Sleeping With Sirens: Let’s Cheers To This

Sleeping With Sirens is a post-hardcore rock band with a truly unique component in lead singer Kellin Quinn. The group boasts shredding guitar riffs and frantic drumming like other groups in the same genre, but Quinn’s extremely high-pitched vocals, deep lyrics and the lack of a consistent unclean vocal presence sets them apart and makes their style of music more appealing than that of their peers. Sleeping With Sirens has moments of screamo intensity, but for the majority of Let’s Cheers To This, they’re subdued into a lighter and more accessible brand of post-hardcore music.

The Album

“If You Can’t Hang” marks the album’s first significant standout, chronicling a man’s young love life by going through his relationships with dramatic Quinn-dominated verses. His wailing combines with the rising and falling of the tempo to add more emotion to this song about when love fails. Possibly the best moment of the entire album comes when Quinn quietly recounts about his new love: “I met a girl at 23 / Knew she meant the world to me / So I gave her everything / And she did the same for me,” to which Jesse Lawson replies with a scream of “Imagine that.” The upbeat pace of the drums and guitars appropriately sets the tone, allowing Quinn’s intriguing and stinging account to shine.

“Who Are You Now” changes up the tempo and gives a glimpse of Sleeping With Sirens’ alternative/pop punk side, and although later tracks suffer from overdoing the pop influence, it is just the right dose here. This lighter track diversifies and advances the group’s sound rather than abandoning it, which makes for a quality addition, even without any unclean vocals.

“Fire” is Sleeping With Sirens at their most dramatic and intense, and also showcases Quinn’s incredibly high vocal range at its peak. His performance once again dominate the track, but the song also gives the rest of the group the chance to display their talents with thundering drums and appropriately moody guitar riffs. The lighter verses crescendo nicely into each furiously escalated chorus. The passion in Quinn’s shrill vocals mixed with the song’s sense of dramatic urgency make it the highlight of the album.

“All My Heart” slows the tempo down for a romantic ballad that shows a side of the band that is rarely seen but ultimately enjoyable. Quinn and an acoustic guitar comprise the majority of this track about the beauty of a long-lasting love. The vocals are so sweet they almost take a step into effeminate territory, but the song’s simplicity calls for Quinn’s soft vocals until it escalates its pace to further emphasize the emotion behind the lyrics, making for a valuable addition to the album.

Final Thoughts

Sleeping With Sirens largely expand from their debut album to produce a stellar sophomore effort. The group took its potential in With Ears To See And Eyes To Hear and realized it with Let’s Cheers To This. Although the album suffers from too much pop-rock influence with “Your Nickle Aint Worth My Dime” and “Postcards And Polaroids,” Sleeping With Sirens shows greater consistency with their second album and establishes a unique post-hardcore identity behind Quinn’s incredible vocal range. This identity doesn’t quite match the intensity of similar acts like Woe Is Me or Pierce The Veil but is right at home on the lighter end of the post-hardcore spectrum with groups like Destroy Rebuild Until God Shows, I See Stars, Our Last Night and Monty Are I.

Quinn’s piercingly high-pitched singing may not be for everyone, but it is certainly respectable and makes for an entertaining listen for those who can tolerate it. And unlike similar post-hardcore acts, Sleeping With Sirens’ music possess a greater significance in the writing of such a high-octane record backed by such compelling and meaningful lyrics. This group matured in both their songwriting and musicianship with the release of Let’s Cheers To This, making them a promising band to keep an eye on.

Track Listing

1. Do It Now Remember It Later
2. If You Can’t Hang
3. Who Are You Now
4. Four Corners And Two Sides
5. A Trophy Fathers Trophy Son
6. Fire
7. Tally It Up, Settle The Score
8. Your Nickle Aint Worth My Dime
9. Postcards And Polaroids
10. All My Heart
11. Let’s Cheers To This

10 Years: The Autumn Effect

The fact that 10 Years is not a household name by now is shameful. In a world that refers to brain-dead radio hits as “music,” the moving and masterful songs of a group like 10 Years go unnoticed by all but the select few fortunate enough to stumble upon them. Simply put, The Autumn Effect is a rock masterpiece. Every track tells its own story and contributes to the overarching mood of the album and there are very few weak points, as each song contributes something unique that develops the overall brooding tone. The infectious rising and falling of the tempo on each track makes The Autumn Effect particularly memorable, while its poignant lyrics enhance the music’s mature complexity. The instrumental emphasis  effectively weaves the tracks together, proficiently fading each one into the next.

Every instrument is distinguishable and refined, as the distinct characteristics of the guitar, drums and bass combine for truly masterful songs. With such crisp and well-defined instrumenal components, lead singer Jesse Hasek’s voice provides a complementary atmosphere to each song, appropriately setting the mood with vocals that rise and fall accordingly. As hauntingly soothing melodies with reserved vocals quickly escalate into white-hot guitar riffs and burningly passionate wailing, Hasek’s performance rises to each occasion and delivers each intended emotion with poise. All in all, The Autumn Effect is a stirringly moody album that utilizes the precision of every note to envelop the listener in a dark and sophisticated atmosphere unlike any rock album available.

The Album

“Waking Up” is the quintessential starting track for The Autumn Effect, establishing its reflective yet energetic tone early with smooth guitar in the background. Hasek’s vocal range is on display here, as he effortlessly coos the reserved verses before building into the wails of a desperately urgent chorus filled with heavy guitar. Matt Brown’s drumming is also showcased by the song’s rapid cymbals pulsing in the background. The album’s first track immediately reveals the rising and falling trend the album possesses, one of its greatest strengths.

“Cast It Out” begins quietly with Hasek’s soothing voice and a guitar riff for accompaniment before exploding into a heavy but slow-paced rocker. This head-bobber is simple enough, but once again highlights the group’s great ability to alternate between fast and slow tempos, giving the song energy and poise at the same time. The song closes with about two minutes of slow guitar and bass riffs, closing it out on a reflective note before fading into the next emotionally-charged track.

“Wasteland” has garnered the band the most commercial success, and it is easy to see why. Hasek’s dulcet vocals in the verses steal the spotlight, but when combined with constant guitar chugging to build the drama of the song before kicking into another gear for the chorus. The heavy and slow drum and guitar work of the chorus adds to the dark emotion, while the escalating bridge sees the most passion from Hasek and the entire band backing his burning proclamations. The song’s momentum drops off before building back up into the final chorus, further displaying 10 Years’ talent for manipulating the tempo. “Wasteland” is musically and lyrically charged with deeper meaning, easily making it the best song on the album.

“Through The Iris” is a powerful and energetic example of 10 Years’ hard rock talent, second only to “Wasteland” on The Autumn Effect. This track exemplifies the group’s extensive abilities as musicians and lyricists. The tempo once again elevates and drops off to add to the song’s dramatic nature, and the chorus of heavy drums and blaring guitars allows Hasek to fluctuate between smooth and heightened vocals, making it his best on the album. This is 10 Years’ finest work lyrically, as Hasek powerfully declares: “Disappear and dissolve / A weakening wall / Will one day fall / It’s wise to sever our loss / I redefine pulse / Through your iris.”

Final Thoughts

The Autumn Effect lags a bit in the middle, but as a whole, is a tremendous hard rock album and a must-own for fans of similar bands like Breaking Benjamin, Evans Blue, Chevelle, 32 Leaves, Cold and Red. 10 Years’ first major release establishes the group as a hard rock powerhouse and a highly attractive prospect for anyone looking for something intelligent to listen to. Hasek’s flawless vocals combine with the hard rock and instrumental sections to create a truly unique and mature listening experience. The rising and falling of tempo in almost every track gives the album a dark, reflective and brooding mood backed by intelligently striking lyrics. The Autumn Effect is a hard rock masterpiece and should not be missed by anyone.

Track Listing:

1. Waking Up
2. Fault Line
3. The Recipe
4. Cast It Out
5. Wasteland
6. Seasons To Cycles
7. Half Life
8. Through The Iris
9. Empires
10. Prey
11. Insects
12. Paralyzing Kings
13. The Autumn Effect

We Came As Romans: To Plant A Seed

Make no mistake, We Came As Romans is a post-hardcore band that is going to be big one day soon. Their music is cutting-edge, aggressive, unique, and has thrust them into the spotlight of the post-hardcore/screamo genre. This music is not for the faint of heart. However, it is made for the pure of heart. To Plant A Seed is a sensational debut album that amassed a lot of praise and attention for its fantastic balance of clean and unclean vocals, its heavy breakdowns and its adept use of synthesizers to add an extra kick to the music. But it also deserves the attention of people who enjoy listening to music with a positive message of hope and love for mankind. We Came As Romans can scream and make you deaf with the best of them, but they do it while spreading words of encouragement and peace, whether the listener is aware of it or not.

Calling them a Christian band would be too simple; while some of its members are Christian, lead guitarist Joshua Moore denied the Christian band label, stating that the group just has a positive message, making the music more accessible to everyone. Everyone who can handle a little screaming and heavy instruments, that is. As is the case with most post-hardcore bands, there is a screamer (David Stephens) and a clean vocalist (Kyle Pavone). However, the nearly perfect balance of the two is uncanny and ingeniously administered, giving each song an unpredictable nature that makes each switch between the two all the more dramatic. Stephen’s guttural growls leave little to be desired, while Pavone’s sugary-sweet voice characterizes each song, sounding like a combination of Hawthorne Heights’ frontman JT Woodruff and A Change Of Pace’s former lead singer Torry Jasper (back when A Change Of Pace was worth listening to). Between double bass pedal drumming, synthesizers, fierce bass and guitar from Andrew Glass, Brian Cotton and Joshua Moore, and the perfect alternating vocal combo, an entrancing brand of music is forged that lives up to the hype and is impossible to deny.

The Album

“To Plant A Seed” wastes no time in asserting the musical talent and authoritative tone of the group with a thunderous drumming intro that testifies to Eric Choi’s insane skills. This song about love growing in our hearts uses the effective metaphor of a seed of love being planted in our beings and spreading. The heavy throwdowns leave little to be desired, especially when they lead into Pavone’s pure voice. It’s true that autotuning makes anyone’s voice sound better, but Pavone’s dulcet tones provide temporary relief from the heavy breakdowns and act as the perfect complement to Stephens’ screaming. The balance is on display from the beginning, as Stephens provides the hardcore base while Pavone supplements the aggression with its polar opposite, making the music more dramatic and effective. The tempo slows for the last minute as Pavone is given his opportunity to shine to background vocals and synthesizers. This makes the dramatic tension paramount, an impressive hallmark of We Came As Romans’ music.

“Broken Statues” begins with a nifty little keyboard and synth intro before exploding into killer guitar hooks and quality screaming. This is a purely epic album, and songs like this prove it. This song is about confronting sins and forgiveness, characterized by the desperate proclamations of “Show me your hands, let me wash them clean.” The addition of violins and the synth adds an even more powerful touch, especially for the climactic last minute of Pavone and Stephens singing together, blaring guitars and booming drums. The song ends with the same synth and keyboard intro, bringing this post-hardcore gem to a close.

“Roads That Don’t End And Views That Never Cease” starts off with Stephens’ ferocious roars and heavy drumming that does not seem to be going anywhere extraordinary, but then Pavone comes in with a simply incredible chorus accompanied by an awesome synth scheme. The mix of hardcore verses with the catchier chorus makes this song about missing a loved one who is far away the best on the album. The climax of this track might be To Plant A Seed‘s most epic, bursting forth from a catchy synth ditty into Pavone and Stephens singing their own respective parts at the same time (known as a “fugue”) to a backdrop of blazing guitars, drums and synths. Even though the screams may hide some of the beauty behind the lyrics, a closer look reveals how deep and heart-wrenching they are. Pavone’s spot-on singing makes the song even more heartfelt, and absolute perfection is all that comes to mind when it closes with piano and the soft declaration: “This is how we love.”

“Dreams” features a sweet little drumming intro before Pavone’s words establish the song’s theme of desperation mixed with notions of being noble in the face of darkness. This song is about being God’s love here on earth and how we all struggle here on earth together as brothers. It also reflects the album’s trend of harder verses reverting back to Pavone for the signature line: “This is how I show you my love.” This is one of the heavier songs on the album and although it doesn’t really end on a thrilling note, it’s a compelling track that furthers the message of hope and love, which may be why the band likes to finish live performances with it.

Final Thoughts

A lot of people aren’t sold on the concept of a hardcore band with a positive message, calling it a bit ironic and almost contradictory in nature, but bands like We Came As Romans will soon change that misconception. This group has a great message and the way they choose to spread it is effective, reaching a wider, younger and more diverse audience than your run-of-the-mill, lighter Christian rock bands.  Every member of the group owns his part, and the way they join together is masterful. Even people who aren’t fans of hardcore music have to admit there’s something special going on after giving To Plant A Seed a listen.

This might not be for the faint of heart, but those who are able to stomach a few screams and look beyond the harder elements will find compelling lyrics accompanied by a musical fervor that rivals any other hardcore/screamo band out there today. This includes the likes of similar bands like Underoath, The Devil Wears Prada, Of Mice & Men, Blessthefall, I See Stars, Attack Attack!, and Asking Alexandria. To Plant A Seed certainly creates high expectations for the upcoming album, Understanding What We’ve Grown To Be, but fans should be comforted by the fact that the group has stated many times they are not selling out or changing their style. The first song released from the upcoming album, “To Move On Is To Grow,” relieved a lot of concern with a fantastic music video, and even with Pavone’s silly mustache, if this is any indicator of the future of this innovative group, the sky is the limit. This is a guarantee: We Came As Romans is going places.

Track Listing

1. To Plant A Seed
2. Broken Statues
3. Intentions
4. Roads That Don’t End And Views That Never Cease
5. Dreams
6. We Are The Reasons
7. Beliefs
8. I Will Not Reap Destruction
9. Searching, Seeking, Reaching, Always
10. An Ever-Growing Wonder

Monty Are I: Break Through The Silence

Monty Are I is a band that is not on very many people’s radar, which is a real shame considering how outstanding Break Through The Silence is.  Following their hit-or-miss debut, Wall Of People, Monty Are I found how to capitalize on their best qualities as a band in their sophomore album, discovering their identity in the process. They refer to their own style as “action rock,” a term that is particularly accurate considering their knack for producing truly epic pieces of music. “In This Legacy,” the band’s stand out hit off the 2006 debut album, can attest to group’s bold style. Monty Are I does branch into experimental territory at times, but for the most part, the addition of keyboards, synthesizers, trombone, trumpet, and even strings in some instances makes for some grand rock anthems. This unconventional band is sure to blow some people away if they are lucky enough to discover it.

The Album

“Break Through The Silence” wastes no time in applying the description of “epic” to the group, kicking off with synthesizers leading into an entrancing guitar riff. Lead singer and guitarist Stephen Aiello adds to a very catchy beat with shrill but composed vocals, while the dual vocals of guitarist and trumpeter Ryan Muir give the song further zest. The song really shines in the middle however. Here, Monty Are I showcases a climactic breakdown of intensity in the guitar riffs with a superb bass backdrop from Michael Matarese along with synthesizers from keyboardist and trombonist Andrew Borstein. Lyrically, this song conveys a very hopeful message with dynamic execution. A look at a live performance of this song sheds some light on the meaning of the term, “action rock.”

“Hope” immediately grabs attention with a deep guitar revving its engine before igniting into a mesmerizing riff that a shrill guitar and synthesizer accompaniment quickly reinforce. This enthralling intro, the explosive guitar riffs and an epic chorus make this song about desperation for hope the best on the album. The addition of strings lends to the drama of the song, at some points giving it almost an Arabic-themed feel. This is the essence of Monty Are I and action rock at its best.

“One In A Million”  starts off with a synthesizer intro that builds speed just in time for another high-pitched vocal performance from Aiello for the chorus, a pitch he somehow manages to execute with complete composure. A spunky drum beat from Justin Muir gives it some flavor before a repetitive but baffling guitar riff at the song’s mid-point steals the show and starts up a climactic bridge. The song’s ending then calls the riff back for a heavier finish that is absolutely killer.

“Kaleidoscope” – A soft drum beat and synth backdrop make for a mellow beginning while Aiello’s hushed yet melodic voice seems constricted: these elements combine superbly to convey the mischievous and enchanting nature of the song.  Lyrically this is as good as it gets, and although this is not the best track on the album, it definitely has the most flair. The song emanates style, especially when trumpets kick in before each brassy declaration of the chorus: “Call it a dangerous obsession (you can pretend you won’t get caught); I’ve got a dangerous confession (this is a game I’ve never lost); It’s known as competition if you learn the ropes, like a kaleidoscope, when I give you a spin…I am in.”

“All Of You” gives the group a chance to show some versatility, and they certainly don’t let it go to waste with this slower romantic piece. Aiello’s performance is appropriately reserved for the majority of the track, which gives him a chance to showcase the melody in his voice. Between the soft vocals, occasional piano notes and heartfelt (and slightly seductive) lyrics, this is a perfect slow song for a nap playlist.

“Convoy Of Angels” – A look at the track listing shows that Break Through The Silence features some pretty creative names, but unlike some bands that use random and long song names, these titles are actually backed up by the music. This tremendous closer starts off slow with a mysterious vibe before quickly giving way to some kickass guitar riffs. The fast-paced strumming and drums allow for another guitar to come in and seal the deal. The chorus is just as impressive lyrically as it is vocally, really accentuating the agony and desperate need for divine intervention. Although this type of song isn’t exactly a conventional closer, its captivating final drum beat and guitar riff appropriately put the exclamation point on an epic album.

Final Thoughts

Monty Are I accomplished quite a feat by taking the likable components of their debut and staying true to who they are as a band while expanding on their sound, the definition of any great sophomore effort. Monty Are I have created a breakthrough album with Break Through The Silence, maintaining the band’s trademark brand of epic music and adding astounding guitar riffs to make it more accessible for everyone. A unique group with flair like this deserves recognition and is sure to garner a respectable amount in the future. Fans of Before Their Eyes, Conditions, Just Surrender, The Audition, There For Tomorrow, Saosin, or anyone looking for some fast-paced rock will enjoy this surprisingly exceptional band.

Track Listing

1. Break Through The Silence
2. The Stand
3. Hope
4. One In A Million
5. Making Sounds
6. Sand Riders Doomsday
7. Kaleidoscope
8. All Of You
9. On The Wire
10. Desert
11. Mirage
12. Convoy Of Angels

The Wonder Years: Suburbia I’ve Given You All And Now I’m Nothing

The Wonder Years created a pop punk masterpiece with their sophomore album, The Upsides. Writing a review for that album was relatively easy because it was such unique, refreshing and intelligent music. Anyone who listened to it could identify its dichotomous nature as amusing but truthful, poignant but lighthearted, and realistic but hopeful. Simply put, it was clever pop punk that breathed life into a genre that is growing increasingly repetitive and stale. Success like that would seem impossible to duplicate for a regular pop punk band whose first album was less than stellar. Fortunately, The Wonder Years isn’t a regular band.

The Philly sextet have created another memorable entry in their discography with Suburbia I’ve Given You All And Now I’m Nothing. It is always difficult to follow up a phenomenal album, but The Wonder Years has succeeded in balancing the two main areas of concern when creating a followup: 1) Keeping the appealing components of the prior album intact while 2) expanding on them to ensure that the new music isn’t just a reiteration of the old.  Basically, a fan wants to hear something similar to what they grew to love, but not the exact same thing. In this regard, the band has succeeded. It’s true, some fans may be slightly deterred by the band’s venture into more alternative territory. Certain guitar riffs are comparable to New Found Glory while the raw, sometimes dual vocal style brings Taking Back Sunday to mind.  But looking at the album as a whole, as well as lead singer Dan “Soupy” Campbell’s mentality, the fact remains that The Wonder Years is still a pop punk outfit with the same knack for creating  clever, amusing, raw, brutally honest, catchy, offbeat and moving music all at the same time.

The Album

“Came Out Swinging” immediately reassures any listener that the group’s back in the exact same style that garnered the attention of the pop punk crowd. This track would fit in perfectly with The Upsides but at the same time, establishes a slightly different tone. While The Upsides focused on the feeling of discovering how to keep depression at bay, Suburbia quickly centers on the struggle of actually using those methods to avoid sadness. Soupy doesn’t hesitate to spill through his lyrics, and this track gives an inside look to his personal progression despite a continued search for answers (“I came in here alone, but that doesn’t scare me like it did seven months ago; I spent this year as a ghost and I’m not sure where home is anymore”). Soupy’s raw yet refined vocals are a welcome sound for anybody who’s been aching for the new album, as are the backing vocals, upbeat drumming, heavy guitar riffs and background keys that give the song its heartfelt vibe. All in all, a great start.

“Local Man Ruins Everything” was the group’s first single and rightfully so, as it is the best song on the album. An engaging guitar riff scheme and fast-pace drumming kick things off, which are soon joined by Soupy’s sharp and rugged singing/shouting, giving the song a typical pop punk feel (a la Taking Back Sunday). The softer portions of the song lend it a remarkably poignant undertone, especially with brutally honest lyrics like “I’m not a self-help book, I’m just a fucked up kid; I had to take my own advice and I did, now I’m waiting for it to sink in.” With its extremely addictive sound and message, this track is sure to garner some attention.

“I Won’t Say The Lord’s Prayer” is sure to generate a fair share of controversy due to its irreverent and blasphemous message toward the Christian church. Looking at the lyrics shows that most of the negativity is aimed at the institution itself along with its hypocritical, “repeat after me” nature, which is not far from the truth. The song’s nature leads one to believe there is a certain sadness behind Soupy’s words: The song starts off with some reserved guitar and bass along with soft vocals that slowly grow into wailing. Dramatic and heavy guitar and drums kick in to give the song its desperately forlorn tone. So while the words alone will discourage most Christian believers from enjoying this song, looking at their context along with the characterizing instruments might reveal one source of Soupy’s sadness: the refusal to accept a hypocritical system to find meaning. Many will disagree with the message against the Christian church, but there is no denying there is a certain tragic beauty in this song.

“Don’t Let Me Cave In” doesn’t have an extremely compelling chorus, but examining the word’s reveals the trending desire to defeat sadness. The guitar riffs and drumming are solid enough to grab attention, and even though the chorus is slightly lackluster, the song’s pleading for help is striking. Soupy’s begging “Don’t let me cave in!” is vocally appealing and is one of those proclamations that strikes a chord with anyone who can relate.

“Hoodie Weather” is this album’s “This Party Sucks,” an underrated song that won’t be as popular as the main hits, but may be one of the best on the album. The chorus is The Wonder Years at its pop punk catchiest, as the guitar riffs are fun and upbeat. Soupy continues to amaze with his writing and singing, this time using a metaphor of Philly’s cold weather to make a point about dealing with hard times: “So when the weather breaks, I’ll pull my hoodie over my face; I won’t run away, run away, as fucked as this place got, it made me me.”

Final Thoughts

The Wonder Years is a unique blend of contradicting elements that combine to create a message of hope. Just like before, by being completely honest and observant of the world, Soupy has uncovered the key to not letting the world bring him down, which he iterates in the third track when he proclaims, “What I learned was it’s not about forcing happiness; it’s about not letting the sadness win.” Suburbia does another excellent job of recognizing the ups and downs of life and converting that message into appealing pop punk with a certain angst. Soupy deserves praise for his brilliant yet quirky writing style: while the lyrics are somewhat unconventional, their truthful, revealing and autobiographical nature draws in any listener. When you add in the words’ raw delivery, catchy guitar riffs and upbeat and infectious drum beats, you have another compelling album. Which is no ordinary feat for a pop punk group.

The one question fans must have is: How does it stack up against The Upsides? At this point, it’s hard to determine. The Upsides was such a surprise hit that it’s hard to compare without taking the high expectations, the new influence of alternative, and similarities to the last album into account. It will most likely come down to personal opinion; some will support the group’s newest as best while the rest will back the band’s original masterpiece. However, there is no question that Suburbia is a fantastic record that will stay with listeners for a long time and contribute to what is sure to be a fantastic career for the band. Fans of New Found Glory, Taking Back Sunday, Fireworks, The Starting Line and Four Year Strong will find themselves right at home with this album, as will anyone who’s looking for some solid pop punk and can relate to the band’s message of hope and resilience in the wake of life’s highs and lows.

Track Listing

1. Came Out Swinging
2. Woke Up Older
3. Local Man Ruins Everything
4. Suburbia
5. My Life As A Pigeon
6. Summers In PA
7. I Won’t Say The Lord’s Prayer
8. Coffee Eyes
9. I’ve Given You All
10. Don’t Let Me Cave In
11. You Made Me Want To Be A Saint
12. Hoodie Weather
13. And Now I’m Nothing

The Format: Interventions & Lullabies

The Format is a band that no longer exists, but for those who are not as keen to accept and enjoy all the eccentricities of Nate Ruess’ new music with Fun, traveling back in time and giving Interventions & Lullabies an extended listen is a great idea. The Format’s appeal lies in the fact that they employ regular instruments while taking advantage of Ruess’ gifted and melodic vocals. This formula far overshadows his new project’s reliance on Ruess’ increasingly unpredictable singing, horns and other peculiar additions. The Format created a soft rock masterpiece with their 2003 debut release, producing an entire album full of delightful and memorable tracks that grab the attention of any listener. Casual music fans will find these songs attractive in how light and down-to-earth they are.

Interventions & Lullabies doesn’t mesmerize listeners with deep lyrical themes, nor will it amaze them by shattering instrumental boundaries; but where the album succeeds is in its ability to charm and entertain with simple, pleasant music. This is the kind of album people are first exposed to at a younger age that remains dear to them as they grow older, the kind with timeless melodies sure to recall happy and comforting memories from the past when revisited. It is unfortunate that The Format broke up and that their sophomore effort, Dog Problems, was unable to duplicate this record’s appeal or maintain some sense of normalcy in the music (Dog Problems shows signs of transitioning to Ruess’ future project, Fun, with more horns and other experimental elements). Despite all of these unpleasant facts, Interventions & Lullabies is distinguished enough to make The Format a band worth remembering.

The Album

“The First Single (You Know Me)” quickly establishes the album’s buoyant tone, which is no ordinary feat considering the fact that the lyrics are actually negative on their own. A consistent snare beat and upbeat cymbals on the drums, along with the potent mix of acoustic and electric guitars provide context for the true, optimistic meaning of the song, allowing it to come alive despite the literal meaning of the words. This cheerful and appropriately-named anthem also gives a good first look at Ruess’ unpolished yet fittingly melodic voice. When all of these elements are thrown in with a clapping scheme sure to encourage listener participation, the laid-back and catchy nature of The Format becomes undeniable.

“Tie The Rope” captures the essence of The Format, blending smooth and easy rock with pleasant vocals, a common theme on Interventions & Lullabies. This song is about being overwhelmed by the bliss of love’s grip and the nerves that come with it, echoed by Ruess’ proclamations of “When I’m with you there’s no point in breathing.” Utilizing frequent metaphors in cleverly-written verses, this song’s lovable nature is paramount when the chorus comes around. Despite the morbid central metaphor that also serves as the song title, the track comes off as a pleasant tune because of a peppy and upbeat chorus with stylishly collected and composed vocals. The splash of the cymbals and the electric guitar riff scheme throughout the song add to its appeal and make it a clear choice for best on the album.

“On Your Porch” slows things down for a smooth acoustic piece that represents the album’s most sincere and heartfelt moment. A look at the lyrics reveals a touching story about life and the singer’s personal journey. There’s not a lot of flash to this song, but that’s what makes it so genuine. Ruess’ raw, soft vocals, two acoustic guitars and light accompanying strings joining the background keep it mellow and simple, which makes it all the more elegant.

“Sore Thumb” quickly picks up the tempo, leading off with an explosive intro of energetic drumming and blaring guitar riffs that are seen every time the fast-paced chorus rolls around. This stinging song attests to the messy end of a long-term relationship and all the negative emotions involved with moving on. Ruess’ vocals are right on the money here, rising with the remorse and passion of the chorus and falling during the reflective verses. This is close to the pinnacle of not only Ruess’ vocals, but of the band’s talent in regards to producing a flawless alternative rock song.

Final Thoughts

It is unfortunate that the potent combination of Ruess and multi-instrumentalist Same Means had to end. Nate Ruess is a gifted vocalist, there is no doubt about that, but Means and Ruess complemented each other very well in The Format. This album represents a time when Ruess was able to blend his unique voice with enjoyable, simple and structured music, rather than the unconventionally quirky components of Fun. Both bands produce happy music, but The Format’s style was much more accessible compared to Fun’s slightly whimsical formula. This jovial and easy-going style of music will be right up the alley of fans of Fun, Steel Train, Jack’s Mannequin, Something Corporate, We Shot The Moon and The Starting Line. Even though Fun’s music is on the rise and Means has moved on as well, Interventions & Lullabies will prove nearly impossible for either musician to top.

Track Listing

1. The First Single (You Know Me)
2. Wait, Wait, Wait
3. Give It Up
4. Tie The Rope
5. Tune Out
6. I’m Ready, I Am
7. On Your Porch
8. Sore Thumb
9. A Mess To Be Made
10. Let’s Make This Moment A Crime
11. Career Day
12. A Save Situation
13. Give It Up (Acoustic)

Trust Company: Dreaming In Black And White

Trust Company’s eagerly anticipated third release is difficult to analyze considering the amount of hype the album received beforehand, as well as the misconception fans are creating by calling Dreaming In Black And White the band’s hardest and best material yet. Both of these statements are inaccurate, as the band’s sophomore release, The Lonely Position Of Neutral, still easily claims these titles. The new album is not unsatisfactory because it certainly appeases any fans looking for a new dose of Trust Company. The group once again displays their unique brand of fusing harder rock with exceptionally soft vocals, as Kevin Palmer’s raspy yet smooth voice gives them an X-factor.

Unfortunately, with the numerous lighter and softer songs that litter the record, the album takes on a newer, different feel for the worse, almost sounding like older Hawthorne Heights at various points. The blend of hard rock and soft vocals worked so effectively in the past because Palmer would elevate his game and provide a few screams every now and then, but in Dreaming In Black And White, his voice remains consistently soft, which renders his vocals as dull and repetitive on some songs. There are certainly a few tracks that stand out and add themselves to the group’s already impressive résumé, but for the most part, the new album leaves the impression that the best is (hopefully) yet to come.

The Album

“Close Your Eyes (Til It’s Over)” kicks the album off on a positive note, possessing all the qualities of Trust Company’s music that makes them stand out: the dichotomy of Palmer’s hushed yet strained vocals, Jason Singleton’s ear-throbbing drums and James Fukai’s pummeling guitar riffs. This song embodies the group’s brand of music: softer verses with quiet, echoing guitar in the background that leads into fast-paced choruses and heavy breakdowns of reverberating, whining guitars and unrelenting drumming.  This song claims the title of best on the album by simply sticking to what the band does best.

“Heart In My Hands” opens with a flurry of action, and for a minute it seems like this will be Trust Company’s hardest material yet. Unfortunately, the band’s first single shows traces of softness to come and never reaches its full potential, failing to capitalize on the fluctuating riffs, pounding drums and solid bass work by Wes Cobb. The fault here lies in Palmer’s lack of vocal exertion, as his voice never ascends near its normal realm of passion during the chorus. In the past, Palmer’s softer vocals were used sparingly, and when paired with his fervent side, came off as artistic. At this point, they just feel uninspired considering the amount of energy this song could have had. It’s still a fine addition to the album and an interesting music video, but it feels like an underachievement when all is said and done.

“Stumbling” represents Trust Company’s departure from the norm of vehement yet reflective music in favor of a more meditative and morose tone. Hints of this style could be seen in the past, but this reserved and sentimental flavor was never as prevalent before now. It translates well on an individual level, as this tender ballad about being absorbed by love’s grip is very earnest and easy to relate to. The resonating guitar and Palmer’s appropriately hushed vocals in the verses lend to the song’s contemplative sincerity, while a soulful guitar solo during the crescendo adds to its emotion.

“Skies Will Burn” provides a refreshing dose of Trust Company’s typical brand of music, including elevated and confident vocals from Palmer. This potent rocker about closing the door on someone who has run out of chances would fit in perfectly with any of the band’s best songs, staying true to the music’s grim but catchy nature. A well-placed breakdown and escalating climax both emphasize the repeated critical message of the song: “Your salvation’s over”.

Final Thoughts

Trust Company still manages to produce a sound new album, but regrettably, they’ve lost a bit of their edge with Dreaming In Black And White. Overall, it seems more generic and accessible to the mass population, but in this way, Palmer and the band as a whole seem to have lost the harder side that made them stand out. The group fails to capture the same moody atmosphere of The Lonely Position Of Neutral in their third release, easing up off the throttle to deliver a different listening experience. This experience certainly has a mood of its own as well as its respective high points, but it will have to grow on fans to be able to measure up to the band’s impeccable sophomore effort. Fans of Trapt, 32 Leaves, Taproot, Hawthorne Heights, and Amity Lane will enjoy the latest taste of Trust Company, but might hope for slight improvement in the future.

Track Listing

1. Close Your Eyes (Til It’s Over)
2. Heart In My Hands
3. Almost There
4. Stumbling
5. Reverse & Remember
6. Pulling You Down
7. Alone Again
8. Dreaming In Black & White
9. Letting Go
10. Skies Will Burn
11. We Are The Ones
12. Don’t Say Goodbye
13. Stumbling (Acoustic)