Say Anything - Hebrews - Review

After the critical disappointment that was Anarchy, My Dear, some waited in vain for that return to the nihilistic, anthemic Queen-worship of ...Is A Real Boy, some gave up on Max Bemis altogether, and still others didn’t quite know exactly what they wanted out of Say Anything’s next album.  But after half a year since the release of Hebrews, I can safely use a variant of the tired Batman cliché: Hebrews isn’t the album Say Anything fans expected, but it’s the one they needed.

The album begins with the jaunty “John McClane”, and in addition to its references to perfect 80s films, it boasts an infectiously simple melody and the classic charmingly self-deprecating lyrics that one has come to expect of Bemis.  The lyrics are decidedly more personal on this album than the more “going through the motions” lyrics of Anarchy, with even the big crowd-ready anthems taking more of a risk than “It’s my life and I’m living without you” or “Anything for you, whoa oh oh”.

Never again will a Say Anything album reach that sublime level of perfection when it comes to connecting with its audience that songs like “The Futile” and “Admit It!!!” had, but songs on Hebrews help us to get to know Max just a little bit better.  They aren’t cloying or pretentious or trying too hard to cater to the fans that are stuck in the past, but instead opt for genuine emotions, mostly concerning the future of his family, showcased most prominently on “My Greatest Fear Is Splendid” and “Boyd”.  In a refreshing change of pace, most of the album’s tracks teeter on the side of optimism while still acknowledging the very legitimate fears that come with the subject matter.

The two biggest criticisms leveled at the album are the overabundance of guest spots (particularly his wife, Sherri) and the complete lack of guitars.  Interestingly enough, these aren’t typically thrown at the even more experimental In Defense of the Genre, which had much stranger composition choices and a myriad of guest spots as well.  The guests, at worst almost never overstay their welcome, and at best complement the song in a completely unique way that one would never expect, such as Jeremy Bolm’s harsh, throaty screams on the minimalistic ballad, “Lost My Touch”.  As for the lack of guitars... I never missed them once, as the replacement string instruments like cellos and violins function much in the same way.  Not to mention that the aforementioned “Boyd” is easily the heaviest Say Anything song ever recorded and doesn’t struggle at all with the loss of its six-string.

If Hebrews is the last album that Max Bemis makes under the name of Say Anything, then I would be satisfied with that, whereas I could not say the same thing about its predecessor.  Any album which I can envision being the band’s last and being alright with it is a good album in my book.  The pessimism of ...Is a Real Boy is all but completely gone, but cautious optimism is almost just as interesting.

****1/2

The Used - Artwork - Review

Upon first listen, Artwork was a huge disappointment to me. All the songs sounded samey, and nothing really stood out. However, I soon realized that this album is actually the most cohesive thing that Bert and co. has ever put out. It's a far cry from the wild inconsistency of In Love and Death or the haphazard genre-shifting throughout Lies for the Liars. The album is tightly held together by a static-like, droning atmosphere and whispering, ambient transitions between songs. And as it turns out, consistency is something that The Used desperately needed.

The album kicks off with the rousing lead single, "Blood on My Hands", and strangely enough it ends up being one of the weaker songs of the bunch. It proves they still have the aggression in them, but the chorus lacks a strong hook that one might expect from an opening track. However, "Empty With You" finally gets started on the right foot with an interesting guitar intro and a climactic bridge. One might realize that the technicality of the guitar and bass stand out more in this album than others. While the vocals are definitely at the front of the mix, the riffs are more complex than they've ever been, which isn't saying much, but it's a nice progression nonetheless. Not to mention the mere presence of bass is incredible. It adds a much needed thickness to the atmosphere and, unlike most post-hardcore bands, does not result in a wasted band member.

Soon comes the ballad of the group, "Kissing You Goodbye". Lyrically the album treads familiar ground, dealing with love, death, and drug addiction, but from a songwriting standpoint, this is easily the tightest ballad in their discography, sporting the somber piano that "Smother Me" wishes it had and the emphatic, desperate vocals that hearken back to "All That I've Got".

From here, there are several other highlights. "Sold My Soul" may be the catchiest song on the album, and "Watered Down" is the only other cut that comes even close to being a ballad. However, the best track, "Meant to Die" is placed late on the disk. Its driving drums and infectious chorus vaguely retell the death of the late Heath Ledger, and contain the best vocal performance on the album.

Bringing up the vocals, the screams that killed Bert's voice are sparsely found on this album, and for good reason. Previously under the false pretense that screaming equals emotion, Bert proves here that he can give a much better vocal performance without often resorting to his trademark screech.  That's not to say that this album isn't heavy, though. It's certainly heavier than Lies for the Liars, and that evidence is clearest on "The Best of Me", the hardest-hitting and worst track to be found here. It meanders just a little too long and doesn't vary enough to hold interest. This is the album's biggest dry spot, because the first half of the final six minute track, "Men Are All the Same" is a bit forgettable as well. However, the album ends on a strong note with a heavier reprise of "Kissing You Goodbye".  It's a shame that The Used abandoned this more cohesive direction in favor of silly electronica, because this is probably their strongest album overall because of it.

****

Dashboard Confessional - The Swiss Army Romance - Review

I've always been a sucker for Chris Carrabba. Rarely does he have much more to say than "my love life sucks", but there's just something about his authenticity that separates him from the rest of the pack of emo singer/songwriters.

On his first LP, The Swiss Army Romance, you should know what you're getting into as soon as the first song, "Screaming Infidelities", kicks into gear. As soon as Carrabba's shaky whispers begin, it's easy to get roped into his emotions. This is Chris's biggest strength; he knows how to grasp his audience, and usually doesn't let the songs drag on long enough for the grip to diminish. The album is littered with bright open-tuned acoustic guitars, some interesting acoustic rhythms, and very minimalistic compositions. There isn't a lot of layering to the songs, and this rawness works to the album's advantage.

An early highlight, "The Sharp Hint of New Tears" showcases everything done correctly: a catchy start-stop rhythm of the verses and a driving chorus make it one of the best somber cuts. "Plain Morning" saves the middle of the album from dragging on with it's gentle melody and subtle use of female vocals. On the other end of the spectrum, "Again I Go Unnoticed" is the most upbeat track on the album, and the acoustic rhythm is absolutely infectious. The 'epic' of the album, "Ender Will Save Us All" features Carrabba's best vocal performance on the album, despite it's annoying use of the repeated verse (think Mr. Brightside).

However, the album does tend to end up sounding the same. Most of the songs are in the same key, and all use similar chords. "Living in Your Letters" is the perfect example of everything being completely average. So while none of the album is bad, there are too many moments of filler for it to be a truly great album.

Dashboard Confessional has had it's ups and downs and several forays into electrics (to varying degrees of success), but at it's core it's just a guy. A guy with a lot of love stories to tell. And given the right mood, it can be just what's needed to mend a broken heart.

***

Say Anything - In Defense of the Genre - Review

Say Anything's 2004 album ...Is a Real Boy is nothing short of a masterpiece of pop-punk greatness. Rarely does a band come along and release such a brutally truthful album that really just hits the confusion and desires of young adulthood right on the head. And what's more, you wouldn't think that it would be so ridiculously catchy on top of that. For all intents and purposes, Say Anything shouldn't have been able to outdo themselves. And right away, it should be noted that this album is huge. At 27 songs spanning two discs, this album simply isn't very easy to get into. While every song has its redeeming factors (like the inclusion of several guest vocals), the first few listens are quite tiring and just beg to have a few songs removed to make it an easier experience. This album is a grower if there ever was one.

This gargantuan beast of an album begins with a sinister voice-over at the start of "Skinny, Mean Man". Within seconds of hearing the opener, it's made clear that this is a much darker album than ...Is a Real Boy. For the most part, that assumption holds true; while there are some lighter moments that seem far more happy-go-lucky than anything on their debut such as "That Is Why" and "The Truth Is, You Should Lie With Me", even they carry a sardonic undercurrent that most of the previous album lacked. Lead singer Max Bemis manages to find his footing and healthily walks the line between brutally honest and overly sarcastic.

 Let's talk about the band members for awhile (i.e. the only one who matters). Max, while he'll never be an angelic singer by any stretch of the imagination, has definitely improved both his range and tone here from ...Is a Real Boy, and his often humorous delivery helps to offset the darker tone of the album. The lyrics are similar to those from the previous album, although focusing more on love and heartbreak be it literal or metaphorical, and Bemis injects twice as much fury on this outing. However, there ARE some truly funny gems to be had here, like "Spay Me"'s 'Cater to me or I'll punch myself until my face is blue' as well as "Shiksa (Girlfriend)"'s 'I remember it vividly love, I've been walking erect since the moment we met'. Bemis's passionate lyrics have always been the driving force of the band and this album is certainly no exception; we do get to see a bit more of Bemis's sensitive side previously only seen in "I Want to Know Your Plans" with the somewhat haunting "An Insult to the Dead" as well as the downright beautiful album closer, "Plea". The guitar work takes somewhat of a backseat to Bemis's singing, which is by no means a bad thing. Overall it's not terribly outstanding, though the little solo at the end of "Vexed", potentially the album's best song, for instance, is among the more memorable moments.

The bass gets some time to shine; "Died a Jew" and "The Truth Is, You Should Lie With Me" both spring to mind. However, Coby Linder's drumming, while excellent on their other albums, is simply underused here; and even when it is implemented, the presence just isn't really felt. However, it's this minimalist 'Bemis and his guitar' approach that delivers some of the best songs such as the aforementioned "Vexed" as well as the simultaneously angry and poignant "Spores". That's not to say that the album lacks big hard-rocking songs; far from it, in fact. "People Like You Are Why People Like Me Exist" as well as "Have At Thee!" are both total in-your-face angry jams. Lastly we have the keyboard, which was used fairly sparingly on ...Is a Real Boy. Well, it makes a more extended appearance here and this more electronically-driven approach really helps add variety to songs like "No Soul", "The Church Channel", "Baby Girl, I'm a Blur", and "About Falling", the latter's keyboard break being perhaps the catchiest thing on the album, excluding maybe the bridge on "The Word You Wield". The previously mentioned guest vocals including Hayley Williams (of Paramore), Chris Carrabba (of Dashboard Confessional), and Gerard Way (of My Chemical Romance) are hardly ever pushed to the forefront and complement the arrangements quite nicely.

However, this album is not without it's faults. "You're the Wanker, If Anyone Is" has the misfortune of being sandwiched between two far superior songs, and the same holds true for "I Used to Have a Heart". Another problem is that some songs are simply too short. The brief albeit stellar "We Killed It" flies by far too quickly to fully enjoy, and that's not including the under-a-minute-long "Hangover Song". Aside from that, there are a couple of songs that don't feel complete such as "Died a Jew" and the somewhat lacking first disc closer "Sorry, Dudes. My Bad".

Ultimately, In Defense of the Genre is the black sheep of the Say Anything catalog thus far. It's less raw and passionate than ...Is a Real Boy but lacks the mainstream polish of the latter two albums. However it is more musically varied than both of them combined and it shows a songwriter taking a different direction than his previous album to much success. If there's one thing that will turn people off, it's the length, but it's worth giving multiple listens, as this album is among the best in the pop-punk genre.

****1/2

Taking Back Sunday - Taking Back Sunday - Review

Taking Back Sunday have been living in their own shadow since about 2004. After the departure of John Nolan, the band slowly strayed from its roots with each passing album, losing fans in a true Rivers Cuomo fashion. Now that Nolan has returned, the band is faced with a dilemma: continue along the path of a more typical alt-rock sound, or return to the humble beginnings of passionate emo-tinged pop-punk? Well, the answer is both. Sort of.

This album is a bit of a paradox. In all honesty, it’s what New Again should have been: a melding of Nolan-era TBS with their more recent efforts. Though you wouldn’t know that just by listening to the opening track. “El Paso” kicks off the album with a rousing and heavy (for the band’s standards) jam with singer Adam Lazzara channeling his inner anger. It’s a great opener, but quite misleading in retrospect.

“Best Places To Be A Mom” hits hard early on with probably the most Tell All Your Friends that this album gets. It’s one of the best tracks on the album, and manages to call back to previous albums without being a retread of older songs. The start-stop rhythm of the guitar in “Since You're Gone” is the other biggest memory of older material; it is definitely harkening back to “One-Eighty By Summer”. Otherwise, most of the songs give way to the more standard alt-rock sound of Louder Now and New Again. This isn’t necessarily a bad thing, as every song on here is pretty solid. The closest thing this album has to a filler track is the grooving “Money (Let It Go)”. It tries to instill the same feeling as “El Paso” but with much less success.

Lyrically, Taking Back Sunday is a bit hit-or-miss. They often let the melodrama get the best of them; look no further than their most popular song “Cute Without the ‘E’”. Fortunately time has given Lazzara a better handle on his lyrics. While there are a few clunkers, the lyrics are much more reserved and are pleasant enough, usually letting Lazzara’s and Nolan’s voice carry them, rather than the other way around. A prime example of this is the chorus of “Since You're Gone”, its ‘I’m sorry, come back’ being beautiful in its simplicity.

However, the definite highlights are those that harness the spastic nature of the band. “You Got Me” is the catchiest song on the album and features a great performance by Lazzara, capturing the energy that he’s all too willing to restrain as of late. And the closer, “Call Me In the Morning” is far and away the best closer in their discography, and one of the most touching songs they’ve written in quite some time. It utilizes the best they have to offer in giant choruses, and is probably the only time Nolan is used to his full potential.

So this may not be the great return to form that everyone was hoping for. And it may not be the continuation of New Again’s sound that everyone was expecting. What we’re left with is a hybrid of the two; and this is a sound that is likely to please few. However, there’s not a bad song on the album, and some of them are among the best the band has to offer. If they can stick with a line-up for awhile, they have another classic in them somewhere.

***1/2

Weezer - Raditude - Review

Ever since Pinkerton, Weezer's fanbase has gotten consistently angrier with each passing album. However, when Raditude hit store shelves and fans heard a certain rap-tinged pop tune, many declared Weezer dead. However, if one can look past the first two albums of Weezer's catalog, there is a lot to be enjoyed here. Weezer has always been a band that epitomizes the word 'fun'. Catchy hooks, simple instrumentation, and infectious vocals are always par for the course, and Raditude is no exception.

With Raditude, the band trades the pseudo-experimentation of The Red Album for an ultra-poppy gloss. This is immediately evidenced on the catchy opener, "(If You're Wondering If I Want You To) I Want You To". A relatively simple beat and acoustic guitar drive the track, culminating in an excellent a cappella bridge. There are very few surprises throughout the track, and the same holds true for the whole album, but it is an undeniably enjoyable listen.

As far as instrumentation goes, it is relatively minimal. Rarely do the guitars stand out in any way, aside from perhaps the fun and cheesy opening to the fantastic "Let It All Hang Out". For the most part, however, they take a backseat to the vocals. Rivers Cuomo, always the brains behind Operation Weezer, is still writing simple melodies, but for the most part, they work brilliantly. From the absolutely infectious "Can't Stop Partying" to the beautifully desperate "I Don't Want To Let You Go", his mostly mid-range delivery is a joy to hear. His lyrics, while leaving a lot of depth to be desired, fit the poppy sound well, and aren't too much of a problem. The bass and drums serve their purpose well enough, but ultimately don't make much of an impact. Some highlights of the album include the aforementioned "Let It All Hang Out", as one of the catchiest songs on the album, as well as "Put Me Back Together", the essential mid-tempo ballad of the album.

This album is not without its duds, however. "Love Is the Answer", with its sitar fails to make much of an impression, and "In the Mall" is in competitions with The Red Album's "Automatic" as worst Weezer song ever. Overall, this album is nothing mind-blowing, but is entertaining enough without the Weezer purists scrutinizing over the fact that this isn't another Blue Album or Pinkerton. If you're in the mood for a poppy hook, then Rivers Cuomo is your man.

***

Weezer - Make Believe - Review

There are pretty much two widespread opinions regarding Weezer: Blue Album and Pinkerton are classics, and Make Believe is garbage. Whether it's the almost self-parody that they eventually allowed themselves to slip into or the 'sell-out' nature of the hit single "Beverly Hills", something rubbed longtime Weezer fans the wrong way. Make Believe is a fun album; somehow managing to be blissfully unaware of its own silliness while shamelessly basking in it.

The whole endeavor is a departure of Weezer's standard chunky power chord, harmony-driven sound, instead opting for an album laced with 80s pop sensibilities, whether it be the synthy thump of "This Is Such a Pity" or the guitar line of "The Damage In Your Heart" directly inspired by "(I Just) Died in Your Arms". The grand finale "Haunt You Every Day" practically asks to be put beside the likes of cheesy ballads like "Unbreak My Heart" and anything by Celine Dion. And if you don't belt out that chorus along with Rivers, then the album isn't being listened to properly.

 Lyrically the album follows pop standbys such as love and loneliness, and Rivers handles these topics with such an earnest lack of subtlety that it's sometimes difficult to tell if he's being serious. Don't be fooled; this is not the Rivers Cuomo that wrote "My Name is Jonas" and "Only in Dreams". This is Rivers still holding onto the honesty of Pinkerton but without any more real stories to tell. Nevertheless, there is genuine emotion in his voice, making even the most vapid of words and childish of rhymes ("You're my best friend / And I love you / And I love you / Yes I do") appear heartfelt. Musically the album is quite simple, and though the synth leads and reverb-y guitar tones spice things up, the rhythm section falls quite flat. Bassist Scott Shriner and drummer Pat Wilson simply refuse to be noteworthy, but don't necessarily detract from the experience. The album is surprisingly cohesive, considering the misleading single "Beverly Hills", which employs more of a wannabe rapper style, and of all things, a talk box solo. The second biggest single "Perfect Situation" is actually a much more accurate representation of the album, with catchy verses and a simple "whoa oh" chorus. Other highlights include "Hold Me", one of the best power ballads the band has ever written, "We Are All On Drugs", where it feels as if Rivers' voice could break at any moment, and deep track "Freak Me Out" which is surprisingly subdued.

If there are any stumbles, they lie in "Peace" and "Pardon Me", both edging too far on the side of average without any real standout moments. This is one of those albums that has always been easy to hate. Listen to it again. Forget about Blue, forget about Pinkerton. Take it for what it is, it might surprise you.

****

Say Anything - Anarchy, My Dear - Review

When looking at a title as bold and affirming as "Anarchy, My Dear", it's natural to imagine that the album is brash, raw, uninhibited, and most importantly, new. You wouldn't think that it's a mish-mash of all other Say Anything albums that come before it, but that's exactly what it is; it's an amalgamation of Max Bemis's works, all rolled up into one. This isn't necessarily a bad thing, but it does lead me to the biggest problem I have with the record: it's misleading. When I first read Max's Twitter about how it's a brand new sound and raw classic punk, I was excited. But that's not really what the album turned out to be, and I think that's the first thing you have to accept.

For an album about anarchy, it's really not that daring. It does have its share of angry 'against the world' kind of songs such as "Burn a Miracle" and "Admit It Again", but it follows Say Anything's new trend of a more mature and mellowed Max Bemis. He does attempt to recapture the fire he had an older albums with the previous songs, but that's not really who he is anymore. He's married, he's healthy, and most importantly, he's happy. Which does tend to make his shouting ring a little hollow at times. His ...Is a Real Boy days are long gone, and he has since moved on from his bad relationships and controlled his bipolar disorder. What does he have to be so mad about?

If you can look past that, however, the actual album itself is quite good. It basically uses the self-titled sound as a building block, infusing slight ...Is a Real Boy-esque anger with some experimental tracks harkening back to In Defense of the Genre (including the stellar hammered dulcimer-driven track "Peace Out") The production is pretty reigned back, removing the infectious harmonies and a lot of the guitar-driven sound that was seen on previous albums, but the stripped down nature works for the most part. Every song on the album is catchy, and in most cases mix great vocal hooks with the same trademark Bemis witticism seen on past albums. Some tracks, like the jaunty "Night's Song" and the seven minute anthem closer "The Stephen Hawking", rank among the best songs that the band has ever released. The only misstep is the song "So Good", being basically a retread of the much better and more satirical "Crush'd" from their self-titled album, but even that one is saved by its lyrics.

Overall, it's a very solid album that has some of Say Anything's best work on it. Is it ever so slightly disappointing? Perhaps. But you can't let your preconceived notions of an album hold you back from enjoying what it has to offer. And Bemis brings a lot to the table yet again, both musically and lyrically. My only question is: where does Say Anything go from here, now that they've combined all of their sounds? Personally I'd like to see a full-on concept album, but that's just me.

***1/2