(Generic Title Here)

Title: Lifetime
Artist: Lifetime
Genre: Melodic Hardcore, Pop-Punk, Emo, Punk
Tracks: 11
Runtime: 23 minutes

Initial Appeal:
This band is rather obscure in my town, which is odd considering they’re fairly local. I stumbled across them on Myspace one day and enjoyed their music. I asked around and nobody hard really heard of them, which disappointed me.

So I’m going to have to say my initial appeal is a 1/10. They’re popular on the internet, but when it comes to people I’ve known, that’s a negative, ghostrider.

Creativity:
Alright, the most important category. Let’s bang this bad boy out and get rolling. Right off the bat, Lifetime tends to use power chord driven riffs, as well as simple melodies to complement them. Does it get the job done? Yes. Does it lead for different sounding tracks? No.

My biggest complaint with this album is that the instrumental tracks all sound the same. Track after track is the same: blast beats mixed in with the same chugging of muted power-chords and occasional 3-note-melody over-head.

That aside, they do occasionally have sections with just the bass guitar and drums, which I respect since bands never seem to fully utilize the bass guitar. They’re also an interesting break in the music.

Their vocalist has a very gritty voice, which I like. It gives it a rag-tag punk feel, which I enjoy in the occasional track. They have very good breaks which give the music a nice break from the aforementioned redundancy.

Their lyrics touch many topics, from life in their home state of New Jersey, to a couple in an airport. Not creative, but not terribly drab.

Overall, I’d give their creativity a 4/10. Their repetitive instrument tracks are broken only by their vocal “solos” and bass sections.

Emotional Appeal:
This album comes off as just another “emo” album, even though the lyrics aren’t really that “emo.” Similar to Death Cab For Cutie, Ari Katz is really the only member who seems to sell their music with any conviction. Katz’s vocals are pleasant in the sense of punk rock, but in any other genre it would not fit.

Overall, I’d give the emotional appeal a 3.5/10. The vocals are the only saving quality, and even then, they’re very genre-specific and not very creative.

Re-playability:
Unless you’re the kind of person who enjoys punk or pop-punk to a high extent, you probably won’t be blaring this record often. It’s nice occasionally when you “feel it”, but otherwise it won’t be your driving music.

4/10. Because it requires a specific mood, but at the same time can get you motivated.

Cover Art/Video:
The cover art is a mural of what seems to be somebody looking down at their feet on a stage. I could be wrong. This art is very cryptic. I like it. Many different interpretations exist for this, so I’m leaving this fairly blank.

Overall, I’d give the cover art a 7.5/10 because it’s quite unique.

Overall:
My closing thoughts for this album are mild, at best. It seems to be a great album at first, but alas, it leaves you wanting more and something a tad different. You crave closure, in a nutshell.

I’d recommend this album to someone who likes a rather obscure/local band that has had some mainstream success. They’re a great listen to once or twice through, but you might put the CD back in its case afterwards.

Overall, a 5.5/10. A decent album overall that has an alright sound, but it lacks emotion and conviction, which contributes to the overall redundancy.

Title: The Fall Of Ideals
Artist: All That Remains
Genre: Metalcore, Deathcore
Tracks: 11
Runtime: 39 minutes

Initial Appeal:
With the song “Six” appearing on Guitar Hero II, All That Remains has enjoyed significant exposure and success. Initially, I expected the album to be quite technical (Of which it was) due to Oli Herbert (Lead Guitar) being a guitar instructor. I have had several recommendations to pick up the album, and upon finally caving in and doing so, I’m glad I got the album.

Filled within the 11 tracks is pure -core heaven. Great break-downs, great guitar solos, great riffs, and nice, interesting vocals. This album was definetly hyped up to the max, of which it delivered.

I’d give the Initial Appeal a 10/10.

Creativity:
Upon hearing “Six” in Guitar Hero II (Which basically turned me onto ATR), I liked their music. Upon downloading their album, I was quite intrigued by how different each track sounds. For a genre that gets over-done poorly day after day, they provide a new spin and take on it.

I’ll analyze the guitar tracks first. To begin, Oli Herbert and Mike Martin are an amazing duo. Their harmonizing solos and killer riffs provide an amazing feeling of intensity (More on that later) that are mixed perfectly with the other tracks. Each track has a smooth, easy, and complex solo that blends very well with the rest of the song. Overall, their guitar work is quite impressive (With great tone), and I look forward to seeing what else Herbert and Martin do together.

With the guitars done, I’ll go onto the bass tracks. They’re quite hard to hear, which is a shame because Jeanne Sagan really seems to come up with some great bass grooves. However, when you can hear them, she dominates the track very well. They’re clean, crisp, and bright.

Drums; Oh boy, where to begin. The drums are quite aggressive and fast. From 32nd note double bass and nice, jammy grooves, Jason Costa does quite the job in terms of changing things up and making his parts quite complex and fun to listen too. I often find myself playing air drums to his parts. A must learn for any aspiring drummer.

And onto vocals/lyrics. Phil Labonte is a classically trained vocalist (By none other than the Queen of Scream, Melissa Crosse) who just couldn’t find the right act. After several stints with other major bands, he finally settled into Massachusetts-based All That Remains. His voice varies from harsh growls and guttural vocals to clean singing and piercing screams. Overall, his voice adds an edge to the music previously unknown. I often find myself shivering after hearing a great passage in a song.

Labonte’s lyrics are very creative in terms of not sticking to the “Emo” stereotype, and often have to do with self-empowerment or dreams. If I had to guess, they’re inspired personally by his experiences, which adds to the overall personality of the album. In a rather short summary, each song seems to be a strange metered poem. Quite interesting to read and interpret, if you’re into that.

Overall, the creativity gets a 10/10. The tracks are mixed and mastered wonderfully, with each new song providing a new journey to an emotional mecca. Great tone, great drumming, great vocals, and great lyrics all lend to the powerful 10 this album gets in my book. A must for those seeking something new.

Re-playability:
So, with me gushing over this band’s talent enough, let’s analyze the music for a moment. I feel this album is really geared towards musicians more than just listeners. The solos may seem boring to those who don’t comprehend the talent and dedication it takes to create such a complex arrangement. Because of the above stated fact, I’m docking points off the re-playability. Some people just don’t like guitar/drum solos (As crazy as that sounds).

I’d give the re-playability factor a 8.5/10. Instrument solos dominate large portions of the album, and to those who like vocals/lyrics, it may not interest them as much.

Emotional Value:
From lyrics that suggest some hidden meaning underneath the inspirational messages, to guitar solos that have such angst and aggression, one would have to be dead inside not to pick up on the emotion poured into this album. Each track easily paints a picture in my mind of an event happening, which I love in albums.

With that being said, if growling and screaming isn’t your thing, then you might not feel the anger that Labonte and his crew try to put forth. I suppose it’s all relative to what your tastes really are.

I give the emotional value of this album a 6.5/10. To some, they can convey a feeling of hatred against the world, or insecurity amongst themselves, but to others, they might just be another pissed off group of adults.

Album Art/Video:
The cover art depicts a person smearing their blood onto a stone wall, which seems rather cliche, and, in my opinion, fails to portray “The fall of ideals”. Perhaps they just wanted something generic for the cover, or maybe I’m just missing some subtle detail.

Overall, I’d give the cover art a 2.5/10. It doesn’t portray any real meaning other than “looking cool”. However, it is a little appealing on the eyes, so that’s its saving factor.

Overall:
This album is well put together in my opinion. The tracks are tight and clean, and they make you want more. I would recommend this album to anyone interested in “heavier” music. Not much more to say than that. Definetly a must for musicians to listen to though.

Overall, I’d recommend buying this album if you play an instrument, or are into the -core scene. 8/10. Great songs, great work, but the album art bothers me a lot for some reason, and the fact that it’s a rather short album makes me hesitant to spend the money required for buying it.

Title: Hours
Artist: Funeral For A Friend
Genre: Post-Hardcore, Modern Rock, Pop-Punk
Tracks: 11
Runtime: 43 minutes

Initial Appeal:
I had no real preconceived notions upon downloading this album (That’s right, I’m just like everyone else, I don’t pay for my music). I had heard a recommendation from a friend and decided to check them out. Their name suggests something macabre and depressive, however, their music is quite the contrary.

I’d rate the initial appeal as 4.5/10.

Creativity:
The riffs and licks on the tracks on this album are definetly different from the current Post-Hardcore scene. They have only a handful of break-downs, and they use them sparingly. However, the riffs can get a little repetitive, and because of this, the album may get a tad redundant after a while. However, with their higher-pitched vocals and clean guitar tracks, the songs contained on the album are something a tad different.

I do recall reading somewhere that they recorded track number 5 (”Drive”) in a car and on several streets. I expected to hear cars and people conversing, but alas, I did not. This brings into the question of whether or not this is just a rumor, or something they mixed out of the final cut.

Back on topic of the guitar work on this album, though. Being a guitarist myself, I tend to analyze this portion of the music more than anything else, really. Upon careful examination, they stick to rather basic harmony patterns, and a moderately easy melody patterns. So with this being stated, they’re not the most technical band I’ve ever heard, but what they do gets the job done and conveys a meaning.

Their lyrics seem to convey an emotion of some sort, but it’s lost amongst the overtly-loud guitar tracks.

They also try to experiment with several keyboard tracks as well, which adds to the overall atmosphere, but it’s not a big enough improvement to warrant a larger increase in score.

I’d give the creativity a 5/10. Overall, it was something different, but the fact that the vocalist is rather difficult to hear, and how the songs can get a little redundant drops the score 5 points.

Re-Playability:
The album has quite a few catchy songs. If you had only a few minutes to skim through the album, I would have to recommend the opening track “All The Rage”, along with “Streetcar”, “Monster”, and “The End Of Nothing”. They hook you with higher vocals and catchy guitar riffing. They have several interludes in their work which makes you want to lip-sync and exaggerate your eyebrows until you look like a clown in an opera.

I’d give the re-playability factor an 8/10. They have good hooks and the occasional catchy lyric, but it could be better.

Emotional Value:
Their vocalist belches out falsetto-soprano like it’s nobody’s business, which conveys a feeling of anguish and loss. Their lyrics often deal with the overly-cliche meme of heartbreak and loss, which often makes me think of “Emo”. So with that being said, their up-beat and up-tempo guitar and drum riffs, paired up with their touchy, rather over-done emotional lyrics, creates a feeling of some sadness. However, it barely begins to scrape the surface of my feelings, so I feel this album was more or less pieced together based on “What sounded good” as opposed to “What felt good”.

I’d give this rather dead-feeling album a 5.5/10. They pair up the guitar and lyrical work well, but they just don’t put any conviction in it.

Album Art/Video:
The cover art (See attachment) is of a female pulling her coat open to reveal a bulletproof vest over a schoolgirl uniform while she is standing in front of vandalized school lockers.

The hidden meaning behind this slightly baffles me, so I can’t say much here. However, if I were to take the “cop-out” way and just say my initial impression, it would most likely have to do with the declining safety in schools, but I doubt this is what they wanted to convey.

Perhaps it has to do with protecting one’s heart, since the heart is in the chest, and a bulletproof vest does provide protection.

It’s just like the Jaberwocky. It’s open for interpretation.

I’d give the album art a 9/10. I like how it’s complex with multiple meanings. There were no DVD extras released with the album.

Overall:
A good album, from start to mid-way. Half-way through I found myself shifting in my chair and wondering when the songs would change from a Major Key (Upbeat, happy) to something not so disgustingly sweet. Anything would have been acceptable.

It feels as if they tried to express some feelings inside of the blast beats and fast, palm-muted riffing, but it didn’t quite come through. It’s slightly frustrating, actually.

I would have to say this is a good album for a collection, and worth a listen if you’re into “poppier” music and “Emo” lyrics. They [Funeral For A Friend] try to convey a message, but alas, it gets lost amongst the rest of the music. To some, another generic post-hardcore band, but to others, a slightly different group trying some new things.

Overall, this album gets a 6.5/10. A good buy, but if you’re not up for something new, don’t buy it.

Title: Transatlanticism
Artist: Death Cab For Cutie
Genre: Indie Rock, Indie Pop, Electronic/Dance
Tracks: 11
Runtime: 46 minutes

Initial Appeal:
This album is very popular in the Independent Rock community, so I had high expectations. I had several friends recommend it, and I had heard some songs off the album before I actually sat down and gave it a good, thorough listen. But the hype is well-deserved.

I’d give the initial appeal an 8.5/10. You can never judge a book by it’s cover completely, as some people aren’t into the whole keyboard/vocal/guitar combination. This album will stand the test of time, but it’s unsure of how much time it will stand up against.

Creativity:
Right off the bat, Death Cab For Cutie is a vocal-heavy group. With that being said, I like Ben Gibbard’s lyrics. They relate to the meaning of the title well, and they often are creative and pun-filled (See “Title And Registration” for a prime example). They’re expertly delivered by his clear, warming voice, as well as being expertly mixed. They’re placed above the instrument tracks, but they’re not screaming into your headphones. However, there are certain things he does do a little too much, such as saying something similar to “Wo-ah!” or using the same pitches for his lyrics in every song. A little variety won’t hurt anyone.

Onto the instruments, now.

The guitars are basic and blend well with the keyboard tracks. They’re not a guitar-based/heavy group, so it’s very easy on the ears. The keyboards set a nice upbeat (Or downbeat, it varies from song-to-song) mood which the drums and bass accompany quite well. They have some catchy up-beat (And again, down-beat) songs that are well put together. The drums are rather easy on the ears, and are obviously placed at the bottom of the mixing queue, right below (Or next to, depending on who you ask) the bass tracks. Simplicity is good, but sometimes it leaves you with a yearning for something more complex and challenging to listen to.

In short: Ben Gibbard’s great and thought-out lyrics, as well as his soothing voice, mixed with the simple, catchy instrumental tracks create very relaxing, simple, and interesting music. However, Gibbard seems to use the same pitches a lot, which can get redundant (Such as my vocabulary). I give the creativity a 9/10.

Re-Playability:
The album has many relaxing songs, which are great for those late-night study sessions, or perhaps just trying to set the mood with a special someone. Gibbard doesn’t push his voice into extreme highs, and he doesn’t try to growl out notes. He’s a nice median in terms of vocal ranges.

The drums set a nice, easy beat that sticks with you, and overall the music can easily get stuck in your head. It’s a nice album to put on as you drive to work or walk to school.

Overall, I’d say this album has a high re-playability factor, so I’d give it a 10/10. The songs are catchy and easily blend into each other, and are highly relaxing. It’s great for de-stressing.

Emotional Value:
Overall, this album doesn’t radiate much emotion. It’s more or less something you’d expect somebody to come up with while smoking marijuana. The songs are warm, but they feel a tad sterile in terms of sincerity. They [Death Cab For Cutie] deliver their music with conviction, but alas, I fail to pick up any form of feeling.

In short, I give the emotional value a 4.5/10, just because Gibbard seems to try and put a bit much more forth, which seems to be it’s only real deeming emotional quality.

Album Art/Video:
The album art is very strange indeed. It features a Black Crow (Or Raven? Birds are not my specialty) perched on a twig, with red yarn wrapped around it. It’s juxtaposed onto a beige/tan background.

It’s thought-provoking, which I like, however, it seems a tad random.

But upon a further inspection, the bird brings the phrase “As the crow flies” to my mind, which I believe was a sea-faring term, which relates to the title “Transatlantcisim” (Or so I believe. Correct me if I’m wrong).

Overall, the art is well-done. It creates a soothing image for a rather-soothing album. An 8.25/10. I think the red yarn is very subliminal in its meaning, and I don’t think anyone would pick up on it (As I didn’t).

Overall:
This album is a nice piece to play while sipping coffee in a cafe with a loved one. It’s great to listen to while you have a light conversation with someone about interests or memories. I’d recommend this album to anyone who spends a lot of time awake at night, or to someone who’s stressed, as it can really help you out in that department.

However, if you’re into an album with a bit more feeling and meaning behind the actual music, then I suggest you look elsewhere.

Overall, I’d give it a 7.50/10.