Linkin Park is kicking of 2011 with their North American Tour and they want to hook you up with some of their exclusive tour merch!
To celebrate this highly anticipated tour, we’re giving away an official Linkin Park tour poster and a Deluxe CD+DVD version of their newest release A Thousand Suns. Be sure to visit LinkinPark.com for a full schedule of tour dates and the latest updates from the band and iTunes to check out the new album!
To win, comment and tell us your favorite Linkin Park song and why before 12 p.m. CDT on Thursday, Jan. 20 (the day the band’s tour kicks-off). We’ll pick a winner from the comments then. Make sure you use a valid email address and your real name. Contest is limited to U.S. and Canada residents only.
The upcoming special International LPU Summit in Chicago takes place on January 26. Members of the LP Underground will enjoy an experience like no other with the band, including: Q&A session with LP, the chance to participate in a meet & greet and take photos with LP, the chance to participate in a crew bus and backstage tour, watch a pre-show sound check, get first entry to the concert venue (concert tickets not included), and more! For more information, visit http://lpu.linkinpark.com/summit-chicago/
Deluxe CD/DVD edition of A Thousand Suns: CD tracklisting:
1. The Requiem
2. The Radiance
3. Burning In The Skies
4. Empty Spaces
5. When They Come For Me
6. Robot Boy
7. Jornada Del Muerto
8. Waiting For The End
9. Blackout
10. Wretches And Kings
11. Wisdom, Justice, And Love
12. Iridescent
13. Fallout
14. The Catalyst
15. The Messenger
The DVD contains the documentary called “Meeting Of A Thousand Suns.” Mike Shinoda explains, “This documentary is easily one of the most powerful insights into our creative process ever recorded. It’s a revealing look into the personalities of the band: our fears, our victories, and the journey that we took to make A Thousand Suns.”
Be sure to check back to PopWreckoning.com – we’ll be updating with photos and a review of the band from the Kansas City stop on Jan. 29.
Jukebox the Ghost, the trio behind the catchy,though slightly crazy, “Schizophrenia” is offering fans two unique opportunities.
The first opportunity is the launch of ‘the College Application.’ College students or people living in college towns can head to jukeboxtheghost.com to enter their name, email and school to try and get Jukebox the Ghost to pay their campus a visit on a spring tour.
Signing up also brings fans opportunity number two: a freedownload of the bands Covers + B-Sides. These future cover renditions ranging from Ace of Base to New Order. There’s also the original track “Ghosts” featuring the amazing singer Jenny Owen Youngs (who has her own pretty impressive cover of “Hot in Herre“).
If you’re not in college, you can still get the download. Just pick a school – perhaps your alma mater or favorite sports team.
And if this is your first introduction to Jukebox the Ghost, be sure to check out their fun, pop albumEverything Under the Sun.
I held off the Script as long as I could. I’m usually so skeptical about bands that have international legions of obsessed fans, especially when they are mostly female. When the Dublin band appeared as a “You Oughta Know” band prospect on VH1 and one of my English friends told me I just had to listen to one of their songs, “Before the Worst” (from their eponymous debut album released in the UK in 2008), I finally caved. And I’m so glad I did. They came into my life exactly when I needed them. R&B isn’t what comes to mind when you think of the Emerald Isle, but for the Script‘s Danny O’Donoghue and Mark Sheehan, American soul music played a big part of their musical upbringing, which explains the hip hoppy / soulful parts of some Script songs. It’s an interesting twist to the usual pop formula.
The Script – comprised of O’Donoghue (lead vocals, keyboards), Sheehan (guitar, backing vocals) and Glen Power (drums) – have somehow managed to put together blue-eyed soul with a pop sensibility in perfect combination to move thousands of albums and concert tickets. (Their debut album went double platinum in the UK, and an entire 12-date UK arena tour for this March sold out in 5 days when tickets went on sale in October.) The majority of their fans are young and female, which isn’t a surprise given that most of their songs deal with falling in love, heartbreak, or both, and it sure doesn’t hurt that all three members are in their twenties and good looking.
Unfortunately, thanks to these qualities, they’ve been marked as lightweights by most critics, which is unfair. I’m sure many of you reading this have not given the Script a chance for the same reasons I didn’t at the get-go. But Script & Faith, their second album, is worth a listen, whether you are male or female, young or old. Writing the perfect pop song is an art, and even more so if you’re writing a radio-friendly single. Anyone can try to write a good one, but few are successful. Listening to this album makes you think the whole process must be nearly effortless for this band.
Take for example the first single from this album they released in the UK in September 2010, “For the First Time.” You can watch the promo video for the song below: it stars Bono‘s daughter Eve Hewson and ends on a very moving note. With “You Won’t Feel a Thing, “Long Gone and Moved On,” and “Dead Man Walking,” you will find a cool guitar rock sound with pop piano that is comparable to other radio-friendly acts like Keane and Snow Patrol, O’Donoghue’s expansive voice making the tracks soar. Driving drums and piano propel “This is Love,” its sweet lyrics as evocative as the band’s first-ever single “We Cry,” demonstrating the struggle and hope that define the songs of the Script.
When I saw them live at a sold out 9:30 Club show in November 2010, O’Donoghue and Sheehan described their song “Nothing” as being about cheering up a mate with a broken heart by taking him to the local bar and getting him drunk to forget the ex. If the Script‘s words are to be believed, alcohol isn’t the answer because the pain is still too fresh. And really, who hasn’t felt this way right after the end of a relationship, when you haven’t fully come to grips that what you once shared with someone has ended? The words in the chorus “and I know that I’m drunk but I’ll say the words / and she’ll listen this time even though they’re slurred / dial her number and confess to her / I’m still in love / but all I heard was nothing” and the refrain of “I wanted words but all I heard was…nothing” are achingly beautiful in its emotional account of heartbreak.
Having trained as a biologist, I give the Script points for the lyrics in title track “Science & Faith,” insisting that love can’t be broken “down to the chemicals” and “you won’t find faith or hope down a telescope.” Words like these fall flat if there’s no melody, and with this band, you will find yourself tapping your toes to the beat. The Script turns to their more urban sound for “Walk Away,” reminiscent of “If You See Kay” or “We Cry” from their first album; this one elicits similar “raise the roof” hand gestures. The only disappointment is “Exit Wounds,” which, for dramatic purposes, tries to compare a break-up with being shot and plays with suicide and hospital themes. Despite the tenderness of the melody, it’s an unnecessarily sad ending to the album; I would have expected a more uplifting one from this band.
As a writer, I love examining and picking apart lyrics, so I appreciate words put together that actually mean something. I’ll be the first to admit the Script‘s lyrics can be cheesy and overly sappy at times, but sometimes this is the only kind of music that will do. If you loved the simple brilliance of their monster hit “Breakeven” (with the immortal and ever so true line “when a heart breaks, no, it don’t break even“), you’ll find a lot to love on Science & Faith. If you’re a newbie to the Script, give this album a spin and listen to them with an open mind. You might be surprised and find something deeper emotionally that you didn’t know you needed. Like I did.
Track Listing:
01. You Won’t Feel a Thing
02. For the First Time
03. Nothing
04. Science & Faith
05. If You Ever Come Back
06. Long Gone and Moved On
07. Dead Man Walking
08. This is Love
09. Walk Away
10. Exit Wounds
Science & Faith by the Script will be released on January 18 on Sony Music.
When I get a new album to review, I usually throw it on loop while at my day job, rocking some tunage while doing my (somewhat incredibly repetitive) IT work. Coming into work on Monday the 10th, I figured it would be another (Mon)day at the office, made tolerable by perhaps another favorite new album, undiscovered artist, or heck, even a reasonably well arranged single. Grabbing a cup of coffee, I loaded the new Dearling Physiquealbum into iTunes, plugged in my headphones and pressed play.
Our Editor in Chief had pitched the album to me as American Electronic, which left me minorly in the proverbial dark, but part of me was hopeful that it would run along my general techno/DnB/Eurotrash club mix obsessions. However, within the first fifteen seconds those hopes were crushed, but what I ran into was instead a little….. unnerving might be the best word to describe it.
The next thirty-eight minutes and thirty-four seconds had me entirely fixated, captivated, on an aural journey that was at once both incredibly profound and mind-numbing, and nothing like what I was expecting. I turned iTunes up, adjusted my equalizer, and sat back to absorb the general onslaught of noise that I was subjecting my ears to. The massive amount of pure raw sound was practically breathtaking and left me staring at iTunes almost dumbfounded before scrambling to press play again as soon as the album ended.
Deadeye Dealer is the first full length album from Dearling Physique, a project from artist Domino Davis and three accomplices, joining in with keys, guitar, and drums, which combine together for a potent mix of general noise and musical genius that is verges on indescribable. At first listen, it’s hard to pick apart separate sounds amongst the combined cacophony, but upon revisiting the tracks, the obvious, painstaking care that was put into the tracks is more than evident. The experimental arrangements are exquisite in their complexity, and the captivating and ever-evolving tracks show them off to their full potential- ebbing and rising with such intensity that your eardrums will ache with the blatant talent and sheer force of the passion ingrained into the very tracks themselves.
The album itself takes you on an incredible excursion through the dark part of the human psyche, probing at the fermented dark corners of our own souls and hearts, exposing them to the light for examination- blatant, sensual, raw, and pulsating with quiet patience, without expectation or apologies. It’s atmospheric and avant-garde, personal and yet incredibly larger than ourselves, filled with ambient noise and precisely crafted genre-bending sounds. A heady mix of soul and pop, layered with a lush undertone of electronic, funk, and R&B, Deadeye Dealer transforms the simple act of listening to an album into an experience that will be both relevant and timeless for many years to come.
Tracks that really caught my attention start off with “Can’t say no,” the addictive hook that catches the attention right off the bat, as the first track on the album, complete with the ending lyrics that are reminiscent of slam poetry in divey Seattle coffee bars (and a scene from the film Brick, in which Laura reads a version of “The Sun, Whose Rays Are All Ablaze”, written by W. S. Gilbert, from the comic opera The Mikado). Following up is the “Waste,” “Oh This Currency,” and “Hooks for Safety,” which pull you along through the graphically charged modulations, lending a sense of sensory depravity before landing you in the middle of the first single, “Discipline Your Hands,” which both ties up the album and leaves you wanting more, as well as blinking in surprise at the general events that have just occurred within yourself.
For a first album, Dearling Physique has set the bar incredibly high for themselves. They are definitely a band to watch out for over the next few years as groundbreakers for more genre-bending and synthesia-inducing music, but be prepared to see them where you least expect it. I have a feeling that they have a few more tricks up their sleeve- leaving the best yet to come.
Pick up Deadeye Dealer today, 1/11/2011.
Track Listing:
1. Can’t Say No
2. Obsession Kills
3. Monster
4. Waste
5. Your Condition
6. On This Currency
7. Sleep and the Heart
8. Hooks for Safety
9. Teenage Romance
10. Discipline Your Hands
Seven years is quite the break between albums. With a hiatus that long, a band risks losing fans or having a sound that’s no longer relevant to what people are listening to. Fortunately, neither of these are the case with Showroom of Compassion.Cakehas tried some new stuff with this record while maintaining their usual sound enough to keep their original fans happy, while hopefully adding some new, most likely younger, listeners to the flock.
Showroom of Compassion opens with “Federal Funding,” a politically-themed song filled with John McCrea’s usual dry tone (this time with some reverb) and a simple guitar riff. All of this is accompanied by the usual slightly funky sound and some brass to top it all off. This song marks some of the departures Cake has made from their usual sound, namely the slower pace at which this song plays. Don’t fear, for it works quite well, but does not set up the pace of the album very well.
If you’re looking for more traditional Cake, then you should skip ahead to “Long Time” and “Sick of You,” the latter being the first single off of the album. These songs also contain the usual dry tone of McCrea along with the familiar brass and gang vocal choruses. At the same time, these songs mark some departures for the band that may not have been intentional. The production value of the entire album is not quite on mark with their first five albums. This could be due to the independent recording (in a solar-powered studio) of the album.
Showroom of Compassion is Cake trying new genres, instruments, structures and more. It is an album that shows a slight bit more range and shows even more promise of what will hopefully come from them in the future. If you’re a Cake fan, you’ll love Showroom. If you’ve never heard of Cake or weren’t too crazy about them before, please give this a listen. Even if you don’t like it, you will only have wasted 40 minutes. That’s something we can all live with.
Track Listing:
1. Federal Funding
2. Long Time
3. Got To Move
4. What’s Now Is Now
5. Mustache Man (Wasted)
6. Teenage Pregnancy
7. Sick Of You
8. Easy To Crash
9. Bound Away
10. The Winter
11. Italian Guy
I can’t decide if it’s more impressive that Wire has been churning out new music for over thirty years, or that they are still able to churn out good music. Having gone through three decades of musical change, as well as four line-up changes, neither has hindered this band’s ability to turn Red Barked Tree into a very solid album.
Red Barked Tree exhibits about as much range as a single album can while maintaining a cohesive sound. “Adapt” shows the more melodic side of the album with a well-crafted blend of electronics, guitars and piano. If more energy is what you crave, direct your attention to “Moreover,” “Two Minutes” or “A Flat Tent,” the last of which is the most frantic punk song on the album. All of these are kicked off by the oddly calming “Please Take,” which is filled with an almost happy guitar arrangement accompanied by poppy vocals.
Red Barked Tree blends together all the different sounds we’ve heard from Wire’s entire discography. This means if you have liked anything from Wire’s catalog, you won’t be hard pressed to find something enjoyable on this release. If nothing else, Red Barked Tree should serve to show bands that no matter how long you’ve been around, you can still produce quality music.
Track Listing:
1. Please Take
2. Now Was
3. Adapt
4. Two Minutes
5. Clay
6. Bad Worn Thing
7. Moreover
8. A Flat Ten
9. Smash
10. Down To This
11. Red Barked Trees
Until last summer, I didn’t know much about drum and bass band Pendulum, except that young people in the UK (the main audience of BBCRadio1) adored them so much that anything as much as a hint to new Pendulum material would cause mass shockwaves through Twitter. No one I knew on this side of the Atlantic knew who they were, and I expected a similar lack of knowledge in Scandinavia. But wow, what a reception the band got at Roskilde Festival last summer. I witnessed a manic crowd reaction, but in a way, I expected it: the genius of Pendulum – and also of Immersion, their most mainstream release to date – is the combination of heavy guitars and drums and quick-tempo emanating electronics that interest guys with dance beats and lead singer Rob Swire‘s sexy vocals that have proved quite popular with girls.
Here are the basics: Pendulum started out in Perth, Australia as a drum and bass band in the early Noughties. The group – then just Swire, bassist Gareth McGrillen, and DJ Paul Harding – soon relocated to the UK, the ancestral home of rave music (they’re now based in London). This turned out to be a fateful move, as after gaining several bandmates, the band released their 2005 debut album, Hold Your Colour, which contained their first UK singles top 40 hit, the double A-sided “Slam” / “Out Here.” Their second album, In Silico, was their first release in America. Coming up later this month, their third album, Immersion, will be released stateside, more than 6 months after the UK release of the album and its reaching #1 on the UK Top 40 albums chart the week of its release. Immersion reflects a more electronic-heavy, dance-driven sound than its two predecessors.
“Genesis” is the opening track of the album, and it begins not unlike something you’d hear on the Lord of the Rings soundtrack. It sets the stage for the grandeur your ears are going to experience next, mixing right into instrumental “Salt in the Wounds.” Halfway through, the songs break down, making you think it’s going to mellow out for the rest of the 6 minutes, but in the 4th minute, it’s clear Pendulum is not done making your heart race, going back to frenetic, thudding beats. This song, along with singles “Watercolour,” “Witchcraft,” and “Crush,” are ones that make you jump up and down in a packed club of sweating bodies. Or at an open air music festival, as I witnessed at Roskilde.
But the best part of this album are “The Island – Pt. I (Dawn)” and “The Island – Pt. II (Dusk)”, two halves of a sonic masterpiece. Part one is a Rocky-esque pump-up kind of song, with programming and beats not too soft and not too heavy – just perfect. Swire’s expansive vocals, as if calling out across his homeland of Australia, are alternately sweet and sweltering. “Close your eyes / let’s forget again / as you drag me down / I will take you in / what are you waiting for? / just surrender here tonight / what are you waiting for? / as we go towards the light…” – gulp. I could listen to this track all day. Rob Swire, call me. Then part two takes over, as the electronic wizardry take center stage, the track concluding with more conventional tropical beats.
The album also has some interesting and high-profile guests. Liam Howlett of seminal big beat English electronic group the Prodigy lent his cowriting and production talents to “Immunize”; while it’s no “Breathe ” or “Invaders Must Die,” it’s still pretty good. Prog/psych band Porcupine Tree founder Steve Wilson cowrote and sings on “The Fountain,” which sounds neither proggy or psychedelic and is instead the most unique track on the album, driven by piano along with the electronic beats and drums.
Metalheads will enjoy the more instrument-driven “Comprachicos” as well as “Self vs. Self,” a more straight-forward collaboration (vocals and traditional band instruments) between Pendulum and Swedish death metal band In Flames. Understandably, the latter features more aggressive (and in my opinion, quite scary) vocals from In Flames‘ Anders Fridén. This, along with “Set Me on Fire,” with vocals sounding vaguely Will.I.Am reggae, are probably the only numbers on Immersion that feel out of place.
Immersion is the kind of album that if you are into electronic music at all, you’ll appreciate the attention to detail this band has put into every single track. A couple weeks ago I was reading a UK electronic music magazine’s interview with Swire, and there was a photo of a small sampling of the complicated electronic equipment used to create the Pendulum sound. It’s astonishing what musicians and producers can do with electronics these days to make truly exciting music. If you get the chance to see Pendulum live this year, do it – you won’t be disappointed, I promise. The band make a special live appearance at Miami’s Ultra Music Festival at the end of March; I imagine surrounded by their peers and loads of fans, that would be the ultimate way to experience them.
Immersion will be released on Atlantic Records on January 25, 2011 in America.
Tracklisting:
01. Genesis
02. Salt in the Wounds
03. Watercolour
04. Set Me on Fire
05. Crush
06. Under the Waves
07. Immunize (feat. Liam Howlett [the Prodigy])
08. The Island – Pt. I (Dawn)
09. The Island – Pt. 2 (Dusk)
10. Comprachicos
11. The Vulture
12. Witchcraft
13. Self vs Self (feat. In Flames)
14. The Fountain (feat. Steve Wilson [Porcupine Tree])
15. Encoder
Tour Dates
Jan 20 – Bank Atlantic Center / Sunrise, FL*
Jan 22 – St. Pete Times Forum / Tampa*
Jan 23 – Philips Arena / Atlanta*
Jan 25 – Joe Louis Arena / Detroit*
Jan 26 – United Center / Chicago*
Jan 28 – Xcel Energy Center / St. Paul*
Jan 29 – Sprint Center / Kansas City*
Jan 31 – Wells Fargo Center / Philadelphia*
Feb 01 – TD Garden / Boston*
Feb 02 – Guvernment / Toronto#
Feb 04 – Madison Square Garden / New York City*
Feb 05 – Irving Plaza / New York City#
Feb 07 – Bell Centre / Montreal*
Feb 08 – Air Canada Centre / Toronto*
Feb 10 – Verizon Center / Washington, DC*
Feb 11 – Mohegan Sun Arena / Uncasville, CT*
Feb 16 – Ogden Theatre / Denver#
Feb 17 – In the Venue / Salt Lake City#
Feb 19 – Showbox SoDo / Seattle#
Feb 20 – Commodore Ballroom / Vancouver#
Feb 23 – Fillmore / San Francisco#
Feb 25 – Wiltern / Los Angeles#
Feb 26 – House of Blues / Las Vegas#
Mar 25-27 – Ultra Music Festival / Miami
#with Innerpartysystem
*supporting Linkin Park
Coheed and Cambria, the alternative rockers known for frontman Claudio Sanchez‘s characteristic falsetto and equally well-known hairstyle, is celebrating 10 years as a band with a Spring Anniversarytour.
The band will perform debut albumThe Second Stage Turbine Blade in its entirety across 22 North American Cities. The must-see tour will also feature a rare acoustic set and an extra set of songs from the band’s five studio albums.
The tour kicks off April 8 in Kansas City at the Midland Theater. Tickets go on-sale Friday, January 14. Specific ticket information is available here. Tour Dates:
Apr 08 Kansas City, MO @ Midland Theater
Apr 09 Dallas, TX @ Palladium
Apr 11 Austin, TX @ Stubbs
Apr 12 Houston, TX @ Warehouse Live
Apr 14 Atlanta, GA @ Tabernacle
Apr 15 Tampa, FL @ Jannus Live
Apr 18 Charlotte, NC @ Fillmore
Apr 19 Baltimore, MD @ Rams Head Live
Apr 20 Washington, DC @ 9:30 Club
Apr 22 Sayreville, NJ @ Starland Ballroom
Apr 25 Boston, MA @ House of Blues
Apr 26 Philadelphia, PA @ Electric Factory
Apr 27 Toronto, ON @ Kool Haus
Apr 29 Detroit, MI @ Royal Oak Music Theater
Apr 30 Chicago, IL @ House of Blues
May 02 Denver, CO @ Ogden Theater
May 03 Salt Lake City, UT @ In the Venue
May 05 Seattle, WA @ Showbox Sodo
May 06 Portland, OR @ Roseland Theater
May 07 Oakland, CA @ Fox Theater
May 09 San Diego, CA @ House of Blues
May 10 Tempe, AZ @ Marquee Theater
May 11 Los Angeles, CA @ Club Nokia
Sometimes there are those albums that hit you in a place that haven’t seen the light of day in months. I mean, you have all the glittery pop that sinks its way into your eyeballs, the dance rock that makes your feet jitter about, the heavier rock that you feel in the depths of your stomach, and then there are albums that penetrate your cerebral cortex like Friends for Now, the debut album from the San Francisco collective Young Prisms.
This album came to my attention very late at night, in the last remaining hours of winter freedom between quarters at my University, and it couldn’t have been the better soundtrack to the occasion. Music that my elders may sometimes call “noise,” Young Prisms sound like My Bloody Valentine and Sonic Youth got together on a sunny day and took some acid. It’s very post-post-post-rock, almost like the falling action of the Animal Collective-esque climax, if post-rock was described in dramatic structure. Now some of you may be like, “then why the hell would I want to listen to that?” Some of you may be like, “Anything that sounds like Sonic Youth must be a work of genius,” and some of you may be like, “what, acid? I want some.”
Whichever person you are, the music that Young Prisms put out on their debut record might be exactly your cup of tea, or it might just be a special cup of tea for a certain kind of mood.
For me right now, it’s my cup of tea.
Being of the “shoegaze” variety, lyrics are often indecipherable, and therefore aren’t the most important part. Like I said before, the music (whether I can understand the lyrics or not) found its way into my brain and drowned my head in sound. Now I’m sure it would be a different experience if it was live or if I was on drugs, but as a completely sober human being I enjoyed Friends for Now very much. I will warn you however, it’s definitely not an album to belt out with your friends on a long drive with the windows down or “dance” to (I say “dance” because it would be more like swaying and…well…gazing at your shoes). The songs on Friends for Now rang from the 0:58 trippy and distorted “All Day Holiday” to the 5:57 dreamy epic “In Your Room,” but all of it flows together perfectly, and when your iTunes is set on a 10-second crossfade, it makes for quite an interesting listening experience. “Feel Fine,” “If Don’t Get Much” and “Breathless” are my stand-outs, mixing the fuzzy guitars with an easily discernible baseline, melody, and beat, which definitely makes Young Prisms more than just “noise.” Now get the album, start a pot of Yerba Mate, plop yourself down in a huge comfy chair, turn the lights down, put on your inexplicably large noise-canceling headphones, and let ‘er rip. Hopefully, if you’re in the right mood, you’ll quite enjoy it.
And I’m off to have another cup of tea.
Tracklist:
01 Friends For Now
02 If You Want To
03 Sugar
04 Eleni
05 In Your Room
06 All Day Holiday
07 Breathless
08 Feel Fine
09 I Don’t Get Much
10 Stay Awake
The debut albumBones from Young Circles is a perfect example of a musical tone that one could say is “everything and the kitchen sink.” The Miami-based trio seems to blend all genres and generational styles, it mixes and matches, and that’s what makes the band unique. As of late, everyone has been concerned with genre identification and Young Circles just walks right past it.
The first minute of the opening track “Lightning” is just a screeching whirring guitar. Once you get past that part, the rest of the EP is incredibly solid and sounds like Beck and The Flaming Lips. “Lightning” is a slow building song, but once it hits its pinnacle, there is nothing that inhibits it from being loved, either instantly or having it grow on someone. That could even be said about the album as well; it has its rough patches but delivers something that you didn’t know you wanted and catches you off guard but leaves you wanting to listen more.
“Hellhound Sights” is the second title on the album, it puts the piano at the forefront and starts solemn with a repeating chord on a piano and the lyrics follow. Then the music changes and “kiss your lips for you, ‘til they turn black and blue” rings out to give the song a new direction, though it still keeps its solemn undertones.
“Sharp Teeth” is pure genius. It has dirty guitar riffs that carry the song between the intro and chorus that lead into and through the verses; pseudo-rap “you’re breathing freedom, I’m breathing smoke” and blissed out vocals and catchy chanting with “knock me off my tower, sweetness tastes so sour, I stay underneath sharper teeth.” It is everything you wouldn’t expect it to be.
The hard hitting sonic hits from “Halfway Up” intermingle perfectly with its space-rock head trip where the two parts of the song be in a constant tug-of-war with what direction that it wants to go. “Bones” fades in after “Halfway Up” and continues to build until the end of the album. “Bones” starts off with an acoustic strumming and catchy lyrics that build up into the more sonic, whirring sounds that build up throughout the song and ends without you wanting it to.
Bones is more of a uphill climb compared to most albums, it has its tough parts where you could easily turn it off and forget about it, but those parts lead into the ones where it hooks and holds on. It is a free form art piece with a concept that shouldn’t be contained; the band took everything they liked and combined it, and made it sound fantastic. This is something new and something that continues to be experimented with.
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Concert Calendar
Nov 23, 2011
HaHa Tonka @ Recordbar, Kansas City MO
Nov 25, 2011
Thee Oh Sees @ The Granada, Lawrence KS
I held off 
Until last summer, I didn’t know much about 
