Review: The Flatliners - Cavalcade

Appears at http://www.nationalunderground.org/news/must-have-albums/287-the-flatliners-cavalcade

Cavalcade shows immense growth from a young band whose increasing age positively correlates to its musical maturation. The Flatliners are still a young band, but their evolution has been astonishingly quick and, arguably, for the best. I'm hesitant to use the term "straight-up punk" because it can unfairly reduce a band to something basic and stale, and Cavalcade is by no means an unexpected curveball, but it is no less impressive. The band's progression has been logical but not predictable, and on Cavalcade, The Flatliners deliver an album that is immensely gratifying and absent of filler.

More than anything, Cavalcade is an extremely well-balanced record. The songs are wordy, but don't ramble. They are intense, but still melodic. They borrow Midwestern influences without overly resembling Dillinger Four (a remarkable feat considering three-fourths of the legendary band contribute vocals to "Bleed"). The theme of drinking is often tired, contrived, and overused, but here is not the case, as "Liver Alone" contains an incredibly catchy hook in the line, "Get up, get up, get up. You've got to drown it out and then drain the memory."

Frontman Chris Cresswell is clearly pushing himself vocally and in terms of songwriting. "Filthy Habits" unleashes a venomous scream, while the opening verse to "Here Comes Treble" is notably restrained, almost ballad-like. While he does explore a new range in several places, the trademark gruffness, for the most part, continues to dominate, meshing well with the up-tempo rhythms. Of course, it helps that Cresswell's vocal range is matched instrumentally, and the band seamlessly shifts from blazing skate-punk to lighthearted pop-punk and vice versa.

The Flatliners have reduced their ska side to a minimum, but it’s hard to miss something when the alternative is such a welcomed progression. That’s not to say that it never had a place, mind you. Cavalcade, as a whole, just feels thoroughly consistent, and again, this assessment isn’t based on the ska reduction so much as it is based on the entire musical spectrum. “He Was a Jazzman” is not simply “This Respirator” Part Two. That might be an initial thought, but by the third minute, all expectations are defied. “He Was a Jazzman” gradually transitions into a roaring refrain, dropping the ska riff and replacing it with much heavier dynamics.

On Cavalcade, the lyrical content is peppered with anthemic declarations of perseverance, regretful apologies to family members, and a general critique of music here and there. The band truly shines on the former, and "Carry the Banner" could not be a more perfect song title, as it, paired with the bridge-burning album closer, represents an optimistic attitude that ultimately prevails through the occasional moments of cynicism.

The band is tighter than ever before, and the rate at which their experience grows is remarkable. To quote Fat Mike, “The Flatliners are really cool, and they’re good. If we (NOFX) were that good when we were twenty years old, damn, we’d be popular now.” When a band can evoke a moderate amount of jealousy in one of its biggest influences, then it's quite apparent that that band is doing something right.

Favorite Albums of 2010, Pt. 2

5) Matt & Kim - Sidewalks

Sidewalks is filled to the brim with super-catchy indie-pop, and though the lyrics are still pretty straightforward, they define the album’s charm. As with 2009‘s Grand, the instrumental aspects have grown considerably, and Sidewalks examines the simple synth-drum dynamic from various angles.

4) Tigers Jaw - Two Worlds

The too-depressed-to-get-out-of-bed vocals resonate with honesty, and they’re matched by an equally upbeat side that can best be described as a cross between Lemuria and Weezer at their most sincere. Two Worlds finds a comfortable middle-ground between emo and pop-punk, communicating universal sentiments in a uniquely endearing fashion.

3) Crime in Stereo - I Was Trying to Describe You to Someone

I had the bittersweet pleasure of attending Crime in Stereo’s final two shows. As one who has embraced their experimental dynamics and commitment to creative evolution, what I’ll miss most is anticipating where they’ll go next. This album was a strong indicator of their seemingly limitless potential.

2) The Flatliners - Cavalcade

The Flatliners have crafted a near-perfect album that shows immense growth and maturation. Cavalcade is well-balanced and absent of filler, and its b-sides follow suit. The Flatliners reduce the ska to a minimum, thought this aspect goes largely unnoticed. Consistently good punk rock, in this case, leaves nothing to be desired.

1) Young Livers - Of Misery and Toil

I can’t think of a better consolation for the Glass and Ashes breakup than to see Mike Carter teaming up with some equally strong songwriters. Introspective, passionate, dark, and emotional, Of Misery and Toil exemplifies the dynamism of four creative and talented individuals. The result is an engaging record of driving hardcore punk.

Favorite Albums of 2010

For me, 2010 was most notable due to the awesome connections I’ve made, most of which spawned from a passionate interest in punk rock that has been growing exponentially since I was twelve years old. I saw several bands multiple times, interviewed many, and drove thousands of miles to do so. I had what was arguably one of the best weekends of my life at the Fest, a surreal experience that was characterized by so many incredible moments that there’s no way I could do it justice here. I’m incredibly grateful to the people who facilitated my work with National Underground, and I could not be more proud of the writing I’ve done for them. These are my ten favorite records of this year.

10) Against Me! - White Crosses

If “Bamboo Bones” is any indication, then Tom Gabel is capable of writing the greatest album of all time. Combined with its b-sides, White Crosses can easily be arranged into a more-than-solid rock album. Against Me! has faced many challenging setbacks, but the band has thankfully persevered, and they have released the album that they’ve seemingly always wanted to create.

9) Smoke or Fire - The Speakeasy

The Speakeasy arose from circumstances that nearly led to the band’s demise. They chose to press on, however, and their latest full-length stands as a testament to that dedication. Subtracting most of the gruffness that characterized the first two albums, The Speakeasy instead places more of an emphasis on melodic vocals and on a willingness to expand musically.

8) Defiance, Ohio - Midwestern Minutes

Defiance, Ohio’s fourth full-length once again recalls the unifying themes of friendship, togetherness, and traveling, while each member puts forth his/her characteristic contribution, from Geoff’s socially-conscious lyrics to BZ’s carefully arranged use of the violin.

7) Pianos Become the Teeth - Old Pride

This year’s release of Old Pride is technically a reissue of an album that came out in 2009. Regardless, it would seem unfair to ignore it entirely, as it undoubtedly deserves recognition. Combining unconventional, lengthy song structures with cathartically emotional lyrics, Old Pride solidifies Pianos Become the Teeth as being truly representative of the post-hardcore sub-genre.

6) Alkaline Trio - This Addiction

This Addiction is a solid entry into an exceptionally solid discography. Here, the trio revisits the musical palette from which it secured its devoted fans, proving that the band is inseparable from Chicago’s flourishing punk rock scene. Longing for the much-revered “return to roots” can and should now be put to rest.