Praise For Wallflower.com | Indie Music Blog

THE SKINNY: Three Legged Fox’s sophomore release called Not As Far (Recorded and produced by Chris DiBeneditto of G. Love & Special Sauce, Slightly Stoopid) is a blend of soulful vocals, blues licks, reggae grooves, and feel- good vibes.

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Three Legged Fox was formed after winning the 2006 Battle of the Bands at the University of Delaware. The band now resides outside of Philadelphia and gigs around the east coast. TLF was voted #1 Best Rock Band in the 2008 Out & About Magazine Music Awards and has received airplay on more than 170 radio stations nationwide. My first listen of this 13- track album left me humming the catchy choruses weaved together by Kyle Wareham (Lead Vocalist/Rhythm guitar).

Not as Far contains tracks packed with tasteful instrumental breakdowns and heart- felt lyrics. The album has crisp percussive horn harmonies and tasteful guitar licks dancing throughout the tracks. If you like an album you can nod your head and sing along to then Not as Faris my top choice. "Slow Down" is my favorite track because it embodies that up beat reggae groove with quality vocal soul. Kyle Wareham brings it to church on the next track called Help. Here the band shows off their musicianship with nice chord changes and a soulful back up choir that will knock your socks off.

Three Legged Fox is a group of true artists and true musicians. The instrumentals are dazzling and the vocals/lyrics give you that emotional chill that we all look for.

"Slow Down" off of Not As Far:

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WEBSITE: http://threeleggedfoxlive.com
MYSPACE: http://myspace.com/threeleggedfox
TWITTER: http://twitter.com/threeleggedfox
PURCHASE: Amazon

FAVORITE TRACK: "Slow Down"
FOR FANS OF: BALLYHOO!

http://www.myspace.com/ballyhoo

It has been a whirlwind couple of years for Marketa Irglova and Glen Hansard of The Swell Season. After staring in the little indie movie that could Once, The Swell Season has been touring constantly and even went on to win an Oscar for its song "Falling Slowly." Their new album Strict Joy came out on Oct. 27 and I'm in love. I had the great pleasure of seeing them in Philadelphia and to be honest, their live show well exceeds the quality of any of their recordings. If you have the chance, I highly recommend seeing them in concert. The track below is "The Rain" and I have not been able to stop listening to it. Enjoy.

"The Rain" off of Strict Joy

THE SKINNY: A group of musicians with an array of influences ranging from Bach to Ben Folds look to make intricate and catchy pop music.

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The members The Kilns from Buena Park, Calif. began their journey as a group when they met in the choir of their private college and later worked together to compose the soundtrack to an independently produced musical. They developed not only a tight friendship, but a desire to form a band based on their musical inspirations. The Kilns influences vary from classical baroque to Queen to Ben Folds. Their musical sensibility and inspirations are easily heard in each of their songs.

Lead singer, pianist and guitarist Jason Harris admits that as a band the music is more important to them than the lyrics. The lyrics are created last in their songwriting process. The Kilns look to build textured, intricate melodies that display their skills as musicians and the lyrics help by complimenting what they have already created. Despite their focus on the music as opposed to the lyrics, The Kilns still focus on creating pop music that can be sung and appreciated by audiences in a live setting. When listening to the songs up on the band's MySpace you can tell that this is a band made of talented, professionally trained musicians. And despite only being in their early stages of existence, they show great promise and possibility of creating impressive pop pieces for audiences to enjoy.

The Kilns recorded a four-song EP this past spring that exemplifies who they are as a group. These songs are currently up on the groups MySpace. They are working hard to create even more songs to enter the studio record a full-length album in the near future.

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MYSPACE: http://www.myspace.com/thekilnsband
TWITTER: http://twitter.com/The_Kilns
FOR FANS OF: Ben Folds, Ben Folds Five, Queen

One-man bands are creeping back into the musical world for one obvious reason: technology makes it pretty easy. Of course, if you can't play drums, bass, guitar and sing then you're probably not eligible. If you're the guy from Night Artery, a Mr. Ross Arundale, then you most definitely are in the running. Ross recorded Vocals, Guitars, Bass, Drums, Piano, and arranged strings for his first release entitled Capsize Your Surroundings.

While Ross has put together an exceptional studio album that rock fans will most definitely appreciate, I have trouble shaking the idea that live performances consist of one man at a microphone with a guitar while recorded drums, bass and strings play on a PA behind him. If you look at Night Artery's album as purely a recorded work, however, you'll have trouble finding much wrong. Plenty of professionalism, a strong command of every instrument on the record and excellent production make Capsize Your Surroundings a strong and impressive independent release.

Ross is a Melbourne, Australia native. He only recently purchased the instruments used to make the album, along with recording equipment that he (yup) used to record himself. Instrumentation on the record is certainly above average, but the piano arrangements are a little more advanced and they're executed really well. Listen to the hidden track that closes the ep to appreciate the breadth of his ability to pick up and wield instruments. Capsize... is, despite originally costing $5, a free release so do yourself and Ross Arundale (whom received honors for "2008 Best International Rock EP") a favor by downloading his first, very successful EP and keep in touch for what's next.

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WEBSITE: http://nightartery.com
MYSPACE: http://myspace.com/nightartery
FREE DOWNLOAD: Capsize Your Surroundings EP

This past week for me has consisted of a lot of meds, soup, sleep and sad music. If you can't tell, I like to pity myself when I'm in a bad situation. But I'm guessing a lot of you are just as sick as I am. It seems to be going around. As a pick-me-up you should download Yeasayer's new single, "Ambling Alp", for FREE on their myspace. It's different from their usual sound and kind of reminds me of Animal Collective. So put down your tissues, stop listening to John Mayer and dance to this.

"Ambling Alp"

WEBSITE: http://jellimusic.com
MYSPACE: http://myspace.com/jellimusic
TWITTER: http://twitter.com/jellimusic
PURCHASE: Amazon MP3

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J.E.L.L.i. is the brainchild of one man show, Christopher Sauter. His recently released, self-titled debut EP is a short record with a lot of variety spanning emo, punk, hardcore, and indie rock. The EP is rich with texture and is an all-around fun listen which is especially impressive considering Mr. Sauter was also responsible for all aspects of the production.

Vocally, Sauter shares a lot of the same pronunciations found on Greenday's albums, ripe with choppy, colorful melodies outlining catchy, memorable lyrics. Emphasizing this youthful, and energetic sound is the idea that Sauter is an exceptionally ambitious mind. Along with having written, recorded, fully producing his album, Sauter made artwork for both his album and individual songs, as well as a fully functional webspace, brimming with information and ways for fans to help J.E.L.L.i. expand and get public. Chris Sauter is one of the few truly independent artists out there that deserve the right to call themselves such.

Instrumentally, it's not as though Sauter hacks away at each of the instruments that make up the ep's landscape. In fact, the opposite is true. While drum and bass are the most simple of the instrumentation, they're consistent, solid, and highly effective. Guitar is clearly Chris's forte and he's taken the time to emphasize that. "I Am Blank - Nothing" sports some cool riffing while "Jenn" displays a more improvisational edge, beautifully sculpted and nestled into the heart of the already catchy track. I'm skeptical of the ability of the project to stay afloat if there is no live band to recreate the tunes on the album, but no doubt Sauter is figuring this out while he simultaneously records his next album, does the dishes, makes a living for himself, and determines how he can further promote this engaging, unique, and impressive project.

"Jenn" off of J.E.L.L.i EP

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FAVORITE TRACK: "Jenn"
FOR FANS OF: Greenday, Brand New

Being a longtime fan of Canadian duo Tegan & Sara, I was a bit disappointed when I realized that their newest record, Sainthood, had been released, and I had almost forgotten that they even existed. After hearing mixed reviews from friends on their reactions to the new album, I took a listen for myself. I still haven't gotten to spend an extraordinary amount of time with it, but my opinion is pretty similar to what I heard from others - a bit different than their norm, but definitely not in a bad way. The first single released from the record was "Hell." My favorite, however, is the last track on the album entitled "Someday," as I'm a sucker for gang vocals and T & S's signature overlapping vocal melodies.

"Someday" off of Sainthood:

I would argue that Fall is not only the prettiest season, but the most bizarre in terms of mental placement. Every Fall, I'm looking back while looking forward. It's nostalgic, but not really.

A certain song has been on repeat on my iTunes lately to support the paradox. It's called "Shampoo" by Pete Yorn & Scarlett Johansson. Give it a listen, it's terrific Fall music. Sad, hopeful, confused. All at once.

"Shampoo" off of Breakup

THE SKINNY: With an incredible live performance for a room of a handful of people, All the Day Holiday has forced me to add them to my favorite bands section on Facebook, of which just three bands reside.

MYSPACE: http://myspace.com/allthedayholiday
TWITTER: http://twitter.com/atdh
PURCHASE: Amazon MP3, iTunes

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All the Day Holiday, an ambient, indie pop/rock band from Cincinnati, Ohio, performed at North Star Bar in Philadelphia, Pa. last weekend to a crowd of maybe 12. Among the sparse audience was at least two photographers, friends of the band, the sound engineer, myself, a friend, and only a handful of fans. The stage was close and the sound was loud. Vocalist Daniel Simmons' was absolutely beaming as guitarist Nathan Frisch began their opening song "La Voyage," before the band exploded into full spectrum sound, and bobbed around the stage.

I was immediately stunnded as Simmons' airy vocal tone sat perfectly into the mix. Whatever intensity the producer managed to capture on the band's debut LP The Things We've Grown to Love, is just a glimmer in comparison to the driving vocal performance Simmons offers live. Each note was perfect and captivating, while the excessively high notes were pleasantly strained into an awesome sort of yell. Supporting this pitch and melodic tonality with rhythm was Mark Ventura, boasting a mullet, a myriad of captivating beats, and an awesome silver drumset with just a floor tom for extremities. His ability to focus on the groove and supply a (clearly trained) pulse is unparalleled in the scene today. Like the other members of ATDH, Ventura is no hack. He knows his craft and is huge reason why the band is so successful.

Frisch spent the entirety of the short-lived show on the highest registers of the fretboard, displaying his prowess not for visual effect but to achieve a distinct and truly awesome tone. Delay is a major component to the guitar sound, for both guitarists, and though its used literally constantly, it's never to excess. Because of this very ambient guitar styling, bass was a forefront on the stage and bassist David Roller did it right. Along with his signature body bobbing came a really delicious fuzz and a fat, deep undertone that sat really well with Ventura's kick drum. The band was tight and spent every minute of the show hitting luscious chords above a rhythm section that puts others in the genre to shame.

The photographers, and handful of heavily dressed and bearded fellas in front of the stage stood in awe while the band blew us all away. Some of them mouthed words and all of us held our fingers around our arms because it was freezing. There was a feeling of art is being made here while photos were shot from underneath Ventura's snare, revealing his sweating face; the band's friends mouthed every word and the sound guy tweaked knobs making for the perfect mix and I looked around and still - there were less than a dozen of us. All the Day Holiday, a still expanding and evolving band, put on a show for 10 of us as if we were 1,000. This humble attitude and appreciation for the life they live came through clearly and breathed a breath of fresh air into the stagnant, drafty bar. ATDH put on one of the best live shows I've ever seen.

WEBSITE: http://www.thealmost.com/
MYSPACE: http://myspace.com/thealmost
TWITTER: http://twitter.com/thealmostrules
MERCH: http://thealmostmerch.com/

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Monster, Monster marks the release of the 2nd full length album from The Almost, a band that began as a side project from Underoath's Aaron Gillespie. Looking back on what was a simple, glossy debut, The Almost have contrasted that with a grittier, more organic take on their established sound. Monster, Monster is a pseudo-southern collection of straight-up rock/pop songs that disappoint only in that they provide little variety.

The album kicks off like any powerful rock album would, with a punchy first track proceeded by a slew of similar but not as aggressive follow up tracks. The songs are good. They get stuck in your head, because well, that's what these guys are paid to do. But, the truth is I'm tired of this ride. If you like The Almost (and I generally do) then their new repertoire will no doubt have you repeatedly visiting their decked out myspace and checking out Aaron's charming culinary videos. Granted, the band is performing as a band here, which sounds odd, but Southern Weather was a solo effort by Gillespie, manning every instrument in the studio and allowing some friends to recreate it on stage. So, instead of what sounded like an articulately, though exquisitely, sequenced collection of songs now sounds like a snapshot of a youthful, energetic pop/rock band with enough imperfection and nuance to keep me from rolling my eyes.

The Almost's Monster, Monster reminds me a lot of a few other, recent, markedly successful records. I reviewed Sherwood's Qu last month with little enthusiasm for almost all the same reasons: I used to get CDs at a store and wear them down to their bare elements from repetitive play. We all did that. And, while I don't mean to dwell on this point too much because it's the same old schtick, the fact is that commercial music really does lose some value in comparison to less successful equivalents. The Almost are good musicians and adequate song writers and I, by no means, fault them for the production and release of Monster, Monster but I've got enough safe, typical rock music in my life. I'm looking for a band to take musical risks, try something new, and to put energy into branching out musically instead of worrying what their next tattoo should be.

THE SKINNY: Oldwick, a London gang of six, are winning over listeners with their highly organic, vintage pop sensibilities.

LAST.FM: http://last.fm/music/oldwick
MYSPACE: http://myspace.com/oldwick
FREE DOWNLOAD: "He & She"

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Have you ever wondered how the music scene would've evolved if the '80s never happened? We would've never known what Phil Collins could do with a drum machine or how bad Christmas music could really be. We might've even forgotten that there was a time when popular music was the product of a handful of elite, talented musicians and songwriters working tirelessy at what they do. Don't get me wrong. I'm not suggesting we forget the good ol' days or boycott VH1 because lets face it, there's not much else to do some nights other than watch Michael Ian Black make fun of Cindi Lauper's drunken dancing. I am suggesting, however, we remember music for what it was before electronics, despite my inability to actually remember it. Before synths and drum pads, there were acoustic guitars and voices and reasons to love it. Oldwick is the 2009 reason to love acoustic guitars, drums, pianos, and a stage of amp-less, eclectic, and passionate music makers.

Oldwick formed in the winter of 2008 out of the crumbling ruins of a few of the member's previous projects. They immediately spent time recording a short EP comprised of some of the member's back catalog of pre-written songs which quickly caught the attention of local Londoners with their old school take on dynamic, country-pop. They're currently playing the area, pedaling their cloth-cased cds, pants, bags, and underwear. Oldwick is amassing a handful of positive feedback on their debut, Hoops EP, and looking to aim even higher in 2010.

The opening track on their quick little ep, "He & She" reminds me of what my parents would play on the weekends while we all straightened up the house for Sunday lunch. Reverberated background vocals (fronted by backing vocalist Hazel Tratt) that sound like the very same that support Fleetwood Mac on Rumors permeate your ears as the band makes a cozy home in your head for a few minutes. Memorable folk guitar diddies by Dan Bell and front woman, Lyla Foy, are a humble but major component of the music on the ep. I particularly like the reserved nature of the music and how it manages to avoid what would critically deem it as weak. The band expands dynamically, and shrinks just the same with great ease, but never comes off as timid, just a tad insecure: they are, after all, just kids.

Piano driven songs are primarily the handy-work of Ben Folds, Coldplay, and a handful of imitators so when you stumble across something that sounds like Billy Joel or Elton John it's a nice change of pace. Oldwick's most upbeat track, "13," is just such a gem, steered by a hooky piano riff that dives into a haunting build-up movement that, quite honestly, helped dictate who was receiving Feature of the Month honors for November. As the band pushes through a bridge section toward the end, articulately, we're brought back out of the dark and into that authentically vintage piano riff, completing a monumental piece of pop/rock heaven.

As the album closes with a Beatles-esque, feel-good piece entitled "A Thing Called Love," you're reminded that the band is more than just a pretty voice and good song writing. Oldwick sports a talented group of instrumentalists who actually (dare I say this) jam and do so with great success. Pianist Jake Bowser supplies a solid comp to Dan Bell's improv, a southern styled folk solo with some impressive lines. Drummer Nicky Francis and bassist, James Ingham, who's said to have a soft spot for both rum and Hella, a two-man drum and guitar band that you need to hear to understand, prove their maturity with restraint, simplicity, and a tight rhythmic lock. In my experience, most bands are a balance: good comes with bad, and bad comes with good. Poppy bands with a great singer usually rely on that singer to carry them to fame just like Dream Theater got by on instrumentals alone because, yes, James Labrie is nothing extraordinary. Oldwick, however, though young and raw, have the whole package and show amazing promise.

"13" off of Hoops EP


"A Thing Called Love" off of Hoops EP

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FAVORITE TRACK: "13"
FOR FANS OF: John Denver, Fleetwood Mac

THE SKINNY: Love & Reverie's The Mapping is a strong independent record with some reputable and impressive professionalism. The album is full of great melodies and a palpability confirming the band put their heart and soul into their best release to date.

MYSPACE: http://myspace.com/loveandreverie
TWITTER: http://twitter.com/loveandreverie
MERCH: http://loveandreverie.bigcartel.com

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Love & Reverie are an indie rock / pop rock band out of Richmond, Virginia responsible for what I think is a pretty unique sound, for a number of reasons. The band hits you like whiplash. I initially received their most recent LP release, The Mapping, with little enthusiasm until I found myself creepily searching my iTunes for Love & Reverie. I slowly began to hear the (very deep) value in the record despite it taking some time to grow on me, considering that now the band's epic, intricate guitars and and stealthily and ironically addictive vocal melodies are a staple in my daily music listening ritual.

The Mapping, sadly, was released over a year ago but I didn't want to let it get away. Musically, the album offers a lot of anthem-driven-chorus songs but is not redundant or atypical of what a lot of bands do: write 12 fist pumpers and call it an album. No, here Love & Reverie wrap these sing-alongs (if you would even call them that, considering the broad vision of every song) in a rather complex musical shell. The intricacies of the instrumentals are still approachable enough that fans of Copeland's simplicity won't be frightened away but also sophisticated enough that fans of more progressive indie outfits would appreciate.

The album is raw and dynamic and, unlike most indie rock and pop records, the songwriting here isn't just a band providing a backdrop for a vocalist. There is some subtle interplay between voice and guitar on the record which is cool, considering a band's icon is almost always solely the lead singer. The Most Serene Republic are notorious for this effect, and while Love & Reverie don't quite pull it off the same way, it's obvious they didn't intend to: a lot of the nuance on the record sounds like L&E are starting to blossom as songwriters, musicians, and performers. There are glimpses of beautiful moments showing promise for a follow-up record where the band will inevitably mature and trim the fat.

On another note, vocalist Noah Skelton doesn't always sound comfortable on The Mapping, usually during slower, less abrasive sections but always sounds right at home when the band gets huge and loud. It's only at these moments of skepticism that L&E pull a rabbit out of their hat and do something really sick. So, for me, it's only a matter of progress for Love & Reverie. The Mapping is an incredibly strong independent release and deserves many kudos for a DIY group of this caliber. The band has their work cut out for them, and their already loyal fanbase should embrace any improved and polished direction taken as they become more professional and successful music makers.

"Perfect Picture" off of The Mapping

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FAVORITE TRACK: "Perfect Picture", "Foot Steps"
FOR FANS OF: old Copeland

THE SKINNY: Japandroids is a two-piece rock outfit that is radiating with palpable high energy, relentless power chords, and aggressive vocals.

WEBSITE: http://japandroids.com
MYSPACE: http://myspace.com/japandroids
PURCHASE: Amazon, via Polyvinyl

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"Face melting" is a term that has been used and abused to the point of nausea by people who tend to mock the aggression and energy put forth by simple approaches to song-writing and performance. It can also be used to mock heavy metal, but that is neither here nor there. In the post-modern aesthetic that we currently find ourselves entrenched in, it becomes increasingly difficult to discard the ironic perceptions and the unwarranted comparisons to the old. What I'm trying to say here is this: Is it possible to just appreciate a kick ass rock band anymore? Can we enjoy some good old-fashioned face melting?

Japandroids are doing their best to answer that question with a resounding "Yes." One very vigorous drummer. One very loud guitarist. Two very passionate singers. Lyrics are overflowing with all of the teen angst that a "One Tree Hill" fan could possibly endure. It's safe to say that the amps are turned up to 11, the drum fills are sloppy and careless, and the singing is slightly annoying. It all blends together for a brand of music that makes you want to jump on a pogo stick in your apartment while eating rainbow twizzlers and grinning from ear to ear.

Pretentious critics have described their sound with the following terms: "Noise Rock" (...? What does that even mean?) and "Lo-fi" (Which is a term used by musical tools and faux anthropologists to say that the recording quality of your music sounds like shit, but it sounds like shit on purpose). Do yourself a favor and avoid the critiques and reviews. Listen to their latest album, entitled Post Nothing, and envision that you're in a cramped VFW hall, and the walls are vibrating from the decibels of sound that are permeating the entire venue. After that, I guarantee that you will appreciate the powerful rock force that is this duo from Vancouver, British Columbia.

"Wet Hair" off of Post-Nothing:

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FAVORITE TRACK: "The Boys are Leaving Town"
FOR FANS OF: Cymbals Eat Guitars, Wavves

THE SKINNY: If you jumped on the Cartel fanbus when they released their self-titled second LP then Cycles might leave you slightly disappointed, but the record will definitely appeal to die-hards and fans of earlier albums. Cycles is proof that Cartel hasn't lost its youthfulness, energy, and ability to draw a crowd.

WEBSITE: http://cartelrocks.com
MYSPACE: http://myspace.com/cartel
TWITTER: http://twitter.com/cartelcartel
PURCHASE: Amazon, iTunes

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Since the release of the pop dynamo's self-titled second major record two years ago, I was convinced Cartel was one of those wild card bands. They had it all: a huge following, a reality show on MTV, legitimately talented songwriters and performers. Cartel, since then, has been on my watch list, not only because they never cease to write perfect, punchy pop songs but because I was convinced that with every album the band would mature further until they achieved some veritable plateau of musical greatness.

To my disappointment, Cartel's latest release, Cycles, isn't necessarily a step in this same direction. The album is an incredibly well-produced collection of happy songs with a similar feel. Most tracks have an upbeat pulse with driving drums which might be an executive move at expanding and appeasing to the band's popularity. To support this, there are moments where the guitars are so back in the mix that they're drowned by what sounds like a club synth, which is certainly an exaggeration on my part, but it's clear the band has traded their ability to craft appropriately complex pop / rock gems for a stricter take on their previous commercialism. Cycles, however, is actually very good and I won't criticize it for not falling in line with my vision for the band because that's silly.

"Deep South," a slightly heavier track which also happens to be a lot slower in contrast with the record, is refreshing. Vocalist Will Pugh does his signature persistent and energetic belting while underneath him flows a classic case of Cartel guitars, sliding around the chorus chords with unison bass and kick drum. The effect is way luscious, and there's plenty of this type of instrumental work on the record. "Let's Go", one of two of the record's singles (which you can stream below) is a great example of a quintessential Cartel chorus, full of sharply punctuated and rhythmic guitars with a never-ending drum pulse. This song, in particular, is extremely reminiscent of their previous album, Cartel. The lifeforce of Cartel is unarguably Pugh's radically addictive melodies, of which there are no shortage. The quality of these melodies are certainly above average though some tracks haven't infected me as hard as I was anticipating. On songs like "See Me Now" and "Conventional Friend" Pugh utterly commands the speakers with his swerving, indulgent vocal work.

"Let's Go" off of Cycles


Cycles is undoubtedly a record meant for live translation. The energy on this album is in no short supply. Breaks with huge unison hits while Pugh explodes forth with high-pitched melodic swerves as only he can do are prevalent and welcome. While I prefer other Cartel albums as strictly recorded works it's apparent that Cycles is meant to be learned on iTunes and lived in an audience.

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FAVORITE TRACK: "Deep South", "Conventional Friend"
FOR FANS OF: Cartel's Chroma

THE SKINNY: A generally easy listening eclectic pop band with emphasis on vocals and lyrics.

WEBSITE: http://www.canastamusic.com/
MYSPACE: http://myspace.com/canasta
PURCHASE: Amazon MP3

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Canasta is a six-piece pop group out of Chicago with a sound varying between rollicking, guitar-driven anthems and bouncy, horn-spiked ditties. The band keeps an ever mindful focus on sophisticated songwriting, dramatic dynamics and meticulous orchestration, according to the band’s official website. Canasta have been together since 2002 and in 2005 they released a full-length album titled We Were Set Up, which garnered critical acclaim from more than 70 different publications including Popmatters, The Onion, and Chicago Sun-Times.

Instrumentation on We Were Set Up includes guitar, violin, keyboard, percussion, bass, trombone and piano. The band has been likened to Arcade Fire, Belle & Sebastian, The Decemberists, The New Pornographers, Sufjan Stevens and Wilco. Wilco holds my vote for a roughly comparable sound, though I cannot say I am very familiar with the first four bands listed.

"Head Hurts Better" off of We Were Set Up

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FAVORITE TRACK: "Microphone Song", "Head Hurts Better"
FOR FANS OF: Wilco and Sufjan Stevens

THE SKINNY: Sherwood's Qu is an excellent example of catchy, well-produced, simple, and safe indie-pop that will appeal to fans of the genre, but like most things, isn't for everyone.

MYSPACE: http://myspace.com/sherwood
TWITTER: http://twitter.com/realsherwood
YOUTUBE: http://youtube.com/sherwoodband
PURCHASE: http://www.sherwoodmusic.net/

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Sherwood have returned with their fourth release, Qu; a bold statement toward a general maintenance of the band's youth despite its veteran status in the pop / rock world. Unlike most indie-pop bands that tend to slow down, "mature" musically, and eventually disband after a few releases, Sherwood have successfully grabbed hold of their career as a band and punctuated their already popular catalog with what will no doubt be the band's quintessential record.

Qu is musically similar to Relient K's more recent work with a heavier focus on audience supported anthems. Everything on the record is fully conducive to loud sing-alongs, with the exception of two more acoustic-driven ballads entitled "Worn" and the album's closer, "No Better". Nate Henry, the band's lead vocalist and bassist, sings confidently while behind him an effective, albeit slightly too cute, band harmonizes every catchy hook making for a very ear friendly experience. The album isn't particularly deep or complex, by any means, but the strength of Qu, for me, lies in the overall pleasantness of each track.

The pretty nature of the music here, however, might not be enough to delight fans of more aggressive stuff.Qu is definitely a very glossy, pretty record that probably won't change the music world. The instrumentation is simple and well-executed, but not risky, raw, or spontaneous. This play-it-safe sound is acceptable and doesn't need an explanation, especially from a band with a great and clearly content following. So, if you're like me and hard to please and often turned off by very poppy stuff, you probably won't find Qu very satisfying. If you're not like me and you like catchy melodies, music you can blast and sing along to with friends, and bands that are committed to delivering their fans exactly what they want, than Sherwood's Qu is probably just what the doctor ordered.

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FAVORITE TRACK: "Not Gonna Love," "Free"
FOR FANS OF: Relient K,Waking Ashland

WEBSITE: http://thealmost.com
MYSPACE: http://myspace.com/thealmost
TWITTER: http://twitter.com/thealmost

After my first run in with The Almost, less than three years ago, I was hooked for a good few weeks on front-man Aaron Gillespie's strained and gliding melodic hooks; though, Aaron's reputation and general brilliance in UnderOATH was enough reason for me to get familiar with the new project. Just a few days back on October 6, The Almost released a preliminary EP entitled The Monster which is meant as something of a teaser to a full-length album which will drop on November 3. The EP contains three tracks from the band's upcoming Monster Monster release as well as two b-sides. So if you're a newcomer to this addictive five-piece, The Monster ep could be your gateway to fandom.

The music on the ep is relatively similar to that of the band's first release Southern Weather, but sounds a little more cohesive and raw, probably because Gillespie isn't manning every instrument, making the listening experience a little more live, rather than studio, which I like. For fans of past works, The Monster ep offers much of the same dripping harmony stuff, but again, is composed of backing music which I've found to be pretty cool and even a little risky for a poppy rock band. All in all, The Monster ep is a smooth transition from Southern Weather into what will probably be a mature, exciting sophomore release for The Almost.

THE SKINNY: Though Daisy lacks the innovation and musical dynamics of past releases, its deeper exploration of elements present in The Devil and God are Raging Inside Me make it a worthwhile listen.

WEBSITE: http://fightoffyourdemons.com/
MYSPACE: http://www.myspace.com/brandnew

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Brand New is a band known for its tremendous growth. The progression and maturity that accompany each new album far surpass what many bands could hope for in their entire careers. I think part of this success stems from the length of time that the band allots before releasing something new. They have time to grow together as a band, experiment with new sounds and ideas, as well as give thought to the direction they want to head in. After The Devil and God are Raging Inside Me forged a new path for the band that was so widely received and respected, most fans anxiously waited to see where the next album would venture.

For me, however, Daisy does not depart from the spirit of Devil and God all that much. While the familiar hints of Brand New remain -- the driving melodies, the incorporation of distorted, dissonant noises and recordings (in this album, they are primarily snippets of old church hymnal songs), and lyrics woven with irony and religious overtones -- there is still something that feels off. Maybe it's the abrupt parts of the opening song "Vices" where Lacey's voice seems more like a painful shrill, or maybe it's that none of the songs sound as polished or manifold as past tracks like "Limousine." Although it has taken me more than several listens to realize, it seems that the unsettling, disjointed vibe could in fact be what the band intended.

Notions of cynicism and jadedness appear repeatedly with religious imagery of irredeemable betrayal, judgment and loss of faith. The continuity of such themes suggests that the questions of faith and redemption loosely posed in The Devil and God are Raging Inside Me were reflective of a much deeper struggle. The final track, "Noro," concludes with the following: How am I ever going to know peace? // How will I ever see the light through the trees? // I want to burn down everything we've begun, I want to kill and eat my young. // Because I'm on my way to Hell. // Well I've tried. God knows that I've tried. These lyrics conveniently embody the album's overarching desire for closure and a disassociation from the past.

Where there was once growth, there is now a sense of stagnation and disillusionment. Though Daisy possesses many profound and thought-provoking moments, it's hard to step away from the album without feeling like it's the band's goodbye, or at least their resignation from the music scene for a good while. Given the complexity and variety of music Brand New has offered fans and listeners over the past years, I can only hope that this is not the case.

"Sink" off of Daisy:


"At The Bottom off of Daisy:


FAVORITE TRACK: "Sink, At The Bottom"