Giving Thanks for Leftover beer - Leaves' Eyes - Symphonies of the Night

Well, friends, I've been a craptastically lazy blogger. I went to see Less Than Jake this past Wednesday and have been in a state of recovery since. My apologies to my friend Johnny as his RBR has not yet been done. I will get to that, and I'm thinking I will do it in a RBR double header fashion. =)

That being said, I must persevere to not fall further behind. You people need, nay, deserve my drunken musical opinions (I'm sorry for anyone who actually thinks they are worth while).

Onward, we go! Leaves' Eyes is a band that I know literally nothing about other than they are releasing an album today. The band name and title lead me to believe they have operatic vocals and heavy guitars, so we will see if they can overcome my general ambivalence to that genre. Of course, they might be folk-pop. In which case, same situation.

I'm definitely going with folk-pop.

I will be drinking beers that I had forgotten about in my fridge. The poor souls were lost behind "legitamate" groceries, and I'm glad to be reunited with them just in time to pour them down my throat as they scream terrified little beer screams.

Now, before I anthropomorphize the deaths of any more inanimate food items, on to the review!

Album:

Leaves' Eyes - Symphonies of the Night

Alcohol:

Assorted and forgotten fridge beers

"Hell to the Heavens" opens with strings and pretty voice. And there are the heavy guitars. Growls. Subpar growls at that. But the female voice is really nice. The verse sets up a nice dynamic. Into a well done albeit somewhat abrasive chorus. The guitars take a tasteful back seat to the strings and voice in the verses. The diction could be better coming out of that soprano voice. And I think I hear hints of auto-tune which is mighty lame, but the overall composition is considerably better than I'd expect. Coolish ending and not a ten minute track, so I'm good with it.

Keeping with the fast paced yet drudging feel, "Fading Earth" comes in with some decent guitars and again sets up some great dynamics into the verse. The female voice starts expanding here, and I still dig that a lot. The guitars are there, but still very tasteful. Waiting for that ridiculous solo. This song is better than the first as it lows here into a somewhat breakdown. Drop out... Solo. Yeah, buddy. And not annoyingly long. In fact, it was almost too short. vocals and strings to end the track.

"Maid of Lorraine" moves us along by slowing the pace. Coming in with a nice violin before opening up with chugging guitars. Female voice again is nice. Guitar interlude is an awesome touch, aaaaaand they lost me with the growls. At this point, there are some really cool things going on, but I'm getting an overall generic feel. Waiting for that big umph! to grab me. Whisper growls. Oooo.... Ahhh... Honestly, I'm most impressed at this point at how lowkey they are keeping the guitars. There are times when they drop out, and mostly, they just chug rhythmatically. It's refreshing in a genre that plays up its use of strings while really just using them as accents and keeping focus on the guitars. Cool ballad, but not really anything spectacular. Creepy voice to close.

Into a muted acoustic to open "Galswintha". This song actually has a really cool feel. And I think that's a horn of some sort playing the lead. Guitars kick in, and driving double bass because of course. Still, the whole drive of this tune is badass. And the drop into the verse is beautiful. Building here. Goddamn it. Shitty growls. The only way I can really describe it is a windd bulldog with a phlegm overload barking incessantly at a postman. It's just sad, yet not sad enough that you don't find it so goddamn annoying.

Onward to the title track, "Symphonies of the Night". A really cool intro. buildin with the vocals.Burst into held chords. And this track isn't terrible, but not great either. There is a pleasant absence of growls so far, but also a distinct lack of interesting music. Nice high note coing out of the second chorus. I'm feeling rather meh about this whole album thus far. And drop out into a cool little string interlude. Full drop into the final chorus. Oddly enough, what I think they are missing is a significant guitar push. Fade out-ish ending.

Growing into "Saint Cecelia". I once had a turtle named Cecelia. I'm guessing this song is not related, but I thought it was worth mentioning. Slow build with vocals. Choral voicing. Pretty tune. These guys should seriously just drop the guitars and growls, and they'd probably have some grat tunage. This song is sort of bland, but cool in its own right. Nice marching beat driving it along. Anticlimactic.

Acoustic guitar brings us into "Hymn to the Lone Sands". Very pretty here actually. Into really cool guitars. Like... That line is super badas--goddamn growls! I hate you whoever you are destroying songs with your ugly voice. Seriously, the female voice can stand alone the range and style is excellent. And the beauty and the beast dynamic fails if we just want to see the beast speared in the face by the villagers. Well, we found our guitar bump. Really cool things happening there. They have all these awesome elements, yet manage to do their best to miss the mark on putting it all together. 

"Angel and the Ghost" comes in subtly, and god, that female voice is excellent. This song, however, quickly reveals itself to being yet another incredibly blah tune. Lame lyrically aswell. And the growls. I'm just going to stop typing and drink through the growls... Cool little solo. Growls.....

Not gonna try to type this title. It's not overly complicated, but I'm too lazy to dal with the accent marks. Also, the beer is kicking in. Slow intro into another cool guitar part. Driving octave chord line. Drop out. Drum fill. growlls.......................................... Ouffdah... power metal drive... Still loving the female voice... Growls.......................... Power metal drive again.... And STILL loving the female voice. Piano and string interlude. Waiting for that kick in. Female voice. Kick in.... Growls.... Belch (Sounded better than the growls). Speaking voice into epicy guitar. I dig this. And powermetal agin. Drop again. Subltly fades into the end...

"Nightshade" opens slow and pretty. Quick on your own research question... How many powermetal/blackmetal/operatic metal songs can you find with the some name as this one? Seriously, I think having a song with Nightshade in the titl is, like, a prerequisite to having a band in this genre. All that aside, this song is rather pretty, and has this nice slow growth. Pushing toward... Something, I hope... NOPE.

Closing the standard version of this disc is "Ophelia". Because they like writing songs about women with outdated names. And yeah, growls.... Again, song isn't bad just not... Good. Growlls........................... Drop out to voice and... Growls. solo and grols........................................... Final chorus... and growls...... Ugh....

On to the first bonus track, "Eileen's Ardency". Obviously keeping the 18th century girls' names theme.  Cool build intro. But, yeah... This song is going nowhere. Pretty... But blah. 

Bonus track number two, "One Caress". God, that female voice is really good.This song is pretty as well, but I'm not expecting much at this point. Really cool melodies and harmonies here. Again. Cool, but blah...Best lyrical moments are right here. Aaaaand thank god, it's done.

Final Thoughts:

Okay.... I admitt this is not my gnre of choice, that being said, if you don't hear anything you like in the first two tracks, nothing on the rest of the disc will change your mind. IF you are a power metal fan, I suggest listening to Maid of Lorraine, Galswintha and Hymn to the Lone Sands. IF you are a general music lover like me, One Caress may be the only track on the whole thing woulrh you time. So essentially. Take my word and avoid this, or give those tracks a listlen and decide for yourself. I willl not be gettign this disc.

Until next time... Tell me why you disagree in the comments, and I will tell you why you're wrong. Or just give me props and share this because my ego can ALWAYS use a boost. =P

-Badhorse

With a Rebel Yell, she cried: Polar Bear Club - Death Chorus

Things causing me immediate excitement: Alcohol sitting next to me, LTJ show tomorrow, the cigarette in my mouth, my distinct lack of pants, and finally... NEW MUSIC!

Yes, dooders and doodettes, it is time again for me to provide my uninformed, unsolicited, and oft-unsober thoughts on a full albums worth of music I've never heard. This week, the album is coming from a band I am mostly unfamiliar with, Polar Bear Club.

Here we see them putting on quite the live show.

Although the name of the group confuses me on whether this is some kind of supremacist gathering of bears or a stick fashioned to be used specifically for thwarting those Coca-Cola loving beasts, I have heard many good things about the music this band has put out. I am excited to dive into this one.

I can tell this is going to be cheery.

I am also excited to dive into a bottle of cheap whiskey. Rebel Yell is one of the best get-you-drunk-for-your-buck whiskeys out there. Cut that shit with some Dr. Pepper, and you have a drink that slides down better than any of the humor I've tried to throw your way thus far. So to avoid becoming any less funny, on to the review!

Album:

Polar Bear Club - Death Chorus

Alcohol:

Rebel Yell Kentucky Straight Bourbon Whiskey and Dr. Pepper

"Blood Balloon" brings us in with static before the drums bring us into a powerful punk open before settling into a pop punk feel in the verse. Nice and hooky and I like what I'm hearing with the guitars. Settles into a slower, but driving chorus. Not quite what I was thinking with the blood and death themes, but I can't say that I'm disappointed. There are a lot of cool things going on here musically, and the vocals are nice and hooky. The pace changes are superbly done, and keep this song moving and interesting. Cool endding.

Moving out of "Blood Balloon" is "Graph Paper Glory Days". It keeps the energy high. Loving the driing bass in the verse, and that tone is gorgeous! Really cool movement here too. Nice hooky chorus. This is like pop-punk on steriods. So much going on, but still retaining all the bounce and fun of pop-punk. Cool tune.

Slowing only a little into "So I Buy". Nice subtle verse build into a chorus that is light and bouncy, but reatians a nice punch. This feels a little more straight forward musically than the preceding track, but still enjoyable. This bridge part finds the really cool movement already established. Drop out and nice punch back into the chorus. How have I not heard these guys yet? They even have my cat purring.

Slow intro that quickly picks up on "For Show". There is an almost rockabilly feel to this one. Not full on, but there-ish. This is, like, beautifully modernized 90s, and I LOVE it. Vocals showing a cool range with some near screaming there. Not saying htey've been soft, but it's nice to get that hint of an edgier sound. Good tune here as well. Rockabilly definitely wans't what I meant. but it's somehting... something awesome.

"Siouxsie Jeanne" comes in and slows the pace. Nice subtle guitars complimenting the voice nicely. Hint of a build... Vocals pick up, and settling into a slightly more pushing sound. The growth of this track is nice. Drops out and settles with a nice soft ending.

Growing out of it is "WLWYCD" that comes in subtle before awesomely punching you in the face with guitar, and exposing itself for the pace saving track it is. This album is beautifully laid out thus far. And this track is another nice one. Not sure I dig the "Why Live When You Can Die" line and message, but good track nonetheless. VERY nice drop out and build in the bridge. And beautiful transistion into the final chorus. Nice scream to close it.

"Chicago Spring" keeps the pace going. It's a bit more lowkey, but nice. Cool stop at the end of that first chorus. This song is feeling a bit static, but that's not to take away too much from it's enjoyablility. And into the bridge, we again get a good pacing change. God, that bass tone is sexy. To name this song for the low point of the album that is is thus far is a tribute to just how good this album has been.

Growing out of the static ending the previous track is the more urgent "When We Were College Kids". Here it's the held guitar chorus that allow the drums to push the pace giving a nice differential to what we've alrready heard on the disc. Same style, new tricks. Good tune.

Faux heavy intro leads into the driving "Twang". Another really cool track. And I've moved into buzz happy swaying music enjoymment mode. Whiskey makes me happy like that. Simple solo. Nice. 

"Upstate Mosquito" comes in with a cool albeit subtle guitar. And the voicing is nice along with it. Maybe my favorite lyrics right there. Comes in after the intro much ore up beat, and I'm digign it. That chorus is excelelnt. Great pop-punk tune. I can feel the 90s revival happening right now. Faux enign into a nice lowkey chorus. Really cool. This has got to be my favorite moment thus far. Waiting for the kick in? Teaser... Coming? Yes? Maybe? I can feel it... Not yet... No, I don't think it's happening... That's okay... Lets wee where they pick up as feedbak-ish sounds ring out...

"Saw Blade" punches in, and in a snap, brings all the energy up to ten. The stop and trat verse opening is nice before settling into a nice driving second half. The lead licks that happen REALLY need to be ixed a little higher. They are so cool, but I want to hear them MORE. ORE! Nice drop out. And unresovld endign! Beautifull.

Final Thoughts:

One of the more complete albums I've heard. Such a cool aproach to a generally pop-punk style that gives me hope for the future of music. Dug it. A lot. It is imperative that you listen to this disc. ANd even MORE impearative that you own it!

Feel free to agree with me and all of my rightness in the comments. Also share my damn blog! Please?

-Badhorse

With all the class of a 47 pound cock - Less Than Jake - See The Light

Tonight, my friends, is an exceptionally special night for this drunken blogger. It is NEW LTJ DAY!

Yes, it is time to rejoice in a band that I am convinced writes songs exclusively about my life (Of course they are loosely interpreted and changed slightly to protect the innocent). In honor of this day, I have decided to go all out and get myself a a liter and a half of some cheap, shitty moscato. Because I'm a classy bitch like that. =)

Oh yeah. The CLASSIEST bitch.

I was late to the LTJ train only hopping on in college when my shitty punk band opened(ish) for them at The Rave in Milwaukee; however, after seeing them, I was hooked, and they have gotten me through every major life event related to alcohol. It would seem only appropriate that they be a part of my current (and let's face it only real) life ambition: Typing out long winded descriptions of albums whilst drinking. Isn't alcohol great?

That is the doorway to amazing.

I am drinking a cheap wine from my past by Rex Goliath. RG was, apparently, a 47 pound rooster, so I affectionately call this wine my Big Cock Wine. So, with my Big Cock in hand, on to the Review!

Album:

Less Than Jake - See The Light

Alcohol:

Rex Goliath Moscato

Horns open "Good Enough" and it's wonderful. The song carries the up beat feel of LTJ and launches into a nice hooky chorus. Lyrics shine as always. And the production falls in line nicely. I like the horn break. As always, LTJ treads the line beautifully between pop-punk and ska amazingly.

Moving into the bouncy yet less punchy "My Money is on the Long Shot". This is the only tune I've heard already on this disc, and it's already in my head. Seriously, these guys should do a clinic on writing hooks. They manage to not only get song stuck in your head, but make you feel attatched to the song as you recite it. So brilliant lyrically. Andother really cool hornbreak into an aggressive bridge that takes us to the ending.

"Jump" comes in aggressive and stays up beat. Thus far this disc is calling me back musically to Borders or Hello Rockview, but lyrically, you can feel a nice maturing. Not in a Green-Day-is-all-of-the-sudden-political way, but more of a we-are-still-a-bunch-ofbarely-mature-fucktards-but-have-aged sort of way. I like it.

"The Loudest Songs" comes in fast keeping the energy high. There is a nice use of horns through out thi disc. The friend that introduced me to LTJ used to say how he loved what they did with horns because it was "Just enough." They didn't Over power you with blaring trumpets or two minute horn breaks, but they were ever present through out. I have to say. that assessment shines here.

The first pace break comes on "Do The Math". So groovy, and Roger gives me the hardest erections with his flowing bass line. Or maybe that's the wine? It may be that I was already a fan boy, but I'm digging this disc, and the flow is nice. Punchy opening. Keep the energy up, and as we head into the early middle, break it sown a bit.Just in time for the wine to hit. =)

"Bless the Cracks" comes in subtley with just guitars before growing into the verse, and bringing the energy back up beautifully. Settling back into the second chorus. Building again. May I take a minute to discuss how beautiful Roger and Chris' voices compliment each other? No. I would miss too much of the song. But it is amazing. This song is nice, but maybe the first song I've found in a low point. Especially as they use a fade out ending. Ew.

Ground out of that blasphemy is "John the Baptist Bones". A wonderful vaguely religious-but-not-really tune that has a really cool chorus progression. I will forever be jealous of the depth LTJ can create with their chord progressions. I'd e spiteful if I didn't love them so much. cool abrupt ending.

"American Idle" comes in up beat but mellow. And the verses have cool pace changes. And into the chorus I am reminded that no one does vocal trade offs as weel as LTJ. Horn break is nice. Lyrically, this song is hitting me Another song about my life. God, I lvoe thi band. Oh yeah... I'm cesing to care about my typing again. Deal with it.

"The Troubles" pushes th pace on ward. No one makes depressing as fun as these guys. Kudos. Really though... Pot heads have Tool, pill poppers have electronica, and drinkers like me have LTJ. I lucked out.

Slowing down a little bit into "Give Me Something to Belive in". A nice bouncy tune. And hello tto you wine. Feeling it now... IT is caousing me to compulsively sway with the music. Cig time. This song is nice. Not great, ut I dig it.

"Sunstroke" comes in subtlely with guitar out of the previous track and settles into a fast paced yet mellow tune. It's always nice when a band refuses to let their drumer rest even during tender, heartfelf tunes. Fck drummers. =P Shit. Wine's gone. Good thing I have half a bottle of rum@1 Nice slow ending.

"A Short History Lesson" oppens with a bell and sample into fased paced ska feel, and good to feel going into uplifting after a downer middle. Good downer, but yeah, great change of pace. My face is blushing... Im drunk.

Cool oppening to the final track, "Weekends All Year Long". Cool feel to the track. Deep., but pusyingh thte pasce. Oh shit. drunk.. "Keep tripping over my own feet" exept I'm triping over fingers. Damn keyboards for being so tiny. Lyrics about my life again. Solid ending.

Final Thoushgts:
Yes. I liked this disc. If you like LTJ, youlll like it too. IF you don't,. Fuck you. Buy it I gonna. Too dunk to say more.

Comment follow and studdff. =)

=Badhorse

Octoberfest to start November - Isn't It Always? - The Optimist

Hello, Friends. It's nice to chat with you again. I'd like to begin this blog by taking a minute to appreciate social media and the interwebs. Ahh, such a beautiful thing, yes?

You see, thanks to social media, I can pollute your eye-holes with what I think of the things I am polluting my ear-holes with while polluting my mouth-hole with yummy, yummy beer. Also, while looking into the albums coming out today, I discovered that there was very little to offer. Basically I was limited to shitty, shittier, and holyshitwhyisthisevenathing (Yaw-seh!).

So when a band I had never heard, Isn't It Always?, of followed me on the Twat-Box, I jumped at the opportunity to review a group that was not out there in a big way and whose name was a complete sentence.

Adorable furry things always win me over... Also, umbrellas. I fucking love umbrellas.

Anywho, I said, hey, let me review you; they said, hey, here's our stuff and suggested Sam Adams Octoberfest as a nice accompanying drink. So yeah. Go Twitter. I'm really excited for this one, so on to the review!

Album:

Isn't It Always? - The Optimist

Alcohol:

Samuel Adams Octoberfest

"Ghosts At Play" opens the disc with a nice drum fill into a solid guitar riff. I really like the sense of urgency of the music under the flowing vocals. The production is of lower quality, but credit to the mix as the music stands out just as much as the vocals, and although the vocals are good, the guitars are TOTALLY stealing the show for me thus far. The little breakdown part is cool. Into a driving part. The outro is cool with the drop out ending.

"The Hazy Days" comes in with anything but haze. The guitars continue driving through the verse before opening up a bit in the chorus, and I'm getting the first real hook of the album here. The guitar interplay is just lovely in the bridge part. And though the choruses are rather static, they maintain a hook while the rest of the song progresses around them. Cool track.

Growing out of another abrupt ending is "Exhale" with again, some beautiful guitar work. And the coupling of the driving distorted guitar and the loud clean--ohmygod! That drop out was cool as hell! The movement of this track is awesome, and I like the flowing vocals over driving instrumentals again, that drop out was cool. I can dig this tune a lot.  First none abrupt ending, and you always have to love the feedack fade out. 

"We Are One" comes in semi-heavy, and settles into killer rhythmatic work int he verse before kicking into a chorus that again makes me melt with the guitar work. Seriously the pacing and writing musically is great. The vocals seem a little blah at this point simply because of the power and craziness of the the instrumentals, but with that being my only real complaint thus far, I'm feeling good about this disc.

"When I Was Invincible" comes in driving and settles into another really cool verse. The chorus is cool and the vocals are starting to get out of the constant flowy feel, and the drop out to open the chorus shows a nice bit a grit. Nice punkish music break into a pretty guitar line. rop out chorus. Into a final chorus with some nicely done duel vocals. ending with a pretty harmony and oh yeah, more feed back. =)

And bursting out of that is "Don't Quit On Me" At this point, I'm feeling a pttern. And while patterns on albums are usually not so good, this album is full of songs with so much variance within each. Like. Every song takes you in ten different awesome directions. Seriously, in this song alone, I'm getting some TBS, some Blind Melon, some Say Anything, and a fuck ton of awesome. Pretty Ending.

The eponymous track opens with the coolest opening set of riffs of anything. Ever. Settling into A cool verse, and this is my high point on an album that is full of nothing but. This is a rather straight fowrwad track by comparison to the rest of the album so it may be that that is catching me so much at first listen, or it may be that the beers are getting me all compliment happy. Either way. I dig this track.

Another cool opening on "Symphony of Epiphony" and although, I do love this album,a nd this song is good, I do find this title a little pragmatic. It's okay, though, I guess guitars ARE a stringed instrument. =P Seriously, If I experienced syle and tempo changes physically, my neck would be broken and I'd be lying on the ground dead. This album would have killed me with it's sheer awesomenees. This album is put together beautiffully.

Ooo... Acoustic open to "Utopia" and this is our first truly lowkey track. Little weird part there I'm gonna chalk up to editing, but good tune. And hearing vocals with out the crazzy instrumentals makes me feel better and better about them. Good placement of this tune, and good choice to leave it voice and guitar, these vocals needed a true spot to shine.

Closing the album is "The Pendulum Effect". Openingslow, but pressing. Oh, sexy vocals riht befoer the chours. I felt a build, but not quite the payoff I was hoping for. The bass also has been quiet but ever present here, and--oh, nevermind, my EQ was fucked. My bad. Bass is awesome, and probably always was. This song is cool, and fitting-ish as a closer, I enjoy finales more than heartfelt closers, but there is still time here, and that drive into the solo part could be--Drop out into the corus was cool as hell. The chorus was eh, but bring it back to give a heavy punctuation on this album that flat out changes the hook on that question mark into a straight line.

Final Thoughts:
Good disc. Like. I was hoping for good things, and Isn't It Always? delivered great things. And for $4 on band camp, if you don't own this album, you are wrong. Buy it. I'm about to.

-Badhorse