A Little More Dark with Tai Tai Alibi

Hey guys, it's great to be back! I've been searching for a while now for a new group whose sound captures what I think of when I hear the words alternative and grunge. I feel like I haven't been focusing on this genre as much as I have on others in the past couple months, and though I've written about some great metal and hard-rock groups, there's a certain alienated twinge missing from the mix.

Though it's not 1992 anymore and many would argue that the whole alienated grunge thing was over the top, and just hyped to sell more albums after the Seattle explosion, the term nonetheless expresses a certain reserved feeling and detachment that still resonates with me, if not with many others too.

So it is on an excited note that I share with you all this group, Tai Tai Alibi, an alternative-grunge foursome from Hong Kong, China. Composed of lead vocalist/guitarist Tim Hills, lead guitarist and vocalist Chris Collins, bassist/vocalist Rafe D'Aquino, and drummer Matt Cartwright, Tai Tai Alibi are a dark and brooding force to be reckoned with. With a particular sound and swagger that I haven't seen in a while, Tai Tai Alibi's songs are simple, melodic, hardcore, and almost romantic in their innate alienation. Maybe that's what these guys were going for when they wrote these tunes, maybe not. That's just what I get from the music when I listen to it, and it's a feeling I really dig.

I see that these guys only have a few plays in their Myspace, and that's definitely something that confuses me. Even if they were to break up and move on to new projects tomorrow, I would most definitely want these songs on my iPod. There's just something that's excellent about them. But enough of this, I'll just pick from the lot and let you guys do the rest.
"A Little More Empty" is a song that has the perfect intro for this entire setlist. A song of a grunge nature with a metal-like buildup, "A Little More Empty" clearly showcases Tai Tai Alibi's mighty rhythm section that rests just behind their melodic stage. Cartwright's drumming is indiscriminate and soldiers on through D'Aquino's bass notes with a resigned intensity that makes the base of the song strong and forceful. D'Aquino, meanwhile, is solid on his bass, as his lines carry quickly, but altogether romantically right to the chorus. Collins' guitar notes are eery and almost resigned in nature, but still strong and sharp enough to rip right through me. A nod, no doubt, to Jerry Cantrell's technique of making the guitar mesh with the vocal undertones in a haunting, yet beautiful sonic bid. To add to the haunt and chill behind the guitar notes, though, Hills' vocals fit just right. An asset on his guitar just as much as with his unique vocals, Hills takes these guys higher, and it wouldn't surprise me one bit if Tai Tai Alibi sparked a whole new post-grunge revolution.

Things are harder-edged and more intense with TTA's next number, "Lost in You." With a reserving drum intro by Cartwright, I'm immediately impressed with Collins' guitar notes. They're hot while at the same time not burning through me in too much of a metal way. Perfectly alternative and grunge in their planning and execution, the guitar notes are only furthered by Hills' chords. D'Aquino, meanwhile, is on the side, in a sort of secretive place, preferring to add to the song without taking over and making things too bass-heavy. While Hills continues to impress me with his peculiar vocal dynamics, I'm struck the minute that Collins lets go with a beautiful solo. Maybe this sound isn't pure Pearl Jam or Soundgarden, but it's a beautiful mix of the two with a tasty Alice in Chains polish on top. A song you definitely don't want to miss, "Lost in You" is a fantastic number, fit for any live performance or album release.

"Strawman" is a song reveling in creepy awe and dripping in eery self-awareness. Most certainly a perfect song for any Halloween or haunted house occasion, "Strawman" showcases just how versatile Tai Tai Alibi can be. Though I'd love to hear this song blasting loudly at me live, in a funny way it also would work for an indie flick. The chorus just has one of those guitar progressions that draws you in while the rhythm section surrounds you in crashing waves that fill your senses. Tai Tai Alibi outdo themselves here, and impress me again and again. "Strawman" is definitely one of my favorite songs on their setlist, and a song I would hardly be surprised to see on any demo recording. Oh, and the solo by Collins is just sick.

It still remains a mystery to me why these guys have so few plays on their Myspace page. True, grunge and alternative-rock seem to have taken a backseat to emo-punk and pop-rock in the last few years, but still there can be no denying the talent when a group like this emerges. The spirit of '90s alternative lives on in group like Tai Tai Alibi, and that's something I'd glad for. I have no doubt in my mind that these guys will find their audience, and that when they do, they'll be an underground phenomenon. It's just something I can feel in my bones. Brilliant.

Sounds Like: Alice in Chains, Bush, Collective Soul, Candlebox

Key Tracks: "A Little More Empty," "Lost in You," "Strawman," "Cycle"

Check out Tai Tai Alibi more at: http://www.taitaialibi.com/ and http://www.myspace.com/taitaialibi

Short Break

Hey guys. So you've all probably noticed that I have posted in about one month, and for this I just wanted to tell you why. As you all know, sometimes I need a break to recharge, and this was certainly one of those times. I'm sorry I didn't give you guys any notice, but I was truly burned out for a while and just needed to think about other things so I could get my head back.

The good news though, is that I spent a lot of the time doing brainstorming on how to make NewRockNews43 bigger and better for your guys, so let's just say there are some plans in the works. They won't be quick and will probably take some time, but the wait will be worth it, I promise. Also, I've spent the last four weeks finding new groups for you guys that will completely make up for my time off. Every one of these artists has something special, and will most certainly bring something great to NRN43. I intend to post my first new article on Friday, so make sure you check in!! It's gonna be great guys. Thanks for your patience, and as always, thanks for reading! It's good to be back!!

Riding in the Motorcade

I know I gave you guys something special with Cloé Beaudoin's new EP a few days ago, but I figured why not introduce these guys this week too since I've been listening to them non-stop for about ten days now. To those of you out there reading from Australia and New Zealand, they won't seem as new as I might assume, because from what I've heard and read, they've been on their local rendition of Top of the Pops. That's a name I'm definitely familiar with, being a hardcore Busted fan, so I immediately know what that means. For us here in the States though, and indeed the northern hemisphere, they're fresh and new, and I can't wait to dive right in.
Motorcade are an indie/pop-rock four-piece hailing from Aukland, in the island nation of New Zealand, and as such, are a first here. I've had bands from Australia, Canada, the U.S., the U.K., France, Germany, and even Sweden, but New Zealand is a first. Either there aren't as many good artists there (which I highly doubt) or I'm just having a hard time finding them all (which is much more plausible), but whatever the case, Motorcade's sound is premiere for its genre, and a breath of fresh, crisp air in the realm of indie rock. Now things have become overrun with groups like Phoenix, who are just too synthe-looped for my taste, but these guys hit it out of the ballpark with their old-school indie-rock that crosses new-age prep with classic garage grit. Comprising members Eden Mulholland (vocals and guitar), Geordie McCallum (guitar and keys), Scott Sutherland (bass), and Will Mulholland (drums), Motorcade's style is poppy and catchy, with enough of a great rhythm section to give it a real rocking punch. Think Vampire Weekend's prep-polish meets 1990s' garage-pop smirk. And maybe it's just because I'm American, but the accents these guys have only add to the overall indie tone behind the music.
Riding on the success of their acclaimed self-titled and Into the Fall EP's, Motorcade have just recently finished the debut, full-length album effort in the form of Holy Moly. If nothing else this album continues the indie-pop sound that I'm really beginning to love, and that they must have hooked fans of their EP's with. Devoid of the filler and lack-luster tracks that typically surround the one or two good songs on a debut effort, Holy Moly drives from one song to another with a passion and intensity that is fun and quirkily romantic in the best ways.
The title track on Holy Moly is, more than anything, an infectious song. With a fun, dance-around beat and quirky, light-hearted lyrics that make you happy to be alive, Motorcade blast this one out of the park with a single swing. Eden Mulholland's vocals are preppy and funny, and his guitar fits seamlessly with McCallum's notes and keys. The melody in this song would definitely save it if it were drowning, but happily that's not the case. Will Mulholland's drums are a straight kickback (pun intended) to the prep-rock beats of 1990s and Vampire Weekend, and coupled with Sutherland's bass, bring a contagious dance tone to the song. With a chorus that's simple, funny, and almost geekily cute, Motorcade strike solid gold with "Holy Moly." If this isn't the lead single that brings these guys international attention, I'll eat my shoes. Rarely are there songs where everything is right, but this is certainly one of them. Most bands never get close to a breakthrough single, and here Motorcade seem to have invented the idea for it. Brilliant.
Now I don't know if this next track is from Holy Moly too, but if it's not, and I find out that they wrote this for just an EP, I'll just be blown away. "Tightrope Highway" is just fantastic. It's got the driving guitar rhythm and notes provided by Eden Mulholland and McCallum, and on top of that, McCallum's keys augment the melody of the song in the best way possible. Mulholland's voice is high and noteworthy, as Will Mulholland and Sutherland take care of the drums and bass, respectively, providing an indie-pop stage and beat for all the notes and melodies to dance around on in the quirkiest of ways. Like with "Holy Moly," "Tightrope Highway" gets bragging rights for a fantastic music video. In an age where music videos have become sex-centered and shallow, Motorcade show they can still have fun in a geeky way and make indie-pop cool to listen to. Most certainly a five-star track if there ever was one.
"Oldest Trick in the Book" starts with a great melody from McCallum on his keys, and Eden Mulholland's voice is more alternative-rock here, owing to a more hard-rock-inspired drumbeat. Besides the guitar notes and rhythm which make this song cheerful to listen to, one thing that certainly stands out here are Sutherland's bass lines which add a certain edge to the song. If I've said it once, I've said it a thousand, thousand times: great bass players make already great bands earth-shattering in their effect, and here Motorcade show just how well it can work. One of the most underrated instruments, the bass gives soul to a song, and in an indie-prep-rock song like this, that only serves to make it better. Aside from outstanding musicianship, though, I must applaud Motorcade for such a great concept of a song. They prove again and again that songs don't need to be complicated and ground-shaking; if they have a funny concept that people can relate to, they'll be successful. I absolutely love what the Mulhollands, McCallum and Sutherland have done here.
I could go on and on about Motorcade. I find myself popping my head to the rhythms and melodies of "Commandeering" and "My Friends" just as much as to "Holy Moly" and "Tightrope Highway." But if I go any farther I know I won't be able to do these guys justice. Soon people will talk about Motorcade in the same breath as Vampire Weekend and Radiohead, and I can't wait to be the one to say, "Told ya so."
A solid four-piece that can pride themselves on great musicianship and a slew of brilliantly crafted songs, Motorcade are now on my radar and won't be leaving for a very long time. If you like anything indie or prep-pop, or are just looking for some feel-good music to listen to in this beautiful autumn weather, Motorcade are your guys. It seems to me right now that no sunny, autumn day would be complete without "Holy Moly" or "Oldest Trick in the Book" playing in the background. Check these guys out, they'll definitely take you for a drive.

Sounds Like: 1990s, Vampire Weekend, Radiohead, Talking Heads

Key Tracks: "Holy Moly," "Tightrope Highway," "Oldest Trick in the Book," "Commandeering"

Check out Motorcade more at: http://www.myspace.com/motocade and http://www.facebook.com/pages/Motocade/11404192852?ref=ts#!/pages/Motocade/11404192852?v=wall&ref=ts

Deliverance to Peace, Cloé Beaudoin's Way

So any of you guys out there who have been reading for a while know that Cloé Beaudoin isn't new to New Rock News 43. She was featured here as a new artist about a month ago, and now I'm pleased to bring here back again, this time with a new twist.

Fresh from the release of her debut album, Living in the Shadow, Beaudoin's new release is her Rest in Peace EP (typeset as Rest in Peace- EP), which consists of four tracks, three acoustic, and one all-new, full-band recording. That would be enough to excite me, and should be enough to do the same to you guys, but NRN43 is all about detail and no bullshit, and I know it's been a slow couple of days, so I'm gonna go as deep into this EP as I can.

The title track on the EP, "Rest in Peace (RIP)" is, in my opinion, Beaudoin's greatest triumph. That was what I felt and thought when I heard the acoustic version of it on her Youtube channel. Now one can only imagine what I think with her release of the all-new, full-band version of the song. On her Youtube channel, Beaudoin notes that the song is inspired by the popular fiction novels in the Twilight Saga series, and it's my concrete opinion that if this song doesn't appear in the next Twilight movie release, than the director behind that camera is a complete moron. I would even go so far as to push for this song's use in the trailers for the film. The first time I heard "Rest in Peace (RIP)" I had chills. Now it feels like the whole ground is breaking apart under me. The way this songs builds from a soft, acoustic ballad to a hard-rock-inspired romantic anthem is incredible. The drums and bass that Beaudoin has clearly spent a lot of time and effort getting just right give this track the hardcore kick it lacked acoustically, and the stop-start palm-muted chords are post-grunge in effect until the blast-out chorus that is a clear throwback to Evanescence and Flyleaf takes off. Beaudoin's voice is a force all its own, and its bright hypnotic tone shoots this song right to the top of my most-played list for the week, and probably the month. In every way that Evanescence succeeds with "Bring Me to Life," and that Amy Lee herself succeeds vocally with her part on Seether's song "Broken," Cloé Beaudoin so triumphs on "Rest in Peace (RIP)." With a building guitar progression that climaxes in tragic and romantic intensity, I declare once again that this is Beaudoin's finest effort yet. And with a song like this under her belt, I know I have to hear more.

I took time to talk about "Deliverance" last time, so I'm gonna move passed that one right now, though it still stands as an amazing track, and one of my favorite songs by Beaudoin. Fresh and Romeo & Juliet in tone and nature, "Deliverance" is most certainly a song I would love to hear with a full band when Beaudoin decides it's the right time. Even acoustically, Beaudoin knocks it out of the ballpark with this one.

After "Deliverance" I move to a track I haven't heard before. "Dying Awake" has, if nothing else, a great title. Slow and sensual in its beginning, Beaudoin's vocals are smokey and romantic, and fog my mind with the haze of lust and love on a stormy winter's night by the fire. The chords are simple, and I love it. There is no need for any meticulous or intricate note progressions here, and truthfully, it might almost ruin the simple romanticism of the track. Cloé Beaudoin's darkly romantic and almost tragically loving music is something so unique I have to make up a new word to describe it. With a sound and tone I can only describe as romantcore (for whatever that means), Beaudoin contributes another five-star track to what promises to be a must-hear EP.

Lastly, there is "Brink of Insanity," a song that is much faster than the previous two, even if it i still acoustic. Beaudoin proves here with sharp chords and strong, determined vocals that she can throw her weight around with the other heavy players of the alternative scene, and not just sit safely in the acoustic light. A great song that seems a departure for Beaudoin in a way or two I can't quite put my finger on, that's why I love it. The mystery behind the notes and chords adds to its dusky bliss. The last track on the EP, "Brink of Insanity" wraps up nicely, and furnishes the other songs with a nice black bow and a metaphorical rose.

On here return to New Rock News 43, Beaudoin brings with her an EP most deserving of praise, and proof that her time away was not in vain. I am more than a little excited to get my hands on this, and you better believe that when I get up to school and on the radio, "Rest in Peace (RIP)" will be on heavy rotation for me. It's not news that this girl is going places, but I don't think I even knew what kind of talent she had buried deep down, and now, I know I and the rest of her fans are only beginning to see the tip of the iceberg.

Sounds Like: Evanescence, Amy Lee (solo), Flyleaf, Meg & Dia

Key Tracks from Rest in Peace- EP: "Rest in Peace (RIP)," "Dying Awake," "Brink of Insanity"

Check out Cloé Beaudoin more at: http://www.cloebeaudoin.com/index.php, http://www.myspace.com/cloebeaudoinmusic and http://www.youtube.com/user/cloebeaudoin

No, We're Not Without Grace

Like I promised a few days ago, here's a new group that will totally blow your minds. Since my last couple posts were on hard-rock and metal bands, I figured I'd lighten it up a bit, and throw you guys a band that's got a sound that won't drill blood-wells into your ears (though we all know that those bands definitely have their place haha), but rather sooth you in a melodic sea of emotion.
I can certainly say that these guys (and girl) are a first, as they present the first group New Rock News 43 has ever reviewed to make their way from snowy Sweden, way up in the Scandinavian Peninsula. For any Swedish readers out there, you can most certainly rejoice, because I'm blatantly and bluntly jealous that you can lay claim to this band and I can't, being from the States.
But enough of this beating around the bush bullshit, here for the first time, and I certainly hope not the last, is Not Without Grace, an ambient-rock trio who show favor beyond all measure.
Composed of Linnéa Herlogsson (lead vocals), brother Alexander Herlogsson (rhythm guitar) and Christoffer Franzén (lead guitar), with live musicians Anton Weihard (bass) and Fredrik Sellegren (drums), Not Without Grace strikes out from their native Göteborg, Västra Götalands län, Sweden, with a sound that relies on the ambient interplay between the Alexander Herlogsson's and Christoffer Franzén's guitars and Linnéa Herlogsson's smokey vocals. In the same way K's choice struck me with "Not An Addict," Not Without Grace immediately sends a bolt of curiosity and emotion running through me with their trite, though not surprisingly, fulfilling setlist.
Though in the midst of recording their debut album, Not Without Grace find ample time to wow me with their first track "Cut Me Loose." I can only imagine that Weihard and Sellegren provide a strong backbone on this one live, as it rests sturdily on a bass and drum partnership that infects every fiber of my mind with a contagious beat I just can't forget. Yet from second one, it's the guitars that draw me in, and the vocals that give me reason to stay. Alexander Herlogsson's rhythm guitar sails just over the bass and drums, finding a comfortable place between the rhythm section and Franzén's lead guitar notes. With an ambient progression that The Edge and U2 could happily find a home for on any of their acclaimed albums, the stage is set for Linnéa Herlogsson to sweep me away with her soft and sensual, yet oh so resilient vocals. Herlogsson's vocals are so subtle and sultry that they seem to cloud my mind, and once again I'm flashing sonic plays of K's Choice and Garbage in my head as I listen. Drowning in the proverbial sea of melody and emotion, I find a tiny lifeboat in the rhythmic downstrokes of Herlogsson's guitar married to the chiming, R.E.M.-style notes that Franzén puts forth. The only way I can even begin to describe the chorus in this song is like standing in the eye of a hurricane, and watching the waves and wind swirl around you. That's exactly what you feel when the younger Herlogsson takes off in her vocal assault on the world and all the ears in it. "Cut Me Loose" is most certainly one of the key tracks on NWG's demo effort, and this one, much like "Radio Free Europe" did before, has the potential to drive its respective artists right to the top of the mainstream charts, as well as garnering them respective play on college radio. Maybe I'm right and maybe I'm not, but that's exactly what I think and predict.
Track two is "Joshua," a fitting name for a song whose group seems to take so much direction from U2. Though U2's critically acclaimed album The Joshua Tree is probably not the basis for this song or its title, I still randomly make the connection in my head, so don't take me at my word on that. The one thing you can hold me to, though, is that this song is brilliant in its sonic power, and plays to me an audio rainbow right before my eyes. With less emphasis on the drums and bass, Alexander Herlogsson and Franzén are free to step forward and showcase their inarguable guitar skills. Weaving a string-based tapestry of sonic bliss, the two guitarists set a perfect stage for Linnéa Herlogsson's soft vocals. One thing I love about Linnéa Herlogsson's singing is that I can understand every single word. Clear, intelligible and resonant, Herlogsson's vocals seam to weave themselves in and out of whatever tiny keyholes that Alexander Herlogsson's and Franzén's guitars might leave open. The choruses and pre-choruses in "Joshua" are high and melodic, lending a hand to any rainy day or sunny afternoon. While most songs have their place for a particular mood or day, "Joshua" seems to find comfort in both the cold, rainy days and the warm spring afternoons. The mark of a truly great song, undoubtedly.
Not Without Grace continue with "Confession," and the minute that Alexander Herlogsson's and Franzén's guitars appear on the scene, it's an audio free-for-all. Then the drums and bass roll in, and the rhythm in this song is something so reminiscent of the '90s that I find myself wondering where were these guys 15 years ago. Probably in school, the same as me, but all I can say is that the '90s could only have been better with this song on the charts. A song that might rival those of Garbage or Alanis Morissette, "Confession" showcases the exact reason that I believe in my heart Not Without Grace will find their place in the alternative-rock scene, high above all the hacks that will undoubtedly try to follow and copy. Linnéa Herlogsson's vocals are a gift, pure and simple. A voice like hers can't be bought or cultivated, not with all the money or the best classical training in the world. Gifts like that are things you're born with, and Not Without Grace reaps the enormous benefits of laying Linnéa Herlogsson's gift next to those of Alexander Herlogsson and Franzén, forming a tight-knit symphony of joy and curiosity, the likes of which I can only give it up for with the best I have to write. "Confession" is the the song on the album that gives you hope, and if it's not already, this one promises to most certainly find itself as one of the crowd favorites.
Last for me is Not Without Grace's demo of their new song, "Hide Away." If the other songs weren't enough to convince even the most stodgy record-label executive that NWG has that oh-so-special spark, then "Hide Away" will definitely put them in their place. A soft and sensual ballad that floats high above all the anger and spite in today's world, "Hide Away" will bring you to a place you can only say you've seldom been before. Definitely the best way to finish up any album or show, "Hide Away" would be my pick for any encore song. Not Without Grace have certainly outdone themselves with this one, and the minute you listen to it, you know it. Rarely is anything so simple to state.
As Not Without Grace descend from the snowy banks of the Swedish shore, all I can do is watch with excitement and anticipation. Sewing musical seeds that are so sweet and resilient, you can almost taste them as the music comes from the speakers, Not Without Grace prove to be one of the premier upcoming acts from Northern Europe, at least in my humble opinion. The Herlogsson siblings and Franzén are definitely going places, and as a new full-fledged fan, I find myself more than a little excited to see where those places are. Not to be forgotten anytime soon, if ever, Not Without Grace are only getting started. And what's to come, I suspect, will blow everything I thought I knew about ambient and alternative-rock right out of the water. I can't wait.

Sounds Like: K's Choice, Garbage, Letters to Cleo, U2

Key Tracks: "Cut Me Loose," "Joshua," "Confession," "Hide Away"

Check out Not Without Grace more at: http://www.myspace.com/notwithoutgrace and http://www.facebook.com/notwithoutgrace?ref=ts&v=wall

Follow and Get the Word Out!!

Hey guys, hope you've all been doing well. I have a bunch of awesome new groups coming up for you in the coming weeks, but we'll get there in a few days. I promise they'll all be well worth the wait.
Now though, I wanted to let you all know how stoked I get when I see you guys reading more and more of my articles. It started with a few readers here in the States, some in the U.K., and some here and there in Australia and Canada. Now, I'm more than pleased to report to all you out there that New Rock News 43 is getting hits from Japan, Hungary, Russia, Thailand, India, and Germany, among numerous other countries. You guys are just as much to credit as anyone, because without you guys spreading the word out there, New Rock News 43 wouldn't be anywhere near what it's becoming, and I am very excited for the numerous possibilities I see in the future.
If any of you guys out there find yourselves reading almost weekly (and even better if it's almost daily), then sign up and follow New Rock News 43 on Facebook and Twitter for immediate updates on new artists, new happenings, and anything else cool. Also, make sure you follow here, on New Rock News 43's Blogspot, for the newest article updates. Follow on Facebook here: http://www.facebook.com/home.php?#!/pages/New-Rock-News-43/298475705042 and here on Twitter: http://twitter.com/NewRockNews43.
Once again, I thank you all so much, and I would just lastly like to take this short post to remind you guys to make any comments you want. It helps me every time you post a comment, so don't feel shy, and let me know what you'd like to see more of, hear more of, or just let me know if you're really diggin' any particular article. My email is posted, and you are all more than welcome to send me one whenever you like, and if any of you are aspiring artists, send me some demos or a Myspace address and I'll most certainly take a look.
Thank you for all your support guys, wouldn't be able to do it without you! Peace!!

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And I'm Off Into the Night

Months have passed since I delivered to you all a group a little outside our blast radius here in the States. Though I have brought you a few groups from Canada, and they totally rocked, to keep things interesting and fresh, I decided to take a journey to another hemisphere this week to give you all a taste of a band that is slightly out of reach for us here in the U.S.
Enter Into the Night, a melodic/alternative-rock sextet from Melbourne, Australia who are taking the island nation by storm. With their new eponymous debut album in hand, Into the Night are pumping the coastlines and Outback similarly full of a rock that drips in alternative sense and hardens over with just the right amount of grit. The neo-hardcore arrangements that fill Into the Night's debut effort range in influence from post-grunge and hard-rock to hardcore-punk and metal. Like Homebrewe and Diamond Eye, my other NRN43 Australian vets from a while ago, Into the Night are themselves full of talent and hunger, and are aiming for the moon with their big-beat tracks and stick-in-your-head riffs.
Composed of members Patrick Broughton (lead vocals), Ben Graham (lead and rhythm guitar), Warren Pedlar (lead and rhythm guitar), Andy Vancuylenburg (keyboards), Lee Sinclair (bass), and Jules Bruce (drums), ITN's sound is just the right mix of hard-rock simplicity and metal intricacy to keep me guessing at every turn.
The first song on ITN's playlist is immediately the best way for me to start familiarizing myself with these guys. I can only describe this intro as purely epic. Building on itself again and again like Metallica's "Enter Sandman," "You Won't Know," starts by feeding me an AC/DC-inspired riff while the rhythm section builds higher and higher behind it. As Graham begins with his guitar in a riff-driven, "Highway to Hell" fashion, Pedlar pick-slides in with screaming notes that flash portraits of Van Halen and Megadeth in my mind. And as Pedlar begins, I can hear Bruce's high-hats start, then fade out as he quickly moves to the toms and snare, with Sinclair following suit on his bass. Then Broughton begins, and his vocals are rough and oh so satisfying. The one thing I was dreading was to hear the misstep of marrying this beautiful hardcore track to high falsetto vocals. But Into the Night aren't tempted, and as Broughton's snarls menacingly into the mic, Vancuylenburg takes everything higher with his keys set nicely and secretively behind the wall of guitars. As the chorus approaches and takes off, Broughton's vocals get higher in range, but always stay in perfect synch with the hard-rock platform below him. Bruce's fills and rolls are Maiden-esque in nature, and Sinclair's bass is a powerful force to be reckoned with. A track that tops out at 6:04, "You Won't Know" is a melodic-hardcore trip, but one thing this track boasts that others can't is a bridge that shows not only gritty angst, but mature musicianship. As the bridge approaches, Graham and Pedlar scale back on their guitars, and the rhythm team of Bruce and Sinclair becomes almost transparent, save for a simple cymbal beat by Bruce. What lifts this track even high, though, is Vancuylenburg's resonating keystrokes on his piano, bringing to a hardcore track a sense of symphonic grace that it's all the better for. As Bruce's drums pick up and Graham and Pedlar join in on a shining solo, the track crescendos into a mass of grit and grace. Most certainly the must-hear track on the album, "You Won't Know" is everything right about hard-rock and metal.
If "You Won't Know" was symphonic and graceful, "Journey Into Doubt" promises to be a masterpiece of clashing guitars and driving rhythms. From second one, Pedlar and Graham impress me with an intricately-laid guitar wall. Then Bruce counts in, and Sinclair's bass is something to be treasured on this one, as it plays front and center, strong yet nimble, and bombastic in the best ways. Broughton's vocals are coarse and serrated, leaning towards a Three Days Grace influence, but soften just a little for the verses. Graham's and Pedlar's chords and notes provide the best reason to lock your door and air-guitar to this song all day. With a driving rhythm that is pushed further only by anthemic vocals and lyrics, "Journey Into Doubt" is a heavy, hardcore excuse to put your devilhorns up in the air and bang your head like there's no tomorrow. And yet, like "You Won't Know," "Journey Into Doubt" shows a softer, more introspective side, as the guitars take a mini break, and Vancuylenberg's key notes shoot this one full of emotion and epic adventure. That, my friends, is the best way I can describe it. And then as Sinclair's bass starts to move faster, the guitars and drums pick up again, and Broughton brings this one to a raging finish. If ever there was a song begging for a live performance, this one is it.
"Such Is Life" begins in a different way that its two predecessors. Vancuylenburg is the maestro on this one, and starts it off with a piano progression that is beautiful and curious at the same time. Some of you may think that the piano isn't very hard-rock, but let me tell you, when it's married to a pounding bass-line, it gets pretty hardcore pretty fast. Sincalir's notes compliment Vancuylenburg's keystrokes in the best way, and this track only builds from there. Broughton's vocals are a little softer here, and the guitars are more reserved, hovering just over simple drumbeat by Bruce. Sometimes, though, simplicity is the key, and as the guitars enter, this one is, in all senses of the word, big.
Yet Into the Night continue to impress me with their versatility as "Coming Down" is the polar opposite of "Such Is Life." A fast, guitar-driven track with an intro riff that will blow the speakers right out of your car and beg for the windows to be rolled down, "Coming Down" is from the start the song to listen to when you're on the way to the show. With the same initiative and drive as any AC/DC or Van Halen song, "Coming Down" is a simple, hard-rock, guitar-heavy track that just proves that the age-old formula of hard guitars, heavy bass and drums, and soaring vocals, with maybe some epic keys on top, is still the way to go. Into the Night find for themselves an instant success with "Coming Down." It's everything I fell in love with in the first place when I first heard Cream and Black Sabbath. Heavy and hard-hitting, it's definitely one of the five-star tracks on this album.
Proving to be a group with a intricate and versatile sound, Into the Night will soon be on their way, if they're not already. Like AC/DC, JET, and The Vines have proved before, Australia is one of the world's Mecca's for hard-rock and garage-metal, and groups like Into the Night are taking full advantage of that. Armed with a sound that works in the best of ways, and a drive that will take them far, Into the Night are here, and nothing it seems, Topside or Downunder, is gonna stop them.

Sounds Like: Three Days Grace, Sponge, Foo Fighters, 10 Years

Key Tracks from Into the Night: "You Won't Know," "Coming Down," "Journey Into Doubt," "Such Is Life"

Check out Into the Night more at: http://www.intothenight.net.au/, http://www.myspace.com/intothenightband and http://www.facebook.com/pages/Into-The-Night/173719007404?ref=search&v=wall