Miss May I's Sudden Climb

 

       A band's rise to fame is an interesting thing to observe. It's a slippery slope that can take years to start, but when it does, there's no stopping. With no way of telling when it's going to start (or stop, for that matter), watching a previously-unknown band suddenly surge in popularity is thoroughly exciting, as we wait not only for how the band takes the news, but, what's more fun, what they do with their new-found fame.
    This summer, Warped has been particularly kind to several lesser known bands. Motionless in White, Memphis May Fire, and Pierce the Veil exploded onto the forefront thanks to their status as Warped's 'featured' bands. The latter two's release of a summer album almost certainly helped things, as it not only gave newcomers a new record to start on, but also meant that seeing them play at Warped was seeing them perform their new material for the first time - an attractive prospect.
     In any case, the Warped band that's taken the world by storm this summer remains Ohio metal outfit Miss May I. Coming off of the release of their new album, At Heart last June, the band had my immediate interest as one of the first summer releases not to feature Kellin Quinn. There, I said it. He's in too many things for so unremarkable a vocalist. My dislike of Quinn aside, Miss May I's popularity took an unexpectedly huge upturn after Warped - going from the band that constantly posted one of their two music videos to accruing praise, attention, and almost 800,000 'likes' on Facebook.
      Just as well, the band is set to headline both the AP tour this fall (alongside The Ghost Inside and Glass Cloud, among others), a UK tour in the winter, and a smaller Latin American tour in direct support of Asking Alexandria - all just two years after they opened for The Devil Wears Prada. That's to say nothing of the fact that one of their sponsors (Charvel Guitars) is currently putting out a signature model.
       All in all, it's a lot in a short amount of time for a band with only three albums to their name. That being said, for a band that formed in 2006, and in an age where artists barely wait a year before putting out their next album (Memphis May Fire, are you listening?) this is a very good thing. Two years is plenty of time for artists to experiment, refine, attempt, practice, and polish a new record. At Heart, which can easily be called the band's breakout album, is a shining example. After two years, and riding the mediocre press given their sophomore release Monument, At Heart was a refreshing change of pace that experimented with actual metal elements, pushing the band in a completely different direction.
         Nevertheless, the band's stubborn self-definition as 'metal' remains one of its glaring faults. It's one thing to call yourself a metal band, and another to actually be one. Vocalist Levi Benton certainly has the hair, and the distorted guitar and quick drum feel certainly are in line, but at its core, the band is still a metalcore act. Their affection for breakdowns and typical lyrics bemoaning abandonment keep them entrenched in the genre. At Heart rises farther out of the metalcore stereotype than its predecessors, but not enough for the band to call itself a metal band. In the grand scheme of things, genre classifications are completely irrelevant - people should listen to what they like - but Miss May I defines itself as a metal band - earlier in the summer many of their Facebook updates would end with 'STAY METAL'! - and thus puts itself up for judgement.
           That being said, it's time to look at exactly what made At Heart such a hit. The band's previous albums, 2010's Monument and their debut Apologies Are for the Weak, were both characterized by heavy hitting, energetic pieces, a focus on frontman Benton's unclean vocals, and with bassist Ryan Neff supporting with cleans. Though this lineup has (laudably) remained unchanged so far, At Heart was the band's first attempt at an experiment with this formula.
             The typical chug-chug heavy metalcore ballad remains at the forefront of the band's arsenal, that much is true, but At Heart contains a short, eerie instrumental introduction ('At Heart'), that ties in to the band's first single and knockout song, 'Hey Mister'. Though appallingly titled, the song is a shining example of the band's new direction - the guitarwork isn't a combination of bar chords with a few eighths thrown in there for rhythm - it's a full-on riff. The song works itself up, slowly but surely, beginning with the quiet piano of the introduction before exploding into an intense ride that doesn't let up. As far as a first track goes, these two deliver. The drumwork is frenetic and wild, and the variety on the guitar is stellar. What's best is that Neff's vocals have vastly improved - he serves as an emotional foil for Benton's furious, blistering screams. Together, the two set up a great contrast that's palpable, but nevertheless enjoyable. Minimal electronic effects also give the band a unique sound that gives Miss May I a much-needed identity.
               Thankfully, this keeps up for most of the album. Intensity was never a problem for Miss May I, but At Heart kicks the notch up to 11 to deliver something new. While the album does, eventually, suffer from the same problems as its predecessors - namely repetition. Even intensity gets boring after twenty-odd minutes - the band's decision to experiment extends beyond the introduction. An acoustic segment on 'Found Our Way' switches things up nicely, before exploding back into the Miss May I's standard metalcore-heavy sound.
                At Heart is a success. It's fun and listenable, even if many of its songs are forgettable. It must be stated, however, that the few songs that work are incredible. Overall, the band has improved, and shows that the band can improve and change its ways. In a time where the standard Rise Records band is a mindless chug-slog, Miss May I are on their way to being one of the record, indeed, the genre's, flagship artists.

     

Hands Like Houses - A Much-Delayed Rant

       Innovation is a terrifying thing. It means casting aside what's warm and familiar and setting adrift into new (and potentially hostile) territory. Often, it's the difference between praise and condemnation. It means creativity and difficulty in teaching yourself to think differently. For all of these reasons, the sudden influx of post-hardcore clone bands makes a lot more sense. If it ain't broke, don't fix it, right? All too often, bands accept this ideology and, ultimately, become nothing more than a face in the crowd (no pun intended), another set at Warped that people nod in time to and then forget, another opening band that's doomed to break up in a year after a small feature some magazine.
        And that's why innovation is ultimately the more profitable route. Bands that begin production and release with their own unique sound stand a much better chance than the chug-chug doppelgangers that we deal with today. To be completely honest, sometimes it fails, but when it succeeds, holy hell it works. It might not be a surefire moneymaker, or 'acceptable', but compare bands like Enter Shikari or Blessthefall to Sleeping with Sirens or Abandon All Ships. The latter play to what's popular - love songs and synth-y chug, while the former aren't afraid to experiment. Blessthefall's metal-inspired riffs and Shikari's dubstep breaks make listening to the bands experiences instead of ways to kill time.

          With that being said, let's look at one of the summer's newest trailblazers - Canberra, Australia post-hardcore outfit Hands Like Houses. The upstart sextet delivered their distinct brand of post-hardcore to the world in March, with the release of sleeper hit Ground Dweller. With only a single lyric video on YouTube to their name, the band has nevertheless enjoyed a huge cult following in the underground. Currently on tour with Glass Cloud, Like Moths to Flames, and We Came as Romans, Hands Like Houses are only on their second tour ever, and it's their first time out of native Australia.
            But let's talk about the music. As one of the first bands I checked out this summer, I was completely blown away. I'm not going to sugarcoat it - these guys are one of the summer's best newcomers. With a mixture of pulse-pounding instrumentals, augmented by singer Trenton Woodley's soaring vocals, Ground Dweller held me spellbound throughout. It's been three months since I first listened to 'Antarctica' and, subsequently, the rest of the album, and I can honestly say Hands Like Houses has kept me enthralled despite having only eleven songs to their name.
              Every song has its own texture and feel, and keeps the intensity at an all-time high, even without unclean vocals and breakdowns. Heartfelt lyrics about the fears of leaving home, including a unique take on Peter Pan in the aforementioned 'Antarctica', and cameos from Matty Mullins (Memphis May Fire) and Tyler Carter (ex-Woe Is Me) keep things interesting. Live, the band delivers, with a sound that's better than in the studio, and bassist Joel Tyrrell showing his affections for guitar throws (at one point, he threw his bass a solid ten feet in the air and caught it). Though the band was given a tiny set during Scream It Like You Mean It!, and only at the beginning, they were one of the bands I was most excited to see.
                The band is getting a feature in next month's AP as 'the thunder from down under'. Almost everyone exposed to them says that, despite some lyrical failings, Hands Like Houses are an incredibly fun and catchy band. That's fine - Ground Dweller is a first album, and the Hands Like Houses' new take on post-hardcore more than accounts for some small mistakes. I'm incredibly excited to see the band's direction in the coming months. This album is a must-buy.
You can listen to 'Antarctica' here:

Chiodos Reunites with Craig Owens, Announces Tour

      Perhaps one of the most defining bands of the post-hardcore movement, Chiodos, has announced that ex-vocalist Craig Owens has decided to come back to the band, completing the circle that began with his departure in 2009 to form similar act Destroy Rebuild Until God Shows. In a just as-stunning move, the band also announced an American tour for this fall to celebrate this reunion after almost two years of silence. The best part? The tour features the original lineup!
      Formed in 2001, the Michigan band has had its fair share of drama, but has a stellar track record so far. With or without Owens, Chiodos' long history has not yet been marred by a bad album. The group's unique take on post-hardcore - described by one of my friends as 'almost chill' -  makes listening to them a profoundly unique experience. For what it's worth, while I can't make the reunion tour date, this is still profoundly exciting news, even if it does raise several questions: What will happen to Destroy Rebuild Until God Shows? Is the lineup back for good? What about Brandon Bolmer (Owens' replacement for 2010's Illuminaudio)? We'll only find out in time.
    

Of Mice & Men to re-release 'The Flood' tomorrow

    Last week, Woe Is Me began the hype to their new album by re-releasing its predecessor, Number[s] with several new songs and old material that had previously only been available in single form. While some of the new material was less than stellar, the re-release was nevertheless a great way to get people's attention now that the band has officially finished recording and joined We Came as Romans and Attack Attack! on the Scream It Like You Mean It tour.
    Interestingly enough, this week Warped high-profilers Of Mice & Men are also planing to re-release their critically acclaimed sophomore album The Flood. Featuring two discs, including four new songs, the purpose behind this interesting move is, as did Woe Is Me, to potentially generate hype for OM&M's upcoming, as-yet untitled, new album.
    While it's certainly very possible that the band views Woe Is Me as competition, and is attempting to consolidate its fanbase, it can't be denied that the new Of Mice & Men will be turning a lot more heads. The Flood was massively successful in its own right, and, unlike Woe Is Me, the inclusion of new material makes this re-release more likely to gain attention than simply a consolidation of past material that Woe Is Me did.

     Naturally, this isn't as much of a necessity for OM&M. The band's lineup hasn't been nearly as turbulent as Woe Is Me's (as a side note, OM&M is fronted by ex-Attack Attack! vocalist Austin Carlile, who rejoined the band by replacing now-Glass Cloud's Jerry Roush). The Flood made its debut last year with almost the exact same lineup as now, minus Shayley Bourget, who left the band for personal issues after 2011's Warped Tour. Interestingly enough, he's been replaced by Aaron Pauley (ex-Jamie's Elsewhere). In any case, because of Bourget's departure, the new songs have a marked emphasis on Carlile's fry screams to make up for this.
     Nevertheless, I can't help but wonder why OM&M has chosen to re-release an album after barely a year. As far as a PR move goes, I feel like the band's presence on Warped Tour this year is enough of one (Carlile was on the cover of AP this month) that re-releasing an album is almost overkill. The four new songs could have easily been released as an EP, which would have been a smarter move as it, not only expands OM&M's discography, but gives fans a reason to actually buy the music - why pay for an album you already have?
      In any case, the re-release is set for tomorrow, and even though I don't completely understand the rationale behind it, the new material is stellar. Hopping on the energetic bandwagon this summer has (thankfully) brought, OM&M deliver about fifteen minutes of head-nodding djent that gets in your mind and doesn't leave. In a departure from the sometimes-hollow sound that plagued their previous work, the new material has a quality to it that I can only begin to describe as 'fat'. Every riff has a physical presence that gets your heart racing. Chronicling an apocalyptic, biblical flood (surprisingly enough, given the album's title) through the calming, clean sound of introduction 'The Calm' and the first few notes of 'The Storm', there's no indication of the coming hell. Again, this goes without saying given the song titles, but it nevertheless sets the hype, lulling you into a false sense of softness, before abruptly erupting (and I mean that quite literally. Listen to 'The Storm') into the sound that will define the next three songs.
       It's this rapid contrast that makes the new songs so enjoyable. Clean breaks are emotional and pulse-pounding. By constantly keeping the listener on edge, but always keeping the rhythm catchy, OM&M ensure that every song is likely to get in your head and stay for a while. There's no need for a breakdowns - the intensity is set to 11 and never lets up. A silent break in 'The Flood' is chilling, as a submarine's radar breaks the silence and keeps you waiting. All in all, the new songs give the band some much-needed substance. Quite simply, they are now unforgettable. Now, here's where I think the band would have profited the most from making the new songs into an EP.
        More often than not, EPs are a chance for a band to experiment on a sound - they act as a transition period between one idea to another. If it works, incorporate it into your next album. If it doesn't, well, it's only a few songs. Batten down the hatches and admit you made a mistake (Chelsea Grin, I'm looking at you). Had OM&M chosen to release these four songs as a separate EP, it would have attracted new fans eager to hear more. Instead, by bundling it together with their previous album, new listeners who might not like the Flood will be repulsed.
         The new song that steals the show, ironically enough, is the one released first - 'The Depths'. Debuting in late June, and featuring a spine-chilling guitar whine in the background, 'The Depths' is as much an attention grabber as it is a holder. If the catchy riffs don't make you nod in time, it'll be the INCREDIBLE break near the middle of the song. Focusing on Carlile's incredible sustained vocals, the return of the guitar riff after such a short amount of time brings everything to a head. Lyrically, it's pure, unrestrained fury, which makes the song all the more fun - no better reason to jump around than the feeling that restraints are being broken. That's why we listen to punk and metal, right?
           To conclude, even though this is a strange move from the band, the re-release's new material is incredible and worth checking out. Listen to 'the Depths' here:

     
      

Jamie's Elsewhere releases new single 'Anchors'

   Last week, I posted a massive circlejerk about how absolutely incredible post-hardcore sextet Jamie's Elsewhere are. With refreshing, technical instrumentals, a gifted singer, and a penchant for innovation and variety, I stand by my opinion that the Sacramento group are one of the most underrated bands of the summer and my amazement at how they'd managed to stay under the radar for so long.
    Well, I was in luck. Just yesterday, the band put out a new single. Entitled 'Anchors', the single will be featured on their as-yet unnamed album, which is set to start recording later in the summer. As vocalist Aaron Pauley's last song with the band (he parted ways with them earlier this summer to join Of Mice and Men on tour), 'Anchors' is a striking song that continues Jamie's Elsewhere's wonderful penchant for creating great-sounding music. 'Anchors' stands apart from the rest of their previous release They Said a Storm was Coming by having a distinctly harder sound. When the soft, lullaby-like intro fades away, giving in to Pauley's high screams and rhythmic, melodic guitarwork, I remembered why I said this band was so great.
    The contrast we loved from a Storm is back full force. Cleans and screams, synth and distorted guitar, the band uses everything in its arsenal to make listening to 'Anchors' a thoroughly unique experience. At the end of the day, it's a great song that makes me hungry for what the band has in store for us in their next album. You can listen to it here:

Some Thoughts on the Woe Is Me Re-Release

       Bands these days have different ways of debuting towards the forefront of the scene. Many, sadly, never make it, but the few that do need to find a niche and exploit it to the best of their ability. Some have a cameo with a famous band member, others will have the luck to open for a well-known group. Perhaps the most bizarre way to show up on the post-hardcore radar, however, is the method Georgia outfit Woe Is Me exploded into existence in 2009: by covering pop songs. It's a well-known fact at this point that Fearless records is the label behind the infamous 'Punk Goes Pop' series of compilations - which feature bands as intense as August Burns Red and We Came as Romans - covering songs by pop artists like Katy Perry and Lady Gaga. Fascinatingly enough, Woe Is Me's scream-y cover of Ke$ha's 'Tik Tok' was the band's first hard hitter, but was released outside of these compilations. With only two other songs, and not even a show under their belt, Rise Records pounced on the Georgia septet, signing them in 2010. A few months later, Woe Is Me released their debut album Number[s].
       Since then, it's been a rocky road fraught with lineup changes, covers, singles, and an incredibly disorganized discography for the band. As of right now, the only remaining original member of the band is the drummer, Austin Thornton, with every other member having departed for a variety of reasons, both amicable and hostile. Fascinatingly enough, Woe Is Me served as the launchpad for soulful vocalist Tyler Carter - who maintains a small following. Replaced a year ago by vocalist Hance Alligood, Carter's departure was quickly followed by lead guitarist Geoffrey Higgins. The band retained this precarious lineup until March, when bassist, keyboardist and screamer Ben Ferris, Cory Ferris, and Michael Bohn also suddenly departed, citing 'personal and musical differences' as their reason for doing so. Left with a vocalist and a drummer, Woe Is Me managed to hastily cobble together a few standins as they toured North America as part of the Fire and Ice Tour in early spring this year before finally recruiting Doriano Magliano (unclean vocals) and bassist Brian Medley.
        As a band that very nearly collapsed this year, Woe Is Me are out to prove that they're not done just yet. To this end, while working on a second studio album, the band decided to put out a re-release of Number[s], which features the scattered singles not originally included in the album as well as a few remixes. Naturally, the original songs of the album are still present, but have been recorded with the band's current lineup - notably Alligood handling cleans. Interestingly enough, former screamer Michael Bohn makes an appearence, as the re-release was recorded before his departure.
         At its core, the Number[s] re-release is a way for Woe Is Me to gather their thoughts. With a disparate discography, one studio album, and all the drama of the past year, it's understandable that the band wants to start fresh. By compiling almost everything the band has done - including their cover of Ke$ha's 'We R Who We R' which they performed while on tour this spring - into one album, Woe Is Me hopes to garner newcomers' attention by giving them a tour de force of Woe Is Me's material (The only song missing is their Punk Goes Pop cover of 'Last Friday Night').
          Just as well, in a startling departure from their previous style, the re-release features an acoustic cover of Woe Is Me's early song 'Fame > Demise' which showcases Alligood's voice unencumbered by the heavily distorted synth-chug that so characterizes the rest of the album. Purists will moan and shake their heads, but Alligood is a very talented vocalist. He maintains Woe Is Me's penchant for soulful vocals, but is suitably different from Carter - I would say more talented. There's more passion and heavines behind his voice, and Carter's high vocals got old and annoying very quickly. They were tastefully used on the original release of Number[s], but would not have held up in an acoustic song. It's testament to Alligood's skill that the acoustic cover works as well as it does.
         Equally surprising, however, is the inclusion of remixes of songs '[&] Delinquents' and the aforementioned 'Fame > Demise' done by Attack Attack! frontman Caleb Shomo. Putting aside my less-than-stellar opinion about Shomo, these remixes...fare less well. In the past, Woe Is Me's songs were so enjoyable because of their sheer fury - the lyrics were angry, the instrumentals supported this, and the dubstep wobbles the band loved so much only heightened the tension. The re-releases remixes completely abandon all hardcore elements. They're synth-heavy, and the only thing remotely hardcore about them is the presence of unclean vocals which, even then, are muted in comparison with the electronic beat that's too simplistic to be catchy. It reminds me of Asking Alexandria in a thoroughly unsettling way - as though the band is trying to be too experimental in this regard.
         The cover of '[&] Delinquents' is unique in that, while still thoroughly discouraging, it features a bass drop and other dubstep elements. It fares better, mostly because it uses the original material in a better way, but the original was probably the record's strongest song, and bringing up the wub wub of dubstep doesn't help it in the slightest. Ironically enough, the best parts are the introduction - which features the original synth beat, and Alligood's vocals, which are refreshingly different than what we're used to. Otherwise, it's disappointing and not that enjoyable. I realize I stand with purists when I say that these two remixes aren't the best, but even if you examine them as dubstep and techno songs, they're still phenomenally unimpressive. Woe Is Me are, at their core, a hardcore punk band with heavy electronic elements. As one of the pioneers in this genre, they should have stuck to it instead of going off completely in one direction. Hopefully the band realizes their error by the release of their next album this October, because more remixes like this will only hurt the band.
          Last but not least among the newcomers to Number[s] is a cover of Ke$ha's 'We R Who We R'. As I said before, Woe Is Me played this as part of the Fire and Ice Tour earlier this year. I went to their show in Montreal, where they opened alongside Blessthefall and Emmure for We Came as Romans, and live it was a great time. I'll admit that I have a soft spot for metalcore covers of pop songs - maybe it's the way they handle the rhythm and meld awfully written lyrics with unclean vocals. In any case, Woe Is Me's cover is a good one.
           Unfortunately, however, this isn't new ground. As part of a previous Punk Goes Pop compilation, pop-punk band Chunk! No, Captain Chunk! covered the same song. Comparisons between the two covers are inevitable, and to be completely honest, I have to side with Chunk!'s cover. Alligood tears up the vocals on Woe Is Me's cover, and there's a more profound sense that he's having fun with this song, but the end of the song devolves into something of the band's own design - complete with a breakdown and, unfortunately, a bass drop. It's this latter element that gives Chunk!'s cover an edge over the newcomer - dubstep, quite simply, does not have that prominent a place in modern metalcore. British experimental rockers Enter Shikari know this, and tone it down in their more metal-heavy songs. Woe Is Me, who are relative newcomers, make the same mistake as Abandon All Ships and go too far. It's an understandable mistake, and I hope that they learn from it.
           On the other hand, not only is Chunk!'s cover more faithful to the original song, but they tone down the screams, and aren't afraid to repeat Ke$ha's originally...stellar...lyrics. Woe Is Me hastily changed the line 'hitting on dudes' to 'hitting on bitches' which, when noticeable, made me laugh a little. Chunk!'s decision not to change anything made the song funnier which, at its core, is what the cover should be about - it's a punk band covering pop! What's not funny about that?
           The rest of the Number[s] re-release is nothing if not phenomenal. Alligood's cleans, as said before, are an improvement on Carter's, and the return of old material such as 'Vengeance' that was sadly absent on the original record makes a listen-through thoroughly worth it - glossing over the remixes, of course.
          If you're new to the band and looking to get into them (they're playing Scream It Like You Mean It! this year), there's no better place to start. As for the future of the band, if they realize the mistakes they made with the new material on the re-release, they can only go higher. Surviving what would kill any other band can hopefully make Woe Is Me stronger.

    Listen to 'We R Who We R' here:

     
           

Countdown to Warped - Motionless in White

             

             Once upon a time in the 90s, the Goth movement shocked the mainstream with its unnerving music and equally extreme fashion subculture. Around the world, teens and tweens began dressing in black, powdering their faces white, and subsiding into long fits of melancholic apathy. While today we’d be quick to lump them in with the emo movement, the gothic movement was and remains a separate beast. With a fixation on vampires and the like, followers of the movement were often ridiculed for behaving like twelve-year old girls – and this label would persist and get even worse when books like Twilight were released. Nevertheless, the goth movement has undoubtedly taken a backseat in the rock and metal community, and maintains only a fringe following today. In their place as musical scapegoats have arisen the emos who, because they fight back even less, are far easier to pick on and ridicule.        

In any case, this year’s Warped Tour hasn’t forgotten about the goth movement, and it’s evident in their decision to make Pennsylvania’s Motionless in White one of their most hyped shows. With only a single studio album to their name (2010’s Creatures) and another due out this fall, Motionless in White nevertheless remains a high-profile figure this summer – with frontman Chris Cerulli gracing the cover of AP this month alongside Ronnie Radke and Austin Carlile. Bringing a strikingly different appearance to an event where most bands resemble one another, the Pennsylvania group isn’t afraid to stand out – aesthetically or musically.

                Motionless in White’s sound is the punitive mix of goth and emo rock – with a mixture of low screams, breakdowns, and a lyrical preoccupation with being a reject. Nevertheless, Cerulli’s cleans stand out from the crowd simply because they’re low. As I’ve said before, many bands on Warped this year are defined by their high vocals – Pierce the Veil springs to mind as a key example. Cerulli’s husky tones, which sound similar to Miss May I’s Ryan Neff’s, are unexpected, and thus all the more interesting to listen to. Instrumentally, the band brings a unique form of aggressiveness on songs like ‘Count Choculitis’ and ‘Puppets’ through their great use of contrast, and their interesting role of synths.

                In true goth style, Motionless in White’s synthesizers give songs an orchestral feel most of the time, which, on songs like ‘Abigail’, raise the tension even if they do play a background role, and their few moments of prominence are only a few notes long. An obvious exception is the introduction ‘Count Choculitis’, which, when interwoven with the band’s chanting and heavy chug of the guitar, get the job done nevertheless. The band never lets up on a frenetic, dark sound that gets your blood pumping. Even though fast, palm-muted chords remain the name of the game, Motionless in White are a band to top in terms of sheer energy. Perhaps it’s the feeling of pent-up rage exploding that many songs have, or the idea that at their core, the band’s message is to accept what makes you different and rejoice in it, but Motionless in White’s sound will have pits opening when they play.    

                But, ultimately, the band isn’t completely free of problems. First and foremost, the band takes itself way too seriously. This is a problem that’s visible even before the band starts playing – their frontman has a stage name. That’s right, he’s not Chris Cerulli, but Chris ‘Motionless’. If that didn’t make you cock your head and say, ‘seriously?’, then you’re missing out, because the experience of listening to Motionless in White becomes semi-silly.  The band’s looks don’t help them either – they’ve obviously got some ideals for themselves and are doing their best to fill them, and that comes with a rather large ego that you can see as they tackle fairly heavy topics (not always successfully) in songs like ‘Cobwebs’.

                Ultimately, even though they sometimes fall flat, Motionless in White are a fun listen through that will satisfy the goth movement that’s still around and, as with so many other groups, bring some much-needed variety to this year’s Warped Tour.
                  Listen to 'Abigail' here:

                           

Countdown to Warped - Skip the Foreplay

             

              With an almost unusual dose of inspiration from genres as diverse and unlikely as dubstep, hiphop and thrash, metalcore outfit Skip the Foreplay stand out as a phenomenally unique experience. Hailing from my favorite place of all, Montreal, the band brings the city’s penchant for unrestrained musical insanity that bands like Blind Witness and Despised Icon previously displayed so brilliantly. With only a single album to their name, April’s Nightlife, STF are one of the youngest bands on Warped Tour this year, and they’re out to make a name for themselves. STF pack an audible punch that never lets up and never gets boring, even if they do become slightly chuggy after a bit. Nevertheless, it’s evident everywhere that in no way are they trying to be serious, and the complete absence of pretentiousness turns them into a fun experience that surprises just as much as it delivers.

                As with most Warped regulars, STF’s staple is their pulse-pounding drumwork and distorted, palm-muted riffs. Riffs are utterly and completely simplistic, but nevertheless STF has an undeniable a kind of charm in their sound. Breakdowns will abound, and the rhythms alternate between rapid punches of double-kicked bass, and a simpler feel for the bridges and choruses. However, the most defining aspect of STF’s sound remains the fact that it’s almost always constantly changing. Every aspect of the band can change at the drop of a hat – screams can become clean,  a synth can kick in, or STF can start playing a guitar solo.

                Invaraibly, Nightlife keeps you on your toes. While it’s never so drastic that it’s arresting, you’ll invariably find yourself doing a double take at the sudden clean breaks in ‘Dom Perignon’, or the randomly appearing synthwork in ‘DTK’, which, in some cases, will replace both the drums and the guitars, and in others serve to support them. Cameos by other Montreal stars on ‘This City (We’re Taking Over)’ from the aforementioned Blind Witness and Despised Icon give the song a different feel, and ultimately make it the record’s most unique and fun song.   Even short (1:06) break ‘Dinner with Snooki’ is strange in its variety, with a trance-like beat leading into a sudden bass drop. The whole thing could be played at a club and no one would notice…and then followup song ‘Shots’ kicks the intensity back up with a distorted riff.

                If their names and song titles aren’t obvious, Skip the Foreplay set themselves apart lyrically by avoiding common metalcore lyrical tropes. Hackneyed topics like unrequited love, frustration at society, and apathy are eschewed in favor something far more simple – partying. There’s a strange predilection towards alcohol which, as someone who lived in Montreal, really isn’t surprising, but nevertheless makes things (laughably) different.

                Unfortunately, though, the novelty wears off quickly. By the middle of the record, the silliness of the band starts to run dry, and the occasional sample or voiceover putshes Skip the Foreplay into the realm of almost ridiculous. While I had no problems with this, I feel like other people wouldn’t be as happy about it. That, combined with a dark lyrical turn with the song ‘Date Rape Predator’, starts to kill the fun the band was obviously having at the start of the album. The band might know this, because they finish the record with a cover of LMFAO’s ‘Champagne Showers’. I’ll admit, it’s actually pretty good.

                It’s nevertheless commendable, however, that Skip the Foreplay’s only potential fault lies in their over-the-top delivery. They manage to completely avoid repetition – a trap many debuting bands fall into and never escape. Despite this, they will still face mockery and rejection from the community simply because they've deviated so much from the norm - people liked hearing lyrics about the same old stuff again and again, which is why it kept happening. With Skip the Foreplay bringing new material, they'll invariably face a barrage of criticism and hate. While I'm sure the band can rise above it, they also have to be careful. At their core, Skip the Foreplay rely on the humor of their music, and this can run dry very quickly, potentially even faster than chuggy repetition. As it stands, Skip the Foreplay walk a thin line. They’re going to need a near-complete rehaul in their next record, or else their ridiculousness will push them over the edge and no one will take them seriously. Nightlife is a solid album if you’re willing to sit back and laugh at it occasionally, and seeing these guys on Warped Tour is going to be an interesting experience, if anything.
                   Listen to 'This City (We're Taking Over)' here: 

                 

The 5 People You'll See at Guitar Center

                I love Guitar Center. It’s a phenomenally unique store – a vast expanse full of instruments that you can actually try. It doesn’t matter if you’re into acoustic guitar, bass, or synthesizers, Guitar Center has all its bases covered and has almost anything a musician could want. The atmosphere is laid back, the music is always great, and the employees are never hellbent on getting a commission. I’m not ashamed to say I’ll go by myself just to enjoy the ambience, take down a guitar I’ll never possibly be able to afford, and have some fun – even if the standard store has about four leftie guitars and three of them are Stratocasters.

                I’ve been going to Guitar Center consistently for the past four years, and after a while I’ve found that there are certain people that always seem to show up – individuals that add to the fun of dropping by simply because of how they act in the store. I can’t say I love them or hate them because, at their core, they add some much needed humor to any trip. So here is my salute to the five people you’ll see at Guitar Center.

1                 1.)    The Newbie

Bless his soul, but Smoke on the Water has never been harder. Wide-eyed, untrained, and incredibly lost, Newbies don’t know their way around the store yet, much less a guitar yet, and are usually the guy you see stumbling over a stray chord or searching futilely for a pick because they’re afraid of asking an employee. They are, quite simply, adorable – and I mean that in the least condescending way possible. Let’s face it, we were all there once, and the last thing you’d want is to shatter the confidence of someone who’s just started playing. Their knowledge usually comes down to Smells Like Teen Spirit, Wonderwall, or some other fairly simple pop song, which explains why the Newbie will be incredibly intimidated by the regulars shredding away at Metallica or Led Zeppelin. Nevertheless, Newbies fall into two categories:

                On the one hand, you have the Newbie who’s well-aware of his lack of experience and incredibly self-conscious about it. To this end, he’ll sit far away from anyone else, take down an unassuming or fairly crappy guitar (usually a Squier or an Epiphone), and play whatever simplistic melodies he’s learned so far. Sometimes, he’s too shy to even plug into an amp, and satisfies himself with barely being able to even hear himself. Othertimes, he finds a small amp and turns it up to minimum volume, apologizing heavily whenever people hear him and pay attention. Invariably, he’ll either exhaust his repertoire, or get frustrated when he sees and hears people better than himself, and make a quiet exit. What this Newbie doesn’t realize is that, quite probably, no one has cared about what they were doing or playing. And because they’re in and out so quickly, no one really noticed. It’s the effort that counts.

                On the other hand, there’s the Newbie who hasn’t quite realized how good he is. Strutting into the store, he’ll take down an Ibanez or a Jackson, plug it into a massive beast of an amp, and proceed to blurt out everyone else’s playing as he engages in a clumsy rendition of Back in Black.  He either chooses to ignore the glares and numerous faults he makes, or simply doesn’t see or hear them. Like the first Newbie, he’s got a limited song arsenal, and so he’s not likely to be in the store for long, but his ego (and his attack) gives him far more of a presence. It’s this kind of Newbie that people are more likely to make fun of. Typically accompanied by a girlfriend or someone they’re trying to impress, even if you don’t see this guy, you’ll hear him.

2) The Hipster in over his head/The frightened Douchebag

                I have nothing against hipsters. That’s a lie. I have everything against hipsters, and even more against douchebags. Immediately identifiable by their ugly (Excuse me, I mean ‘ironic’) facial hair or Abercrombie polos, this guy stumbles into the store and immediately realizes just how out of place they are. Days of plunking away on a crappy acoustic can’t possibly have prepared them for a store where everyone is suddenly better than them. Again, they’re likely to be accompanied by girlfriends, either as a method to show how ‘artsy’ they are, or how they’re decent at guitar.

                Within five seconds, their sense of superiority evaporated, they’ll begin a self-inflicted walk of shame through the electric guitar section in a desperate sally to the acoustic room as they perceive everyone to start judging them. As with the Newbie, no one particularly cares, but for a person defined by their ego, this is a crushing blow to their self-perception.  Finally, they find their way to the acoustic room and disappear, only to find that, shocker, people can be better than them at acoustic guitar too.

                But that can’t stop them. They’ve got a lady to impress, and that means anything will do. The only unfortunate thing they’ve forgotten is when the guy you’re sitting next to is playing a perfect rendition of Wish you Were Here as you fumble to make an A chord, you’re not fooling anyone. Ultimately, it’s a sad day for this guy when he decides to brag by going to Guitar Center, not just because he hasn’t quite realized how much he sucks, but because someone’s there to see him do it. Will sometimes morph into the Newbie.

                Alternatively, they may be the guy there with the ukulele. You know. That guy.

                

 3) The God

                Like the second Newbie, this person puts a gag on the rest of the store, but they do it not     necessarily by being loud. Usually above the age of 40, this guy takes down a venerable guitar and proceeds to absolutely destroy it. It doesn’t matter what exactly he’s playing – heads turn, noise ceases, and everyone is held in awe of his siren song. Somehow, he makes it sound completely unrehearsed and completely fantastic.

                His skills run the gambit of everything technical you could imagine – string skipping, sweeping, tapping, you name it, he does it. As everyone in the store puts their guitar away, filled with self-loathing, he keeps going. This is the guy everyone there wants to be, and even though he’s just there to have fun, it comes at the expense of everyone else’s desire to play. Ultimately, everyone will be too embarrassed to ask for his words of wisdom, but when he gets up and finally leaves, there’s a palpable exhale as everyone simultaneously realizes how incredible he was.

                

 4) The Bassist

                    You don’t hear him at the gig and you won’t hear him in the store. He operates in a different world – a world characterized by things like ‘Rickenbackers’ and ‘Fender Jazz basses’. His guitars only have four strings, and his amps are specially designed for him and him alone. You don’t quite understand him.

                

 5) The Drummer

                Like the bassist, he lives in a completely different world. A world you don’t understand and, quite frankly, are a bit terrified of. You never find yourself able to find him when you need to play a gig or start a band, but nevertheless, he always manages to show up when you’re not looking. Even better, if you ask him, he’s already taken. It’s a vicious circle that you can’t quite seem to get out of.

                He’s a regular looking fellow – might even dress a bit like a bro. At first glance, you might think he’s a Frightened Douchebag, but as he confidently heads to the drum section, you know what kind of person you’re dealing with. And if you don’t, the rhythmic apocalypse that comes out of it will certainly tell you.

                Drummers are terrifying in how unassuming they are. They’ll quietly enter, quietly leave, but you’ll sure as hell hear them as they’re trying new gear. Even scarier is, as mentioned before, how they don’t look the part at all in most cases. This leads you to understand why you can’t ever find a drummer – because they’re hiding in plain sight.

                As you realize the error of your ways, the drummer leaves just as silently as he came in. Whoops.