE LAKE SOUTH, THE RIVER NORTH was a precursor to what Casey Crescenzo could create via his vice, The Dear Hunter. A genre shattering concept album, ACT I set the precedence of what was to come with his follow-up ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING. While ACT I contained chapel-like verses, hard rock guitars, and non-vocal selections, ACT II pushes those parameters on a gargantuan scale with a score apt on a Broadway level…Dare not call ACT II a concept album, but rather, abstract musical poetry. 9 out of 10"

"Leaving pride out of the equation," declares Casey, "we strongly suggest you set aside an hour of your day, remove yourself from the woes of reality and enjoy ACT III: LIFE AND DEATH."

www.myspace.com/thedearhunter

www.thedearhunter.com

Tracklist:

1. Writing on a Wall
2. In Cauda Venenum
3. What it Means to be Alone
4. The Tank
5. The Poison Woman
6. The Thief
7. Mustard Gas
8. Saved
9. He Said He Had A Story
10. This Beautiful Life
11. Go Get Your Gun
12. Son
13. Father
14. Life and Death

Source: Absolutepunk.net

His Hideous Heart - Only The Earth Can Make A Tree

Opener Only the Earth Can Make A Tree floats along quite serenely, comparatively to a child's lullaby and invites the listener into the delicate world of His Hideous Heart. This record tends to meander through indie pop stylings to dreamy soundscapes all with pertinent ease. It makes the experience pleasurable.

The strong song writing continues with Dancing in the Wind with some ear catching basslines and fast paced drumming. Something happens next - you're transfered to the next song This is Fullerton - a fun, galloping tune that begs for your legs to bounce up and down - and why not? The lead guitar is brought to the forefront to drive the song till subtle strings can be heard adding texture to the simple yet deceivingly complex song.

Ok so what i like about this album is they have succesffuly channeled the season of Spring to me. Weird i know, but all i hear in music these days is summer and winter. ffs where is my spring?? Well here it is - take a listen and see everything bloom.

Bars of Gold - First Live Show (bootleg)

So i haven't even listened to this yet but ima post it for ya'll anyway. For those of you who are familiar - the man who looks like he is possessed in the photo above is Marc Paffi (formerly of the illustrious band Bear Vs Shark). Yes, this is the new band that has risen form the ashes of the much beloved aforementioned...so check this bootleg out, it's their first show and i am expecting good things...

Tracklist:
01. Intro 1
02. Born a Cannibal
03. Intro 2
04. Up Up Up
05. Intro 3
06. Doctors and Lawyers
07. Intro 4
08. Cars Asleep
09. Intro 5
10. Birds

Minus the Bear - Planet of Ice

My love affair with Minus the Bear started when i picked up their Menos el Oso album 3 years ago. I brought it home and listened to it while a friend dyed my hair - i was going through a phase with my music - an exciting one which would lead me to greater things. The same could not be said for my hair that night...

Planet of Ice feels like an icy album - an album that you put on when the rain is hitting hard against the windscreen of your car. I also get this sense of sexual passion, i know weird right? But it is like Minus the Bear have sexually matured - ageing from adolescence to men - and it shows in the lyrics of songs like White Mystery and Patiently waiting (if you have the aussie release).

Lotus is a huge trip of prog greatness while the images of drinking warm sake on a cold Japanese night could not be pulled off any better in the alluring song Part 2.

Karate - 595

For those unfamiliar with Karate (it should be obvious that im talking about the band and not the martial art). Jokes aside, Karate led by Farina is what some may regard as an influential band on rock movements to come, but what i regard as a fresh sounding, sonically challenging trio that combined their extensive musical knowledge with rock sensibilites to win hearts accross the globe.

This, their final release before disbanding is their 595th live show recorded in Italy i believe. It showcases the bands jazz/rock genre at it's rawest with prolonged jam sessions and expanded solos that differ considerably from their studios offerings. You will find everything here, the spaced out, soulful and spine tingling guitar playing, delicate and erratic drumming and smooth soothing basslines all combined with the touch of Farina's distinct voice.

Something for a warm summers night drive definately.

Anathallo - Canopy Glow Review

I think i've fallen in love with this album, much like i did with floating world - but this one just leaves some sort of resonate beauty in the air surrounding my speakers. I received this in the mail today, pre-ordered of course and i watched as my girlfriend stole it from me and opened it so i wouldn't be overun with excitement, alas it was handed to me and it graced my eager hands begging to be opened and played.

Overall, this album plays like a journey through life, and if time permits ill have a bit of an interpretation up in a few weeks. The recurring themes of birth, lifes experiences, ageing and death seem to peek through the songs lyrical content as they're intertwined with wonderfully crafted melodies and harmonized vocals. But then again, what more would you expect form Anathallo? On this, their sophomore effort, they have opted for tighter song structures as opposed to the sparceness and general complexity of Floating World (not that that was a bad thing!). This focused song writing is however a blessing and holds the record with much more restraint and allows it to ebb and flow effortlessly.

I'm going to review the songs individually as i don't want you to miss out on any of the juicy bits this album presents the listener with.

Noni's Field - The album kicks off with shakers and an upbeat intro track. This song has been around for agggges but still gives me shivers of joy each time i listen to it. Anathallo trademark vocal harmonies are abundant surrounding a prominent piano, hand claps and warm fuzzy bass frollicking around the mix. The song is pure bliss (given the theme is detah) and ends with beautiful string arrangements. (9.5/10)

Italo - Italo has this irresistable charm to it. Erica's vocals lift up and bound with pace. It's a genuine sing-a-long track that while jumping and electric it is oceanic in stature. I think they use bricks rubbed against each other in this? Almost as pretentious as the velcro they used in Floating World - but it works, so well. I needn't say more. (10/10)

Northern Lights - Ushered in by the engine of a church organ and what appears to be shuffling feet this would have to be the most beautiful song on the record. Half way through, when everything stops, and the delicate bells are tinging in your ears is one of those moments that just make you sit back and reflect, on everything that you've ever experienced. I've been trying to pinpoint a nice phrase for this epiphanic point - all i can say is my heart stops. Amazing. (10/10)

The River - The lead single fromt he album and it is one of the most catchy and growing songs on the cd. The good thing about Anathallo is there is always somethign to discover on each listen. It is truly a headphones album. So how is this song? It's singable, it's danceable, it's a cacophony of pianos, strings, horns and a myriad of intriguing instruments that guide you to wonderful places. (10/10)

Cafetorium - From what i can gather a biblically influenced song. I've heard that Anathallo's religious roots turn a lot of people off which i think is very unfortunate. Their ability to tell a story, a religious one at that and incorporate it into their own unique style is amazing and should not be overlooked, and this is no exception. (9/10)

Sleeping Torpor - Another delicate song, Erica's voice gives you the impression that if you drop her she'd break, and this is what i like about her vocals on this album. This track would to me best fit somewhere on Floating World - it has the odd and burstly horn sections, slow burning tempo and distinct querkiness. In the context of this record it fits perfectly in the middle and gives the listener a break before entering the second half. (8.5/10)

All The First Pages - A masterpiece. This is my favourite track, although it is very hard to choose one. The way this song constructs denoument is entirely what makes it. The first half is dedicated to building a foundation block that lifts the second half of the song into the stratisphere - sweeping strings and perfect vocal harmonies drag you in and don't let you go. The percussion is what holds it all together though, showcased well on this track. (10/10)

John J. Audobon - Once again we are treated to the exubrant playfulness that Anathallo is known for. Backing vocals carry themselves behind the leads flowing and discordant lyrics to make for an ec lectic and engaging song. (9/10)

Bells - This song is quite a concept, it is built entirely from hand bells found in the church where the band played and practiced in Chicago. I get the feeling the song is about ageing and losing your mind, losing sanity and about the diminishment of memory. It is sad, and brooding, harrowing even - but i wonderful observation of the challenges life throws us. (9/10)

Tower of Babel - The album finishes with a gentle, calming and sombre affair. It is a song that engages throughout and even gets me singing from time to time. I think it was th eperfect way to close this album - it is dark and contemplative - what the album seems to posess as a whole - and it is done to perfection. (10/10)

Overall Score: 93/100