Pining for the Cities - Kick - Start Again

I believe I warned on the last entry that these would be more random and sporadic, and I like the thought of that. I will try to bump them on the social medias before writing and post completion, but schedules are hard (Or more accurately, sticking to schedules is hard). 

So being that this is only my second entry since my hiatus and subsequent reboot, what better way to squeeze in a review on a Saturday night (though still a work night) then with a promising little EP titled Start Again.

By the shagginess of their hair, I can tell this is going to be good!

So Kick is a band I've reviewed before and hope to be able to review again. This EP mark the studio return of original drummer (and my adoptive son) Kyle Kennedy. If this group can't make legitimate noise in the music industry, they should just drop the first word from the phrase music industry.

So setting the bias aside, this entry is definitely about me pining for the Twin Cities. As I sit here in my Summit Brewing shirt drinking Hop Silo from a Summit glass listening to a local (To the Twin Cities) band, I'm not yet ready to say moving back home was a terrible decision, but I will readily admit it to not be my best one. So before I drown us all in nostalgia, on to the review!

Album:

Kick - Start Again (I have zero idea's on how to buy this, so I'm linking to YouTube, and you'll have to go see them live which is totally worth it!)

Alcohol:

Summit Hop Silo Double IPA

(Very quickly before this starts, I have no track listing, so I will give the songs names as they go)

The opening track starts humbly enough. The guitar has a nice tone and the whole song feels nice, but a little restrained. I'm thinking this is the title track because I heard "Start again". Ooo. The solo bring in a less subdued feel. I can definitely get a Boston vibe out of this, and I'm totally cool with that. 

The transition felt a little rough there... But I like this intro non-the-less. Subtle and a nice kick in brings us into... Slow Burn? It's what I will call it for now because it's definitely the vibe being set up... And builds nicely. These tracks definitely feel prettier or more rounded as apposed to the first EP's edgy and ballsy feel. I like this solo a LOT. Blues and in one sweet solo, there was a flash of that edge I was missing... IT's still there. And the full build of this song is nice. Nice kind of fake out ending into cool actual ending. Like this tune.

Next transition is better, and it comes in with an almost indie rock feel... OR maybe more accurately capturing a 70s rock vibe better than the indie rock tunes that try to do the same... And these guys really hit a modern Boston sound better than modern Boston (and I have a review to prove it!) This tune is a nice good feeling feel goody tune and it's making me feel good. Cool track.

OOO! I love the opening here. I've seen this one done live, and it translates well recorded. This captures a more Zeppelin-y side of Kick. Seriously, these guys are like taking everything good about the 70s and 80s, mixing in the attitude of the 90s, and recording with the tools of now... It's all good. And if this track is any indication, the song writing will only continue to grow. IT's incredible and makes me hate every song I've ever written. Kick is the best band you've never heard. Pretty guitar-ness takes us out, and judging by the timer on the youtube video, this is it.

Final Thoughts:

Kick does less on this to live up to the high energy from the first EP, but launches ahead leaps and bounds in the arena of song writing. My only complaint is that the thing is a FUCKING EP. Seriously, give me full length! You mix the energy of the first release with the complexity of this, and you have a record worth the years wait... Unfortunately society is made up of impatient little bitches, so EP's it is... I'm off track... Find a way to buy this one. Kick needs the money and it's worth more than you can pay anyway. =P

-Badhorse

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Live and Learn; Dodge and Burn - The Dead Weather - Dodge and Burn

Whoa! This feels weird. Albums and Alcohol was something I conceived while living in Minneapolis in order to connect with a bustling music scene all around me; and now, as I sit back in small town Iowa, not 30 minutes from where I grew up, I have revived it as a way to keep a connection to music while being in an area without any significant scene to speak of.

I have my reasons for being where I'm at, and although I've found none of them to be distinctly significant, they combined to lead to this exact situation. That is, however, all I will dwell on me. Suffice to say, I've been anxious to do my finger-tapping, beer-swilling, ear-pleasing triple tasking for a LONG time, and I'm not what is important. What is important is the fact that the band that put out what is definitely in my top 5 albums (Horehound) is back with new music!

Looks like something distracted Jack White at the last moment.

The Dead Weather is a force. The jam/grunge/blues/industrial sound is like a sculpture made of rusty nails and broken glass; it has beauty in constructive chaos that is amazing, yet you can't put your finger on what makes it so amazing (The Dead Weather because there is too much amazing, and the sculpture because tetanus).

I have such faith in this band that I pre-ordered the vinyl, and will be rocking it for the review. The stakes are high on this one, and I'm calling in Sierra Nevada's Hop Hunter to get me in a slur-type sort of mood. This is an amazing beer for those of you who love hops. It's made with distilled hop oil and has the attitude of a cat (It'll rough you up only cuddle and purr); seriously, try this beer!

Ahh! There's what distracted him!

And seriously, I type too much in these intros, so as I haven't typed in far too long, on to the review!

Album:
The Dead Weather - Dodge and Burn

Alcohol:
Sierra Nevada Hop Hunter

Now, I cheated a little and listened to the opening track when they released the video, but that doesn't make the blaring guitar opening any less effective, and the snare lead to the groovy riff is nice. Dropping out the vocals. Little tags surround Alison Mosshart's beautiful voice. This song is definitely destined to be a single in terms of The Dead Weather. Certainly more accessible than most of their stuff. The slow down coming out of the second chorus is just sloppy awesomeness. The layered vocals that have become a trademark of TDW is endlessly awesome. The feels like a slight edge missing from Alison's voice, but I will forgive in in the presence of a song with "Love" in the title.

Buzzkill(er) comes in VERY groovy before coming into a riff very befitting of the title. The vocals here hover between a 50's jazz singer, and edgy indy. The rhythm section may be one of the best things--ohmygod, that stop was cooL! Very groovy through out. Cool tune.

Snare brings us into "Let Me Through". Farty bass drives in the verse. And there is a distict bounce. Drop to a single note on the party bass... And bring it back in. Adding in some party guitar now. I love the pretty ugly tones. Drop to cymbal and voice. Tension. And here comes all the fartiness. I want to point out that fattiness here is a VERY good thing. And that high crunch on the guitar! God the bounce just keeps going even on the drop outs... Holy shit! Kick in! Love it! And I LOVE her voice. Cool. drop off ending

That brings us to a slow lead in on "Three Dollar Hat". Jack white opens the vocals on this subtle grooving track with a high-but-gritty guitar/synth something. Really cool... And holly shit... Kick in like hell! The drums are cookin'! Holy shit! That was cool. And drop back to the groovin' bass. And Jack White's fast talking about Jackie Lee again. and is this the end? I hear...

"Lose the Right" apparently is what I hear now, and it comes in with a slow jam. There is that signature guitar/synthy organ sound. Alison is taking an almost conventional vocal approach.. There are definitely flashes of aggression, but she can sound oh so pretty when she wants to. This band has such crazy dynamics. And can take a slow grooving song and push it to an aggressive limit that makes you feel more worn out than a speed punk track. That's exactly what they do here.

Feeling like the mood is coming down a little, until it's not. It was a very short release that in now building. Alison and Jack tag teaming vocals, and we are band into a nice grooving-yet-driving tune. "Rough Detective" has some nice lyric and music interplay and some fun back and forth with instruments. It will forever make me smile how much they can do with a simple riff. It's a testament to the creativity of the band. And a sort of fall out brings us to the end of side one. And since there is a natural break. I will take a moment for my self. This Hop Hunter has filled my bladder...

Holy shit! A scream and hard hitting riff to open side B and shit.  Drops out... If they wanted to make sure you were still with them, they achieved it. And this is so... Tensions. A low build and into fast but low key... This reads like an indy punk tune. And I'm good with that... There is a neat little sound in the verse... Drop down. These subtle changes are too fast for my fingers to keep up with... I will say now, this is my favorite track... Shit it's so cool! I don't even know the tile./. Open up" okay. She is NOT saying Puppy love... It's open up... I thought I was just drunk...

into the quiet openings of "Be Still". Vocal interplay with pfary bass tones. And it picks up with more groove. A back and forth of "Be Stills" and... PUNCH! back in and god... They do so much with so little. It's like being feed the same meal over and over but prepared buy a different master chef each time bringing new twist on it... That is every somng by tTDW

Cool riffs open "Mile Markers"! Almost rapping Mosshart is sexy and awesome! Again, the tones awesome... The chorus is badassily cute. And that is a thing that I just had to make up for TDW. Because thats what they do. It's not enough that they create brand new amazing sounds, they have to force listeners to create new concepts to accept and describe the beauty. And that little solo... so weird and awesome. Lyrical disregad of rhythm... Cool. And ending is, like, faux cheesy... And cool.

"Cop and Go" opens with interesting guitar.. and now an alarm sound... That carries on as the interesting comes buyck in. This is reading like a twistedly awesome version of a 80s tune... Maybe that is the booze talking--no she definitely just said Danger Zone... I've decided this is TDW's take on the 80s, and... We missed out... And by we, I mean those of you born before me (Feb 1990). Build... Love her vice building oh my god! Came. Awesome into a riff that just keeps going. and oh yeah... Wait... alarm nice... Creating tension... and I'm wanting...

Nice bring in of "Too Bad". Love the riff.. The weird noises... And we are back to straight forward groove... With an imitation theremen(Sp.?) noise. And this is VERY groovy... I love the guitar... It walks the line between almost corny and too badass to handle... I'm not blown away buy this track,b ut the noises are nice... it's a rotary sound or may high freqency tremolo? I dunno... it's fun. She's going back to bed, and I'm gonna follow.

Weird cross of, like, Adele and TDW happening on the closing track..> Like it is really what would happen if Adele... Whoa... Jazzy... This is cool. IT wants to be a pop song, but the tones and production are like scratching at the edges making is this beautiful grunge jazz pop... "Drag My Body through the sand" that's interesting... Because if you took a pop song and sand papered it down to its bones and re built it out of vinyl... You would get "The Impossible Winner". Beautiful inspite of spitting on conventional beauty. I love it.

Final Thoughts:
Just as I was feeling Side 1 was good, but not great, side two served at me and made me realize that the full albium of Dodge and Burn is incredible... Favorite track is Open up(not Puppy Love), but I will say there is not a bad tune on this record... Get the vinyl.. The crackles are so much better than silence between songs... And really. Vinyl is better and it comes with a digital coppy... All music  should be sold as vinyl with digital download... Because fuck CDs... And tapes... And Not vinyl inclusive digital cpies. I've gotten off track... By Doge and brn. I love it, and so should you!

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat!

Sinking the Monkey in Speckled Hen - Sunken Monkey - Party Scars

Europe is a wondrous land that I've never been to, and therefore, can only assume is completely mythical. And smack dab in the middle of this mythical land (Because fuck geography) is England. Birthplace of a beautiful language, and home of my future self. Incidentally, this is also the home of a lovely little punk band I know very little about, Sunken Monkey.

These guys seem fun enough, and I've got a lovely advanced digital copy of their upcoming album, Party Scars (Though I am upset they stole the title of my memoirs) because I've got (nonexistent) clout and shit. Now this isn't slated for release until October of this year (2014), so I will be here to let you know if you ought to save your pennies and plan around waiting in line at your local record shop (Or, you know, wait in your boxers while on iTunes) for this album.

Not sure where they got this photo of me.

I'll be enjoying (again, hopefully) this brit album with a brit ale, Old Speckled Hen. I ran into my local liquor store screamed at the man that I needed an English Ale, and he showed me a whole shelf of options. Being the indecisive fuck that I am, I just grabbed what ever was closest. It's a nice beer, but I'm far from blown away. I'm hoping Party Scars is a little more wowing. So to find out, on to the review!

Album:

Sunken Monkey - Party Scars

Alcohol:

Old Speckled Hen Fine English Ale

We open the album on "This Town's Too Big". The guitar is pretty with a slight grit to it, and the song opens up with a driving pop punk sound. Gang vocals open the verse immediately. And the cool little guitar part toward the end of the verse is pretty cool. Ahh... It's so nice to hear solid pop punk with vocals that bring in just the right amount of shout. Punk shouldn't sound so pretty, and too many pop punk bands get a little too cute wight he vocals.

"That's What She Said" comes in with a nice heavy-yet-bounce riff that I love. Vocals killing it again here. And the timing is all weird, but the context make it awesome. I can't follow the tempo well, but there is an amount of charm in that. Nice slow into stop and kick in... Whoa! Double kick... Fuck yeah.

"Don't Dodge A Game Of Dares" opens on guitar and launches into a heavy sounding drive. There is a slight messiness about everything thus far, and I couldn't have it any other way. This is a sweet driving punk song. Nice aggression, and those background "Ohs" are lovely. There's an almost early AFI feel with more fun to this track. I love the little harmonizing tags here and there wight the guitars. Enough to stand out, but not overtaking everything. Punk requires no solos. It just needs awesome, and thus far this album has it in abundance.

Another fun punk track opens with a the sound of a beer cracking. "0 to Pissed" just keeps moving forcing my fingers to fly hopelessly along. I'm thinking "Pissed" here is the British equivalent to the US's "Trashed". That was fun little dancy jam. And back to the punk. Lovely.

The title track build in before opening up into a rock feeling punk tune. A stop and go riff takes us into the verse. Again, in love with these vocals. The riff intensifies. And into a straight-up punk rock chorus. And they are definitely singing about multiple nights of my life. I enjoy this. heading into anise little interlude. Droping out... And back into that killer chorus. Back into the slower jam... Stop and go, and... End. Nice.

"Too Old For This Shit" comes in nice and pop punky. The lyrics all over on this album have been wonderful. Filled with alcoholism and fun times. It's lovely and so is this tune.

Groovy guitar opens "More Beer Than Blood" And I like the small, subtle deviations from straight punk. It keeps the album from running together, but the punk theme continues to be ever present. This song definitely has a rock feel, but the attitude is all punk. It's like everything the 80s party rick bands tried to do with utter failure. Great track.

"Lookin' Ain't Fuckin'" comes in witha fun guitar line. The opening almost stays past it's welcome, but the song moves along and when we hit the verse, all is right again. Lyrics fun and playful here especially when the music has this hint of a more tender punk feel, but the words let you know (If the title didn't already) that this is no sweet and tender tune. It's those little things that leave a smile on my face... Which is also the only thing I'm wearing. (Incidentally, that's what she said). God, I'm hilarious. =P

"Raw Red Stump" is a nice punk track, and the drums make great use of the "taco taco" beat in the verse. I love the "taco taco" beat. There are some nice and pretty guitar parts in this tune, and it actually has a more legitimately "tender" feel to it lyrically, but it's done with balls and gang vocals... The way it should be.

A nice growth in guitar line builds into "After All". This song is another rock groove track with a distinct punk additude. I like it. I also am liking this Old Speckled Hen more and more. Whoa! Killer chugging interlude. And hey, little punk solo. Never necessary, but always fun to note. Right on.

"Pissing In The Wind" brings us a more bouncy feel with the guitar opening before launching us into a killer stop go riff with drums that cannot be tamed. Holy shit that was cool. I really appreciate how fun the guitars are... They are pretentiously wanking about looking for attention, but they are there, and they make sure they are noticed beyond just backing the vocals. It's a prefect presence. There is all in all very little to not like about this album.

Coming in with a bang, "Never Look Back" brings us into a nice pop punk riff before setting into a stop-go chugging chorus. Growing... Nice pre-chous. And better chorus. This album is everything I wan right now, and everything the early 2000's needed to solidify that pop punk movement. Nice punk ballad of sorts here, and done lovely with a beautifully timed short and sweet punk solo. 

Final track coming in acoustically. Lyrics coming in with anthem feel that is everything I always need to here to make me feel right. Pretty guitar... And more singing of my life. Love it. 

Final Thoughts:

This album is perhaps a decade too late, but right where it needs to be fore me. With luck and hope, Sunken Monkey can start a much needed punk revival, but if that doesn't happen, at least we have the masterpiece that is Sunken Monkey's Party Scars. I NEED this record, and so do you.

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat! If you are looking for a review with a little more coherency, I also write for EMURG.com.

Too Much Connection - Cadaver Dogs - Too Much

Life is a fun and funny thing. Just last Friday, I watched my amazing friends in Kick open for the ever amazing Foxy Shazam. Both of whom have albums I reviewed right on this very site: Away From The World and Gonzo respectively.

While at this show, a fine gent next to me in the crowd happened to recognize Foxy Shazam's stage tech as a member of another band, Cadaver Dogs. Tonight, as I was sifting through band camp for a new album I knew nothing about, I came across the album Too Much by Cadaver Dogs. It took me a minute to connect why the name sounded so familiar, but once I did, I knew this was my album to listen to.

Not sure if this is an official cover, but it is officially badass.

So armed with Wild Onion Brewing's Hop Slayer (Two beers in, oh yeah!), I am diving head first into what can only be an album brought to me by fate. On to the review!

Album:

Cadaver Dogs - Too Much

Alcohol:

Wild Onion Brewing Company's Hop Slayer Double IPA

"Black Out Blues" opens us up with a pumping rock riff before dropping to drums and voice. There is something charmingly ugly to the vocals, and It's wonderful. The farty distortion alongside the bouncing keys is a beautiful contrast. Simple, and yet regal in such a gritty way. It's such a dirty groove and great opener. Even the higher end guitar parts are just fuzzy ugly awesome. Awesome.

Gunshot leads right into a nice grooving riff to open "Get Out!" and as the song drops into the verse. There is this cool tension built by the guitar and vocals, and the song grows throughout to the chorus. And the chorus is almost a pop rock feel, but retaining all the grit one could hope for. The guitar tones are the kind that make you feel like you need a shower yet never want to take one again. It's awesome. Ooo... Killer breakdown here... I'm not sure if that's fuzz bass, or guitar, but it's lovely for damn sure. Drops down after that, and kicks back into the chorus. Nice. And hitting hard heading to the end... Nope, back to that opening riff... End...

"Feel The Heat" comes in with a super fast groove, and settles into a funk feel in the verse. Moves into a nice rock chorus, and back into that killer opening riff. The vocal cadences are fun, and I love the subtle variations thus far... I mean, everything is dirty and groovy, but it's not all the same... If there ever was an album that needed a beer and a cigarette...

"It's A Hunger" opens hitting hard, and again drops into the verse, but builds and falls a couple of times before building into the chorus. Hard hitting here, and such awesome rawness, yet the production is right where it needs to be. Great builds all over. They definitely aren't doing anything awe inspiring, but they are doing so much that is over-the-top bad ass... Breaking down... Drums leading the build... And kicking in. Lovely. Such a growth into the ending. Killer.

Wood block to take us into "Buzzards" Clean guitar gives way to distorted guitar on a fun riff that leads us into a fast yet subtle verse that moves along nicely. And back to the anything but subtle opening riff for the chorus. Cool movement into a march feeling breakdown. Vocals touched falsetto there, and it was nice. Dropping down.. Stop... Kick into chorus... Nice. Drops out, and trumpet ends the tune... Awesome.

"Leaner, Meaner" opens slowly, and with a nice fuzzy groove. Vocie and vocals move the verse with guitar tags. Driving into a chorus? I think... Whatever it is, I'm loving the falsetto. Cool tune.

Fuzz y bass takes us into "Confessional" a slow groove here... And the vocals are coming through very clean and funk esque. And driving now... Smooth transition. Drop to voice and clean guitar... Build... And back to the verse jam... Okay... If you took a Black Keys record, put out a half dozen cigarettes on the vinyl, threw up on it after a night of consuming nothing but whiskey, and took the awesome level up by a factor of 13, you would have too much... Also, this song is skull fucking amazing.

"Don't Tell Me I can't" opens in a very bluesy feel. moving along very nicely, and growing after the first part of the verse... Stop go blues riffing. And opening up nicely. A killer take on a formula blues tune. When the band has a full feel, there is this haunting tone happening... I'm not sure if it's shore structuring, or the bells that just sound creepy, but whatever it it, it MAKES this tune. Strange guitar solo-ish thing, that is awesomely fitting. Bad. Ass. Tune. Except... Fade out ending... FAIL.

Acoustic opens "Exquiste Corpse" and I'm liking they have a tune sharing a name with a Hedwig Song. And the lyrical content here is making me smile. Chugging guitar comes in nicely... Nice and aggressively bluesl=y. Solo rips right in... Oh yes, you are welcome here guitar solo. Make yourself at home... Faking out the drop to acoustic and right back to the bad asserey. Love it. Oh, hey solo guitar, glad you're still hanging out in the background there... Amazing.

"Too Many People" begins our end with a weir dish pop fuck isn feel... Not bad. Cool things happening. Maybe less funk, and more reggae, but it's cool. Guitar cuts in... Grows... And jamming the fuck out. Nice. Ooo... Bouncy. "There Aint no changing who you is... And that's a good thing, Cadaver Dogs.... Don't change... Ever.

Final Thoughts:

Too Much is just enough... And by that I mean... Give me more! Excess is the name of the game here at Albums and Alcohol, and I is drunk ladies and gents. Too Much is everything I needed, and I will be diving deeper into Cadaver Dogs' discography.

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat! If you are looking for a review with a little more coherency, I also write for EMURG.com.

Give Me Cheap Beer (Again), Or Give Me Death (I mean Better Beer?) - Fartbarf - Dirty Power

"Give us knobs, or give us death!"

This is the slogan of Fartbarf. A--and I'm not sure if this is the right adjective, but this is the first practical use I've found for it--retro-modern (Yay, oxymorons!) electronic three-piece out of somewhere in Cali (Four beers already makes me lax in my research).

I've heard knobs used as a euphemism for breasts, so this cover art is a wonderful clarification to the afore mentioned slogan.

I will be honest. I'm buzzing good because I bought too much cheap shitty beer (Yes, the same Miller High Life I was drinking last week), and I started an hour before starting this. I know very little about this band other than I like the name, and while I'm not really a fan of electronic music, something about a retro approach has me endlessly intrigued. Therefore, let's keep this intro short and sweet, so I can end my intrigue (And not get too drunk before the ablume starts). On to the review!

Album:
Fartbarf - Dirty Power

Alcohol:
Miller High Life (Again. The Champ-Agne... Of Motherfucking BEERS)

"Homeless In Heathrow" opens with a nice farty line, and a dancey beat. The vocals come in with heavy vocoding. I can dig it, but not understand it. That's probably okay. As the chorus opens up it's rather fun. Settles back into the verse... This has got a a feeling  of an early 90s computer recreating Devo. And that's good for me. The bass synth line has an almost epic feel to it. And in the bridge the whirling sounding thing is really cool. Excellent break down. I think what may help this out most for me is the real drums, and the fact that they are played really well. As wee move into a musical break, I'm pretty sold on this... It's out there, but a lot of fun. But yeah, still not understanding any words...

Coming in with more epic feeling sythn is "Panopticon", and the first understandable words: Coors Light. And suddenly I'm feeling less guilty about droning cheap shitty beer. Again, the higher register synths creating some cool sounds and even fun melodies over nice bass lines. The 8 bit feel is just amazing here. Ooo... Break down... Like... In the style of metal core, but through a super nintendo filter. The only way metal core should be heard. The rhythms are super groovy, and I'm thinking I've found the electronic music for me. =)

Driving bass tones take us into "Your Sky is Falling". The tune opens into a very poppy feeling tune. It's cool how they are emulating different styles all in the same gritty electronic nature. And the melodies are great. I'm getting more used to the vocoder, but still having trouble hearing actual words. There is even nice growth and tension moving into the chorus... Like, this is better song writing than quite a few of the albums I've done on here... Kudos. Haha. Laser sounds.... Just realized that's only funny to me and any one else who had Radio I at Waldorf College with Professor Newcom... Well, yeah... Cool Tune.

8 bit studdering opens "Mission at Hand". Drums join in, and the bass fleshes us out into a heavy groove. This is like if Daft Punk was good. Great melodies... And the style changes are helping to make the sounds not feel overdone... At least thus far. Nice fall aport ending!

"Play The Game" opens in an almost dance ballad feel. Picking up a little when the vocals come in. The little tags and attention to composition are beyond anything I thought I'd be hearing on this, and I'm serious--oh shit... Little interlude part was fucking rad! This is cool.. I'm kind of speechless... Just vibing... Cool end.

"All Systems Go" comes in as a nice power anthem with vocals to match. Really cool feel. Slightly subtle in it's approach, but some nice subtle growth. I love the high end tags and how they match up with the vocals. I'm pretty sure this is the best thing I've heard with out some sort of stringed instrument. God, the movement from part to part is great... I'm loving the fact that the diction is terrible everywhere wight he vocoder, but "EverybuTy" comes through just as I typed it... Awesome.

Hi-hat takes us into "Serviece Merchandiser". And as the song moves... It gets weird... But in, like, and amazing way... It's got an almost eerie vibe... But... it's still fun... This is so far outside of my nomad realms of listening, but still everywhere I want to be... I'm catching some of the lyrics and they seem appropriately weird, but I will be honest, I almost prefer not understanding... There is so much vibe potential to this. Abrupt end... I dig.

"Hero of Time" comes in with an epic feel. Like the hero theme to an 80's video game with live drums. ten times the badassery of mega man. I love it. Great melodies... Although, this is the first point I'm feeling a sense of recycled song ideas... It's still good, but i don't know if it's the booze, or if some of these melodies appeared already... Whatev's It's still fun smexy awesome... Amazing breakdown thingy... The drums are melting the shit out of my ass... Hmm... That sounded considerably more diarrhea-y than I indented... it's probably ring...

"Warp Whistle" moves from epic theme tune to dancy dirty... And I welcome the return of the vocoder. I can't understand a word, but somehow it makes everything better... Great build into the chorus... Ooo... I love the low end vocals. By the way... My girlfriend is watching impractical jokers, and seeing the randomness there wight he music in my headphones is incredible... Just day in' Awesome overload wight hat whole breakdown interlude... God, this shit rocks my face clear into next Tuesday! Fading? Wait... FADING? Fade out ending?! Poor form!

Closing us out is "Electric Groove" and true to it's name... It's grooving... Electronically! =P A nice grooving tune... Can I say any form of Groove more? Probably. Becaouse this fucking album is GROOOVETASTIC! On the real... Letas talk about this break down... I was gonna say drums(they're amazing), but then there was the crazy high end sythn... Killer. There's some more of it... Bordering on annoying, but fitting wight he movement of the song, so I'll allow it. The shit has been blow out me ASS.

Final Thoughts:
Quick! Take all the music you own, throw it in a blender. Pour a bunch of liquor in, blend on high for two full days, take a heaping table spoon of FUCK YEAH, and shove it all in your NES. YES an original, not one of those fucking modern produced remake shits. And plug that shit into an 80's console TV hooked up to a tube amp running to two stereo speakers and push the volume as far as it will go... That's Fartbarf... Your welcome.

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat! If you are looking for a review with a little more coherency, I also write for EMURG.com.

High Life, Low Budget - Harakiri - Harakiri (Self-Titled)

Well, my friends, it is time for me to dust off my typing fingers (as opposed to my non-typing fingers?) and clean out the cob-webs between them. I've taken a few weeks off to visit family, and well, my liver was in protest a little as well, but now, it's back to music!

And tonight, I have yet another exciting local (to Minneapolis) release! Harakiri is a band I first saw at a Rawkzilla Battle of the Bands show. I had a few drinks, but I knew I liked what I heard. Initially, I miss heard the name of the group as Heart of Fury (this may have been a result of afore mentioned drinks), and I thought that was a rather lame-ish name, but after searching for their mercy booth, I discovered they were indeed Harakiri. Now, I don't know what the name is from or refers to, and quite frankly, I don't care (maybe I care a little, and I will probably ask them at their CD release show); I do know that these guys are a kick ass live group, and I'm hoping that translates to the album.

Now, there has been traveling to see family, and hosting family happening in the past couple of weeks, so as I am low on cash, I nabbed a twelve pack of Miller High Life from the liquor store down the street. I always hope for something better, but alas, money eludes me for now. I had a few with dinner already, and I'm feeling good and primed to kick back in from my hiatus. Thus, on with the review!

Album:
Harakiri (Self-Titled)

Alcohol:
Miller High Life (The motherfucking Champagne of Beers bitches!)

"C'est La Vie" opens the disc up with naked guitar before kicking into a nice groove compete with ooohs that give a very slow funk feel. As everything comes together into the verse, there is a nice tossing around of focus keeping everything drawing me in. The verse moves into a more unified feeling before picking up really nicely, and the drop back into guitar is nice. The movement throughouot the first half of this tune was killer, and it just keeps going. I'm loving the vocal interplay. The drop to a clean guitar after the second verse is nice, and the line feels like a spiral. If that make sense? I don't know. It's a really cool feel. And I really dig--oh, look there was a mention of a spiral. And the unison part is really cool there swell. Moving into a nice solo. I could almost use more musical intensity. Like a high dynamic? It's nice and intense, but I want more. Cool tune.

We move on to "Danger Will Robinson", and the tune opens slow, and ballady. I really like the voicing here as well,a nd those backing vocals are still ever present. And this is a tune I definitely recognize from the show as the chorus comes in. Simple, but catchy and nice. interesting interludy part here.The music really plays nicely with what the vocals are doing, and it gives this an almost musical theatre quality. Again here however, I want... More... More something... I think it may be a production fault, but it needs something.

"The Borgia" comes in as another ballad feeling song, and then launches into a killer, but not-too-long guitar solo. Drops down again, and god, I love all of the vocal and music interplay. It's a continuing theme, and it keeps you hanging on and waiting for the next twist. More music needs to have this feel. And may I say that the guitars, while very subtle are awesome, and beautifully tasteful. And the change up from pretty appeggios to punchy guitar? Awseome. And moving into a more flowing feel. So much happening and changing and moving right before me... My poor fingers are struggling to keep up.

"Through The Gates" comes in with a very similar feel to it's predecessors, but a neat feel in it's own right. Some of the melodies give this... I'm not sure... Hauntingly catchy? feel. And I like it. I also love how there are beautiful ins and outs of that and pure modern funky rock. This group may not be pushing the envelope on high energy, but they certainly keep you in it and engaged. Another solo in this tune. This one a little more lyrical, and longer too.Beautiful really. A nice way to close.

"Rumspringa" gives us our first taste of real aggression with a pushing guitar line that settles into a groove. Even if this doesn't take off, it certainly retains a sense of aggression. It's nice and well done with a lower dynamic. Again some beautiful music and vocal interplay capped off by a slow vocal part that builds through a flowing lyric line and some excellent guitar, and into a driving and awesome guitar line. Beautiful! The composition and flowing nature is almost too much for my buzzing brain to comprehend. I fear what happens if I reach "Shit-Faced bastard" status.

Opening quietly with mostly voice and low guitar, "To My Old Man" brings in a really cool stop and go groove in the verses and the vocals continue to show off a nice range and blend. And that musical theatre-esque vibe definitely carries on here. I haveint mentioned it yet, but the bass has been more than busy through this whole album as well. Really the rhythm selection moves beautifully along with everything and with all the changes and ins and outs, I can be nothing but impressed. I'm actually blown away by how catchy, and accessible this manages to be with all of its movement and intricacies. It's an excellent feat.

Coming in with a dancy feel, "Lorelei" borders on disco, but when it kicks in there is so much more there. Here, I'm getting that missing drive and heavier dynamic I was hoping for earlier. I le the vocals here too. Lovely falsetto! This tune is the closest to formulaic I've felt on the albums thus far, and it's hardly at that point. The bridge makes lovely use of guitar delay as it builds into a lovely vocal release and cool musical interlude. Back into the opening... And kick in to the chorus. Nice.

"I Love Lucy" comes in with an almost overly cliche ballad feel, but I can dig it... Ooo... Elevator style groove. I can respect. moves along nicely and very pretty. Nice build, and opens up nicely. Female vocals are nice and powerful here. I dig them a lot. The male vocals are up now, and I swear it's like listening to a musical soundtrack, and I do love musicals.

"Epilogue" comes in at a rather in appropriate time as there is one song after it, but it has a nice and pretty feel nevertheless. That guitar tone is lovely, and the growth happening is awesome. With what I've said before in regards to dynamics. Let that not be a shot at how they are used on this disc, because, they are used beautifully, believe me. This song has some lovely example of that. Ooo. Farty bass! I also love the emotion evoked even without lyrics with in the vocals. There are so many wordless tags and melodies that create beautiful depth with the mucis. Killer build! And nice nasty kick in. Love it! Lovwly.

"Apples From A Tree" starts the close of the disc with more groove. The whole disc does have a bit of a static feel in that... Every tune takes you all over the place... And here we go taking off again. It can be somewhat exhausting, but in an entirely awesome way. Again, there is a definite accessibility retained; however, it is a bit much listening front to back. But again, just when they have you lulled into that sense of slow and pretty they hint at growth, and then bitch slap you back into awesome. And oh, so aweomse. There is such a retro-modern (god, that's a cliche term) feel to it. It's a real--oh shit.. Is that... Sax? Yes, I think so. Hot. So goddamned hot. Just shat myself. figuratively. But on the real. Holy shit, this is a cool track. Or... You know... hot track? And nice flourish to close out the disc.

Final Thoughts:
I'm not quite going to call this mind blowing, because that's not the way Harakiri approaches it mental destruction on this album. It's much more a sense of mind melting until your brain leaks out your ears and pools around you leaving you in pure liquid-lobotomized bliss. Yeah... that's accurate.

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat! If you are looking for a review with a little more coherency, I also write for EMURG.com.

RBR: The Iowan Redemption - Lipstick Homicide - Out Utero

I've been loving digging into Minneapolis' local music scene, and believe me, there is more to come on that front. However, I must stress that local music support doesn't stop at local to me, and with that in mind, I'm checking out a band from my home state of Iowa.

Pictured: The birth place of awesome! (Awesome is me!)

Lipstick Homicide hales from Iowa City, or since as a former Iowan I'm actually familiar with the greater Iowa City metro area (Hehe), Coralville. I know very little about them other than they are a female fronted punk band and come suggested by the coolest kid I know:

God, that's a sexy plume.

I trust his musical tastes, and judging from a quick glance at song titles and length, I'm confident Out Utero will be filled with plenty of punk gems. 

Not to mention this cover is simply beautiful.

I'm on a tight budget this week, so I'm rocking some Franzia. It pains me a little when I know there are some great Iowa vineyards, but when you're broke, you can't beat 5 liters for under $15 (God, I'm classy). With cheap ass wine and some Iowan punk music in hand, on to the review!

Album:

Lipstick Homicide - Out Utero

Alcohol:

Franzia Sunset Blush

"This Time For Real" opens us up with a bang and drive right in to a punk feel. Messy, but in an awesome way, and I like the guitar lead behind the vocals. Nice harmonies too. It has a this great pretty, pretty train wreck sound, and I can dig it. The little guitar lines are simple, but great. There is no slowing at all either. Love it. The little drop to guitar and voice at the end was really cool too.

"I Hope You Die" comes in with high energy and punk pacing, but feels a little more subtle than it's predecessor. I mean... It's not subtle at all, but it's less not subtle... Does that make sense? Doesn't matter. The song is cool, and already over.

"So Happy For You" gives a small pace break. They moved from high energy punk, to slightly less high energy punk in a slowing trend that is okay. This song really just feels more pop punk, but manages to retain better edge than most pop punk. The vocals get a little shaky here, but I won't ask for perfection considering the genre. Fun tune, but the first two were better.

Guitars bring us into"Rockerchick", another pop punk tune. This one reading a little cliched female punk song, but it's still fun and bouncy, and I find the cliche scores more believable here than in any Avril Lavinge(Sp?) tune. Solid track.

Guitars bring a more muted open to "What I'm Searching For". This tune is a little more of a pop punk stretch. As with the previous, it's bouncy, but not overly aggressive, but I really like the halfassed-ish finish to lines of vocals. It's so fitting. Cool little drop out there.. This whole album is moving much faster than my fingers... That's okay with me. =)

Guitar and voice bring us into "Say It To My Face". There are so many cool things happening here. Super high energy (Ofcourse) and The guitars open up here  more. Kinda... In any event, I like it. The scream at the end could use some work, but I appreciate the effort.

Transistion into "Full Throttle" is nice, and the tune itself flows nicely. Shit. Poured some wine and half this song went by. Cool call and repeat vocals, I love the bass movement, and shit... Fun.

"I Don't Wanna Be Here Anymore" opens aggressively and doesn't slow. I really love the vocals. Like, they work on so many levels. And although the album feels textbook punky, it's excited amazingly. Dear god, I'm not sure how the bassist still has fingers or how the drummer has arms. Beautiful.

"Vampire Club, Pt. II" comes in breaking the pace down. Again, only slightly. I'm not sure if I'm missing anything from Pt. I (or if there is a Pt I), but I dig the tune. The vocals get shaky here again. I really think there is a fall off when she tries to go more "pretty" sounding. She needs the edge. I can relate. I sincerely hope this is an indication of the direction of the Iowa music scene.

"Declaration of Codependence" was good. And short.

And ramping up the energy is "Who Stole Molly's Bike". A very standard punk tune, but done great. My fingers are so lost... My mind keeps hearing things and they don't know what to type... I love that little near collapse instrumental part. God, this is so messy, and I love it!

"Rather Disappear" comes in as another pop punk tune. Vocals strong and fun here. This album would be a great road trip disc. So goddamn high energy and fun. Song is killer.

And another super transition into "Doin Nothin". This tune is were I'm getting a little worn. Maybe it's because I like the--wait, that little hardish part brought me back. Yes, I'm still good.

Closing the disc is "Like This Forever" and it's so slow and dry... Not really, another nice punk track. I could say how they strike me as a one trick pony, but when that one trick is so awesome, it would hardly be a complaint. And a solo? Yes. And with great punk taste. I can, and do, dig. A lot. Great close!

Final Thoughts:

Phew! I'm exhausted, and just made it through a 14 track album with only a buzz. I'd complain, but I'm satisfied. Oh, so satisfied. Thank you, Lipstick Homicide, for redeeming Iowa. Never stop doing what you do.

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat! If you are looking for a review with a little more coherency, I also write for EMURG.com.

A First Listen Before First Ave! Vaudeville - The Masquerade: Part 1

Take a long, hard look at these lovable, talented FUCKS! (Credit)

These guys are some of my best friends. They were my doorway into the Minneapolis music scene when I first moved here, and that goofy looking guy in the suspenders? That is my best friend. I mentioned before how awesome local music can be; these guys are the reason for me. 

Their first album, which was out before I met them, has it's ups and downs, and while very average in production, 2009's Dismantle The Sky had more than enough solid tracks to get me hooked. Then came Vendetta (2012). I was present for some of the writing of this disc and was super stoked for it's release. The release show is, to this day, the best local show I've ever witnessed. Now, we are on the verge of another release from this Minneapolis quintet, and with it, what promises to be a most epic show. The release show is to be held at the historic First Avenue. I've not known of a local show there since my moving here, and the venue itself is amazing. I've heard only one track off of this new album, and I'm so goddamn anxious to hear the rest.

With all the lace on that mask, this disc HAS to be badass!

Now, before you assume that I'm some blind fan boy that will rave just to rave, it should be noted that as with all my reviews, honesty will prevail. I will set forth Vendetta's "Treason" as a track that I have found, and will always fine, blah. Good music is good music, and while there is a precedent with these guys to impress, I will ultimately be judging the album and not the band itself.

Since they are sponsoring the show, I've got some Summit EPA to accompany the disc, and because I'm shaking with anticipation (And quite possibly an addict's need for more booze), let me blab no more! On to the review!

Album:

Vaudeville - The Masquerade: Part 1

Alcohol:

Summit EPA

"Masquerade Intro", while lazily named, opens us up with an erie aesthetic of carnival-ish music, thunder, and marching cadence. Bells toll and a final rumble of thunder takes us into the disc.

Vocals open on "With Loaded Guns" kicking into a super badass blues rock riff before backing into a groove-esque lower feeling verse. The vocals have and interesting chorus affect, but I'm intrigued to hear minimal delay. The riff opens us back up into the chorus, and you can hear some tell tale Schara-esque guitar effects in the back ground. Second verse lower feeling again, but with a little growth. Nice. Definitely on the groovy side over all on this track, and this is the side of Vaudeville I can't get enough of. While it doesn't sound the SAME, it definitely captures tones of Vendetta's "Hideaway". God, that chorus riff is just badass as all hell. Great first (real) track!

"I'll Follow You" opens with a nice acoustic guitar. A little clean solo... The song is interesting, but definitely is giving an almost pop feel. Not that that's terrible, but it provides a very interestedly harsh contrast to it's predecessor. The chorus is an interesting low key-yet-aggressive-ish sound. It's pretty cool, but over all I'm a little blah on this track.I think the layered vocals in the chorus were a good idea, but the mixing gives them a feel that's a little... Weird? I don't know... I'm definitely not sold on this one...

Here we are at the one track I've heard: "Through Bright Red Skies". Guitar effects open, and a sexy bass groove brings us in. There is this little guitar line that gives such a sexy tag on that bass line. The vocals are soft-ish with a hidden aggression, and the whole track lets you know it's about to unleash hell. And here it comes! Such a great aggressive stop dn start chorus. And back into the pure sex that is that verse. This song deserves a cigarette. Mmm... music smoke. Ooh. Transistion into a VERY Schara solo. Perfectly fitting to the song. Aggressive pounding to finish it off... Hot.

Slowing it sown out of that is "Into The Blue". Opens on acoustic and voice. This song, again, has a slight pop-esque feel, but the production is a little nice on this one.Cool stop there. This is scores ahead of "I'll Follow You". Simple, but elegant. Dropping... Into a build? Maybe, but regardless, I love the vocal melodies here. Ooo. Nice growth... Guitars making a push... so subtle, but sooo there! Into a nice payoff. Driving us onward. Adding a nice bite to the beautiful vocals... And drop off... Awesome. some nice bass licks from Mr. Kosel. Cool.

Guitar and drums open our closer, "Where Darkness Lies". Vocals add to this sexy darkness. Again, such a quiet anticipation is created, and when it opens up, the pay off is awesome. Chorus brings us back around to that killer verse... Builds nicely back into the second chorus. I really love the lyrics in the chorus. The guitar interplay is awesome. builds.. Drops... Bass... And heres the guitar... Way cool feel here... Reminicent of the 28 Weeks Later theme. Sooo cool. Building. Those guitars are just icing to open up... Building awesomely! Mr's Vaudeville, I'm ready for my cumshot... =P Still building. So much whoa... Drops on voice and... Oh shit. Nothing... But, like... And amazing nothing... Like, I was all ready, and then they disappeared and I'm left. Covered in rock splooge, and feeling... Satisfied. Oh, so satisfied.

Final Thoughts:

So, as with Vendetta, there is a single track, that is glaringly not great for me, but the placement is great, because it's sandwiched between a killer opener, and a powerful middle track, I can practically forget it as soon as it ends. That being said, killer effort from what is, in my opinion, THE premier Minneapolis band. From the eerie intro taking us into "With Loaded Guns" to the powerful vanishing act of the close of "Where Darkness Lies", The Masquerade is a ride everyone needs to take themselves on.

It should be noted, I will soon be doing a more "official" write up of this disc on EMURG (Link below), and I will be present at the May 17th Release Show at First Ave. Find me, say "Hi... You're blog is the single best authority on music I've ever read." Seriously say all of that. I might buy you a drink (Not happening, I'm poor).

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat! If you are looking for a review with a little more coherency, I also write for EMURG.com.

The Modern Kick! - Double Review: The Modern Era - Holiday EP & Kick - Away From The World

I'm so excited for MAY! Yeah, there's Spring (which is taking way to long to fully arrive),  the NFL Draft (Go Chiefs!), and the continuing forth season of Game of Thrones(Is anyone else happy about what happened to Joffery?); but what has me beyond fucking pumped is the local music coming out this month!

Local music is such a beautiful thing too many fail to cherish until it has withered into shitty bar cover bands and overly heavy high school metal bands. I've seen it happen (I used to live in Iowa). This is why everyone should support local music! Find a band that you enjoy. MEET them! Hang with them! That's the beauty of it all. You can enjoy not only the sounds they produce, but the people behind the music. You can experience shows with the bands. Experience their rises and falls. All of this with people creating amazing things right in your own city. Local music is a beautiful privilege, but as will all privileges, it can be taken away. Cherish it NOW! (End lecture)

The point of that lecture is that there are two amazing bands that I am reviewing tonight that I have been around for a while. With each one, I saw them. Loved the music, and later met the members of the respective groups, and now have a connection to them. The first, The Modern Era, I first saw as Machine 22 while playing a show with them in my old-shitty punk band. Since that time, they've sort of rebranded themselves, but are still cranking out killer tunes and shows. The second, Kick, I saw after a friend told me about them. It was a show in the back room of a coffee shop, and I will never forget it. The energy alone was electric, and although front man, Jake Kemble, has promised a more varied showing on Away From The World, I'm sure I will love it. (It should also be known that Kick abandoned Iowa for a more lively music scene in MPLS. Let that in itself be a lesson to all on supporting your local bands!)

What a fine group of young gents!

I am beyond excited for this; I even went out and got a Sierra Nevada IPA sampler because if I'm doing multiple bands, why not have multiple beers? (I mean multiple kinds. I ALWAYS have multiple beers.) 

What are they looking at?

Now, let it be known that just because I love these bands and the people in them doesn't mean I'm going easy on them. If there are things I don't enjoy, they will be known (The beer will see to that); however, I have a feeling they won't disappoint. Now that I've tried a few of my IPA options, I do believe I'm ready to quit yapping and start rocking (But you know, while still yapping), so on to the review!

Album (#1):

The Modern Era - Holiday EP

Alcohol:

An assortment of Sierra Nevada IPAs

Holiday opens up with "Like A Hot Knife". Guitars come in nice and bouncy before the drums push us into a nice little guitar solo. As the song settles into the verse, I hear Mr. Jack Swaggers smexy voice. The song definitely has a garage-y punk sound, and the little guitar solos are nice. The song as a whole is nice and bouncy, and oh, I loved that little stop and shout thing. Nothing earth shaking about what's happening, but what is happening is awesome. Fun tune.

The disc pushes right into"Everyone We Know Is A Ghost". This track has a little darker feel even though the intro still retains a bit of bouncy. Okay, here we are settling in the verse. As the song moves on it is a slightly slower tune. The guitar moving in the background of the chorus is a nice touch. I love the movement of the tune. And the stripped down verses growing through out and into the chorus. Well done. I love the use of gang vocals here and there. It really speaks to my inner punk kid. Really cool driving finish.

Thaaaat sets us right into "Are You Sure?" a killer punk tune. The guitars keep moving with a cool little duel line. The chorus is short and sweet, but nice. Second verse drops to fuzz bass with guitar accents. I like the change up. Sweet.

Slower to open the closer and title track: "Holiday". Nice movement from bouncy verse into slower pre chorus. This tune has a definite retro feel. I dig it a lot. Some nice "Do-Whaaas" I like. Cool track.

Final Thoughts:

Although it's a small showing, The Modern Era definitely gives a sense of diversity on Holiday. The disc is nice and fun without coming across as fluffy. My only reservation is that it was hardly long enough for this beer to really take hold. I'm hoping for a full length effort sometime soon. Please?

Album (#2):

Kick - Away From The World

Alcohol:

See above

"Electric Love" opens us up with a sound of... A record? Moves nicely into a drumbeat, and the guitars fly in before dropping into the verse. Supre high energy here. Nice movement right into the fun chorus. Killer solo to fill in there. The vocals are nice and fun. Hooks are abound. And I love the little tags here and there like the scream before the second chorus. Drop to bass... Ooo.. Gimme that guitar. Building.... Scream, and a nice open up. Beatiful. Killeer.

Moving right along, the guitar opens up "Sick Religion". The song has anise funk rock feel. The vocals stay nice and hooky--holy shit that was the coolest interlude thingy EVER! Weird little speaky thingy, and back into that funk rock verse. And giving me that badass driving interlude. Sick. Dropping to drums and guitar ringing out. And now, guitar and voice... Building... Ooooooooo. Scream! And halftime interlude... Cool. Love it.

"Miricles" slows us down a bit in the open, but then, the electric guitar coms in giving us a little bit of bit. Drops to voice and bass. Growing as the guitar comes in. Beautiful movement and composition there. The song has so many rises and falls, but it doesn't feel jerky in them. Lyrically, it flirts with cheesiness with out ever really getting there, and in fact, hits nicely because of it. Nice drop to acoustic with and electric solo. Growing back into the Oooo-Ooo. Part. Nice pause in the final chorus really pushing things bigger. Nice.

"don't Let it bee" comes in with guitar,a nd bass. And takes off as the drums come in. Dropping down for the verse. The bass keeping things moving though. The vocals by contrast drawing out. And then moving a bit faster.. Build... Drop to guitar and voice..... And bam! Super hooky, and fun. Back into the verse. Very similar here. Voice a little shaky there, and felt rushed, but thoughts of that are washed away by the chorus. Very nice. Nice pouch into the final chorus. Love it.

Another final/title track, "Away From The World" opens with voice and guitar. there is a really cool delay effect happening. The song settles into a nice but VERY slow groove. The guitar showing very different colors here And really, this track drops the enter--nevermind, the bass is coming in. Driving... Awesome pick up there! Still slower, but bigger here. and dirty. Sexy dirty... A second open up... Bigger. Awesome!

Final Thoughts:
Amazing. The first few track fill you with this electrifying energy, and leave you completely unprepared for the epicness of "Away From The World". It's like the whole album is a set up for the most amazing unfunny joke in the world, meant to be enjoyed by all. Am I making sense? No? You're right, I had better drink more.

I should mention, both of these albums will be available for your buying pleasure on May 9th. This is also coinciding with what promises to be a most epic release show featuring both bands. And for all of you close enough to go, tickets can be purchased here.

Go to this show! Support local bands in whatever city you are in. Remember, every band out there that is huge got it's start playing to crowds of 10 at a shitty little bar in their home town. Be one of those ten!

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat! If you are looking for a review with a little more coherency? I also write for EMURG.com.

Re-Used - The Used - Imaginary Enemy

Hey, all! It's been nine whole months of this blog, and I've finally reached a repeat artist. For those of you who aren't avid readers (become one!) or those who simply haven't looked into my back catalog of entries (Do it, and post LOTS of comments!), I reviewed The Used's 2013 effort, Ocean of the Sky, in the first month of this blog's existence. In fact, it was my very first negative review, and to this day, it leaves a bad taste in my mouth (or maybe that was the cheap whiskey?)

Is it weird that I'm more creeped out by the censored faces than the heart on a noose? Nah.

Now, let it not be said that I am not a fan of The Used. Seriously, who said that? I'll cut you! I actually love them, and most of their over arching work. No, Ocean of the Sky was the sole effort that I despised. "Tethys" alone was 20 minutes robbed of my life. Ugh. But enough about that. We have a shiny new album for consideration, and I am excited (with certain reservations) that this will be considerably better than its predecessor.

My lovely girlfriend has been so kind as to whip up a lovely concoction that essentially amounts to a wine smoothie (so good, but so sweet), and I'm ready for another look at a new The Used album, so as I always say, on to the review!

Album:

The Used - Imaginary Enemy

Alcohol:

Wine Smoothie

The album opens on "Revolution". Lovely little sample. Classic The Used. Takes off right away settling into a quick-but-low-key verse. Opens up into the chorus and the song is setting up nicely to be a nice industrial punk track. I'm feeling good. LOVE the start of the second verse. Drop out of the second chorus into bass synth swells. Neat vocal affect, and the song starts to grow again mostly using drums. And kick to the mouth. Nice. Druma nd voice chorus. Drop out. And final chorus. Sample bump. Lovely.

Moving on, we have "Cry" opening fast, and dropping into a partially electronic verse. Nice low but heavy pre chorus, and heavy-yet-poppy chorus. I like it. Second time around, still nice. I really like that pre chorus part. I also really dig the held out phrasing on the chorus vocal melody. Holy shit, that bridge is fucking righteous. And slides right back in the chorus seamlessly. Okay, The Used, you found yourselves again. Thank you. =)

"El-Oh-Vee-Ee" opens with an electro poppy feel. The synths have this little dark feeling tag on the end of each phrase, and I love it. This song definitely has a more pop feel across the board, but damn that chorus is catchy. Seriously, that little end to the phrase in the verse... It's... Amazing. There's a similar call to that in the chorus as well. Oohh. Here comes something a little more aggressive.... Love it. Grows out of everything organically as well. And back in. This song is actually a perfect example of why I love The Used. They can toss back and forth from more bubbly pop to screaming punk, and connect the two with no ugliness.

"A Song To Stifle Imperial Progression" opens with an appropriate industrial beat before launching into a super aggressive rock tune. And as it moves on we drop into a pinky dance track, and back into that pure aggression. My mind is spinning and there is a smile on my face. The whole song, when you consider all of its parts should be disjointed and falling apart, but it's somehow beautifully cohesive. I love it.

Coming out of the sample ending the previous track is "Generation Throwaway". This song has a very modern pop feel to it. I can hear The Used in the tune, but I'm getting a feel as if this is their take on a FUN song. It's good. Just... A low point thus far. Lyrically nice at least. 

"Make Believe" opens with a synth sound, and kicks in with voice. a subtly fast moving verse, and opening up in the chorus. Fairly straight forward pop punk track thus far. Not bad. Not great, but at least its quick enough and interesting enough to keep things from dragging... Oohh. Drop down with a vocoder vocal line. Growing... And into the chorus. Legit.

Onward to "Evolution" that opens with a synth line, and shows itself to be a slower ballad-y tune. Very pretty, and I like the movement the bass is providing. It definitely stands out here. Neat heavy-ish breakdown. And back into the ballad. Keeping it interesting, The Used. I can dig. Getting aggressive here at the end. And trailing off with synth.

The title track comes out of that with a nice bass lick and moving into a nice little groovy jam. synth adding tension along wight he vocals. And the kick in to the chorus. this tune is fun and a great blend of subtlety abad fastness. Nothing super flashy, but good tune nonetheless. Drop into a nice slow bridge. And builds back into a killer riff interlude. The whole song growing here. And drop... And kick back in. Fun tune.

"Kenna Song" slows us down a bit again. Opens with clean guitar, and synth comes in wight he drums. Sounds like an electronic beat. Vocals come in bringing bass and real drums with it. Nice slow tune,a nd the bass carries the tune just as the previous slower track. Not a lot interesting happening lyrically or really vocally at all. It's pretty, but not super interesting. Meh...

Synth swell brings us into "Force Without Violence" and drums add some aggression to the intro. Cool guitar effect. This sets up to be a nice verse. slow and simple, but really cool and effective. picking up the pace into the chorus. not a lot. but enough. Back into the cool verse. Growing here again. And a little faster in the second chorus. I really like the growth in this tune. Drop down. tension. Vocals come in and we start building back up. and opens up into the final chorus. nice. Trail off into a crazy sample. And into an electronic rap? thing. Lovely wording. but rather abrupt and random. I'll allow it.

That brings us to synthy sounds opening "Overdose". Vocals come in very pretty. A quick glance at the time of this track clocking in at 14:41, and I'm having "Tethys" flashbacks, but there is already more songness to this than in any part of that track. And this is very pretty. Another rather poppy feeling tune but well done. Lyrically nice as well. The bridge part is weird but in a really cool way. The song ends... I think? Yeah, that's the end. I think my glance at the time has spoiled the surprise of a "Hidden track". Hmm... I haven't encountered a hidden track done like this in awhile, and to be quite frank, I've never thought about how to handle this in blog form. I must debate. Let me smoke and I'll get back to you... OH! sound! Drums... Like. Hand drums... And sand paper? Or many dragging a hand across the skins.... Yeah, probably that... Still.. Just that... Continuing... Yeah, about a solid minute of just that... Yep... Just that... Two minutes... Of... that...New Sound! Sounds like... Static? Growing! And now... A forecast? Pretty synthy background. Can't quite understand the voice, but we've moved on front he forecast for sure... Voice stopped and now we have pretty choral things... Voice back and fun music... I'm utterly lost, but not altogether disappointed. This is incredibly odd,b ut not bad. 

Final Thoughts:

Ughh... So not entirely sure what happened at the end there... I'm a little lost, but no matter, The album was solid. Nothing amazing for me, but it certainly redeems the previous The Used album. I liked parts of it, but it lacked a certain "wham" factor The Used usually packs. Particularly the second half of the disc was a little... Meh. Again. solid, but not quite the album I would hope for. Meh.

-Badhorse

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