The high-flying rock aerobatics that Oranger pulls off during the title track for this album has the band split up figuratively for increasing returns – there are at least two different levels that the band plays at during this track, and through their success in this field, individuals already know that the band is serious. Where Weezer have been stealin Steve Miller Band’s guitar riffs for the last few years,…
The mixture of Busted and Rancid makes the opening of Orange’s disc interesting to say the least. Pop-punk mixes with the traditional Epitaph sound to make something that has a few shreds of musical credibility mixed in with the required punk rawk cred. Simply wanting to go and use brain-dead rhymes tied with the snotty faux-British accent of Tim Armstrong may be enough to make tracks that have a catchy…
“Gone” is the opening track for The Oohlas on “Best Stop Pop”, and the band immediately begins to create a diverse sound for themselves. There are a number of different styles that the band sticks into this first track, but perhaps the most present during “Gone” has to be an early-nineties brand of alt rock that has more than its fair share of later, Radiohead influence. The fact that different…
Imagine a mixture of White Zombie and Hatebreed and one can get an idea about how Maine’s On the Outside sounds on “Tragic Endings”. A screamed-out set of vocals dominates all facets of On the Outside, but there are minor amounts of variations on Kyle’s vocals that keep things at least somewhat interesting. The meshing of hardcore and metal is a marked step away from most of the hardcore acts…
This may only be the second album that Only Crime has released together as a band, but members of the band have been in other bands, releasing a number of album before taking on the Only Crime name. Specifically, members of Only Crime came from the seminal punk band Good Riddance, along with members from the lesser-known act Bane and the smaller band Hagfish. “Everything For You” has a typical…
Funny story. I got this CD totally out of the blue in the mail a few days after I slammed this twelve-year old’s grandfather’s CD. Eir grandfather, Len Guardino, created an absolutely mediocre disc that supported sexism and all the things wrong with the music and the actions of the 1950s and 1960s. From the title of this single, I can only think that Len imbued these values on eir…
The 101 starts out “Green Street” with a more sedate version of the Replacements with their “Never In”. However, the three-piece ensures that when music is being played on this disc, all parts are immediately noticeable – especially Ben’s bass, which sounds are timeless and fresh as “When I Reach For My Revolver”. “Wolf” uses the same omnipresent nature of each instrument to further Eric’s Michael Stipe meets Phil Collins…
While the beginning of “The Harvest” sounds as if The One AM Radio is not doing anything that the stars of AM radio did over thirty years ago, the ambient instrumentation that becomes the norm for the track gives them a style different from anyone else on the market today. This tender sound is something that is present as well during “In The Time We’ve Got”. The band sounds here…
The opening to Marykate O’Neil’s “1-800-BANKRUPT” album is pretty middle of the road, which the style of music that ey plays not too much different from Jill Sobule, who produced this album. The track could make it onto alternative radio, but there is little more that will endear listeners beyond that small scope. “Stay” is much of the same type of music, although O’Neil has more of a Suzanne Vega…
Ohn plays an electronic brand of pop-rock that comes out sounding like it is from a different period of music, especially during tracks like “Dear Prudence”. With hints of Alanis Morrissette and Natalie Imbruglia during this track, Ohn makes a ploy to ensnare listeners of that genre. While the music has been heard in similar ways before, Ohn incorporates newer approaches and styles to turn the track into something relevant…
