Man Overboard - Heart Attack (2013)

Man Overboard has been pretty good at what they do for quite some time now. Although sometimes I tend to get bored with the subjects of relationship issues and girl problems, I’ve always enjoyed their music. They have always had a good grip on the pop punk genre. Their latest release, Heart Attack, really showcases the band in the best possible way. It seems like they’ve grown up immensely with this record, lyrically, and instrumentally.

The record starts with “Secret Pain” and “Boy Without Batteries.” Both songs are equally as catchy as the other, and they immediately set the tone for the album. Instantly, I noticed the drumming is on a whole new level, being that they now have a new drummer than their previous releases. I also noticed the music sounds a lot more natural. Will Yip did a fantastic job capturing the best side of Man Overboard. “Where I Left You” has some of the catchiest vocal melodies in the entire genre. I also feel like this song has the biggest chorus on the entire record. It is becoming one of my favorite Man Overboard songs to date. The title track, “Heart Attack,” brings some awesome guitar work to the table and it also has a chorus that will get stuck in your head.

I honestly didn’t care much for “White Lies” when it was first released, but the more I listen to it, the more it grows on me. It’s a very mature and different sound for the band, yet it works great. “S.A.D.” starts with a very beefy sounding bass line and vocals. Guitars quickly came in and instantly had me bobbing my head. The bridge in this song is one of my favorite moments on Heart Attack. It’s a surprise to hear a more aggressive side of Man Overboard, but very pleasing. “Suppy” has some of the catchiest melodies I have ever heard this band play. The vibe of the instruments reminds me of New Found Glory’s Radiosurgery, which was a ridiculously catchy album. I would love to hear more songs of this nature from the band in the future.

“How to Hide Your Feelings” and “Swan Dive” keep the pace going strong. Both songs provide the super catchy, sing-a-long choruses that Man Overboard is known for. Following “Swan Dive” is my absolute favorite song on the record, and possibly my favorite Man Overboard song to date. “Hoodie Song” is the most dark, aggressive song the band has ever written. It could be a personal favorite because I grew up on old Taking Back Sunday and Brand New and that’s what it feels like, but the song is just plain awesome, in my opinion. Everything about the song is a new feel for the band. “Re Run” is the only song on the entire record that sounds like it could have been on Real Talk. It’s a catchy song, but probably my least favorite on Heart Attack.

“Open Season” has a darker feel to it. The vocal harmonies in this song are some of my favorites on the entire record, and the guest spot from Geoff Rickly is wonderful. “Damage Control” starts with a riff that kind of reminded me of early 90s radio rock. The riff towards the end in the background is great and adds an awesome feel to the outro. Closing out Heart Attack is “Wide Awake,” a signature acoustic, sing-a-long Man Overboard song. This band always hits the nail on the head with their acoustic efforts.

Overall, I personally believe Heart Attack is Man Overboard’s best work to date, and one of the best releases in the genre this year. It has all kind of vibes, from dark to fun and catchy. It’s just a very well-balanced, grown up record. A great listen, and a great step in the right direction for the dudes in Man Overboard.

9.0/10

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Lakota De Kai - Heavy Teeth (2013)

There seems to be a decreasing focus on storytelling in albums released these days. This isn’t to discredit or devaluate bands who are still working hard to bring fresh, new music to our ears on a daily basis, but all the same – it is a valid observation. It would seem that nearly gone are the days of artists writing comprehensive, immersive tales with a fierce and complex musical backdrop – it would seem that way, were it not for bands like Lakota De Kai. These Ohioan masters of blues-ridden post-hardcore bring intense, ferocious music with deep, passionate lyrics to create an in-depth experience for listeners of all walks of life. Heavy Teeth, their first EP under We Are Triumphant records, is proof of this.

Opening with a catchy, raunchy southern-tinted riff, Heavy Teeth already lets the listener know that it’s a far cry from the run-of-the-mill post-hardcore which is running rampant amongst today’s scene. While the riff work on “Babe Ruthless” is intense, the pounding drums and driving bass kick in the door, knocking it off the hinges and the listener out of their seat. The bi-polar oscillation between fleet, catchy riffing and dissonant, down-tuned grooves keep the listener on their toes, as if they were walking upon a sea of shattered glass. This dynamic continues with tracks like “Honey Badger” (which definitely don’t care) and “Kid Come Back,” both of which are infectiously fast-paced and absolutely incessant in nature. Crashing cymbals roar underneath mach-speed chords and notes from the guitar which are bolstered by booming, bodacious bass guitar. However, there is a very different side to Lakota De Kai’s instrumental soundscape which makes Heavy Teeth all the more incredible. The closing portion of “Kid Comeback,” along with a great majority of “Truth or Consequences, New Mexico” utilize a slower, more plodding song structure which peel back the curtains on the soft, spongy emotional core brooding within the unstoppable musical juggernaut the listener has witnessed thus far: the vocals, and their lyrics.

Lakota De Kai are absolutely wonderful lyricists, and they are absolutely not ashamed of it. “Truth or Consequences, New Mexico,” alongside “Find Your Deathstar” are brilliant, shining stars amongst the cluster of 'innovative' tracks being released by otherwise mediocre post-hardcore acts. “Find Your Deathstar” makes use of a female-vocal guest appearance which is so completely contagious that it will plant a seed inside the listener’s head that will take over their head for weeks on end. “Kid Comeback” also makes use of an almost Jordan Dreyer-influenced vocal style which blends spoken elements with harsh, grating screams that further inspires emotion and feeling upon the listener. Non-stop toggling between harsh, violent shouts, subtle, spoken segments and crooned, Keith Buckley-esque singing attacks the listener no matter where they might try and hide – not that they would want to hide in the slightest. In fact, the bombastic vocal efforts riddling Heavy Teeth keep the listener so intensely engrossed in the EP that they might find it hard to focus on the real world around them. This is the true art that is Lakota De Kai’s unique dynamic.

Listening to Heavy Teeth is like listening to the very heart of the Midwest. The instruments paint stellar, fluid soundscapes which range from lush, rolling hills to flat, barren plains­ – and everything in between. Meanwhile, while the guitars roar and the cymbals splash color over Lakota De Kai’s immense canvas of sound, the vocals and lyrics provide detail – the sort of detail which can only come from the gift of true storytellers. These details are what keep the listener coming back for more; the difference between a pretty picture and a masterpiece. “Find Your Deathstar” is archetypical of this–using a guest vocal appearance alongside the oscillation between innocent catchiness and reprimanding heaviness and groove to lure the listener in, only to trap them in the painting. However, once trapped, the listener finds themselves in a state of serenity – what reason would there be to leave? Heavy Teeth more than willingly provides everything they might need.

Have you been searching for an immersive story rather than a collection of scattered songs? Then search no further than Lakota De Kai’s Heavy Teeth. With all the immersive nature of a full-blown novel, but the accessibility of a simple television show, this EP will grab your attention and hold onto it for as long as you let it – hours, days or weeks.

9.8/10

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For Fans Of: Defeater, Every Time I Die, La Dispute, Partycat, Fall City Fall

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Altars - Something More (2013)

Altars is a five-piece melodic hardcore/metalcore band that formed in 2010 in Colorado Springs, CO. Their first official release, Opposition, was released in 2011, and the band signed to Facedown Records the following year. Shortly after their signing, they released their debut full length, Conclusions. Altars' second full length, Something More, hits the shelves on May 14.

Since releasing the Opposition EP in 2011, Altars has changed their style quite a bit. A few years ago, they sounded like a typical melodic hardcore/metalcore band that was trying to duplicate the sound of bands like For the Fallen Dreams and Legend. Now, however, Altars has progressed beyond chugging, the occasional melodic riff and heavy screams. Something More sees the band incorporate more of a punk influence, which is most noticeable on the tracks that feature clean vocals, and a much more polished sound overall. Back to the vocals, the lyrics on Something More were one of the first things that I noticed; they weren't very preachy and there were quite a few that gave me chills because of the reality and positivity. My favourite lyrics were "Question everything/Seek truth/Spread hope" ("Question Everything") and "The driving force that gets me through every day is that there's something more to give" ("To Give").

Something More is definitely a step up from the band's previous releases because it's so dynamic. The vocalist transitions between metalcore lows, hardcore yells and punk cleans without any blunder, the guitar parts are much more varied and so too is the drumming. A few tracks that really caught my attention were "Sent to Destroy" and "Transparency" because they were so strong vocally and instrumentally. Both of these tracks feature a few very fast-paced verses and choruses as well.

The previously released "Eternity" is another song that really stood out to me. The third track features a catchy chorus, an excellent main lead that you have the privilege of hearing several times, one of the best callouts/breakdowns of 2013 ("You're committing mass genocide! BLUURGH!") and a beautiful ambient outro that acts as a two-minute instrumental interlude. Because it has all of these aspects, "Eternity" is the longest track on Something More (it's just over five minutes long), but it doesn't drag on.

In its 35-minute playtime, Something More has several "wow" moments and there aren't too many weak moments. With that being said, I initially wasn't too fond of "Revolutions" because the lyrics were primarily sang. In small doses, the punk-ish cleans sound excellent, but if they're the main aspect of one song, they sound a bit awkward and overused. "Revolutions" is a grower, though, and now I can get through it without wanting to skip to the next track. "Westboro" is similar – cleans are the dominant vocal style – but everything seems to flow much better and it's a very emotional track.

With each thing that they release, Altars has changed up their style a bit and it has been for the better. If they continue at this pace, their next album might be even more dynamic and impressive than Something More.

8.5/10

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The Storm Picturesque - Arrival (2013)

The day is upon us: extraterrestrial invasion. The figurative “end of days” which has been so oft addressed by countless science fiction movies, novels and enthusiasts waits impatiently at humanity’s porch, ready to kick in the door. How do you respond? Do you sit, cowering inside, sucking your thumb and awaiting demise? Or do you ready yourself for war–prepare to fight tooth and nail for those you love and for all of mankind? Newcastle’s finest in progressive, hard-hitting and groove-packed deathcore, The Storm Picturesque are far from the former. With razor sharp riffs, pummeling percussion, visceral vocals and vicious grooves, Arrival is armed to the teeth, ready to prevent the hostile takeover of Earth – and poised perfectly to take over the listener’s head in the process.

Arrival storms into action from the very get go. “Arrival,” the first track of The Storm Picturesque’s debut album, doesn’t play coy, and is far from shy. Opening with a gyrating, hard-to-follow groove and a full-blown vocal onslaught, the listener gets a fantastic idea of what is in store for them as the album progresses. Looping, twisting and turning guitars run circles around the sturdy, triumphant bass lines, while the band’s pounding, pervasive drumming pushes the album forward. While, for the most part, the album moves fluidly, in a linear manner from riff-centric segments to hard-hitting grooves which decay into blistering, crushing breakdowns, there are some exceptions that throw a wrench in the works. These moments, like the conclusion of “By Design,” catch the listener completely off guard. One second, the guitars and bass seem lost adrift in an ethereal, sky-bound shred session, only to be brought crashing back down to earth with an absolute sneak-attack of a breakdown that will blow the listener clean out of their seat. A similar phenomenon occurs in the opening seconds of “Observing Polarities,” which, fittingly enough to the name of the track, operates at extreme ends of the band’s spectrum. One second, there is a fluid, unstoppable groove that seems as if it could go on for days, only to be cut short by a jarring, jolting and awe-inspiring Edenic series of solos and furiously-fretted riffs.

The instrumentation, which is undoubtedly a major component of The Storm Picturesque’s song structure, is not the only factor worth considering when one listens to Arrival. Vocally, there is a simply jaw-dropping amount of diversity on this album which fits, once more, with the intergalactic concept that drives it. “Arrival” kicks off with a barrage of harsh, mid-range shouts which quickly establish themselves as the album’s norm. However, by the time Arrival is half-way over with, the listener has been subjected to nearly every kind of vocal attack imaginable. Whether it’s the crippling, piercing highs, or low bellowed growls, there are a wide range of screams which make themselves known throughout the album. However, where the harsh vocals are heavy and grating, there is a soothing, clean vocal croon which also makes a series of concerted cameos throughout Arrival. Indeed, The Storm Picturesque include just enough of a clean vocal element to add the extra “space groove” feeling to the release–furthering the atmosphere which drives the album both conceptually and instrumentally. These clean vocals often find themselves playing brilliant, back-and-forth, cat-and-mouse style games with the band’s programming and softer-strummed instrumental elements, giving the listener brief moments of rest in between intergalactic assaults of seemingly unending heaviness.

The Storm Picturesque quickly establish an effective, galactic dynamic which ultimately sells the album more than any one of it’s respective parts. Sure, the heavy parts are heavy, the programming is cool and the vocals and lyrics are great, but altogether, the album is completely immersive. Arrival tells a story not just with words and lyrics, but with its instrumental elements. As the album continues, the riffs harmonize more and get darker and heavier, where the sampling and programming gets more invasive and finds itself working more into each song’s respective structure. “Ghost” is evidence of this, as is the album’s climactic, epic track, “Written in the Stars.” These tracks, especially when compared to “Arrival” and “By Design” have a much more technical and intense dynamic which drives them. This is by no means an allusion to the early portion of the album being shallow, or even two-dimensional, it is simply just detailed in a different way. Where the latter parts of Arrival focus more on keeping the listener engaged, the opening parts of the album reach out and ensnare the listener. How better a way to do this than reach out and grab them with sheer, sharp and vicious heaviness?

Stand up and fight for what you believe in. After all, isn’t that what humanity is all about? Pride, glory, and the right to exist? While you’re at it, let The Storm Picturesque’s Arrival be your soundtrack. Packed with driving, pounding grooves, hammering, skull-splitting breakdowns and catchy, remarkably technical riffs, every element of the band’s immersive dynamic is functioning at full steam, creating a positively encapsulating, atmospheric experience for the listener.

9.8/10

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For Fans Of: Meridian, Volumes, Lifeforms

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The Wonder Years - The Greatest Generation (2013)

There are very few things on this planet that get progressively better with age. I'm not about to throw some overdone wine analogy at you, but this is exactly how I would describe the six-piece pop punk band The Wonder Years. The Wonder Years have returned with their much anticipated fourth release, The Greatest Generation, and saying that The Wonder Years "have done it again" with this album would be a drastic understatement. Rather, they have reinvented and redefined an entirely new sound for themselves that I foresee many bands attempting to replicate in the near future. This is normally the turning point in many band's careers where things begin going downhill and the quality of albums decline, but not for The Wonder Years. With every new album, they just improve from the previous release. The Wonder Years can definitely be considered as one of the greatest bands to emerge in the past decade, and with good reason.

On their past albums, The Wonder Years have been known for making a dramatic and impressionable entrance ("My Last Semester" and "Came Out Swinging") and not a thing has changed. With the first track on this album titled "There, There," there is a soft intro that subtly builds into some passionate and heart-wrenching vocals. The vocalist, Dan (Soupy) Campbell, has always had a distinct sound to his voice and has built up his vocals with every album. On The Greatest Generation, Campbell is at the top of his game. Every word he sings carries a melody that can make even grown men tear up. Another noticeable difference on The Greatest Generation is the lyrics. Gone are the lyrics about hometowns and heartbreak. The lyrics Campbell now produces are about the pains of growing up, being alone, or not making a difference, and they are the most down to earth words that have ever been written by this band, such as in "The Devil in My Bloodstream" where Soupy sings "Depression grabbed his throat and choked the life out of him slowly/I've got the same blood coursing through my veins/It'll come for me eventually." Putting each track together, the entire album feels like huge work of breathtaking poetry.

After a few listens of The Greatest Generation, I was shocked at how much variety there is throughout the album. Some songs sound a lot more punk than anything that The Wonder Years have done before ("The Bastards, the Vultures, the Wolves"), some are much slower ("The Devil in My Bloodstream"), others sound like classic alternative music ("Teenage Parents"), and of course, there is the obligatory acoustic song ("Madelyn"). I'm impressed at how much The Wonder Years can mix things up without everything sounding too cluttered, and how they can avoid sticking to one sound and playing it to death. Each band member plays their part perfectly and all have significantly improved over the years. The crunchy guitar sounds appropriate with the rougher tone that The Greatest Generation has. Each drum hit matches with the rest of the music, and vice versa. Another merit that The Greatest Generation proves to have is the vocals done by people other than Campbell. Like the previous releases, bassist Josh Martin returns with his gruff, yelling backup vocals. Martin's vocals go hand-in-hand with Campbell's vocals to make up The Wonder Years' signature sound. Other vocals that were done on this album were on "The Devil in My Bloodstream" and done by Laura Stevenson.

I could write a track-by-track review, but that would take me hours and thousands of words, so I'll just say that you don't know what you're missing out on until you listen to the album in its entirety. With that being said, the final track, "I Just Want to Sell Out My Funeral," is easily one of the best closing songs for any album I have heard. It is the longest and most emotionally packed song that The Wonder Years has ever written. The main feature of this track is that it features what seems to be a medley of all of the best parts from each song on the album combined into a song. Somehow, this is done without having an avant-garde feel and everything in it flows very smoothly. Older fans of the band may have noticed references to older material in the album, or sometimes even references to other songs. These references are yet another thing that The Wonder Years does to stay original, and you could say that they are an "easter egg" for some of the older fans.

In truth, there is not a single bad thing I can say about this album. Every single aspect of The Greatest Generation blows me away and continues to do so on every listen. I get chills dozens of times throughout the album. All I can say is that you need to give this album a listen, regardless of what music you are a fan of. Rich with poetic lyrics, angelic vocals and biting guitars, there is something here for everyone. Hopeless Records now has the entire album streaming on YouTube, so check out the link below to listen. Don't sleep on such a phenomenal album.

10/10

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