Emery - We Do What We Want

I don't think I've ever stated it here but I'd rank Emery in the top 10 bands Tooth and Nail has signed since 2000. I know they get thrown into the emocore/screamo ranks but I'm Only a Man was a seriously killer record (even though it's fans least favorite). Emery is a band I've always loved.

Emery's new record, We Do What We Want, was promised to be the heaviest Emery record yet. So heavy that Emery was involved in "the greatest marketing ploy ever" and were "signed" to Solid State records. While it is by far the heaviest Emery record to date it it also unmistakably Emery.

The record starts off with a bang. The Cheval Glass and Scissors are pretty incredible in terms of how heavy they are. The double kick on Scissors combined with Toby's vocal play between bloodcurdling screams and his fantastic vocal melodies make for a killer song. But then the songs turn and have a more traditional Emery feel. Anchors, while heavier at times, is still that classic Emery emocore with great vocal melodies. I'm Not Here For Rage, I'm Here For Revenge is the perfect mix of being super heavy with what might be the most melodic Emery riff ever. Daddy's Little Peach and I'm Addicted to Bad Decisions are updated versions of the sound from I'm Only a Man.

The best moment on the record comes on the second to last track, I Never Got to See the West Coast. Where the rest of the album is Emery's heavy side, I Never Got to See the West Coast is Emery's most chill moment for sure. It's a beautiful haunting song and it's by far the best song Emery has ever released. Just an instant classic.

Without Devin you are missing the great harmonies Emery is best known for and the vocal play is far less then previous Emery records. But Toby does a great job handling the singing duties, providing his own harmonies when they're needed, and he does a great job. The mix of screaming vocals (handled by all the band members) and Toby's clean vocals are great, as on all Emery records. If you're giving a listen and not looking for it, you won't notice Devin's absence.

We Do What We Want is incredible.One of the best records I've heard this year. If you're a metal head thinking about picking this record up because of it's Solid State affiliation... I don't think it will make you a fan. The harder elements are there but this record is all Emery.

Classic Album: Six Feet Deep - The Road Less Traveled

When talk of old school Christian hardcore is brought up a few bands will always be mentioned; Focused, Unashamed, No Innocent Victim, Overcome, Strongarm, and Zao. One name you won't often here in that discussion is REX Records band Six Feet Deep, and it's a shame.

The only reason I think this happens is because Six Feet Deep wasn't part of the old school Tooth and Nail/Solid State line-up which is credited for being the pioneers of the scene, and they were. But Six Feet Deep was there from the start.

The Road Less Traveled was Six Feet Deep's second and final full-length. For a record that came out in 96, the production is top notch. The Road Less Traveled isn't as passionate a record as some of the band's peers (Focused, Unashamed) but it's a more intense album.

Right out of the box, Congruent smacks you in the face and gets your head banging. Purify has some killer guitar dynamics to kick the track off (which reminds me of P.O.D.'s guitar work on Brown). Narrow still ranks as the second best instrumental track in hardcore (Zao's Violet will always be number 1). Broken Tree is a break on the record. It steps away from the hardcore assault and showcases a different side of Six Feet Deep and vocalist Myk Porter (Broken Tree could be called the first Brandtson song). It's a beautiful song and a great worship song at the end of the album.

The Road Less Traveled has been a favorite hardcore record of mine for years and I've never understood why Six Feet Deep never got the credit for being one of the early Christian hardcore pioneers. The Road Less Traveled is a great record and if you’re a fan of old school hardcore and haven’t heard this record, you should.

Free Music Friday - Blood and Ink

Blood and Ink Records isn't a label I've ever covered here. I only downloaded a handful of their albums for the first time in January. And I liked them. Well they have a free spring sampler up on their bandcamp page and it's awesome. Blood and Ink has some great hardcore on their label and I have a feeling some of their new albums will find their way onto my top records of 2011.

The new sampler has tracks from new bands Jawbone and Ironwill. Make sure to download the entire album (and not just individual tracks) to get 3 bonus tracks including Venia covering "Kiss Of Death" by Buried Alive, a previously unreleased song from The Red Baron's "My First Love" sessions, and an untitled, previously unreleased rarity from the lost album by The Rose.

You can download the sampler for free here: http://bloodandink.bandcamp.com/album/spring-sampler-2011

Scale the Summit - The Collective

I received an e-mail last week informing me the new Scale the Summit record was out. So not knowing anything about the band I downloaded their record, ready for anything.

The Collective is pretty amazing. Instrumental prog-metal isn't for everyone but as a music nerd I'm all over it. Scale the Summit does a nice job at being interesting without getting self-indulgent. Only two songs are longer then 5 minutes (Whales @ 6:28 and Black Hills @ 7:59) while most of the tracks average between 3 and 4 minutes.

There's nothing super heavy about the Collective but it has its moments. Each guitar solo and riff moves seamlessly from one to the next creating a beautiful layers that move song to song. And while each song is short Scale the Summit does a nice job at making sure tracks move and we aren't listening to the same riff and movement for 4 minutes at a time.

The Collective's biggest flaw is that despite each song being on the short side and Scale the Summit's ability to create different textures and movements in each track, the solos begin to take on a similar form and interest starts to fade as you get into the later songs on the record.

The Collective is still worth a listen in my opinion. The musicianship is excellent on every level. Guitar, bass, and drums are all moving and creating interesting layers through out the record and when giving a critical listen, there is a lot of discover and hear on Scale the Summit's latest.

Classic Album: Starflyer 59 - Americana

I don't know if you can single one record out as Starflyer 59's most underrated, as Starflyer 59 as a whole is pretty underrated in my book, but I would say Americana would rank as the bands most overlooked album.

Maybe part of the blame should fall on Brandon Ebel and Tooth and Nail because marketing the record as having Black Sabbath riffs was ridiculous. I mean that marketing got me up buy the record and lose my Starflyer virginity.

Americana was the last of the shoegaze records but it was so radically different from Silver and Gold (two records which were very sonically different from each other to start). Americana doesn't have the layer upon layer of distorted guitar, the guitar solos that never seemed to end. Americana had a pop sensibility that would show itself fully on The Fashion Focus, well maintaining the bands fuzz rock sound.

The Voyager, All You Want Are the Things I Need, The Translator, and the Boulevard are all pretty rocking, fully fuzzed out songs. But the gems are really the pop songs. Harmony is my second favorite SF59 song (Hazelwould is #1). Help Me When You're Gone and You Don't Miss Me and Everyone But Me are phenomenal songs that I think get overlooked when talking about Starflyer 59's best.

Americana was a nice bridge between Gold and The Fashion Focus but on its own it’s a classic indie fuzz rock record that’s overlooked more then it should be.

The Meltdown 24

Classic Tooth and Nail featuring Blenderhead, Roadside Monument, Ghoti Hook, Bloodshed, and Plankeye.

Onward to Olympas - The War Within Us

Early last year I reviewed Onward to Olympas' debut album, This World is Not My Home. I wasn't very kind and the review was a short trashing of what I dubbed generic, bland metalcore. If I were to redo my review of that album it would read very differently, but it would still not read in favor of Onward to Olympas.

So OTO is back with their sophomore album, The War Within Us, and it's better. Gone is the fun/happy metalcore that was the band's debut. The War Within Us is more aggressive, it's angrier. But what helps this record and makes it better then its debut is also what hurts it.

The album starts strong after the intro with the title track. The War Within Us (the song) is much heavier then anything from This World is Not My Home and at moments has a nice melodic/ambient hardcore sound to it. But then Revealing hits your stereo and its standard metalcore and indistinguishable from any number of songs out there. It seems like for every solid song on The War Within Us (Hidden Eyes, Unsuitable Patterns, Accuser) there's an equally just as bland track (Seeker, Structures). Onward to Olympas has even included the standard, metalcore ballad.

Just like on the bands debut the guitar work is really solid and I wish the band would taken a more technical route with this record. When there are solos or technical riffs, they're great (Accuser) but they seem to be few and far between.

The War Within Us is a huge step from This World Is Not My Home and it shows tons of growth. While it's not going to be my favorite record of the year, it is changing my thoughts on OTO's music.

Ringo Deathstarr - Colour Trip

This might be the only time I ever say this, so enjoy. Being original is overrated.

Upon seeing Ringo Deathstarr on my list of new albums, their name was so clever that I had to at least give them a listen. And I wasn't ready for what I was about to hear.

Ringo Deathstarr has captured the heart of shoegaze perfectly. It's a great combination of My Bloody Valentine and The Jesus and Mary Chain. The albums opening track, Imagine Hearts, instantly bring MBV to mind, and that's not a bad thing. It's not a cheap My Bloody Valentine knock off band, its quality shoegaze, and similarities and spot on.

The album is a beautiful hybrid of MBV and Slowdive (MBV musically, Slowdive vocally). Until you get to the last couple of tracks. Chloe plays like an alternative universe version of Starflyer 59 while Never Drive and You Don't Listen sounds like a b-side lifted from The Jesus and Mary Chain's Psychocandy.

Colour Trip is like being in a time machine. It's pure late 80's/early 90's shoegaze and it's pretty amazing. While it might not be the most original album musically you'll hear this year, and their name more then makes up for the lack of musical originality, Ringo Deathstarr have created a new shoegaze masterpiece that shouldn't be missed.

Classic Album: Stavesacre - Speakeasy

I remember going to my local Christian record store and getting to listen to Stavesacre's Speakeasy the Saturday before the albums Tuesday release. And I enjoyed the first 3-4 songs as I quickly gave the record a run through. I didn't own Speakeasy until a month later at Christmas when my parents got it for me.

I wouldn't have put these words to it at the time but 11 years later I think I can confidently say Speakeasy is the greatest Christian rock record of all time. It holds up perfectly. Speakeasy is always in the dash of my car and gets a spin at least once every month.

The opening track kicks in hard as Minutemen blasts through the intro and intro Mark Salomon's crooning vocals. The first wow moment on the record is when the riff of Keep Waiting hits your speakers. Keep Waiting is that perfect combo of upbeat hard hitting rock that Stavesacre brings and beauty. Rivers Underneath strikes on all the right notes and Gold and Silver has probably been voted as the greatest song Stavesacre has ever written. I still don't understand why the band split St Eriksplan into two tracks but the song is amazing. Their cover version of the Cure's Fascination Street drew criticism but I think their cover is better then the original.

Speakeasy runs just under 55 minutes and is awesome top to bottom. Each song unique but the album as a whole makes sense together ands plays perfectly. It's never waned since I got and to this day remains a favorite. If you’ve never given Stavesacre, and specifically Speakeasy, a spin, you’re missing out on one of the greatest records I’ve ever heard.

Aaron GIllespie - Anthem Song

I have to be honest; I'm not 100% ok with doing a "review" of Aaron Gillespie's new solo record. As a Christian I don't want to be critical of someone else’s worship. And even though it is an album being sold for public consumption and I do review and am critical of what I'm sure other artist consider their form of worship, Aaron seems so genuine in what he's doing with this record that it's hard for me to tear it apart.

While Anthem Song is not as edgy as his work with the Almost, the musical similarities are there for me (and that could just be because it's Aaron singing). The songs are good. And while the music itself isn't the focus on this album it is what's going to catch your attention. It's not as creative musically as recent worship album from Phil Wickham, The Glorious Unseen, and Ascend the Hill. The music is what I might say is pretty standard rock worship.

All that to say I do enjoy the record. For Christians who have no interest in picking up new David Crowder or Hillsong albums, Anthem Song is a nice change of pace from an artist you've listened to in some form before. The album's first single, We Were Made for You, is by far the best song on the album and would instantly rank in my top 10 favorite worship songs.

If you’re looking for a worship record, this is a good one to pick up. If you’re a big Aaron Gillespie fan, again, you’ll love this. For the casual music observer,it’s a good record.

Rival Schools - Pedals

2011 is the year of the reunion. Well, at least the reunion albums. Overcome's was great and the Get Up Kids' was... disappointing. The problem with bands reforming and releasing new music is I want it to sound like their old music.

Rival Schools have returned with Pedals, their second full-length and the long awaited follow up to 2001's United by Fate. And Rival Schools have gotten better. It's classic emocore. I haven't listened to United by Fate in many years but Pedals has a classic sound that trumps United by Fate.

From the first dischordant notes on Wring it Out, I'm instantly taken back to the mid-90's. Everything from the guitar riffs, the slightly off-timing of each song, and Walter Schreifels' vocals, all harken back to a different era in music. I get lost listening to Pedals and I find myself unaware that this is actually a new album.

From top to bottom Pedals is a great record and it's the best record I've heard this year. It brings back enough nostalgia for me to be absolutely in love with it and older music fans will also probably fall in love with Pedals.

The album does have some minor flaws. A couple of the songs don't pop (Racing to Red Lights, Shot After Shot) and so they come across as filler tracks. Good songs, but compared to 69 Guns or A Parts for B Actors, they don't catch my attention the same way. The album doesn't end on the strongest note either. The Ghost is Out There is a solid song but the guitar solo loses me.

Overall Pedals is a strong does of nostalic rock and roll for my soul and it's a killer album.

The Meltdown 23

New music from Craig's Brother, Eisley, Gideon, and Emery.

Abandon Kansas - As Astra Per Aspera

Abandon Kansas is a band name I've heard for a while and never heard any music from. So I was looking forward to giving their new full-length, Ad Astra Per Aspera, a spin.

Listening to the recorded yesterday I was pretty unimpressed. The record just didn't give me any reason to keep listening and honestly I didn't understand why people liked them so much.

But this morning the album revealed itself in a new to me. Nothing changed, I just heard it differently. It's not a fresh take on anything. It's just a clean pop/rock record.

Heaven Come My Way kicks the album off with a steady back beat and a clean driving guitar. The song doesn't appear to be catchy but I found myself singing the chorus late last night. It's a simple melody that finds its way into your brain. And that's the way most of the album is. Liar and Like It or Not continue the rock vibe on the album. Subtle catchy songs with nice hooks and a strong rhythm section driving the songs along.

But then the album takes a turn. The songs are still rock songs but these aren’t your driving rock songs. The Golden State, the albums first single, has a memorable guitar line the compliments Jeremy Spring's vocals has he sings "California's burning like a cigarette, flick the ash into the sea. California's burning, the whole state's gonna fall in, If you don't stop falling, for me."

The album is full of beautiful songs. Each song moving into the next, each one as beautiful as the one before. The song writing is strong and I didn't feel like I had been listening to the same song over and over. Each track has its own texture and movement.

Fans of the Fray, Mat Kearney, and Kings of Leon will love this album. It's a solid album.

The Echoing Green - In Scarlet & Vile

The last time I listened to the Echoing Green was 1998's self-titled release. And it's been a while since the band's last album, 2003's The Winter of Our Discontent.

In Scarlet & Vile starts off so well that everything after the opening track, Heaven (The Devil In the Details), doesn't live up to what I hoped for. Revenge has an interesting, almost Nine Inch Nails/Industrial verse, but then gives way to a happy electronica chorus that doesn't do anything for me. Dead Hearts is a killer song that reminds me of the Echoing Green of old. But then Crybaby kicks in and the auto alone turns me off. The cover of Fold Zandura's King Planet was a nice surprise but it's not nearly as compelling as the original.

In Scarlet and Vile has some great tracks and it has some nice songs but I don't know if this record is going to catch anyone attention who's not already an Echoing Green fan.

Craig's Brother - The Insidious Lie

There are certain bands that gain popularity after they're gone. I'm going to say Craig's Brother is one of those bands that has gained cult status since their departure from Tooth and Nail and their break-up. Lost at Sea is a christian punk classic.

So Craig's Brother is back with the Insidious Lie. And I'm going to dub it their best work yet. An updated version of the band's pop punk stylings.

Right out of the gate, Freedom kicks in with a catchy hook, and an infectious pop punk sound that hooks you. Thousand Yard Stare, Adaline, and The Problem of Evil are some of catchiest and best Craig's Brother songs ever while Mistake of Caring, Insidious Lie, Party Girl, and Closure are all solid pop punk tracks.

It's nothing new but it's pop punk done so well that I would argue it doesn't need to be new. The Insidious Lie is so infectious from the start and doesn't let up that I couldn't help but like the album. While there are only a handful of what I'd label as standout tracks (Freedom, Thousand Yard Stare, The Problem with Evil), there aren't any bad songs on the record.

The Insidious Lie is pop punk goodness. Another great record from Craig's Brother.

Gideon - Costs

Gideon is the newest band on Facedown records. Their debut album Costs impressed Jason Dunn so much that he moved the band from Strike First to Facedown before the album's release. Early reviews have been postive but I'm a little torn.

As stated in my Wolves at the Gate review, the intro track in metalcore is overdone and pretty pointless. Costs starts with an intro that, while not adding the record, at least is a hardcore track with some vocals. Not necessary but not as pointless as some recent intros.

The first real song, Unworthy, is a split persoanlity song. A great heavy hardcore track, but when the clean vocals come in on the chorus it takes me surprise. The song is so heavy and almost a standard hardcore track that the melodic nature of the chorus with the clean vocals works both for and against the track.

False Profits is a melodic hardcore song that reminds me of Your Memorial's latest, Atonement. The album walks the line between melodic hardcore, deathcore, and just good old hardcore. Guycheck is a circlepit song with killer gang vocals. All the clean vocals are solid and they don't appear as the hook on every song, so it doesn't become monotonous as is normally the case.

The riffs aren't the great riffs you'll hear this year but they aren't offensive. Gideon isn't breaking the mold, but they are delivering a solid record. And yes, as a drummer and engineer, the drum production does bug me slightly. But my issue with sampled drums will probably also be a point of contention for a long while.

Everyone's complaint with Costs is the same; The album is too short. 9 songs coming in at 28 minutes flies by for a full-length and the album is enjoyable to the point that you wish there was more.

I don't know if Costs will have a place as album of the year but it has a place in my cd player as a hardcore record I enjoy.

Eisley - The Valley

The Valley is Eisley's first record in 4 years. It's their first on Equal Vision Records. And it's awesome.

Eisley has matured musically without losing their charm. THe innocence from Room Noises is gone. Replaced a band that can still write beautiful pop songs that have bite. The Valley has a bunch of tracks the remind me of Sixpence None the Richer (The Valley, Oxygen Mask, Kind) but the real standout tracks are the real biting songs, the tracks with fight.

Smarter is a song that tells of story of bitterness and anger and it really strikes a chord within me. Sad doesn't have the same punch musically that Smarter does but the lyrics dig deep.

"You'll be left alone and broken, bleeding from the heart when he doesn't come home."

Better Love is a song about breaking free that has killer energy and is the catchiest hook on the album.

The Valley is an album about being broken heart and the need for healing. It's a beautiful album and by far Eaisley's best yet. There's pain that really comes through on every song keeping the listener engaged. There's no filler here. Just 11 of the best songs you might hear all year.