When reviewing albums, I, The Henry, have a ritual adhere < /Spencer Sotelo voice> where I listen to the music whilst reading whatever I can about the band. This time around, I watched a few live videos, tweeted @Cityinthesea – to which they only favorited my tweet... shame, and managed to read the Edgar Allen Poe poem that the band is named after. My concentration was abruptly broken when at the end of City In The Sea's album Below The Noise, my iPod nano went on shuffle and started playing "20 Dollar Nose Bleed" by Fall Out Boy because I’m a manly man.
When you Google Sleep City, the first entries you’ll find are links to mattress companies. While also comfy and made in the U.S., Sleep City's debut LP Distance and Age is a collection of jams that combines high energy rock, intricate enough to be progressive or even experimental, but with hook-driven vocals that will leave you wondering why you've yet to hear this band on the radio.
There are certain things that I don’t expect in life, things like well-written articles in Maxim or yoga pants that tell the truth, so when I pressed play on my iPod Nano to listen to Deadlock’s new album, The Arsonist, I did not expect the thrashy, detuned guitar riff intro, subsequent sweeping arpeggio guitar lead, and momentary blast beat into a groove riff. Then, only a few moments later, after some brutal, layered harsh vocals, the catchiest vocal hook ever sung by Sabine Weniger, who’s gorgeous by the way. With a piano and clean guitar bridge, "The Great Pretender" is easily one of the most surprising tracks I've listened to as of late, especially because the only other band aus Deutschland that I can think of off the top of my head is Rammstein, which Deadlock sound nothing like.
Define Me is my first encounter with Serianna. The first thought that raced through my mind was, "What the scheiss does Serianna mean?" It made me think of a variant of the Michael Jackson lyrics, "Hey, Annie, are you Seri?" I digress. The album seems to have two halves. I like the second half more. Why is that, Henry? Shut up, and I’ll tell you.
So, Misery Signals is coming out with a new album. You might be like, "Whuuut? I thought they broke up or something. I haven’t heard from them in ages." Well, guess what? You’re wrong. Despite a few lineup changes, not too unusual for the metal community, since the band's birth in 2002, the sound of Misery Signals has stayed consistent.
Mass produced pop music is one of the reasons people are being driven in droves to the music refugee camps of the metal/hardcore scene. One of the growing districts where you'll find people seeking asylum from the Top 40 charts is led by Maybe Whitney, a two man operation from Detroit. Their sound is your favorite parts of metal/hardcore with a side of electronic elements that will convince the girl next to you to twerk... if she knows how. Keep an ear out for more from these guys. Debut full-length coming out Fall 2013 with guests ranging from Slipknot and Chunk! No Captain Chunk! to D12. Get some!
I had never heard of Monster Truck before. Why? 'Cause I’m ignorant. The name incited an image of oversized cargo transporting vehicles and arenas packed to the rim with chubby, Southern American preadolescence teens. Obviously, I was consumed with intrigue.
The Henry Maneuver, one of our crafty writers' studio name, is at it again this time taking the song "I Love It (I Don't Care)" by the Swedish DJ Duo Icona Pop and putting a two-step worthy groove to it. This remix also features former guitarist of In Dying Arms Justin Enriquez and YouTube boss J.T. "Cavenasty" Cavey. You will more than love it, and if you don't, I DON'T CARE!
Associations that popped in my mind when my shrink said, "North Dakota" were sunflowers, South Dakota, and Man on Fire, so when I found out that These Hearts, a pop-punk/hardcore band, is from Fargo, North Dakota, I was puzzled; however, I did then learn that North Dakota has the most churches per capita of any State in the U.S., which explains the band's Christian background. But, fear not any heathen music enthusiasts among you! While the music is positive and uplifting, it doesn't go out of its way to cram any beliefs down your throat. Instead, you're more likely going to notice the amazing juxtaposition of brutal screams with catchy, clean vocal hooks.
One of our contributors, Henry, who also enjoys writing music as "The Henry Maneuver," recently reviewed Sleeping With Sirens' album Feel. Having an insatiable thirst for more Sleeping With Sirens, he made pretend that he was in the band and did a guitar driven remix of the single "Low." It's a little bit more shreddy with a side of Kellin Quinn wannabee, recommended with a glass of aged whine.
There are two ways to look at this album, given that the interwebz is a scary place, and a user can often discover new material having completely missed its origins, like I have. I came across the British progressive metal band TesseracT right as Daniel Tompkins, not to be confused with the sixth Vice President of the United States, was leaving the band and Elliot Coleman, a DC/Marylander, stepped up to the cricket plate. I watched a few TesseracT studio session videos on YouTube, a few of Elliot being a beautiful beast live, and a slew of vocal audition covers as Elliot’s departure was announced. So while I knew what TesseracT sounds like, especially with all of the "djent" bands who followed, I never listened to One, their debut album, until AFTER I listened to Altered State at least 4 or 5 times in its entirety.
Since everything that’s on the internet has to be true, I have to confess something: I haven’t listened to any Jimmy Eat World releases after Bleed American, which is what sparked my interest in their newest release Damage. The nostalgic part of me hoped for people in their underwear partying with the band, but then I realized that the guys in the band must be nearing 40, so that might not quite be the same, but I’d... I’d still watch.
I would like to preface this review with a warning: I am a total Kellin Quinn fangirl. This may or may not skew my opinion of this album. If you’re familiar with Sleeping With Sirens' previous two studio albums, you probably anticipated that the third album would either be harder/heavier, or go more pop from their post-hardcore/pop-punk roots. Depending on your personal preference, either one could result in either a "Yippy!" or a "OMG... F!!! WHY!?"
The Migration, Scale the Summit’s fourth studio album, left me a little puzzled. It definitely SOUNDS like Scale the Summit so, if you’re super into jazzier instrumental music that features rock instrumentation, you won’t be disappointed. Chris Letchford and Travis Levrier maneuver their guitars tactfully, creating an immense wall of sound with the help of a substantial amount of delay at times, which adds to many of the tracks' ethereal feel. Unlike many guitar-driven instrumental albums though, there is absolutely no sense of overplaying. It’s refreshing, in a sense, to hear lead guitar performed in such a way that allows for the song to breathe, instead of forcing cascades of notes into your ear just for the sake of being featured on Guitar World's "Betcha Can’t Play This."