Review: Bright Eyes - The People's Key

Appears at http://www.nationalunderground.org/news/must-have-albums/379-bright-eyes-the-peoples-key

Knowing that the era of Bright Eyes was coming to a close, one might anticipate a four year absence to result in some epic, cathartic goodbye that somehow comes full-circle, providing an undeniably satisfying sense of closure. With these expectations, The People’s Key is not going to please everyone, but it proves its worth on its own merits. This is simply an excellent album, regardless of its position within the Bright Eyes catalog.

The band’s past two full-lengths, not counting the electronic-based Digital Ash in a Digital Urn that was released simultaneously with I’m Wide Awake, It’s Morning, have hinted at an evolving preference and gravitation toward elements of bluegrass and alt-country. The People’s Key refrains from contributing to this pattern, instead embarking upon a new, final chapter. While this new sound is most comparable to that which characterized Digital Ash, the parallels aren’t obvious enough to indicate a conscious revisitation of former musical exploration. The People’s Key does contain the use of programming, synthesizers, and vocal effects, but for the most part, the album carries a distinct, unique vision that distances itself from the entirety of the band’s back catalog.

Musically, The People’s Key encompasses a dynamic range of styles that speaks of the members’ eclectic pursuits. The frantic between-verse transitions of “Jejune Stars” feature short bursts of punk rock chaos reminiscent of Defiance, Ohio. The back beat and vibes of “Approximate Sunlight” wouldn’t sound out of place on a hip-hop recording. The piano balladry of “Ladder Song” harkens back to familiar Bright Eyes territory, as does the unsettling chord progression of primarily-solo number “Firewall,” which incorporates faint traces of a pedal steel guitar.

Conor Oberst’s resentment and, perhaps, embarrassment toward a former self, is an apparent though understandable force informing these lyrics, not to personally discredit his early material. All songwriters grow, but Oberst has literally documented an introspective examination of his transition from child to adult. Now thirty-one years old, Oberst is no longer concerned with expressing the personal angst from which he acquired a massive fan base of young adults who felt they could relate to the raw emotions communicated by his quivering voice and painfully honest lyrics.

The People’s Key instead centers around the mystical as well as historical names and places, enhanced by the spoken word of a lecturer who guides the themes of spirituality through well-placed interludes. Self-reflection occasionally slips into the picture, though it’s usually in a subtle manner. Lead single “Shell Games” exemplifies this, with Oberst admitting, “I was dressed in white, touched by something pure, death-obsessed like a teenager. Sold my tortured youth, piss and vinegar. I’m still angry with no reason to be.” Lines such as these are few and far between, but Oberst’s indisputable honesty is nonetheless conveyed, albeit in some clandestine phrasings. This makes it all the more rewarding when one stumbles across a particular line and contemplates it as fitting within the context of Oberst’s introspective side. I found myself lingering on those bits and pieces that best reveal his true feelings.

With The People’s Key, Bright Eyes concludes a discography that has highlighted the many artistic aspirations of its members Conor Oberst, Mike Mogis, and Nathan Walcott. Rather than reverting to a crowd-pleasing formula, their final album merely widens the span of the band’s creative endeavors. While it would have been interesting to see a formal acknowledgment of its unfortunate discontinuation in the music itself, it is admirable that the members of Bright Eyes have approached the situation with modesty, as they’ve articulated in the album’s liner notes: “Many thanks to our friends and families and to all who have supported us over the years and continue to do so in spite of everything. We’d be lost without you.” One can rest assured that the gratitude is mutual.

Review: Touché Amoré/La Dispute - Searching for a Pulse/The Worth of the World

Appears at http://www.nationalunderground.org/news/must-have-albums/288-touche-amore-la-dispute-split-review

Touché Amoré and La Dispute, both extremely relevant and acclaimed within their respective scenes, have united to produce a unique take on the split seven-inch format. Though each band carries a distinct, trademark sound based in post-hardcore, there are notable, overlapping similarities, and these are displayed in full effect on Searching for a Pulse/The Worth of the World. While the two titles might indicate separation, this EP is best considered a singular body of work.

La Dispute made a name for themselves with Somewhere at the Bottom of the River Between Vega and Altair, a sprawling, complex full-length. Packed to the brim with a 4,700-word narrative, it probably would have exemplified the term “magnum opus” had it not been, impressively, their debut LP. The Worth of the World immediately brings to mind the angry, heavy side of Somewhere, while offering a glimpse at the band’s unmistakable ability to convey overwhelming desperation.

Touché Amoré, whose full-length ...To the Beat of a Dead Horse can be listened to almost three times over in the time that it takes to listen to Somewhere once, contributes two characteristically short songs. This brevity, rather than being detrimental, only enhances the intensity, propelling the first half with a consistent momentum.

Searching for a Pulse/The Worth of the World is not simply four unrelated, random songs. Besides the language from which they named their bands (although I may be wrong about that), the A and B sides share thematic and conceptual commonalities. More concretely, La Dispute’s lead singer contributes guest vocals to Touché Amoré’s songs and vice versa. These contributions extend beyond mere backing vocals. Each singer donates an additional verse or two to the other band’s songs, creating an interesting dynamic. The song titles, as well, creatively piece together complete ideas. “I’ll Get My Just Deserve” connects to “I’ll Deserve Just That” (a song strikingly reminiscent of Dead Reckoning-era Small Brown Bike) while “How I Feel” connects to “Why it Scares Me.” Both bands successfully communicate feelings of anxiety and trepidation through gut-wrenching emotion.

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.

Review: Matt Skiba - Demos

Appears at http://www.nationalunderground.org/news/must-have-albums/177-matt-skiba-demos

There are few records whose titles perfectly describe their own content, but Demos is surely among them. Recognizing the writing stage at which these fifteen tracks were created is essential to one’s enjoyment of the album, and I use the term “album” very, very loosely. “Album” implies a cohesive body of work, but Demos doesn’t quite qualify. It is an interesting listen, nonetheless, but it cannot be held to the same standard. It is specifically intended for obsessive Alkaline Trio completists, to which we should all aspire, anyway.

Demos was recorded entirely on Skiba’s laptop. It comes as a surprise, then, that it contains so many unusual effects, particularly in the vocal department. Matt’s voice echoes, spins, and drifts, from track to track. Despite the lo-fi production, there is a notable amount of experimentation and variety. As the liner notes make clear, Matt took full advantage of GarageBand. The result is a record that will inevitably confuse those who were awaiting an expansion of his acoustic side, as was displayed on 2002’s split with Kevin Seconds.

The record kicks off with a moody opening track where Skiba revisits the lower vocal range that was prominent on Heavens’ Patent Pending, and it is heard consistently throughout the remaining tracks. This captivating croon, which perfectly suits the dark ambience, clearly contrasts Matt’s recent work with Alkaline Trio. Of course, the lively side of Skiba is presented as well, and listeners should immediately come to the conclusion that several tracks were written with the full band in mind. “S.O.S.” strips the Trio’s sound down to its most basic form, that is, a catchy riff with a familiar chord progression. Those accustomed to the band’s trademark sound will have no problem mentally filling in where the other instruments should enter. “Nausea (Cruel and Unusual),” as well, leaves one curious to hear a complete, final version, while “How the Hell Did We Get Here?” directly borrows from (or, perhaps more likely, became the basis of) an unreleased, live-only Alkaline Trio song.

“Haven’t You?” is arguably the most fully-realized track. Absent of any vocal gimmick, it is a simple acoustic tune with sweet, thoughtful lyrics, a reminder of Skiba’s profound ability to endearingly tug at the heartstrings.

Regardless of the limited audience, which is further decreased by the intentional lack of heavy promotion, one would miss out on several under-the-radar gems by ignoring this release entirely. Almost all of these songs indicate a promising musical characteristic or theme. A melody here, an intro there... these are bits and pieces of potentially incredible songs, though due to the unfinished nature of the recordings, it is up to the listener’s imagination to decide where, throughout its subsequent stages of completion, a song might go.

Rest assured, Demos is merely a taste of the future, and an official, traditional Matt Skiba full-length is on its way. Demos brings to mind the kind of recordings that remain solely within an artist’s personal files, never to see the light of day, or the kind that leak onto the internet without the songwriter’s consent. From a drum machine to brief use of pop-like Autotune, Skiba is all over the map, creatively, but then again, the writing process should never impose limitations. With Demos, Skiba brings us into this process.

Review: Defiance, Ohio - Midwestern Minutes

Appears at http://www.nationalunderground.org/news/must-have-albums/181-defiance-ohio-midwestern-minutes

The members of Defiance, Ohio, as people and as musicians, exude an undeniable charm. Their positivity is infectious. At any given show, it feels as though everyone are close friends. There is an inseparable bond between the audience and performers, which is further enforced by the amount of audience participation and the thin, often indistinguishable line between both sides.

It is unsurprising, then, that “The Reason” expresses this same feeling of camaraderie. Thematically, it shares a similarity with “Response to Griot,” as Ryan sings, “We all expect to be up for the next time you make it to town. We all think you’ll be there the next time we’re around. But some of us aren’t going to make it.” “The Reason” is a bittersweet tribute to the dedicated fans and friends of the band, in remembrance of those who could not be with them on their most recent endeavors.

Midwestern Minutes, the band’s fourth full-length, once again recalls the unifying themes of friendship, togetherness, and traveling. “Cigarettes,” one of the four re-recordings from last year’s Songs for the Icarus Project EP, provides an even briefer (the length of the original track has been cut in half) insight into the demanding but ultimately rewarding life of constant touring, while “Her Majesty’s Midwestern Islands” describes a sketchy cruise. “Hair Pool,” which makes its much-anticipated return in electric form, retains the epic qualities of the acoustic original. The climactic ending, enhanced by a guitar solo and a smile-inducing “woo-hoo!”, might even encourage one to high-five the nearest friend.

Lyrically, Midwestern Minutes offers a good deal of variety. Geoff brings a thoughtful, socially-conscious perspective, contributing two phenomenal tracks. “Dissimilarity Index,” for example, discusses the economic disparity between neighborhoods that are located within the same city. “Flood Waters,” the Will-fronted album opener, portrays an anarchistic utopia of sorts, declaring, “Hold your empty disemboweled gas tanks up high. Turn them into a bong or a still. Looting through the gas stations, tilling up our backyards... That’s my rosy picture of the end times, my friend.”

It doesn’t hurt that the band is comprised of fantastic musicians. Defiance, Ohio’s trademark sound has been refined slightly, but their unique identity remains intact. The strings are used a bit more sparingly, while the piano plays a more dominant role. This is merely a subtle change, and each instrument is used appropriately and with great effect. The upright bass even makes a brief return. Vocally, each song is fronted by one member of the band. The song distribution is about even, although BZ and Sherri’s lead vocals are unfortunately absent.

At twenty-seven minutes, my primary criticism is of the record’s brevity. Five songs have been previously released (albeit different versions), leaving a small amount of new material. “Short but sweet” has been the case of each release since 2006‘s The Great Depression, but with the two-and-a-half year wait between Midwestern Minutes and the previous full-length The Fear, the Fear, the Fear, I expected a bit more. Of course, this isn’t to say that there is anything wrong with the quality of the music itself, but the quantity leaves something to be desired. Then again, I wish that the experience, much like that of their live shows, could last forever. Defiance, Ohio, you truly are loved.