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"  

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  

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!

   

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!

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 

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"

Death is a Dialogue Release Debut Music Video

Just a few hours old, "Low Lies Lenore" is the first official music video release from Atlanta punk-rock band Death is a Dialogue. Romantically tortured in its cinematic presentation and sonically edgy on the precipice of sharp-toned punk chords, "Low Lies Lenore" is a  triumph for the young new outfit in both song and video. The literary undertones of DIAD's writing just add another level of intricacy and mystery to an already stand-out song in what I see as the new emerging Romantcore genre. Check it out, brand new, this is "Low Lies Lenore" by Death is a Dialogue.

Have You Seen My Ghost Float Away

After nearly three years creating music together, Marietta emo/punk band Have You Seen My Ghost have decided to part ways, signaling the end of the Ghost group. With four EP's and one album (comprising the first three EP's) under their belts, the Ghosts have decided that their legacy would best be served by taking some time to focus on their own new projects and directions. Coming just months after the release of their most recent EP, EXIST (a considerable departure from the sound of their previous recordings by my ear), I am myself more than a little disappointed to see the end of what I consider to be one of the best things about Marietta, Georgia. Yet I realize that each HYSMG member needs to explore new directions musically, so the flip side of my somber disappointment is a curious happiness fueled by a looking forward to new sounds by each of the HYSMG members.

It seems that Lee Jennings, lead vocalist and former bassist for the band, has hit the ground running, assessing new options and already assuming control of a new solo project that I'm sure will show promise with its first rough cuts. Through my years listing to HYSMG, Jennings' voice has carried the group to new heights with a powerful drive that makes Ghost's music transcendent as well as accessible to any teen feeling they just need someone to listen. It goes without saying that the fans Jennings has accumulated over the years (with the help of the other Ghost guys) will undoubtedly follow his new project and see where it takes him, and I intend to be one of those on that bandwagon.
Yet Jennings wasn't the only creative force behind the Ghost sound: Grayson Blanchette provided guitar and bass blasts throughout the lifetime of the band, and with drum and guitar prowess currently rounded out by David Nelson and Mike Gardella (respectively), HYSMG's evolving sound on their most recent and apparent final release, the EP EXIST, was something to take note of. As Jennings is compelled to do, I'm sure that the other Ghost members will find new musical outlets to sick their creative talents on, and I can only hope I am there to hear and reap their benefits.

It occurs to me now, though, as I think about the last few years I have spent listening to and getting to know the guys behind the Ghost, I can't help but be impressed with their growth and the plateau that I feel they ended their group on (their EP, EXIST). As a fan, it's always hard to see a group make the decision to go their separate ways, but as a fan and a journalist, it makes me happy to see the end come on the coattails of such a creative high note. I am sure that I haven't seen the last of the Ghost guys, and I look forward now with eager ears to the new music I am sure is coming soon. 

A Five Hour Flight with No Delays

As it's been a few days since I've updated (sorry guys, but life happens lol), I thought I'd get an early start on the weekend with a group that seems to have both extreme exposure and no exposure at the same time. Ironic, huh? Well I guess that's what comes from posting music on a number of different sites that all have different exposure numbers.

Anyway, enough of this. Enter Five Hour Flight, a pop-punk quartet from down south in Tallassee, Alabama. Now although I just moved from Atlanta to Boston for school, and spent a long while getting to know the rock scene in ATL, I must admit I really didn't believe that there was all that much running around the South rock-wise beside southern-rock and post-grunge. And yet here I find a group that  marches to the beat of a different drum, so to speak. Composed of Patrick Mullins (bass and lead vocals), Jordan Cunningham (lead guitar and vocals), Dylan Baker (rhythm guitar and vocals), and Clay Amason (drums), FHF has a unique sense of what they think pop-punk could and should be: namely a sensible blend of catchy lyrics and melodies married to crunk beats and rhythms. One of the things I love best about Five Hour Flight is their completely shameless acceptance of their pop influences. There are so many artists nowadays who try to move away from the pop label (though it clearly applies to their music) because it's apparently become "uncool" to have a song that is pleasant to listen to. I must admit, I too was for a long time adverse to pop because it equated in my mind the over-played single that is run to death and everywhere. Despite ruining the song (a truly tragic end-result, I'm sad to say) this over-playing just takes away from the credit and clout of the music, while at the same time producing legions of would-be fans who are sick of hearing the song everywhere they go (and they're right). It seems that pop has now become a stigma, and now if you happen to create music that is radio-friendly somehow you're a major corporate sellout.
Yet Five Hour Flight slide right by this little hiccup that seems to snag a number of artists who are almost afraid of the label. Case in point, though, are the couple of tracks that FHF have, as of yet, uploaded to their Youtube channel. Playfully strutting forward with tracks such as "Until November" and "No One's More Useless Than Aquaman," these boys from down south know what they're doing and prove it at every turn. "Until November" is a strong start for FHF: the catchy pop-punk intro tumbles right into the piano of the first verse, something I am not at all expecting, and I love it. But then Cunningham and Baker step forward with palm-mutes that build on the rhythmic taps and kicks of Amason on the drums. And as Cunningham's and Baker's guitars start getting louder, Mullins' strong smooth vocals shoot from the speakers, and it's clear that this guy knows what he's doing. His bass lines are solid, and lock nicely with the guitar riffs (which enter an odd though altogether pleasing progression after the second chorus) just before the piano comes in again so send off Five Hour Flight with a fantastic finish to the song.
If nothing else, no one can say that "No One's More Useless Than Aquaman" doesn't have a great title. To any comic fans out there (Marvel or DC, it doesn't really matter) you all get this joke, and FHF score points here with me for just genuine creativity and good-natured comedy. Yet the upbeat title of the song is augmented by a catchy and polished rhythm that I can't get out of my head. Mullins' voice here has a certain dynamic with the guitar riffs and bass lines that I can't quite put my finger on; all I know is that I like it. Amason's drums are scaled back here, and for those not paying attention, they can easily be taken for granted. But I'm paying attention, and I can hear that his playing is tight and coordinated, a strong backbone for the stop/start riffs laced over one another by Baker and Cunningham. Clearly a radio-friendly song that still has great summer-drive-with-the-top-down appeal, "No One's More Useless Than Aquaman" can only help these guys get to where they wanna be. Whereas some songs become a liability later on, I can't ever see this being the case here, and if I ever see these guys live (and I hope I will), this is one I'll definitely wanna hear.
At the end of the day though, I have to be quite honest: was it their originals that drew me to them in the first place: no. Their originals are fantastic, but those came later. No, I found the Five Hour guys completely by accident on Youtube as I was searching for cool covers of classic songs, and boy did I get a shock. When I heard Five Hour Flight's cover of Journey's "Don't Stop Believin'," I had chills and was absolutely floored. Many have attempted to make a decent cover of this song, and many have certainly failed. I've even heard it argued that this song is so classic, so amazing, that covers simply don't do it justice. While that may be true on a number of levels, if covered correctly, there could be whole new dimensions to it, so I kept hoping I would find one. The cover on Glee was brilliant (I'll be honest I've watched a few episodes--it's just a good show), but it was professionally done and very produced. The cover lacked a certain kick, a certain messiness that would make different than anything I'd ever heard before. Yet that's exactly what Five Hour Flight do on their pop-punk cover of one of the most classic songs of all time: shake it up a bit. Beginning with a gorgeous note progression by Cunningham, I already have a sneaking suspicion that this is going to be something different. Then Amason starts to build in on the drums and Baker starts filling in with riffs that add the punk to the pop in this cover. Mullins' voice is perfect pitch and oh so sweet on top of the building instrumentation behind him. His bass lines add to the impending power of the song, but what comes next is what does it for me. That first high note comes, and Mullins hits it like he's been singing this his whole life. The result is otherworldly and wholly irresistible. At near 100,000 views on Youtube, I'd say that I'm not the only one who thinks so either. Five Hour Flight's cover of "Don't Stop Believin'" will soon be a classic in the punk underground, and I won't leave any FHF show without hearing this in an encore. The precision with which the Flight crew execute this masterful number is epic, and if any hope for the future of pop-punk exists, these guys are certainly a big part of it.
Bottom line? These guys have uploaded just a few songs up until now, but they each have something to cheer for. Kicking and packing punches that will have you jumping for hard-rock joy, FHF's songs blast out in crescendos of addictive passion and dripping in pop-polish. For those who yearn for more, Five Hour Flight are here, everyone take notes.

Sounds Like: All Time Low, Hit the Lights, Cartel, Fenix*TX

Key Tracks: "Don't Stop Believin'," "No One's More Useless Than Aquaman," "Until November"

Check out Five Hour Flight more at: http://www.facebook.com/fivehourflight?sk=wall and http://www.youtube.com/user/FiveHourFlightMusic#p/u

Picking Flowers with The Orkids

Hey all, I know it's been a very long while since I did an article on a new band for you guys, but it's truly been a busy couple of months. Fear not through, for I have found you all a slew of new groups that will make everything better. This new selection of bands will appeal to your senses for dance-punk as well as screamo-metal. One of the things I'm most excited about is how these new bands are tearing down the walls between the genres and having fun with their mixing and matching of new sounds. Chief among these new acts are a fearsome fivesome from just a couple hours away in the college town of Athens, GA.
The Orkids are a band on a mission, and what a mission it seems to be. After forming in 2008, the band quickly released the Paper Dolls EP in 2009, containing six genre-busting tracks that are like sugar-coated bliss to my ears. Beyond that, The Orkids' debut music video premiered in the summer of last year, and their newest one came out a short three months ago. Out of Athens, The Orkids are a dynamic mix of talent from Sandra Gallardo (lead vocals), Adam Monica (lead vocals and guitar), Joshua Schwaber (keys), Sheldon Wolfe (bass and vocals), and Brad Lee Zimmerman (drums). It becomes more and more clear the more I listen these guys (and girl), that I'm becoming addicted not only to their particular songs, but also to the sound that they've introduced to me. I don't know if The Orkids are the first to experiment with this sort of electro/dance-punk sound (and as a Robots in Disguise and Shiny Toy Guns fun, I'd wager not), but one thing I'm sure of after thirty seconds listening to their EP is that I'm absolutely hooked.

Track one from the Paper Dolls EP is the title track, and what a trip it is. From the start, Gallardo's voice is creepy and sexy in the best of ways: it's intriguing and surreal sound meshes perfectly with the keys put down by Schwaber. Balancing on the chord interplay between Monica's lead guitar and Wolfe's basslines, "Paper Dolls" sits halfway between Motion City Soundtrack and Shiny Toy Guns. Zimmerman's drums, meanwhile, provide a punk backdrop that the track benefits greatly from, and listening to this song, the only thing I can wonder is what kind of crazy show this is when it's played live. Following the first part of the bridge, Monica takes off on a blistering guitar solo that augments Schwaber's key selection, and at just over 3:30 minutes, "Paper Dolls" is one of the strongest tracks on the EP by far. No wonder The Orkids chose this as the track for their first music video release last year. The video, too, is powerful and catchy in all the best ways.
Yet The Orkids are far from finished when "Paper Dolls" drains out. Track two on the EP is as edgy and punk-driven as the first, if not more. "What Is It with Me" pushes the boundaries in ways that thrill me, and from the second this song starts, I know it's going to be stuck in my head all week. Taking its cue from Schwaber's keystrokes and Zimmerman's easy punk beat, "What Is It with Me" is half dance-punk and half electro-pop. One of the things that sets this track apart from others is the curiously brilliant split of lead vocals between Monica and Gallardo. The shared vocal responsibility most evident on this song is one of the shining examples of what sets The Orkids apart from all the other electro-punk bands I've heard. Rounding off the track with great guitar chords by Monica and pumping basslines from Wolfe, The Orkids make "What Is It with Me" one of the stand-out tracks on their EP. Aside from a stellar song, the music video for this song, released this past February, is killer, and mingles with the song's chords and keys in ways that are clever as well as addictive. If The Orkids are the same live as they appear to be in their videos, then it's clear that this band has it made.
Along with other great tracks like "Rain on Me" and the acoustically-driven "Gold," The Orkids' Paper Dolls EP is a masterful mix of new-wave techno-punk and electro-pop that makes me even more excited to hear what's coming next from this band. Their new releases have consisted of two songs: "Impetus" and "Told You So," which tear it up as hard as the tracks on their debut EP. "Impetus" is one of the best examples of The Orkids embracing their split genre influences and making good use of them. Set in the median between Gallardo's electronica-driven voice and Monica's pop-rock chords and notes, "Impetus" is a new triumph for The Orkids if one ever did exist. Followed by "Told You So," a rhythmically and electronically-driven song nipping at the heals of Gallardo's siren-esque voice and Wolfe's biting basslines, "Impetus" if proof that The Orkids are here to stay, if only long enough to shake things up.
Making their home in clever musical dynamics and creative takes on new ideas, The Orkids are a brilliant example of what to do for new bands: be creative, be unique, be different, and have the drive to keep redefining yourself as many times as you like. As evidenced by their acoustic song "Gold," The Orkids bend only to their own will, and that's certainly something that will serve this band well in the future. If you're looking for a new sound to move to this summer, The Orkids have provided the soundtrack to "new and edgy," and it's a sound I highly recommend checking out.

Sounds Like: Shiny Toy Guns, The Sounds, Motion City Soundtrack

Key Tracks from the Paper Dolls EP: "Paper Dolls," "What Is It with Me," "Rain on Me," "I Just Want Yesterday"

Check out The Orkids more at: http://www.theorkids.com/, http://www.myspace.com/theorkids and http://www.facebook.com/pages/The-Orkids/151495871555?sk=wall