100-Word Reviews: Orchids and Ammunition

now playing: Depeche Mode - Stripped

Most of us know San Francisco's Drist from Guitar Hero; "Decontrol" and "Arterial Black" were featured as bonus songs. Both songs come from Orchids and Ammunition, which is sadly a middle-of-the-road album. Most of the strong tracks come in the first half. The rest of the album, helped by 13 minutes of guitar feedback at the end, spoils the experience for me. I do like their cover of Depeche Mode's "Stripped" (possibly better than the original), and the prominence of guitar solos is a plus. I hope Science of Misuse, due out in the next couple months, impresses me more.

100-Word Reviews: Voxtrot

now playing: Styx - Renegade

In an effort to get me off my ass and start posting some more, I'm pleased to announce a new feature of Ombrophilia: 100-Word Reviews. I hope to post a couple of these each week. Albums reviewed in this fashion will be those that I enjoy, but they're a bit too far in the "old news" file to devote a full review to. (Cut me some slack; I'm still working on climbing to the cusp of new music.) But anyway. The first 100-Word Review coming at you is Austin, TX indie band Voxtrot's 2007 self-titled album.

A lot of the songs on this album are cute, and that is really the best word for it. The album is infectiously poppy ("Stephen") while retaining the indie aesthetic ("Every Day"). A sprinkling of piano, tom-heavy drumbeats, and strong bass lines blend with electronic sound effects and skillfully simplistic guitar to create a solid bunch of songs that should honestly be more popular than they are. It’s like the Sounds and the Sterns got together and had a kid that only got the best genes. Voxtrot is playing two reunion shows at SXSW this week if you're interested.

Album Review: Lullabies for the Dormant Mind

now playing: The Agonist - Void of Sympathy

It may not come as a surprise that I am not the biggest fan of genres that end in "death" or "core". Why, then, am I reviewing Canadian melodeath/metalcore band The Agonist's sophomore album, Lullabies for the Dormant Mind? Patience. I first saw The Agonist in 2007 as they were opening for Sonata Arctica. I didn't entirely understand why a thrash band would be opening for a power/prog band, but now that I've actually listened to The Agonist as they sound in the studio, I understand it a lot better. Everything sounded like noise during the live shows (and I'm sure the venues were at least partially responsible for this), including the melodic aspects that I didn't even know were there. The only thing that really stuck out was vocalist Alissa White-Gluz, and even then, it was because I thought she was trying much too hard to sound like Angela Gossow of Arch Enemy.

Still, they weren't terrible live, so I bought a little poster, hung it on my wall, and proceeded to forget about them almost entirely. Until, that is, a couple weeks ago, when my good friend Jordan "Hawk" Munson hooked me up with a prerelease copy of Lullabies. In preparation for this review, I took a listen to their first album, Once Only Imagined. I knew I had heard several of the songs on the album before, but none of them sounded the least bit familiar. I found myself actually enjoying what I was hearing, now that I was finally able to decipher melodies and hear White-Gluz's skillful growling and singing both. So many nuances are lost in a live performance.

And this brings me to the album in question. Lullabies for the Dormant Mind is positively riddled with such nuances that would be lost without an amazing stage setup. But let's start with the obvious, shall we? Just from looking at the album artwork, I guessed that bands like Nightwish provided at least some influence for the way The Agonist would sound on this album. It only took one track to prove me right; almost immediately, I noticed White-Gluz creating a delicate balance between Angela Gossow's rip-your-throat-out growling and highly melodic, occasionally operatic vocals that err more on the Anette Olzon side of Nightwish. The shifts between the two styles kept my attention and built some excellent tension; by the end of "...and Their Eulogies Sang Me to Sleep", I wanted to go out and break some faces -- and that's only the second track. But of course, White-Gluz can't do it alone; she's aided by bass-heavy drumming from Simon McKay, guitar that is at once both thick and melodious courtesy of Danny Marino (not to be confused with the equally thick but slightly less melodious football player), and nigh-virtuosic bass lines from Chris Kells. The lineup seems perfectly balanced.

But what's this? The subtle addition of piano and strings for flavor? No, that isn't quite enough. After all, the last album had that, too. What makes this album even more special? Refined? Dare I say... classical? Exactly that, of course. In the midst of ten other hard-hitting tracks that show off the instruments, we take a calming break for an a cappella rendition of Act 2, #10 from Tchaikovsky's Swan Lake, Op. 20. This bold and frankly unusual choice showcases White-Gluz and White-Gluz alone as she harmonizes with herself and lets us know just how operatic she can get. The experimentation barely stops there, though. The bridge of "Waiting Out the Winter" is written in 5/4; "Martyr Art" opens in 6/4; "The Sentient" dabbles with 7/8 in places. In fact, with the exception of the opening track, every song on this album uses at least two time signatures. And the final track, "Chlorpromazine", contains a lengthy violin solo. The band isn't afraid to branch out in the slightest, and that ambition works out for the best. Technically, this album excels.

The last comment I'd like to make is with regards to the production. When compared with its predecessor, Lullabies is a sonic masterpiece. I'm actually frightened of blowing out my headphones if I listen to it too loudly. Every note comes through clearly. Not a single nuance is lost. But the most impressive feat I think this album has accomplished is getting me to listen to it. Normally, I can't stand to listen to songs with too much growling in them. What can I say? I like being able to sing along with what I'm listening to. Lullabies has found a fantastic way to bridge the gap and is an astoundingly accessible album. I'm almost worried of hearing how songs from it sound live; if there's the same degree of loss, I won't even enjoy hearing the songs I like performed ten feet in front of me. That's the main thing keeping this album from getting a solid A. Still, I'm impressed by this offering and I would definitely recommend it to a number of people, even if they don't enjoy this kind of music. I didn't at first, and now look at me. A-

Lullabies for the Dormant Mind is hitting shelves March 10th. You can pre-order the album from Century Media now. While you're at it, check out The Agonist's MySpace for a sample of what they can do. If you like what you hear, they're going to be kicking off a tour through Canada and the United States on March 13th. Dates are on their MySpace.

What I Can't Stop Listening To: February 2009

now playing: Accept - Balls to the Wall

Hoo boy. It's been a while, hasn't it? Rest assured I still have a few more posts under my belt. There's a few very interesting albums coming out in the next couple months that are definitely deserving of review, including but not limited to the Ghost Hounds' debut album and a new EP from the Sterns. I've also got one review in the pipes for Canadian thrash/melodeath band The Agonist's Lullabies for the Dormant Mind. March will see a lot more activity; this I promise. But until then, here are the five songs I can't stop listening to for February 2009.

05) The Lonely Island - I'm On a Boat (feat. T-Pain)

You already know The Lonely Island, even if you don't realize it. These guys are the comedic geniuses behind the Saturday Night Live Digital Shorts "Dick in a Box" and "Jizz in My Pants". The SNL roots of this group (current cast member Andy Samberg and two writers, Akiva Schaffer and Jorma Taccone) has helped these three guys get some major star power, including Jack Black, Justin Timberlake, and Natalie Portman. "I'm On a Boat" is an anthem about how great it is to be on a boat. It also features T-Pain making love with AutoTune (and nautical creatures) to great effect. It's a simple concept that is completely vulgar and completely works. You can buy The Lonely Island's debut album, Incredibad, on iTunes.

04) Ben Folds Five - Alice Childress

I've known about this song for a while, but I went to a Ben Folds concert two weeks ago (which I plan to write about) that rekindled my love for this song. Is it the best song named after a girl that Ben Folds has written? I don't think so. But there's something about the harmonies in the chorus and the soft, quick piano solo that keeps me coming back. You can buy Ben Folds Five's debut album on Amazon and if you're lucky, you can catch the tail end of Ben Folds' current tour.

03) Fleetwood Mac - The Chain

Of course, what can I say about Fleetwood Mac's Rumours that hasn't already been said a million times over? Just because I'm not going through a breakup doesn't mean I can't enjoy the best breakup album ever made. Like many others before me, it's the chorus and the bass breakdown that keep me coming back to this song time and again. If you're one of three people in America who don't already own this album you can buy it on Amazon or iTunes.

02) Coheed & Cambria - Justice in Murder

I've had a lot of people tell me that "Justice in Murder" is the weakest track on No World for Tomorrow, but I have to disagree. Yes, it's simplistic, but I think that makes it easier to digest. Sometimes I don't have the mental wherewithal to take in a half hour of modern prog rock at its best, which is why "The End Complete" falls to the wayside in favor of this song. I'm not a particularly hardcore Coheed fan, but if you are, don't miss your chance to pick up the special edition of Neverender, a 5-DVD, 4-CD box set chronicling last October's four-night performance of the story of The Amory Wars in New York.

01) Repo! The Genetic Opera - Zydrate Anatomy

I feel positively dirty supporting anything that involves Paris Hilton singing, but this song is as addictive as the drug it describes. I haven't seen Repo!; this is the only experience I have with the movie, but what an experience it is. The bass hits hard courtesy of Rob "Blasko" Nicholson (Rob Zombie, Ozzy Osbourne) and what little guitar there is comes straight from Daniel Ash (Bauhaus, Love and Rockets). One listen to this song will have you telling everyone around you how zydrate is packaged for weeks on end. (It comes in a little glass vial.) You can get Repo! The Genetic Opera on Amazon in film and soundtrack form.

That about wraps it up for February. I'll see you guys in March with more reviews. Until next time, keep your eyes on the skies.

Album Review: Rock 'n Roll Children

now playing: Guster - Barrel of a Gun

The members of Finnish heavy metal group Sturm Und Drang are scarcely 17 years old, but they already have two hard-hitting albums under their belt. Rock 'n Roll Children (GUN Records), released on November 10th, follows 2007's Learning to Rock (Helsinki Music Company); comparing the two albums, it's apparent just how much the band's sound has evolved in so little time. Vocalist André Linman is getting more mature not only physically, but musically, as well, and the band follows. The licks are meatier, the drumming more powerful, and the bass lines more rumbling. Yes, compared to the album before it, it's really something special. But how does it stand on its own?

Those expecting influences from Dio from the title of the album would not be entirely far off. In several songs, I noticed inspiration drawn from Skid Row, Accept, Gamma Ray, Sonata Arctica, and of course, Judas Priest. This album certainly sounds like it could holds its own against the greats. However, like many songs from the era of 80s metal, every song on the album follows a fairly distinct formula with regards to construction. I don't think I could listen to Children on repeat for fear of getting bored. It's possible, though, that the band planned for this: At least half the songs sound like they were produced with explicit intent to perform live. These tracks are rife with call-and-response singing, choruses with memorable melodies, and extended solos to show off the band's chops. I'm going to count this as a mark for the album, even though Sturm Und Drang has only ever played one show outside Europe.

The other issue I have with the album is not something for which it is easy to hold anyone culpable. Linman sings in English, and while his grasp on the language is mostly natural, there are a few moments I can think of when his accent makes it hard to understand him. By and large, though, his singing has vastly improved from what it was on Learning to Rock. If the band gets a third try, I have confidence that he'll sound like he's been speaking English for most his life.

When compared with their previous album, Rock 'n Roll Children shows a marked evolution and maturity in the group's sound. As a standalone album, it's slightly more impressive. I have high hopes for this band. They get closer to falling into their own with each song they record. If they keep up this pace, it won't be long before these children become rock and roll men. B

You can import Rock 'n Roll Children from Amazon or download it on iTunes. Sturm Und Drang will be touring Finland through May starting on February 19th. Go here for dates.

What I Can't Stop Listening To: January 2009

now playing: 3OH!3 - Holler 'Til You Pass Out

Before I start with this post, I have a little bit of bad news. The Ghost Hounds, previously mentioned in this post, have had their debut album pushed back from February to late April. I'm not sure what the issue is, but as long as their album is still coming out, I'm happy. Now, without further ado: Here are the songs I can't stop listening to for January 2009.

05) 3OH!3 - Don't Trust Me

A song like this is hard to ignore. From Boulder, CO comes dance-rap group 3OH!3 and their biggest hit so far from this album, "Don't Trust Me". A friend of mine started typing the lyrics at me and I just had to hear it. I wasn't disappointed. Lyrics like "tell your boyfriend / if he says he's got beef / that I'm a vegetarian and I ain't fuckin' scared of him" and "shush girl / shut your lips / do the Helen Keller and talk with your hips" are backed by positively infectious electronic beats and synth, to say nothing of how addictive the chorus is. You can hear "Don't Trust Me" and other songs on 3OH!3's MySpace.

04) Stolen Babies - Filistata

Personally, I don't think there are enough songs about genera of spiders. Enter Stolen Babies, a dark cabaret group from California. With bands like Jack Off Jill and Daisy Chainsaw among my favorite disbanded groups, it's very refreshing to hear the bass lines and combined screaming and singing that I love so very very much again. I have strong hopes for Stolen Babies. I'd hate to see them die before their time. You can check out songs off There Be Squabbles Ahead at Stolen Babies' MySpace.

03) Sturm Und Drang - Heaven (Is Not Here)

Confession time: I love power ballads. I think they are the epitome of modern rock music. (That's not entirely true, but it's close enough.) Sturm Und Drang hail from Finland and were inspired to start a band after seeing a Judas Priest concert. Their harder songs show their musical chops, but "Heaven (Is Not Here)", the closing track off Rock n' Roll Children (which I intend to review soon) lets the boys really shine. One of these days, I'm going to see them live, and my lighter will be at the ready for this song. Sturm Und Drang's MySpace has samples from both their albums so far.

02) Poe - Hello (Full Band Version)

If you follow American Idol, you may know Poe most recently as the girl who does that song that appears in that one Ford commercial all the time. I know her as a magnificent singer and songwriter, as well as the sister of House of Leaves author Mark Z. Danielewski. This song is a remake, originally appearing on her 1995 album of the same name. As far as I can tell, it's a MySpace exclusive; Poe has some tricky licensing problems going on with everything she recorded on Atlantic. I could go on for ages about her, and at some point I will, but at this point I'll just say that the remake turns what was a good song into a great song. You can check it out on Poe's MySpace, along with nearly everything she's ever released.

01) Orleans - Still the One

Ah, Orleans. This song may as well be my perpetual number one pick for this feature. I've been a fan of this song for nigh on 15 years now, ever since it appeared on my parents' wedding tape that my dad played incessantly on long car rides. (Not that I'm complaining, mind.) For a song like this, I don't think I need to explain why it's a classic. The vocal harmonies, two guitar solos, and a cappella breakdown are what do it for me, but your mileage may vary. Orleans are still having fun today; you can listen to all their hits on MySpace Music (including the one that inspired the title of this blog) and keep up with everything the band is doing now on their official website.

That's all for January. I'll see you in February with more of the same, only hopefully I'll be posting more frequently. Until next time, keep your eyes on the skies.

Album Review: Folie à Deux

now playing: Fall Out Boy - Headfirst Slide into Cooperstown on a Bad Bet

Following hot on the heels of 2007's Infinity on High (Mercury), Fall Out Boy presented their fifth studio album Folie à Deux (Decaydance) in December of 2008. I'm not the first and I won't be the last to call Infinity a troubling change in the band's sound, which makes Folie all the more surprising. The band has struck exactly the right balance between the pop-rock anthems they've become known for and a new sound rife with stylistic experimentation and more guest singers than a Live Aid concert.

One thing Folie brings to the table is the hook, clear and prominent in every song. Maybe that's wrong -- maybe the hooks have always been there, but we've never been able to understand them. In between Infinity and this album, it seems vocalist Patrick Stump took lessons in diction. For the most part, the lyrics come out clear as a bell, leaving the mushmouth ways of being a little man who is also evil, also into cats far behind. This turns out for the better; lyrics criticizing emo bands and encouraging listeners to change their own lives wouldn't be half as powerful if they had to be checked and cross-checked with liner notes and lyric websites. And on the subject of subjects, the thirteen songs on this album seem to focus more on the tenets introduced by Ian Dury: Sex, drugs, and rock and roll. While still keeping a poppy feel, Stump wails about having an illicit affair, a Benzedrine addiction, and how nothing can damage his ego, all decidedly rock staples. And he does it all tastefully in a way that will leave you singing for hours.

In fact, the whole band follows Stump in much the same way. In the course of listening, I was taken through pop-rock, classic rock, club, charity chorus (think "We Are the World"), and cabaret, with some songs even showing distinct electronic and R&B influences. Through all these styles, drummer Andy Hurley consistently impresses, showing off his chops in every last song. Guitarist Joe Trohman adds powerful licks and finally gets a few solos, and yes, even bassist Pete Wentz gets his time to shine with the bass-driven "w.a.m.s.".

However, for everything Folie à Deux does right, there are a few things that detract from the experience. Though Stump sings much more clearly, he still suffers from occasional incomprehensibility, most notably when he switches to falsetto. And unfortunately, the liner notes are no help; most of the pages are almost entirely blank, with the only hint to lyrics being through a website given on the last page of the booklet that just redirects to the official fan website, where the lyrics that are provided are wildly inaccurate. While I'm sure the band has a good idea behind this decision -- something like letting whatever you hear be the "right" lyrics -- part of me wishes they had just printed the lyrics in black and white. I do realize that shows some incredible nitpicking, though, so it doesn't detract too much from my final score.

I would be remiss, though, not to mention the incredible amount of guest artists on this album. One track, "What A Catch, Donnie", is a veritable who's who of Decaydance Records. It features guest vocals from Travis McCoy (Gym Class Heroes), Brendon Urie (Panic at the Disco), Alex DeLeon (The Cab), Gabe Saporta (Cobra Starship), William Beckett (The Academy Is...), and Doug Neumann (Doug Does Decaydance). The great Elvis Costello joins the chorus in the very same song. Urie also sings on "20 Dollar Nose Bleed" and DeLeon adds his voice to "Tiffany Blews". Rapper Lil Wayne adds a bridge to "Tiffany Blews", and even Debbie Harry of Blondie gets her piece, singing part of the chorus of "West Coast Smoker". Maybe this album should have been called Folie à Plus. A-

You can find Folie à Deux on Amazon or iTunes. Do your part to save the industry and start buying music again. Fall Out Boy will be on tour with Cobra Starship, All Time Low, Hey Monday, and Metro Station in April. Go here for dates and tickets.