Breaking Backbones with June Divided

Since June Divided released their debut EP The Other Side of You in February 2011, things for the Philadelphia quartet have been a nonstop whirlwind of activity. Riding the success of songs like "If You Were Here" and "Breathless," and in particular the EP's lead single "Bullet," these alternative rockers are redefining the depths of their sound that straddles the space between Paramore and Jimmy Eat World. True, the Paramore comparison is an inevitable reality since Melissa Menago's vocals exhibit the same power as Hayley Williams', yet the band's true influences (by their own words), like Jimmy Eat World, Thrice and Foo Fighters speak volumes more than any surface comparison can. In addition to The Other Side of You, the music video for "Bullet" was an undeniable triumph for the group, and elevated the single to a whole new level. The concept for the video owes to a new-age horror flick with the filming as something that the band can be immensely proud of.

But today isn't about June Divided's first EP; it's about their first full-length album, Backbone, that dropped earlier this week on July 10, 2012. Taking what they did with producer Alec Henninger on The Other Side of You and amping it up to a whole new plateau, June Divided (working with Henninger again) find themselves exploring a vast new territory with tinglingly exciting possibilities. Though not a part of the music itself (and a seemingly lost art), it is worth noting the artwork for the album: simple, powerful and memorable, the album's cover adds to an already exciting feeling that's coursing through my veins as I hit play on the first track.
The first song I hear from the album, however, is not the opening track (which is the song "Waves"). Instead, I (along with everyone else who's been following the band on Facebook) was treated to the album's lead single "Secrets" upon its release a few weeks ago, and from second one, the song is completely unforgettable. The driving guitar chords set down by Melissa Menago and Chris Kissel tear through my speakers at lightning speed, and the powerhouse rhythm section of Keith Gill and Lenny Sasso blasts down anything that might be left standing. As the intro quickly fades and bleeds into a pulsating verse, Menago's vocals climb up over and cut through the air like a hot knife through butter. Gill's drumming is especially on point and the fills and rolls that come crashing down make for an exceptional end result: a track that thunders with power enough to match the attitude that it drips with. Clearly an excellent choice for the album's lead single, "Secrets" ensures that June Divided won't stay secret for long.
One thing that Backbone certainly has going for it is a track listing full of must-hears. Case in point is its title track which is an immediate classic in the band's catalogue. Kissel's guitar riff is addictive and rips with hellbent intensity through my ears, vibrating through the roaring peaks set up by Sasso's pounding basslines. Menago nails the vocals perfectly, and proves once again that June Divided is no ripoff band: these guys have their own groove and own the hell out of it. With Kissel's notes resonating in the foreground, Gill's drums carve out the bombastic cliffs that Menago's vocals do swan-dives off of. Not an outlier by any means, "Backbone" would certainly be my choice for the album's second single if I had any say at all, and is currently receiving the airplay it deserves on my show Underground Takeover.
Including other five-star tracks like" Waves," Skin and Bones," "Drive," and "Yellow House," Backbone is a smash success of a first album for June Divided. Combining explosive rhythms with clever and poetic songwriting, the Philadelphia quartet craft an instant classic for alternative fans in the new decade. (Seriously, it's no wonder these guys landed a bunch of dates on the 2012 Warped Tour). Resilient and powerful, Backbone will now act as a spine for all future June Divided works to grow from. Bottom line? You have to listen to this album: now.

Key Tracks from Backbone: "Secrets," "Backbone," "Waves," "Skin and Bones," "Yellow House"  

On the Other Side of Bullets with June Divided

It's been a while since I gave you guys a brash and powerful female-fronted group to sink your teeth into, but that all changes today. I've been listening to this band for months now, and they've been on regular rotation on my radio show Underground Takeover since this winter passed. Drawing influences from bands such as Jimmy Eat World and Explosions in the Sky, June Divided is a hard rocking quartet from Philadelphia, Pennsylvania whose sound is a mix of energetic vocals and meditative instrumentation.

June Divided

Comprising members Melissa Menago (lead vocals and guitar), Chris Kissel (lead guitar), Lenny Sasso (bass), and Keith Gill (drums), June Divided dropped an explosive recording with their EP The Other Side of You in early 2011. Bombastic in its execution and powerful in its unflinching grip, The Other Side of You blew me away from the moment I started listening to it. It's a mix of soaring vocals tiptoeing on razor-sharp guitar riffs and balanced out with powerful rhythmic pulses.
The first song from the EP that grabs hold of me is also the EP's lead single: "Bullet." Accompanied by a devastatingly powerful music video, "Bullet" is immediately unforgettable in the opening sequence of drums and guitar notes. Kissel's guitar riff is contagious and addictive, and when Gill starts counting in on the high-hats (and then on the bass and snare drums), it's all over and I'm hooked. As Menago's sultry vocals begin a jagged cut through the instrumentation, the slice comes to splitting fruition as in the last line of the verse she belts it out high and far. With Kissel's guitar building over itself again and again, it all comes crashing down in the second that Sasso's basslines rip the ground apart, and with Menago's vocals climbing higher, the chorus of this song is as brilliantly crafted as any I've heard. It's no accident that this is the song that June Divided chose to be their leadoff single for the EP. One of my favorite things in the song is Gill's drumming, and I don't think I can give enough praise to this rhythm section; Gill and Sasso lock tightly to provide a thud-boom-crash dynamic that is certainly not lost on anyone who pays attention to it. With Menago adding rhythmic chords to Kissel's beautifully simple fretwork, the guitar section of the song is rough and rugged in all the right places, and smoothed over with a nice little hint of polish by Menago's heady vocals. If the song itself isn't enough for you (and it damn sure isn't for me, because every time I hear it I want more), then the music video that June Divided released for the track has gotta be. Portraying the band in simple performance scenes as well as an interesting story line, the music video for "Bullet" is for fuel for the fire. Like the title suggests, the body of "Bullet" is simple, powerful and unforgettable. Definitely the first must-hear song off The Other Side of You.  

At just under four minutes, "Bullet" is also shorter than some of the other songs on the EP. The opening track, "If You Were Here" clocks in at five minutes and spends every one of the making a case for June Divided. The opening riff that Kissel provides definitely has a '90s flavor to it, almost with that same sort of alternative rock feel that I loved when I first heard Counting Crows or Jimmy Eat World. But things get really 21st century really fast: Menago's vocals saunter in like it's the most casual thing in the world, and moving from the light taps he's been adding to the high-hats, Gill begins a choreographed dance with Kissel, trading powerful beats for hard-edged chords. Sasso sits back a little, content to drive the rhythm just under the surface, but the song would already be lost without his lines. One of the things that I love about "If You Were Here" is that it's not too over the top: Menago goes to town on the choruses and the stop-start rhythm of the guitar chords lends to a post-'90s dynamic. Yet it's not overdone, not too lost in itself, and still the track emerges from the tunnel strong and vital, like the sound of light just after a storm. The bridge of the song is not anything too ambient or experimental, but for that reason exactly I'm not lost in trying to follow it. A solid track to open what promises to be a great EP, "If You Were Here" showcases only a little of what June Divided are capable of.
One of the clear stand-out tracks on the EP must be the title track. "The Other Side of You" has a blasting rhythm that is like a shot of adrenaline in the night. The guitar chords are hypnotic and the vocals slice like a knife through hot butter, with melody that bleeds through every drum beat to every inch of the track. On "The Other Side of You," June Divided experiment with song dynamics that seem to be a slight departure from those on "If You Were Here" and "Bullet," but they only do so making sure they absolutely nail the final result. I know that a lot of people are going to label Menago's vocals as being Paramore-esque, and while her range and power are slightly reminiscent of Hayley Williams, her style is all her own. This band is certainly no Paramore knockoff, and on "The Other Side of You" nothing could be clearer.

Six songs strong, The Other Side of You is a brash and brilliant first step for the Pennsylvania band. But that's not all these guys are capable of, and certainly not all they're doing. Released just a week or so ago, June Divided let loose the first track from their forthcoming album Backbone, titled "Secrets." If this song is any indication of what I can expect on the full album's completed version, then I can't wait to hear the finished product.
With power and attitude enough for a mountain of bands, June Divided takes cues from bands like Jimmy Eat World and expands on what they set out to do. Nothing about this band is half-assed, and The Other Side of You is certainly one of my picks for a favorite EP, especially in the last few months. Backbone is sure to be this band's breakout success, but don't be fooled: The Other Side of You is where everything started, and if you're looking for an EP that will make your ears thank you, this is it.

Sounds Like: Jimmy Eat World, Paramore, Explosions in the Sky

Key Tracks from The Other Side of You: "Bullet," "The Other Side of You," "If You Were Here," "Perfect Storm"

Check out June Divided more at: their Homepage, Facebook, and Myspace 

Getting Pathological with Waking Elliot

It's been a little while since I gave you guys a great record review, but no worries, I have a lot coming up! Today is one of those days, and I'm sure that this will have been worth the wait. I've been listening to this EP for the last couple months and have been liking it more and more with every subsequent listen.
Formed in late 2009, Waking Elliot is a Connecticut-based five-piece that are pushing the boundaries of female-fronted alternative rock in the best of way. I got my hands on the band's EP Simply Pathological, and have been obsessed with the sound that's coming through the speakers. Comprising members Mary Carson (lead vocals), Allyson Brown (keyboard and vocals), Evan Forstrom (guitar), Kevin Bieler (bass), and Rob Jeffrey (drums), Waking Elliot's sound is a mix of Paramore-style vocals with the a more Meg & Dia musically alternative approach. One of the things I love best about the EP from the start is the artwork. Perhaps that doesn't really fit in with a music review, but anyone who knows anything about the music industry knows that a snazzy-looking cover and artwork certainly help a band to define its persona, and in that respect, Waking Elliot certainly understand the basic tenant of eye-catching artwork.

Waking Elliot; From left: Forstrom, Brown, Carson, Bieler, and Jeffrey 

But you guys came here to hear about the music, so here we go. Simply Pathological is rife with edgy guitar riffs married to slick and sexy vocals, dumped over rolling rhythms and sing-along choruses. One of my immediate favorite tracks from the EP is "Hide and Seek." The intro riff is brilliantly simple and amazingly addictive. Carson's vocals tip-toe a tightrope between soft and sugary and adrenaline-infused power. Rolling off her tongue like little demons creeping from the depths of a shattered psyche, Carson's lyrics are brilliantly matched by Bieler's bass, and as Forstrom shoots up the song with high-octane notes and dragging palm-mutes, a sense of hyper-paranoia descends, and this track is just incredible. The interlude of the song brings the rise of Brown's keys, eery in the twilight against the backdrop of Jeffrey's high-hat taps. The energy is hair-bristling, and as the interlude ends in a crescendo of power and pleasure, Forstrom takes off in a solo that is as neurotic as it is searingly catchy. Blending high above with Carson's vocals, Forstrom and gang crash down, and with the sudden ending in silence, I'm left breathless in the dark, like a patient in a sanitarium. "Hide and Seek" is a 2:45 minute triumph for Waking Elliot, and if this was the only song I heard, it would still be enough to blow me away.

Waking Elliot's EP, Simply Pathological

But Waking Elliot are far from done. "One-Two" is the lead-off track on the EP, and from the start, Carson's voice and Brown's keys make for an epic intro. Like a dim-set street scene, I can see the fog rising as Carson is joined vocally by Brown as Bieler and Forstrom take their cue from Jeffrey's snare taps and work their way into the black satin-laced track. Forstrom's guitar chords grow in intensity with each passing chorus, and at the moment that Carson and Brown take a second to breathe, he lets loose with a mini-solo that skips along Bieler's bass-blasts to land smoothly in Jeffrey's snare-cracks. The loud-quiet-loud dynamic is a clear Pixies throwback, and adds to the overall power of the song in a way that makes "One-Two" a brilliant choice for the EP's first track. By the end of this epic ballad, I'm dying to hear more, and Waking Elliot have hooked me indefinitely.
My initial favorite track on the EP, though, is also the song I've had on regular rotation on my radio show, Underground Takeover. "Truth or Dare" is brilliant in its simple deception and misdirection. Seconds 1-10 are Carson's vocals laid nicely over Brown's keys and Jeffrey's drumming, and although the rhythm is somewhat fast-paced, nothing prepares me for the hurricane that follows. As Carson's last whispers float from the speakers, Forstrom and Bieler stomp onto the scene with a guitar-bass dynamic that screams passion and power. To add to the drowning effect of the music, Brown joins Carson on vocals, like two sirens surrounding me in the night as Bieler, Forstrom, and Jeffrey come at me from all sides. The best part about this song, though, is the bridge, which bursts at the seams with high-octane fumes and fury. Forstrom lets loose with a blistering riff that drills into my head, and as the tempo picks up, Carson and Brown vocally bring the house down as Bieler keeps pace with Jeffrey's gut-busting rolls. The absolute high-point of the song is when the bottom falls out, and Jeffrey crashes hard on the kit just as Brown and Carson take off to soar vocally overhead. As Carson's voice echoes into oblivion, Forstrom and Brown dance around their intertwining melodies. With Brown's keys draining out, Carson comes down just one more time, fading away on Brown's softening keystrokes.

The last stand-out track on Simply Pathological is also Waking Elliot's music video debut. "Second Star to the Right" is the ballad on the EP, and is certainly a change-up compared to "Charade" or "Truth or Dare." Starting with a mellow and resigned guitar riff from Forstrom and piano progression from Brown, "Second Star to the Right" builds from the first chorus into an epic track, buoyed by Carson's broad vocal range and the rhythm team of Bieler and Jeffrey. I'll be the first to say that this track was one that took me a few rotations to appreciate, but I hit a point where I was struck by the ethereal quality of the intermingled vocals between Carson and Brown set against the heavy-yet-melodic instrumentation of Bieler, Forstrom, and Jeffrey. A heavy ballad that finishes the EP in the best of ways, I can now understand why Waking Elliot chose this as the track for their debut music video. It doesn't fall into the category of the catchy 3-minute single for the first music video; instead it's heavy, epic, and as Carson's voice cuts through Forstrom's palm-mutes and Brown's keywork, "Second Star to the Right" is the best way for Waking Elliot to show all sides of their sound.
Just as comfortable in heavy romantic songs as in cropped and clever tracks, Waking Elliot are not a band to be ignored, and as the last of Brown's keys fade on the EP, I'm left dazed and wanting more. There's no feeling better than that for any music journalist, and there's just no better way for a band to finish a recording. At just over 20 minutes, Simply Pathological is a must-hear EP for anyone looking for the next alternative sensation gracing the music underground. I can't wait to see what Waking Elliot come up with next, because with the ability and potential this group shows, they won't be underground for much longer.

Sounds Like: Paramore, Meg & Dia, Evanescence, Hey Monday

Key Tracks from Simply Pathological: "Truth or Dare," "Hide and Seek," "One-Two," "Charade"

Check out Waking Elliot more at their: Homepage, Facebook, and Myspace  

Cracked and Diseased with Eliza and The Strange

Sometimes it takes a lot of leg-work in this business to find the next underground sensation, and sometimes they just fall right into your lap. A lot of the bands that have made it on to NewRockNews43 have been the result of many hours searching for just the right band to next review. Eliza and The Strange, however, were the happiest of accidents that have turned into an obsessive listening binge for the last 72 hours that's almost kept me from any sleep at all. Trolling the random Facebook feeds that pop up in front of me daily, I was intrigued by a few words detailing a new "voodoo-rock" band from Nova Scotia. That intrigue has turned into an obsession and a new top-five band in my head.

Eliza and The Strange

Eliza and The Strange are a creepy voodoo-rock five-piece from Halifax, Nova Scotia, Canada that sound like darkness and exude a sexy deviance I can't help but find myself attracted to. Composed of Eliza White (lead vocals and organ), Alex MacAskill (guitar), Ian Bennett (guitar), Jake Seaward (bass), and Kenny Myers (drums), Eliza and The Strange strangle from their instruments a hair-raising groove that would find home in any Tim Burton or Johnny Depp film. At just over 30 minutes long, their self-titled debut release (which just came out this past Friday!) drips in sex, fury, dirt, and grit, and oozes from the speakers with the same kind of intoxicating rhythms that made songs like "Queer" and "Vixen" super-sized hits for Garbage.

Eliza and The Strange's self-titled debut album

One of the hardest things to do with this album is to find just the right songs to go into detail on, because there are simply too many good ones to choose from. "Lady of the Night" is bass-led by Seaward and showcases White's deceptively sexy vocals. The guitar riff and chords laid down by MacAskill are simple and catchy, and set against Myers' cymbal crashes, perfectly encapsulate the feeling of straight power behind White's breathy vocals (though Bennett is new to the group and does not play on the majority of the album, he does play on the album's final track, "They've Got Secrets").
Yet my favorite track form the minute I hear it is track number two, "She Ain't Pretty." From second one, MacAskill's guitar riffs are addictive, and as they disappear behind Seaward's basslines and Myers' dimming during the verses, the blast/disappear form that details the song's structure is a beautifully clear and brilliant tribute to the Pixies' loud-quiet-loud dynamic. The rhythms in the song are contagious, and at just over 2 minutes, "She Ain't Pretty" is a blitzkrieg assault on my senses, tearing me apart one minute and gone the next. White's vocals are sultry and seductive during the verses, but blast forward as the chorus comes, and mixed with her dirty organ notes, the gritty guitar chords and minimalist drumming, I'm reminded of a Mudhoney-meets-Garbage mashup. With a lead-single track like this, it's no wonder that Eliza and The Strange chose "She Ain't Pretty" as the song for their first music video. Shot in an eerie black and white and washed out purple, the music video for "She Ain't Pretty" is one mindfuck after another in the best of ways. Scenes of the band tearing it up live intermingle with shots of a girl dancing and walking through a cemetery. White and company revel in the dirt and grit that they pull from their instruments, and watching them play live is like watching a building engulfed in flames: almost too scary to watch, but so ethereal and transcendent that you can't look away. Beautifully scary and wonderfully creepy, "She Ain't Pretty" is a five-star track and smash single if there ever was one. Bringing together Dead Weather-style vocals and White Stripes-influenced fretwork, Eliza and The Strange make this song an instant classic. To add fuel to the already blazing fire, MacAskill brings the whole house of cards crashing down at the end, letting loose on a blistering guitar riff and solo that tops out chaos-driven drumming and bombshell-basslines. If you listen to only one track from this album, "She Ain't Pretty" has to be it.

To continue their voodoo-rock groove, Eliza and The Strange come back a few minutes later with "White Lies," a riff-driven song that builds on itself with effects and rhythm that make it unforgettable. Wet with sweat and grime, "White Lies" is everything that's great about rock 'n' roll and going to a small, hole-in-the-wall club to see an amazing band. I can feel myself being jostled and jilted between the other sweaty concert goers, and any song that can bring that to me as I sit writing at a computer has an innate intense power that makes it more than just a diamond in the rough. MacAskill's bouncy guitar rhythm is rough around the edges and helped along by Myers' simplistic yet decisive drumming. White's organ creeps onto the scene with muddy blues notes, and twinkles dimly in the night just over MacAskill's nimble fretwork. With distortion and feedback enough for ten guitars, MacAskill sets "White Lies" apart from the rest with a subtle conniption of attitude that speaks to the versatility and power behind the track. Yet "White Lies" also plays host to a brilliantly disguised rhythm change, and with the stop/start dynamic of the song and White's hypnotic vocals to sway to, I'm lost in a dark vortex of purpled-black.
"They've Got Secrets" is not only the last track on Eliza and The Strange's album, but it's also the longest. I love the slow, droning bassline, the laid-back drum beat and vocal set that reek of blues-rock heritage and attitude. The two minutes in White goes full-throttle on her organ as Seaward and Myers share energy on the rhythm section just below MacAskill's heavy riffs. Bennett, who makes his recording debut with the band on this track, is quick to keep up with MacAskill, injecting his own brand of adrenaline into the brittle skeleton of the song. The only way to describe this song is as darkness incarnate amped up to an epic level and laced with seductive hypnotism. The best way to close out the album, and certainly a track that leaves me wanting more, "They've Got Secrets" is a brash whirlwind of distorted guitars and blood-curdling wails.
The fact that this is the debut album says something to me about this band. Eliza and The Strange are full-throttle all the way through all 30 minutes of this recording, and with these ten songs under their belts, the hair on the back of my necks stands up at the thought of what else these guys could be capable of. The combination of minimalist rhythms and eerily seductive vocals is a winning idea, and on their self-titled debut, Eliza and The Strange take the idea to its most triumphant heights. The only thing that's strange about this band is that they don't already have a major following of thousands. No doubt that when people start listening to this album in addition to the music video, big things will start to happen for Eliza and The Strange. I can't wait to see what this band comes up with next, because I know in my bones it's going to be something reveling in voodoo-rock and unbelievably addictive.

Sounds Like: The White Stripes, The Dead Weather, Garbage, The Kills

Key Tracks from Eliza and The Strange: "She Ain't Pretty," "Crack," "White Lies," "Disease," "Lady of the Night," "They've Got Secrets"

Check out Eliza and The Strange more at their: Homepage, Facebook and Myspace  

The 2011 Pydromania Awards Are In!!

You guys out there voted, and made your choices known. All the artists did amazing jobs raising votes, and just to let you know just how amazing all their efforts were, the hit count for NewRockNews43 jumped more than 7,000 hits in a matter of weeks! Though a little belated, the Pydromania winners are here finally! (And the reason for the slight wait? Not only new results, but brand new promos from a couple of the artists too!)  From around the world, you guys all checked in and made sure that the artists you wanted walked away with the bragging rights of being the "Best of's" for another year. So without any further delay (as if you guys couldn't see the results yourself anyway haha), here are the 2011 Pydromania winners!! They are:

For 2011's Best Hard-Rock/Metal Artist:

Reapers Riddle

For 2011's Best Pop/Rock Artist:

Andy Gruhin

For 2011's Best Pop-Punk/Punk Artist:

Voted Most Random

For 2011's Best Electronic/Alternative Artist:

The Orkids

For 2011's Best Alternative-Rock Artist:

Fools For Rowan

Thank you to all the artists and fans who participated! This was an awesome contest, and you will definitely be hearing these groups getting massive airplay on my radio show, Underground Takeover! Who can't wait till next year, ha?!

A Spectator at the Darling Parade

One thing about this job that gets easier and easier the more I do it is how seamless the discovery of a new group translates into a detailed article. Even with the writer's block every journalist gets sometimes, I can't stay away too long, as these artists and many more just keep pulling me in to their incredible music.
Case in point is today's story, Darling Parade. A four-piece prophecy of things to come, Darling Parade is a cunning mix of power-pop sheen melted over alternative-punk attitude and rhythm. The anthemic sing-along choruses Darling Parade weave between their stop-start verses create a track-list that simmers with new melodies driven over classic pop dynamics.

A tight-knit group from Nashville- Tennessee consisting of Kristin Kearns (lead vocals and guitar), Adam Hatfield (lead guitar), Nate McCoy (bass), and Casey Conrad (drums), Darling Parade take the melody and anthemic song structure of Avril Lavigne and lay it over the punk ethic of Paramore to create a slew of songs that sound as fresh as ever and blow me away.

Darling Parade; From left: Adam Hatfield, Kristin Kearns, Nate McCoy, and Casey Conrad

I discovered the Darlings a few months ago, and the reason I waited to tell you guys all about them is because why get the lowdown on one record when you can get it on three? The Darlings just released their most recent EP, Until We Say It's Over, just over a month ago around Thanksgiving, and it's a sick addition to the already burgeoning DP catalogue. One of my favorite songs from any of Darling Parade's recordings is the first song I heard by them, "Bells Are Ringing" from their self-titled debut. In its corner, "Bells Are Ringing" has a melody that kicks ass bred against a background of rhythmic guitars and drums. From its inception, "Bells Are Ringing" finds a home deep inside of Kearns' soaring vocals which hover somewhere in between Avril Lavigne and Paramore. Carving out her own little vocal niche for Darling Parade, Kearns leads the rest of the band fearlessly into battle as Conrad wrestles with his drums to blast for the most powerful rhythm he can muster from the skins. Tightly wound around McCoy's heartbeat basslines (that drive the verses of this song in an unforgettable way), Conrad's drums prove that a drummer, too, can create his own sound, if you're listening for it. Hatfield's fretwork is something that continues to intrigue me throughout the entirety of the song. Pick-slides and finger-trembles that pop out in the most unexpected of places, Hatfield finds a way to take a song that was already Top Ten material and make it even more so. If "Bells Are Ringing" doesn't hook you the first time you hear it, I will be utterly surprised. The keywork, too, provided by both Kearns and McCoy, takes the track to new heights with power and melody that I can't help but fall into. This song is everything that's right with the music coming out now. A great anthemic message wrapped up in the shiny wrapping paper of melody and pop-polish, I can't imagine what more the Darlings could do right.     

Darling Parade's debut: Darling Parade

Also from Darling Parade jumps "Far Away," a song that fights with the former to assert its dominance over the EP. Built on McCoy's blistering basslines, the vocal work by Kearns is some of her best. Hatfield's guitar riffs are the essence of the word "epic," and as his palm-mutes back up McCoy's distorted basslines on the verses, there is already something different about this track. Conrad's drums add to the epic feel of the track as they crash in a crescendo of rhythmic bliss over Hatfield's chords while Kearns is high above, a vocal angel with a certain type of edge. With "Far Away" and "Bells Are Ringing" on the same record, the Darlings prove that they have a candle to burn in the hard-rock parade.

One of the best things about Darling Parade is that they seem to come out with a new EP almost as quickly as I can go out and get them. Just before their release of their most effort, Until We Say It's Over, the Darlings released the EP What You Want, featuring such hit songs as "Take This City" and "What You Want," as well as the blistering self-contained single, "Perfectly Worthless" (which has seen substantial radio play on my own radio show, Underground Takeover). 

Darling Parade's newest EP: Until We Say It's Over

Yet even with Darling Parade, What You Want, and the "Perfectly Worthless" single under their belts, the Darlings are still not satisfied. So just over a month ago came their most recent triumph, Until We Say It's Over. I've listened to this album over and over (and it's also worked its way into my radio show playlists in a big way), and there is just no way to not love this record. The lead-off single (which comes along with a great music video) is "Never Wrong," a song that will have you singing even before you know it. Kearns' voice is hypnotic and Conrad's drums are rhythmic pulses of life as Hatfield's guitar chords blast through in technicolor force when the chorus begins. Clearly my favorite track on the new EP, "Never Wrong" is an instant classic in the DP catalogue. The high resonance of Hatfield's guitar bleeds seamlessly over McCoy's basslines, and like heartbeats in the darkness, Darling Parade's rhythms are so contagious, there's no way not to love this band. Among other five-star tracks like "Long Way Back" and "Remember" (which features guest vocals from Stephen Christian of Anberlin), "Never Wrong" is another grand slam for Darling Parade.

With the potential to be one of the greatest new bands of the 2012 musical year, Darling Parade burst onto a scene that will surely welcome them with open arms. A tuneful spirit signaling the renewal of true rock n' roll, Darling Parade soar in on the silk-tipped leather wings of true alternative rock. If one band makes it onto your playlist this year, this one has got to be it. The Darlings have arrived, and with them my renewed faith in the power of true melodic rock.

Sounds Like: Paramore, Avril Lavigne, Letters to Cleo

Key Tracks from Darling Parade: "Bells Are Ringing," "Far Away," "Never Fall Down"

                   from What You Want: "Take This City," "What You Want"

                   from Until We Say It's Over: "Never Wrong," "Long Way Back," "Remember"

                   Singles: "Perfectly Worthless"

Check out Darling Parade more at their: Homepage and Facebook  

Fight the Fear Debut New Music Video

Connecticut-based band Fight the Fear just released their new music video for their song "The Swing" yesterday, and what an addictive music video it is! Fight the Fear (who have an in-depth review coming on here very soon!) make use of hypnotic programming and vocals laced intricately over addictive blasts of guitar and bass chords as cymbals crash head-on in this clever music video. I've watched it 50 times already between last night and right now, and I know there are more plays to come. Check this out, it's gonna be your new addiction for at least the next week!!

Also, check out Fight the Fear's first music video "The Fire" here!

The Honesty Finding Comfort Here

It's been a little while since we heard anything out of The Honesty, but the silence was broken just a few weeks ago. Coming back with a brand new EP released around Thanksgiving, The Honesty take the first shot as the new EP takes roots in my head and won't let go.
One of the best things about The Honesty's new EP Find Comfort Here is the exploration of new sounds and experimentation with different vocal dynamics than on their previous effort,  The Things We'll Never Know. While the latter was characterized by the lead vocals of Tasha Gilbreath, now the reigns of the lead vocals (as well as all of the EP's instrumentation) are taken over by Michael Davis as The Honesty concoct a new layer of sonic skin to wrap themselves in.

The Honesty's newest EP: Find Comfort Here

Containing just three tracks, Find Comfort Here draws its power from the driving guitars and melodic vocal hooks that made The Things We'll Never Know an immediate must-hear. Now, the with their energy reinvested in the pounding rhythm section married to symphonic guitar prowess, The Honesty come back with an EP that drips in melody and alternative adrenaline.
Track one is "Warning!," and the breathy palm-mutes by Davis are instant ear-candy as his vocals slide easily over the song's mashing rhythms. The drumming in all rock n' roll, a driving thunderstorm of cymbal-crashes and quick snare-cracks. Over as soon as it begins, "Warning!" is the best way for The Honesty to breakout on their newest EP. One of the things that's so great about this song is it goes so quickly only because you're simply unable to distance yourself from the audio-energy dripping out of the computer speakers. As opposed to coming back with an overdone track that begs to be put out of its misery, "Warning!" is a quick POW-POW-CRACK to your senses leaving you doubtless and wanting more.
"Runaway" is no different. Blasting forth from second one with a wall of guitar notes and drums that stand out, The Honesty craft a song that is more than just a filler track for the EP: it continues the energy of "Warning!" without overdoing anything and keeping the sounds of the recording in line. The vocals are smooth, pithy with masses of sultry sexiness thrown in for good measure. "Runaway" is going to be that song that plays all winter, gaining legions of new fans for The Honesty before they even know it.
Rounding out the EP is "The Way Out," a track that relies heavily on rhythmic changes brought on by distorted notes and a resigned but powerful bass. Something about this song just grabs me: it just sounds like winter, and with the cold, dark months just ahead, "The Way Out" is sure to be on repeat for my foreseeable future.
Find Comfort Here chalks up to a clear victory for The Honesty. Through new experimentation married to tried and true traditions, The Honesty reemerge with an EP that focuses the spotlight securely on them. When Find Comfort Here is playing, you simply won't be able to think of anyone else. This band will be all over your radar, invading your senses at every turn. Not bad for an EP just three songs long clocking in at just under ten minutes. Not bad at all. 

2011 Pydromania "Best of" Contests Up Now!!

Hey all, to mark the end of a great year for NewRockNews43, I decided to start a new little tradition. With all the amazing groups we've heard and discovered this year, who do you think is the absolute best?! I'm calling it the Pydromania "Best of" Contest because these artists are so hot, they're cool (figure that one out if you can, ha!). Five categories, over 30 bands and artists, and more amazing songs than I can count that have shaped this year for NewRockNews43 and my brand new radio show Underground Takeover, so which artists really rocked the hardest?! The winning artists of each category will get a promo of their choosing displayed on the front page of NewRockNews43 as one of the first posts of the new year. They also will receive bragging rights not only for the whole year as being voted the best and hardest-rocking, but will receive bragging rights for being the FIRST artists to ever win this brand new annual contest. Winners may also receive amped airplay on my show Underground Takeover in Boston, so who's looking for some airplay?? ;D Polls are on the right side of the pages, and voting closes in just under 2 weeks, so get listening, and get voting!!

The nominees are:


For Best Hard-Rock/Metal Artist of 2011:

• Diamond Eye
• Tetrarch
• Reapers Riddle
• All I Know
• Homebrewe
• Into the Night
• Almost Kings
• The Swear

For Best Pop/Rock Artist of 2011:

• Andy Gruhin
• Cloé Beaudoin
• The Head
• Ratham Stone
• Aerials
• The Heartshakes

For Best Pop-Punk/Punk Artist of 2011:

• Darling Parade
• The Lightweights
• Minds Without Purpose
• The Honesty
• Voted Most Random
• Versus the Robot!
• Start Up 45

For Best Electronic/Alternative Artist of 2011:

• Lost In Atlantis
• The Orkids
• The Blue Pages

For Best Alternative-Rock Artist of 2011:

• 49 Stones
• WeSurrender
• Season to Attack
• The Riot Tapes
• The Life Review
• Radagun
• Sound Express
• Death is a Dialogue
• Fit For Rivals
• LOVELOUD
• Fools For Rowan

There they are guys, so keep the votes coming, and we'll cap off this year with an explosive bang! More articles to come, and I have some awesome reviews, interviews and lists coming, so keep rocking and we'll make 2011 the best year NewRockNews43 has seen yet!

Season to Attack Ready Their First Assault

I've been waiting for months to report on this new group and now I'm finally gonna get the chance to show you guys some brand new music from the just-formed Season to Attack. Catalyzed from bits of the former Vancouver bands Mass Undergoe and Irreverents, Season to Attack is an assault with a melodic alternative edge that will grab you immediately and turn you inside out.
Formed by members David Isbister (lead vocals, and formerly of Mass Undergoe), Alan Calimbas (guitar, and formerly of Mass Undergoe), Jon Wu (guitar and vocals), Cory Wilson (bass), and Brian Badd (drums, and formerly of Irreverents), Season to Attack if one of, if not my most anticipated band to hear coming out of the Vancouver music scene. Experimenting with a new style of recording they call a 3P (a 3-song EP), STA released 3 new songs under the title Threads just yesterday, and oh man, are they prophetic (excitingly, the 3P will also include 3 video blogs for download along with the 3 audio tracks). "Finish Hymn!" and "Unrequited" showcase Isbister's roar of a voice and Wilson's prowess on the bass, but the song that really grabs me and screams lead-off single is "You Aren't Even Worth This Song."
A crystal clear vision of what's to come, "You Aren't Even Worth This Song" has everything the newest single for a band should have: it's got the hook of a guitar-driven chorus and the vocals to match. Isbister's voice is melodic and edgy, and as Calimbas and Wu blast through on dual walls of nitro-driven notes, I'm floored that the first release from a new band can be this brilliant. Halfway through, Wilson's bass lends a funk tone to the undercurrent  of the song, and Badd's drumming is controlled chaos as Isbister brings it all home with that growl that I loved so much in Mass Undergoe. If this is a sign of things to come (and everything in my gut says it is), I can't wait to hear more. Season to Attack is going to be one of the biggest alternative sensations of the next year. Listen to "You Aren't Even Worth This Song" below!

   

Crushed Hard by 49 Stones

I'm more than pleased to post here today the second in a new cache of coming reviews aimed at sating that thirst I know you've all been building for some time. I'm so excited about this particular band because their's is a sound I haven't heard done so well in some time, and I can't wait to hear what else comes blasting from their speakers on their next record.
But I'm getting ahead of myself. Enter 49 Stones, a new alternative-rock powerhouse that will redefine everything you thought you knew about music in the post-Nirvana age. Hailing from Kansas City, Missouri, 49 Stones stomps onto the scene in true hard-rock fashion. Comprising hard-rocking members Emma Jo (lead vocals and rhythm guitar), Brett Cox (lead guitar and backing vocals), Garrett Cox (bass and backing vocals), and Kyle Scheel (drums), 49 Stones is a hurricane of alternative prowess, combining Pearl Jam-esque guitar solos with Garbage-inspired vocals and a Smashing Pumpkins-like rhythm section.

49 Stones; From left: Brett Cox, Emma Jo, Garrett Cox, Kyle Scheel 

From the start of their debut album Turn It On, 49 Stones has something unique that just drives me to crank the volume up all the way. The first song I listen to from the record is also my immediate favorite. "Crowded" is the song that I'd bet my teeth on is going to launch this band into the stratosphere. The second the meters start ticking, Emma's vocals are haunting and soul-splitting, slick and sultry, but brutal and definitely not to be trifled with. With Garrett Cox's bassline-blasts like cannon-fire coming down around me, Scheel's intense drumming keeps me moving hard through the night of this heavy masterpiece. Cymbal-cracks and snare-snaps ring back against the bass-pumps, and all the while Emma's voice is riding shotgun high and mighty. Then out of nowhere comes Brett Cox's high-octane guitar in a searing spectacle, shredding off whatever preconceptions I might have had before. One of my favorite parts about this song is hearing Brett Cox just make that guitar scream halfway into each chorus. There is nothing I've heard since Alice in Chains that is so hauntingly brilliant, and that would simply be enough for this song to be a number one hit. But 49 Stones are only halfway done, and just as Emma's vocals of "let's dance" ring out, Garrett Cox lets loose on a bass-solo that completely blows my mind. Yes bassists can solo, and fuckin' A does this guy pull it off! With Scheel blasting on his snare in time, the Cox-Scheel rhythm section is one for all other bands to be jealous of. As I sail into the last minute of the song riding the coattails of Brett Cox's guitar notes, Emma has to blow my mind just one more time. The carnal shriek that this girl rings from her body literally makes the hair on the back of my neck stand up. What a wail this girl has, and she nails every single fucking bit of it! "Crowded" has been on repeat in my iTunes since I got this album, and all I can say is that this song is Garbage-meets-Alice in Chains in a cataclysmic mashup of shear power.

49 Stones' debut album, Turn It On

"Are You Listening" has a more hard-rock crunch than "Crowded," but still emits an alternative vibe in Emma's smooth yet firm vocal roar, and alongside Brett Cox's fretwork, 49 Stones make this one of their best performances. Scheel is going crazy all over his kit, and the 3 Doors Down-esque tempo set up by the Cox twins and Emma just kicks down anything standing in their way. Emma's voice is like a sonic battering ram, crashing through my senses like an earthquake of raw power.
Then the earthquake turns into a tsunami of epic proportions as I move to "Indigo," and Emma trades up her battering-ram vocals for something different. With Brett Cox's guitar notes ringing high overhead, Scheel keeps time as my face melts off, skewered by these soon-to-be alternative-rock gods. Another five-star track on an album of five-star tracks, "Indigo" just solidifies my belief in this band.
With other mind-blowing feets showing up all over the album, 49 Stones continue to impress me. Brett Cox's guitar solo on "Devil All Along" is not to ignored in the slightest, and the rhythm team of Garrett Cox and Kyle Scheel bangs life into all parts of this album. Emma's breathy vocals continue to blow my mind even after the album is done, and I have to play it again just to make sure I didn't miss a single thing. The heavy tapestry woven throughout Turn It On is vivid and powerful, and a critical force to be reckoned with. If you're looking for the next big thing on the alternative rock scene, here they are: loud, brash, and brilliant.

Sounds Like: Garbage, Pearl Jam, Alice in Chains, Smashing Pumpkins, 3 Doors Down

Key Tracks from Turn It On: "Crowded," "Are You Listening," "Indigo," "Chelsea," "Cruel and Unusual"

Check out 49 Stones more at: http://49stones.net/, http://www.facebook.com/49stones?sk=info and http://twitter.com/#!/49stones

The Lightweights Debut First Music Video

Just a day old, I'm psyched to post the official music video for "Sack Up, Sarah" off The Lightweights' album We Invented Awkward! The first music video effort for The Lightweights, "Sack Up, Sarah" was the perfect song to start with, exhibiting The Lightweights' old-school pop-punk approach with a wit and sneer I'v longed to hear for some time. The house-party scene is old-school and a stark throw-back to Blink-182 and Sum 41, and you can't get much more pop-punk than that. Check out this video. It's brand freakin' new, it's dripping with pop-punk edge, and it's gonna make you addicted to this new band!

UnderCovers and Collaborations: Foster the People's "Pumped Up Kicks"

Though I'm not a huge fan of Foster the People, I still enjoy them every not and again, and love when I hear the song "Pumped Up Kicks" come on the radio. Now I can enjoy the band on a whole new level.
Released literally no more than 30 minutes ago, Ratham Stone's cover of "Pumped Up Kicks" puts a whole new spin on an already classic song. With Adam Lipinski's dynamic lead vocals and core instrumentation by twin brother Andrew Lipinski as well as members Joe Hodgin, Daniel "DPak" Pacchioni, and Andrew Meffettone, Ratham Stone's cover leaves little if anything to be needed. The rhythmic team of Pacchioni (bass) and Meffettone (drums) creates a pule-laden backdrop for the dual vocals of the brothers Lipinski as Hodgin (lead guitar) leaps forward in short, melodic bursts. Great cover, great band, definitely more to come front here guys. Check it out!

UnderCovers and Collaborations: Semisonic's "Closing Time"

Something about this cover is just amazing, and I can't quite put my finger on what it is. Maybe it's the brilliant instrumentation, or the phenomenal voices of Alex Goot and Chad Sugg. Whatever it is though, this cover is fantastic and simple undeniable. Check these guys out, you won't be disappointed.

Getting Heavy with The Lightweights

I know it's been a few weeks since my last review, but hey, college is hard. Who knew, haha? In any event, I've raked in a bunch of new bands that you guys are gonna love hearing about, and will certainly love listening to. The first of these new soon-to-be headliners are The Lightweights. A pop-punk powerhouse of out San Antonio, Texas, The Lightweights reiterate everything that Blink-182 bashed forward with in 1994.

The Lightweights; From left: Markí Vallejo, Max Oliver and Danny Kittrell

True to the power-trio ethic of pop-punk greats like Blink-182, Green Day, and Eve 6, The Lightweights comprises members Danny Kittrell (vocals and guitar), Markí Vallejo (bass and vocals), and Max Oliver (drums and vocals). With an intense guitar-driven sound mixed with chewy chunks of bass and drums rhythm, The Lightweights take a stab at revamping a sound that has taken a backseat in recent years to overly auto-tuned pop and generic R&B. With their full-length release We Invented Awkward, The Lightweights move in on recreating the sound that so clearly influenced their playing to begin with.
From the start of the record, and just by going through a few snippets of its tracks, I am already enamored with the song "Time." If nothing else, what this song has going for it is a real rush of old-school pop-punk snot and sneer. Raw with plenty of energy packed into Vallejo's jutting baselines, "Time" makes for one of the most entertaining, if not exceptional, tracks on the album. With Kittrell's guitar chords raggedly rasping at the sides of Oliver's drumbeats, the mixed vocal performance of Kittrell, Vallejo and Oliver certainly adds to the song a dynamic clearly reminiscent of Blink-182. Clocking in at just over 4:00, "Time" is one of the songs on the album that has the raw crossover potential that pop-punk bands dream about.  
Blink and early Green Day fans will also find a classic track in the song "My Best Friend's Girlfriend." A slightly different take on Rick Springfield's song "Jessie's Girl," "My Best Friend's Girlfriend" dances around in classic juvenile insults and immature lyrical content. Yet for some reason, it seems to work, and in the same way that Blink-182 made snot-nosed immaturity cool, The Lightweights take their cue from Cheshire Cat and marry blunt and funny lyrics with raw instrumentation that proves this trio really mean business. Oliver's drumming is one of the highlights of this track, as his beats bang through your head as Kittrell's guitar chords drill through skull-bone to brain-matter. Vallejo's bass chords line the rhythmic pockets of this diamond-in-the-rough song, and with tracks like these, The Lightweights are sure to find an audience in those of us longing for good old sneering pop-punk. The song concept, too, reaches out to anyone who's ever had a best friend with a girlfriend that they just cant's stand. The Lightweights truly outdo themselves on this one.
Still, The Lightweights prove themselves to be more than simple punks with three-chord progressions. Songs like "Tell Me" and "Shocking Amount" show an acute amount of raw talent just waiting to surface. "Tell Me" in particular has a quality about it that is altogether hard to pinpoint, but one that everyone can understand. The chord progression is melodic in a way that's almost reminiscent of a ballad-esque song, and coupled with the lyrical content and the intermingled vocals, hints at a deep intensity just begging to come out. It's songs like this that make me excitedly curious to hear future recordings.
Yet, what is so intriguing about The Lightweights is not merely their sound, or their influences, but how closely the two, when linked, can highlight possible future events. Early Blink and Green Day fans will hear in We Invented Awkward the same sound they fell in love with when they heard Cheshire Cat, Dude Ranch, and Kerplunk. The sound with which The Lightweights are now experimenting is one tried and true, but for some reason or another, seems to be forgotten in the recent decade. Perhaps that, though, is what is the most exciting thing about hearing The Lightweights pick it up again; hearing that raw snot-nosed sneer dusted off after all these years is something for true pop-punk fans to get excited about. Even more so though, what is the most electrifying thing about hearing a band whose most recent album sounds like Cheshire Cat or Dude Ranch is wondering and fantasizing about where such a band's sound will go next. After Blink-182 put out Cheshire Cat, newly converted fans wondered where their sound would go next. Then came Dude Ranch and an evolutionary trend was established. Two years later, in 1999, Blink followed Dude Ranch with Enema of the State, a pop-punk classic solidifying the genre and catapulting Blink-182 to super-stardom.
Now it seems like the same evolutionary trend is starting to establish itself for The Lightweights. Their sound as of yet is just rough enough to retain its garage-rock integrity, but polished enough to warrant radio-play. Indeed, I myself am giving The Lightweights the radio-play they so clearly deserve on my own college radio station, which you can listen to here. With the nitty-gritty guitar chords and multi-vocal dynamics that drew me to Blink-182, The Lightweights show too much promise to ignore. I can't help but entertain the question of what their next album will sound like. If this one is like a Cheshire Cat/Dude Ranch combo, will the next one be their momentous Enema of the State? I have no idea, but I can't wait to find out.

Sounds Like: Blink-182, Green Day, Eve 6

Key Tracks from We Invented Awkward: "Time," "My Best Friend's Girlfriend," "Tell Me," "Shocking Amount"

Check out The Lightweights more at: http://www.facebook.com/thelightweights?sk=wall, http://www.myspace.com/thelightweightsband and http://www.youtube.com/user/TheLightweights 

The Riot Tapes Shake Up The Village Dublin

Check out this awesome video of The Riot Tapes from this summer. The Irish alternative rockers tear it up on their sick single "Photograph" in a shoot with slick production and great camera work. I haven't been able to stop watching this since I saw it. Check it out!

UnderCovers and Collaborations: Flyleaf's "All Around Me"

Just another sick collaboration from the same core groups of musicians that brought us a cover of Seether's song "Broken." Released just a few weeks ago, this collaboration just serves to further the future of where music is going. Sick instrumentation, great vocals, and n awesome new song dynamic. Check it out.

The Future of Musical Collaborations Is Here

It seems like I've watched this video hundreds of times already and it still gives me chills. When I first found this video on Youtube (completely by accident mind you) I was shocked, intrigued, and most of all, excited for the new possibilities it creates. The video? A full-band cover of Nirvana's "Come as You Are." But that's not the cool thing. What's so brilliant in this rendition of Nirvana's classic song is that every one of these musicians is in a different area of the country (or the world!) and they put this collaboration together completely through Youtube and the internet. I'm reminded of the musical group Florence + the Machine, where the only real member of the group (as in Nine Inch Nails) is English singer Florence Welch. Using a rotating roster of musicians, Welch creates new sounds for every song and album, assuring her music to be some of the most experimental and unique in the modern music world.
Now I'm struck again by musicians taking this idea one step further. Gone are the days of the traditional studio where tracking is done and laid down as one band member plays and the others wait outside. With the tools of the internet and sites like Youtube and Facebook, we've entered a new arena of music collaboration that is sure to be of mind-blowing proportions. As I could say very poetically, I have seen the future of the music industry, and it's the internet.
The first of these collaborations that you have to check out is the cover of Nirvana's "Come as You Are." Featuring the musical talents of Niloy63 on lead vocals, jtodd900 on guitar, jakamake on drums, and with production and bass by tydogg2443 (yes, I only know these guys by their Youtube screen names, and I'm not phased at all by that), this cover of "Come as You Are" is one of the best I've ever heard. Ever.
The intro riff by jtodd900 and tydogg2443 is just as crisp and gripping as the original, albeit with a more prophetic twist to it, like Kurt Cobain's spirit is playing the chords itself. Novoselic's bass-vibe is completely ingrained in tydogg2443's bass rumbles, and as jakamake chimes in on the cymbals, it's eery to be listening to this as a cover; it almost sounds like the original.

But what pushes it over the top for me is Niloy63's vocals: gruff, serrated, and perfectly tuned for the song, Niloy63 could very well be the next great post-grunge vocalist to come out of the underground. His voice gives me chills as I can hear Cobain's wails in the chorus just before jtodd900 talks control and swoons into a blurry and surreal guitar solo. If ever there was a cover to put on a Nirvana tribute album, this is it. In the year of the 20th anniversary of Nevermind, there is nothing so surreal and epic as finding a cover that embodies completely Nirvana's soul and power.
But the cover of "Come as You Are" isn't the only cover by this group of musicians that makes the hair on the back of my neck stand up. A couple of them also participated in a cover of Seether's song "Broken," which featured Amy Lee of Evanescence on guest vocals. For this cover, the lineup is TheTellTaleHeart25 on lead and acoustic guitar, Niloy63 on lead vocals, jtodd900 on rhythm guitar, chusma0 on lead female vocals, tydogg2443 on bass, and jakamake on drums. Again this cover blows me away. The collaboration between each of the musicians is so tight and easy that the flow of the cover makes it seem like their original composition.
The acoustic plucks by TheTellTaleHeart25 showcase a soft touch that builds to a blasting crescendo by the guitar solo later on, and with crashing rhythm support by jtodd900, the guitar section of this song is commendable at worst. At best, it's a tightly-knit flurry of notes and chords that takes me away in a storm of sonic progression. The rhythm section, made up once again of tydogg2443 and and jakamake is pulled-together to create a rushing and blasting feel at all the right parts of the song. Supporting the vocals of Niloy63 and chusma0, the guitar and rhythm sections of the collaboration are brilliant.

Just on top of the instrumentation are Niloy63's and chusma0's intertwining voices that create a fluttering tapestry of epic proportions. With Niloy63 adding to the song a gruff and edgy vibe, chusma0 lets loose with a crashing wail that exhibits this girl's incredible talent. If I were in need of a female vocalist for my band, this would be the first girl I'd go to.
Other covers like one of Audioslave's "Like a Stone" (featuring jtodd900 on guitar again, tydogg2443 on bass (and with production credits), Wannabesi on lead vocals, and jakamake on drums) and one of Alice in Chains' "Rooster" (also with tydogg2443 on bass and production, Pinner420420 on lead vocals, Craigman65 on lead guitar, and DCdrummer25 on drums) showcase just how far these new collaborations are going. What's most exciting, though, are the possibilities that I see jumping from these covers and collaborations. Now, artists can collaborate with each other, with anyone, no matter what the distance or obstacles. Soon the reality will be that artists are collaborating in musical and production projects all over the world, the the guitar player in Boston, the bassist in Johannesburg, the drummer in London, the singer in Toronto, and the producer in Los Angeles. The exciting new possibilities just over the horizon are mind-boggling: soon we'll see a new explosion of music the likes of which could never have imagined.
A new era has arrived. The music market we once knew will be history, replaced by a global music market-exchange system where any and every type of musical expression will now be given full coverage. Artists will now find each other and begin the create volumes of music with each other leading to forms of artistic expression not seen on such a level since the Renaissance. This is a new Renaissance in musical and artistic creation, and I can't wait to see what comes from it. This is going to be brilliant. 

Cloé Beaudoin Debuts New Evanescence Cover

Hey guys, check out this newest cover by that Canadian siren, Cloé Beaudoin. I'm as psyched as anybody for the new Evanescence album. As a huge fan of the first two albums, Fallen and The Open Door, I was stoked to hear the newest single front Evanescence's upcoming eponymous album, "What You Want." Now Beaudoin has again transformed a song and laced it with new levels of acoustic brilliance! Check out her cover of the new Evanescence song "What You Want" now!!

A Brand New Endless Night with The Life Review

It's been a little while since I heard the drumming skills of Todd Wallace since his previous band American Diary broke up a little while ago. I spent some time talking to American Diary on the 2010 Warped Tour and when they played me some of their stuff, I was stoked for a new pop-punk band that really gripped me. American Diary's subsequent (and ultimately their last) release, Theodore, was everything I hoped it would be, and I still enjoy listening to it regularly.
Alas, the guys in American Diary decided to go their separate directions. Just a part of life I suppose. But now one's back with a new band, and I'm stoked to be the one to bring these guys to the forefront of the music blogger headlines.
The Life Review is an alternative rock four-piece comprising members Todd Wallace (drums and percussion), Joe Bell (lead vocals and guitar), Chris Ruley (guitar, keys and programming), and Ryan Smith (bass). With the release of their debut single "Endless Night," I'm immediately hooked and know I'll be seeing big things from this band in the very near future. I am literally counting the days until I have a full album to review for you guys! Until then though, check out The Life Review's debut single! Listen to "Endless Night" here:

The Life Review's debut single, "Endless Night"